SECONDARY

10 PIECES PLUS!

THE LARK

ASCENDING

by

VAUGHAN WILLIAMS

TEACHER PAGES

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THE LARK ASCENDING BY RALPH VAUGHAN WILLIAMS

http://www.bbc.co.uk/programmes/articles/3l2p7df6Yhg8dRp20Hp85VG/ten-pieces-secondary

CONTEXT

The Lark Ascending – A Romance for Violin and Orchestra - was originally composed in 1914 for violin

and piano and then orchestrated in 1921. It was inspired by an eponymous poem by George Meredith

(1881) and evokes the vision of a lark floating freely in the sky on a peaceful summer’s day. These lines

are inscribed in the score:

He rises and begins to round,

He drops the silver chain of sound

Of many links without a break,

In chirrup, whistle, slur and shake...

For singing till his heaven fills,

’Tis love of earth that he instils,

And ever winging up and up,

Our valley is his golden cup,

And he the wine which overflows

To lift us with him as he goes...

Till lost on his aërial rings

In light, and then the fancy sings.

The music is gentle and lyrical, reflecting an idyllic and calm scene in the English countryside in the

period just before war broke out in Europe. The ‘sweet’ and reassuring mood is typical of much of

Vaughan William’s ‘pastoral’ style which grew out of his interest in traditional music and reflected his

national roots: this resonated with a movement pioneered by Cecil Sharp, who collected folk songs and

established an archive of indigenous English music. The scales and modes present in folk songs

shaped Vaughan Williams’ melodies and harmonies, giving his music the characteristic sound which

pervades The Lark Ascending.

Vaughan Williams was a prolific composer who contributed many orchestral works to the English

repertoire and established a new musical language which broke the mould of nineteenth century

European styles. He was influenced by earlier English composers, Tallis and Purcell, and also by a

strong sense of character and place e.g. Norfolk Rhapsody; London Symphony; Hugh the Drover –

opera that reflected English life. He believed classical music was the each person’s birthright and to this

end, as a passionate community musician, he edited books of hymns and carols, created many folk song

arrangements and composed choral works to make music accessible to choral societies and community

groups.

The Lark Ascending has captured people’s imagination in recent years and has been played at many

reflective and poignant occasions such as the tenth anniversary of 9/11 in New York and similar

commemorations.

Read the full poem at http://www.bartleby.com/246/680.html

Discover more about Vaughan Williams at http://www.rvwsociety.com

http://www.bbc.co.uk/programmes/articles/3l2p7df6Yhg8dRp20Hp85VG/ten-pieces-secondaryhttp://www.bartleby.com/246/680.htmlhttp://www.rvwsociety.com/

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MUSICAL INGREDIENTS

Tonality Mixolydian mode (created by playing the white notes only on a keyboard from G

to G). Beginning on E as the root, this becomes: E F# G A B C# D E).

Harmony The modal harmony is centred on E, but not always clearly in one key.

Triads have added notes (e.g. the main chord at the opening is E-G-B-F#) which

produce a richer and more luscious harmonic sound, making it expressive and

‘romantic’.

Chords shift up and down the scale in parallel motion, making the music ‘float’

and feel ‘seamless’, without a strong direction.

Juxtaposition of two different chords at the same time (e.g. C major and D

major).

Melody Based on a pentatonic scale. The main theme uses D E F# A B.

The melody repeats short phrases and also ‘floats’ across the instrumental range.

Use of extremely high solo violin writing creates a strong visual image.

Short and faster rhythm patterns suggest bird song (see Related Listening).

The middle section changes character – a more energetic pulse and a stronger

folk-like melody.

Tempo and rhythm The outer sections are mainly in 6/8 which creates the flowing lilt to rhythm.

Lengthy cadenza passages marked ‘flessibile’ (rhythmically free-flowing melody

over sustained chords).

Orchestration Wind and brass instruments echo elements of the violin solo.

Dynamics The whole piece is very quiet – mostly ppp to p and never loud.

Changes in ‘dynamic’ are created by texture – thicker chords or several

instruments moving independently.

