The Bordun: A bordun is predictable drone accompaniment (ostinato) using the first note of the scale and the fifth note of the scale. A Bordun will work with any pentatonic song THAT DOES NOT HAVE “RE” ON A STRONG BEAT. Bordun Types: 1) Simple (Chordal) – Find a pattern that can be repetitive and that has a final

point. The chord must have the tonic (doh) and dominant (sol) played simultaneously.

2) Broken – Uses the tonic and dominant played alternately in a definite pattern with a final point.

3) Arpeggiated – Uses the tonic and dominant played in an arpeggiated fashion moving to the octave and back down in a definite pattern with a final point.

4) Leveled – Uses the tonic and dominant played first in one octave, then changes to the next (could go up a third octave using three levels of instruments) then returns in a definite pattern with a final point.

5) Moving – Begins with the tonic and dominant, moves away and then comes back.

The moving bordun is a complex bordun pattern taught once the other four basic patterns are mastered. Rules to keep in mind when writing a simple Bordun:

1. I must be on the strong beat. 2. It is a harmonic ostinato – even though at thimes the notes are played alternately. 3. It must be complementary to the melody. 4. It can accompany all pentatonic melodies HOWEVER when re is on a strong beat

or several repeated beats or the last note of a phrase, it creates too much tension for a bordun.

5. The same can be said for meklodies in la bsed pentatonic in reference to so and re. 6. The pitch of the bordun should be below the lowest melody note or at least at the

same pitch. 7. In chooseing instruments for your bordun – make sure the sound you wish to have

is possible on the instrument you choose. 8. In creating a complementary rhythm pattern, give the line a point of tension and

sometimes it is necessary to alther the rhythm pattern slightly to give a good sense of final point.

9. The distance between the tones must be a true 5th and not a 4th or a 12th. 10. It is always possible to add other parts to a bordun accompaniment:

a. Non- pitched b. Colour – pitched part c. Melodic fragments.

11. When adding parts they too must be complementary to the melody, the bordun and each other. (rhythmically and melodically.)

Moving bordun options in do pentatonic: 1. The V(sol) can move up to VI (la) 2. The V(sol) can move down to III (mi)

3. The V(sol) can move up to VI(la) and down to III (Mi) 4. The V (sol) can move down to III (mi) and up to VI

(la) Moving bordun options in la pentatonic

The V(mi) can move up to VII(so)

The V(mi) can move down to IV(re)

The V(mi) can move up to VII(so) and down to IV(re)

The V(mi) can move down to IV(re) and up to VII(so)

Process: 1) Teach the song by imitation rote. 2) Add movement in circle formation 3) Teach Melodic fragment by rote. 4) Put both together vocally. 5) Teach solid bordun part on lap. Add to melody and fragment. 6) Teach Ostinato (color part) using snaps. 7) Transfer bordun to instruments. 8) Add color transferred to glocks. 9) Sing with melodic ostinato and melody. 10) Transfer melodic ostinato to body percussion. 11) Transfer to instruments. 12) Sing entire song with full instrumental accompaniment. 13) Use this as a foundation to teach alternate bordun patterns (solid, broken,

arpeggiated, level, moving.)

SpiritualArr. Delelles/Kriske

I'm Gonna Sing

i'm

voice

gon na sing

gon na sing

gon na sing

gon na

BX

31.

2.

sing a long

my way.

sing a long

my way.

1) Teacher sings a question using sol-mi (What is your name and what’s your favorite

food?) 2) Child sings the answer in sol-mi or la-sol-mi.

Moving Bordun

Assignment #5: Orff Instrument Assignment (bordun variations)

1. Choose a pentatonic song (Different from assignment #4). 2. Tell whether the pentatonic song is do-based or la-based 3. Add a simple bordun accompaniment with one melodic ostinato

and one colour part for Glockenspiel. 4. Alter the bordun pattern to be a broken, an arpeggiated, a

levelled and a moving bordun. (5 versions altogether) You may wish to leave the same ostinati or to change them to suit the new bordun type.

5. Decide which pattern best suits the particular piece you have chosen and give a justification for using it (it could be that the orchestration is more pleasing, or more age appropriate, or more logical for some other reason.)

6. All of these parts should be written in a system with 4 staves. 7. Make sure the lowest voice is on the bottom stave and that the

melody is on the top stave. * Make sure that your pentatonic song does NOT have re on a strong beat.