IntegratingOrff,Kodály,andEurhythmicswith

Integrity

MissouriMusicEducationAssociationThursday,January25,2018

11:45-12:45am

RogerSamsDirectorofPublicationsand

MusicEducationConsultantatMusicIsElementary5228MayfieldRd.

Cleveland,OH44122(800)888-7502

Roger@MusicIsElementary.com

www.MusicIsElementary.com

MincePieFlyfromPurposefulPathways1

UsedwithPermission

PATHWAYtoRHYTHM:Kinestheticallysettingup4 , h, $ • Beginwithstudentsinscatteredspace.PlaythesteadybeatontheHDandaskthe

studentstokeepthebeatintheirfeet,stationaryfirstthenlocomotor.• Whenthepulsehasbeenestablished,speakthepoem.AskthestudentswhatNellieBly

isdoinginthepoem.• Students“walklikeNellie”onthebeat.• Whenthedrumstops(onbeat8ofeachphrase),thestudentsstoptraveling.• Invitethemto“catchafly”duringthespace(whichtheyhaven’tyetlabeledasarest).• Addtravelingtheeighthnote.• Extractpatternsfromthepoem,fortheclasstoecho,example:

h h 4 $ h h 4 $

teacherondrumstudentsmoverhythminfeet

PATHWAYtoLITERACY:Discovertherest• Modeltherhyme,whiletrackingthesteadybeatwiththeflyicons.“Whichflydidwe

catch?”Thatflybecomesaquarterrest.

$

PATHWAYtoPARTWORK:4 , h , $ • Studentsreadrhythm.• Addtext.• Teachercreatesostinatousingicons,“fly $, fly $ ,mincepie,fly $ .” • Halftheclassonpoem.Halfonostinato.• TransfertoUTP.

- Poemonwoodblock.- Ostinatoonhanddrum.

PATHWAYtoCOMPOSITION:Composingwithicons

• Individualworkwithrhythmicbuildingblocks--iconcards(mincepie,fly).• Createostinatibyselectingandarrangingfourcards.

• Studentstravelaroundtheroomperformingtheostinatithatwerecreatedbytheirclassmatesanddiscoveringthosewhocreatedthesamepatterns.(Maybedoneafterwritingnotationoncards.)

• Clusterwiththosewhowrotethesameostinatoandpracticeasanensemble.• Listentoalloftheostinatiperformedwiththerestoftheclassonthepoem.• PerformonUTP,iftimepermits.

PeasePorridgeHotfromPurposefulPathways1

UsedwithPermission

PATHWAYTORhythm:Kinestheticpreparation–4 h$ • Studentslocomotetothesteadybeat (4), whichyouestablishbyplayinghanddrum,

templeblocks,orpiano. • Changetosubdivision. (h) • Alternatebetweenthebeatandsubdivision.

• Returntothesteadybeat,alternatingwitharest,studentslocomotethebeat,andfreezeontherest.

• Introducetherhythmsfromthesong:youplay,studentsstepthepatterns

• Returntothesteadybeatforawhile,thenaddanewpattern.

• Returntothesteadybeatforawhile,thenaddanewpattern.

• Next,singbyphrases,havestudentsechosingandmovethepatterns.

PATHWAYTOLiteracy:Practice 4 h $, ,,somido

• Readrhythmfromsticknotation• Learnmelodyandtextsimultaneouslythroughechoimitation.(Nomelodicliteracywork

atthispointintime.)

PATHWAYTOEnsemble:Bodypercussiontransferredtopercussioninstruments

• StudentssingsongasyouperformBPtocovercolorparts. -Glock=clap -SX/AX=pat

-Handdrum=stomp• Studentsdeterminewhenthecolorpartsoccurandnotatetherhythms.• StudentsperformBPandsing.• Transfertopentatonictoneclustersandhanddrum.• Patsteadybeatandsing.TransfertoBX/BMchordbordun.• Putallpartstogether.

PATHWAYTOLiteracy:Locateandlabeldo

• Singsongtogether.• Usingpotsasbeaticons,studentsnotate(orreview)rhythmofsong.• Studentsnotatemelodyinsolfa.Intheprocess,theyfindthe(recentlylearned)newlow

notesandlabelthemasdo.• Afternotatingsong,reviewbarredpartslearnedinpreviouslessonandplayfor

enjoyment. PATHWAYTOImprovisation:4-beatrhythmpatterns

• PerformtheBSection,counting“1,2,3,4”inthemeasuresofrest.Studentslisten,but

donotjoinin.• Studentsjoincounting“1,2,3,4”duringthemeasuresofrest.• Modelrhythmicimprovisationduringtheopenmeasuresusing 4, h and $. • Studentsimprovise.• YoumaytransfertoUTP.• Useasanassessmenttool.PerformaGrandRondo(repeatmanytimes)sothateach

studenthasaturntoimproviseforfourbeatsalone.Youarewithyourgradebook,doingaquickassessment.

