Ostinati, Descants, and other Musical Marvels · Ostinati, Descants, and other Musical Marvels New...
Transcript of Ostinati, Descants, and other Musical Marvels · Ostinati, Descants, and other Musical Marvels New...
Ostinati,Descants,andotherMusicalMarvels
NewJerseyMusicEducationAssociation
Friday,February23,201810:15–11:30
RogerSamsDirectorofPublicationsand
MusicEducationConsultantatMusicIsElementary5228MayfieldRd.
Cleveland,OH44122(800)888-7502
www.MusicIsElementary.com
I’mGonnaSingfromPurposefulPathways2
UsedwithPermission
• PATHWAYTORhythm:“StretchandHold”quickreactiongame• Beginscatteredinself-space,withsufficientpersonalspaceforstretching.• Playrhythmswithinstrumentsthatcanplayshortandlongdurations(voice,piano,
templeblocksandasuspendedcymbal).• Play4-beatrhythmpatterns.Thestudentsrepeatwiththeirbodiesinplace,movingtheir
arms,hands,head,elbow,hips,feet,etc.,inself-space.Play4-beatpatternscontaining4
andhtostart.• Addthehalfnotedurationtothepatterns,thenthewholenote.Encouragethestudents
toselectmovementsthatalsosustainovertimetorepresentthelongerdurations.Usewordslikeslowmotion,stretch,andexpandtomaketheideamoreconcrete.
• Thestudentstravelwiththequarternotes,eighthnotesandhalfnotesintheirfeet,thenstayinplaceandshowthewholenotedurationwithsomesortofsustainedstationarymovement.
• Alternatemeasureswithrhythmicactivitywiththewholenote.Forexample,theteacherplays:
Studentsrespond:step,step,step,step,stepstretch------------
PATHWAYTOLiteracy:4 h 1 anddoremiso• Beginwiththetextdisplayedonthewhiteboard.• Singthesong.Thestudentsstayinplaceandstretchonthewordsthatarelongtones.
“Forhowmanybeatsdothoselongnotessound?”(Four)• Introduceandlabelthewholenote.Showthenotationabovetheword“way.”• Singmeasures1-4.Thestudentsrespondbysteppingtherhythm(1-3)andstretchingfor
thewholenote(4).• Notatetherhythmabovethetextforthefirstline.• Repeattheprocessaboveandhavethestudentssteptherhythminmeasures(5-7),and
stretchinginmeasure8.• Notatetherhythmabovethetextforthesecondline.• Addbarlinesandametersignature.• Singindividualphrasesandaskthestudentstoecho-singandsteptherhythmofthe
song,stretchingwhentheycometothewholenotes.Youmaychoosetouseaneutralsyllable,orthetextofthesong.
• Preparetheirmindsformelodicwork(doremiso)withthesolfatoneladder.• Thesongstartsonmi.Seeifthestudentscandecodethesolfaaurally.Writethesolfa
undertherhythmicnotation.• Singthesongusingsolfawithhandsignswhilereadingthesticknotation.• Singthesongwithtextwhilereadingthenotationonthestaff.
PATHWAYTOPartwork:Melodywithdescant
• Singthedescantusingsolfawhilepointingtothenotationonthewhiteboard.Discusshowthetieconnectsthetwonotestocreateonesoundlastingforsixbeats.(2+4=6)
• Leadthestudentsinsingingsolfa;thenletthemsingbythemselves,withoutyour
support.• Addtext.
• Studentssingthedescant.Yousingthesong.• Dividetheclassinhalfandsingintwoparts.Tradeparts.
PATHWAYTOMeter:FeelingcuttimeTEACHERTALK:PreparationforfuturelearningWhilethissongisjustperfectforworkingontheirliteracyskillswhenyoureaditin4/4time,itactuallyfeelsbetterincuttime.We’renotinterestedinteachingtheconceptofcuttimeatthisdevelopmentalstage,butthatdoesn’tkeepusfromexperiencingittogetherandputtingitintheirbodiesbeforewebringittotheirconsciousness.ThisBPactivityservesthatpurpose.Thestudentswillbefeelingcuttime,eventhoughtheyhavenoideathattheyarebeingpreparedforaconcepttheywilllearnaboutlater.Kodályteacherswouldconsiderthisapreparationlessonforcuttime.
• BegintheBPpatternincuttimeandaskthestudentstojoininsimultaneousimitation.
