Section 1: Elemental Structures

II Section 1: Elemental Structures REPERTOIRE MFC Vol. I, #1, p. 91 (Orff & Keetman) Introduce the following body percussion pattern Ask half of the class to perform the rhythmic pattern as an ostinato while the other half echoes the teacher (or another student) in an imitation exercise (i.e., echo clapping rhythmic motives 4-beats in length); switch roles Ask students to identify how many times they observe the body percussion accompaniment pattern in the following piece and perform Ask the students to label the form of the piece (A A B A) Teach the B pattern and perform Assess learning by asking the students to perform the piece without assistance from the teacher Develop the body percussion piece by introducing a series of small changes to be imitated by the students Version 1 Section 1 1

Version 2 Version 3 Final Version Extend by using the body percussion piece as an introduction for the following melody Note: The idea to use this piece as an opening activity as well as to explore the pentatonic modes was originally learned from Elaine Larson. Perform the melody in unison and in canon Create an arrangement that includes both the body percussion piece and the melody in unison and in canon Section 1

CONCEPT Elemental Structures and Small Forms One characteristic of elemental music is an emphasis on using elemental structures and small forms in its creation. Examples of common elemental structures found in both folk/traditional repertoire and music composed by Orff and Keetman include: A A A B (a common variant of this form is A A A B) A B A B A B A C A A B A (a common variant of this form is A A b/b A ) a a B (typically with the B phrase being twice the length of the A phrases) Section 1

When labeling form in a visual, it is sometimes helpful to use lower case letters when referring to specific motives, patterns, or phrases in song or piece. analysis by motive/pattern analysis by phrase Upper case letters, then, may be used to identify larger sections of a piece. The following diagram uses both lower case and upper case letters to help clarify the overarching form of a piece. A a b a c B Q & A Improvisations A a b a c LESSON PLANNING IDEAS Introductory Activities Introducing or Reinforcing Elemental Structures and Small Forms Initial experiences with elemental structures and small forms can be approached through a variety of activities. For example, movement sentences exploring locomotor and non-locomotor movements can be created and performed by both students. These movement sentences can be created in specific forms and structures and performed in silence or accompanied by sound (e.g., unpitched percussion instruments, vocal sounds, etc.). Walk Stretch Walk Sway Section 1

In addition to movement experiences, composition activities using rhythmic building blocks represented in standard notation or by word/pictures can also contribute to an understanding of elemental structures. These activities can often be used to extend simple songs, chants, and games in the primary grades. Using picture cards, students create B sections to perform between repetitions of the song. apple tree apple tree apple tree pear tree I scream, you scream, We all scream for ice scream! Peanut butter Peanut butter Peanut butter Choc late chip Section 1

Another way to help students perceive and understand elemental structures in the beginning stages is to explore variations in the textual forms of familiar rhymes and chants. Original: A: Jack and Jill went up the hill to fetch a pail of water, B: Jack fell down and broke his crown and Jill came tumbling after. Variants: A: Jack and Jill went up the hill to fetch a pail of water, A: Jack and Jill went up the hill to fetch a pail of water, A: Jack and Jill went up the hill to fetch a pail of water, B: Jack fell down and broke his crown and Jill came tumbling after. A: Jack and Jill went up the hill to fetch a pail of water, A: Jack and Jill went up the hill to fetch a pail of water, B: Jack fell down and broke his crown and Jill came tumbling after. A: Jack and Jill went up the hill to fetch a pail of water, A: Jack and Jill went up the hill to fetch a pail of water, B: Jack fell down and broke his crown and Jill came tumbling after. A: Jack and Jill went up the hill to fetch a pail of water, C: This time around they made it down without a big disaster. Section 1

IMPROV Rhythmic Improvisation: Moving Beyond Question & Answer Teach a song or piece to function as an A section Extend the piece by adding an improvisational section o Begin by echo clapping four-beat rhythm patterns o Transition into Question & Answer improvisation with the teacher asking the questions and students responding; it is advisable that the teacher provide a steady pulse through out this activity (e.g., stamping the beat) o Ask the students to perform the questions o Ask half the group of students to perform the questions and the other half the answers; switch roles after time has been given to practice o Ask the students to talk to themselves by performing both the questions and answers (Q A Q A) o Ask the students to perform the same question and improvise two different answers (Q1 A1 Q1 A2) o Relate the last round of improvisation to the elemental structure A B A C o Ask students to perform other elemental structures including A A A B A A B A A B A B o Perform the piece in the following form A a a a b B Improvisations A a a a b Section 1

REPERTOIRE MFC Vol. I, #35, page 119 (Orff & Keetman) DO LA SO MI Re DO Begin with an ear training exercise through the use of a pitch ladder set up in do pentatonic o Sing up and down the do pentatonic scale o Ask the students to echo three note patterns modeled by the teacher while pointing to the pitch ladder o Ask students to echo three note patterns that are only shown on the pitch ladder (i.e., the teacher does not sing); students should be encouraged to sing the patterns in their heads while the teacher is pointing to the different pitches o End the ear training exercise with the following patterns: M-R-D; D-R-M; S-M-L; L-D -S o Show the A section melody on the pitch ladder and ask students to analyze the form (A B A B) o Show the A section once again on the pitch ladder and ask student to sing the melody Transfer the melody to barred instruments Add the melodic ostinato accompaniment (M-R-D-R) and a simple chord drone/bordun performing a half note pulse Teach the coda through imitation o Analyze the form of the patterns/motifs making up the coda o Teach the a pattern through imitation and ask the students to perform all patterns in the coda; the teacher performs the b pattern o Ask the students to work with a partner to figure out the b pattern o Perform the coda o Ask the students to play the coda again, this time using only one hand; perform again with the other hand o Ask the students to perform the coda using the right hand only o Ask the students to add the left hand beginning on a G/So; perform the coda with both hands moving in similar motion Perform the piece Extend the piece by adding an improvisation section (i.e., B section) o Begin by echo clapping four-beat rhythm patterns o Transfer imitation to patting rhythms on the lap, alternating hands as often as possible Section 1

