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.

Suggested age range: K-2

Objectives:

 The learner will….

• Identify a character’s feelings and thoughts by exploring the children’s book, “Harry’s Horrible Hair.”
• Using several different selections of repertoire, student’s will create their own movement which allows them to express their feelings and emotions
• Exploring the SEL Competencies, students will discuss how we can empathize with others
• Using a “Musical Question,” students will explore and create musical responses that demonstrate ways we can be respectful and helpful to others

Materials:

• Harry’s Horrible Hair, a book by Theresa Cocci
• Recordings of various “repertoire”
• Emoji visuals
• Whiteboard or chalkboard
• Harry’s Helpers Flashcards

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:

• Before the teacher reads the story, ask students to listen and look for words that describe how “Harry” is feeling and how they may change.
• After reading, ask, “When did Harry feel happy?” “When did he feel sad?” “When did he feel mad or worried?”
• Discuss with students their responses. Write their ideas on whiteboard or chalkboard.
• Play several excerpts of repertoire suggested below. I used “Spotify” for the selections of recordings.
• We played a freeze game. I played a section of the repertoire, while students moved around in their “personal space” or “poly spot,” then stopped the music. I took the emoji flashcards that I had made. (I used free clip art and selected various emojis and put them on cardstock).
• After the students freeze, the teacher holds up two emoji cards and asks, “How did that music make you feel?’’ “Hold up one finger for the first card or two fingers for the second card.”
• Continue playing the “freeze game” with selections of the repertoire below. Explore and discuss their body movements. Did they feel heavy, light, silly?

Piano Repertoire

“The Happy Farmer from Album for the Young, Op. 68 No. 10” by Robert Schuman (happy)  

“A Sad Story 30 Pieces for Children, Op. 27 #6” by Dimitry Kabalevsky (sad)

“Andantino” or also known as “Ivan Sings” by Aram Khachaturian (worried or sad)

Shenanigan’s Albums

“Muffin Man’s Jig/Circassian Circle” by the Shenanigans (silly)

                        “Frog Puddles/Ninepins Quadrille” (happy, silly)

“Nigun Atik” by the Shenanigan’s Bush Dances of New Holland (sad)

                        “Minoesjka” by the Shenanigan’s Children’s Dances of Terra del Zur, Vol.1 (sad to happy)

Classical Recordings

“Flight of the Bumblebee” by Rimsky-Korsakov (has that agitated feeling)

The next class:

• Teacher reviewed with students their responses from the last class about Harry’s different feelings in “Harry’s Horrible Hair.”  
• Using the SEL Emotional Core Competencies- Social Awareness/ Respecting Others as a guide, we explored:
• How we can be helpful to others?
• What are some things that others did in the story to help Harry and show respect and      love for him?
• These were some examples of responses:

                  A sweater was made for him.

                  Miss Maggie liked to comb his thin hair.

                 The old man gave him a hug

                 The elders petted him as he sat on their laps

• Teacher uses a musical question below and helps students create a rhythmic chant, using their responses.

          How can we help Harry who’s feeling so sad?

               Knit him a sweater.

               Comb his thin hair.

               Give him a hug and show that we care.

• Patsch rhythmic chant on legs, teaching one line at a time. Reinforce by repeating each line and adding a new one.
• Students added “visual clues” to help with memory of each line. We added body movements to show the clues.
• Examples were pretending to knit, combing, “hugging themselves and turning side to side.
• Teacher sets up a C pentatonic scale on the xylophone, removing the “F” and “B” bars. Teach the song by rote

• We took our ideas of helping others, wrote them on whiteboard again. We clapped out the rhythms and used stick notation underneath the words. I put them on a separate page below to print out, cut apart and laminate.
• Students worked in groups with their flashcards that were chosen by a leader from each group.
• We changed the words of the song to, “How can we help others who’re feeling so sad?”    
• The students worked on finding unpitched percussion or body percussion that could match their rhythms. These are just several examples:   
• Doing our chores (guiros, rubbing hands together)
• Helping our elders (rhythm sticks, tapping feet)
• Give a hug (bell tree, glockenspiels or tapping arms)  
• Create a rondo. Sing the musical question, “How can we help others who’re feeling so sad?”
• First group plays their phrase. Then class sings the “musical question” again.
• Second group plays, class sings “musical question.”
• Third group plays, class sings, “musical question.”
• Remind students of their performance etiquette. “Please be respectful while others are performing.”
• When finished, encourage each group to share what they liked about the other groups performance.
• Extension/Reflection:

As a class, we will continue to explore how we could use this song to help and respect others in our schools, family, and our community family. We brainstormed ideas about making cards for others, helping parents and grandparents with chores, sending thank you cards to our community workers, Firemen and Police.

