Newsletter of the American Orff-Schulwerk Association • Spring 2013• Volume 12, No. 3

AOSA: Re-Imagining for Successby Carrie Barnett, AOSA Executive Director

AOSA has spent nearly 50 years as a professional organization of educatorsdedicated to the creative music and movement approach developed byCarl Orff and Gunild Keetman. As we prepare for the next 50 years, the

National Board of Trustees and numerous sub-committees and task forces havecome together to strengthen that dedication while identifying and working toprovide relevant products, activities, and services to an increasingly technology-based, assessment-driven educational paradigm that has been established in theUnited States. This is no easy task; Orff and Keetman didn’t really follow thestep-by-step, follow-the-rules, fit-the-mode package that is so prevalent in U.S.education today. As the servant leadership of AOSA works to re-imagine thebenefits that AOSA can offer its membership, this ever-present conflict allows forinnovative and creative thinking. In short, we are Orff Schulwerk; the goal ofre-imagining is to help others understand who we are by showing them ourrelevance to their paradigm while stringently remaining aligned with our own. Inthe process we hope to shift their thinking and ensure their recognition that the21st century concepts of creativity, collaboration, critical thinking andcommunication are consistent between our paradigm and theirs.

Since early 2012, AOSA has announced several benefits and updates to extendthe reach of AOSA, assist current members, and recruit new members toparticipate in Orff Schulwerk. These benefits provide a strong backbone to theorganization and establish credibility within local school districts as well as thenational education system.

• Certificate of Completion – More than a year ago, AOSA announced theavailability of an official Certificate of Completion for AOSA Levels Courses.This formal certificate carries the weight of a professional endorsement forthose who successfully complete all three AOSA Levels Courses. Byproviding this national recognition for the completion of site-based levelscourses, AOSA is able to solidify its training as valid and important withinthe education arena.

• Music Education Partnerships – In January 2012, AOSA joined the MusicEducation Policy Roundtable. Originally developed by NAfME and theAmerican String Teachers Association, the Roundtable consists of morethan 20 music education organizations that work collaboratively, utilizingthe lobbying work of NAfME as a meansto support the value and importance ofmusic education in this country. Being apart of this national organizationprovides AOSA the opportunity toadvocate for music education with alarger voice, offering strength in numbersfor the support of music in our schools.Additionally, AOSA maintainsrelationships with other music educationspecialty organizations including GIMLand OAKE and is growing its relationshipwith the Alliance for Active MusicMaking to strengthen our voices insupport of general music education approaches in the classroom and

"…we areOrff Schulwerk;

the goal of re- imagining

is to help othersunderstand who

we are byshowing them

ourrelevance…"

Volume 12, Number 3 • Spring 2013 2

beyond. Finally, AOSA also works with several Orff Schulwerk associationsaround the world to promote Orff Schulwerk. These organizations include CarlOrff Canada, The Carl Orff Foundation, the Orff Institute, and the Orff Forum.

• Chapter Assistance and Growth – At conference 2012, AOSA launched theChapter Recognition Program to provide incentives for chapters to be strongpartners with the national organization. Currently in development, an update tothe presenter auction project will allow chapters of any size a more competitiveopportunity to support AOSA through offering a presenter on their schedule.AOSA is working to develop a program to accept local membership dues at the national level, highlighting the ongoingneed for unity among chapters and AOSA. Chapter leadership is more consistently engaged through monthlycorrespondence and follow-up on reporting. In short, AOSA is working hard to make chapter work easier so the focusof local leadership can be strong professional development through quality workshops and chapter sharing.

• AOSA Teacher Education Curriculum – Adopted by the NBT and unveiled at conference 2012, this unified,coordinated curriculum provides consistency among courses, allowing those pursuing levels training in Orff Schulwerkto receive a comprehensive overview of learning regardless of where the training takes place. The curriculum is set upto provide basic knowledge requirements at each level, while still offering an open format for levels instructors toteach the objectives in their own style, thus ensuring the integrity of the process. The basic levels, recorder, andmovement outcomes, and the objectives are available on-line for all to utilize when developing and completing theirtraining. The CORS (Curriculum Oversight and Revisions Sub-Committee), made up of current movement, recorder,and level I, II, and III instructors, is reviewing the curriculum to establish definitions, provide examples, and identifyareas needing additional clarification to maintain these “living” documents that will be updated as courses continueto develop. They welcome feedback and input as this curriculum continues to evolve. Contact cors@aosa.org withthoughts and suggestions.

As 2013 rolls on, the fruits of the labor of the NBT and sub-committees involved in the re-imagining continue to bepresented to membership. A new color scheme and logo, selected based on membership voting, provides a fresh“look” for AOSA. The organization is pleased to present this new logo and updated colors for use throughout theAOSA universe to identify who we are through graphic representation of music and movement. Over the next fewmonths, AOSA will be unveiling many new features and benefits to better serve our current membership and attractthe next generation of OrffSchulwerk educators.

A new Web site will appear in lateMay. The Web site features a totallynew look with a user-friendly, easilyinterfaced homepage that connectsboth members and non-members tovaluable information about OrffSchulwerk and AOSA. Many new andrestructured features have beendeveloped to make the website visitmore user-friendly.

• Home Page – There will benew links to valuable tools forall educators and special linksto the member only area thatwill provide even moreinformation and materials forclassroom work.

• AOSA Audio Visual Library – Digitization is nearly complete with the launch of an AOSA YouTube channel as well asconversion of our most popular “rentals” to digital format for on-demand viewing. To assist with identifying future AVlibrary offerings, contact execdir@aosa.org.

• “Ask the Experts” blog – This new feature will have monthly articles by AOSA leaders that answer questionsregarding the practice of Orff Schulwerk. This will allow for a timely and relevant flow of Orff Schulwerk-relatedconcepts and provide those new to the approach with some FAQs to help them along the way.

