Fall 2013 President s Message 2 Editor s Message 3 Humpty Dumpty 4 National Conference 6 Upcoming Events 10 Newsletter of the Ontario Orff Chapter Music For Children - Musique Pour Enfants Volume 19 Issue 3 How To Create Strong, Effective Ostinato Parts Len McCarthy The ostinato plays an important role in Orff music, Len McCarthy offers some helpful hints on creating ostinati. Note - these tips are primarily for melodic ostinati; see final paragraph for purely rhythmic ostinat1. Although the main criteria of an ostinato is that it maintains the same harmonic traits of the melody (that is, the ostinato follows the same chords that support the melody), the most effective and easy to learn/perform ostinati are those that complement the melody. Conversely, the least effective and difficult to learn/ perform ostinati will be those that feel unrelated or random compared to the melody, even if they are harmonically correct. There are basically three types of ostinati, presented here in order of ease of performance, as well as the degree to which they are organically derived from the melody. Heather Cumine s arrangement of Humpty Dumpty on page 4 uses examples of each type. The first type of ostinato is a short fragment of the melody itself - usually no longer than a measure or two (depending upon the melodic and rhythmic complexity of the melody; the more complex the melody, the shorter the fragment). This fragment has the same rhythm as its source, but the notes can either be the same, similar or entirely different from those in the original melodic fragment. In Humpty Dumpty, the Mezzo Soprano part is an example of this first type. The positioning of the ostinato can vary. It can start on the same beat (or part of the beat) as the original, or it can be shifted elsewhere. The main criterion for its success is that it fits and supports the melody, rather than feeling awkward or clashing with it. When lyrics are involved, choose words that emphasize the main message of the song. The second type of ostinato is similar to the first type, also a short fragment of the melody - usually no longer than a measure or two, but it is a variation of the source. (See Alto Part 1 of Humpty Dumpty.) The degree of variation is open-ended, and may involve some change in the length of the fragment, as well as its rhythm and melodic content. The criterion for success is the same - how well it supports the melody and avoids inappropriate clashes. If lyrics are involved, some different words can be introduced, but it will be most effective if it reiterates something from the song. (Continued on page 3)
Page 2 Message from the President: Marion Roy President: Marion Roy Ontario Orff Executive 2013-2014 Vice Presidents & Workshop Convenors: Alison Tipler Suzanne Waller Secretary: Catherine Irving Treasurer/ Website Administrator: Batya Levy Publicity: Ingrid Carlaw Membership: Caren Ludwig-Shoychet Newsletter Editor: Jennifer Stacey Members at Large: Kristina Barratt AnneTipler National Archivist Bruce Grant St. John s Music Katherine Edmonston Sandra Lewis Mosaic Mosaïque is published three times a year by the Ontario Chapter of Music for Children, Carl Orff Canada, Musique pour enfants. Articles in the newsletter express the viewpoints of their authors and do not imply endorsement by the Chapter. Mosaic Mosaïque welcomes contributions of articles, ideas for columns, news and questions. Submissions are requested by November 25 for the January Issue, February 25 for the April Issue and July 25 for the September Issue. Submissions are subject to approval and editing. Please send submissions to: Jennifer Stacey 13 Willowgate Dr., Markham, Ont. L3P 1G1 (905) 472-6312 j.staceyorff@gmail.com By the time you read this, another school year will have started. I hope you were able to relax and revitalize over the summer holidays. We had a busy summer. Before heading to the UK for 3 weeks, I taught the P/J Vocal Music AQ course again this July for OISE. I love this job for several reasons. Sharing the many ideas I have learned over several years teaching children is rewarding. But it s more than that. I know that I am not the only teacher in the room. I may be instructing the course, but the teachers in it have a wealth of knowledge that needs to be shared too. They have also been gaining experience in their professional educational journeys and the discussions generated in class are always fascinating to listen to. The idea of musician is an interesting topic is a musician someone who has a degree in music? Or someone with RCM