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.

Last summer, many folks who had been preparing to take an Orff Schulwerk Level saw the opportunity fade as the pandemic spread. As more and more folks are vaccinated and we better understand how to manage and prevent the spread of COVID 19, opportunities to create joyful music, make life-long friends, and become better facilitators are available throughout the country. Elaine Larson, tells us what to expect when taking Level I, Betsy Kipperman Sebring sheds light on what happens in Level II and Rob Amchin demystifies Level III. We have also included a link to the American Orff Schulwerk Association’s teacher education course list so you can find a course near you.

The way I approached teaching and learning was forever changed after Level I and I could not wait to go back for more!

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

AOSA Teacher Education Course List

The post Making It Work: Summer Orff Levels first appeared on Teaching With Orff.

In 2016, I began the AOSA Teacher Education Program, becoming a fully certified Orff Schulwerk Educator after completing Level III in 2019. My experience, along with the ever-growing resources AOSA offers, truly makes a difference in who I am and how I do my job. Here’s a nugget from my journey that has taken on so much more meaning in the past year…

During my Level I course I was introduced to the assessment tool: “I notice – I wonder – I value.” At the time, I understood it as a means of evaluating something I had read because that is the context in which I used it in the course. It was one more assessment tool for me to use when I wanted to know what the people I worked with thought, felt, or understood about whatever the topic of the moment was. And I’ve used it this way ever since.

Now, five years later, 2020 and 2021 have brought events I could never anticipate: wildfires in Australia and the United States; a global pandemic; injustice that leads to an awakening in racial and social justice; tornadoes, hurricanes, and snowstorms; political divides at home and abroad; the loss of many influential leaders; a reinvention of space exploration and landing a rover on Mars. History has been made these past 18 months at breakneck speed. The world around us has changed so much, it will never be able to reset to what we remember pre-2020.

In the midst of all this uncertainty, I rediscovered the assessment tool that I learned back in 2016. And the rediscovery brought with it more clarity and understanding of how to use it, not just when analyzing something I’ve read – or a project I’m reviewing – but how to use it when going through the daily work of life. The power of “I notice – I wonder – I value” is much stronger than my first perceptions in Level I. In fact, the power of this way of thinking has helped me find clarity, focus, and even purpose in this new era of hyper-connectivity through a virtual platform with less personal connectivity to each other.

I notice… I spent much of the summer of 2020 noticing so much about music education that I had never observed before. I always knew our music teachers have a significantly higher level of dedication than might be expected from teachers in general. And I recognized that music education has too many challenges for a person to choose it for a career unless they care deeply about this work. I was aware of a lack of resources many music educators have come to accept – and work around – all in the name of love for music and children. What I noticed in 2020, however, was:

• The depth of the passion and focus of music educators
• The perseverance and tenacity so many music teachers possessed that kept music alive in the adverse conditions of virtual learning
• The fight and fortitude of musicians who wouldn’t allow their students to lose the powerful experience that comes with learning music as a core part of their education

I wonder… as I noticed all these things, I began to wonder, what AOSA could do to make this work easier, more attainable, and maybe even more enjoyable as our music teachers reinvented the field of music education while on the job…and without missing a beat. I wondered about the optimal way to present the most valuable content in ways to best serve those who served our students every day. I wondered what gaps AOSA could fill as we moved forward in this uncharted territory.

To that end, I posed these questions to the servant leadership of AOSA and we got to work. Mondays with Music Virtual Learning Events, the reinvention of summer studies in OS including what universities and colleges offered along with the roll out of the AOSA Independent Study Units, an entire Virtual Symposium…these are only a few of the many things that AOSA did to shift how we serve membership in this time of more virtual connection with less community involvement. AOSA continues to come up with new ways to serve and always welcomes input from membership. We are here to serve you as we navigate this together. And that leads me to the final part of this three-part assessment.

I value…

• The amount of time spent and level of training so many music teachers endeavor to attain so that they can serve their students in the completely new world of virtual learning
• The way music educators overcome the challenges of not being able to play together, use instruments, or sing in community
• The high level of connectedness our music teachers created through an uninviting, remarkably un-connected screen
• Something that I had known, but not acknowledged, for a while: Music educators are awe-inspiring, mind-blowing, truly amazing human beings.

