The guided composition activity towards the end of the lesson allows students to spread their wings a bit. They could use the ice cream flavors I created or choose their own. Most of my students choose the latter. I call these activities guided because I give them a basic structure, but they also have opportunities to make decisions and be creative. I also give my students opportunities to decide on their final form. We have utilized many elements in this lesson, but ultimately they decide how to put it together.

This lesson will work even if you don’t have enough barred instruments for every student. You can have one instrument for every two students, and the lesson works just as well. Some of you are reading this saying, I don’t even have that many. Again, this lesson will still work. Hand drums, wood blocks, rhythm sticks, or any un-pitched percussion instruments will work as our primary focus is on rhythm. The pitched percussion instruments just add a different flavor.

I hope you enjoy creating with your students this spring and take some time for a frosty treat this summer.

– Angela

Ice Cream Please

Concepts:

• Hand Drum Technique  
• Canon  
• Rondo Form  
• Rhythmic Building Bricks  
• *Composition

Click here to make a copy of the Teaching Slide Deck

[Based off of Rhythmic Canon, Music for Children, Vol I. pg. 74 #7 by Margaret Murray ] 

• What is your favorite flavor of Ice Cream? 
• Present visual of the three rhythmic units 
• Teacher speaks the pattern 
• What order did I say these in?  1 -2 -3 – 3 – 1 
• Teacher speak the pattern, perform body percussion (clap) 
• Underline word Please & Me – let’s make those a different level of Body Percussion (pat or stomp)
• Teacher speak the pattern, perform body percussion (clap & pat) one phrase at a time- Students echo
• Repeat as needed until S are comfortable with the rhythm 
• Challenge students to do it without your help. Tell them you are going to try and trick them. Teacher performs part 2 of the canon.  Can students hold their own? 
• Divide the class in half. 
• Perform the pattern without speech only Body Percussion – Try in a 2-beat canon and 4-beat canon 
• How is it different? Which do the students like the best? 
• What would happen if you tried a 1 beat canon? (This is a challenge but fun to try.  Some groups can do it- others can not) 

• T discusses hand drum technique: 
  • Play drum with dominant hand  
  • Two main sounds – ‘down’ with thumb and ‘up’ with middle & ring fingers  
  • Be sure to ‘bounce’ off the drum  

• T tells S to use the ‘down’ stroke for the pats and the ‘up’ stroke for the claps -T Models
• S play rhythm on drum  
• When S are comfortable on drum – play rhythm in 2-beat canon  

ON ANOTHER DAY! 

• Introduce the ice cream map with rhythmic building bricks- insert the building bricks into the ice cream map
  • Example:  I want some Ice, Tin Roof Sundae, Ice; I want some Rocky Road 
    Yes indeed! 
• Rotate several students to come up and choose their flavors to place in the chart. 
• Have students clap and say the new pattern. 
• Have students transfer rhythms to hand drums or other un-pitched percussion instrument.

• Option:  Have all students go to Orff Barred instruments and set in a Pentatonic (example C pentatonic they would take off their B’s & F’s)
  • At the instruments, can students play the rhythm that was created on the Ice Cream Map on only the note C? Can they expand to the notes C,D,E? Can they expand to the whole pentaton? (C, D, E, G, A)
  • Encourage students to play rhythm on any notes they wish; but end the last word (deed) on a C (your home tone). 

• You could just work on this as a class or you might choose to work in small groups to create your own building brick ice cream. 
• Talk about Rondo Form (The A keeps coming back) Day one is the A section – the whole class or small group creations are the contrasting sections. 
• Create Ronod Form – Perform as a class.   

• Another Option: Have small groups create a guided composition. See the project sheet below. Guided Composition will take more time, but students enjoy the freedom to choose and create. 

Building Bricks in Duple Meter (these are the basics, to begin with) You could create your own or have your students create their own based on these rhythms.

*Chocolate can be said in different ways depending on your region. Feel free to replace*

Example of Project Sheet I use with students

Click here to download a pdf of Angela’s lesson plan.

The post Lesson: Ice Cream Please first appeared on Teaching With Orff.

Using Earth Song by Frank Ticheli, students are given elemental composition tools to craft unique movement accompaniments to a poignant and timely vocal piece with themes of peace and hope – just in time for Earth Day 2024!

Earth Song is a gorgeous vocal composition with origins in the work Sanctuary for wind ensemble. Diatonically living in F major and a strong form in 4/4 time, the lush and swelling 4-beat phrases elude traditional cadential harmony, and settle into an E phrygian resolution by the end. The atonality and undetermined harmonic destination create an incredible springboard for creative, unique movement compositions by students. The compositional process is prompted and guided by thinking maps designed to elicit biome characteristics from around the globe, pull out movement vocabulary for decision making, and utilizes visual organizers to aid in compositional brainstorming and refinement along the way.

Thinking maps and graphic organizers are a favorite way of mine to begin movement activities, because it naturally filters and focuses language prompts that evolve into the impetus of movement decisions.

From here, the class as a whole will split into small groups, each assigned to their own biome. They will transfer their biome and the movement words pulled out of the brainstorming session into a targeted organizer for their unique movement piece.