levels courses? What about the musician who has no formal training but can play anything by ear if you play it first? What about the musician who can tell you all about a certain time period/genre of music but who can t play an instrument? Are they musicians as well? An observation I enjoy seeing with these teachers every year is the change in their preconceived notion of what music education is and how that evolves over the course. The teachers are often wondering after day one why we moved, played, spoke, explored space, and pretended. Many teachers think that the elementary music classroom is singing. Of course singing is a tremendous part and an important part but to forget all the other parts forgets our client the child. I remind the teachers that they are teaching children not the curriculum. Of course teachers need to know the curriculum and deliver the curriculum BUT they are teaching young children and we need to always reflect back to what is best for their developmental level. It is so important not to forget the who and to only focus on the what (and of course to develop the how ). To be fair, I guess many of these teachers had made this preconceived conclusion after having read the course title of Vocal Music and came to the logical decision that it was a singing class. This is why we have suggested to the College of Teachers to change the course title of the elementary music course to just P/J Music. (Continued on page 3)
(Continued from page 2) We discuss the standards of practice in education and of course discuss how important it is for the teacher to be always learning. Attending workshops, taking courses, doing personal reflection, independent course work, taking music lessons or being involved in choral or instrumental groups are key to being better Music teachers. We at the Ontario Orff Chapter hope we can help in that endeavour. We have 3 workshops planned this year. Two offered by accomplished clinicians Sue Harvie and Deborah Ziolkoski and our third new workshop led by YOU our first ever sharing workshop focusing on teacher collaboration. We also hope that our website will be useful to members. Please keep staying tuned to our members only section where we are hoping to post many useful professional ideas and links. I hope this year you enjoy getting back into our regular routine of planning concerts, leading choirs and Orff ensembles and making music with our students. Because, as you all know, we truly have the best job in the world! Marion Roy Message from the Editor: Jennifer Stacey Page 3 A new school year has begun and I hope everyone is enjoying their new classes. I know music is filling the halls of many schools. This issue features the use of the ostinato, a foundational concept of Orff. I hope you find the article by Len McCarthy and Heather Cumine s arrangement useful. There are also ads for all the opportunities there are for professional development. That is one of the joys of teaching music there is always more to learn. I know I love to learn new things and with music there is always something new to learn new songs, new styles, new techniques, new instruments. I am enjoying learning the ukulele and native flute. Please take the opportunity to join us at the next workshop with Sue Harvie. Details of the workshop can be found on page 10. Also, a special thank you to Len who is the proof-reader for all the editions of Mosaic. A silent but very valuable part of the newsletter. Have a great year, Jennifer (Continued from page 1) The third type of ostinato consists of brand-new rhythmic and melodic ideas, in any length that feels appropriate. (See the Alto 2 part.) This ostinato can be quite different, for example, it might be smooth and sustained if the melody is short and choppy, or the reverse, but avoid contrast simply for the sake of being different. Like the other two types of ostinati, the criterion for success is enhancing and supporting the melody (and its lyrical message), and avoiding clashes or disruptions to the overall flow. For rhythmic ostinati for a poem, or if they are for a percussion instrument, the same principles and types still apply: the first type repeats a rhythmic idea as is from the lyrics (or melody), the second type is a variation, and the third type consists of brand new content that complements the main part. Note that Heather s arrangement began as a non-pitched chanting of the nursery rhyme, so it also works without the pitches. The criterion for success is unchanged in each case. (picture from http://schools.cbe.ab.ca/b346/showcas e.htm ) Turn to page 4 to see examples of the various ostinati created by Heather Cumine (http://www.heathercumine.com/ )
