Document 6444451

Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Day Six Ensemble/Technique Review of Week One concepts Pitched ostinati Changing a Pitched ostinato to Melodic ostinato Improvisation on barred percussion in Do Pentatonic Notating pitched ostinato Orchestration/Arranging Changing a Pitched ostinato to Melodic ostinato Practice adding pitched ostinato Pedagogy Teach drone with Do pentatonic melody to small group Ensemble/Technique Review of Week One Concepts Body Percussion Piece Using Imitation Keetman, G., (1970), Rhythmische Ubung #69. New York, NY: Schott Music Corp. A Section Teach portions using imitation Begin with beat, adding next the snap, and then the clap-­‐pat Model second portion Have student identify the pattern and how often it is used and how it is different the last time Model second ending Combine sections to complete form B section Model first pattern and rests -­‐ loudly and then quietly Students echo Student echo the following text to learn second pattern Strawberry, Strawberry, Lemon Strawberry, Strawberry, Lemon Strawberry, Strawberry, Lemon Watermelon, Watermelon Clap the rhythm while saying the text, accenting the first syllable of “Strawberry” and “Lemon” and crescendo on “Watermelon” Combine the two main sections and perform ABA Add locomotor movement Transfer to unpitched percussion 40 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Question and Answer Body Percussion Patterns Discuss as a group large group Question and Answer form Determine what makes a good question and what makes a good answer a. Similar words/full sentence b. Inflection of voice c. Sounds incomplete/finished d. Answer relates to the question Transfer this idea to body percussion patterns Practice with a partner four beat body percussion patterns using question and answers When secure at four beats extend the questions and answers to eight beats Be sure to switch leaders Transfer to hand drums and/or other unpitched percussion Return to the song “Who’s That?” substituting question and answers for previous song questions What makes a good question and what makes a good answer?  Similar words/full sentence  Inflection of voice  Sounds incomplete/finished  Answer relates to the question Do Pentatonic Song with Improvisation “Solos Here” Rondo, Orff, C., Keetman, G., English Adaptation, Murray, M. (1958) Music For Children, Volume I: Pentatonic, #32, p. 113 London: Schott & Co. LTD. Using solfege ladder, review notes in Do Pentatonic Use solfege patterns to learn phrases of song Add text Add a chord drone h
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Add octave C’s on “come” Transfer melody to AX’s Add SX part using octave G’s and A’s Add tympani part using the following text: I have fun upon my drums Oh, I have fun upon my big old drums. 41 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Combine all parts Discuss how question and answer form can be used on barred percussion Divide class into duos Practice playing questions and answers using the notes in Do Pentatonic Refine questions/answers to eight beats each Add B section of partners playing two question answer patterns Alternate with A section Do Pentatonic Piece with Simple Drone, Rhythmic Ostinato and Color Part Jack Sprat Review nursery rhyme while patting the beat Change beat to rhythm of drone Transfer to BX Teacher models melody Students learn melody through simultaneous imitation When secure, add color part on Glockenspiels Add percussion part Add B section of Jack and his wife using movement to tell their story 42 Orff Schulwerk Level One Teacher Education Course University of Arkansas-­‐Fayetteville Pitched Ostinato Lil’ Liza Jane Instructor: Karen K. Benson
June 17-­‐28, 2013
Additional Verses I’ve got a house in Baltimore, Lil’ Liza Jane Streetcar runs right by my door, Lil’ Liza Jane (Chorus) I’ve got a house in Baltimore, Lil’ Liza Jane Brussels carpets on the floor, Lil’ Liza Jane (Chorus) I’ve got a house in Baltimore, Lil’ Liza Jane Silver doorplate on my door, Lil’ Liza Jane (Chorus) 43 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Model song for class Ask students to clap the rhythm of the girl’s name Determine what happens in each verse taking time to discuss vocabulary, geography etc. Ask students to make up a body percussion pattern that fits the rhythm of “Lil’ Liza Jane” Ask them to combine their pattern with that of a partner, finding a way to work together to produce the pattern Review songs with movement Add movement on first part of phrases using suggestions from the class (i.e. turn partner, do-­‐si-­‐do etc.) Perform entire song with movement Model and add drone on BX Model and add color part Model and add rhythmic ostinato Introduce a complementary ostinato on Do using the following text: 1 2 3 4 I live in Baltimore 1 2 3 4 Streetcar runs right by my door Combine and perform The melody can