Day Three Plan

Education 3877 Page 1 Day Three

Ho Ho Watanay Ojibway Indian Lullaby 2 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ho Ho ∑Wat ∑a ∑nay. Ho Ho Wat ∑a ∑nay. Ho Ho & 42 Y ∑ Y ∑ Y Drum beat first time through 2 & 4 Y Y Y Y Y Drum beat second time through

& 42 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Drum beat third time through 2 & 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Drum beat fourth time through ? 42 œ œ œ œ Œ œ œ œ œ Œ œ œ œ CBB or Bass drum - continual drone

6 . & œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ Wat ∑a ∑nay. Ky ∑o ∑ke ∑na, Ky ∑o ∑ke ∑na & ∑ Y ∑ Y ∑ .

& Y Y Y Y Y .

& ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ .

& ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ .

? œ Œ œ œ œ œ Œ œ œ œ œ Œ . Education 3877 Page 2 Day Three Process: Students sit campfire style in circle formation – knees touching. Teach song by rote. Keep beat on your lap. Once song is mastered vocally, students begin a new pattern moving from their own lap to their neighbors to the right. Repeat pattern this time moving from own lap to right neighbor, to own, to left neighbor and so forth. Repeat the song four times through increasing the pattern double each time (1st time in whole notes, 2nd to half notes, 3rd to quarter notes and 4th to eighth notes.)

Transfer beat pattern to drum and round dance.

Round Dance: In circle formation, holding hands, walk as though your right foot is wounded (with a limp). Walk with the drum beat as it increases in tempo. (Your left leg is the lead because you must always move to the left – in the direction of the movement of the sun.)

Perform this piece with three circles – inner circle is for drummers – beating on one drum. 2nd circle is for sitting and doing the lap pattern. Outside circle does the round dance.

Objectives: 1. The students will understand the pentatonic scale – both do and la based. a. They will understand how to find the melodic structure of a piece to determine if it is a true pentatonic scale. b. They will understand how to set up the orff instruments for children in do and la based pentatonic. 2. They will apply principles of accompaniment – bordun, ostinati, I-V accompaniment as they apply to both do and la based pentatonic songs. 3. They will experience and compose two simple ostinati accompaniments using colour and melodic fragments to complement a bordun or I-V accompaniment (based on a pentatonic song.)

For this week’s assignment: 1. Write out a simple melodic melody and choose a simple bordun. When writing out your melody, include a breakdown of the melodic structure using the process above. Then add two complimentary Ostinati to your piece. 2. Choose a pentatonic song that has re on a strong beat and write a I-V accompaniment to it. (See rules below) Education 3877 Page 3 Day Three Review – The Simple Bordun: There are four simple bordun patterns: 1) Chordal (solid) 2) Broken 3) Level 4) Arpeggiated The moving bordun is a complex bordun pattern taught once the other four basic patterns are mastered.

Rules to keep in mind when writing a simple Bordun: 1. I must be on the strong beat. 2. It is a harmonic ostinato – even though at thimes the notes are played alternately. 3. It must be complementary to the melody. 4. It can accompany all pentatonic melodies HOWEVER when re is on a strong beat or several repeated beats or the last note of a phrase, it creates too much tension for a bordun. 5. The same can be said for meklodies in la bsed pentatonic in reference to so and re. 6. The pitch of the bordun should be below the lowest melody note or at least at the same pitch. 7. In chooseing instruments for your bordun – make sure the sound you wish to have is possible on the instrument you choose. 8. In creating a complementary rhythm pattern, give the line a point of tension and sometimes it is necessary to alther the rhythm pattern slightly to give a good sense of final point. 9. The distance between the tones must be a true 5th and not a 4th or a 12th. 10. It is always possible to add other parts to a bordun accompaniment: a. Non- pitched b. Colour – pitched part c. Melodic fragments. 11. When adding parts they too must be complementary to the melody, the bordun and each other. (rhythmically and melodically.)

Moving bordun options in do pentatonic:

1. The V(sol) can move up to VI (la)

2. The V(sol) can move down to III (mi)

3. The V(sol) can move up to VI(la) and down to III (Mi)

4. The V (sol) can move down to III (mi) and up to VI (la) Education 3877 Page 4 Day Three

Moving bordun options in la pentatonic

 The V(mi) can move up to VII(so)

 The V(mi) can move down to IV(re)

 The V(mi) can move up to VII(so) and down to IV(re)

 The V(mi) can move down to IV(re) and up to VII(so)

Ostinato: An easily recognizable repeated pattern that compliments the melody and accompaniment.

Melodic Ostinati:  Can take several forms.  The two most common are 1. colour (Octaves, glissando, splash) – usually played on the glockenspiels. 2. Melodic fragment: based on a small melodic pattern that is repetitive.

Always remember : . A good ostinato compliments the melody and the accompaniment. It doesn’t have to be busy. . It is very effective to have ostinati of varying lengths. (e.g. Use a two measure ostinati with a four measure bordun.) . An ostinato:  Develops a feeling of form (tension and relaxation)  Helps develop memory. . Helps each player listen to each other . Provides the background for accompaniment and improvisation.

