ORFF ORCHESTRATIONS I Grade 3 Sampler

SPOTLIGHT ON MUSIC ORFF ORCHESTRATIONS I Grade 3 Sampler

SPOTLIGHT ON MUSIC

AUTHORS

Judy Bond Michael Jothen René Boyer Chris Judah-Lauder Margaret Campbelle-Holman Carol King Emily Crocker Vincent P. Lawrence Marilyn C. Davidson Ellen McCullough-Brabson Robert de Frece Janet McMillion Virginia Ebinger Nancy L.T. Miller Mary Goetze Ivy Rawlins Betsy M. Henderson Susan Snyder John Jacobson Gilberto D. Soto

KODÁLY CONTRIBUTING CONSULTANT

Sr. Lorna Zemke www.mheonline.com

All rights reserved. The contents, or parts thereof, may be reproduced in print form for non-profit educational use with MUSiC STUDiO SPOTLIGHT ON MUSIC, provided such reproductions bear copyright notice, but may not be reproduced in any form for any other purpose without the prior written consent of McGraw-Hill Education, including, but not limited to, network storage or transmission, or broadcast for distance learning.

Send all inquiries to: McGraw-Hill Education 2 Penn Plaza New York, NY 10121 Orff Introduction

The Orff approach to music education NOTE: It is not expected that children will actively involves students in speech, be able to play the accompanying parts movement, singing, instrument playing, while singing the song, although, in some and drama. Developed by the German cases, singing the song makes playing composer Carl Orff (1895–1982), the easier. approach is based on the instinctive The teacher may also choose to use only learning behavior of children. some of the suggested parts, depending Improvisation and movement permeate on circumstances such as ability of the learning process, and the use of student, time available, or the accessibility specially designed Orff instruments of specific instruments. Many of the enables children to create and perform arrangements can be musically satisfying ensemble music at every level. with only the bass part and one other The materials used include both folk part added for tone color and/or rhythmic and composed music, along with chants, interest. rhymes, and poetry. As children experience Parts in Orff orchestrations are commonly this music, they develop a musical taught with children mirroring the teacher, vocabulary and skills that may then be using the body as an instrument. The used to create original works. teacher is, therefore, required to perform Orff orchestrations have been created for many motions “backwards.” To aid in this selected songs in SPOTLIGHT ON MUSIC. process, some directions in this book are Teaching suggestions are found before given from the teacher’s perspective (i.e., each section. They include: right refers to the teacher’s right; children will mirror with the left hand). Instrumentation—All parts except timpani are commonly written in the treble clef. Opportunities for Creativity/ Bass xylophone and bass metallophone Improvisation—For each song, strategies sound an octave below the written pitch. are outlined which allow children to Soprano xylophone, soprano metallophone, make musical decisions and/or improvise and alto glockenspiel sound an octave rhythmically or melodically. above the written pitch. The soprano Form—Suggestions for the final form glockenspiel sounds two octaves above the may include introductions, interludes, written pitch. The alto xylophone and alto Copyright © McGraw-Hill Education codas, chants, and opportunities for metallophone sound at the written pitch. improvisation. Teaching the Orchestration—A suggested Noteworthy—This is a list of important basic teaching sequence is given for musical elements that can be reinforced each orchestration. In orchestrations, the with the orchestration. bass part is usually the most important. Throughout this book, the rhythm pattern The Orff approach can infuse music is used to accompany a number of songs. classes with a spirit of cooperation This pattern outlines the length of the and joy, enabling students to develop musical phrase. If children have difficulty concentration and perception skills, playing this pattern while the song is increased aesthetic awareness and being sung, have them play the bass physical coordination, and a high level of pitches on the steady quarter-note beat. motivation.