• Singthesong(incuttime)whilethestudentsperformtheBPostinato.• Dividetheclassinhalf.Halfsings.Halfperformstheostinato.Tradejobs.• SingandperformBPtogether.• ConsidersingingintwopartswiththeBP.• Dividethestudentsintogroupsof2or4.Eachgroupcreatestheirown4-beatBP
ostinatothattheycanperformasagroup,whilesingingthesong.
RockyMountainfromPurposefulPathways2
UsedwithPermission
PATHWAYTOPitch:doremisola• Lead4-beatechopatternswithdoremisolausinghandsigns.Usethesolfatoneladder
asasupportthroughouttheprocess.• Considerstudentleaders.• Pointoutpatternsonthesolfatoneladderforstudentstosing,usinghandsigns.Besure
tousepatternsfromthesong.Youmightchoosetohavethemsingtheentiresonginsolfathroughthisactivitybeforetheymovetothenextpathwayandworkonliteracyskills.
PATHWAYTOLiteracy:4 h 2 doremisola• Readtherhythmofthemelodyusingrhythmsyllables. • Readthemelodyfromsticknotationusingsolfaandhandsigns.
• AcclimatethestudentstothestaffwhenF=do.Becauseyou’vebeenworkingonthisskill
consistentlyyoumightaskthestudentstoarticulatewherethepitchesareplacedonthestaff.
• Singthemelodyfromthestaffusingsolfaandhandsigns. • Addtextandsingthesongwhilereadingstaffnotation.
PATHWAYTOPartwork:Singingmelodywithcountermelody
• Readthepitchesforthecountermelody(chorusonly)usingsolfaandhandsigns.
• Whenthestudentsaresecure,theysingthecountermelody(solfaandhandsigns)while
yousingthemelodywithtext.Tradeparts.• Dividetheclassinhalf.Halfsingsthecountermelodyusingsolfaandhandsigns.The
otherhalfsingsthemelodywithtext.Tradeparts.• Studentssingthecountermelodywithtext.
• Dividetheclassinhalf.Halfsingsthemelody.Halfsingsthecountermelody.Tradeparts.• Putthetwopartstogetherforthechorus.Singtheverseinunison.
• Singthecountermelodyfortheverseusingsolfawithhandsings.
• Singthisportionofthecountermelodywithtext.
• Singtheentirecountermelodywithtext.• Dividetheclassinhalfandsingintwoparts.Tradeparts.
PATHWAYTOImprovisation:Vocalimprovisationusingdoremi
• Modeltheimprovisationstructure,singingdo-mi-so-laandthenrestingforfourbeats(twotimes).
• Studentssingtheimprovisationstructure.• Studentssingtheimprovisationstructureandyouimproviserhythmicallyondoduring
themeasuresofrest.Tradeparts.• Studentssingtheimprovisationstructureandyouimproviseondoandmiduringthe
measuresofrest.Tradeparts.• Thestudentssingthesetpatternoftheimprovisationstructure.Youimproviseondore
miduringthemeasuresofrest.Tradeparts.• Dividetheclassinhalf.Halfsingsthesetpattern.Halfimprovises.Tradeparts.• Workinpairs.• Considersingingtheimprovisationonnonsensesyllables.
• Oncethestudentshavemasteredtradingeveryfourbeats,modeltheentireimprovisationsungbyonevoice.
• Studentsperformtheentireimprovisatorysection.(Hey,they’reimprovisingin8-beatphrasesnow!)
• Foranadvancedchallengeimproviseusingdoremisola.• PuttogetherinABAformoraGrandRondowiththesongastheASection.
I’veBeentoHarlemfromPurposefulPathways3
UsedwithPermission
PATHWAYTOMovementPlay:Singinggame• Studentsformacirclewithpartners;traditionallyboysareontheinsideandgirlsareon
theoutside.• Partnersjoininaskater’shold(joininsidehandsandoutsidehands)andwalkcounter-
clockwisearoundthecircle.• Onthewords“turntheglassesover”theinsidepartnerliftsbothjoinedhands,turning
theoutsidepartnersotheyfacetheoppositedirection.• Everyonedropshandsandcontinuesinoppositemotionaroundthecircle:outsidecircle
counterclockwise,insidecircleclockwise.• Onthelastword,“ocean,”thepeopleontheinsidetakethehandsofthepersoninthe
outsidecirclenearestthemintheskatershold,andthegamerepeats.• FISHPOTVariation:Ifthereareunevennumbersofinsideandoutsidepeople,theextra
childrenremaininthecenterofthecircleuntilthewords“Sailingeast,”theythenjointheinsidecircleandtrytogetapartneronthelastsyllableof“o-cean.”Thosewithoutapartneraresenttothefishpot,inthecenterofthecircle;theytrytostealapartnerthenexttimethroughthesong.