And this acknowledgement goes further because I value the work you do – not just as the executive director of AOSA – but as a friend, as a parent, and as a musician. What you do is not easy work and sometimes it’s not appreciated work. However, I can assure you there are many out here in the trenches of life who truly value what you do. We see the commitment. We see the extra dedication. We see the passion.

If you want to learn more about AOSA – the many resources, networking opportunities, programs, and activities we offer – visit www.aosa.org. For a free two week trial membership, go to https://member.aosa.org/register/free-trial.

My appreciation is unending. Thank you.

Carrie

The post I Notice – I Wonder – I Value first appeared on Teaching With Orff.

Title Photo Credit: Jennifer Mishra, University of Missouri St. Louis

What is about Level III?

Congratulations! You have completed two levels of Orff training! It is time to start thinking about Level III!  Don’t be frightened, you will love every minute.  But wait, you may ask! Are you ready to take the plunge? Is Level III too hard? Will I be able to understand all of those new ideas when I am just beginning to figure out what I learned in Levels I and II. Yes you are ready! For most, Level III brings together many ideas and skills you have experience sin previous classes. You have had the fun experience of Level I with drone/borduns, ostinati, speech pieces and the like. You have explored meters and modes in Level II while reviewing and deepening your understanding of Orff pedagogy. It is time to put it together….or at least continue the journey.

About Level III

To many who have taken it, Level three is all about musicianship challenges and putting all of the elements of Orff pedagogy and media together to build a deeper understanding of the Schulwerk. Most of my students have said that they finally are connecting ideas together in level III that they hadn’t had the chance to do before. They see the progression from duple meter to triple to odd and changing meters. They see the progression from elemental bordun/drone arrangements to shifting harmonies and then to I-IV-V harmonies. They are asked to analyze and demonstrate the teaching models they have seen by their mentors for level I and II. Pedagogy is an important part of Level III. You will have at least one practicum where you will demonstrate some of the teaching/process skills you’ve learned and experienced in class. In movement and basic/pedagogy, you will probably be teaching your peers as well applying the skills and models you have experienced in your level training. Your movement experiences will deepen your appreciation of the importance, value and potential of movement education. Recorder classes will also extend your skills, repertoire, and pedagogical understanding through the Orff lens.

Time Commitment

By now you should know that a two-week Level course demands your full attention. Level III has a chance for you to really explore all of the concepts you touched on in other courses.  You need time to reflect but also to learn many new skills. There are assignments for arrangements, rhythm pieces and the like and each experience leads to a deeper appreciation and understanding of the Orff process. As with other Level course, you will have 60 hours to sing, dance, play and grow. Three of those hours will be in “Basic/Pedagogy” where you will hone your skills in arranging and pedagogy.  The rest of the day is divided between recorder and movement training with special topics at the end of the day on certain days. You will review and get better on your recorders and play more advanced pieces (practice your F-pipe fingerings!).

Don’t Delay! Register Today!

Don’t be shy. You’ll be fine. It is certainly possible to give yourself a break between each level or to do them in sequence over three summers. Some people will even retake a level just to be sure that they fully grasped the content of levels I and II before they take the plunge into Level III. It is equally common for people to most from one level to the next. If you have completed your other levels, don’t worry, you will start with a review of what you experienced in other summer courses.  Even if you have waited a few years between levels courses, Level III instructors know that review is always a good thing. If you have studied with one instructor, you will learn new tricks and models of teaching from your Level III instructors.

New Materials

Depending on your Level II experience, you will have some degree of training in the modes and meters. This is reviewed along with everything you experienced in Level I when you were just starting your Orff journey. Among the most exciting things you will explore in Level III will be elemental writing using I-IV-V harmony! All of those songs and pieces you have been dying to arrange are a core part of the Level III curriculum. In addition, depending on the instructor, you will probably have time to explore all five volumes of the Orff Schulwerk and all of the great pieces and processes that those volumes offer to the Orff teacher.  You will delve more deeply in the modes, meters, and more advanced pieces and concepts in the Schulwerk.