Grade 3 Orff General Suggestions

1. Teach one pattern at a time. Allow • Form two groups and sing the students to take their time in learning pitches or say the rhythm of the each part. They should feel comfortable pattern while doing the pattern in with singing the song while playing a body percussion (or by mirroring pattern before adding the next pattern. you) as the other group sings the song and plays previously learned 2. Teach each pattern through movement, patterns. Switch roles for the groups with the song. Have students: and repeat. (Use speech patterns • Mirror you in doing each new rhythm given, or create your own. Patterns pattern with body movement— occurring only on the beat and preferably large locomotor strong beat, or on a single note—such movements (walking, jumping)— as at the ends of phrases—can usually especially for parts that occur on be taught without spoken patterns.) the beat and/or the strong beat. • All together, sing the song while Others can be done with body doing the pattern in body percussion percussion patterns you create (or mirroring you). (clapping, patting and/or stamping) Clarify pitches played, or learn about or mirroring you in doing the instrument technique as needed. Take movements required to play the part turns playing the pattern while singing on the instrument. the song. • Sing the song, doing the pattern in movement. 4. Relate the accompaniment to the • Remove any unused bars on pitched lesson focus. Have students: instruments, to make understanding • Recognize and describe ways that the and playing the patterns easier. accompaniment connects with and • Form groups of three or four students relates to the musical focus of the around any available instruments and lesson. (It is important for students take turns playing the pattern. (Later, to realize what they are learning the pattern can be assigned to the musically and how playing the instrument indicated in the score. accompaniments contributes to this.) At this time, you only want to give • Review this connection each time all the students an opportunity to you work on the orchestration. learn the pattern and to help others in their groups to learn it.) 5. Perform the accompaniment as indicated in the score, or as adapted 3. After teaching the most basic part, by you and the students. Have students add other parts one at a time. Have form groups at each instrument students: needed and take turns playing each • Sing the song, watching and listening part with the song. as you play each new pattern. Copyright © McGraw-Hill Education

Grade 3 1 Spotlight on Music™ Orff Orchestrations Instrument Abbreviations

SG soprano glockenspiel Ji. Bl. jingle bells AG alto glockenspiel Low Drum low drum SX soprano xylophone Mar. maracas SM soprano metallophone Picc. Blks. piccolo blocks AX alto xylophone r. St. rhythm sticks AM alto metallophone ratchet ratchet BX bass xylophone rec. recorder BM bass metallophone res. Bells resonator bells af. Slit Drum African slit drum rh. St. rhythm sticks AR alto recorder S. Cym. suspended cymbal Bamboo bamboo S. Rec soprano recorder Bass Drum bass drum SB sand blocks Bell Tree bell tree SD snare drum Bells bells Shaker shaker Bongo bongos Shekere shekere Cab. cabasa Shells shells Cast. castanets Ship’s Bell ship’s bell CB contrabass bar(s) Slap Stick slap stick Choice choice (of instruments) Slt. D. slit drum Chopsticks chopsticks Small Bell small bell Claves claves SR soprano recorder Clvs. claves Tamb. tambourine Conga conga drum TB temple blocks Cowbl. cowbell Tick Tock tick tock Cym. cymbals Timp. timpani djembe djembe Tri. triangle drum drum Tumba tumba dul. dulcimer V. Slap vibra slap egg Shakers egg shakers Voice voice F. Cym. finger cymbals Washboard washboard Gong gong WB woodblock Güiro güiro Whip whip HD hand drum Whistle whistle Headless Tamb. headless tambourine Wind Sounds wind sounds

1. Stand or sit with the arms slightly away from the body. Elbows should not touch the sides of the body, nor should they stick out at an uncomfortable angle. 2. Grip the mallets lightly as if holding bicycle handlebars, palms toward the floor. Hold the mallets above the bars to be played. 3. One mallet should be a little closer to the body than the other. This will help to avoid entangling the two mallets. However, the bar should always be struck near the center for the best tone production. 4. Alternate mallets whenever possible. This provides for greater technical facility in fast passages, evenness in ascending and descending melodic patterns, and general coordination. 5. Keep wrist flexible. Pull the sound from the bars by using wrist motion rather than arm motion. 6. Allow the mallet to bounce back up after playing each note. Do not rest the mallet head on the bar. 7. Always keep the mallets close to the bars.

