Sailor’sChorus
fromWagner’sTheFlyingDutchman
SecondaryMusicUnit:KS3
RoyalOperaHouseKS3DramaticSingingResource
2
INTRODUCTIONThisresourcecontainsmusiclessonstructureideasandresourcesforaunitofworkcenteredaroundWagner’sSailorsChorusfromhis1843operaTheFlyingDutchman.Theunithasaseriesofsuggestedclassroomactivities(ideallyabout5-6hours)writtenforKS3secondarymusicstudentsinvolvingperforming,listening,creatingandarranging,andlinkstoadditionalonlineresources,whichwillfurtherenhancethelearningexperience.Asuggestedschemeofworkisincludedinthebackofthisresource.
Themainfocusoftheunitinvolvesdramaticsinging-havingthestudentsbecomethecharactersinthispartoftheopera,agroupofsailorsperformingaworksong.Thepieceispresentedinanumberofsectionsthatincludebodypercussioninterludesandprovidetheopportunitytoexperimentwithstructure.
AttheendoftheunittheclasswillhavepreparedaperformanceoftheirownarrangementofTheSailor’sChorusinspiredbythematerialscontainedinthisresource.
Thisunitincludes:
• Anarrangementsuitableforadolescentvoices�
• Listeningactivitiesbaseduponthisandotherexcerpts�
• Backgroundinformationontheopera�
• Linkstoaperformanceofthischorus�
• Simplepianoaccompaniment�
• Arangeofbackingtracksatvarioustempos�
• Acomposingchallengeforthestudents�
• Additionalclassroommaterialexploringseashantyworksongs
ACPDisofferedtoaccompanythismaterialfocusingonhealthy,dramaticsingingtechniquesfortheclassroomandallowingtimetotailorthematerialsintoaschemeofworkalignedtoyourstudent’sneeds.
RoyalOperaHouseKS3DramaticSingingResource
3
LESSONFOCUS
Everyvoiceisimportant.Singersareindividuals,whoasachoruscometogethertomakeawholelotofindividualcharacters.Inthisway,theydiffertoachoirwhichisconcernedwithblendanduniformityofsound.Inthisproject,weareconcernedwithdramaticsinging–wholebodysinging,wherethesingerislessconcernedabouttechniqueandfocussingupontellingastorybycreatingasceneandlivingtherolethattheyaresinging.Thisisaboutstudentssingingtogetherandhavingfunimmersingthemselvesintothesong.StudentswillstartwithanicebreakersingingactivitybaseduponthefamiliarseashantyWhatshallwedowiththedrunkensailor?andexcerptsfromtheSailor’sChorus.TheythenlearnthesonginfoursectionsandanadditionalarrangedbodypercussionsectionincorporatingthetraditionaltuneWhatshallwedowiththedrunkensailor?TocreatethebustleofasailingshiptheywilllearnanduseostinatopatternsbaseduponrhythmicphrasesfromtheSailor’sChorus.Oncetheyhavelearnttosingthepiecetheywillconsiderthedramaticcontext,howthesailorswouldbefeelingandactingastheyembarkonatriptoshore,havingworkedhardontheboatduringtheirvoyage.Considerhowthiswouldimpactonthewaytheysingit.Theymayevenconsiderhowitmightbestaged,whatthesailorswouldbedoingwhilstsingingandtheworktheymightmimethroughouttheinstrumentalsections.AftertheyhavemasteredtheirownperformanceoftheSailor’sChorusconsiderthetraditionsfromwhichthissortofsonghasevolvedandisbeingreplicatedbyWagner.ALIGNMENTTOKS3NATIONALCURRICULUMAIMSAllpupilswill:
• perform,listento,reviewandevaluatemusicacrossarangeofhistoricalperiods,genres,stylesandtraditions,includingtheworksofthegreatcomposersandmusiciansbylearningtosingandstudyingachorus,fromtheRomanticPeriodOperaTheFlyingDutchmanbyWagnerandcomparingthesewithtraditionalsailor’sworksongsofthe1800s
• learntosingandtousetheirvoices,tocreateandcomposemusicontheirownandwithothersbyperformingandarrangingtheirownversionsoftheSailor’sChorusandanotherworksong
• usetechnologyappropriatelytorecordandnotatetheircompositions• understandandexplorehowmusiciscreated,producedandcommunicated,
includingthroughtheinter-relateddimensions:pitch,duration,dynamics,tempo,timbre,texture,structureandappropriatemusicalnotationsthroughastudyoftheworkscontainedinthisunit.