Click here to download a pdf of this lesson

If you are interested in purchasing a copy of the book, please contact Theresa.

The post Lesson: Harry’s Horrible Hair first appeared on Teaching With Orff.

Elizabeth grew up in Japan and has only lived in the US for a few years so we decided to meet up for Dim Sum, which Caiya had never experienced. Elizabeth and I were the only white faces in the restaurant, and very little English was spoken. I LOVE experiences where I am out of my element. It forces growth and a window into another culture in a unique and interesting way. The food comes around in little bamboo steamers or plates which are rolled on carts. You point to the ones you want and they write on a card the quantity and item chosen. Then the next cart comes and point and choose again. The process continues and you end up with lots of little steamers and plates on your table. My favorite were the cute piggy dumplings (shaped like pigs) and filled with a sweet potato filling. I also love Shu Mai and Sticky Rice which has dried shrimp and veggies along with the rice and are wrapped in leaves. YUM!  

Many thanks to my friend Marcia B for her inspiration! 

Hope you enjoy Dim Sum For Everyone and if you get a chance to enjoy Dim Sum, eat up! 

For the full Google slide, click on the link and make a copy Dim Sum For Everyone

The post Lesson: Dim Sum for Everyone first appeared on Teaching With Orff.

The board members of ACEMM are hoping to spread a little bit of love out there to all of our friends far and wide through the beautiful book, “While We Can’t Hug,” by Eoin McLaughlin.

While We Can’t Hug

Lesson idea by Crystal Pridmore

I found this beautiful book sitting in the window of my favorite independent bookstore, the Napa Bookmine, over winter break.  The title immediately caught my eye, and I was overcome with emotion as I flipped through the pages. I teach in Southern California, and I have been teaching virtually since our schools suddenly shut down in March 2020. I often tell the students that one of the things I miss the most about in person music class is getting to greet each of them at the door with a high five, a hug, or a silly dance. We have come up with an entire nonverbal language over the course of this school year to communicate over our virtual classroom. As we continue virtual learning indefinitely and slowly reopen into a hybrid classroom, hugs and high fives will be off the table for the foreseeable future. What a blessing it was to read this book that helps children understand that there are many ways to show someone that you love them, even if you can’t hug.

I imagine that this book will find a place in families for many years. There are many health or distance related challenges that might prevent a family or friend from hugging. Friends move away and family members become medically fragile through illnesses and treatments. This book is an important tool for anyone who needs to help their child navigate expressing affection when touch is unavailable.

Read the Book and Introduce the Song

Begin by asking the students how playing on the playground, visiting some family members, or attending school is now than it was last year. Ask if any of them have thought of creative ways to show someone that they love them without touching them. Say that the book we are about to read is all about two best friends who want to give each other a great big hug, but they are not allowed to right now. Instead, they use their imaginations to come up with the many ways they can show each other that they love them without touching.

Introduce the song:

You can get an ostinato effect on your ukulele by simply picking the top two strings in a C-G pattern.  Sing the song through once and ask the students to listen. Read the story and sing the song after every page. Invite the children to join you after the third listening.

Rhythm Word Chains

Ask the students to come up with their favorite way tortoise and hedgehog showed each other they loved each other in the book, OR come up with their own!  Write everyone’s ideas down on a white board in person or digitally. Next, ask students to turn those ideas into rhythms.  Here are some ideas to consider, you students will come up with a lot of ideas, yours there, and mix in some of these if you need some variety.

For older students make longer phrases and create a speech piece with one and two measure speech loops. It can be a lot of fun to add body percussion to these as you build them. The textures get very rich!

Invite students to work with a partner to string two or four different rhythms together to create a rhythmic ostinato. They can use body percussion or unpitched percussion to chant their ostinatos while the rest of the class sings the song again. If teaching virtually, the teacher can sing the song for the A section and invite each student to clap and say their ostinato one at a time in between.

