CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
SING A SONG OF SUNSHINE A Teacher's Guide of Music in Game Form For Young Children
based on Orff-8chulwerk Philosophy a.nd Method
A project submitted in partial satisfaction of the requirements for the degree of Master of Arts in
Education With a. specialization in Early Childhood Department of Psychological Foundations
by Millie H. Burnett ~-
January, 1973 The abstract of Millie H. Burnett is approveda I '
California State University, Northridge January, 1973
ii ABSTRACT
This guide has been written and presented as an answer to an observed need regarding the direction of musical experience for the young child. It is an alternative to the "record player." At a time when schools are stressing reading programs and nursery schools are stressing cognitive development, this guide makes an attempt to restore some interest in the creative and artistic needs of the child. In many nursery schools and public classrooms music for children means a time for sitting, listening, occasional singing, and more often than not a vocal contest between child and phonograph. Music has become a passive activity inserted as an interlude between rest and play, or as a stopover between going and coming. It is too often a time of non-involvement. The teacher plays records because it is better than nothing at all, but there is no personal interaction between ~aoher and child which could happen if the experience were created and shared together. As it is, both teacher and child are subjugated~ to the voice on the record. The question arises then, what part does music experience· actually play in the education of children if they were to have optimum opportunity to enjoy it. We as educators know that a child's progress is directly related to his own self-concept. We also know that each child's pace of learning is an individual matter. In most school districts millions of dollars are spent working to improve and increase the pace academic growth, but little is spent on facilitating the improvement of self-concept which is certainly the basic foundation for other successes.
iii Music for young children, properly presented, can do this job. In the music experience there is joy, and the joy comes because there is participation in a successful experience. In short, there is no failure. It is very interesting that recent brain studies have verifies the fact that the part of the brain which controls the ability to enjoy and respond to music is practically invulnerable to damage. Therefore, if even the child with acknowledged handicaps has this ability, even so do all children, and I prefer to think of each child as exceptional in this way, be he gifted or retarded. It is a fact that a child's self-concept is directly rel.a.ted to the number of successful experiences he has had. Music in the early years is one of the best ways to provide for this. The second question that arises is why Orff-8chulwerk? Orff-8chulwerk, as authored by the composer Carl Orff who was also a music educator, is a method of facilitating spontan eous and creative expression of the natural rhythms found in language, movement, and melody. It is not a method that can be taught mechanically, but it is one which relies on the joy of children's play to bring about an internalized feeling for rhythm. This feeling often expresses itself in what we refer to as elemental music. This then is not music that one must intellectualize about, but something that becomes a part of you through this process of internalization of feeling and attitude. It can come through the experimentation and improvisation within the four facets of the Scbulwerk.
iv The purpose of this guide is to make classroom teachers aware of their potential as the facilitators of musical growth of children. It will introduce them to the techniques of using language, movement, and melody for classroom experiences. It will further develop their understanding of the Schulwerk philosophy and its• practical applications, It should above all help them to develop skills in the use of musical experiences to promote creative growth and aesthetic appreciation in children. It will facilitate the education of the whole child which lately has been ignored. When you give the child some experiences in which he can succeed, you may see a significant improvement in his ability to learn and in his attitudes toward himself and his society.
v SING A SONG OF SUNSHINE
A GUIDE FOR MUSICAL EXPERIENCES WITH YOUNG CHILDREN
based on
ORFF-SCHULWERK PHILOSOPHY AND METHOD
by Millie Burnett
illustrated by Terry Burnett
Dedicated to the many classroom teachers who find Early Childhood an exciting place to be.
With special thanks to Mary Ann Cummins, Eloise McCormick and other members of the Los Angeles Chapter American Orff-Schulwerk Assoc. Sing a song of _sunshine
Play the blowing wind
Hear the sound of silence
Move the soul within
M. Burnett
The four basic elements of Schulwerk presented in this guide are written in the form of musical games for children. They are only the beginning of an experience. Where they lead is left to the individual teacher and the children who will come up witb many more ideas than are presented here. TABLE OF CONTENTS
Page
I. Preface 1.
II. Concepts and Terminology 2.
III. Musical Aids 4.
IV. Two Golden Rules 7.
v. The Pentatonic Scale 8.
VI. Rhythm Through Language 11.
1. The Name Game 11. 2. Mother Goose 16. 3. The Clock 21. 4. The Bubble Bath 24. 5. Wishes 2 7. 6. Sound Words 28. 7. Names of things and this and that •.. 29. 8. What's in the Pot? 32.
VII. Games for hnitation and Rondo 35. . .. 1. Indian Drums 36. 2. Hide and Seek 36, 3. Question and Answer Rhythms 37.
VIII. Rhythm Through Song 38.
1. The Echo Game 410 2. Sing a Song of Sunshine 41. 3. I Have a Little Cupboard 42. 4. Two Rain Songs 43 & 44 5. Greetings 45 6. This Train 46 7. The Muffin Man 47 Page
IX. Rhythm Through Movement 48.
1. Two Chants for Action 49. 2. Teaching Concepts Through Movement 50. 3. At the Zoo 53. 4. Game Songs for Movement Experience 54. "Sally Go Round the Mountain" 54. "Old Brass Wagon" 55. "Roll the Ball" 56. "Hop up My Children" 57.
X. Simple Songs for Special Days 62.
1. Halloween 62. 2. Thanksgiving 64. 3. Hanukah 65. 4. Christmas 66. 5. Valentine 67. 6. Easter 68.
XI. An Experience Unit: Putting it all together: "BUILDING" 70. PREFACE
This guide has been written in order to provide an alternative to the record player.
In too many nursery schools and classrooms, music for young children has become a time of sitting. listening, occasional singing. and struggling to be heard over the phonograph which is purposely louder than the noise the children are making. MUSIC HAS BECOME A PASSIVE ACTIVITY. It is an interlude between rest and play or a stopover between going and coming. It is too often a time of non-involvement. The teacher plays records because it is better than no music at all. but there is no personal involvement on the part of teacher or child to interact with each other in a warm and shared experience. Both are subject to suggestion and control by the voice on the record.
Orff-Schulwerk is a wonderful world of rhythfm. movement. language, and melody in game form which can be put together to provide a unique and complete musical experience for children. It is hoped that teachers who have no particular facility for singing or playing an instrument will find many ideas in this manual which they can implement with full confidence.· In these experiences the teacher acts as facilitator and is therefore not the authority of what is right or wrong, but is rather a person who is sharing and learning. participating and experiencing with the rest of the group.
The ideas inherent in the Schulwerk philosophy of music education were developed by Carl Orff, a composer and educator who likened it unto a wildflower. Once the seed is planted, it grows and blossoms where conditions are favorable. "It needs little formal cultivation, yet in proper surroundings it will continue to develop, always growing, always flowing".
This guide does not present a program which can be instantly implemented. All that is possible is to plant the seed. The implementation occurs by allowing a human experience to develop, one which in a large measure depends on the ability of the teacher to be creative herself and accept that which is creative in the children.
A beautiful thing can happen. You may see the development of listening and discrimination skills. You may see the children gain in the ability to give a divergent response. And undoubtedly you will see the children grow to value their own contribution to a group effort as well as that of others.
This is an active rather than a passive experience. I think it's worth a try.
-1- PLANT THE SEEDS OF RHYTHM
through
LANGUAGE
MELODY
Although you can not separate the components of Schulwerk, the ideas in this guide are grouped in this way in order to facilitate the teachers selection of material for presentation. A good experience should allow more than one element to be included.
Rhythm is feeling and hearing. Rhythm is the internalization of both pulse and syncopation. It is the distinction one makes between sound and silence, and it is acknowledging the importance of both. A child can never perform in playing, moving, or singing what he has not felt.
