Orff Basic Class Notes 2013 - Beatin' Path Publications, LLC

Virginia Commonwealth University
Basic Orff Level 1
Movement Level 1
Summer 2013
Instructor:
Brent M. Holl
302 East College Street
Bridgewater, VA 22812
540-478-4833
brentholl@mac.com

Level 1 Basic Orff Syllabus
Purpose:
The purpose of this class will be to train teachers in the pedagogy and philosophy of Orff Schulwerk.
Teachers will be learn about the planning and presentation of lessons in the areas of movement,
classroom performance, listening, and composition by experiencing lessons that are taught using
Orff Schulwerk processes.
Objectives:
1. To become familiar with basic movement/dance vocabulary and technique and to develop
the ability to use these skills for communication and creativity.
2. To develop skills in singing, speech activities, recorder playing, and ensemble playing on
the Orff instruments.
3. To explore strategies for presenting all types of art music to students in active and creative
ways.
4. To develop writing and orchestration skills in simple forms within the style of Orff Schulwerk.
5. To develop the creative ability to experiment with the elements of movement, melody,
speech and rhythm through improvisation.
6. To review and discuss current literature and writings concerning Orff Schulwerk processes.
Content:
1. Rhythm: from imitation to creation using convergent to divergent rhythms in duple and
triple meter with speech, body percussion, non-pitched and pitched percussion, singing, and
movement. Question/answer, ostinato, rondo, free rhythmic improvisation. Body percussion
notation.
2. Melody: bitonic, tritonic, folkloric, and pentatonic.
3. Harmony: simple bordun, with its possibilities in 2/4, 6/8, 3/4, 4/4; moving bordun with
5th moving.
4. Timbre: knowledge of the instruments-range, tessitura, sound color; rhythmic and melodic
notation.
5. Form: motive, phrase, antecedent-consequent, period, question-answer, rondo, canon and
two- and three-part song forms (AB and ABA).
6. Active Listening: analysis of specified works of art music emphasizing listening skills and
using speech activities, improvisation, ensemble playing, instrument making and movement.
7. Movement: movement and language; movement and drama; creative movement; movement
with hand drums; basic step vocabulary; and basic folk dance elements.

Workshop participants will be expected to complete the following basic written
assignments:
❧❧
Notate a poem or proverb in strict metered rhythmic notation emphasizing the natural
flow of the text. Use 2/4 or 6/8 with convergent rhythms only. (Anacrusis allowed.)
❧❧
Using a writing assignment generated on day one, add two speech ostinatos using complementary
rhythms notated exactly. Suggest a possible transfer to an unpitched instrument of
your choice.
❧❧
Write out a two - tone (bitonic) song using the text of a favorite rhyme or poem on staff
paper in full score.
xx
Use only So and Mi
xx
Use only the keys of G, C, F, or D.
xx
Pay careful attention to the notation of the rhythm.
xx
Make the melody safe, simple, and singable.
❧❧
Find two examples of bitonic songs in any of your source books and analyze the accompaniments.
Be prepared to share your observations with the class.
❧❧
Choose a text or rhyme from your favorite book; find the easiest, most natural flowing, childcentered
meter and notate exactly.
xx
Add two complementary speech ostinatos either related or derived.
xx
Transfer the speech ostinatos to unpitched instruments of your choice.
xx
Write out your piece on staff paper, neatly and correctly, in full score.
❧❧
Create a simple bordun orchestration.
xx
Select a bitonic, folkloric, or pentatonic song.
xx
Add one complementary rhythmic ostinato.
xx
Write the assignment on staff paper in full score.
xx
Perform your piece with help from the class.
❧❧
Create a full bordun orchestration.
xx
Find another melody that can be used with a bordun.
xx
Orchestrate the melody using a bordun, a sound color, and a melodic OR rhythmic
ostinato.
xx
Notate the piece in full score with the parts in the correct order.
❧❧
Write a pentatonic melody in antecedent/consequent form.
xx
Use 2/4 (8 measures), or 4/4 (4 measures) or 6/8 (8 measures) only!
xx
Add a text (nursery rhyme, poem, or proverb) of your choice.
xx
Orchestrate your song with a bordun, a melodic or rhythmic ostinato, and a tone color.
xx
Write your song in full score.
❧❧
Script or outline one teaching process presented during Basic Orff or Special topics.

Contents
Day 1.
Imitation and Pulse
Opening Canon – A Welcome Song
Introduce Yourself
Imitation: The Way We Learn First.
About Rhythmic Imitation:
A Name Game - Our First Word Chain!
Homework Assignment for Day 1:
Homework Helper Activities
Down in the Jungle
Pick a topic and make a word chain.
Class Work - Arrange a Rhyme
Notation and Word Chain Templates
Day 1 Movement: The Pulse
Mixer - Howdy Do!
Who Stole the Cookies:
Folk Dance - (Nigun Atik)
Day1:1
Day1:2
Day1:3
Day1:3
Day1:3
Day1:4
Day1:4
Day1:4
Day1:4
Day1:5
Day1:6
Day1:7
Day1:8
Day1:8
Day 2 Instruments, Imitation & Ontogenesis of Rhythm and Meter
Opening Canon – We Love Singing (Canons Too - BMH, page 6)
Concerto for Piano and Orff Instruments
Rondo with Improvisations
Ontogenesis
Ontogenesis of Rhythm:
Campanitas Sonoran (JW)
Homework Assignment
Template
Day 2 Movement: Text and Movement
Moving to the Words
Name Game (Music for Children, Vol. 2 , Am Ed. p. 9)
Folk Dance: Patty Cake Polka
Day 3: Leading Imitation and the Ontogenesis of Melody
Oh How Lovely is the Evening
Curwin Hand Signs:
The Grand old Duke of York. (MFC Vol. 1, Murray Ed. p. 26)
More Imitation - Concerto for Body Percussion. (BMH)
Day2:10
Day2:10
Day2:11
Day2:11
Day2:11
Day2:13
Day2:13
Day2:15
Day2:16
Day2:16
Day2:17
Day3:18
Day3:19
Day3:19
Day3:20

Introducing the Intervals
Homework Assignment for Session 3:
Homework helper activities:
Let it Snow (Michael Nichols, Seasons and Holidays, p. 27)
Group Work - Compose a two tone song
Template - Bitonic Melody
Day 3 Movement: Locomotion and Ostinato
This is my place
Ees Para Dees (Jos Wuytack)
Folk Dance: Little Brown Jug
Day 4: The Ostinato
Here’s a Pretty Song
The Ostinato
Seminar: Why use Ostinatos
Imitation in Movement
Machines
Folk Dance: Seven Jumps (Shenanigans- Best of ... Volume 1)
Who Built the Ark
Homework Review
Homework Assignment for Session 4
Homework Helper - Robbin the Bobbin
Day3:21
Day3:22
Day3:22
Day3:22
Day3:23
Day3:24
Day3:25
Day3:26
Day3:27
Day4:28
Day4:29
Day4:29
Day4:29
Day4:30
Day4:30
Day4:31
Day4:34
Day4:34
Day4:34
Day 5:
The Bordun
Gentle Breezes
Day5:38
The Bordun
Day5:39
Experimenting with the drone.
Day5:39
“Jingle at the Window”
Day5:39
“ Wind in the Barren Trees” Day5:41
“Run Chillun, Run”
Day5:42
Seminar: How can the Bordun be used
Day5:43
Homework Assignment for Session 5:
Day5:43
Day 5 Movement: Speech, Movement, Drama, and Recorders.
Two Pieces for Speech Ostinatos
The Cock doth Crow
Bordun Template
Freaky Friday Folk Dance Fanga Alafiya
Day5:45
Day5:46
Day5:47
Day5:48

VCU Basic Orff 2013
Brent Holl, Instructor
Dance for the Patter Roller
Day 6: More About the Bordun
Ding Dong Diggidiggidong
Review: You may use the Bordun when:
Ding Dong Diggidiggidong Continues....
El Dia Lluvioso (arr. BMH)
Shake Them ‘Simmons Down
South Australia
Point about the Moving Bordun:
Recommendations for the Moving Bordun
Recommendations for Tone Color in Orchestration
Analysis of Bordun Examples:
Homework Assignment Session 6
Homework Helper: Pat, Pat, Well-a-Day
Bordun Template
Day 6 Movement: Listening - Make a Dance
Listening and Trust
Folk Dance: - Make up a dance for “Soldiers Joy”
Day5:48
Day6:49
Day6:49
Day6:50
Day6:51
Day6:52
Day6:53
Day6:56
Day6:56
Day6:56
Day6:56
Day6:56
Day6:56
Day6:58
Day6:59
Day6:59
Day 7: Question/Answer and Rondo
Singing Time
Day7:60
Question - Answer for Body Percussion
Day7:61
Question - Answer for Unpitched
Day7:61
Question - Answer for Pitched
Day7:61
Rondo for Body Percussion
Day7:62
Rondo for Pitched Percussion
Day7:63
6/8 Heart Beat - A Rondo for Unpitched Instruments Day7:64
Homework Assignment for Session 7:
Day7:64
Homework Helper for Melody Writing
Day7:64
The Pitch Range of the Instruments
Day7:65
Full Score Template
Day7:66
Day 7 Movement: Question/Answer in Movement
Question/Answer in Movement
A Classic Rondo Ronde by Susato
Folk Dance: The Irish Reel (Sounds Like fun - Mitzie Collins)
Day7:67
Day7:68
Day7:69
6

Day 8: Active Listening using Basic Orff Techniques
Fanfare
Listening and Trust
Hall of the Mountain King - (Grieg - Peer Gynt Suite)
Brandenburg Concerto #5 ( J. S.. Bach)
C Jam Blues - (Ellington)
“Sabre Dance”
Kalimondo
Seminar:
Justification for use of the Instruments
VCU Basic Orff 2013
Brent Holl, Instructor
Day8:70
Day8:71
Day8:71
Day8:71
Day8:72
Day8:72
Day8:73
Day8:73
Day 8 Movement: Notation
Bells, Boots, and Buddies.
Spider, Spider.
The Virginia Reel
Day8:78
Day8:79
Day8:79
Day 9:
Samples: Advanced Techniques in Orff Schulwerk
Fly, Fly, Fly (from “A Circle is Cast” - Libana)
No Harm in Harmony!
See Dees ( from Wood Songs by Brent M. Holl)
Kalendara (Marimba Music 1 by Jon Madin, p. 17.)
The Water is Wide (Folk song arranged by Brent M. Holl)
Cantique Exotique - (Ensemble by Brent M. Holl)
Old Woman (arr. by Brent M. Holl)
See Dees Full Score:
The Water is Wide - Full Score
Cantique Exotique - Full Score
Day9:81
Day9:81
Day9:82
Day9:82
Day9:83
Day9:83
Day9:84
Day9:85
Day9:86
Day9:87
Movement Day 9: Put it all together
Down in the Valley by Bessie Jones
Jingle at the Window
The Maestro Plays: by Bill Martin, Jr. and Vladimir Radunsky
Day 10: Why the Canon
A Good Morning Song!
Seminar: The Canon
Mini-Canon
Clapping Canon (unknown - A la Steve Riech)
Day9:89
Day9:90
Day9:90
Day10:91
Day10:91
Day10:92
Day10:93
7

VCU Basic Orff 2013
Brent Holl, Instructor
Day 10 - Pick up, Clean up, Finish up.
Hush Little Baby (from Canons Too! - BMH, p. 15.)
Goin to Boston
Note to Basic Level 1 Students:
Day10:95
Day10:95
Day10:96
SELECTED BIBLIOGRAPHY
Day10:97
8

Day 1: Imitation and Pulse
VCU Basic Orff 2013
Brent Holl, Instructor
Won’t you come into my Garden
I would like my roses to see you.
- Richard Brinsley Sheridan
Opening Canon – A Welcome Song
& bc J œ
We'll
1
Welcome Song
œ œ œ œ œ
‰ j
œ
œ œ œ œ œ ‰ J
œ
sing andlaughand Play, We'll find a whole new way; With
2
Brent M. Holl
3
& b
3
œ œ œ œ œ œ œ œ
œ œ œ œ œ Œ
spir -its high, we'll touch the sky and wel-come in the day
4
© 2009 Brent M. Holl. All rights reserved.
Aim - Sing and walk the pulse in 2- and 3-part canon.
❧❧
Identify the key and find do. Find all the syllables, then review hand signs.
❧❧
Sing the syllables in slow motion adding hand signs if possible. (Mistakes allowed! :)
❧❧
Replace the syllables with the text. (Whew!) Step the pulse while you sing.
❧❧
Find a partner and sing together in 2-part canon. Continue stepping pulse.
❧❧
With your partner, add another set of partners and sing in 2-part canon. Continue stepping
the pulse. In your group of four, experiment with directions and levels to create a SIMPLE
movement pattern for the unison version. Expand this to 2-part canon, then 4-part canon
with one person per part.
Welcome to Level One!
Day1:1

VCU Basic Orff 2013
Brent Holl, Instructor
Introduce Yourself
Aim
❧❧
Introducing beginning activities that can be developed and expanded.
❧❧
Developing listening skills by performing a specific rhythmic patterns, songs and chants in
unison.
❧❧
Developing the inner ear and the musical memory.
❧❧
Developing the ability to stay in the musical flow.
❧❧
Developing musicianship and confidence.
The Game
❧❧
Class sits in a large circle as beginning instructions are given.
❧❧
Learn the following pattern: (stems up, snap right; stems down, snap left)
❧❧
On the first snap, everyone in the circle says their first name in unison. Do this until secure.
❧❧
On the second snap, everyone says the name of the person on their left. Now add this routine
until secure.
❧❧
Instead of all together, take turns. Start with a designated leader and each person says their
own name and the name of the person on the left.
❧❧
Learn the following rhyme:
❧❧
❧❧
Do not repeat the rhyme. It will be used as an introduction to the game.
❧❧
The designated leader begins the rhyme and players join in. The leader says the first two
names and the game continues around the circle.
❧❧
The making of rules and variations commences with unbounded creativity.
xx
Replace names with numbers.
xx
If anyone forgets their name or number or isn’t able to say it on time and in rhythm,
the go to the end of the line [the chair on the left of the designated leader]. The rest of
the folks in the circle then progress one chair to the left. The object is to ascend to the
leader’s position, sometimes called “boss applesauce.”
xx
Leave out some of the body instruments or try the game without body instruments.
[Great inner ear training]
From Konnie Saliba: Level 2 notes, University of Memphis, 1978, p. 4.
“A sensitivity to the pulse underlying speech and music activities with children
is essential to intelligent musical performance. The recurring beat lends stability
and vitality to the music and provides the focus around which other rhythms may
revolve. A responsiveness to this pulse must be developed, as ensemble activities
Day1:2

depend upon it, and the important benefits from the social aspects of music experiences
with children are well-known.
True rhythmic sensitivity demands a physical response, whether it be patting
the foot, snapping the fingers, or swaying the entire body. Understanding the
mathematical aspects of rhythm is not the same thing. Children are compelled by
their instinctive love for all things rhythmic to move as they sing or chant or play.
This urge is to be encouraged and refined through rhythmic play and movement
activities designed to express the character of the poem or music.”
Imitation: The Way We Learn First.
Process: (Standard Process for beginning Imitation)
VCU Basic Orff 2013
Brent Holl, Instructor
❧❧
Standing in a circle find the basic body instruments, clap, patch, snap, stomp.
❧❧
Set a duple meter and try “echo” game.
❧❧
Note the level of concentration needed, the level of involvement, the ear and eye training.
❧❧
Let some students try it.
❧❧
Recommendations:
❧❧
Keep it simple and convergent at first.
❧❧
Discipline yourself to keep it simple!
❧❧
Use only quarter notes and eighth notes and corresponding rests.
❧❧
Only use 4 beat patterns at first, varying them as much as you can.
❧❧
Remember rests are important too!
Treat your body instruments as fine quality instruments deserving the same respect you give any high
quality musical instrument. Find the “song” in each sound!
About Rhythmic Imitation:
“As music is also a language, it is normal, to go through the process of imitation in order to express
oneself musically. Thus, all creativity is preceded by imitation. It is impossible for people to freely
express themselves in a language if they do not have the vocabulary. Hence, it is of great importance
to make contact with rhythmic structures that the child can use to form words, motives, phrases
and periods.” (Jos Wuytack, Musica Activa P. 16)
A Name Game - Our First Word Chain!
Aim:
❧❧
Reinforcing Pulse using a familiar
text
❧❧
Introduce convergent rhythms in
duple meter (2/4, 6/8)
❧❧
Literal speech rhythms first transfer
to body instruments and later to
percussion instruments.
Convergent Rhythm: All the notes, sounds, words
are ON the beat. There are no syncopations, dotted
rhythms, or divisions smaller that an eighth note.
Literally, one sound per syllable. Anacrusis may be
used to preserve the natural flow of the speech. More
on Day 3! (P. vii, Musica Activa)
Day1:3