Concrete to Abstract Movement

Lesson connection idea by Casey Goryeb

Inspired by Kris Olson’s Workshop at the AOSA Virtual Symposium 2020

Question for students: What is a hug?

Allow for students to respond with any words that they think of for hugs.

Demonstrate what a hug looks like by hugging yourself or a stuffed animal.

Pose questions: what would it look like to hug someone shorter than you? Taller? Two people at the same time? A dog? A cat? A baby? A room full of people you love? How does a Koala hug? How do you hug with just one hand? Can you hug someone without using your arms? Etc.

Ask students to imagine the sensation of hugging even if they can’t in real life.

Allow students to explore these different movements in their space and describe the physical and emotional sensations of a hug.

This could be its own C section with some additional music underneath or be incorporated into the A section; the teacher sings while students move.

Creative Movement Extension

Lesson connection idea by Drue Bullington

Here is a fun creative movement extension that reinforces the use of concrete and abstract movements.

The video features “The Entertainer” by Scott Joplin (from a player piano roll that he actually “recorded” himself! How fascinating!), and ideas from the book “While We Can’t Hug.”

1. First watch, listen, and move to the video.
   
2. Then, during certain parts the teacher chooses, take away the video images but allow the music to keep going, and let the students create their own movements without being prompted.
   
3. In the third hearing, use no video, just the music, in-person students can choose someone across the room to “work with” in sharing greetings and interacting, sometimes mirroring, and sometimes leading.
   
4. Virtual students can focus on others and mirror their movements at times, and at others make up their own.
   
5. Consider putting the music on again and just showing the pictures of the book and have the students dance the story.
   
6. What other music could you use to dance the story?
   
7. Could you try telling the story with unpitched percussion and movement?
   
8. What if you used the video and have the students play unpitched percussion! For instance, only shakers move and play when the smile section occurs!
   
9. What do your students think should happen next!? Try some of their ideas!

Rhythmic Building Brick / Contactless Gesture Extension

Lesson connection idea by David Thaxton

Google Slides Presentation Here

While We Can’t Hug / Contactless Greeting Jam

This is an extension to the While We Can’t Hug book and lesson plan that can be explored across many different grade levels with possibilities for speech, movement and electronic instrumental ostinati.

Preparation

Preparation can be as simple as a reading and short discussion of the book, but may include the song and other activities.

Discuss alternatives to physical greetings like handshakes, hugs, and high fives.

The Moves

With a rhythmic background playing (see below) echo speak each greeting on the slides. Some brief explanation may arise for some gestures such as:

•  “Pageant Wave” (elbow-elbow-wrist-wrist-wrist)
  
•  “Royal Wave” (Palm towards face, small circular motion)
• 
  “Snappy Salute” (Faster than normal, and may include whip-like sound effects)
• 
  “English Salute” (Arm arcs up with palm out)

Make a sequence of these ideas.

Make an Example

• Using the final slide, choose a four-gesture sequence. (Like Air five, Hee Haw, Hang Loose, W00T)

• Practice performing as a sequence.

Small Group Work

• In small groups, partners, table groups or breakout room groups, students decide on a contactless greeting sequence of four gestures.
  
• Practice sequence gestures and speaking the gesture names

Modifications

• Younger grades may do better by choosing one slide to create sequence from
  
• If classes struggle with the sequence of two-beat patterns, you may extend it by adding two beats of rest after ach one
  
• Older grades may use the slides containing all the gestures
  
• Digital learners may open the slides and drag and drop gestures into the purple boxes
  
• Further examples may be made by creating a whole-class sequence, dragging and dropping gestures into the boxes as decided on by students

Movement Refinement   

Groups may further modify sequences with additional movement and form

• Split between individuals
  
• Perform in pairs
  
• Use different levels
  
• Perform in canon

Perform

• With background music accompaniment, groups may share their sequence individually, or concurrently as a whole class.
  
• Distance learners may access the looping software and perform and share with software such as Flipgrid, Google Classroom or others.

Accompaniment

The music that might typically accompany such an activity may not be accessible with restrictions on barred instruments, non-pitched percussion, world drums and such. Fortunately, there are electronic options that can be accessed both for in-person and digital learning models.

