An Orff Teacher Comes to Choir Roger Sams 3148 West Blvd. Cleveland, OH 44111-1849 (216) 476-0583 rogersams@mac.com Sponsored by:
Where Go the Boats by Roger Sams Crooked River Choral Project. Volume 1 Teaching plan by Beth Ann Hepburn, Roger Sams and Holly Walton Rhythmic Preparation: Rhythm Work: Students read eight beat patterns from the song with an emphasis on discovering where the half notes are placed in each pattern. Partner Rhythms: Students pair up. One partner taps the steady beat on their partner s free hand. The second partner taps the rhythm on their partner s free hand. Students experience beat vs. rhythm. Vocal Preparation: Descending fourth in head tone: eee---ah Transform into river : ree-vah Solfege: s s m r d low s - Raise eyebrows and hands on low s to lighten up the tone. A Section: Learning through Literacy Orient on the staff. Where is Do? Where is Sol? Where is low Sol? Where is the warm up pattern found in the score? Where is there a variation of this pattern in the score? What note follows this pattern? Low La. Practice singing the opening motive and then holding low La. Students decode notation for the second half of the first phrase. Students decode notation for the second phrase. Students discover that the third phrase is a and sing in solfege. Students decode notation for fourth phrase and sing in solfege. Sing A Section in solfege. Add text. Emphasis on dark vowels. (ree-vah) B Section:
You could easily teach this portion through solfege. For our purposes today we will learn it through echo imitation. Return of A Section: Pay particular attention to the octave anacrusis. Sing entire song with accompaniment. Recorder: The A Section of this piece plays very nicely on soprano recorder. Prepare with echo imitation singing absolute pitch names and practicing the fingerings. Students echo the teacher by phrase. Play the entire A Section with accompaniment. Final Performance: Put everything we ve worked on together. Recorders play the A Section on the repeat.
Marching Song by Roger Sams Crooked River Choral Project. Volume 2 Teaching plan by Beth Ann Hepburn, Roger Sams and Holly Walton Rhythmic Preparation: Simultaneous Imitation: Students join teacher on various rhythms extracted from the piece performed on body percussion. Ex: Vocal Preparation; Siren on mmm. Do, Mi, Sol, Mi, Re. Above pattern on Rum, pum, pum, pum, pum. Drum Chorus: Students learn the Drum Chorus through echo imitation. Verse: Learning through Literacy Students read rhythm. Review Low Sol and Low La through four beat echo patterns. Students read solfege through stick notation. Students read solfege from staff. Students read lyrics for the first three verses, followed by the Drum Chorus. Flute Chorus: Students read rhythm, simplified with quarter note instead of eighth note and eighth rest. Students read solfege from stick notation. Students read solfege from staff. Add text. Change the rhythm for dot.
Put together with Drum Chorus. Cymbal Chorus: Students read rhythm. Teacher introduces or reviews Ti. Students learn melody through echo imitation in solfege. Add text. Layer in all three parts together on the chorus. Sing first three verses with chorus, adding an instrument each time. Fourth Verse: Augmentation Use the fourth verse to teach the concept of augmentation. Teacher sings verse in solfege the original way and then sings it in augmentation. Students describe what they hear. Teacher introduces the term augmentation. Add text. Put entire piece together. Optional Percussion Parts: Hand drums practice down and up strokes on, rum, pum, pum. Recorders play the Flute Chorus. Cymbals play on the word, crash.
Star by James Carr Crooked River Choral Project. Volume 3 Teaching plan by Beth Ann Hepburn, Roger Sams and Holly Walton Rhythmic Preparation: Feel meter in three while listening to recording of piece. Melody: Teacher models ah-ee-ah on measures 17-19 then 21-23. Students sing ah-ee-ah on measures 17-19 then 21-23.
Add text walk with us. Add Star at the beginning. Teacher models, then students sing. Sing up through m. 24. Students sing the parts that they know. Teacher fills in the holes. Students learn through rote. M. 25-45. Students feel meter. Teacher speaks rhythm. M. 25-45. Students feel meter and speak text. Rote teaching of remainder of melody. Harmony: Learn harmony line by rote and put with melody. Work on canonic imitation beginning at m. 50. Sing entire piece. Star by James Carr Crooked River Choral Project. Volume 3 Teaching plan by Beth Ann Hepburn, Roger Sams and Holly Walton Rhythmic Preparation: Feel meter in three while listening to recording of piece. Melody: Teacher models ah-ee-ah on measures 17-19 then 21-23. Students sing ah-ee-ah on measures 17-19 then 21-23. Add text walk with us. Add Star at the beginning. Teacher models, then students sing. Sing up through m. 24. Students sing the parts that they know. Teacher fills in the holes.
Students learn through rote. M. 25-45. Students feel meter. Teacher speaks rhythm. M. 25-45. Students feel meter and speak text. Rote teaching of remainder of melody. Harmony: Learn harmony line by rote and put with melody. Work on canonic imitation beginning at m. 50. Sing entire piece.
Hazrat Bibi Maryam by Zuleikha/Arranged by James Carr Crooked River Choral Project. Volume 3 Teaching plan by Beth Ann Hepburn, Roger Sams and Holly Walton Vocal Preparation: Up a fifth on yah. (yawn) Learning the Melody through Literacy and Rote Teaching: Read rhythm through m. 5-12. Read solfege. Rote teaching of Arabic text. Rote teaching of m. 13-20. Sing entire melody in Arabic.
Learning the Alto Part (m. 21-36) through Literacy. Sing in solfege. Sing in Arabic. Put together with melody. Learning the Descant Part (m.37+): Practice opening intervals. Echo teacher in Arabic on these first 8 measures of the descant. Due to time contraints, once we have differentiated between these two intervals we will sight read the descant. The Circle Dance: Single circle formation. Hands go up towards the center of the circle in phrase one. Hands come back to starting position in phrase two. For the remainder of the melody dancers move around the circle similar to a grand right and left, but the arms are elevated in a crescent shape. Dancers cross arms at the wrist.