VCU Basic Orff 2013
Brent Holl, Instructor
Process:
❧❧
Make a circle and sit down, find the rhythm of your first name, then your last name; put
them together.
❧❧
Discussion: one sound per syllable, no melismas, anacrusis or not
❧❧
Stand up; patch the pulse; walk the pulse carrying the bean bag to another person while the
class chants your name and trade places.
❧❧
Continue till everyone has a turn.
Homework Assignment for Day 1:
1. Notate a poem or proverb in strict, metered rhythmic notation emphasizing the natural
flow of the text. Use 2/4 or 6/8 Convergent Rhythms only! (Yes, you may use the anacrusis!)
Use the Word Chain Template.
2. Make a word chain of 8 or more words related to a topic of your choice. Notate them
exactly in phrases. Be prepared to share them with the class.
3. Read through the Murray edition. Speech exercises on page 50 and 51. Try them out
loud!
Homework Helper Activities
Down in the Jungle
Down in a jungle
Living in a tent
Better than apartment
No Rent!
Variables:
* Timbre, Tempo,
* Meter, Dynamics.
❧❧
Work out the rhythm of this little rhyme. Use the variables to make it interesting.
❧❧
Learn by imitation.
❧❧
Notate exactly, on score, no clef, using rhythmic notation only.
❧❧
Add Extensions:
xx
Make an additive ostinato piece as a B section using related ostinatos:
Living in a tent
Town House
Down in the jungle, no rent
Darkest Africa
xx
Form: A (say); B (say ostinatos); A; C (play ostinatos on instruments of choice) A;
❧❧
Add Movement:
xx
Add a setting with props and animals as each ostinato. Take on the characteristic of
each animal and create movements as you play the instrument ostinato.
xx
Perform the whole thing.
Pick a topic and make a word chain.
❧❧
Make a topical list: Fruit, Sports Teams, Cities, Countries, Vegetables, Math Terms, Science
Terms, etc.
Day1:4

Score
œ . œ.
Score
❧❧
Write them on the board with rhythmic notation.
❧❧
Arrange them in phrases.
❧❧
Use the Keetman Rhythm Bricks for reference:
œ.
œ œ œ
The Gunild Keetman
“Rhythmic Building Bricks” 5
œ . œ.
œ.
[Title]
VCU Basic Orff 2013
Brent Holl, Instructor
œ[Title]
œ œ œœ œŒ
œ œ œ œ œ œ œ
[Composer]
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
5 5
5
œ œ Œ Œ Œ ˙ ˙
œ œ œ œ5
. œ.
œ œ œ œ.
Œ. ˙.
6
œ Œ ˙
˙
[Composer]
œ œ œœ œœ œ œ œ œ œ œ œ œ œ
œ œ œ œ.
œ.
Œ. ˙.
This as a way of reinforcing memory, 6a topic, vocabulary words, integrating with other subjects.
Œ.
˙
œ Œ
❧❧
Find a satisfying musical phrase from your word chain, memorize it and take it the Orff
instruments.
❧❧
Play the œ. word phrase with œ œsticks, œ œthen . on instruments in a pentatonic scale of choice. Say/
œ œclick/play.
œ
˙. œ œ œœ œ œ
❧❧
Add an ostinato of another word in the chain.
❧❧
Make a form: Say with ostinato/click with ostinato on HD/play with tonic drone on BX.
œ œ œ œ.
œ.
Class Work - Arrange a Rhyme
❧❧
Work out the following rhymes using convergent rhythm only. Use anacrusis only if necessary.
Agree on the Rhythm and write them out on the board:
Œ.
˙.
Oh my goodness, oh my dear!
Sassafras and Ginger Beer,
Chocolate cake and apple punch,
I’m too full to eat my lunch!
Old Mother Witch
Fell in a ditch
Picked up a penny
And thought she was rich.
œ œ œœ œ œ
Score
œ . œ.
œ.
˙.
Œ.
œ.
œ œ œœ œ œ œ
œ
.
. Œ.
5
6
˙
œ œ œœ œ œ
œ œ œ œ œ œ
[Compos
˙.
Ickle, ockle, blue bockle,
Fishes in the sea,
If you want a pretty maid, (handsome boy)
Please choose me
œ œ œœ œ œ
❧❧
Make a dramatic presentation as a class of one of the above.
Day1:5

VCU Basic Orff 2013
Brent Holl, Instructor
ã
ã
ã
ã
Notate a Rhyme
Word Chain Template
©
Day1:6

Day 1 Movement: The Pulse
VCU Basic Orff 2013
Brent Holl, Instructor
Mixer - Howdy Do! (Brent M. Holl) with an assist from Gilbert and Sullivan.
÷C œ.
j
œ œ
œ
Howdy Do!
w
œ.
j
œ œ
œ
w
BMH
Here's
a how -dy
do!
Here's
a how -dy
do!
÷
œ œ
œ œ
œ œ œ œ
œ œ œ œ
œ œ œŒ
5
All I real-ly want to do is sing and dance and play with you!
j
j
÷ œ. œ œ œ w œ. œ œ œ w .
9
Here's a how - dy
do!
Here's a how - dy
do!
Aim:
❧❧
Pulse; gain a concept of phrase length; getting to know each other.
Process:
❧❧
All walk starting at any tempo and in any beat, come to unison.
❧❧
Teacher picks up rhythm of the footsteps to determine quarter note pulse.
❧❧
On signal, freeze/stop/halt.
❧❧
Teacher calls out a beat or combination of beats in a measure (1&3, 2&4, 1&4, etc.)
xx
Students only step on those beats.
❧❧
While stepping quarter notes use imitation to learn speech. Repeat until learned.
❧❧
Stop and say the text, walk the length of the text.
❧❧
Say and walk, stop and “chat” to someone once through while teacher keeps pulse.
Day1:7

VCU Basic Orff 2013
Brent Holl, Instructor
Who Stole the Cookies:
Who Stole the Cookies
Folk Game
collected by Jessica Holl
C . œ œ œ œ œ œ œ
j
œ œ
j
œ
œ Œ
Who
stole the cook-ies from the
cook-ie jar
Improvisation ensues...
∑
œ œ œ œ œ œ œ
(Who's It picks Brent)
j
œ
œ
j
œ œ œ
Brent stole the cook - ies from the
œ Œ Œ œ
co - okie jar! Who
(Brent)
me
Yes
(Group)
œ Œ Œ œ
œ Œ Œ œ
.
you!
Couldn't
be!
Then...
(Brent)
(Group)
Aim:
❧❧
Continue working with Pulse.
❧❧
Reinforcement of Body Percussion.
❧❧
Reinforcement of imitation.
❧❧
Review/Introduce the anacrusis.
Process:
❧❧
Learn the game by imitation.
❧❧
Decide on the rules.
The Game:
❧❧
Everyone says the first line.
❧❧
The first player (who’s it) does his move through the circle ad lib until they pick a new player by
calling their name and saying the second line as a solo.
❧❧
The group improvises movement and body rhythm until “who’s it” picks.
❧❧
The new player (new “who’s it”) replies © “Who everyone! Me”
❧❧
Everyone replies and points at the new player “Yes you!”
❧❧
The new player replies, “Not me!”
Day1:8

VCU Basic Orff 2013
Brent Holl, Instructor
❧❧
Everyone says the first line and the game repeats.
Extensions:
❧❧
Add an improvised conga, clave, and tambourine.
❧❧
Make up a new body percussion pattern to replace the pulse pattern
❧❧
Add mouth sounds and body percussion improvisations to the break.
Folk Dance - (Nigun Atik. Shenanigans. Dance Music for Children)
Aim:
❧❧
Learn a dance using convergent rhythms.
❧❧
Introduce circle formation; in; out; clockwise; counterclockwise.
Process:
❧❧
Seated, learn the rhythm of the A Section by imitation:
c œ œ œ œ
clap out clap in
œ œ
œ œ
R L R L
R
L
❧❧
Then the B section
œ Œ œ Œ
œ œ œ œ
R
L
R L R L
❧❧
Stand and make a circle; step the rhythm of the a section in place.
❧❧
Turn clockwise, holding hands, travel with the rhythm of the a section (4 times)
❧❧
Turn to the center; step the rhythm of the b section in place.
❧❧
Transfer the rhythm to the in and out pattern of the dance (4 times).
❧❧
Add the clap, the hand formation and dance the Nigun.
Day1:9

VCU Basic Orff 2013
Brent Holl, Instructor
Day 2 Instruments, Imitation, & Ontogenesis of Rhythm and Meter
The Irish ne’er walk
But what they dance an Irish fling,
And Irish ne’er talk
But with lilting voices sing.
- Irish Wisdom
Opening Canon – We Love Singing (Canons Too - BMH, page 6)
Concerto for Piano and Orff Instruments
Aim
❧❧
Learn the names of the instruments and get acquainted with the sounds.
❧❧
Transfer imitation to Pitched Percussion.
❧❧
Continue working with pulse.
Process
❧❧
Move to the instruments by birthdays.
Day2:10

VCU Basic Orff 2013
Brent Holl, Instructor
❧❧
Introduce the instruments by name.
❧❧
Show basic mallet technique, how to hold them, where to hit, etc.
❧❧
Explore the sounds of the instruments with imitation:
xx
Snaps: glockenspiels
xx
Claps: xylophones
xx
Patch: metallophones
xx
Stomp: unpitched
Build on Activity # 2 imitation by:
❧❧
Several students get to “conduct”
❧❧
Teacher accompanies at the piano 1st time, then members of the class.
❧❧
Clues: simple 4 beat patterns (duple first, 8th and 4th notes and rests), then add complexity.
Rondo with Improvisations (Canon Exercises # 1, from Music for Children, Murray
edition. Volume 1, P. 91)
Aim :
❧❧
Learn a melody by imitation (Listen/Sing/Play), Mallet technique.
Process:
❧❧
Show correct mallet technique, use alternation (when possible)
❧❧
L - Listen (teacher sings letter names of notes)
❧❧
S - Sing (students sing back to the teacher in imitation)
❧❧
P - Play (students play what they sang)
❧❧
Learn each motif and put them together
❧❧
Play rotation - Add the repeat
❧❧
Add improvisations over a simple bordun for final performance.
xx
The improvisations can be melodic or free based on our improvising in the previous
activity.
Ontogenesis
Ontogenesis is a derived word, from the prefix, onto, meaning “having to do with the essence of a
thing” and genesis, meaning “the beginning”. Ontogenesis refers to the beginning of the essence of
a melody or rhythm (JW).
The common usage of Ontogenesis refers to the sequencing of lessons. In what order do we present
rhythmic concepts Which ones are developmentally appropriate At what grade or maturity level
are students able to internalize rhythm Ontogenesis as used by Jos Wuytack gives a specific order
of presentation for rhythmic and melodic concepts! As always it’s only a suggested order and there
is much debate in education on this very topic. Jos has based his studies on the work of Carl Orff
and his own detailed and well documented research. His teaching since 1969 has been dedicated
to sharing his ideas including the original idea, Ontogenesis. The class today is based on the work
of Professor Wuytack.
Ontogenesis of Rhythm:
❧❧
There are two meters: Binary and ternary. Binary or Duple meters include 2/4, 2/8, 4/4.
Duple meter = activity.
❧❧
Discussion: What to do with 6/8 Restful Activity :) Or active Duple or Triple
Day2:11

VCU Basic Orff 2013
Brent Holl, Instructor
❧❧
Ternary or Triple meters include 3/4, 3/2, 3/8. Triple meter = rest.
❧❧
Our discussion will not include Combined or Mixed meters. (Come back for Level 2!)
❧❧
Generally the note values are introduced in this order.
❧❧
You won’t find many examples of whole notes in children’s music.
❧❧
The equivalent note value rests are introduced along with the note values listed, in the same
order.
Expanding the Rhythm “Bricks” into a sequence:
1. œ œ œ œ.
œ œ œ
2. ˙ ˙.
3. œ œ œ œ œ œ œ œ œ œ
4. œ œ œ œ œ œ œ
5. œ œ œ œ œ œ œ œ
6. œ.
œ œ œ œ œ œ
7. œ œ œ
8. w
❧ ❧ Remember that meter comes after many PULSE games and experiences. Please don’t think
that activities are exclusive. This is only a general guide indicating what children are developmentally
ready to understand, NOT what they are able to experience.
Day2:12

VCU Basic Orff 2013
Brent Holl, Instructor
Aim :
❧❧
Sing and move to reinforce the learning of the note values half note, quarter note, and eighth
note.
Process:
❧❧
Learn the song from the overhead.
❧❧
After it’s memorized, go and walk the given note values as you sing.
❧❧
Change to a different note value on command.
❧❧
Learn the pattern of note value steps.
÷c ˙ ˙
œ œ ˙
Right
left
right left both
❧❧
Add direction, level, and arrive at a routine.
❧❧
Sing and move. Incorporate elements of the song
❧❧
Add orchestration.
❧❧
Sing and move in 2- and 4-part canon.
Homework Assignment for Day 2:
1. Select one of the writing assignments from Day One (rhyme or word chain).
2. Add two speech ostinatos using complementary rhythms notated exactly.
3. Suggest a possible transfer to an unpitched instrument of your choice.
Homework Helper Activities – Group Work
1. Experiment with a meter for the text. Try it in 2/4 and 6/8, make your choice, move on.
2. Notate the rhythm of the text. Use the Rhythm Bricks as a basis. Adapt when necessary to
Day2:13

VCU Basic Orff 2013
Brent Holl, Instructor
fit the natural flow of the text.
3. Create two body instrument ostinatos using complementary rhythms, diminution or augmentation.
Complementary Rhythms - Sound well in ensemble and don’t come together
in unison to much. They preserve the feeling of the several parts.
Diminution - Halve the note values
Augmentation - Double the note values
4. Notate them exactly on the score under the text. (Rhyme Template)
5. Transfer your ostinatos to unpitched instruments of choice.
6. Make a simple form and perform for the class.
7.
Suggestions:
❧❧
An ostinato should be repeated at least 2 times, (or it isn’t an ostinato)
❧❧
An ostinato should be horizontal, should have good structure, should be of more than one
measure (sometimes shorter ones are OK and even desirable, but not generally.), and there
should be a sense of tension and relaxation in the phrasing.
❧❧
Always try for complementary rhythms when creating ostinatos. (The ostinato and the words
should not have unison rhythms). It won’t be perfect but their can’t be too many unisons.
❧❧
Ostinatos may be derived from the source directly or may be related. (McRae ‘80)
Group 1:
Moses supposes his toeses are roses,
But Moses supposes erroneously
For nobody’s toeses we knowses are roses,
As Moses supposes his toeses to be.
Group 2:
Mary had a little lamb.
It was a greedy glutton.
She fed it ice cream all day long
And now it’s frozen mutton.
Group 3:
Barber, barber, shave a pig!
How many hairs to make a wig
Four and twenty, that’s enough!
Give the barber a pinch of snuff.
Day2:14

VCU Basic Orff 2013
Brent Holl, Instructor
Rhyme Text
÷
Ostinato 1
÷
Ostinato 2
÷
Text
3
÷
O 1
3
÷
O 2
÷
Text
6
÷
O 1
6
÷
O 2
÷
Day2:15

VCU Basic Orff 2013
Brent Holl, Instructor
Day 2 Movement: Text and Movement
Moving to the Words
Aim:
❧❧
Find action words that describe actions and initiate actions. (Verbs and adverbs)
❧❧
Learn to incorporate action words into movement compositions
Process
❧❧
List action words on the board: ex. Bend, stretch, shake, rock, twist, drop, roll, wiggle, fall,
bounce, jump, spin. These words can be done in “Self Space.” (Only the space around the
student. Self space does not touch anyone else’s self space.)
❧❧
Make another list of Locomotor action words: ex. Crawl, roll, walk, crawl, run, leap, scurry,
scramble. These words can be done in “Shared Space.” (The space containing all the students,
ie. the room including boundaries.)
❧❧
Make yet another list of Stopping words: ex. Freeze, perch, pause, hold, grip, settle.
The Game:
❧❧
Start with a stopping position:
❧❧
Select one word from each list. Move in self-space to the two words. (rock, roll; crawl, twist; etc)
❧❧
Alternate with stopping position. Experiment. Let students try it.
❧❧
Apply the techniques to this rhyme:
Old Mother Witch
Fell in a ditch
Picked up a penny
And thought she was rich.
❧❧
Create a scene around the rhyme. Find just the right pair of words for each line.
❧❧
Add props. Decide on what kind of witch you’ll be.
❧❧
Create a form.
❧❧
Embellish the story ad libitum.....
Name Game (Music for Children, Vol. 2 , Am Ed. p. 9)
÷ 4
2
Voice
œ œ œ œ
Name Game
œ
œ
œ
œ œ
œ
Œ
BMH
Tell me what your
name
is.
My
name is
Brent
Day2:16