A MIDI Grid Controller, such as Novation’s LaunchPad Mini gives opportunities to create loop-based accompaniments with programs such as Logic Pro (Mac), Ableton Live, or web-based midi loops.

• Logic Pro: This Mac based program includes a “Live Loops” feature that can use preset or user-created loops from GarageBand or Logic Pro. I have created a series of GarageBand files that contain recordings of different Orff mallet percussion and Non-pitched percussion. These can be imported into Logic Pro and used to spontaneously create ostinato-based accompaniments.

• Ableton Live: Similar to Logic Pro, Ableton is available to both Mac and PC users, and can be used with pre-recorded loops, or you can record your own.

Web Based Loops: Novation offers a sample array of looping choices that can be immediately controlled with the LaunchPad, but can also be controlled without one, directly on your browser from their Intro Website.

• Another Fun app to pair with this exercise is Incredibox. Loops can be arranged by dragging different wardrobe options to the animated performers. *(At first, the shirtless male characters may seem shocking. With my own students, we addressed it by comparing it to seeing men and boys shirtless on the beach or at the pool. Very quickly the shirtlessness goes unnoticed as students are drawn in by the engaging nature of the loops they can create. It is best to know your students. Be mindful of how they might react and anticipate the appropriateness for yourself as well as have  a strategy for getting them past any weirdness they may have about it.)

These loop accompaniments can create captivating and groovy additions to the gesture performances. Playback can be for the whole group, or with individuals (especially distance learners) using their own access to the software/website.

Hopefully, your students will have an engaging experience working with the musical elements and connection with each other in this activity.

We at ACEMM are so happy to have the opportunity to share these ideas with you! We hope you find ways to connect with your students in these challenging times and promote kindness in your classrooms and schools as much as possible. After all, in making music together aren’t we so fortunate to be a part of the great kindness challenge that never ends!?

From all of us at ACEMM, we hope you stay safe, stay healthy, and keep the music alive in the hearts and bodies of our favorite musicians: you and your students!

We create opportunities, YOU make the difference!

Drue Bullington, President
Crystal Pridmore, Vice President
Lissa Ray, Secretary
David Thaxton, Treasurer
Kate Bright, Director
Casey Goryeb, Director
Lisa Sempsey, Director
Natasha Thurmon, Director

To continue discovering the possibilities of elemental music and movement, we invite you to join us on Facebook, Instagram, and Twitter!

Click here to download a pdf of this post.

The post Lesson Ideas: Kindness is Elemental first appeared on Teaching With Orff.

Henry the Hungry Hound

My intent in presenting my recently released children’s book, “Henry the Hungry Hound” was the idea of pairing the message of kindness and creating interactive musical experiences for the students.  As an Artist in Residence for two weeks meeting with each Kindergarten, First, and Second Grade class, lessons were formed that would reinforce the objectives below.

• Identify cued words in a story
• Perform those “special” words on instruments with others
• To identify kindness words and synonyms for kindness
• Create a rhythmic pattern with these words
• Play the created rhythmic patterns using UPP or body percussion
• Play pitched and unpitched percussion instruments which create sound effects to accompany the story

Synopsis for Henry the Hungry Hound

Discover how a kind old woman, whose love for baking and giving away her delicious pies, suddenly discovers that her plans may change.  Could it be her mischievous but lovable pup named Henry silently waits to devour those pies?  A final twist on the last pages reveals a silent partner, that encourages the young child to use their imagination and question Henry’s guilt.

Materials

• Henry the Hungry Hound story book
• Rhythm Chart
• Sound Bank Cards
• Recording device

Suggested Activities

• During the fist class with the Kindergarten, 1^st and 2^nd grades, while reading the book to the class, the students interacted by experimenting with voice inflections on the words, “Crash” and “Boom”, creating a fun sound effect for Henry the Hound’s destruction of the old woman’s delicious pies.
• Teaching the song, “Naughty Henry”, as an echo song, we added the “Crash, Boom” sound at the end of the first phrase.
• After the story was read, we discussed the kindness of the old woman and her problem-solving ideas
• The student’s ideas were written on the board and underlined words that related to kindness, such as caring, love, and giving for example
• We concluded with a kindness song below, clapping and tapping each letter of the word at the end of the song:

