Something to ROAR About!

Lessons from the Lions

SATURDAY, OCTOBER 20, 9 AM - NOON Texas A&M University-Commerce Music Building

PRESENTERS Tama Barnes Alisha Odoms

Donna Williams R. Bradford Smith Tori Dorsey Mindy Kyle

Meredith Grotti Celeste Harrell

FALL 2018 ELEMENTARY MUSIC WORKSHOP

TO REGISTER, VISIT THE TAMUC MUSIC WEBSITE.

SCROLL TO MUSIC EDUCATION, CLICK ON WORKSHOPS.

Eight of the graduates of the second TAMUC Music Education

Cohort will present their finest work in this lively workshop. You will leave with a collection of excellent lesson plans to

implement in your classroom right away: songs, dances, instrumental arrangements, and elementary choral pieces.

North Texas Chapter of AOSA Workshop with David Thaxton September 29, 2018 Seeds and Scaffolds: Growing Improvisation

in the Orff Schulwerk Classroom

Focus: Creation and Improvisation

David Thaxton is from Sparks, Nevada where is currently in his 24thyear teaching Elementary music to pre-K through 6thgrade. After studying bass trombone under Buddy Baker and Jack Robinson at the University of Northern Colorado, he studied the Orff Schulwerk approach at Colorado State University, UNC Greeley and the University of Massachusetts Amherst where he received all three levels of Orff Certification.

David teaches Level I pedagogy for the University of Nevada, Reno Summer Orff Course as well as the Orff Level I pedagogy and Level II Recorder for the San Diego Summer Orff Course. David has presented workshops and clinics at local, state and national levels and presents to Orff chapters throughout the country. He has also served as President of the Sierra Nevada Chapter of AOSA where he was co-founder of the Sierra Nevada Orff Festival.

At the national level, he has served on the Editorial Board of The Echo Journal of the American Orff Schulwerk Association and is currently on the Editorial Board of Reverberations.

For the past two years, he has been the Creative Director and Lead Clinician for the Four Corners Young Musicians Summer Camp in Durango, Colorado. David was also recently awarded the “Spotlight Educator Award” for the Winter of 2017 from the American Center for Elemental Music and Movement (ACEMM).

TO REGISTER, VISIT https://northtexasorff.org/workshops/september-29-2018-

workshop-david-thaxton/

AmericanEurhythmicsSocietyNationalConference

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(830)626-1234FairfieldInnandSuitesbyMarriottNewBraunfels

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October12-13,2018NewBraunfels,Texas(outsideofSanAntonio)

Registration:Registeronline:americaneurhythmics.org-$35AESmembers-$45Non-AESmembers-$10CollegeStudent-withstudentIDPresenters: AESMasterTeachingArtistsFritzAnders,ToddAnderson,MarlaButke,DavidFrego,KayPiña,StevenRobbins,KathyThomsenConferenceAddress:ChurchHillMiddleSchool1275NorthBusinessIH35NewBraunfels,TX78130Questions:Contact-MarlaButke,AESPresidentmbutke@otterbein.edu614-581-4746

Schedule: Oct.12 6:30PM Registration 7:00 Dinner(providedbyAES)

7:15-9:00 SessionIandFolkDancingOct.13 8:30AM Registration 9:00-Noon SessionsII,III,IV Noon-1:15 Lunch 1:15-4:15 SessionsV,VI,VII 4:15-5:00 AnnualMeeting

World Drumming: Exploring the use of percussion in the elementary classroom

In this session you will learn drumming techniques from a professional percussionist. Mr. Ochs will lead us through the use of percussion, with special focus on the drumming of west Africa. He will share strategies for adapting these techniques for the elementary music classroom.

Participants are encouraged to bring a djembe or tubano.

Matthew Ochs is an active clinician presenting professional development on topics such as gifted learners, percussion pedagogy, choral pedagogy, and Kodály and Orff inspired lessons. He holds a Bachelor of Music

degree from the University of South Florida, a Master of Music degree from the Boston Conservatory, and a Master of Educational Administration degree. Mr. Ochs has also earned certifications in Kodály and Orff-Schulwerk from the program at Southern Methodist University.