RoyalOperaHouseKS3DramaticSingingResource
4
LEARNINGOUTCOMES-studentsPerforming:
TodevelopsingingskillsandsingingconfidenceasamemberoftheclasschorusPerformtheSailor’sChoruswithanunderstandingofcontextandhowtoconveydramathroughsinging
Performanceofbodypercussionandostinatopatternsfromthiswork Learningadditionaltraditionalworksongs Performingtheclass’ownarrangementoftheSailor’sChorusandworksongsArrangingandcomposing:
CreatinganarrangementoftheSailor’sChorususingthematerialprovided,andcriticallyevaluatingtheirmusicalchoicestorefinetheircomposition
Writinganarrangementofatraditionalworksongoranoriginalworksong.Listening:
ToaprofessionalrecordingoftheSailorsChorusandansweringquestionsaboutthemusicComparingdifferingperformancesoftheSailor’schorustodevelopcriticallisteningskills
WARMUPAswithanyactivity,itisimportanttowarmupthevoicemusclebeforesinging.Learnthesetonguetwisterexercisesadjustingthestartingpitchtothevoicerangesinyourclass:Startwithatonguetwister:SisterSusiewenttoseaToseethesea,yousee.Theseashesawwasasaucysea,Asortofsaucyseasawshe.Aboxofbiscuits,Aboxofmixedbiscuits,Andabiscuitmixer.MyBonnieLiesovertheOcean
Mybonnieliesovertheocean,mybonnieliesoverthesea.Mybonnieliesovertheocean,obringbackmybonnietome!
• Startthegamesittingonchairswit• Singthesongslowlyensuringthestudentsknowthewords• EverytimeawordstartingwithBissungstudentssitorstand
RoyalOperaHouseKS3DramaticSingingResource
5
Thenmoveontopitchedactivitiesthatstarttogetthestudentssingingtogether
a) Ascendingthescalesingingoneachpitchthefollowingwordsquicklyandclearly(i.e.gettingthemouthsarticulatingandnotmumbling)
b) Usingthediaphragmtopumpoutthefirstthreewordsandthenholdingthe“m”ofrumtryingtomakelipsbuzz.
Astheygetthehangofthisstudentsshouldonthemofrumdoaglissandoupandoutanoctaveandbacktothestartingpitch.
c) Movingchromaticallyupordownthescale
DRUNKENDUTCHMANICEBREAKER
RoyalOperaHouseKS3DramaticSingingResource
6
Teachthethree-partwarmupbelowPart1isthetraditionalfolksongWhatshallwedowiththedrunkensailor?Part2isthefirstsectionoftheSailor’sChorusPart3isbasedupontheopeningofsectionCoftheSailor’sChorusLearneachofthesepartsandthendividetheclassintothreegroupsandassignoneparttoeachgroup.
Oncethestudentsareperformingthisasaround,addasimple4beatbodypercussionaccompanimentsuchas:
q ry Q q stampchestclap
RoyalOperaHouseKS3DramaticSingingResource
7
PERFORMINGLearneachofthesectionsoftheSailor’sChorus,eitherbyroteorpractisingsightsinging.Notethatapianoreductionoftheorchestralaccompanimenthasbeenmadeforteacherusehowever,thereisalsoaseriesofbackingtrackrecordingsaccompanyingthisresourcewhichfreestheteacheruptodirectthelessonifpreferred.CONTEXT:TheSailorshavebeenatseaforalongtimeandarenowabouttoleavetheirworkandgoenjoysomeleave(freetime)onland.Theyarereallylookingforwardtotimeofftheboatawayfromtheirwork.Thinkaboutthisasyousingthesong.
