Hand Drums, Rhythm Sticks, And Other Untuned Percussion

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1 Hand Drums, Rhythm Sticks, And Other Untuned Percussion Roger Sams Director of Publications and Music Education Specialist Music Is Elementary Play the Woodblock Prepare the students by leading 4-beat echo patterns on wood block or rhythm sticks. Students read the rhythm of the song. Add text and recite as poem. Teach the song by rote. (The students that I do this lesson with don t yet have the solfa skills to read this melody.) Perform in ABA form, with 4-beat echo patterns as the B Section. Turn into a Grand Rondo, with students leading the echo patterns. Working from a grid with four rows of four blanks (each blank representing one beat) the class composes a four motive wood block composition. Perform this new composition in ABA form with the song. Small groups compose their own four motive composition for the UTP instrument of their choice. Perform in a Grand Rondo.

2 Davy Dumpling From Purposeful Pathways, Book 1 Used with Permission PATHWAY TO Pitch: so mi la Lead so mi la echo patterns with the solfa tone ladder. Remember to extract patterns from the song. PATHWAY to LITERACY: 4, h, $ so mi la Students read rhythm of the song, using rhythm syllables. Students read solfa with hand signs. Students read text, if able, or learn text by rote. Students sing with text. Students sing while patting the steady beat. PATHWAY to ENSEMBLE: Steady beat chord bordun with color parts by word cue Transfer steady beat to chord bordun on BX/BM. Add hand drum part. - Students listen while you sing the song and clap on the rhyming words. - Boys and girls when did I clap? (On the rhyming words.) - How would we write down that rhythm? (h 4) - Students sing and clap the drum part. - Transfer clapping to hand drum. Prepare and transfer shaker part, using similar process and put all parts together. PATHWAY to ORCHESTRATION: Timbre exploration Students read the rhythm of the B Section.

3 Add text through reading or rote, as appropriate. Introduce (or review) the four families of UTP. Proper care and technique are explained. - Drums - Woods - Metals - Shakers/Scrapers What are the ingredients in our Davy Dumplings? - Flour - Egg - Sugar - Cinnamon Class works together to determine which UTP instrument goes with each ingredient. This class collaboration serves as the model for small group work. Small groups (teams of 4 will work best) create speech pieces adding UTP to the B Section. Four UTP families/four ingredients. Teams may select one instrument from each family. Each group shares their work with the class. Perform as a Grand Rondo with each team having the opportunity to be the B Section PATHWAY to COMPOSITION: Composing with icons Students review the poem. Create a word chain by arranging four ingredients below. Use that word chain as a speech ostinato under the poem. Consider moving this into a notation lesson, with students notating the rhythm of their ostinati. PATHWAY to ORCHESTRATION: h h 4 4

4 Transfer each ingredient in your new ostinato to a different UTP instrument Put ostinato together with poem. Use as B Section in ABA form. You could have small groups create ostinati and you ll have a different Grand Rondo. perform as percussion ensemble. Deta, Deta From Purposeful Pathways, Book 2 Used with Permission PATHWAY TO Literacy: 4 h $ and do re mi so la Students read the rhythm, speaking rhythm syllables and clapping. Students read the melody using solfa and hand signs. Add text. Students sing the song together. Emphasize beautiful, lyrical singing.

5 PATHWAY TO Ensemble: Song with three rhythmic ostinati Students read the rhythm of the drum ostinato. Students perform this ostinato with two levels of BP, clapping and patting. Divide the class in half. Half sings the song while the other half performs the BP ostinato. Trade parts. For an advanced challenge have the students perform both parts simultaneously. Transfer to HD, with down and up strokes. Students sing the song again and snap on the rests. Transfer the snap to triangle or finger cymbals.

6 Put drums, triangle, and singers together. Students read the rhythm of the rhythm stick ostinato, clapping and saying rhythm syllables. Transfer to rhythm sticks or other wooden sound and combine with singers. Divide the class into four equal groups: three instrumental groups and one group of singers. Put all four parts together. Begin with the drums and layer in the other parts, adding rhythm sticks next, then triangles, and finally, add the singers. PATHWAY TO Creative Movement: Group shadowing with glide Students create group choreography using gliding movements inspired by Japanese characters. Begin with individual exploration. Students draw the images with their arms. Give them time to explore various ways to interpret the written character for firefly. Play appropriate recorded music throughout the exploration. Review the concept of mirroring by leading a mirroring exercise with the whole class mirroring you. Consider student leaders. Lead the class in shadowing. Shadowing is following a leader who is not facing you. Students are scattered in self-space, facing the same direction that you are facing. (Your back is to the students.)

7 Model how to change body facing. This changes who the class is following. The student on the side that you turn toward, is the new leader. The students are all now facing a new direction. Once the concept has been explored as a group, form smaller groups. Place the students in groups of four in a diamond formation. Give each group a different Japanese character to inspire their movement, and a haiku poem to recite before, during, or after their movement. You may wish to collaborate with the classroom teacher and work with haiku poetry that is written by the students. Consider adding appropriate props if preparing for a performance, such as Japanese fans, lanterns, flashing lights, or rice paper umbrellas. These movement sections can be done as contrasting sections to the song and performed as a Grand Rondo.

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