Mr. Ochs is a regular performer in the DFW area and a private percussion lesson teacher for Lovejoy ISD. His performing credits include the Southwest Florida Symphony, Sarasota Orchestra, Sarasota Ballet, and Longwood Symphony Orchestra. He also performed with the USF percussion ensemble at the Percussive Arts Society International Convention and attended the Round Top Festival Institute performing with the Texas Festival Orchestra. In

addition to his classical percussion training, Matthew has studied Indian classical music and tabla performance.

Mr. Ochs is an active member of the Texas Music Educators Association, American Organization of Kodály Educators, American Orff-Schulwerk Organization, and the Percussive Arts Society.

Make your plans to attend this fun, hands-on workshop!

While non-members are welcome to attend, the 3 Hours of CPE Credit is available to TMEA members only. If membership is not current, you may pay on site with credit or debit card.

This session is $5 for TMEA members, $20 for non-members, and $3 for undergrad students.

RISD Professional Development Center, 701 W. Belt Line Rd. Richardson, TX 75080

Workshop Session 9 - 12:00

Registration 8:30

To help plan for refreshments, please RSVP by email to Susan Elliott. sdelliot@garlandisd.net

Please participate in the Free Store during this workshop. Donate gently used materials you no longer need, and/or take something you would like to have. It’s a great way to refresh your classroom resources.

Directions • From 75 (Central) take the

Main St / Belt Line exit. • Travel west until Floyd Rd. • Turn left at the light. • Parking is behind the building.

If you need to contact me, my email is sdelliot@garlandisd.net, and my cell is 214-284-5477.

MUSIC EDUCATION CONVOCATION SPEAKER

PAUL EDMUND-DAVIES November 18, 2018 4:00 P.M. Music Building Concert Hall

Paul Edmund-Davies established his international reputation as flautist and soloist in the twenty years that he was Principal Flute of the London Symphony Orchestra. For the last fifteen years he has toured extensively, giving recitals, classes and performing concerts in the USA, Europe, Canada, Australia, the Middle East and the Far East. Paul is also featured on many famous movie soundtracks, such as Star Wars, Harry Potter, Who Framed Roger Rabbit?, Braveheart, Into the Woods, Interstellar, Mission Impossible - Rogue Nation, Maleficent, Crimson Peak, and Thor: The Dark World.

1

One Bottle o’Pop English Round From Another Journey Around the Globe with Recorder! Flight 2 By Darla Meek NEW LEARNING: low C RECORDER TONE SET: C F OTHER LEARNINGS: binary/ternary meter, part singing, triplets, dotted quarter note, chord roots MATERIALS: recorders, PowerPoint, 2-3 yarn balls or playground balls recordings (suggested list below) ABOUT THE SONG: “Fish and chips” has been a cultural icon in Great Britain since around 1860 when it was first served as a dish. The delicious treat of fried cod and greasy fried potatoes wrapped up in newspaper was traditionally eaten on Fridays when the Catholic church discouraged eating meat. Many American children learned this as a camp song thanks to the work of the Scouts of America. The song is also known as “Fish and Chips and Vinegar.” LESSON STEPS: DAY ONE 1. Introduce binary and ternary meters

• “Pat the beat softly on your legs with me.” • “Let’s count the beats in sets of two…ready? 1,2,1,2… This is binary meter.” • “When I say, ‘Whoops!’ change to counting beats in sets of three….ready? Whoops!” • Have students pat and count in sets of three. Continue patting and counting beats,

alternating between two in a set and three in a set. TEACHER TIP: When changing from binary to ternary, say whoops! on the second beat of the measure. When changing from ternary to binary, say whoops! on the third beat of the measure. Always give the students plenty of time to adjust between commands—don’t give too many too quickly.

