Introdution to Orff Shulwerk We Sing, We Move, We Play, We Create with Kerri Lynn Nihols, Patrik Ware and Brent Holl Speeh and Song In the Shulwerk Kerri Lynn Nihols - Presenter www.kerri-oke.om Choral singing was inluded in my plan for musi eduation as an essential element. Carl Orff from Carl Orff: The Shulwerk What is the plae of the voie in Orff-Shulwerk and why is it important? Musi-making begins with natural speeh that provides a basis for rhythmi development. Nursery rhymes and hants find their plae in the play of hildren and song emerges as a key element of expression and reativity. Has anyone ever been told to just mouth the words? Most who have reeived this advie have taken it to heart and quit pratiing at a young age. But the idea that those who an, do, and those who an t, wath, is ontrary to one of the ore elements of the Orff approah: musi-making is based on opportunity and all find their plae in the proess. Everyone is enouraged to improvise, improve tehnique and partiipate fully in the proess; no one is exluded. Many erroneously believe that the voie is seondary to the exploration of the instruments within the Shulwerk. However, the Orff instruments are uniquely designed to support the timbre of a hild s voie, as the perfet aompaniment. The qualities of speeh: onsonants, vowels and rhythms, set the stage for body perussion, pithed and unpithed instrument exploration. The voie is a personal instrument, part of the body; there are no two exatly alike. If you are tired, sik, upset you an hear it in the voie. The purpose of this session is to explore your voie in a nurturing setting, alone and in ensemble, apply some basi voal tehniques and disover ways to use speeh and song reatively. Movement will inform voal development. Voal Timbres: Voabulary: Tehnique: speak, whisper, all/shout, sing, sounds pith, intonation, olor, quality, dition, head voie breath, posture, balane, tone, projetion, blend BrainDane Eight fundamental movement patterns that wire the brain and entral nervous system. We will use these movements to inform our voal development and tehnique.
Breath: Breathing deeply into the diaphragm. Resistane breathing. Single-double-triple hiss exerise. Tatile: Strong, light, sharp, smooth. Voal artiulation and tone. Core Distal: Small and big. Closed and open vowels. Cresendo and deresendo. Head/Tail: Spinal flexibility. Posture and alignment. High and low pith, asend and desend. Range. Upper/Lower: Upper = expressive, lower = supportive. Head voie, hest voie. Rooting posture. Body Sides: Right and left side independene. Horizontal eye traking. Cross Lateral: Right and left brain integration/oordination. Vertial eye traking. Vestibular: Proprioeption and balane. Singing with eyes losed. Right side up, upside down. Voal Play Names: Eho first names using different voal timbres and pithes. Chant four names in a row. Hello, Sofia! (Brazil) 8 ount improvisation: body perussion or voal (stop on beat 7) 4 j j Hel - lo So - fi - a! How are you, So-fi-a We're glad that you are here be-ause we like you ve-ry muh! ABC s: Sing the alphabet using different melodi sequenes. Sing in a round. Examples: 1-2-3-4-5-4-3-2-1 1-3-5-3-1 1-3-5-7-5-3-1 Have A Ball!: Begin with two people (one is so, the other mi) and one ball. Toss and sing bak and forth. Add la, then do, re, fa, ti (for advaned students). Game Choo-la-te Choo = fist bump (do) la = palms (la) te = baks of hands (te) Teah the poem and game. Play with a partner. Change spoken words to pithes. Pairs join in a small group. Hand movements go to the sides (in a irle). Rotate the irle. Sing in a round. The Shoemaker A shoemaker makes shoes without leather, With four elements all together, Fire, Water, Earth, Air, And every ustomer takes two pair. 2
The Shoemaker Traditional Rhyme arr. Kerri Lynn Nihols V. BX DBB 8 6 8 6 j A shoe - ma -ker makes shoes with - out lea-ther with four el - e-ments (lap lap lap j j Fire, wa - ter, earth, air. Fire, wa - ter, V. BX DBB 4 lap) all to - ge-ther. Fire, wa-ter, earth, air, and ev - 'ry us - to-mer earth, air. j J. Fire, wa - ter, earth, air. Fire, wa - ter, j (lap) takes two pair. (lap) earth, air. Proess: Perform the song in totality. Group keeps the pulse. Teah the speeh (rhythm) first, through eho proess until they an say it independently. Do not perform with students. Likewise, teah the tune. Put the rhythm and melody together. Sing using different styles of singing: opera, ountry, et. Sing in a round. Game: Remove shoes. Sit in a irle. Pass one shoe around the irle to the right to the strong pulse of the song: pik-pass-pik-pass. Add one shoe per person. Change diretions. On the four laps, tap the bottom of the shoe you urrently hold before passing it. Elements: Fire = Call Water = Sing Earth = Speak Air = Whisper Resoure Nihols, Kerri Lynn. Musi for Daners. Beatin Path Publiations LLC. 302 East College Street, Bridgewater, VA 22812. 1998. [Available Marh 1, 2016] 3
