Take Orff with Bucket Drumming, Part 1 - Handout

Transcript

1. © Welcome to Music - Susie Davies-Splitter & Phil Splitter 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
2. Buckets Find freebies at grocery stores, factories etc OR buy in bulk at hardware stores or online OR make them and decorate. Alternative - fit ball on bucket or basket Sticks - wooden (drum sticks, mallets, thin claves or sticks, pencils), pool noodles or cling wrap rolls (to soften the sound). Buy in bulk in music stores or make them. Ear plugs and/or ear muffs (for sensory issues) Buy in music stores or chemists Chairs Plastic stacking stools, chairs or buckets to sit on or place the bucket on top of a chair and stand behind Smart board/sound system Microphone for teacher Chattervox, whistle Equipment www.welcometomusic.net pg. 2 © Welcome to Music - Susie Davies-Splitter & Phil Splitter Website: Facebook: YouTube:
3. To invite students to explore beat, rhythm and the creative process in a fun, relaxed and safe environment. To provide inclusive opportunities for students to work together in partners and small groups through ensemble work, improvisation, rehearsal, composition and performance To provide simple rhythmic language tools, notation and interactive games that break the ice and develop a strong sense of teamwork. To enhance non verbal communication skills and develop strong leadership skills amongst the students. To encourage inclusion, cooperation and appreciation To reflect upon what the creative process can teach us about ourselves. To manage behaviour To use inexpensive instruments that won't break the bank To celebrate cultural knowledge through the exploration of pieces from different countries To promote the body/brain connection through movement, body percussion, voice work and instruments Goals for Educators/Facilitators Why bucket drumming? www.welcometomusic.net pg. 3 © Welcome to Music - Susie Davies-Splitter & Phil Splitter Website: Facebook: YouTube: Develop expressive and creative skills and ideas in a safe space Discover and learn about beat, rhythm and music notation Work together in small groups through ensemble work, improvisation, rehearsal, composition and performance Create a strong sense of teamwork and leadership skills Develop self-regulation and social skills Celebrate cultural knowledge through the exploration of pieces from different countries To learn how to: Goal for Students Philosophy for Facilitators Creating a safe space - belonging and feeling part of a community Being of service to others - having purpose and stepping into leadership roles Empowerment and value - to be heard and feel important - student voice Creating a classroom community and identity Joy - to share in activities that are fun and engaging From Mary Knysh & Music for People
4. The body/brain connection www.welcometomusic.net pg. 4 © Welcome to Music - 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.
5. Sounds www.welcometomusic.net pg. 5 © Welcome to Music - Susie 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
6. www.welcometomusic.net pg. 6 © Welcome to Music - Susie Davies-Splitter & 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
7. Drumming Cues/Signals www.welcometomusic.net pg. 7 © Welcome to Music - 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
8. www.welcometomusic.net pg. 8 © Welcome to Music - Susie Davies-Splitter & 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
9. www.welcometomusic.net pg. 9 © Welcome to Music - Susie Davies-Splitter & 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
10. Sticks Partner Notation www.welcometomusic.net pg. 10 © Welcome to Music - 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
11. www.welcometomusic.net pg. 11 © Welcome to Music - Susie Davies-Splitter & 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
12. www.welcometomusic.net pg. 12 © Welcome to Music - Susie Davies-Splitter & 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
13. www.welcometomusic.net pg. 13 © Welcome to Music - Susie Davies-Splitter & 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
14. Agahu (Western Ghana) About the song The song is typical of music in this part of the world, as it is in a call and response style. The melody of the response is always the same, but the caller may vary his/her tune. Pronunciation Pronunciation - Koo tonu yeah vooeh, mudza ayeah vueh © Welcome to Music www.welcometomusic.net pg. 14 © Susie Davies-Splitter & Phil Splitter Madza ayeh Vueh – a song from the Agahu collection Madza ayeh Vueh – a song from the Agahu collection Agahu is a collection of rhythms, dance movements and songs that go together to form a whole. Some Yoruba words were used in Agahu songs
15. Learn the song/dance © Welcome to Music www.welcometomusic.net pg. 15 © Susie Davies-Splitter & Phil Splitter Speech/sing - say then sing the response words Call & response - leader sings the calls and students sing the responses with djembe accompaniment. Switch Improvise vocally - over the calls using notes from the F pentatonic scale Add harmonies Dance steps – with variations - it’s usually a circle dance with travelling Weight on left leg and stamp stamp with right foot forward. Transfer weight to right foot and stamp left left Both elbows are bent all the time and your right shoulder is forward and body slightly bent forward. Click here to watch an Agahu YouTube clip
16. Speech, movement and body percussion Before touching an instrument, traditionally, rhythms are learned via speech patterns and body percussion, imitating the playing of the instrument. © Welcome to Music www.welcometomusic.net pg. 16 © Susie Davies-Splitter & Phil Splitter Instrument Parts Genkogui - 2-tone cowbell - 'Tin go go go go' Body Percussion - play 'tin' on left leg and 'go' on the right 'Tin' is the larger bell sound and 'go' is the smaller, higher pitched bell. Shekere - African shaker/maraca/cabassa 'Pa, pa-ti pa Pa, pa-ti pa, Pa, pa-ti pa, Pa, pa-ti pa' 1st and 2nd 'pa' - left hand taps left leg 'ti' - right hand lifts up to touch the right palm 3rd pa - as 1st Pa Click here to watch a YouTube clip of the Genkogui and Shekere
17. Sogo - bass/centre of drum - 'Pa ti-pa Pa ti-pa Pa ti-pa ti-ti-ka ti-pa' Body Percussion - play 'pa' & 'ka' on left thigh, closer to the knee and 'ti' on right thigh Kidi - rim of drum- (rest) kidi, (rest) kidi, (rest) kidi, (rest) kidi. Tap a foot, or a slight body bounce to represent the rest, then play 'ki' on the right thigh and 'di' on the left. Sides of drum - 'Bom bom ti-ka, ti ti ti ti-ka' Body Percussion - alternate hands on the sides of thighs Bucket Drum Parts © Welcome to Music www.welcometomusic.net pg. 17 © Susie Davies-Splitter & Phil Splitter Put it all Together Combine song, dance, instruments and improvisation and have a celebration!
18. Bucket Drumming Links www.welcometomusic.net pg. 18 © Welcome to Music - 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