Illinois Music Educators Conference 2018 the syncopated rhythm. • Students read the rhythm, with...

Hepburn, ILMEA 2018 Copyright material used with permission MIE Publications not for distribution.

Orff, Unbarred

No barred percussion necessary!

Illinois Music Educators

Conference 2018

Presented by BethAnn Hepburn,

Co-Author Purposeful Pathways Books 1-4, MIE Publications

Special Thanks to the Session Sponsor:


Shake Them ‘Simmons Down

PATHWAY TO Movement Play: Play party with student created variants

• Students learn the song by rote as they play the singing game.

• Students stand in a circle and walk the beat to the right. For the final motive, “Shake

them ‘simmons down,” they put their arms up in the air and shake their hands down.

• Circle left for verse 2.

• Students trace the melodic contour by drawing it in the air as you sing each phrase.

Students repeat each phrase, singing and tracing.

• Sing the song together, tracing the melodic contour.

Orff Schulwerk is

• A music pedagogical concept that aims to stimulate elemental music making

• Language, movement, and music are equal forms of expression

• A work process that gives the participants a great deal of creative freedom, exploration, play and improvisation that lead to a holistic process of creation

Orff Schulwerk

can be done with ANY musical media, no xylophones necessary.


• Ask for suggestions on new ways to perform the song. Everyone performs new ideas in a

large group. (jump around, in and out, backwards walk, spin around, hop on one foot,

etc.)

• After trying new ways as a class, the students create new versions in small groups. The

students sing their new lyrics as they perform their version of the song.

• Allow time for each group to share with the class.

PATHWAY TO Literacy: Reinforcing low la

• Warm up utilizing the solfa tone ladder. Lead 4-beat solfa echo patterns empasizing

so, la, and do.

• Utiziling the solfa tone ladder, identify so, la, and do in the song.

• Students sing the song with solfa syllables by following the pitches that you point to

on the solfa tone ladder.

• Sing with solfa while reading notation. NOTE: The rhythm of the last measure is

simplified.

PATHWAY TO Composition: 8-beat rhythmic compositions

• Students are given fruit manipulatives (or cards) to create patterns.

• Model an example of an 8-beat rhymic phrase:

h h H 4 H h h 4 pumpkin apple watermelon squash watermelon apple pumpkin squash

• Speak the pattern first, then pat the syllables while speaking the words.

• Model how to transfer each one of the words to a different level of BP.

o Clap on “pumpkin.”


o Snap on “apple.”

o Pat on “watermelon.”

o Stamp on “squash.”

• Place the students in groups of 3-5. Small groups create their own BP patterns.

• Remind them of the steps in the process:

o Create a pattern using fruit manipulatives or cards.

o Practice saying and patting the words.

o Transfer to levels of BP for practice, and then transfer to UTP.

PATHWAY TO Form: Creating a Grand Rondo

• After groups have created their body percussion, (or new ways to move to the song)

decide how to put together a class Grand Rondo.

• Small group variations can be the contrasting sections between the A sections.

A B A C A D A Verse Group 1 Verse Group 2 Verse Group 3 Verse

Come to the Fair!

PATHWAY TO Rhythm: Prepare and label 84 8

• Students sit crisscrossed on the floor facing a partner. • Each person puts their right palm up and their partner places their left hand on top.

• One person taps the steady beat on their partner’s hand. Play 4-beat echo patterns. The other partner echo-taps on the beat-keeping partners upward facing hand.

• Begin with four beat rhythms containing hand 4

• Partners trade jobs. Help the students’ notice that the rhythm person is always tapping on the beat, but sometimes there are sounds in between the beats. For example, show the following patterns enclosed in heart beats. One student taps the beat and one taps the rhythm. Trade parts.


4 4 h h • Now show the same rhythm with eighth notes written as single eighth notes. Partners echo.

4 4 8 8 8 8 • Partners perform all eighth notes:

8 8 8 8 8 8 8 8

• Partners echo 8 4 8 4 4, • Repeat the rhythm and ask the steady beat partner if the rhythm partner tapped precisely on

every beat? (No. There was no tap at the beginning of beat 2.)

• Explain the syncopation by tying the eighth notes together:

8 8 8 8 8 8 8 8

• Show the rhythm again with quarter note:

8 4 8 4 4 • Each child keeps a steady beat as you speak the poem. With text on the whiteboard,

ask them to identify which words match 8 4 8

Come to the fair! Come to the fair!

Come to the fair this sunny day. (You’ll like it!)


Come to the fair and play!

• Each child keeps a steady beat as you speak the poem. Ask them to find the syncopated rhythm.

• Students read the rhythm, with syllables, once they have decoded the notation.


• Students speak the text as they read the rhythmic notation.

PATHWAY TO Partwork: 2-part speech into BP

• Play an improvised traveling rhythm on a drum. Students step on the beat as they travel and explore the space.

