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    20 views8 pages

    PD

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    Sound Structures for Creative Musicians Geary County Schools Professional Development Monday, February 12, 2018 Connie Van Engen, presenter \e Geary County, Kansas February 12, 2018 xePreparatory Play: + Capture the imagination. + Create an environment safe for taking the risk to learn. « Establish artistry within community. [Acknowledge different starting places} + Invite students on a journey. yeImitation: + Fosters skill and technique acquisition, + Builds vocabulary. + The student learns from a model. + 3 types of imitation-simultaneous, echo, canonic. veExploration: + Guided practice of a specific skill or concept. + Transfer to different media, a questioning phase, “What happens if...” + Collaboration is a powerful tool. + Performance is encouraged (Individual, small group, large group). veImprovisation: + Performance and application of the skill or content “in the moment”. + The Performer makes informed decisions drawn from experiences in imitation and exploration, seeking to speak something new in the language they know. + This step can lead to composition. + Improvisational structures can guide student choice. Elemental music is never just music. It's bound up with movement, dance and speech, and so it is a form of music in which one must participate, in which one is involved not as a listener but as a co-performer. Carl Orff 0 Connie Van Engen, presenter 3 Imitation: Simultaneous Imitation: Is initiated by the leader and copied by the students at the moment it is performed. Mirroring and shadowing are variations of simultaneous imitation. YE cho Imitation: Is demonstrated by the leader and copied immediately by the student in another medium. (Movement, body percussion, voice, instrument) v¥Canonic Imitation: Is performed as a delayed echo. Improvisational Structures: +Student-led Imitation ‘veRhythmic Building Bricks ‘4 and 8-beat phrase structures ‘Rhythms to be Completed ‘Speech Rhyme v*yoi, yoi, yoi” - Cross hands over chest and trade places _—_yinvite students to echo with partner. )-cha laka..” Clap own hands, then partners ~“Hoil” - Jump and turn 180 degrees to face a making gesture for rock, paper or scissors. ‘~The victor puts hands in the air, the defeated ‘<4-beat Framework: oO oO oO oO Fa) Rock Paper “rock” and "paper" patterns hands. on recorder using A, G and E. new partner, Transfer the melody of the ‘song to the recorder. ee ‘eThe victor will lead echo imitation on the recorder. Limit the imitation to one pitch per pattern. Connie Van Engen, presenter 7 Geary County, Kansas February 12, 2018 Bu BY 3/4 Rhythmic Building Bricks Create expanded bricks by replacing quarter notes with two eighth notes. 2iJjd 33 J 24d 24 Tennis Ball Pattern Bounce (dominant hand) Catch (non-dominant hand) Pass (back to dominant hand) Try it on a Tubano or a bass bar Traveling Action walk ~ jump - sneak - strut - march In-Place Action stretch - rise - sink - turn - pee ‘float Final Form: Introduction: Shaker pattern begins and continues throughout. A section: Hand drummers move and perform the rhythmic structure pattern, Tubano players perform the metric accents. B Section: Hand Drummers play the underlined speech, Tubano players play all the speech. section: Hand drummers move and perform the rhythmic structure pattern, Tubano players perform the metric accents. ‘Coda: Hand drums improvise and move off the stage, Tubano players decresendo on metric accents until silent, shakers are the last to fade away. Connie Van Engen, presenter 9 Teaching Process:

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