easily be played on recorder for contrast 44 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Adding a melodic ostinato A melodic ostinato is similar to a pitched ostinato in that it is a repeating pattern and must be complementary. It is considered melodic because it uses more than one pitch of the pentatonic scale. Chicken on a Fencepost (or Dance Josie) Teach melody using simultaneous imitation Add arpeggiated drone on BX Add color part on SG/AG Learn rhythmic ostinato using the following text: Yum! Œ Œ Finger-­‐lickin’ good Œ Œ Œ Yum! Œ Œ Finger-­‐lickin’ good Transfer to pats Transfer to Do Modify to the melodic Do Mi Re Do pattern Add the rhythmic ostinato 45 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Pedagogy Teach drone with Do pentatonic melody to small group Orchestration/Arranging Notating pitched ostinato Page’s Train In groups: Develop a drone, an additional rhythmic ostinato, a color part and a complementary ostinato on Do or Sol. 46 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Practice adding pitched ostinato Using the song “Let Us Chase the Squirrel” Develop a drone Add an additional rhythmic ostinato Add a color part Add a complementary ostinato on Do or Sol Modify the complementary ostinato to become a melodic ostinato Assignment #6: Due Tuesday morning, Week Two Discuss assignment procedures and expectations 47 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Day Seven La pentatonic Ensemble/Technique Improvisation in La pentatonic Drone in La pentatonic Orchestration/Arranging Pedagogy Improvisation in La pentatonic La Pentatonic La Pentatonic uses the same tones as Do Pentatonic. (Do, Re, Mi, Sol, La) However, it is centered on La instead of Do. When you have your barred instrument set up in: C Do Pentatonic you can also play in: A La Pentatonic F Do Pentatonic D La Pentatonic G Do Pentatonic E La Pentatonic Experience a Piece in La Pentatonic #38 from Erstes Spiel am Xylophon, by Gunild Keetman, Schott ED 5582 At barred instruments, model four-­‐note patterns starting with E2 Add rhythm Transpose pattern starting on A2 Model patterns using this form: aaba Have students identify form Transpose the pattern starting on C2 Add one A1 to the end of the C pattern Add to patterns starting on E2 Play second half of melody (aac) Review first half of melody Combine and play complete melody Add simple drone on A1 and E2 using the following rhythm h.
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Add SX playing E2 and A2 alternating with D2 and G2 Add AX playing A1 to C2 using the same rhythm as SX Model octave E’s for introduction Ask students to play four groups of three Add a crescendo on the introduction Repeat introduction as an ending using a decrescendo Transpose original pattern starting on G2 48 h
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Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Play one G pattern followed by two chords in SX and BX Combine and perform Can extend by adding improvisation in La Pentatonic Drone in La pentatonic When writing a drone for a piece in La Pentatonic you again use the first and fifth tones that are now La and Mi. You can use the same types of simple drones that you used with Do Pentatonic pieces. Create a melody in La Pentatonic using given text Review the poem I see the moon and the moon sees me. God bless the moon and God bless me. Identify meter and notate rhythm Create a La pentatonic melody using suggestions from the class. Remember to use mostly La’s and Mi’s on strong beats After developing the melody add a complementary simple drone Develop a color part Develop a rhythmic ostinato or melodic ostinato 49 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Witches’ Menu Vocal warm-­‐up in La Pentatonic Echo patterns in La Pentatonic Sing response to La Pentatonic questions With a partner practice singing Question and Answers in La Pentatonic Learn text of poem (Witches’ Menu by Sonja Nikolay first stanza only) Live lizard, dead lizard Marinated, fried Poached lizard, pickled lizard Salty lizard hide. Pat rhythm of text Transfer rhythm to G1 on barred instruments Continue playing rhythm adding additional notes as ready Ask students to make final note E1 Ask students to try and develop patterns for each phrase Play as a large group several times to give students a chance to edit melodies Play as small groups Play as solos Add a drone on BX Have several soloists or pick one melody for all to play Alternate with Q and A on instruments including voice La Pentatonic Instrumental Piece #11, Spielbuch fur Xylophon, Book II, Gunild Keetman, Schott ED 5577, 1966 Learn melodic contour and form structure through body percussion Transfer to instruments Pieces from Music For Children, Volume I Two Short Instrumental Pieces, Orff, C., Keetman, G., English Adaptation, Murray, M. (1958) Music For Children, Volume I: Pentatonic, #17 and #15, p.104 London: Schott & Co. LTD. A Section #17 Echo play melody from skeleton form, adding notes/rhythm Transfer to alto glockenspiels Add BX (do la do sol) Add AM (mi re do) Add AX (chord, rhythm “Ta-­‐ti-­‐ti”) Add jingle bells on beat and three notes at end of phrase two Add hand drum on three notes at end of phrase two 50 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