LEARNING ACTIVITIES SUMMARY Active Listening Challenge: Creating Graphic Scores

Performing Challenge: Two songs (with instruments) – Free Bird and The Lark’s Song

Composing Challenge 1: To create ambient music for a Spa and Wellbeing Centre

Composing Challenge 2: Setting a text to music – four poems using birds as metaphor

KEY LEARNING Knowledge of modes and modalities

Contemporary musical styles

Developing singing skills, including part-singing

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KS3 MUSIC CURRICULUM LINKS

Folk music: adapting and arranging

Single movement descriptive pieces for orchestra or solo instruments: o Nocturnes (piano): Chopin, Debussy, Billy Joel (1971) o Rhapsody: Single-movement pieces based on popular or folk tunes:Liszt, Brahms, Paganini,

Delius, Gershwin o Romance: Short gentle pieces e.g. Mozart, Schumann, Elgar

The violin: its history and use as a classical, folk and popular instrument: o Pictures of a Stradivarius

http://www.classicfm.com/discover/fast-and-friendly-guides/stradivarius-violin-history-facts-pictures/habeneck/

o ‘Winter’ from The Four Seasons (1725) – Vivaldi https://www.youtube.com/watch?v=YKfuhLCVldg

o Concerto No. 1 (1867) – Max Bruch played by Nicola Benedetti https://www.youtube.com/watch?v=gK3_K1C2lYc

o Gipsy Csárdás (1904) – Vittorio Monti played by Nigel Kennedy https://www.youtube.com/watch?v=OkeWj9ykXPw

o Sweet Georgia Brown – Stefan Grappelli https://www.youtube.com/watch?v=rJw-tCHDDqQ

o Celtic duelling violins from Hyde Park https://www.youtube.com/watch?v=ywMPtwM8avs

o Bryson Andres performing Secrets One Republic (street busking) https://www.youtube.com/watch?v=czkJYLqylzs

SUGGESTED LINKS WITH OTHER SUBJECTS English

WW1 poetry

Birds in literature, symbolism (death – hope – resurrection)

Poems about birds (see texts for Composing Challenge 2)

https://www.poets.org/poetsorg/text/thirteen-ways-looking-poems-about-birds

Poems about larks https://nosleepingdogs.wordpress.com/poems-in-which-skylarks-appear/

Humanities

Bird habitats, migration and conservation of natural habitats

RMS/Philosophy

Birds as omens, symbols and signs

Spiritual journey; life and death

Hope: overcoming adversity

Art

Representation of birds through the ages and in different cultures

Symbolism and metaphor

Graphic scores; visual representations of sound, mood and feeling

Drama: Greek plays – The Birds by Aristophanes 414 BC

Dance

Movement and ballet – Swan Lake

Representations of birds through mime, action and costume Science

Evolution of birds from dinosaurs

Habitats and Birdwatch surveys

http://www.classicfm.com/discover/fast-and-friendly-guides/stradivarius-violin-history-facts-pictures/habeneck/http://www.classicfm.com/discover/fast-and-friendly-guides/stradivarius-violin-history-facts-pictures/habeneck/https://www.youtube.com/watch?v=YKfuhLCVldghttps://www.youtube.com/watch?v=gK3_K1C2lYchttps://www.youtube.com/watch?v=OkeWj9ykXPwhttps://www.youtube.com/watch?v=rJw-tCHDDqQhttps://www.youtube.com/watch?v=ywMPtwM8avshttps://www.youtube.com/watch?v=czkJYLqylzshttps://www.poets.org/poetsorg/text/thirteen-ways-looking-poems-about-birdshttps://nosleepingdogs.wordpress.com/poems-in-which-skylarks-appear/

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LEARNING ACTIVITIES – TEACHER NOTES

ACTIVE LISTENING CHALLENGE:

CREATE A PIECE OF ART WORK BASED ON GRAPHIC SCORES

Teacher resources

Graphic scores v traditional notation – ‘Thought’ sheet – for and against

YouTube references:

o 21 graphic scores – a selection of graphic and pictorial representations of music

http://www.classicfm.com/discover/music/graphic-scores-art-music-pictures/

o Year 7 Graphic Score of Wirrkul Girl by Aboriginal group Yothu Yindi, from N Australia

https://www.youtube.com/watch?v=yKWoY8qjUiM

o Spem in Alium – Motet for 40 voices by Thomas Tallis (1570) represented graphically

https://www.youtube.com/watch?v=Z3FJxDsa-5k

o Queen of the Night – Aria from opera The Magic Flute by Mozart (1791) represented

graphically https://www.youtube.com/watch?v=qLSzKrr-O-4

Pupil resource found in the pack

Active Listening Challenge – The Lark Ascending – creating a graphic score (to be copied onto A3

paper)

Tasks

Investigate, discuss and understand the term ‘graphic score’, explore examples and recognise the

use of this scoring style for composers.