SectionA
SectionB
SectionC
RoyalOperaHouseKS3DramaticSingingResource
8
SectionDNBYoumightwanttostartlearningthissectionatbar40
Eachsectionisplayedataslowerlearningspeedontheaccompanimentrecordings,asamelodyaloneandatperformancetemposothereareavarietyofaccompanimentstochoosefromifyoudonothaveapianistavailable.BelowaresomepatternsextractedfromtheSailor’sChorus,withtheadditionofrhythmsfromourDrunkenSailorwarmup:
RoyalOperaHouseKS3DramaticSingingResource
9
Transferthelayerstopercussioninstrumentstocreateanaccompanimenttothesong.Experimentwithlayeringupgraduallyandmixingandmatchinglayers.Youcouldeventryhavingthesailorsperformthemincanon,antiphonallyorinindividualworkinggroups.NotethatthismaterialcouldbeusedasanintroductiontotheSailor’sChorus,oraninterludeinthemiddleofyourarrangement.
DevelopingaperformanceOncethestudentsaresingingconfidently,itistimetostartexperimentingwithastructure.
• SectionAandSectionBcanmakeagoodintroduction–pianoonly• Youcouldaddrhythmicpatternsabovethiswhichcouldbespoken,orplayedon
percussioninstruments(pitchedorunpitched)• SectionAisnotrepeatedintheoriginalbutworkswellifrepeated.
Ontherepeat,additionalvocalpartscouldbeadded• ‘DrunkenSailor’workswellwhensungabovesectionAandSectionB,withsome
smallmodification(asinthescore).ItshouldbesunginDminor• SectionCismoreharmonicallyinteresting–andtherhythmicpatternswould
workbesthereduetothechangingharmonies• SectionAcouldbesungagainattheendtogoodeffectasacoda
Asaclassexperimentwithdifferentcombinationsofthesongandcreateaperformancestructure.ADDINGSOMEDRAMAInordertogetintothecharacters,eachsingerneedstoconsiderthecontextandwhattheircharactermightbedoingatthispointinthesong.Considerthefollowing.
• Howcanyoushowanaudiencethatyouaresailorsinyouractions,posture,interactionanduseofprops?
• Thesailorsarehavingarecessfromtheirdutiesastheboathaspulledintoshore.Howwouldtheybefeeling?Howwouldtheyshowthisintheiractions?
• Whatsortofactionsmightworkingsailorsbedoing?• Asitisasongwithastrongrhythm,itsuggestsstrongrhythmicactionsmightbe
suitable.Tryarangeofactionsthatcanbedonewhilesingingandperhapsmorevigorousmovementswhichcanbedonewhiletheinstrumentalinterludesplay.
• Howmightthegroupsofsailorsbeplacedaroundaship?• Howcanthisbeappliedtotheplacementofthesingersonastage?
RoyalOperaHouseKS3DramaticSingingResource
10
WORDSHEETTheSailorsChorusfromTheFlyingDutchmanbyWagnerSectionASailormanleaveyourwatch;Sailormanjoinourthrong!Ho,He,Je,Ha!Tietheanchorropetightlyandhurryalong!(count4beatsrest)SectionBFearlessofthewavesourheartycrewMerrilythehourstonightwillpassEverybodylovesagirlortwo,Baccyforhispipeandbrandyforhisglass!SectionCHussassahe!Letthewindblow,Areweafraid?Nomylads,no!HussassaHe!Hurricaneslashingus,thundercloudsflashing,yoho!SectionDSailormanleaveyourwatch;sailormanjoinourthrong!Ho,He,Je,HaSailormancomedrinkwithusWillthewindblow?No,mylads,no!Yohoho,hohoho,yohoho,hohohoHo!Ho!Ho!Ho!Comedownanddrinkwithus!
