Did you miss Skin and Bones Part 1? Click here!

In part two of his post using the folk song “Skin and Bones”, Drue Bullington shares how to use this favorite folk song with upper elementary students to continue the fun through 6th grade!  

4th Grade 

Level I 

In 4th Grade we return to the beginning of “Skin and Bones” in a way. The first experiences with the song from the young musicians’ standpoint was to sing the “Song of the Wind.” In 4th grade, we change the way students experience the melody by asking them to play it on a glockenspiel.  

Ask students to sing the song of the wind first from the Body Scale: 

Connect both hands on the top of the head for mi, shoulders for re, both hands at the belly button for do and both hands on the tops of the thighs for la,. You might also choose to go right to note names at this point as well.  

Next transfer this to the pitch stack visually and have students read if from there; first the students will be echoing the teacher as they point, and then reading and pointing on their own in the context of the song.  

Then, add the challenge of the melodic contour, ask students to point in the air at each pitch with alternating hands as they read and sing the syllables. 

Next, transferring this visually onto an image of an instrument will help students successfully transition to playing the melody on actual instruments.  

Give students “Fake Mallets.” Pretend to throw a huge handful of mallets out over the class and have them “catch some fake mallets.” Then the teacher with actual mallets should play and sing the melody syllables on the projected (or even a chalkboard or marker board image) of this visual above. Have the students echo this pattern and play in the air with their “fake mallets.”

The next step is a student favorite, “The opposite game.” The teacher sings and plays the syllables, and the students have to sing back the letter “note name” that corresponds to that syllable. In this case, the teacher sings and plays, “mi, re, do, la,” and then the students sing and play back “B, A, G, E.” Next show the students the actually notation. Ask them to play the opposite game with the notation first with the syllables written for them.   

And then read the note names without the syllables written.    

When this is something students do with ease, they are ready to increase their challenge level to playing instruments! 

Level 2 

This melody sounds fantastic when played on alto glockenspiels and the color part at the end of the melody is played on a soprano glockenspiels. In a space in the room, consider setting up the glockenspiel area. Soprano metallophones will also work as they play in the same range as the alto glockenspiel. Consider this: to keep the sound from being too overwhelmed by the metallophones, have students playing those instruments use “stick ends” of mallets.” This will give you more instruments for playing without the reverberating blast of metallic sound. Students, when allowed to explore this option, usually prefer it more for its mysterious sound. Use the alto glocks and soprano metallophones for the “Song of the Wind,” melody, and the soprano glockenspiels for the color part at the end of the phrase— “play with the breath.” Add all of the singing of the song story, the instruments and actor roles back into the game from above. Switch roles with the same “eyes closed” approach as in earlier grades and the game becomes enriched musically and more vibrant in the sound landscape it now creates.  

Level 3 

Create groups of four students. Each person in this group will have one of these roles, 1. Melody player for “Song of the Wind” on the alto glock, 2. Color part player on a soprano glock, 3. Bone rattler (use few rhythm sticks in copier paper box lid) 4. Graveyard movement character (trees, black cats, mouse, owl, etc.). As the games are played this small group will rotate through each station several times, and the main characters of the game will still be chosen by “closed eyes, not talking” role switching. To help make this clear here is a visual of what is going on in the room.   

5th Grade 

Level I 

We begin in fifth grade with the same approach as was taken in 4th grade. We will be transferring the “Song of the Wind” one more time from barred instruments to soprano recorders. The approach is very similar, but this time we can begin with the notation as it was something very familiar to them by the end of their 4th grade experiences. If this is not the case, you’d have to circle back and bring them up to speed with the body scale, pitch stack syllable → note name transfer that is outlined above.  

Have the students echo sing this pattern while they are reading it.  

Next ask them to play the opposite game, teacher sings the syllables and students sing the note names. If this is weak, circle back and sing the note names for them and have them echo.  

Next, assuming there is some basic facility with recorder playing at this point, ask the students to play the rhythm of this melody all on a “B.” Teacher plays, students echo. Do this again for A, G and E.  

Next, the teacher plays the whole pattern and students echo. Often students will hear the “Hot Cross Buns” pattern in there. Many times they have ended up singing, “Hot Cross Buns, BURNED!” This is pretty easy to hear as the low la, gives it a minor tonal center. At any rate, when the students can play this, Add this element into the game. Since it is important that all the students have a lot of practice playing this pattern smoothly, this is the only special thing happening and the recorder players are all spread out around the room and the only time they aren’t playing this pattern is when they are in a special character role. They sing the words of the story and play the “song of the wind” melody on recorders. This really reinforces slow, easy breath for the recorder, and gives a lot of technique practice.   

Level 2 

Bringing the challenge level up, we ask the students to learn to play the melody on the recorder for the whole song. This is overwhelming if they are asked to “read the music” like they would have to were they in a band. Here we make it very simple. Since they know the “Song of the Wind” pattern so well, it is memorized. Now we simply ask them to sort out the notes for one phrase at a time in which the melody contour stays the same, but the rhythm changes. First we learn the melody contour.  

Once students can apply this to their body scale in echo format, they can play the opposite game.  

Once they can play the opposite game with barred instruments, they can play the same game with notation. 

Finally, once they can play the opposite game, (sing the note names after the teacher sings the syllables) they can read the notation without any help. 

