Orff Con Brio!

Orff Con Brio!
for OMEA’s Con Brio ‘09
with presenter
Catherine West
catherine.west@rcmusic.ca
~ November 6, 2009 ~

Contents
Lesson Grade Page
Tall Shops Ostinato 1-2 3
Riding on a Caravan K-3 5
Did You Go to the Barney? 1-2 6
Double the Trouble, Double the Fun! 3 8
Funga Alafia 3 10
What’s In a Name? 3 13
Derry Ding Dong Dason 3 16
Pack She Back 4 19
Orff to the Stars! 4 21
I’se the B’y 5 24
Take Five! 6 27
Old Abram Brown 6 30
Epitaph 4-6 34
Orff Instrument Abbreviations
BX bass xylophone
AX alto xylophone
SX soprano xylophone
BM bass metallophone
AM alto metallophone
SM soprano metallophone
AG alto glockenspiel
SG soprano glockenspiel
©C. West, 2009 2

Tall Shops Ostinato
Grade
1-2
Expectations
C 1.1, C 1.2, C 1.3, C 1.4, C 1.5, C 2.3
Fundamental Concepts: Duration - beat and rhythm; Pitch; Dynamics and other expressive controls; Timbre;
Texture
Critical Learning
Students use their understanding of beat and rhythm patterns to create ostinati to accompany a poem about their
own school neighbourhood. They perform their compositions using speech and percussion instruments and
symbolize using standard rhythm notation.
Materials
Tall Shops in the Town (or another short poem)
Word Wall and cards
1 stick-on label per student
1 City Ostinato page for every group of 4 students
Small percussion instruments
Minds On! (Elicit and Engage)
1. Students identify the features of their own community as they go
for a walk in their own school neighbourhood.
2. On returning from the walk, create a list of things you have seen
on the class word wall.
3. Learn Tall Shops, or another poem more representative of the
school community. (The poetry of Dennis Lee is a good source
of poetry with urban settings.)
4. Speak the poem a number of ways using high, low, fast, slow,
loud, soft voices.
5. Create contrasting actions or gestures for the poem, using student
suggestions.
6. Speak poem patting the beat, then repeat, clapping the rhythm.
7. Challenge students to switch between the beat and the rhythm on
a signal.
8. Half the class pats the beat, half claps the rhythm. Switch.
Action! (Explore and Explain)
9. Identify words that have 1 and 2 syllables from the word wall
list. Note that the 2-syllable words must have the stress on the
first syllable. (“Taxi” works but “hotel” does not.)
10. Select a category (e.g., transportation) and model making an
ostinato from four of these words that fit that category (e.g., “car,
taxi, car, bus”).
11. Perform, with half the class speaking the ostinato and half
speaking the words of the poem.
12. Divide students into groups of four. The group decides on a
category for their ostinato, then each child writes one of the list
words on a sticker. (More words may need to be added to fit the
category selected.)
13. Students try arranging their stickers in different orders. When
they decide on an order, hear them say it (helping them to say it
with a steady beat), and give them a planner sheet to stick down
their words.
14. Share performances: each ostinato group speaks its ostinato in
turn, as the class recites the poem. Hint: you may need to support
the ostinato group as they speak, to keep the ostinato steady.
Pause and Ponder:
Assessment for Learning
4. Observe class performance of
poem. Is the speech expressive and
rhythmical? Do students maintain a
steady beat? Are actions clearly
articulated and linked to the correct
text?
6 -8. Observe students as they
perform the beat and the rhythm. Are
they accurate with the beat, and close
to accurate with the rhythm? (grade
1s may not be completely accurate)
Pause and Ponder:
Assessment for Learning
12. Assess the written product – have
students understood the task, selected
an appropriate category, individually
identified a word belonging to the
category, written down the word, and
created an ostinato from the four
words?
13. Observe each ostinato group as
they perform. Do the students speak
rhythmically, maintain the beat, and
speak confidently? Note: some
support is appropriate for students at
these grade levels.
©C. West, 2009 3

Consolidation (Elaborate, Evaluate, Extend)
15. Ostinato groups select non-pitched percussion instruments to
perform the rhythm of their ostinato. Repeat the performance,
using the instruments along with speech.
16. Using any available technology (Audacity, Garage Band, tape
recorder etc.) create a recording of the performance. Listen to the
performance, and discuss:
Can you hear all the words clearly in the poem and ostinato?
Did we speak with expression?
Did each ostinato group stay together?
What part did you like best? Why?
What could we do better next time?
Resources:
17. Another day write ta’s q under the 1-syllable words, and titi’s
1. Poem
ee under the 2-syllable words. Perform the ostinati speaking the
rhythm syllables.
Tall shops in the town,
Elevators up and down,
Doors swinging round about,
People moving in and out.
2. Student Sheet: Ostinato Template Page
Traditional rhyme
Our City Ostinato Room ____
Names _______________________________
________ ________ ________ ________
Pause and Ponder:
Next Steps
When students are confident and
accurate, perform the ostinati without
speaking the words out loud, to
develop inner hearing.
Students need many more
opportunities to relate word rhythms
to simple notation and vice versa.
Adapting the Lesson
Use with any strongly rhythmical
four-line poem in simple time. Pick
poems that connect to classroom
curriculum.
©C. West, 2009 4