VCU Basic Orff 2013
Brent Holl, Instructor
Aim :
❧❧
Reinforcing pulse with movement.
❧❧
Learning each other’s names
❧❧
Getting acquainted with phrase length.
❧❧
Reinforcing metered text using quarter notes and pairs of eighth notes.
Materials Needed:
❧❧
A medium large inflated ball
❧❧
Some tennis balls
❧❧
Bean bags
Process:
❧❧
Students are seated in a circle.
❧❧
Hand a ball to a student while you say the first 2 measures.
❧❧
The student hands the ball back to the teacher while saying the last 2 measures.
❧❧
Make sure and go slowly, starting with a free rhythm and no pressure!
❧❧
Very gradually work into a half-note pulse and add a group patchen to the activity as accompaniment.
Extensions:
❧❧
Stand and toss the ball or bean bag
❧❧
Change to quarter note pulse (diminution); whole note pulse (augmentation)
❧❧
Change your name to a favorite story book character
❧❧
Add a simple bordun in C
Discussion:
❧❧
Work at getting a steady pulse. It will happen with practice.
❧❧
Try to create a steady flow, it’s music after all! In every activity go for a high quality musical
experience.
❧❧
Use a light, easy toss; eye contact is important!
Folk Dance: Patty Cake Polka
Aim:
❧❧
Reinforce pulse with locomotor movements
Process:
❧ ❧ (Seminar: sit down and write out the process for learning together)
Day2:17

VCU Basic Orff 2013
Brent Holl, Instructor
Day 3: Leading Imitation and the Ontogenesis of Melody
The older the fiddle,
The sweeter the tune.
- Irish Saying
Voice
7
&
&
13
2.
˙
When
mi
3.
˙.
ding
do
&4 3
1.
˙
Oh
do
œ
the
fa
˙
bells
so
˙.
dong
do
Oh How Lovely is the Evening
œ
˙
how love -
re mi
œ
œ
ly
do
˙
are sweet -
mi la
˙.
ding
do
˙
is
fa
œ
ly
so
œ
the
mi
œ œ œ
ev - ning
mi re do
œ œ œ
ring -
so fa
˙.
dong
do
˙
˙
is
fa
ing sweet -
mi la
˙.
ding
do
œ
ly
so
œ
the
mi
œ œ œ
ev - ning,
mi re do
œ œ œ
ring
so
˙.
dong
do
Traditional
fa
ing,
mi
Aim:
❧❧
Introduce Curwin hand signs for do, re, mi, fa, so and la.
❧❧
Sing in three-part canon
❧❧
Develop movement patterns that show the canon in movement.
Process:
❧❧
Introduce Curwin hand signs for do - la.
❧❧
Simultaneous imitation unison: then two-part.
❧❧
Identify the syllables in the song.
❧❧
Sing it with syllables using two hands.
❧❧
Sing in canon.
❧❧
Change syllables to words.
❧❧
Develop three movement pattens that reflect the canon; circle formation to start (because
it’s a round!)
❧❧
Perform the whole piece in 3 part canon with movement.
Day3:18

The Curwin Hand Signs:
VCU Basic Orff 2013
Brent Holl, Instructor
Fa
Do
Mi
Ti
Re
La
Do
So
The Grand old Duke of York. (MFC Vol. 1, Murray Ed. p. 26)
Aim:
❧❧
Reinforcement of pulse and convergent rhythms.
❧❧
Introduce the anacrusis as introduction to dotted rhythms.
❧❧
Introduce beginning hand drum technique.
❧❧
Play hand drums and move in 2- and 4-part canon.
Process:
❧❧
Establish a pulse and learn by imitation.
❧❧
Rehearse rhyme and travel with the pulse.
❧❧
Transfer the rhythm of the words to the hand drum.
❧❧
Introduce technique; try different ways of play the 16th notes.
❧❧
Play and say until learned.
❧❧
Play and say in 2-part canon.
❧❧
Play in canon.
❧❧
Say in canon.
❧❧
Add the snare drum accompaniment.
❧❧
Develop movement that reflects the expressive quality of the text.
❧❧
Try in 4-part canon.
❧❧
Create a routine and perform the whole thing.
Day3:19

VCU Basic Orff 2013
Brent Holl, Instructor
More Imitation - Concerto for Body Percussion. (BMH)
Aim:
❧❧
Learning how to successfully lead a class in ECHO imitation using body percussion in
duple and triple meter.
Recommendations: (review from day 1).
❧❧
Keep it simple and convergent at first.
❧❧
Discipline yourself to keep it simple!
❧❧
Use only quarter notes and eighth notes and corresponding rests.
❧❧
Only use 4-beat patterns at first, varying them as much as you can.
❧❧
Remember rests are important too!
❧❧
Treat you body instruments as fine quality instruments deserving the same respect you give
any high quality musical instrument. Find the “song” in each sound!
More Recommendations:
❧❧
Work in phrases (antecedent, consequent) using only convergent rhythms. See Chart:
(p. 152 MC ’91).
❧❧
Keep it simple 1st on one level, then two or more depending on the level of the class.
❧❧
Build the phrase with tension in the 3d measure.
❧❧
Make a good, solid cadence after consequent phrase.
❧❧
When everyone is secure and everyone has had a turn, try divergent rhythms!
Extensions:
❧❧
Everyone gets a turn, as teacher accompanies on an instrument of choice.
❧❧
Add a pulse ostinato, or layer some funky percussion ostinatos while students do the echo
game.
❧❧
Add a movement element. Instead of a body percussion rhythm, do a “motion” for 4 or
8 beats, which must be imitated by the class. Accompaniment required. Ostinatos or the
teacher can provide.
❧❧
Voila! A concerto for Body Percussion and Movement!
Day3:20

VCU Basic Orff 2013
Brent Holl, Instructor
Ontogenesis of Melody
Bitonic - so, mi
& c
˙
˙
&
Tritonic - so, la, mi œ œ œ œ
Folkloric - mi, re, do.
3
&
œ œ ˙
Pentatonic - do, re, mi, so, la.
Diatonic - do, re, mi, fa, so, la, ti.
&
&
œ œ œ œ œ œ œ œ w
œ œ œ œ œ œ œ œ
Introducing the Intervals
Aim:
❧❧
Introduce the ontogenesis of melody using sight singing.
❧❧
Learn some reinforcement strategies for beginning sight singing.
Process:
❧❧
High and Low - Students stand when teacher plays high on piano, sit when teacher plays
low. Gradually decrease the distance on the piano.
❧❧
Discuss other ways to show high and low (visuals, animals, hand signals, etc.).
Bell Tower (after age 7)
❧❧
Use a glockenspiel with the bars off except g and e.
• Hold it vertically to show relationship of the notes in pitch.
• Draw a staff on the board so that the lines are extensions of the g and e. Two lines first then
add lines.
Day3:21

VCU Basic Orff 2013
Brent Holl, Instructor
• Create a melody by pointing to the lines with a mallet, add sol mi, letter names.
• Trade mallet for chalk, draw notes on the staff then sing.
• Draw a series of notes left to right and sing.
• Add hand signs.
Step kids:
❧❧
Ask on student to kneel and another to stand. Kneel is mi and stand is so. A student can
play the people by pointing over their heads.
Homework Assignment for Session 3:
1. Write out a bitonic song using the text of a favorite rhyme or poem on staff paper in full score.
• Use only So and Mi.
• Use only the keys of G, C, F, or D.
• Pay careful attention to the notation of the rhythm.
• Make the melody safe, simple, and singable! (no masterpieces please!).
2. Find two examples of bitonic songs in any of your source books and analyze the accompaniments.
Share your observations with the class.
Homework helper activities:
Let it Snow (Michael Nichols, Seasons and Holidays, p. 27)
Let It Snow
Michael R. Nichols
& c œ œ
œ Œ Œ œ œ
œ
Œ Œ œ œ
1
œ œ œ œ
Let
Let
it
it
snow!
snow!
& œ Œ Œ .
sled.
Let it
Let it
snow,
snow,
so that
and I
2
œ œ œ œ œ œ
pro -mise not to bump my
I
œ
head!
can ride my
Œ
Œ
Aim:
❧❧
Reinforcement of hand signs for bitonic melody (so and mi)
Process:
❧❧
Introduce/review the Curwin hand signs for so and mi. (See page 25)
Day3:22

VCU Basic Orff 2013
Brent Holl, Instructor
• Learn the tune with solfege and hand signs. Note phrases, antecedent/consequent with
interesting rhythm and variety of melody using only 2 notes!
• Add Bass Bars/BM
• Add BX
• Add AX bordun
• Add Glockenspiels
Group Work - Compose a two tone song
❧❧
Lay out a staff of 2-lines on the floor.
❧❧
Divide the class into groups
❧❧
Groups select a text or use a selected text.
❧❧
Put the words to music using only so and mi.
❧❧
Everyone sings everyone else’s song
❧❧
Teacher adds a simple bordun accompaniment.
Texts:
Group 1:
Group 2:
Group 3: (Hard one!)
Round and round the garden,
Like a teddy bear,
One step, two step,
Tickle you under there!
A little old man of Derby
How do you think he served me
He took away my bread and cheese,
And that is how he served me.
Blow, wind, blow! And go, mill go!
That the baker may take it,
And into bread make it,
And bring us a loaf in the morn.
*
Day3:23

VCU Basic Orff 2013
Brent Holl, Instructor
Notate a Bitonic Melody
&
&
3
&
6
©
Day3:24

Day 3 Movement: Locomotion and Ostinato
VCU Basic Orff 2013
Brent Holl, Instructor
Voice
4
&
& c
∑
j
œ œ
This is
children echo
This is my place
j
œ œ Œ
my place.
j
œ œ
Children echo
j
œ œ œ
This is my place and
∑ œ œ œ œ ˙
This is my space.
j
œ œ
j
œ
Danai Gagne
˙
this is my space.
© Danai Gagne, 1997. Used by permission.
Aim:
❧❧
Improvise locomotor movements using free rhythm vs. unmetered pulse
❧❧
Review pulse, duration, and phrase length
Process:
❧❧
Move to the sound of the cymbal (Free Rhythm) in self space. Use direction, level, and motion
for the duration of the sound. Use action words from Day 2. Then in shared space.
❧❧
Move to the sound of the Drum (pulse) in self space. Use direction, level, and motion that
reflects the regular pulse. Use action words from Day 2. Tempo and Dynamics will vary.
❧❧
With a partner, move together in the rhythm of a hand drum pulse. Use an action word,
direction, level, and motion through shared space reflecting the regular pulse.
❧❧
With your partner, at the sound of the cymbal, connect with your partner by finger tips and
move together for the duration of the sound. Share your action word(s)
❧❧
Alternate between drum and cymbal, changing the way you connect with your partner. (hips,
arms, legs, elbows, etc.) Be nice! Discuss safety issues.
❧❧
Expand the routine to groups of 3 - 5.
The Game:
❧❧
Students are seated in a circle.
❧❧
Memorize your place. Who’s on the left Who’s on the right
❧❧
Learn the song by rote. Sing while seated. (It can be on a visual for reference.)
❧❧
Stand up to play. Everyone is in “their place.”
❧❧
Students leave the circle to improvise movements to the drum or the cymbal. At the end of
the sound or phrase, everyone must be back in the circle to sing again.
❧❧
Try phrases of differing length
Day3:25

VCU Basic Orff 2013
Brent Holl, Instructor
÷ 1 2 4 œ œ œ œ œ œ
Ees Para Dees
œ œ
œ
œ œ œ œ œ œ
Jos Wuytack
œ œ œ œ œ
Ees pa-ra dees pa-ra de-sto-gram,
÷ 5 œ œ œ œ œ œ œ œ œ
Sob-ba dob-ba dee-ra,
œ œ œ œ œ œ
sob-ba dob-ba
œ
Œ
da
Ees pa-ra dees pa-ra
des -to-gram,
Sob-ba dob-ba dee -ra
da.
Aim:
❧❧
Introducing the ostinato with speech and body percussion.
❧❧
Combining pulse and metered speech with imitation, movement, and creativity.
❧❧
Use speech ostinatos as accompaniment for movement, speech and recorder.
Process:
❧❧
Walk the beats, use drum sounds to dictate movement, out and back; high and low.
❧❧
Using imitation, learn to say while walking: (drum plays pulse).
❧❧
Change directions, levels, finding a routine for the whole thing.
❧❧
Find two complementary speech ostinatos; discuss related and derived, diminution and
augmentation.
speech ostinatos:
j
. œ ‰ ‰ œ œ œ œ ‰ œ œ .
dees,
pa -ra des - to, pa -ra
. œ œ œ œ œ œ Œ .
sob - ba dob - ba dee ra
. œ œ œ Œ .
des - to
gram
. œ Œ ‰ œ œ œ .
ees
pa -ra dees
Day3:26

VCU Basic Orff 2013
Brent Holl, Instructor
Extension:
❧❧
Say in canon (4 measures, 2 measures, 1 beat).
❧❧
Decide which one works the best and perform a movement canon.
❧❧
Try canon with ostinatos
❧❧
Add a coda and an introduction:
xx
Ees high, squeaky voices freely
xx
Para bel canto everyone
xx
Dees lowest voices freely
xx
Perform the whole thing.
Folk Dance: Little Brown Jug
Easy version (Mixer) Formation:
❧❧
Everyone chooses a partner and scatters throughout the room.
❧❧
Boys all face “north” girls all face “south.” (Ones and twos will do too!).
❧❧
Do the above dance first to the front of the room, then the back.
❧❧
When it’s “on to the next” drop your partner and run find another!
❧❧
Mixing ensues!
*
Formation for the real thing:
❧❧
Outer circle, boys facing in; Inner Circle girls facing out. Opposite is partner.
❧❧
Then:
xx
To the Left - Heel, Toe, Heel Toe, Slide Slide Slide Slide
xx
To the Right - Heel, Toe, Heel Toe, Slide Slide Slide Slide
xx
Clap Partners Hands: Right, Right, Right; Left Left Left, Knees Knees Knees, Both Both
Both
xx
Swing your partner “On to the next” Girls progress to the next fella Counterclockwise
Day3:27

VCU Basic Orff 2013
Brent Holl, Instructor
Day 4: The Ostinato
You must crack the nuts
Before you eat the kernal!
- Irish Saying
Here's A Pretty Song
1
& # # c œ œ œ œ œ œ œ
Here's a pret-ty song that we
œ œ œ œ
˙
sing for you,
2
j
œ œ
Brent M. Holl
j
œ œ œ
to keep you cheer-ful
& # # œ œ œ œ œ œ ˙
.
œ œ œ ˙
all the year through, so
3
˙
lis - ten
once
a - gain.
© 1996 Beatin' Path Publications. Reprinted by permission.
SG/AG
AX
&
&
# # 4 .
# # 4 .
4 4 # # 4 œ œ œ œ œ œ
j j j
œ œ œ œ œ
- Hand out song and learn it. (p. 16. Canons Too!)
- after Triangle it’s memorized, ÷ go and walk . the pulse as you
∑sing
- change note values on command
- learn Temple the pattern ÷ of note value . steps
- add direction, Blocks level, arrive at a routine
- sing and move
- sing and move in V . ˙
BX/CBX
2 and 3 part canon
Œ œ œ Œ œ œ
˙
j
œ
Ó
œ œ œ œ
œ œ œ œ œ œ œ
˙ Œ œ
∑
œ œ
˙
.
.
.
.
.
(From Canons Too! by Brent M. Holl p. 15)
Aim:
❧❧
Sing as canon with pitched ostinato accompaniment.
❧❧
Review note values.
Day4:28

VCU Basic Orff 2013
Brent Holl, Instructor
Process:
❧❧
Sight read from the overhead.
❧❧
Add pitched instrument ostinatos.
❧❧
After it’s memorized, go and walk the pulse as you sing.
❧❧
Change note values of foot steps on command.
❧❧
Create a pattern of note value steps.
❧❧
Add direction, level, arrive at a routine.
❧❧
Sing and move.
xx
Sing and move in 2- and 3-part canon.
The Ostinato
OSTINATO - A constantly repeated rhythmic, melodic, or harmonic pattern. From the Latin “obstinatus”
meaning stubborn. (JW ‘83)
OSTINATO - A clearly defined phrase that is repeated persistently, usually in immediate succession,
throughout a composition or a section. The ostinato differs from other devices of repetition,
such as imitation or sequence, in that it is reiterated in the same voice and usually at the same
pitch. It is this feature of “persistent” repeat that accounts for the name. (It., Obstinate) (Appl,
The Harvard Dictionary of Music)
Seminar: Why use Ostinatos
1. They develop a feeling for phrase structure, form.
2. They make it possible to perform music of reasonable complexity without an extensive
knowledge of theory. They give students and musicians immediate positive results.
3. They help involve everyone in the learning process, helping with discipline and in overcoming
shyness.
4. They help with physical coordination.
5. They help to develop the memory.
6. They help players learn to listen to the other parts of the ensemble while maintaining their
own part.
7. They can provide beautiful backgrounds for improvisation.
Imitation in Movement
Simultaneous imitation:
❧❧
Move at the same time in the same way as the leader using mirror motions.
❧❧
Mirror with a partner.
❧❧
Mirror in groups of 4 and 5. Experiment with formations. Squares, (Diamonds), Lines.
Take turns as leader.
❧❧
Add Music
*
Echo Imitation:
❧❧
Leader moves, class follows. Unmetered.
❧❧
Echo with a partner
❧❧
Echo in groups of 4 and 5. Take turns as leader
Day4:29