o Transfer imitation to barred instruments o Ask students to improvise melodic answers to questions provided by the teacher; identify the notes to begin phrases melodic patterns (i.e., tonic triad: do, mi, so) o Ask students to perform the questions; encourage them to still emphasize the same starting notes as before o Ask half of the students to perform the questions and the other half the answers; switch roles after some practice o Ask the students to talk to themselves by performing both questions and answers; the teacher should provide an accompaniment that supports the tonality, meter, and phrase length of improvisations o Ask students to perform the same question and provide two different answers; identify the form as A B A C o Ask the students to improvise in other elemental structures (e.g., A A A B; A A B A; A B A B ) o Ask the students how to end the melody on the tonic o Continue providing practice time for improvisation Perform the piece (Intro, A section, Improvisations, A section, Coda) Change the drone accompaniment to a shifting I-VI (tonic-submediant) bass pattern as indicated in the score Perform the piece again Introduction A Section B Section (Improvisations) A Section Coda Section 1

NOTES Section 1

II Section 2: Pentatonic Modes CONCEPT While the do and la pentatonic modes tend to be more familiar to teachers, any note of the pentatonic scale may function as the tonic/home tone. The resulting modes foreshadow, although incompletely, the later study of the diatonic modes. Repertoire suitable for teaching the pentatonic modes can be found in the folk and traditional musics of various cultures as well as in xylophone studies composed by Gunild Keetman (e.g., Speilbuch für Xylophone, Books I, II, & III and Erstes Spiel am Xylophone). Additional information about the pentatonic modes can be found in Brigitte Warner s (1991) text, Orff-Schulwerk: Applications for the Classroom. Below are the pentatonic modes available when setting the barred instruments up in C, F, or G pentatonic. Section 2

REPERTOIRE Spielbuch für Xylophone, Book I, #12 (Keetman) Working with a partner, students mirror each other s movement while accompanied by the A section melody and accompaniment (or melody alone if a keyboard is not available) Ask the students to find a new partner as the teacher improvises a B section and begin mirroring with the reprise of the A section Ask the students to now shadow another person while accompanied by the A section melody and find a new person to shadow during the improvisation Ask the students to perform a movement improvisation based on mirrors and shadows by alternating A sections and improvisations If movement improvisation is revisited in a subsequent class, ask the students to sing the A section melody on a neutral syllable Develop the melody on the barred instruments from simple to complex and add the following accompaniment Extend the piece through improvisation o Begin by echo clapping 8 beat rhythm patterns to establish phrase length and possible rhythmic vocabulary for use in improvisations o Repeat echo imitation exercise patting knees o Exchange echo imitation for Question & Answer improvisation o Transfer patting to barred instruments, improvising on D o Continue Q & A improvisation, encouraging students to decorate the D using upper and lower neighbor tones o Repeat the process on the A o Ask students to improvise both the questions and answers using D and A as the starting notes for each phrase Section 2

o Ask students to improvise two different answers for the same question (Q1 A1 Q1 A2); relate to A B A C form o Ask students to end on their final phrase on the tonic D or D2 o Continue to guide improvisations using additional elemental structures (e.g., A A A B, A B A B, A A B A) o Provide additional opportunities for students to improvise within smaller groups (e.g., by instrument families, by location, etc.) Incorporate improvisations with the A section and create a final form REPERTOIRE Erstes Spiel am Xylophon, #35 (Keetman) Have the students sit in a circle and teach the following text with a visual or by rote Perform the meter of three with body percussion and speak text again Extend the piece by having each person speak something they enjoy about the autumn as a B section and then return to the A List some of the things the students said on the board and categorize by building blocks Eliminate those that do not match the quarter note half note building block; add more words to fill out the category (at least seven) Perform the piece again in ABA form using the refined list as the B section Set up the instruments in C pentatonic Play a descending line from G2 to G; repeat three times Apply the autumn text to the descending lines; add additional G s to the end to match the rhythm of the text Perform again Section 2