Next transfer this to the recorder, the teacher can play it first and the students can echo it. (This will help the auditory learners in your classes who will want to hear it and then recreate the sound themselves which will then map the visual learning in their brain for them at the end of the process.) 

Next, the students can work out how to play the rhythm of each phrase based on the text and the actual notation.  

*Pit Fall Alert!* This next one is tricky! The students have promise to NEVER blow into their recorder on the “Boo!” or else your ears will never forgive you. Everyone must swear a solemn vow to remove their recorders and point to the “Cupboard Monster” area when they appear. If anyone plays the shrieking horrible sound that you can imagine will ensue, the consequence must be swift, severe and unwavering– most importantly it must be discussed ahead of time. No warnings are given!! This can result in irreparable hearing damage! If this occurs, a missed recess to read about how hearing damage works could be a consequence, or being banned from ever playing the game again, or something equally robust. 

Here is a link to a printable 8.5 x 14” melody cards for these patterns. Using these cards, have students work in pairs, one partner will play the pattern, and the second will evaluate their playing and change the cards for each phrase (they are numbered, so the students will be able to keep them in order easily). Switch.  

Level 3 

Create groups of 4 for playing the song. Rotate through several times! 

6th Grade 

Level 1 

In sixth grade, students are happy to take over a bit of the control of the process for this game. The love it and know it deeply. In Level 1, they are challenged to improvise new melodic and rhythmic patterns that will fit with the mood of the game, and the arrangements we’ve been using in the past. It is a higher level challenge to create words that fit with their creations, but many rise to meet it.  

Level 2 

Students share their ideas with one another in small groups. The challenge set out for them is to play the main melody on recorder for one verse and response while playing the new patterns concurrently. Share these ideas with the group, the teacher collects them and writes them into notation for the students, and then in a subsequent class, tries to incorporate a few of these ideas into a new arrangement that belongs heavily to the students.  

Level 3 

Here is an example of a score that was created by some 6th graders that uses familiar ideas from their past experiences with some elaboration on their part. One challenge that was set out for them was to make a bordun on a bass xylophone. Another was to create a flowing part on a soprano xylophone. Another group’s challenge was to create something more interesting with sticks and movement that makes the “Tree” part more fun and exciting.  

This is an example of student ideas being shared within a community of learners and then the teacher taking their ideas and crafting them into something that is aesthetically pleasing for everyone to play and enjoy as a group.  

The facilitation of six years of learning with one particular folk song in a skill spiral will provide amazing results year after year when your students are invested and excited to revisit the activity in the way they thrill to spend time with a friend they only see once a year! 

Good luck to you as you explore the wonderful autumn music repertoire and hopefully this gem will find its way somewhere into your students’ lives. We’d love to hear your thoughts about this lesson spiral! Please share your ideas and plans with our readers.  

For expanded ideas on “Skin and Bones” plus other inclusive lesson ideas for fall, check out our webinar Autumnal Illuminations!

Originally published on Teaching With Orff October 18, 2018

The post Skin and Bones Part 2 first appeared on Teaching With Orff.

One really enjoyable aspect of Orff-Inspired teaching is being able to use “recycled songs.” These are songs that one can “spiral” from year to year adding new levels of engagement and skill. In this two-part post, Drue Bullington demonstrates how one simple folk song can build over the years and the children will beg for more! This process can be transferred to songs that you and your students enjoy to streamline planning without sacrificing quality. I hope this post will inspire you to “recycle” and “spiral” songs that you love!

This song story about an unassuming old lady who decides to take a little stroll after dark has brought boundless joy and excitement to kids of all ages for decades. Here follows a process for spiraling this simple, easy-to-learn, and easy-to-sing folk song through grades 1-6. It became a popular alternative to the “Halloween” song material which for a number of reasons, is best avoided in many communities. Since there is no mention of anything having to do with Halloween, it’s always been a safe, solid choice for a big load of October fun! Students actually ask for it all year, and many times endless begging and pleadings means that the end of the year “choice” music class activities include getting the “Old Lady’s” cane out of storage! The year going out with a “bang” also means going out with a “Boo!”

Kindergarten might be a bit too young for this experience. They’ve barely been in school for a month in October. It makes sense to save their first taste of this great folk song for first grade. This is where we first meet the “Old Lady All Skin and Bones”

*The final “BOO!” Is actually not sung. It should be abrupt and loudly spoken, perhaps almost shouted!

1st Grade

Ask the students to learn the “song of the wind” and teach them the very basic descending m r d l, pattern that serves as the refrain for the song.

“Song of the wind.”

Sing the song for the students in a story-telling fashion, give them a sense of mystery and anticipation in the singing of the song. It is great fun to turn out the classroom lights for this! Use a folk instrument for an accompaniment: Guitar, ukulele, banjo, dulcimer will all work. Make the “wind song” the first graders’ special part. When the end of the song finally comes and it’s time for the “Boo,” let fly with as raucously startling, calamitous a “Boo!” which you think the first graders could handle without losing their composure and descending into terrified puddles of their former selves!

Temperance in your approach will help the learners to feel that you were inviting them into a fun story instead of trapping them with an unexpected horrifying experience. It is always easier to play with your delivery in multiple classes and find the one with which you really feel comfortable and then adopting that one as your “go-to.”