Music in game form begins with the circle. Children can see right away that the circle would not be complete without each one of them, and yet together they form a beautiful shape. From this formation you can begin to explore some of the following musical forms which will be referred to in this guide.
Rondo: A piece which begins with an "A" section (usually group together) followed by a "B" section (individual or small group performing something different). A return to "A" follows.
Canon: Two parts, such as group A and B. "A" would begin followed by"B" playing or singing the same thing.
Unison: All doing the same thing at the same time together.
Imitation or Echo: Leader plays or sings something. Children listen and then do exactly the same thing.
- 2 - Question and Answer: Leader presents a rhythmic pattern, child listens and responds with an original pattern.
Ostinati: Short rhythmic patterns repeated to provide an accompaniment for language, movement or singing experiences.
Improvisation: A child's original contribution within the framework of a given time element.
These forms are used throughout all aspects of Schulwerk experiences whether singing, playing, moving, or speaking.
Another basic component of creative musical experience is the use of body percussion. It can serve as the basic expression of a rhythmic phrase, or it can serve as an accompaniment with speech and singing patterns. It can also be used to develop rhythmic response which can be transferred to other . instruments.
Body Percussion will be notated in the following manner:
finger snapping
example:
clapping
example
patschen (knee slapping) example r f(le++) foot stamping example J .J .J.J
The body thus becomes the primary instrument with which to accompany your voice or movement.
- 3 -
•. -~- ·.-.,.-
- - - ., OTHER MUSICAL AIDS
Quality instruments are necessary for the extension of a worthwhile musical experience or idea. The following suggestions as to basic equipment are made.
Rhythmic percussion includes:
1. drums: such as hand drums which can easily be held by the child and tympani, which are tuned drums
2. tambourines 3. triangle 4. finger cymbals 5. wood block 6. claves 7. cymbals 8. bamboo sticks 9. guiro 10. any other good quality folk or ethnic instruments of other cultures.
In addition to the above, a pair of rhythm sticks for each child is invaluable if used in the right way.
·.:: ~~ .:......
... ·
- 4 - Melodic percussion includes (those instruments referred to as the Orff-Instrumentarium):
1. xylophones 2. metallaphones 3. glockenspiels
These instruments have removeable bars which make playing ostanati patterns easier for the children. They are available in bass, alto, and soprano ranges.
4. resonator bells
These are particularly useful with small children because they can be used singly or in patterns, and can provide a visual as well as an aural picture of melody and accompaniment.
5. guitar 6. autoharp
The recorder is a lovely little melody instrument that is completely mobile and can help you carry music where ever you go. For listening, singing, or moving, it can provide all the help you need for playing with the children.
- 5 - . ·-;:-· .
-- : .·.!
... ----;
- 6 - THE GOLDEN RULE OF INSTRUMENTAL USAGE
Teach children to be discriminating in their choice of an instrument. They should choose an instrument for a specific reason and for the quality of the particular sound that it makes.
It is discouraging to see rhythm instruments passed out indiscriminately just on the premise that all children want to bang together at the same time. They will appreciate the atmosphere and the aesthetics of a quality experience much more.
The area of the rhythm band has passed. It is much nicer to replace it with a rondo game in which an opportunity is provided for each child to play or contribute with some reason and purpose. Instruments, well chosen, and available for providing specific interest to the content of the lesson will make your music experience more satisfying to yourself and your children.
The Orff Instruments are invaluable tools for both the quality of sound and the pleasure they bring the children who can learn quickly to play ostinati patterns on them. Also, for working with improvisational melody, they are superb.
THE GOLDEN RULE OF MELODY
Start with a simple~ singable melody that has rhythmic interest and easy range. It is easier to say than to find.
There have been many songs written for children, but often they are not musical in any sense. The only thing that seems to make them appropriate are the subjects about which they are written and the abundance of rhyming words. Musically they probably offend the children just as they offend you. If you are pleased and comfortable with the melody, chances are that the children will enjoy it too.
Added to the above criteria, the vocabulary should be appropriate, and the words should not be so difficult that singing them becomes an endurance test. The rhythm of the melody should not distort the rhythm of the words, rather they should compliment each other. Although many folksongs have wonderful melodies and rhythms, oflten they are difficult for children to sing because of the profundance of words and non-sense syllables.
- 7 - THE USE OF THE PENTATONIC SCALE
Many of the problems regarding children's songs and their initial singing experience can be solved through the use of the pentatonic (5 tone scale) melodies. The five tone scale has been in use since history of musical man began and it is common to many different cultures around the world.
Central to the pentatonic melody is the falling third or chanting interval which is natural to all children.
example:
· ..
Around this interval you can build all kinds of lovely, singable melodies which children can enjoy and which everyone can sing.
1 1 ,t -----! • j I 1 j 7 l l . ..1 S\-4r br.qht) .(;;~t ~ - 8 - There is no disonance in the pentatonic scale. It is for this reason that many patterns can be played on the barred instruments, once they have been set up in this manner. Improvisation on instruments becomes easy and enjoyable. Original melodies are easy for the children to create. With a barred instrument having diatonic notes "c" through high "F" or "A", you can make the following pentatonic scales. C Pentatonic: Notes C DE GA CD E (remove F and B) example ~JJ J j J rrn c 0 E' G A coE F Pentatonic: Notes C D FGA CD F (remove E and B) tltaJJJrrl co F c;A C. 0 G Pentatonic: Notes DE GAB DE (remove C and F) ~JJ JJJ rr1 pE GA6 oE - 9 - . - -10- LET'S BEGIN WITH RHYTHM THROUGH LANGUAGE BRING THE CHANT INDOORS: Children have always loved chanting while they play. The chant is one of the best ways to capture and use the natural rhythm of play. THE NAME GAME Purpose: To establish the ability -to play a pulse rhythm while chanting the natural rhythm of the words. Chant: Leader says it first~ and the group repeats, it. Part A: We 111 go 'round in a circle Round in a game~ When we come to you~ Please say your name While the beat goes on. Part B: Leader says: 11 Sitting next to me is ••••••• 11 Child says his name •••• "John" G roup ec h oes.. • • • • . • • • "Jo h n ll ·. . - ~ John says: ;;Sitting next to me is .•••••• " Next child says his name •..