Ostinati,Descants,andotherMusicalMarvels

NewJerseyMusicEducationAssociation

Friday,February23,201810:15–11:30

RogerSamsDirectorofPublicationsand

MusicEducationConsultantatMusicIsElementary5228MayfieldRd.

Cleveland,OH44122(800)888-7502

Roger@MusicIsElementary.com

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.