Riding on a Caravan
Grade:
K-3
Expectations
C 2.1, C 2.2
Fundamental Concepts: Duration – beat; Pitch; Dynamics and other expressive controls; Timbre; Texture
Critical Learning
Students identify the elements of music, especially pitch, dynamics and tempo, by responding with movement to
recordings of non-western music.
Materials
[audio recording] Silk Road Journeys: When Strangers Meet, Yo Yo Ma/Silk Road Ensemble
We’re Riding on a Caravan: An Adventure on the Silk Road, Laurie Krebs, ISBN 1841483435
[optional] scarves or streamers
Map of silk road (create overhead from book, scan and project, sketch or use a purchased map)
Minds On! (Elicit and Engage):
Build a movement response vocabulary
1. Distribute scarves or streamers to students, if using.
2. Students are in scatter formation. Find ways to move up
high, down low, quickly, slowly, and for responding to loud
and soft sounds. You can cue these sounds from an
instrument (e.g., a piano or drum) or by calling out the
words.
Action! (Explore and Explain)
3. Look at the cover of the book and predict what the story is
about.
4. Learn the refrain through echoing.
5. Add gestures on the beat, following student suggestions.
6. Read the book aloud. Students speak the refrain
expressively using the gestures already developed.
7. Continue reading aloud: at each destination, read the text
and identify the location on the map, then play an excerpt
from the musical selection. During the music students show
the highs, lows, fasts, slows, louds and softs of the music
through movement.
Consolidation (Elaborate, Evaluate, Extend)
8. Students explain in discussion or writing:
• What piece of music did you like best. Why?
• What was the best fit between a movement you
created and the music. Why?
Suggested Listening Examples (From When Strangers Meet)
Xi’an 3. Blue Little Flower
Lanzhou 4. Mido Mountain
Dunhuang 5. Moon Over Guan Mountains
Hami 10. Blue as the Turpoise Night of Neyshabur
Turpan 8. Avaz-e Dashti
Kashgar 12. Desert Capriccio
Pause and Ponder:
Assessment for Learning
2. Observe how quickly and accurately
students respond to musical cues.
Pause and Ponder:
Assessment for Learning
5. Observe class performance of poem. Is
the speech expressive and rhythmical? Do
students maintain a steady beat? Are
actions clearly articulated and linked to the
correct text?
7. Observe how quickly, accurately and
expressively students respond to musical
cues.
Pause and Ponder:
Next Steps
Students need many listening experiences
(using many musical styles) and
opportunities to link the elements of music
to these experiences.
Follow up with a composition activity
where students consciously select specific
elements of music (a high sound, a fast
sound etc.) for specific effect.
The Silk Road Project has many
educational resources on its website if you
wish to explore more about the artists,
musical styles and instruments.
[www.silkroadproject.org]
©C. West, 2009 5

Did You Go to the Barney?
Grade:
1-2
Expectations
C 1.1, 1.2, 1.4
Fundamental Concepts: Duration – beat and rhythm; Form - phrase, call and response, Binary (AB) form, verse
and chorus (lesson extension)
Critical Learning
Students learn a song in AB form and demonstrate their understanding of the form through movement, playing
instruments, and discussion.
Materials
[song] Did You Go to the Barney?
Small percussion instruments
(Optional) Orff pitched percussion instruments (xylophones, metallophones, glockenspiels) – a few
Minds On! (Elicit and Engage):
1. Tell students to answer “Yes Ma’am” or “No ma’am” to
whatever questions you ask them. Ask a series of questions
such as (Did you walk to school today? Did you eat carrots
for lunch? Do you have a little brother? etc).
2. Student volunteers ask questions once the pattern is
established. Responders clap their response as well as
speaking it.
3. Introduce the words call and response for this activity.
Action! (Explore and Explain)
4. Lots of music has a call and response pattern. Introduce the
A section of the song, with students speaking the responses.
5. Learn the B section, asking the students to find a way to
rock in their own space as they sing. (If your students can
handle it, have them take turns riding each other like a rider
and mule during the B section.)
6. The second part of the song is different – how? (It is not in
call-response form, and it is sung rather than spoken.)
7. Distribute small percussion instruments. Play these only on
the words “Yes Ma’am.”
8. Either, play the small percussion instruments on the beat of
the B section or play alternating low Ds and As on the Orff
instruments on the beat.
9. After each repetition of the song pass the instruments to a
new player.
Consolidation (Elaborate, Evaluate, Extend)
10. If we wanted to make a picture of the pattern this song
makes, what could we use for the first part? (Draw an A
section icon, e.g., a barn.) What could be the picture for the
second part? (Draw a B section icon, e.g., a cradle.)
11. In music we sometimes need a quick way to label patterns.
I’m going to call the barn part of the song the A section.
What do you think the next section is called? Write A and B
underneath the two icons.
12. Do we know any other songs that are in AB form? Write a
list of songs, being sure to sing each through to make sure it
is a true AB form.
13. What were the two new things we learned today? Check
that students know the terms call and response and AB
form. Which part of the song was in call and response
form?
Pause and Ponder:
Assessment for Learning
Observe whether students clap the
rhythmic motive accurately.
Pause and Ponder:
Assessment for Learning
7-9. Observe whether students clearly
differentiate between performing the
rhythmic motive in the A section, and the
beat in the B section.
Observe the accuracy of their performance
of beat and rhythm.
If using Orff instruments, observe student
technique and provide feedback as
appropriate.
Pause and Ponder:
Next Steps
Next class, ask students to create the
pattern of the song using math
manipulatives, instruments or any other
articles. Reinforce the terminology.
Create more verses for the song by
changing the words, e.g., “Did you go to
the party?” Identify the form verse chorus
and its close relationship to AB form.
Accumulate lists of songs on charts in callresponse,
AB and verse-chorus forms as
students learn them.
©C. West, 2009 6

©C. West, 2009 7

Double the Trouble, Double the Fun!
Grade:
3
Expectations
C 1.1, C 1.2, C 1.3, C 1.5, C 2.1, C 3.2 (extension)
Fundamental Concepts: Duration – ta, titi, ta rest, tikatika; Form
Critical Learning
Over several sessions, students review ta’s, titi’s, ta rest and learn about tikatikas by adding body percussion and
clapping patterns to a favourite camp rhyme.
Materials
Poem on board – leave space to add the rhythm
Rhythm cards – enough for each student to have one, in sets of 8 (each set should have 7x tikatika, 8 x ta, 1 x rest)
Minds On! (Elicit and Engage):
1. Learn the game and one or more variations for Double
Double.
2. (Optional) Symbolize the pattern of the rhyme using picture
symbols, manipulatives or letters.
Action! (Explore and Explain)
3. Say the rhyme again while walking the beat. Which words
have just one sound on the beat? (this, that)
4. What is this called in music? Write ta’s over these words.
5. Are there any beats with no sound? (yes, one at the end)
6. What is this called in music? Write a rest at the end.
7. Say the rhyme again, walking the beat and clapping the
rhythm. Are there any beats with two sounds on a beat? (all
the doubles).
8. What is this called in music? Write titi’s over these words.
9. Read and clap the rhythm of the whole poem, saying the
rhythm syllables.
10. Teach the new (sixteenth-note) version of the rhyme with
its modified body percussion pattern.
11. How many sounds are on the beat when we say “double
trouble”? (four) Introduce the term, tikatika.
12. Erase all the “doubles” and substitute “double troubles” on
the board, writing in tikatika’s.
13. Read and clap the new rhythm.
Consolidation (Elaborate, Evaluate, Extend)
14. Distribute the rhythm cards in complete sets (some students
may need to have two to complete the sets).
15. Call “double trouble!” Students quickly get themselves in
the order of the chant rhythm in a circle. Read cards and
check together.
16. At the end, call “Hot chocolate!” and students must run to a
new place in the circle, holding their cards so they are
visible. Read the new rhythms around the whole circle to a
steady drum beat.
17. Repeat the last two steps a number of times, and create
variations of the game.
Pause and Ponder:
Consider spending a whole class on this
phase of the lesson.
Pause and Ponder:
Assessment for Learning
3-9. Observe accuracy of responses during
this activity. This should be review for
your grade 3 students. If it is not, or the
students seem rusty, play the game in 15-
16 using this version of the rhyme. Play
the “Chocolate” version of the game, and
save the more complex tikatika version for
another time.
Pause and Ponder:
Assessment for Learning
16. Observe how accurately students are
able to read the new rhythmic
configurations to a steady beat.
Next Steps
Identify tikatikas in known or new song
repertoire, and use for composition. Find
clear listening examples.
©C. West, 2009 8