Listen to the extract of The Lark Ascending and create original graphic score extracts.

Present these scores collectively as a piece of art.

Additional creative task - interpreting the graphic scores.

Suggested approach

Introduce the concept of Graphic Notation - representing music in alternative forms that differ

greatly from traditional notation: using visual symbols, graphics, pictures and other images.

Show the YouTube examples above and discuss what pupils see and hear: identify techniques used.

The Wirrkul Girl extract is particularly clear and informative.

Discuss how graphic notation compares with traditional staff notation and list the

advantages/disadvantages of these contrasting styles for composers. Could Nicola Benedetti have

played The Lark Ascending if Vaughan Williams had written it as a graphic score?!

Agree on a whole-group definition of ‘graphic notation’ and write it for all to see.

Organise pupils into groups of 4. Listen to the BBC extract of The Lark Ascending (only 6 minutes).

The listening task is divided into four sections (boxes), with a timeline for each one.

Pupils should interpret what they hear, graphically, in any chosen way, following the examples

explored in discussion. Encourage the use of colour.

Repeat the exercise if necessary and when complete, allow three minutes for each group to compare

and discuss their results. Whole-class comparison and discussion could follow, exploring common

patterns and themes emerging from their work.

Presentation: Cut out the squares and group each of the sections on the wall to create one large

score. Listen to the work again, following the collective score.

Extension activities:

Create one graphic score from the collected ideas

Set a composing/performing task – to interpret the giant graphic score as a class

Create a dance or movement piece in response to the music using a similar approach

http://www.classicfm.com/discover/music/graphic-scores-art-music-pictures/https://www.youtube.com/watch?v=yKWoY8qjUiMhttps://www.youtube.com/watch?v=Z3FJxDsa-5khttps://www.youtube.com/watch?v=qLSzKrr-O-4

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PERFORMING CHALLENGE: TWO SONGS

Teacher resource

FREE BIRD and THE LARK’S SONG full scores

Midi files: Vaughan Williams – Free Bird and Vaughan Williams – Larks Song (optional backing

tracks)

Pupil resource found in the pack

FREE BIRD and THE LARK’S SONG vocal and instrumental parts

FREE BIRD

This song is aimed at younger voices with accessible instrumental parts which can work in a variety of

combinations. It is intended to be a gentle ‘rock song’ in the style of artists such Ed Sheeran.

Commonalities and inspiration ‘pointers’ from Vaughan Williams’ style and The Lark Ascending:

The opening 2 bars of melody are the same as the first 6/8 theme in the violin part

The piano/keyboard accompaniment consistently uses open 5ths and parallel chords which

produce a mildly rich harmony

The middle section (bars 14-26) changes tonality and features superimposed triads

The melody and instrumental riff-like parts are mainly pentatonic

The words reflect someone longing to be free, like the bird that can fly away from trouble

Suggested approach

Sing the song with everyone; the bare minimum for performance is piano/keyboard simply playing what

is written. This could be managed by guitar, playing the basic chords if the full ones with ‘added notes’

are not possible. A competent keyboard player or guitarist should feel free to embellish the basic part

provided, adding as much style as possible. The percussion parts (drum and cymbal) would be the

simplest form of rock accompaniment, if a drummer is not available, but that would be ideal. A bass

guitar could play the bottom piano notes, again improvising something more interesting if desired. The

pitched instrumental parts 1 & 2 are designed for classroom percussion or keyboards but can be

adopted by any melody instrument.

The most important aspect of the performing challenge is that everyone can be involved and that the

result is lively with accurate singing and a good sense of rhythm.

Suggestions for involving more players:

Add extra percussion instruments

Mix pitched percussion and other orchestral instruments

Encourage confident players to improvise or invent some new riff lines of their own using the models

provided

Introduce an instrumental break featuring any new tunes over the chords of Section A

Compose a Section C with new material

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THE LARK’S SONG A two-part song for soprano and alto/tenor with flute/violin solo.

This is a more challenging song requiring confident singing and good breath control and would suit older

voices. The violin/flute part also requires assured performance in the upper register. It pays homage to

The Lark Ascending both musically and thematically. The lyrics borrow something of the language and

atmosphere of George Meredith’s poem and the music absorbs elements of the composer’s style and

structure:

The rhythm reflects the characteristic 6/8 feel of a ‘pastorale’ and the harmony moves in parallel

chords with occasional surprising shifts in tonality

The melody contains strong references to the shape of Vaughan Williams’ melodies, mostly

pentatonic, particularly the descending third interval

The high violin/flute part floats above the voices like the original lark in flight

As in the original, the B section is in 2/4 offering a more robust, changing character

Suggested approach

Notice that the two A sections are very similar but that the B section has a different character and

can be sung more strongly.

