Sing Al'lelu Sung in Canon

At the core of Carl Orff's work is a kind of musical expression that is able to speak to children without the loss of musical integrity. There in lies its great significance, its genius. Voice & # & # A Sing Sing al Sing Al'lelu Sung in Canon & # SX j j le lu al le Sing lu al Sing al le lu le lu ia Joe Berarducci 000 a j j {& # AM ΠΠΠΠ& # BM & # CBB Voice con'tc 5 & # al le lu al le & # men. lu le lu ia 1

Notating Accompaniments for Orff Composition: Notating Movement: 1. One line for each levelmovement component. Note stems indicate Right (up) or Left (down) Example: Ding Dong: snap clap patsch stamp f f f r f R f r f R f f r f R f r f R f j f j f j f j f snap clap patsch stamp 3 f f f r f R f r f R f f r f R f r f R f j f J f j f ΠNotating Orff Instrument accompaniments: 1. Always in Treble clef regardless of voicing. Middle C is longest C on the instrument (BX, AX, SX, BM, AM, SM.). Stems up indicate Left hand mallet, stems down indicate Right hand mallet. (Not all accompaniments follow this rule.) 3. Lowest instrument is always the bottom stave. e.g. BX is the bottom stave, AX would be the stave above the bottom, and SX would be the next stave, followed by AG and SG. Notating Npp: 1. Usually a different staff is used for each instrument part with the lowest instrument (skins) on the lowest staff and the speech or song on the top staff.. It can be notated on a single staff as follows (similar to body percussion): rhlh designations are not so critical notate instrument parts on each line of the staff a. Skins bottom line ( e in treble clef) b. Woods line ( g in treble clef) c. Scrapers line 3 ( b in treble clef) d. Metals line ( d in treble clef)

THE CANON In music, a canon is a contrapuntal composition that employs a melody with one or more imitations of the melody played after a given duration (e.g. quarter rest, one measure, etc.). The initial melody is called the leader, while the imitative melody is called the follower -- which is often played in a different voice. In the Orff style, a canon is somewhat like a round. In fact, every round is a canon but not every canon is necessarily a round. Imitation: 1. Simultaneous (Unison) imitation the imitated response happens at the same time as the instructor s cue Copy the teacher. This is reaction training for the eye.. Echo Imitation: the imitated response happens after the instructor s cue (see Rote Technique ). This is reaction training for the ear. Rote Technique: will refer to the following steps: Teacher performs song in totality. Class listens. Teacher performs phrase one. Class echoes. Teacher continues above process with each subsequent phrase. Teacher performs phrase one and two. Class echoes. Teacher performs phrases three and four. Class echoes. Teacher performs song in totality. Class echoes Imitation can be applied to all aspects of music. In movement: Students build observation skills and develop the ability to react quickly to cues (mirror movement.) Verbal imitation: work with vocalization sounds BP: Sound imitation (snap, clap, patsch, stomp) Instrumental response to BP: Transfer of movement. language or teacher gesture to instruments Body Percussion generally transfers to the following instruments: Snaps Metals Glockenspiels Soprano Claps Woods Xylophones Alto Patsch Skinsdrums Metallophones Tenor Stomp Large Percussion Basses bass 3

Simple Simultaneous imitation: Can You Do This? a. Can you do this? (Patsch for 8 beats, repeat for beats, beats, 1 beat, double time) b. Can you do this? (clap for 8 beats, repeat for beats, beats, 1 beat, double time) c. Can you do this? (shoulders for 8 beats, repeat for beats, beats, 1 beat, double time) d. Can you do this? (head for 8 beats, repeat for beats, beats, 1 beat, double time) Unison Imitation (for the eye): Unison Body Percussion (snap, clap, patschem, stamp) Teacher leads repeated patterns on any of the body parts Students join as soon as they can Teacher changes and students change Combine patterns Perform in canon Hint: for success and progress keep the patterns simple, and very repetitive. E.G.: & Echo Imitation 1. Teacher Plays a pattern students echo. Similar to Rote teaching Change on Four: Simple Rhythmic echo game: 1. Teacher claps a beat pattern. Students echo.. Teacher pats straight beats on laps. Students echo. 3. Teacher claps a different beat pattern. Students echo.. Teacher pats straight beats on laps. Students echo. 5. Continue until secure. 6. Teacher begins again but while the students are echoing the first pattern, teacher begins the lap pattern and continues with no breaks.

