20
1 Schulwerk Springboards Presented For The Treasure state Chapter of The American Orff-Schulwerk Association By BethAnn Hepburn [email protected] September 24, 2011

Schulwerk Springboards - Treasure State Orff

  • Upload
    others

  • View
    9

  • Download
    1

Embed Size (px)

Citation preview

1

Schulwerk Springboards

Presented

For

The Treasure state Chapter of

The American Orff-Schulwerk Association

By

BethAnn Hepburn

[email protected]

September 24, 2011

2

The Orff Schuwerlk philosophy can be divided into the following categories: The Individual and Group, experiencing: Media, Pedagogy, Musical Components, and Literature.

Media Pedagogy Movement Imitation Speech simultaneous Song echo Body Percussion canonic stamp Exploration patschen Improvisation clap Composition snap Unpitched Percussion Pitched Percussion Recorders

Musical Components Literature Emphasis on Rhythm Original Orff/Keetman Source Works Pattern and repetition employed Vols. I-V Ostinati as primary accompaniment figure Keetman supplements Complementary rhythms Other prototype material Gapped scales and modes Folk Literature Limited harmonic language Cultural Materials Simple Musical Forms Student Improvisation/composition

Individuals And

Groups

3

Boomfallera Music For Children Volume I

Exploration/Preparation of Meter in 3

Establish steady beat, and meter exploration

Students step into the hoops on the “Strong” beat, can they feel how the notes are grouped? Explore meters, and establish & stay in 3.

Non-locomotor: mix moving on each beat, and sustaining over 3.

Establish the rhythmic pattern for the melody of Boomfallera

4 4 4 2. 4 4 4 2. 4 4 4 4 4 4 4 4 4 2. Move and sustain….move and sustain….movin & groovin’ & move & sustain…..

Add the teacher modeling the melody as the students move the rhythm, to aurally connect to the kinesthetic exploration of the movement.

Transfer to barred instruments.

BP the melodic pattern and transfer to instruments, encourage the “sustain” movements on the dotted half notes, not to “cheat” the duration.

Add BX to help maintain the steady pulse.

Add tambourine:

4 $ $ 2. 4 $ $ 2. 4 4 4 4 4 4 4 4 4 4 $ $ Play wait then shake...play, wait, then shake..play and shake, play and shake, play and then stop!

Add other parts, transfer to xylophones, or prepare the next step Add Improvisation on a given text

Early to bed, and early to rise, makes a man healthy, and wealthy, and wise

3 4 4 4 2 4 4 4 4 2 $ 4 4 4 4 4 4 4 4 4 2. 4 Early to bed, and early to rise, makes a man healthy and wealthy and wise

Teach the rhythmic speech, either by rote or syllables. When the students can comfortably repeat the speech pattern, they will be more successful when using this rhythm as the basis for their improvisations. Use the 2-level body percussion to help strengthen the ¾ feel, which will be used later to create UPP accompaniment for the B Section

Establish the “do” center o Play the text on “do” o Begin to gradually add pitches, encourage good melodic “habits” as they are exploring, using

neighbor notes, make “do” important (start on it, end on it, play it a lot!) o Allow students time to explore variations of the speech.

4

Create a “B” section using the student generated melodies as the “B” melody.

Add BX and tambourine in a pattern of 3 for the accompaniment, do the students want the BX on 1 or the tambourine.

Perform as a Rondo, with the student-created melodies A B A C A etc.

Sensory Springboard: Morning Is Come

Use the image of the rising sun, how does it feel on your face? Close your eyes, and

hear the sun ray.

What does that warmth sound like? Can we make a sun ray?

How would a sunburn sound? Explore the dynamic difference in the voice.

Close your eyes, what else do you hear in the morning outside? Birds etc.

Create a vocal soundscape with the students, and then model the song.

As students learn the song, remind them not to “sunburn” the melody as they float

to the top.

Use the soundscape as an introduction and coda to the song.

5

Springboard: Expressive Speech and Playing This rhythmic speech piece is a good model for a teacher-directed example that students should experience, before being asked to create accompaniments on their own, like the next example “Queen of Hearts”.

Speech to student-composed rhythms Explore expressive speech, how to say the poem? Scared, bold, whisper? Learn main chant and create a sample ostinato with the students: perform together Transfer to Hand Drums: can the expression of the speech transfer to the drums? Expressive speech leads to expressive playing. The Queen of Hearts, she made some tarts All on a summer’s day The Knave of Hearts, He Stole the tarts!! And took them clean away.

