School’s out here, and we needed an absolutely no prep work activity.
What You Need:
How to Play:
First, brainstorm about a few things that are fun to do in the summer. Swimming, climbing trees, jumping on a trampoline, etc., are all great choices.
When you’ve chosen an activity, ask the student questions and write down answers until you have a little story. For example, several of my students chose swimming:
How do you like to enter the pool? One toe at a time or cannonball? How would we portray that through music? Would it be slow or fast? Loud or soft? One gentle note at a time or an accented splat on the keys?
Once you are in the pool, what do you like to do? Swim laps? Dive deep? What is going to happen to the music?
Are there other people in pool? Will there be any splashing? Marco Polo? Flips upside down?
How does it end? Does everyone quietly and calmly dry off and go inside? Or is there one final cannonball at the end?
Once you have a sequence written down and the student understands what it means in musical terms, it’s time to play. I suggest playing in C major. Start out with a left hand pattern that matches the theme as best you can. Gently lapping water is fairly easy for swimming. Other subjects might not have such an obvious pattern, but that’s okay.
After listening to your introduction, the student should start improvising. Some of them will naturally move through the sequence on their own. Others you will have to tell when to move on to the next step and when to wrap it up.
Afterwards, talk about what was good about it and what could be added on a second run. For example, could they use more of the keyboard? Could the dynamic contrast be more dramatic? Could they add another sequence into their story? Play it again if you have time.
Some of my students create beautiful melodies by instinct. Most don’t. I’ve been stymied in my attempts to teach them improv, not because they can’t grasp what the left hand needs to do, but because they can’t grasp what the right hand needs to do. That was the part I thought would be obvious, but I was wrong. I’ve been working on melodies with them for months now and today we had a breakthrough with this activity.
What You Need:
A coin (any kind)
I used a silver dollar because an unfamiliar coin generates interest
One die to generate a key signature
I used a blank die and wrote on the sides: C, G, D, F, Am, and ?
It would work just as well to use a regular die and assign each number one of those key signatures.
Explanation (to the student):
Today we are using a technique that many composers have used, called Question and Answer Phrasing.
One of the most famous examples is in “Twinkle, Twinkle Little Star.” The first part is the question:
We can’t stop here because we didn’t end on the home note (C). It leaves us wondering what comes next.
What comes next is the answer:
The answer does end on the home note (C), but that’s not the only thing that makes it a good answer phrase.
Note that the question is exactly two measures long. The answer is also exactly two measures long.
Note that the question uses quarter notes and half notes and it likes to repeat the quarter notes.
The answer continues that rhythmic pattern and the use of repeating notes. This is what makes it a good answer. If we didn’t do anything like that, it would be as if I asked you, “What’s 7 plus 2?” and you said, “Sharks!” That answer doesn’t go with that question.
We want our answer phrases to go with the questions, so they need to be the same length and use similar rhythms, articulation, or note patterns. Above all they need to end on the home note.
How to Play:
The first person flips the coin. If it lands on heads, the flipper should then improv a question phrase. The other person will then improv an answer. If it lands on tails, the other person should improv a question phrase, and the flipper should then improv the answer.
The question should:
Use C major. Do not end on C.
It should have definite rhythm and either one full measure, or two full measures.
The answer should:
End on C.
Be the same length as the question and fit in stylistically. Be as lenient as you want here.
Repeat with the other player flipping the coin.
When the student has the hang of it, you can add a wrinkle. Use the die to determine what key signature the melody should be in. (Even some of my younger students can handle this. Just show them where to put their hands and tell them to stick to just the five notes their fingers are on.)
To make it easier:
Stick with one measure only and stay in C major.
Count out loud if you need to.
To make it harder:
Change the time signature.
Make the phrases longer.
Require them to move beyond a five finger pattern.
Among my students, Valentine’s Day is controversial. Their reaction ranges from love to hate, with most hovering around total indifference. Fortunately, there is a way to make a Valentine’s activity that appeals to all of the above because the poems range from the traditionally sweet, through the silly surprising, down to the frankly insulting. I used this activity with all my students of all levels. The only difference was that the more advanced students could do it faster and with less help.
Show the student all the Valentine poems so they can pick their favorite.
Determine the time signature.
I do this by telling them I’m going to clap and say the first measure (“Roses are”). Once they figure out that it’s in 3/4 time, they can write that before the first word of the poem.
Draw the first bar line.
Since I’ve already told them that the first measure ends after the word “are,” they need a bar line there.
Draw the first three notes above the first three syllables.
Repeat counting and saying the first measure. Some students may need a few hints to realize that each of those syllables gets a quarter note.
Finish the first line.
Count and say the entire first line. I made the final word a dotted half note. Obviously, alternate rhythms are possible, but the main point is not what the rhythm is, but whether the student can identify and write whatever rhythm you do.
Dictate the second line.
I did it as a whole line now that they have the idea of what to do.
Point out that the rhythm between first and second lines are exactly the same. That is normal and expected in this type of poetry. In music, it would be called a rhythmic motif.
Repeat the process for the third and fourth lines. The rhythms here will not be the same.
Have the student say and clap the whole poem in rhythm.
If there is still time, move to the piano and compose a song. The notes can be any note in C major (all the white keys). The rhythm should be the rhythm they wrote down.
To make it easier, you can put in all the bar lines and time signature first, and do only one measure at a time.
To make it harder, don’t use the natural speaking rhythm. Syncopation or other unexpected rhythms usually go over well.
To make it longer, have the student change the rhythm after having written down yours.
To review the rhythms again afterwards, use percussion instruments to play it.
In the final week before Christmas, we were playing around with lead sheets and accompaniment styles. Jingle Bells is a great one to use because the kids all know it, and the right hand never goes out of a standard 5-finger pattern. Songs like that are rare.
When I planned this, I was worried it would be hard and frustrating for some of my kids, so I had planned a lot of Christmas jokes to use as interludes to break the tension. I needn’t have worried. They all enjoyed it, and I didn’t end up using any of the jokes at all.
For younger kids, you could lay the cards out on the floor and use dice and a Christmas ornament to select a card.
How to Play:
The student starts by sight reading just the right hand of the melody.
Beginners could do just the first line, or they could learn it by rote instead of reading.
Introduce or review the concept of a lead sheet.
Reinforce the concept by playing Jingle Bells with the Root Note Accompaniment. That card has a carrot on my cards.
Depending on the student, they could either play both hands or just the left hand.
Once they’ve got the idea, start drawing cards (or rolling dice) and play Jingle Bells as many times and in as many ways as you have time for.
The notes on the bottom of each card are there as a reminder only. The student should play by understanding the pattern, not by reading.
The accompaniment styles vary widely in difficulty. For each card, make a quick evaluation about whether this student should play right hand, left hand, or both. As the teacher, you play whichever hand the student is not using. Many of the styles can be made easier by using both hands to play it.
At the end, spread out all the cards the student has used and ask their opinion on which style of Jingle Bells they liked best. They liked being able to give their own musical review.