April 17, 2017 Sounds Abound! Brent Holl Desription In this session we ll elebrate the timbres of the Orff instruments as we look at their ustifiation and use in the musi lassroom We will play arrangements and reate improvisations and tapestries of sound to explore the beautiful sound olors of the Orff orhestra Eah timbre of Orff instruments will be explored Orhestration suggestions will be given and some typial uses of eah instrument group will be introdued This session will inlude lots of instrument playing with improvisation, movement, and reorders Fous: Orff proess, timbre, movement, improvisation Audiene: Teahers K-8 Note to workshop partiipants: Please feel free to use anything in these notes written or arranged by Brent Holl for your own professional use in lass or workshops Simply make sure that the following notie is on eah opy Brent M Holl, 2017 All rights reserved Used by permission For all other materials permission must be obtained from the opyright holder This workshop has been presented by: Brent M Holl 302 East College Street Bridgewater, a 22812 50-78-833 brentholl@maom wwwbrenthollom Find more free stuff at http://bppubnet/bppfree These notes are available online for download at http://bppubnet/dn- LDNotes 1
April 17, 2017 - Brent Holl, instrutor lobal reetings (AC Pfitzner, Hands To Hands) L AX BX Wave Clap Both Clap Own Patsh A B ã How-dy,hi,how are you Ways to say,"hel-lo!"hel-lo! Hey,what'sup,what's happen - -ing, and don't forget - yo! lobal reetings A C Pfitzner arrbmh Ciao! Ni hao, Jam - bo, Na - ma - ste Ko - ni - hi - wa, a - lo - ha, Bu - na Zi - ua, ' day! AX Chow, nee how, ahm-bo, nah-mah-stay Ko - nee-hee-wah ah-low-ha, boo-nah zee - wah, guh day BX Wave Clap Both Clap Own Patsh ã ã Shake Right, Shake Left Do Si Do for 6 beats Side Step Right Introdutions with a Song and Aompaniment Use a visual to identify the key and find do Find all the syllables, then review hand signs Sing the syllables in slow motion adding hand signs if possible (Mistakes allowed! :) Replae the syllables with the text (Whew!) Step the pulse while you sing Find a partner and learn the lapping game from the visual or by rote Change partners at the end (Conentri irles works too!) 2
Listening and Trust : Developing an awareness of the instrument olors Learning to listen intently Learning to fous on one sound among many Proess: Trust walk with a partner Rules: slowly, safely, eyes losed in harge, stay in bounds Unsafe sits Trust walk with voal sound Trust walk with instrumental sound Find the tree in the forest One is tree; other with eyes losed finds the orret tree in the forest Trees in straight line signal with an instrumental sound Trees stop their sound when found Find the tree in the forest, this time spread the forest throughout the spae To extend the ativity, limit the number of times the tree an make their sound We Love Singing (Canons Too, BMH) 1 2 2 We love sing-ing, sing-ing oy - ful - ly, 3 E - v'ry note is per-fet har - mo - ny with spir-it, laugh-ter, and somefun Now our an - on's done SX AX 2 2 2 Triangle BX 2 3
April 17, 2017 - Brent Holl, instrutor The oy of singing a Canon lies in the fat that everybody at some stage sings the tune (Rihard ill Nine New Canons Magnamusi-Baton, In 198) reat power lies in the ylial nature of a round, the intensity of olletive hant or the larity of a beautiful yet simple song (Marytha Paffrath Libana A Cirle is Cast ) Use a visual, analyze and sing (What s the key Meter Identify musial symbols Find the first note Identify Solfege and sing with hand signs Add text, sing in unison then anon Add aompaniment Use body perussion, then transfer to the instruments Teah the instruments in any order you wish Add your own reative touh to the presentation Adapt the parts to the skill level of the players Perform the whole thing Conerto for Piano and Orff Instruments Learn the names of the instruments and get aquainted with the sounds Transfer imitation to Pithed Perussion Use imitation as a beginning to improvisation Proess Move to the instruments by birthdays Introdue the instruments by name Show basi mallet tehnique, how to hold them, where to hit, et Introdue the Basis if ensemble work Stop, Start, Listen, Fous Do some simple free improvisation using only signals for Stop and Start Add Listen (don t play too muh) and Fous (on task) Explore the sounds of the instruments with imitation: ( Keetman Conduting ) Snaps: glokenspiels Claps: xylophones Path: metallophones Stomp: unpithed Several students get to ondut Teaher aompanies at the piano 1st time, then members of the lass Hint: Use simple -beat patterns (duple first, 8th and th notes and rests), then add omplexity
Instrumental Melody for Orff Instruments Soprano Soprano lokenspiel 1 Brent M Holl Alto Claves Bass Learn a melody by imitation (Listen/Sing/Play) Introdue la pentatoni on D Learn a simple bordun orhestration Proess Show orret mallet tehnique, use alternation (when possible) L - Listen (teaher sings letter names of notes) S - Sing (students sing bak to the teaher in imitation) P - Play (students play what they sang) Learn eah motif and put them together Add the repeat Play Rotation Add the aompaniment Improvisation - The Life Blood of Artistry Improvisation in Question/Answer style Expand the use of an instrumental melody using Form (Rondo) Proess - Introduing Question/Answer ive the lass a question using body perussion; all answer Make sure everyone ends at the strong beat of the last measure, Final Point Make sure the answers are not an exat imitation of the question Make sure the answers are related to the question Ask who wants to give the teaher a question All get a partner, question answer with eah other Disover: The adene point (The Final Point) on the last strong beat of the answer The absene of a adene point (Final Point) in the question (think CHA, CHA, CHA) 5