 An Ostinato should:  Be horizontal.  Have good structure.  Compliment the melody.  Be more than one measure.

Do and La Based Pentatonic: (Refer to day two notes.) Education 3877 Page 5 Day Three

Steps to determine the melodic structure of a piece:

1) Write out the diatonic scale letter names based on the key signature of the piece (include sharps or flats.) 2) Underneath or beside each note name, add the sol-fiege based on the diatonic scale and key signature of the piece. 3) Go through the piece and mark the notes that are included in the song. 4) Write them out in order from lowest to highest using the sol-fiege notation. 5) Look at the last note of the piece for the tonality to determine if the piece is do or la based.

 note: la pentatonic (relative minor key) and do pentatonic (major key) have the same solfeige configuration based on the major key signature. Education 3877 Page 6 Day Three Practice: Determine the melodic structure of the following pieces:

Key of _____ Sol-fiege: do or la based? Education 3877 Page 7 Day Three Key of _____ Sol-fiege: do or la based? Education 3877 Page 8 Day Three Key of _____ Sol-fiege: do or la based? Education 3877 Page 9 Day Three Key of _____ Sol-fiege: do or la based? Education 3877 Page 10 Day Three Education 3877 Page 11 Day Three

LAND OF THE SILVER BIRCH Native Folk Song F Pentatonic - La Based Arr. by K. Cosgrove ° b2 œ œœ œ Voice & 4 œ œœ œ œ œ œ œœ œ œ œ œ Land of the Sil∑verBirch. Home of the Bea∑jver. Where stilltheMight∑y Moose b2 œ Œ ∑ ∑ ‰œœœ œ Œ ∑ SG/AG & 4 œ œœœ œ 2 œ œ œ œ œ œ œ Drum & 4 œœœ œ œœ œ œ œœœ œœœ œ œœ

b2 VBX/BM ¢& 4 ˙ ˙ œ œ ˙ ˙ ˙

7 ° bœ j œ œ œ œ & J œ œ ˙ œ œ œ œœ œ œ œ wan∑ders at will. j Blue Lakeandrock∑y shore. I will re∑turn oncej more. b ∑ ‰œœœ œ Œ ∑ ∑ ‰ œ œœ & œœœ œ œ œœ

& œ œœœ œœœœ œœœ œ œ œ œœ œœœœ œ œ œœ

b ¢& œ œ ˙ ˙ ˙ œ œ ˙

13 ° b ‰j Œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Boom Did∑dy BoomBoom.Boom Did∑dy BoomBoom.BoomDid∑dy Boom Boom Boom.j Boom Boom. bœ Œ ∑ ∑ ‰œœœ œ Œ & œ œœœ œ œ œ œ œ œ œ‰Œ & œ œ œ œ œ œ œ œ œœœ Jœ b ¢& ˙ ˙ œ œ ˙ ˙ Education 3877 Page 12 Day Three

My Paddle's Keen and Bright Native American arr. by Kathy Cosgrove #4 j œ j j œ V œ œ œ œ œ œ ˙~~~~~~~œ œ & 4 J œ œ œ œ œ œ œ ˙~~~~~~~~œ œ My pad ∑dle's keen and bright, wey ∑a ∑hey∑a ∑ho. Flash∑ing with sil ∑ver, Dip, dip, and swing her back, " " " #4 CBB & 4 œ œœ œ Œ œ œ œ œ Œ œ œœ œ Œ <“”>

4 # œ œ V œ œ œ ˙~~~~~~~œ œ œ œœ œ ˙~~~~~~~ & œ œ œ œ ˙~~~~~~~~~J œ œ œ œ œœœ ˙~~~~~~~~~ wey∑a∑hey∑a ∑ho. Fol ∑low the Wild gooseflight, wey ∑a ∑he∑a∑ho. # " " CBB Œ Œ Œ & œ œ œ œ œ œœ œ œ œœ œ

7 # j V j œ j Œ œ œ œ ˙~~~~~~~. œ œ œ & œ œ œ œ œ œ œ œ ˙~~~~~~~~~J œ œ œ Dip, dip, and swing. wey∑a ∑he∑a ∑ho. My pad ∑dle's keen and bright, # Ó SX/AG ∑ ∑ . œ œ œœ & . Ó œ œ œœ # j j AX ∑ ∑ . Œ & œ œ œ œ # CBB/BX Œ Œ. Œ & œ œœ œ œ œ œ œ . œ œ œ œ <“”> 10 # j j œ V œ œ œ & œ œ œ J œ œ œ œ #flash ∑ing with sil ∑ ver. Fol ∑low the wild goose flight. SX/AG ˙ ~~~~~~~~~~~~~~~~œ œ œ œ ˙ ~~~~~~~~~~~~~~~~~œ œ œ œ & ˙ ~~~~~~~~~~~~~~~~~~~œ œ œ œ ˙ ~~~~~~~~~~~~~~~~~~~œ œ œ œ # j j AX j Œ j Œ & œ œ œ œ œ œ œ œ # Œ Œ CBB/BX & œ œ œ œ œ œ œ œ

12 # V j j Œ ∑ & œ œ œ œ Dip, dip, and swing. # Ó SX/AG ˙ ~~~~~~~~~~~~~~~~~~~~~~œ œ œ œ ˙ ~~~~~~~~~~~~~~~~~~~ & ˙ ~~~~~~~~~~~~~~~~~~~~~~~œ œ œ œ ˙ ~~~~~~~~~~~~~~~~~~~~Ó # j AX j Œ ∑ & œ œ œ œ # CBB/BX Œ Œ & œ œ œ œ œ œ œ œ Education 3877 Page 13 Day Three I-V Accompaniments:

Not all simple borduns will work with all Pentatonic songs. Be careful.