• Chapter Workshops and Summer Courses – We are adding more search-ability so OS courses and workshops willbe easier to find.

Volume 12, Number 3 • Spring 2013 3

• News and Pressroom – This section will include easily accessible, up-to-date information about all things Schulwerk.

• Advocacy – Materials are being developed to assist music classroom teachers in communicating the consistency ofmusic education with other core subject areas. Materials targeting general classroom teachers, principals, parents,and community members will be provided that connect what OS is with each of these groups of influence. Allmaterials will be designed to maintain the value of music education while using terminology that is consistent withthe target audience. To assist with developing these materials, contact execdir@aosa.org.

• Classroom Resources – Materials archived from Reverberations or extensions of articles from The Orff Echo, as wellas new resources that have immediate, practical application for the classroom.

Future website growth is already being planned with a technology committee dedicated to identifying and developingadditional materials to make membership even more valuable. To get involved, just contact Marjie Van Gunten atcommunications@aosa.org.

The summer edition of Reverberations is shifting to a completely electronic format to give users easier access to articlesand to features in the publication that can be utilized in the classroom and beyond. It is being reconfigured to become a“classroom guide,” providing materials and ideas that can be used immediately and saved for future reference. Two recentadditions, the Technology Spotlight and Don’t Panic, are designed to provide hands-on help to classroom teachers in theprocess of teaching music and movement. The Lesson Ideas section is also being revamped to feature articles from pastpresidents of AOSA, providing lesson springboards to effectively utilize the OS process in the classroom. The ReverberationsEditorial Board has been working hard to re-imagine the look and appeal of Reverberations to truly meet the needs of ourmembers with a focus on student teachers and current classroom teachers.

Starting Fall 2013, The Orff Echo is shifting to a new format, providing not only the traditional topic-based articles forspecific populations relating to Orff Schulwerk, but also offering articles relating to general OS strands that are utilizedregularly in the classroom. Blind peer review will be available for scholars to publish articles relevant to Orff Schulwerk,allowing The Orff Echo to be utilized in academia as a true scholarly journal. The Orff Echo Editorial Board has spentcountless hours reviewing the publication and has made this shift in focus to better serve a larger cross-section of AOSAmembership, including pre-service teachers, current classroom teachers, retirees, and university and college faculty.

Beginning in the fall, AOSA will launch a new monthly e-newsletter designed to provide information about Orff Schulwerkto membership without cluttering the email inbox with inconsistent email communications throughout the month. Thee-newsletter will feature an easy-to-read format that highlights:

• chapter workshops

• conference information

• international and domestic course offerings

• AOSA news

• simple ideas and suggestions to expand the reach of OS in your classroom

A subcommittee is currently being developed to assist with the establishment of topic areas and formatting for thisnewsletter. Contact execdir@aosa.org if interested in participating and watch the AOSA website for your opportunity toname this monthly communication.

With all these changes and updates, a focus on what makes Orff Schulwerk unique has remained at the forefront of everydiscussion. A recognition of the changes in how information is communicated, how teachers utilize technology, and howAOSA must continue to provide quality programming in Orff Schulwerk has been key to the developing of all aspects of thenew and re-imagined activities and benefits outlined here. Throughout the process of developing these initiatives, themission of AOSA has remained constant: to demonstrate the value of Orff Schulwerk and promote its widespread use; tosupport the professional development of our members; and to inspire and advocate for the creative potential of all learners.The American Orff-Schulwerk Association is a professional organization of educators dedicated to the creative music andmovement approach developed by Carl Orff and Gunild Keetman. We always have been and we always will be. Just as CarlOrff recognized the value and importance of understanding and using the culture around him to teach music andmovement, AOSA has also embraced the new paradigms in teaching while maintaining the utmost integrity in what makesOrff Schulwerk such a valuable approach to teaching. The next 50 years are looking brighter thanks to the work ofcountless AOSA servant leaders and members. AOSA will continue to grow and evolve in the spirit of Carl Orff as we walkthrough our field of wildflowers together.

Volume 12, Number 3 • Spring 2013 4

Tech Spot

Take pictures of your students in riser or classroom order and worry aboutwriting it down later.

Capture images of students at work for a quick upload to yourwebsite, blog or e-newsletter to parents.

Record/video students in a final performance - a great tool to use laterfor evaluation/reflection.

Record a warm-up or song with individual singers. Come back to itlater for more attentive evaluation of skills

Oh no...class is running late and we need to clean up! Photograph students’composition and post on your Smart Board to pick up where you left off for aquick start in the next class.

Record a piece that you are working on over time...it is great to revisitat the end to see just how far you have come.

Sharing a rondo with student created work on the contrastingsections? Have a student or students share the filming responsibilitiesand experience the rondo seamlessly. This is a win - win: studentsLOVE to have responsibility for manning the equipment, AND it freesup the teacher to cue and facilitate the rondo. Best of all...the videoallows you to evaluate individual student work at a later time.

Facebook is your friend! Need inspiration? Have a question? Take a moment andlog onto Facebook and go to the American Orff-Schulwerk page where you canalways find great ideas, post a question, read lots of good conversations and evenfind a good laugh. (Yup...there’s an app for that!)

Not so great at keeping time? The clock and alert features can be veryhelpful here! Use the stop timer on your device to alert you andstudents to time-limited projects...or even give you a 5-minute warningfor the end of a class!

Having a bad day...an inspired moment...or just need to talk. Don’t be isolatedand alone. Pick up your phone and call a friend!