The King o Hearts Called for the tarts And beat the Knave full sore. The Knave of Hearts Brought back the tarts, And vowed he'd steal no more. Explore the Newest Gossip in the Kingdom! Like this is a travesty! The nerve of the knave The saddest thing that could occur in this good kingdom Like a 6th grade girl gossiping What other ways can you explore the words? Can you add actions? Next, students create Complementary Ostinato inspired by Playing Cards in small groups Perform as a Rondo: A B A C A D A (the poem as the A)

6

Springboard: word chains Speech structured Improvisations

Music Concept Focus, improvisations containing: H Song: Shake Them ‘Simmons Down,

an American Play Party folk song

Manipulatives used: plastic fruits and veggies from any craft store

(many other items can suffice for manipulatives for speech rhythm patterns for beginners, such as foamies cut outs, die cuts, rhythm cards, candies, etc.)

Begin by reviewing the known folk song, in this case, also do the dance.

When the class is familiar with any particular folk song, they are ready to add their own special touch to the song through rhythmic, body percussion interludes.

Reinforce that each item given to the students represents one beat by categorizing the items under their proper notational value together as a class, and with the teacher modeling. The students will discover the answers by IMITATING the teacher’s model.

4 h H

Squash apple watermelon The teacher models an eight beat rhythm pattern with the class, allowing students to

change the pattern, and the class time to practice matching the syllabification with the correct rhythm.

The teacher then models how to transfer the rhythm pattern to the body. Explore several possibilities with the students: clapping, patting, stamping, clicking

After the students have had practice by IMITATION, allow them time to EXPLORE combinations on their own in small groups, using the fruit words to create different rhythms.

When the groups have found a rhythm they are happy with and can successfully clap, allow them time to EXPLORE body percussion combinations with their created rhythm.

To culminate, create a rondo form performance of “Shake Them “Simmons Down” A: Song B: Group 1 Improvisations A: Song C. Group 1 etc.

7

h h H 4 h h H 4

Shake Them ‘Simmons Down

Some Suggestions for Transferring Body Percussion to Pitched & Unpitched Instruments Body Percussion Level Unpitched Percussion Instrument Pitched Instrument Snap High-pitched ringing metals Glockenspiel (Finger cymbals, triangles)

Clap Small wooden instruments sop. xylophone/metal. (wood block, tick-tock, claves) Pat two-handed instruments (bi-lateral alternating) alto xylophone/metal. (bongos, temple blocks, maracas)

Stamp Large, Lower-Pitched Instruments Bass xylophone/metal. (Large hand drums, tubanos, congas)

8

4 Beat pattern Improvisations within a song context TONGO

When the students are comfortable with the song, they can add another musical task

Students create “canoes’ for the work song in a boat (each will have a different timbre)

Sing the song through as a group, have the students Echo the teacher 4 beat patterns, 4 times

Next, let each student in the “head” of the canoe play 4 rhythms for the canoe group to echo.

Continue repeating the song & the patterns until all students in the boats have had a turn as the leader.

Students can “hop boats” while playing the singing game, so they can play several instruments in one class.

LEADERS:

9

Springboard: Expressive Speech Rhythmic Rondo #1, Music for Children vol. I Murray Edition

Begin by exploring different tempo variations through “walking” o How does the walk change based on the situation? At the park, late for work, etc. o Bring the group to a consensus with the hand drum

Rhythmic Rondo #1, p. 67 *Music For Children Volume I Murray Edition Room set-up: scattered formation around the room Explore various tempo markings & establish common beat

Begin simply with walking, students interpret the pace

o A nice stroll in the park, Monday morning, late for work etc.

o Chose a student’s pulse close to moderato tempo, and match with hand drum

o Bring an awareness to the students to be mindful of other’s as they are traveling, make eye

contact, and plan ahead for walking

o Students match the beat of the drum, walking with the new set tempo

o Prepare the rests in Part I, by having the students stop when the drum stops for 3 beats: 4 4 4 Introduce the rests through movement, by isolating the rest:

Rhythm of the drum student response

4444 4 $ $ $ step, step, step, step, step, wait, wait, wait (repeat)

44 4 $ 44 4 $ step step step pause, step step step pause

4444 4 $ $ $ step, step, step, step, step, wait, wait, wait

Part I: Clapping Rhythm rhyme Dr. Seuss Connie VanEngen arr.