When the students understand the song’s story and are able to sing the “wind song” with success and regularity, bring some drama into the experience.

Level 1

Invite the students to take on the role of trees in the graveyard. Spread the first graders out evenly in the free space they have available to them. Ask them to explore gnarly, old tree shapes and create a statue of such a tree. When the wind song happens, the limbs of the trees move as though affected by the breeze.

The teacher acts out the role of the “Old Lady.” This character should walk around the graveyard, perhaps carrying a cane or walking stick, even wearing a cloak, and experience the wind and of course seek the broom somewhere in the space when the time comes. At the end of the song, the students/trees all erupt in the “Boo!” As the old lady (acted out by the teacher) opens a pretend or “actual” cupboard/closet door, the she should dramatically collapse as though shaken to the core with fear. Of course, immediate calls for “again!” will usually erupt and the students are hooked for life!

Level 2

Replace the teacher in the role of “Old Lady” with a student. In order to create as peaceful a transfer of the character role from student to student, after the dramatic ending, ask the students who are trees to close their eyes and tell them that anyone caught peeking will not be chosen as the next “Old Lady.” The desire is strong to have a turn, so they are usually pretty willing to cooperate in this way. When the music begins again (Usually accompanied by the same folk instrument that was used in the initial singing of the story song by the teacher), the trees open their eyes and are surprised by the new actor in the role of old lady.

The role of “Old Lady” is taken on by both girls and boys. The rationale for this is that as a storyteller, when we are reading a story out loud, we don’t change the genders of the characters to match the person reading, and in the same way, as a teller of a story by showing in a dramatic way, we can all use our imaginations and know that boys are “acting as the old lady would act” without actually being “a lady.” The students are usually quite willing to adapt in this way because the game is fun. Changing the gender of the lyrics would wreck the consistency of the singing, and in the long run the game might deteriorate into confusion, which would really ruin the vibe of mystery and anticipation.

Level 3

Once comfort is established with the drama of the trees and the Old Lady actor, add the next level of interest. While the eyes are closed during the choosing of a new old lady, choose a willing and able accomplice and bring them to the closet/or cupboard area and hide them there unbeknownst to all of the other students and the old lady actor! Coach the “cupboard monster” to jump out and scare the jeepers out of the “Old Lady” and hopefully the whole class as well! Once this new dynamic is established, the game becomes an absolutely captivating experience, and for many a student holds high rank as one of their best memories of music class in elementary school, and for some, of their entire childhood!

2nd Grade

Level 1

We begin where first grade left off. Graveyard trees, an “Old Lady” actor, and the “cupboard monster!” Once this basic game play is established, introduce the instrument wonder known as the “wind chimes!” These are played when the wind blows. If your electrical system will allow it, it is fantastic to keep the lights off and have a child flicker them when the wind blows as well! The instrument and “lightning maker” jobs are given to new students during the “closed eyes, no talking” transfer of roles.

Level 2

Introduce another instrument when the “wind song” happens. A rain stick can add to the mystery of the story. It is also possible at this time to allow more drama to occur in the graveyard. It can be fun to ask students to introduce some nocturnal animals like raccoons, and black cats as well among the trees. The rule is always that they must stay away from the Old Lady as the story doesn’t mention them, we’ll just agree that they can be part of the scene.

Level 3

Introduce two more instruments. First, a big box of wooden rhythm sticks firmly and abruptly shaken give a striking sound that occurs whenever the song lyrics mention “bones!”

Secondly, on the final “Boo!” Have the person who shakes the bone box create a wonderful resonating splash of sound on a big gong, hand drum, bass drum, or timpani. With these exciting new additions, students would gladly play this game a lot longer than your music class will allow!

3rd Grade

Level 1

As in second grade, we review and quickly find ourselves happy and content with our familiar roles of “Old Lady,” trees, graveyard animals, “Cupboard monster,” wind chime player, rain stick player, bone box and gong/drum players. Next, we add a very simple chord drone on the tonic and dominant tones of la and mi. Begin by modeling a simple “steady pulse” patsch on the tops of the thighs with the students facing the teacher. Visually assess their class’ accuracy. If they seem like they can sing and keep the pulse from wavering, move them to instruments set up in an arrangement known as “la pentatonic on E.”

It is most successful if the chord drone is played only during the verse or during the “song of the wind,” but not continuously. Students who are playing a chord drone continuously over a sustained period of time will tend to build tension in their bodies and speed up the tempo. Build in breaks for them to reduce that tendency with rests. The approach works nicely because in the example below, the students can play the chord drone pulse, then use their mallets as tree branches in the breeze as they sing the melody of the “song of the wind,” then immediately play the chord drone for the next line of the story.

Playing a chord drone can be a reliable indicator of the internalization of the pulse in relation to the singing. If students can sing and play the steady pulse, they are ready to increase their challenge level. In general, no ensemble success will be possible where the pulse is not “rock steady.”

Level 2

We add next what might be the simplest, but also probably the most sophisticated sounding yet: a color part! The most musical aspect is that it is connected to the breath using the most elegant members of our Orff Instrumentarium, the soprano and/or alto glockenspiel!

Set up the instruments again in the arrangement known as “la pentatonic on E.” It is labeled this way because the tonal center is “la” and in this case the letter name corresponding to “la” is E.

