www.welcometomusic.net pg. 1 Website: Facebook: YouTube: Take Orff with Webinar notes Presented by Susie Davies-Splitter (M.Ed.) & Audrey Klein (B.Ed.) Part 1 Bucket Drumming
- Susie Davies-Splitter & Phil Splitter Website: Facebook: YouTube: The brain is designed for movement first - full sensorial experience creates the best learning. Multi-modal multi-sensory experiences are for learning, with the full-body experience creating intertwined sensory and motor maps for deep understanding. Moving – actively involved – getting blood to the brain Multi sensory experiences – visual, aural and kinaesthetic Multimodal and whole-body learning – rhymes, songs, games, instruments, movement, dance etc “Learning music promotes connections between multiple parts of the human brain.” “In particular, learning a musical instrument involves highly complex tasks across multiple modes of the brain.” Dr Anita Collins & Bigger Better Brains Dr Robyn Staveley Neuropedagogy in Music Course "Rich contexts, full of connections and action, is the way the brain works best, and makes the most integrated conceptual networks." Robyn Staveley interview IACMME Ep 4 What is the connection between brain, body & environment - embodied cognition, body & movement Interview with Robyn Staveley - IACMME Episode 5 What the research says about tools in the music classroom & the learning benefits. IACMME YouTube channel & IACMME website Dr Carol Richards The International Association of Creative Music and Movement Education (IACMME) is dedicated to the promotion of inclusive and effective music education through the use of creative active pedagogies.
Davies-Splitter & Phil Splitter Website: Facebook: YouTube: Rim - R Sticks - ST Side drum Bass - B SD Floor/chair/table FT First Activity - Explore Imitation - one hand, both hands alternate hands Different sounds on the drum
& Phil Splitter Website: Facebook: YouTube: Poison Rhythm Game Don't tap this one back Learn the first poison rhythm Start with 4 beats to a bar patterns including ta, ti ti and zaa, then tika, then syncopation Put sounds on bass, rim, or side of drum Play silence (rests) by tapping sticks The leader plays some of the written rhythms below or makes up their own to be echoed by the group At any time, the leader can play the poison rhythm Anyone that plays the poison rhythm back is OUT! Choose a new poison rhythm and new leaders Keep going until you get a final winner! Write your own poison rhythms using ta, ti ti and za First Poison Rhythm Explore - games Echoes, leaders, Q&A Introduce notation through rhythm cards - see notes Have a musical conversation through a call and response on the drums Call - play the rhythm of your name on your drum 'my name is Susie' Response - everyone responds with the rhythm of 'ashay ashay' from the song 'Funga Alafia' Name Game Rhythms Create an ostinato that everyone plays. Layer in the entries. Use cues such as dynamics, tempo, rumble, stop, play again, keep playing, grouping, wave, orbit See next page Ostinato with cues Pass the beat/ rhythm Each person takes it in turns to play one beat or rhythm around the circle
Susie Davies-Splitter & Phil Splitter Website: Facebook: YouTube: Be energetic and clear with instructions Play in a circle so everyone can be seen and sit in the circle line with the students No thrashing Consequences for inappropriate behaviour - take sticks away Use visual cues such as rhythm cards or dynamics (pp, p, mf, f, ff) < > or tempo cards Stop - cross sticks OR sticks on the floor OR using hands in front of your chest and swing them out quickly or bring your arm down quickly Play - count in “1 2 3 4” with sticks or say 1, 2 ready play or start the groove on a drum or invite the group to play each time you step Play sections - fingers on hand; hand in the air; touch head etc Call to Groove - 1, 2 back to the groove Continue to play - roll fingers Dynamics - volume up and down – hold arms out to the sides and make a lifting motion – loud. Soft is the reverse Tempo – often stepping along with the pulse and then exaggerate the tempo for faster – and put thumbs up – reverse for slow. Also for slow, walking around the circle taking large slow steps. Rumble – everyone plays fast together – move your hands fast Grouping Cues – non verbal - hand motioning to person or group – their turn. Group by people, age group, colours, instruments and so on. Wave – a rumble that moves from one side of the circle to the other Orbit – moving around the circle – you can create an orbit rumble Musical home - all explore and find the same groove A few hints Cues
& Phil Splitter Website: Facebook: YouTube: The 'Orff Schulwerk' approach “Every phase of Schulwerk will always provide stimulation for new independent growth; therefore it is never conclusive and settled, but always developing, always growing, always flowing.” Carl Orff Orff, Carl: “Orff-Schulwerk: Past & Future” (1963) Sing Say Move Dance Play Listen Whole body Multi Modal Multi Sensory