At this point, I expose them to the music we will be working with, Earth Song. I love to use the recording made by Virtual Choir HQ, featuring 167 singers hailing from 21 different professional choirs around the world.

I find it powerful to post the lyrics as we listen:

Sing, Be, Live, See.
This dark stormy hour,
The wind, it stirs.
The scorched earth
Cries out in vain:
O war and power,
You blind and blur,
The torn heart
Cries out in pain.
But music and singing
Have been my refuge,
And music and singing
Shall be my light.
A light of song
Shining Strong: Alleluia!
Through darkness, pain, and strife, I’ll
Sing, Be, Live, See…
Peace.

In a quick additional brainstorm, I ask them to describe the feelings, emotions, and impressions they get from listening to this piece. This will be crucial to leading them into creating movement pieces that “fit” with the recording of Earth Song that we will be using. For instance, if the Jungle group are planning on thrashing around like toucans and monkeys, this would help them adapt to interpretations that fit better with the mood of Earth Song.

Then, I post a collection of Movement Vocabulary words (using categories derived from Creative Dance by Anne Greene Gilbert) for them to use as they return to their groups’ Movement Plan.

With these guides and prompting vocabulary at their disposal, they are tasked with using the remaining fields of their plan to map out exactly how each word from their biome characteristics can translate into a movement representation. Plenty of time is given to experiment, test ideas, and refine.

As students develop three different gestures for their biome words, give them the additional task of creating transition movements to get from the end of one part and to the beginning of the next part.

• How would you travel to “reset” for the next part?
• How would you move to “stay in character” during the transition?
• How would you communicate without words to your group to move through each section and transition?

Now it is time to coach each composition to fit into the phrase lengths of Earth Song.

Start playing slow 4-beat phrases on a drum and ask the students to stretch and sustain each of the three sections of their movement piece across 4 beats, and then use the following 4 beats to transition or travel, and then begin the next section of their movement pieces over the next 4 beats, etc. The form will evolve into:

Plenty of time should be given for refinement and edit during the phase of the process.

“Finally, on a daily level, risk a slower pace in your own work with children, a pace that allows time to consider creative questions and their answers. Personal reflection and construction of knowledge takes more time than simply dictating knowledge.” – Peter Webster, “Thinking in Music Education, Encouraging the Inner Voice.”

Time must be allotted to allow students to feel, analyze, and constructively work through places that “feel weird” or “don’t fit” and to work toward the group consensus, and ultimately feel really good and confident executing their final version.

Now it is time to add Earth Song in. I like to let them just listen one more time, breathing with the 4 beat phrases, and following along on their group’s plan and with the roadmap. On a second pass through, we will practice grafting the movement onto the recording, and spend more time sharing out to the other groups.

As a final group version, I like to put the groups into canon, having one group begin, and introducing the following groups one at a time in offset intervals. The layers of movement and characteristic expression, unified by the breath of the 4 beat phrases is so dynamic and fascinating.

This activity can be incorporated into a larger collection of activities for a variety of performances. From humble building blocks of vocabulary, the results are a multidimensional expression of creativity, layered with a gorgeous choral piece singing for peace.

Project Details

Beginning with accessible and cross-disciplinary guides and organizers, this activity follows the concrete definable language associated with Earth’s biomes, and unlocks creative expressive movement in small group settings. The compositional process is guided but unbound, and the inspiration is rooted in emotional and deeply moving choral music.

4th graders will brainstorm, prioritize, and compose movement poetry and performance pieces, and be able to articulate their creative process. 

• Fourth Grade, Standard 1. Expression of Music: Demonstrate practice and refinement processes to develop independent musicianship
• Fourth Grade, Standard 2. Creation of Music: Compose, improvise, and arrange sounds and musical ideas to communicate purposeful intent.
• Fourth Grade, Standard 3. Theory of Music: Identify and demonstrate complex form, meter, and timbre elements – Form: Aurally identify a variety of forms including recurring themes, interludes, canons and theme/variations.
• Fourth Grade, Standard 4. Aesthetic Valuation of Music: Evaluate and respond to music using criteria to make informed musical decisions.

• Use as a part in a greater showcase with Earth/environment/science/SEL/collaborative/peace themes

• As a gateway into larger movement or creative composition activities
• As an accompaniment to a story or piece of literature

Think of this activity as a beginning, with endless process variables and directions you could take. Some of the variations could include but are by no means limited to:

Poetry

Thinking maps and graphic organizers are a readily accessible entry point and guide through this activity, but beginning with poetry is just as effective. Consider collecting haikus, cinquain, or tetractys poems that are short, focused, and unfold musically, and have the students identify movement words in their poems and take up the process from that point of inspiration. Or, have students compose their own earth-themed poetry and pull out the movement prompts from their own creations.

Music

Do you have an arrangement that would accompany this activity? Grafting creative movement onto student arrangements and compositions can be done following the outlined process, by breaking down the components of a movement piece and its transitions, and fitting them into the phrase lengths of any piece of music.

