Remember the simpler days of 2013 when we repeatedly asked to build a snowman and implored anyone who would listen to ‘let it go’? At the height of the Frozen mania, it was possible to buy virtually anything Elsa-related, and the popularity of the soundtrack led to a boom in arrangements – there is a version for practically every instrument, at varying difficulties. The recent release of the sequel Frozen 2 hasn't had quite the impact that its backers must have anticipated, but there has still been a flurry of new sheet music – and some innovative publications such as this engaging activity book. Marketed as a ‘theory’ teaching resource, this introduction to music features a wide range of exercises, simple versions of favourite songs and plenty of pictures to colour in, all neatly linked to the films’ story lines. Rather than focus on Frozen 2, Hal Leonard has sensibly combined ideas from the first instalment of the Disney blockbuster, with its less-successful follow-up, resulting in a ‘best-of’ collection of tunes.
The book begins with Olaf's introduction to the stave and the treble clef, with opportunities for students to practice writing out notes and identifying keys on the piano. I was surprised that the very first page mentions ledger lines, which seems a little ambitious for an entry-level lesson. (Useful for putting middle C into context, though.) The exercises then move logically through note values, time signatures, rests, rhythms, sharps and flats, syncopation – and then some more complicated elements, including triplets and changing metre. The stave is enlarged to make it more accessible and there are plenty of colourful illustrations to accompany the musical explanations. Concepts are gently tested through word searches, crosswords, and quizzes – the answers for which are all featured on the back page.
What makes this an ‘activity’ book rather than a straight theory one is that it also includes sheet music for the big hits. There are simple arrangements of new songs, including Lost in the Woods, Into the Unknown and Some Things Never Change, and old favourites such as Reindeer(s) Are Better Than People and Love is an Open Door. Some have the odd accidental, but the scores are written out very cleanly.
Who is this for? This isn't breaking any new ground in terms of teaching theory, but it is a welcome addition to instrumental lessons (and small-scale early years classroom teaching). Its strengths lie in its clear presentation and range of exercises, which suit young initial to Grade 1 players. At 72 pages, it is a decent-sized book for the price (£14.99) – and, if used strategically alongside more standard publications such as those from the ABRSM, it could last a student for several months. Of course, any character-based course like this has a shelf life: while the teachers may still want to hang out with Anna and pals, the young musician will inevitably soon move on to the next trend. Perhaps this was on the editors’ mind, as they thoughtfully include Into the Unknown as the final piece.
