Greater Chicago Chapter AOSA - March 21, Part One - Singing To Learn. Brent Holl

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Greater Chicago Chapter AOSA - March 1, 015 Part One - Singing To Learn Brent Holl Description Using canons and songs ith movement, Orff instruments and recorders, e can learn the basics of singing

This orkshop is designed especially to foster reading skills using locomotor skills, singing and rhythmic activities The activities are appropriate for elementary through middle school including

1 Greater Chicago Chapter AOSA - March 1, 015 Part One - Singing To Learn Brent Holl Description Using canons and songs ith movement, Orff instruments and recorders, e can learn the basics of singing in choir This orkshop highlights the basics of good choral singing: Posture, Breathing, Consonants, Voels, and Rhythm We ll discuss process, materials, and techniques and e ll sing and move and play! This orkshop is designed especially to foster reading skills using locomotor skills, singing and rhythmic activities The activities are appropriate for elementary through middle school including special learners Focus: Orff process, active singing; instrument accompaniment for songs; movement ith song: Grades - 8 Part To - Listen to Learn Description We ll learn the basics: listen, focus, quiet, start, and stop Then e ll study five pieces of music from classical to folk to azz using activation techniques in the Orff Schulerk model We ll use body instruments, Orff instruments, movement, speech, and unpitched percussion We ll demonstrate and discuss techniques, repertoire, and age appropriateness Focus: Orff process, active listening, orking together, appreciation of music, Grades K - 8 1

2 Greater Chicago AOSA March 1, Brent Holl, instructor If I kne I had eight hours to cut a tree, I d spend six of them sharpening the axe - Abraham Lincoln Posture - The position of the limbs or the carriage of the body as a hole - Random House Collegiate Dictionary The Four Points of Posture: Both Feet on the floor ith body in balance Ears to toes in a straight line (Back Straight Not really!) Head and Shoulders in a neutral, balanced position The carriage of the body should be alert, but RELED Posture The po - si - tion, po - si - tion, po - si - tion of the Brent M holl limbs, limbs, limbs, or the car-riage, car-riage, car-riage of the bo-dy, bo-dy, bo-dy, as a hole, as a hole The Random House College Dictionary Revised Edition (1975) Reprinted ith permission 006 Brent M Holl all rights reserved Ostinatos: Back straight, feet on the floor! Head and shoulders neutral, baby The use of ostinatos is very typical in the Orff process The benfits include: Immediate positive results ith reasonably complicated material Helps ith class management by keeping everyone involved and focused Builds memory Builds confidence and helps overcome shyness Promotes a feeling of orking together in an ensemble and listening to each other

3 The Four Points of Breath: Breathe deeply ith the diaphragm Breathe on the voel sound so no one can hear Control the exhale to support the sound Maintain a relaxed but alert facial and body posture 1 Breathe Brent M Holl Breathe in deep to sing this song, Sit up straight and sing out strong, 3 3 Take a breath no one can hear and sing a plea-sant song of cheer! 006 Brent M Holl All Rights Reserved Add the accompaniment! Woodblock Triangle V 3

4 Greater Chicago AOSA March 1, Brent Holl, instructor The Four Points of Voels: Voel formation is essential Singing the Voels colors the tone from dark to light Voels are sung North and South Singing voels opens the voice and releases the head tone Hush Little Baby You'll Pray Al - Hush lit - tle ba - by, An - gels guard you Al - le - lu - ia, 3 don't hile you you cry sleep Al - le - lu, be to an the Brent M Holl an - gel by and by Lord your soul to keep le - lu - ia, Al - le - lu 006 Brent M Holl All rights reserved SG/AG SM/ c c Add the accompaniment! AM/ BM/ c c

5 The Four Points of Consonants: Consonants make it easy to understand ords Consonants highlight the rhythm Consonants must be articulated Al Dente Consonants are fun to practice ith Tongue Tisters! Some Like it! 1 3 Brent M Holl Some like it cold and some like it hot! But 5 some ust don't like it heth-er or not! 006 Brent M Holl All rights reserved Add the accompaniment: SG/AG Cobell Guiro Claves Bass Drum V æ æ 5