Begin by learning the song: this should be established accurately and confidently.

The instrumental line can be learnt separately then added later.

To expand the ensemble, add a cello to the bottom line of the piano part

Consider arranging the complete piano part for a string quartet.

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COMPOSING CHALLENGE 1:

COMPOSING A SOUNDSCAPE FOR A SPA AND WELLBEING CENTRE

Pupil resources found in the pack

Composing challenge 1: Composing a soundscape for a spa and wellbeing centre – thoughts sheet

Composing challenge 1: Composing a soundscape for a spa and wellbeing centre – ideas sheet

Tasks

To create a Soundscape (piece of suitably atmospheric music) for the Larkrise Spa and Wellbeing

Centre in response to a client’s letter.

To demonstrate an understanding of the use of music for a specific purpose and environment.

To show recognition of specific musical features in The Lark Ascending: to adapt and use these

elements in a piece of creative work.

Suggested approach

It would be helpful if pupils complete the Active Listening Challenge first, so they have a good idea of

the musical sounds and effects which are listed on their thoughts/ideas sheet. They will need to work

in groups.

Read through their ‘Thoughts Sheet’ and encourage them to articulate how music features in our

lives in ways over which we have no control i.e. ‘canned music’ in shops, malls, waiting areas etc.

Why is this? What is the purpose? (increasing retail activity, filling the silence, creating ambience)

What would a world be like without any such music?

Consider which type of music would suit the Spa and Wellbeing Centre. What is its purpose? What

type of music wouldn’t work and why not?

Ensure that pupils understand why The Lark Ascending is so popular. Discuss how it impacts on

certain occasions (reflection and loss, peacefulness) and identify which musical features achieve this

effect.

Examine the musical resources available (pupil ‘ideas sheet’) and discuss suitable instrumental/vocal

sounds before they start their task.

Consider what non-instrumental/vocal resources could be used – electronic keyboard effects,

recordings of live sounds or using composing software.

Allow pupils time to think and experiment, encouraging innovation. Limit the actual ‘composing’ time

so that an element of ‘improvisation’ is retained: this can be refined later. Record their first attempts.

Return to these compositions on a second occasion. Listen to pupils’ first attempts and undertake

some brief analysis with the group. Is anything working particularly well? What isn’t working? Gather

some whole group responses.

Depending on progress at this stage you could:

o Take a few effective ideas and ask small groups to expand on them

o Pool ideas for a whole-class recording

o Ask original groups to polish and record their pieces if they started successfully

IMPORTANT: This task does not necessarily require a completely finished and polished result: the

process is as important as the product! Success can be evaluated by pupils’ understanding,

demonstrated through their work and the effectiveness of their ideas.

Record any completed pieces: play them in the school foyer and monitor their impact on visitors!

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COMPOSING CHALLENGE 2:

COMPOSING MUSIC TO ILLUSTRATE POEM TEXTS

Pupil resources found in the pack

Composing challenge 2: Composing music to illustrate poem texts. Four poems for illustrating or

setting to music

The Skylark. Rhythm settings of an extract from ‘The Skylark’ for composing a song

Tasks

To compose music for one of the four texts inspired by birds. This could be illustrative music to

support a reading or a song (a cappella or accompanied)

To demonstrate an understanding of how expressive music can enhance the metaphorical and

deeper meanings of texts

Suggested approach

Read the poems and identify how birds are used as metaphors and imagery to express deeper

meaning and to make statements. The YouTube links are very useful and appropriate for pupils:

o Hope is the thing with feathers – Hope, faith and a free spirit

http://genius.com/Emily-dickinson-hope-is-the-thing-with-feathers-254-annotated

o I know why the caged bird sings – Freedom from slavery and oppression

https://prezi.com/kaz9c6maii37/sympathy-by-laurence-dunbar-and-caged-bird-by-maya-

angelou/

o The Eagle – Alliteration, personification, association, old age, vulnerability

http://www.encyclopedia.com/article-1G2-2691900014/eagle.html

o The Skylark – Commentary on humanity, idealism and faith

Explore the options for illustrating some of the text:

Compose a song for single voice or several parts. Two possible rhythmic settings of an extract from

The Skylark have been supplied as a starting point to illustrate different approaches. Note that the

4/4 version gives opportunities for melismas – setting one syllable to two or more notes. This is

indicated by the dotted ties.