PATHWAYTOPartwork:MelodywithmelodicostinatoTEACHERTALK:Thismelodicostinatoisperfectasavocalostinatoorforbeginningrecorderplayers.Italsoprovidesaniceopportunitytoreview(orintroduce)dottedhalfnote.
• Reviewthesong.• Studentsreadthefollowingrhythm.
• Tiethequarterandhalfnotestogether.Demonstratethefunctionofthetie.
• Changethetiednotestoadottedquarternote.
• Studentssingthemelodicostinatousingsolfawithhandsigns.
• Dividetheclassinhalf.Halfsingsthesong.Halfsingsthesolfaostinato.Tradeparts.• Studentssingthemelodicostinatowithtext.
• Dividetheclassinhalf.Halfsingsthesong.Halfsingsthemelodicostinato.Tradeparts.• ReviewBAGfingeringsonrecorder,asappropriate.• Studentssingletternamesandpracticefingeringswiththerecordersrestingontheir
chins.
• Studentsplaythemelodicostinatoonsopranorecorder.• Dividetheclassinhalf.Halfsingsthesong.Halfplaystherecordermelodicostinato.
Tradeparts.PATHWAYTOImprovisation:doremi--BAG
• Singtheimprovisationalstructureusingsolfawithhandsings.(Notationonthewhiteboard.)Takethetimetopointoutthewholerest.Explainthatthewholerestindicatesnosoundfortheentiremeasureoffourbeats.
• Studentssingtheimprovisationalstructureusingsolfawithhandsings.
• Studentssingimprovisationalstructurewithtext.
• Studentssing.Modelclappingimprovisation.• Dividetheclassinhalf.Halfsings.Halfimprovises.Tradejobs.• Studentssing.ModelrecorderimprovisationonGonly.• Dividetheclassinhalf.Halfsings.Halfimprovises.Tradejobs.• Studentssing.ModelrecorderimprovisationusingB,A,G.• Dividetheclassinhalf.Halfsings.Halfimprovises.Tradejobs.• Studentssing.Modelvocalimprovisationusingdoremi.• Dividetheclassinhalf.Halfsings.Halfimprovises.Tradejobs.• Brainstormplacesyoumightbesailingthatyoucansinginfourbeats.Examples:
- Sailing‘crossthedeepbluesea.
- Far,faraway.- Goinghome.
• Classsingsthequestions.Modelvocalimprovisationwithtext.• Dividetheclassinhalf.Halfsings.Halfimprovises.Tradejobs.
PATHWAYTOEnsemble:SplitmovingbordunwithUTPostinato
• PrepareBX/BMostinatowithpattingandtransfertoBX/BM.
• PrepareAXostinatowithpattingandtransfertoAX.(Thisisthefifthofthebordunand
we’removingitupasecond.)
• Putthesetwopartstogethertocreateamovingbordunsplitbetweentwovoices.Have
thestudentslistentothesetwopartstogether.Explaintothatthisisabordunornamentedbymovingthetopnoteandsplittingitbetweentwovoices.
• Putthesplitmovingbordunandthesingingtogether.• ReadrhythmofHDpart(clapping).
TEACHERTALK:HanddrumtechniqueIfyourstudentsarereadingatthisdevelopmentallevel,theyarelikelyreadytoworkonhanddrumtechniqueotherthansimplytappingtheinstrument.Wesuggestthatyouconsiderworkingonupanddownstrokeswiththisostinato.
• Putallthreepartstogetherwithsingers.
AchDuLieberAugustinfromtheupcomingpublication,PurposefulPathways4
UsedwithPermission
PATHWAYTOMeterin3:Oppositesreplacementrhythmexercise• Modelthebasic3BPpattern.Studentsjoinyouwhenthey’vegotthepatternfigured
out.(simultaneousimitation)
4 4 4 patclapsnap
• Studentscontinuewiththefirstpattern,whileyoumodeladottedhalfnotevaluewithcircularsustainedclaps.
2. clap(movehandsoutwardinasustainedcircle)
• Whenyousay“switch”thestudentsperformthelastrhythmyoumodeled,asyoumovetothenextrhythmextractedfromthesong,recorderdescant,orBPaccompanimentusedlaterinthelesson.
PATHWAYTOSinging:Learningthesongbyrote• WhilekeepingaBPpatternin3,teachthestudentsthesongbyrote,echoingonephrase
atatime.
PATHWAYTOPartwork:SingingwithBP
• ModeltheBPostinato.Askthestudentstojoinyouwhenthehavethepatternfiguredout.
