Orff Basic Level 1 - Beatin` Path Publications

Transcription

Orff Basic Level 1
Summer Courses 2015
Instructor:
Brent M. Holl
302 East College Street
Bridgewater, VA 22812
(540) 478 - 4833
E-mail
brentholl@mac.com
Website
www.brentholl.com
Materials in this collection are for personal use or use with your students. Contents are
for workshop participants only. Written permission should be requested for any other use.
Orff Basic Level 1
Brent Holl, Instructor
Workshop participants will be expected to complete the following basic written assignments:
Homework Day 1
✓✓ Read through the Murray edition. Speech exercises on page 50 and 51. Try them out loud! Note the progression of pure convergent rhythms into the anacrusis and use of rests.
✓✓ Notate a poem or proverb in strict, metered rhythmic notation emphasizing the natural flow of the text.
Use 2/4 or 6/8 convergent rhythms as much as possible. To preserve the natural flow of the text, you may
use anacrusis!
✓✓ Make a word chain of 8 or more words related to a topic of your choice. Notate them exactly in phrases. Be
prepared to share them with the class.
Homework Day 2
✓✓ Notate a poem or proverb in strict metered rhythmic notation emphasizing the natural flow of the text.
Use 2/4 or 6/8 with convergent rhythms only. (Anacrusis allowed.)
✓✓ Add two speech ostinatos using complementary rhythms notated exactly. Suggest a possible transfer to
an unpitched instrument of your choice.
Homework Day 3
✓✓ Write out a two - tone (bitonic) song using the text of a favorite rhyme or poem on staff paper in full score.
xx
Use only So and Mi
xx
Use only the keys of G, C, F, or D.
xx
Pay careful attention to the notation of the rhythm.
xx
Make the melody safe, simple, and child-like.
✓✓ Find two examples of bitonic songs in any of your source books and analyze the accompaniments. Be prepared
to share your observations with the class.
Homework Day 4
✓✓ Choose a text or rhyme from your favorite book, find the easiest, most natural flowing, child-centered meter
and notate exactly.
✓✓ Add two complementary speech ostinatos either related or derived.
✓✓ Transfer the speech ostinatos to unpitched instruments of your choice.
✓✓ Write out your piece on staff paper, neatly and correctly, in full score.
Homework Day 5
✓✓ Create a simple bordun orchestration.
xx
Select a Bitonic, Folkloric, Tritonic, or Pentatonic Song in 4/4. (We’ll save the other meters for later.)
xx
Write an appropriate Bordun. Please don’t use the “level” bordun for this assignment. (Maybe next time!)
xx
Add one complementary rhythmic ostinato.
xx
Please write out this assignment on a full score.
✓✓ Script out a lesson plan that you have observed in basic Orff this week. Include a detailed description of the
process used as well as your observations and comments. Your choice of lesson is very important. Try and
use one that has a clear logical presentation and is taught in class as a process example.
Homework Day 6
✓✓ Find another melody that can be used with a bordun.
✓✓ Orchestrate the melody using a bordun, a sound color, and a melodic OR rhythmic ostinato.
✓✓ Notate the piece in full score with the melody on top and the bordun on the bottom, filling in the color and
ostinato in the correct places on the score.
Homework Day 7
✓✓ Write a pentatonic melody in antecedent/consequent form. (Question/Answer)
✓✓ Use 2/4 (8 measures), 4/4 (4 measures) or 6/8 (8 measures) only!
✓✓ Text is optional and can be a nursery rhyme, poem, or proverb of your choice.
✓✓ Orchestrate your melody with a bordun of your choice, a melodic and/or rhythmic ostinato, and a tone color.
3
Basic Orff Level 1
Contents
Day 1: Imitation and Pulse
Global Greetings
Howdy Do!
Imitation: The Way We Learn First
About Rhythmic Imitation
A Name Game - Our First Word Chain
Homework Day 1
Homework Helper Activities Pick a topic and make a word chain. Class Work - Arrange a Rhyme
Day1:8
Day1:9
Day1:10
Day1:10
Day1:10
Day1:11
Day1:11
Day1:11
Day1:12
Day 2 - Instruments, Imitation, & Ontogenesis of Rhythm and Meter
We Love Singing
Concerto for Piano and Orff Instruments Rondo with Improvisations
Ontogenesis Ontogenesis of Rhythm
Expanding the Rhythm “Bricks” into a sequence:
Ees Para Dees
Homework Helper Activities – Group Work Homework Day 2
The Slaves of Jobe - Trad.
Day2:13
Day2:13
Day2:13
Day2:14
Day2:14
Day2:15
Day2:16
Day2:17
Day2:17
Day2:18
Day 3 Leading Imitation and the Ontogenesis of Melody
Oh How Lovely is the Evening.
Day3:19
The Curwin Hand Signs
Day3:20
The Grand old Duke of York
Day3:20
More Imitation - Concerto for Body Percussion
Day3:21
Introducing the Intervals
Day3:22
Homework Assignment for Session 3
Day3:23
Homework helper activities
Day3:23
Let it Snow Day3:23
Bobby Shaftoe Day3:24
Down in the Valley by Bessie Jones
Day3:24
Bend Down Low Lord
Day3:24
Group Work - Compose a two tone song
Day3:26
Homework Day 3 Day3:26
4
Orff Basic Level 1
Day 4: The Ostinato
Here’s a Pretty Song
The Ostinato Seminar: Why use Ostinatos?
The Cock doth Crow
Who Built the Ark? Homework Day 4
Bamboula
Day4:27
Day4:27
Day4:27
Day4:28
Day4:29
Day4:32
Day4:33
Gentle Breezes
The Bordun
Experimenting with the drone
Jingle at the Window
Wind in the Barren Trees Run Chillun, Run
Seminar: How can the Bordun be used?
Homework Day 5
Chatter with the Angels Day5:34
Day5:34
Day5:35
Day5:36
Day5:36
Day5:38
Day5:39
Day5:39
Day5:40
Ding Dong Diggidiggidong
You may use the Bordun when...
Ding Dong Diggidiggidong continues....
El Dia Lluvioso by BMH
Shake Them ‘Simmons Down South Australia Recommendations for the Moving Bordun
Recommendations for Tone Color in Orchestration
Homework Day 6 Pat Pat Well a Day
Day6:42
Day6:42
Day6:43
Day6:43
Day6:45
Day6:46
Day6:50
Day6:50
Day6:50
Day6:51
Singing Time
Question - Answer for Body Percussion
Question - Answer for Unpitched
Question - Answer for Pitched
Rondo for BP
Rondo For PP’s
Rondo for YooPees!
Homework Day 7
Day7:52
Day7:53
Day7:53
Day7:53
Day7:54
Day7:55
Day7:56
Day7:57
Day 5: The Bordun
Day 6: More About the Bordun
Day 7: Question/Answer and Rondo
5
Basic Orff Level 1
Homework Helper for Melody Writing The Pitch Range of the Instruments
Day7:57
Day7:57
Fanfare
Listening and Trust
Hall of the Mountain King - (Grieg - Peer Gynt Suite) Brandenburg Concerto #5 ( J. S.. Bach)
C Jam Blues - (Ellington)
“Sabre Dance” - (Aram Khatchaturian )
Kalimondo (by Renee Dupere)
Justification for use of the Instruments
Tutti Con Frutti - Full Score
Day8:58
Day8:59
Day8:59
Day8:60
Day8:60
Day8:60
Day8:62
Day8:62
Day8:62
Fly, Fly, Fly Why not Modes?
See Dees ( from Wood Songs by Brent M. Holl) The Water is Wide (Folk song arranged by Brent M. Holl)
Cantique Exotique by Brent M. Holl. Ensemble, p. 20 Carol’s Tune (Carol King, Level 1 Recorder Notes)
Day8:66
Day8:66
Day8:67
Day8:68
Day8:72
Day8:73
Another Monday Morning
Seminar: The Canon
Mini-Canon
Clapping Canon (unknown - A la Steve Riech)
May God Hold You (Jos Wuytack, adapted by BMH)
Day8:74
Day8:74
Day8:75
Day8:75
Day8:76
Day 8: Active Listening using Basic Orff Techniques
9.A Sampling - A La Mode
Day 10. Why the Canon?
SELECTED BIBLIOGRAPHY
6
Day8:78
Orff Basic Level 1
Note to workshop participants:
Please use anything in these notes written or arranged by Brent Holl for your own professional use in class or workshops. Simply make sure the following notice is on each copy.
© Brent M. Holl, 2015. All rights reserved. Used by permission.
For all other materials permission must be obtained from the copyright holder.
These notes are available online for download at www.brentholl.com.
This course has been presented by:
Brent M. Holl
302 East College Street
Bridgewater, VA 22812
540-478-4833
brentholl@mac.com
www.brentholl.com
7
Basic Orff Level 1
Day 1: Imitation and Pulse
Won’t you come into my Garden?
I would like my roses to see you.
- Richard Brinsley Sheridan
Opening Clapping Game – Global Greetings (Hands to Hands by A.C. Pfitzner, p. 23)
Global Greetings
4
& 4 œ œ œ œ œj œ . œ . œ œ œ œ ¿ ¿ œ œ œ œ œ œ œ ‰œj œ œ œ œ Œ
How-dy, hi, how are you? Waysto say, Hel-lo! Hel-lo! Hey, what's up,what's hap-pen-ing, and don't for - get yo!
ÛÛ
Û
4
Û
Û
Û
ã 4
Û
Û
Û
Û
Û
Û Œ
Û
Û
Û
Û
A
Wave
Clap Both
Clap Own
Patsch
A. C. Pfitzner
B
j
j
j
j
¿
‰
¿
¿
Œ
¿
¿
¿
¿
¿
‰
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿
¿ Œ ..
&
Wave
Clap Both
Clap Own
Patsch
ã
Ciao,
Ni hao,
Chow,
Nee how,
ã Û Û
∑
Û Û
Jam - bo, Na - ma - ste.
Ko - ni - chi - wa, A - lo - ha, Bu - na
Zi - ua,
G' day!
Jahm - bo, Nah - mah - stay. Ko - nee-chee-wah, Ah-low - ha, Boo -nah
Zee - wah,
Guh day!
Û
Shake Right Shake Left
Û
∑
ÛŒ
Û
Û
∑
Û
Do Si Do for 6 Beats
Û
Û Û
∑
Û Œ ..
Side Step R
Aim - Introduce pulse and say hello!
✓✓
✓✓
✓✓
✓✓
Use a visual to identify the key and find do. Find all the syllables, then review hand signs.
Sing the syllables in slow motion adding hand signs if possible. (Mistakes allowed! :)
Replace the syllables with the text. (Whew!) Step the pulse while you sing.
Find a partner and learn the clapping game from the visual or by rote. Change partners at
the end. (Concentric circles works too!)
Day1:8
..
Orff Basic Level 1
Mixer - Howdy Do! (Brent M. Holl) with an assist from Gilbert and Sullivan.
j
.
÷C œ œ œ œ
Here's
a how - dy
÷ œœ œ œ
5
All I
÷ œ.
9
Here's
real - ly
j
œ œ
Howdy Do!
j
.
œ œ œ œ
w
do!
Here's
a how - dy
œ œ œ œ œ œ œ œ
want to do is
œ
a how - dy
w
do!
Here's
j
œ œ
do!
œ œ œ Œ
sing and dance and
œ.
w
BMH
play with you!
œ
a how - dy
w
do!
..
Aim - Pulse; gain a concept of phrase length; getting to know each other.
✓✓
✓✓
✓✓
✓✓
All walk starting at any tempo and in any beat, come to unison.
Teacher picks up rhythm of the footsteps to determine quarter note pulse.
On signal, freeze/stop/halt.
Teacher calls out a beat or combination of beats in a measure (1&3, 2&4, 1&4, etc.)
xx Students only step on those beats.
✓✓ While stepping quarter notes use imitation to learn speech. Repeat until learned.
✓✓ Stop and say the text, walk the length of the text.
✓✓ Say and walk, stop and “chat” to someone once through while teacher keeps pulse.
From Konnie Saliba: Level 2 notes, University of Memphis, 1978, p. 4.
“A sensitivity to the pulse underlying speech and music activities with
children is essential to intelligent musical performance. The recurring beat
lends stability and vitality to the music and provides the focus around which
other rhythms may revolve. A responsiveness to this pulse must be developed,
as ensemble activities depend upon it, and the important benefits from the
social aspects of music experiences with children are well-known.
True rhythmic sensitivity demands a physical response, whether it be
patting the foot, snapping the fingers, or swaying the entire body. Understanding the mathematical aspects of rhythm is not the same thing. Children are compelled by their instinctive love for all things rhythmic to move as
they sing or chant or play. This urge is to be encouraged and refined through
Day1:9
Basic Orff Level 1
rhythmic play and movement activities designed to express the character of
the poem or music.”
Imitation: The Way We Learn First.
Process (Standard Process for beginning Imitation)
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Standing in a circle find the basic body instruments, clap, patch, snap, stomp.
Set a duple meter and try “echo” game.
Note the level of concentration needed, the level of involvement, the ear and eye training.
Let some students try it.
Recommendations:
Keep it simple and convergent at first.
Discipline yourself to keep it simple!
Use only quarter notes and eighth notes and corresponding rests.
Only use 4 beat patterns at first, varying them as much as you can.
Remember rests are important too!
Treat your body instruments as fine quality instruments deserving the same respect you give any high
quality musical instrument. Find the “song” in each sound!