& & & Follow the Leader Canon in Four & & k. cosgrove Teacherleader j j 1 j j 3 6 & Y & & j j & j j & j j 9 & & Y & Y & Y & Y 5

METER - Beats per Duple () Measure Simple 1 Beat = Compound 1 Beat =. Binary Division of the beat Beat divided into two Ternary Division of the Beat divided into three, Triple (3) 6 1 8, 8... 3 (Still Binary division of the beat.) 9 8 (Still ternary division of the beat.) In simple Binary meter, the choices for each soundbeat correlation is: One sound = q Two Sounds = e e Three Sounds = xx e or e xx Four Sounds = xxxx In Compound Ternary meter, the choices for each soundbeat correlation is: One sound = q. Two Sounds = e q or q e Three Sounds = e e e Four Sounds = xxe e or exxe or ee xx 6

Georgie 7

Combining binary (simple) meter and ternary (compound) meter together makes an interesting texture, however, understanding how the pulse controls the music is important. The divisions of the beat is what sets the two apart as distinct and unique. For very young children, introducing ta and ti-ti works best with simple duple meter (, ) rather than compound duple meter (68). * Notating in compound meter is an advanced skill. The Ostinato: Ostinato: An easily recognizable repeated pattern. 1) Speech ostinato a phrase that repeats ) Rhythmic ostinato a rhythmic pattern that repeats 3) Melodic ostinato: An ostinato that combines a rhythmic pattern with a melodic pattern a) Bordun a Melodic ostinato that uses the intervals of I-V b) Melodic fragment a melodic pattern that repeats Ostinati can be layered together to create rhythmic texture. Ostinati can be used with different instruments to create melodicharmonic texture. Language is the foundation for any ostinato. An ostinato: Develops a feeling of form (tension and relaxation) Helps develop memory. Helps each player listen to each other (collaborative) Provides the background for accompaniment and improvisation. An Ostinato should: Be horizontal as well as vertical. Have good structure. Compliment the melody and the other ostinati. Be more than one measure. (If there are more than one ostinati, varying the length is one way to create a complimentary pattern. 8

Voice Ostinato #1 Ostinato # Ostinato #3 & & & Eat my Peas, & I eat my peas with Honey... j peas with hon Œ Oo... Say please Peas, ey. j. I've done it all my life. Œ j j Stuck to Stick y gooey peas. j j for peas. Oo... my knife. stick y goo j j Say please for Œ j It ey peas. peas. Voice S. S. M-S. 3 & & j Œ ny. makes my pease taste fun Peas, Peas, Œ. j But it keeps them on my knife. j Stuck & Oo.. stick y gooey peas. & j j Say please for peas Oo.. to j Say please j Œ my knife! (I) stick y gooey peas. J for peas. Process: 1. Teach the poem. Teach the ostinati one at a time, always combining the ostinati with the poem. 3. Substitute NPP for ostinati.. Create final form 9

Speech ostinati: Mrs. Praying Mantis Voice Ostinato 1 Ostinato Miss Bugs, Squash - us man - tis catch - es bugs, Missus Mantis lots and - es bugs. lots of bugs. ΠΠOrff Level I students - 1997 squash - esthem with might - y hugs. Bugs, andsqueez - bugs, lots and lotsofbugs. j Πes. Perc. Perc. Perc. 5 Squeez - es spid - ers ev Bugs, bugs, - en tight lotsand lotsof bugs. Bugs, ΠΠSquash - es - er. Mix - es them all andsqueez bugs, j Πes. up in - side her. Sad to say she lots and lots of bugs. Eats, Sit - ting, eats, ΠΠj and Perc. Perc. Perc. 10 is - n't through, ev -ery thing in sight. Πstar - ing. she swal Eats, - lows Mis eats, - ter Man - tis too. ev -ery thing in sight. Perc. Perc. Perc. 13 Af Eats, - ter that eats, she sits and stares. ΠΠSit - ting, Folds her hands ev -erything in sight. Eats, j and star - ing. eats, Πand says her prayers. ev-erything in sight. Process: 1) Teach the poem. ) Teach Ostinato #1. 3) Have the class repeat the ostinato while the teacher says the poem. ) Divide the class into two groups. Have one group say the ostinato, the other says the poem. Switch. 5) Teach Ostinato #. 6) Repeat steps -. 7) Have group one say Ostinato #1, the other group say Ost. #, while the teacher says the poem. Switch. 8) Divide the class in 3. Assign one group to do Ost. #1, the second to do Ost. # and the third to do the poem. Rotate the parts until each group has had the chance to do each part. 10

