Why Yoga and Orff? True North Alignment- Body Awareness

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Crystal McLaughlin
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1 An Orff Duet ATipler Why Yoga and Orff? The word yoga means union in Sanskrit, the ancient language of India Yoga teaches children about the union (coming together) of their mind their body When teaching Yoga to children, emphasis is placed on the playfulness of the practice The Orff Approach is a grounded and rooted approach to teaching music Music is taught to children starting at their developmental level (rhythm, melody, movement, speech/song) Just like with music, when I teach yoga to children, I find that they rarely perform a pose without moving, speaking or singing So I decided, why not build upon this playful behavior in my yoga classes and incorporate elements of the Orff Approach In my experience, Yoga with children is playful and experimentation is a large part of the process- just like Orff hen Yoga and Orff are paired together the child has the opportunity to connect through their body and experience a full holistic experience True North Alignment- Body Awareness Use this technique to ignite proper posture in yourself and students Start from the ground up Root down to rise Head ACTION: move up/down, side to side, back/forth circle movements Shoulders ACTION: move up/down, forward/backward, circles Ribs ACTION: side to side, forward/backward, circles Hips ACTION: move side to side, forward and back Knees ACTION: bend knees/straighten knees and light bounces Feet Hip width distance apart (2 fist widths) ACTION: transfer weight forward and back, side to side Integration: The Mystic s Dream - The Mask and the Mirror- Loreena McKennitt Relaxation: Ow - Exposure - Stephan Moccio Yoga also fits with the Elements of Dance: Body- awareness Space- levels, pathways Time- tempo, freeze Energy- quality (exploding, bouncing shaking) Relationship working with partners 1

wide-legged forward fold tree pose upward facing dog butterfly pose

2 An Orff Duet ATipler mountain pose airplane pose chair pose triangle pose boat pose downward facing dog forward fold wide-legged forward fold tree pose upward facing dog butterfly pose waterfall pose Yoga Freeze: Levan Polkka - Things of Beauty Loituma (Finnish Quartet) 2

3 An Orff Duet ATipler Tuesday- skip, Wednesday- crawl, Thursday- tippy toe, Friday- jump, Saturday- march, Sunday- all go right to sleep 1 A Section: Students sing song, standing still and pointing at the teacher 2 B Section: Students do the locomotor movement that they sang in the A section while singing lightly to la 3 At the end of the B section students stop and face the teacher by pointing 4 Ask students for movement suggestions Extensions: - pick non-pitched percussion instruments to match each verse - Instead of locomotor movement do yoga poses Making food ostinati: Yoga Adventure 3

4 An Orff Duet ATipler Yoga Adventure Continued: Travelling speech: Snow ostinati: 4

5 An Orff Duet ATipler *the student is encouraged to change what Charlie caught (a fish, a dog, a bird) Students are encouraged to create a statue or create a yoga pose for their choice Game: Sit in a circle and have one student be Charlie Charlie walks around the outside of the circle singing the first phrase, the class will echo At the end of the song the person Charlie is standing behind is it and both of them run around the circle The goal is for the child who is it to make it back before Charlie Assessment: Singing Rubric Level 1 Level 2 Level 3 Level 4 -speaking voice OR -monotone -singing out of tune (does not match pitch accurately, but attempting a singing voice) - singing in tune (matches pitches accurately) -singing in tune with confidence (confidently matches pitches) 5

6 An Orff Duet ATipler 6

7 An Orff Duet ATipler Caterpillar song Day 1: Talk to students about the process of turning from a Caterpillar into a butterfly Introduce the movement section first (B section) and then learn the song Day 2: Review Day 1 and when secure, teach orchestration via speech and body percussion Day 3: review orchestration using bp and speech and when secure, transfer to instruments Travel to different groups to try all parts Day 4: Learn Caterpillar Butterfly Song Create movement to go along with the song to reflect pitch Day 5: Show Caterpillar Butterfly visual (found in Musicanada 1) and try to play it on the glockenspiel Day 6: Create High Low songs using cards from the worksheet and play them on the glockenspiel Next, show worksheet and create a High/Low song as a class Finally, Students will make their own with a partner Day 7: Final performance of The Caterpillar Song using high and low songs as intro, interlude and coda Create success criteria with the class for what they should be marked on 7