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Top 10 Uses for a Smart Phone in the Classroomby Sharon Mazion

by Sharon Mazion, Edina, MN and Michael Chandler, Lewisville, TX

continues

Volume 12, Number 3 • Spring 2013 5

Aformer fine arts administrator in my school district often said to his elementary music teachers, “If you’re doingyour job well, you are very low-tech.” I understood this to mean that the limited time our children spend with usshould be filled with joyful singing, moving, and instrument playing while engaged in learning activities that

make the elements of music meaningful and accessible. At the beginning of my career, technology in the musicclassroom consisted of two or three computers in my room that were never used. But a few years ago, I began to hearabout the Smart Board and how it could transform a classroom by making teaching and learning more efficient,interactive, and fun. I was skeptical until I had opportunities to see lessons other music teachers had created; thismotivated me to try my hand at recreating my own tried and true Schulwerk lessons in this new format. Although it’spossible to purchase lessons and activities for interactive whiteboards that are ready for you to use, it’s more rewardingwhen you create your own lessons with your students in mind. Interactive whiteboard software programs such as SmartNotebook (used with the Smart Board) give you all the tools you need to be an engaging and active Orff Schulwerkteacher while still taking advantage of the best that technology has to offer the music room. Here are some examplesfrom my own classroom.

Instead of frantically hanging laminated posters and paper visuals strategically around my room for the six classes Iwould see during the day, I now open one file for the whole day. Within that file, I group individual slides according tothe grade level for which they are intended and in the order in which I see my classes during the day. This way, I caneasily travel through the file’s slides with the correct slides for each class or grade level. From week to week, I can keep,alter, or add any slides I need for the next week’s lessons, which is perfect for teaching an activity that lasts for two ormore class sessions. I can easily clone a slide and label it in order to save it for the next week, which is perfect forcomposition activities where each section within a grade level composes something different using the same material.Transferring slides from one file to another is as easy as dragging and dropping, making it simple to organize your lessonslides from year to year. It’s very easy to create music notation within a program such, as Sibelius or Finale, and insert itinto Smart Notebook as an object where it can be manipulated in many ways. Smart Notebook even has a plethora ofmusic notes and symbols within its own “gallery” with which you can create notation easily and quickly.

So far, what I’ve described seems hardly different from any other presentation software such as PowerPoint, but theunique capability of interactive whiteboards to be interactive with the children is the best reason for using them.

• Objects, words, notes, and musical notation can be animated to fade in and fade out in any way that you mightneed for revealing a concept or a step within your teaching process. Melodies can be revealed step-by-step througha process that allows students to learn them successfully.

• Four colored “pens” allow you or your students to write on the board in any way desired and then easily delete the inkleaving the visual in pristine condition. The ink can even fade away slowly on its own after a short amount of time haspassed.

• Small or large items can be easily brought to students’ attention using the virtual “highlighter” that students canuse with just the stroke of their finger on the board. This comes in handy for identifying a new pitch or rhythmicvalue within a notated example.

• Sound files from a music program such as iTunes can be attached to any object or text on a slide and activated withone touch. Because of this, I can create a slide with any visual aid, diagram, or rhythmic notation I might need toteach a folk dance. Then I can attach the sound file for the dance music to a “play” button I designed and added tothe slide. This way, I don’t have to toggle back to my music program to select the file to play, or need to pick up anmp3 player. One of my students can simply touch the “play” button on the slide to start the dance music.

• A “gallery” or “lesson toolkit” contains countless tools that can easily be inserted into a slide. Some examplesinclude a die, which randomly chooses numbers from 1 to 6 by being “thrown” whenever it’s touched on thewhiteboard. I use this so students can select a random number of supports to touch the floor with, or without, apartner. The spinner can be manipulated for the exact number of tiles needed with exactly the labels needed. Whenanyone touches the spinner, it randomly spins to select a tile. I use this to allow students to choose randomlocomotor or non-locomotor movements or to choose randomly from among various body parts to move.

The best way to learn how to use this amazing software is to simply jump in and play with it. Don’t be afraid to try itsmany features, and don’t be afraid to look online or to ask your colleagues for help! Good luck!

Michael Chandler is the K-5 music specialist at Valley Ridge Elementary in Lewisville, TX where he was named “Teacher of the Year” in 2011.In 2005, 2007, and 2013 his students performed as featured elementary ensembles at the TMEA Clinic/Convention in San Antonio. Michaelhas taught in AOSA-approved Orff Schulwerk certification courses, served as president of the North Texas Chapter of AOSA, as a RegionalRepresentative on the AOSA National Board of Trustees, and presents workshops at the local, state, and national level.

Interactive Whiteboards in the Orff Schulwerk Classroomby Michael Chandler, Lewisville, TX

Volume 12, Number 3 • Spring 2013 6

Patschwerkby Michelle Fella Przybylowski, Huntington Valley, PA

The Top 10 reasons and beyond for completing Orff Certification Based on the “Top 10 Reasons to Smile” 1

Smiling is a great way to make yourself stand out while helping your body to function better. Completing your OrffCertification is a great way to build your skills as a musician and teacher. Smile to improve your health, your stresslevel, and your attractiveness…complete your certification to improve your musical knowledge. Smiling is a fun way to

live longer. I wish I could promise you a longer life if you complete your certification; instead I can promise you a fulfillinglife of music making. Will you smile after competing all three levels? From my own personal experience, YES! I feltaccomplished and extremely rewarded. When I see others compete this journey, they are smiling and shedding tears of joy.

1. Smiling Makes Us Attractive“We are drawn to people who smile.” Completing all three levels makes you most attractive as a teacher. The knowledgeyou gain offers a deeper understanding of elemental music to yourself and your students.

2. Smiling Changes Our Mood“Smiling can trick the body into helping you change your mood.” Accomplishing all three levels will change your frameof mind; you will feel more deeply rooted as a music educator and you will have a stronger foundation as an elementalmusician.

3. Smiling Is Contagious“When someone is smiling they lighten up the room, change the moods of others, and make things happier. A smilingperson brings happiness with them. Smile lots and you will draw people to you.” After completing all three levels yourteaching and music making will be contagious! You and your students will be infectious!

4. Smiling Relieves Stress“Stress can really show up in our faces. Smiling helps to prevent us from looking tired, worn down, and overwhelmed.”Like smiling, exploring and accomplishing all three levels will offer you the knowledge and understanding that enablesyou to make and teach music in a playful and stress-free environment.

