Old dog, new tricks.....Part Two

So, I realize that a lot of teachers who read blogs are more interested in the "stuff" than my storytelling.  I never intended this to be that sort of blog (although I used to post a link to my Teachers Pay Teachers store in every post), but occasionally I share some little bit that you might be able to use in your own teaching.

Well, the other day, as I was cleaning out my desk, I came across a printout of an old post I had written for the MENC (now NAfME) forum on November 1st, 2008.  As far as I know, those forums are no longer around, but the advice I shared is still pretty relevant and I offer it again here for anyone interested.

Some Possible Ways to Refresh an Old Textbook Series

1.  Folk songs never go out of style.  Instead of following the textbook lesson, use the folk songs in them as pathways to other musical concepts.  Bring in some simple accompaniment (guitar, ukulele, dulcimer) and some rhythm instruments for the students to create ostinatos with and enjoy a new take on these old classics.

2.  Pentatonic songs lend themseles to basic Orff accompaniment.  Look through the materials for songs that use a pentatonic scale.  These can be simply accompanied using a root-fifth drone and some color parts.

3. Be cautious of the "composed" songs.  Many textbooks offer many songs that teach cross-curricular concepts (math, language arts, etc.).  The notion of curriculum integration is fine, but make sure the material is musical and worthwhile for the children.

4. There are often decent, short biographies of composers in the series that are of interest to students.  you can use the listening examples for expressive movement activities to get the students actively involved in the lesson.

5.  There is also a wealth of poetry and prose in textbooks that can be used in interesting ways.  You can explore rhythm, meter and timbre using poetry.  For example, you can lead students to find the natural rhythm of poetry,then challenge them to create a short speech ostinato that uses a phrase from the poem.  Transfer the ostinato to rhythm instruments and you have an accompaniment for the poem.  More freeform poetry can lead to exploration of instrumental timbres and vocal expression.  Allow student input into sounds that could highlight key words or phrases of a poem.

These are just a few ideas that popped into my head.  Though I do not use a textbook series, I do look to the series that I have in my storage room as a resource.  

Old dog, new tricks....Part One

Thirteen years ago, at the conclusion of my Level One Orff Course, as everyone was saying their goodbyes, my teacher Cak Marshall looked me square in the eye and told me that once I finish all three levels and master course, I should take Level One again somewhere else to get a different perspective.  Well, as it turns out, I didn't even have to wait that long for the different perspective, because the next summer I moved completely across country (central Florida to northern California - pretty much exact opposites in many ways!) and, little did I know when I signed up to take my local Level Two Orff Course at Mills College in Oakland (now the San Francisco International Orff Course) that I would be in for a very different spin on Orff Schulwerk.  

Now before anyone gets offended, let me state upfront that this post is not about which course was better since that's a non-issue.  AOSA has a lengthy apprenticeship program that all teacher educators must go through in order to be approved to teach in a levels course.  For what it's worth, good Orff teaching is good Orff teaching no matter if the focus is world music, the Music for Children volumes, American folk music or whatever else.  The point here is that I was exposed to a different perspective and it had a great effect on me.  I ended up completing my levels and a few master classes in San Francisco and have even presented a few sessions at conferences.  All of this training combined with several years of teaching has given me the confidence to say that I am an Orff specialist.

But, true to the title of this post, I am still learning new tricks.  All the time.  Isn't that what we, as teachers, are supposed to do anyway?  I just love going to workshops and conferences.  Even if I don't look at the notes for a long time afterward, what I learned sticks with me and I remember that song or dance we did enough that I can go to my notes or, sometimes, take the inspiration and do something of my own with it.  To be honest, I go to workshops and conferences for Dave the Musician as much as I do for Dave the Music Teacher.  I just love to play around with really good musicians!

Well, last month I finally had the opportunity to follow through with taking Level One again.  I had been thinking about it, but when I received an email from my fine arts supervisor that the district had professional development funding to pay the fees for my local Orff level training, it was a no-brainer!  And aside from the training, I looked forward to meeting some new friends since just moved to the area two years ago.  Is it possible to gain a third perspective?  Let me tell you, after my latest experience, it is!  And a fourth and a fifth and.....

Other than getting a refresher on the nuts and bolts of Level One Basics (ostinatos, drones/borduns, pentatonic melodies), the best aspect of taking Level One again was seeing/hearing/feeling everything through different eyes.  I found a certain kind of comfort in my knowledge of what was being taught, but relished being a part of my classmates' experience of going through it for the first time.  It felt good to answer questions or offer my perspective or advice when asked.  A few of my classmates asked why I was taking the course if I already knew this stuff and I gave them an answer that Cak (or Doug or Paul or......) would have agreed with:  "There's always something more to learn."