Students may choose two “next door neighbor notes” to play when they take a breath after they sing the “wind song.” Beautiful phrasing habits are formed inherently in activities like this!

Level 3

Add the Contra Bass Bar! When you get the opportunity to really build independence with the power of the bass bar, it’s hard to resist! An important thing to notice is the way that the AX/BX chord drone and the Contrabass Barr parts work together. This way the students have the opportunity to both play a vital part of an arrangement and listen to the main melody. This provides also an opportunity to reduce tension which will prevent players from pushing the tempo ahead, and give students a chance to feel connected to the whole aural landscape by clearing sound space from their personal responsibility which in turn allows them to hear other parts clearly.

The contrabass bar part is pretty easy to teach when the song is so deeply internalized. Have the students focus on the “rocking back and forth” that can happen if you let your body feel the swaying of the trees in the wind. Add the words “Cold, dark night.” Extend this rocking to the hands on the floor from side to side as students are sitting in a criss-cross position facing the teacher. Move the hands onto the thighs. The teacher will model their right hand on their right thigh, and the students will “mirror” this movement with their left hands on their left thighs. Rock back and forth from side to side alternating hands.

Transfer this next to the bass bars with the left side being played on the E bass bar and the right should be played on the B bass bar if it’s available. If not, just a poly spot on the floor could work as well.

    
We hope your students enjoy this delightful, fun experience with “Skin and Bones!” Please share your ideas for how you might use this song with your students! We’d also love to hear what other songs work well to “recycle and spiral” in your classrooms.

For more “Skin and Bones” check out Part Two of Drue’s post!

For expanded ideas on “Skin and Bones” plus other inclusive lesson ideas for fall, check out our webinar Autumnal Illuminations!

Originally published on Teaching With Orff October 11, 2018

The post Skin and Bones Part 1 first appeared on Teaching With Orff.

By Kate Bright, recorder enthusiast 

The very first time I picked up a recorder, I fell deeply in love with this sweet instrument.  I grew up as a clarinetist, but developed jaw problems and had to quit woodwinds forever – or so I thought.  Then, I began my Orff Schulwerk journey and found the recorder, and the rest is history.  I found that the recorder was a tool of great pedagogical power, a tool that could teach my students how to improvise, read, and compose a melody. 

When I began teaching recorder, I saw my students every other day.  While the first few classes were not the best-sounding classes, soon my students were able to play independently and well.  Due to budget cuts, my schedule changed to a six-day rotation, and I found my students and myself struggling with the recorder.  I went back to the drawing board and, after four years of tweaking, I developed the following strategy to help my students have the best beginning  

Where to Begin? 

There are many different methods of beginning a student’s journey on the recorder.  One can begin on A and high C, B-A-G, or even E-D-C.  In truth, a students’ journey must begin far before they even touch a recorder.  Before they pick up their instrument for the first time, their mind, hands, fingers, tongue, and air support need to be in place.    

Preparing the Heart 

My students first experience the recorder on the very first day of kindergarten music.  As they walk in, awed by my shelves bursting with instruments, they follow me while I play my recorder.  I match the tempo of their feet, and then suddenly I stop playing and freeze.  This generally causes my students to also stop.  I resume playing, and stop again.  As the kindergarteners realize that we are now playing a “game,” they begin to giggle.  Once my students can stop with me, I change my sound.  By creating jumping sounds or playing “in slow motion,” I not only expose my students to the entire range of recorder sounds, but also teach students how to respond physically and expressively to musical cues.  From the very first day, the recorder is a source of positive musical experiences.   

My kindergarteners inevitably ask me if they can play my recorder, and that’s when I have the chance to explain to them about germs.  Since I have my students begin playing recorder in January of their third grade year, I can already tell my current kindergarteners that they will get their very own recorder in January of 2022.  When they ask why, I reply “That is when your hands will be big enough to hold it, and your brain will be responsible enough not to lose it.”  

One of the biggest hurdles when learning any new skill is the motivation of the student.  If a student wants to learn, then they will persevere through any difficulties they may have.  If the recorder already has a positive place in their heart, then they will put forth the effort to persevere through the beginning squeaks and finger leaks. 

Preparing the Hands 

The recorder, along with many instruments in the general music classroom, students need to have the ability to use both their dominant and non-dominant hands.  In other areas of school life, this is not the case.  A student’s non-dominant hand is often ignored throughout the rest school day, with the exception of physical education and typing classes.   

Luckily, music is a subject where this lack can be remedied.  Making sure students learn hand clapping games and play instruments that use both hands equally (rhythm sticks, tubanos, maracas, barred instruments, just to name a few) will help them build capacity in their non-dominant hand. 

With the recorder, having the left hand be the hand that goes on top is counter-intuitive to many students that are right-handed.  Third grade begins with many folk dances and body-percussion activities that lead with the left hand.  In the fall of third grade, I challenge my third graders to try allowing their left hand to brush their teeth, hold their forks, and we also learn the “Left Hand Dance.” 

Left-Hand Dance 

Music:  “Rakes of Mallow,” from Rhythmically Moving 2. 

Opening position:  Closed circle.  Students have a scarf in their left hand, right hand is behind their back. 

A Section: 

• Students circle to the left for 16 beats while bouncing their scarf with their left hand. 
• Students circle to the right for 16 beats while continuing to bounce their scarf with their left hand. 