About Rhythmic Imitation:
“As music is also a language, it is normal, to go through the process of imitation in order to express
oneself musically. Thus, all creativity is preceded by imitation. It is impossible for people to freely
express themselves in a language if they do not have the vocabulary. Hence, it is of great importance
to make contact with rhythmic structures that the child can use to form words, motives, phrases
and periods.” (Jos Wuytack, Musica Activa P. 16)
A Name Game - Our First Word Chain
Aim
✓✓ Reinforcing Pulse using a familiar text
✓✓ Introduce convergent rhythms in duple meter (2/4, 6/8)
✓✓ Literal speech rhythms first transfer to body instruments and later to percussion instruments.
Convergent Rhythm: All the notes, sounds, words are ON the beat. There are no
syncopations, dotted rhythms, or divisions smaller that an eighth note. Literally,
one sound per syllable. Anacrusis may be used to preserve the natural flow of the
speech. More on Day 3! (P. vii, Musica Activa)
Process
✓✓ Make a circle and sit down, find the rhythm of your first name, then your last name; put
them together.
✓✓ Discussion: one sound per syllable, no melismas, anacrusis or not?
✓✓ Stand up; patch the pulse; walk the pulse carrying the bean bag to another person while the
Day1:10
Orff Basic Level 1
class chants your name and trade places.
✓✓ Continue till everyone has a turn.
Homework Assignment for Day 1:
1.Read through the Murray edition. Speech exercises on page 50 and 51. Try them out loud!
Note the progression of pure convergent rhythms into the anacrusis and use of rests.
2.Notate a poem or proverb in strict, metered rhythmic notation emphasizing the natural
flow of the text. Use 2/4 or 6/8 convergent rhythms as much as possible. To preserve the
natural flow of the text, you may use anacrusis!
3.Make a word chain of 8 or more words related to a topic of your choice. Notate them exactly
in phrases. Be prepared to share them with the class.
Homework Helper Activities
Forbidden/Famine (speech)
42 ‰ .. œ
Voice 1
42 Jœ
Voice 2
For
More
œ œ œ
die
food
.. œ œ œ œ œ .
bid - den fruit is
42 ‰ .. œ .
Voice 3
by
‰ œ œ œ œ
J
than
fam - ine
œ œ œ œ œ œ.
J
sweet!
For - bid - den fruit is
œ œ œ œ œ œ.
J
sweet!
For - bid - den fruit
is
sweet!
sweet!
œ ..
J
for
œ œ œ œ œ ..
J
for
bid - den fruit is
Expressive Variables:
* Timbre
* Tempo
* Dynamics
Aim
✓✓ Notate a saying in 2/4.
Process
✓✓
✓✓
✓✓
✓✓
✓✓
..
∑
Learn the sayings by rote.
Note use of convergent rhythms and anacrusis (dotted rhythms and rests!)
Combine them.
Learn forbidden in canon as accompaniment to famine.
Add some expressive variables.
Pick a topic and make a word chain.
✓✓ Make a topical list: Fruit, Sports Teams, Cities, Countries, Vegetables, Math Terms, Science Terms, etc.
Day1:11
œ. œ.
.
Œ
[Title]
[Title]
[Title]
œ
.
œ. œ œ œ œ œ œ œ.
Score
Basic Orff Level 1
œ[Title]
œ œ œœ œŒ œ œ œ
Score
✓✓ Write them on the
board with rhythmic notation.
✓✓ Arrange them in phrases.
✓✓ Use the Keetman Rhythm Bricks for reference:
5
[Compos
[Composer]
[Composer]
[Compose
œœœœ
œ˙œ.œ œ œ œœ œœ œœ œ œ
œœ œœœ œœ œ œœœœ .œœœœŒœ.[Composer]
œ
œ œ œ œ.
The GunildœKeetman
œ œ. œ.
. œ œ “Rhythmic
Score
Building Bricks”
œ œ5 œ œ Œ œ œ œ ˙œ œ œ œ œ œ
œ œœ Œ Œ Œ
˙ ˙
œœœ œœœ
œ . œ . œ œ œ œ5 . œ . œ œ œ œ . Œ . ˙ .
6
Œ
œ
˙
This as a way of reinforcing memory, a topic, vocabulary words, integrating with other subjects.
6
5
55
6
˙
Œ. œ œ œ œ ˙
.
œ
.
œ. œ œ œ
✓✓ Find a satisfying musical phrase from your word chain, memorize it and take it the Orff
instruments.
✓✓ Play the word phrase with sticks, then on instruments in a pentatonic scale of choice. Say/
click/play.
✓✓ Add an ostinato of another word in the chain.
✓✓ Make a form: Say with ostinato/click with ostinato on HD/play with tonic drone on BX.
Œ.
˙.
œ œ œœ œ œ
Class Work - Arrange a Rhyme (Simply Speaking by Sue Mueller)
œ.
✓✓ Work out the following rhymes using convergent rhythm only. Use anacrusis only if necessary. Agree on the Rhythm and write them out on the board:
can walk, you can dance and
œ œ œ œ . ˙IfIf. you
you can talk, you can sing!
œ.
˙.
Œ.
œ œ œœ œ œ
See the funny bunny, he goes hop, hop, hop.
Under trees and bushes, ears go flop, flop, flop.
In the farmer’s garden, teeth go chop, chop, chop.
When the day is over, he goes hop, stop, flop!
˙.
œSpider,
œ œœspider,
œ œ on the wall.
Sometimes you look ten feet tall!
But I know you’re very small,
just a spider on the wall.
œ œ œœ œ œ
✓✓ Make a dramatic presentation as a class of one of the above.
✓✓ Use expressive variables and movement.
Day1:12
Orff Basic Level 1
Day 2 - Instruments, Imitation, & Ontogenesis of Rhythm and Meter
The Irish ne’er walk
But what they dance an Irish fling,
And Irish ne’er talk
But with lilting voices sing.
- Irish Wisdom
Opening Canon – We Love Singing (Canons Too - BMH, page 6)
Concerto for Piano and Orff Instruments
Aim
✓✓ Learn the names of the instruments and get acquainted with the sounds.
✓✓ Transfer imitation to Pitched Percussion.
✓✓ Continue working with pulse.
Process
✓✓
✓✓
✓✓
✓✓
Move to the instruments by birthdays.
Introduce the instruments by name.
Show basic mallet technique, how to hold them, where to hit, etc.
Explore the sounds of the instruments with imitation: (“Keetman Conducting”)
xx Snaps: glockenspiels
xx Claps: xylophones
xx Patch: metallophones
xx Stomp: unpitched
Build on Day 1 imitation by:
✓✓ Several students get to “conduct”
✓✓ Teacher accompanies at the piano 1st time, then members of the class.
✓✓ Clues: simple 4 beat patterns (duple first, 8th and 4th notes and rests), then add complexity.
Rondo with Improvisations (Canon Exercises # 1, from Music for Children, Murray
edition. Volume 1, P. 91)
Aim
✓✓ Learn a melody by imitation (Listen/Sing/Play), Mallet technique.
Process
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Show correct mallet technique, use alternation (when possible)
L - Listen (teacher sings letter names of notes)
S - Sing (students sing back to the teacher in imitation)
P - Play (students play what they sang)
Learn each motif and put them together
Play rotation - Add the repeat
Add improvisations over a simple bordun for final performance.
xx The improvisations can be melodic or free based on our improvising in the previous
activity.
Day2:13
Basic Orff Level 1
Ontogenesis
Ontogenesis is a derived word, from the prefix, onto, meaning “having to do with the essence of a
thing” and genesis, meaning “the beginning”. Ontogenesis refers to the beginning of the essence of
a melody or rhythm (JW).
The common usage of Ontogenesis refers to the sequencing of lessons. In what order do we present
rhythmic concepts? Which ones are developmentally appropriate? At what grade or maturity level
are students able to internalize rhythm? Ontogenesis as used by Jos Wuytack gives a specific order
of presentation for rhythmic and melodic concepts! As always it’s only a suggested order and there
is much debate in education on this very topic. Jos has based his studies on the work of Carl Orff
and his own detailed and well documented research. His teaching since 1969 has been dedicated
to sharing his ideas including the original idea, Ontogenesis. The class today is based on the work
of Professor Wuytack.
Ontogenesis of Rhythm
✓✓ There are two meters: Binary and ternary. Binary or Duple meters include 2/4, 2/8, 4/4.
Duple meter = activity.
✓✓ Discussion: What to do with 6/8? Restful Activity? :) Or active? Duple or Triple?
✓✓ Ternary or Triple meters include 3/4, 3/2, 3/8. Triple meter = rest.
✓✓ Our discussion will not include Combined or Mixed meters. (Come back for Level 2!)
✓✓ Generally the note values are introduced in this order.
✓✓ You won’t find many examples of whole notes in children’s music.
✓✓ The equivalent note value rests are introduced along with the note values listed, in the
same order.
Day2:14
Orff Basic Level 1
Expanding the Rhythm “Bricks” into a sequence:
1.
2.
3.
4.
5.
6.
7.
8.
œ
˙
œ œ
œ.
˙.
œ œ œ œ
œ
œ œ
œ.
œ
œ œ œ œ œ œ
œ
œ œ œ
œ œ
w
œ œ œ
œ
œ œ œ
œ œ œ œ
œ œ œ œ œ
œ
✓✓ Remember that meter comes after many PULSE games and experiences. Please don’t
think that activities are exclusive. This is only a general guide indicating what children are
developmentally ready to understand, NOT what they are able to experience.
Day2:15
Basic Orff Level 1
Ees Para Dees - Jos Wuytack
Ees Para Dees
÷ 24 œ œ œ œ œ œ œ œ œ
1
Ees pa-ra dees pa-ra de-sto-gram,
÷œ œ œ œ œ œ œ œ œ
5
Ees
para dees
pa-ra des - to-gram,
Jos Wuytack
œ œœ œ œ œ œ œ œ œ œ
Sob-ba dob-ba dee-ra,
sob-ba dob-ba
œ œ œ œ œ œ œ
Sob-ba dob-ba dee - ra
Œ
da
da.
Aim
✓✓ Introducing the ostinato with speech and body percussion.
✓✓ Combining pulse and metered speech with imitation, movement, and creativity.
✓✓ Use speech ostinatos as accompaniment for movement, speech and recorder.
Process
✓✓
✓✓
✓✓
✓✓
Walk the beats, use drum sounds to dictate movement, out and back; high and low.
Using imitation, learn to say while walking: (drum plays pulse).
Change directions, levels, finding a routine for the whole thing.
Find two complementary speech ostinatos; discuss related and derived, diminution and
augmentation.
j
.. œ ‰
speech ostinatos:
dees,
.. œ
œ
sob - ba
.. œ
des
.. œ
ees
-
‰ œ œ
œ
pa - ra
œ
dob - ba
œ
to
Œ
œ
œ ‰ œ œ ..
œ
œ
des - to,
dee
œ
gram
ra
Œ
pa - ra
Œ
‰ œ œ œ
pa - ra dees
*
Day2:16
..
..
..
Orff Basic Level 1
Homework Helper Activities – Group Work
✓✓ Experiment with a meter for the text. Try it in 2/4 and 6/8, make your choice, move on.
✓✓ Notate the rhythm of the text. Use the Rhythm Bricks as a basis. Adapt when necessary
to fit the natural flow of the text.
✓✓ Create two body instrument ostinatos using complementary rhythms, diminution or augmentation.
Complementary Rhythms - Sound well in ensemble and don’t come to-
gether in unison to much. They preserve the feeling of the several parts.
Diminution - Halve the note values
Augmentation - Double the note values
✓✓ Notate them exactly on the score under the text.
✓✓ Transfer your ostinatos to unpitched instruments of choice.
✓✓ Make a simple form and perform for the class.
Suggestions
✓✓ An ostinato should be repeated at least 2 times, (or it isn’t an ostinato)
✓✓ An ostinato should be horizontal, should have good structure, should be of more than one
measure (sometimes shorter ones are OK and even desirable, but not generally.), and there
should be a sense of tension and relaxation in the phrasing.
✓✓ Always try for complementary rhythms when creating ostinatos. (The ostinato and the
words should not have unison rhythms). It won’t be perfect but their can’t be too many
unisons.
✓✓ Ostinatos may be derived from the source directly or may be related. (McRae ‘80)
Group 1:
Moses supposes his toeses are roses,
But Moses supposes erroneously
For nobody’s toeses we knowses are roses,
As Moses supposes his toeses to be.
Group 2:
Mary had a little lamb.
It was a greedy glutton.
She fed it ice cream all day long
And now it’s frozen mutton.
Group 3:
Barber, barber, shave a pig!
How many hairs to make a wig?
Four and twenty, that’s enough!
Give the barber a pinch of snuff.
Homework Day 2
✓✓ Notate a poem or proverb in strict metered
rhythmic notation emphasizing the natural flow
of the text. Use 2/4 or 6/8 with convergent
rhythms only. (Anacrusis allowed.)
xx Using a writing assignment generated on
day one, add two speech ostinatos using
complementary rhythms notated exactly.
Suggest a possible transfer to an unpitched instrument of your choice.
Day2:17
Basic Orff Level 1
The Slaves of Jobe - Trad.
The Slaves of Jobe
j œ
2
&4 œ
Voice
The
&œ
6
Leave
& œ.
12
zah,
œ
it,
slaves
œ œ
J
Take it
œ œ œ.
of
œ
J œ.