2 Grade 3 O•1 Great Big House

INSTRUMENTATION

SG/AG � � � F � � � � � � F � � triangle BX/BM � � � F � � � C � � � � � woodblock

FORM 3. Teach the triangle and woodblock parts. Have students: Introduction: All instruments except triangle play • Echo you, saying: their parts for four measures Song: Voices with tutti instruments Interlude: Improvisation in F pentatonic 2 Œ Song: Voices with tutti instruments 4 Pie,œ pump œ - kinœ pie,œ NOTEWORTHY Pie, pump - kin pie, yum! Rhythm: quarter notes, eighth notes, quarter œ œ œ œ œ rest, half notes • Mirror you, transferring the rhythm of the Melody: do re mi so la speech to body percussion: Harmony: chord bordun snap 2 TEACHING THE ORCHESTRATION 4 ∑ ∑ ∑ Œ œ . 1. Teach the bass xylophone/bass metallophone parts. Have students: clap • Echo you saying the following speech pattern: 2 œ œ œ œ Œ œ œ œ œ Œ . • Transfer the4 claps to the woodblock and the 2 snap to the triangle. 4 ˙ ˙ œ œ ˙ 4. Combine all instrument parts with the singing Will you be my friend? of the song.

• Pat the rhythm as they say the words. OPPORTUNITIES FOR CREATIVITY • Transfer the rhythm to low F and the C above Have students: it on all instruments. (NOTE: In order to prevent • Read the following nursery rhyme aloud (from rushing, have the children click their mallets board or overhead projector). together on the second beat of each half note. Once they can perform this successfully, have them make a “silent click” by moving 2 the mallets toward each other without having 4 Simœ - pleœ Siœ - monœ metœ œ a pieœ manœ them touch.) • Sing the song with the BX/BM accompaniment. ‰ j 2. Teach the soprano/alto glockenspiel parts. goœ - ingœ toœ theœ fair.œ Saidœ Have students: • Sing the song with BX/BM accompaniment follow the text on the board, snapping their Simœ - pleœ œ Si - monœ toœ theœ pieœ man,œ fingers as they sing the underlined syllables. Great big house in New Orleans, Œ forty stories high. "Letœ meœ tasteœ yourœ ware."œ Ev’ry room that I’ve been in • Whisper the words as they pat the rhythm. filled with pumpkin pie. Copyright © McGraw-Hill Education • Set up all instruments in F pentatonic: C D F G A • Transfer the snap to Low F and high F on the C D F G A. SG/AG. • Play the rhythm of the words on low F, using • Sing the song and perform the SG/AG part alternating mallets. together with the BX/BM part. • Create their own melodies on the word rhythm. • Begin and end their melody on F. • Play any pitch but F on the word fair. • Play their improvisations as interludes between verses of the song. (See Form above.) Grade 3 3 Listen To the Land

Orff 1

Great Big House Great Big House

Louisiana Play-Party Song Arranged by Robert J. de Frece

Voice 2 & b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ Great big house in New Or - leans, For - ty sto - ries high;

SG/AG 2 ˙ ˙ & b 4 ˙ ∑ ˙ ∑ Tri. 2 4 ∑ ∑ ∑ Œ (Yum!)Û

WB 2 4 (Pie,ÛÛpump - kinÛ pie,ÛŒ pie,ÛÛpump - kinÛ pie,)ÛŒ

BX/BM b 2 ˙ ˙ œ œ ˙ & 4 (Will˙ you˙ beœ myœ friend?)˙

Voice œ & b œ œ œ œ œ œ œ œ œ œ œ Œ Ev - ’ry room that I been in, Filled with chick - en pie.

Tri. ∑ ∑ ∑ Œ Û

WB ÛÛ Û ÛŒ ÛÛ Û ÛŒ

BX/BM & b ˙ ˙ œ œ ˙

4 Grade 3 O•15 Turn the Glasses Over

INSTRUMENTATION

SG � � � � � A � C D � F � � hand drum, tambourine, triangle AG � � � � � A � � � � F � A AM � D � F � � � C D � � � � SX � � � � � � � � D � F � � AX C D � F G A � C � � � � � BX C � � F � � � C � � � � �

FORM • Transfer the rhythm to the pitches for SG, AG, AM and add the triangle on the downbeats. Introduction: Bass xylophone plays two measures • Sing with the accompaniment learned so far. Song: Voices with tutti instruments Interludes: Improvised melody in F pentatonic 3. Teach the alto xylophone part. (F G A C D) over BX Have students: • Watch as you put the AX pattern on the board. NOTEWORTHY Pitch: low so and la, F pentatonic Rhythm: half notes, quarter notes, quarter 4 œ & b 4 œ œ œ œ œ Œ rests, eighth note pairs Weœ haveœ trav-eled a - round the world! • Locate do, low so and la and sing the pattern TEACHING THE ORCHESTRATION with pitch syllables, letter names and words. 1. Teach the bass xylophone, hand drum, and • Watch as you put a chart like the one below on tambourine parts. the board; then, sing the pattern, pointing to Have students: the correct bars • Sing the song, mirroring you in patting the following pattern. (You will do the opposite.)