5. Smiling Boosts Your Immune System“Smiling helps the immune system to work better.” Experiencing the Schulwerk through a complete study of all threelevels boosts your ability to cope with challenging materials in an elemental approach and offers a feeling of comfort inunderstanding the process involved in the Schulwerk.

6. Smiling Lowers Your Blood Pressure“When you smile, there is a measurable reduction in your blood pressure.” Exercise is a great way to reduce your bloodpressure…. exercising your mind and body through elemental music offers the same effect.

7. Smiling Releases Endorphins, Natural Pain Killers and Serotonin“Studies have shown that smiling releases endorphins, natural pain-killers, and serotonin. Together these three make usfeel good. Smiling is a natural drug.” Is there a comparison? Absolutely! Completing all three Levels warrants a naturalhigh. Just ask others that have completed the journey.

8. Smiling Lifts the Face and Makes You Look Younger“The muscles we use to smile lift the face making a person appear younger. Don’t go for a face-lift, just try smiling yourway through the day — you’ll look younger and feel better.” Does Orff Schulwerk keep you young? Personally, I haveenjoyed the youthfulness that the Schulwerk offers through the experience of exploring and discovering in communitywith other adult musicians.

9. Smiling Makes You Seem Successful“Smiling people appear more confident and are more likely to be promoted, and more likely to be approached. Put on asmile at meetings and appointments and people will react to you differently.” Upon completing your three Levels youwill gain the confidence that comes with success. It is a milestone!

Volume 12, Number 3 • Spring 2013 7

10. Smiling Helps You Stay Positive: “Try this test: Smile. Now try to think of something negative without losing the smile. It’s hard. When we smile our bodyis sending the rest of us a message that ‘Life is Good!’ Stay away from depression, stress and worry by smiling.” Level Iis always an exciting experience for participants…but it is not the whole story. Upon completion of Level III you willbring that “Life is Good!” feeling to your teaching—-you and your students will smile together!

“The purpose of Orff Schulwerk is to awaken the artistic potential in every individual and offer a context in which this canbe exercised. The Orff Schulwerk approach as a model for learning involves a much broader spectrum of artistic activitythan is traditionally included in music. It is “never music alone but forms a unity with movement, dance, and speech”(Carl Orff). It is not intended to develop highly accomplished performers. The emphasis is on process rather thanperformance; on participation by all, each at his or her own level; and on the cultivation of skills for creating anddeveloping ideas within music and dance rather than reproducing set forms. Learning results from the mutually stimulatinginteraction of instructor and students, the freedom and opportunity to take risks, and the accomplishment of creative tasksappropriate to each stage of development.” 2

Why take ALL three levels? Here is what a small sample of what AOSA members have to share:

• “Taking multiple levels has afforded me the ability to really synthesize the basics of elemental forms. Level one justscratches the surface of possibilities of music making/music learning. The volumes are rich with terrific examples andreally need to be explored with guidance by a trained Orff Certified Levels Teacher. The Schulwerk carefully outlineselemental rhythms and traces the progression harmony in an additive way, allowing the teachers who have takenmultiple levels the ability to help their students build a solid foundation for music learning. Taking only one leveldoesn’t give you the big picture.” (Becky Walko Burdett)

• “How can we ask our kids to be motivated learners if we are content with what we already know?!? The best teachersof any subject are lifelong learners, and for music, Orff Schulwerk levels will stretch you farther than practically anyother training.” (Tim Purdum)

• “Level one just scratches the surface...it wets the palate...its like opening the treasure box and then closing the lid ifyou don’t follow through.” (Lisa Ann Summers)

“It is important for the continuity of learning that participants take Teacher Education Courses in sequential order: Level I,II, III, Master Classes. The skills and curricula from each level build upon each other; a participant needs to experience theOrff Schulwerk Teacher Education Curriculum sequentially in order for learning and mastery to occur.”3 “An OrffSchulwerk teacher is never finished learning. It is expected that three levels are the beginning of a lifelong process ofdiscovery and learning.”4 The three levels, taken in sequence, help you to stretch your own musical capabilities and seehow rich the possibilities are. It is a three-part process. Give yourself the gift of a smile, certify through the completion ofall three levels to improve your health, your stress level, and your attractiveness as a person, musician, and teacher.

1 Mark Stibich, PhD., accessed March 15, 2013, http://longevity.about.com/od/lifelongbeauty/tp/smiling.htm

2 American Orff-Schulwerk Association Teacher Education Curriculum: Rationale, November 2012

3 American Orff-Schulwerk Association Handbook for Orff Schulwerk Teacher Education Courses, January 2013

4 American Orff-Schulwerk Association Teacher Education Curriculum: Introduction, November 2012

Michelle Fella Przybylowski is a music teacher at Cheltenham Elementary School, a National Board Certified Teacher, andcompleted the Orff Schulwerk Teacher Education Program at West Chester University. She serves as the Program Chair for thePhiladelphia Area Orff Schulwerk Association, and is a member of the Orff Echo Editorial board for AOSA. Michelle teachesat The University of the Arts, and Chestnut Hill College, is a teacher educator in Orff Schulwerk, Level I, II and III, and aprofessional harpist.

Volume 12, Number 3 • Spring 2013 8

“Dew Drops”: A Model Lessonfor Teaching Articulation

by Matt McCoy, Manhattan, KS • Coordinated by Martha O'Hehir, Contributing Editor

Good articulation (i.e., tonguing) is essential for quality recorder performance. Many times, articulation is explainedto children rather than taught through preparatory experiences, which can lead to frustration for both the studentand teacher. The following lesson is one model for introducing children to the mechanics of articulation/tonguing

prior to and during their initial experiences with playing the instrument.

Lesson Sequence (to be divided over several class sessions):1. Present a visual of the tongue twister to the students, modeling the rhythm of the text as appropriate.

