Scitt Training Music Warm Ups and Gamelan

Total Page:16

File Type:pdf, Size:1020Kb

Scitt Training Music Warm Ups and Gamelan MUSIC WARM UPS: The following warm ups can be used to either start a music lesson or at any other spare time you may have during the day. We need to try and create as many musical opportunities for the children as possible! Follow me: • Start by copying teacher’s actions of 4 beats using different body parts (e.g. by clapping 4x, followed by stamping feet 4x) to establish a steady beat/pulse. • Once established, teacher starts by beating 4 (e.g. tapping head 4x) then children copy, but teacher will now be beating using a different body part (e.g. clapping 4x) so children will always be 4 beats behind. • Finish by teacher folding arms whilst class finish their last 4 beats. • Repeat until children confident, then teacher to choose a child to lead. • Challenge the children by starting 8 beats before them. Switch: • Clap a steady beat/pulse with the whole class, teacher to ‘drop out’ once the beat/pulse is steady. • Teacher to now clap a simple rhythm for the class to follow. • Split the class into 2 groups. Half the class establish a steady beat/pulse by clapping. Once they can be left on their own, repeat the simple rhythm from earlier. Teacher to ‘drop out’ once this group is confident. • When the teacher shouts ‘Switch’, the group clapping the beat/pulse clap the rhythm and the rhythm group clap the pulse. • Challenge: repeat with more complicated rhythms, split class into 3 groups, have 2 rhythms instead of a steady beat and a rhythm. Follow that rhythm • Teacher to write 3 simple rhythms on the board (or from notation cards). • Class to clap each rhythm with the teacher. • Once class is confident, teacher to number each rhythm then clap them in any order. • Children to guess the order of the rhythms. • Teacher to now pick a child to lead this warm up. • Encourage children to create their own rhythms including those with rests. WORLD MUSIC - GAMELAN These lessons are about building up layers of sound associated with Gamelan music (a style of music from Indonesia) and can be linked to a learning journey on The Rainforest. SESSION 1 Warm up: ‘Switch’ / ‘Follow me’ 1. Clap on the first beat of the bar • As a class, children to all count up to 4 and repeat keeping in time. • Discuss the need for a steady beat in music (show metronome) • Now all clap on the first beat only. • Repeat clapping on the first beat and counting beats 2,3 and 4 silently in their heads. 2. Clap on beats 1&3 – as a class counting beats 2 and 4 in their heads 3. Clap on every beat 1,2,3,4 Split class into 3 groups. • Introduce each group once the preceding group has established their beat • Group 1 - stamp on 1 st beat • Group 2 - clap on beats 1 and 3 • Group 3- 2 fingers on palm of hand for each beat • Fade out by stopping group 3 first followed by group 2 then finish with group 1 4. Introduce untuned percussion instruments Discuss instruments. Introduce one group at a time (as above) Group 1: drums (beat 1) Group 2: wood blocks (beats 1 and 3) Group 3: claves (beats 1,2,3 and 4) Swap round to ensure all children try each group SESSION 2 Recap last session and repeat as a warm up splitting the class into 3 groups using stamping, clapping and tapping. In this session the steady beat work will now be transferred to tuned percussion instruments e.g Glockenspiels and xylopohnes. Introduce the pentatonic scale of C. This uses the notes C,D,E,G and A. We will use all of them apart from D. Practise each group as a class Group 1 Play the following on beat 1, each note is therefore lasting for 4 beats. C (count 2,3,4) E (2,3,4) G (2,3,4,) A(2,3,4) Group 2 Now repeat, but each note will only last for 2 beats C (2) E (2) G (2) A (2) Group 3 Now repeat but each note will only last for 1 beat - C E G A Groups 1, 2 and 3 together Split class into 3 groups ready to play all the patterns together. Start with group 1 on the bass instruments (C 2,3,4 E 2,3,4 G 2.3.4 A 2,3,4) Once established, leave this group and start group 2 (C 2 E 2 G 2 A 2) Once established, leave this group and start group 3 (C E G A ) End by stopping group 3 first, then group 2 then group 1 finishing the piece on a C. SESSION 3 To repeat this session if required and build in opportunities for children to improvise using the same notes and fitting to 8 beats. Teacher can split class into smaller groups and encourage children to use instruments) from session 1 (to keep the beat) with glockenspiels and xylophones or chime bars used in session 2. .