What to Pack?

As with every Orff course, you should now know that coming with an open mind and a spirit of music adventure are central to any Orff experience. You will have many new assignments and challenges. Plan on a full two weeks. Bring all of your recorders (practice your F-fingerings!). I often tell people to have a good support system for the two weeks so you can devote your time and energy to your studies.  You will be working on harder recorder pieces and process. You will explore more advanced movement concepts (so be ready to move every day). You will be teaching your peers. You will have fun composing and arranging in the elemental style every day or so.

The most important thing to look forward to is exploring Orff Schulwerk with new colleagues who are equally passionate about being great teachers. That is perhaps the most anyone could hope for… being part of the Orff community of like-minded educators all searching to find ways of being active music makers and teachers.

Photo credit: Robert Amchin

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

Educators have the opportunity and responsibility to join various professional organizations. However, as educators, available funds to join the most appropriate ones are not always easy to come by. How can an educator decide which memberships are the best fit for them? Which organizations are going to provide the greatest benefits to their members in exchange for their annual dues? A strong argument can be made for joining the American Orff Schulwerk Association. For teachers who are seeking resources in active and creative music making for their students and schools, AOSA offers many benefits. 

National Conference 

The AOSA national conference can’t be beat. At state music conferences, teachers need to filter through to find the general music sessions, which represent only a fraction of the entire conference. At the national AOSA conference, nearly every session caters to general music. Participants often struggle to decide which sessions they would like to attend. AOSA membership cuts the price of registration in half, and the online membership portal allows attendees to find colleagues to room and carpool with from the airport, being more cost effective.  

Scholarships and Grants 

Speaking of saving funds, after a year of membership, opportunities are available to apply for multiple AOSA sponsored scholarships and grants. Funds can be used to sponsor professional development, like an Orff levels course, of attending national conference. They can also be used to study Orff Schulwerk internationally, as well as for various instruments for the classroom. There is even a fund available to specifically support Title I, low income campuses. 

Digital Mentor Program 

Recently, AOSA has introduced the Digital Mentor Program. Teachers with at least one Orff level can apply to work with a mentor teacher who has multiple years of experience in the Orff approach. The vast amount of technology today makes this program incredibly easy to access. Teachers can even record themselves teaching to get valuable feedback that often cannot be provided if they are the only music teacher on their campus. 

Publications 

AOSA members receive both The Orff Echo and Reverberations. The Orff Echo is a quarterly journal that members receive a hard copy of. This journal is full of high quality articles that offer information directly applicable in the classroom. This resource truly invaluable. 

Reverberations is a monthly online publication that is directly emailed to teachers. Various lesson plans, melodies, technology ideas, and even classroom management tips are shared. Additionally, Reverberation articles are categorized for members to easily search through for more specific ideas. 

Online Resources 

Today, so many teacher resources are available online, and AOSA is keeping up with those expectations. In addition to the Reverberations articles that are available online, there is an entire section of “Teacher Tools.” 

-Lessons- Features past lessons from Reverberations. 

-Tech Spot- Articles based on the use of technology. 

-Canon Corner- Features both traditional and newly composed canons. 

-Speaking Volumes- Features lessons based on various pieces from the Music for Children five volume set (required source material when taking an Orff levels course) 

-Video Library- Access to hundreds of videos from past conference sessions, interviews with master teachers, historical videos, and so much more. All videos are tagged with key words, making them easy to search and filter.  

-Listening Booth- A valuable list of musical examples that can be used to teach different concepts in the classroom. 

-Rubrics and Assessment Tools- Sample rubrics for different music topics and concepts are provided. 

-Diversity Matters- Explore lesson plans, book reviews, glossary of terms, and world music references related to diversity. 

-Children’s Book Reviews- Archived reviews from The Orff Echo of children’s books are provided. 

The American Orff Schulwerk Association offers so many benefits and services to their members for a very reasonable annual membership fee of $85. Interested in joining? Visit the website and sign up today by clicking HERE. 