6. Once this is secure, extend the piece by adding a “conversational” B section using only the syllable “du.” Theconversations need not be performed in any particular meter but should demonstrate attention to inflection and politecommunication skills (e.g., “No yelling at your partner.” “Be careful not to interrupt your partner while he or she isspeaking to you”).

7. Perform the entire piece in A B A using the syllable “du.” It is encouraged for the teacher to introduce a sound cue orsignal alerting the students when to bring their “conversations” to a close in the B section. Again, the teacher isencouraged to accompany the A sections with a hand drum, tubano, or other unpitched percussion instrument toprovide a needed musical context to the overall piece.

How much dew does adewdrop drop if dewdropsdo drop dew?

They do drop as dodewdrops drop if dewdropsdo drop dew!

2. Divide the class into two groups; one group reads the question and the other reads the answer. Switch roles.

3. Ask the students to work with a partner, repeating the previous step; one student assumes the questioning role, theother, the answer. Switch as appropriate. The teacher is encouraged to add a rhythmic accompaniment to thechildren’s speech performances. Hand drum, tubano, or other unpitched percussion are appropriate choices.

4. Have the students practice speaking the tongue twister in question/answer form several times, each at a faster tempo.Use the accompaniment to help keep the ensemble together.

5. Substitute the vocable “du” for the words and speak the entire tongue twister (see below) in question/answer form.Identify as the A section.

Volume 12, Number 3 • Spring 2013 9

8. Perform the entire piece several times more, each time speaking more softly than the previous time until the studentsperform only with soft air.

9. Briefly discuss the mechanics of speaking the syllable “du.” Questions to engage the students may include: Whatmoves inside your mouth every time you speak the syllable “du”? Where does your tongue touch inside your mouthwhen you say “du”?

10. Transfer the tongue twister to recorder. The teacher is encouraged not to have the students cover any of the tone holesat this point, but simply hold it with the left hand placed on the head joint and the right hand placed on the foot. It isalso recommended that the teacher have the student echo several rhythmic patterns before attempting to perform thetongue twister on the recorder. Following the echoing exercise, the teacher should simply ask students to perform thetongue twister as before (with the syllable “du” and nothing but soft air) in question/answer form with their partner.Identify as “tonguing.”

11. Extend the recorder performance to include a conversational B section as before.

12. Perform the final piece in A B A form with rhythmic accompaniment. Students should still be working with a partnerat this point and groups should be allowed to sit apart from each other (i.e., scattered around the classroom).

Assessment:As the students are performing their conversations in the B section, the teacher is encouraged to walk around the roomlistening to each person as he or she performs and fixing problems as necessary.

Note on Tonguing Syllables:There are several ways to articulate notes on the recorder. The “du” sound is strongly encouraged at the beginning stagesof playing as this syllable helps the children gently articulate notes without over-blowing the sound. A “tu” is also usefulwhen a stronger attack is desired or when a student may be having difficulty hearing or performing “du.”

A workshop presentation of this lesson may be obtained from AOSA’s Lending Library of national conference sessions.The DVD title is Recorder Right from the Start.

Matt McCoy is currently an instructor of music education at Kansas State University. Prior to his time in higher education,Matt taught music and movement to children for 18 years in MD, VA, DC, and AZ and has worked as an Orff Schulwerkteacher educator for over a decade.

Marjie Van Gunten, Reverberations EditorReverberations Editorial Office • PO Box 1354 • Gualala, CA 95445

E-mail: communications@aosa.org

Reverberations is the quarterly newsletter of the American Orff-SchulwerkAssociation. Please send news, photographs, press releases and othermaterials to the Reverberations Editorial Office at least 2 months prior topublication dates listed below. Mention of products and events is intendedto provide information and does not imply endorsement.

Reverberations makes every effort to trace ownership of copyrightedmaterials and to secure permission from copyright holders. In the eventthat there is a question regarding ownership of any materials, we arepleased to make the necessary correction in an upcoming issue.

Publication dates are as follows:January 15 • April 15 • July 15 • October 15

Reverberations Copyright PolicyAOSA members may make up to 50 photocopies of up to two articles from oneissue for educational purposes only. Nonmembers, or members wishing tomake more than 50 copies, must seek permission in writing from the editor.All publications, nonprofit or commercial, seeking to reprint material fromReverberationsmust request permission by writing to the editor. An exceptionto the above occurs when authors retain exclusive rights to their work. This isindicated at the end of the article. In these cases, permission must be grantedfrom both the author and Reverberations.

Copyright © 2013 by the American Orff-Schulwerk Association.

American Orff-Schulwerk Association Music and Movement Education • PO Box 391089, Cleveland, Ohio 44139-8089(440) 543-5366; FAX: (440) 543-2687 • E-mail: info@aosa.org • http://www.aosa.org Affiliate of the National Association for Music Education: (NAfME)

AOSA Executive Committee and Staff President: Karen Benson, NE Vice President: Chris Judah-Lauder, TX Recording Secretary: Connie Van Engen, MO Treasurer: Kay Lehto, NV Executive Director: Carrie Barnette, NC

Reverberations Contributing Editors Features: Jaree Hall, AR jareehall@yahoo.com Chapter News: Janet Romano, NJ jromanomusic@aol.com Lesson Ideas; Patschwerk: Martha O'Hehir, MD O-S Applications: mawfra@aol.com What’s New; Industry News: Sara Womack, AL sara@music.org

Mission Statement: The American Orff Schulwerk Association is aprofessional organization of educators dedicated to the creative musicand movement approach developed by Carl Orff and Gunild Keetman.

Our objectives are: To demonstrate the value of Orff Schulwerk andpromote its widespread use. • To support the professional developmentof our members, and • To inspire and advocate for the creativepotential of all learners.