Jobe
a - gain,
Unknown
j
œ œ œ œ œ ˙
are
œ
play - ing Kash - in - ga
Take
it
j
œ œ œ œ œ œ œ œ œ œ œ œ œ
while
play-ing they go zig- ga zag-ga
j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
while play - ing they go
œ
zig - ga zag - ga
zig - ga zag - ga
zig- ga za - ga
sah!
Œ
Aim
✓✓ Reinforcement of pulse and beat competency
✓✓ Review diminution/augmentation
✓✓ Reinforcement of note values.
Process
✓✓ Students seated in a circle facing in; clap, patch for 8 measures using half note pulse, on
the final point hold hands together in front.
✓✓ Wave hands from side to side in the air for 7 counts. Patch on 8.
✓✓ Do the whole routine.
✓✓ Learn the song by rote.
✓✓ Substitute a soda can or bean bag for the clap and play Kashinga.
✓✓ Clap = hold soda can in front of you with both hands
✓✓ Patch = place the can in your right hand and set it down in front of the person on your right.
Left hand picks up the can left there for you by the person on your left. In the second phrase
hold the can in your right hand as you wave it side to side for seven beats. Place it in front
of the person on your right on “8.”
Extension
✓✓ Try it going the opposite direction.
✓✓ Try diminution (quarter note pulse)
Day2:18
Orff Basic Level 1
Day 3 Leading Imitation and the Ontogenesis of Melody
The older the fiddle,
The sweeter the tune.
- Irish Saying
Oh How Lovely is the Evening. Trad. Rounds Galore collected by Sol Weber, p. 10.
Oh How Lovely is the Evening
3
&4
Voice
2.
&˙
7
When
mi 3.
& ˙.
13
ding
do
1.
œ ˙
˙
Oh
do
œ ˙
œ ˙
how love - ly
re mi
do
the bells
fa
so
˙.
dong
do
œ ˙
is
fa
œ œ œ œ ˙
ding
do
ev - ning is
mi re do fa
œ œ œ œ ˙
are sweet - ly
mi
la
so
˙.
the
mi
Traditional
œ œ œ œ
the
mi
œ œ œ œ
ring - ing sweet - ly
so fa mi
la
so
˙.
dong
do
˙.
ding
do
ev - ning,
mi re do
ring
ing,
so fa mi
˙.
dong
do
Aim:
✓✓ Introduce Curwin hand signs for do, re, mi, fa, so and la.
✓✓ Sing in three-part canon
✓✓ Develop movement patterns that show the canon in movement.
Process:
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Introduce Curwin hand signs for do - la.
Simultaneous imitation unison: then two-part.
Identify the syllables in the song.
Sing it with syllables using two hands.
Sing in canon.
Change syllables to words.
Develop three movement pattens that reflect the canon; circle formation to start (because
it’s a round!)
✓✓ Perform the whole piece in 3 part canon with movement.
Day3:19
Basic Orff Level 1
The Curwin Hand Signs
Fa
Mi
Re
Do
Ti
La
Do
Aim:
✓✓
✓✓
✓✓
✓✓
So
The Grand old Duke of York. (MFC Vol. 1, Murray Ed. p. 26)
Reinforcement of pulse and convergent rhythms.
Introduce the anacrusis as introduction to dotted rhythms.
Introduce beginning hand drum technique.
Play hand drums and move in 2- and 4-part canon.
Process:
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Establish a pulse and learn by imitation.
Rehearse rhyme and travel with the pulse.
Transfer the rhythm of the words to the hand drum.
Introduce technique; try different ways of play the 16th notes.
Play and say until learned.
Play and say in 2-part canon.
Play in canon.
Say in canon.
Add the snare drum accompaniment.
Develop movement that reflects the expressive quality of the text.
Try in 4-part canon.
Create a routine and perform the whole thing.
Day3:20
Orff Basic Level 1
More Imitation - Concerto for Body Percussion. (BMH)
Aim:
✓✓ Learning how to successfully lead a class in ECHO imitation using body percussion in duple
and triple meter.
Recommendations: (review from day 1).
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Keep it simple and convergent at first.
Discipline yourself to keep it simple!
Use only quarter notes and eighth notes and corresponding rests.
Only use 4-beat patterns at first, varying them as much as you can.
Remember rests are important too!
Treat you body instruments as fine quality instruments deserving the same respect you
give any high quality musical instrument. Find the “song” in each sound!
More Recommendations:
✓✓ Work in phrases (antecedent, consequent) using only convergent rhythms. See Chart:
(p. 152 MC ’91).
✓✓ Keep it simple 1st on one level, then two or more depending on the level of the class.
✓✓ Build the phrase with tension in the 3d measure.
✓✓ Make a good, solid cadence after consequent phrase.
✓✓ When everyone is secure and everyone has had a turn, try divergent rhythms!
Extensions:
✓✓ Everyone gets a turn, as teacher accompanies on an instrument of choice.
✓✓ Add a pulse ostinato, or layer some funky percussion ostinatos while students do the echo
game.
✓✓ Add a movement element. Instead of a body percussion rhythm, do a “motion” for 4 or 8
beats, which must be imitated by the class. Accompaniment required. Ostinatos or the
teacher can provide.
✓✓ Voila! A concerto for Body Percussion and Movement!
Day3:21
Basic Orff Level 1
Ontogenesis of Melody
&c ˙
Bitonic - so, mi
&œ
Tritonic - so, la, mi
3
˙
œ
œ
œ
Folkloric - mi, re, do.
&œ
Pentatonic - do, re, mi, so, la.
&œ œ œ œ œ œ œ œ w
Diatonic - do, re, mi, fa, so, la, ti.
œ
&œ œ œ œ
˙
œ œ œ œ
Introducing the Intervals
Aim
✓✓ Introduce the ontogenesis of melody using sight singing.
✓✓ Learn some reinforcement strategies for beginning sight singing.
Process
✓✓ High and Low - Students stand when teacher plays high on piano, sit when teacher plays
low. Gradually decrease the distance on the piano.
✓✓ Discuss other ways to show high and low (visuals, animals, hand signals, etc.).
Bell Tower (after age 7)
✓✓ Use a glockenspiel with the bars off except g and e.
✓✓ Hold it vertically to show relationship of the notes in pitch.
✓✓ Draw a staff on the board so that the lines are extensions of the g and e. Two lines first
then add lines.
Day3:22
Orff Basic Level 1
✓✓
✓✓
✓✓
✓✓
Create a melody by pointing to the lines with a mallet, add sol mi, letter names.
Trade mallet for chalk, draw notes on the staff then sing.
Draw a series of notes left to right and sing.
Add hand signs.
Step kids
✓✓ Ask on student to kneel and another to stand. Kneel is mi and stand is so. A student can
play the people by pointing over their heads.
Homework Assignment for Session 3:
1.Write out a BITONIC song using the text of a favorite rhyme or poem on staff paper in
full score.
xx Use only So and Mi.
xx Use only the keys of G, C, F, or D.
xx Pay careful attention to the notation of the rhythm.
xx Make the melody safe, simple, and singable! (no masterpieces please!).
2.Find two examples of BITONIC songs in any of your source books and analyze the accompaniments. Share your observations with the class.
Homework helper activities:
Let it Snow (Michael Nichols, Seasons and Holidays, p. 27)
Let It Snow
Michael R. Nichols
&c œ œ œ Œ Œ œ œ œ Œ Œ œ œ œ œ œ œ
1
Let it snow!
Let it snow!
&œ Œ Œ
sled.
.. œ
2
Let it snow,
Let it snow,
œ œ œ œ
so that
and I
I can ride my
œ œ Œ Œ
pro - mise not to bump my head!
Aim
✓✓ Reinforcement of hand signs for bitonic melody (so and mi)
Process
✓✓ Introduce/review the Curwin hand signs for so and mi. (See page 25)
✓✓ Learn the tune with solfege and hand signs. Note phrases, antecedent/consequent with
interesting rhythm and variety of melody using only 2 notes!
✓✓ Add Bass Bars/BM
✓✓ Add BX
✓✓ Add AX bordun
✓✓ Add Glockenspiels
Day3:23
Basic Orff Level 1
Bobby Shaftoe (Murray ed., Music for Children, Vol. 1, p. 5)
Aim
✓✓ Reinforcement of hand signs and introduction of a TRITONIC melody.
Process
✓✓ Learn the hand sign for la and try it out with some tritonic imitation.
xx Add a note to the “note reading” activities from Activity 3 earlier today.
xx Sing the first verse from the visual using hand signs and words.
xx Add Clapping and Stamping intro and AX accompaniment. (a)
xx Sing the second verse from the board.
xx Add woodblock interlude and sing 2nd verse with (b) accompaniment.
xx Add the AX interlude and let SX play the melody with (c) accompaniment.
✓✓ Try the whole thing!
Aim
Down in the Valley by Bessie Jones (Slice the Ice by Fulton and Smith, p. 40.)
✓✓ Reinforcement of FOLKLORIC melody through movement and singing.
Process:
✓✓ Learn the melody by rote with hand clapping accompaniment.
✓✓ When secure add the game:
xx Students stand in a circle, 2 or 4 students in the center are kneeling; on the word
“rise” they stand and “make a motion;” they can move individually or as partners; they
change their motion on the second verse; each dancer picks a new dancer from the
circle and the game continues.
Bend Down Low Lord by Michael R. Nichols (Children’s Orff Music for Church, Vol. 1, p.
22)
Aim
✓✓ reinforcement of hand signs for PENTATONIC melody. (so, la, mi, re, do)
Process
✓✓
✓✓
✓✓
✓✓
Sing from visuals with hand signs.
Add harmony ad lib.
Add bordun and accompaniment.
Add an interpretive dance.
Day3:24
Orff Basic Level 1
Bend Down Low, Lord
chorus:
#
& cœ
Voice
˙
œ
Bend down
#
& œ
Bend
œ
down
˙
low
Lord
and hear me
œ œ œ œ œ
low
Lord
# œ œ œ œ
&
verses:
œ œ
and
œ œ
œ
Keep me walk - ing
Give me cour - age,
œ œ
œ œ
an - swer
œ œ œ
Day3:25
pray.
w
Fine
me to - day.
œ
'til I see your
keep me in your
© 2001 Michael R. Nichols. Used by permission.
I
w
j
œ œ.
ask - ing for your
'til I see your
˙
in your love
be my guide,
as
œ œ œ œ
˙
1. Here I bow up - on my knees,
2. Help me walk the
nar - row way
# œ
&
jœ
.
œ
œ
œ
œ œ œœ œ
Michael R. Nichols
w
grace.
face.
w
face.
grace.
D.C. al Fine
Basic Orff Level 1
Group Work - Compose a two tone song
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Lay out a staff of 2-lines on the floor.
Divide the class into groups
Groups select a text or use a selected text.
Put the words to music using only so and mi.
Everyone sings everyone else’s song
Teacher adds a simple bordun accompaniment.
Texts:
Group 1:
Round and round the garden,
Like a teddy bear,
One step, two step,
Tickle you under there!
Group 2:
A little old man of Derby
How do you think he served me?
He took away my bread and cheese,
And that is how he served me.
Group 3: (Hard one!)
Blow, wind, blow! And go, mill go!
That the baker may take it,
And into bread make it,
And bring me a loaf in the morn.
Homework Day 3
✓✓ Write out a two - tone (bitonic) song using the text of a favorite rhyme or poem on staff
paper in full score.
xx Use only So and Mi
xx Use only the keys of G, C, F, or D.
xx Pay careful attention to the notation of the rhythm.
xx Make the melody safe, simple, and child-centered.
✓✓ Find two examples of bitonic songs in any of your source books and analyze the accompaniments. Be prepared to share your observations with the class.
Day3:26
Orff Basic Level 1
Day 4: The Ostinato
You must crack the nuts
Before you eat the kernal!
- Irish Saying
Here’s a Pretty Song by Brent M. Holl. (Canons Too!, p. 6)
Aim
✓✓ Sing as canon with pitched ostinato accompaniment.
✓✓ Review note values.
Process
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Sight read from the overhead.
Add pitched instrument ostinatos.
After it’s memorized, go and walk the pulse as you sing.
Change note values of foot steps on command.
Create a pattern of note value steps.
Add direction, level, arrive at a routine.
Sing and move.
xx Sing and move in 2- and 3-part canon.
The Ostinato
OSTINATO - A constantly repeated rhythmic, melodic, or harmonic pattern. From the Latin “obstinatus” meaning stubborn. (JW ‘83)
OSTINATO - A clearly defined phrase that is repeated persistently, usually in immediate succession, throughout a composition or a section. The ostinato differs from other devices of repetition,
such as imitation or sequence, in that it is reiterated in the same voice and usually at the same
pitch. It is this feature of “persistent” repeat that accounts for the name. (It., Obstinate) (Appl,
The Harvard Dictionary of Music)
Seminar: Why use Ostinatos?
✓✓ They develop a feeling for phrase structure, form.
✓✓ They make it possible to perform music of reasonable complexity without an extensive
knowledge of theory. They give students and musicians immediate positive results.
✓✓ They help involve everyone in the learning process, helping with discipline and in overcoming
shyness.
✓✓ They help with physical coordination.
✓✓ They help to develop the memory.
✓✓ They help players learn to listen to the other parts of the ensemble while maintaining their
own part.
✓✓ They can provide beautiful backgrounds for improvisation.
Day4:27
Basic Orff Level 1
The Cock doth Crow (Music for Children, MM ed., Vol. 1, p. 52)
Aim
✓✓ Learning to use speech ostinatos as accompaniment for a text.