Let’s Be Kind in All We Do
(Tune: Oats, Peas, Beans)
Let’s Be Kind in All We Do
Give and Share the Whole Year Through
For every person big or small
We will help them one and all

(Some Kindness words we used)
Echo Clap: C-A-R-E,   L-O-V-E,  G-I-V-E

• The next class, working with just the second grade, we reviewed the story and discussed some of the kindness words we had used previously. On the smart board, I displayed a rhythm chart.
• Students chose a kindness word and put a letter in each column of the grid
• Students created a body percussion sound for each letter of that word.
  eg) Clap: H-E-L-P

• We discussed how we could display a five-letter word in our grid.
  eg) Tap: S-M-IL-E

• Students wrote a rhythmic icon for each letter:
• We also discussed the use of a quarter rest which created different patterns.
• Here is a sample of the students’ creations below.

• Once the grid was filled with our kindness words, we then checked their creations by clapping and tapping through each pattern several times.
• The class then chose a sound bank card, which I had purchased on TPT. Each sound bank card was displayed next to the rhythmic pattern.  (See above chart)
• We then recorded the “Let’s Be Kind” Song and chanted their rhythmic kindness creations at the end of the song.
• A recording was sent to each teacher to be used in the classroom as a kindness anthem for the class.

Henry the Hungry Hound Sound Story

Materials

Materials that we used to create the sound story were pitched and unpitched percussion instruments and the “Henry the Hungry Hound” storybook, recording device

Suggested Activities

Working with the Kindergarten and First Grade, we completed the activities below on the second visit

• Reread the story aloud to the students
• Discussed the sounds that were generated in the last class on the words, “Crash and Boom”.
• Introduced some additional cue words below:

Pies: (glissando from low to high on Soprano Xylophone)

Big ones and small ones: Soprano Xylophone and Soprano Glockenspiel

Rocking Chair:  Guiro

Boom, Crash: Drum, cymbals

“Oh Henry, he’s eaten all my pies” – sung by all the students

Loved: Bell Tree

• Each student was assigned a percussion instrument and sat with their group.
• Students practiced their “cue” word sounds while watching the teacher for a “start” and “stop” hand signal.
• Teacher read the story again with the percussion instruments added on their “cue” words.
• For a big finish, all the students played simultaneously and ended with the teacher saying the words, “The End”. All playing stopped.
• A recording was sent to each teacher along with a book.

Reflections

Working with the music teacher during the two visits at the school, he was able to offer advice about each classes personality and how well they worked together.  My preference of doing the activities as a “class” project worked better.  At the end of class, each student who showed cooperation and respect were given a “Henry” card, (approved by the Principal), and added it to their bag of incentive cards that their teacher had given them in the past.  Here is a sample of the cards students received:

When I presented my lessons with my own classes, knowing their capabilities and how they worked together, we divided into groups for the Kindness Activity in the second grade.  Performing their creations for the class, while respecting each other’s ideas, is a goal the we strived together to build as a team.

My hope that the message of kindness, which I so often see displayed in the halls of the schools, hopefully had been instilled through the activities of building upon the concept of teamwork during my visits.

The post Lesson: Henry the Hungry Hound first appeared on Teaching With Orff.

Materials

• Visuals of rhythm cards 1 and 2 and visuals 1 and 2 (colored square images).
• Visuals of Mondrian’s art works, Broadway Boogie-Woogie, Victory Boogie-Woogie and Composition A.
• White and black construction paper
• Red, yellow, and blue construction paper, scissors, and glue
• Red, yellow, and blue markers, crayons, or colored pencils.

The Art

• After reading book with students, show rhythm card 1 visual.
  
• Ask students to identify quarter notes and eighth notes. Ask students how the notes are arranged; help them discover that the pattern is the same forwards and backwards.
• Define symmetry.
• Show next rhythm card 2. Ask if this rhythm is also symmetrical (no).
  
• Define asymmetry and show other images and examples.
• Show visuals of Piet Mondrian’s work, Broadway Boogie-Woogie, Victory Boogie-Woogie and Composition A. Allow students time to discuss.
• Mondrian was inspired by rhythm and music, especially jazz. Show Visual 1.
• Ask students to determine if image is symmetrical or asymmetrical. How many rectangles are in the top row?
• Add colors and notation and show Visual 2.