2

2. Play a game. • Have the students sit in a large circle, knee to knee. Practice passing a ball or other

object around the circle appropriately. • Repeat, this time passing it to a steady beat. • Say, “Now that we are warmed up, let’s pass the ball ONLY on beat one.” Have the

students count “1-2-1-2…”, passing the ball on beat one only. • Give the signal for the students to change to passing with three beats in a set: pass the

ball on beat one while counting “1-2-3-1-2-3, etc.” • Now the fun begins! Begin counting with beats in sets of two, but on the word

whoops! the students change to counting and passing with beats in sets of three. • To make the game more challenging, add more balls. • To make the game even more challenging, add another signal (such as the ding of a

bell) that cues the students to pass the ball the opposite direction! 3. Teach Part I.

• Sing Part I for the students.

• Ask them to tell you how many bottles of pop you have (7). You may have to explain what “pop” is!

• Sing again, having the students pat their laps on each number you sing. • Sing again, having the students perform a body percussion ostinato: pat-clap-palms

out. • Instruct students to form a circle and count off in 2’s so they will have partners. • Sing again, having the students perform the body percussion ostinato with their

partner. (They will clap their hands with their partner’s on beat three: “palms out.”) • Repeat with the child on the opposite side. By now the students should be able to sing

the song. • Have a child draw iconic notation for the pattern they performed: “STRONG-weak-

weak.” • OPTION: have partners create their own bp patterns that show “STRONG-weak-

weak.”

& b 43 œ œ œ œ œ3

ONE bot tle o' pop,

œ œ œ œ œ3

TWO bot tle o' pop,

œ œ œ œ œ3

THREE bot tle o' pop,

œ œ œ œ œ3

FOUR bot tle o'pop,2 2 2 2

& b œ œ œ œ œ3

FIVE bot tle o' pop,

œ œ œ œ œ3

SIX bot tle o' pop,

œ œ œ œ œ3

SEV'N bot tle o' pop,

œ Œ ŒPOP!2 2 2

ONE BOTTLE O POP

©

Score

3

4. Teach Part II. • Have the students sing Part I as you sing Part II.

• Ask for volunteers to describe what they heard. • Teach Part II to the students. (You will probably have to explain what a “dustbin” is!) • Divide the group into two sections to sing the two parts together. Switch.

5. Teach Part III.

• Repeat the above sequence for teaching Part III.

• Rotate so that all students have a chance to sing all three parts together. DAY TWO 6. Guide students to derive the chord roots.

• Have the students sing the tonic pitch (do), then the dominant (low sol). • Have the students sing the chord roots as they follow your hand signs. • Tell the students that they are going to use their musical ears to figure out an

accompaniment for the song using tonic and dominant roots. Tell the students they will start on the tonic (singing do), and move to the dominant (singing sol,) when they hear a chord change in the melody.

• Sing the song for the students, and have them figure out an appropriate accompaniment. It may take several repetitions for them to come to a consensus.

& b 43 œ œ œ œ œDon't chuck your muck in

œ œ œmy dust bin,

œ œ œmy dust bin,

œ œ œmy dust bin.3 3 3

& b œ œ œ œ œDon't chuck your muck in

œ œ œmy dust bin,

œ œ œmy dust bin's

œ Œ Œfull.3 3

ONE BOTTLE O POP PT 2

©

Score

& b 43 .œ jœ œ œFish and chips and

œ œ œ Œvin e gar,

œ œ œ Œvin e gar,

œ œ œ Œvin e gar.0 0 0 0 0 0

& b .œ jœ œ œFish and chips and

œ œ œ Œvin e gar,

œ œ œ œvin e gar and

œ Œ Œpop!0 0 0 0

ONE BOTTLE O POP PT 3

©

Score

4

• Divide the students into two groups: one to sing the melody and the other to sing the chord roots. Switch.

7. Transfer to recorders.

• In practice position, instruct students to finger C. This is low sol. • Instruct students to raise finger 5. This is do. The note name is F. Have students

practice moving between C and F in practice position and playing position. • Instruct the students to sing the song as you demonstrate playing the chord roots on

recorder. Switch parts. DAY THREE 8. Derive the meter of listening selections

• “Let’s see if you can figure out if the beats are in sets of two or three in a song. If beats are in sets of two, pat your legs on the strong beat and clap your hands softly on the second beat. Let’s practice.”

• “If beats are in sets of three, pat your legs on the first beat, clap softly on the second beat, and touch your shoulders on the third beat. Ready to try it?”