PiccadillyTravelfromPurposefulPathways2

UsedwithPermissionPATHWAYTORhythm:Experiencingnotevaluesagainstthesteadybeat

• Studentswalkthetempoofthesteadybeat,whichyouestablishwithyourlefthandontempleblocksorpiano,playinginthelowerregister.

• Onahigherpitch,playchangesusing4,h,andH . (InDalcroze,thesearecalledquickreactionexercises.)Thestudentsrespondtotheserhythmicchangesbyclappingtherhythmicvaluesyouplay,whilemaintainingthesteadybeatintheirfeet.Theirtaskis

toquicklyrespondtoyourrhythmicchanges,strivingtostayinsyncwithyourrighthandonthepianoortempleblocks.

TeacherTalk:Time,spaceandenergywhileclappingQuickReactionexercisesrequiretotalmentalandkinestheticawareness.Throughthesequickreactionexperiencesthestudentsbegintounderstandhowphysicaladjustmentsinenergy,flowofbodyweight,andsizeofmovement(space),needtooccurinordertophysicalizethemusic.Thisawarenessoftherelationshipoftime,space,andenergyneedstobebroughttotheattentionofthestudents.Forexample:thequarternoteclapwillreboundhigheroffthepalmofthecontacthand,physicallyshowingalongerlengthoftimethroughspacethananeighthnote,whichrequireslessspacebutmoreenergy.Sixteenthnoteswillutilizeevenlesstimeandspace,butsignificantlymoreenergy.

morespacehalfthedistancethroughtime faster& smaller

QuarternotesEighthnotesSixteenthnotes

• Beginwiththequarternotepulseandchangetoeighthnotes,thensixteenthnotes.Studentsrespondbychangingasquicklyaspossibletothenewnotevalues.Varytherhythmicvaluesinunpredictableplaces.Example:

Students respond to the high-pitched rhythm by clapping the rhythm.

Play the steady beat in your left hand to accompany changing rhythmic values. Students keep this beat in their feet.

PATHWAYTOCreativeMovement:Exploringpathways• Returntothesimplequarternotepulseasthestudentsexplorepathways,whileyou

speakthetextoftherhyme.• Examinedrawingsofpathwaysmadefromcircles,lines,andsquares.Havestudentsdraw

thepathwaysbypointing,showingwherethatpathwaymaytakethemacrossthefloor.

• Studentstravelagivenpathwayfollowingthequarternotepulse,thenreversethe

pathwayandcomebacktotheirstartingplace.• Explorethesamepathwayagain.Cantheychangehowtheytraveledthepathway?

Perhapssideways,backward,low,orhigh?• Createanewpathwayontheboardwiththeclass.Repeattheprocess,exploringthenew

pathwayanddifferentwaystotravelonthatpathway.• Askthestudentstocreatetheirownindividualpathways.Whiletheyaretravelingtheir

pathways,youspeaktherhyme.Encouragethemtoexplorediversepathwayswithpromptssuchas,“Canyoumakeapathwaythatiscurved?”or“Createapathwaythatismadeupofstraightlinesandsharpturns.”

• Continuetoletthestudentsexploredifferentpathwayswhiletheylearntherhyme

throughechoimitation.• Whenthestudentsareabletorecitetherhymewithoutyourhelp,askthemtotravel

withthesteadybeatintheirfeetandclaptherhythmoftherhymewhiletheychantit.

PATHWAYTOLiteracy:IntroducingH• Wordsarevisibleonthewhiteboard.Speaktherhymewhilethestudentslisten.• Askthestudentswhattheynoticeabouttherhyme.(Lotsof“Piccadilly.”Movesquickly.

Etc.)• Studentsclaph 4,readingfromtheboard.

• Speaktherhymewhilethestudentslistenforh 4 .Itoccursthreetimes.

• Notateh 4 abovethewordseachtimeitoccurs.“Travelon”twotimes,and“heretothere.”