9) Assign each group a part and create a movement to go with their part. Create a final form and perform. Easy Speech Ostinati Classroom Creations 1) Have students brainstorm their favorite bugs and categorize them into lists of insectsbugs. a) 1 sound: ant, slug, b) sounds: spider, firefly, cricket c) 3 sounds: grasshopper, butterfly d) sounds: Praying mantis, painted lady, ) Draw Complimentary rhythmic ostinati using numbers (complimentary means that the patterns are different horizontally and vertically): 1 1 1 rest 3 3 3 3 rest 1 3) Have the students substitute words from their lists for numbers and you have instant complimentary speech ostinati. ) Layer them in as you feel is appropriate for the grade level you are teaching (grade one may only be able to layer #1 with one other ostinati. Other grades may be able to combine ostinati.) 5) Find a final form for the piece. 6) Perform 11

Rhythmic Ostinati: Wiggle to the Laundromat Process: i) Teach Poem ii) Substitute movement for words. iii) Have students work in small groups to create their own ostinati. Assignment: Create a poem with movement accompaniment and three complimentary speech ostinati. 1

Part II: Recorder Objectives: Introduction of the instrument. Hand positions, blowing, tuning BAG fingering Process for learningteaching the recorder Why the recorder? 1. It is a simple folk instrument that has its own history.. It is the closest instrument to the child s singing voice in both range and pitch. 3. It is cheap, portable and (initially) easy to learn.. It is a link in the process of teaching traditional notation. 5. Its tone can be sustained and blends well with other instruments. suitable as an accompaniment instrument. ABC s of recorder playing: Articulation Stopping the sound with your tongue Breathing supporting the sound from deep down. Control finger control, breath control, self control! Trouble shooting: Out of tune Squeaks Fuzzies Finger warts Pull out the head joint a little to make the sound flatter. Push it in to sharpen it. Blowing softer will flatten the sound. Blowing harder will sharpen it. Class sets of same instruments will increase the likelihood that they will be in tune. On low notes, this usually means you are either blowing too hard or your fingers are not covering the holes completely. Especially watch that the back thumb hole is completely covered. On high notes, it is usually a combination of air and thumb position. Too much hole open will produce an unwanted sound and not enough breath support will do the same. Squeazing harder and blowing harder may resolve this as long as you don t over do it. Experiment until you have a more relaxed and consistent tone. This may mean the recorder is clogged. Give the recorder a quick inhale to draw in cool dry air or (dangerous with kids) cover the whistle hole and give the recorder a quick hard blow to clear it. Relax. Your body, arm and wrists should be 13

tired arms and wrists comfortable and relaxed. Your fingers should be able to cover the holes gently. Take time before you play to relax your shoulders, wrists, arms and fingers. Also, play the recorder directly in front of you in a natural position. Don t rest your arms on your knees or raise the recorder up from your chin. Recorder: Number system: 1. Giving numbers to corresponding notesletter names simplifies notation initially, opens up possibilities for playing without adding too many skills that may not come easily to children.. Children can then transfer note numbers to letter names to staff notation in a natural sequence adding skills as they understand them. 3. Your initial focus with recorder should be tone, accuracy and articulation. Then add notation reading when those skills are secure.. I give notes numbers or names as follows: D- open C cross B 1 A G 3 F or Fork (baroque fingering) E 5 D 6 C 7 Notation: 1. Singing always comes first before playing.. Begin notation by playing pieces that travel step-wise. Focus on the direction of the notes (up or down) from the previous note. 3. There are some excellent resources with accompaniments for playing recorder. These are very enjoyable for children (they sound good!) They also move the tempo along. Make sure that the piece is very secure before introducing the accompaniment using the same process. Articulation: 1. The tongue stops and starts the flow of air. Be careful to watch that students are not Who - in into their recorders.. q = Dood 3. ee = Dig-ga 1

