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.

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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.

In 2017 Roger Sams co-authored Percussive Play: Building Rhythmic Skills Through Partwork, Poetry, and Movement with Michael Vasquez. This book features the active music making that teachers are most using in many circumstances right now: speech, body percussion and untuned percussion.

We’re delighted to share two lessons from that collection with you as a free gift. If you find these lessons helpful you may wish to consider purchasing Percussive Play through the publisher, Music Is Elementary, or from your favorite music education retailer. This book comes with free digital downloads of the electronic visuals, which will support your best teaching if you’re teaching in person, online, or hybrid.

Click here to download the lesson plans Play the Woodblock and How Much Wood Would a Woodchuck Chuck?

Excerpt from Percussive Play. Copyright © 2018 by MIE Publications. All rights reserved. Used with permission.

The post Lessons: Speech, Body Percussion & Untuned Percussion first appeared on Teaching With Orff.

Every year, new students enter our classrooms from all walks of life. The one commonality with all of them is a NAME. As an elementary music teacher, learning all of our students’ names can be a daunting task and we sometimes forget that the children are in new classroom groups and do not know all of the people in their class either. However, with this fun and practical name game learning names can be fun and hip! Use this activity to build community, make music, and learn those NAMES!

Curriculum Concepts

Beat, Rhythm, AB Form

Skills

In this lesson, students will:

• Learn and review key musical vocabulary—beat, rhythm, form.

• Identify A and B sections that combine to form a larger piece of music.

“I Can” Statements

• I can chant while performing rhythmic patterns using body percussion.

• I can recite and recall key music vocabulary terms in this lesson.

Tennessee Music Standards*

• 4.GM.P3.B Using body percussion or instruments, perform instrumentally (pitched/unpitched), alone and with others, with expression, technical accuracy, and appropriate interpretation.

*NOTE: Find the similar standard for each grade level, 2nd-5th grades. 

Instructional Procedures

Preparation and Items Needed

1. Print out and become familiar with the following documents included in this item:

• Lesson Plan
• Speech Piece

2. Use a drum or the video below to establish the beat

A SECTION

1. Echo-chant each phrase. Put two phrases together until students are able to easily chant the speech piece.

2. Echo-teach the body percussion part.

3. Divide the class into two groups. Lead one group in performing the body percussion parts. When

the beat has been established, bring the other group in chanting the speech piece.

4. Switch groups. Repeat.

5. Challenge!! Have the entire class perform the speech and body percussion together.

B SECTION

After students have successfully learned the speech and body percussion of the A section introduce the B section. In the B section students will take turns saying their first name in rhythm. Example: My name is Franklin. (See rhythm examples on handout.) This is a cumulative piece so after 4 students say their names, class chants the names in reverse order. Then add another group fo 4 students, class chants 8 students’ names in reverse order and so on.

1. Use this body percussion pattern to establish the beat for the B Section.

2. Echo-teach the speech pattern to the first four students. Tell students to come up with a motion to go with their name, stand and twirl, clap/pat the rhythm of their name, wave hands, etc. Class will repeat that motion every time that student’s name comes in the chant. Practice several times until they are comfortable going on to the next set of four students.

3. After four students have said their names, all students repeat the names in reverse order as described above. See example.

4. Repeat the A section after each set of four names.

5. Keep repeating the B section until every student has had an opportunity to speak their name.

6. Be sure to add YOUR name to the end!!

For more activities from Franklin Willis, visit his Teachers Pay Teachers Store

© Copyright 2019 by Franklin Willis. All rights reserved. Reprinted with permission.

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Day 1

Teach “Canon” and sing as a two or three-part canon. (Music for Children I, #41 pg. 132 with adjusted rhythm to fit text)

Day 2

As a class, have students brainstorm superheroes and create an eight-beat rhythm using superhero names. For example,

Together, create body percussion to go with superhero rhythm, perform as a B section with the canon.

Day 3

In small groups the children choose two superhero’s from my stack of Super Hero Trading Cards and keep them secret from the other groups. You can make your own “superhero deck” with resources from the internet, purchase superhero playing cards on Amazon or old superhero trading cards on E-bay. The students create a list of adjectives that fit the superhero’s personality. (Courageous, fearless, epic, brave etc.) After creating the word list, they choose the hero they like best. Each group shares their list of adjectives and the other groups try to guess who it is. (This step may take two classes, depending on your students.)

Here is an example:

Day 4

Students create a 32-beat rhythm about their superhero using at least two of the adjectives from their lists. They CAN NOT use the word VERY. The speech pattern should be in an elemental form and the last beat should be a quarter note or quarter rest.  Examples of elemental form are as follows:

a a b a
a a a b
a b c a
a b a a
a b a c
a b b a

Day 5

Create “Action Cards” that say CM (creative movement), BP (body percussion), UTP (untuned percussion) and BP (barred percussion). The groups randomly select an action card and transfer their 32-beat rhythm to the action listed on their card. Share the creations with the class.