Recommended publications
  • The Percussion Family 1 Table of Contents
    THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine).
    [Show full text]
  • Aaamc Issue 9 Chrono
    of renowned rhythm and blues artists from this same time period lip-synch- ing to their hit recordings. These three aaamc mission: collections provide primary source The AAAMC is devoted to the collection, materials for researchers and students preservation, and dissemination of materi- and, thus, are invaluable additions to als for the purpose of research and study of our growing body of materials on African American music and culture. African American music and popular www.indiana.edu/~aaamc culture. The Archives has begun analyzing data from the project Black Music in Dutch Culture by annotating video No. 9, Fall 2004 recordings made during field research conducted in the Netherlands from 1998–2003. This research documents IN THIS ISSUE: the performance of African American music by Dutch musicians and the Letter ways this music has been integrated into the fabric of Dutch culture. The • From the Desk of the Director ...........................1 “The legacy of Ray In the Vault Charles is a reminder • Donations .............................1 of the importance of documenting and • Featured Collections: preserving the Nelson George .................2 achievements of Phyl Garland ....................2 creative artists and making this Arizona Dranes.................5 information available to students, Events researchers, Tribute.................................3 performers, and the • Ray Charles general public.” 1930-2004 photo by Beverly Parker (Nelson George Collection) photo by Beverly Parker (Nelson George Visiting Scholars reminder of the importance of docu- annotation component of this project is • Scot Brown ......................4 From the Desk menting and preserving the achieve- part of a joint initiative of Indiana of the Director ments of creative artists and making University and the University of this information available to students, Michigan that is funded by the On June 10, 2004, the world lost a researchers, performers, and the gener- Andrew W.
    [Show full text]
  • Malay Gamelan: Approaches of Music Learning Through Community Music
    International Journal of Academic Research in Business and Social Sciences 2017, Vol. 7, No. 11 ISSN: 2222-6990 Malay Gamelan: Approaches of music learning through Community Music Wong Huey Yi @ Colleen Wong Department of Music and Music Education, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia. Christine Augustine Department of Music and Music Education, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia. DOI: 10.6007/IJARBSS/v7-i11/3562 URL: http://dx.doi.org/10.6007/IJARBSS/v7-i11/3562 Abstract This paper looked into the role of Rhythm in Bronze (RiB), a local music group in Malaysia, in community music work practices that uses Malay gamelan as the medium. The research delved into the different aspects of the approaches used to enhance music learning through community music; particularly the activities used and how they relate to Vygotsky’s theory of socialization in learning. Community music gathers people from different backgrounds. Experiences and knowledge shared helps the community through the development in terms of personal growth, self- esteem and self-confidence. These terms are just some of the aspects that community music promotes, apart from music making. Along the process of community music, creativity and expression are important in music making, as this will further develop creative thinking skills among musicians. Qualitative approaches such as observation, interview, and group’s past work were used in this research to gather information and data on how music has been taught to children through community music. Social interaction has certainly shown a big role in developing children thinking and perceptions through the activities implemented.
    [Show full text]
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • Rhythm Practice Ideas
    Practice, Practice, Practice... by Deborah Smith As Kodály teachers we know that out of the three P’s (Preparation, Present and Practice) Practice is the aspect that goes on the longest and for which we need the most ideas, activities and resources. We also know how little “spare” time music teachers have in these busy times to prepare these ideas. Practice is absolutely ESSENTIAL for learning to occur and we must not underestimate the amount of practice required for a student to fully understand the concepts being taught. So, here is the (almost – see note at end) definitive list of practice activities (aimed at older beginners but easily simplified in most cases) beginning with a list of practice activities for rhythm. (With thanks to all the amazing teachers I have been taught by, learnt from, heard and seen speak over the years!) Practice Activities Part One – Rhythm (in alphabetical order) Beat and rhythm. Sing known songs with the words or rhythm names, while first clapping the beat and saying the rhythm names then tapping the beat on one leg and the rhythm on the other or on head and lap etc. (An extension activity could be to swap legs on a signal from the teacher). Students can also walk the beat and clap or say the rhythm names and then clap the beat while walking the rhythmic pattern. Beat to rhythm. Students sing a song with the words or rhythm names, clapping the beat. When the teacher gives an agreed signal (e.g. striking a drum, holding a sign with the word rhythm on it etc.) the students change to clapping the rhythm and so on.