Teach the accompaniment by inverting the melodic line (G-G2) and play with quarter notes Play both autumn melody and accompaniment at the same time as indicated in score Perform Teach the B section using the rhythmic building blocks generated earlier Add the accompaniment, first with the right hand playing C on the downbeat of each measure for a total of eight measures; add the left hand alternating between G and A on every beat Perform Review A section Perform entire piece If desired, extend the piece through improvisation o Begin by echo clapping 6 beat rhythm patterns (2 measures of 3/4) to establish phrase length and possible rhythmic vocabulary for use in improvisations o Repeat echo imitation exercise patting knees o Exchange echo imitation for Question & Answer improvisation o Transfer patting to barred instruments, improvising on G o Continue Q & A improvisation, encouraging students to decorate the D using upper and lower neighbor tones o Repeat the process on the D2 o Ask students to improvise both the questions and answers using G and D2 as the starting notes for each phrase o Ask students to improvise two different answers for the same question (Q1 A1 Q1 A2); relate to A B A C form o Ask students to end on their final phrase on the tonic G or G2 o Continue to guide improvisations using additional elemental structures (e.g., A A A B, A B A B, A A B A) o Provide additional opportunities for students to improvise within smaller groups (e.g., by instrument families, by location, etc.) Incorporate improvisations with the A section and create a final form Section 2

REPERTOIRE Spielbuch für Xylophon, Book II, #11 (Keetman) Place the following visual on the board œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ask the students to brainstorm the names of rivers Divide the first measure into the grouping as follows; label with an appropriate river name œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Mississippi Mississippi Divide the second measure as follows; label with an appropriate river name œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Mississippi Mississippi Amazon Amazon Label the final two eighth notes with an appropriate river name œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Mississippi Mississippi Amazon Amazon Jordan Practice speaking the rhythmic phrase, adding a repeat at the end Add the rolling ending (eighth notes for two additional measures with a decrescendo) Ask the students make static body shapes on first syllable of each word Ask the students to choose one river name to create a shape on (i.e. Mississippi or Amazon) Section 2

Create a movement transition for the rolling text Transfer the text to body percussion, clapping only the accents first and then the entire rhythmic phrases Combine movement and body percussion Transfer to barred instruments and create a motivic composition based on the river names Add a repeated A to the rolling at the end Add the accompaniment Teach the A section by rote, emphasizing the structure of the motives Add accompaniment Play the entire piece in ABA form (B being the motivic compositions) Add movement to the A section Create a performance plan and perform IMPROV Establishing Tonality in the Pentatonic Modes When improvising or composing, the following strategies are often helpful in establishing tonality in the pentatonic modes: Begin and end with the tonic Use the tonic many times in the melody (but not necessarily consecutively) Employ the sub-tonic (if appropriate) at cadences and as an anacrusis Section 2

REPERTOIRE MFC, Vol. V, p. 90, #106 (Orff & Keetman) Speilbuch für Xylophon, Book II, #19 (Keetman) Teach the following text by rote Coffee is good! Coffee is great! Coffee is what I need by eight! (fine) Coffee is good! Coffee is great! Coffee is what I need by eight! Give me the coffee, I need it right now! (DC al fine) Perform in unison and in canon (at 1 beat) Develop the body percussion beginning with patting the rhythm of the text Change the B section to clapping Add the remaining body percussion in the A sections one small change at a time Perform in unison and in canon (at 1 beat) Teach the following layered ostinati by rote and/or with a visual Section 2

Section 2 Incorporate improvisations in la pentatonic on D performed on recorder or SX Rotate students so that all have opportunities to perform all accompaniment parts as well as improvise When students are secure, assemble the accompaniment patterns into a melodic skeleton of the A section of the Speilbuch xylophone canon Develop the remainder of the A section through a series of small changes Teach the B section by rote Perform in unison and in canon (at 1 beat)

REPERTOIRE The Moon Was but a Chin of Gold Section 2

NOTES Section 2

II Section 3: Accompaniments CONCEPT Complementary and Parallel Rhythmic Ostinati A complementary rhythmic ostinato is a short, rhythmic pattern that completes or balances the rhythmic activity of a main text or melody as well as other accompaniment patterns. Many times complementary ostinati function as a musical accompaniments that fit with the main text or melodic rhythm in such a way as to reinforce the pulse, meter, and/or propel the rhythmic energy of the piece forward across the barline. In contrast, a parallel rhythmic ostinato is a short rhythmic pattern that is similar, if not the same, to the rhythm of a text, melody, or other accompaniments. While it is not fundamentally incorrect to create accompaniments with parallel rhythms, doing so can muddy the sound of an arrangement, obscuring the main text or melody or, in some cases, arrest the rhythmic flow of the piece. In many elemental arrangements and compositions, it is typical of the style to create accompaniments that are complementary to a main text and/or melody as well as the other accompaniment patterns. One strategy for creating complementary rhythmic ostinati is to avoid having any two or more parts sound parallel for more than two consecutive beats. Another strategy is to vary the length of the accompaniment patterns (e.g., one ostinato is 4 beats in length while another is 8 beats in length). By doing this, the main text or melody may be more clearly distinguished from the accompaniment. Examples of complementary rhythms / œ œ œ œ Œ œ œ œ Œ œ œ / œ Œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ / Examples of parallel rhythms œ œ œ œ Œ œ œ œ Œ œ œ / œ œ œ œ œ œ œ œ Œ œ Œ œ Œ œ œ œ Œ Section 3