SONGSTRUCTURENotethattheaccompanimentrecordingsofthefullsongareintheformat:AB(astheIntroduction)AABCD
RoyalOperaHouseKS3DramaticSingingResource
11
AccompanimentversionsSectionA
SectionB
RoyalOperaHouseKS3DramaticSingingResource
12
SectionC
RoyalOperaHouseKS3DramaticSingingResource
13
SectionD
RoyalOperaHouseKS3DramaticSingingResource
14
LISTENINGNowlistentoanoperachorusofprofessionaldramaticsingersperformthiswork:Audiovideorecordinghttps://www.youtube.com/watch?v=wE1NyYT31TwBelowisalinktotheRoyalOperaHouse’sPerformanceoftheSailor’sChorushttps://www.youtube.com/watch?v=oxEbQgfx8a4&feature=youtu.beLISTENINGQUESTIONS
• Asthispieceisnotastand-alonesong,butachorusfromwithinalargerpieceofcontinuousmusic,thecomposerneedstocreateaconvincingmusicallinkfromthepiecebeforeintotheSailor’sChorus.Thereareactuallytwominutesofsingingbeforethechorusstartthissong.Nowyouknowthesong,considerhowthecomposerhascreatedhisintroduction.Whatideasfromthesonghavebeenusedandhowhavetheybeenusedinthisintroduction?
• Whenthechorusstartssingingdescribethetimbre(qualityorcolour)ofthemusicalsounds(orchestraandvoices).
• Whatarethewordsaboutanddoesthemusicreflecttheirmeaning?How?• Lookatthemelodyanddescribehowitisconstructedidentifyinganddescribing
compositiondeviceslikephrase,contour,key,useofmotifandcadence.• AsyoulistentothepieceidentifythestructureoftheoperachorususedbyWagner,
usingthesectionsABCD.• Whatmusicaldifferencescanyoufindbetweenthedifferentsections?• Doyounoticethatdifferentsectionsrequirethechorustousetheirvoicesslightly
differently?Whatchangescanyouhear?• Howdoestheorchestrasupportandworkwiththevoices?
Recordaperformanceofyourarrangementandthencomparethetwoversions
• Howdotheversionsdiffer?• Whatarethestrengthsandlesssuccessfulaspectsofeachperformance?• Whatcanyoudotoimproveyourversion?
SCOREREADINGIfyoufeelitisappropriate,studentscanfollowthescoreexcerptfromtheoperaastheyanswertheabovequestions(includedintheresourceasaPDF)togivegreatermusicaldepthtotheiranswersbymakingspecificreferencetotonality,pitch,harmonyandidentifyingsupportingmusicalexamplesfromthescore.
RoyalOperaHouseKS3DramaticSingingResource
15
CONSIDERTHEWIDERCONTEXTWORKSONGSThereisalongtraditionofpeopleusingsingingasatechniqueforunifyingphysicalmovementwhileworking.Investigatethefollowing:
1. Whatisaworksong?
2. Whydoworkerssingworksongs?Aretheyparticularlyusefulforspecifictypesofjobs?
3. Whydoyouthinksailorssangsomanyseashanties?Readthisinterestingarticleon19thcenturylifeofasailor:http://www.artofmanliness.com/2008/09/23/the-10-manliest-sea-shanties/
4. Whatarethemusicalcharacteristicsofagoodworksong?(considerrhythm,beat,tempo,tuneandstructureinyouranswer)
5. Whatworksongsdoyoualreadyknow?Trycomposingaworksongforcleaningthewhiteboardorsomeotherclassroom“work”
BACKGROUNDMATERIALShantiesmaybedividedintoseveralroughcategories:• Long-dragshanties:Sungwhenajobofhaulingonaropewasexpectedtolastalong
time.Usuallyonepullperverse,togivethemenachancetorest.Examples:"BlowtheManDown.AfamousRussianequivalentistheVolgaBoatman’sSong,whichwassungbylandpartiespullingbargesalongtheriver."
• Short-drag(or"handoverhand")shanties:Sungwhenajobofhaulingonaropewas
expectedtobequick.Twoormorepullsperverse.Examples:"HaulAway,Joe,""DrunkenSailor."