Set The Skylark as a rap. The mechanical ugliness of the ‘armoured lizard’ tearing up the landscape

suggests something quite ‘aggressive’ or invasive deployed in the name of progress.

Compose some ‘incidental music´ which can be played or sung as the poem is recited. This

requires analysis of the poem’s meaning so that it reflects the message. Poems 1-3 are particularly

suitable for this.

This task should take place in stages over several sessions and may suit small groups or individuals –

possibly suited to older pupils. Structure the activity as follows:

o General discussing, selecting, investigating and brainstorming ideas

o Choosing resources and trying out ideas, possibly dividing and sharing tasks

o Selecting and refining early ideas and exploring; focus on material which is successful and

develop as required

o Running through, ‘tidying’ pieces then perform

http://genius.com/Emily-dickinson-hope-is-the-thing-with-feathers-254-annotatedhttps://prezi.com/kaz9c6maii37/sympathy-by-laurence-dunbar-and-caged-bird-by-maya-angelou/https://prezi.com/kaz9c6maii37/sympathy-by-laurence-dunbar-and-caged-bird-by-maya-angelou/http://www.encyclopedia.com/article-1G2-2691900014/eagle.html

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GRAPHIC SCORE V TRADITIONAL NOTATION

TRADITIONAL MUSIC NOTATION

GRAPHIC NOTATION

ADVANTAGES

Accurately represents many interrelated dimensions of music (pitch, duration, volume etc.)

Universally understood: trained musicians know the rules and how to apply and interpret them

Almost exact performances can be repeated from the same score

Impossible to represent melody precisely without it

Communicates composers’ intentions very clearly

Better for representing imaginative ideas: looser, flexible, less restrictive

No rules other than those chosen by the composer/inventor

Visually clear: looks like the music sounds

Gives composer greater expressive freedom

May allow performers more interpretive license, removing artistic decisions from the composer

Musical outcome is less determined: exciting for musicians who enjoy risk

More accessible to ‘non-musicians’

DISADVANTAGES

Needs to be learnt properly, otherwise difficult to access and participate in performing: high skill level required

Limited scope for individual interpretation

Not flexible enough to represent a range of sounds or ways of performing

When using notation, accuracy is essential

Cannot precisely notate some performance styles (e.g. many forms of improvisation)

Much less accurate and not universally understood: fewer common rules and conventions

Precise communication of what is required is much more difficult; additional instructions often added to the score

Composers can ‘lose control’ of their work because performers have fewer restrictions

Can make composers ‘lazy’: not formulating their creative ideas fully

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SECONDARY

10 PIECES PLUS!

THE LARK

ASCENDING

by

VAUGHAN WILLIAMS

PUPIL PAGES

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ACTIVE LISTENING CHALLENGE - THE LARK ASCENDING - CREATING A GRAPHIC SCORE

SECTION 1: Start to 3 minutes

SECTION 2: 3 MINUTES TO 3’ 52”

SECTION 3: 3’ 53” to 5’ 14”

SECTION 4: 5’ 15” to End (6’ 24”)

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COMPOSING CHALLENGE 1:

COMPOSE A SOUNDSCAPE SUITABLE FOR LARKRISE, A NEW

SPA AND WELLBEING CENTRE

THOUGHTS SHEET

Letter to a company which produces music for different locations e.g. offices, retail outlets, shopping

malls, leisure centres)

THE IMPORTANCE OF MUSIC IN HEALTH SPAS

After a recent visit to one of the UK’s top health spas, I came to realise the importance of having

background music. On a single day I had two spa treatments and they were both in identical rooms.

During the first treatment there was no background music playing. After a while I noticed the sound of

fans and some noise from staff talking: it wasn’t the most relaxing of treatments – I was slightly

disappointed.

The second treatment was totally different. There was some well-chosen soundscape music playing in

the background which I hardly noticed until I realised that it was really helping me to relax. Jenny

Research has shown that:

Background music influences the way people shop and what they buy. Sales improve with music!

Music changes your perception it can create emotional connections and alter how you feel.

Music has health benefits: it can change your behaviour.

Music in public places can put you in a certain frame of mind and affect your mood.