Visual Additions

Working with Light

• Putting the movers behind a shadow screen unleashes incredible visual dynamics to an activity like this, and would no doubt spark a rabbit hole of compositional ideas in your students.
• Projecting light down onto the performers, perhaps a different hue for each represented biome would add to the distinctness and qualities of each group’s impetus for compositionAdding Movement Props
  • Adding scarves, ribbons, stretchy bands, or lights like this (a special thanks to Dave Thaxton for the discovery of these bad boys) would be an engaging layer to add to each movement piece
  • placing groups on tiered levels in a performance would add fascinating depth to the visual presentation
  • Adding a projection of scenes of nature or even the Earth Song performance would elicit the theme and add an interesting accompaniment

Assessment

Evaluating the efficacy of this type of activity can be tricky, subjective, and unclear. In activities that are creative and compositional in nature, with unclear and open-ended outcomes, I like to utilize an area of evaluation that is incredibly valuable: assessment as learning, ie: assessment done by the student, as the activity is evolving. An idea introduced to me by the incredible Victoria Redfern-Cave at AOSA National Conference 2017, this is clearly and easily achieved by leading the students through self-created rubrics that define and track what success looks like in a compositional activity. This naturally helps eliminate moments where students are asking questions such as, “Is this what you want?” or “I don’t get it.”

Student-Created Rubrics as a a guide through an abstract activity, and checklist for success:

• Create categories that can be assessed by someone watching a performance of this activity. These should be categories where the students have received actual instruction, such as how each section of the movement is developed and composed, what transitions look like and how are they considered successful, and how we work with the members of our groups.
• Create levels of possibility and valuation that are age appropriate. I find this often boils down to “Did you do this thing? Check yes or no”
• Fill-in the blanks with descriptive language. 

An example of a rubric made in a whole-class discussion, identifying what effective participation looks like and defining success could look like this:

The post Earth Song first appeared on Teaching With Orff.

While Gillespie’s poignant statement refers to the enactment of the Orff approach in our classrooms, the possibilities are also nearly endless in our Post-Level III study of the Schulwerk. Gillespie continues in emphasizing that the secret to a fruitful life in the Schulwerk begins with seeking experiences and moments of discovery and that “the lifelong work of Orff Schulwerk must be built on the roots of wonder”  (Gillespie, 1987). As experienced Orff Schulwerk educators, many of us seek additional coursework to benefit our students’ musical experiences and feed our own need for professional, musical, and personal growth. Our “roots of wonder” truly begin to germinate, sprout, and blossom with our involvement in Post-Level III coursework. 

Curriculum Development

There is a misconception that there is little understanding of the educational capacity of the Orff Schulwerk materials, with the utilization of the Orff approach having a misguided reputation as disjointed, scattered, and lacking in curricular direction. Though we as Orff Schulwerk practitioners have gained an understanding of how to utilize both Orff and Keetman’s primary sources and other materials through the Orff approach, there is enormous potential within a Curriculum Development course to focus one’s teaching as we meet students in each grade level. 

Courses in Curriculum Development have been available for Orff Schulwerk practitioners for decades, with opportunities presenting them as early as the mid-1980s. One such course was led by Orff Schulwerk luminaries, Jane Frazee and Arvida Steen in 1984 at Hamline University (AOSA, 1984). Steen and Frazee’s initial groundbreaking course has led to the inclusion of similar courses in Curriculum Development at a number of other sites of Orff Schulwerk dispersal. Notably, Steen led courses herself and with her protegé, Jay Broeker, until her retirement in the summer of 2000 (AOSA, 2000; AOSA, 2001).

My personal experience includes courses in Curriculum Development at the University of Kentucky and the University of St. Thomas. Each of these courses were led by former students and mentees of the initial course facilitators, with my course at the University of Kentucky being led by Jay Broeker and the course at the University of St. Thomas course being led by Diana Hawley. Though varied in material, both courses took great inspiration from the initial leaders’ framework, using a curriculum grid familiar to users of Steen’s revolutionary book “Exploring Orff” as well as models from Frazee’s unprecedented text “Discovering Orff” and its supplements, including “Artful-Playful-Mindful in Action.”  

In addition to the analysis of one’s grade level activities for inclusion in the curriculum grid (which acted as a culminating project for participants), we had the opportunity to experience teaching models where the instructor led us through activities that would be appropriate for each grade level band. After participating in each activity, we would analyze why it might be appropriate in that particular grade level and discern whether it might share that appropriateness within our own teaching situation. Once we had experienced the instructor’s models, we created our own lessons for involvement in our newly revised curriculum, with a number of lab teaching experiences being some of the most valuable aspects of the course.

Though instructors in other courses might veer from Steen and Frazee’s initial model, the opportunity to analyze the skills needed to develop an effective music curriculum is invaluable. Please consider taking advantage of this opportunity for yourself and your own students. This summer (2024), there will be courses of this sort available at the University of St. Thomas (Diana Hawley) and Anderson University (Lisa Sullivan Odom). Please visit the AOSA Course Website Listings for more information or for additional courses, as they are added frequently.