CONCEPT Pedal Point Accompaniments A pedal point is a single pitch, typically the tonic or dominant, used as accompaniment. In Orff Schulwerk, pedal points are often sustained, but they may also be written with repeating rhythms and/or the incorporation of the octave. Examples of pedal point accompaniments CONCEPT Drone/Bordun Accompaniments A simple chord drone/bordun is an accompaniment in which both the tonic and dominant pitches are performed simultaneously. Chord drones/borduns are many times performed with the pulse/beat, but they can also be performed with a repeating rhythmic pattern. Typically, chord drones are written so as to sound on the downbeat of each measure if not also on other metric accents. Examples of chord drones/borduns & œ œ œ œ œ œ œ œ œ A simple broken drone/bordun is an accompaniment that alternates between the tonic and the dominant. Like chord drones, broken drones are often performed with the pulse; they may also be performed with a repeating rhythmic pattern. Typically, the tonic is performed on metric accents in each measure. Examples of broken drones/borduns & œ œ œ œ œ œ œ Œ 4 3 œ œ œ œ œ œ œ œ œ Section 3

A simple level drone/bordun is an accompaniment that alternates between chord drones/borduns performed in two more different octaves. A simple level drone/bordun may be performed on one instrument or split between two or more instruments of different ranges. In the latter case, the drone/bordun pitches are written for each instrument where they will be played and not necessarily where they sound. When a level drone/bordun accompaniment is performed by one player, careful consideration should be given to the technical difficulty of the part; when a level drone/bordun is split between two players, more complexity in rhythm or register change is possible. Regardless of how many instruments are performing the accompaniment, it is typical to have the lowest sounding instrument sound on the downbeat of the phrase if not each measure. Examples of level drones/borduns & & for one player Ó for two players, split between two different instruments Ó Ó œ Ó œ A simple arpeggiated ( crossover ) drone/bordun is an accompaniment similar to a broken drone, but extends to the tonic in the second octave. Many times, an arpeggiated drone/bordun will be used in combination with a broken drone. Examples of arpeggiated drones/borduns & œ œ œ œ œ œ œ Œ œ œ œ œ œ œ combined with a broken drone œ œ œ Œ œ œ œ œ œ Section 3

A single moving drone/bordun is an accompaniment in which either the tonic or the dominant shifts to an upper or lower neighbor note, most typically on an unaccented beat. In pentatonic pitch sets, the shift may be as much as a 3 rd away from the tonic or dominant. Examples of single moving drones/borduns A double moving drone/bordun is an accompaniment in which both the tonic and dominant shift to a neighbor note, typically on an unaccented beat. Examples of double moving drones/borduns If the shifting notes become too florid, it is possible that the drone/bordun may be perceived as two melodic ostinati moving in parallel rhythm. Further, variations of single and double moving drones/borduns incorporating alternation between the upper and lower voices will many times be heard as a melodic ostinato rather than a drone-type accompaniment. Examples of florid While the expressive possibilities are expanded by the introduction of single and double moving drones/borduns, attention should be given to avoiding unnecessary parallel octaves as that will many times weaken the overall sound of the piece. Parallel fifths, however, are very much part of the elemental style of compositions and arranging in Orff Schulwerk and therefore welcome. Section 3

CONCEPT Color parts contribute to an arrangement or composition by adding auditory interest to the beginnings and/or endings of phrases or as a way to highlight text within a given lyric. When a color part is orchestrated for a pitched percussion instrument (e.g., glockenspiel), it will typically sound the tonic or dominant, not both pitches. Composition Strategy Creating melodic ostinati as accompaniments to pre-established melodies can present several challenges. One challenge is to avoid, if possible, unnecessary parallel octaves, as this tends to weaken the overall sound due to duplication of pitches (an exception, however, being during final cadences). Another challenge is to have the ostinato sound like a melodic motive rather than a variant of drone. The following is one strategy for creating a piece with both drone and melodic ostinato accompaniments. After a melody was composed in re pentatonic on D, two complementary rhythmic ostinati were created as accompaniments. In considering the two rhythmic ostinati, one was identified as having more drone-like qualities (e.g., less rhythmically complex). As such, this ostinato was set as an arpeggiated drone/bordun. Section 3

The remaining accompaniment pattern was then set as a melodic ostinato. In doing this, three different ideas were considered: Decorating/embellishing the tonic of the pitch set. Decorating/embellishing the fifth A scalar pattern While these options were not the only possibilities, each provided an opportunity to exploration accompaniment patterns. Section 3

NOTES Section 3

LESSON PLANNING IDEAS Exploring Drone Accompaniments Teach the folk song Frosty Weather by rote and play the game (sources: Folksongs, Singing Games, and Play Parties, Vol. I, Trinka [1987]; Celebrate the Winter, Langstaff [2001]) Have the students identify the melodic motives in the melody and present as a visual if necessary Have the students transfer the melody to the barred instruments in C Pentatonic Ask the class to identify the tonic (C or do) Build a drone accompaniment; review chord, broken, level, and arpeggiated/crossover drones Layer two different types of drones for accompaniment to the melody; complementary rhythm, while not required, would be advised if possible Explore the possibility of playing the melody starting from a different pitch (E2) Ask the students how this change affects the feeling of the music; which note is the new tonic? (identify as la pentatonic on A) Build a new drone accompaniment for the piece; explore the possibility of moving the fifth; moving the tonic Layer two different drone accompaniments for this new melody Repeat the process for re and so pentatonic Try the exercise in mi pentatonic, discuss the implications (i.e., there is no drone) As a class, choose one pentatonic mode to work in Ask the class to create drone accompaniments as ostinati and be able to perform in the meter of 2 or 4 (ostinati should be 2, 4, or 8 beats in length) Taking examples from the class, layer several drones on top of one another; use this to create an accompaniment for text (e.g., poem, dramatic scene, etc.) As a class, decide how the accompaniment will be used (i.e., Will it play the whole time or will it stop and start again? What other sounds can we use to add to the performance of the poem? Is there a place to layer Section 3

entrances of each drone or should they all come in at once? How should the text be spoken? Tutti? Solos?) Perform and discuss Divide the class into small groups Have the class create a similar accompaniment to a poem supplied by the teacher The accompaniment should have 2-3 accompaniments; each should be complementary and one non-pitched percussion instrument for effect Allow the group to work up a performance plan Incorporate movement if time allows Section 3