VCU Basic Orff 2013
Brent Holl, Instructor
Machines
Aim:
❧❧
Learn some possibilities for ostinatos in movement
❧❧
Movement with unpitched instruments
❧❧
Review complementary rhythms
* Part 1:
❧❧
Give everyone an unpitched instrument; let it be a wood, rattle, metal, or drum.
❧❧
Warm up with imitation. A drum leads the drums, a wood the woods, etc.
❧❧
Teacher (with tambourine) leads everyone.
Eyes Closed:
❧❧
Eyes closed; all instrument groups must find each other by timbre.
❧❧
Each group finds a rhythm for themselves. Perform together.
❧❧
Class listens and decides if all are complementary. Fix them.
❧❧
Perform the rhythms when ready.
Circle Games:
❧❧
Each group is a circle; make a group movement that goes along with the rhythm.
❧❧
Perform for each other and check for complementary movements.
❧❧
Make the circles concentric and perform the whole thing.
* Part 4:
❧❧
Find a new group of 4 (one instrument for each family).
❧❧
One person makes a moving shape in self space with an accompaniment on and instrument
of choice.
❧❧
Each person joins in adding a movement and a sound that is complementary.
❧❧
Show and tell.
Folk Dance: Seven Jumps (Shenanigans- Best of ... Volume 1)
❧❧
A1-16 Facing CCW, beginning with R foot, seven step-hops around circle
x x On count 15 face the center
❧❧
A2-4 All Clap 3 times, pause on count 4; repeat clapping.
❧❧
B Imitate the leaders actions
Raise R leg
Raise L leg
R knee on the floor
L knee on the floor
R elbow on the floor
L elbow on the floor
Forehead on the floor
❧❧
Using a hat, pick a new leader after every verse by handing him a hat.
Day4:30

VCU Basic Orff 2013
Brent Holl, Instructor
Who Built the Ark
Alto
Xylophone
Temple
Blocks
Bass
Xylophone
&
÷
&
#
#
c
c
c
œ œ œ
œœ œœ
œ
Ó
œ
œ œ œ
œ œ œ
œœ œœ
œ
Ó
œ
œ œ œ
œ œ œ
œœ œœ
œ
African American Spiritual
Ó
œ
œ œ œ
&
#
Ó
Œ œ œ
.
j
œ œ
j
œ ˙
œ œ œ œ œ œ
j
œ œ
j
œ ˙
4
Tell me
who built the ark
No ah, No ah. Tell me
who built the ark
AG
AX
T.Blks.
4
&
&
÷
#
#
œ
∑
œ œ œ
œœœœœœ Œ
.
.
.
Ó
∑
∑
œ œ œ œ
Ó
Œ
œ Œ Ó ∑
œ
œ
Ó
∑
∑
œ œ œ œ
Guiro
BX
4
÷
&
#
œ
∑
œ œ œ
.
.
Œ œ œ Œ œœ
œ œ œ œ œ Œ
‰œœ œ œ œ Œ
œ œ œ œ œ
Œ
Œ œ œ Œ œœ
œ œ œ œ œ Œ
Day4:31

VCU Basic Orff 2013
Brent Holl, Instructor
AG
AX
T.Blks.
8
8
&
&
&
÷
#
#
#
1.
œ œ œ œ œ œ œ
No-ah built the ark. Tell me
Ó
œ
Œ
∑
Œ
Ó
œ
œ
.
.
.
.
2.
Fine®
œ œ œ œ œ œ
No-ah built the ark.
Ó
œ
Œ
∑
Œ
Ó
the
The
œ
œ
.
.
.
.
œ . œ.
first
second
third
fourth
œ
œ
thing that
thing that
thing that
thing that
∑
œ œ œ
œœ œœ Ó
j
œ œ J œ œ œ
No-ah
No-ah
No-ah
No-ah
did,
did,
did,
did,
∑
He
He
He
He
œ œ œ œ
œœ œœ
Ó
Guiro
BX
8
÷
&
#
‰œ œ œ œ œ Œ
œ œ œ œ œ Œ
.
.
‰œ œ œ œ œ Œ
œ œ œ œ œ Œ
.
.
œ
∑
œ œ œ
œ
œ
∑
œ œ
AG
AX
&
12
&
12
&
#
#
#
œ
viewed
chose
hewed
praised
œ
the
his
his
the
j
œ
œ
coun - try
spot of
tim - ber
Lord out
∑
œ œ œ
œ
j
œ
'round.
down.
1.
. ˙
∑
œ œ œ
œ
The
the
œ
.
.
.
2.
. ˙
ground.
loud!
∑
†D.õC. al Fine
œ œ œ Œ
œ œ
Tell me
T.Blks.
÷
œ œ œ œ
Ó
œ œ œ œ œ œ
Œ
.
œ œ œ œ œ œ
Œ
Guiro
BX
12
÷
&
#
œ
∑
œ œ œ
œ
∑
œ œ œ
.
.
œ
∑
œ œ Œ
Day4:32

VCU Basic Orff 2013
Brent Holl, Instructor
Extension:
❧❧
Add a B section:
❧❧
Read the B section rhythms from the board from the top down.
❧❧
Work out a movement piece building and sailing the ark, with the song and B section as
accompaniment.
Bass
Drum
Guiro
÷
÷
Who Built the Ark (b section)
Beanie
4 2 œ Œ œ Œ œ œ œŒ œ Œ œ Œ œ œ œŒ .
4 2 4 2 4 2 4 2 4 2 4 2
Œ œ œ Œ œœ ∑ ‰ œœ œ Œ œ œ Œ œœ
J ∑ ‰ œœ œ J
.
Temple
Blocks
÷
œœ œœ
∑
œœœœ
∑
œœ œœ
∑
œœœœœœ
∑
.
Hanging
Cymbal
÷
˙
œ.
J œ
˙
œ.
J œ
˙
œ.
J œ
˙
œ.
J œ
.
Agogo
Bells
÷
œ œ Œ
œ œ Œ
‰ J
œœ œ
œœŒ
œ œ Œ
œ œ Œ
‰ J
œœ œ
œœŒ
.
Bongo
Drums
÷
œœœœœœœœ
œœœœ
∑
∑
œœœœœœœœ
œœœœ
∑
∑
.
Log
Drum
÷
∑
∑
œ œ œœœœ
œœœœœœ
∑
∑
œ œ œœœœ
œœœœœœ.
© 2000 Brent M. Holl. All rights reserved.
Aim:
❧❧
Use melodic ostinatos to accompany a song.
❧❧
Use layered unpitched ostinatos as a background for creative drama.
❧❧
Combine movement and drama with a song.
Process:
❧❧
Learn the song from the hand out.
❧❧
Work on refrain orchestration first starting with the BX.
❧❧
Add AX, then Glocks.
❧❧
Add Guiro. Perform the refrain.
❧❧
Work out the verse. Again BX first. Notice that this ostinato is a Bordun. It is also a melodic
ostinato.
❧❧
Layer in the two AX melodic ostinatos, then add the Temple Blocks.
❧❧
Put both sections together. Then add the introduction.
Day4:33

VCU Basic Orff 2013
Brent Holl, Instructor
Homework Review
Aim:
❧❧
Reinforcement of metered text, ostinato writing, and bitonic melodies.
Process:
❧❧
Make 3 or 4 groups.
❧❧
Select one of the homework assignments from the members of your group from day 2 to
share with the class.
❧❧
Learn the assignment together and prepare a simple performance.
❧❧
Share with the class.
Homework Assignment for Session 4
1. Choose a text or rhyme from your favorite book, find the easiest, most natural flowing, childcentered
meter and notate exactly.
2. Add two complementary speech ostinatos either related or derived.
3. Transfer the speech ostinatos to unpitched instruments of your choice.
4. Write out your piece on staff paper, neatly and correctly, in full score.
Homework Helper - Robbin the Bobbin (Mother Goose, arr. BMH)
Aim:
❧❧
Preparation for Day 4 homework assignment.
Suggestions:
❧❧
An ostinato should be repeated at least 2 times, (or it isn’t an ostinato)
❧❧
An ostinato should be horizontal, should have good structure, should be of more than one
measure (sometimes shorter ones are OK and even desirable, but not generally.), and there
should be a sense of tension and relaxation in the phrasing.
❧❧
Always try for complementary rhythms when creating ostinatos. (The ostinato and the words
should not have unison rhythms). It won’t be perfect but their can’t be too many unisons.
❧❧
Ostinatos may be derived from the source directly or may be related. (McRae ‘80)
Robbin the Bobbin
Robbin the Bobbin the big bellied Ben,
He ate more meat than four-score men.
He ate a cow, he ate a calf,
He ate a butcher and a half,
He ate a church, he ate a steeple,
He ate the priest, he ate all the people.
A cow and a calf, An ox and a half,
A church and a steeple,
And all the good people!
Day4:34

And yet he complained that his stomach wasn’t full!
Suggestions for some possible speech ostinatos are:
VCU Basic Orff 2013
Brent Holl, Instructor
Alka seltzer, plop plop fizz. (related)
glutton glutton, gulp, gulp. (related)
Cow, and a calf, An ox and a half (derived)
He ate a church, the pews (derived/related)
Process:
❧❧
Establish 6/8 meter and chant the rhyme till secure.
❧❧
Brainstorm and add speech ostinatos.
❧❧
Create a variety of timbres. (men, women, high, low, unison)
❧❧
Use these timbres to create a freely performed B section.
❧❧
Transfer the speech ostinatos from the A section to unpitched instruments and repeat the
A section.
❧❧
What to do with the coda
❧❧
Make a form and perform
Day4:35

VCU Basic Orff 2013
Brent Holl, Instructor
Robbin the bobbin
÷
8
6
œ œ œ œ œ œ
œ œ œ œ
j
œ
œ
Mother goose, arr. bmh
j
œ
œ
j
œ
÷
÷
÷
8
6
8
6
6
8
Rob -bin the Bob -bin the big bel -lied Ben, He
œ . œ.
Al
- ka - selt -
œ œ œ œ
j
œ
He ate a church, the
∑
œ . œ.
˙.
pews
∑
zer,
ate
more meat than
œ . œ.
plop,
∑
plop,
œ œ œ œ.
Cow, and a
calf,
÷
œ
j
œ
œ
j
œ
œ
j
œ
œ
j
œ
œ
j
œ œ
j
œ
œ
j
œ
j
œ
œ
4
÷
four
˙.
- score men. He ate a cow, he ate a calf, He ate a butch-er
œ . œ.
œ . œ.
œ . œ.
4
4
÷
fizzzz.
∑
Al
œ œ œ
- ka - selt -
œ
j
œ
He ate a church, the
˙.
pews
zer,
plop,
∑
plop,
÷
œ œ œ œ.
∑
∑
œ œ œ œ.
4
ox and a half.
Cow, and a calf,
Day4:36

VCU Basic Orff 2013
Brent Holl, Instructor
÷
œ
j
œ œ
j
œ
œ
j
œ
œ
j
œ
œ
j
œ œ
œ œ
œ
j
œ
œ
j
œ
8
÷
and
˙.
a half, He
ate
a church, he
œ . œ.
ate a stee-ple, He
œ . œ.
ate
the priest, he
œ . œ.
8
8
÷
fizzzz.
∑
Al
œ œ œ
- ka - selt -
œ
j
œ
He ate a church, the
˙.
pews
zer,
plop,
∑
plop,
÷
œ œ œ œ.
∑
∑
œ œ œ œ.
8
÷
ox and a half.
œ œ œ œ œ œ
œ œ œ œ
j
œ
Cow, and a
œ œ œ œ
calf,
j
œ
12
÷
ate all the peo - ple. A
˙.
cow and a calf, An
œ . œ.
ox and a half, A
œ . œ.
12
÷
12
fizzzz.
∑
Al
- - ka - - selt -
œ œ œ œ
j
œ
He ate a church, the
˙.
pews
zer,
÷
œ œ œ œ.
∑
∑
12
ox and a half.
÷
œ œ œ œ œ œ
œ œ
œ
j
œ
œ
15
÷
15
÷
15
÷
church and a stee-ple, And all the good peo -ple!
œ . œ.
plop,
plop,
∑
œ œ œ œ.
˙.
fizzzz.
∑
œ œ œ œ.
And yet
he complained
that his stomach
wasn't full!
15
Cow,
and a calf,
ox and a half.
Day4:37

VCU Basic Orff 2013
Brent Holl, Instructor
Day 5: The Bordun
Aim:
❧❧
Experiment with and discover the Bordun.
❧❧
Find the types and possibilities.
❧❧
Find some melodic ostinatos to combine with Borduns.
❧❧
Use as a sound carpet to improvise in pentatonic.
❧❧
Learn the four basic types of Bordun.
❧❧
The Level Bordun
❧❧
The Broken Chord Bordun
❧❧
The Crossover Bordun
❧❧
The Chord Bordun
If the knitter is weary,
The baby will have no
new bonnet.
- Irish Saying
Gentle Breezes (from Canons Too! by BMH, p. 22)
Aim:
❧❧
Play and sing in canon with a Bordun accompaniment.
❧❧
Introduce the elements of a Bordun orchestration.
Process:
❧❧
Add orchestration.
❧❧
Modified Crossover Bordun.
❧❧
Tone color in the Glockenspiels.
❧❧
Drone bass note on C.
Day4:38

“Improvisation is the starting point for elemental music making” (Orff, Carl. The
Schulwerk, p. 22).
“A particular kind of improvisation resulted from the use of the pentatonic scale. Over
an ostinato bass several melodies could be improvised simultaneously or in question
and answer phrases... Since there were no semi tones in this exercise, and therefore
no dissonance tensions, the different voices came together in a kind of oscillation.
Once the structure of the pentatonic scale had been grasped, the improvisations arose
of their own accord, with question and answer phrasing and imitation emphasizing
formal relationships. (Orff, p. 29)
The Bordun
VCU Basic Orff 2013
Brent Holl, Instructor
Simple Bordun - “A harmony of the fifth interval based upon the first and fifth degree, so that there
is only one harmony, the harmony of the first degree chord” (Wuytack ‘79).
“The drone is the most important and most widely found form of part singing and
playing. While one voice provides the melody the other sustains one note, the key
note or fundamental note, either above or below the melody. This is the prototype
of our pedal note. This drone develops itself in two directions: firstly by sustaining
a chord consisting of fundamental, fifth and octave, like bagpipes or hurdy-gurdy:
secondly in that the drone moves between a limited number of notes like an ostinato,
the so-called ‘wandering drone’ (after Curt Sachs)” (Orff, p. 28).
Experimenting with the drone.
❧❧
Set up in C pentatonic.
❧❧
Find the fundamental tone, set a rhythm or sustain.
❧❧
Find a pattern that can be repeated and take turns improvising melodies over the drone.
❧❧
Add the fifth degree to the fundamental.
❧❧
Set a rhythm and experiment with different ways the drone can be performed.
❧❧
Discover chords, crossovers, and broken chords.
❧❧
Discover melodic ostinatos to be used as accompaniment for improvising melodies over
each one using the C pentatonic scale.
“Jingle at the Window” (American Play Party by Mrs. Leslie Beall, arr. Brent M. Holl)
Aim:
❧❧
Learn and play an example of the Broken Chord Bordun.
Process:
❧❧
Learn the song by rote from a handout.
❧❧
Add the orchestration one instrument at a time.
❧❧
Note the complementary melodic and rhythmic ostinato accompaniment.
xx
Viewed as a whole, it’s a 4-measure pattern.
xx
The Alto Xylophone is a 4-measure melodic ostinato.
xx
The Glockenspiels only play in the 4th measure, but it’s still a 4-measure pattern that
Day5:39

VCU Basic Orff 2013
Brent Holl, Instructor
includes rests.
xx
The Bass Xylophone is a perfect broken chord bordun.
❧❧
Play the game: Collected from Maria Alley (http://www.doremiandmaria.com/CD/Lessons_web-preview.pdf)
xx
First clap on each “ti-de-o”
xx
Hand an instrument (something jingly) to the first one in line. He/She gets to play the
first ti-de-o and passes the instrument to the next person, etc.
Day5:40

“ Wind in the Barren Trees” (Michael R. Nichols, Seasons and Holidays, p. 18).
Aim:
❧❧
Learn and play an example of the Chord Bordun.
Process:
❧❧
Review hand signals and try it slowly from the overhead.
❧❧
Add the words and the harmony. (Try adding thirds too!)
❧❧
Add the chord bordun and special bordun effects (also known as a ‘Level’ bordun).
❧❧
Play the song on Soprano Recorders with accompaniment and harmony.
VCU Basic Orff 2013
Brent Holl, Instructor
Day5:41

