AFreeGiftfrom

Wereallyhopeyou’resleepinginabitthissummer,sowethoughtthisoneperfectlyappropriate.Ifyou’regrabbingsomeofourBLOWOUTMIE105RenaissanceRecorders

(foronly$1.95!)yourstudentswillenjoyplayingthisrecorderdescant.

NeverSleepLateAnymoreFromPurposefulPathways,Book3,byBethAnnHepburnandRogerSams

UsedwithPermission

PATHWAYTORhythm:Eurhythmicstreble-bassfollowexercise

• Studentsbegininscatteredspaceandwalktothesteadybeat,whichyouplayonalowpitchontempleblocksorpiano.

• Studentscontinuewalkingthesteadybeatwhileyouplay4-beatechopatternsonahigherpitch.Studentsechotheserhythmpatterns(clapping)whilewalkingthesteadybeat.

• Beginwithevenrhythmsthenintroducesyncopatedrhythms.Example:

TeacherTalk:MovingfromsimplicitytocomplexityWhenteachingstudentstofollowthebeatandrhythmatthesametimeitisimportanttostartsimplyandmoveincrementallytowardmorecomplex

rhythms.Beginwiththestudentsechoingquarternotesandprogresssequentiallythroughthemoredifficultrhythmpatternsfoundinthesong.

4 4 4 4 4 4 h 4 4 h 4 h h h 4 4 84 8 4 $

• Continuetopracticerhythmsuntiltheclassissuccessfulwalkingthebeatwhilesimultaneouslyclappingtherhythmicecho.Emphasizerhythmsthatcontainsyncopation.

• Foranadvancedchallengehavethestudentssteptherhythmintheirfeetandclapthesteadybeatintheirhands.

PATHWAYTOLiteracy:4 h 2 84 8 so,la,doremi• Studentsreadtherhythmofthesong.

• Usethesolfatoneladdertopreparethetonesetofthesong.Askthestudents

tosingwhatyoupointto.Afteryouhavepresentedpatternsfromthesong,pointouttheentiresongonthesolfatoneladder.

• Studentssingthemelodyfromrhythmicnotationwithsolfa.

• Studentssingthemelody,withsolfaandhandsigns,readingfromthestaff.

• Studentssingthemelodywithtext.

PATHWAYTOPartwork:RhythmicOstinato

• PerformtheBPostinato.Askthestudentstojoinyouwhentheyareready.(simultaneousimitation)

• Studentssingthesong,whilepattingandclappingtherhythmicostinato.Establishtheostinatobeforeaddingthesinging.

• TransfertoBPostinatitotubanos,orotherlargedrums,producinglowsounds

(bass)withthepalmofthehandnearthecenterofthedrum(pats)andhighsounds(tone)withthefingertipsneartherimofthedrum(claps).Patbecomesbassandclapbecometone.Encouragethestudentstoalternatehands.

PATHWAYTOPartwork:Songwithdescant• Studentsreadtherhythmofthedescant.• StudentsplaytherhythmofthedescantonsopranorecorderonthenoteB.

• StudentssingtheletternamesfortheBAGversionandpracticerecorder

fingeringswithrecordersrestinginfingerpositionontheirchins.

• StudentsplaytheBAGversiononrecorder.• Dividetheclassinhalf.Halfsingsthesong.HalfplaystheBAGversionofthe

recorderdescant.Tradeparts.• Studentssingtheletternamesfortheadvancedversionandpracticerecorder

fingeringswithrecordersontheirchins.

• Studentsplaytheadvancedversiononrecorder.• Dividetheclassinhalf.Halfsingsthesong.Halfplaystheadvancedversionof

therecorderdescant.Tradeparts.• Considersingingintwoparts.

PATHWAYTOEnsemble:Splitmovingbordun,descant,countermelody,andBPostinato

• ModelpattingandsingingsolfafortheBX/BMostinato.Askthestudentstojoinyouwhentheyhavefiguredoutthepattern.(simultaneousimitation)

• Dividetheclassinhalf.HalfsingsandpatstheBX/BMostinato.Halfsingsthe

song.Tradeparts.• TransferBX/BMostinatotobarredinstrumentsandputtogetherwithsingers.• ModelpattingandsingingsolfafortheAXostinato.Askthestudentstojoinyou

whentheyhavefiguredoutthepattern.(simultaneousimitation)Ifusingatextisasupportforyourstudents,usethefollowingtextwhileteachingtheostinato.

• Dividetheclassinhalf.HalfsingsandpatstheBX/BMostinato.Halfsingsand

patstheAXostinato.Tradeparts.• Transferthissplitmovingborduntobarredinstrumentsandputtogetherwith

singers.• PerformtheBPpartforthestudents,pattingwhenthetextsays“alternating

hands,both”andclappingandstampingasthetextindicates.Askthemtocounthowmanytimesyouperformtheopeningmotive.(seven)

• AskthestudentstoperformthisBPmotivewithyouseventimesandthenadd

threestampsasafinalcadence.• Dividetheclassinhalf.HalfperformstheBP.Halfsingsthesong.Tradeparts.• AddtheBPparttothearrangement.• StudentsreadtheSXmelodicostinato,singingsolfawithhandsigns.• StudentspreparetheSXostinatobysingingsolfaandpattingtheirlegs,moving

upanddownasiftheyareabarredinstrument.

• TransferthisostinatotoSXandaddtothearrangement.• Putallofthepercussionpartstogetherwithsingers.• AddtheSR(orsinging)descantandputtheentirearrangementtogether.

PATHWAYTOImprovisation:QuestionandAnswerwithfocusonhowtonicfunctions

• SetupthebarredinstrumentsinG=dopentatonic.Acclimatethestudentstothepitchsetwithsingingandplaying4-beatsolfaechopatterns.

• Modelsingingtheimprovisationstructureforthestudents.

• Modelquestionandanswerimprovisationforthestudents.Explainthatthe

phrasesareeightbeatslong,beginningwithsingingandendingwithbarredinstrumentimprovisation.Askthemtodeterminewhatthedifferencebetweenyourquestionsandyouranswers.Modelquestionsthatdonotendondoandanswersthatdoendondo.

• Dividetheclassinhalf.Halftheclasssingsthebeginningofthequestionandthencompletesitwithfourbeatsofbarredinstrumentimprovisationnotendingondo.Theotherhalfoftheclassanswersbysingingandthenimprovisingforfourbeats,endingondo.Tradeparts.

• Askthestudentstofigureouthowtoplay,“Wakeup,yousleepyhead!”onthebarredinstruments.

• Repeattheprocesswiththestudentsplayingeverything,ratherthansingingandplaying.

• Givethestudentsanopportunitytoimproviseaquestionandanswerchorusinthecontextoftheentire32beatsofthefullorchestration.

• Puttogetherwiththesonginasatisfyingfinalform.