Los Principios Del Orff Schulwerk Y OTROSDescripción completa
Método OrffDescripción completa
Cuaderno Orff de Música Para NiñosDescripción completa
Music Compostition
Descripción: A COMPARISON OF THE EFFECTS OF ORFF SCHULWERK AND TRADITIONAL MUSIC INSTRUCTION ON SELECTED ELEMENTS OF MUSIC ACHIEVEMENT IN THIRD, FOURTH, AND FIFTH GRADE STUDENTS
Descripción: Orchestration
OrchestrationFull description
An old, but still very relevant book on orchestration
Descripción: Hand out.
Descripción: An old, but still very relevant book on orchestration
Hand out.Full description
OrchestrationDeskripsi lengkap
Notation FinanciereDescription complète
O R F F
S C H U L W E R K
ORCHESTRATION i n
S i b e l i u s
&
F i n a l e
By Sa mue l Wr ig ht Ba se d up o n no te s f r o m NSW O r f f Asso cia tio n le ve ls
About This Book T he se no te s a r e ta ke n a nd r e p r o d uc e d in this fo r m a t to sup p o r t te a c he r s w ho inte g r a te the O r f f a p p r o a c h into the ir c la ssr o o m s. W he the r yo u a r r a nge m usic fo r O r f f instr um e nts o r te a c h sing ing using So lf e ge yo u will f ind this b o o kle t a he lp f ul r e f e r e nc e to o r c he str a ting in the O r f f sty le using Sib e lius o r F ina le no ta tio n so f tw a r e . Ab o ut the A utho r Sa m ue l Wr ig ht is a m usic te a c he r w ho is c o ntinuing his tr a ining a s a n O r f f e d uca to r in Syd ney A ustr a lia . Sa m ue l ho ld s a Ba c he lo r o f M usic a nd M usic Ed uc a tio n a nd ha s r e c e ntly c o m p le te d a M a ste r s in M usic Te c hno lo g y. Sinc e he b e g a n te a c hing Sa m ue l ha s so ug ht to c r e a te r e so ur c e s tha t sup p o r t le a r ning fo r te a c he r s a nd the ir stud e nts. T his w as the be ginning of wrightstuf f music. com. Sa m ue l d e sig ne d this b o o kle t a s a f r e e r e so ur c e fo r te a c he r s w ho teac h within the f r ame wor k of Orf f for or c hestr ation in Sib e lius o r F ina le .
Contents • Reference guide • Sibelius 6 scoring • Sibelius 7 scoring • Finale 2011 scoring * d ia g r a m s a nd sc r e e nsho ts inc lud e d
O R F F
S C H U L W E R K
Reference Guide
Vocal Sounds 1. Ar e v a lue d a s m usic a l so und s in the ir o wn r ig ht 2. Ar e a v e hic le fo r exp lo r ing a nd exp e r ie nc ing m usic a l co nce p t s 3. Ar e a m e d ia fo r build ing r hy thm ic skills 4. Ar e a stim uli fo r m ov e m e nt 5. Ar e the p r e p a r a tio n fo r instr um e nta l wo r k
* Ta ke n f r o m “O r c he str a tio n - Ana ly sis - L ite r a tur e ” no te s o f Day 2 , NSW Orf f As s oc ia t ion C our s e L e ve l 2
Body Percussion 1. Ar e v a lue d a s m usic a l so und s in the ir o wn r ig ht 2. Ar e a v e hic le fo r exp lo r ing a nd exp e r ie nc ing m usic a l co nce p t s 3. Ar e a m e d ia fo r build ing r hy thm ic c o m p e te nc y 4. Ar e use d a s a n a c c o m p a nim e nt to sp e e c h r hy m e s a nd so ng s 5. Ar e use d a s a m e d ium fo r d e v e lo p ing p hy sic a l skills suc h a s co o r d ina tio n, la te r a lity, d ir e c tio na lity a nd sp a tia l a w a r e ne ss 6. Ar e use d a s kine sthe tic p r e p a r a tio n fo r instr um e nta l wo r k * Ta ke n f r o m “O r c he str a tio n - Ana ly sis - L ite r a tur e ” no te s o f Day 2 , NSW Orf f As s oc ia t ion C our s e L e ve l 2