Process
✓✓
✓✓
✓✓
✓✓
Learn the saying by rote.
Add the ostinatos.
Add some appropriate movement.
Make a form and perform.
j
œ œ
÷ 42
÷ 42
∑
÷ 42
4
÷œ
j
÷œ
∑
œ
toc
Time
to
j
÷œ
4
œ
œ
time
to
÷ œ.
toc
7
÷œ
toc
÷‰
7
œ
œ
doth
crow
œ œ œ œ
j toc
œ œ.
rise!
toc
÷
œ
The cock
÷ 42
÷œ
The Cock doth Crow
toc-ak
toc
œ œ œ
ur - ur-urrr
toc
‰
j
œ
and
j
œ
rise!
j
œ
œ
thou
œ
œ.
toc
‰
rise
œ.
toc
toc
œ
‰
œ
œ
toc
j toc
œ œ
toc
œ
be
œ
toc
œ œ œ
ur - ur-urrr
œ
toc
to
œ œ œ œ.
Time to
ur-ururrr
œ œ.
œ
toc
‰ œœœ
‰
∑
toc
œ œ.
j
œ œ
œ
tocak
∑
œ
toc
‰
let
∑
Day4:28
œ
j toc
œ œ.
Rise!
œ
wise,
toc
Time
to
‰
œ
œ
œ
tis
œ œ.
toc-ak
∑
∑
∑
‰
toc
ur-ur-urrr
toc
‰
œ
œ œ œ
‰
cok
j
œ
know
œ
toc
œ
toc-ak
∑
you
œ
j
œ
arr. BMH
∑
œ œ œ
ur - ur-urrr
j
œ
rise!
Orff Basic Level 1
Who Built the Ark? (African-American Spiritual, arr. BMH)
Who Built the Ark?
# cœ
œ
&
Alto
Xylophone
c œœ œœ Ó
#
œ œ œ
& cœ
÷
Temple
Blocks
Bass
Xylophone
#
& Ó
4
AG
&
#
T.Blks.
BX
∑
÷
#
& œ
∑
œ
œ
Tell me
œ œœ
..
œœ œœ Ó
œ œ œ
œ
who built the ark?
.. Ó
..
.. Œ
œ
œ
œœ œœ œœ
.. œj œ œj ˙
œ œ
œ œœ œ œ œ Œ
÷
4
Guiro
Œ
# œœ œ œ œ
œ œœ
&
4
AX
œœ œœ œœ
∑
œœ
African American Spiritual
arr. BMH
œœ œœ
œ
œ
œ œ œ œ
œœ
œœ
Ó
œ
œ
j
j˙
œ
œ
œ
œ œ
œ
œ
No - ah, No-ah. Tell me who built the ark?
Ó
Œ
œ œ Œ Ó
œ œ œ
∑
∑
œ œ Œ œ œ ‰œ œ œ œ œ Œ
œ
œ
.. œ œ œ œ Œ œ œ œ œ Œ
© 2001 BMH. All rights reserved.
Day4:29
Ó
∑
œ œ
œ œ
∑
Œ œ œ Œ œœ
œœ
œ
œ
œ Œ
Basic Orff Level 1
¶Fine®
2.
# 1.œ œ
.
œ œ œ œ œ . œ œ œ œ œ œ .. œ .
&
8
No - ah built the ark. Tell me
No - ah built the ark.
the
The
AG
#
& Ó
8
AX
T.Blks.
Guiro
BX
&
÷
#
Œ
œ
12
&
#
viewed
chose
hewed
praised
# œœ
&
12
AX
T.Blks.
BX
..
œ
..
Ó
÷
&
the
his
his
the
coun - try
spot of
tim - ber
Lord out
∑
œœ œœ
#
œ
∑
œ œ
œ
Œ œ ..
Œ
Ó
∑
.. ‰ œ œ œ œ œ Œ
œ œ
.. œ œ
œ Œ
œ œj œ œj
œœ œœ Ó
÷
12
Guiro
.. Ó
∑
8
÷ ‰ œ œ œ œœŒ
# œ œ œ
œ Œ
& œ
#
& œ
AG
œ
Œ œ
'round.
˙.
1.
œœ
œ
œ
œ
œœ
∑
œœ
œœ œœ œ œ
œ
first
second
third
fourth
œ
∑
Day4:30
œ
thing
thing
thing
thing
that
that
that
that
œœ œœ œœ œœ
.. œ œ œ œ Ó
..
∑
..
2.
ground.
the
loud!
Œ
œ
œœ œœ
..
..
..
..
..
œ
œ
œ
∑
∑
He
He
He
He
œœ œœ
Ó
œ œ
†D.õC. al Fine
˙.
The
did,
did,
did,
did,
œœ
œ œ œ
œ
.. œ
œœ
No - ah
No - ah
No - ah
No - ah
∑
œ
.. œ
œ
down.
j
œ . œ œ œ Jœ œ œ
œ œ
Tell me
œœ
∑
œœ Œ
œœ œœ œ œ Œ
œ
œ
∑
œ Œ
Orff Basic Level 1
Aim
✓✓ Use melodic ostinatos to accompany a song.
✓✓ Use layered unpitched ostinatos as a background for creative drama.
✓✓ Combine movement and drama with a song.
Process
✓✓
✓✓
✓✓
✓✓
✓✓
Learn the song from the hand out.
Work on refrain orchestration first starting with the BX.
Add AX, then Glocks.
Add Guiro. Perform the refrain.
Work out the verse. Again BX first. Notice that this ostinato is a Bordun. It is also a melodic ostinato.
✓✓ Layer in the two AX melodic ostinatos, then add the Temple Blocks.
✓✓ Put both sections together. Then add the introduction.
Extension
✓✓ Add a B section:
✓✓ Read the B section rhythms from the board from the top down.
✓✓ Work out a movement piece building and sailing the ark, with the song and B section as accompaniment.
Who Built the Ark (b section)
Bass
Drum
Guiro
Temple
Blocks
Hanging
Cymbal
Agogo
Bells
Bongo
Drums
Log
Drum
÷ 42 œ Œ
œ Œ œ œ
÷ 42 Œ œ œ Œ œœ
÷ 42 œœ œœ
÷ 42 ˙
÷ 42 œ œ Œ
œ œ Œ ‰ œ œ œ œœŒ
J
œœŒ
œ˙
J
∑
∑
∑
œ Œ œ œ
‰ œœ œ Œ œ œ Œ œœ
J
œœ œœ
œ.
œœœœ
œ Œ
∑
∑
÷ 42 œœœœœœœœ œœœœ
÷ 42
∑
œŒ
œ. œ ˙
J
∑
œ œ œœœœ œœœœœœ
œœœœœœ
œŒ
..
‰ œœ œ ..
J
∑ ..
œ . œ ..
J
œ œ Œ ‰ œ œ œ œœŒ ..
J
œ.
œœœœœœœœ œœœœ
∑
© 2000 Brent M. Holl. All rights reserved.
Day4:31
∑
∑
Beanie
∑
œ˙
J
∑
∑ ..
œ œ œœœœ œœœœœœ..
Basic Orff Level 1
Homework Review
Aim
✓✓ Reinforcement of metered text, ostinato writing, and bitonic melodies.
Process
✓✓ Make 3 or 4 groups.
✓✓ Select one of the homework assignments from the members of your group from day 2 to
share with the class.
✓✓ Learn the assignment together and prepare a simple performance.
✓✓ Share with the class.
Homework Day 4
✓✓ Choose a text or rhyme from your favorite book, find the easiest, most natural flowing,
child-centered meter and notate exactly.
✓✓ Add two complementary speech ostinatos either related or derived.
✓✓ Transfer the speech ostinatos to unpitched instruments of your choice.
✓✓ Write out your piece on staff paper, neatly and correctly, in full score.
Homework Helper
Don't Worry!
38 ‰ œj œj
u
Let the
Ostinatos
œ
pi
-
j
œ
per
j j
‰ œ œ
.. œ . œ .
Keep calm.
.. ∑ œ œ œ œ .
call the
∑
Let well a - lone.
jMM ed. P. 51-52
œ ‰ ‰
tune.
∑ ..
∑ ..
Aim
✓✓ Preparation for Day 4 homework assignment.
Suggestions
✓✓ An ostinato should be repeated at least 2 times, (or it isn’t an ostinato)
✓✓ An ostinato should be horizontal, should have good structure, should be of more than one
measure (sometimes shorter ones are OK and even desirable, but not generally.), and there
should be a sense of tension and relaxation in the phrasing.
Day4:32
Orff Basic Level 1
✓✓ Always try for complementary rhythms when creating ostinatos. (The ostinato and the
words should not have unison rhythms). It won’t be perfect but their can’t be too many
unisons.
✓✓ Ostinatos may be derived from the source directly or may be related. (McRae ‘80)
Bamboula by Steven Kennedy (Crescent City Collection, p. 6)
Aim - Use melodic ostinatos to accompany a song
Marimba 1
Marimba 2
r
2 s. j p m g.
&4
ss s ‰ . s s s
s. j p m
g . s s s ‰ . sr s s g ‰ Œ
&
g
& 42 s s s j
&m m m
Bass
sss j
g
mmm
s s s
d s Œ
VŒ
d s
? 42
s g Œ
5
?
5
s g Œ
Œ
g
m
g
g
g Œ
g Œ
s
m Œ
g
Œ
d s Œ
d s
Day4:33
g
m
..
m
s g Œ
s g Œ
..
Œ
j
g
g
‰
..
sss j
g
mmm
6
V 42 Œ
Marimba 3
a. s s s
g Œ
j Œ
g
..
Basic Orff Level 1
Day 5: The Bordun
If the knitter is weary,
The baby will have no new bonnet.
- Irish Saying
Aim
✓✓
✓✓
✓✓
✓✓
✓✓
Experiment with and discover the Bordun.
Find the types and possibilities.
Find some melodic ostinatos to combine with Borduns.
Use as a sound carpet to improvise in pentatonic.
Learn the four basic types of Bordun.
xx The Level Bordun
xx The Broken Chord Bordun
xx The Crossover Bordun
xx The Chord Bordun
Gentle Breezes (from Canons Too! by BMH, p. 22)
Aim
✓✓ Play and sing in canon with a Bordun accompaniment.
✓✓ Introduce the elements of a Bordun orchestration.
Process
✓✓
✓✓
✓✓
✓✓
Add orchestration.
Modified Crossover Bordun.
Tone color in the Glockenspiels.
Drone bass note on C.
“Improvisation is the starting point for elemental music making” (Orff, Carl. The
Schulwerk, p. 22).
“A particular kind of improvisation resulted from the use of the pentatonic scale. Over
an ostinato bass several melodies could be improvised simultaneously or in question
and answer phrases... Since there were no semi tones in this exercise, and therefore
no dissonance tensions, the different voices came together in a kind of oscillation.
Once the structure of the pentatonic scale had been grasped, the improvisations arose
of their own accord, with question and answer phrasing and imitation emphasizing
formal relationships. (Orff, p. 29)
The Bordun
Simple Bordun - “A harmony of the fifth interval based upon the first and fifth degree, so that there
is only one harmony, the harmony of the first degree chord” (Wuytack ‘79).
“The drone is the most important and most widely found form of part singing and
playing. While one voice provides the melody the other sustains one note, the key
note or fundamental note, either above or below the melody. This is the prototype
of our pedal note. This drone develops itself in two directions: firstly by sustaining
a chord consisting of fundamental, fifth and octave, like bagpipes or hurdy-gurdy:
Day5:34
Orff Basic Level 1
secondly in that the drone moves between a limited number of notes like an ostinato,
the so-called ‘wandering drone’ (after Curt Sachs)” (Orff, p. 28).
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Experimenting with the drone.
Set up in C pentatonic.
Find the fundamental tone, set a rhythm or sustain.
Find a pattern that can be repeated and take turns improvising melodies over the drone.
Add the fifth degree to the fundamental.
Set a rhythm and experiment with different ways the drone can be performed.
Discover chords, crossovers, and broken chords.
Discover melodic ostinatos to be used as accompaniment for improvising melodies over
each one using the C pentatonic scale.
Day5:35
Basic Orff Level 1
“Jingle at the Window” (American Play Party by Mrs. Leslie Beall, arr. Brent M. Holl)
Aim
✓✓ Learn and play an example of the Broken Chord Bordun.
Process
✓✓ Learn the song by rote from a handout.
✓✓ Add the orchestration one instrument at a time.
✓✓ Note the complementary melodic and rhythmic ostinato accompaniment.
xx Viewed as a whole, it’s a 4-measure pattern.
xx The Alto Xylophone is a 4-measure melodic ostinato.
xx The Glockenspiels only play in the 4th measure, but it’s still a 4-measure pattern that
includes rests.
xx The Bass Xylophone is a perfect broken chord bordun.
✓✓ Play the game: Collected from Maria Alley (http://www.doremiandmaria.com/CD/Lessons_web-preview.pdf)
xx First clap on each “ti-de-o”
xx Hand an instrument (something jingly) to the first one in line. He/She gets to play the
first ti-de-o and passes the instrument to the next person, etc.
Wind in the Barren Trees by Michael R. Nichols, Seasons and Holidays, p. 18.
Aim
✓✓ Learn and play an example of the Chord Bordun.
✓✓ Introduce La-based pentatonic on E (relative to G)
Process
✓✓
✓✓
✓✓
✓✓
Review hand signals and try it slowly from the overhead.
Add the words and the harmony. (Try adding thirds too!)