• Group echoes ••••••••••••••• After going around the circle return to part "A" again. Implementation: Establish an accompaniment with the following patschen rhythm. It must continue throughout the entire chant, · even if you have to stop and talk about something. An easier version for the "B" part for a younger group can simply be having each child say his name clearly~ and having the group echo it. If you do this return to part "A" at once or twice while completing the circle. Accompaniment: J t ~ F t - 11 - Sometimes, when you are sharing conversation with the children, establish a simple pulse beat and see if they can continue it during your discussion. The. pulse is in the background and should not distort the natural flow of the words. - 12 - ... ; ; . ' . .. . . . ·, --- . . - . . . ~.:·· . - 13 - ,J:·. PUTTING OUR NAMES TOGETHER - Purpose To help children understand how word rhythms ca~ bej:mt together to form a longer phrase. --- Sequence Select three or four instruments from which children can choose and put them in the:middle of the circle. Let children come to the center to play their name.: The group can echo it by clapping or Leader can play the rhythm of the.child's name·~- If he recognizes it he can choose an instrument and play it back then·:,._· __ . . ·'"· Select threP children for name sequence. Eachplays his name once~ following the •)ther. Play it several ti:mes ~o. create the feeling for the phra·se. Example'~·J~f~J~~ -+----#-!)_,_· - ~,b....,_,.Jl_:l--·~J~~J~J~(t--l~J -+--A-d . .John.... Chris • • • • El-o-ise.... An-tho-ny •• Mich-ael... Ann •••• Have the rest of the group play the phrase with clapping or patschen sequence. Change names and you have a new rhythmic pattern to explore. Movement extension Once the phrase has been established~ play it on the drum and let children move it. By listening to the sound of the names# you can decide if it is a walking phrase~ running phrase, or hopping phrase# etc. - 14 - - t5- MOTHER GOOSE: A SOURCE OF DELIGHTFUL FUN AND RHYTHM Purpose: To use spoken rhythm as the basis for movement and melody. Chant: Tinker-Tailor Soldier-Sailor Rich-Man- Poor iVIan Beggerman-Thief... Beggarman Thief~ •• Implementation: Speak it first. Accompany words with patschen or clapping.· 11 On "Beggarman-thief 1 note the change of rhythm by using a different sound exampie c~J-.:=-·.=-::::;f.=~J =~\ ~f ~. _J.__· ~!=~f ~J~:t\ =;t:~~J Tink-er.... Tail-or •••. Sold-ier •••• Sail:'or _ - j r J 1 ¥ J t ¥1 F~ .. 11 i f ~ ) _f Rich-man •• Poor-man •• Beggar-man•• th1ef ••• beggap.man. th1ef next Walk and clap it at the same time Let children play it on the hand drums as they walk it ••• Leader can clap or play for the children to move it ••• Children can clap or play for the leader to move it. How many different ways can you find to move to tinker-tailor ? Melodic Extension: Children can create their own melody for Tinker-Tailor by playing the rhythm of the words on a barred instrument ; in the pentatonic. - 16 - ... COUNTING RHYTHMS Purpose: To teach the concept of question and answer rhythms. Chant: One-two ••• Buckle my shoe. Three-four ••• Shut the door. Five-Six •••. Pick up sticks. Seven-Eight ••• Lay them straight. Nine-ten ••• a big fat hen. cl. J Implementation: Divide group into two parts. p. Ortc.f T1.0o buc:~-le..lky '&hoe... Group I will chant the numbers with a patschen accompaniment. Group II will chant the phrases with clapping then Have children play just the rhythms while they say the words silently to themselves. After becoming familiar with the word rhythms, use the rhythm sticks to play the two parts. Group I can play sticks on the floor and Group II can play sticks together. It can be further extended to two sets of instruments. MOVEMENT EXTENSION: Let a small group of children play the numbers on rhythm instruments, and the rest of the group will show the words through pantomime motions. ' ' ~ - 17 - . ; . ~ TWO COUNTING OUT CHANTS Purpose: May be used with ball bouncing game to find the accented beat. Chant: Two-four-six-eight- Meet me at the garden gate. Jf I'm late, Do not wait. Two -four-six -eight. Implementation: Teach it first to two groups as a question and answer game. Group I •••••••• Groupii •••••••• Group I •••••••• Group II •••••••• Groups I and II together ••••• Extension: Ball bouncing game ••• A circle of children with one child in the middle. The ball should bounce on the first beat of each measure. The center child bounces it to a child in the circle. He bounces it back. The child to receive the ball on the word "two" at the end of the chant will go to the center. Another chant that can work in exactly the same way is: Einy-meany-miney-mo ••• Catch a tiger by the toe •• Jf he shouts, '!Urn him out. Einy, meany-miney-mo. - 18 - Idea: ~- To help the children catch the accent of the bouncing ball., let some of them "play the bounce" with instruments. What happens when the ball bounces high? What happens to the rhythm when it bounces low? ---~ - - 19 - ·.. - 20 - RHYTHMS WITH THE SOUNDS OF LANGUAGE Purpose: To let children explore the many different ways they can provide the sounds in the poem. Chant: Slowly ticks the big clock, tick-tock-tick-tock But the cuckoo. clock ticks double quictl ticka-tock-ticka-tock, ticka-tock-tick ••• Implementation: Accompany this chant in as many different ways as possible. (Here are a few). 1. mouth and tongue sounds 2. with loud and slow, soft and fast clapping 3. with body movements: arms for the big clock, head for the small clock. 4. With appropriate rhythm instruments Extension: Use the above chant as part A of a rondo. For part B find other clock ideas to explore •. examples: the alarm clock rings ••• (triangle) the music clock sings ••• (glockenspiel) the tower clock chimes, get to school on time. (metallaphone or resonator bells) Always return to part A for the end. .· .. ' ' AN OLD NURSERY RHYME FAVORITE Purpose: To be able to pick out specific words for the sounds they represent. Poem: Wee Willie Winkie ran through the town, Upstairs ••• downstairs ••• in his nightgown. Rapping at the windows ••• Tapping at the locks ••• Are the children in their beds ? For it's eight o'clock ••• Implementation: Tell the story with sounds chosen for each of the underlined words. The group which is chanting can make Willie run by playing patchen throughout the ';", entire poem. then Sing this poem using just the minor third interval ••• continue the accompanying instruments. '1 I .r1 n ! I h .~ 0 ~ n - - ,.----. - 23 - ·.· .. ' SPECIAL SOUND WORDS Purpose: This poem was written in order to provide an introduction to . ··. the Orff Instruments. Ask the children to find a way to produce the special sounds found in the poem. Since a gentle popping motion in the middle of the barred instruments is necessary to produce a good tone~ they should produce this kind of sound naturally when playing the word, IIpoppmg • 11 • A glissando is an easy sliding motion made on the instruments by moving or sliding the mallet from low to high and back. This can also introduce the concept of up and down. A swishy, watery sound can be made by a gentle rotating 11 motion of the wrist~ and by using the concept "all-around • THE BUBBLE BATH II " " At~ AS LAS . s1L sPL sP Take some bubbles, pour them m... •.