B Section #15 Teach the melody using solfege Transfer to soprano glockenspiels Add BX (do, ti-­‐ti) Add AX (sol la sol mi) Add SX using visual of note groups (mi re mi sol, mi re do re) Add movement A Section First phrase, running steps to the right Second phrase, running steps to the left, three stamps at end of phrase Repeat B Section Continuing to the left, use same rhythm as stamp pattern at end of A section Take large steps forward, small steps backward Final Form Practice transition between sections using 4cts to “switch gears” then 2cts, then none ABABA Improvisation in C Pentatonic Chose an ostinato pattern from Volume I, p. 82 Improvise using Q/A format Extend to improvisations based on a given rhythm Extend to free improvisations within a 8-­‐16 measure format More music from Music For Children, Volume I Canon #40 Orff, C., Keetman, G., English Adaptation, Murray, M. (1958) Music For Children, Volume I: Pentatonic, p.131 London: Schott & Co. LTD. Model skeleton of melody (C D E G GD C) Add in rhythm (ti-­‐ti ti-­‐ti ta ta, ti-­‐ti ti-­‐ti ta) Add in first A Model and add second A Add C2 at the end of phrase one but not phrase two Play complete melody Play in canon, 2pt-­‐4-­‐pt Model Glissando Students practice the glissando and then add to melody Add BX playing tympani part Repeat unison then 4pt canon Discuss repeating the last motive until all four groups have finished the canon Determine how many times each group will play the last motive Practice canon with ending Add movement and perform 51 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Pedagogy Teach Do pentatonic melody with drone to small group Assignment # 7: Due Wednesday morning, Week Two Discuss assignment procedures and expectations 52 Orff Schulwerk Level One Teacher Education Course University of Arkansas-­‐Fayetteville Day Eight Instructor: Karen K. Benson
June 17-­‐28, 2013
Ensemble/Technique Ensemble pieces from Music For Children, Vol. I, Murray Edition Single Moving Drone Improvisation in La pentatonic Orchestration/Arranging Historical style versus Folk song arrangements Pedagogy Teaching Folksong arrangements Ensemble/Technique Pieces from Music For Children, Volume I “Oliver Cromwell” Orff, C., Keetman, G., English Adaptation, Murray, M. (1958) Music For Children, Volume I: Pentatonic, #34, p.26 London: Schott & Co. LTD. Students pat a steady beat while saying “Hee Haw”ostinato Teacher introduces poem over the beat pattern Students figure out the response within the text and begin to speak that part Showing a colored coded visual, students learn the poem (top line of score written in blue, second part written in green) Divide the class into two groups correlating to the related text color (Group I blue, Group II green) Note that the groups speak together during final phrase Add dynamic contrasts as suggested by the score and/or student ideas Generate ideas for possible extensions 53 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Improvisation in C Pentatonic Vocal warm-­‐up in Do Pentatonic Echo patterns in Do Pentatonic Sing response to Do Pentatonic questions With a partner practice singing Question and Answers in Do Pentatonic Chose an ostinato pattern from Volume I, p. 82 Improvise using Q/A format on barred instruments Extend to improvisations based on a given rhythm Extend to free improvisations within an 8-­‐16 measure format Rondo, #31, Orff, C., Keetman, G., English Adaptation, Murray, M. (1958) Music For Children, Volume I: Pentatonic, p.111 London: Schott & Co. LTD. Learn melody using the following text
This is a great rondo
In which we can take part
Oh, this is a great rondo
We’ll learn it by heart
(Text attributed to Carol Erion and Rick Layton)
Transfer to instruments on SX
Add simple chord drone in AX
Add simple chord drone in BX on the downbeat of each measure
Add additional AX part
Add tympani
Add glockenspiel part
For B section, play the arppegiated drone in BX with eight measures improvised
melodies
Add interlude if desired
Determine final rondo form
Add movement
Perform