Add the chord bordun and special bordun effects (also known as a ‘Level’ bordun).
Play the song on Soprano Recorders with accompaniment and harmony.
Day5:36
Orff Basic Level 1
Day5:37
Basic Orff Level 1
Run Chillun, Run - Appalachian Folk Song , Arr. Brent M. Holl
Aim:
✓✓ Play an example of the Crossover Bordun.
Process:
✓✓ Learn the song by rote, patching the TB part as accompaniment.
✓✓ Transfer the patchen to Temple Blocks.
✓✓ Teach the BX (crossover bordun) also using patchen.
xx Play “in the mirror” so that your right hand patches your right knee indicating C and your
left hand patches your left knee indicating G. Your right hand crosses over and plays
the outside of your left knee. This can also be done “in the window” using the opposite
patchen pattern. (There is some debate regarding the best approach.)
Day5:38
Orff Basic Level 1
✓✓ Add Roto Toms (Bass Bars optional).
✓✓ Use snaps to teach SX.
xx Teach “in the mirror.” Let low C be your right hand and high C be your left hand. Also try
it “in the window.”
✓✓ Create a B section.
xx TB represents the children and Roto Toms the patteroller.
xx Let the TB play the rhythm of the words to the verse.
xx Let the Roto Toms play the rhythm of the words to the refrain.
xx Create a dialogue between the patteroller and the children.
✓✓ Create a form and perform the whole thing.
Seminar: How can the Bordun be used?
✓✓ The bordun must include the tonic and the dominant at the interval of a fifth, with the tonic
on the bottom.
✓✓ The tonic must occur on the strong beats.
✓✓ The bordun must be below the melody.
✓✓ Do not combine borduns.
✓✓ The bordun must be confined to one instrument. The “level” bordun in the metallophone may
use more than one instrument, but is considered a special effect, in essence a sound color
more than a bass part.
From Shirley McCrae (a review):
“The bordun is a drone bass accompaniment, consisting of an open
fifth based upon the first and fifth tones of the key (tonic and dominant).
The characteristic bordun sound is one of stability and serenity. The bordun
may be used with any pentatonic song or a song based upon the tonic chord.
Every bordun is an ostinato, but not every ostinato is a bordun. Bear
in mind that the ostinato may utilize any note of the pentatonic scale as a
repeated melodic motive, whereas the bordun is by definition limited to the
first and fifth tones.
Repetitive patterns such as the bordun and ostinato are characteristic of elemental music and of the music of the folklore of children; thus, it
is likewise an essential component of Orff style orchestration. Furthermore
there is a pragmatic reason: its use facilitates early ensemble play and improvisation without harmonic considerations and know-how. Variety may be
achieved within what may at first appear to be rather stringent limitations
with imaginative use of rhythm and tone color.” (McRae, Level 1, 1977, p. 23)
Homework Day 5
✓✓ Create a simple bordun orchestration.
xx Select a Bitonic, Folkloric, or Pentatonic Song in 4/4. (We’ll save the other meters for
later.)
Day5:39
Basic Orff Level 1
xx
xx
xx
Write an appropriate Bordun. Please don’t use the “level” bordun for this assignment.
(Maybe next time!)
Add one complementary rhythmic ostinato.
Please write out this assignment on a full score.
✓✓ Script out a lesson plan that you have observed in basic Orff this week. Include a detailed
description of the process used as well as your observations and comments. Your choice
of lesson is very important. Try and use one that has a clear logical presentation and is
taught in class as a process example.
Some Typical Bordun Types
&c ˙
˙
Chord Bordun
˙
˙
˙˙
&˙
˙
&
œ
œœœ n
œ
˙˙
˙˙
˙˙
˙˙ ..
Chord Bordun
œ
Crossover Bordun
œ
Chord Bordun
œ
œ
œ
œ
Broken Chord
Broken Chord
œ œ
œ
œ
œ
n##
œ
œ
b 34 œ œ œ
Level Bordun
Crossover Bordun
& b ˙˙ ..
œ
Broken Chord
# 2 ˙
4 ˙
Level Bordun
#
œ
œ
œ œ œ
˙˙ ..
˙˙ ..
Level Bordun
Crossover Bordun
Homework Helper
Chatter
With
Chatter
with the
Angelsthe
- Trad.Angels
arr. BMH African American Spiritual
arr. Brent M. Holl
& b Cœ œ œ œ œ œ œ œ œ
Moderately
Chat-ter with the an - gels soonin the
& b .. ˙
œ.
I
hope
5
Œ .
œ œ œ œ œ œ œœ œ œ œ .
morn-ing, chat - ter with the
j
œ œ œ œ œ œ œ œ œ œ œ
© copyright Brent M. Holl, 1997, all rights reserved
to
join
that band
and
chat - ter
Day5:40
with the
an - gels
an-gels in that land.
œ œ œ Œ ..
all
day long.
Orff Basic Level 1
Chatter With the Angels
& b Cœ œ œ œ œ
Moderately
Vocals
œ
Chatterwiththe an - gels
Soprano
Xylophone
Alto
Xylophone
Temple Blocks
(spoons)
Bass
Xylophone
Bass Bars
Voc.
5
AG
5
AX
Tamborine
BX
CBX
&b C Ó
œ
œ
œ
&b C œ œ œ
C œ œœ œ
÷
&b C œ
Œ
&b C œ
Œ
& b .. ˙
œ.
I
hope
& b .. ˙
˙
œ
œ
Ó
œ
œ œœ œ œ œ œ œ œ œ œ
.. Œ œ Œ œ
œ œ
& b .. œ œ
& b .. œ Œ œ Œ
œ œ œ Œ ..
arr. Brent M. Holl
soon in the morning, chat-ter with the an - gels
œ Œ Ó
œ
Ó
œ œ
œ œ œ œ
œ œ
œ
œ
œ
Œ
in that land.
œ
œ Œ Ó
..
œ ..
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
Œ
œ Œ œ Œ
œ Œ Ó
j
œ œ œ œ œ
to join
˙
that band
˙
and
œ
œ
Œ
Œ
œ
Œ
œ
œ
œ œ œ œ œ œ
chat-ter with the an - gels
Ó
SX
Œ
œ
œ
œ
& b ..œœ œœœœœœ Œ œœ œœœœœœ Œ œœ œœ œœ œœ œœ
÷
African American Spiritual
Œ œ Œ œ
œ œ
œ
œ
œ Œ Ó
œ
œ
œ
Œ
œ
œ
Œ
œ
Œ
© 2001 BMH, all rights reserved.
Day5:41
œ
.
œ Œ œ Œ .
œ Œ Ó
..
œ œ œ Œ ..
all
day
long.
œ Œ Ó
..
œœ œœœœœœ œœ ..
Œ œ Œ œ ..
œ œ .
œ
.
œ
œ Œ Ó
..
Basic Orff Level 1
Day 6: More About the Bordun
Men are like bagpipes No sound comes from them until they are full.
-Irish Saying
Ding Dong Diggidiggidong - (MM Ed. Music for Children V. 1, p. 24)
Ding Dong Diggidiggidong
1.
Voice
&œ
3
&c œ
Ding
Ding,
œ
dong
œ
dong,
2.
Keetman/Orff
4.
3.
œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
dig - gi - dig - gi
œ œ œ œ
œ
dig - gi - dig - gi - dong
dong dig - gi - dig - gi - dong the cat she's gone.
dig - gi - dig - gi
ding dang dong.
Œ
© 1958 by Schott & Co. Ltd., London
Process
✓✓ Teach the melody using hand signs.
✓✓ Add the words, sing in 2-part canon then 4-part canon.
✓✓ Add body instruments (Ding = Clap; Dong = Snap; Diggidiggi = patch; Dang =
stomp).
✓✓ Play the elimination game (substitute BI for words one at a time).
✓✓ Sing in unison, then 2-part, then 4-part.
✓✓ Add unpitched instrument ostinatos, perform the whole thing.
Review: You may use the Bordun when:
✓✓ The melody is pentatonic.
✓✓ The melody is diatonic and notes from the tonic chord are on the strong beats.
✓✓ The melody is diatonic and notes from the related pentatonic center are found on the strong beats (no fa’s or ti’s on the strong beats).
Day6:42
Orff Basic Level 1
Ding Dong Diggidiggidong Continues....
Aim
✓✓ Putting it all together with a big ensemble piece, canon, and broken chord bordun.
Process
✓✓ Find the melody on the instruments (remember from the beginning of class?) and sing the
letter names.
✓✓ Play in 2-part, then 4-part canon.
✓✓ Add the bordun on timpani.
✓✓ Add ax ostinato.
✓✓ Add bx ostinato (really a moving bordun!).
✓✓ Add accompaniment ostinatos AG and SG.
✓✓ Adjust orchestration as appropriate
✓✓ Figure out the ending of the 4-part canon using the formula (x + y = 8); x = number of beats
before you start the 4-part canon and y = the number of times you play the repeating “C’
G” figure to end at the same time.
✓✓ Perform the whole thing!
El Dia Lluvioso by BMH
Day6:43
Basic Orff Level 1
Aim
✓✓ Another example of the Level Bordun.
Process
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Learn the song by playing “4 motifs”
Show the 4 phrases on the visual.
Let the students put them in order.
Play on recorders
Add the Chord Bordun in the Bass Metallophone and Bass Bars.
Add the Levels in the Metallophones.
Add the Coda
Add the words
Extension
✓✓ Make a movement section “The Gathering of the Nuts.”
✓✓ Make a form and perform the whole thing.
Winging singing birds
slithering snakes
scurrying squirrels
babbling brook
floating clouds
solid stones
falling leaves
fluttering butterfly
chattering chipmunk
majestic towering swaying tree
Day6:44
Orff Basic Level 1
Shake Them ‘Simmons Down (adapted and arranged by Brent M. Holl)
Aim To introduce the Moving Bordun
✓✓
✓✓
✓✓
✓✓
Learn the moving bordun.
Decoration of the dominant (tonic possible but rare).
Avoid parallel octaves with the melody.
Same recommendations as simple bordun.
Process
✓✓ Add ostinatos.
✓✓ Sing, add verses.
Extension
✓✓ Add the dance:
xx 8 - Circle Left
xx 8 - Circle Right
Day6:45
Basic Orff Level 1
xx
xx
xx
xx
4 - In, 4 - Out; Balance all -(into the middle and back)
8 - Round your corners (“boys” go left, “girls” go right, do si do)
8 - Round your partner (do si do partner)
8 - Promenade all (walk the circle “girls” on the “boys” right)
South Australia (Irish Sea song, adapted and arranged by Brent M. Holl)
Aim: Another example of the Crossover Bordun
South Australia
## c j
œ
†
œ
In
South
When
#
† # œœ
2
œ
Aus
I
-
œ
œ
tral
-
I
shook
her
down.
grieve
my
mind,
round
Cape
Horn,
would
And
as
we
wallop
a
œœ œœ œœ ‰ œj œ
In
I
œ
œ
I
met
shook her
all
You'll sure - ly
†
7
bound for South Au-stral - ia.
##
œ œ œœ œ œ
-
œ
œ
'round Cape
Horn,
Miss
Nan - cy
Blair.
South Aus - tral - ia
that''sleavin' Miss
4
fair,
up,
that
œœ œ œ œ
œ œ œ
in'
her
'twas then
## œ . œ
† œ. œ
born,
morn
thing
œ
a - round
Na - ncy
wish
-
was
one
one
a - way.
I
œ
out
There's
haul
œ
went
shook
Heave a - way,
œ
ia
I
œœ œœ œœ
Australian/Irish Sea Song
arr. BMH
the
Blair
œœ
I'm
town.
be - hind.
you'd never
œ œ œ. œ œ œ œ
œ
œ
œ
been
born.
œœ œœ œœ œœ œœ œœ œœ
Haul a-way you rol-ling king, Heave a - way, haul a - way.
œ œ œ
Haul a - way and hear me sing. I'm
œ.
œ.
œœ œœ
œ œ œ
œ œ œ
bound for South Au - stral - ia.
Day6:46
4ı
..
Orff Basic Level 1
Voice
South Australia
#
j
† # cœ
In
I
Soprano
Xylophone
Alto
Xylophone
Bongos
Guiro
Bass
Marimba
#
† # c
#
† # c
## c
&
#
& # c
÷
÷
c
c
? ## c
œ
œ
I
went
out
one
up,
I
œ œ
œ
morn - in'
fair,
When
Whistle
œ
œ
shook her
I
was born,
one thing that would grieve my
And
as
‰
‰
‰
‰
‰
‰
‰
œ œ
œ
wallop
œ œ
œ
Heave a - way,
œ
œ
œ
haul
a - way.
I
mind,
that''s
a - round Cape Horn,
∑
∑
œ
œ
œ
œ
œ
œ
Œ
Day6:47
In
'twas
œ
œ œœ
œ
œ
œ œœœœœ œ œ œœ œ œœ œ œ
j
j
œ.
œ œ.
œ
œ
œœ œœ œœ ‰ œj
œœ œœ œœ
shook her down.
There's
we
œœ
Australian/Irish Sea Song
arr. BMH
œ
∑
œ
∑
You'll
œ œ
œ
œ
œ
œ œœ œ œ œ œ œœœ œ œ œ
œ œ
œ
∑
œ
Œ
Basic Orff Level 1
#
† #
V.
3
œ
œ
œ
then
I
met
shook
her
all
Sx
#
& #
3
AX
&
3
÷
Bng.
