Singing games are a great way to teach musical concepts, incorporate movement, and give children an opportunity to sing alone and with others. They're perfect as gathering activities, ice-breakers, or a quick change-of-pace in the middle of rehearsal.
A few months ago, I shared seven fun musical games for children's choir. As a follow-up to that post, I'm rounding up fifteen singing games - some, more suitable for younger singers; others for older elementary; and even a few that your youth choir would love. Most of these are sung in unison, without accompaniment. Also, since movement activities are difficult to describe in writing, I've included video demonstrations for most of these.
Today, I'm excited to share with you two video recordings from our recent program, The Art of Song: Musical Pairs!
Just to recap, Steve and I chose to perform two settings of "Mondnacht"–one by Schumann and one by Brahms. There are several common musical features that suggest Brahms used Schumann's setting as a model:
1. Meter + perpetual motion. Both composers used 3/8 meter and sustained a sense of perpetual motion (suggested by the text) with constant sixteenth notes in the piano accompaniment.
2. Plagal "Amen" cadence. Both settings include a plagal or "Amen" cadence near the end, underscoring the last two words of the text - "nach Haus" (to home). This implies not only a sense of arrival and resolution but also a sense of rest (perhaps eternal rest, as suggested in the text).
3. Introductions. The introductions in both song settings are the same length (six measures), include a fragmented melody (stated twice), and end on a dominant, unresolved chord. This sense of suspension at the end of the introduction leaves the listener waiting for the vocal line.
Here is our performance of Schumann's setting:
And, for comparison, here is the Brahms setting (minus the final two chords because our camera died–so sorry!)
What do you think? Do you hear the similarities between these two songs? Did Brahms set this text as a tribute to the Schumanns or was he trying to compete with Robert?
Read more about this concert here, here, and here.
"If you're not prepared to be wrong, you will never come up with anything original."
What a great quote by Sir Ken Robinson.
Confession: Sometimes, I get caught up watching TED Talks. They're just so engaging and each presenter has something unique to say. Topics are often very different but the commonality is found in the discussion of innovation, education, technology, and creativity. In this talk, Sir Ken Robinson talks about the creativity of young children and how our educational system counteracts it (i.e. kills it) in favor of more important subject matter (math and science). He offers three useful points when describing intelligence:
1. Intelligence is diverse.
We think visually, in sound, and kinesthetically; we think in abstract, we think through movement.
2. Intelligence is dynamic.
The brain is interactive. Creativity often comes about through different disciplinary ways of seeing things.
3. Intelligence is distinct.
How did you discover your talent?
Steve posted this video on his blog last week and I just had to share it with you. I know we've all seen flash mob videos circulating the web - particularly the ones of choirs breaking into the "Hallelujah Chorus" in the middle of an unassuming place like a mall food court. After a point, they all seem the same. But, when Steve played this video for me one evening last week, I was moved. There is something so powerful about the way music just happens in this video.
Music is meant to be shared. It's a language, a form of communication. It's about interaction. I love, love, love the expressions on the listeners' faces as they watch and listen - especially the children. Look at that joy! Everyone gathered on the street that day seemed to really be a part of the music as it was happening. They weren't sitting silently in a dark auditorium - they're smiling and pointing and sharing the experience with the people around them. And doesn't it just warm your heart to see how many aspiring conductors were in the crowd?! I hope this inspires you to get out there and be a part of the music happening in your community. Let's make music happen.
I’m back with part II of our 2012 WCMW Recap! In case you missed it, our first two events of this season can be found in our 2012 WCMW: Recap I. Picking up right where we left off last week, here is a glimpse of our third and fourth events of the season. Enjoy!
WEEK 3: Saxophone Quartet
Directed by Lynn KlockJeff Soffer, soprano saxophone
Aaron Stewart, alto saxophone
Anthony Cincotta, tenor saxophone
Lynn Klock, baritone saxophone
WEEK 4: The Copernicus DuoJamecyn Morey, violin
David Bebe, cello
Y’all, we have had SUCH a fun time planning and organizing the second season of the WCMW! With four diverse concerts (one every weekend in May), we had a whole month of exciting chamber music right here in Westminster. The great thing about chamber music is that it’s intimate. It breaks down some of the barriers between performer and audience that traditional venues (auditoriums, halls) often have in place. It allows for better communication. In fact, the Q&A conversations with the musicians each week were some of our favorite moments!
Here’s a look at the 2012 WCMW:
WEEK 1: The Samirah Evans Jazz TrioSamirah Evans, vocals
Miro Sprague, piano
Wayne Roberts, bass
Two years ago, I had the privilege of meeting Marvin Blickenstaff at the New School for Music Study in Kingston, NJ. I was in the second year of my masters at Eastman and was researching piano pedagogue and innovator, Frances Clark (Co-Founder of the New School) for a final project. As part of my research, I visited the New School for several days, met with the faculty, observed lessons and classes, and experienced truly excellent teaching. At the end of my first day, after observing a lesson with Marvin, I wrote this reflection:
Marvin Blickenstaff, and high school PEPS [Program for Excellence in Piano Study] student, Grace, were already in the midst of Chopin’s Etude in C Minor when I snuck in to observe. Together, they identified the salient motives, determined the differences between the lines of each hand, rehearsed the rhythmic structure, and discussed Chopin’s individualistic thoughts on trills. Similar to the other faculty members, Marvin sought answers from Grace by asking questions and engaging her in conversation about the music. Comments such as, “Talk to me about the fingering in this scale” when working on the first page of the Pathetique Sonata and, “What are four ways you are going to practice this?” assessed Grace’s understanding and encouraged dialogue.