Canon #44, Ding Dong Diggi-­diggi Dong Orff, C., Keetman, G., English Adaptation, Murray, M. (1958) Music For Children, Volume I: Pentatonic, p.136 London: Schott & Co. LTD. Learn melody of canon through body solfege Transfer melody to text Transfer to instruments Play in 2 and 4 part canon Add BX playing C2 G A G on eighth notes Transfer melody glockenspiel Add AX playing C D E G on quarter notes 54 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Double the AX part to octaves Break the octaves and play as eighth notes on SX Add C tonic drone on BM or Contrabass bar Combine and perform in unison and canon Add movement, speech, etc to extend performance possibilities Single Moving Drone A single moving drone is very similar to a simple drone. Instead of remaining on the first and fifth tones, a single moving drone alternates between the first and fifth tones and the first and sixth tones. The tonic and dominant is almost always heard on the strong beat. “Tranquillo” #20 Orff, C., Keetman, G., English Adaptation, Murray, M. (1958) Music For Children, Volume I: Pentatonic, p.106 London: Schott & Co. LTD. Model moving drone on the beat Play the melody on recorder as students listen Teach the melody using body solfege Transfer to instruments Play melody with moving drone Play glockenspiel part starting on G1 Ask students to repeat the pattern again but start on E2 Combine with melody and drone AX play G1 and A1 using only left hand If able, add chord on AX using two mallets in the right hand. Use the following text for the AX part: I play it lightly Add finger cymbals at the end or beginning of phrases I play it lightly Add finger cymbals at the end or beginning of phrases 55 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Orchestration/Arranging “The Two Styles”/Historical and Current Arrangements Today you played several styles of Orff arrangements. The selections we looked at in Volume I were based on the original styles that Orff and Keetman developed. The current approach to arranging is based on the work on people such as Jane Frazee, Arvida Steen, and Jos Wuytuk among many others. Orff Schulwerk is now primarily used with children. Folk song arrangements need to support the child’s singing voice. This is why we use ostinati of varying length and complementary but not parallel rhythms. The heavy layering of ostinati in the historical style pieces tend to cover up the children as they sing. Does this mean we shouldn’t use pieces from the volumes? Absolutely not! The volumes are treasure troves of excellent pieces, arrangements, and models for us to take and adapt to our own teaching situation. Please remember that if you choose to use material from the volumes that you consider the following:  Use as instrumental exercises  Simplify the layers and/or omit parts so singing is not covered up  Modify what is written so your students are successful with the material Assignment # 8: Due Thursday morning, Week Two Discuss assignment procedures and expectations 56 Orff Schulwerk Level One Teacher Education Course Instructor: Karen K. Benson
University of Arkansas-­‐Fayetteville June 17-­‐28, 2013
Day Nine and Ten Ensemble/Technique Overview of Orff Schulwerk and applications to classroom curriculum Synthesis of course materials and concepts Orchestration/Arranging Volume I overview Pedagogy Teach Do Pentatonic Arrangements Ensemble/Technique As a large group, discuss and compare how the Orff Schulwerk approach can be implemented into an existing curriculum or serve as a basis for writing a new curriculum. Orchestration/Arranging Travelogue through Murray Volume I Music For Children, Volume I, is divided into three main sections. As we go through each section, mark in your book how you can use or extend the exercises and pieces. Also, write down the “common names” of some of the pieces we have played. (i.e. Ding Dong) Remember, the material in this text is to be used as models. Take them and adapt them to your own teaching situation and apply them to other materials as well. Pedagogy La Pentatonic Melodies The class will share their La Pentatonic melodies Curriculum Connections The class will begin to apply knowledge, materials, and techniques from class to their current curriculum or to a sample curriculum if needed. Group Sharing Time We will develop, practice, and share music and concepts from our time together. 57 Orff Schulwerk Level One Teacher Education Course University of Arkansas-­‐Fayetteville Instructor: Karen K. Benson
June 17-­‐28, 2013
Dear Level One students, Thank you for choosing this AOSA approved, Level One Teacher Education course! You have grown as a professional educator and musician. The knowledge and concepts gained from this class will influence your work with children and colleagues. Utilize your emerging skills and new understandings to make Orff Schulwerk an integral part of your personal philosophy and approach to teaching and learning. Join the American Orff-­‐Schulwerk Association and your local chapter (Northwest Arkansas Chapter) so you continue to engage with other educators who embrace the beauty and power of speaking, singing, dancing, and playing! As you go forward, please feel free to call or email me with any questions. I look forward to hearing from you. Viva la Musica! Karen K. Benson [email protected] 58