    [Show full text]
  • Science & Art of Body Percussion
    Review Article Science & art of body percussion: a review FRANCISCO JAVIER ROMERO NARANJO 1 Department of Innovation and Didactic Training, University of Alicante, Spain ABSTRACT Romero FJ. Science & Art of Body Percussion: A review. J. Hum. Sport Exerc. Vol.8, No. 2, pp. 442-457, 2013. The purpose of this paper is to provide a comprehensive review of Body Percussion from all areas, focusing on existing academic literature and the contribution of different authors. Existing ethnographic publications are reviewed, as are the links with traditional dances, musical pedagogy, neuroscientific aspects, handclapping songs, use in shows, the sound properties of body percussion and, most importantly, the main authors who have systematically structured and build the foundations of body percussion in a coherent manner and with new contributions. 1 Corresponding author. Universidad de Alicante. Ap. de correos, 99, 03080, Alicante, España. E-mail: [email protected] Submitted for publication April 2013 Accepted for publication June 2013 JOURNAL OF HUMAN SPORT & EXERCISE ISSN 1988-5202 © Faculty of Education. University of Alicante doi:10.4100/jhse.2012.82.11 VOLUME 8 | ISSUE 2 | 2013 | 442 Romero / Science & Art of Body Percussion: A review JOURNAL OF HUMAN SPORT & EXERCISE INTRODUCTION We know that more than forty thousand years ago man created cave art. In the same way, he made his first musical instruments, as can be seen in remains found at archaeological sites in Spain (Atapuerca) and Germany (Suabia). For this reason, it is logical to think that since the dawn of time, man has accompanied his songs and dances with a strong beating of his feet and clapping of his palms.
    [Show full text]
  • Scope and Sequence
    Scope and Sequence Quaver Scope and Sequence Introduction The Quaver Scope and Sequence illustrates the integrated nature of our curriculum from Kindergarten through 5th Grade. It displays the rich resources you and your students will experience as they enter Quaver’s Marvelous World of Music. It will help you locate specific subjects that align with your district and state standards. Document Framework Although there are multiple locations in the Quaver Curriculum that relate to the various musical elements, we have chosen to show only one example per grade level of where a musical element is covered, demonstrated, or explored. The specific screen chosen in the example will be part of a lesson that covers a number of musical objectives. We recommend reviewing the screen and the lesson as you prepare to teach the respective musical element. Many musical elements are experienced before they are taught. For example, students will sing songs in K - 2nd grade that use advanced tone sets, rhythmical patterns, and syncopation. Our Scope and Sequence indicates where that musical element is specifically taught using teacher notes or the combination of teacher notes and screen. Other Resources Our Scope and Sequence references only those resources found within the fully-developed Quaver Curriculum Lessons. Teachers have access to many ad- ditional resources in their Quaver license that cover these musical elements in other creative ways, e.g., Song-Based Lessons, ClassPlay songs, Musicals, World Music, and Bach’s Brain. We recommend using the interactive Search and Browse features in our Resource Manager to find additional resources to suit your needs.