The post What Is AOSA and Why Should I Join? first appeared on Teaching With Orff.

I am a retired elementary school music educator and I taught over 30 years in Michigan public schools. I am now mostly retired. I am a teaching artist for an Aesthetic Education program and I have my own private Orff Music Studio, teaching 2 days a week. I love being able to stay in touch with educators and students while picking and choosing my work load. (I also do some work for a local university among other odd jobs.)

I am still active with my local Orff Chapter—the West Michigan Orff Chapter. As a retiree and past officer, I am able to attend our local workshops for free. (I am also an AOSA member.) I like to stay active with the chapter and keep in touch with current practices, as well as make new friends and keep in touch with previous acquaintances. It keeps me going!

I look back at my career and am so grateful for my mentor teacher when I was hired in at my first real elementary music job. I was trained to be a band director and I wasn’t sure what to do with these little ones. Beverly introduced me to the world of Orff Schulwerk. She introduced me to local chapter members. She encouraged me to attend my first national conference. When she retired she passed on all her materials—including a full instrumentarium she purchased herself when the school district wouldn’t buy them for her. During my time in my district, I became the elementary music team leader. We created an Orff based curriculum and included the instruments in our necessary materials. (I can say that all 8 elementary schools in the district have a full set of barred instruments.) My fellow music educators shared their ideas, songs, successes and those things that didn’t work out so well. Bottom line, the people I collaborated with during my 30+ years (including all those amazing clinicians) have given me so much.

In my (mostly) retirement years I’ve decided I need to pay it backward. I was given so much that helped shape the musical path I followed for over 30 years, I’d like to share that knowledge with others. I’m doing that through our local chapter. I have started a library of resource materials for our chapter members to use as needed. I donate materials I no longer use for a silent auction, as well as hand knitted items. 100% of the money raised goes to the chapter’s scholarship fund for Orff training. And I offer to visit members’ music rooms as either an observer to give suggestions or to demonstrate a process lesson with a class or two.

Our West Michigan Orff Chapter is a small but dedicated group. I hope that I can continue to work with and help this chapter that has done so much for me in the past. I encourage others to support their local Orff Chapters. Be a member, be an officer, recruit new teachers in your area. Music educators are amazing people with so many great ideas—and we like to share them. Join AOSA and attend a national conference. It is so good for the soul to be surrounded by like-minded people. And when you retire, don’t be afraid to keep in touch with your chapter. Your experience is worth sharing.

The post Making It Work: Paying It Backward first appeared on Teaching With Orff.

Title Photo Credit: Jennifer Mishra, University of Missouri St. Louis

You’ve taken level I and you might be wondering “should I take level II?”  Maybe you teach a population of mostly younger students.  Maybe you are still working to process your level I materials and experiences.  Maybe it has been years since you took level I.  Here are some reasons to consider continuing your journey through the Schulwerk regardless of your situation. 

Taking all three levels of Orff provides a more complete understanding of what Orff Schulwerk is.  This understanding will help you prioritize your lesson planning, advocate for your program, and teach with a deeper knowledge of what and how you are teaching.  Level II is a sometimes magical, sometimes overwhelming two weeks.  In level II you will review level I practices and content to refresh what you have already learned and set you up for the many new things you will learn and do.  You may recall a time in your classroom when you tried a lesson from your level I class that may not have gone as beautifully as you expected.  Level II dives into the process of how to get from point A to point B.  The practical pedagogy becomes more of a focus. You will notice and experience common techniques used by your instructors and recall experiencing those same techniques with your level I teachers.  You may be asked to lead a short warm-up, teach a small group of your classmates a short lesson, pair up with a classmate to teach the class a sample lesson, or design a lesson for your own students. 

Level II content builds on the Level I content.  It is rewarding to move beyond the call, chant, and pentatonic scales into half steps, diatonic modes, and triads.  Meters and rhythms become more complex yet seem possible to use with children through the elemental style of teaching and learning that happens in Orff Schulwerk.  Level II content requires a deeper understanding of basic music theory principals.  If this is an area that worries you, brush up on some of the terminology and listen to the Music for Children recordings.  Expect that there will be some assignments in your level II class arranging, composing, and improvising with this new material.  