• Capstan(alsocalled"stampandgo")shanties:Raisingtheanchoronashipinvolved
windingtheropealongagiantwinch,turnedbysailorswalkingaroundit.Capstanshantiesareanchor-raisingshanties.Theyaretypicallymorelyrical,orlessrhythmicthanothertypesofshantiesbecausetherewasnopullingrequiredand,unlikemanyothertypesofshanties,frequentlyhaveafullchorusinadditiontothecall-and-responseverses.Examples:"RioGrande,""JohnBrown'sBody”.
• PumpingShanties:Allwoodenshipsleak.Therewasaplaceinthecargoareainships
wheretheleaked-inwaterknownasbilge,wouldcollect.Bilgewaterhadtobe
RoyalOperaHouseKS3DramaticSingingResource
16
pumpedoutfrequently;onperiodshipsthiswasdonewithatwo-manpump.Manypumpingshantieswerealsousedascapstanshanties,andviceversa,particularlyaftertheadoptionoftheDowntonpumpwhichusedacapstanratherthanpumphandlesmovedupanddown.Examplesinclude:"StrikeTheBell,""ShallowBrown,""Lowlands."
CreativeChallenge1.LearntheworksongHaulAwayJoe(onthenextpage)andexperimentwithdifferentindividualsandgroupsperformingtheleaderandresponserolls.2.Createyourown,smallgrouporclassarrangementofthisoranotherworksongofyourchoice.TrytovarythearrangementwithadditionalaccompanimentideasinasimilarwaytotheSailor’sChorusandnotateyourideassothatotherscanreplicateyourversionofHaulAwayJoeandyoucanrememberyourpieceforperformance.3.Oncethistaskiscompleteandyouarehappywiththeresults,performandrecordthepieceasagroupofsailors.Compareeachperformanceanddiscussthe“dramaticsinging”ofeachgroup.EXTENSIONTheSpinningChorusisachorusoriginallywrittenforfemalevoices,whoareonstageworkingintheirwayspinningyarnanddreamingabouttheirmenawayatsea.Lookattheattachedarrangementofthescoreandcompletethefollowingtasks.
1. Listenfollowingthelink2. Learntosingthesong3. Studythescoreanddeviseasetofquestionsthatexaminetherelationshipbetween
themusicandthewordstoaskyourfellowclassmates
RoyalOperaHouseKS3DramaticSingingResource
17
HAULAWAYJOE
Thissongisinacallandresponsestyle.Asoloistorgroupofsoloistsandtherestoftheensemblerespondwiththepartsinbold.NowwhenIwasalittleboyan’somymothertoldme,‘Wayhaulaway,we’llhaulaway,Joe!ThatifIdidnotkissthegalsmelipswouldallgrowmouldy.‘Wayhaulaway,we’llhaulawayJoe!‘Wayhaulaway,thegoodshipnowisrollingJimmy!‘Wayhaulaway,we’llhaulawayJoe!LouiswasthekingofFrancebeforetherevolution‘Wayhaulaway,we’llhaulawayJoe!Andwhenhegothisheadcutoff,itspoilthisconstitution‘Wayhaulaway,we’llhaulawayJoe!SongGameSitinatightcirclewithkneestouchingIna4beatostinatodo:
a) Touchlightlythekneesofthepersontoyourleftb) touchyourkneesc) touchlightlythekneesofthepersononyourleftd) clapandshout“Hey!”
Considerchallenginggroupstomakeuptheirownlyricsforanotherverse.