8 An Orff Duet ATipler Our High and Low Song Names: 1 Sing your song 2 Add high/low actions to your song 3 Play it on the glockenspiel _ 1 Cut out FOUR of the boxes below 2 Paste them above to create your song: But- ter- fly But- ter- fly But- ter- fly cat-ter- pil- lar cat-ter- pil- lar cat-ter- pil- lar 8

9 An Orff Duet ATipler Day 1 - Teach song with actions by rote (A section) NOTE: Actions different from mosaic to reflect the melody map of the song ACTIONS: Sor -salute hand on forehead ri- tap back of hand to partners hand da- clap hand - B section: arr A Tipler Day 2 - Review song and add movement to the B section Students walk around during B section to find new partner Day 3 - Have students explore how to play the song on the Orff instruments Day 4 - Tell students to draw a melody map showing the direction of pitches Day 5 - Students create their own version of this song (in G pentatonic) on the Orff instruments using high, medium, and low notes Extension: show form with footprint cards 9

10 An Orff Duet ATipler Sorida Melody Map So- ri- da So- ri- da di- da di- da Da da da da da da di- da di- da Names : 10

11 Process: 1 Have the parts of a snowman cut out and spread out The song also works by drawing each part 2 Teach the song 3 When secure sing the question: What will our snowman need today? Students sing their answers individually and begin to assemble the snowman, one piece at a time 4 On the second day, teach the orchestration through body percussion 5 On the third day, transfer to instruments 11

12 2 Here we come a-knocking at your door, at your door, at your door Here we come a- knocking at your door, how are you today? Game: - Sit in a circle - One child is it and walks around the circle during verse 1 - During verse 2, the child taps a second child on the shoulders - Verse 1 repeats while both children walk around the circle - During verse 2, both children tap a new person on the shoulders - The game continues until all children have had a chance to walk Extension: During Verse 1 A plays the drum while walking At the beginning of Verse 2 A taps B on the shoulder and the class chants: Stand up Stand up and here we go A holds the drum in front of their face and B taps drum The game continues and B goes to get their own drum Assessment: Keep a checklist to keep track of students that can keep the beat 12

13 Guten Morgan A greeting canon to the tune of Scotland s Burning, with ideas from Sofia Lopez-Ibor and Pam Hetrick Guten morgan, guten morgan, Good morning, good morning Buenos dias, buenos Dias, Buon giorno, buon giorno Learn the song by phrases Walk around city but be back in your place by the end of the song Repeat, this time touching something metal in your journey Repeat, touching something metal and something black Add more commands: metal, black, red, soft, pink, etc - always making sure to be back in your place by the end of the song Sing the round one time all together, and then pick a phrase to repeat; find other people singing that phrase, gather into groups - create a gesture to go with the phrase I Spy Based on I Spy A To Z: A Book of Picture Riddles by Jean Marzollo (Author) and Walter Wick (Illustrator) Show the students the cover of the book and learn the song together Teach the instrument parts by preparing them with speech and body percussion Open the book to the first page, and have students find different objects in the illustrations Make a list of 4 or 8 on the board, and create a speech phrase This becomes the B section to an ABA form Or, continue this for several pages, and create a rondo

14 I Spy A to Z J Grierson Voice c w I spy, with my eye, come and take a look Alto Glockenspiel c Ó Ó Ó Ó Z (look look) A to Z (look look) A to Percussion c y y y y Look ing with my y two y y Y lit tle eyes y y y y Look ing with my y y y Y two lit tle eyes Alto Xylophone c I Spy I Spy I Spy I Spy AG 5 5 I spy what Ó will I find Ó in this great big Ó w book Fine Fine Ó Perc AX 5 5 Z (look - y y y y Look ing with my I Spy look) A to y y y Y two lit tle eyes I Spy Z (look y y y y Look ing with my I Spy look) A to y two I y y Y lit tle eyes Spy Fine Fine

15 2 I Spy 9 1 j j AG 9 1 I spy a jack, an Ó ap ple with a bite, a Ó big blue sword and a Ó rab bit that's Ó white! Perc AX 9 9 Z (look 1 y y y y Look ing withmy 1 I Spy look) A to y y y Y two lit tle eyes I Spy Z (look y y y y Look ing with my I Spy look) A to y y y Y two lit tle eyes I Spy 13 2 Œ DC al Fine Œ AG 13 2 I spy a bas ket a Ó big blue Ó sword two bas ket balls and a Ó pink skate Ó board! DC al Fine Perc AX Z (look y y y y Look ing with my I Spy look) A to y y y Y two lit tle eyes I Spy Z (look y y y y Look ing with my I Spy look) A to y y y Y two lit tle eyes DC al Fine DC al Fine I Spy