II Section 4: Hexatonic CONCEPT Hexatonic When a sixth note is added to a pentatonic scale the resulting scale/pitch set is a hexatonic (or hexachordal) scale. In major hexatonic (often labeled as do hexatonic), the sixth note is typically the 4 th scale degree; in minor hexatonic (often labeled as la hexatonic), the added note is the seventh scale degree with the sixth being omitted. Major hexatonic is typically introduced to students by the addition of fa as a passing or neighbor note, thus filling the gap between mi and so. Initially, the 4 th degree of the major hexatonic scale is ornamental and melodies retain their pentatonic character. Examples of fa as a passing or neighbor note Section 4

REPERTOIRE Sleep, Baby, Sleep, MFC Vol. II, p. 6 (Orff & Keetman) Present the following visual and ask the students to sight-sing the melody Let the students know you are going to making a small change in the melody and they are to figure out and explain what that change is Perform the following on recorder, with the voice, etc. Once the students have appropriately identified the change(s) in the melody, add fa in measures 1-2 and 5-6 and have the students sing the melody with changes Let the students know you are going to make another change and perform the new melody on recorder, with the voice, etc. Add to notation and have the students sing Transpose the melody a 3 rd lower and ask the students to take a moment to sight sing the new version When students are secure, ask them to sing the original melody beginning on G/so while you sing the transposed version beginning on E/mi Switch parts after the students are able to hold their own part against yours Split the class into two groups with one half singing the original melody and the other half singing the transposed version; switch parts when secure Transfer the melody to the barred instruments by repeating the above steps; if you have the students set up initially in C pentatonic, the students will need to add F/fa at some point in the sequence Teach the accompaniment figures by rote as appropriate and create a final form of the piece Section 4

CONCEPT Paraphony With the introduction of hexatonic, strict parallel movement between two or more voices may occur at a fixed interval. Common intervals are 3rds and 6ths though 4ths and 5ths are also used in creating paraphony. When teaching paraphony on barred instruments, particularly if one player is to perform both parts simultaneously, it is often helpful to isolate one part prior to adding the other. This can be accomplished with the following strategy: Teach the melody or accompaniment pattern as a single voice, alternating hands as appropriate Ask the students to then perform the same music using one hand only Add the other hand above or below moving in parallel motion CONCEPT MFC Vol. II, p. 34 (Orff & Keetman) Formation: Single circle Shake right hands for 6 beats Shake left hands for 6 beats (remain holding onto right hands) Exchange places for 6 beats (two-hand turn) Turn to a new partner B section: face center Section 4

Extending into improvisation: two model sequences Sequence 1: Review C hexatonic by echoing solfa patterns in the meter of three Begin improvisation through questions and answer with solfa (4 measures each) Incorporate into the game by exchanging the improvisations for the A section Practice till secure Transfer the activity to barred instruments or recorder, beginning with review of the notes, then Q/A improvisation; provide many opportunities to build vocabulary for improvisations Sequence 2: Present the following visual and have the class sing on solfa and then perform instrumentally Improvise rhythms with do/c both vocally and on instruments Introduce an upper neighbor note (re/d) and incorporate the upper neighbor into the improvisations Add the mi/e above the do/c Improvise rhythmically on the mi/e Introduce the lower the lower neighbor (re/d) and improvise Use re/d as a passing tone between do/c and mi/e Allow time for practice and sharing of ideas between students When students are secure, introduce the upper neighbor (fa/f) to mi/e and continue improvising Change the visual to show so/g only Section 4

Using the same process as before, introduce the upper and lower neighbor notes Use fa/f as a passing tone between mi/e and so/g Allow time for practice and sharing performances between students Add the complete triad to the visual Ask the students to perform one note from the triad in each measure Encourage the students to find ways to ornament their melodies using neighbor notes and passing tones ( connect the dots ) Allow time for practice and sharing performances between students Section 4

NOTES Section 4

II Section 5: Meter (5, 7, Changing) CONCEPT Meters of 5 and 7 The meters of 5 and 7 are approached in much the same way other meters (e.g., duple and triple) were experienced in the earlier grades: through speech, movement, and singing. An excellent source of repertoire for the meters of 5 and 7 include traditional chants and rhymes, particularly those easily performed in 6/8 or 6/4. Additional repertoire appropriate for use with students includes pieces from the Music for Children Volumes (Orff & Keetman) and Spielbuchs für Xylophon Books I-III (Keetman). When adapting materials to the meters of 5 and 7, it is typical to maintain the same metric accents as found in the original. For example, below is the poem Girls and Boys Come Out to Play as notated in 6/8 followed by the same poem notated in 5/8 and 7/8. Take note that the text accents in each example are the same no matter the meter. Section 5