One of the biggest benefits of taking level II is growing as a student, teacher, mover, and musician.  You may hear one of your teachers say, “for your students…” but they also may say, “this activity is for you.”  Because of the intensity of working with the same people for two weeks, every day, 7 hours a day, Level II students often bond and make connections in ways they never thought of with people they might not have otherwise.  It can be really special if you are able to stick with your same cohort from Level I to Level II to Level III.

In general, the benefit of taking Level II is that you will get better at everything you experienced in level I.  You will give yourself the opportunity to learn, observe, and practice for two uninterrupted weeks.  Orff Schulwerk teaching takes time, practice, and reflection.  Level II will allow you to see more opportunities in your own teaching and to become more fluent in your process. You will gain familiarity with materials (original source, music from other countries, cultures, in other languages, and others). You will leave with a greater competency to compose and arrange music for your students.  You will become better at analysis, allowing you to more easily recognize high quality pieces and to “break down” music for your students.  You will observe different teachers work in their unique Orff way.  You become a better teacher after having been a student again and will have a greater understanding of your own students when you return to your classroom. 

So, you’ve decided to go ahead and take level II. Congratulations! Here are some things to think about before jumping back in and what to expect and some ways to prepare. 

Reviewing your level I experience is a great first step to get ready for level II.  Look at your notes and refresh your memory regarding the vocabulary, theory, and teaching techniques. 

The structure of the day will be similar to level I, most of your day with a basic or ensemble teacher, an hour and fifteen minutes each with a recorder teacher, a movement teacher and some time dedicated to special topics.  Some days you may join with the other levels students in your course.  You can safely assume there will be ensemble, small group, partner and/or individual projects and exercises. Sing, say, dance, play, and create: you will continue to do these things in all classes.  

Be prepared for a higher level of expectation of your technique, risk-taking, and artistry. Take a good look at and listen to your technique and tone on barred instruments, drums, and recorders.  Review elemental forms that might inform your improvisations.  Improvisation opportunities will be plentiful using all media and will incorporate content introduced in level II.  It is likely you will feel more comfortable in one area than another.  Trust yourself and trust that your instructors will provide a safe space for you and your classmates to give things a try.  Remind yourself that every person comes to the group with different strengths and that your goal is to improve your skills and contribute what you can to the class. 

Expect to have homework and expect to practice in the evenings.  You may be asked to lead the class or a small group in a short vocal warm-up or rhythmic exercise.  Level II students often prepare potential lesson plans or teach a sort practicum lesson. 

Brush up on music theory.  In level II the pentatonic scales pave the way for the full diatonic scale. With more notes come more possibilities and more terminology: modes, triads, scales, harmonic progression, cadences, transposed, parallel fifths and parallel octaves. Listen to modal pieces found in the Music for Children Orff recordings to get that elemental sound in your ear. Listen to pieces in different meters: 2, 3, 4, 5, 6, 7, and more! 

Pick up a recorder. Be prepared to play both soprano AND alto recorder.  Even if recorder is not your strength, familiarize yourself with the patterns of fingerings used most often on the soprano recorder.  Get a feel of different sizes of the recorders. (Believe me, if I can do it – you can do it!) The higher the quality your instrument, the better the sound you produce.  Consider upgrading your freebie, two-piece, pink or blue recorder.  There are plenty of affordable choices that produce a higher quality sound with greater ease. 

Prepare your body for lots of movement.  From sitting on the floor, moving instruments, folk dancing and creative movement your body will be active. Take a yoga class, go contra dancing, incorporate some stretches into your daily routine.  Drink lots of water, eat nourishing foods, and get some sleep. 

Everyone has a different reaction from their experience in level II.  For me, level II was the point at which I discovered how much I loved this work.  It is also the point at which I realized how much I did not know how to do the work and that the only way to improve was to keep learning and trying things back in my classroom.  The Schulwerk can be exhilarating, overwhelming, emotional, beautiful and stressful.  This work can be extremely satisfying and fulfilling personally, professionally, and artistically.  I encourage you to take the next step in your Orff journey by taking Level II. 