B Section: 

• With their left hand, students throw the scarf in the air and catch it three times.  On the fourth measure, have students turn alone.  This section is performed twice. 

Extension: 

Once students have mastered the basic dance, the next step is to allow students to create their own B section where they explore what other artful actions they can do with only their left hand moving.   

Preparing the Fingers 

As much as nondominant hands are ignored in daily life, fingers and finger dexterity are even further ignored.  As my teaching career has progressed, I have seen first-hand the effects of students raised with video games and tablets:  students are falling behind in gross motor skills, fine motor skills, and general muscle tone. 

About six years ago, I began to notice a significant decline in my students’ ability to actually place their finger over the hole on the recorder.  I soon realized the issue was not focus or inattention, but a simple lack of muscle development.  My students had never been asked to independently move their ring finger in their whole life.  I spoke with my school’s occupational therapist about what exercises I could do with my students to help develop those finger muscles.  She suggested playing with PlayDough or digging in sand/dirt as probably the most practical solutions.  Unfortunately, my carpeted music room was not the best space for those activities, so I created my own finger dexterity exercises based on the following hand-shapes.   

After the shapes were named by my students, we used them in steady-beat listening exercises.  I would call out two animals, and students would alternate between making those two shapes with both hands.  As students progressed, we would try patterns of three animals, or have student leaders. 

Another finger-related intervention I have tried is the “headless” recorder.  My school purchases recorders for my third graders, that they use until they leave us until fifth grade.  My fifth graders choose to donate it back to the school or take it with them.  I have a class set of recorders where I have removed the head joint.  This way, students can look down inside the recorder and see if their fingers are fully covering the holes.  Students have the opportunity to become familiar with the layout of the recorder and also do not have a way of producing sound. 

Preparing the Tongue and the Air 

To help my students be prepared for articulating notes on the recorder, I began using beat-function syllables.  A beat-function system using t’s or d’s to articulate notes transfers extremely well to articulating notes.  Starting about two weeks before they get their recorders, I have students read rhythms with their hand in front of their mouths.  This way, they can feel the way that the air is separated when d’s and t’s are articulated.  Because articulation is not visible to students, it can be a difficult concept for them to understand. 

Airflow is critical to producing the sweet sound of the recorder, and producing gentle air is another difficult concept to master.  I pair practicing articulation with practicing gentle air.  I used to use tissues for this activity, but last year I experimented with using craft feathers (purchasable at any craft store for less than two cents per student)with great success.  This lesson occurs about one to two weeks before they receive their recorders. 

I directed students to hold the feather about an inch from their lips.  After opening their lips a tiny bit, students practiced reading rhythms and watched their feather move with their articulations. Then I had students use only a tiny amount of air, to see if they could read rhythms and have the feather only move a tiny amount.  At the end of class, students took the feathers home as homework for music class. 

My Students are Prepared! 

After students have been prepared, it is finally time to begin to actually play the recorder!  Again, there are many choices for the music teacher.  I strongly recommend trying any recorder before buying a classroom set.  I prefer to use recorders that are white or ivory colored.  With those recorders, a teacher can spot an improperly covered hole from across the room. 

There are also a few choices about what pitches students should learn first. 

Beginning with A-C’ 

Benefits: 

• Students are able to play so-mi songs immediately 
• Left-hand pointer finger is the only finger that moves 
• La can be added by having students lift the left-hand thumb 

Challenges: 

• The left hand is the only hand used 
• The recorder is unstable (especially if going to a high D) due to the lack of fingers covering holes 
• It is difficult to correctly place the right hand since it does not cover holes 
• Students can overblow and still produce the correct pitches 

Beginning with B-A-G 

Benefits: 

• Students are able to play mi-re-do songs immediately 
• A majority of recorder methods begin using this tone set 
• The notes are organized logically; fingers move in order 

Challenges: 

• The left hand is the only hand used 
• It is difficult to correctly place the right hand since it does not cover holes 
• Students can overblow and still produce the correct pitches 

Beginning with E-G 

Benefits: 

• Students are able to play sol-mi songs immediately 
• Students must use gentle air 
• The right hand is immediately used and in the correct placement 
• The left hand covers the holes, but the fingers do not move once they are placed 
• Once E-G is mastered, it is simple to add the notes B and A. 

Challenges: 

• The student must use the correct amount of air and have six holes correctly covered; otherwise the E will not speak correctly 
• It can be difficult to judge whether a student is overblowing or if a student has an improperly covered hole. 

The Very First Day 

The class before the students get the recorders is when I allow them to discover with the headless recorders and teach them about “feather breaths.”  When we actually get recorders, our only focus is to produce a low E. 

Materials:  Labeled recorders for each student, tenor recorder for teacher, bead necklaces. 