Volume 12, Number 3 • Spring 2013 10

From the Executive DirectorI’m headed to the spring 2013 National Board of Trustees meeting in Memphis, TN. Cruising at 30,000 feet and

looking down through a clear sky at the earth below, I think about how perspective makes all the difference.From the airplane window, one can see shapes, textures, and colors, but very few details…beautiful but also very

general. You can tell trees from houses, but not the species or the style. In short, you know what you’re looking atbut don’t know the details.From this altitude, it is an easy transition for me to think about AOSA. For the past year, I have been seeing the

species and the style of the “trees” and “houses” that AOSA is using to reinvigorate our image and direction. I havebeen inundated with details from what size our dancing figure should be in the logo to just which “burnt reddish-orange” should be the signature color. The NBT, and specifically the Executive Committee, have shared myriad emailsabout things as important as the structure and definition of lesson ideas to maintain the integrity of the Orff Schulwerkprocess, to the more mundane—-should we use crisp white or ivory for stationary. Big ideas and details alike havebeen considered, reviewed, and discussed by many different committees and subcommittees in an effort to trulyprovide products and services to AOSA members that are beneficial, relevant, timely, and valuable to all we serve…from college students to classroom teachers to retired OS experts. I have discovered throughout the process that theleadership elected by AOSA members is thorough, considerate, collegial, passionate, and just down right dedicated tothe creative music and movement approach developed by Carl Orff and Gunild Keetman. I’ve also been amazed, timeand again, by how much the current servant leaders care about this organization, and that AOSA has one of the mostvested memberships I have ever encountered. What a pleasure and joy to be motivated by such an involved andcaring group of members.The featured article in this edition of Reverberations entails a snapshot of the updates to products and activities

offered by AOSA. As I worked on that article, it dawned on me that I can only give a view somewhere between30,000 feet and on the ground. I would love to share the “species” and “style” of every aspect of the updates goingon at AOSA, however it’s just plain hard to fit all those details into a newsletter article or email communication.Having the NBT committees and subcommittees focused on the development of all the components of the overallproject allows for decisions to be made by trusted and valued membership in a manner that keeps the projectmoving. It is my hope that as you read the article, you recognize the time and effort put in by so many people tomake sure the updates and changes that are occurring are in the spirit of what Carl Orff and Gunild Keetmanchampioned 80 years ago. I also hope you just might find something with which you would like to be involved as asubcommittee member or contributor, allowing your ideas to be added to the table as we shape who we are for thenext 50 years. AOSA is full of amazing talent and expertise. We are always looking for those who want to share thosethings with membership in a meaningful way. So, it’s time to power down for landing. I look out the window one last time and realize this… no matter if I am

at 30,000 feet or on the ground, the work that is being done to better serve AOSA is relevant, timely, valuable, andfilled with the passion that is Orff Schulwerk. I thank those who are on the ground with me, dealing with thedetails. I appreciate the understanding, patience, and help of those who are soaring a bit higher, watching andsharing ideas on how we can all travel to the same place together. Even if the flight has been a bit bumpy and I’velearned to be more aware of items shifting in flight, I am confident we will have a successful landing. It’s always apleasure to travel with you.

by Carrie L. Barnette

Changes are coming to The Orff Echo! Watch for our first set of feature articles on supportingcurrent education initiatives in the summer issue, plus other general articles and columns. You'llalso note some design changes that will make the journal easier to read and provide a more

professional "look and feel." The design incorporates new colors as we align the Echo with AOSA's newcolor palette. As AOSA's web site develops, we will link content from the Echo to online resources andexamples, providing a complete experience of philosophy, theory, and practice. Let us know what youthink by writing the editor at echoeditor@aosa.org.

Volume 12, Number 3 • Spring 2013 11

A Picture is Worth a Thousand WordsDo you have some great photos of your students in action that you are willing to share with AOSA? We want to keep

the new AOSA Web site fresh with pictures of kids making music…or photos taken at chapter workshops. Shortvideo clips and audio files will also help tell the Orff Schulwerk “story.” Students are never identified by name

when their photograph appears in any AOSA media but we must have a photo release form signed by a parent/guardian foreach child pictured. You can download the release form below. Contact communications@aosa.org to find out how to sendus your photographs or video files. Here are a few things to think about when selecting photos:

• Pictures of individuals or small groups work better. If taking a photo of a large group activity, try to focuson only a few people and let the others be background.

• Action photos are wonderful…try to catch the kids while dancing, singing, or playing instruments.

• Don’t pose the pictures….if the children are engaged in what they are doing, that will come acrossbeautifully in the photo.

• A smiling face is the best way to share the value of Orff Schulwerk!

• Short video/audio excerpts work best on the Web site…we can edit for you if needed.

• Higher resolution images work best.

• We may need to edit the size of an image. It is better to send an un-cropped image and let us fit it to the page.

• Don’t forget to take pictures/video at your chapter workshops….but be sure the adults in the pictures givepermission to share the image with AOSA.

AOSA Photo Release Form

Get as close as you can.

Catch them having fun.

The smile says it all!

Volume 12, Number 3 • Spring 2013 12

Chapter IdeasCoordinated by Janet Romano, Contributing Editor

Marketing Strategy: A gem of an Idea from Central Florida!After selecting a workshop location central to the region, the Central Florida chapter encouraged members to “Make ADay of It” based on the Boys/Girls Night Out theme. Some ideas included: carpooling to network and build friendships,making lunch arrangements at wonderful, local restaurants in the area, shopping at a nearby trendy downtown area andmall, and even pampering themselves at a spa close to the workshop location. As a result of these efforts, membership hasincreased 40% above the previous year. Members are making the most of the idea to take “Make a Day of It” bothprofessionally and personally. Even a local school board member came to check out the PLACE to BE! Central Florida hasalso recently updated their website at www.centralfloridaorff.org adding new ways to track membership, registrations,payment, as well as to communicate more effectively.