April 17, 2017 - Brent Holl, instrutor The ommonality or shared ideas between the question and answer The answer should have ommon elements with the question The question and answer phrases are the same length Extend Question/Answer Improvisation to Pithed Perussion Proess Teaher asks lass a question on a pithed instrument in la pentatoni on D NEW POINT: the answer MUST end on the toni! Establish a bordun + olor Solo xylophone asks xylophones a question Solo metallophone asks metallophones a question Solo glokenspiel asks glokenspiels a question All think a question with inner ear, tutti answer Question/Answer Improvisation in Rondo Form The Rondo A musial form with a oyful refrain repeated at least three times with in-between ontrasting ouplets (Wuytak, 77) The rondo form gives opportunities for reativity beause the ouplets are used for improvisation The present rondo form is derived from the 12th entury Frenh rondeau The rondeau is representative of the daners performing in a irle formation and the ouplet (dans par ouple) meant that one ouple would improvise a dane (Wuytak 92) Review the melody we learned yesterday in D Minor (la) pentatoni Add the in-between ontrasting ouplets as Q/A improvisations How many phrases Who will play and when B Setion, C Setion, more Seminar: Disussion of Timbre and the Use of Orff Instruments Justifiation for Use of the Instruments (Jos Wuytak, MC 91, p 76) Orff instruments are not used as a magi formula to ombat sterility in musi and are not used as an end to themselves but as a means of musi teahing whih is ustified both eduationally and artistially At some point all hildren would like to play as well as sing, Cantare and Sonare Some will prefer to play, others to sing 6
The use of instruments leads to ative partiipation It puts ontrol of the musi in the hands of students They are ative partiipants in their own learning experienes Playing instruments is truly play for hildren It is pedoentri (hild-entered), enouraging a vital avenue for self expression with both oy and seriousness Instrumental work is ensemble work Working ooperatively is an essential life skill Every member of the ensemble is important, working to their level of ompetene Instruments enourage reativity beause of the ease of improvisation It ensures even relutant students a path to suess The instruments enable immediate suess At the same time, students are hallenged by more pratie and more and more diffiult tehniques The timbre of the instruments is extraordinary in its range of sounds (T)hey an delight, frighten, alm, or they an exite, exalt into regions of estasy and mysterythey have a magial harater lokenspiels The Dream (Ensemble, BMH, p 21) lokenspiels: The sound of the glokenspiel is pure, fresh, sparkling, twinkling, shining, and hildlike The instrument originated as an unpithed wind hime like the instrument in the Mozart opera, The Magi Flute It also an be traed to lok himes The original glokenspiels were glasses of water tuned to the pithes of the sale being used In 1936, at the opening eremony of the Olympi ames in Berlin, the first note of the eremony was struk on a water glass over what was then a brand new piee of tehnology, the PA system Imagine the wonder of the world audiene as that lear sparkling tone resounded through the huge Olympi stadium! Of ourse for pratial lassroom uses Keetman and Orff needed a more durable instrument so the modern glokenspiel was developed! Soprano lokenspiel Alto lokenspiel uiro A freely Brent M Holl S A 5 1 2 q» º uiro 7
April 17, 2017 - Brent Holl, instrutor To fous on the timbre of the soprano and alto glokenspiels introdue the alberti bass aompaniment introudue a diatoni melody with a I - hord progression Proess Sing the melody from a visual using solfege, then letter names Point to the notes on the instrument as you sing the letter names Sing the letter names silently while touhing the appropriate tone bars Play the melody with mallets Introdue the Alberti Bass and try it out Learn the hord progression, I - and adust the Bass Part appropriately All play Only lokenspiels play Add Movement: Improvise some lok or musi box daner movement, ballet like, or perhaps ukoo lok harahters Metallophones Hiraoshi (BMH) Wind the lok with a guiro Play and dane until the lok or musi box winds down Wind it up ust a turn or two until the song finishes Be sure to turn off the musi box when the song is done! :) Metallophones: The sound of the metallophone is rih, mellow, hazy, mysterious, mystial, sumptuous, and ringing enerally speaking, a metallophone is any musial instrument onsisting of tuned metal bars whih are struk to make sound, usually with a handheld beater Metallophones have been used in musi for hundreds of years There are several different types used in Balinese and Javanese gamelan ensembles, inluding the gendér and saron These instruments have a single row of bars, and are often tuned to a pentatoni sale The glokenspiel and vibraphone are also metallophones - these have two rows of bars and are tuned to the hromati sale In musi of the 20th entury and beyond, the word metallophone is sometimes applied speifially to a single row of metal bars suspended over a resonator box and tuned to the diatoni sale Suh instruments are often used in shools, and Carl Orff used them in several of his piees, inluding his pedagogial Shulwerk This artile is from Wikipedia All text is available under the terms of the NU Free Doumentation Liense 8