• Studentsspeaktherhymeandclaph 4 eachtimeitoccurs.• Studentspatthesteadybeatwhilesayingtherhyme,payingparticularattentiontothe

word“Piccadilly.”• Studentsworkatdecoding“Piccadilly.”TEACHERTALK:AskingleadingquestionstosupportdiscoveryofsixteenthnotesSupportthestudentsindiscoveringthattherearefoursoundsonasinglebeat.Askquestionslike,“HowmanysoundsareinthewordPiccadilly?”and“Howmanybeatsdoesittaketosaythosefoursyllables?”Helpthestudentsarticulatetheirgrowingunderstandingwith,“Oh!Soyou’resayingthattherearefoursoundsthattakeplaceonthisonebeat.”Introducetheconceptofsixteenthnotesandtheappropriatenotation.ThereareavarietyofsyllablesusedforH intoday’smusicclassrooms.Welike“ti-ka,ti-ka.”Pickasystemthatworksforyouandbeconsistent.

• NotateH aboveevery“piccadilly.”• Havethestudentswalkthesteadybeatwhilesayingtherhymeandclappingtherhythm.

AskthemtolistenforotherplaceswheretherearefoursoundsononebeatandnotateHabovethosewords.

• Fillinthenotationforanyplaceslefttodecode:“circle”and“square.”• Studentsreadthenotationfortheentirerhymewithrhythmsyllables.

PATHWAYTOPartwork:PoemwithBP/UTPostinato

• PerformtheBPostinato.Studentswatchandjoininwhenready(simultaneousimitation).

• Dividetheclassinhalf.HalfperformstheBPostinato.Halfperformstherhyme.Trade

parts.• TransfertheBPtovariousvocalsoundsorUTP.• Vocalsoundscanbeimitativeofautomobilesorotherformsoftransportation(honk,

beep,doorsclosing,etc.).Transfereachbodypercussionleveltoadifferentvocalsoundforafunvocalostinato.

• TransfertheBPtoUTP.Stamp=drum.Clap=woodblock.Snap=triangle.• PerformtherhymewiththeUTPostinato.

PATHWAYTOComposition:aabcformusingH • Analyzetheformoftherhyme,labelingeach4-beatmotive:aa’bc• Forpurposesofourcompositionprojectwe’regoingtoworkwithaabc.(Studentsmay

choosetomakeana’attheveryendoftheprojectiftheywish.)

h 4 TravelStop

H 4 PiccadillyStop

4 hStopTravel

H h PiccadillyTravel

4 $Stop

h HTravelPiccadilly

H H PiccadillyPiccadilly

h h TravelTravel

• Usingthecollectionofrhythmicbuildingblocks,composea4-beatmotivebycombining

twocards.• Repeatthatmotive,creatingaa...• Createthebmotivebycombiningtworhythmicbuildingblocksandaddthisnewmotive

totheform:aab• Createathirdmotive–c.Thisisagreattimetoreviewcadence.Theircmotiveshould

haveastrongcadence.• Speaktheentirecompositiontogether:aabc• Playitonthefloor,usingrhythmsticksormalletsasthedrumsticksandthefloorasa

drum.• StudentsworkindividuallyorinsmallgroupstocreatetheirownPiccadillypiecesinaab

cform,usingrhythmicbuildingblocks.• Sharethecompositionswiththeclass,eitherasspeechorfloordrumpieces.• Considercombiningthesecompositionswith“PiccadillyTravel.”Onegroupplaystheir

floordrumpiecewhiletherestoftheclassspeakstherhyme.

Lil’LizaJanefromPurposefulPathways2

UsedwithPermission

PATHWAYTORhythm:What’sNext?Eurhythmicsoppositesreplacementgame

• Playthesteadybeatonthepianoortempleblockswithsuspendedcymbal.Studentsmatchthebeatintheirfeetastheytravelaroundtheroom.

• Playhalfnotesonthepianoorsuspendedcymbal.Studentsdemonstratesustainedmovement,representingthelengthofthehalfnote.

• Alternatebetweenquarternotesandhalfnotes. • Play84 8 andaskthestudentstoputthissyncopatedrhythmintheirfeet. • Tobeginthereplacementgame,returntothesteadybeat.Studentswalkthesteadybeat

asyouplayanoppositevalue.Whenyousay“switch”thestudentstakeoverthenotevalueorrhythmyouwereplaying,andyoubeginanewnotevalueorrhythm.

• Studentswillalwayshearthenextnotevalueorrhythmagainsttheonetheyareperforming,beforeyouaskthemtoswitch.

PATHWAYTOLiteracy:8 4 8 2 • Lead4-beatechopatterns,makingeverysecondpattern8 4 8 2 • “WhatpatternamIplayingrepeatedly?Howwouldyouwritethisrhythm?”