Master Class

According to the Handbook for Orff Schulwerk Teacher Education Courses, Master Classes are only suited for those music and movement educators who have completed all three Orff Schulwerk Levels Courses. As stated on the AOSA website (2013), “Master Classes are intended to be a series of specialized, intense, and focused high level experiences.” Additionally, AOSA states that “Participants who do not have the background knowledge from the three levels of Teacher Education courses will not benefit from the advanced ideas that are being presented in a Master Class situation unless they have the appropriate foundational learning.” 

Each Master Class demands immense focus from the participants, but the information and materials will vary per instructor and be dependent on the course design. Courses might focus on intensive study of the Orff and Keetman primary materials, delve deeper into the historical foundations of the Schulwerk (Elemental Explorations with BethAnn Hepburn), create connections between the Schulwerk and diverse media or new music (Matt McCoy–Building on the Past, Looking Towards the Future), or find the connecting threads between Orff Schulwerk and the others arts and sciences (Integrating the Arts with Sofia Lopez-Ibor). Additionally, instructors might choose to share their greatest passions (or their students’ passions) through their course design. In another recent Master Class, Karen Medley shared her passion for catering to a child’s view of the world with a course entitled “Through Children’s Eyes.” Whatever the theme, content, or design of the Master Class, each participant will gain experiences that will weave together the various threads of the Schulwerk together in a new synthesis for themselves and their students. 

Supplemental Courses in Specialized Topics

In addition to Curriculum Development and Master Class, there are a variety of courses offered that might better support both your students’ and personal needs. You might hope to broaden your understanding of implementing the Orff approach with your youngest students– consider Janet Greene’s course in Orff Schulwerk and Early Childhood. Perhaps you have a passion for involving music unique to the United States in your approach to teaching– have you heard about Doug Goodkin’s Course in Jazz and Orff Schulwerk? 2024’s other opportunities include a course in Orff Schulwerk and Popular Music (Martina Vasil and David Dockan, University of Kentucky), Trauma-Informed Pedagogy through the Orff Schulwerk lens (Dr. Abbie Van Klompenberg, University of Kentucky),  Composing and Arranging in the Style of the Schulwerk (Elemental Composition at Anderson University), and a Post-Level III Retreat in Oregon (Portland Orff, with Kris Olsen, Matthew Stensrud, and Fauna Woolfe). These courses change from year to year, with courses still being added, so please visit the AOSA Course Listing for more details.

International Orff Schulwerk Experiences

Though these courses vary on a yearly basis, there are a multitude of opportunities beyond the United States. As the Schulwerk’s development is different in each of its countries of dispersal, exploring international coursework is also worth considering. 

The Orff-Institute in Salzburg offers a variety of courses for music and movement educators, with its yearly International Summer Course being one of its most approachable. In this course, seasoned practitioners of the approach offer classes that cater to an international clientele. I had the opportunity to visit the Orff-Institute in 2018. One of the most striking features of the course was the inclusion of students from six continents and dozens of countries. It was both incredibly exciting and humbling to be involved in a course with students with such diverse backgrounds and understandings of Orff Schulwerk. The classes at the Institute cover elemental pedagogy, movement, and learning through play– all hallmarks of the Schulwerk. Please visit the Orff-Institute’s website for details on how to register.

Outside of the Orff-Institute, there are a number of additional international courses that you might find inspiring.

• JaSeSoi Ry’s International Music Village: Often held in Finland (as it is a course associated with the Finnish Orff Association, JaSeSoi Ry), 2024’s course will be held in Croatia as the beginning of a rotating series of summer courses, with next year’s course being held in Catalonia. This rotation is being done in an effort to provide greater accessibility to the world’s Orff Schulwerk practitioners.
• Orff-Afrique: This course happens biennially in Dzodze, Ghana. Led by Dr. Kofi Gbolonyo and further facilitated by Doug Goodkin, Sofia Lopez-Ibor, and James Harding and other faculty local to Ghana, the course explores the connections between Orff Schulwerk, the traditional musics of Ghana, and the music of the West African diaspora. The course will be offered in the summer of 2025.
• There are often other courses offered around the globe, so please visit the International Orff-Schulwerk Forum Calendarfor more information.

Retaking a Level (Or More!)

If the thought of taking additional supplementary courses seems daunting, perhaps taking a familiar course will be appropriate to expand your understanding of Schulwerk. I have been fortunate to retake my Levels courses as part of my graduate program. With that opportunity, one has the chance to follow the instructor’s teaching process in a way that a first-time participant might not. Using their understanding of the Orff approach and unencumbered by first-time body percussion woes, bashful movement exploration, and speech piece tongue twisting, participants might gain even more understanding during their second “go through.” Please consider this valuable opportunity at any of the incredible courses listed on the AOSA Course Listing Website.

And if you are earlier in your Orff certification journey and want to learn more about what to expect in each course, please see our post on 2024 Summer Orff Levels.

The post Making It Work: Post-Level III first appeared on Teaching With Orff.

Why Take Orff Levels?

What to Expect When Taking an Orff Level

Making It Work: Level I by Elaine Larson

Making It Work: Level II by Betsy Kipperman Sebring

Making It Work: Level III by Rob Amchin

Links to Learn More and Find a Course Near You!