Version 1
Double double this this
Double double that that
Double this, Double that
Double this, that!
Double Double
Game
Tap knees with on “double”, palms up on “this”, with fists on “that”.
Create variations:
o Tap a partner's palms on “double”, back of hands on “this”, fists on “that”.
o Pat own knees on “double”, person to the right on “this”, person to the left on “that”.
o Encourage students to make up their own patterns.
Sixteenth-note Version
Double trouble double trouble this this
Double trouble double trouble that that
Double trouble this, Double trouble that
Double trouble this, that!
Do the same body percussion as the first version, but play the sixteenth-note rhythm on the knees for
“double trouble” (i.e., pat legs fast four times, alternating hands).
Extension
Use a traditional Mexican version of this game – “Chocolate” (with acknowledgement to Doug Goodkin):
Choco, choco la la
Choco, choco te te
Choco la, Choco te
Choco la te!
o Speak the chant, playing the first partner clapping game above.
o Find new 4-syllable words to use, keeping the same body percussion pattern, or creating new
patterns to fit the meaning of the new word (e.g., alligator, tiramisu,
©C. West, 2009 9

Funga Alafia 1 Grade:
2-3
Expectations
C 1.1, C 1.2, C 1.3, C 1.4, C 1.5, C 2.3, C 3.1, C 3.2
Fundamental Concepts: Pitch - melodic ostinatos, pentatonic scale patterns, pitch contour; Form – review of call
and response
Critical Learning
Students learn a traditional West African song and dance in the do pentatonic by isolating melodic motives, using
their understanding of pitch contour to assemble the song in its correct order, composing ostinati, performing an
orchestration and improvising in the pentatonic scale.
Materials
Funga Alafia
Melodic motives (on 5-line staff) from song, on cards or overheads (to be assembled in correct order to show
complete song)
Map of Africa or World
Small percussion instruments, especially West African (e.g., gankogui, axatse, kpanlogo drum)
Orff xylophones
Minds On! (Elicit and Engage):
1. Students learn the gestures for Funga Alafia in silence
through simultaneous imitation.
2. Speak the words associated with the gestures (“With my
head I greet you...”).
3. Speak the word “ashay” using many different vocal
inflections; students echo. Sing “mi soh, mi soh” and then
“ashay, ashay”; students echo using hand signs. Do the
same with the second “ashay” pattern.
Action! (Explore and Explain)
4. Sing the song in solfa; students sing the appropriate solfa
response after each phrase.
5. Post the melodic motives in random order. Students figure
out the order from listening to each, and rearrange in the
correct sequence. Sing through using solfa and hand signs.
6. Add the words and gestures already learned to the song.
7. Students sing the call instead of the response, then half sing
call and half the response. What do we call this type of
song? (Call and response)
8. Provide contextual information: This song comes from West
Africa and is a song of greeting. In traditional African
culture, people are often welcomed with song and dance,
rather than by shaking hands as we do in our culture.
Locate Ghana on a map.
9. Add the movement pattern for the interlude.
10. Set up Orff instruments in C major pentatonic by removing
the F’s and B’s. Teach the ostinati for the Orff instruments
by learning as body percussion first, then taking turns on
the instruments.
11. (Optional) Sing the solfa melodic fragments; students echo
on instruments until they can play the refrains or the entire
Pause and Ponder
1. Beginning a class with silent movement
intrigues and engages students
immediately.
3. Reinforcing solfa with hand signs
supports aural, visual and kinesthetic
learners simultaneously.
Pause and Ponder:
Assessment for Learning
3-5. Observe students to assess their
comfort level with solfa and hand signs.
5. Students can “read” the melodic
motives using their understanding of pitch
contour, even if they have not had
experience in reading staff notation.
9. Observe student instrumental technique
and provide feedback as needed. Observe
accuracy of performance and ability to
maintain the steady beat with the
ensemble.
10. Observe students to see if they are able
to learn and play the melody confidentally.
11. Observe students. Can they switch
between roles, remembering the patterns
for each with ease?
1 With acknowledgement to Doug Goodkin, whose process is partly used in this lesson. Doug points out
that the gestures here are probably not traditional. He also notes the appearance of the identical melody in
the American folk song, “L’il Liza Jane” and speculates that the melody crossed the Atlantic with enslaved
Africans and was adapted to an English text.
©C. West, 2009 10