VCU Basic Orff 2013
Brent Holl, Instructor
“Run Chillun, Run” – (Appalachian Folk Song , Arr. Brent M. Holl)
Aim:
❧❧
Play an example of the Crossover Bordun.
Process:
❧❧
Learn the song by rote, patching the TB part as accompaniment.
❧❧
Transfer the patchen to Temple Blocks.
❧❧
Teach the BX (crossover bordun) also using patchen.
xx
Play “in the mirror” so that your right hand patches your right knee indicating C and
your left hand patches your left knee indicating G. Your right hand crosses over and
plays the outside of your left knee. This can also be done “in the window” using the op-
Day5:42

❧❧
Day5:43
VCU Basic Orff 2013
Brent Holl, Instructor
posite patchen pattern. (There is some debate regarding the best approach.)
❧❧
Add Roto Toms (Bass Bars optional).
❧❧
Use snaps to teach SX.
xx
Teach “in the mirror.” Let low C be your right hand and high C be your left hand. Also
try it “in the window.”
❧❧
Create a B section.
xx
TB represents the children and Roto Toms the patteroller.
xx
Let the TB play the rhythm of the words to the verse.
xx
Let the Roto Toms play the rhythm of the words to the refrain.
xx
Create a dialogue between the patteroller and the children.
Create a form and perform the whole thing.
Seminar: How can the Bordun be used
❧❧
The bordun must include the tonic and the dominant at the interval of a fifth, with the tonic
on the bottom.
❧❧
The tonic must occur on the strong beats.
❧❧
The bordun must be below the melody.
❧❧
Do not combine borduns.
❧❧
The bordun must be confined to one instrument. The “level” bordun in the metallophone
may use more than one instrument, but is considered a special effect, in essence a sound
color more than a bass part.
From Shirley McCrae (a review):
“The bordun is a drone bass accompaniment, consisting of an open fifth based upon
the first and fifth tones of the key (tonic and dominant). The characteristic bordun
sound is one of stability and serenity. The bordun may be used with any pentatonic
song or a song based upon the tonic chord.
Every bordun is an ostinato, but not every ostinato is a bordun. Bear in mind
that the ostinato may utilize any note of the pentatonic scale as a repeated melodic
motive, whereas the bordun is by definition limited to the first and fifth tones.
Repetitive patterns such as the bordun and ostinato are characteristic of
elemental music and of the music of the folklore of children; thus, it is likewise an
essential component of Orff style orchestration. Furthermore there is a pragmatic
reason: its use facilitates early ensemble play and improvisation without harmonic
considerations and know-how. Variety may be achieved within what may at first
appear to be rather stringent limitations with imaginative use of rhythm and tone
color.” (McCrae, Level 1, 1977, p. 23)
Homework Assignment for Session 5:
❧❧
Create a simple bordun orchestration.
xx
Select a Bitonic, Folkloric, or Pentatonic Song in 4/4. (We’ll save the other meters for
later.)
xx
Write an appropriate Bordun. Please don’t use the “level” bordun for this assignment.
(Maybe next time!)

VCU Basic Orff 2013
Brent Holl, Instructor
xx
xx
Add one complementary rhythmic ostinato.
Please write out this assignment using the template (the easy way). You may use staff
paper or your own notation software create your own score if you prefer (the hard way!).
❧❧
2. Script out a lesson plan that you have observed in basic Orff this week. Include a detailed
description of the process used as well as your observations and comments. Your choice of
lesson is very important. Try and use one that has a clear logical presentation and is taught
in class as a process example.
Some Typical Bordun Types
&
4
˙
& c
1
˙
˙
Chord Bordun
˙
Level Bordun
# 4
2
˙
œ
œ
œ
œ
Broken Chord
˙
Chord Bordun
& # œ œ œ œ n ˙ b 4 3
˙
9
Crossover Bordun
Level Bordun
œ
œ
œ œ œ
Crossover Bordun
œ
œ
Broken Chord
œ œ œ
& b ˙
.
˙
. œ œ œ œ n # œ
#
14
Chord Bordun
Crossover Bordun
Broken Chord
˙
.
œ
œ œ œ
˙.
.
˙
Level Bordun
Day5:44

Movement Day 5: Speech, Movement, Drama, and Recorders.
Two Pieces for Speech Ostinatos The Cock doth Crow, Forbidden/Famine.
Forbidden/Famine (speech)
VCU Basic Orff 2013
Brent Holl, Instructor
Voice 1
4 2 ‰ .
4 2 4 2
œ
œ œ
œ ‰
J œ
œ œ œ
∑
.
More die by
food
than
fam -ine
Voice 2
J œ
.
œ œ œ œ
œ.
J œ
œ œ œ œ
œ.
œ
J
.
For
bid-den fruit
is
sweet! For -
bid-den fruit
is
sweet!
for
Voice 3
‰
.
œ.
J œ
œ œ œ œ
œ.
J œ
œ œ œ œ
.
sweet! For - bid -den fruit
is
sweet!
for
bid-den fruit
is
Aim:
❧❧
Use speech ostinatos and movement as accompaniment for a text.
Process:
❧❧
Learn the sayings by rote.
❧❧
Combine them.
❧❧
Learn forbidden in canon as accompaniment to famine.
❧❧
Find some action words to interpret the text.
❧❧
Discuss some scenarios and creative movement possibilities.
xx
Add intro and coda on recorders.
❧❧
Add a solemn drum rhythm (pavanne) and play in a moderate tempo.
xx
Make a form and perform.
Day5:45

VCU Basic Orff 2013
Brent Holl, Instructor
The Cock doth Crow
❧❧
Learn the saying by rote.
❧❧
Add the ostinatos.
❧❧
Add some appropriate movement.
❧❧
Make a form and perform.
4
4
÷
÷
÷
÷
÷
÷
÷
÷
4 2 j
œ
4 2 4 2 4 2
The
∑
j
œ
rise!
∑
œ ‰
œ
cock
œ
doth
œ œ œ œ
toc toc toc toc
œ . ‰
‰ œ œ œ
j
œ
and
œ œ œ œ.
j
œ
toc toc toc-ak
œ
j
œ
Time to rise!
÷
∑
7 time to rise
7
÷
÷
÷
j
œ
œ
j
œ
œ œ œ œ
toc toc toc toc
œ . ‰
‰ œ œ œ
ur -ur-urrr
The Cock doth Crow
ur-ururrr
œ
thou
œ
crow
Day5:46
œ
to
œ œ œ œ.
j
œ
toc toc tocak
œ
j
œ
Time to Rise!
∑
œ
be
œ œ œ œ
toc toc toc toc
œ . ‰
‰ œ œ œ
ur -ur-urrr
. œ ‰
œ œ œ œ.
toc toc toc-ak
∑
∑
œ
wise,
j
œ
œ
j
œ
let you know
œ œ œ œ
toc toc toc toc
œ . ‰
‰ œ œ œ
ur-ur-urrr
œ
tis
œ œ œ œ.
j
œ
cok toc toc-ak
œ
j
œ
Time to rise!
∑
∑
∑
∑
‰ œ œ œ
ur-ur-urrr
arr. BMH

VCU Basic Orff 2013
Brent Holl, Instructor
Melody
Bordun Assignment Template
&
4
Percussion
Bordun
ã
&
4
4
&
5
ã
5
&
5
©
Day5:47
M
Perc.
B

VCU Basic Orff 2013
Brent Holl, Instructor
Freaky Friday Folk Dance Fanga Alafiya
Learn a Fanga Alafiya Dance (with CD or LIVE!)
Welcome movements in a circle: (follow the leader)
❧❧
4 - 3 step Spin Left, clap on 4
❧❧
4 - 3 step Spin Right, clap on 4
❧❧
4 - Present Left from right to left
❧❧
4 - Present Right from left to right
xx
Repeat
❧❧
4 - 3 steps forward present arms low to high
❧❧
4 - 3 steps back present arms high to low ending crossed on chest
x x Repeat
❧❧
Add more movements. Brainstorm, improvise, freestyle! Think of the ideas of welcoming,
harvesting, making friends, preparing a feast, presenting “the village.” etc.
NOTES:
Dance for Patter Roller
Folk Game
refrain
circle left:
÷ 4
2 œ œ
œ
œ
œ
œ
œ
œ
circle right:
R
÷ œ œ
L
œ
R
œ
L
œ
R
œ
L
R
œ
TURN,
Œ
L
R
L
R
L
R
TURN
(Facing Partner
Verse
÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
R L pat pat pat pat
cl cl cl
R
CL L.Heel, Cl
L
Cl R.Heel Cl
partner's hands
Day5:48

Day 6: More About the Bordun
Ding Dong Diggidiggidong - (MM Ed. Music for Children
V. 1, p. 24)
VCU Basic Orff 2013
Brent Holl, Instructor
Men are like bagpipes -
No sound comes from
them until they are full.
-Irish Saying
Ding Dong Diggidiggidong
Voice
3
&
& c
1. 2.
œ œ œ œ œ œ œ
Ding, dong, dig -gi - dig - gi dong
œ œ œ œ œ œ œ
Ding dong dig -gi-dig -gi - dong
© 1958 by Schott & Co. Ltd., London
Keetman/Orff
3. 4.
œ œ œ œ œ œ œ œ
dig -gi-dig -gi-dong the cat she's gone.
œ œ œ œ œ œ œ
dig -gi-dig -gi ding dang dong.
Œ
œ
Process:
❧❧
Teach the melody using hand signs.
❧❧
Add the words, sing in 2-part canon then 4-part canon.
❧❧
Add body instruments (Ding = Clap; Dong = Snap; Diggidiggi = patch; Dong =
stomp).
❧❧
Play the elimination game (substitute BI for words one at a time).
❧❧
Sing in unison, then 2-part, then 4-part.
❧❧
Add unpitched instrument ostinatos, perform the whole thing.
Review: You may use the Bordun when:
❧❧
The melody is pentatonic.
❧❧
The melody is diatonic and notes from the tonic chord are on the strong beats.
❧❧
The melody is diatonic and notes from the related pentatonic center are found on the
strong beats (no fa’s or ti’s on the strong beats).
Day5:49

VCU Basic Orff 2013
Brent Holl, Instructor
Ding Dong Diggidiggidong Continues....
Aim:
❧❧
Putting it all together with a big ensemble piece, canon, and broken chord bordun.
Process:
❧❧
Find the melody on the instruments (remember from the beginning of class) and sing the
letter names.
❧❧
Play in 2-part, then 4-part canon.
❧❧
Add the bordun on timpani.
❧❧
Add ax ostinato.
❧❧
Add bx ostinato (really a moving bordun!).
❧❧
Add accompaniment ostinatos AG and SG.
❧❧
Adjust orchestration as appropriate
❧❧
Figure out the ending of the 4-part canon using the formula (x + y = 8); x = number of beats
before you start the 4-part canon and y = the number of times you play the repeating “C’ G”
figure to end at the same time.
❧❧
Perform the whole thing!
El Dia Lluvioso (arr. BMH)
Aim:
❧❧
Another example of the Level Bordun.
Process:
❧❧
Learn the song by playing “4 motifs”
❧❧
Show the 4 phrases on the visual.
❧❧
Let the students put them in order.
❧❧
Play on recorders
❧❧
Add the Chord Bordun in the Bass Metallophone and Bass Bars.
❧❧
Add the Levels in the Metallophones.
❧❧
Add the Coda
❧❧
Add the words
Extension:
❧❧
Make a movement section “The Gathering of the Nuts.”
❧❧
Make a form and perform the whole thing.
Winging singing birds
slithering snakes
scurrying squirrels
babbling brook
floating clouds
solid stones
falling leaves
fluttering butterfly
chattering chipmunk
majestic towering swaying tree
Day6:50

Day6:51
VCU Basic Orff 2013
Brent Holl, Instructor

VCU Basic Orff 2013
Brent Holl, Instructor
Shake Them ‘Simmons Down (adapted and arranged by Brent M. Holl)
Aim – To introduce the Moving Bordun
❧❧
Learn the moving bordun.
❧❧
Decoration of the dominant (tonic possible but rare).
❧❧
Avoid parallel octaves with the melody.
❧❧
Same recommendations as simple bordun.
Day6:52

VCU Basic Orff 2013
Brent Holl, Instructor
Process:
❧❧
Add ostinatos.
❧❧
Sing, add verses.
Extension:
❧❧
Add the dance:
xx
8 - Circle Left
xx
8 - Circle Right
xx
4 - In, 4 - Out; Balance all -(into the middle and back)
xx
8 - Round your corners (“boys” go left, “girls” go right, do si do)
xx
8 - Round your partner (do si do partner)
xx
8 - Promenade all (walk the circle “girls” on the “boys” right)
South Australia (Irish Sea song, adapted and arranged by Brent M. Holl)
Aim:
❧❧
Another example of the Crossover Bordun
Day6:53

VCU Basic Orff 2013
Brent Holl, Instructor
Day6:54

Day6:55
VCU Basic Orff 2013
Brent Holl, Instructor

VCU Basic Orff 2013
Brent Holl, Instructor
Point about the Moving Bordun:
The moving bordun is simply an ornamentation of the dominant. It serves the function
of a melodic ostinato. It is usually dealt with as a separate technique, but there
are very few examples in the literature that show the moving bordun as a distinct
orchestration. Many examples exist of the melodic ostinato containing at some point
a decoration of the dominant.
Recommendations for the Moving Bordun
❧❧
The tonic is in the bass, moving dominant is in the middle to maintain the fifth.
❧❧
The moving bordun must also be under the melody.
❧❧
Use the moving notes carefully to avoid parallels with the melody.
❧❧
In pentatonic, be sure to use only scale tones.
Recommendations for Tone Color in Orchestration
❧❧
Put color in the tonic OR the dominant but not both.
❧❧
Put color in measures 1 & 3, 2 & 4, or 1 & 4.
Color: a sound effect, to short and “colorful” to be considered an ostinato.
Find Some Bordun Examples....
Homework Assignment Session 6
1. Find another melody that can be used with a bordun.
2. Orchestrate the melody using a bordun, a sound color, and a melodic OR rhythmic ostinato.
3. Notate the piece in full score with the melody on top and the bordun on the bottom, filling
in the color and ostinato in the correct place (Bordun 2 Template).
Homework Helper: Orchestrate “Pat Pat Well a Day” as a class.
Day6:56

Day6:57
VCU Basic Orff 2013
Brent Holl, Instructor

VCU Basic Orff 2013
Brent Holl, Instructor
Bordun Assignment Template 2
Melody
&
Tone Color
Ostinato
Bordun
&
c
Mel.
&
TC
Ost.
Bor.
&
Day6:58

Day 6 Movement: Listening - Make a Dance
VCU Basic Orff 2013
Brent Holl, Instructor
Listening and Trust
Aim:
❧❧
Developing an awareness of the instrument colors.
❧❧
Learning to listen intently.
❧❧
Learning to focus on one sound among many.
Process:
❧❧
Trust walk with a partner.
❧❧
Rules: slowly, safely, eyes closed in charge, stay in bounds. Unsafe sits.
❧❧
Trust walk with vocal sound.
❧❧
Trust walk with instrumental sound.
❧❧
Find the tree in the forest.
❧❧
One is “tree” other with eyes closed finds the correct tree in the “forest”. Trees in
straight line signal with an instrumental sound. Trees stop their sound when found.
❧❧
Find the tree in the forest, this time spread the forest through out the space.
❧❧
To extend the activity, limit the number of times the “tree” can make their sound.
Folk Dance: - Make up a dance for “Soldiers Joy”
Aim:
❧❧
Create a folk dance for presentation to a specific grade level.
Process:
❧❧
Chart the form, finding repetitions and contrasting sections.
❧❧
Brainstorm dance formations, steps, partner steps, self-space movements, shared space
movements.
❧❧
Decide the level of difficulty.
❧❧
Pick appropriate dance formations and steps.
❧❧
Learn the dance
❧❧
Present it to the class.
Day6:59

VCU Basic Orff 2013
Brent Holl, Instructor
Day 7: Question/Answer and Rondo
The blanket is warmer for being doubled.
- Irish saying
Singing Time (Read Aloud Rhymes, p. 3, adapted and arranged by Brent M. Holl)
1
&8 6 1
J œ I
Singing-Time
2
j
œ œ œ œ œ œ.
wake in the mor - ning
œ
Rose Fyleman
Brent M. Holl
3
j
œ
ear - ly And
4
&
œ œ œ œ œ œ
4
œ.
Œ
5
J œ
6
œ œ œ œ œ œ
al - ways, the ve - ry first
thing,
I
poke out my head and I
7
7
& œ œ œ œ œ œ
.
œ œ œ œ œ œ œ.
Œ
sit up in bed And I sing and I sing and I sing.
8
Aim:
❧❧
Introduce Question and Answer improvisation with a song.
Process:
❧❧
Warm-up by improvising “good morning activities” (wake up, stretch, roll out of bed, look
out the window, see the sun, run to the bathroom, wash your face and hands, ahhhhh, run
downstairs, eat breakfast, sing about it!)
❧❧
Learn the song from the overhead.
❧❧
Analyze the form/find the couplet. Find out that it’s a melodic Question/Answer. It also
happens to be a canon.
❧❧
Try it out in 2-, 4-, and 8-part canon.
Extension:
❧❧
Adapt the improvised motions of the warm-up to the question/answer format.
❧❧
Make a Q/A B section; arrange in a free rhythm canon!
❧❧
Put it all together.
Day7:60