÷
Guiro
? ##
B. Mba.
V.
5
Sx
AX
Bng.
Guiro
B. Mba.
##
œ
'round Cape
Horn,
Miss
Nan - cy
Blair.
œ
leavin' Miss
#
† #
œ
sure - ly
œ
œ
œ
a - round
Na - ncy
wish
you'd
œ
œ
œ
Blair
∑
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
you rol-ling king,
œ œ œœ œ œœ œœ œ œ œ œ œ
∑
œ.
j
œ
œ
œ
œ
œ
œ œœ
œ
œ œ œ œ
œ
œ
œœ
bound for South Au - stral - ia.
town.
born.
œ
œ
Œ
œ
#
† # œ œ œ œ œ œ œ
5
#
∑
& #
? ##
I'm
œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
j
j
œ.
œ
œ.
œ
Haul a-way
÷
œ
œ.
œ.
be - hind.
never been
#
† # œ œ œ. œ œ œ œ
÷
the
œ
œ
œœ
œ
œ
œ œ œ œ œ œ œœ œ œœ
œ
œ œ
∑
œ
Œ
œ
œœ œœ œœ œœ œœ œœ œœ œ œ œ œ
œ œ œ œ œ
Heave a - way,
œ
∑
haul a - way.
∑
œœ œœ œ œ
∑
œ
œ œ
œ.
œ
j
œ
Day6:48
œ
œ
œ
Haul a-way
œ
œ
and hear me sing. I'm
œ
œ œ œ œ
œ.
œ
∑
∑
j
œ
œ
œ
œ
œ œœœ
œ
œ
Orff Basic Level 1
V.
# .
† # œœ .
8
Wh.
†
Sx
#
& #
÷
B. Mba.
Wh.
÷
? ##
†
Guiro
B. Mba.
÷
? ##
j
œ œ
œ œ
œ œœœ œ œœœ œ
∑
∑
œ
œ
œ œ
œ œ
œ
Œ
œ
œ
œ œœœ œ œ œ œ
œ
œ
œ
œ
œ œ
œ œ
œ
Œ
œ œœœ œœœ œœœ œœ œ œœœ œœœ œœœ œœ
j
j
∑
œ.
œ œ.
œ
œ
œ
œ œ œ
œ
œ œ œ
œ
œ
œ œ œ
œ
œ
œ
œ
..
œ
œ
..
œ œ œ œ œ œ œ œ œ œ œ œ œ
j
j
œ.
œ œ.
œ
œ œ œ
œ
##
÷
œ
œ œ
œ
11
Bng.
œ
œ.
#
& # œ œ
#
& # œ
11
AX
Whistle solo
∑
#
œ œ œ
† # œ œ
11
Sx
œ œœœ œ œ
∑
œ
∑
∑
∑
8
Guiro
œ
œ
for South Au - stral - ia.
8
Bng.
œ œ
œ œ
#
& # œ œœ œ œ œ œ œ
#
∑
† #
8
AX
##
bound
œœ œœ
œ œ
œ œ
œ
œ œ
œ
∑
œ œ
œ
œ
œ
œ
Œ
œ
Day6:49
œ
œ
∑
œ
œ œ œ
œ
∑
œ
..
..
œ œ œ
.
œ œ .
Œ
..
..
Basic Orff Level 1
Point about the Moving Bordun:
The moving bordun is simply an ornamentation of the dominant. It serves the
function of a melodic ostinato. It is usually dealt with as a separate technique,
but there are very few examples in the literature that show the moving bordun
as a distinct orchestration. Many examples exist of the melodic ostinato
containing at some point a decoration of the dominant.
Recommendations for the Moving Bordun
✓✓
✓✓
✓✓
✓✓
The tonic is in the bass, moving dominant is in the middle to maintain the fifth.
The moving bordun must also be under the melody.
Use the moving notes carefully to avoid parallels with the melody.
In pentatonic, be sure to use only scale tones.
Recommendations for Tone Color in Orchestration
✓✓ Put color in the tonic OR the dominant but not both.
✓✓ Put color in measures 1 & 3, 2 & 4, or 1 & 4.
Color: a sound effect, to short and “colorful” to be considered an ostinato.
Homework Day 6
✓✓ Find another melody that can be used with a bordun.
✓✓ Orchestrate the melody using a bordun, a sound color, and a melodic OR rhythmic ostinato.
✓✓ Notate the piece in full score with the melody on top and the bordun on the bottom, filling
in the color and ostinato in the correct places on the score.
Day6:50
Orff Basic Level 1
Homework Helper: Orchestrate “Pat Pat Well a Day” as a class.
Day6:51
Basic Orff Level 1
Day 7: Question/Answer and Rondo
The blanket is warmer for being doubled.
- Irish saying
Singing Time (Canons Too!, p. 16, - Brent M. Holl)
1
& 68 Jœ
1
I
&œ
Singing-Time
2
j
œ œ œ œ œ
œ.
wake in the
œ œ œ œ
4
al - ways, the ve - ry
7
œ
4
&œ œ œ œ œ œ
up
in
bed And
I
ear
œ. Œ œ
J
5
first thing,
7
sit
mor - ning
I
œ
-
And
œ œ œ œ œ œ
6
poke out my head and I
œ œ œ œ œ œ
I
j
œ
ly
8
sing and
Rose Fyleman
Brent M. Holl
3
sing and
I
œ. Œ
sing.
..
Aim
✓✓ Introduce Question and Answer improvisation with a song.
Process
✓✓ Warm-up by improvising “good morning activities” (wake up, stretch, roll out of bed, look
out the window, see the sun, run to the bathroom, wash your face and hands, ahhhhh, run
downstairs, eat breakfast, sing about it!)
✓✓ Learn the song from the overhead.
✓✓ Analyze the form/find the couplet. Find out that it’s a melodic Question/Answer. It also
happens to be a canon.
✓✓ Try it out in 2-, 4-, and 8-part canon.
Extension
✓✓ Adapt the improvised motions of the warm-up to the question/answer format.
✓✓ Make a Q/A B section; arrange in a free rhythm canon!
✓✓ Put it all together.
Day7:52
Orff Basic Level 1
“The technique of question and answer is the embryo of form. In spoken language, the child responds to an ordinary question by simply rearranging the
words into the affirmative, obtaining a more or less symmetrical response of
the same length, for example: Where is John? John is here.” (Jos Wuytack.
Musica Activa, p. 32.)
Question - Answer for Body Percussion
Aim
✓✓ Reinforcement of body percussion technique; rhythmic improvisation; phrase length.
Process
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Give the class a question using body percussion; all answer.
Make sure everyone ends at the strong beat of the last measure, “Final Point.”
Make sure the answers are not an exact imitation of the question.
Make sure the answers are related to the question.
Ask who wants to give the teacher a question?
All get a partner, question answer with each other.
Discover:
xx The cadence point (The Final Point) on the last strong beat of the answer.
xx The absence of a cadence point (Final Point) in the question (think CHA, CHA, CHA).
xx The commonality or shared ideas between the question and answer. The answer should have common elements with the question.
xx The question and answer phrases are the same length.
Question - Answer for Unpitched
Aim
✓✓ Reinforcement of unpitched percussion technique; rhythmic improvisation appropriate to
timbre; phrase length.
Process
✓✓ Using a tambourine, teacher asks a question to whole class.
✓✓ Everyone takes a turn asking a question as a solo. If the player is a wood, all woods answer, metal, then metals, drums, then drums.
✓✓ Improvise a piano accompaniment in free atonal style.
Question - Answer for Pitched
Aim
✓✓ Reinforcement of pitched percussion technique; pentatonic improvisation appropriate to
timbre; phrase length.
Process
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Teacher asks class a question on a pitched instrument in a pentatonic scale
NEW POINT: the answer MUST end on the tonic!
Establish a bordun + color.
Solo xylophone asks xylophones a question.
Solo metallophone asks metallophones a question.
Solo glockenspiel asks glockenspiels a question.
All think a question with inner ear, tutti answer.
Day7:53
Basic Orff Level 1
The Rondo
“A musical form with a joyful refrain repeated at least three times
with in-between contrasting couplets” (Wuytack, ‘77).
“The rondo form gives opportunities for creativity because the
couplets are used for improvisation. The present rondo form is
derived from the 12th century French rondeau. The rondeau is representative of the dancers performing in a circle formation and the
couplet (dans par couple) meant that one couple would improvise
a dance” (Wuytack ‘ 92).
Rondo for BP
Rondo for BP
œ
œ
Pt.
Sn.
Cl.
Pt.
Sn.
÷
r
œ
..
÷c ‰
Snap
Clap
Patsch
Stomp
÷
œœœ
œ
œ
œ
œ
œ
œœ
œ
œœ
c œ .. œ
Bass
Clap
Patsch R
Patsch L
Cl.
Pt.
.. œ œ œ œ œ œ œ œ
÷c ‰
Clap
Bass
Patsch
Back
œ œ
œ
œ œ œ
œ œ
œ
r
œ
œœ
œ œ
œœ
r
œ
œ
œ
r
œ
œ
œ œ œ
œ œ
œ
œœ
œ
œ œ œ
œ
œ
r
œ
Day7:54
œ œ
œœ
Œ
œ ‰ œ ‰ œ œ œœ
J J
œ
r
œ
œ
Brent M. Holl
œ
œœ œœ
œ œ
Œ
œ
..
,
œ œ œ œ .
‰ J ‰ J
œ.
œ
œ œ
œ
..
Orff Basic Level 1
Aim
✓✓ Reinforcement of Question-Answer Phrase structure by using body percussion.
Process
✓✓ Learn the parts by imitation for the refrain.
✓✓ Use it as an A section and have Q/A “dialogues” for the “in-between contrasting couplets”.
✓✓ The dialogues should be 8 + 8. A question is 4 measures or 8 beats, (8 + 8). An answer is
also 4 measures or 8 beats with the cadence point on beat 7 (the strong beat of the last
measure). A phrase is Q, A. A couplet is Q, A; Q, A, or two full phrases.
Rondo For PP’s
Aim
✓✓ Reinforcement of imitation, and improvisation in the Q/A form
Process
✓✓ Warm up doing some echo patterns in G pentatonic.
✓✓ Let the last pattern be measure 1. Break it down. Teach the first four eighth notes, then
add the next two plus the last 8th note.
✓✓ Tell the class to memorize the first measure. Raise hands when it’s memorized.
✓✓ Teach measure two, again teaching the first 4 eighth notes before adding the rest. Tell
students to memorize this measure, raising hands when ready.
✓✓ Review and add measure three. Add measure four using the same process.
✓✓ Add the orchestration to complete the “Joyous Refrain.”
✓✓ Improvise couplets over an G pedal by the Basses.
Day7:55
Basic Orff Level 1
Rondo for YooPees!
Aim
✓✓ Reinforcement of imitation in 6/8, unpitched instrument technique, and rhythmic improvisation in Q/A form
Process
✓✓ Learn the rhythms and patterns to “6/8 Heartbeat” by rote.
✓✓ Discover the form. Note: In this style Q/A can be in the form of “trading 4’s.” I improvise
over 4 strong beats, then you improvise over 4 strong beats. This emphasizes a true “musical conversation.”
✓✓ Trading “8’s” is also possible! Let’s try it!
re
Range of the Instruments
w w w √
w
w
w
w
www
wwww
w
w
w
w
w
w
w
w
w w ww w
Soprano Recorder
Alto Glockenspiel, Soprano Xylophone & Metallophone
Bass Xylophone & Metallophone
&
? w w ww w ww w
Alto Xylophone & Metallophone
Day7:56
Soprano Glockenspiel
Orff Basic Level 1
Homework Day 7
✓✓
✓✓
✓✓
✓✓
Write a pentatonic melody in antecedent/consequent form.
Use 2/4 (8 measures), 4/4 (4 measures) or 6/8 (8 measures) only!
Text is optional and can be a nursery rhyme, poem, or proverb of your choice.
Orchestrate your melody with a bordun of your choice, a melodic and/or rhythmic ostinato,
and a tone color.
Homework Helper for Melody Writing
Improvise in Pentatonic using the text as a generator. Play the text; think question/
answer. Improvise until you get your tune! Orchestrate and - Voila!
Beela by the Sea
Catch a floater, catch an eel,
Catch a lazy whale,
Catch an oyster by the heel
And put him in a pail.
There’s lots of work for Uncle Ike,
Fatty Ford and me
All day long and half the night
At Beela by the sea.
The Pitch Range of the Instruments
✓✓ Discuss limitations.
✓✓ The only available keys are C, G, F and D with related minors. Of course all modes are available as well. (Come back for Level 2!)
✓✓ All instruments are notated at treble clef except for Timpani.
✓✓ The knowledge of orchestration and use of instruments is important to the teacher! Students can have a direct experience with all Orff instruments with knowledge of the treble
clef. The pitch ranges and other clefs can be postponed for more advanced students.
Day7:57
Basic Orff Level 1
Day 8: Active Listening using Basic Orff Techniques
An Old Irish Recipe for Longevity
Leave the table hungry.
Leave the bed sleepy.
Leave the table thirsty.
“The children must have concrete perceptions upon which to base their musical experiences. The students must have experienced the components of the
music they are listening to!”