8 4 8 02 • Singthemelodyon“loo”andaskthestudentstolistenfor8 4 8 02

• Singon“loo”again.Studentsclapthesyncopatedrhythmwhenevertheyhearit. • Studentslearntosingthetwosyncopatedpatternsinsolfathroughechoimitation.

8 4 8 2 lasomiso 8 4 8 2 mimiredo

• Singtheoddnumberedmeasuresinsolfaandaskthestudentstosingtheevenmeasures,alternatingbetweentheirtwopatterns.(Substituteh forthej inthefirstmeasure.)Repeatthisseveraltimestoreinforcethepatternaurally.

• Studentssingtheentiresonginsolfa,asyoupointthepitchesonthesolfatoneladder.• Putthetextontheboard.Studentslearnthesongwithtextthroughechoimitation.• Studentssingtheentiresongwithtext.

PATHWAYTOPartwork:Melodywithmelodicostinato

• Studentsreadtherhythmofthemelodicostinato.

• Studentsreadthemelody,usingsolfawithhandsigns.

• Studentssingthemelodicostinato,usingsolfaandhandsigns,whileyousingthemelody.• Studentsaddtexttothemelodicostinato.

• Studentssingthemelodicostinatowiththetext,whileyousingthemelody.• Dividetheclassinhalfandsingintwoparts.Tradeparts.

PATHWAYTOEnsemble:Brokenbordun,melodicostinatoandUTPostinato

• PatsandsingthesolfafortheBXbrokenbordun.Studentsjoininwhentheyareready.(simultaneousimitation)

• Dividetheclassinhalf.HalfsingsandpatstheBXbrokenbordun.Halfsingsthesong.Tradejobs.

• TransfertoBX/BMandaddthesingers.• StudentsclaptherhythmoftheGLostinato.• StudentssingthesolfafortheGLostinato.

• PreparetheGLostinatowithpattingandtransfertoinstruments.• Studentsreadthetempleblocksostinato(patting)inconjunctionwithGLostinato.

• TransfertotempleblocksandputtogetherwithGLostinato.• Putthesingers,templeblocksandGLtogether.• Putallpartstogetherwithsingers.

PATHWAYTOImprovisation:Question&Answer

• Executeaphraseformanalysisofthepiece:aa’bb’• RemindthestudentsthatthisisQuestionandAnswerform.QuestionandAnswerformis

especiallyusefulwhenimprovising.Noticethateveryphraseendswith8 4 8 2 as

thefinalmotive.Tellthestudentstheywillbedoingthesamethingwiththeirimprovisation.

• Speakthequestionsandaskthestudentstospeaktheanswers.

• ImprovisethequestionsrhythmicallyonBP,makingsuretoendeachphrasewitha

syncopatedrhythm.StudentsanswerwithaBPimprovisation,makingsuretoendeachphrasewithsyncopation.

• Individualstudentsimprovisethequestions.• Breakthestudentsintopairsforpairedimprovisation.Ifpossible,havetwotimbres

workingineachpair.Example:onehanddrumandonepairofrhythmsticks.Handdrumsimprovisethequestionsandrhythmsticksimprovisetheanswers.

PATHWAYTOMovementPlay:PlayParty

• Createlongwayssetswith6-8couplesfacingeachother.

• Onthephrase,“I’vegottahouseinBaltimore,”partnersstepintowardstheirpartnerforthreebeatsandclaptheirpartner’shandsonbeat4.

• Onthephrase,“Lil’LizaJane,”partnersstepbacktotheirplaceandclaptheirownhands

onbeat4.• Repeatthesamemovementsforthesecondphrase.• Bothlinescastofffortheremainderofthesong,withtheheadcoupleformingabridge

fortheotherstogounder.Theheadcouplestaysatthebottomoftheset,soanewheadcoupleisformed.Eachpairofpartnerstakesonesteptowardtheheadoftheset.

• ThenewheadcouplethenbecomesthefocusforQuestionandAnswerImprovisation.

YoumighthavethisheadcoupleperformQuestionandAnswerImprovisationassoloists,

withonepartneransweringtheother.Youcouldalsohaveoneoftheheadcoupleplayersimprovisearhythmicquestionandhaveallofthedancersintheirrowimprovisearhythmicanswer.Switchandhavetheotherheadcoupleplayerimprovisearhythmicquestionandletthatrowimproviseananswer.

• Halftheclasscanaccompanythegamewhiletheotherhalfsings,dances,andimprovises.