    [Show full text]
  • Concerts for Kids
    Concerts for Kids Study Guide 2014-15 San Francisco Symphony Davies Symphony Hall study guide cover 1415_study guide 1415 9/29/14 11:41 AM Page 2 Children’s Concerts – “Play Me A Story!” Donato Cabrera, conductor January 26, 27, 28, & 30 (10:00am and 11:30am) Rossini/Overture to The Thieving Magpie (excerpt) Prokofiev/Excerpts from Peter and the Wolf Rimsky-Korsakov/Flight of the Bumblebee Respighi/The Hen Bizet/The Doll and The Ball from Children’s Games Ravel/Conversations of Beauty and the Beast from Mother Goose Prokofiev/The Procession to the Zoo from Peter and the Wolf Youth Concerts – “Music Talks!” Edwin Outwater, conductor December 3 (11:30am) December 4 & 5 (10:00am and 11:30am) Mussorgsky/The Hut on Fowl’s Legs from Pictures at an Exhibition Strauss/Till Eulenspiegel’s Merry Pranks (excerpt) Tchaikovsky/Odette and the Prince from Swan Lake Kvistad/Gending Bali for Percussion Grieg/In the Hall of the Mountain King from Peer Gynt Britten/Storm from Peter Grimes Stravinsky/Finale from The Firebird San Francisco Symphony children’s concerts are permanently endowed in honor of Mrs. Walter A. Haas. Additional support is provided by the Mimi and Peter Haas Fund, the James C. Hormel & Michael P. NguyenConcerts for Kids Endowment Fund, Tony Trousset & Erin Kelley, and Mrs. Milton Wilson, together with a gift from Mrs. Reuben W. Hills. We are also grateful to the many individual donors who help make this program possible. San Francisco Symphony music education programs receive generous support from the Hewlett Foundation Fund for Education, the William Randolph Hearst Endowment Fund, the Agnes Albert Youth Music Education Fund, the William and Gretchen Kimball Education Fund, the Sandy and Paul Otellini Education Endowment Fund, The Steinberg Family Education Endowed Fund, the Jon and Linda Gruber Education Fund, the Hurlbut-Johnson Fund, and the Howard Skinner Fund.
    [Show full text]
  • Gamelan Cudamani Study Guide 1011.Indd
    2010–2011 SEASON SchoolTime Study Guide Gamelan Çudamani Friday, October 22, 2010 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime Your class will att end The “Bamboo to Bronze” performance of Gamelan Çudamani on Friday, October 22 at 11 am. The dazzing Gamelan Çudamani (pronounced SOOD-ah-mân-ee) off ers an opportunity to witness the splendor and creati ve life-force of music and dance in Bali. Twenty-four of Bali’s fi nest arti sts parti cipate in this new producti on, a potent synthesis of sound, moti on, and visual images, celebrati ng Balinese culture and everyday life. Using This Study Guide You can use these materials to engage your students and enrich their Cal Performances fi eld trip. Before att ending the performance, we encourage you to: • Copy the student Resource Sheet on pages 2 & 3 and give it to your students several days before the show. • Discuss the informati on on pages 4-7 About the Performance & Arti sts with your students. • Read to your students from About the Art Form on page 8, About Bali on page 10 and Religion in Bali on page 13. • Engage your students in two or more acti viti es on pages 15-17. • Refl ect with your students by asking them guiding questi ons, found on pages 2,4,8,10 & 13. • Immerse students further into the subject matt er and art form by using the Resource and Glossary secti ons on pages 17 & 18. At the performance: Your class can acti vely parti cipate during the performance by: • Listening carefully for the musical cycles, melodies and rhythms • Observing how the dancers tell a story and express ideas and emoti ons through their movements • Thinking about how dance and music express Balinese culture and history • Marveling at the skill of the musicians and dancers • Refl ecti ng on the sounds, sights, and performance skills you experience at the theater We look forward to seeing you at SchoolTime! SchoolTime Circus Oz | Table of Contents 1.