6 Greater Chicago AOSA March 1, Brent Holl, instructor Soprano Recorder Hand Drum # 1 And Finally, Rhythm! Ha ha ha ha, Laugh Canon hee hee, hoh hoh, Brent M Holl hoo hoo SR # HD Ha ha ha ha, hee hee hee hee, hoh hoh hoh hoh, hoo! Process: Read the Hand Drum Rhythm at sight using rhythm syllables of choice Transfer to body percussion Use a variety of sounds letting the timbre reinforce the strong and eak beats Play in -part canon Read the melody rhythm at sight using rhythm syllables or numbers, then letter names Sing letter names in -part canon Transfer to recorders Play in -part canon Add the text and sing the canon in unison reinforcing the voels and good breathing technique ith the aspirate H Sing and Play drum part and melody in unison, then -part canon Add movement: Move in one direction for every four measures in self-space (don, around, up, say) The directions can be extended ith arm and hand movements Expand the movements to shared space ith a partner Use locomotor movement in different directions (forard, backard, sideays), changing direction every measures Perform as a song ith movement and hand drums groups, each includes recorders, singers, and drummers Try this body percussion routine: (From bottom to top: step, patsch left, patsch right, clap, bass tone) 6

Listening to Learn The children must have concrete perceptions upon hich to base their musical experiences The students must have experienced the components of the music they are listening to!

7 Listening to Learn The children must have concrete perceptions upon hich to base their musical experiences The students must have experienced the components of the music they are listening to! (os Wuytack 83) b 1 Fanfare os Wuytack Triangle Tamborine Bass Drum Vocal Ostinato Tr Tamb BD 5 b 1 b Cla - Pic - co, ri cla - pic - co, ri, Tu - Cla - Pic - ri co, cla - pic - co, ri, cla - pic - ba, cla - pic - co, ri, ri, co, cla - pic - co, ri, cla - pic - ri, cla - co, pic - ri, cla - co, pic - co ri - - net lo tu - ba, tu - ba cla - pic - ri, cla - co, pic - ri - net co - lo Ost b Tu - ba, tu - ba, tu - ba (W, Lamelou, p) 7

8 Greater Chicago AOSA March 1, Brent Holl, instructor Listening and Trust Aim: Developing an aareness of the instrument colors Learning to listen intently Learning to focus on one sound among many Process: Trust alk ith a partner Rules: sloly, safely, eyes closed in charge, stay in bounds Unsafe sits Trust alk ith vocal sound Trust alk ith instrumental sound Find the tree in the forest One is tree; other ith eyes closed finds the correct tree in the forest Trees in straight line signal ith an instrumental sound Trees stop their sound hen 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 Brandenburg Concerto #5 ( S Bach) Aim: Active Listening introduced by pitched instruments Process: Go to the instruments and play the C maor scale in hole notes, then halves, quarters, eighths, sixteenths, etc Play arpeggio patterns highlighting 1, 3, 5, and 1 Work into the pattern: 1 c Rehearse this pattern until ell learned Name it TUTTI Listen the first part of the piece, say TUTTI every time you hear the above pattern in hole or in part Discuss tutti theme, cadenza, development, trio solo, imitation, etc Extension: Play Tutti Con Frutti Full Score attached 8

9 Sabre Dance - (from Favorite Classics of the Bolshoi Ballet: Sabre Dance by Aram Khatchaturian ) Arr os Wuytack Aim 1 c Do do do do do do do do do do do do do do the Sa-bre Dance, do the Sa-bre Dance, do the Sa-bre Dance, do the 8 Sa-bre Dance, do the Do do do do do do do dance of A - ram Kha-tcha-tur - i - do do do do do do do the an, an, an, an Sa-bre Dance, do the Sa-bre Dance, do the 11 To Coda 3 Sa-bre Dance, do the Sa-bre Dance, dothe 15 3 Active Music Listening introduced by Verbal expression Sing, sing a dance of A - ram Kha-tcha-tur - i - song for to - day Sing a song, an, an, an, dance ith 3 1 c me all the an day Off 31 c ay you go 36 yes, Kha-tcha-tur - i - an, to an, fi 6 dip, dip, dip, dip, dip, dip, dip, dip, dip and fro A - ram, an, Dance A - ram, A - ram, dip, dip, dip, dip, dip, dip, dip, dip, and A - ram, A - ram, sing, A - ram, A - ram, sing all the ay A - ram Kha-tcha-tur - i - an, A - ram, A - ram, dip, dip, dip, dip, dip, dip, dip, dip, A - ram, Kha - tcha - tur - i - DC al Coda an dip, dip, dip, dip, dip, dip, dip, dip, an! 9