If the song has a re or sol on a strong beat, a I-V accompaniment might be a better choice.

 For purposes of the assignment – double check your pentatonic piece to make sure that the strong beats of each measure do not begin on re or sol. If they do, don’t use that piece.

Writing a I-V accompaniment: (This is just information for you, you will not be required to write a I-V accompaniment for this class!)

1) Select a song that has the tones of the V chord on some of the strong beats (s – t- r) in diatonic major songs and (m – s- t) in relative minor songs. When working in pentatonic songs, re and sol for do pentatonic and mi and sol for la-based pentatonic. 2) Establish the key, then write out the I chord note names that corresponds to d-m-s for the major key and l-d-m for the minor or la-based key. Then the names corresponding to the V chord (s – t- r for do-based and m-s-t for la-based.) 3) Analyze all strong beats as representing the I or V chord. If in doubt- check the other notes in the bar. If they are predominantly notes from the I chord use it, if they are predominantly notes from the V chord use it. 4) Put the chord roots in the bass part (always use do in the major and la in the minor for the I chord. For the V chord, always use sol in the major and mi in the minor.) 5) Create a rhythmically complementary bass line. 6) Put the tone that is common to both chords in the alto part (it will be sol in the major keys and mi in the monor keys.) It is a good idea to have it a true fifth apart at the beginning or end for stability. 7) Add a counter melody as a possibility for another part. 8) Look out for parallel (moving) octaves. 9) It is possible to decorate the common tone with the upper neighbour (s-l) in the major and (m-f) in the minor. Education 3877 Page 14 Day Three

Noah Built Himself An Ark #6 j œ j j œ. œ œ œ œœ Œ j j j & 8 œ œ œ œ œ J œ. œ œ œœ œ No ∑ah built him self an ark. Onemore ri ∑ver to cross. He built it out of # j 6 œ œ. & 8 œ. œ. œ. œ. œ œ œ œœ œ œ. œ. One more riv ∑ er. Onemore riv ∑er to cross, to cross! WalkOne Walkmore # ...... 6 œ. Œ. œ. Œ. œ. œ. œ Œ. œ Œ. & 8 œ œ œ œ œ. œ. 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œœ œ & 8 J J J J J J J J J Fath ∑er No ∑ah built the ark! He Built it out of hick ∑ry bark! Fath ∑er No ∑ah 6 ˙ . ˙ . ˙ . ˙ . ˙ . & 8 ∏∏∏∏∏∏ ∏∏∏∏∏∏ ∏∏∏∏∏∏ ∏∏∏∏∏∏ ∏∏∏∏∏∏ snakes, snakes, snakes, snakes, snakes,

6 # j œ œ œ . œ. œ. œ. . & œ œ œ. J œœ œ. Œ œ hick ry bark, onemoreriv ∑er to cross. One more riv ∑ er # j œœ. . & œ. œ. œ œ œ œœ œ œ œ. œ. œ. riv ∑ er. Onemoreriv ∑er to cross,tocross! One more riv ∑er. # ...... œ Œ. œ œ œ. Œ. œ. Œ. œ. Œ. & œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œœ ‰ œ œœ œ œ œœ œ & J J J J J J J J J built the ark! He Built it out of hick∑rybark! Fath∑er No ∑ah built theark! He ˙ . ˙ . ˙ . ˙ . ˙. & ∏∏∏∏∏∏ ∏∏∏∏∏∏ ∏∏∏∏∏∏ ∏∏∏∏∏∏ ∏∏∏∏∏∏ snakes, snakes, snakes, snakes,

11 # j œ. œ. œ. œ. j œ & œ œœœœ œ. œ. œœ œœ œ. Œ. that'stheriv∑er of Jord ∑an. One more riv ∑er, Onemoreriv∑er tocross. # j œœ. . . Œ. & œ œœœœ œ œ œ. œ. œ. œœ œœœ œ Onemoreriv∑er tocross,tocross! One more riv ∑er. Onemoreriv∑er tocross! #œ. œ. œ. œ. œ. œ. œ. œ. . Œ. . Œ. . Œ. . Œ. & œ. œ. œ œ œ œ. œ. œ œ œœ œ œ œœ ‰œœœœ œ œœ œ œœ œ œ œœœ ‰ & J J J J J J J J J J Built it out of hick rybark! FatherNo∑ah builttheark!He Built it out of hick rybark! ˙ . ˙ . ˙ . ˙. ˙. ˙. & ∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏ snakes, snakes, snakes, snakes, snakes, snakes,