• Play several short sections of familiar and unfamiliar songs and instrumental pieces so that the students can figure out the meter.

Here are some favorite ternary meter pieces:

• “My Country, ‘tis of Thee” • “An Austrian Went Yodeling” • “Chiapanecas” • “Blue Danube Waltz” • “Menuetto” from Eine Kleine Nachtmusik • “Old Paint” • “One Bottle o’Pop” • “There’s a Hole in the Bucket” • “Home on the Range” • “Waltz of the Flowers” from Nutcracker • “Autumn” (Allegro) from The Four Seasons

& b 43 .. ...doF

.doF

.sol,C

.doF

BOTTLE REC PART

©

Score

5

DAY FOUR 9. Derive triplets.

• Guide the students to derive the rhythm notation for Parts II and III. Have the students chant the rhythm using rhythm syllables while patting the beat.

• Repeat, clapping the rhythm. • Create a new ostinato for the students to clap:

• Instruct the students to clap the ostinato as you sing Part I. Guide the students to

notice the juxtaposition of the triplets you are singing and the eighth notes they are clapping.

• Derive the rhythm notation for Part I, and review triplets., “Normally two eighth notes are the same length as a quarter note. In this case, three even triplet eighth notes are fit into that same length.” (Mathematically, the duration of a triplet eighth note is 2/3 the duration of a standard eighth note.)

• Have the students read some rhythm patterns including triplets. Take care that the students do not perform the triplets as eighth-sixteenth combinations.

43 œ œ œ œ œ œ œ3

œ œ œ œ œ œ3

œ œ œ ˙3

œ œ œ œ œ3

œ œ œ œ œ œ3

œ œ œ œ œ3

œ œ œ œ œ œ3

œ œ œ œ œ œ3

œ œ œ œ œ œ œ3

˙ œ œ œ3

œ œ œ œ œ3

œ Œ œ œ œ3

œ œ œ œ œ œ3

œ œ œ œ œ œ œ3

œ œ œ œ œ œ3

œ œ Œ œ œ œ3

EIGHTH NOTE TRIPLETS

©

Score

43 .. ..Snare Drum œ œ œ œ

BOTTLE OST

©

Score

6

• Play “Follow My Finger.” Display the following:

q q ta ta

ee ee ti - ti ti - ti

tiki-tiki tiki-tiki

tri-o-la tri-o-la

h toooooooooooooooo

• Have the students chant the note value while patting a steady beat as you point to each line randomly.

Ó 2018 Sweet Pipes, Inc. Used with permission. All rights reserved.

Thelessonabovecanbefoundinanew resourceforrecorderinstruction,Another JourneyAroundtheGlobewithRecorder! Flight2. Thisbookanditscompanion volume,JourneyAroundtheGlobewith Recorder!areavailablefromyourfavorite musicdistributors:SweetPipes,Inc.https://www.sweetpipes.com/index.php?option=com_virtuemart&view=productdetails&virtuemart_product_id=280&virtuemart_category_id=18&Itemid=129PlankRoadPublishinghttps://www.musick8.com/store/alphadetail.php?product_group=3998&uks=MP-SW510&findme=journey&srchfield=title&search_type=prod&searchcategory=All+ProductsWestMusichttp://www.westmusic.com/p/journey-around-the-globe-with-recorder-861336MusicIsElementaryhttps://musiciselementary.com/product/journey-around-the-globe-with-recorder/

• JourneyAroundtheGlobewithRecorder!isaseriesof24lessonsforteachingsopranorecorder.Thesecondvolumeisaseriesof20lessons.

• Notesontherecorderareintroducedindividually,insequence,andinamusicalcontext.

• Powerpointsareincludedforeachlessontoaidinpresentingthematerial.• Eachlessonrepresentsadifferentcountryorculture.Thepowerpoints

thatareincludedgivethechildrenaglimpseintothatparticularcountry(amap,theflag,famoussitesandpeople,sports,foods,arts,etc.).

• Eachlessonfeaturessomething“extra,”suchasadance,agame,oranopportunityforimprovisation.

• Eachlesson,whentaughttocompletion,couldbeusedonaperformance.