2024 AOSA Teacher Education Course List

Frequently Asked Questions about AOSA Teacher Education Levels Courses

Handbook for Orff Schulwerk Teacher Education Courses

The post 2024 Summer Orff Levels first appeared on Teaching With Orff.

Sergei Prokofiev’s Peter and the Wolf is one of the mainstays of music education. Since its composition in 1936, it has been used to teach the instruments of the orchestra to students around the world. My question is this: how can music educators transform a traditionally passive listening experience into an active elemental experience?  Let’s start with movement! 

To set the stage for Peter and the Wolf, I first let students explore each of the main themes with movement. (This website is a useful resource as a place to find each theme without having to correctly click on a YouTube video link.) As a class, we create a list of movement qualities for each character. I use student-generated vocabulary as well as ACEMM’s movement cards. This is a great opportunity to discuss timbre and how the expressive elements of each theme affect our movement words. Then we pass out character cards and listen to a performance of the folk tale with students creating movements for each character. (Note: we do have a class discussion about the hunters and what motions are appropriate for school. In my classroom, the hunters utilize nets instead of firearms for the purposes of our storytelling.)

In the next class, we discuss why Sergei Prokofiev chose each particular timbre for each character. To facilitate this discussion, I created “Peter and the “What if…?”   This is a website where students can choose different timbres for each character. After the students have reassigned the instruments, we explore how the different timbres affect our movements and interpretations of the characters.

Lastly, I have students create their own stories utilizing classroom percussion. With this worksheet, students create a short story about a character meeting two different characters and then returning home to their grown-up. Students can use classroom percussion to create a soundscape for each character or they can create a brief melody or rhythm – whatever your curricular goals are at the time. Finally, students can put on a performance of their piece of music for their peers, classroom teacher, or school community. 

The post Peter and the “What If?” first appeared on Teaching With Orff.

Grade Level: 5^th-8^th

Materials Needed

• One 8”, 10”, 12” or 14” hand drum per student
  or
• Use available hand drums to make four groups using like-sized drums.

Objectives

The learner will:

• Experience four-part canon
• Improvise over a four-beat phrase
• Perform creative movement

Formation

• Students begin in self-space.

Teaching Process

• Teach the text to the A Section by imitation.
• Teach the movement with text using body percussion.
• Say and play the A Section as a two-part canon and then a four-part canon.
• Arrange students into four groups according to drum size. 
  8” = Group One
  10” = Group Two
  12” = Group Three
  14” = Group Four 
• Teach the movement as follows:
  • Measure one:
    • Beat one, hit hand drum at waist level, facing front.
    • Beats two-four, move drum from waist level to overhead. 
  • Measure two:
    • With hand drum held high overhead, play rhythm and turn 180° to the right (backs to the audience).
  • Measure three:
    • Play rhythm and lower hand drum back down to normal playing position in front of waist.
  • Measure four:
    • Beat one, twist to the right.
    • Beat two, twist to the front.
    • Beat three, twist to the left.
    • Beat four, freeze in place. 
• Repeat measures one through four. In measure two, after the 180 ° turn, students will once again be facing full front.
• Teach the text of the B Section by imitation. 
• Inform students they will have four counts to improvise with hand drums. 
• Select a solo or small group to improvise on measures six and eight.
• Play A Section as a four-part round, starting each new part every four counts. 
• Play B Section in unison. Designate soloists or small groups to improvise in the B Section. 

Form

• Play entire song in unison. (Be sure to designate improvisational players.) 
• Play the A Section in four-part canon 
• Play the B Section in unison. 
• Play the A Section in four-part canon

Extension Possibility

• For an extra challenge, play song as a four-part round, starting each new part every two counts.

Click here to download a pdf of Chris’s lesson along with the Hit 2 3 4 score

Excerpt from to drum. Copyright © 2004 by Chris Judah-Lauder and Beatin’ Path Publications LLC. All rights reserved. Used with permission.

The post Lesson Plan: Hit 2 3 4 first appeared on Teaching With Orff.

Objectives:

The learner will…

• Match visual clues with corresponding rhythm cards
• Compose body and instrumental percussion for found rhythm clues
• Perform each found rhythm for each specific section in the story
• Reinforce rhythm reading

Materials: 

• Harry’s Horrible Hair, a book by Theresa Cocci 
• Website: www.theresacocci.org
• Storybook Flashcards
• Unpitched Percussion Instruments 
• Orff Instruments

Synopsis:

• Meet Harry, a downhearted little dog who is saddened by the stares and laughter of others who only see his horrible hair. When his friend Miss Maggie knits him a handsome sweater to hide his messy hair, Harry quickly gains confidence. But when disaster strikes and his patchy hair is once again revealed, Harry wonders if others will ever see him for what he’s like on the inside—not just the outside.