A C Pat R F G œ œ C D 4 Œ Œ • Form two groups, one to sing the song and the Pat L 4 œ ŒŒŒ other to sing the AX pattern. 4 • Transfer the pattern to the AX. • Sing with the accompaniment learned so far. Pat far L 4 œ 4 ŒŒ Œ 4. Teach the soprano xylophone part. Haar - lem, Do - ver Have students: Copyright © McGraw-Hill Education • Sing the song with the accompaniment learned • Transfer the pattern to low C and F and high C so far, imitating you in patting seven quarter on the BX. notes, alternating hands, in measures 5–6 of the • Form two groups, one to clap on the first verse and in the measures 7–8 of the refrain. syllable in each city name in the pattern above, • Transfer the pattern to high D and F on the SX the other to clap on the second. Transfer the rhythm clapped by the first group to the hand 5. Combine all instrument parts with the singing drum and the rhythm clapped by the second to of the song. the tambourine. • Sing the song three times, getting gradually • Sing the song with the BX, hand drum and faster each time. tambourine accompaniment. OPPORTUNITY FOR CREATIVITY 2. Teach the soprano and alto glockenspiel, alto metallophone, and triangle parts. Have four students take turns improvising eight- Have students: beat melodies in F pentatonic as an interlude • Sing the first phrase of the refrain, patting half between repetitions of the song, as the BX notes. Also pat on the last beat of the refrain. continues its pattern.

GRADE 3 5 Turn the Glasses Over (page 2)

Orff 15

Turn the Glasses Over Turn the Glasses Over American Folk Song Music by Marilyn Copeland Davidson

Voice 4 & b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ I’ve been to Haarœ - lem,œ I’ve been to Doœ - ver,œ I’ve trav-eled this wide world all o - ver, SG 4 & b 4 ∑ ∑ ∑ ∑

AG 4 & b 4 ∑ ∑ ∑ ∑

AM 4 & b 4 ∑ ∑ ∑ ∑

SX 4 & b 4 ∑ ∑ ∑ ∑

AX 4 & b 4 œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ (Weœ haveœ trav-eled a - round the world.) œ œ

HD Tamb. 4 4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Tri. 4 4 ∑ ∑ ∑ ∑

6 GRADE 3 Orff 15 Turn the Glasses Over (page 2)

Voice & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ O- ver, o - ver, three timesœ o - ver,œ Drink what you have to drink and turn the glass-es o - ver.

SG & b ∑ ∑ ∑ ∑

AG & b ∑ ∑ ∑ ∑

AM & b ∑ ∑ ∑ ∑

SX œ œ œ œ & b œ œ œ Œ ∑ ∑

AX & b œ œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ

HD Tamb. Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

Tri. ∑ ∑ ∑ ∑

GRADE 3 7 Orff Turn the Glasses Over (page 3) 15

Refrain Voice œ & b œ œ ˙ œ œ ˙ œ œ œ ˙ ˙ œ œ œ Sail - ing east, sail - ing west, Sail - ing o’er the o - cean, Bet -ter watch outœ whenœ theœ SG ˙ ˙ ˙ ˙ & b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ∑

AG ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ & b ˙ ˙ ˙ ˙ ∑

AM b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ∑ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

SX & b ∑ ∑ ∑ ∑ ∑

AX & b ∑ ∑ ∑ ∑ œ œ œ œ œ

HD Tamb. ∑ ∑ ∑ ∑ Û Û Û Û

Tri. | Ó | Ó | Ó | Ó ∑

8 GRADE 3 Orff 15 Turn the Glasses Over (page 4)

Voice & b œ œ œ œ œ œ œ œ œ ˙ ˙ boat be - gins to rock,œ Orœ you’llœ lose your girl in the o - cean. SG œ & b ∑ ∑ Ó Œ œ