Networking And Membership Strategies:Greater Rochester’s newsletter, The Orff Express:

• Provides advertising space for business and institutional members

• Recognizes recent accomplishments by its members

• Promotes music education workshops and programs hosted by nearby Nazareth College

• Provides space for discussion of current education topics (e.g., assessment)

Arizona Orff members receive a discount on the cost of attending the Arizona Music Educator’s Conference.

Orff Festival—North Central Wisconsin organized and hosted an Orff Festival in lieu of one of their workshops. Eightystudents from seven schools participated in day of music activitieswhich included recorder, drumming, barred instruments, creativemovement, found sounds, two large choral rehearsals, and a finalperformance. A fee of $25.00 per student was charged to cover the costof lunch, t-shirt, and music.

Honor’s Day—Members of the Heart of Illinois invited up to twentystudents each to participate in a day of music activities. Each studentlisted their top three preferences from the following workshopselections: bars, recorder, movement, drums, and chorus. Studentsworked with their instructors in the morning and practiced for aperformance in the afternoon. Parents were invited to attend the finalperformance in which each group presented their group selectionsfollowed by a larger group piece. A fee of $25.00 per student wascharged to cover the cost of a t-shirt, snack and a drink with lunch.

Central Texas boosted their membership by forty-four in 2011-12 by networking with two large school districts thatsponsored their teachers’ attendance as part of their staff professional development. Special pricing is offered during thefirst half of the year where attendees can purchase all fourworkshops at the membership price, including local membershipdues. In addition, a chapter Facebook page advertises local levelscourses, and flyers are sent to fine arts coordinators in thesurrounding area and to college music departments. The chapter iscontinuing to work on networking with other organizations to buildrelationships that benefit all teachers.

Orff in Action/Orff in the Family—Every January, the PhiladelphiaArea chapter invites students to work with guest presenters andworkshop participants on various aspects of the Schulwerk. Thestudents include members’ students and workshop participants’children. This year Linda Wardell and Julie Swanson guided 4th & 5th

graders through an elemental sequence in developing a shadowpuppet play based on Verna Aardema’s book, Traveling to Tondo: ATale of the Nkundo of Zaire. The culmination of the program was a performance for the parents. Previous Orff-in-Actionworkshops focused on choral singing, drumming, children’s literature, recorder, and technology in the Orff-based

Shadow Puppet Show

Orff-in-Action

Volume 12, Number 2 • Winter 2012 13

classroom. The PAOSA also has seven members who are part of two generations of Orff teachers. During a chapter sharingworkshop, mother-daughter teams and second generation Orff members were asked to share as part of Orff in the Family.

Tri-Chapter Workshop: Orff, Kodaly, and Dalcroze—The tri-chapter workshop is a joint event involving members of theNew York City Orff, Kodaly, and Dalcroze Chapters. The purpose is to encourage sharing of the unique musical practiceswith one another and build bridges between the music education communities. This annual event usually occurs inJanuary and is hosted by each organization on a three-year cycle. The host chapter is responsible for all contractualobligations: choosing a clinician, obtaining a date and contract, preparing publicity materials, and securing a location forthe workshop. The clinician costs are split evenly between the three chapters up to a predetermined amount. If the overallcost exceeds the agreed amount, the host chapter is responsible for the difference. A non-member general admission fee($30) and non-member student fee ($5) applies to the tri-chapter workshop only. Fees go directly into the communalcollection that is used exclusively to defray the costs of the workshop. If the collection of non-member funds exceeds thecost of the workshop, the remainder is distributed evenly between the organizations. A list of the non-member registrantsis provided to each organization. For more information, contact NYC Orff.

Thank you to the chapters who sent information or newsletters! Please send news, photos, or chapter newsletter toJanet Romano.

Help! How do I……give every child an opportunity to play, with only enough instruments for a fraction of the class?

Predictable Instrument RotationContributed by Jaree Hall, Features Editor

Instructional time in music class is at a premium for most teachers, so you don’t want to waste time assigning studentsto instruments and trying to figure out who has played what each week. Developing a rotation system that is predictablecan save valuable teaching time. It will take time in the beginning to explain and practice, but over the length of the schoolyear, it will definitely save time and energy.

In my teaching situation, I am fortunate to have about half as many instruments as students in a class. I divide mystudents into 1s and 2s, according to their assigned seating. One week the 1s go first, the next week the 2s go first. Ialternate groups 2 or 3 times during a class period. The first week I assign the instrument they start on. Each time theirgroup plays, students move to the next instrument in the circular rotation. Walking around the instruments is stressed forsafety. Disagreements over instruments are eliminated because a predictable system is in place. Students know that overthe course of 3 or 4 weeks, they will rotate through all the instruments. Students who are not playing are expected to watchand listen. Often I will give those students something else to do, either clapping or patting or singing. I have found that thefrequent changing helps keep their attention, and allows them to get the “wigglies” out of their system.

The Don’t - Panic Button

Small percussion instruments can be added into the rotation to increase the number available for playing. Whateveryour situation, you can develop a predictable rotation that is easy to follow and assures that students get to play all theinstruments over a period of time.

AX BX BM AM

SX AG SG SM

Volume 12, Number 3 • Spring 2013 14

Coordinated by Sara Womack, Contributing EditorWhat’s New

Coordinated by Sara Womack, Contributing EditorIndustry News

Hal Leonard www.halleonard.comSound Poems: MORE Interactive Listening and Reading Fun – Cristi Cary Miller: Eighteenreproducible poems are included in this new text, which indicates special instrument sounds andrhythmic motifs to be played by students. The enclosed CD-ROM offers projectable and printableoptions. $29.99.

Round the World: Teaching Harmony with Multicultural Rounds and Canons – Cheryl Lavender:This collection of rounds and canons is a sequential repertoire, which includes movement andpercussion echoes, rounds, and canons; speech canons; call and response songs; and songrounds and canons. The performance/accompaniment CD is available separately or in aclassroom kit. $19.99.