& Phil Splitter Website: Facebook: YouTube: Features of the approach Imitation Echo Ostinato Canon (a round) Rondo Whole song method Pentatonic scales Question and answer Call and response Bordun Improvisation at every Techniques used: opportunity The person is at the centre The social dimension – working within the group Music as an integral concept The instruments are inclusive and do not have technical obstacles The form as a ‘process’ - the work process and the artistic results have the same importance. Creativity in improvisation and composition Adaptability of Orff Schulwerk – can be assimilated in all education fields and in different cultures Seven principals of Orff Schulwerk Barbara Haselbach, Wolfgang Hartman, Orff Schulwerk Forum, 2013 Join an Orff Association in your city or country ANCOS - Australian National Council of Orff Schulwerk
- Susie Davies-Splitter & Phil Splitter Website: Facebook: YouTube: Sides of drum Rim Bass/centre Floor/Table SD R B S FT P This notation example follows the drum (and body) vertically from the bottom to the top
& Phil Splitter Website: Facebook: YouTube: Rhythm Pattern examples ta ti ti za ti - ka 1 beat, half a beat, 1 beat rest, quarter of a beat 4 4 Time signature - 4 beats per bar Full bar rest Beginning & end repeats Legend Mostly ta's, ti ti's and za's Adding tika's ti - half a beat si - half a beat rest
& Phil Splitter Website: Facebook: YouTube: Boom ga boom boom ga Bass rim bass bass rim Chest clap chest chest clap Groove 1 4 4 Play 3 times Last bar - play once Ch ch ch ch ch pa Side side side side side tap stix Pat pat pat pat pat click Groove 1 - Boom Ga with variation This is a 4 bar pattern - the first 3 bars are the same (with a variation in the 2nd bar) and the last bar is different which keeps repeating many times The Groove - 4 bar pattern
& Phil Splitter Website: Facebook: YouTube: The Groove - process Imitation - say and do the BP out of order Say – echo say the words one bar at a time accompanied by the BP. Add the variation in bar 3 With partners – say and do the rhyme together with the learnt body percussion - clapping on the 'ga's' Inner hearing – leave out one of the words and do the BP. Leave out another word until it's all said inside your head Improvise - create your own BP in the 2nd bar and then in the 4th bar Call & Response - choose a leader to do the calls and the group respond on the 2nd and 4th bars with something different. Swap over - the group do the calls and choose single leaders or small groups to do the responses. Canon – say then perform without the words in a 2 part canon, 2 beats apart Speech & Body Percussion (BP) Boom = chest Ga = clap yours or partners Ch = pat Pa = click Create your own grooves with new words (include ta's, ti ti's and za's, then add tika's and syncopation) Put groove sounds on bass, rim, or side of drum - later add table/floor/chair and sticks Play silence (rests) by tapping sticks Vary with dynamics, tempo and texture Write and compose your own grooves Facilitator begins with a one or two bar ostinato (repeated pattern) and then each person in turn adds their own pattern until everyone is playing Do again, but this time each person adds their 4 bar repeated groove pattern one at a time until everyone is playing Add cues such as - dynamics, tempo, rumble, stop, call to groove, keep playing, grouping, wave, orbit and finally musical home, settling on one in common groove that the group have created. Do all of the above transferring the BP to the drums Extensions Ostinato/Groove Game Bucket Drumming Boom = bass Ga = rim Ch = sides Pa = sticks
- Susie Davies-Splitter & Phil Splitter Website: Facebook: YouTube: Tutorials The Arts Unit NSW – Sticking to the drum basics Bucketdrumming.net Famous Call and Response Rhythm "Let's Go!" TOP 10 Bucket Drumming Beats of ALL TIME tutorial! From beginner to advanced Multi-Part Bucket Drumming Rhythm – beat breakdown Advanced Top Ten Bucket Drumming Beats #4 (+ #3)- Reggaeton Coach K Easy beginners How to Play Easy Bucket Music [Part 2 of 3] Peta Minter - PositiveMusic.com.au Vocal Percussion To Build Rhythm Skills | - vocalising rhythms Classes with kids and working with fit balls Jim Jam Music - with thanks to Kylie for permission to share her videos with students it incorporates more physical/gross motor movement with the drumming and kids love the sensation of the sticks bouncing off the fit ball and it also takes away the noise which can be an issue for those with sensory sensitivities with standard bucket drumming. Rhythm Stick Line Dance by F. Willis Music Drums of Africa- Drums Alive - using fit balls Modify for fit balls and buckets - Jim Jam Music Performances Sticksoff with Bucket Drum (guys in hoodies) Bucket drumming performance with 4 buckets – very advanced Playalong videos with buckets Uptown Funk Elementary Bucket Drum Follow Along We Will Rock U: Bucketdrumming.net: Kaboom - Pop song play alongs Old Town Road - Jim Jam Music With a huge thanks to Emily Butler for some of the bucket drumming links
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