Activities:

• Prior to the class entering the classroom, the teachers hides the visual flashcards for “Harry’s Horrible Hair” around the classroom.
• At the beginning of the class, the teachers holds up each prepared rhythm card for “Harry’s Horrible Hair”.
• Before the story is read aloud, encourage the students to pay close attention to the pictures in the book.
• Teacher begins to read, “Harry’s Horrible Hair.”
• After reading aloud, the teacher explains to the class that there are seven pictures from the story hidden around the room.
• Divide students into groups. Give each group a rhythm card that will match the picture card from the story.  Scavenger hunt time!
• (Note:  If it’s too hectic to send all groups looking for their picture clues, send two groups at a time.
• When each group returns to their spot, bring their rhythm card and picture card to the teacher.
• Ask the group to take turns and say their rhythms aloud and ask if that rhythm matches their picture card.
• When each student in the group can say their rhythms, ask them to take turns and tap their rhythms.
• Each group then returns to work together and choose unpitched percussion instruments that can accompany their rhythm card. Set a time limit or I use a signal like a drum or clapping rhythm to end the group work.     
• Then groups take turns saying and performing their rhythms for the class.
• Remind students of their performance etiquette while others are performing. 
• Discuss with students what they liked about each performance.  
• As Teacher reads, “Harry’s Horrible Hair”, once again, each group will perform their rhythmic phrase that correlates with their illustration in the story as the teacher pauses before turning the page.
• Note: It may not be possible to add all the rhythmic phrases in one reading.  Depending on the class, I will pick two groups at a time to add their phrases while reading the book. 

Extension:

• For older students, I have hidden the rhythm cards around the room. Then students will look for a visual card that matches the rhythm.
• When I want to reinforce rhythm reading, I will line up the rhythm flashcards on the board ledge.  Then I will play a rhythm without saying the words and ask,
  “Who can find the rhythm?”
• Set up a C pentatonic scale on several Orff instruments or enough for each group. 
• Each group receives a rhythm flashcard and let the groups explore and create a melody for their phrase which can be used for book reading. Some students can write down the rhythm, while others in the group create a melody.  These are ideas that I have used, but please feel free to adapt  and tailor to your classroom.

Purchase a copy of Theresa’s book here

Download her scavenger hunt flashcards here

Download a pdf of Theresa’s lesson plan here

For more music lessons inspired by Harry and his horrible hair, click here

The post Harry’s Horrible Hair – Scavenger Hunt first appeared on Teaching With Orff.

OBJECTIVES

• Demonstrate melodic patterns that include same/different and 3-pitch melodies
• Demonstrate rhythmic patterns that include quarter note, paired eighth notes, and quarter rest
• Demonstrate a steady beat while contrasting rhythms are being performed
• Play and identify pitched percussion instruments

MATERIALS

• Melodic percussion instruments and mallets (xylophones, metallophones and glockenspiels)
• Visuals
• Colored Scarves for movement

PROCESS

Day One

• Teach the song through directed listening and echo.

• Invite students to listen as the teacher sings the song and ask what they noticed (the colors, rhymes, words/patterns that get more than one turn). How many times did the melodic phrase “Autumn leaves, autumn leaves” happen? (4x). Ask students to echo that phrase, use hand signs for solfeggio if desired. Notate this phrase (see visuals).

• Ask students to sing that part of the song while the teacher sings the rest. Trade parts. Then sing the whole song in unison.
  
• Once the complete melody is secure, introduce the xylophone accompaniment to the notated phrase. Demonstrate and practice the pattern initially using body percussion – patting legs; transfer to instruments. Set the instruments in Do pentatonic on C, removing the Fs and the Bs. For 1st grade consider a chord bordun on the beat, and for 2nd grade an alternating broken bordun (notated in the score). Rotate for turns, so that every student has a turn to play this part of the accompaniment. If necessary, two students can share a xylophone – one playing in the lower octave and one in the upper octave.

Day Two

• Review the song. Ask students “What other part of the song occurs more than once?” (The colors – red, gold, orange, brown). How many times? (2)

• Invite students to add a snap one each color word. Transfer to metallophones. With the metallophones set up in Do pentatonic on C, students may strike any two bars on each color word. Rotate for turns so that all have a chance to play this part. Combine with the xylophone accompaniment from the previous day.

Day Three

• Sing the song together again. Ask students to notice the rhyming words (swirling all around; falling to the ground). Introduce the students to the glockenspiel part that will ‘interrupt’ the song, playing a special part after each of these phrases. After singing “swirling all around”, the glockenspiels improvise swirling, stirring sounds using sliding and glissandos with all bars on. After singing “falling to the ground”, each glockenspiel player strikes each note in turn from the highest note to the lowest note on their instrument one time – like leaves falling from the tree. This does not have to be in a unison tempo.
  
• Introduce a colored scarf movement to pair with the glockenspiel part. If possible, pair a scarf dancer with a glockenspiel player so that at the end, the last note of the scale corresponds to their dancer’s last leaf falling. Dancers can follow the player, or the player can follow the dancer. Dancers are scattered and “planted” in the space holding scarves in the colors mentioned in the song and other fall colors. During the first glockenspiel improv their scarves and limbs move like they are being blown by the wind. During the last descending scale, their scarf leaves are dropped one by one. Scarves can be tossed into the air and allowed to float to the ground, or simply dropped one at a time.
  