The Music

• Have students speak the colors of the top row aloud (blue, red, blue, white) while teacher plays steady beat on drum.
• Repeat, asking students to think the word “white.”
• Speak the second row of colored squares. Think the word “white.”
• In three groups, have the students play as follows.
  • Group One – Play metal percussion instruments on yellow.
  • Group Two – Play drums on blue.
  • Group Three – Play wooden percussion instruments on red.
• Practice playing the first example again (without words or rhythm).
• Play top row of rectangles, second row, etc., then play two rows, and finally play all four rows.
• Groups trade instruments (metals go to skins, drums to woods, woods to metal); perform again, etc.

The Art Reprise

• While listening to jazz selections, groups will create a similar piece of artwork using red, yellow, blue, and white squares with black lines.
• Using white construction paper as background, cut black construction paper to use as lines.
• Use construction paper, markers, crayons, or colored pencils to create color blocks.
• Have each group decide on instrument timbres for different colors.
• Practice and perform.

Extension

• Have each group add movements for each color as they play instruments.
• Have students create a form including an introduction and coda.
• Practice and perform.

This lesson has been reproduced with permission and is an excerpt from Aimee’s book Painted Music. Copyright 2018 by Beatin’ Path Publications.

Download a pdf of Aimee’s lesson here.

The post Lesson: Coppernickel Goes Mondrian first appeared on Teaching With Orff.

All Are Welcome Here

by Daniel Hershman-Rossi

Form Analysis: 

MFC I p. 91 #5

aaba

adapted version

aaaab

Materials

Book: Penfold, Alexandra, and Suzanne Kaufman. All Are Welcome. Knopf Books for Young Readers, 2018.

Teaching Notes

• I would present this over several of the first few lessons of the school year. It would be applicable to my 2nd and 3rd graders. Kindergarten and 1st graders would also enjoy the book and the song (although the instrument part would be left out this early in the year, and the movement activity may be adapted)
• This lesson goes with a beautiful book about inclusivity at school called “All Are Welcome” by Penfold and Kaufman. I have scanned it to a Google Slides file so it can be easily shown on my Smart Board from anywhere in the room.

Teaching Process

• Begin with movement: present the song “Good Morning” from Cameroon (see Beth’s Music Notes for music).
  • Sing song with accompaniment on guitar or piano. Ask: what are some ways we could greet each other? 
  • Move around room while listening to song. Each time students hear “good morning” give a greeting to a friend (class decides). Choose actions for “so happy to see you” and “how do you do?”
  • Sing song several times, encouraging students to greet various members of the class while moving.
• Show book. Display cover and pictures without reading it. Ask students: what do you predict this book will be about? (meeting new people, going to school, the first day of school, where you are from, etc)
• Present book, singing text to adapated melody. Note that the melody is adapted from Music For Children Volume 1. p. 91 #5. The rhythm is included below. For copyright reasons, the entire melody cannot be presented. Note that measures 5 and 6 in the original are changed slightly and included in this adaptation as an interlude or possible coda.
• Invite students to join on “all are welcome here”
• Discuss: what is the message of this book? What is the meaning? What are some ideas from this book that we can apply to our lives at home and school?
• Go to barred instruments set up in do based pentatonic on C. Allow students to find the pitches for “all are welcome here” (EE DD C).
• Present book again, teacher singing the first part of the text and students singing and playing “all are welcome here”.
• Extension ideas for later in the process:
  • add interlude – what does it represent? (a school bell, a friend calling to you, something else?)
  • students choose how to include the interlude – body percussion, unpitched percussion, etc.
  • present the final product to new Kindergarten and PK students as an in-class performance in September. 

Click here to download a pdf of this lesson plan

The post Lesson: All Are Welcome Here first appeared on Teaching With Orff.

The Squiggle by Carole Lexa Schaefer (ISBN-10: 9780517885796) is a charming little book about a child who finds “a squiggle” (string?) on the ground as she and her class are walking in a “bunched up, slow, tight, straight line.” As children do, she gets off track, picks up “The Squiggle”, and proceeds to use her imagination to create all sorts of wonderful items, such as a Dragon, the Great Wall of China, and other works of art….all with a piece of string.