melody.
12. During the culminating performance students combine the
movement and orchestration, trading roles during the
interludes until everyone has had a number of turns.
13. Pair-share, then whole-group discussion: What is
interesting about this song? What did we do well? What
could we improve the next time we perform the song?
Consolidation (Elaborate, Evaluate, Extend)
14. Review singing of the C pentatonic scale with hand signs.
15. Let’s make a 4-note ostinato to go with our song. The rule
is that it must start on do, mi or soh. Experiment with
several ostinati; half the class sings the ostinato while the
other half sings the song.
16. In small groups students create their own ostinati. Give
each group one xylophone to work with.
17. In the large group, each small group has a turn to perform
its ostinato with the song and orchestration. Play the ostinati
on soprano xylophones or glockenspiels.
18. Create a final form which includes the orchestration,
successive ostinati, song, interludes, movement and trading
roles. Add improvisation in C pentatonic on one or two
instruments during the interludes (optional).
19. Check for understanding: Where did the song come from?
Which African instruments did we use? Which scale did we
use? What rule did we use to create the ostinati? Students
make a journal entry recording this information.
20. Assess: repeat the melodic motive assembly activity, using
individual worksheets
Movement Gestures for Funga Alafia
Pause and Ponder:
Assessment for Learning
14. Check groups as they work for
understanding of the task. Encourage them
to take turns practising the ostinato,
maintaining a steady beat.
15. Assess each group during performance
for technique and ensemble skills.
17-18. Assess written products.
Next Steps
Compose canons using the same scale,
first as a whole class activity and then in
small groups. Identify other songs in F do
pentatonic and try out the Funga Alafia
ostinati with these songs.
Add low so and low la to the melodic
vocabulary (using a new song).
Listen to examples of West African music,
identifying significant features such as the
use of percussion instruments and ostinati.
Funga alafia, ashay ashay
both hands pat head twice, then stretch out in front of body, palms up, pulse twice
(With my head I greet you)
Funga alafia, ashay ashay
both hands pat mouth twice, then stretch out in front of body, palms up, pulse twice
(With my mouth I greet you)
Funga alafia, ashay ashay
both hands pat chest twice, then stretch out in front of body, palms up, pulse twice
(With my heart I greet you)
Funga alafia, ashay ashay
indicate right, then left forearm with opposite hand, then pulse in front twice as before
(And there’s nothing up my sleeve)
©C. West, 2009 11

©C. West, 2009 12

What’s In a Name?
Grade:
3
Expectations
C 1.1, 1.2, 1.3, 1.4, 2.1,2.2, 2.3
Fundamental Concepts: Dynamics – crescendo, decrescendo; Timbre – classification of instruments by means of
sound production
Critical Learning
Students explore the tone colour of non-pitched percussion instruments, using them to create a soundscape for
retelling a story. They use their knowledge of rhythm to write new lyrics for a song.
Materials
Non-pitched percussion instruments – enough for whole class
3 cards, labelled STRAW, SPINNING and GOLD
Rumplestiltskin – story – any version (recommended: Kaye Umansky, Three Rapping Rats, ISBN 0713645709)
Sarasponde
Name Game
Minds On! (Elicit and Engage):
1. Stand in a circle. All students simultaneously clap the
rhythm of their first names to the same beat, four times in a
row.
2. Do the same with both first and last name (2 beats).
3. Add birthday month and date (4 beats).
4. Each student selects a percussion instrument. Play the
rhythmic phrase four times on the instrument and pass it to
the right.
5. Walk freely in open space, continuing to play the same
rhythmic phrase. Find other instruments that make their
sound the same way – by striking, scraping or shaking.
Action! (Explore and Explain)
6. Read aloud the story of Rumplestiltskin, pausing to create a
spinning soundscape whenever spinning occurs in the story
(see below). Identify the terms crescendo and decrescendo.
7. Learn the song, “Sarasponde” and create new verses as a
class or in small groups to retell the story of
Rumplestiltskin.
8. Learn and practise the Name Game Chant.
9. Rehearse and perform a retelling of the story using the
song, the soundscape, the name game and improvised
character roles. Students with non-specific roles are
townspeople and instrument players.
Consolidation (Elaborate, Evaluate, Extend)
10. Students write a journal entry reflecting how they used the
elements of music in the performance (beat, rhythm,
dynamics, tempo, timbre), what parts of the performance
were most effective, and why.
Pause and Ponder:
Assessment for Learning
1-5. Observe each student’s ability to
maintain their pattern accurately within the
established beat.
Pause and Ponder:
Assessment for Learning
6. The soundscape requires musical
sensitivity and concentration from
conductors and musicians. Students will
build skills as they repeat the activity.
7. Creating new verse for a song requires
understanding of the rhyming pattern and
the rhythm of the original. Most classes at
this level will require some coaching to
complete the task successfully.
Pause and Ponder:
Assessment for Learning
10. Assess the responses. Do students use
musical terminology meaningfully, and
have insight into their performance?
Next Steps
Use other stories as frames for musical
activities, building in connections across
the curriculum and engaging students in
the excitement of a larger performance
piece.
©C. West, 2009 13

Name Game Chant
Rumplestiltskin: Got your little list? Wanna play a game?
Ready, steady, what’s my name?
(turns to each student in turn)
Student 1 says own name: Jason!
Rumplestiltskin: No! That’s not my name
(repeat with 7 more students)
You didn’t get it right, that’s a shame,
Better luck next time, end of game!
From Kaye Umansky, Three Rapping Rats.
Spinning Soundscape
Lay three cards on the floor:
STRAW SPINNING GOLD
The conductor steps on the STRAW card, which is the signal for the shaking instruments to start playing.
The conductor steps on the SPINNING card and the scraping instruments start playing. There is an overlap
of the two sounds until the first foot is removed from the STRAW card.
The conductor steps on the GOLD card and the striking instruments start playing (include as many metal
instruments as possible). There is an overlap of the two sounds until the conductor’s foot is removed from
the SPINNING card.
When the conductor steps off the GOLD card the sound stops. The conductor uses gestures to indicate
changes in tempo and dynamics throughout.
Take turns in the conductor role. There can be three different conductors during the performance.
The soundscape will be even more effective if the musicians create a cooperative sculpture for each phase –
the straw and gold sculptures can be static but the spinning sculpture should show spinning (every student
spins one body part). Encourage students to join on to the sculpture in interesting ways, and use many
levels.
Sarasponde
The song below has nonsense words. Make up several verses to tell the story of Rumplestiltskin, starting
with prompts such as the following:
1. Once a miller had a daughter, and he thought she was so fine...
2. How can straw spin into gold oh, what a pickle I am in...
3. What a spinner, what a spinner, oh you are a treasure dear!...
4. Rumplestiltskin, Rumplestiltskin, Rumplestiltskin is your name...
Drama Connection
The lesson provides many opportunities for meeting the drama expectations for the grade. In particular, you
may wish to use one or more role-playing strategies to reconsider the traditional ending – your students
may come up with a different way to end things “happily ever after”.
©C. West, 2009 14