Once a piece has been adapted to the new meter, accompaniments, if they exist in the original, can also be adapted or new ones created. Below is an example of two complementary rhythmic ostinati for Girls and Boys in the meter of 7/8. These accompaniment patterns can be chanted or played on instruments or both. Section 5

REPERTOIRE Spielbuch für Xylophon, Book II, #26 (Keetman) Teach the text by rote Perform text in the meter of 6/8 Add a body percussion accompaniment for 6/8 meter (e.g., pat-clap-clap, pat-clap-clap) Change the text to fit with the meter of 5/8 and adapt body percussion accompaniment (e.g., pat-clap-clap, pat-clap) Practice till secure Extend the piece through the addition of a Call & Response section (Call being teacher modeling rhythmic improvisation for two measures and Response the BP accompaniment) Change leadership roles in Call & Response section Alternate between speech and Call & Response sections; provide opportunity for each person to solo rhythmically Add body percussion to text through the use of a visual (see following page); introduce body percussion gradually Transfer body percussion patterns to pitched percussion or recorder through the use of the same visual used for body percussion; introduce the different melodic motives gradually Perform melody in its entirety Add accompaniment Extend piece through the addition of a Call & Response section like before; the teacher models the call and the students perform the response Allow for large and small group practice and, eventually, solo improvisers Section 5

Jacques and Jane went Down the lane to Fetch a cold glass of Perrier Jane complained a- Bout the rain, and Jacques, he did nothing But the same! Snap D2 Clap A B G Clap B G Patsch Section 5

CONCEPT Changing Meter Changing meter, like the meters of 5 and 7, is also best approached through speech, movement, and singing. Repertoire selections can come from various pieces found in the primary Schulwerk sources (the MFC Volumes and Supplementals), time-change dances from different cultures, and folk song repertoire. REPERTOIRE Little Swallow (stick passing game learned from Dan LeJeune) REPERTOIRE MFC Vol. IV, #9, p. 6 (Orff & Keetman) Teach the following rhythm patterns through speech and/or use of visuals (it is appropriate to allow students to create their own words for each pattern if desired) Mis - sis - sip - pi Am a - zon Jor- dan Once the students are secure, create the following phrase and perform twice M A A M A A A J Section 5

Add an ending text following the repetition Ask the students to create move to reinforce the meter changes and form (e.g., slow flowing gestures for each Mississippi, static shapes on each Amazon, and a change of direction or body percussion on Jordan ) Allow time for students to create a choreography based on their movement explorations Transfer speech to pitched percussion Set up the barred instruments in minor hexatonic on A (i.e., remove the Fs) Ask the students to create a motivic composition based on the text and provide opportunities for students to share with others in a small group or with the entire class Teach the melody as originally composed by rote and/or with the assistance of a visual (e.g., simple staff notation) Add the pedal point accompaniment; for an added challenge, students may wish to perform the pedal point with one hand while performing the melody with the other Expand orchestration if desired (e.g., add un-pitched percussion instruments on metric accents or to mark phrases) Extend piece through the addition of a B section or sections IMPROV Rhythmic Improvisation in Changing Meter Establish the changes of meter through speech and kinesthetic experience o Move/speak each pattern in isolation o Move/speak alternating patterns o Refine to: Section 5

o An option extension of this preparatory activity is allowing the students to create a small group choreography based on the meter changes Once the meter changes are secure, teach the following text by rote and/or with a visual Practice with body percussion and speech Transfer to hand drum (or other un-pitched percussion) Working collaboratively with students, orchestrate text to include up and down strokes on hand drums Extend the piece through the addition of a new section for improvisation Section 5

Rhythmic vocabulary chart using traditional notation 4/4 6/8 3/8 (and so on) (and so on) (and so on) Rhythmic vocabulary chart using text 4/4 6/8 3/8 : 2/4 Lightning flashes in the sky Storm clouds are gathering Hear the thunder Strong is the mighty wind Down comes the rain (and so on) (and so on) Section 5

NOTES Section 5

II Section 6: Diatonic Modes CONCEPT Diatonic Modes An understanding of the diatonic modes can be achieved by way of several different approaches: do- and la-based scales, number systems, using each solfege syllable as a home tone/tonic, identification of whole- and half-step patterns, comparison of modes to major and minor scales, etc. (for more information, read Nick Wild s Understanding the Diatonic Modes, 2009/2015). For the purposes of these notes, several approaches will be used to present each mode, though participants are encouraged to use the one or two that helps them understand this concept best. Ionian Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege Do Re Mi Fa So La Ti Do Do-Based Solfege Do Re Mi Fa So La Ti Do Shaded areas indicate the location of half steps within the mode Transpositions for Pitched Percussion: Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege Do Re Mi Fa So La Ti Do Do-Based Solfege Do Re Mi Fa So La Ti Do Shaded areas indicate the location of half steps within the mode Section 6

Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege Do Re Mi Fa So La Ti Do Do-Based Solfege Do Re Mi Fa So La Ti Do Shaded areas indicate the location of half steps within the mode REPERTOIRE Sweetly the Swan Sings The above canon is appropriate for singing and playing on pitched percussion. Additionally, due to it s scalar composition and simple motives, it is also an excellent piece by which other modes may be explored by changing the starting note without adding accidentals. Aeolian Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege La Ti Do Re Mi Fa So La La-Based Solfege La Ti Do Re Mi Fa So La Shaded areas indicate the location of half steps within the mode Section 6