When first glancing through the illustrations of “The Squiggle”, one who has an Orff Schulwerk background might instantly think about pathways. However, there are other means to incorporate this story to meet objectives for the kindergarten/first grade classes that also involve vocalization and inventive statue activities.

Kindergarten/First Grade Objectives

1. Vocalization/head voice

2. Pathways

3. Creative Movement with partners/groups in statues

4. Demonstrating musical opposites/elements with movement

Read the story to the students, and then pick one or all of the following activities:

Vocalization

Display the attached PowerPoint. For each slide that says “Use Your Voice”, trace the design with your finger and ask the students to follow it with their voices.

Questions for higher level thinking:

* Where do you think your voice will be in your head voice?

* Does it start high or low?

* Where is the highest your voice will be?

* The lowest?

Your own Squiggle!

Divide the students into pairs. (For this, I usually give half the students Mardi Gras bead strands and ask them to find a non-beaded friend or I use partner cards.) Each student will get a red strand of yarn that is their “squiggle”. Students will take turns: one as the person who forms his/her “squiggle” into a pattern. This first student will serve as conductor and trace the path of the squiggle. The second partner will vocalize the path. The students switch and take several turns. You may choose to use an instrument signal to help them determine when to switch turns. 

Pathways 

Using the Power Point slides that say “Now draw the path with your feet.” Tell the students to pretend they have paint on their feet. Their job is to use their feet to leave paint prints in the design that is shown on the board.

• Select a recording that is either made for freeze dancing or one you can pause. (Eric Chappelle’s various “Potpourri” arrangements in his Music for Creative Movement CDs are great for this). Once they hear music, the students should move in the pathway design of the first slide shown. When the music stops, they freeze. Advance to the next slide. When the music starts, the students make a pathway using the next design, etc.

Here is an example of my students doing pathways from the lesson.

Squiggle movement

Recording: “Forrest Gump Suite”, Alan Silvestri. From the “Forrest Gump” soundtrack by Epic.

The students will stay with their partners to create statues of the items/objects mentioned in the story. The students should be directed to consider the following:

* They must join together to create their statue, but they can also join another group.

*  They need to show any opposite changes in the music (high/low, fast/slow, loud/soft)

*  They need to follow your normal classroom movement safety rules.

* Point out various movement terms/Laban action words you use in class.

(Locomotor/nonlocomotor, levels, implied, etc.) You might want to display action words on your Smartboard. I have action words hanging up in my room.

Begin the recording and call out an item that was represented in the story. Allow plenty of time for each group to make creations before moving on to the next one.

Here is a video example of my students making their creations.

Although I have not utilized this book for my older students, there are instrumental possibilities to be had here by using barred and unpitched percussion to represent the various items from the young lady’s imagination. Another idea is to use listening/movement examples to represent these items. I have a playlist on Spotify of recordings I have collected for a future movement project for older students.

The book is charming. My students enjoyed it and the activities a great deal. If I had to select their favorite activity, it would actually be using the yarn. Maybe because they got to take their own Squiggle home?

The post Children’s Literature Lesson: The Squiggle first appeared on Teaching With Orff.

Orff Schulwerk and New Beginnings

This lesson will use a process in which important nouns, verbs, and descriptive language are chosen and used as a springboard for individual and group creativity. A canon will serve as a unifying piece of music and a music literacy component will take shape as this piece of music comes to life slowly through solfege.

We will explore components of folk dance through the New England Dancing Masters version of “Sweets of May,” found in Chimes of Dunkirk (an invaluable resource) and use these figures to create our own adaptation of this folk dance. We’ll go one step further and create a new elemental composition of instrumental music to be played on Orff Instruments which includes ideas generated from exploring the the magical poetry of the children’s book. The final product will even include exploratory improvisations!

The power of Orff Schulwerk comes from unlocking the potential for creativity and awakening the endless possibilities of Music by Children!

Please click here to download a pdf of the lesson, which details Drue’s process and includes links to his Google slide presentation and printable cards.

The post Colors Springing, Voices Ringing first appeared on Teaching With Orff.