• • • • • • • ~ J.t H Stirrrrrrrrrr in the water back and forth •••• SpLAs Spi.AS ptAS 5 watch the bubbles growiNG ••• GROWING •••• watch the bubbles goiNG •••• GOING ••••• POPPING HERE ••••••••••••••••••• POPPING THERE IN THE AIR •••••• .; •• ~ ••••••••••••• EVERYWHERE POPPING HERE ••••••••••••••••••• POPPING THERE IN THE AIR ••••••••••• ; ••••••••••• EVERYWHERE .... ·.... · Watch the bubbles going~ going, watch the bubbles slowing~ slowing, DOWN Now we can jump IN! {) • ~ t? ~~: - 24- Extension: Let some of the children play the sound effects while the other act it out through movement. The entire poem should be done in pantomime before attempting to play it. The words "popping here. popping there" should be played at opposite ends of the instruments. fs> o'D~ 1S~&''D 0 fj () () () i > I (j) 0 0 0 () 0 ® () ~ 0 0 t> () 0 -r/[) 6 ------··- - - 25 - . ·~· : . ( I I • WISHES Purpose: The "B" part of this chant provides a time for children to verbalize their own wish. Chant: Hey, hey, load of hay Make a wish and turn away. repeat "B" part: Each child should verbalize his own wish. hnplementation: Chant with body accompaniment and movement • Swing arms right, } -2} .J I .1 Snap, then swing heyJ L()O(:Ji of hoy- arms left ~ I'~' \JI I ) j L ,I " .. J Aake a Wt~h and +urn a-way. Melodic extension: Sing the chant using the minor third melody. For the "B" part let each child play his wish on the xylophone or another appropriate melody instrument. - 27 - HERE'S A BEGINNING LIST OF SOUND WORDS Add to it as you find your own. Help the children to be discriminating in his choice of sound to represent the words. bang ring boom rivet buzz slippery bristle slimey brush slushey click-clack-cluck snip clash snap clip-clop squash clang sqush crisp stick drum stone humm swirl knock tumble lump tick-tock moo tumba nick-nack thistle pitter-patter ugh push whistle pop whisper rock zoom rap ' I/ Idea: ..... ny .... 1\lf_ake a box of sound word cards. Take out three or four at a time. Mter finding their sounds, put them in a rhythmic sequence. Find out if they might have a movement that could accompany them. o==----=:=t - 28 - FROM RHYTHMIC SPEECH TO ENSEMBLE In the same way that we found the rhythms in names and put them together, we can find the rhythms in other interesting words. The source can be a thousand things. such as poems, phrases, stories, books, interesting places, real or make believe. The words generate the rhythms, and we teach the rhythms through the words. Examples: should be spoken first~ •• later may be accompanied by clapping or other body percussion • . GOOD THINGS TO EAT t 1 J .... • •t .. •1 ice-cream•••• ice-cream ••• cho-co-late-pie •••• J J. J ~f . .. j straw-ber-ry•• short-cake ••• red •• plum •• pie •• 1 J • \ ill JJ hot-dogs ••• spageth ••• round yel-low ••• chees·e. apple. dump-lings ••• (more please) JJ jel-lo- etc •••• etc ••• - 29 - ·; ... ANIMALS IN THE ZOO -. -· .- monkeys ••• elephants ••• long •• tall g1raffe J JJ t tJJ I lions •••• tigers ••• and kangaroo •••••• JD ant-eaters •••• possum, and cockatu •••• birds of a feather, and birds that are not ••• birds that fly and birds that do not •••• TREES evergreen trees: fir ••• pine.... cedar J 1 nut trees: walnut. • • almond •••• pecan. • • • • macadamia •••• r I ~~ )JJ fruit trees: apples •••• cherries ••• peach •••• apricot •••• tall trees ••• redwood ••• sequoia ••• aspen •••• birch ••• short trees •••• mesquite ••• scrub oak ••• - 30 - FWWERS JJ Jl ;, JJ red flowers: poppy ••••• roses •••• poinsettia ••••• t 1 JJJ " • JJ.1 yellow flowers: daffodil •••• jonquil •••• marigold ••••• flowers of the fall ••• flowers of spring ••• flowers of the field ' / . Idea:- Q- If you have a collection ofpiqture cards, let children identify them by clapping their names. SPICES nut-meg ••••• cin-na-mon •••• cloves ••••• J ) I I .J all-spice...... gin-ger ••••••• m1 f .,.t _,r I t-. j . t t'~ ' d.A sa•••••••••••• pep-per •••• ctlll •••• paprl,a ••• •1 bay •• leaf •••• pars-ley ••••• thyme ••••• sage ••• FOODS j D ~r, f:\ peas •••••• squash ••••• cab-bage ••• cu-curn-ber ••• to-rna-toes •••• car-rots •••. beets .•.. po-ta-toes.... beans. - 31 - THE COOKING GAME Purpose: A speech rondo Formation: circle .... standing •.•. Chant: Part A Stirring. . . . stirring (stirring motion with arms) Round in the pot Everything in ... Re~dy or not! (words clapped) Part B Each child names something to go into the pot as . he takes one jump in. If you have been naming spices. he could put in a spice. If you have been learning about vegetables. he could put in a vegetable. He should accompany his contribution with sound of body percussion or instrument. Part A Stirring. stirring Round in the pot Everyone out .. Ready or not ! On the word "out" everyone jumps backward together. ·. - 32 - THREE POTATOES (childrens poem) Setting: M. Burnett Three potatoes iil a pot One Potato in a pot Take ·one out Put one in Leave two hot Make two hot Two potatoes in a pot Two potatoes in a pot 'lake one out Put one in Leave one hot Make 3 hot One Potato in a pot Three potatoes in a pot Take one out Put one in Nothing in the Pot Make four hot etc •••• For movement: You can start with any number of children in a make-believe pot. Establish this rhythm with a drum while children move to it. . 1. .r n . 1 ·l 1 ~n . hot! Potato - Be a hot potato Begin the chant - They jump out of the pot when their nurnber is called. For melody: Try this simple melody to accompany the above game. It works very nicely to let a selected number .of children choose instruments to play. If singing, put potatoes in the pot, one at a time. Each time a potato is added, a new instrument is added. As the potatoes go out so do the instruments. ~- I I r I I - I . I I ..... -..J I I .... • ~.... .J .II -..... _l_ .._ I - "" r. J Thre~ po-~{l--toe~ ~ 0 ~ lake. Of'\ e.. out, fecfv~ ·hvo ~+. - 33 - OLD SAYINGS OR PROVERBS DJJJ Busy as a bee •• Bet-terlale than ne-ver ••• ) J• j J Jc Smiles have powers •••• • Look be-fore you leap •••• I J ...1 Ma-ny hands •• make light- work ••• n,D o J Let the pi-per call the tune •••• When the eat's away ••• the mice will play ••• A stitch in time ••• saves nine ••• J-1 l, j J. J v • ..1 ...... A little spice... makes the pud-ding •• ·• nice ••• ..•. · When the children have learned some of these sayings, ·.. .: drop the language and play them on instruments. If they play them well, you can play them as a round. - 34 - TECHNIQUES FOR IMITATION Purpose: Echo rhythms can help small children develop both aural and retention skills. Implementation: Leader plays first. followed by group. The first patterns which are presented should be simple and easy to remember. Start with clapping sounds followed by other body percussions. and finally rhythm instruments. Present interesting rhythms that vary the meter and the accents. Progression is from short to longer patterns. Examples '·)J J Jjj I J. Jq17. J j) jl j. J· ttJ~),,JlJJ!rf 10 q. J ) } J J j IJ j J JJ l l JJ J _,. d J \d J II l j l u..r a> ~ 1\ - 35 - TWO GAMES FOR IMITATIONS Purpose: To increase the childrens' skill in rhythmic imitation and to facilitate their skill for playing hand rums. INDIAN MESSAGES: · Formation: two lines of children facing each other ••• may be sitting •• In one line a large drum is passed., in the other a small drum is passed. The child who has the large drum plays a rhythm ••• it is echoed by the child across from him., playing the small drum. The following chant can precede the drummers •• ~ Listen to the drums,,.