• With students working in pairs – one on glockenspiel, one as the tree holding colored scarves – sing the song with the extension and then trade parts.

Day Four

• This is the day to put the whole piece together. Everyone sings and all have a special part – either as a scarf dancer or as an instrument player. Review the song, remind students of each of the accompanying parts – xylophones for “Autumn leave, autumn leaves”, metallophones in clusters on the color words “red, gold, orange, brown” and the glockenspiels improvising after “swirling all around” and the high to low scale for the falling leaves after “falling to the ground”. Consider inviting the classroom teacher to come and watch and/or capture a video to share with parents.

Day Five (optional extension)

• Practice melodic dictation using the melodic tone set of this song. Focus on one 3-note grouping at a time: Sol-La-Mi and Mi-Re-Do. Either a 2-line staff or 5-line staff may be used.

Click here to download a pdf of Karen’s lesson plan.

The post Autumn Leaves first appeared on Teaching With Orff.

Before I go further, I am speaking from the perspective of a music educator in the USA. The language and processes are centered in the American public education system (this includes charter schools). Those who live and work outside of the USA are encouraged to share your country-specific information in the comments. Also, I acknowledge that some IEP and 504 goals will not translate to all classes. Goals can be course specific. That said, more often than not there are targets, accommodations and modifications that music educators can and should address. 

IDEA is very clear that all educators who serve a child with an IEP or 504 are required to have access to documents for each child they serve. Some music educators are told that they do not need to see the IEP or 504, this information is false. You can be held liable in court if a lawsuit should arise, even if you were told by your school it was not necessary to comply. Legally, we are responsible for knowing the law and reviewing the documents. 

But what if my school or district blocks access to special education documents?

In this case I recommend first contacting your union (if you have one) and/or the school or district special education office. Express your concerns, and take note of the response. If that does not solve the issue, contacting your state department of education special education office is your last stop. In each instance, use school email to ask for access. If you are attending an in-person meeting, ask a union rep or trusted colleague to come with you to take notes. After the meeting, send an email (again using school email) summarizing the conversation to confirm that you understood correctly. In both instances, Bcc copies a personal email address to have a record at home. School email communications are considered public record and cannot be destroyed. In the instance of legal action documentation requesting access will help to protect you from liability.

I have so many students! How could I possibly read and understand so many documents?

I understand! I am old enough to know what teaching was like before the use of computer databases for documentation. It feels really overwhelming. Here are a few strategies to get the information you need.

1. Talk to your special education teachers. MOST special education teachers will be thrilled that you are interested and willing to work with them. I have had special education colleagues share a “greatest hits” list with me at the beginning of each year. Special education teachers review each child’s IEP at the start of the year. While they are doing that they make a list of children who have an IEP, and areas where they need support in the general music setting. The guidance counselor does the same for students with 504 plans.
   
2. Use online tools. My school used PowerSchool for gradebook and student documents and most online tools have similar options. There was a class list with symbols for each student that had an IEP, 504, Mastering a second Language, Heath Alert or Gifted Identification. Click on the icon and the documentation is right there – no more shredding paper.
   
3. Use the “IEP At a Glance” page. For most children, understanding the needs outlined on this document will be all you need. If there is an area where more research is necessary, the document can tell you where to look in the larger IEP for more detailed information.
   
4. Don’t do it all at once. Most of us do not teach the same classes M-F. After the first time I meet a class, and before the second meeting I go through all of the materials for special education, students learning English, gifted identifications, and 504 plans. Looking over these materials helps when I am making seating charts. The only exception is health alerts. I look those over before school begins. I always want to be prepared for any medical emergencies for the first meeting.
   
5. Keep a list of questions or areas for clarification and send it to the appropriate service provider all at once. I keep a document with my notes and questions. After I have reviewed the documentation for all classes, I copy and paste into an email for the appropriate service provider (Special ed teacher, OT, speech etc.) If you have a team of “special subjects,” (art, music, PE etc.) you may wish to do this together. One email streamlines the process for getting the information we need in a timely manner, without causing stress for the service provider.
   
6. Never, under any circumstances, sign an IEP unless you were in the entire IEP meeting. This is a violation of federal law. Not a violation to take lightly, there can be serious consequences.
   
7. Do the best you can and ask for help when needed. When servicing large numbers of children we are likely to make mistakes, forget to implement an accommodation or support. It is OK, we are human. Own the mistake, apologize to the student, and/or family if needed, make the appropriate adjustments to grade records and move on. If you are having problems meeting needs, ask for help. If help is denied, document. I have found when I am asking the appropriate provider and center the needs of the student, most of the time help is offered.
   
8. Keep positive, efficient and compassionate communication with grown ups consistent. Communicate the amazing things the child can do as well as the parts that need more growth. Remember that some parents and/or family members of children with disabilities may have the same disability. Be selective and careful with how you express your concerns.

When I am serving children I think of how I would want to be treated as a child and how I would want others to treat my child, especially if they have a special need or accommodation. Understanding the needs and goals of our children with special needs will make their experiences in music positive and will create a more pleasant learning environment for all students and YOU too.