As your walking, please watch where you’re going $ $ $ As your walking, please watch where you’re going $ $ $

Chose--- your--- steps--$, care—ful--ly! $ As your walking, please watch where you’re going $ $ $

Part II: Clapping & Stamping words for rhythm ……………………….You’re in my way! ……………………….You’re in my way! Right turn, left turn, I will not turn!

Right turn, left turn, I will not turn back! ……………………………You’re in my way!

Teacher adds rhythmic rhyme to introduce the rhythm of the instrumental piece, students keep

walking on the beat. When students hear “wait” they are to pause, and travel again on the beat.

h h h h h $ $ $ as you’re walking, please watch where you’re going repeat

10

Add vocal expression and perform again with inflection & clapping matching the voice

Students perform Part I, and teacher models the words to Part II

Teacher maintains the steady beat on a hand drum, while students echo the words & clap the word

rhythm, while walking the steady beat, encourage a two-finger clap

“Choose your steps $, carefully $ echo words, while clapping rhythm and walking the steady beat like

above. (4 4 4 $ 4 4 4 $)

Transfer to Rhythm Works Hand Drums*: add dynamic changes on the instrument,

based on speech inflection: the vocal expression prepares the students for playing the crescendo and the accents.

Ask the students to divide up, ½ the class on the Poly Spots*

o Ask the students on the “Spots” to say and clap the words to Part I

o The Teacher models part II again, and has the rest of the class Echo the words

Add both groups together:

As your walking please watch where you’re going you’re in my way!

As your walking please watch where you’re going you’re in my way!

Chose your steps, $ care- ful -ly $ Right turn left turn, I will not turn, right turn left turn, I will not turn As your walking please watch where you’re going Back! you’re in my way!

Create a new “B” section, with partners: have the “non-spot dot” students pair up with another person

standing on a poly dot. ‘

The “spot” person is going to improvise a rhythmic Question on the drum, and the partner will be the

Answer. To set up the Q & A improvisations, establish the 8 beat phrases, have the students move the

8 beat phrase, by moving the steady beat with their drums. Ask the partner to count the sets of 8.

Perform 2 question and answer sets for the “B” section

Teacher adds words of part I, as the students walk the pattern.

Rote echo teach the words, and add expression, what happens when you are annoyed? Model the crescendo & dynamic changes in the voice: transfer to clapping, then drums.

Add two: question and answer improvisations (8 beat Question & 8 beat Answers)

11

Hand, Hand, Fingers, Thumb! By Al Perkins

Children enjoy creating the rhythms and playing on hand drums, or clapping!

The Teacher can control the difficulty level by which rhythm cards may be used

The teacher sets the parameter on how long the rhythms the students create may be: 4 beats, 8 beats etc.

Read the book and ask the students to keep a steady beat, however add dynamics: if the teacher is reading softly, play softly, loudly play loudly etc. *This simple exploration will plant the seed for various dynamics to be used in the groups final performances.

Cut out the boxes, to enable students to easily manipulate the cards, and explore various rhythmic options before they create their final ostinato pattern.

Ostinato Rhythm: Can be adjusted for grade level by limited card choices

4 4 h 4 j j h 4 Hand hand fingers thumb, dumb ditty dum ditty dum dum dum

One Beat Boxes for Rhythmic Ostinati Compositions

H ditty ditty

h

Monkey

H

Alligator

8 66

dumditty

4 >

WHACK!

4 drum

h hum drum

6 8. Hello!

h banjos

h fingers

4 thumb

h shake hands

h 4 H 4

Monkeys Drum Alligators Whack!

12

My favorite inexpensive movement tool…. Debussy: Flashlight Follow: Moving SLOWLY Music Concept: Legato, or phrase lengths Music: Libera Luminosa or Debussy Claire de Lune

Night at the Museum: Movement Accents: moving fast & sudden Mannheim Steamroller Halloween CD In the Hall of the Mountain King This is a game where you take a museum “tour.” The teacher calls out a location and you have 8 beats to morph into an appropriate statue or museum item (i.e. dinosaurs, Neanderthals, Modern Art, Air and Space). Once we have practiced morphing into shapes, we play the game.

o One person is the night watchman, who moves through the museum. If the watcher is not watching you, you quickly morph into another shape. If the watcher sees you move, they call out your name. The goal is to try and not have your name called out. How does the change of music effect the movements? What if we were at the Art Museum and Debussy was playing?

