Get Your Year Orff & Running

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1 Get Your Year Orff & Running Elementary Music Workshop Arkansas ACDA Little Rock, Arkansas July 20, :30-10:30 a.m. Joshua Block

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3 Name Shapes Copy my shape Make your own shape Different levels Twisted Curved Angular Make your favorite shape Memorize it Make it again Slow motion Quick as a wink Say your name while making your shape Slow motion (Name + Shape) Quick as a wink (Name + Shape) Move your shape (Swing, shake, rotate, undulate, etc.) Match your name to the movement Everyone echoes the names and shapes Name Symphony In groups of three or four, arrange your names into a musical piece. Names may be repeated, spoken higher and lower, used as ostinatos, layered, etc. Make your piece about 20 seconds long. Extension: Create a contrasting B section and perform in ABA form. Extension: You can sing this song as a name game. Substitute a student s first and last name for Betty Martin. The student gets to tip toe into the circle on the first phase and follow the path back on the second. Change the movement word to help the students build movement vocabulary. Joshua Block Joshua.Block@asu.edu 3

4 Listen for the repeated phrases and figure out the form of the melody. Learn the 2 nd and 3 rd phrases on la and gradually add in pieces of the Japanese text. Play on recorder. Improvise on recorder using the notes E GAB. Practice singing in canon, while keeping a steady beat ostinato: Pat Clap Snap Clap. Create a sparse instrumental B part with instruments playing like fire flies, only playing short phrases and then leaving lots rests. Slow Movements (Time) Slowly, Slowly, Slowly, Said the Sloth by Erik Carle Create a movement and then do it in slow motion. How slow can you go? How does slow feel in your body? Try this with mirroring, shadowing, and activity/passivity. Hello by Adele (or other slow, sustained music) Expand/Contract (Warm up for In the Jungle ) Expand your body so that you are using as much space as possible. Then contract so your body so it takes up as little space as possible. Continue to expand and contract in different ways for 16 counts each. Switch to 8 counts each, then 4, and then 2. Recording: Mbube from Long Walk to Freedom: Ladysmith Black Mambazo (& Taj Mahal) Joshua Block Joshua.Block@asu.edu 4

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6 Teaching the Orffestration For the non-pitched percussion, start with the shakere part, as it is the only instrument in the orffestration that has anything resembling a steady beat. Learn the djembe part, playing "bass" on "Bam" and tone on the rest of the pattern. The gankogui part fits into the spaces between the phrases of the song. The song can be performed with just non-pitched percussion and singing if desired. Teach the bar instrument parts using body percussion to show when the notes shift. Start with CBB and BX. Then add AX. Add the SX part last. Teach the rhythmic pattern first by patting it on the right knee. Then put the 3rd and 4th measures on the left knee to show the change of pitch. Practice first on low F & C. When the students have mastered that, they can try the octave switch. Sing the song while playing. Combine with the non-pitched percussion. Joshua Block Joshua.Block@asu.edu 6

7 Formation: Single circle of partners facing each other. Everything happens on the word go. Pat both hands twice with partner. Clap own hands twice. Touch both palms with partner and rotate half a turn, switching spots. Clap own hands three times and then do a jumping turn to face a new partner. Joshua Block Joshua.Block@asu.edu 7

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9 Teaching the Orffestration For the non-pitched percussion, start with the shakere part, as it is the only instrument in the orffestration that has anything resembling a steady beat. Learn the djembe part, playing "bass" on the word "Play" and tone on the rest of the pattern. The gankogui part fits into the spaces between the phrases of the song. The song can be performed with just non-pitched percussion and singing if desired. Teach the bar instrument parts using body percussion to show when the notes shift. Start with CBB, then add BX, and then AX. If you don't have contra bass bars, play the bass notes on bass xylophone. Add the SX part last. Sing the song while playing. Combine with the non-pitched percussion. *You can also use the instrumental accompaniment from I Let Her Go, Go for this song and sing them as partner songs. Joshua Block Joshua.Block@asu.edu 9

10 Bar Instrument Tips Shoulder hold: Mallets rest on shoulders anytime I am talking Handle bars: Correct mallet position Wiggle it, just a little bit : Don t strangle the mallets Mallets down Thumbs up! Bounce gently: get a good tone Play softer & smaller No clicky your sticky : If you want to keep the beat, go Head to Head. Head to Head : Tap one mallet on the other without making sound. Extra eye-hand coordination practice : move one mallet while the other keeps the beat Warm up: Tremolo on Low C. Slowly move the tremolo to the highest bar. Then start on the smallest bar and go the other way. Solo playing: Pick a student to play some beautiful music on an instrument. Compliment good mallet technique, gentle playing, and use of all the bars. Let everyone in that family play beautifully together. Repeat for solo and family playing for the other families. Ask the students to notice differences in timbre between the families. Movement Tips Bubble: If you bump, your bubble breaks and you both sit down until I give you a new one. Falling down: Sit, watch, and tell me who is good at keeping their balance. Move silently first. Put all your energy into the movement Frame it in silence. Silence at the beginning and ending of a piece Split the group in half so they can observe, give feedback, and build vocabulary. Make it a production: Ladies & Gentlemen of the theatre, thank you for coming to this evening s performance of Convergent Teaching Body percussion Finger mallets Break it into pieces. Find similar phrases. Play Sing Play -Sing Teacher model Add one student, then another, then 2 more, then 4 more (Not all at once) Sing while you are playing Divergent Teaching Echo patterning to build vocabulary and get the feeling of a phrase Play a pattern. They clap it back. Clap a pattern. They play it back. 1 bar, 2 bars, 3 bars Limit the choices Pick a rotating student to give the rhythms that the class echoes or answers Question and Answer Give them a phrase length Professional Organizations American Orff-Schulwerk Association aosa.org Central Arkansas Orff Chapter centralarkansasorff.org Northwest Arkansas Orff Chapter nwaorff.com Joshua Block Joshua.Block@asu.edu 10

Let the Children Be Their Own Composers

Let the Children Be Their Own Composers Elementary Music Workshop Arkansas ACDA Little Rock, Arkansas July 20, 2016 1:00 4:30 p.m. Joshua Block Joshua.Block@asu.edu Joshua Block Joshua.Block@asu.edu 2