. Stoccato = doot 5. Slurred notes = Doo-oo Most pieces written for recorder don t have articulation written in. I keep it simple don t slur more than two notes at a time. Bibliography Appleby, Brian. Soundstart Melodies for Recorder. Apro Music. 199. Kulich, Birthe and Joe Berarducci. The Windsongs Series. Empire Music Co., Ltd. 1998. 15

Teaching the recorder: Warm-ups: 1. relaxation is the key. Use a soft voice for instructions. Make the students aware of their body position and finger position on the instrument.. Blowing have the students pretend that they are blowing out a birthday candle using only enough air to bend the flame without blowing it out. Teaching: 1. I begin the recorder by teaching numbers rather than notes. 7 means all the holes are covered (including the thumb), 1 means that the first hole is covered (including the thumb.) Even though we don t play much using all seven notes, we learn the C scale first.. The first three notes we teach and focus on are B, A and G. I spend a lot of time there. (at least a month) a. They are simple to play b. only one hand is involved c. tone quality can be set d. trouble shooting is simple 3. Accept whatever sound comes out initially. There can be no wrong notes while we are learning.. Singing and playing go hand in hand. We learn to sing the notes first, then play them on the recorder. 5. Sol-feige and numbered fingering set the foundations for notation. 6. Move to notation when students are completely comfortable with number systems. Improvisation hints: 1. Keep it simple (BAG only).. Set ground rules. 3. Accept anything reasonable.. Don t be concerned with tone or correcting sound quality. This is a time for experimentation. 5. Do whole class practice before individual performances. 6. Begin with volunteers and then move to turn taking. Wrap-ups 1. Ear training a. Teacher plays a simple pattern students listen and then echo it. b. Eventually, students take turns playing a pattern, class echoes it. 16

. Moving while playing, turning your back while playing, closing eyes will all increase this skill. Mi Do Re Canon Grade Level: 5 Curriculum Objectives SKILL: SINGING The student will be able to: 9. Extend the use of sol fa training with hand signals to include re and do. 10. Respond to tone matching with other voices and instruments. 1. Sing two-part rounds and simple descants. 1. Sing two- and three-part rounds, and descants.. Use sol fa skills in reading music and sight singing. 5. Sing three- and four-part rounds and two-part soprano, alto (S.A.) songs. SKILL: PLAYING INSTRUMENTS The student will be able to: 13. Recorder learn to play with good tone, developing ability to read music. Specific Learner Expectations: The student will be able to: Play a simple three note piece securely on the recorder. Play a simple three note piece in canon on the recorder. Mi - do -re Canon & #.. 6 & #.... 17

Process: Teach the song using hand signs by rote. Teach the song using recorder positions by rote. Sing the song as a two part canon. Teach the song on the recorder by rote (imitation.) Divide the class have one half sing, one half play. Switch parts. Play and sing in canon as above. Play in Canon. ( part, 3 part, part finally individual part) 18

Recorder Competencies Ed. 3877 Description 1. Demonstrate proper handbody position. Name: Comment s:. Play in the range of C to high E easily. 3. Play accidentals F# and B b.. Play the following Scales: (.5 deducted for incorrect fingerings or notes, 1 full mark deducted for incorrect scale.) C diatonic C pentatonic do based G pentatonic do based G pentatonic la based F pentatonic do based F pentatonic la based 5. Play 1 piece student s choice. a)demonstrate staccato articulation. b)demonstrate portato articulation. c)demonstrate legato articulation 6. Play 1 piece in ensemble (duet or trio.) 7. Demonstrate tuning of a recorder TOTAL: GRAND TOTAL 19