• Ask the students to travel as if they are going to go to the fair. As they travel, prompt them to think of things they may see at a fair, such as a cotton candy stand or the game where you throw a ping pong ball into a tiny fish bowl to win a goldfish.

• On the given rhythmic signal (84 8) the students stop traveling and perform a non-locomotor

miming gesture of something people do at a fair while you play 16 beats on the rim of the drum. Give a clear signal at the end of the 16 beats to help guide the students feel the phrase.

• Return to a traveling rhythm on the head of the drum; students travel throughout the room until

the return of the signal. (84 8)

• Students mime a new activity seen at the fair for 16 beats each time you play the signal. (84 8)

• Repeat this process several times to allow students the opportunity to explore many gestures,

aurally reinforcing 84 8.

• Speak the rhyme. Students listen for repeated patterns and form.


Come to the fair this sunny day. (You’ll like it!)


Come to the fair and play!


• Have a discussion about the repeated patterns (84 8 ) and the form of this rhyme. (a b a c)

• Students speak the rhyme with text, and then with rhythm syllables.

• Model the speech ostinato accompaniment.

• Students join you on the speech ostinato.

• Divide the class in half. Half speaks the rhyme. Half speaks the ostinato. Trade parts.


• Model the accompaniment ostinato on BP.

• Students speak the rhyme as you accompany them on the BP ostinato. Be sure to alternate hands and legs on the pats.

• Students join you on the BP ostinato.

• Divide the class in half. Half speaks the rhyme. Half performs the BP ostinato. Trade parts.

• Model the rhyme on BP.

• Students perform the rhyme on BP.

• Divide the class in half and perform as a two-part BP piece. Trade parts.

PATHWAY TO Partwork: Layered ostinati

• Talk about barkers at the fair, whose job it is to use their voices and bodies in interesting, expressive ways to entice people into spending money at their booth, ride, or attraction.

• Model the Ferris wheel ostinato with appropriate gestures and bellowing, expressive long tones. Encourage the students to join you when they are ready. (simultaneous imitation)

• Students speak the Ferris wheel ostinato. Model layering the Whack a Mole ostinato in on top of the students’ Ferris wheel ostinato with appropriate gestures.

• Students learn the Whack a Mole ostinato through simultaneous imitation.

• Divide the class in half and perform the two ostinati together. Begin with the Ferris wheel ostinato and layer in the Whack a Mole ostinato on top of it. Trade parts.

• Perform the tasty treats ostinato with appropriate gestures. Ask the students to join you when they are ready. (simultaneous imitation)

• Divide the class into three groups and layer in the three ostinati, beginning with the Ferris wheel ostinato. Trade parts.


• Consider transferring each ostinato to UTP, to create a layered UTP ostinati piece.

• Lead a discussion about these layered ostinati and help the students realize that the ostinati:

o are about three different kinds of experiences you can purchase at the fair (rides, games, foods)

o each move at a different pace (slow, medium, and fast) o are three different lengths (16 beats, 8 beats, and 4 beats)

PATHWAY TO Composition: Layered ostinati

• Divide the students into small groups. • Remind them of the attributes of the example’s layered ostinati. (content, pace, length)

• Each group will pick one criteria from each category and compose their own speech ostinato with gestures.

o Content: rides, games, foods o Pace: slow, medium, fast o Length: 16 beats, 8 beats, or 4 beats

• Small groups share their ostinati with the class. Class responds with observations. “Which criterion does this ostinato demonstrate?”

• Layer combinations of student created ostinati. This is where your teaching must become improvisatory. Respond to what the students have created and help them explore the possibilities for working with their diverse ostinati.

• Put the layered ostinati together with “Come to the Fair!” to create a final form.

Chicken on a Fencepost


PATHWAY TO Movement Play: Singing game

• Students learn the song by rote while playing the game.

• Two students are selected as farmers. They leave the room or go out of view and listening range.

• The remainder of the class is in two concentric circles, holding hands. It is determined where there will be two gateways at the end of the song, one in each circle. A gateway is produced when two students raise their joined hands to create an arch.

• Students in concentric circles sing the song as they walk the beat and move their circles in

opposite directions. The inside circle moves counter clockwise. The outside circle moves clockwise.

• At the end of the song the circles stop moving and the two gateways are created. The farmers race to find the gateways and pass under them attempting to be the first person into the center of the circle. (Teachers often have a rubber chicken in the center of the circle waiting to be claimed by the victor.)

• After the race each farmer picks their replacement and the game repeats.


PATHWAY TO Improvisation: 4-beat echo patterns containing 4 h H

• Use the temple blocks to lead 4-beat echo patterns including sixteenth notes. Ask the students to pat their echoes, alternating hands.