Greater Chicago AOSA March 1, 015 - Brent Holl, instructor Chitlins Con Carne - (Kenny Burrell) Aim: ɶ Active listening using azz blues style improvisation in pentatonic Process: ɶ Learn the tune to

10 Greater Chicago AOSA March 1, Brent Holl, instructor Chitlins Con Carne - (Kenny Burrell) Aim: ɶ Active listening using azz blues style improvisation in pentatonic Process: ɶ Learn the tune to Chitlins ɶ Add a bass riff ɶ Add some drums ɶ Let the piano fill the chords ɶ Try some improvisations in a minor pentatonic ɶ Listen to Chitlins ɶ Discuss form and improvisations ɶ Play tune ith piano and solo improvisions Note to orkshop participants: Please feel free to use anything in these notes ritten or arranged by Brent Holl for your on professional use in class or orkshops Simply make sure that the folloing notice is on each copy Brent M Holl, 015 All rights reserved Used by permission For all other materials permission must be obtained from the copyright holder These notes are available online for donload at This orkshop has been presented by: Brent M Holl 30 East College Street Bridgeater, Va brentholl@maccom Find more free stuff at brenthollcom Donload the orkshop notes from Brent s ebsite 10

11 Tchaikovsky: The Nutcracker, Op 71 - Russian Dance Trepak ohn Lanchbery: Philharmonia Orchestra Aim: Active Music Listening Through Movement Process: Find a meter and rhythm by reading each section aloud Make up folk dance style movements for each section Add repeats, dynamics, accents, and crescendos Perform ith the recording in this form: AAAABBCAA - Coda A Come let us do a Russian Dance, Come let us do a Russian Dance, Come dance ith me the beautiful Trepak! B Come dance ith me the Trepak! Come dance ith me the Trepak! Come, do the dance, do the dance, do the dance, do the dance, do the dance, do the dance, do the dance! C With You Oh yes! With You OK! With You Oh yes! With You OK! With You No ay! With You Oy!! Coda Come dance ith me the Beautiful Trepak! Come dance ith me the Beautiful Trepak! Bibliography Holl, Brent Canons Too - An Active Study in Part Singing for Grades - 8 Beatin Path Publications LLC 30 East College Street Bridgeater, VA Bach, S Brandenburgische Konzerte 1-6 Weiner Akademie, Martin Haselbock, conductor Novalis , 1989 Burrell, Kenny Midnight Blue azz Heritage Society, X ADD Khatchaturian, Aram Favorite Classics of the Bolshoi Ballet Russian Festival Orchestra, Vladimir Petroschoff, conductor Excelsior EXL--9, Tchaikovsky, Peter The Classical Collection, Second Edition Russian Dance-Trepak Royal Philharmonic Orchestra, Enrique Bátiz Musical Heritage Society X Wuytack, os Lamelou - Canons et Chants Alphonse Leduc et Cie, Editions Musicales, 178 rue Saint-Honore, Paris

12 Greater Chicago AOSA March 1, Brent Holl, instructor SCORE TUNE TRI TONE BASS Chitlins Con Carne Kenny Burrel Brent Holl 5 # # # # 9 # # 13 # # # 1

13 Soprano Xylophone Soprano Glockenspiel Alto Xylophone Alto Metallophone SG AM TR TB MCA C Triangle Temple Blocks Maracas Bass Xylophone Contra Bass Xylophone 3 Allegro 1 c F c p c P c c P c π F Tutti Con Frutti A paraphrase of Brandenburg Concerto No 5 by S Bach Brent M Holl 13

14 Greater Chicago AOSA March 1, Brent Holl, instructor 6 1 SG AM TR TB MCA C SG AM TR TB MCA C 9 F P F -- P 1

15 SG AM TR TB MCA C 1 Fine U (development) P crescendo P crescendo π π 15 SG AM TR TB MCA C 15

16 Greater Chicago AOSA March 1, Brent Holl, instructor SG AM TR TB MCA C 18 F f P P SG AM TR TB MCA C 1 1 (transition) p crescendo p P 16

17 SG AM TR TB MCA C crescendo P crescendo rall rall # b F U P U U U F U rall U DC al Fine 17

Memphis Chapter AOSA - February 25, 2017

Memphis Chapter AOSA - February 25, 2017 Part One - Singing To Learn Brent Holl Description Using canons and songs with movement, Orff instruments and recorders, we can learn the basics of singing in choir