(Jos Wuytack ‘83)
Fanfare (JW, Lamelou, p.2)
Fanfare
& b 24 œ œ œ œ
1
1
Triangle
Tamborine
Bass
Drum
Vocal
Ostinato
÷
÷
÷
Cla - ri cla - ri,
Pic - co, pic - co,
24 ˙
24 Œ
24 œ
& b 24 ˙
2
Tu
&b œ œ œ œ
5
Tr
Tamb
BD
Ost
÷
÷
÷
Cla - ri
Pic - co,
˙
Œ
œ
cla - ri,
pic - co,
œ
Œ
&b ˙
Tu
-
œ
cla
pic
-
œ
œ œ œ œ
ri,
co,
cla - ri, cla - ri,
pic - co, pic - co,
˙
∑
‰ œ œ
J
œ
Œ
œ
Œ
-
‰ œ œ œ
J
œ
Œ
ba,
cla - ri,
pic - co,
cla - ri,
pic - co,
∑
‰ œ œ
J
œ
Œ
˙
ba,
tu - ba,
œ œ œ œ
cla - ri,
pic - co,
˙
tu - ba,
Day8:58
cla - ri - net.
pic - co - lo.
∑
œ
Œ
œ
Œ
tu - ba.
œ
Œ
..
Œ
∑
œ
..
..
cla - ri - net.
pic - co - lo.
‰ œ œ œ
J
œ
Œ
j
œ œ
œ œ œ
j
œ ˙
j
œ œ
˙
œ œ œ œ
Jos Wuytack
œ
j
œ ˙
tu - ba.
Œ
..
..
Orff Basic Level 1
Listening and Trust
Aim:
✓✓ Developing an awareness of the instrument colors
✓✓ Learning to listen intently
✓✓ Learning to focus on one sound among many
Process:
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Trust walk with a partner.
Rules: slowly, safely, eyes closed in charge, stay in bounds. Unsafe sits.
Trust walk with vocal sound.
Trust walk with instrumental sound.
Find the tree in the forest.
One is “tree;” other with eyes closed finds the correct tree in the “forest”. Trees in straight line signal with an instrumental sound. Trees stop their sound when found.
✓✓ Find the tree in the forest, this time spread the forest throughout the space.
✓✓ To extend the activity, limit the number of times the “tree” can make their sound.
Aim:
Hall of the Mountain King - (Grieg - Peer Gynt Suite)
✓✓ Active Listening introduced by unpitched instruments.
Process:
✓✓ Play the echo game using only quarters, eighths, and equivalent rests. Half notes may be added at end of phrases.
✓✓ Find the pulse of everyone’s name.
✓✓ Make a list of one and two syllable names.
✓✓ Adapt to quarters and eighths.
✓✓ Make a word chain culminating in the rhythm of the opening theme of “In the Hall of the
Mountain King” from the Peer Gynt Suite.
Percussion
÷c œœœœœœœ
œœœ œœœ
œœœœœœœœ œœœœœ Œ
✓✓ Put rhythm on board, students fill in appropriate names.
✓✓ Add coda to board rhythm.
✓✓ Add a pulse ostinato, using an instrument (or two or three).
✓✓ Perform, using the rhythm of the speech (names).
✓✓ Transfer to unpitched instruments.
✓✓ Create a final form.
✓✓ Listen to the entire piece.
Chorus of Trolls gathering menacingly around Peer:
Three: Oooh-Ah! Let me bite his bottom!
Kill Him!
Kill him! The Christian’s son has deceived the fairest daughter Four: Shall he be boiled to a broth in brine?
of our ruler.
Kill Him!
Five: Spitted and roasted? Or stewed in a cauldron?
one: Let me cut off his fingers!
Kill Him!
Kill Him!
Two: Let me tear out his hair!
Old Man: Keep cool now - ice-cool!
Kill Him!
The trolls withdraw.....
Day8:59
Basic Orff Level 1
Brandenburg Concerto #5 ( J. S.. Bach)
Aim:
✓✓ Active Listening introduced by pitched instruments.
Process:
Go to the instruments and play the C major scale in whole notes, then halves, quarters, eighths,
sixteenths, etc.
✓✓ Play arpeggio patterns highlighting 1, 3, 5, and 1.
✓✓ Work into the pattern:
&c
1
œœ œ œ œ œ œ œ
œœ œ œ Ó
œ
œ
œ
œ
œ œ œœœœ
œœœœ
✓✓ Rehearse this pattern until well learned. Name it “TUTTI”
✓✓ Listen the first part of the piece, say “TUTTI” every time you hear the above pattern in whole or in part.
✓✓ Discuss tutti theme, cadenza, development, trio solo, imitation, etc.
✓✓ Extension: Play “Tutti Con Frutti” Full Score p. 67
C Jam Blues - (Ellington)
Aim
✓✓ Active listening using Jazz improvisation in pentatonic Blues
Process:
✓✓
✓✓
✓✓
✓✓
✓✓
Learn the tune to “C Jam Blues”.
Listen to “C Jam Blues” (Ellington).
Play tune along with the band.
Discuss form and improvisations.
Play tune with piano and solo improvisions.
“Sabre Dance” - (from Favorite Classics of the Bolshoi Ballet: Sabre Dance by
Aram Khatchaturian )
Aim
✓✓ Active Music Listening introduced by Verbal expression
Day8:60
Orff Basic Level 1
Day8:61
Basic Orff Level 1
Kalimondo (by Renee Dupere, from Mystere, Cirque Du Soleil)
Aim
✓✓ Active listening as a movement activity
Process:
✓✓
✓✓
✓✓
✓✓
✓✓
Do what I do!
Teacher leads some total body movement in unmetered style, then in metered style.
Make a diamond formation or a pyramid.
Take turns leading; turn clockwise when ready to move on.
Put on the music and move!
Seminar:
Justification for use of the Instruments (from Master Class in Orff Schulwerk by Jos
Wuytack 1991)
✓✓ “Orff instruments are not used as a magic formula to combat sterility in music and are
not used as an end to themselves, but as a means of music teaching which is justified both
educationally and artistically.”
✓✓ At some point all children would like to play as well as sing. “Cantare and Sonare” . Some
will prefer to play, others to sing.
✓✓ The use of instruments leads to active participation. It puts control of the music in the
hands of the students. They are active participants in their own learning experiences.
✓✓ Playing the instruments is truly “play” for the children. It is pedocentric (child-centered),
encouraging a vital avenue for self expression with both joy and seriousness.
✓✓ Instrumental work is ensemble work. Working cooperatively is an essential life skill. Every
member of the ensemble is important, working to their level of competence.
✓✓ Instruments encourage creativity because of the ease of improvisation. It insures even
reluctant students a path to success.
✓✓ The instruments enable immediate success. At the same time, students are challenged
by more practice and more and more difficult techniques.
✓✓ The timbre of the instruments is “extraordinary in its range of sounds”. “...(T)hey can delight, frighten, calm, or they can excite, exalt into regions of ecstasy and mystery...they
have a magical character.”
Tutti Con Frutti - Full Score
Day8:62
Orff Basic Level 1
Day8:63
Basic Orff Level 1
Day8:64
Orff Basic Level 1
Day8:65
Basic Orff Level 1
9.A Sampling - A La Mode
We’ll spread green rushes at your feet.
-Irish saying
Fly, Fly, Fly
Fly, Fly, Fly (from “A Circle is Cast” - Libana)
## 4 ˙
& 4
1
Voice
4
&
##
Fly,
3
˙
branch,
œ
cold
˙
fly,
˙
Œ œ
˙
œ
fly,
œ œ
2
are the winds,
the
Erdely, Borg
œ
leaves
œ œ
win - ter is
œ
are
˙
com
œ
œ
leav - ing
-
˙
ing.
œ
the
..
Aim:
✓✓ Sing in the AEOLIAN Mode
✓✓ Explore Canon in Movement for choir on risers.
✓✓ Experience the sweetness of an Appoggiatura.
Process:
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Sing in unison first.
Find action words and interpret.
Sing in unison with action word movement.
Try 2-part canon with (easier movements) think direction, slow, levels, etc.
Try 3-part canon the same way.
Perform: Unison, 2-part canon, 3-part canon, unison.
Why not Modes?
The modes used in Orff Schulwerk are “pure” modes first codified in the early 17th century
in their modern form just as our current chromatic system was being codified. The modes do have
a long and interesting history, however, going back to the ancient Greeks.
Each mode varies in structure depending on the placement of its semitones and the relationship of each note in the mode to the “finalis” (tonic) and “tenor” (dominant). Modality encourages
step-wise melodies with modest and small skips leaving the random skipping about to tonality.
Further, with the exception of two of the major modes Ionian and Lydian, there are no leading tones
which also helps to encourage stepwise melodic movement with no strong harmonic pull. The use
of modes in this class and with children is therefore also (along with pentatonic theory) ideally
suited to Orff Schulwerk and its current emphasis on improvisation. With modes, we improvise!
Day9:66
Orff Basic Level 1
See Dees ( from Wood Songs by Brent M. Holl)
See Dees
œ
œ
c
&
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
Soprano
Xylophone
Alto
Xylophone
Bass
Xylophone
SX
AX
Jng.Bls.
BX
&
œœ œ œœ œ œœ
c
œ œ
&
œœ
œœ œ œœ œ œœ œ œœ
œ
œ œ
œœ
œœ œ
œ
?c œ œ œ œ œ
œ
œ
œ œ
÷ c Û
Jingle
Bells
3
Brent M. Holl
œ
Û
Û
Û
Û
Û
œ œ œ œ .. œ œ œ œ œ
œ œ œ œ
1
2
Û
Œ
..
Œ
..
œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ . œœ œ œœ œ œœ œ œœ œ .
œ œ œ œ .
œ œ œ œ .
& œ œ œ œ
Û
÷
Û
Û
Û
Û
Û
Û
Û
.. Û
Û
Û
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ ..
Interlude
CONGA
DRUM
Û
÷
.. œ. œo œ. œo œj œo œ. œo œ. œo œj œo œ. œo œ. œo œj œo œ. œo œ. œo œj œo ..
J J o J
J J o J
J J o J
J J o J
Aim:
✓✓ Reinforcement of advanced mallet technique.
✓✓ Incorporation of text and rhythm.
✓✓ Introduction to the LYDIAN Mode.
Process:
✓✓ Review basic mallet technique, holding, alternation.
Day9:67
Basic Orff Level 1
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Play low F first on half notes, then quarter, then eighth, then 16th. then the reverse.
Change pattern to first two measures of See Dees.
Learn last two measures and ending (advanced version: double the rhythm).
Add the Jingle Bells.
Add the whip.
Add the “upside down” bordun (the bass drone is “understood”).
Extension:
✓✓ Add a B section.
✓✓ Temple block plays straight eighth notes.
✓✓ Make a rap song out of Our Show - Jack Prelusky. From Sweet & Silly Poems (A Muppet
Press/Golden Press Book)
The Water is Wide (Folk song arranged by Brent M. Holl)
Aim
✓✓ A first experience with a I - vi - V orchestration.
✓✓ Sing and play in the IONIAN Mode
Process
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Play the tune on recorders.
Sing/play.
Add the bass part.
Add the AX.
Add the AM.
Make a form and sing and play.
Day9:68
Orff Basic Level 1
The Water Is Wide
arr. Brent Holl
Introduction and Interlude
Soprano
Recorder
Voice
Alto
Metallophone
#
& c
Alto
Xylophone
#
V cœ
Bass
Xylophone
œ
#
∑
œ
œ
œ
w
1
† œ œ œ œ œ Œ Œœ œ œ œ
4
SR
V
#
† cœœœœœ œ œœœœœ
# œ
œ œ œ w
& c
1
The wa-ter
AM
AX
BX
# w
&
A ship
#
& œ œ œœœ
#
V w
˙.
I leaned
˙.
∑
œ
2
Œ œ œœœœœœ
œ
œ
œœœ
w
is
wide,
there
is
œ
w
o'er,
and she sails the
sea.
a - gainst an
œœ
œ œ
Œ œ œ w
œœœ
Canon after one measure is possible, but leave out the AM part
© 2011 Brent M. Holl. All rights reserved including public performance for proﬁt.
Day9:69
œ
I can - not get
back
∑
œ
œ
œ
∑
œœ œ œ œ
Œ œœœœ w
my
œ
œ
œœœœ
oak,
∑
œ œ
œ œ
Basic Orff Level 1
9
SR
V
AM
AX
BX
# Œ
†
#
& w
#
V w
SR
V
AM
AX
BX
have
She's load - ed
deep
œ
And
nei - ther
think - ing
#
V w
∑
œ
œ
œ
a
boat
But not
so
deep
But first
it
bent
œ
w
I wings
to
fly.
as deep
can
be.
a trust - y
œ œ œ œ
tree.
w
œ
œ
œ œ œ œ
∑
œ
œ
œ œ
w
then
it
œœœ
in.
broke,
œ œ œ œ
œ
© 2011 Brent M. Holl. All rights reserved including public performance for proﬁt.
Day9:70
œ
œ
two,
as the love I'm
and
∑
w
œœ
that can car - ry
œ œ œ œ w
œ
œœ
œ œ œœœ
œ
w
Give me
& œ œ œœœ
#
was
œœœ
#
# w
&
œ œ œ œ w
it
† Œ œ œ œ
13
œ œ œ
w
œ
& œ œ
#
œ
œ
∑
œ
œ
Orff Basic Level 1
SR
V
#
† Œœ œ œ
17
And both shall
I
So
AM
AX
BX
# w
&
#
w
row,
know not
did
my
love
V w
love and
I
sink
œ œ œ œ w
œ
œ
∑
œ
œ
œœ
w
I.
or
prove false to
œœœ
swim.
me.