VCU Basic Orff 2013
Brent Holl, Instructor
“The technique of question and answer is the embryo of form. In spoken language,
the child responds to an ordinary question by simply rearranging the
words into the affirmative, obtaining a more or less symmetrical response of
the same length, for example: Where is John John is here.” (Jos Wuytack.
Musica Activa, p. 32.)
Question - Answer for Body Percussion
Aim
❧❧
Reinforcement of body percussion technique; rhythmic improvisation; phrase length.
Process
❧❧
Give the class a question using body percussion; all answer.
❧❧
Make sure everyone ends at the strong beat of the last measure, “Final Point.”
❧❧
Make sure the answers are not an exact imitation of the question.
❧❧
Make sure the answers are related to the question.
❧❧
Ask who wants to give the teacher a question
❧❧
All get a partner, question answer with each other.
❧❧
Discover:
xx
The cadence point (The Final Point) on the last strong beat of the answer.
xx
The absence of a cadence point (Final Point) in the question (think CHA, CHA,
CHA).
xx
The commonality or shared ideas between the question and answer. The answer
should have common elements with the question.
xx
The question and answer phrases are the same length.
Question - Answer for Unpitched
Aim
❧❧
Reinforcement of unpitched percussion technique; rhythmic improvisation appropriate to
timbre; phrase length.
Process
❧❧
Using a tambourine, teacher asks a question to whole class.
❧❧
Everyone takes a turn asking a question as a solo. If the player is a wood, all woods
answer, metal, then metals, drums, then drums.
❧❧
Improvise a piano accompaniment in free atonal style.
Question - Answer for Pitched
Aim
❧❧
Reinforcement of pitched percussion technique; pentatonic improvisation appropriate to
timbre; phrase length.
Process
❧❧
Teacher asks class a question on a pitched instrument in a pentatonic scale
❧❧
NEW POINT: the answer MUST end on the tonic!
❧❧
Establish a bordun + color.
❧❧
Solo xylophone asks xylophones a question.
❧❧
Solo metallophone asks metallophones a question.
Day7:61

VCU Basic Orff 2013
Brent Holl, Instructor
❧❧
Solo glockenspiel asks glockenspiels a question.
❧❧
All think a question with inner ear, tutti answer.
The Rondo
“A musical form with a joyful refrain repeated at least three times with
in-between contrasting couplets” (Wuytack, ‘77).
“The rondo form gives opportunities for creativity because the couplets
are used for improvisation. The present rondo form is derived from
the 12th century French rondeau. The rondeau is representative of
the dancers performing in a circle formation and the couplet (dans
par couple) meant that one couple would improvise a dance” (Wuytack
‘ 92).
Clap
Bass
Patsch
Back
Bass
Clap
Patsch R
Patsch L
Snap
Clap
Patsch
Stomp
Rondo for BP
÷
÷
c
c
c
‰
œ œ
‰
.
.
.
œ œ œ
œ
œ
r
œ œ œ
œ œ œ œ
œ œ œ œ œ
œ œ œ œ
œ
r
œ œ œ
œ
œ œ œ œ œ
œ
r
œ œ œ
Œ
œ ‰ J œ ‰ J œ œ œ œ
œ
Brent M. Holl
œ œ
œ
Cl.
Pt.
Pt.
Sn.
Cl.
Pt.
Sn.
÷
÷
œ œ œ œ œ œ œ œ œ Œ œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ ‰ œ J ‰ œ J œ, œ œ
œ œ œ
r
r
œ œ œ œ œ œ
œ r
œ œ œ œ œ
.
.
.
Day7:62

VCU Basic Orff 2013
Brent Holl, Instructor
Aim:
❧❧
Reinforcement of Question-Answer Phrase structure by using body percussion.
Process:
❧❧
Learn the parts by imitation for the refrain.
❧❧
Use it as an A section and have Q/A “dialogues” for the “in-between contrasting couplets”.
❧❧
The dialogues should be 8 + 8. A question is 4 measures or 8 beats, (8 + 8). An answer is
also 4 measures or 8 beats with the cadence point on beat 7 (the strong beat of the last measure).
A phrase is Q, A. A couplet is Q, A; Q, A, or two full phrases.
Aim:
❧❧
Reinforcement of imitation, and improvisation in the Q/A form
Process:
❧❧
Warm up doing some echo patterns in G pentatonic.
❧❧
Let the last pattern be measure 1. Break it down. Teach the first four eighth notes, then add
the next two plus the last 8th note.
❧❧
Tell the class to memorize the first measure. Raise hands when it’s memorized.
❧❧
Teach measure two, again teaching the first 4 eighth notes before adding the rest. Tell students
to memorize this measure, raising hands when ready.
❧❧
Review and add measure three. Add measure four using the same process.
❧❧
Add the orchestration to complete the “Joyous Refrain.”
❧❧
Improvise couplets over an G pedal by the Basses.
Day7:63

VCU Basic Orff 2013
Brent Holl, Instructor
Aim:
❧❧
Reinforcement of imitation in 6/8, unpitched instrument technique, and rhythmic improvisation
in Q/A form
Process:
❧❧
Learn the rhythms and patterns to “6/8 Heartbeat” by rote.
❧❧
Discover the form. Note: In this style Q/A can be in the form of “trading 4’s.” I improvise
over 4 strong beats, then you improvise over 4 strong beats. This emphasizes a true “musical
conversation.”
❧❧
Trading “8’s” is also possible! Let’s try it!
Homework Assignment for Session 7:
❧❧
Write a pentatonic melody in antecedent/consequent form.
❧❧
Use 2/4 (8 measures), 4/4 (4 measures) or 6/8 (8 measures) only!
❧❧
Text is optional and can be a nursery rhyme, poem, or proverb of your choice.
❧❧
Orchestrate your melody with a bordun of your choice, a melodic and/or rhythmic ostinato,
and a tone color.
❧❧
Please write this assignment on the template on page 66.
Homework Helper for Melody Writing
❧❧
Improvise in Pentatonic using the text as a generator. Play the text; think question/
answer. Improvise until you get your tune! Orchestrate and - Voila!
Beela by the Sea
Catch a floater, catch an eel,
Catch a lazy whale,
Catch an oyster by the heel
And put him in a pail.
Day7:64

VCU Basic Orff 2013
Brent Holl, Instructor
There’s lots of work for Uncle Ike,
Fatty Ford and me
All day long and half the night
At Beela by the sea.
The Pitch Range of the Instruments
❧❧
Discuss limitations.
❧❧
The only available keys are C, G, F and D with related minors. Of course all modes are available
as well. (Come back for Level 2!)
❧❧
All instruments are notated at treble clef except for Timpani.
❧❧
The knowledge of orchestration and use of instruments is important to the teacher! Students
can have a direct experience with all Orff instruments with knowledge of the treble clef. The
pitch ranges and other clefs can be postponed for more advanced students.
Range of the Instruments
Soprano Glockenspiel
Alto Xylophone and Metallophone
1
& › „ ∑ w w w w w w w w w w w w w w w w w w w w
Alto Glockenspiel
Soprano Xylophone and Metallophone
w w w w w w w w
√
w w
w w w w w
Bass Xylophone and Metallophone
Day7:65

VCU Basic Orff 2013
Brent Holl, Instructor
Day7:66

Day 7 Question/Answer in Movement
VCU Basic Orff 2013
Brent Holl, Instructor
Question/Answer in Movement
Aim:
❧❧
Learn to feel the phrase length.
❧❧
Transfer Q/A technique to movement.
Process:
❧❧
Establish a phrase length of 4 measures of 4/4 (slow cut time) with Hand Drum as students
listen.
❧❧
Snap on the last strong beat of the last measure (beat 7).
❧❧
Walk the pulse through shared space and stop on the snap.
❧❧
When secure, experiment with direction, level, locomotor movements during the phrase,
again freezing on the snap.
❧❧
Get a partner and take turns. Teacher adds accompaniment on an instrument of choice.
❧❧
Make sure that the movement reflects the proper Question/Answer procedure.
xx
Movements are related.
xx
Try for the best combination of positive and negative space, shared and self space.
❧❧
Improvise a question/answer dance to the recorded music
x x (Bayushky Bayu - Debbra, Margot, and Noah Schwartz with Sunita Staneslow).
❧❧
Listen First:
xx
Note Form: Intro 4/ Q-A/Q-A (solos) // interlude 8 // Q-A/Q-A Duet // interlude 8 //
Q-A/Q-A // Outro
❧❧
Decide how to handle Intro/Lude/Outro.
❧❧
Decide what do to with solo/duets.
❧❧
Decide with your partner how do switch off with question/answers.
❧❧
Perform as a class.
Day7:67

VCU Basic Orff 2013
Brent Holl, Instructor
1
& # c
A
Ronde
A B A C A
T. Susato, 1551
(Danserye)
œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5
& # œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ j j
œ œ œ œ ˙ .
9
& # .
B
œ œ œ .
J œ œ œ ˙ œ œ œ œ œ œ ˙
13
& # œ œ œ.
J œ œ œ ˙ œ œ œ œ œ œ ˙ .
17
& # .
C
œ œ œ .
J œ œ œ
œ.
J œ œ œ œ œ
j
œ œ
j
œ ˙
21
& # œ œ œ .
J œ œ œ œ .
J œ œ œ œ j j
œ œ œ œ ˙ .
Aim:
❧❧
Dance a classical Rondo.
❧❧
Create solo and couple movements in question answer form.
❧❧
Integrate with Recorder training, movement and instruments
Process:
❧❧
In a circle do the following steps for the A section:
xx
Hold hands for the first 8 beats.
xx
Turns are 360 degrees CCW in self space, letting go of hands. Step on each half note.
xx
Rejoin hands and repeat.
❧❧
Solo couple improvises a dance in the B section and a different couple improvises in the C
section. Questions and Answers are 4 measures each. There will be 2 questions and 2 answers.
❧❧
Solo couples must return to their place in the circle by the first strong beat of the last measure
(showing the final point)
Day7:68

Folk Dance: The Irish Reel (Sounds Like fun - Mitzie Collins)
VCU Basic Orff 2013
Brent Holl, Instructor
Clockwise circle.
Turn CW in self space, end at beginning position.
c œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ .
R L R HOP
L R L HOP
Turn
Turn
Turn
Turn
First Tune:
❧❧
8 - R, slide, L, Slide, R heel, L Heel.
❧❧
8 - R, slide, L, Slide, R heel, L Heel.
❧❧
8 - R, slide, L, Slide, R heel, L Heel.
❧❧
8 - R, slide, L, Slide, R heel, L Heel.
❧❧
8 - Alamande Right with partner
❧❧
8 - Alamande Left with corner
❧❧
8 - Do si do with partner
❧❧
8 - Do si do with corner
Second Tune:
❧❧
Trade R, slide for Kick R, Kick L
❧❧
Swing Partner and Corner
Third Tune:
❧❧
Trade Kick for Rock in and Out
❧❧
Buzz Swing with Partner
Day7:69

VCU Basic Orff 2013
Brent Holl, Instructor
Day 8: Active Listening using Basic Orff Techniques
An Old Irish Recipe for Longevity
“The children must have concrete perceptions upon which to base their
musical experiences. The students must have experienced the components
of the music they are listening to!”
(Jos Wuytack ‘83)
Fanfare (JW, Lamelou, p.2)
1 1
& b 2
4 œ œ œ œ
Leave the table hungry.
Leave the bed sleepy.
Leave the table thirsty.
œ
Fanfare
œ
œ œ œ œ
Jos Wuytack
œ œ œ
Triangle
Tamborine
Bass
Drum
Vocal
Ostinato
Tr
Tamb
BD
&
÷
÷
÷
÷
÷
÷
5 2
b
&
b
2
4
2
4
2
4
2
4
Cla -
Pic - co,
ri
˙
Œ
œ
˙
cla -
pic - co,
ri,
œ
Œ
Tu -
œ œ œ œ
Cla -
Pic -
˙
Œ
œ
ri
co,
cla - ri,
pic - co,
œ
Œ
cla -
pic -
‰
œ
˙
ba,
J œ
œ œ œ œ
cla - ri,
pic - co,
‰
œ
J œ
ri,
co,
∑
œ
cla - ri,
pic - co,
∑
œ
Œ
Œ
cla -
pic - co,
ri,
˙
‰
œ
j
œ
cla -
pic - co,
ri,
J œ œ œ
Œ
œ
j
œ
tu - ba, tu -
œ œ œ œ
cla - ri,
pic - co,
˙
‰
œ
cla -
pic -
J œ œ œ
Œ
ri -
co -
œ
net.
lo.
Œ
œ
cla -
pic - co ri -
- net.
lo.
Œ
œ
˙
ba.
Œ
∑
œ
Œ
∑
œ
Œ
.
.
.
.
Ost
&
b
˙
˙
j
œ
œ
j
œ
˙
.
Tu -
ba,
tu - ba, tu -
ba.
Day8:70

VCU Basic Orff 2013
Brent Holl, Instructor
Listening and Trust
Aim:
❧❧
Developing an awareness of the instrument colors
❧❧
Learning to listen intently
❧❧
Learning to focus on one sound among many
Process:
❧❧
Trust walk with a partner.
❧❧
Rules: slowly, safely, eyes closed in charge, stay in bounds. Unsafe sits.
❧❧
Trust walk with vocal sound.
❧❧
Trust walk with instrumental sound.
❧❧
Find the tree in the forest.
❧❧
One is “tree;” other with eyes closed finds the correct tree in the “forest”. Trees in straight
line signal with an instrumental sound. Trees stop their sound when found.
❧❧
Find the tree in the forest, this time spread the forest throughout the space.
❧❧
To extend the activity, limit the number of times the “tree” can make their sound.
Hall of the Mountain King - (Grieg - Peer Gynt Suite)
Aim:
❧❧
Active Listening introduced by unpitched instruments.
Process:
❧❧
Play the echo game using only quarters, eighths, and equivalent rests. Half notes
may be added at end of phrases.
❧❧
Find the pulse of everyone’s name.
❧❧
Make a list of one and two syllable names.
❧❧
Adapt to quarters and eighths.
❧❧
Make a word chain culminating in the rhythm of the opening theme of “In the Hall
of the Mountain King” from the Peer Gynt Suite.
÷c œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ Œ
Percussion
❧❧
Put rhythm on board, students fill in appropriate names.
❧❧
Add coda to board rhythm.
❧❧
Add a pulse ostinato, using an instrument (or two or three).
❧❧
Perform, using the rhythm of the speech (names).
❧❧
Transfer to unpitched instruments.
❧❧
Create a final form.
❧❧
Listen to the entire piece.
Brandenburg Concerto #5 ( J. S.. Bach)
Aim:
❧❧
Active Listening introduced by pitched instruments.
Process:
Day8:71

VCU Basic Orff 2013
Brent Holl, Instructor
❧❧
Go to the instruments and play the C major scale in whole notes, then halves, quarters,
eighths, sixteenths, etc.
❧❧
Play arpeggio patterns highlighting 1, 3, 5, and 1.
❧❧
Work into the pattern:
1
& c
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ Ó
❧❧
Rehearse this pattern until well learned. Name it “TUTTI”
❧❧
Listen the first part of the piece, say “TUTTI” every time you hear the above pattern
in whole or in part.
❧❧
Discuss tutti theme, cadenza, development, trio solo, imitation, etc.
❧❧
Extension: Play “Tutti Con Frutti” Full Score p. 69
C Jam Blues - (Ellington)
Aim
❧❧
Active listening using Jazz improvisation in pentatonic Blues
Process:
❧❧
Learn the tune to “C Jam Blues”.
❧❧
Listen to “C Jam Blues” (Ellington).
❧❧
Play tune along with the band.
❧❧
Discuss form and improvisations.
❧❧
Play tune with piano and solo improvisions.
“Sabre Dance” - (from Favorite Classics of the Bolshoi Ballet: Sabre Dance by
Aram Khatchaturian )
Aim
❧❧
Active Music Listening introduced by Verbal expression
Do!
Do the Sabre Dance, do the Sabre Dance
Do the dance of Aram Khatchaturian!
Sing, sing a song for today.
Sing a song, dance with me all today.
Off you go, to and fro.
Dance and sing, all the way.
Aram, Aram, Aram, Aram, Aram Khatchaturian,
Yes Khatchaturian Ah!
Aram, Aram, Aram, Aram, Ah!
Do!
Day8:72