RoyalOperaHouseKS3DramaticSingingResource
18
TheFlyingDutchman6lessonschemeofworkLessonOne:TheDramaticVoice&SeaShanties
Aims• toexplorevariousvocalcoloursand‘playing’withthevoice• toestablishgoodvocaltechniqueandknowledge • tobeginexploringseashantiesandworksongs
5mins FirstTouch Watchashortvideoaboutseashantiesandworksongs
15mins Starter PhysicalWarm-upRhythmCallandresponseexerciseusingbodypercussionIntroducethevoicetechnique-feelingthelarynx‘SisterSuziewenttosea’exerciseCallandresponseindifferentcharacterssingingontheonenote
15mins MainActivity TeachDrunkenDutchman• StartwithWhatshallwedowithadrunkensailor?’• Addtheother2lines• Layerallthemelodiesoverthetopofoneanother
15mins Groupwork LookatthebodypercussionaccompanimenttoDrunkenDutchmanSplittheclassintogroupsandtasktocomposeandrehearseasimplebodypercussionpiecetofitwiththesongs.Addsome(orall)bodypersuasiontotheDrunkenDutchman
10mins Finisher FullclassperformanceMyBonneyliesovertheocean’game
LessonTwo:IntroducingtheSailorsChorus
Aims:• todevelopvocaltechnique-exploringdifferentvocalregisters• tobegintoexplorethemusicoftheSailorsChorus
5mins FirstTouch ListentoarecordingofDrunkenSailororsimilarseashanty
15mins Starter PhysicalWarm-upYohohoexerciseAhoymeheartiesRecapDrunkenDutchman
15mins MainActivity BeginSailorschorusStartwithSectionA,thensectionC(learnSectionBiftime)
15mins Groupwork Splittheclassinthreeandtaskthemwithcomingupwithactionsofsuitable‘worksong’movementstodoalongsideeachtune.Gettheclasstoperformtooneanotherandteacheachotherthemovements
RoyalOperaHouseKS3DramaticSingingResource
19
LessonThree:It’sfromanopera!
Aims• Todevelopourknowledgeofdramaticsinging• TocontinuetolearntheSailorsChorus• TobegintoexplorethecontextofWagner’sopera
5mins FirstTouch WatchtheROHperformanceoftheSailorschorus
15mins Discussion Listeningquestionsfrombooklet
10mins Warmup PhysicalWarmupRevisitSisterSuzieactivitylookingatdifferentcharactersfromthesceneYohoholaughingwarmup(fromsectionD)
15mins MainActivity ReviseSectionsACIntroduceB(ifnotalready)withactionsfromlastlessonTeachsectionDstartingfromb41
10mins Finisher SingthroughthewholesongMyBonneyliesovertheocean’game
LessonFour:Creativechallenges
Aims• tolookatthestructureofSailorsChorus• tocomposeingroupsrhythmicostinati
5mins FirstTouch Watchashortvideoaboutseashantiesandworksongs
15mins Starter PhysicalWarm-upRhythmCallandresponseexerciseusingbodypercussionIntroducethevoicetechnique-feelingthelarynx‘SisterSuziewenttosea’exercise• Callandresponseisdifferentcharacters• Begintointroducesingingonasinglenote
15mins MainActivity SingthroughtheSailorsChorus-concentrateondictionanddramaticintentPickoutrhythmsfromthemusicandturnintobodypercussionLayerthreeoffourrhythmsonethetopofoneanotherasawholeclass
15mins Groupwork Createyourownostinatofromrhythmsinthetextinsmallgroups.TryandnotaterhythmsandtransferthemintobodypercussionSharebackanygroupsthatcompletethetaskgrouptogroup.