Interested in finding an AOSA approved course? Click here to visit their website and to learn more!

The post Making It Work: Orff Level II first appeared on Teaching With Orff.

Girls and boys come out to play,
The sun is shining bright as day.
The birds are back, the air is warm,
Oh, come let us sing a happy song. 

 –Adapted from a traditional rhyme by E. Larson

As spring arrives, our thoughts turn toward beautiful flowers, new buds on trees, long walks in the warm sun, and picnics on grassy meadows. Professionally, we may be preparing for a spring concert, evaluating the progress of our students during the past year, or thinking about what we might do as teachers to facilitate even greater growth next year. Now is the time to plan for your own professional education this summer. Have you considered furthering your education in Orff by taking Level I?

Perhaps you are a beginning teacher or you’ve gone to a few chapter workshops and you’re just not sure that you want to invest the time, money, and energy in taking Level I. Maybe you’re apprehensive about the expectations of a two-week course. Here are some practical tips about what to expect and how you might prepare.

The first question to ask your self is, “Where should I go?” Consult the American Orff-Schulwerk Association (AOSA) website, www.aosa.org. There you will find a list of courses that are approved by AOSA. Approved courses are expected to have instructors who are on the AOSA approved list and must follow curriculum guidelines. Courses must also have a minimum number of 60 contact hours over a ten-day period. If you have been an AOSA member for at least one year, you should check the AOSA website for scholarship opportunities. Many local chapters and levels courses also offer scholarships to help defray the costs.

Each day will have at least three hours of basic/pedagogy instruction, 60 minutes of recorder, and 75 minutes of movement instruction. All Level I courses have at least two instructors; in many courses, one teaches basic and the other might teach recorder and movement, although this is not always the case. Larger courses have a separate instructor for movement and recorder. Time is also set aside for “special topics” for example, folk dance, drama, choral etc.  If the course has more than one level, these special topics sessions are often held together with the participants from all three levels. Orff is very hands-on and participatory attendance is paramount. Be sure to clear your calendar so that you can attend all classes. It’s also a good idea to clear your evening and weekend calendar for those two weeks, as you will have some homework and you may need to recharge after an intense day of coursework.

During basic/pedagogy instruction time, you will experience, explore, and discuss all of the media used in the Schulwerk: song, speech, body percussion, instruments, and movement. You will also learn basic concepts used in the Schulwerk: rhythmic notation related to speech, ostinato, complementary rhythm, pentatonic theory, drone, and how to write simple arrangements in the style. Recorder class will include technique, recorder literature and model lessons for children. Movement will include creative dance as well as patterned dance like folk dances. The learning process of exploration, imitation, and improvisation will permeate your entire day.

Level I instructors understand first day nervous jitters and will go out of their way to make you feel comfortable. Try to relax and just jump in and participate. Resist the temptation to compare yourself to others. The participants will have various strengths and backgrounds. Some will have honed their skills on wind instruments and find recorder easy. Others will have taken lots of dance class and feel very comfortable in movement.  Someone else might have an extensive background in percussion. There will be beginning as well as experienced teachers. Think of yourselves as a community of learners. What matters is that each person is making progress on the skills and concepts through their effort, practice, and participation. Much of Orff Schulwerk takes place in a social context so get used to working in pairs, small and large groups.

Orff Schulwerk is holistic rather than linear like a methodology. This can be confusing at first so just hang in there. The instructor will try to take the components apart and put them back together to help you understand how they fit together. Mentally prepare to wear three hats from the beginning: 1) Artist: improving your musicianship, 2) Collector:  collecting many new materials to use with your students and 3) Teacher: Observing how the instructor presents the material, that is, the process. Process is important in all of the Schulwerk. Much of the material will be presented to you in the same manner as it might be presented to children. The instructor is intentionally modeling process so that eventually it becomes second nature for you. The instructors will provide detailed notes of the material presented. I highly recommend going over your notes each night. Pencil in observations and questions. This will help you immeasurably when you get back to your classroom and wonder, “How did that go again?”

