Riffing around!The word ostinato, Italian for obstinate, suggests a refusal to give up (!) and issomething that generates dramatic momentum with repetition, through the useof rhythmic and melodic ostinato… or riffs.Compelling to composer, performer and listener alike, riffs are importantbuilding blocks in the creative process, harnessing different techniques ofimitation, question and answer, mirroring, number and sequence, patterns,accent and syncopation, and so on.Taken together with the concomitant development of coordination, whetherusing traditional classroom percussion or contemporary boom-whackers, riffingaround is a natural tendency in the early stages, and an essential part ofchildren’s learning and development thereafter, and fun forever.This workshop is based on Riffing around! a 12-week project that was devised inresponse to an identified need to develop teacher confidence and improve theteaching of improvisation and composition strands of the Music curriculum. Itprovided ongoing, class-based, practical, continuing professional development(CPD) for non-specialist teachers working with children aged 5 to 11 supportedby a music specialist.Research shows that there has long been a skills-gap and a lack of confidence inrelation to primary music teaching leading to a negative perception of the wayprimary school teachers view their ability to teach music (Hennessy, 2000, 2013& 2017; Paul Hamlyn Foundation, 2014; Hallam et al., 2009; Holden andButton, 2006; Mills, 1989). This can lead to teachers either avoiding teachingmusic completely or focusing on surface-level activities rather than developingthe full range of musical understanding leaving students deprived of qualitymusic education.Budgetary constraints often result in schools allocating their limited budgets tocore subjects, leaving little for music training, CPD, workshops or input fromprofessional musicians (ISM, 2022).Our workshop presents a model in which music specialists create a collaborativeenvironment allowing non-specialist teachers to grow their skills and confidencein the teaching of improvisation and composition. Teachers are encouraged towork alongside their students to form a ‘community of learners’, developingskills and knowledge together as the project unfolds (Rutherford, 2014; Schafer,1975). Whilst there is a need to teach, guide and structure the children’slearning there is an acceptance that the teacher may not always be the expert inthe room. This creates an environment where mistakes are embraced,imperfection is normalised and experimentation is welcomed without fear offailure.Using the single, universal theme Riffing around! and adapting it for alllearners, this workshop encourages teachers to develop inclusive pedagogies thatpromote participation and creativity for all whilst ensuring a clear progressionacross the age-range.Confident teaching leads to confident children: our project successfullydemonstrated the positive impact of providing non-specialist teachers withongoing support, practical resources, and opportunities for mentorship. By theend of the project, teachers, having learned the essentials of conducting, led theirown classes in a performance and children were eager to share their creationswith their peers and the wider school community. This enthusiasm, confidenceand sense of achievement was beneficial for staff and student emotionalwellbeing and has left a lasting legacy of the pleasure to be gained fromperforming something you have created.Our workshop showcases key elements of Riffing around! providing practicalnuggets and food for thought!Detailed Plan for the Workshop 5 minutes introduction and aims; theoretical underpinnings 10 minutes call and response using clapping, vocal ostinato, bodypercussion and instruments 10 minutes - groups of 6, create a piece using a variety of ostinati 10 minutes - group sharing and feedback 10 minutes - ideas of how to develop this activity, effective teachingstrategies, resource sharing 10 minutes - Discussion and questionsStatement of Engagement Strategies Minimise verbal explanations: emphasis on practical, hands-on activities Participants to create an ostinato using:o Voices e.g. vowel sounds for warm-ups, instrument names togenerate rhythms e.g. ‘djembe ostinato, xylophone rhythms,castanets, chime bars, claves are awesome!’o Body percussion: ‘stick’ with a rhythm you have used already andperfect it or ‘twist’ and create a new oneo Percussion instruments - introduce ROOT rhythms based on oursong Running out of time Stick or twist - concept that allows children to find their level withoutfeeling the need to move on without mastering current task Practical ways to adapt the tasks to reflect needs of learners includingSEND. How would this look in your classroom? Resource takeaway: outline of 6-week improvisation and compositionphases, flash cards, Running out of time song Work collaboratively in a group to combine ostinati into a compositionready to perform Mini performances - celebrate group creations Ideally each participant group would have: 2 djembe, 2 xylophone, claves,chime bars, castanets