©C. West, 2009 15

Derry Ding Dong Dason
Grade:
3
Expectations
C 1.1, 1.2, 1.3, 1.4, 1.5, 2.1, 2.2, 2.3, 3.2
Fundamental Concepts: Duration – (review) ta, titi, too-oo, (new) three beats per bar; Texture - canon
Critical Learning
Students distinguish between 2, 3 and 4 beats in a bar through movement, clapping patterns and singing a canon in
triple metre. They reinforce their understanding by creating and performing rhythmic ostinati in triple metre.
Materials
Derry Ding Dong Dason
(Optional) Orff pitched percussion instruments (3-4)
Bell sounds: a selection of jingle bells, finger cymbals, bell tree, chime bars, hand bells, glockenspiels,
metallophones
Ostinato in Three’s page – one per small group
Minds On! (Elicit and Engage):
1. Play a steady 4/4 beat on a drum, accenting beat one.
Students walk the beat and clap the accented beat. How
many beats are in this pattern? (four)
2. Play a steady 2/4 beat on a drum, accenting beat one.
Students clap the strong beat. Put the weak beats
somewhere else. How many beats are in the pattern? (two)
3. Play a steady ¾ beat on a drum, accenting beat one.
Students clap the strong beat. Put the weak beats
somewhere else. How many beats are in the pattern? (three)
4. Working with a partner, students create their own distinct
clapping patterns for 2, 3 and 4 beats in a bar. Share.
5. Play a series of drum rhythms in the different metres –
students respond with the correct clapping pattern.
6. Review the game of “Switch” (improvised body percussion
canon). Clap a steady beat in ¾ metre; call “switch” and
change to patting a steady beat. Students start clapping.
Continue in the same manner, using other body percussion
sounds and rhythms. Students are always one action behind.
7. Ask students to lead the game, maintaining the same metre.
8. What did we do? Introduce the term “canon” if it is new for
your students.
Action! (Explore and Explain)
9. Teach the new song, “Derry Ding Dason” by echo imitation
or solfa. Explain the context of the song.
10. How many beats in a bar does this song have? Try all three
clapping patterns and determine that 3 is the most natural
fit.
11. How many sounds are in the words, “Derry ding dong
dason?” (6) Choose six students to show the rhythm of this
phrase – titi’s put arms on each other’s shoulders. Read and
clap the rhythm syllables, checking that they match the
song.
12. Continue figuring out the rhythm. Stand with fingers in
front of lips for a rest; stand with hands wide apart for toooo.
Read, sing and clap.
13. Add contrasting movement gestures to each phrase as
suggested by the students.
14. (Optional) Add the metallophone part, and other parts as
Pause and Ponder:
A feeling for metre is essentially a
kinesthetic experience – always reinforce
with movement.
4. Encourage students to put the heavy
first beat on a heavy gesture (e.g., stamp or
pat).
Assessment for Learning
5. Observe students – do they quickly
identify changes in metre and switch
patterns? Do they perform patterns
fluently?
7. You may need to save this for a later
stage.
Pause and Ponder
11. This form of rhythmic dictation is
kinesthetic and social, building
engagement and confidence. Observe how
much difficulty students have in
completing the task.
13. Contrasting movement allows visual
learners to see, as well as hear, the canon.
©C. West, 2009 16

appropriate for your group. Use G pentatonic for any
melodic parts.
15. Perform in canon, first starting with only the teacher on the
second entry. If students do confidently in 2 parts, try in 3,
always using the movement gestures.
16. Repeat a number of times, making different choices for
dynamics, how to bring in and extinguish the parts etc.
Which version is most effective? Why? Decide on a final
version.
Consolidation (Elaborate, Evaluate, Extend)
17. Model the process of creating a six-beat ostinato using a
combination of ta, titi, rest and too-oo.
18. Students work in small groups to create their own rhythmic
ostinato, then practise on their choice of bell sound (jingle
bell, triangle, chime bar, hand bell, finger cymbal etc., OR
bell tree, glockenspiel or metallophone in G pentatonic).
19. Sing the song, hearing each group perform its ostinato with
the song.
20. Create a final form incorporating the elements above. The
ostinati may all be combined as a glorious bell-ringing
interlude if you wish.
21. Use the “thumb-o-metre” to assess success – thumbs up for
really great, down for really terrible, or in between. Solicit
comments.
15. Listen to students individually during
group singing – are they holding their part,
consistently in tune?
16. This repetition allows the students to
practise the canon while exercising their
critical thinking abilities.
Pause and Ponder:
Assessment for Learning
18. Monitor groups to make sure they are
completing the task accurately and
performing their ostinato with a steady
beat. Assess written product.
19. Assess each group’s performance for
accuracy.
Next Steps
Learn canons in different metres and tone
sets, and other songs in triple metre.
Try the students’ ostinati with these other
triple metre songs, transferred to other
instruments or body percussion.
Use the ostinati as the basis for composing
pentatonic melodies. Combine four
together, then sing in canon.
Literacy Connection
Figure out the pattern of the alliteration used in this canon and write new alliterative verses featuring
different consonants.
Names ___________________________________Room ____
Ostinato in Three’s!
Write the correct note in each box:
ta
1 beat
titi
1 beat
rest
1 beat
©C. West, 2009 17
too-
2
Now compose a 6-beat rhythm, using the notes above:
oo
beats
1 2 3 4 5 6
Practise clapping your rhythm, making beats 1 and 4 a little stronger.

©C. West, 2009 18

Pack She Back
Grade:
4
Expectations
C 1.1, 1.2, 1.3, 1.4, 1.5 (rhythmic notation only), 2.2, 2.3, 3.1
Fundamental Concepts: Duration – syncopation; Form – ABA (review)
Critical Learning
Students learn to identify, perform and compose using the rhythmic motive syncopa by playing a
listening/clapping game, singing a song from the Barbardos, and creating an accompaniment for the song.
Materials
[song] Pack She Back to She Ma
(Optional) percussion instruments, e.g., drum, cowbell, shaker, guiro, temple blocks or woodblock
Minds On! (Elicit and Engage):
1. Clap 8-beat rhythms containing syncopa ta; students echo.
2. What was the same about all of those? Students aurally identify
they all contained syncopa ta.
3. Put syncopa ta on board and label.
4. Game: if my rhythm contains syncopa ta, clap it back. If it does
not, pat the beat 8 times instead. (Another day students can lead
the game.)
Action! (Explore and Explain)
5. Learn the song and actions through echo imitation. Establish
context: where do you think it is from? Find Barbados on a map.
What do the words mean? Who would sing it and why? Is it a
serious or a funny song?
6. Write and clap the motive: ta, syncopa, ta, ta on the board.
7. Clap this motive every time it occurs in the song.
8. Play this motive on temple blocks or woodblock every time it
occurs in the song.
Consolidation (Elaborate, Evaluate, Extend)
9. Write on board, clap and review: ta, titi, rest, syncopa ta.
10. Using only these rhythms small groups create an 8-beat ostinato
containing one syncopa ta. Each group adds words and body
percussion to its ostinato.
11. Share performances.
12. Transfer the ostinati to appropriate percussion instruments (e.g.,
cowbell, claves, bongo drums etc.).
13. Add other simple instrument parts for additional colour (e.g.,
maracas on titis for A section, guiro on beats 1 & 2 for B section).
14. Create a final form that includes an introduction and coda. Make
sure students are familiar with these terms.
15. Discuss or make a journal entry: What was the new rhythm
motive we used in this song? What was the musical effect of
syncopation? What kinds of music have syncopation as a regular
feature?
Pause and Ponder:
Assessment for Learning
4. Observe: do students accurately identify
the syncopated phrases in the game?
Pause and Ponder:
Assessment for Learning
7-8. Observe: do students accurately
identify and perform the syncopated
phrases in the song?
Pause and Ponder:
Assessment for Learning
10. Assess individual performances: do
students perform the 8-beat ostinato
accurately?
10. Assess written work: do students write
the 8-beat ostinato correctly?
Next Steps
Students need opportunities to listen to and
perform syncopated music from different
cultures, and to improvise rhythms and
melodies incorporating syncopation.
©C. West, 2009 19