Three facts about THE LARK ASCENDING

It was played at the funeral of a soap character on TV (Hayley – Coronation Street).

It was chosen for the 10th anniversary commemoration of the 9/11 attack on the Twin Towers.

A Classic FM poll rated it as the ‘Nation’s Favourite Piece’: audiences say it makes them feel calm,

relaxed and secure, helping them to slow down and think and to reflect on positive things.

KEY FEATURES OF THE MUSIC (What makes it sound like it does)

It is slow with gentle rhythms, no sudden changes or surprises: everything is smooth.

Long held chords and sustained sounds which change and move slowly.

Short repeated or ‘looped’ melodies which seem to ‘amble along’ as if they are floating: nothing

grabs or distracts your attention.

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COMPOSING CHALLENGE 1:

COMPOSE A SOUNDSCAPE SUITABLE FOR LARKRISE, A NEW

SPA AND WELLBEING CENTRE

IDEAS SHEET

LARKRISE wants a soundscape – background music – lasting for about two minutes, a piece which can be played continuously in their lobbies and treatment rooms to relax and soothe their clients.

Create some ambient or chillout music (listen to Brian Eno example)

Use some of the musical ideas below, taken from The Lark Ascending if you wish, or invent your own. Look at the ‘Key features’ box.

Select sounds and instruments that are suitable and consider voices too. You could experiment with recording natural sounds to include with your own music e.g. Whale Songs, wind in the trees, running water or waves crashing.

TEMPO: Relaxed heartbeat – 50/60 beats per minute

CHORD SEQUENCES

Shift slowly between chords – play the notes separately – sustain and overlap them

(insert Sibelius files)

PITCHES

Use any notes from this scale (Aeolian Mode)

Play single notes – develop into short phrases or longer melodies

(insert Sibelius file)

MELODY IDEAS

Start with these patterns an improvise around them

(insert Sibelius files)

DYNAMICS

Range from pp (pianissimo) to mp (mezzo piano) – gently changing

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COMPOSING CHALLENGE 2:

COMPOSING MUSIC TO ILLUSTRATE POEM TEXTS

FOUR TEXTS FOR ILLUSTRATING WITH MUSIC

Each of these poems uses the bird as a metaphor to express or illustrate something.

Create some music which enhances the meaning or image suggested by the words.

The highlighted verses of The Skylark have been set to rhythms to help with writing a song.

Poem 1 HOPE IS THE THING WITH FEATHERS

Emily Dickinson

Hope is the thing with feathers That perches in the soul,

And sings the tune without words, And never stops at all.

And sweetest in the gale is heard; And sore must be the storm

That could abash the little bird That kept so many warm.

I’ve heard it in the chilliest land And on the strangest sea;

Yet never in extremity It asked a crumb of me.

Poem 2 I KNOW WHY THE CAGED BIRD SINGS

Extract from ‘Sympathy’ by Paul Laurence Dunbar, which later inspired Maya Angelou’s poem of the same name

I know why the caged bird sings, ah me,

When his wing is bruised and bosom sore, When he beats his bars and he would be free;

It is not a carol of joy or glee, But a prayer that he sends from his heart’s deep core,

But a plea, that upward to Heaven he flings. I know why the caged sings!

Poem 3

THE EAGLE Alfred, Lord Tennyson

He clasps the crag with crooked hands;

Close to the sun in lonely lands, Ring’d with the azure world, he stands.

The wrinkled sea beneath him crawls; He watches from his mountain wall,

And like a thunderbolt he falls.

Poem 4 THE SKYLARK Peter Fairbrother

As high as reverie, as small as a speck.

To glimpse it at all one must lie on the deck. As brief as an inkling, as fleet as a fawn;

Everlasting, yet new, aspiring since dawn.

It sings ‘All is well’, so far above ground. It sang ‘All is well’, even when it looked down.

To the huge armoured lizard tearing thigh from bone,

While the previous owner crept crippled for home.

It’s as bright as a bell and it rings in this sky; It’s as light as a breath and it sings us alive.

As perfect as marble, as fertile as earth,

As maudlin as gravestones, as healing as mirth.

The bird has a vision sustaining it so and contrasts with the frenzy we witness below.

The peculiar version of ‘staying alive’,

Of the bull dinosaurs on the M25.

It sings All is well’, even when it looks down. It sang All is well’ and never a frown. It sang All is well’, wherever it flew.

It sings All is well’, because up there, it’s true.

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