One of my favorite parts of Orff workshops and trainings is when clinicians share ways to use children’s literature in a lesson or as the basis for a performance. When I began attending workshops and conference sessions I was amazed at the creative, innovative and musical ways in which the presenters used literature in their lessons. I took lots of detailed notes and eagerly recreated the ideas with my students. I had no idea how they were able to see a story in text and end up with beautiful lessons and performance ready products. Over many years, as I taught more and more lessons using other people’s ideas I started having my own. Now I feel pretty confident choosing a book and working with my students to create an exciting final product. Here is how I “Make it Work.”

When choosing a book for a performance product, it is important that I choose a book I love. If I love it, the kids probably will too as my passion for the story will come through. Most of us see our students about once each week. That means we will be working with the story for at least a portion of each lesson for about eight weeks. If I do not care for the story when I begin, by the end of eight weeks I probably won’t like it any better. I find myself purchasing books that I find intriguing and keeping them on my shelf while I gather ideas or wait for the perfect time use it with my kids.

Next I look for inspiration. If I have a template in my collection of workshop and conference notes, I go there first. Even if I am working with students who are younger or older than the targeted grade in the example, I can glean ideas about where to add music, movement or unpitched percussion. While a song, instrumental selection, or arrangement may not be appropriate for my students – looking at someone else’s ideas sends me on a path to finding something that will work for us.

Once an intriguing book is on my shelf, I look for other ideas and lessons that may contribute to the theme. I keep a file on my laptop or tuck a copy of workshop notes and songs or ideas into the book. When I decided to use the text as inspiration, I have a pile of ideas to choose from. Last year I rediscovered a favorite book that has a tree as one of the main characters. My local Orff chapter hosted a clinician who presented an entire Saturday workshop with a tree theme, and then someone else shared a lesson on a music educator Facebook page that used the same book. It seemed like a good time to use the story with my students, so my theme for spring is trees!

Now I will read the book many times with my handy pack of post-it notes nearby. I read the story four or five times over the course of many days and brainstorm ideas, write them on post it notes and stick them on the page in the book. In the end I usually use about half of the ideas. I include the suggestions I may have borrowed from other sources, my own modifications and eureka moments. Then I edit and prioritize the ideas so I can structure my planning by beginning with the most important elements necessary to tell the story well.  I plan to add on the “color parts” that make the telling more interesting as time allows. I generally choose an opening song or dance (folk dance or student-generated creative movement) and a closing song to wrap up the story at the end.  When working with older students we have even composed our own “opening song” to set the tone of the book.

I have found the most success when I leave a lot of room for the children to choose and create large portions of the telling. They decide on the appropriate timbres for unpitched percussion and compose ostinatos to create “traveling” or “transition” music. We change the words or modify folk tunes to create complimentary songs to enhance the telling of the story. Sometimes we perform selections from the Music for Children volumes and the children arrange the pieces to suit our needs. The students work in groups to write the script, generate creative movement, and plan for costumes and scenery.

Often, the children have better ideas than I do. I share a story and a framework and let the students take the lead within a structure that I set for them. We have a few clear understandings before we begin working. We will all have an important part in the product were we will be successful. The role you perform may not be your first choice because we work together as a team to complete the story. Lastly, I have the final say in when we need to stop adding new ideas. With these understandings in place, the children take ownership of the project and are excited about their individual role and the final product. If you are uncomfortable with structuring so much choice all at once, start with one or two areas where the students make decisions. Choosing unpitched percussion is an easy place to start. When you are feeling more confident, add more student decisions in the next story.

When using folktales and culturally based stories, do some research before you commit to using the book. Make sure the story is culturally sensitive and appropriate for your school. Research regional dance, music and dress to accurately represent the culture as best as you can. Everyone understands the budget for most school music programs is slim to none, and we can make our best effort to be sure the costumes, scenery, dance and music is appropriate to the featured culture.

I have shared the process I use to transform a story or picture book into a performance-ready product with my students. Please share your ideas in the comments, as well as some of your favorite stories and books to use with your students in music class, so we can help each other to “Make it Work.”

Looking for lesson ideas inspired by children’s books? Check out these previous posts on Teaching With Orff:

• Leaf Children by Marjie VanGunten
• The Day the Crayons Quit by Justin Caithaml

The post Making It Work: Children’s Literature first appeared on Teaching With Orff.