Transpositions for Pitched Percussion: Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege La Ti Do Re Mi Fa So La La-Based Solfege La Ti Do Re Mi Fa So La Shaded areas indicate the location of half steps within the mode Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege La Ti Do Re Mi Fa So La La-Based Solfege La Ti Do Re Mi Fa So La Shaded areas indicate the location of half steps within the mode An example of the Sweetly the Swan Sings canon with the modality changed to A Aeolian. To make this piece appropriate for most elementary singers, it would be best to transpose the melody to either D or E Aeolian (D Aeolian is shown here). Use of an accidental is required in order to preserve where the half notes occur in the mode. Section 6

Dorian Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege Re Mi Fa So La Ti Do Re La-Based Solfege La Ti Do Re Mi Fi So La Shaded areas indicate the location of half steps within the mode Transpositions for Pitched Percussion: Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege Re Mi Fa So La Ti Do Re La-Based Solfege La Ti Do Re Mi Fi So La Shaded areas indicate the location of half steps within the mode Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege Re Mi Fa So La Ti Do Re La-Based Solfege La Ti Do Re Mi Fi So La Shaded areas indicate the location of half steps within the mode Section 6

REPERTOIRE Ah, Poor Bird The melody of this canon is neither Aeolian nor Dorian due to the lack of a 6 th degree, therefore it would be more accurate to label it as minor hexatonic. That said, the accompaniment as written includes the major 6 th in the pitch set and as such, the piece can be understood as being in the Dorian mode. Voice AM BM & 2 4 1. œ Ah, œ poor 2 {& 4 Œ œ Œ œ 4 2 {& Œ œ bird, œ Ah, Poor Bird œ œ œ 2. œ take œ œ thy Œ flight, œ trad., arranged by M. McCoy œ œ œ Voice AM BM 5 & 3. œ Far {& Œ œ Œ œ {& œ œ a œ œ œ - bove the sor Œ œ 4. œ œ œ - row of this œ œ œ œ œ sad Œ night. œ œ œ œ... Section 6

Mixolydian Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege So La Ti, Do Re Mi Fa So Do-Based Solfege Do Re Mi Fa So La Te Do Shaded areas indicate the location of half steps within the mode Transpositions for Pitched Percussion: Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege So La Ti, Do Re Mi Fa So Do-Based Solfege Do Re Mi Fa So La Te Do Shaded areas indicate the location of half steps within the mode Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege So La Ti, Do Re Mi Fa So Do-Based Solfege Do Re Mi Fa So La Te Do Shaded areas indicate the location of half steps within the mode Section 6

REPERTOIRE Ungaresca Notes: Section 6

Phrygian Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege Mi Fa So La Ti Do Re Mi La-Based Solfege La Te Do Re Mi Fa So La Shaded areas indicate the location of half steps within the mode Transposition for Pitched Percussion: Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege Mi Fa So La Ti Do Re Mi La-Based Solfege La Te Do Re Mi Fa So La Shaded areas indicate the location of half steps within the mode REPERTOIRE Winter Draws Near Section 6

Lydian Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege Fa So La Ti Do Re Mi Fa Do-Based Solfege Do Re Mi Fi So La Ti Do Shaded areas indicate the location of half steps within the mode Transposition for Pitched Percussion: Scale Degree 1 2 3 4 5 6 7 8 Natural Solfege Fa So La Ti Do Re Mi Fa Do-Based Solfege Do Re Mi Fi So La Ti Do Shaded areas indicate the location of half steps within the mode REPERTOIRE Lydian Dance in 5 Present the following music and have students play through the measures without any definite meter Accompanying with a drum, have the students explore the melodic skeleton in the meters of 3, 4, 2, 6/8 Change the accompaniment to 5/8 (3+2) and ask the students to play again Introduce a series of small changes leading to the final version of the melody (see following page for a suggested plan of development) Add accompaniment Section 6

Section 6

II Section 7: Process Examples REPERTOIRE MFC Vol. V, #106, p. 90 (Orff & Keetman) Coffee is good! Coffee is great! Coffee is what I need by eight! (fine) Coffee is good! Coffee is great! Coffee is what I need by eight! Give me the coffee, I need it right now! DC al fine PEDAGOGY A Model Rote (e.g., Echo) Process for Teaching Rhythmic Texts, Rhymes, and Poetry Students often benefit from experiencing a piece as a whole prior to learning its constituent parts. One way to increase attention while listening/experiencing a piece is to guide student listening and analysis for several hearings before echoing individual phrases or sections of the music. For example, when teaching a text such as that presented above, consider asking the students to listen for comprehension (e.g., What is the text about? ; What time do I need my coffee by? ; What words are used to describe my feelings about coffee? ). Additional questions might also focus on drawing inferences (e.g., How do I feel about my morning coffee and what words tell you this information? ) and/or analysis of structure and form of the piece (e.g., How many phrases do you hear? ; What is the sectional form of this piece? ). After each question, model the piece and provide opportunities for students to briefly discuss prior to providing answers to the entire group. Once students have sufficiently understood the text to be learned, then a more traditional rote process can be employed with the teacher having the students first echo phrase by phrase, then two or more phrases at a time, and finally the whole piece. This is also an excellent time to assess student learning by asking students to perform the piece in its entirety without teacher assistance. Section 7