} l ~opp...d )f,r dr-s) 1 ~ Listen to the drums ••• ...J' J . Big drums, little drums •.;. big drums ••• little drums •• ~ Listen to the drums... ; .J ---- This game can be extended for teaching question and answer rhythms also. IDDE AND SEEK Children love to seek out all kinds of hiding places and they like to invent reasons for being there •. There are so many ways you can capture the spirit of this game to teach something important. Allow children to select a small rhythm instrument to take with them when they look for their "secret hiding place". Once they have found it., you can call each one individually., by chanting ••• Ma-ry ... where are you? ~ ) ;) \ JJ J They answer by playing a rhythm which you must echo ••• or echoing a rhythm which you play first •••• FROM IMITATION TO QUESTION AND ANSWER In question and answer rhythms, the initial rhythmic phrase is followed by a different and original phrase. Emphasize that it does not sound the .; same as did the echo rhythms. They should sound different and it can be anything that the child wants to play. It is important to remember, should it happen, that even silence is a rhythm • .Again, begin with a simple phrase •• just clapped ••• .An•wer - 1 H -- I - - - -' ~S~I"' - --. £ l t 1. J ( ~Ij .. • J J J -- ~t\I.W'r. .. - .. -·- Jf. 1 1 a>n .... \\ ' J:r -- D Jl More interesting patterns can be made by mixing body percussion sounds. ~(. J j I J )' J l ~swer U ~--.r--~r--~-~~.----.~--~----~----~·- Cll. ~~ J ~ AI\SUI!£ ~/. I \ u ~ r ~ cr f Sl'\.: t f' J=:l r 6a!.a.~l: c. I. - J- -- d. r r - I~ ,. f 11 .J cl J I n n 1&sw.t u p ·t: s ~ i r ~ I c. I. J , J £1) l n"swe-r I '[I P· r m t f - 37 - RHYTHM RONDO IS A BARREL OF FUN Purpose: To give each child a chance to improvise his own rhythmic pattern and to help him understand the relationships of time, space.. and phrases •• Learn the following phrases through the use of this chant. Use it as part "A" in the rondo. It is played by the entire group. Once rhythm is learned, you can drop the language. ~:Jl c.\a?f )JJ J J t J3J J j I J J J D f 1 JJJ J ~ ~ Ulh~tktr·,~ ccAd or- wh(·thtr rh k+1 H.trt'~ ~o-inq ~ bt. wea~+ht.~ whc. tkr or /lot i l' J r II no+-. Part B •••• Let each child in the circle have an opportunity to create "his own weather" an original rhythmic pattern lasting about as long as part "A". The entire group plays part "A" again after each individual contribution. Here is another rondo chant, most older children know this as a chant for jumping rope ••• begin with just the sound of footsteps. J ~~ j JJ f J j J \ (~lay pa±schen) Extension for the rhythm rondos are made by playing the phrases on other percussion or melodic instruments. Part A again is played by the group together. Part B is an original contribution played on an instrument by each child. - 38 - •; I . • . . ,. __ . ~ . . . . - •. ·- ....! .:. : - 39 - .. PLANT THE SEEDS OF RHYTHM THROUGH MELODY There is nothing so complicated as a simple song. A good children 1 s song in order to be simple needs to be a combination of many things; an interesting rhythm, a singable melody, appropriate lyrics, and musically pleasing. The songs in this guide come either from appropriate selected folk material, or they are original material stemming from the need to improvise melodies for a given situation. A lovely song with a simple accompaniment can be as musically satisfying to the child as the symphony concert to an adult. But the trick is to start them singing. Let's begin by playing again the HIDE AND SEEK GAME. Take advantage of the fact that small children feel a freedom to sing when they are along so with the use of the falling third we are ready. In the group practice a little echo singing first. I J J I c~ud-lo) ~ JJ; I D J I )'J I ) j Teacher sings: Child answers by singing: i rn J l fie~ ram. ..T h, o- v~r h.ere. Teacher sings: ; l..Q D i "what Ol'e you ~•itk·~·~jVof'? Child answers: ~JJ.J1n - 40 - SING A SONG OF SUNSHINE M. Burnett C Pentatonic Purpose: To provide children with an qpportunity to name some of their favorite things. I~ i J l J J· I ;. J. I ll J 1 I 5~ nq a sonq of 5Un- shine.1 )\(lg 0 Sof\lj of Y'""OI n t' J r 11 [ J J' JJ b :r J t I l II 5"'9 a sooq of op· p)e.. treest¥d ot-her loveJy +~·l nqs Verse 2 Sing a song of friends at home. And sing of friends at school. Sing a song of bikes and trains. and things you like to do. Accompaniment: Can be provided with just the "C" chord on guitar or 11 3 resonator bells forming "C triad (c. ell g. ) I or ' a combination of these notes on bells or metallaphones ,zz, ' C lue word to teac h r h ythm. • • • II s1ng· II - 41 - I HAVE A LITTLE CUPBOARD OLD CHILDREN'S POEM C Penta tonic Purpose: This song makes use of the rondo in order to provide children an opportunity for melodic or rhythmic improvisation. · I~>. i) .D 1 J 1' I ) J J 1b J J j ) ) [r j J n j J j I Impr ovtsa+iqna\ melody If only rhythm instruments are used, the word "rhythm" can be used in place of the word "music". For melodic improvisations it is nice to have both a glockenspiel and a xylophone available so that the children may have a choice. After a child has finished playing his rhyth;m or melody, always return to the song again while the next person is going to the center of the circle for his choice of instruments. Accompaniment: Guitar, two chords •• C and G7 ( 4 strums to a measure) or bells and xylophone Clue wor-ds: ti-ny. key lit-tle cup-board - 42.- WIND AND RAIN SONG Melody from Book I Carl Orff' s Music for Children Purpose: To provide a chance to be selective in the choice of sound effects and accompaniments. They should compliment words and melody, but never surpass them. C Pentatonic 'v- - ~ - ... f ) ?loy it o-ver So 9e~ '-mr -~e. Play d- Let children decide other things outside which might sing a song. For example: sun, clouds, moon,birds, flowers, etc. wind: rub the skin of the drum with fingertips or fingernails ••• glissando on xylophones, bells, or metallophones •• rain: tiny pitter-patter sounds on xylophones and glockenspiels or selected rhythm instruments ••• ...... ' Improvise other soft accompaniments on barred instruments, auto harp, or guitar. - 43 - ANOTHER RAIN SONG Mother Goose A simple setting for the minor third melody c AI~~ j jJ f) +r-e e 1 c ..._...- !() j j ) I ~ hous~- top bui- V1o+ of\ me.. C\~ JjJJjllJ ra Ratn 1 ra~n, qo a- way J CoN\e a-ga-,n an- o- the.r day. ,({::<~ /{'/'/~:~ Choose the sounds of the rain as it fallR on various things. VSee :Ow f/ they sound different ••• see how they could sound alike. /1 f V Let children accompany the song alone and together.. When all have played, ask them to stop playing one at a time, while you sing the last line. Continue singing the last line until all rain is gone. Finger cymbals at the end may signify that the sun is shining once more. t/ /1 ~ f) guitar: alternate C and A minor chords I r " - 44 - GREETINGS Purpose: To prov1de the child a chance to verbal~ze either fact or fantasy and to sing about it. It also provides opportunity for echo singing between teacher and child or two children. C Pentatonic *~easv 5""1D9£1n :f1 J J 11 n J§ ). l It is fun to talk about what we really see~ when we look out the window~ and who we might like to see. •• •• ··-'!' .... Accompaniment: guitar C and G7 or simple bird calls on the bells such as ·--- and --~ xylophone ,z' j j 7 - - 45 - THIS TRAIN Spiritual Adapted F Pentatonic Purpose: To provide movement experience and representative sound effects. f o~ F j ) } tJ 13 l) l s l rh ~5 -\-raio \.S qo ~In~ -\o the.. e~- +y .I th,·c;, Train I 142 0r c. Ur r n 1fn JJ DH r1 1hi-s i-ra""' IS qo-m~ to -\-he... ~~) , I£ J ;· ns=m J:± 1F j' ; . ~~iitrn*. lh1s -+rain IS (\b-Ing -\o -+he. ci --fj t\,is +rai.n. Verse 2 This train is going to the farm, yes this train This train is going to the farm, yes, this train, This train is going to the farm to see the animals in the barn, Yes, this train •••• 3 This train is going to the park, yes this train, etc. We '11 get home before it gets dark ••. Implementation: A group of children can move together as the train; another can provide the "train music" or rhythm. &>me children representing each stop along the way can improvise me~odies & rhythms to represent city, farm, park etc.