A Free Gift from. Diddle Fiddle

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1 A Free Gift from Diddle Fiddle is inspired by the little gems of Orff Schulwerk original source material written by Gunild Keetman. BethAnn Hepburn and Roger Sams created this lesson imitating Keetman s instrumental canons. This lesson takes a literacy-based approach to teaching the piece, but you could also teach this melody through rote processes. It is the kind of instrumental piece that once the students have mastered it they will want to play it again and again. We think adding movement canon makes it even more exciting. Enjoy! Diddle Fiddle PATHWAY TO Rhythm: Learning the rhyme through literacy Students read the rhythm of the rhyme, saying rhythm syllables and patting. Add text to the rhythm and ask the students to follow the notation while you speak the rhyme.

2 Echo the text, four beats at a time. Students say the rhyme with you. Students say the rhyme without support. PATHWAY TO Melody: Learning through literacy Prepare the students to read in do centered diatonic, using the solfa tone ladder. Ask the students to sing what you point to on the solfa tone ladder. Point out the melody of the song. Students read the melody from solfa notation, singing solfa with hand signs. Acclimate the students to the staff in C=do diatonic. Students sing solfa syllables with hand signs from the staff.

3 Students sing the song with text. PATHWAY TO Partwork: Singing a round When the students are capable of singing the song independently, ask them to begin without you and then come in four beats later in a round. Divide the class in half and sing in a round at four beats.

4 For an advanced challenge divide the class into four groups and perform as a 4- part round at two beats.

5

6

7 PATHWAY TO Creative Movement: Movement in canon Guide the students through the process of creating movement for each motive of the song in the following sequence. o Create three sudden stationary shapes on the words, Hey, Ho, and play during the first motive. (Shape, Shape, Shape, Rest) o Use locomotor movement to travel right or left during the second motive. o Practice these two motives in sequence. o The third motive is a repeat of the first motive, so keep the movement the same. o Practice the first three movement motives. o On the final motive change body facing, or add a turn. Create something completely different from the previously created sequences that ends in a pleasing final shape. o The class practices the entire dance while singing. Divide the class in half and perform in a two-part singing and dancing round. Trade parts. Divide the class into four parts and perform in a four-part singing and dancing round. Rotate the students through all four parts. PATHWAY TO Instrumental Technique: Playing the melody Acclimate the students to the barred instruments in C=do diatonic using 4-beat echo patterns, singing solfa and playing. Teach the melody through echo imitation, using solfa. Have the notation on the white board to support visual learners. Students play the melody. Students play the melody in a round.

8 PATHWAY TO Partwork: Melody with descant Students read the rhythm of the descant. Students sing the descant, reading solfa syllables. Acclimate the students to the staff in C=do diatonic. Students read the descant, singing solfa syllables, while reading from the staff. Students sing the descant with text. Students sing the descant with text, while you sing the melody. Divide the class in half and sing in two parts.

9 Consider transferring the descant to GL and combining with xylophones playing the melody. TEACHER TALK: Creating a Final Form Use the various possibilities explored throughout the lesson to create a satisfying final form with the students. There are infinite possibilities!

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