• Put the temple blocks in the center of the two concentric circles for the game. After the race, the farmer who wins gets to lead the patterns before two new farmers are selected and the game begins again.

PATHWAY TO Literacy: 4 h H

• Lyrics are visible on the board with boxes to represent each beat.

• Students pat the steady beat while singing the song. Their task is to listen and identify which beats have four sounds, two sounds, and one sound.

• Students notate the rhythm by writing one beat options (4 h H) above the text to match

the rhythm.

• Students pat the steady beat while singing the song to check their work. Make changes as needed.

• Students read the entire rhythm with rhythm syllables.

• Students pat the steady beat while singing the song and reading the notation one last time.

PATHWAY TO Literacy: so, la, do re mi so la

• Lead 4-beat solfa echo patterns, using the solfa tone ladder for support.

• Consider student leaders.

• Impose the solfa tone ladder over the treble staff. Continue echo patterns with the music staff.


• Students read the melody from solfa notation, using solfa and hand signs.

• Students read the melody from the staff, using solfa and hand signs.

• Label the motivic form: a a’ a b

PATHWAY TO Rhythmic Improvisation: H

• Students sing the song and pat H h whenever they sing the words, “Chicken on a fence

post.”


TEACHER TALK: Alternating hands for H

When playing sixteenth notes it is important that students can alternate hands on the instrument they

are playing. It is very difficult to play sixteenth notes on a one-handed instrument. One way to get the

whole class playing together is by using the floor as a drum. The students sit on the floor in self-space and

use mallets or rhythm sticks (as if they are drum sticks) for playing the floor as if they were playing a

drum. This is a way to get everyone involved in rhythmic music making with a minimal financial

investment.

• Students play the floor every time they sing the words, “Chicken on a fencepost,” while singing the song.

• Repeat. This time they audiate the song and play the “Chicken on a fencepost” rhythm.

• Repeat. This time model improvisation during the rests. Be sure to include H in your

improvisation.

• Divide the class in half. Half the class plays the set part. Half the class improvises during the rests. Trade parts.

• Students play both the set pattern and the improvised parts. TEACHER TALK: Structured improvisation

By playing both the set part and the improvised parts they are now performing a structured

improvisation for the full 32-beat chorus. This structure is a support to them. You will experience

greater success with longer improvisations if you give students a structure from which to work.

Simply asking them to improvise without giving them a structure produces unsatisfying results.


Tideo: second grade use the play party as preparation for high do in third & H

Formation: Students stand in concentric circles, inner circle facing out, outer circle facing in, with partners

looking at each other.

Game Directions:

On each "pass," the outer circle does a step-close to the left (CCW) toward a new partner.

On each "tideo" partners pat-clap own hands-partner clap

On "jingle at the window," partners pat the rhythm of the H words on knees. h (window)clap, then do

the "tideo" pat---clap---partner-clap.

On the ending repeated tideo-tideo-tideo, partners "wring the dishrag"

You can increase the difficulty by having both circles step-close to the left on each "pass."


PATHWAY TO Ensemble: Song with three rhythmic ostinati

• Students read the rhythm of the drum ostinato.


• Students perform this ostinato with two levels of BP, clapping and patting.

• Divide the class in half. Half sings the song while the other half performs the BP ostinato. Trade parts. For an advanced challenge have the students perform both parts simultaneously.

• Transfer to HD, with down and up strokes.

• Students sing the song again and snap on the rests.

• Transfer the snap to triangle or finger cymbals.

• Put drums, triangle, and singers together.

• Students read the rhythm of the rhythm stick ostinato, clapping and saying rhythm syllables.

• Transfer to rhythm sticks or other wooden sound and combine with singers.

• Divide the class into four equal groups: three instrumental groups and one group of singers.

• Put all four parts together. Begin with the drums and layer in the other parts, adding rhythm sticks next, then triangles, and finally, add the singers.

PATHWAY TO Creative Movement: Group shadowing with glide

• Students create group choreography using gliding movements inspired by Japanese characters.

• Begin with individual exploration. Students “draw” the images with their arms. Give them time to explore various ways to interpret the written character for firefly. Play appropriate recorded music throughout the exploration.


Firefly Moon Night

Wind Frog Star

• Review the concept of mirroring by leading a mirroring exercise with the whole class mirroring you.

• Consider student leaders. Lead the class in shadowing. Shadowing is following a leader who is not facing you. Students are

scattered in self-space, facing the same direction that you are facing.

http://www.japanesecalligrapher.com/bjc/2009/12/wind/

http://www.tribalshapes.com/categories/kanji/49.html

http://www.tribalshapes.com/categories/kanji/kanji-evening-night.html

http://calligraphernao.wordpress.com/2009/09/15/star/

Illinois Music Educators Conference 2018 the syncopated rhythm. • Students read the rhythm, with...

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