· What other places can the train go? Accompaniment: Guitar. F, Dm, r. or ( Xylophone b .. ~ d '\ 7 \ 14 .\ Clue words: This train F 1~ - 46 - THE MUFFIN MAN Old English rhyme and tune Purpose: It can be a rainy day game ••• it can also be a good song for helping children learn where they live ••• F Pentatonic ·- ... For a rainy day game~ let one child close his eyes while another hides an object such as a pencil. The class helps the one who is looking find the object by singing very soft when he is far away from it1 or gradually singing louder when he gets closer. For teaching streets~ just substitute the name of a child and his street for the words in the song. Example: Oh do you know Mary Ann1 who lives· on Parkridge Road? Accompaniment: guitar: F~ B 1 C7 or drone bass on xylophones Clues: Muf-fin Man .. _.:.> - 47 ~-- --- PLANT THE SEEDS OF RHYTHM THROUGH MOVEMENT It's a wonderful thing to enjoy the freedom of movement. It never comes easier than when we are children~ and it is hard to grasp when the experience has not been presented in the young years. Movement is music in motion. It is also an expression of feeling and attitude. We can move in three ways. WE MOVE' TO SILENCE WE MOVE TO SOUND WE MAKE THE SOUND OR MUSIC MOVE TO US Let's begin by "READING". Reading involves the use of the eyes. In reading movement, we watch the leader so carefully~ that we can move exactly as he moves, and stay right with him. In another way we can read him so clearly that we can make some sound which will match his movements. Example: A child is chosen to move around the room in any way he chooses; walking, running, skipping~ etc. The children clap to each step he takes. Now do just the opposite. The teacher can play a• rhythm pattern on an instrument and the children must move to it. This can become a movement rondo. Part A: Teacher plays a pulse beat or rhythm for movement. Part B: Children read the movement of one child with clapping. Another Reading Game 1. Formation: A large circle with one child in the center as leader. He moves any way he chooses without going out of his place. The group watches so closely that they do the same thing at the same time. 2. Put a few selected rhythm instruments in the circle. Choose the musicians and the mover. The mover stays on the outside of the circle. The children playing instruments must watch him carefully and make the sounds they play match his movements. It is a lot of fun for children to explore all the ways that certain parts of the body can move. Example: The teacher can say: "Make just your head move to the sound of my drum", or "Find a way to move just your hands to my rhythm". - 48 - -; .. TWO CHANTS FOR MOVEMENT JUMP out of bed ••• WALK to the table •••• EAT yo,ur breakfast •••• You'll be strong and able •••• RUN down the path •••• CLIMB the tree •••• LOOK all around •••• then WAVE to me •••• M. Burnett The Noble Duke of York English Folksong ~ I J ~ ) ; I J (r. r ~ ~a.pped) (or dt-ums) The grand old Duke of York . J , J ...-\ J J , J (r r) HJfhaJ ten tho;sanJ~ 1 J:j J J ~ \ ; ) ) J \J (r r) He marched them up to the top of the hill and marched them down again •• J I .J J=J ) ,'C:) I j (f r) AnJwhen they were up they were up ••• J I J )::1 ~ £ } '1 ~ cr r) And when th~re down they were down .J/)~JJt)JJ An Formation: 2 lines facing each other Line 1 - 5 marching steps forward Line 2 - 5 marching steps back Line 3 - 5 steps forward, pause, 5 steps back Line 4 - Stretching high Line 5 - Bending low Line 6 - Touching knees Lune 7 - Jump up quickly - 49 - MOVE TO TEACH CONCEPTS Opposites: We can move this way and that way (arms swinging from side to side) and this way and that way~ We can go up and down and turn all around ••• We can go in and out and turn all about ••• (walk forward and backward) We can be fat and thin and turn on a pin ••• We can grow very big and very tall ••• We can grow very little and very small ••• We can wave left then right then left then right ••• We'll stretch high and low~ now fast and slow ••• etc ••• etc ••• Synonyms We can make ourselves small~ little1 and tiny ••• We can make ourselves big1 tall~ huge or gigantic ••• We can make ourselves light~ feathery, airy~ floatlng •• loose We can make ourselves firm1 rigid1 stiff~ starchy ••• taut We can make ourselves happy, joyful, smiling~ laughing~ playful~ merry We can make ourselves sad~ lonesome, unhappy1 grieved ••• We can make ourselves bright, shiny, sparkly1 glittery~ or even dull1 dingy, tarnished, or moody. We could be lazy, listless1 lifeless~ loafing •• or busy~ industrious~ energetic, and occupied ••• Oh1 so many feelings~ ideas, potentials, and possibilities are within us. When we move something comes out. - 50 - Move to teach phrases Implementation: Leader moves a pattern lasting the length of a phrase. Children watch6 then repeat or Leader claps phrase 6 children listen then improvise their own movement which should last the same length of time. - ,._, Mirrors: Two children facing each other. One is leader6 one is follower. They should try to keep eye contact while moving in place. Their movements may be "read" by another child on an instrument. ,, - 51 - ANOTHER CHANT FOR READING MOVEMENT sp: f. >l ~ j PART A Sifting at the zoo •••• 'f ~ ~ j Looking all around. • • • J X )(: )( Gomg to town .••• PARTB One child moves around the circle imitating any animal he chooses. The group reads his movements with clapping. When he gets back to his place~ some::me can guess what kind of animal he was. ) zoo ) -- - 52 - -- -··------~----- . ·.· ~ '. A ZOO SONG JUST FOR FUN ••• THE ANIMALS IN THE ZOO M. Burnett Purpose: Action song: actions should fit the antics of the animals 7 I~ b·w 1 \fJ 3 1 lc fJ Jll \C?B J 1J:) I \he fonq qi- 'ra-ff strefc.h-e.s h'snec..\ 1 +he e\-e.--phoh\~ t.-un\:' F ~ F b ;g : J J \ "~)~ on- l - ma\s \n -+he.. ~o o. Verse two: The monkey swings~ from side to side, The little joey rides inside~ what can you do etc ••••• Verse three: A camel's hump, will swing and sway, The big brown bear, just sleeps all day ••. etc. Verse four: The penguin struts in his black top coat, The hiprn looks too big to float ••• other verses you can add •••• - 53 - ..