Body Percussion Diagram Sho uld e r s
F inge r Sna p s
C he st Be a ts
C la p p ing
Pats c hing Sta m p ing
Score Layouts
* Ta ke n f r o m no te s d e r i v e d f r o m N SW O r f f Asso c ia tio n L e v e l 2
Melodic Elements M e lo d ic p e r cussio n is a lso use d to : 1 . Acco mp a ny move me nt 2 . Acco mp a ny sto r ie s, p o e ms 3 . C r e a te so und sto r ie s 4 . De ve lo p imp r ovisa tio na l skills
Instrument Ranges
* Ta k e n f r o m no te s d e r i v e d f r o m NSW O r f f Asso c ia tio n L e ve l 2
Harmonic Elements M e lo d ic p e r cussio n instr ume nts ca n p r ovid e ha r m o nic a c c o m p a nim e nt p a tte r ns using Bo r d un’ s. 1 . Pe d a l - no te o n the to nic 2 . Simp le Bo r d un - simulta ne o us 4 th & 5 th d e g r e e s o f the sca le 3 . Le ve l Bo r d un - a s simp le b o r d un but with a c ha nge in r e g iste r 4 . Br o ke n Bo r d un - p laying the two no te s o f the b o r d un in suc c e ssio n (to nic f ir st) 5 . Ar p e g g ia te d Bo r d un - to nic , 5 th, up p e r to nic , 5 th o f the f ir st d e g r e e o n the sca le 6 . M oving Bo r d un - move me nt o n o ne o f the two no te s up o r d o wn to a n a d ja c e nt no te * Ta ke n f r o m no te s d e r i v e d f r o m N SW O r f f Asso c ia tio n L e v e l 2
Bordun Patterns Pa tte r n s 1 t hr o u g h 6
1.
4.
2.
5.
3.
6.
* Ta ke n f r o m no te s d e r i v e d f r o m N SW O r f f Asso c ia tio n L e v e l 2
O R F F
S C O R E S
in Sibelius 6 & 7
Sibelius 6 T he se no te s a r e ta ke n a nd r e p r o d uc e d in this fo r m a t to sup p o r t te a c he r s using Sib e lius no ta tio n so f tw a r e w hen cr eating Orf f c lassr oom ar r angements.
C ho o se yo ur instr um e nts a s yo u wo uld fo r a ny o the r sco r e , se le cting f ir st “O r f f Instr ume nts” f r o m the To p Le f t H and Se le ct io n B ox
T he two O r f f C la ssr o o m Sc o r e Te m p la te s a v a ila ble in Sib e lius 6
If you do not c hoose a template scor e you ca n still a d d in f e a tur e s suc h a s the O r f f tim e sig na tur e (a b ov e ) o r so lf e ge sy lla ble s q uic kly a nd e a sily.
T his m e nu c ha in a d d s the sing le ‘ 4 ’ time sig na tur e to O r f f C la ssr o o m Sc o r e Te m p la te 1 .
Ad d the sing le ‘ c r o tc he t’ a s a sy m b o l f r o m the symb o ls me nu (sho r tcut z) a nd a lig n the two e le m e nts a s se e n b e lo w
Ho we v e r, w ha t if yo u w ant e d t o ad d t he s am e tim e sig na tur e to e a c h sta ve ? Using O r f f C la ssr o o m Sc o r e Te m p la te 2 yo u d o the fo llo wing. . .
? ?
T his exte nsi v e m e nu d ia g r a m sho ws ho w to a d d the sing le ‘ 4 ’ tim e sig na tur e to e a c h sta ve in O r f f C la ssr o o m Sc o r e Te m p la te 2 . Yo u c a n a d just the fo nt size o f the ‘ 4 ’ using the p r o p e r tie s p a ne
So lf e ge & b o o m w ha c ke r c o lo ur s c a n e a sily b e a d d e d to a sc o r e f r o m the p lug ins m e nu.
Se le c t yo ur sc o r e , the n na v ig a te yo ur Sib e lius Plug - ins me nu fo r this g r e a t a uto ma tic so lf e ge wo r kf lo w.