16 Why Mosquitos Buzz in People s Ears A West African tale re-told in picture book form by Verna Aardema, illustrated by Leo and Diane Dillon Read the story aloud List the animals mentioned in the story Each child chooses an animal and a corresponding instrument They must be able to explain why the timbre of the instrument suits the animal Read the story again, this time with the students sounding their instrument when their animal is mentioned The Little Old Lady Who Was Not Afraid of Anything By Linda D Williams (Author), Megan Lloyd (Illustrator) Used with permission from Randy DeLelles and Jeff Kriske Scaredy Squirrel By Melanie Watt Read the book aloud When you get to the advantages and disadvantages of leaving the nut tree, teach the related ostinati, then continue reading Do the same when you get to the part about Scaredy s daily routine As a class, create movements for the ostinati Perform in three parts Transfer to body percussion if appropriate for your group List the articles in Scaredy s emergency kit In groups, students choose 4 articles from the emergency kit and create their own ostinati, including movement and / or body percussion

17 Name: Date: Class: Why Mosquitos Buzz in People s Ears 1 What instrument did you play in Why Mosquitos Buzz in People s Ears? 2 Circle the words that describe the sound of your instrument when you layed it fast slow loud quiet high low 3 Draw a picture of the animal you chose _ My instrument suited this animal because

18 Scaredy Squirrel To Leave or Not to Leave? Julie Grierson 8 6 Snap Clap Pat (patschen) J 6 8 Great view, plen-ty-of nuts safe place, no tar an tu las! Œ 8 6 J J J Same old view Go to sleep wake up Go to sleep Wake up Go to sleep sn c p 6 Œ Œ J Great view, Œ Same old nuts J Same old place no ta-ran-tu-las! J Same old view Wake up Go to sleep Wake up Go to sleep sn c p 10 J plen - ty - of nuts Œ safe place, Œ no ta ran tu las! J Same old nuts J Same old place no ta - ran - tu - las! Wake up Go to sleep Wake up

19 Isabella s Garden Written by Glenda Millard, illustrated by Rebecca Cool Round and round the Earth is turning, Turning always round to morning, And from morning round to night Prepare the concept of gesture with scarf then instrument Teach song (from An Orff Mosaic from Canada, p 167) Read story aloud Choose objects or images to represent each item in story Assign items from story to pairs (eg seeds) Pairs choose instrument to represent it (need to be able to justify why) and create a gesture to go with it Place items in circle, in the order from the story Conductor gestures to item with wand and the pairs perform their musical motive and gesture, then freeze, creating a sound and movement carpet Create an ABA form: A= song, B = sound and movement carpet The Mysteries of Harris Burdick By Chris Van Allsburg Images with history, Illustrator s mystery, Where d he go? We can t know! Harris Burdick, who is he? melody is from Volume IV; Short pieces for barred percussion instruments Share the images and captions from the book List adjectives that express the mood of the image In groups, students choose one image to work with They use instruments, voices, found sounds to create a soundtrack for the image and caption The music should be inspired by a single adjective describing the image, and students need to be able to explain their musical choices referring to the elements of music Create a gallery walk a la Pictures at An Exhibition, using the piece from the volumes as the promenade Post the images around the room, and students walk from image to image singing the song When they arrive at each image, that group performs their soundtrack

20 The Mysteries of Harris Burdick - Soundtrack Name: Date: Title of image: What word did your group choose to describe the image? How did you use the elements of music to express the mood of the image? Timbre (instruments, voices, found sounds you chose) Tempo (fast, slow, moderate) Dynamics (loud, quiet, crescendo, diminuendo) Pitch (high, low) Other Explain why these are effective musical choices for capturing the mood of the image and caption

Part-Singing and Percussion

Part-Singing and Percussion Missouri Music Education Association Thursday, January 25, 2018 9:15 10:15 am Roger Sams Director of Publications and Music Education Consultant at Music Is Elementary 5228