AG œ & b ∑ ∑ Ó Œ œ

AM œ & b ∑ ∑ Ó Œ œ

SX œ œ œ œ & b ∑ œ œ œ Œ

AX & b œ œ Œ œ œ œ Œ œ œ œ œ œ œ

HD Tamb. Û Û Û Û Û Û Û Û Û Û Û Û

Tri. ∑ ∑ Ó Œ Û

GRADE 3 9 O•24 Go Tell It on the Mountain

INSTRUMENTATION

SG � � � � � A � C � � � � � rhythm sticks, finger cymbals, hand drum AG � � � � � � � C D � F � � AX C � � F � � � C D � � � �

FORM 3. Teach the soprano glockenspiel part. Write the pattern on the board: C A C A. Introduction: Start with hand drum. When the Have students: beat is secure, hand drum and • Read and sing the pattern. finger cymbals enter. Add melodic • Transfer pattern to SG. percussion once through the piece • Sing the song with all parts learned. Song: Voices with tutti instruments Interlude: Movement pattern with tutti 4. Teach the rhythm sticks and finger cymbals instruments parts. Song: Voices with tutti instruments Have students: Coda: Instruments drop out one at a time, • Speak these words as they play eighth notes on in reverse order. End with the hand the rhythm sticks: tell it on the mountain (rest). drum alone. (Note that the rhythm for the word mountain is different in the rhythm sticks part and in the NOTEWORTHY song.) Pitch: F pentatonic • Play finger cymbals in answer to the rhythm Rhythm: eighth, dotted eighth and sixteenth, sticks’ pattern on the fourth beat of the quarter, and half notes; quarter rest measure. 5. Teach the hand drum part. TEACHING THE ORCHESTRATION Have students: 1. Teach the alto xylophone part. • Sing the song and have students join teacher Have students: in clapping the hand drum pattern. • Practice the crossover pattern: • Sing the song with all the instrument parts. left hand, left leg right hand, right leg OPPORTUNITIES FOR CREATIVITY left hand over to outside of right leg Have students: right hand, right leg • Form small groups and create a movement • Note that the right hand always plays the same pattern for the song. Try to include both lines note. Also note the change in measures 3 and 7 and circles, for example: and the ending. Step forward 4 half notes • Transfer to AX. Turn in place 4 half notes • Sing the song with the AX part. Step backward 4 half notes 2. Teach the alto glockenspiel part. Turn in place 4 half notes Have students: • Perform movement patterns in their groups, • Practice the crossover opposite from that then discuss how they arrived at their solutions. learned for AX for measures 1–2, 5–6, and 8: • Use the movement as an interlude. (See Form right hand, right leg above.) left hand, left leg right hand over to outside of left leg repeat • Clap the following pattern and sing C for

GRADE 3 10 Jingle at the Window (page 2)

Orff 24

Go Tell It on the Mountain Go Tell It on the Mountain African American Spiritual Arranged by Virginia Nylander Ebinger

Voice 4 j j & b 4 ˙ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ Go, tell it on theœ moun˙ - tain, O- ver the hills and ev - ’ry - where.

SG 4 & b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

AG b 4 œ œ œ Œ œ œ œ Œ œ Œ œ Œ œ Œ œ Œ & 4 RLR RLR

AX 4 & b 4 œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ

R.St. 4 Û Û Û Û Û Û Œ Û Û Û Û Û Û Œ Û Û Û Û Û Û Œ Û Û Û Û Û Û Œ

F. Cym. 4 Ó Œ Û Ó Œ Û Ó Œ Û Ó Œ Û

GRADE 3 11 Orff Go Tell It on the Mountain (page 2) 24

Voice & b ˙ œ œ œ œ œ œ œ œ œ œ ˙. Œ Go, tell it on theœ moun˙ - tain, That Je - sus Christ is born.

SG & b œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙

AG œ œ œ & b œ œ Œ œ œ Œ œ Œ œ Œ œ œ Œ

AX & b œ œ œ œ œ œ œ Œ œ œ ˙ ˙ œ œ

R.St. Û Û Û Û Û Û Œ Û Û Û Û Û Û Œ Û Û Û Û Û Û Œ Û Û Û Û Û Û Œ

F. Cym. Ó Œ Û Ó Œ Û Ó Œ Û Ó Œ Û

12 GRADE 3