Themes and Variations www.musicplay.caLearn and Play Recorder: This app for iPhone, iPod touch, and iPad teachesbeginners how to play soprano recorder with 38 full performance tracksongs. It is based on the Recorder Resource Kit�by Denise Gagné. $3.99.

Sweet Pipes www.sweetpipes.comIt Takes 2 – Chris Judah-Lauder: Eight soprano and alto recorder duets with piano/Orffaccompaniment are included in this new text. The duets are arranged for the classroom or aselect ensemble. The accompanying CD includes PDF files of the sheet music, as well asperformance and accompaniment tracks. $24.95.

Heritage Music Press www.lorenz.com/divisions/hmpWhat to Teach When: A Thoughtful and Engaging Music Curriculum, Kindergarten-First Grade –Don Dupont and Brian Hiller: This collection provides repertoire and learning activities forteaching the musical elements. Each song or activity lists the focus and concept, as well as alesson plan outline. The accompanying CD-ROM features full color printable resources. $54.95.

Beatin’ Path www.beatinpathpublications.comGreek Myths in Modes – Danai Gagne and Judith Thomas-Solomon: This new book includesmaster scores, scripts, images, and extensive lesson plans to interact with traditional Greekstories. The accompanying CD-ROM contains images, instrument parts, full color visuals, andstudent/actor scripts, as well as audio files of the songs and instrumental pieces. A preview ofthe book can be found athttp://www.beatinpathpublications.com/DGagne/GMIM%20Pre/index.html. $34.95.

Themes and Variations www.musicplay.caThemes and Variations is presenting the fourth annual Artie and Denise SummerSymposium on July 22-24 at the University of Central Florida Alumni Center. Visithttp://music.cah.ucf.edu/camps/elemmusic.php for more information.

Unless otherwise indicated, items mentioned in this column are available at yourfavorite music dealer. Check your current AOSA Membership Directory and ResourceGuide for Industry Member phone numbers, websites, and email addresses.

Book’s App’sCD’s

Volume 12, Number 3 • Spring 2013 15

Rosie Retiresby Jaree Hall, Features Editor

From a student volunteer at the 2nd AOSA National Conferencein Cincinnati (1970)…to National Conference Director…toretired music educator, Rosemary Koepfle has been active on

behalf of AOSA for many years and has enjoyed every step of herjourney. Rosie, as she is known, remembers that Jos Wuytack madehis first appearance at an AOSA National Conference that year inCincinnati, and she and her fellow volunteers were “hooked.”

As an inner city public school teacher who was required toemphasize participation and respect for the contributions ofclassmates, the Orff approach was a perfect fit for her teaching. Inaddition to teaching in the Cincinnati Public Schools, she also taughtin the Princeton City School District. She completed all three levelsof Orff Teacher Training at the University of Denver. Throughout hercareer Rosie has been active in the Greater Cincinnati Chapter ofAOSA and the Ohio Music Education Association. She received theDistinguished Service Award from the Ohio Music EducationAssociation in 1999, was named an Honorary Member of the GreaterCincinnati chapter AOSA, and has recently been awarded HonoraryMembership in AOSA.

Rosie acquired a great deal of experience working for the OhioMEA conferences: contacting presenters, working with hotel andconference center contracts, scheduling events, contactingexhibitors, and working with vendors. When the AOSA NationalConference returned to Cincinnati in 2001, she was selected asNational Conference Chair. From that time forward, she helpedsucceeding NCCs in various ways until the conference became solarge that it needed a person dedicated to the details of theconference. AOSA solicited applications for the position, and Rosie,who had completed a course of study to earn Certified MeetingProfessional status, applied. She got the job!

In a career so long and distinguished, it is difficult to pick out highlights. But Rosie relates that meeting Frau Orff at the2001 AOSA National Conference in Cincinnati was quite a memorable experience. Coming so soon after the events ofSeptember 11, Frau Orff carried on with her plans to fly in from Germany, saying she was coming to prove to themembership that the AOSA conference was more important than a bunch of terrorists.

Rosie plans to continue her support and interest in AOSA in her retirement and also hopes to start reading her backlog ofbooks. She will continue serving as a consultant for other organizations with which she has been involved over the years.She states, “I consider all of the conference NCCs and LCCs as family, and it is so much fun to reconnect with them at eachsubsequent conference.”

Chris Judah-Lauder, AOSA Vice President says, “Rosie is thoroughly dedicated to AOSA. She seemed to live and breatheat her computer, as her responses were fast and furious. To this day, I don’t know how she managed to juggle andcoordinate three conferences simultaneously. It was an honor having the opportunity to work with her.”

AOSA Executive Director Carrie Barnette shares, “Rosie has always been the go-to person with all things AOSAconference. The amount of knowledge she has about the history of the AOSA makes her a gem to the organization even inher retirement. Rosie is, and will always be counted among the most loyal and supportive of AOSA members who trulybelieved in Orff Schulwerk.”

Brian Burnett, Conference Instrument Coordinator adds, “Rosie has a remarkable talent to empower the yearlyconference chairs. She was able to bridge the creative world of music and movement teachers with the business world ofmusic industry and conference production companies. She can juggle three consecutive conferences at the same time andmake it look easy.”

Thank you, Rosie, for all the time and effort you have devoted to making AOSA’s National Conference the highlight ofthe year for so many educators!

Rosie Koepfle (center) with 2012 NCC's LuAnn Hayes (left) and Joan Stansbury

Volume 12, Number 3 • Spring 2013 16

Liz Keefe teaches grades K-2 at Reed Elementary in Tiburon, CA and teaches Orff-SchulwerkLevel courses at the University of Northern Colorado and California State University, LosAngeles. She shares that “…the inspiration for “Arise, Arise” came from simply ‘playingaround’ with an idea. In this case I was intrigued by the musical idea of two voices chasingafter each other. I wrote several canons with this same idea, and this one was mostsuccessful. The music came first and then the words followed.”