œ œ œ œ w
œ
œ
∑
I reached my finger into some soft bush,
thinking the fairest flower to find.
I pricked my finger to the bone,
and left the fairest flower behind.
Oh love be handsome and love be kind,
gay as a jewel when first it is new.
But love grows old and waxes cold,
and fades away like the morning dew.
Must I go bound while you go free?
Must I love a man who doesn't love me?
Must I be born with so little art,
as to love a man who'll break my heart?
When cockle shells turn silver bells,
then will my love come back to me.
When roses bloom in winter's gloom,
then will my love return to me.
Day9:71
∑
w
œ œ
œ
my
if
& œœ œ œ œ
#
Œ
œ
œ
œ œ œœœ
w
&
Basic Orff Level 1
Ó ‰ œj œ œ .. ˙ ‰ œj œ œ ˙ ‰ œj œ œ œ œ œ
∑
jœ œ
j
j
j
œ
œ
‰
˙
‰
˙
‰
œ
œ
‰
œ use for the
˙ œ
Demonstrate &
a special
˙ World
œ œinstruments.
œ œMusic
œ Orff
œ œœ
6
Cantique
Exotique by Brent M. Holl. Ensemble, p. 20
Aim
✓✓
✓✓ Discover a different kind of pentatonic.
Cantique Exotique
˙
˙
&˙
&c
Recorder
∑
˙
˙
Brent M. Holl
j
j
Ó ‰ œj œ œ .. ˙ ‰ œ œ œ ˙ ‰ œ œ œ œ œ œ œ
jœ œ .
j
j
j
œ
œ
‰
˙
‰
˙
‰
œ
œ
‰
œ
œ
œ
˙
œ
.
&˙ œ œ
œ œ Cantique
œ œ Exotique
6
Soprano
Metallophone
Alto
Metallophone
Bass
Metallophone
œœœ
œ œ œ œ œ œ œ œ œ ..
.
œ
c
œ
œ
.
œ
&
œ œ.
œ
.
œ
œ œ
c
œ
& .
J
œ
œ
œ
œ
œ
? c ..
Process
œ
œ
œ
œ
œ
œ
..
..
✓✓ Play the Bass Metallophone part twice along with the gong, wind chimes, and finger cymbals.
✓✓ Add the Alto Metallophone and play twice.
✓✓ Add the Soprano Metallophone and play twice.
✓✓ Add the Soprano Recorder and play twice with an interlude between repeats.
✓✓ Subtract and add parts as you wish, ending with a fade out.
✓✓ For a realistic gamelan sound on the metallophones, use hard plastic or wooden mallets.
✓✓ Look for some authentic wind chimes to add atmosphere.
✓✓ The CD arrangement uses a “detuned” metallophone and real chimes to imitate the sounds of the gamelan orchestra.
Day9:72
Brent M
Orff Basic Level 1
Carol’s Tune (Carol King, Level 1 Recorder Notes)
Carol's Tune
# 2
& 4 ..
SR
SX
AX
# 2 .
V 4 . Œ
BX
5
HD
j
œ œ œ œ œ œ
Carol King
œ
œ
#
& œ œ œ œ œ
#
‰ œj œ œ œ œ
‰ œj
œ
œ
œ
œ œ œ œ œ œ œj
œ œ
œ
œ œ
œ œ
œ
œ
œ
V œ œ
J
œ
œ
œ
..
..
Aim
✓✓ Using the subtonic (VII) as shifting chord accompaniment la-based (E minor) pentatonic
Process
✓✓ Play tune on soprano recorders using pitch ladder.
✓✓ Double tune on soprano xylophone.
✓✓ Add lower octave on alto xylophone.
✓✓ Add bordun.
✓✓ Finish orchestration as necessary with rhythm and color.
D’
B
Carol King lives and taught in Memphis, Tennesee, and was recorder instructor in the levels course there for my first Orff class. She used this to demonstrate the “pitch ladder” which has since become a classic instructional
technique for recorder instruction.
The I-VII chord progression is a classic example of a “shifting chord.” It functions as an extension of the moving drone. Be careful to only use it in minor
modes and keys to avoid the diminished triad on the leading tone.
Day9:73
A
G
E
Basic Orff Level 1
Day 10. Why the Canon?
Another Monday Morning by Konnie Saliba, arr. BMH. Welcome in the Day #11.
A Good Morning Song
&b c œ œ
F
Shirley McRae, arr. BMH
g m7
œœ œ œ œ œ œ œ œ œ œ œ œ
Say hel - lo to the morn - ing, say hel - lo
C7
F
to the day,
œ œ
it's an -
F
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
4
oth-er Fri day morn ing what more
g m7
can I say?
c7
Put a smile on your face, put the
f
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ..
7
beat in your feet, Make a Fri-day morn-ing rhy-thm with some - one you meet.
Aim:
✓✓ Review Question/Answer technique in Jazz style.
✓✓ Try some jazzy Body Percussion.
✓✓ Combine movement and body percussion.
Process:
✓✓
✓✓
✓✓
✓✓
Learn the song by rote.
Chart the form. Find the Antecedent and Consequent Phrases (Trading Fours).
Find a partner and “Trade Fours” using body percussion of your choice.
Move through shared space as you sing once through. End up with a new partner and Trade
Fours with them.
Extension:
✓✓ Try Trading Fours using vocal scat.
✓✓ Try Trading Fours on an instrument in F Pentatonic.
Seminar: The Canon
Canon - a kind of composition in which the same melody is played or sung
through by two or more voice parts at the same or at a different pitch (The
Day10:74
Orff Basic Level 1
American College Dictionary).
“Canon is a technique in which one voice is repeated two or more times so that
the repetitions come together in the right harmony (with) complementary
rhythms and melodies.” (Jos Wuytack, ‘79)
“A canon is a melody that sings along with itself in harmony” (Brent M. Holl)
“The joy of singing a Canon lies in the fact that everybody at some stage sings
the tune.” (Richard Gill. Nine New Canons. Magnamusic-Baton, Inc. 1984.)
“Great power lies in the cyclical nature of a round, the intensity of collective
chant or the clarity of a beautiful yet simple song. (Marytha Paffrath. Libana.
“A Circle is Cast”)
“Minimalist by nature, rounds create an exquisite circular motion for both
singers and the listener. Their repetitive, mantra-like phrasing facilitates a
deeper, inner experience of emotion or allows a potent affirmation of a belief
or image to occur. Singing rounds is also an inherently communal activity
with each part holding equal importance within the whole.” (Susan Robbins.
Libana. ¨ Fire Within”)
Mini-Canon
Aim
✓✓ Learn an advanced technique for leading imitation; immediate, improvised canon.
Process
✓✓
✓✓
✓✓
✓✓
Using body percussion, each member of the class takes a turn.
Use convergent rhythms in simple meters at first.
Find rhythm patterns that work well (ahead of time).
Be very clear in form with good phrase structure.
Clapping Canon
Clapping Canon (unknown - A la Steve Riech)
47 .. Û Û ÛJ Û ÛJ ÛJ Û ÛJ Û
Aim:
3
Û
Û Û Û Û Û Û Û Û
J
J J
J
Û
Û Û ÛJ Û ÛJ ÛJ Û ÛJ Û
Û Û Û Û Û Û Û Û ..
J
J J
J
✓✓ Trying out a Modern Style of Canon incorporating traditional body instruments
Day10:75
Basic Orff Level 1
Process:
✓✓
✓✓
✓✓
✓✓
✓✓
✓✓
Standing in a circle learn the canon in unison.
Try in 2 parts after one beat.
Finale: start the canon one person at a time all the way around the circle. See if you can
stop one at a time as well!
May God Hold You (Jos Wuytack, adapted by BMH)
May God Hold You
1
& 34 œ œ
1
Go in
4
&œ
wind
& œ
7
on
10
&œ
God
2
œ
œ œ
œ
Œ
you,
œ
hold
on
now,
œ 24 œ
your
you
œ
J
and
œ
in
œ
his
œ
œ œ œ œ
go
in
peace.
May the gen - tle
œ
œ
œ
May
the
34 œ œ œ œ
way.
24 ‰
œ
œ œ
œ
peace
œ
help you
3
Jos Wuytack
words by Brent M. Holl
œ
œ
may
God
œ
œ
lov - ing
Day10:76
sun
œ
hold
34
˙
hand.
shine up -
œ
you,
œ
may
..
Orff Basic Level 1
For Friends:
Always remember to forget
The things that made you sad,
But never forget to remember
The things that made you glad.
The friends that proved untrue,
But never forget to remember
Those that have stuck by you.
The troubles that passed away,
But never forget to remember,
The blessings that come each day.
- An Irish Saying
Day10:77
Basic Orff Level 1
SELECTED BIBLIOGRAPHY
Alley, Maria. http://www.doremiandmaria.com/CD/Lessons_webpreview.pdf
Baber, Frank, Illustrator. Mother Goose. Gramercy Publishing Company. New York. 1976
Bach, J. S. Brandenburgische Konzerte 1 - 6. Weiner Akademie, Martin Haselbock, conductor. Novalis 150035-2, 1989.
Dupere’, Rene. Mystere - Cirque du Soleil. RCA Victor 09026-62686-2. Distributed by BMG
Music, New York, NY. 1994.
Ellington, Duke: Music is My Mistress. Musical Heritage Society, Inc. 1710 Highway 35,
Ocean, New Jersey 07712. 1990. MHS 522551M
Fulton, Eleanor and Pat Smith. Slice the Ice. MMB Music, Inc. 1978.
Grieg, Edvard. Peer Gynt. Gochenburg Symphony Orchestra and Chorus conducted by
Neeme Jarvi. Deutsche Grammophon 423079. 1987.
Holl, Brent. Canons Too! Beatin’ Path Publications, LLC. 302 E. College St. Bridgewater,
Va. 2004
Holl, Brent. Ensemble. Beatin’ Path Publications, LLC. 302 E. College St. Bridgewater, Va. 2002.
Holl, Brent. Wood Songs. Beatin’ Path Publications, LLC. 302 E. College St. Bridgewater,
Va. 2003.
Kennedy, Steven. The Crescent City Collection - Marimba Tunes from the Big Easy for Grades
1 - 6. Beatin’ Path Publications LLC, 302 East College Street, Bridgewater VA 22812. 2012.
Khatchaturian, Aram. Gayaneh - Sabre Dance. Favorite Classics of the Bolshoi Ballet.
Madacy Music Group, Inc. P. O. Box 1445, St-Laurent Quebec, Canada H4L 4Z1 1993.
Libana. A Circle is Cast. Libana, Inc. PO Box 530, Cambridge, MA 02140 1986.
McKrae, Shirley. Notes: Level I. 1977. Memphis State University Summer Certification
Courses in Orff Schulwerk.
Mueller, Sue. Simply Speaking. Beatin’ Path Publications, LLC 302 East College Street,
Bridgewater, VA 22812. 2008.
Murray, Margaret. Music for Children - Volume 1 Pentatonic. Schott & Co., Ltd. London.
Nichols, Michael R. Seasons and Holidays. Beatin’ Path Publications LLC. 302 East College
Street, Bridgewater, VA 22812. 1998.
Nichols, Michael R. Children’s Orff Music for Church Volume 1. Beatin’ Path Publications
LLC. 302 East College Street, Bridgewater, VA 22812. 1998.
Nichols, Michael R. Children Sing Praise. Easy Orff Arrangements for Children’s Choir.
Beatin’ Path Publications LLC. 302 East College Street, Bridgewater, VA 22812. 1998.
Schneider, Hans. The Schulwerk, Vol. 3 of Carl Orff/DOCUMENTATION, His Life and
Day10:78
Orff Basic Level 1
Works. The Schott Music Corporation, New York. 1976.
Orff, Carl and Gunild Keetman. Orff-Schulwerk: Music for Children. Vol. I. Adapted by
Margaret Murray. Schott & Co. LTD. London.
Patz, Nancy. Moses Supposes His Toeses are Roses And 7 Other Silly Old Rhymes. Voyager
Books. Harcourt Brace & Company. New York. 1983.
Pfitzner, Aimee Curtis. Hands to Hands - Hand Clapping Songs and Games from Around the
World. Beatin’ Path Publications LLC, 302 East College Street, Bridgewater VA 22812.
2015.
Prelutsky, Jack, Marc Brown, and Jim Trelease. Read - Aloud Rhymes for the Very Young.
Alfred A. Knopf, Inc. New York. 1986.
Prelutsky, Jack. Sweet & Silly Muppet Poems. Muppet Press/Golden Press Book. Jim Henson
Productions. 1982.
Saliba, Konnie K. Welcome in the Day. Cock-a-Doodle Tunes, Box 311, Cordova, TN. 38018.
1982.
Tchaikovsky, Peter. Russian Dance - Trepak from the Nutcracker Suite. The Classical Collection, Second Edition. Musical Heritage Society, Inc. 171- Highway 35, Ocean, New
Jersey 07712. 1989. MHS 533037X
Wuytack, Jos. Lamelou - Canons et Chants. Alphonse Leduc et Cie, Editions Musicales, 178
rue Saint-Honore’, Paris. 1970.
Wuytack, Jos. Musica Activa. An approach to Music Education. (English adaptation and
commentary by Judy Sills). Schott Music Corporation, New York, 1994.
Wuytack, Jos. Notes: Master Classes 1979-1995. Memphis State University Summer Certification Courses in Orff Schulwerk.
Day10:79

Orff Basic Level 1 - Beatin` Path Publications

Transcription

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