• Dividetheclassinhalf.HalfperformstheBPostinato.Halfsingsthesong.Tradeparts.
Alwaysestablishtheostinatobeforebringinginthesingers.• Whenyourevisitthisonasecondday,askthestudentstoperformbothpartsatonce.
PATHWAYTOPartwork:Singingwithrecorderdescant
• Studentsreadtherhythmoftherecorderdescant.
• ReviewthefingeringsforA,C,andD.• Studentssingtheletternamesfirstandthensingtheletternamesandpracticethe
fingerings.
• Studentsreadtherecorderpartfromthestaff.
• Smallgroupsofrecorderplayersplaythedescantwhilemostoftheclasssingsthesong.
PATHWAYTOEnsemble:I-Vwithrecorderdescant,BPostinato,andGLtriads
• Studentsobserveyouasyousingsolfa(orchordnumbers)andpattheBX/BMpart,followingthenotationonthewhiteboard.
• Studentssingsolfa(orchordnumbers)andpattheBX/BMpart.• Dividetheclassinhalf.HalfsingsandpatstheBX/BMpartwhiletheotherhalfsingsthe
song.Tradeparts.• TransfertoBX/BMandperformwithsingers.• HaveadiscussionaboutthepitchesintheIchordandtheV7chordinF=dohexatonic.
o Ichord–FACo V7chord–CEGBb
• AskthestudentstoselecttwopitchesfromtheIchordandtwopitchesfromtheV7chordthattheycanswitchbetweeneasily.Theyplaythosepitchesonbeats2and3ofeverymeasurewhileyousingorplaytheBX/BMpart.
• OncethestudentsarefeelingconfidentwiththechordchangeshavethemplaythechangingchordstotherhythmoftheAXpartinthescore:$ h4
• PutthechangingchordstogetherwiththeBX/BMpart.ThechordsarewrittenastheAXpartinthescore,butyoucanalsouseSXifyou’dliketohavemorestudentsoninstruments.(Notethat,asalways,youcansimplyteachthestudentstoplaythepitchesinthescoreoryoucanhavediscussionsaboutchordsandhavethemselecttheirownpitchestoplay.Bothprocesseswork.)
• TeachtheGLpartbyroteandaddtotheorchestration.• Addtherecorderdescantandputallofthepartstogetherwithsingers.
PATHWAYTOCreativeDanceintheStyleofSchuhplattler
• Warm-upforthedancebypracticingsubdivisionsofthebeat,whicharecommonlyusedinthisdance.
• Beginwithmodelingpat,clap,claponasteadybeat.Studentsjoinwhenready.(simultaneousimitation)
• Calloutanumberinthemeasureandsubdividethatbeat.Studentsfollowyourmodel.• ExploremovingthebeatsintonewBPplaces.Examples:
o Raisebothhandsintheaironbeatone,putbeats2and3ononeknee.Studentsimitate.
o Clappingunderyourlegonbeat1,withthekneelifted.Clapbeats2and3inatypicalmanner.Studentsimitate.
o Placebeat1onthesideoftheshoe.Clap2and3inatypicalmanner.Studentsimitate.
o Patonbeat1.Claponbeat2.Patshoeinfrontonbeat3.o Patshoeinbackonbeat1.Scissorkickonbeat2.Handsuponbeat3.o Askthestudentstocreateotherpatternsandhavetheclass“tryon”thedifferent
patternscreatedbyindividuals.o Considerinsertingtwoeighthsintoapattern,insteadofusingallquarternotes.
• PutstudentsintosmallgroupstocreatetheirownSchuhplattler-styleBPdancesinaabaphraseform.Givethemclearstepbystepdirections.
o Createa3-beatBPpatterntoaccompanytheaphrase.Performthis3-beatpatternfourtimestomatchthe12-beatphrase.
o Createacontrasting3-beatbpattern.Performitfourtimes,creatinga12-beatphrase.
o Performyourtwopatternsinaabaphraseform.Eachphraseis12beatslong,orfourrepetitionsofyour3-beatpattern.
o Advancedgroupsmightconsidercreatinga6-beatpatternthattheyperformtwiceforeachphraseinthesong.
TeacherTalk:SchuhplattlerThename,Schuhplattler,originatesfromthefactthatthedancerstrikesthesolesoftheirshoes,“schuhe,”withhandsheldflat“platt.”Thedanceisfromafolktradition,performedbyfarmers,hunters,andwoodsmen.Wesuggestwatchingavideoortwotosupportthestudentsbygivingthemideasregardingtheintricatepossibilitiesforbodypercussion.