Percussive Play: Building Rhythmic Skills Through … Rhythmic Skills Through Partwork, Poetry, ......
Transcript of Percussive Play: Building Rhythmic Skills Through … Rhythmic Skills Through Partwork, Poetry, ......
PercussivePlay:BuildingRhythmicSkills
ThroughPartwork,Poetry,andMovement
IMEAGeneralMusicWorkshop
August26,2017
RogerSamsDirectorofPublicationsandMusicEducationConsultantat
MusicIsElementary5228MayfieldRd.
Cleveland,OH44124www.MusicIsElementary.com
MincePieFlyFromPurposefulPathways1,
byBethAnnHepburnandRogerSamsUsedwithPermission
PATHWAYtoRHYTHM:Kinestheticallysettingup4 , h, $ • Beginwithstudentsinscatteredspace.PlaythesteadybeatontheHDandask
thestudentstokeepthebeatintheirfeet,stationaryfirstthenlocomotor.• Whenthepulsehasbeenestablished,speakthepoem.Askthestudentswhat
NellieBlyisdoinginthepoem.• Students“walklikeNellie”onthebeat.• Whenthedrumstops(onbeat8ofeachphrase),thestudentsstoptraveling.• Invitethemto“catchafly”duringthespace(whichtheyhaven’tyetlabeledasa
rest).• Addtravelingtheeighthnote.• Extractpatternsfromthepoem,fortheclasstoecho,example:
h h 4 $ h h 4 $
teacherondrumstudentsmoverhythminfeet
PATHWAYtoLITERACY:Discovertherest• Modeltherhyme,whiletrackingthesteadybeatwiththeflyicons.“Whichfly
didwecatch?”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.
PlaytheWoodblock
Fromtheupcomingpublication,PercussivePlay,byRogerSamsandMichaelVasquez
UsedwithPermission
PATHWAYTORhythm:4-beatechopatterns• Leadclapping4-beatechopatternsusing4andh.(Ifyourstudentsare
capableofreading$youmayuseit,althoughitisnotarhythmicvalueinthis
songanditisnotrequiredforthislesson.)Saytherhythmsyllablesthatyouuseinyourclassroomandaskthestudentstobeyourspeakingandclappingecho.
• Leadclapping4-beatechopatterns,butdonotsaytherhythmsyllables.Askthestudentstoechoclapandsaythecorrectrhythmsyllables.
PATHWAYTOLiteracy:Reading4 andh • Studentsreadtherhythmofthesong.• Askthestudentswhattheynoticeaboutthefourpatterns.(Theyareallthe
same.)• Addtextandreciteaspoem.
PATHWAYTOSinging:Roteteachingofsong• Sincethestudentsworkingonreadingthesesimplerhythmslikelywon’tyetbe
readingallofthesepitches,teachthemelodybyrote.
• PerforminABAform.Youlead4-beatechopatternsastheBSection.
• Ifyourstudentsarereadytoleadtheechopatterns,turnitintoaGrandRondowithstudentsleadingthepatterns.Eachstudentleaderselectstheirreplacementwhiletheclasssingsthesong.
PATHWAYTOComposition:Composing4-beatmotives
• Workingfromagridwithfourrowsoffourblanksonthewhiteboard,theclasscomposesa4-motivewoodblockcomposition.Eachblockrepresentsonebeat.Eachbeatisfilledinwith4 orh.Ifyourstudentsarereading$ ,youmayincludeitamongthepossibilities.
________________________ ________________________ ________________________ ________________________
• PerformthisnewcompositionastheBSectioninABAform.• Preparecompositiongridsonpaperforthestudentsanddividethemintogroups
offourorfewerstudents.Smallgroupscomposetheirown4-motivecompositionfortheUTP(untunedpercussion)instrumentoftheirchoice.Studentssharetheircompositionswiththeclass.
• PerforminaGrandRondo.• Havethegroupsofstudentsrotatearoundtheroomandread/performthe
compositionsthatothersmallgroupscreated.
PATHWAYTOMovement:Reinforcing4 and h • Havethestudentswalkaroundtheroomandsay"walk"whileyouplaya4
pulseonahanddrum.• Havethestudentsjogaroundtheroomandsay"jogging"whileyouplayh
onahanddrum.• Addanaccentedh4onthedrumtosignalstudentstoswitchbetween
walkingandjogging.Varytheamountoftimebetweenthetransitionsignaltokeepthestudentsactivelylistening.