VCU Basic Orff 2013
Brent Holl, Instructor
Do the Sabre Dance, do the Sabre Dance
Do the dance of Aram Khatchaturian!
Dip, dip, dip, dip, dip!
Aram, Aram, Khatchaturian!
Kalimondo (by Renee Dupere, from Mystere, Cirque Du Soleil)
Aim
❧❧
Active listening as a movement activity
Process:
❧❧
Do what I do!
❧❧
Teacher leads some total body movement in unmetered style, then in metered style.
❧❧
Make a diamond formation or a pyramid.
❧❧
Take turns leading; turn clockwise when ready to move on.
❧❧
Put on the music and move!
Seminar:
Justification for use of the Instruments (from Master Class in Orff Schulwerk by Jos
Wuytack 1991)
❧ ❧ “Orff instruments are not used as a magic formula to combat sterility in music and are not
used as an end to themselves, but as a means of music teaching which is justified both educationally
and artistically.”
❧❧
At some point all children would like to play as well as sing. “Cantare and Sonare” . Some
will prefer to play, others to sing.
❧❧
The use of instruments leads to active participation. It puts control of the music in the hands
of the students. They are active participants in their own learning experiences.
❧❧
Playing the instruments is truly “play” for the children. It is pedocentric (child-centered),
encouraging a vital avenue for self expression with both joy and seriousness.
❧❧
Instrumental work is ensemble work. Working cooperatively is an essential life skill. Every
member of the ensemble is important, working to their level of competence.
❧❧
Instruments encourage creativity because of the ease of improvisation. It insures even reluctant
students a path to success.
❧❧
The instruments enable immediate success. At the same time, students are challenged by
more practice and more and more difficult techniques.
❧❧
The timbre of the instruments is “extraordinary in its range of sounds”. “...(T)hey can delight,
frighten, calm, or they can excite, exalt into regions of ecstasy and mystery...they have
a magical character.”
Day8:73

VCU Basic Orff 2013
Brent Holl, Instructor
Day8:74

Day8:75
VCU Basic Orff 2013
Brent Holl, Instructor

VCU Basic Orff 2013
Brent Holl, Instructor
Day8:76

Day8:77
VCU Basic Orff 2013
Brent Holl, Instructor

VCU Basic Orff 2013
Brent Holl, Instructor
Movement Day 8 - Notation
Bells, Boots, and Buddies. (Jos Wuytack, Musica Activa, P. 85.)
Aim:
❧❧
Reading games for teaching note values
❧❧
Using visual images to introduce symbolic notation
❧❧
Reinforcing the learning of note values with movement
❧❧
Reinforcing the concept of high and low
Process:
❧❧
Draw the symbols on the board:
❧❧
Point to the bell, ask students to say, “ding dong.”
❧❧
Point to the step, ask students to say, “step.”
❧❧
Alternate between these two until students are secure.
❧❧
Point to the kids, ask students to say, “ha, ha.”
❧❧
Now, point to all three in various combinations.
❧❧
Let students try it.
❧❧
Do the motions for the students and they respond with the appropriate vocal sound.
Add Movement:
❧❧
All improvise a movement for “ding, dong,” “Step,” and “Ha,Ha.”
❧❧
First point to the pictures on the board. Then transfer the signaling to the piano. Demonstrate
the signals and then play...
❧❧
Divide class into 3 groups. One for each note value.
❧❧
Play eighth note patterns on the upper third of the piano signaling the “buddies” to move.
Quarter note patterns in the middle third for the “boots,” and half note patterns in the bottom
third for the “bells.” Each group responds to their cue with the appropriate movement.
Extensions:
❧❧
Change the game to elephants, kangaroos and chickens. ( Many other combinations are
possible from the animal kingdom)
❧❧
Erase the outlines of the pictures and transform the caricatures to real notes. Discuss.
*
Day8:78

Spider, Spider. Sue Mueller, Simply Speaking, p. 30
VCU Basic Orff 2013
Brent Holl, Instructor
Aim:
❧❧
Reading Dynamic Markings
❧❧
Exploration of dynamics through speech and movement.
Materials Needed:
❧❧
Four spider manipulatives with dynamic markings; Visual of the text
Process:
❧❧
Help students create movements in self space to illustrate loud and soft dynamic levels.
xx
Teach poem using echo process speaking at varying dynamic levels.
xx
Teach students the symbols for varying dynamics using spider manipulatives.
p = soft • P = mezzo piano • F = mezzo forte • f = forte
❧❧
Students assign one of the dynamic levels above to each phrase and speak poem again.
❧❧
Divide class into three groups. Let each group represent one “spider group.” (Students connect
arms and/or legs to create a spider-like formation that can move through space.)
xx
Each spider group creates a movement for each dynamic level.
xx
Each spider group moves through space illustrating dynamics while speaking
poem.
xx
Share with the class. A Sample Manipulative:
f
The Virginia Reel
❧❧
All forward and back: Join hands, 4 steps forward, 4 steps back.
❧❧
Forward and back again.
❧❧
Right hand round: join right hands w partner, go around them in 8 steps
❧❧
Left hand round: same thing to the left.
❧❧
Both hands round: same thing with both hands
❧❧
do si do: round your partner in 8 steps with no hands.
❧❧
head couple sashays to the foot of the set and back
❧❧
Reel: hook elbows with partner and go around 1 1/2 times. Extend left arm to the side person
Day8:79

VCU Basic Orff 2013
Brent Holl, Instructor
(girls will hook arms with boys and boys with girls), hook elbows and go round once, return
to the center, hook arms with partner and go round once. Reel each one in line. When the
bottom of the set is reached sashay back to the top of the set.
❧❧
Cast off: Head couple leads their line around outside the set to the foot where they...
❧❧
Make a bridge and let ‘em through: Head couple joins hands up high and each couple joins
hands and sashays through and back to the top of the set.
❧❧
Head couple stays at the foot and the new head couple leads the dance.
Day8:80

9. A Sampling of Advanced Techniques in Orff Schulwerk
We’ll spread green rushes at your feet.
-Irish saying
VCU Basic Orff 2013
Brent Holl, Instructor
Voice
& # # 4 4
Fly, Fly, Fly (from “A Circle is Cast” - Libana)
1
˙
Fly,
˙
fly,
Fly, Fly, Fly
˙
fly,
2
Œ œ
the
Erdely, Borg
œ œ œ œ œ
leaves are leav - ing the
4
& # 3
#
˙ œ .
œ œ ˙ œ œ œ ˙ ˙
branch, cold are the winds, win - ter is com - ing.
Aim:
❧❧
Sing in the Aeolian Mode
❧❧
Explore Canon in Movement for choir on risers.
❧❧
Experience the sweetness of an Appoggiatura.
Process:
❧❧
Sing in unison first.
❧❧
Find action words and interpret.
❧❧
Sing in unison with action word movement.
❧❧
Try 2-part canon with (easier movements) think direction, slow, levels, etc.
❧❧
Try 3-part canon the same way.
❧❧
Perform: Unison, 2-part canon, 3-part canon, unison.
No Harm in Harmony!
The world of diatonic harmony awaits. The incorporation of American Folk Songs into the body
of resources available to the practitioner of Orff Schulwerk is essential. American folk music is rife
with songs that have basic, elemental chord changes. These include but are not exclusive to: I - V,
I - IV - V, I - vi - V. Advanced techniques for Orchestration using these chord changes are covered
in detail in Level 3.
Also awaiting discovery are the modes. You’ve been using them for 2 weeks! In Level 2 you’ll get a
thorough introduction to them, learn how they are used in folk music and lore, and learn how to
apply orchestration techniques that we’ve begun in Level 1.
Day9:81

VCU Basic Orff 2013
Brent Holl, Instructor
In Level 1 we get a taste. As the saying goes: “We’ll spread green rushes at your feet.”
See Dees ( from Wood Songs by Brent M. Holl)
Aim:
❧❧
Reinforcement of advanced mallet technique.
❧❧
Incorporation of text and rhythm.
❧❧
Introduction to the Lydian Mode.
Process:
❧❧
Review basic mallet technique, holding, alternation.
❧❧
Play low F first on half notes, then quarter, then eighth, then 16th. then the reverse.
❧❧
Change pattern to first two measures of See Dees.
❧❧
Learn last two measures and ending (advanced version: double the rhythm).
❧❧
Add the Jingle Bells.
❧❧
Add the whip.
❧❧
Add the “upside down” bordun (the bass drone is “understood”).
Extension:
❧❧
Add a B section.
❧❧
Temple block plays straight eighth notes.
❧❧
Make a rap song out of Our Show - Jack Prelusky. From Sweet & Silly Poems
(A Muppet Press/Golden Press Book)
Kalendara (Marimba Music 1 by Jon Madin, p. 17.)
Aim:
❧❧
Introduce a I - V and I - IV - V orchestration. (Life after pentatonic!)
Process:
❧❧
Learn the first phrase using “add a note.”
❧❧
Perform the whole thing.
❧❧
Learn the second phrase using “scale going up and scale going down.”
❧❧
Play “rotation” to reinforce the melody.
❧❧
Find the chord changes by signaling with hands when the I chord, V chord and the IV chord
should be played.
❧❧
Play the simple Bass Part; then add the cha cha cha’s.
❧❧
Add the percussion; let the piano fill in the chords.
Extension:
❧❧
Learn the Alberti bass.
❧❧
Learn the countermelody.
❧❧
Learn the chords.
❧❧
Add the Drum Break.
Day9:82

VCU Basic Orff 2013
Brent Holl, Instructor
Folk Dance Kalendara
❧❧
Formation is a line of 4 or 5 or more with double basket hold
c œ œ œ œ
œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ
R together R together
(side)
R together R L R
(in place)
L together L together
(side)
L together L R L
(in place)
. œ œ œ œ œ œ œ œ .
step step
(forward)
step stomp
step
(back)
step
step stomp
❧❧
Add a rhythm break on the drums.
❧❧
Change partners during the break; reattach and away you go!
❧❧
Accellerando through 4 repeats of the dance!
The Water is Wide (Folk song arranged by Brent M. Holl)
❧❧
A first experience with a I - vi - V orchestration.
Process:
❧❧
Play the tune on recorders.
❧❧
Sing/play.
❧❧
Add the bass part.
❧❧
Add the AX.
❧❧
Add the AM.
❧❧
Make a form and sing and play.
Cantique Exotique - (Ensemble by Brent M. Holl)
Aim:
❧❧
Demonstrate a special World Music use for the Orff instruments.
Process:
❧❧
Play the Bass Metallophone part twice along with the gong, wind chimes, and finger
cymbals.
❧❧
Add the Alto Metallophone and play twice.
❧❧
Add the Soprano Metallophone and play twice.
❧❧
Add the Soprano Recorder and play twice with an interlude between repeats.
❧❧
Subtract and add parts as you wish, ending with a fade out.
❧❧
For a realistic gamelan sound on the metallophones, use hard plastic or wooden
mallets.
❧❧
Look for some authentic wind chimes to add atmosphere.
❧❧
The CD arrangement uses a “detuned” metallophone and real chimes to imitate the
sounds of the gamelan orchestra.
Day9:83

VCU Basic Orff 2013
Brent Holl, Instructor
Extension:
QQ
Make a “serpent” by hooking together, bending at the waist and and “serpentine” an entry,
a “round-about” and an exit. The serpent can contort, twist, rise and fall. Make a serpent
“head” with some fantastic imaginary antenna and feathers.... Perform the dance using the
recording.
Old Woman (arr. by Brent M. Holl)
(see score on p. 88)
Aim:
❧❧
Play and sing a classic I - V song with Orff accompaniment.
Process:
❧❧
Learn the song from the handout.
❧❧
Find an unpitched instrument for each “male” verse.
❧❧
Add the accompaniment.
❧❧
Sing numerals, then letter names for the bass part.
❧❧
Add the common tone.
❧❧
Add SX (mallet technique exercise) (diaphony)
❧❧
Add glocks and unpitched.
❧❧
Learn the first two measures of Mendelssohn’s “Wedding March” for a coda.
❧❧
Make a final form (including some good acting and story telling).
❧❧
Include Q/A improvisation with drone as “silent movie” accompaniment for dramatic scenes.
Extension:
QQ
Create a dramatic scene with an “old woman” and a young “suitor.” The suitor acts out the
text, alternately mocking and feeling sorry for the old woman. He reacts with surprise and
chagrin when the old woman turns the tables on him at the end.
Day9:84

VCU Basic Orff 2013
Brent Holl, Instructor
See Dees
Soprano
Xylophone
Alto
Xylophone
Jingle
Bells
Whip
Bass
Xylophone
&
&
÷
÷
&
c
c
c
c
c
Brent M. Holl
œ
œ œ œ œ œ œ œ œ œ
œ
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
SX
AX
Jng.Bls.
Whip
BX
3
&
&
÷
÷
&
1 2
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ Œ
U
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ
∑
∑ . Œ Œ Œ œ
.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
.
.
.
.
.
Day9:85

VCU Basic Orff 2013
Brent Holl, Instructor
Soprano
Recorder
Alto
Metallophone
Alto
Xylophone
Bass
Xylophone
1
&
&
&
&
#
#
#
#
c
c
c
c
The Water
Œ œ œ œ œ w * Is Wide
œ œ œ œ œ
∑ œ œ œ œ w
∑ ∑
œ œ œ œ œ
∑ œ œ œ œ w
The wa - ter is wide,
I can not get
Folk Song
arr. Brent M. Holl
w
o'er,
œ œ œ œ
∑
œ œ œ œ
AM
5
&
&
#
#
Œ
w
œ œ œ
and nei - ther
w
have
œ œ œ œ
œ œ œ œ œ
w
I wings to
w
fly.
œ œ œ œ
AX
BX
&
&
#
#
œ œ œ œ œ
w
œ
∑
œ
œ
œ
œ œ
w
œ œ œ
œ
œ
∑
œ
œ
AM
AX
BX
9
&
&
&
&
#
#
#
#
Œ œ
O
w
œ œ
w
œ œ œ
give me a
œ œ œ
w œ œ œ œ œ œ
œ œ œ œ w
boat
that will car -ry
œ œ œ œ w
∑
œ œ œ œ œ
w
two,
œ œ œ œ
∑
œ œ œ œ
Day9:86

VCU Basic Orff 2013
Brent Holl, Instructor
Soprano
Recorder
Soprano
Metallophone
Alto
Metallophone
Finger
Cymbal
Wind
Chimes
Gong
Bass
Metallophone
&
&
c
c
& c
÷ c
÷ c
÷ c
c
∑
œ œ œ œ œ œ œ œ
œ œ œ œ œ.
Cantique Exotique
Ó Œ œ
˙.
Œ
Œ ˙.
œ œ œ œ
J œ
Ó ‰ œ j œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
Ó Œ œ
˙.
Œ
Œ ˙.
œ œ œ œ
.
.
.
.
.
.
.
Brent M. Holl
˙ ‰ œ j œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ.
Ó Œ œ
˙.
Œ
Œ ˙.
œ œ œ œ
J œ
SR
SM
AM
FC
WC
Gng.
BM
SR
SM
AM
FC
WC
Gng.
BM
4
&
&
&
÷
÷
÷
7
&
&
&
÷
÷
÷
˙ j
‰ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
Ó Œ œ
˙.
Œ
Œ ˙.
œ œ œ œ
˙ ‰ j
œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ.
Ó Œ œ
˙.
Œ
Œ ˙.
œ œ œ œ
J œ
œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ.
Ó Œ œ
˙.
Œ
Œ ˙.
œ œ œ œ
˙ ‰ j
œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
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˙.
Œ
Œ ˙.
œ œ œ œ
J œ
œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ.
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˙.
Œ
Œ ˙.
œ œ œ œ
˙ ‰ j
œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
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˙.
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Œ ˙.
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J œ
˙ ‰ œ j œ œ .
œ œ œ œ œ œ œ œ
.
œ œ œ œ
Ó Œ œ
˙.
Œ
Œ ˙.
œ œ œ œ
.
.
.
.
.
Day9:87