The Orff Instruments: We Play Intro to Shulwerk Brent Holl - presenter http://brentholl.om 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 justified both eduationally and artistially. Jos Wuytak Aim At some point all hildren would like to play as well as sing. Cantare and Sonare. Some will prefer to play, others to sing. The use of instruments leads to ative partiipation. It puts ontrol of the musi in the hands of the students. They are ative partiipants in their own learning experienes. Playing the instruments is truly play for the hildren. It is pedoentri (hild-entered), enouraging a vital avenue for self expression with both joy 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 insures 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 mystery...they have a magial harater. -Jos Wuytak Introdution to the Orff Instruments Learn the names of the instruments and get aquainted with the sounds. Transfer imitation to Pithed Perussion. Continue working with pulse. Proess Move to the instruments by birthdays. Introdue the instruments by name. Show basi mallet tehnique, how to hold them, where to hit, et. Explore the sounds of the instruments with imitation: ( Keetman Conduting ) Snaps: glokenspiels Claps: xylophones Path: metallophones Stomp: unpithed 4
The Bordun Simple Bordun - A harmony of the fifth interval based upon the first and fifth degree, so that there is only one harmony, the harmony of the first degree hord (Wuytak 79). The drone is the most important and most widely found form of part singing and playing. While one voie provides the melody the other sustains one note, the key note or fundamental note, either above or below the melody. This is the prototype of our pedal note. This drone develops itself in two diretions: firstly by sustaining a hord onsisting of fundamental, fifth and otave, like bagpipes or hurdy-gurdy: seondly in that the drone moves between a limited number of notes like an ostinato, the so-alled wandering drone (after Curt Sahs) (Shneider, p. 28). Set up in a pentatoni of hoie. Experimenting with the drone. Find the fundamental tone, set a rhythm or sustain. Find a pattern that an be repeated and take turns improvising melodies over the drone. Add the fifth degree to the fundamental. Set a rhythm and experiment with different ways the drone an be performed. Disover hords, rossovers, and broken hords. Disover melodi ostinatos to be used as aompaniment for improvising melodies over eah one using the C pentatoni sale. Chord Bordun Level Bordun 4 2 Broken Chord Chord Bordun n b 4 3 Crossover Bordun Level Bordun Crossover Bordun Broken Chord Broken Chord b n.. Chord Bordun Some Typial Bordun Types Crossover Bordun... Level Bordun 5
Wind in the Barren Trees Sound all the Christmas Bells Mihael R. Nihols SG SM AM Wind in the bar-rentrees, (blow, wind, blow) Bend-ing gent-ly to and fro (blow, wind, blow) Wind Chimes BM.... SG SM AM Wav-ing all the grae-ful limbs (blow, wind, blow) Mov-ing with the flow (blow, wind, blow) WC BM.... 6
Aim Wind in the Barren Trees by Mihael R. Nihols, Seasons and Holidays, p. 18. Learn and play an example of the Chord Bordun (and the Level Bordun as a olorful aompaniment). Introdue La-based pentatoni on E (relative to G) Proess Review hand signals and try it slowly from the overhead. Add the words and the harmony. (Try adding thirds too!) Add the hord bordun and speial bordun effets (also known as a Level bordun). Add some soprano or alto reorders to the song with voies, aompaniment, and harmony. Resoures Nihols, Mihael R. Seasons and Holidays. Beatin Path Publiations LLC. 302 East College Street, Bridgewater, VA 22812. 1998. [Available at http://bppub.net/seasons_and_holidays] Shneider, Hans. The Shulwerk, Vol. 3 of Carl Orff/DOCUMENTATION, His Life and Works. The Shott Musi Corporation, New York. 1976. Wuytak, Jos. Notes: Master Classes 1979-1995. Memphis State University Summer Certifiation Courses in Orff Shulwerk. 7