Most instructors require some homework in order to reinforce the concepts that are presented during the day. Assignments can include reading articles, journaling, and written assignments such as the rhythmic notation of speech and the arranging of melodies in the style. The instructor will model all of the assignments carefully and usually give you a chance to rework assignments if you didn’t get it quite right the first time. The goal is for you to understand the concepts and be successful.

Some preparation before Level I will enhance your experience. Be sure you are well rested and healthy. Plan to wear comfortable clothing and stay hydrated. You might want to do a few simple stretches before the course starts. Be prepared to move every day and dress accordingly. Some people like to bring a change of clothes for movement but that is not necessary. Depending on the course, taking off shoes is either required or strongly recommended. Be sure to communicate any physical limitations or injuries to your instructors, especially the movement instructor, so that they are aware and can work with you to get the most out of the experience. Do not worry if you have not had any experience in movement!  You will be fine; each person will show his or her own growth from start to finish and that’s what counts. Likewise, don’t panic if you’re not an accomplished recorder player. Just come prepared to learn and practice. It will help reduce stress if you get a beginning methods book and soprano recorder and start to practice. Learning the fingerings for the notes is often the hardest part.  Just follow the order of notes in the book for now; try to learn all the notes in the lower register, C4 to D5, plus B flat and F #.  You will add the higher register within the span of the two-week course.   Don’t worry about the type of recorder and book right now. Recorder teachers usually have a preference about this and that information will be sent to you.

Most courses send out a materials list before the course begins. I am going to recommend a few titles you may need and will find helpful. Consider purchasing the Margaret Murray edition of Music for Children, Volume I.  Don’t worry if it looks confusing; you will be learning how to use this wonderful book in Level I. Try practicing some of the body percussion examples on pp. 60-61. Read some basic articles about Orff Schulwerk.  Look at the AOSA website for both articles and some short videos. It is handy to have a book of nursery rhymes and a basic poem anthology for children or a reliable source to find quality examples online. Brush up on your music theory skills, particularly rhythmic notation and avoiding parallel 5^ths and octaves. Bring staff paper, pencils and a three-ring notebook. You might also consider experimenting with a music notation software or cloud–based application for your computer. If you are driving to your course you may wish to bring a printer along for convenience. This may make homework assignments easier and will provide a chance to get used to creating simple arrangements for your students.

If you are traveling to your course and staying in provided housing research what will be included in your accommodations. Some “creature comfort” items that have been recommended are favorite pillows and blankets, slippers, towels (body, hand and dish) a small fan, white noise app or ear plugs, a device to watch Netflix and favorite books to read. If there will be a kitchen area a few small pots to cook in, a coffee pot, a portable coffee mug and water bottle, lunch box, favorite snacks, paper plates, a small bowl, plastic silver ware, a paring knife, spray cleaner, tissues, dish and laundry soap. Anything that will make you feel comfortable and at home in a dorm setting.

Finally, bring your energy and an open mind. Get ready to grow personally, artistically and professionally. Many participants find their Orff Levels to be memorable as well as life changing. I sincerely hope that you will decide to embark on this professional journey.  Please leave your questions in the comments below.

Interested in finding an AOSA approved course? Click here to visit their website and to learn more!

The post Making It Work: Orff Level I first appeared on Teaching With Orff.

In one such session, Lissa Ray (aka “Doctor Lissa”) guided her Instrument Repair Hospital interns through the basics of labeling, storing, maintaining and repairing Orff instruments.

With supplies found at the local hardware store and “Doctor Lissa’s” simple techniques, you can ensure that your Orff instruments continue to provide beautiful sound for years to come.

Did you miss this life-saving instrument healthcare training?

Download the session notes from “Doctor Lissa”

Download the Powerpoint presentation from “Doctor Lissa”

Do you have an instrument that needs medical attention?

Watch “Doctor Lissa” in our Instrument Repair Hospital video series.

Do you have a question for “Doctor Lissa” about a sick instrument?

Contact us. We are here to help!

The post Instrument Repair Hospital – AOSA 2015 first appeared on Teaching With Orff.