10mins Finisher Putthedifferentrhythmstogetherasawholeclass
RoyalOperaHouseKS3DramaticSingingResource
20
LessonFive:TheFlyingDutchman-addingdrama
Aims• todelvefurtherintotheFlyingDutchmanstory• tolookatstructuringthefinalperformance• tobegintoexplorestagingandcontextoftheSailorsChorus
5mins FirstTouch WatchBrynTerfelvideo
15mins Starter PhysicalWarm-upRhythmCallandresponseexerciseusingpatternsfromtheSailorsChorusAddDrunkenSailoroverthetopofBodyPercussion
10mins MainActivity SingthroughSailor’sChoruswithaccompanimentinfullstructure
20mins Groupwork ContinueandfinishgroupactivityfromlastlessonORWorktogetherasaclasstostructureafullperformanceofthepiece
10mins WholeClasswork Putbodypercussiontogetherasawholeclass(potentiallyaddchanting)tocreateaworkscene
LessonSix:Puttingitalltogether
Aims• tocreateafullperformanceofourwork• toexplorestagingandcharacterisationofthescene• toevaluateourlearning
15mins Starter PhysicalWarm-up“MyBonnieliesovertheocean”RecapvocalwarmupsandpreparethesongGooveranyparticularissues
30mins MainActivity Workthrough‘addingsomedrama’sectionThinkaboutstructureRehearseandrefinethesceneRecorditsotheclasscanlookattheirperformanceanddosomepeerevaluation
15mins Finisher EvaluateourperformanceandlearningfromtheprojectFinishwithanyfavouritesinginggames
RoyalOperaHouseKS3DramaticSingingResource
21
SuggestedSchemeofWork–Advancedgroup Presentedas6onehourlessonsLesson1 Lesson2 Lesson3 Lesson4 Lesson5 Lesson6Intrototheunit*Dutchmanstory-gettingintocharacterJoinachorusofsailors
Considerwhataworksongisanditspurpose.Howdoesthisdiffertoopera(dramatic)singing?
FocusuponarrangingaclassversionofSailor’sChorusforperformance
ApplytheideasontheSailor’sChorustoanotherarrangement
Whatisdramaticsinging? Performing
WarmUpLearntheDrunkenDutchman
WarmUpTonguetwisterSailingonashipYohoHo
WarmUpLearnAhoymehearties
BodypercussionexerciserevisionVocalwarmup
Warmups:SailingonashipYoHoHoDramawarmup
Warmupallowthestudentstochoosetheirfavourites
SectionAtheme*learnthe8bartune*Performwithpiano*notatewordrhythms*Howmightyoumanipulateyourvoicetosoundlikeasailor?
Revisethesongfromyesterday*performwithoutreadingwords
LearnthebodypercussionactivityRemindstudentsaboutthepurposeofworksongsandcreatemovementtoaccompanytheostinatopatterns
DiscussthestructureusedinyourarrangementsofSailor’sChorus
ReviseandrefineyourarrangementoftheSailor’sChorus.Considerthedramaticdeliveryofyoursongandhowyouwill“stage”yourperformance
Rehearseyourarrangements,consideringthepurposeofthesong,itscontextanddramaticsingingstyle
RepeatprocesstolearnpartsB,CandD*replacerhythmnotationwithpitchshapeofcomparingthedifferentmusicalsections*putthewholepiecetogetherandperformwithpianoaccompaniment
DiscusstheroleofsinginginthelifeofasailorLearnseashantyHaulAwayJoeConsiderhowsailorswouldhaveuseditasatoolforworkingandimitatesomesailorworkasyousing.
IngroupsorasaclasscreateanarrangementofSailor’sChorus,decidingwhatstructureyouwilluse.*EncouragegroupstoexperimentwithoptionsUseavailabletechnologytorecordyourideas
ApplythistoanarrangementofHaulAwayJoeoranotherworksong.Whatnewmaterialmightyourgroupaddtothiswork?Useavailabletechnologytorecordyourideas
WatchtheROHversionoftheperformanceandanswerthequestions.FindotherversionsoftheSailor’sChorusonlineandcomparethedramaticinterpretationandthemusicalfeaturesoftheperformances.
PerformandfilmbothyourarrangementofSailor’sChorusandofyourchosenfolksong.Filmit,butalsodeliveryourperformancetoaliveaudienceandseehowyourstandardsrise.
RecordyoursingingofthosesectionsListeningtoROHversion.Whatdifferencesdoyouhear?Whatideasmightyouapplytoyourclassperformance?
Listentotherecordingofachorussingingandcompletethequestionsprovided.
Performthefinalproduct,allowingtimeforreflectionaboutitsstrengthsandweakness.
Presentyourarrangementstotherestoftheclass.
Discusshowyoumightenhancetheclassperformance.
Compareyourfinalperformancewiththeonemadeinlesson1.Evaluatehowwellyourclasshascreatedandperformedyoursceneandthewaysinwhichtheirsinginghasdeveloped.
Top Related