U J Hiraoshi BMH 5 J SM AM BM U J Fous on the timbre of the metallophones Add the reorder to the ensemble Introdue a hemitoni pentatoni sale Proess Sight read the reorder melody from the visual Add the ostinatos one at a time Add some sound effets Add mirror movement in diamond formation 9
April 17, 2017 - Brent Holl, instrutor s SeeDees (Wood Songs, BMH) s: The sound of the is dry, foreful, vigorous, dynami, humoristi, maabre, and impelling Carl Orff reeived a gift from two missionaries in Afria of a balafon, an untuned wooden barred instrument From this gift and with the help of his friend Karl Maendler, a harpsihord builder, he developed the first xylophones in the familiar one person size, so that daners at the unthershule in Salsburg ould aompany their own danes The first xylophones in use resembled very losely our own Alto s and were in use at the unthershule from 1923 until the outbreak of World War II in 1939-0 The Bass was not developed until the middle 60 s For more information and a short history of the xylophones early development visit: http://wwwlassisforkidsom/teahers/training/ orffinstrumentsasp and http://wwwstudio9de/english/portrait_e/ indexhtm Soprano Alto Jingle Bells Bass SX 3 1 2 AX JngBls BX Interlude 10 o J o J o o J o J o J o o J o J o J o o J o J o J o o J
Putting it all together oie Alto Reorder Alto Bass Contrabass My Roots o Down My roots go @ J down, down to the J 7 earth, my roots go n Sarah Pirtle AR AX BX CBX 5 C down, down to the earth, my roots go J down, down to the J earth, my roots go w down w Sarah Pirtle s website (wwwsarahpirtleom) has free downloads of teaher materials for nine reordings Sarah has written three books for teahers inluding Better Together: Caring and Inluding Instead of Bullying with double CD Linking Up has details of how to use Roots o Down for ooperation games; it s 350 pages with 0 songs and information about teahing how to talk things out D 7 11
April 17, 2017 - Brent Holl, instrutor AR 10 My roots go J down, down to the J 7 earth, my roots go C down, down to the AX BX CBX @ n AR 1 earth, my roots go J down, down to the J E m7 D 7 earth, my roots go w down w AX BX CBX My trunk stands strong in the wind My branhes reah for the sky My leaves they turn to the light My fruits are gifts from my heart My seeds they bring forth new life The last verse inludes all the verses from 1-5 12
Ensemble (book/cd) Easy to intermediate piees for Orff ensemble grades 8 ($295) by Brent M Holl A new, exiting set of piees in progressive levels of diffiulty for students in the middle! Your Orff Ensembles, perussion ensembles, and general musi lasses will love learning and exploring these piees The series inludes traditional sounding Orff arrangements, marimba musi, etudes for tehnique, and multi-ultural piees Forms suh as the haone, theme and variations, rondo, anon, and arrangements of fiddle tunes from Appalahia and Ireland are inluded The book inludes a CD of studio reordings and live performanes of the piees It is a great resoure for this age group Wood Songs (book/cd) - Piees for xylophone and marimba ensembles grades - 8 ($2 95) by Brent M Holl Here are brand new xylophone and marimba ensemble piees for your general musi lasses in th - 8th grades These energeti and reative ensembles will be your students' favorites! Exellent for building tehnique and that rih, preision ensemble sound A winner! All piees are espeially suitable for your 6th, 7th and 8th grade general musi lasses but an be adapted easily for your upper elementary students The piees sound great on your homemade marimbas and on your Orff xylophones Both of these olletions are available at brenthollom Available from: Beatin' Path Publiations, LLC 302 East College Street Bridgewater, A 22812 beatinpath@maom wwwbeatinpathpubliationsom 50-78-833 13
April 17, 2017 - Brent Holl, instrutor Canons Too! - An ative study in Part Singing for rades - 8 by Brent M Holl (BPP-CT $1295) This olletion of eleven anons and arrangements is suitable for young hildren in fourth through eighth grades Six of the songs are arranged for Orff instruments Eah anon also has opying privileges so you an make every hild a opy All songs work equally well a appella or with Orff instruments Teahing Suggestions and Lesson Plans for some of the songs are inluded Contributing editor Rob Amhin has written an artile to give many tehniques and ideas about teahing rounds and anons Available at brenthollom Available from: Beatin' Path Publiations, LLC 302 East College Street Bridgewater, A 22812 beatinpath@maom wwwbeatinpathpubliationsom 50-78-833 1