    [Show full text]
  • CLAPPING MACHINE MUSIC VARIATIONS: a Composition for Acoustic/Laptop Ensemble
    CLAPPING MACHINE MUSIC VARIATIONS: a composition for acoustic/laptop ensemble Daniel Trueman Princeton University Department of Music ABSTRACT (PLOrk). A curricular initiative, PLOrk is dominated by new members each year; while several students return year Clapping Machine Music Variations is a new work for after year, it is difficult to maintain a continuity of variable-sized chamber acoustic/laptop-ensemble, expertise and experience, or to benefit from repeated composed by the author for the new ensemble Sideband. performances of specific repertoire and see how that Musical and technical motivations for the piece are repertoire develops. This becomes a significant described. In particular, the design of the laptop-based compositional concern [3], and one of the aims of instruments and their relationships to the composition and Sideband is to push the envelope of what is possible with performance of the work are explored. This paper is half of laptop-based (or, more generally, computation-based) a Piece+Paper submission for ICMC. ensembles. Sideband members are professional-level performers, composers, and instrument builders—all with 1. INTRODUCTION AND MOTIVATIONS experience in PLOrk—and our aim is to maintain a stable membership so that our expertise can be refined and our repertoire can grow. At the core of Clapping Machine Music Variations is a After a detailed description of the various pair of laptop-based Drum Machinists. Surrounding this instruments used in CMMV, I will explore how these duo is an assortment of other instruments, some clearly instruments relate to the composition as a whole, its defined laptop-based instruments, others more variable and performance, and I will discuss future work for the traditional in type.
    [Show full text]
  • The Symbolic Rape of Representation: a Rhetorical Analysis of Black Musical Expression on Billboard's Hot 100 Charts
    THE SYMBOLIC RAPE OF REPRESENTATION: A RHETORICAL ANALYSIS OF BLACK MUSICAL EXPRESSION ON BILLBOARD'S HOT 100 CHARTS Richard Sheldon Koonce A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2006 Committee: John Makay, Advisor William Coggin Graduate Faculty Representative Lynda Dee Dixon Radhika Gajjala ii ABSTRACT John J. Makay, Advisor The purpose of this study is to use rhetorical criticism as a means of examining how Blacks are depicted in the lyrics of popular songs, particularly hip-hop music. This study provides a rhetorical analysis of 40 popular songs on Billboard’s Hot 100 Singles Charts from 1999 to 2006. The songs were selected from the Billboard charts, which were accessible to me as a paid subscriber of Napster. The rhetorical analysis of these songs will be bolstered through the use of Black feminist/critical theories. This study will extend previous research regarding the rhetoric of song. It also will identify some of the shared themes in music produced by Blacks, particularly the genre commonly referred to as hip-hop music. This analysis builds upon the idea that the majority of hip-hop music produced and performed by Black recording artists reinforces racial stereotypes, and thus, hegemony. The study supports the concept of which bell hooks (1981) frequently refers to as white supremacist capitalist patriarchy and what Hill-Collins (2000) refers to as the hegemonic domain. The analysis also provides a framework for analyzing the themes of popular songs across genres. The genres ultimately are viewed through the gaze of race and gender because Black male recording artists perform the majority of hip-hop songs.
    [Show full text]
  • Dance (DANC) 1
    Dance (DANC) 1 Dance (DANC) Courses DANC 0806. The Jazz Century in America. 3 Credit Hours. What is jazz? Students will explore its roots and reinventions in Ragtime, Hot Jazz, Blues, Swing, Bebop, Free Jazz, Rhythm & Blues, and Hip Hop throughout the 20th century in America. We'll experience its manifestations across media, screening dance films, listening to music, viewing visual art works, and reading poetry. Then we'll move into the studio to experience first-hand its rhythms, moods, dynamics, creative expression and improvisation. A key theme will be how the individual and the collective nurture each other in jazz. Intellectually, we'll examine the historical and social backdrop and analyze the essential components of jazz. NOTE: This course fulfills the Arts (GA) requirement for students under GenEd and Arts (AR) for students under Core. Department Restrictions: May not be enrolled in one of the following Departments: Music:Dance. Field of Study Restrictions: May not be enrolled in one of the following Fields of study: Dance. Course Attributes: GA Repeatability: This course may not be repeated for additional credits. DANC 0827. Philadelphia Dance Experience. 3 Credit Hours. Open your eyes to the wealth of culture right at your doorstep. Deepen your appreciation of dance as you become an educated audience member about the various styles and layers of meaning present in any one dance. We will look at dance primarily from a cultural studies perspective, focusing specifically on European, African, Asian, and Latin influences in the Philadelphia experience. We will attend performances in the city, interact with guest artists and lecturers, observe performances on video, and engage in guided viewing exercises to enhance your knowledge and understanding of dance.
    [Show full text]