• Askthestudentsstandstillwhileyouplaya4-beatrhythm.Thestudentsechoitbymovingtothecorrectrhythm.
• Askstudentstoidentifytheorderofmovementsthatwereusedinthe4-beatrhythm.(I.e.4 4 h 4 iswalkwalkjoggingwalk).
• Divideupintosmallgroups.Eachgroupcomposesa4-beatrhythmoftheirownusingwalkingandjogging.
• Smallgroupsdemonstratetheir4-beatmovementpatterns.Theotherstudentsidentifyornotatetherhythmsperformedbyeachgroup.
GoToBed,Tom!
Fromtheupcomingpublication,PercussivePlay,byRogerSamsandMichaelVasquez
UsedwithPermission
PATHWAYTORhythm:4-beatechopatternsincompoundmeter• Lead4-beatechopatternsincompoundmeter,usingonlye ,4. ,and$.
Speaktherhythmsyllablesasyouclapthepatterns.Askthestudentstosaytherhythmsyllablesastheyecho.
• Repeat.Thistimedonotsaytherhythmsyllablesasyouclapthepatterns.Askthestudentstodecodethepatternsandsaytherhythmsyllablesastheyechoclap.
PATHWAYTOLiteracy:Compoundmeterusinge 4. $. • Studentsreadtherhythmoftherhyme,sayingrhythmsyllables.
• Studentsaddtexttotherhythmoftherhyme.
• Invitethestudentstoexploredramaticplayasiftheyaretheparentoradultcaregiver.ExploredifferentwaystousethevoicetoconvinceTomtogotobed,suchassweet,whispering,frustrated,orangry.
PATHWAYTOPartwork:RhymewithBPtransferredtoUTP
• PerformtheBPostinato.Askthestudentstowatchthepatternatleastthreetimesandjoinyouwhenthey’vegotitfiguredout.
• Dividetheclassinhalf.HalfperformstheBPostinato.Halfperformstherhythm.Tradejobs.
• ADVANCEDCHALLENGE:Askthestudentstoperformbothparts.Alwaysestablishtheostinatobeforebeginningtherhyme.
• TransfertheBP(bodypercussion)totubanoorconga.Keepthesnap.Playalow
basssoundinthecenterofthedrumonbeat1,thensnaponbeat2,thenplaybeats3and4oftheostinatoashigherpitchedtonesontheedgeofthedrum,saying,“bass,snap,tone,tone,tone,tone.”
• Putdrum/snapostinatotogetherwiththerhyme.Rotatethestudentsthroughthedrummingpart,sothatallhaveaturn.
• Addtriangleorfingercymbalsonthetworestsattheendofeveryamotive.• Transfertherhythmoftherhymetorhythmsticksorwoodblocks.
PATHWAYTOComposition:Creatingcontrastingsectionsbymakingexcuses
• Studentsperformamotivicanalysisoftherhyme,discoveringthattheformisaaba.
• Askthestudentstonotatetherhythmofthebmotive.(4. 4. 4. 4. )• Givethebmotiveanewtextwiththesamerhythm,“I’mnotsleepy.”• Modelspeakingthefollowingnewrhyme,usingthesameaabaform.
• DividetheclassinhalfandperforminABAform.Theparentstellthechildrento
gotobed(ASection)andthechildrenprotest(BSection).Tradeparts.• RepeatABAform,butthistimeeachgroupperformstheBPostinato,whilethe
otherhalftheclasssaystheirrhyme.• ADVANCEDCHALLENGE:Makethethirdsectionoftheformanargumentwith
boththeparentsandthechildrenperformingtheirpartatthesametime.Thisisgreatfun!
• Brainstormexcusesthatchildrenusetoavoidgoingtobed:o Bathroomo Drinkofwatero Readastoryo I’mafraido Toohot/Toocoldo Blanketisscratchyo Monsterunderbedo Anyothers?
• Dividethestudentsintosmallgroups.Eachgroupcreatestheirownexcuserhymeinaabamotivicform.Thebmotivestaysthesameforallgroups;“I’mnotsleepy.”Remindthestudentsthattheamotivemustbefourbeatslong.