Movement in the Shulwerk Dr. Patrik Ware - Presenter http://patrikware.biz Intro to Shulwerk The unity of musi with movement, dane and speeh that is quite natural to many ultures and needs no speial fostering, has, in most ivilized lands been entirely lost, and only arried on in an unbroken line by hildren. To preserve and develop this unity for hildren is one of the main tasks that Orff-Shulwerk has set itself Gunild Keetman. Elementaria p.107 For many the movement omponent of the lesson is an after thought. Students sing a song or perform an instrumental piee and then are tasked to go make up a dane. The attempt to reate something meaningful is not often fruitful. Often students are unable to reate something satisfatory due to a lak of voabulary and/or a lak of diretion. Neither student nor teaher knows what they want, and so in the end no one is ompletely happy with what they get. Our goals here are to give this proess more meaning. Instead of reating movement to go with a given melody or ostinato, we an reate melody and ostinato to serve our movements. This does not mean that we will give up the pratie of adding danes to existing melodies. Through our work we will be able to explore more meaningful ways to arrive at beautiful movement piees that enhane our existing melodies. Our goals here are to, grow our movement voabulary, spark our intrinsi reativity and hallenge ourselves to reate movements first and then go make up a melody. How great is it to dane as though no one is wathing? Here we will provide the soundtrak to that dane. Our goals here are to explore the variety of movements our bodies will allow. Movement omes in many shapes and sizes. Whether we fous on individual body isolations or free-form-loomotor explorations of our shared spae there is movement to be found everywhere. Our goal here is to move with joy. Voabulary is key To move with purpose there must be some ommon understanding of the nature of our movements. These four non-loomotor (self-spae, axial) movements along with the four loomotor (shared-spae) movements are the basis for everything we will do. Non-loomotor Bend, Streth, Twist, Swing Loo-motor Walk, Jump, Leap, Hop Not the what but the how Laban Effort Ation Drives have a speial plae in the Shulwerk. It is important to distingue the differene between the way the movement is expressed and the movement itself. 8
The Body head shoulder shoulder elbow elbow wrist wrist hand hand (fingers) (fingers) Trunk upper part (entre of levity) Trunk lower part (entre of gravity) hip hip knee knee ankle ankle foot foot (toes) (toes) No means No? To better understand the role of the Effort Ation, say the word no using eah of the basi ations. Through voal pratie you beome able to prepare your mind to transform your movements through the use of the effort ation. No with Dabbing Ation gentle, sudden, diret No with Fliking Ation gentle, sudden, flexible No with Floating Ation gentle, sustained, flexible No with Gliding Ation gentle, sustained, diret No with Pressing Ation firm, sustained, diret No with Slashing Ation firm, sudden, flexible No with Thrusting Ation firm, sudden, diret No with Wringing Ation firm, sustained, flexible Choreographed (patterned) dane an take plae in a number of formations Cirle, Set, Line and Sattered 9
Cross Path Intro to Shulwerk Cross Path, draw the lath Sit by the fire and spin, Take a up and drink it up, Then all your neighbors in Where we re going Partiipants will be able to reate a movement study that inludes horeographed and improvised movement Partiipants will ombine movement speeh and unpithed perussion How we get there Partiipants will explore reative and horeographed movement Literal Figurative Emotive Partiipants will olletively reate an A setion for a Cross Path Rondo using elements of the nursery rhyme Partiipants will work in small groups to omplete an eight measure setion of the rondo Partiipants will ome bak together to share and perform. 10
Shedule for the Day 8:00 AM - Gather, Greet, and Group Group A Shedule: 8:10 AM Kerri Lynn, 9:45 AM Brent, 12:30 PM Patrik. Group B Shedule: 8:10 AM Brent, 9:45 AM Patrik, 12:30 PM Kerri Lynn. Group C Shedule: 8:10 AM Patrik, 9:45 AM Kerri Lynn, 12:30 Brent All together at 2:15 for the final session. The final session: Create a version of The Shoemaker with drama, movement, instruments and voie. Contat the Cliniians Kerri Lynn Nihols - http://kerri-oke.om - singforpeaebaby@gmail.om Dr. Patrik Ware - http://patrikware.biz - patrikware@verizon.net Brent Holl - http://brentholl.om - brentholl@ma.om Note to workshop partiipants: Please feel free to use anything in these notes written or arranged by Brent Holl, Kerri Lynn Nihols, or Patrik Ware for your own professional use in lass or workshops. Simply make sure that the following notie is on eah opy. [Composer], 2015. All rights reserved. Used by permission. For all other materials permission must be obtained from the opyright holder. These notes are available online for download at http://bppub.net/dnldnotes This workshop sponsored by: Beatin Path Publiations LLC Teahers Writing for Teahers Free sample lesson plans at http://bppub.net/bppfree 540-478-4833 beatinpath@ma.om www.beatinpathpubliations.om Download the workshop notes 11