Day 6

Review composition, the canon, and the body percussion and rhythm from class two. As a class, decide on a form for the final product. The children may choose to use all of the parts or not.

Start with an introduction, and end with a strong coda.

The post Lesson: Super Heroes first appeared on Teaching With Orff.

A Rhythm and Movement Lesson for Grades 4-6

Download a printable version of Michael Chandler’s lesson here.

Objectives:

• Working with beat and divided beat through movement, body percussion, and instruments.
• Choreographing simple movement to elemental forms.
• Rhythmic and melodic improvisation and composition with elemental forms.
• Arranging and orchestrating a performance piece.

Materials:

• Unpitched percussion instruments including drums and temple blocks.
• Mallet instruments 

Day One

• Students are scattered throughout the class space as the teacher plays steady quarter notes or eighth notes on the temple blocks or a drum. Students listen, react, and move through shared space to the rhythms played by the teacher, speaking the words walk or tip-toe and coordinating their steps to match the rhythms they hear played.
• Students find a partner and create a 4-beat clapping pattern consisting of quarter and eighth notes. Partners can use knee patting, clapping, or snapping, but at some point they must connect through a partner clap with one or both hands. Once the pattern is secure, it should be performed twice in a row for a total of 8 beats.
• Partners then create a separate movement sequence of 8 beats. They may move apart and come back together, trade places in some way, or go around one another returning to their original spot. The sequence will likely follow a 4+4 structure to make 8 beats, and it may include any other unique additions that make it look more interesting.
• Students perform the previous clapping pattern twice (8 beats) and then follow it with the 8-beat traveling sequence for a total of 16 beats. Practice until secure, and ask each half of the class to perform for the other half. Students select ideas from among everyone’s to create a single partner dance for the entire class to perform together in pairs.
• Through echo imitation, teach the poem Good, Better, Best. The text may be spoken in unison or in a 2-beat canon after two beats.

• Combine the class-created dance with the text. The phrases of the text mirror the phrases of the class dance (4+4+8).

Day Two

• Present the students with five rhythmic building blocks using model words that demonstrate positive characteristics.

• After imitating each word through rhythmic speech, students combine them in pairs at first and then improvising word chains of four to create an 8-beat phrase. One word should be repeated in each word chain, but two may be repeated for forms like aabb or abab. Avoid through-composed chains (no abcd).
• Students organize into three groups, and each group composes an 8-beat word chain that illustrates an elemental form. Once the form and the rhythm are decided, it should be performed twice for a total of 16 beats. Each group transfers its rhythm to unpitched percussion or hand drums and choreographs it with simple movement.
• Review and perform the poem Good, Better, Best through rhythmic speech. Teach the two accompanying speech ostinati separately (see below) and combine all three parts, allowing each group to experience each part of the texture. Assign a part to each group and perform the piece as a rondo with the poem and speech ostinati as the A section and each group’s unpitched percussion composition as an episode.

Day Three

• Students begin at mallet instruments and choose a pentatonic scale (do-based or any other pentatonic mode such as re– or la-based). Decide on whether to use the authentic range (tonic to tonic with 5th in the middle) or the plagal range (5th to 5th with tonic in the middle). This will depend on the scale chosen and which note is the tonic. Try to use a range comfortable for singing.
• Students play the scale up and down and end on the tonic to hear its characteristic sound. Teacher claps a series of simple 4-beat rhythmic patterns for students to explore playing on the bars. Ask them to use specific areas of the scale such as the tonic to the 5th or the 5th to the tonic. If using the do– or la-based scale, use re only as a passing tone or as an upper or lower neighbor.
• Students review the text to Good, Better, Best and play it lightly with alternating hands on the tonic pitch of the scale selected by the class.
• Working one phrase at a time, allow students to improvise and share individual ideas that lead to a class-composed melody for the entire text. Make note of the class’ final version so it can be notated later with notation software.
• Using primarily the tonic and 5th, ask students to work with a partner to improvise a 4-beat ostinato accompaniment pattern that can accompany the class melody. See examples in Music for Children Volume I, pages 82–83 and pages 86–87.
• Review both speech ostinati and transfer them to contrasting unpitched percussion parts (such as triangle and woodblock). Add these two parts to the texture of the final arrangement.
• Invite half of the class to perform the arrangement as created by the class while students in the other half find partners to perform the dance created earlier. To extend the form, the class can sing the melody once and then repeat it with the melody played on instruments only. Depending on the melody’s range, it could be played on recorder (do Pentatonic on G in the plagal range, is great for recorder).
• Notate the final class arrangement with notation software, and give each child a copy. A copy of each class’ arrangement can also be displayed for parents for open house.

Extension

• Using the previous arrangement as an A section in a rondo, students can use a rhythmic text, such as the one below, for improvised melodic solos. This text works well for melodic question and answer improvisation (8-beat question and 8-beat answer).

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