• Oncethegroupshavecreatedtheirtext,askthemtocreateadramaticinterpretationoftheirtext.Encouragethemtodemonstratethemeaningofthetextwiththeirbodiesandtheirvoices.
• StudentsperformaGrandRondo,withtheparentsbeingtherecurringASectionandsmallgroupsofchildrenperformingtheirexcusesascontrastingsections.
PATHWAYTOOrchestration:CreatingBodyPercussionorPieces
• ConverttheASection(poem)toaBPpiece.Havehalfoftheclassmaintainthepat/snapostinatowhiletheotherhalfclapstherhythmoftherhyme.
• Smallgroupsconverttheirspeech/dramaticcontrastingsectionstoBPpieces,transferringtherhythmoftheirspeechtovariouslevelsofBP.
• StudentsperformaBPGrandRondo.
PiccadillyTravelFromPurposefulPathways1,
byBethAnnHepburnandRogerSamsUsedwithPermission
PATHWAYTORhythm:Experiencingnotevaluesagainstthesteadybeat
• Studentswalkthetempoofthesteadybeat,whichyouestablishwithyourlefthandontempleblocksorpiano.
• Onahigherpitch,playchangesusing4,h,andH . (InDalcroze,thesearecalledquickreactionchanges.)Thestudentsrespondtotheserhythmicchangesbyclappingtherhythmicvaluesyouplay,whilemaintainingthesteadybeatintheirfeet.Theirtaskistoquicklyrespondtoyourrhythmicchanges,strivingtostayinsyncwithyourrighthandonthepianoortempleblocks.
TeacherTalk:Time,spaceandenergywhileclappingQuickReactionexercisesrequiretotalmentalandkinestheticawareness.Throughthesequickreactionexperiencesthestudentsbegintounderstandhowphysicaladjustmentsinenergy,flowofbodyweight,andsizeofmovement(space),needtooccurinordertophysicalizethemusic.Thisawarenessoftherelationshipoftime,space,andenergyneedstobebroughttotheattentionofthestudents.Forexample:thequarternoteclapwillreboundhigheroffthepalmofthecontacthand,physicallyshowingalongerlengthoftimethroughspacethananeighthnote,whichrequireslessspacebutmoreenergy.Sixteenthnoteswillutilizeevenlesstimeandspace,butsignificantlymoreenergy.
• Beginwiththequarternotepulseandchangetoeighthnotes,thensixteenthnotes.Studentsrespondbychangingasquicklyaspossibletothenewnotevalues.Varytherhythmicvaluesinunpredictableplaces.Example:
TeacherTalk:AdvancedchallengeForanadvancedchallengeputthesteadybeatinthehandsandtherhythminthefeet.Iftheclasscanmasterthatchallenge,consideralternatingtherhythmbetweenthehandsandthefeetusingawordcue,suchas“switch.”
PATHWAYTOCreativeMovement:Exploringpathways
• Returntothesimplequarternotepulseasthestudentsexplorepathways,whileyouspeakthetextoftherhyme.
• Examinedrawingsofpathwaysmadefromcircles,lines,andsquares.Havestudentsdrawthepathwaysbypointing,showingwherethatpathwaymaytakethemacrossthefloor.
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.
• Studentstravelagivenpathwayfollowingthequarternotepulse,thenreversethepathwayandcomebacktotheirstartingplace.
• Explorethesamepathwayagain.Cantheychangehowtheytraveledthepathway?Perhapssideways,backward,low,orhigh?
• Createanewpathwayontheboardwiththeclass.Repeattheprocess,exploringthenewpathwayanddifferentwaystotravelonthatpathway.
• Askthestudentstocreatetheirownindividualpathways.Whiletheyaretravelingtheirpathways,youspeaktherhyme.Encouragethemtoexplorediversepathwayswithpromptssuchas,“Canyoumakeapathwaythatiscurved?”or“Createapathwaythatismadeupofstraightlinesandsharpturns.”
• Continuetoletthestudentsexploredifferentpathwayswhiletheylearnthe
rhymethroughechoimitation.• Whenthestudentsareabletorecitetherhymewithoutyourhelp,askthemto
travelwiththesteadybeatintheirfeetandclaptherhythmoftherhymewhiletheychantit.