©C. West, 2009 20

Orff to the Stars!
Grade:
4
Expectations
C 1.1, 1.2, 1.3, 1.4, 1.5 (pitch notation), 2.2, 2.2, 2.3, 3.1, 3.2
Fundamental Concepts: Pitch (from contour to 5-line staff); Form – verse and chorus, introduction and coda
Critical Learning
Students learn about pitch notation and the five-line staff while singing and learning about the context for a code
song from the Underground Railroad. They use their understanding of pitch contour to compose their own “star
ostinatos” for the song.
Materials
Harriet and the Promised Land by Jacob Lawrence, Simon and Schuster, 1968. ISBN 0-671-86673-7
Cards showing the major constellations of the Northern Hemisphere, including the Big Dipper (suggested source:
http://eclectichomeschool.org/articles/article.asp?articleid=426)
(Optional) [book] Follow the Drinking Gourd by Jeannette Winter, Random House 1992, ISBN 0-679-81997-5
OR The Drinking Gourd by F.N. Monjo Harper Collins, ISBN 1559943556
[Song] The Drinking Gourd
Orff glockenspiels (about 6)
stick-on stars and construction paper
(Optional) Orff instruments for performance of orchestration
Minds On! (Elicit and Engage):
1. Look at the cover image of Harriet and the Promised Land.
2. Predict: What is happening in this picture? What is the
significance of the star? How are the people in the picture
feeling?
3. Provide background information about Harriet Tubman and the
Underground Railroad.
4. Why does the North Star always stay in the north, when other
stars constantly rotate?
Action! (Explore and Explain)
5. Learn the song and figure out the meaning of the words. Refer
to http://quest.nasa.gov/ltc/special/mlk/gourd2.html Who would
sing this song and why?
6. If possible, share one of the available picture books with your
class (see above).
7. (Optional) Learn the orchestration using strategies appropriate
for your close (e.g., speech rhythms, body percussion, written
notation)
8. Play the SG part. Students show the pitch of the notes in the air
with hands.
9. Give 7 stick-on stars to each small group of students to create a
pitch map of the SG part. Post the maps.
10. Look at a map of the constellations of the northern hemisphere.
Which constellation is represented in our star maps? (the Big
Dipper, or Drinking Gourd)
11. Explain that the 2 stars forming the cup of the Drinking Gourd
point directly at the North Star, which is the final star on the
handle of the Little Dipper.
12. Figure out the notes for the SG part aurally, and incorporate into
the orchestration.
Consolidation (Elaborate, Evaluate, Extend)
13. Give each small group of students one map of a constellation
and a glockenspiel, set up in D minor pentatonic (see activity
above). Each group creates a sound map of their constellation.
14. Post the constellation pictures. As each group plays their
composition other students try to figure out which constellation
is being represented.
Pause and Ponder:
There are many possible connections to
other parts of the curriculum in this lesson,
especially Social Studies, Science, Drama
and Language Arts. You may wish to
elaborate the lesson to include some of
these.
Pause and Ponder
Words for the other verses are on this
website or in the books referenced above.
8-12. This sequence encourages students
to transfer their aural perception of pitch
contour to specific pitches, reinforcing
their visual, aural and kinesthetic
understanding of musical pitch.
Assessment for Learning
9. Assess the stick-on star pictures for
accuracy of pitch.
12. Observe students as they figure out the
SG part by ear, noting who finds it to be
an easier or harder task.
Pause and Ponder:
Assessment for Learning
13-14. Make notes about how successfully
each group captured a sound image of a
constellation.
©C. West, 2009 21

15. Review or introduce pitch locations on the treble clef staff in
relation to the glockenspiel keys.
16. Model how to write the pitch notation for the big dipper
ostinato. Each student writes out their constellation ostinato on
a treble staff, using only pitch notation (no stems on the notes).
17. Create and rehearse a final performance that incorporates an
introduction, tableaux, narration, the song, the orchestration,
the ostinati and a coda. How can we use these elements to
create the mood of hope and fear from the picture we first
looked at? Record the performance.
18. Review the recording with the students, identifying successes
and areas for improvement.
16. Assess individual students’ ability to
record their ostinato using standard pitch
notation.
Next Steps
Students need many opportunities to
record their own compositions – a most
important reason for learning to read and
write notation. They should be ready to
combine pitch and rhythm notation on the
treble staff in the near future.
Extension: See Epitaph next page.
©C. West, 2009 22

Thanks also to Steve Calantropio for his research about this song.
The song can be associated with learning about Galileo, especially during this International Year of Astronomy
(2009). The words come from a poem written for American astronomer, John Brashear, and were used on his
tombstone, but the message is a universal one, particularly applicable to Galileo. Explore and extend the connections
to the Character Ed, Drama, and Science curricula.
• Learn the canon and orchestration. Rehearse in up to five parts.
• Create five movement phrases and incorporate with the singing.
• Use the star map ostinatos previously created for the Drinking Gourd as introduction, interlude and coda OR
have two glockenspiels improvise star sounds.
• Consider adding additional percussion: bell tree, wind chime, glissando effects...
• Consider adding interludes of other star songs, poems, student journal entries....
©C. West, 2009 23