Page 4 Humpty Dumpty in F Major with Ostinati By Heather Anne Cumine
Picture found at http://en.wikipedia.org/wiki/humpty_dumpty Page 5
Page 6 Press control key and click on the ad to go to the Orff National Conference http://orffcanadaconference2014.com Please let us know if you are moving. Send your change of address to: Caren Ludwig-Shoychet Rcshoychet @rogers.com
Page 7 Orff Teacher Training / Additonal Qualifications at the Royal Conservatory of Music (Toronto) For more information visit: www.rcmusic.ca The ECMA of Ontario has performed 20 years of advocacy and leadership in the field of music education for young children. Since it was founded in 1990 by Donna Wood with the dedicated help of our first president, Mary Stouffer, the ECMA has remained committed to fostering communication among those who value the importance of developmentally appropriate, high quality musical experiences in the lives of all children. For more information visit:: http://ecmaontario.ca/
Page 8 Dalcroze Society of Canada Workshop with Jeremy Dittus, Diplôme Supérieur Saturday & Sunday, October 26 and 27, 2013 Time: 9:00 am - 4:30 pm (Saturday) / 10:00 am - 4:00 pm (Sunday) National Ballet School, 400 Jarvis Street, Toronto ON Jeremy Dittus is the founder and director of the Dalcroze School of the Rockies (DSR) in Denver, Colorado, the only authorized Dalcroze training center west of Pittsburgh in the United States. The DSR offers Eurhythmics classes for children ages 4-14, adult enrichment classes, and full time study toward the Dalcroze Certificate/License (eurhythmics, solfège, improvisation, and pedagogy). Dr. Dittus serves on the state board for the Colorado Federation of Music Clubs and is the Vice President of the Dalcroze Society of America. For more information visit: http://www.dalcrozecanada.com/
The Ontario Orff Chapter future workshops: Page 9 Sunday, February 2, 2014, 10 am 2 pm Ignite the Spark: Interactive Listening for Every Child! featuring Deborah Ziolkoski Upper Canada College Prep School 200 Lonsdale Road, Toronto, ON, M4V 1W6 Workshop Description: Inspire children to develop an appreciation for classical music through an integrated approach to the arts! Children s literature, drama, creative movement, song and instrumental play make classical music child-friendly and exciting for every child! Together we will explore techniques to nurture the many different ways children learn! STAY, PLAY AND SHARE SATURDAY, MARCH 29, 2014 10 am-12 pm (To be confirmed) We will play through orchestrations and share ideas and activities. There is no single clinician leading this. This workshop will be free to members (and cost $10 for everyone else). However, there will be a limit of 50 registrants. Location: TBA
Page 10 Up and Coming Ready, Set Go! featuring Sue Harvie Saturday, October 19, 2013 9 am 1 pm Claude Watson School for the Arts 130 Doris Avenue, Toronto, ON, M2N 0A8 Kick-start your fall with curricular best bits and quick picks: Everything from notation to seasonal favourites. Literacy connections and games offer just a glimpse of the F-U-N the Orff process offers and its relationship to the craft and artistry of teaching music. Sue Harvie has been a music specialist for over 25 years, and is currently teaching grade 1 through 6 music at Escuela Dalhousie for the Calgary Board of Education. In addition to her teaching duties, Sue is part of the administration team and department head of Learning Through the Arts. Sue completed her levels and post levels training in Orff-Schulwerk and holds her Master in Education from the University of Alberta. Sue has presented workshops across Canada and the U.S., and teaches Orff level I at the University of Alberta. Her performing groups have performed for five Canadian National Orff conferences, the Edmonton Symphony Orchestra, the Calgary Philharmonic Orchestra and even thequeen! Most of all, Sue is an enthusiastic proponent of the Orff approach. She enjoys the uniquely creative process that develops as a musical idea becomes a lifelong learning and memory-making experience for both teacher and student. Press the control key and click on the Ontario Musical Note below to go to the Website and download a pdf form to register for the workshop. If you have any questions, Contact: Batya Levy Home Phone: 647-348-3396 (evenings & weekends ) / Email: batyalevy@rogers.com Follow the Ontario Orff Chapter on Twitter @ontarioorff