At the end of the second day, I observed one of PEPS group class with Marvin:
PEPS students meet in small rotation groups every few weeks and in a larger group class of eight students once per month, each an hour in length. Currently, there are 24 students in the program. Marvin began each class with scales, often asking two students to play in ensemble: one ascending and the other descending. The students had end-of-the-year fluency goals posted in the room: 100-160, depending on age and ability. Repertoire included Debussy, Clementi, a Mozart minuet (where Marvin led the students in an impromptu minuet around the room while singing words that fit the melody), a Bach invention, a concerto by Vandall, and lastly, Sibelius’ Romance, to which Marvin stated, “Begin warm, soft, calm, and with a feeling of moonlight. . . Music that is calm is even.” Musical discussions included historical influences, theoretical considerations such as the importance of the cadential 6/4 progression, and phrasing decisions supported by careful pedaling. Students were challenged in thought, touch, and sound.
These few days had a profound impact on my teaching. I love reliving the experience through my notes and recollections of those lessons and classes. I was thrilled to discover www.pianopedagogy.org last week – the NSMS’s newest venture! Complete with teaching videos, tutorials, and a blog written by New School faculty, this website is a great source of knowledge and teaching inspiration. Enjoy this glimpse of a lesson with Marvin as he coaches an early advanced student on Edvard Grieg’s “Notturno” at the New School:
Steve and I had great fun planning a presenting a short lecture recital on traditional African-American spirituals a few weeks ago. Here is a video clip and a little bit of history on the third piece on our program, “Wade in the Water.” Enjoy!
This familiar piece has two scriptural reference points. First, it tells the story of Moses parting the Red Sea and leading the Israelites safely through on dry ground. Second, in the New Testament, we read the story of the healing pool. John 5:4 says, “For an angel went down at a certain time into the pool and stirred up the water; then whoever stepped in first, after the stirring of the water, was made well of whatever disease he had.” Again, the text seems to parallel the slaves’ yearning for freedom and for healing. In fact, it has been suggested that this piece refers to the Underground Railroad. Wading through rivers meant leaving fewer tracks and not leaving a scent to be traced (Gray, 2012). The text reads:
Chorus:
Wade in the water,
Wade in the water, children.
Wade in the water,
God’s a-goin’ to trouble the water.
Verse:
See that band all dress’d in white?
God’s a-goin’ to trouble the water.
The Leader looks like the Israelite,
God’s a-goin’ to trouble the water.
Chorus
Verse:
See that band all dress’d in red?
God’s a-goin’ to trouble the water.
It looks like the band dat Moses led.
God’s a-goin’ to trouble the water.
Steve and I had great fun planning a presenting a short lecture recital on traditional African-American spirituals a few weeks ago. Here is a video clip and a little bit of history on the second piece on our program, “Deep River.” Enjoy!
This lyrical piece symbolizes life after death and freedom for the Israelites in the Promised Land (see above). A glimpse of a free life, this song may also have symbolized the slaves’ crossing of the Ohio River into the free states (Kimball, 2006). The text reads:
Chorus:
Deep river, my home is over Jordan,
Deep river, Lord,
I want to cross over into campground.
Bridge:
Oh don’t you want to go
To that gospel feast,
That promis’d land
Where all is peace?
Tag:
Oh deep river, Lord,
I want to cross over into campground.
The use of the word “campground” in the chorus is not a biblical reference; rather, it refers to a place where a religious “camp meeting” was held. During the 19th century in the south, a campground consisted of a series of “tents” or cabins where people could cook and sleep and a centrally-located meeting house where worship took place. The inclusion of this term in “Deep River” could signify the desire to worship freely. In addition, the word “peace” is left unresolved as it leads into the tag ending – a symbol of unrest and a sense of a greater reality.
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Resources:
Kimball, C. (2006). Song: a guide to art song style and literature. Hal Leonard Corporation.
Steve and I had great fun planning a presenting a short lecture recital on traditional African-American spirituals a few weeks ago. Here is a video clip and a little bit of history on the first piece on our program, “Go Down, Moses.” Enjoy!
The first spiritual to ever appear in print in 1861 (during the first year of the Civil War), this rhythmic, march-like piece tells the story of Moses petitioning to Pharoah of Egypt to free the Israelites from bondage (Burkholder et al., 2006). The story, as recounted in the book of Exodus states, “And the Lord spoke unto Moses, go unto Pharaoh, and say unto him, thus saith the Lord, Let my people go, that they may serve me” (Exodus 7:16). As one can imagine, African-American slaves in the American South could identify with this struggle for freedom from bondage and this spiritual likely became a song of hope (Burkholder et al., 2006). The text reads:
Verse:
When Israel was in Egypt’s lan’,
Let my people go,
Oppress’d so hard they could not stan’,
Let my people go.
Chorus:
Go down, Moses,
‘Way down in Egypt’s lan’,
Tell ole Pharaoh,
To let my people go.
Verse:
Thus saith the Lord, bold Moses said,
Let my people go,
If not I’ll smite your first born dead,
Let my people go.
Chorus
A typical African musical feature, the element of call and response (Burkholder et al., 2006) is exhibited in the verses with the recurring line, “Let my people go!”
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Resources:
Burkholder, J. P., Grout, D. J., Palisca, C. V. (2006). A History of Western Music, 7th Edition. W.W. Norton & Company: New York.