Sudden vs. Sustained: Connect to staccato or accents and Largo

Hill ‘n Gully Rider

Sing the story of the Hill and Gully Rider to the class, focus their listening: is this a person you would want to see, who might this be?

Listen again with a partner, one person Taps the beat, the other the rhythm Where do they not line up? On which words

This can be done while rote teaching the words to the song.

Label the syncopation. Students can create “B” sections, or accompaniments to the song, utilizing elemental phrase forms with one measure blocks, to focus on syncopation, the constant can be utilizing

8484 $ for one of the phrases. Hill n Gully

abba abab abac

K t m q e

4 4 h h Look out! Swinging sickle

2 2 Dark skies

4 $ 4 $ Duck now!

4. 8 4 4 Time is up now

h 4 h 4 Boney feet chasing me!

4 4 h $ Haun-ting specter

hh4 4 Horrifying banshee

8 4 84 $ Hill n Gully

4 4 8 4 8 Dis-mal Grim reaper

13

Hill ‘n Gully Rider

2. Oh the moon shone bright down, 3. Oh, my knees they shake down Ain't no place to hide in down, An' my heart starts quakin' down

An' a zombie come a ridin' down An' I run 'til daylight breakin'down.

4. That's the last I set down,

Pray the Lord don' let me down.

Ain't nobody goin' to get me down.

14

SASHA

Sanna Longden’s CD No. 1 ½ : Even More Folk Dance Music for Kids and Teachers

Track #11 Sashay the Donut: New England Dance Masters

Folk Dance Steps: Find a partner. Partners face each other in scattered position. Point at your partner while saying “Sasha, Sasha, Rrrrraz (1), sdva (2), Trrrree (3)” (Hand clapping) Right, right, right Left, left, left Both, both, both Knees, knees, knees (repeat) (elbow turn) Elbow turn with right elbows for 8 counts – “hey!” Elbow turn with left elbows for 8 counts – “hey!”

(travel) Travel around the room and find another partner

(repeat) Repeat the entire dance with a new partner each time.

Sashay The Donut American Folk Dance New England Dance Masters: or any other jig or reel Formation - double circle

Section I with partner 8 beats - do-si-do 8 beats - right hand turn 8 beats - left hand turn 8 beats - two hand turn Section II Sashay the Donut head couple sashays through the alley with each couple falling in behind. When the each couple returns to their starting place, they drop hands and open up allowing the following couples to come through. The next time (after a repeat of section I) , the next couple acts as the head couple.

partners 2nd head couple 1st head couple

15

Mittens author unknown

h h h 4

Stripes or dots or sparkling white,

J h h 4

Mittens in winter fit just right.

h h h h

Wool and cotton, maybe leather-

h h h h

Mittens warm us in cold weather.

Process

Teach poem by rote Add body percussion one layer at a time

Start just with patting Add claps on designated words, let your students choose

Rhyming words, two syllable words, etc.

Practice with new body percussion pattern Add sand paper mittens

Perform the claps as scrapes

with the sandpaper. Now you have an “A” section.

In groups, let the students create

“B” sections.

Options: partner question & answer

sets of four circular groups

If doing groups of four or more,

Utilize “building blocks” of word chains related to mittens, cold,

winter or snow.

How to make sand paper mittens

Make a pattern for a mitten, larger than regular mittens, because the paper & fabric will need to open to fit a hand inside. Trace the mitten on the back side of sand paper, the larger the grain, the more sound you will get. Cut fabric in the same manner, fabric stiffener or starch will help your mittens hold up longer over time. Staple the two pieces together.

*remember to flip the pattern for the opposite hand, or you will end up with sandpaper not meeting sandpaper on the palm side.

Patschen Exercises and Word Chains

Any schulwerk volumes clapping & patting exercise can be transferred to the sandpaper mittens. Just turn the “claps” into scrapes. For younger grades create words chains from picture

cards, to create patterns:

16

Movement Springboards Disappearing Beat Starting with duple, play the “disappearing beat” game in 8 beat phrases. “Soldier’s Joy” Rhythmically

Moving

Begin by counting Eight beats Repeat and speak 1-7 and clap on 8 Repeat process until you get to one, ending up with clapping all 8 beats Try again, this time adding locomotion, changing direction after claps, on each new beat one. Reverse the cycle Clap on ONE then walk 2-8 Clap on One, Two then walk 3-8

ect. Add music, also repeat activity with various styles.