I’se the B’y
Grade:
5
Expectations
C 1.1, 1.2, 1.3, 1.4, 1.5, 2.2, 3.1
Fundamental Concepts: Duration: 6-8 metre, Harmony – I and V chord progressions, Form – four or more sections
Critical Learning
Students learn about 6-8 metre, I-V harmony, and four-section forms by exploring the rhythmic and harmonic
vocabulary of a Canadian folk song, accompanying it on Orff instruments and creating rhythmic interludes.
Materials
[song] I’se the B’y
Rhythm Motive Chart (see below)
Common Musical Forms Chart (see below)
Orff instruments for performance of orchestration
Minds On! (Elicit and Engage):
1. Show the Common Musical Forms Chart to the students.
2. Students quickly find a way to show one of the patterns with
their bodies (in groups of four) or something in the room, e.g.,
AABA might be interpreted as the A’s all standing and B
sitting down.
3. Improvise 4-beat clapping motives in groups of four. Each
student has the choice of repeating something already clapped
or creating something new. After each group of four, figure out
which musical form was used.
Action! (Explore and Explain)
4. Teach the song, “I’se the B’y”. What is the song about? Where
might it come from? Provide contextual information.
(Session 2)
5. Show the Rhythm Motive Chart (see below) and play the
following game 2 : the leader touches four motives, including at
least one repeated motive. The class then claps and recites the
whole phrase, e.g., “builds the boat, builds the boat, sails her,
catches the fish.” Once students have the idea, they should take
turns leading the game.
6. Continue playing but relate each phrase to the Musical Forms
Chart.
7. Students create their own phrase following this rule, in groups
of four. Transfer the rhythm to body percussion or percussion
instruments and perform each four times as an interlude
between verse of the song.
8. What do you notice about these rhythm motives. Are they made
of ta’s and titi’s? Help students to notice that the notes come in
groups of 3 or in uneven groups of 2. Identify this as 6-8 metre.
(Sessions 3-4)
9. Ask one student to play the note G on the beat on a bass
xylophone, explaining that in this song G is do. Sing the song
with this accompaniment.
10. When does G sound wrong as a bass note? Move to D, which
is so, when G sounds wrong. Work out the pattern of where the
bass changes between I and V.
11. Explain that because G is number one, do, we call it chord I,
and because D is the fifth note of the scale, so, we call this
chord V. Write the pattern out in I and V symbols, and on the
staff.
12. Half the class sings the bass pattern while the other half sings
2 With acknowledgement to Steven Calantropio.
Pause and Ponder
This lesson has three distinct goals –
acquainting students with the feel of 6-8
rhythms, manipulating four-part forms,
and hearing I-V chord changes. Plan to
spend a number of sessions to cover all
areas.
Pause and Ponder:
Assessment for Learning
5. Observe students in both leader and
participant roles to assess how well they
feel the beat, and how accurately they
reproduce the rhythm.
7. Assess each individual during this
performance for adherence to criteria, and
accuracy of rhythmic performance.
9-10. If this is difficult for your students
repeat with many other songs during the
coming weeks, until they can easily hear
where the chords change.
©C. West, 2009 24

the song. Switch.
13. Transfer the bass pattern to instruments and take turns playing.
14. Using strategies appropriate for your class (word rhythms,
body percussion, and/or notation) learn the Orff orchestration.
15. What did the composer do to make the bass line more
interesting than our first version?
16. Create a final performance incorporating an introduction, the
orchestration, the song and the rhythm phrases. You may also
wish to create a dance to this lively dance music.
Consolidation (Elaborate, Evaluate, Extend)
17. Students write at least three statements in their music journals,
on the subjects of:
o Musical forms
o 6-8 metre
o I-V chord change
Rhythm Motives Chart
Common Musical Forms Chart
hip yer partner catches the fish
sails her
builds the boat Fogo Twillingate
A B A B A B A C
A A B B A
A A A B A B B A
14. Assess each student’s ability to
maintain their own rhythm while adhering
to the common beat, and to play
accurately, evenly, with good tone.
Pause and Ponder:
Assessment for Learning
17. Assess the written responses checking
for clarity of understanding.
Next Steps
Students will need many more experiences
with all of these concepts.
©C. West, 2009 25

©C. West, 2009 26

Take Five!
Grade:
6
Expectations
C 1.1, 1.2, 1.3,1.4, 1.5, 2.2,
Fundamental Concepts: Duration – 5-4 metre, pick-up notes; Pitch – minor tonality;
Critical Learning
Students explore 5-4 metre through a name game, a listening activity, and manipulating a rhyme to perform it in
two metres. They create a melody for the rhyme in 5-4 metre.
Materials
[Audio recording] Take Five by Dave Brubeck
[poem] The Purple Cow written on the board – leave room to write in the rhythm above
Orff pitched percussion instruments – one per group of 4 students
Criteria Chart
Minds On! (Elicit and Engage)
1. Make a list of all the first names in the class that have two
sounds with the stress on the first syllable.
2. Read the list rhythmically, accompanied by a pat-clap pattern.
How many beats in a bar do we have? (two)
3. Make a list of all the first names in the class that have three
sounds with the stress on the first syllable.
4. Read the list rhythmically, accompanied by a pat-clap-snap
pattern. How many beats in a bar do we have? (three)
5. Alternate names from the first and second lists (and the body
percussion patterns). How many beats in a bar do we have
now? (five) Reverse the order so the groups of three are first.
6. Articulate the understanding that five beats in a bar is a group
of two then three, or three then two. Sometimes both patterns
are in the same piece.
Action! (Explore and Explain)
7. Play “Take Five” for the students. Ask them to show you the
beat using quiet body percussion.
8. Now clap the strong beat and gently tap the other beats. How
many beats are in the pattern? (five)
9. Provide background information about the recording.
10. What on your body is in a group of five? Yes, fingers! Show me
the pattern of the song by tapping your fingers in order.
11. Try a body percussion pattern as you listen to the recording:
stamp, stamp, pat, clap, snap.
12. Can you hear the group of three and the group of two in each
big pattern of five? Which is first, the two or the three? (three
then two)
13. Discuss: Did you enjoy this music? What do you like about it?
Why?
(Session 2)
14. Speak the poem “Purple Cow” in duple metre, reinforcing with
clap-touch pattern with a partner.
15. Write in the rhythm above the words.
16. Where is the first strong sound? (on the word “ne-ver”) Explain
the necessity for a pick-up, and add all the barlines.
17. Now speak the poem in triple metre reinforcing with clap-touch
right, touch left pattern with a partner. Notice that choices have
to be made about where the extra beat will go (one syllable in
each duple bar is elongated to two beats). Circle the ta’s that
are made longer as choices are made.
18. Combine alternating duple and triple bars to create five beats in
a bar, using the appropriate clapping patterns. Try it with 3 then
Pause and Ponder:
This lesson has a number of separate
activities which should be completed over
several sessions.
The name game provides a familiar social
context for approaching what might
otherwise be a somewhat esoteric concept.
Pause and Ponder:
Assessment for Learning
7-13. Observe students, checking that they
feel the five beat pattern as a flow before
going on to the next step.
16-17. Observe students, checking for
accuracy of performance – allow enough
practice time for students to become
proficient before continuing on to the next
task.
©C. West, 2009 27