• Before students get their recorders, class recorder rules are reviewed:
• Feather Air
• Left hand on top 
• Cover the holes 
• Don’t Bite!  (This is the only brand-new concept – I remind my students to not bite their new best friend!) 
• Recorders are distributed.  Students are asked to count the number of holes on their recorder to ensure that all recorders were correctly produced.  (This keeps students occupied as they are being distributed.) 
• Using my tenor recorder, I demonstrate left hand on top with “chicken fingers.”  (The thumb hole and first hole are covered.)  All students hold their recorder high in the air with the “chicken fingers” displayed until the entire class has their left hand on top. 
• Nonverbally, I have the class use simultaneous imitation – they do exactly what I do, when I do it.  I demonstrate feather air and then together we play the first note – a B. 
• If the class is successful, I add one more finger for “bunny fingers” and we play an A.  I model moving from A to B, and they simultaneously imitate me.   
• Before moving to “unicorn fingers,” I have my students take their recorder out of their mouths, turn it horizontally (with bunny fingers still in place) and watch their ring finger cover the hole.  We do this ten times before we return to our nonverbal simultaneous imitation. 
• I model moving from “bunny” to “unicorn” – A to G.  Once the G is in unison and student fingers are in the correct place, I have students stop and pretend to “spray glue” their left hands so that they cannot move. 
• Next, I demonstrate adding the next two fingers on the right hand, so that students are playing an E.  We play E-G patterns as we listen. 
• Once the class has their fingers in low-E position, I have students stand in a circle.  I walk around and listen to each student individually, as all students practice.  If students can play the E successfully, I put a bead “necklace of knowledge” on them and challenge them to add one more finger to play a low D.  If everybody earns a “necklace of knowledge,” we stop and have a class celebration. 
• At the end of class, students return their necklaces, put their recorders back in their bags and then return them to the class bin.   

Troubleshooting 

Even with all of the above preparation, students still squeak, and that is okay!  If my students are squeaking, or playing the upper octaves, I check 3 things – finger placement, thumb placement, and have them blow slower.  If they are still have problems, I take their recorder, turn their mouthpiece backwards and have them blow while I cover the holes.  If the sound is good, then it is a finger issue.  If not, it is easier for them to fix their air support when they don’t have to worry about finger placement. 

If you have a student that has limb differences, I strongly encourage you to check out the website Another Way to Play, or check out the article “Adaptive Solutions:  Recorder Instruction for Students With Physical Differences” by Valerie Thomforde in The Orff Echo (Vol. 51, No. 1). I’ve had students with different abilities use alternative fingerings or adaptive recorders if needed.  The important part is to be open with your student and their family, and make adaptations before recorders are handed out.   

Final Notes 

Once students know their first two notes, they will soon be on their way to improvising, creating, and composing on their own!  If you are looking for more information on how to integrate recorder with your classes, try visiting your local Orff chapter, taking Orff levels, and stay tuned to Teaching with Orff for more high-quality lesson plans! 

Originally published by Teaching With Orff on September 26, 2018

The post Steps to Prep the Recorder first appeared on Teaching With Orff.

Korean Dragonfly Song

Before tablets, PCs, and smartphones were introduced in Korea, children played with games that are related to the nature around them, such as flowers, trees, pebbles, animals, and insects. There are numerous Korean traditional folk songs based on nature, and Jamjari kkongkkong (잠자리 꽁꽁) is one such example for kids.

Jamjari (잠자리) means “dragonfly” and kkongkkong (꽁꽁) is an expression that represents “to freeze/stop in place.” Children used to sing the song, Jamjari kkongkkong (잠자리 꽁꽁) while chasing dragonflies, in hopes that a dragonfly will freeze in place so they can catch it.

Korean folk songs are written primarily with three to five tones; do, re, mi, so, and la. Jamjari kkongkkong is written with four tones: mi, so, la, and do’, with solfege “la” (note A) as the tonal center. There are multiple variations of the song throughout different regions in Korea, although this version is the most common by far.

Different colors of dragonflies including red, green, black, and yellow can easily be found in Korea throughout late Summer and Fall. Teachers may introduce the different colors of dragonflies through the drum ostinato pattern.

Translation & Pronunciation:

잠자리 꽁꽁                jamjari kkongkkong                  Dragonfly freeze

꼼자리 꽁꽁                kkomjari* kkongkkong              Dragonfly freeze

이리와라 꽁꽁             iriwara kkongkkong                  Fly here kkongkkong

저리가라 꽁꽁             jeorigara kkongkkong               Fly away kkongkkong

*kkomjari is mixture of jamjari and kkongkkong; the first syllable of jamjari is changed to create a rhyme.

Click here to view videos of both pronunciation and song.

Procedures:

1. Teacher sings the song with motions.
2. Teach the motions (Students imitate motions and listen to the Korean lyrics multiple times).
   • Jamjari kkongkkong – flying motion and freeze (in place).
     
   • kkomjari kkongkkong – repeat above.
   • iriwara kkongkkong – two steps forward and freeze.
     
   • jeorigara kkongkkong – two steps back and freeze.
     
3. Teach the song, phrase by phrase.
4. Speak “kkong kkong dra-gon-fly” (patting hands on the laps) and transfer to alto xylophone (note A and E).
   
5. Introduce the different colors of dragonfly through the drum part. Have students speak “Red, green, black and yel-low” (clapping the rhythms) and transfer to drum.
   
6. Divide class into three groups; one group for alto xylophone, another group for drum, and the other group for singing and motions.
7. Perform the entire piece as an ensemble.
   • Alto xylophone starts with 8 beat intro and then drum comes in (8 beat ostinato).
   • Sing the song two times with motions.

Click here to download a pdf of this lesson.