Another Day Explore the dance formation cards. Students practice for 8 beats at a time Have students create their own “Barn Dance” by chosing cards to create their dance. The teacher can pre-set choices:

Limit number of choices in younger grades!

Be sure to include 2 formation changes for visual interest

Also include some sort of body percussion for auditory interest.

1 2 3 4 5 6 7 clap change direction 2 3 4 5 6 clap clap clap clap clap 5 4 3 2 change

17

Develop Rhythmic Speech from natural word prosody

Many skills needed for music reading, overlap with the components of reading as defined by the National Reading Panel report to Congress in February 1999. After a two year study for Congress, the panel’s findings define these five components for reading:

1. Phonemic Awareness 2. Phonics 3. Fluency

4. Vocabulary 5. Comprehension

There are other skills also necessary, and related to reading, so in addition to the main areas, you may also integrate by working on skills related to reading, as sub-categories of the areas listed above. For example, story sequencing, cause and effect, left-right tracking, rhyme, and so on.

Rhythmic Building Blocks with Non-Readers: Developing Literacy

Visual Icons can be used with k-2 for beginning ostinato creations

*Same/different identification is a reading readiness skill, distinguishing between items visually, and also aurally

Students can create patterns in squares and travel to other team’s rhythms for reading practice (also use in upper grades with actual notation cards)

Beginners to well with some groups on the steady beat

hJh4

hHhH 4

848h4

Upper grades can play with more challenging rhythms

4jJ hh

18

CANONIC FORM CANONIC FORM Echo Clapping Canon Game (delayed imitation) Early improvisation activity

Begin with the teacher as the model

T. claps a 4 beat rhythm the class echoes

Chose student leaders

Increase to 8 beats when the students are ready

Over time, turn into canon clapping, by not delaying the next 4 beat pattern

Visually, it helps the kids to see the pattern travel first

Other verses:

When you sing a canon it goes sol sol … When you move a canon it goes (motion k, motion s etc)

When you clap a canon it goes (clap) (clap)… Students can make up additional ways

1

2

3

4

send the rhythm around the square as a delayed imitation, then in canon.

Practice rhythms in canon, begin with 4 beat phrases and increase as the students are sucessful

wood blocks

drums

maracas

guiro

Over time repeat the canonic rhythmic exercise with instruments of various timbres, with different student leaders

Various timbres will help students hear the next rhythm, and provide aural interest

19

Visual Springboards: POP UP with your hand drum! Inspirations for group drumming performances David Carter Pop Up books:

One Red Spot 600 Black Spots White Noise Yellow Square Movement Exploration

Students explore individually, how the body can move with inspiration from various words in the book: Coiling Curly Cues, Tipsy Teeters etc.

Encourage the students to move on various levels, use space around them, and put the movement in various parts of the body: for example: can you coil with your elbow? Head? Coil low? Or sideways etc.

Now explore new phrases with a partner, and a hand drum.

Now begin to set-up the musical phrase lengths: can they create a movement that is 8 beats, and repeat it for an additional 8 beats.

Add vocal or rhythms to the movement with the drums and their partner

Share with an additional partner set, encourage the students to discuss what they are seeing, and label the movement concepts that are happening:

o “I see mirroring” “I like the levels changes” etc. Set up a longer elemental phrase structure: a b a b : one group is the a the other the b:

perform as a group to give the students an experience performing within a phrase structure. Next combine the groups into 8 or 12, and give each group a book to use as their

inspiration to create an instrumental composition inspired from their movement. Rhythms can come from the body movements, or by creating ostinati from the words in the book.

Teach an interlude: to model how to use the words, and also to use as the transition between the group’s performances.

20

Allow the groups time to work: GIVE A CLEAR STRUCTURE for the students to create:

A B

Final Performance Interlude: Group: Interlude Group etc….

FREE!!!!! RESOURCE FOR ALL Kodaly Index at Holy Names College: http://kodaly.hnu.edu/

Over 300 Folk songs, search by music concept (For Example, looking for SML D and 848 all

songs containing that will list!) Play party directions and field recordings are also there!

Low drums: one red dot444 $

Med. Drums & small: one perplexing puzzle box twirlygigs