•. · SOME GAME SONGS FOR MOVEMENT EXPERIENCE Sally Go Round the Mountain American Folksong C Pentatonic ~\.::~·a h+-tle. ~ - -hon one.. by - one... I' J J J ; t ! i. >t 1; I lg. First Verse: A child's name can be substituted for "Sally". The one chosen walks around the circle. On "rise Sally, rise~' he stands behind someone while everyone stretches arms high and then claps. Second Verse: The one now chosen goes to the center to''make a motion" which everyone follows. Again on "rise, Sally, rise", everyone stretches and claps. This same child now goes around the mountain as verse one is again sung. (it is also possible to go two by two, or three by three) - 54 - The Old Brass Wagon American Folksong F Pentatonic l } I J. J. j Jll JJ 5 J liJ J tJ I IJ JJ it J I :J] fJ \S J FJ \ - darl- in~ Formation: Circle of partners in a single circle to begin; each new direction is sung . . . . First Verse: Circle left. hands joined. On "your the one my darling". face center and clap hands. Second Verse: Circle to the right etc .•.• Third Verse: Swing your partner .... Fourth Verse: Everybody in (one jump in) the old brass wagon. Everybody our (one jump out) the old brass wagon. Everybody in (one jump in) the old brass wagon. Your (one jump out and clapping) the one my darling. Simple accompaniments can be played by the wood block and tambourine playin ) l I J ...1 c.l.'p - elop \ I \ I/ I \ %~ I Xylophone ~ ~ ~ p ~ l ~ ~ \ I Bells or Glock ROLL THE BALL French Canadian folksong (adapted) F Pentatonic Formation: Semi-circle of children seated on floor. One child faciag the others to keep the ball rolling. He begins to roll the ball to the first person on the first beat of the song. During the line "when one goes out etc!'. the next child can come to the center to keep the ball rolling. This song is also fun to use when trying to learn to bounce . the ball. Accompaniment: Some instruments well chosen can play for the roll of the ball. r r r -c --r - 56 - ·: ' HOP UP MY CHILDREN American Folksong Adapted C Pentatonic Formation: A row of children. one behind the other. T h e f1rst. c h 1"ld h ops up on IIone II , t h e second on IItwo II , the third on "three". etc. You sing as many numbers as you need to include the group of children with whom you are working. As each child jumps up he moves his right arm as if turning a handle. After all children are up. you can sing the total number and they all jump up together on the word hop •.... 57 FOR SINGING, MOVING, READING AND PLAYING SHADOWS an old poem setting, M. Burnett C Pentatonic bv I II Come...danc-e...w·• me..,. Part A: Begins with a singing call by teacher or child. The group sings the song which may be accompanied by barred instruments. Part B Movement improvisations which are "read" by selected rhythm instruments. To make shadows .. put the light from a slide projector or spotlight on a large empty wail. The child's movements in front of the light is what makes the shadow dance. Other types of shadow dancing can be done with flashlights and with shadow puppets. - 58 - ·.. Accompaniments for barred instruments: glockenspiel metallaphone clue word: come, come •.• ~ ~I :;? L>?1 xylophone I~ ~ v p t ~ hap-py sha-dow, hap-py sha-dow ••.. - 59 - ·. Ideas for other old time favorites: THE FARMER IN THE DELL: The children really love this song~ and it has been forgotten as a worthwhile contri bution to a child's repetoire of songs. Try this song a new way. • . by singing a movement for each member of the family. Select a rhythm instrument to represent the sound of the movement. Example: The farmer hoes the corn •.. small drum The wife churns the butter ... woodblock The child likes to play .•• bouncing ball The nurse washes clothes ... guiro The cat chases the mouse .•. triangle or small jingle bells ••• LOOBY LOO: This song still represents a wonderful way for teaching right and left F Pentatonic Experiment with accompaniments using just F ~ A~ and C and ~sing one rhythm instrument for the "right"~ and a different sound for the "left". OLD MacDONALD: Use a different percussion instrument to represent each barnyard animal. F Penta tonic - 60 - .. ~:· .. •, '·. . ··: I .·. :, 7 "I - 61 - SIMPLE SONGS FOR SPECIAL DAYS HALLOWEEN M. Burnett Purpose: To provide a setting for the use of sound words with accompaniment. J J ) }zzt}_ r Ui Accompaniment: Drone Bass on bass or alto xylophone ~--- Other barred instruments can find the five note melody. Experiment with the drone bass and melodies improvised in the Dorian Mode: Use the notes from D to D on the barred instruments. - 62 - ·. ·, ( \ \ \ l, \ \ ' \ \ l ; ) I \. - 63 - .• THANKSGIVING BLESSING Children's Prayer setting: M. Burnett Here is an easy to sing melody for a blessing the children probably know. . . F j J ' J J qod ·,s qreoiJ qod. IS good. Le+ us fhdf\k ~im for our food. ,~2 j J &rn I SJ $ I J. 1. r£ I ] j 11 RUN# TURKEY, RUN M. Burnett German folktune C Pentatonic 1. f?un tur-key runJ be.. -fore f-he. tar· mer c.omes __ ,~ iJ t=ip .J)!Jd hn J] JP f] 1 t I - 64 - HANUKAH M. Burnett c::..:shake.) \ ~gmbonne.- NH l , J '*"' f' r #! J - .I , IJ ,I I ,f] J ] J J J J a I I dred 1-{/ sp'f_, Le. -\-#.our ha~-py +lme.... be J gin_ ,...... - ...,.... I ..Ji ·- r - _6'" - -- 0 -- '- I L--~· b . Ll II I' - # con- dl e. I19nt; burn· inq rtqn-r.> 1.Han-u- ~:::a 15 h.e..re. .;.. ~ap-py ~an-u- ka -- A D minor chord on guitar can be played all the way through this song. · .. CHRISTM.AS BELLS French Folksong F Penta tonic ..-.=.....- Te.\1-tnq US the.. Accompaniments: Bell sounds and ostinati patterns can be played or sung. Reso ha+or Belt t.Jo.vne..c:,. 1$ 1 1 ;; L1 r ~ f ~ c G D D;nq, dot''), dtn:J dong, J 0 ~ ~ ~ ~~~!* ~ I" I= A ~ G A ~ c.. \F - 65 - .. MARY HAD A BABY Traditional Spiritual F Pentatonic lffl s& J J ) J D J I J 1 ~ had o ba-by y t!:.~ Lord} · Mar-y 1 ~~ fJ JJ J J I J D 1 ; Mo.r-y had Cl balo . y yes, mv Crd, ~~bJJJJJJ l~r"~1'! \-1\ar,y hac! a. ha b -V '/e s, 1-o rd 1 He. ~~~ W g E E I J J J II ~ P::~e. \(e;; o- com--me) and -the_ =f,..atn has ~one... Possible Accompaniments: xylophone: ,, b ~ ; f i /1 1 bells: - 66 - VALENTINE'S DAY M. Burnett Val- en- -l-iV\e JS a ve·- r-y spe-etal day. We- ~ (] c G C..- Q.. f$lJ j fJii];JJ:;ti;:J J J j sendour love 1n a ve-ry spe-c·L~ way. .I.'Il be yours and j c. G1 c. I 5 =+ c I ,_ r J lor J J • ~ ~ 1 - Guitar Accompaniment - 67 - EASTER BROTHER RABBIT American Folksong. adapted G Pentatonic Knock 0- lonq s~~~r l?ab-bd·, knock a- \ong. .,( F day. D.e.at line.. I 'I IL ~ .y V'· J' ·v '17 \)' .;. IY ~ ..6 II- '" '" ., ' ,, ·~ - ...... Keep Brother Rabbit running with either soft clapping or patschen sound. Other accompaniment on woodblock or xylophone. I/ I 7 - 68 - .... . ·. '· -·. •.. . -; - 69 - BUILDING Building is a natural childhood phenomena. From the earliest toddler toys to the elaborate mechanized erector sets, manufacturers have capitalized on the child's desire to stack all shapes and sizes of things. The young child can build-up, tear down, and reassemble everything from toothpicks to typewriters. It is this love for putting things together that will begin this experience. Where a building project could ultimately take you would be determined by the group with which you are working. For this reason this idea is like a tree with many branches, each one of which could be explored independently or could become a scheme within itself. A Movement Idea Use two drums, the lower one for down, the higher one for up .. up, we must build I To I ~ down •.. What are you digging digging a ditch ..• (what do you see) digging a hole ..•• (what's inside) digging a rock ..• (it's hard .• push!) Digging sand •.. (how does it feel) digging mud ..•. (ugh) dig •.•• throw dig •••. push dig ..•• pull -- --~-- - 70- . : :· . 0 ' ' .. ··.· .. ··. .· ·.· .· ·. "L.,. < • - 71 - BUILDING~ BUILDING~ WITH WHAT SHALL WE BUILD? A TREASURE HUNT The children may use any large room .