VCU Basic Orff 2013
Brent Holl, Instructor
Day9:88

Movement Day 9 - Put it all together
VCU Basic Orff 2013
Brent Holl, Instructor
Down in the Valley by Bessie Jones (Slice the Ice by Fulton and Smith, p. 40.)
*
Aim:
❧❧
Reinforcement of high & low through movement and singing.
❧❧
Reinforcement of Pulse
❧❧
Improvise movement patterns as a solo; as a couple. Use imitation, mirror, or just “make a
motion.”
* Process:
❧❧
Learn the melody by rote with hand clapping accompaniment.
❧❧
When secure add the game:
xx
Students stand in a circle, 2 or 4 students in the center are kneeling;
xx
On the word “rise” they stand and “make a motion;” they can move individually or as
partners;
xx
They change their motion on the second verse;
xx
Each dancer picks a new dancer from the circle and the game continues.
Jingle at the Window (American Play Party by Mrs. Leslie Beall, arr. Brent M. Holl)
Review of song; Play another version
x x (http://www.traditionalmusic.co.uk/playparty-indiana/playparty-indiana%20-%20
0196.htm
❧❧
Pass one window, Tideo, Pass two windows, Tideo, Pass three windows, Tideo, Jingle at the
windows, Tideo.
xx
All form a single circle, with each boy in front of his partner. Each player has his left
hand on the right shoulder of the person in front of him. Circle left.
❧❧
Tideo, Tideo, Jingle at the windows, Tideo.
xx
Each boy makes a half turn to the right and swings his partner.
❧❧
I asked that girl to be my wife, She said, “No, not on your life.” I asked her mother and she
said, “No.” Jingle at the windows, Tideo.
xx
Each girl steps in front of her partner and all form a single circle again in position as 1.
❧❧
Tideo, Tideo, Jingle at the windows, Tideo.
xx
Each boy turns and swings the girl behind him in the circle.
❧❧
Add the orchestration and bop till you drop.
The Maestro Plays: by Bill Martin, Jr. and Vladimir Radunsky
Aim:
❧❧
Putting it all together with a Children’s book.
❧❧
Brainstorm action words; verbs and adverbs;
❧❧
Interpret a story in movement using action words
Process
❧❧
Read the book together.
❧❧
Make a list of all the action words.
❧❧
Divide them up in the group
Day9:89

VCU Basic Orff 2013
Brent Holl, Instructor
❧❧
Create patterns of movement that interpret the words.
❧❧
Try and use as many of the tools of movement as you can:
xx
Imitation; Mirror; Call/Response; Q/A; solo; duet; ensemble; self-space; shared space;
Levels; dynamics; connections; negative space; positive space; locomoter; non-locomoter;
xx
Include props, instruments, improvised dialogue.
xx
Prepare for a class performance with narrator.
Day9:90

Day 10. Why the Canon
VCU Basic Orff 2013
Brent Holl, Instructor
A Good Morning Song! (from Shirley McRae, Level 1 Notes, 1977)
4
& b
& bc œ œ
Say hel -
C7
œ œ œ œ œ œ œ œ
oth-er Fri day morn ing what more
F
œ œ œ œ œ œ œ œ
lo to the morn - ing, say hel - lo to the day, it's an -
F
œ œ œ œ
can I say
Day10:91
gm7
œ œ œ
Put a
œ œ œ œ œ œ œ
F
œ œ œ
smile on your face,
œ œœ œ
put the
& b œ œ œ œ œ œ œ
.
œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
7
gm7
beat in your feet,
A Good Morning Song
Make a
c7
Fri-day morn-ing rhy-thm with some -
Shirley McRae, arr. BMH
f
one you meet.
Aim:
❧❧
Review Question/Answer technique in Jazz style.
❧❧
Try some jazzy Body Percussion.
❧❧
Combine movement and body percussion.
Process:
❧❧
Learn the song by rote.
❧❧
Chart the form. Find the Antecedent and Consequent Phrases (Trading Fours).
❧❧
Find a partner and “Trade Fours” using body percussion of your choice.
❧❧
Move through shared space as you sing once through. End up with a new partner and Trade
Fours with them.
Extension:
❧❧
Try Trading Fours using vocal scat.
❧❧
Try Trading Fours on an instrument in F Pentatonic.
Seminar: The Canon
Canon - a kind of composition in which the same melody is played or sung
through by two or more voice parts at the same or at a different pitch (The
American College Dictionary).

VCU Basic Orff 2013
Brent Holl, Instructor
“Canon is a technique in which one voice is repeated two or more times so that
the repetitions come together in the right harmony (with) complementary
rhythms and melodies.” (Jos Wuytack, ‘79)
“A canon is a melody that sings along with itself in harmony” (Brent M. Holl)
“The joy of singing a Canon lies in the fact that everybody at some stage sings
the tune.” (Richard Gill. Nine New Canons. Magnamusic-Baton, Inc. 1984.)
“Great power lies in the cyclical nature of a round, the intensity of collective
chant or the clarity of a beautiful yet simple song. (Marytha Paffrath. Libana.
“A Circle is Cast”)
“Minimalist by nature, rounds create an exquisite circular motion for both singers
and the listener. Their repetitive, mantra-like phrasing facilitates a deeper,
inner experience of emotion or allows a potent affirmation of a belief or image
to occur. Singing rounds is also an inherently communal activity with each
part holding equal importance within the whole.” (Susan Robbins. Libana. ¨
Fire Within”)
Mini-Canon
Aim:
❧❧
Learn an advanced technique for leading imitation; immediate, improvised canon.
Process:
❧❧
Using body percussion, each member of the class takes a turn.
❧❧
Use convergent rhythms in simple meters at first.
❧❧
Find rhythm patterns that work well (ahead of time).
❧❧
Be very clear in form with good phrase structure.
Day10:92

Clapping Canon (unknown - A la Steve Riech)
VCU Basic Orff 2013
Brent Holl, Instructor
Clapping Canon
÷
4 1 4 1 4 1 4 1 4 1 œ œ
œ œ
œ œ
œ œ
œ
œ œ
œ œ
œ œ
œ œ
œ
&
∑
œ œ
œ œ
œ œ
œ œ
œ
œ œ
œ œ
œ œ
œ œ
&
∑
∑
œ œ
œ œ
œ œ
œ œ
œ
œ œ
œ œ
œ œ
&
∑
∑
∑
œ œ
œ œ
œ œ
œ œ
œ
œ œ
œ œ
&
∑
∑
∑
∑
œ œ
œ œ
œ œ
œ œ
œ
œ œ
11
11
11
÷
&
&
&
.
.
.
.
œ œ
œ
œ œ
œ œ
œ œ
œ œ
œ
œ œ
œ œ
œ œ
œ œ
œ
œ œ
œ œ
œ œ
œ œ
U
œ
œ œ
œ œ
œ œ
œ œ
U
œ
œ œ
œ œ
œ œ
œ œ
U
œ
œ œ
œ œ
œ œ
œ œ
U
œ
œ œ
œ œ
œ œ
œ œ
œ
œ œ
œ œ
œ œ
.
.
.
.
11
&
.
œ œ
œ œ
œ œ
œ
œ œ
œ œ
œ œ
œ œ
U
œ
œ œ
.
11
Aim:
❧❧
Trying out a Modern Style of Canon incorporating traditional body instruments
Process:
❧❧
Standing in a circle learn the canon in unison.
❧❧
Try in 2 parts after one beat.
❧❧
Try in 3 parts after one beat.
❧❧
Try in 4 parts after one beat.
❧❧
Try in 5 parts after one beat.
❧❧
Finale: start the canon one person at a time all the way around the circle. See if you can
stop one at a time as well!
Day10:93

VCU Basic Orff 2013
Brent Holl, Instructor
Activity 4 – May God Hold You (Jos Wuytack, adapted by BMH)
1
&4 3 1
œ œ
Go in
May God Hold You
2 3
œ œ
peace now, go in
œ
œ
œ œ œ œ œ
peace.
Jos Wuytack
words by Brent M. Holl
May the gen - tle
4
& œ
œ œ œ œ
2 4 œ œ œ œ
4 3
œ œ œ œ
wind help you on your
way. May the
sun shine up -
7
& œ
œ Œ 2 4
‰
J œ œ œ
œ œ œ
on
you,
and may God
hold you, may
10
& œ
4 3 .
œ œ œ œ œ œ
˙
God hold you
in his lov - ing
hand.
A Circle Dance - Still, Still, Still. (Mannheim Steamroller)
Aim:
❧❧
Review Pulse
❧❧
Review Augmentation and Diminution
Process:
❧❧
16 Beats Introduction
❧❧
16 Steps CCW, 8 Sways
❧❧
16 Steps CCW, 10 Sways
❧❧
Repeat 2 more times
❧❧
Still on the last note...
Day10:94

Day 10 - Pick up, Clean up, Finish up.
VCU Basic Orff 2013
Brent Holl, Instructor
1.
& # # c œ œ œ œ œ œ
3.
Hush
An -
Al -
lit - tle ba -
gels guard
le - lu -
Hush Little Baby
by,
you
ia,
2.
œ œ ˙
don't
while
4.
Al -
you
you
le -
cry,
sleep,
lu.
Brent M. Holl
& # # œ œ œ œ œ œ œ œ œ ˙
.
You'll
Pray
Al -
be an
to the
le -
an -
Lord
lu -
gel
your
ia,
by
soul
Al -
and
to
le -
by.
keep.
lu.
(from Canons Too! - BMH, p. 15.)
Aim :
❧❧
Sing and move to reinforce the learning of the note values half note, quarter note, and eighth
note.
Process:
❧❧
Learn the song from the overhead.
❧❧
After it’s memorized, go and walk the given note values as you sing
❧❧
Change to a different note value on command.
❧❧
Learn the pattern of note value steps.
÷c ˙ ˙
œ œ ˙
Right
left
right left both
❧❧
Add direction, level, and arrive at a routine.
❧❧
Sing and move. Incorporate elements of the song
❧❧
Add orchestration
❧❧
Sing and move in 2 and 4 part canon.
Goin to Boston
© 1997 BMH. All rights reserved.
❧❧
Circle Left all the way to Boston
❧❧
Saddle Up Girls (Forward in your lines, join with your partner and promenade counter-
Day10:95

VCU Basic Orff 2013
Brent Holl, Instructor
clockwise)
❧❧
Rights and Lefts (Grand Right and Left)
❧❧
Reel Miss Maggy (Head couple reels opposite line and partner in alternating pattern)
❧❧
Johnny Johnny gonna tell your Papa. (Head couple finishes the reel and stays at the foot.
New head couple and dance starts again.
Note to Basic Level 1 Students:
Please feel free to use anything in these notes written or arranged by Brent Holl for your own
professional use in class or workshops. Simply make sure that the following notice is on each copy:
© Brent M. Holl, 2013. All rights reserved. Used by permission.
For all other materials permission must be obtained from the copyright holder.
Brent M. Holl
302 East College Street
Bridgewater, Va. 22812
540-478-4833
brentholl@mac.com
www.brentholl.com
For Friends:
Always remember to forget
The things that made you sad,
But never forget to remember
The things that made you glad.
Always remember to forget
The friends that proved untrue,
But never forget to remember
Those that have stuck by you.
Always remember to forget
The troubles that passed away,
But never forget to remember,
The blessings that come each day.
- An Irish Saying
2013
Day10:96

SELECTED BIBLIOGRAPHY
University of New Orleans 2010
VCU Basic Orff 2013
Brent Holl, Instructor
Alley, Maria. http://www.doremiandmaria.com/CD/Lessons_webpreview.pdf
Amchin, Robert A., Recorder Frolics. Beatin’ Path Publications. 302 East College Street,
Bridgewater, VA 22812. 1998.
Armstrong, Jennifer. Dancing in the Circle. Song Spun Stories. P. O. Box 6264, Evanston Ill.
60204. 1995.
Baber, Frank, Illustrator. Mother Goose. Gramercy Publishing Company. New York. 1976
Bach, J. S. Brandenburgische Konzerte 1 - 6. Weiner Akademie, Martin Haselbock, conductor.
Novalis 150035-2, 1989.
Collins, Mitzie. Sounds Like Fun. 1984.
Davis, Gary. Mannheim Steamroller, A Fresh Aire Christmas. American Gramophone
Records. AGCD 1988.
Dupere’, Rene. Mystere - Cirque du Soleil. RCA Victor 09026-62686-2. Distributed by BMG
Music, New York, NY. 1994.
Ellington, Duke: Music is My Mistress. Musical Heritage Society, Inc. 1710 Highway 35,
Ocean, New Jersey 07712. 1990. MHS 522551M
Fulton, Eleanor and Pat Smith. Slice the Ice. MMB Music, Inc. 1978.
Grieg, Edvard. Peer Gynt. Gochenburg Symphony Orchestra and Chorus conducted by
Neeme Jarvi. Deutsche Grammophon 423079. 1987.
Holl, Brent. Canons Too!. Beatin’ Path Publications, Ltd. 302 E. College St. Bridgewater, Va.
2004
Holl, Brent. Ensemble. Beatin’ Path Publications, Ltd. 302 E. College St. Bridgewater, Va.
2002.
Holl, Brent. Wood Songs. Beatin’ Path Publications, Ltd. 302 E. College St. Bridgewater, Va.
2003.
Jones, Bessie and Bess Lomax Hawes. Step it Down. Games, Plays, Songs & Stories from the
Afro-American Heritage. University of Georgia Press, Athens GA 30602, 1972.
Johnston, Richard. Folk Songs North America Sings. Caveat Music Publishers Ltd, Toronto.
1984.
Day10:97

VCU Basic Orff 2013
Brent Holl, Instructor
Khatchaturian, Aram. Gayaneh - Sabre Dance. Favorite Classics of the Bolshoi Ballet. Madacy
Music Group, Inc. P. O. Box 1445, St-Laurent Quebec, Canada H4L 4Z1 1993.
Libana. A Circle is Cast. Libana, Inc. PO Box 530, Cambridge, MA 02140 1986.
Madin, Jon. Marimba Music 1.
Matthews, Bill. The New Conga Joy for Djembes, Congas, and Ashikos. Bill Matthews Publisher,
c/o Fremont Drum, 3526 Fremont Place North, Seattle WA 98103. (206) 632-1096.
1995.
McKrae, Shirley. Notes: Level I. 1977. Memphis State University Summer Certification
Courses in Orff Schulwerk.
Mueller, Sue. Simply Speaking. Beatin’ Path Publications, Ltd. 302 East College Street,
Bridgewater, VA 22812. 2008.
Murray, Margaret. Music for Children - Volume 1 Pentatonic. Schott & Co., Ltd. London.
Nichols, Michael R. Seasons and Holidays. Beatin’ Path Publications, 302 East College
Street, Bridgewater, VA 22812. 1998.
Nichols, Michael R. Children’s Orff Music for Church Volume 1. Beatin’ Path Publications,
302 East College Street, Bridgewater, VA 22812. 1998.
Nichols, Michael R. Children Sing Praise. Easy Orff Arrangements for Children’s Choir.
Beatin’ Path Publications, 302 East College Street, Bridgewater, VA 22812. 1998.
Orff, Carl. The Schulwerk. The Schott Music Corporation, New York.
Orff, Carl and Gunild Keetman. Orff-Schulwerk: Music for Children. Vol. I. Adapted by
Margaret Murray. Schott & Co. LTD. London.
Prelutsky, Jack, Marc Brown, and Jim Trelease. Read - Aloud Rhymes for the Very Young.
Alfred A. Knopf, Inc. New York. 1986.
Rohrbaugh, Lynn, revised by Cecilia Riddell. Handy Play Party Book. World Around Songs,
Inc. Rt. 5, Box 398, Burnsville, North Carolina 28714. 1982.
Saliba, Konnie K. Good Morning Songs & Wake up Games. Cock-a-Doodle Tunes. Box
311, Cordova TN. 38018. 1986.
Saliba, Konnie K. Yours Truly! Creative Choices for Orff Classes. Memphis Musicraft Publications.
3149 Southern Avenue, Memphis, TN 38111. 1993.
Shenanigans. Dance Music for Children, Level 1. 1986.
Day10:98

VCU Basic Orff 2013
Brent Holl, Instructor
Shenanigans. Best of Shenanigans - Volume 1. 2000.
Solomon, Jim. Conga Town. Percussion Ensembles for Upper Elementary and Middle
School. Belwin Mills Publishing Corp. (ASCAP) All Rights administered by WARNER
BROS. PUBLICATIONS U.S. INC.15800 NW 48th Avenue, Miami, Florida 33014. 1995.
Tchaikovsky, Peter. Russian Dance - Trepak from the Nutcracker Suite. The Classical Collection,
Second Edition. Musical Heritage Society, Inc. 171- Highway 35, Ocean, New
Jersey 07712. 1989. MHS 533037X
Various Contributors. Music for Children Orff-Schulwerk - American Edition. Schott Music
Corp. 1977.
Warner, Brigitte. Applications for the Classroom. Prentice Hall. 1991.
Whitney, Maurice C., Arranger. Renaissance Debut. Consort Music Inc. A division of Magnamusic,
Sharon Conn. 06069, 1974.
Wuytack, Jos, adapted by Judy Sills. 55X Funtastic - 55 Songs with Motion for Children.
Waterloo Music Company Limited, 3 Regina Street North, Waterloo, Ontario, Canada,
N2J4A5. 1993.
Wuytack, Jos. Lamelou - Canons et Chants. Alphonse Leduc et Cie, Editions Musicales, 178
rue Saint-Honore’, Paris. 1970.
Wuytack, Jos. Musica Activa. An approach to Music Education. (English adaptation and
commentary by Judy Sills). Schott Music Corporation, New York, 1994.
Wuytack, Jos. Notes: Master Classes 1979-1995. Memphis State University Summer Certification
Courses in Orff Schulwerk.
Day10:99