What else would you like to know about serving our musicians with special needs? Let us know in the comments.

For more from Three Little Birds Music Education Services, visit LeslieAnne’s website.

For a deeper dive into this important topic, check out our webinar with Dr. Patrick Ware, NBCT – Elementary General Music and Special Education: Focus on the Self-Contained Classroom.

The post General Music and Special Education first appeared on Teaching With Orff.

As a culturally responsive, relevant, and ABAR (Anti-Biased Anti-Racist) teacher, my praxis is always evolving. One of my goals is to guide my students through the discovery of their cultural identity. This guided process is aligned with the two SEL Standards of Self-Awareness and Social Awareness, as well as our 2014 Musical Standard of Connecting specifically. 

I find that some of my students mistakenly suggest that they “do not have a culture.” This misconception is due to their limited view of what culture entails. To them, culture is colorful dresses, beautiful songs, energetic dances, yummy foods, and interesting celebrations. However, this is what we consider to be Surface Culture. As I consider implementing culturally responsive strategies in my teaching, one of the challenges that I typically encounter is how limiting the musical curriculums available to us can be. To address this, I am always asking questions and consulting cultural bearers, community stakeholders, and student family members. 

I usually start by sharing my own experiences as an Afro-Latina: my racial background, where I come from, how I continue learning about my culture, how proud I feel of it, and who I am because of it. I firmly believe that the earlier we get in touch with our roots during our development, the more likely we are to build a profound appreciation and lasting connection with our traditions throughout our lives. 

In order to facilitate my teaching, I have been researching and sharing my own Dominican cultural traditions. One of our folkloric traditions, often overlooked, is “Los Palos.”

I was raised in the town of Villa Mella. This town has a strong Palo community and is home to The Brotherhood of the Congos of the Holy Spirit of Villa Mella, which was proclaimed a Masterpiece of the Oral and Intangible Heritage of Humanity by Unesco in 2001. By 2008 it became a part of the Representative List of the Intangible Cultural Heritage of Humanity.

Palos is a folkloric ritual tradition and a communal expression. The term “Palos” is both a genre and an umbrella term used to refer to various Dominican folkloric expressions. “Palos” also means trunk, which is what is used to make the drum instruments. This oral tradition is celebrated throughout the year, across the entire island, and passed on through generations. The tradition of the Palos music is performed by members of the community to celebrate many occasions, both sacred and secular.

The instrumentalists of the Palos, also known as Atabales, consider the instruments sacred and such instruments are typically baptized before being played for the first time.

The instrumentation of the Congos of Villa Mella includes the Congo Mayor, Conguito, la Canoita, and Maracas.

Each region of the island has its own Palos expressions. The most common Palos instrumentation includes Palo Mayor, Respondón, Alcahuete, and Güira.

The Salve expression uses, in addition to the Güira, the Balsié, Mongó, and Panderos. 

Instruments such as the Güira and the Canoíta are original to the Native Taino people, who were exterminated during the first European contact. The Drums are part of our African heritage, and Maracas are a constant feature in the music throughout the American Continent. 

In other words, Palos is the perfect musical representation of how the Dominican Republic came to be as well as the mixtures of our heritage, all of which make up the Dominican identity. 

Stories like these belong in our teachings today. Yet, no matter how extensively I searched, I did not find a book that contained and properly encompassed these concepts. Therefore, I decided to do some research and write it myself. The story is a composite of my experiences growing up, listening and learning about Palos, as well as my husband, Socrates, childhood’s experiences in his hometown. Creating the book granted me the freedom to write the story in the same style I would have used when telling it to my own children, who are Domincan-American.

Socrates’ musical talents brought forth the opportunity to implement cultural songs and audio. This beautifully creates a true connection between our audience and the heart of the celebration. We used his Jazz Orchestra composition “From Across the Street” as the main song, as well as individual audio representations of each instrument, recorded in the Dominican Republic by renowned anthropologist and percussionist Edis Sánchez. Socrates recorded our daughter, Astrid, narrating in English and myself in Spanish.

The story is an interactive experience where Pati, a young Dominican-American girl who is visiting her grandmother during her summer vacation, journeys through the town to the “Fiesta de Palos.” While reading the book, students join Pati in playing the maracas, as she discovers the sounds of several of the instruments present in various Dominican folkloric musical traditions. 

Our story is written, illustrated, and musicalized by Dominican artists, making it a very authentic story about our Dominican culture and traditions. 

I am grateful to F-flat for publishing the e-book for anyone interested in sharing this beautiful tradition with their elementary students. The flipbook allows you access to the story in English and in Spanish. The book is also available in print in both languages through Amazon, including a QR code that links to the audio tracks.

References:

“La Musica Folclorica Dominicana” by Josué Santana and Edis Sánchez

“Dominican Suite for Jazz Orchestra.” A Doctoral Dissertation by Dr. Socrates García

Follow Wanda on Instagram @wandavgteachmusic

From Across the Street and its teaching guide are published by F-flat Books.

The post From Across the Street first appeared on Teaching With Orff.