Sibelius 7 T he se no te s a r e ta ke n a nd r e p r o d uc e d in this fo r m a t to sup p o r t te a c he r s using Sib e lius no ta tio n so f tw a r e w hen cr eating Orf f c lassr oom ar r angements.
O r f f Te m p la te Sc o r e s in Sib e lius 7
O r f f Te m p la te Sc o r e s in Sib e lius 7
Sibelius 7 T he ne w layo ut inc lud e s a ‘ r ib b o n’ a t the to p o f the sco r e wind o w, with ‘ ta b s’ to na vig a te thr o ug h Sib e lius 7 ’ s sc o r ing f e a tur e s, sy m b o ls, line s, layo uts, a d v a nc e d sc o r ing d e sig ns a nd m o r e .
T he sc o r e s yo u p r o d uc e in Sib e lius 7 will still ha v e tha t p r o f e ssio na l lo o k, but the ne w inte r f a ce may ta ke so me ge tting use d to.
T he fo llo wing p a ge will ta ke yo u thr o ug h the ste p s to f ind e a c h e le me nt to se tup yo ur o wn O r f f Sco r e Te m p la te .
To a d d t he up s id e d o w n f lo a t ing c r o t c he t b e a t fo r a n O r f f tim e sig na tur e na v ig a te to the “No ta tio ns” ta b a nd c ho o se “Sy m b o ls”
To a d d t he s p e c ia l f lo a t ing ‘ 4 ’ t im e s ig na t ur e na v ig a te to “Text” ta b a nd c ho o se “Sty le s. ”
As w a s c usto m a r y in Sib e lius 6 , yo u c a n still a d d tim e sig na tur e s to yo ur sco r e - a nd the n hid e the m to a d d your own O rf f style timing.
T im e Sig na tur e m e nu (sho r tc ut t)
Ed it m e nu > hid e / sho w
Finale 2011 T he se no te s a r e ta ke n a nd r e p r o d uc e d in this fo r m a t to sup p o r t te a c he r s using F ina le no ta tio n so f tw a r e w hen cr eating Orf f c lassr oom ar r angements * * Sp e c ia l tha nks to R ay Pa r tr id ge , @ F ina le _ M usic & @ T he F ina le Gur u
C r e a te a ne w e nse m ble (w hic h yo u c a n sa v e fo r f utur e r e f e r e nce ) in the ‘ Eng r a ve d Style . ’
. . o r e le me nta r y style fo r junio r sc ho o l
Using the ‘ e ng r a ve d style ’ se tup yo u a d d yo ur instr um e nts f r o m the ‘ o r f f instr um e nts’ m e nu.
M a ke sur e yo u c ho o se ‘ Sco r e O r d e r ’ > ‘ O r f f ’ f r o m the d r o p - d o wn me nu
Sa v e a s yo ur d e f a ult O r f f e nse m ble te m p la te fo r f utur e use
T he sc o r e yo u a r e p r e se nte d with is wo nd e r f ully se t o ut, but it ha s no ‘ O r f f ’ ty p e tim e sig na tur e . To a d d o ne fo llo w t he nex t f e w s t e p s :
1. Na vig a t e to >D o cum e nt , D o c um e nt Op t io ns >T im e Sig na tur e s 2. In the ‘ ver tical adjustment’ menu c hange the b o tto m sy m b o l v a lue to - 3 0 3. C lic k ‘A p p ly ’ & ‘ O k’ to se e yo ur ne w sc o r e in 2 / 4 but the d e no mina to r is no w missing
Using the F ina le ‘ exp r e ssio n to o l‘ d o uble - c lic k in the sco r e to o p e n the ‘ exp r e ssio n’ se le ctio n wind o w. > C r e a te Exp r e ssi v e Text (o nc e yo u c lic k o n exp r e ssi v e text) > In the Exp r e ssio n De sig ne r wind o w m a ke sur e ‘ text’ is se le cte d > Using the M a e str o fo nt f r o m the d r o p - d o wn m e nu typ e ‘ Shif t Q ’ fo r a n up sid e d o wn cr o tc he t (q ua r te r no te ) > C lic k ‘ O k’ a nd ‘Assig n’ the n d r a g the cr o tc he t (q ua r te r no te ) to sit und e r the nume r a to r o f yo ur tim e sig na tur e
* Sc r e e nsho ts o n next p a ge
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