TEACHERTALK:BackgroundinformationThePiccadillylineispartoftheLondonrailsystem.ThePiccadillyCircusisabustling,busycirclewithcarsandpeoplegoingheretothere.Theterm“it’slikeaPiccadilly
Circus”referstoalotofcommotionandnoise.LeicesterSquareisanotherstopalongtheroute.PATHWAYTOLiteracy:H
• Wordsarevisibleonthewhiteboard.Speaktherhymewhilethestudentslisten.• Askthestudentswhattheynoticeabouttherhyme.(Lotsof“Piccadilly.”Moves
quickly.etc.)• Studentsclaph 4,readingfromtheboard.• Speaktherhymewhilethestudentslistenforh 4 .Itoccursthreetimes.• Notateh 4 abovethewordseachtimeitoccurs.“Travelon”twotimes,and
“heretothere.”• Studentsspeaktherhymeandclaph 4 eachtimeitoccurs.• Studentsworkatdecoding“Piccadilly.”TEACHERTALK:AskingleadingquestionstosupportdiscoveryofsixteenthnotesSupportthestudentsindiscoveringthattherearefoursoundsonasinglebeat.Askquestionslike,“HowmanysoundsareinthewordPiccadilly?”and“Howmanybeatsdoesittaketosaythosefoursyllables?”Helpthestudentsarticulatetheirgrowingunderstandingwith,“Oh!So,you’resayingthattherearefoursoundsthattakeplaceonthisonebeat.”Introducetheconceptofsixteenthnotesandtheappropriatenotation.ThereareavarietyofsyllablesusedforH intoday’smusicclassrooms.Welike“ti-ka,ti-ka.”Pickasystemthatworksforyouandbeconsistent.
• NotateH aboveevery“piccadilly.”• Havethestudentswalkthesteadybeatwhilesayingtherhymeandclappingthe
rhythm.AskthemtolistenforotherplaceswheretherearefoursoundsononebeatandnotateHabovethosewords.
• Fillinthenotationforanyplaceslefttodecode:“circle”and“square.”• Studentsreadthenotationfortheentirerhymewithrhythmsyllables.
PATHWAYTOPartwork:PoemwithBP/UTPostinato
• PerformtheBPostinato.Studentswatchandjoininwhenready(simultaneousimitation).
• Dividetheclassinhalf.HalfperformstheBPostinato.Halfperformstherhyme.Tradeparts.
• TransfertheBPtovariousvocalsoundsorUTP.• Vocalsoundscanbeimitativeofautomobilesorotherformsoftransportation
(honk,beep,doorsclosing,etc.).Transfereachbodypercussionleveltoadifferentvocalsoundforafunvocalostinato.
• TransfertheBPtoUTP.Stamp=drum.Clap=woodblock.Snap=triangle.• PerformtherhymewiththeUTPostinato.
PATHWAYTOComposition:aabcformusingH • Analyzetheformoftherhyme,labelingeach4-beatmotive:aa’bc• Forpurposesofourcompositionprojectwe’regoingtoworkwithaabc.
(Studentsmaychoosetomakeana’attheveryendoftheprojectiftheywish.)
h 4 TravelStop
H 4 PiccadillyStop
4 hStopTravel
H h PiccadillyTravel
4 $Stop
h HTravelPiccadilly
• Usingthecollectionofrhythmicbuildingblocks,composea4-beatmotivebycombiningtwocards.
• Repeatthatmotive,creatingaa...• Createthebmotivebycombiningrhythmicbuildingblocksandaddthisnew
motivetotheform:aab• Createathirdmotive–c.Thisisagreattimetoreviewcadence.Theircmotive
shouldhaveastrongcadence.• Speaktheentirecompositiontogether:aabc• Playitonthefloor,usingrhythmsticksormalletsasthedrumsticksandthefloor
asadrum.• StudentsworkindividuallyorinsmallgroupstocreatetheirownPiccadillypieces
inaabcform,usingrhythmicbuildingblocks.• Sharethecompositionswiththeclass,eitherasspeechorfloordrumpieces.• Considercombiningthesecompositionswith“PiccadillyTravel.”Onegroup
playstheirfloordrumpiecewhiletherestoftheclassspeakstherhyme.
H H PiccadillyPiccadilly
h h TravelTravel