Originally published by Teaching with Orff April 24, 2019

The post Lesson: Korean Dragonfly Song first appeared on Teaching With Orff.

For Hindus, Diwali is one of the most important festivals of the year and is celebrated in families by performing traditional activities together in their homes. Diwali or Divali is a contraction of the Sanskrit word Deepavali, that means “row of lamps”. Small clay lamps filled with oil are lighted to signify the triumph of good over evil. These lamps remain lit through the night and houses are cleaned to welcome the goddess Lakshmi. Firecrackers are burst to drive away evil spirits. During Diwali, all the celebrants wear new clothes, and share sweets and snacks with family members and friends. Diwali.

In some regions of the Indian subcontinent, is considered to be the celebration of the marriage of Lakshmi with Lord Vishnu. In the eastern state of Bengal the festival is dedicated to the worship of Mother Kali, the dark goddess of strength. Lord Ganesha, the elephant-headed God, the symbol of auspiciousness and wisdom, is worshiped in most Hindu homes on this day. For Jains, Deepavali has an added significance to the event of Lord Mahavira attaining nirvana. Diwali also commemorates the return of Lord Rama along with Sita, his wife and Lakshman, his loyal brother, after a fourteen-year exile. In joyous celebration of the return of their king, the people lit up the kingdom with earthen diyas (oil lamps) and burst crackers.

Dance

Click here to download a pdf of Manju’s Diwali dance lesson.

To hear Manju’s pronunciation, click here.

To view a performance by the Berkshire-Hudson Valley chapter, click here.

The post Lesson: Diwali Dance first appeared on Teaching With Orff.

Click on the link to download the lesson: Go to Bed, Tom!

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

The post Lesson: Go to Bed, Tom! first appeared on Teaching With Orff.

Dear music teacher friends, these words are on my heart tonight.

You. Are NOT. Alone.

If you have questioned your worth during this pandemic and wondered whether your job really matters to people, you are not alone.

If you have cried more tears since March than you have in the past many years combined, you are not alone.

If you are having to reevaluate, reframe, redesign, reimagine, and recreate your entire way of doing your job, you are not alone.

If you feel incredibly grateful to still have your job and still incredibly sad, frustrated, and hurt at all you have lost, you are not alone.

If you are afraid that you will get sick, you are not alone.

If you worry about how your students will feel and struggle if you do get sick, you are not alone.

If the loss of singing in your daily life makes your soul ache, you are not alone.

If thinking about taking hands in a circle with your students creates a lump in your throat, you are not alone.

If you wish you were considered a “real” teacher, you are not alone.

If you realized that you can’t recognize your students with their masks on, and that your heart hurts to miss their smiles, you are not alone.

If the inability to wrap your kiddos in a hug as they returned to school broke you, you are not alone.

If you are worried that you will fail before you begin, you are not alone.

If you lie awake at night worrying, and dream all of your worries to life when you do sleep, you are not alone.

If you never realized how much your music room felt like home until you lost it, you are not alone.

If you are struggling to learn how to make music in a minimalist way, both in terms of materials and media, you are not alone.

If you worry about creating connections when children have to stay continually separated, you are not alone.

If you are planning movement lessons that involve desks, you are not alone.

But.

You. Matter. You do. I know you don’t feel like you do. But that doesn’t make it real.

To those little loves that are ours during the tiny bit of time we have them, you matter. You are the joy in some child’s day. You are the escape from failure that some child feels. You are the breath of fresh air, the change, the renewal, that some child needs. And THAT knowledge, however faded and tattered and broken it feels, no matter how many tears we cry, no matter how devalued we feel, that knowledge is what will help us make it through the hardest first year all of us have ever endured. We might emerge scarred and jaded and a bit worse for wear.

But imagine the weeping of joy that will happen someday, when we join hands with our kiddos in a circle again. I’m holding on for that.

You. Are NOT. Alone.

The post You Are Not Alone first appeared on Teaching With Orff.

Do your online or in person socially distanced lessons need a little spicing up? Ollie Tunmer of Beat Goes On has some fun ideas using body percussion (no sharing!) that can be used for virtual or in person learning. Ollie does not stick to the usual, pat, clap stamp and snap, he draws on his experience performing with STOMP to explore body percussion in ways you and your students may not have tried before! He begins with some fun warm ups and rhythm echoes. Then he shares an energetic lesson where the children can help you learn their names and tell you a bit about themselves. If you enjoy this lesson and are looking for more, check out his YouTube channel, and his new book Body Beats.

The post Lesson: Body Percussion first appeared on Teaching With Orff.

“Back to School 2020” looks nothing like any of us expected it to. Two weeks before school begins, I would generally be organizing the Orff instruments returning home to my classroom after levels courses, adhering fresh sit spots to the carpet, tuning strings, and shopping for school supplies for my two elementary aged children. Instead, I’m homeschooling my own kids and waiting with anticipation to hear anything – anything­ – official from my district about what teaching will look like in a few weeks. We don’t know much, but we know enough to be nervous. Spring 2020 tested us and left us tired. I’d like to offer some perspective that I hope might be helpful as I attempt to frame my mindset for the coming school year, whatever it may bring.

I’ve been playing with a paradox this week:

I am not in control.
AND
Everything will be ok.