2, and 2 then 3 to determine which sounds better (2 then 3)
Consolidation (Elaborate, Evaluate, Extend)
(Sessions 3-4)
19. Play and sing the whole rhyme in 5-4 on the note ‘D’, playing
the rhythm on an Orff instrument.
20. Model how to compose a melody in D minor pentatonic for the
rhyme (see criteria below).
21. Students compose their own melodies in small groups. Give
each group one Orff instrument with the E’s and B’s removed
to work with.
22. Share the performances.
23. Discuss or make journal entries: how did changing the metre
change the ‘feel’ of the rhyme?
24. (Optional) Add a simple accompaniment on bass or alto
xylophone, such as D, A, D, A, A to reinforce the metre and
tonality.
25. (Optional) Each student writes out the composition in standard
notation.
26. (Optional) Elaborate the compositions by adding other
accompaniment lines, singing in canon, adding movement etc.
Task Criteria Chart
Purple Cow Melody
1. Remove the E’s and B’s.
2. The first strong beat and the last note must
be D’s.
3. Everyone in your group must be able to play
and sing your melody.
4. Everyone in your group must like your melody!
Pause and Ponder
18. This composition task can be saved for
a later time if you wish.
19. Check that students understand criteria
and are rehearsing their songs accurately.
Assessment for Learning
20. Assess accuracy of individual singing
as well as rhythm during the group
performances.
21. Assess written work. Do students use
musical terminology meaningfully and
show musical insight in their responses?
Next Steps
Provide further experiences in listening to,
dancing, performing and composing in 5-4
metre.
©C. West, 2009 28

©C. West, 2009 29

Old Abram Brown
Grade:
6
Expectations
C 1.1, 1.2, 103, 1.4, 1.5, 2.1, 2.2, 2.3
Fundamental Concepts: Pitch – minor tonality; Form – Theme and Variations
Critical Learning
Students learn about Theme and Variations form through listening and by creating variations for a vocal round.
Materials
[song] Student copies of Old Abram Brown (see alternatives below)
[audio recordings] 2-3 examples of Theme and Variations and 1-2 selections which are not in this form (suggested
Theme and Variations examples include Pachelbel’s Canon in D, ‘Mai Nozipo’ from the Kronos Quartet’s Pieces
of Africa, Caillet’s Variations on Pop Goes the Weasel, Beethoven’s Variations on God Save the King, Mozart’s
Variations on Ah vous dirai-je Maman, Handel’s Harmonious Blacksmith, the Andantino from Schubert’s Trout
Quintet, Orff-Keetman’s “Street Song” from Music for Children, traditional gamelan music)
[Audio recording] Old Abram Brown, Arr. Benjamin Britten (available on Itunes)
(Optional) Orff instruments, including non-pitched percussion
Chart paper
Minds On! (Elicit and Engage):
1. Play a game of Concept Acquisition with your students: play
excerpts from three or four musical selections, at least two of
which are examples of Theme and Variations, and at least one of
which is not. Say before each, “This is a YES example” or “This
is a NO example.” (See suggested music above.)
2. Students try to figure out what the concept is. Once they have the
idea, provide the name.
Action! (Explore and Explain)
3. Listen again to one of the YES examples and figure out what
strategies the composer used to create the variations – start a
brainstorm list.
4. Using strategies appropriate for your class, learn the round, “Old
Abram Brown.” Identify the use of the full natural minor scale.
5. Add contrasting movement phrases suggested by the students,
then sing in unison and in at least two parts.
6. Play the recording of the song. How many strategies on the
Brainstorm Chart did the composer Benjamin Britten use? Can
we add some strategies to our chart?
Consolidation (Elaborate, Evaluate, Extend)
7. Divide the class into groups of four. Provide a selection of Orff
instruments with B flat (or F# for E minor) and non-pitched
percussion. Each group creates their own variation of Old Abram
Brown.
8. Share the performances, then decide on how to present as a
combined performance. The class may wish to combine several
variations at the same time to create a further variation.
9. Record the final performance, then review with the class. What
sounds effective? Why? How did we manipulate the elements of
music in each variation? What can we do to make it better?
10.Incorporate the changes and re-record.
Pause and Ponder
Play the selections ahead of time over
several classes leading up to the main
lesson.
Concept Acquisition activates critical
thinking and engages students in solving
the mystery.
Pause and Ponder:
If some of your students are experiencing
voice change, sing in E minor instead of
D, with changing voices going down an
octave.
Your students may be surprised to learn
that this music was written for a boy’s
choir. This is a good opportunity to discuss
vocal range, and how it changes during
adolescence.
Assessment for Learning
Listen to each student’s singing, assessing
breath support, tuning, diction etc.
Pause and Ponder:
If students are playing recorder they can
use these to create their variations, with or
without an Orff instrument.
Assessment for Learning
Assess how successfully each group meets
the challenge. Provide coaching during the
task and feedback afterwards, and allow
time for revision.
Next Steps
Notice the universal use of Theme and
Variations techniques in listening and
performance repertoire from a wide
variety of musical styles and historical
periods
©C. West, 2009 30

Suggested Alternative Songs
Hey Ho Nobody’s Home, Make New Friends, My Goose and Thy Goose, To Stop the Train
Brainstorm Chart
Brainstorm Chart
Sing in unison
Sing in a round
Sing in hocket
Add bass line
Add rhythmic ostinati
Add melodic ostinato
Play the melody on instruments
Augmentation/diminution
Add one of: partner song/counter melody/parallel melody
Change the metre to 3-4 or 6-8
Move down one key (to C major)
Add movement
Make lummi stick patterns
Add dynamics
©C. West, 2009 31