A Model Process for Transferring Texts to Body Percussion Once the students have demonstrated they can successfully perform a preparatory text, the teacher may begin gradually adding and developing the body percussion orchestration. In the above piece, the first step was to have the students perform the A phrases by patsching (i.e., patting the legs) the rhythm of the words with no particular attention being given to handedness. Clapping was then added to the rhythm of the B phrase. At this point, the piece may be performed again in unison and/or in canon. The A phrases are then slowly developed by making small changes to the orchestration in ways that hopefully seem gradual as well as natural. It is worth noting that the changes introduced are typically modeled without the teacher having to identify or explain what they are; however, after each change, the students may be encouraged to discuss what they have observed with each other. For this particular piece the changes were: Notes: Beginning each A phrase with the left hand and consistently alternating throughout Performing the eighth-sixteenth-sixteenth motive in the A phrases on the left leg Changing the pastchen to clapping on the words I need by eight! in the A phrases Changing the clapping in the A phrases to patsch-stamp-stamp on need by eight Practice strategies were discussed and time alotted for this purpose Performance of the piece in unison and in canon Performance plan created by the students and the teacher Optional: Body percussion transfer to unpitched percussion instruments or found sounds Section 7

PEDAGOGY Body Percussion Preparations As preparatory activities, body percussion pieces and accompaniments are effective tools for teachers to employ when providing opportunities for the students to have an experience of the rhythm and/or melodic contour of a piece prior to learning it on an instrument. However, students with little experience may require that each piece and/or accompaniment is first introduced in simplified form and developed gradually through small changes. The following examples illustrate simple-to-complex development plans for complete pieces as well as accompaniments: Simple-to-Complex Development Plan for a Body Percussion Piece in 6/8 * These versions may all be performed simultaneously, allowing for differentiation of the piece for learners with varied experience and/or skill. Section 7

Simple-to-Complex Body Percussion Ostinato Accompaniment Completed Ostinato After each change, the accompaniment pattern should be performed with the chant or song before moving to the next stage of the development plan. Notes: Section 7

PEDAGOGY Speech/Singing Preparations Speech preparations many times allow students to experience how different parts of a piece relate to each other. With singing preparations, students also have the opportunity to learn the melody and accompaniments prior to performance on an instrument. When creating texts for speech and singing preparations, careful attention needs to be given to the artistic quality of the words used. This is not to say that all texts must be serious as humor works quite well provided it matches the general mood of the piece to be learned. Excellent sources of topics for creating texts can be found in poetry, rhymes, and proverbs. Music for Children, Volume IV, #6, p. 6 (Orff & Keetman) Notes: Section 7

PEDAGOGY Simple Movement Preparations Combining movement and dance pedagogy with aural learning is often an effective strategy for allowing students to experience a piece prior to performing it on an instrument. While there are many ways of providing these experiences, the following lesson illustrates a simple process that relates well to elemental music in simple forms (e.g., abac or abab ). The overarching focus of the movement preparation is to provide opportunities for students to learn a movement concept, create a choreography emphasizing that concept, and also hear many repetitions of the melody to be performed at a later point. Movement concept: Locomotor and non-locomotor movement Music Concept: Form Present a list of locomotor and non-locomotor movement words and give time for students to adequately explore them in general space Ask students to choose their favorite non-locomotor movement to perform while you perform a rhythm or pulse on the tubano Ask the student to choose a second favorite non-locomotor movement to perform while you perform on a tambourine Alternate between the first and second movements, cued by the appropriate sounds; gradually refine sound cues to be four beats in length Ask students to choose a third favorite non-locomotor movement to perform while you play the suspended cymbal Again, alternate between the various movements and sound cues; gradually develop the choreography to be in abac form with each section lasting four beats Allow time for sharing with partners as time allows Perform sound cues in A(abac)-B-A(abac) form on the unpitched percussion; ask students to perform just the A section (a visual may need to be presented to help student understanding of the form) Ask the students to choose their favorite locomotor movement to perform during the B section Allow time for practice and then perform all together Have students work with a partner, one showing their choreography to the other while accompanied by sound cues; switch performers and share again Ask the students to work together to create a new choreography in A(abac)-B-A form Section 7

After students are secure in their movement, transition from sound cues to performance of the melody on a recorder, piano, or barred instrument. Allow students to practice and share. If time allows, ask students to create a new choreography in A(abac)-B-A form with a group of three or more Notes: Section 7

RESOURCES Recommended Reference Materials: Calantropio, S. (2004). Process teaching: Finding the elements. Orff Echo, 36(4), pp. 28-32. This article provides an excellent overview of process teaching including repertoire selection, extension activities, and use of questioning to deepen thinking. Calantropio, S. (2005). Pieces and Processes. New York, NY: Schott. A process teacher s toolbox! This text lists and illustrates many strategies that can be used in designing cohesive lessons that can lead students to a deeper understanding of music through elemental repertoire. Frazee, J. (1998). Discovering Keetman. New York, NY: Schott. This is a Best Of text of Keetman s supplemental materials with process teaching notes. Whether or not you choose to teach the repertoire selected for this book, the examples of how to teach are invaluable. McCoy, M. (2011). I ve Got a Song in Baltimore: Folk Songs of North America and the British Isles. New York, NY: Schott. A collection of folk arrangements with detailed process-teaching notes. Section 7