I, as a parent and as a teacher, am not in control right now.  There’s some freedom in that along with a little sadness because it means it’s not up to me to make the “right” decision that will guarantee success for my children and my students or one “wrong” enough to ruin their futures. It’s also hard because we are bombarded by voices from the news and through the only means we have access to social interaction right now:  social media. These voices come from those that do not live in our homes, sit in our classrooms, or even will be there at the end to cheer with us when this is all over. So the voices feel really important. They’re confusing. It’s hard to drown them out. I keep trying to listen to the quiet one inside myself that is telling me, “This will end. It’s not forever. It’s ok. This will be behind us before we know it.  All you have to do is figure out how to get through today as best you can.”

In the past, I have tried to do the impossible. Like many of the brilliant people reading this, I have built music programs with few instruments and no budget. I have created a beautiful, joyful classroom for my students to feel safe to explore their creativity. I have poured thousands of dollars and hours of my time into these endeavors, often at the expense of my own life balance. Now that I’m faced with doing all of this online with no paid professional development AND simultaneously homeschooling my own children while I teach music class synchronously, I’m drawing some hard boundaries in my life.

Here’s another paradox:

I am a good teacher.
AND
I will not sacrifice my physical, mental, and emotional health, my finances, or my life balance for my job.

There are hundreds of incredible teachers sharing their homemade instrument kits online right now. I look at their posts and think, “Wow… they are incredibly brilliant.  Also, I will not be doing that.” For what remains of the summer, I don’t need to lose sleep and spend hours attending unpaid PD or trying to zip tie jingle bells onto bracelets or tape ribbons to dowel rods or cut out 400 laminated manipulative sets to sharpie with student names and class numbers to send home that will just get lost in the first week of school to be a good teacher. I don’t even need to know what I’m going to say when I first see their sweet faces on the screen. I just have to show up and love them. That’s always worked before, even when I was a first-year teacher with zero tools in my teacher toolbox. I have to believe it’s going to work now.

It’s important to recognize our individual boundaries right now. As I’m examining my current energy levels and weighing what behaviors feel authentic and appropriate for myself, I am also thinking ahead to the boundaries I will hold in the coming school year.  For now, that looks like:

OFFICE HOURS – I will answer student and parent inquiries during regular, contracted hours. My computer will be shut down after the school day ends.

RUBRICS – I will use rubrics to make grading clear for teacher, student, and parents.

CURRICULUM – I will use my curriculum. So much great content has been generated, there is no need for me to spend hundreds of hours re-creating the same or similar lessons just so I can take credit for making the video or Google Slides myself.

GRACE – I will give myself grace when I make mistakes.

CLASSROOM – My home will have dedicated work space so I can give my work physical boundaries.

FINAL BELL – When my workday ends, I will change into workout clothes and go for a walk to signal to my body that the workday is finished.

FINDING FUN – I will calendar hikes, movie nights, and special dinners with my family so we can remember to have fun.

SELF CARE – My nightstand will be stocked with books that nourish my soul. My refrigerator will be stocked with healthy nutrition to keep my body going, even when my mind and spirit are tired.

This school year may begin differently than we ever could have imagined, but I take great comfort in the fact that it will also come to an end. How we handle the in-between has the potential to impact our physical, mental, and emotional health greatly. I’m choosing to set strong boundaries in the coming year, and I’m sending my fellow music teachers so much love as we step into the unknown together. We will get through this.

The post Making It Work: Setting Boundaries first appeared on Teaching With Orff.

As schools attempt to determine best practices in this unprecedented situation, many music educators are being asked to switch from using their beautiful classrooms to teaching from a cart. Samantha Puterbaugh was asked to provide ‘Room Service’ Music Lessons a few years ago when the population at her school expanded. She has some great advice on stocking your music cart, communicating with your colleagues, and staying positive about this less than ideal situation.

Her cart was assembled before the pandemic, but most of the instruments she lists could be wiped down easily. If your students have their own instrument kits, then you will have more room on the cart for other props.

Link to Samantha’s Blog

Music Class Anywhere – How I Made My Cart Home

Link to Samantha’s Pinterest Board

Teaching Music From a Cart

Email to Colleagues

Hi Friends!

I wanted to communicate with you all about my schedule this year and how things have changed. As you all know I will be teaching on a cart due to the pandemic. I know this is not ideal for myself, you, and the kids, and I am committed to giving them the best music experience possible. I’ll do my best to communicate with you about any changes in location in advance as long as I know it’s happening!

I ask that you leave space in the front of your classroom for a 2×4′ cart PLUS an empty surface for me to unload stuff- could be a desk or table close to the front of the room. I will also need access to your smartboard and whichever computer is hooked to it- PLEASE label which computer is “the one” that is smartboard connected. In addition, I would request that students have names easily visible on desks so I can learn them easily. If you have a seating chart, I would love a hard copy for my records.

Procedures – I will wait outside your door until you signal me that your class is “ready”= that means desks are clear of all items, and students are ready to transition to music. I will return the class in the same fashion on your return. If you choose to remain in your classroom during music, I request that you do not interact with the students as all questions, etc., should be directed to me during the music period.

I realize this is not an ideal situation and is out of my control. There may be days where I will request that we move desks for more space but I promise that everything will return to exactly the way I found it!

See you soon!

The post Making It Work: Room Service, Please! first appeared on Teaching With Orff.