\ where things might have been hidden~ or they might go outside to a designated \J 1 area to look. ·~ \ ·.\' \ \ I Chant: Find some wood~ find a stick~ Find some gravel~ find a brick~ Find some steel~ .find a rock, Find some glass, find a block~ Find some straw, find some stone, Find some bark, find a bone ..•.. We're finding. • . • finding. . . . finding ...•. (Mter some time spent finding, these questions might be asked) How does it feel~ how does it sound? Bring it with you, whatever you've found. Bring it with you back to your place, ·We'll build something in this empty space ... (When everyone has returned to the circle begin this chant) BUILDING RONDO A. Building, building, (hands tapping floor) Starting low (patchen) Put it all together (clapping) Watch it grow (arms circling upward) B. Mter each chant, a child will add his treasure to the group structure. Each may have his own idea as to what the structure is and should express it. - 72 - RHYTHMIC AND MELODIC IMPROVISATIONS FOR BUILDING It might be a good experience for the children to match the sound of their building materials to the various rhythm instruments with which they are familiar. In this way they could represent any structure which they build with sound. HOW DOES IT SOUND, THIS BUILDING NOW, WE CAN PLAY IT, WE KNOW HOW. Another extension of the sound idea is to discover which instruments are most suitable to ·different building rhythms. . 1 J J J A digging rhythm .•...... dig-ging, t dig-ging r- .rJ J ) 1 ) ). ___.L~~J_....:;;_~ A sawing rhvthm. •...... (slow) saw-ing, saw-ing .•0 !' sawing, sawing . J~l>J::J. E)}J A hammering rhythm ...... ham-mer it 1to-get-her ..• or ham-mer it tight J) CJtD J A sanding rhythm ...... •...... sanding, sanding, ve-ry smooth •• ro AFTER BUILDING IT, WE CAN PAINT IT. Can you paint a melody? This experience can provide the time for melodic improvisation on xylophones, glockenspiels etc. It is interesting to note the difference in mood and the choice of instruments that the suggestion of color can make. Can you paint a yellow sound? (what instrument would you choose) a blue sound? a red sound? - 73 - CHANT WITH INSTRUMENTAL ACCOMPANIMENT Hit the nail (fist on palm) Hammer it tight~ (fist on palm) Sawing~ sawing. (arm movements) (2nd verse should be digging or sanding. etc.) Built it right (arm movements) Two groups of children: one to sing or chant the poem with the movements:. the other to play the appropriate instruments POSSIBLE MELODY WITH COMPLETE OSTINATI FOR ABOVE CHANT 2 . • 1\ J VOICe.. I I 1 or I , , I - rc.eorde. / ' -- I - I ~~+ +h~ na.Ll -tr 1al\a., le 1 \ I 1 L 1 I I J 1 I - I I I I fjj ) I ~~bioc:~k I I I 1 I :n-1 I I I - I alk, . I 1"\. 9toc.hn1p1 v - ,.. \ ~opratto I l'l _L I ,_1:'_ xy lo ,horte... r.. - I - 1 _/ I ;...r /' ~~ .... al-lo , l I , r:y lophot\· _/ v ~ OrurT\ I I I ... I 1 j J I I I I J - 74 - ,-; ____, -"" ~-/ _.;:..;.-- I vo,c.-e.- lfh ~--, _;, .l. I ... _; .J. .J. I 1'-V """ - . , '-:---"" I ~1'-llltt -~ tl~ht. Di9 ·qin~'o~~ -~··ng hiJt\J ~ rlqht. H1t the no.1l. ~ a.,·.,.~r ·n ~Kfi _-1-; .~t~.ale. I l 1 I I l l I I I I I l -fl- I w. 13. m t I I ff1 l I I J 1 I I 1 - I I t A, ,, I I , 7"' ,. qlo"'k f .... - \ \. l l L , ~ 1> 50p. . (" \ 'r" I ,; .J , ..... A , ~ [:;{ , ~ A [\/ .1. .. xyl. J "' ..L \ £/- ¥J _;J v :tj h ~ \ ~ I L ~ .. a lie. ...-- rf _, • , .. I ,., "" -- /TI )c.y/. .... -· r" ~ ~ ~ I t ~ ( t ~ y } druM 1 t 1 I I I 1 I m mr JJ . . I - I ~ . I .. I I . A -~ r,M ~~ Vote e.. / / I • ·:..,.- .. .. """ "" ~ ~ ~ - . .. ' ..,.. ~ow:tn~,Sn,;n,, 8u1 ki it R1qh.t. \:b~tt ~e.\ -low. ~ow does ·,t Sound C> lf\t "d b \uc.- 1-\oi.D doL~ "rt soUNl ~ ..l-r ,ana\ e. 1 J I - 1 • .# r _j l .. I I I T I wood bloc-k I ffl l I ' I I I I fl - I I t'\ I I al-b / 1: '3\od:.. , ...1 i.....l. r• - '> - t- ) t ~--~ -R -sop. " '"' , , , , :·.~ ~~ ..k- , ... rl ~ , --r xy/...... ( t/ ;.J- i\ ~ ~ I \ I"\ I al-b / , , , , ( ,., --, ~ "" I • ..J xyl. v '!' ·-.:;a r v J; l ~ r J fry j drum l \ I 1 I r I I .. J - I I - 75- ANOTHER SONG FOR BUILDING AMERICAN SINGING GAME l' rJ \lii \J JJ \J -~ I~ \\ Implementation: One fist on right knee~ keeps the rhythm of hammers. Tw·o hammers - two fists - one on each knee. Three hammers - add one foot tapping Four hammers - Add two feet tapping Five hammers - Add head nodding - 76 - IN CONCLUSION Carl Orff has made something very old1 very new again. He has made us aware of the joy of communication and participation in a group .. adventure~ and also brought to a light ageless techniques to be used for this purpose. In Early Childhood play is the work of life. Play = = Learning A ' In Orff-Schulwerk we experience the joy of play together1 both young and old. In this there is no difference between teacher and pupil. Music in game form = = the beginning of musical experience. zs . . . I Orff-Schulwerk will continue to open new channels of communication for you and your children~ and somewhere along the way a true sense of appreciation for the joy that music brings to our lives 1 will emerge. '· . '. - 77 - APPENDIX OF REFERENCES Books based on Orff- Schulwerk as method and philosophy 1. Qrff# Karl and Keetman, G., Music for Children, Volumes I-V, Schott and Co. Ltd., London, 1950 (also teachers' edition). 2. Orff, Gertrude, Sayings, Riddles, Auguries, Charms, Studies for Speech, Schott and Co. Ltd., London, 1971 3. Wuytack, Jos., Viva Musica., Alphonse Leduc, Co., Paris, France, 1972. 4. Nash, Grace, Music with Children, (beginning) Kitching Educational Co., Chicago, 1966. 5. Marquis, Margare~, Songs for all Seasons, and Rhymes without Reasons, Marks Music Corporation, New York, 1968 6. Wuytack, Jos., Joy, Alphonse Leduc, Co., Paris, France, 1970 Music in the lives and education of young children 1. Aranoff, Frances, Music and Young Children, Holt, Rinehart, and Winston Inc., New York, 1969. 2. Bailey, Eunice Discovering Music with Young Children, Butler and Tanner, Ltd., Long, 1958 3. Pape, Mary, Growing Up With Music, Oxford University Press, London- New York, 1970. 4. Christianson, Helen, Rogers and Ludlum, The Nursery School, Adventures in Living and Learning, Houghton, Mifflan Co. Boston, Mass. 1961. (Excellent chapters on music in the curriculm). Movement experiences for Children 1. Saffron, Rosanna, First Book of Creative Rhythm, Holt, Rinehart, and Winston, Inc. New York, 1963 (excellent). 2. Driver, Ann, Music and Movement, Oxford University Press, London, 1936-1952. 3. Findlay, Elsa, Rhythm and Movement, Summy-Birchard Company, Evanston, lll. 1971. - 78 - Suggestions for source material 1. Baring-Gould, William. and Cecil, The Annotated Mother Goose. World Publishing Co .• Cleveland, 1967 2. Newell, William. Games and Songs of Am-erican Children (collected t Dover Publications. New York, 1963. 3. Withers, Carl A ~cket in My Pocket, Holt, Rinehart, and Winston, New York, N.Y .• 1948 4. Martin, Bill, Sounds of Language Series, books 1, 2 and 3. California State Dept. of Education - Sacramento, California 5. .Jones. B •• Howes, B. Step it Down. Harper & Row N.Y. 1972 Specific help for handicapped children 1. Nordoff, Paul, and Robbins. C .• Music Therapy for the Handicapped Child, Rudolph Steiner Publishers. New York, 1965. 2. Alvin, Juliette, Music for the Handicapped Child, Oxford Press, London, 1965. ~- .··. - 79 - I ing a ong - of ...... shine I ------.~- ,_,., . ... : , 46 804NOO BR 3979 ~~ 111s4 30089-20o Iii