Robert Amchin - Teaching With Orff https://teachingwithorff.com An Online Oasis for Movement & Music Educators Wed, 12 Apr 2023 14:51:06 +0000 en-US hourly 1 https://wordpress.org/?v=6.6.2 https://teachingwithorff.com/wp-content/uploads/2021/01/cropped-Teaching-With-Orff-logo-BWR-4-32x32.png Robert Amchin - Teaching With Orff https://teachingwithorff.com 32 32 First Hoop and Drum Lesson https://teachingwithorff.com/first-hoop-and-drum-lesson/ https://teachingwithorff.com/first-hoop-and-drum-lesson/#comments Wed, 12 Apr 2023 14:51:04 +0000 https://teachingwithorff.com/?p=6245 Rob Amchin shares an excellent lesson for this time of year! Get squirrely children up and moving in personal space. Is there testing going on? Is it just, plain beautiful outside? Take some hoops ad a drum to the grass and have a blast!

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Notes

This is part of a series of lessons using hula hoops as a prop, for movement, drumming, improvisation and building teamwork. There activities focus on phrases, rhythmic perception, and listening skills. The rhythm is adapted from the Rhythmische Ubung by Keetman, number 20.

Process

Game 1—Phrases

  • Everyone has a hula hoop to stand in.
  • Stand inside your hula hoop (that is “home)
  • Listen to the drum pattern (played on Tubano).
  • When the drum plays you are invited to walk around your hoop.
  • When the rhythm is over, step back into your hoop.
  • Try again and find the ending of the patterns as a signal to step into the hoop.
  • Can you step into the hoop at that last strike?
  • The rhythm is repeated (played twice). Listen to the rhythm again. It is twice as long.
  • Can you anticipate the end of the longer pattern to step into your hoop? Is it easier or
  • harder to do?
  • At the repeat, there will be a 4-tap signal (accented) indicating the repetition of the
  • pattern.
  • Walk away from the drum and when you hear that signal, start returning to your hoop.
  • Find a pathway away from your hoop. Where will you go and how will you find you
  • way back “home.”
  • This time, find a new hoop to return to (like going to Orlando and starting in one theme
  • park, but then moving to a new one!).
  • Clap on those 4-tap signal to return to the hoops.
  • Invite a student to play the drum emphasizing the 4-tap signal. The rhythm might change
  • a bit.
  • Walk to the steady beat to and from the hoops.

Game 2—Listening/Cooperation

  • Listen again to the rhythm (Rhythmische Ubung #20)
  • After the rhythm is played, you will hear a signal for how many feet should step in a
  • hoop.
  • Rhythm….signal…go to a hoop
  • How will you solve the problem of three feet in a circle?
  • How will you solve the problem of 5 or more feet in the hoop? (The group in the video
  • only had 6 class members).
  • Cooperate with the others in the group to find a solution to this challenge.
  • A student leads the rhythm
  • A new student plays a tambourine to decide “how many feet” go into a hoop
  • Add other instruments to accompany the basic rhythm (for instance, a guiro or
  • woodblock).

Discussion/Extensions

  • Other pieces from the Orff Schulwerk, the Rhythmische Ubung could be used for this
  • activity.
  • With a larger group, a recorder might improvise a melody to accompany the rhythm.
  • Though not ideal, a recording could play and stop (at a phrase) and then have the teacher
  • or a student could signal how many feet should step in a hoop.
  • The rhythm could be played as an improvised or composed melody.
  • The class could create their own rhythm for this activity (or beat box a rhythm). This
  • could be created with speech or rhythmic building blocks.
  • A hand drum might lead this activity rather than a tubano.
  • Rather than clapping on the 4 sounds, the group could play their drums (the group
  • eventually did this).
  • Walking around the room could include keeping a beat on the drums or choreographing a
  • dance as the class walks with the drum.
  • The original rhythm could be explored on temple blocks or with the sound gestures
  • suggested by Keetman (right and left laps).

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Making It Work: Orff Level III https://teachingwithorff.com/making-it-work-orff-level-iii/ https://teachingwithorff.com/making-it-work-orff-level-iii/#respond Wed, 06 Mar 2019 22:25:18 +0000 https://teachingwithorff.com/?p=3290 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…

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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.

Amchin workshop

Photo credit: Robert Amchin

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