Winding it Back: Music Made Together by All Students Alice Hammel and Berta Hickox

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Definition Winding it Back – to adjust expectations and skill level requirements to an earlier observable competency in a learning sequence. The expectation is modified to meet the current performance level of the student on that particular objective.

Rhythm activity #1 Queen Caroline Chant the rhyme + show steady beat  S. chants the rhyme, T. shows beat  T. chants the rhyme, S. shows beat  T. chants the rhyme + shows beat  S. chants the rhyme + shows beat

Rhythm activity #2 Paw Paw Patch Read in rhythm syllables from the board (stamp q, patsch iq, tap jjjq )  Show and chant only iq / q / jjjq  Show and chant all q s and iq s  Chant rhythm syllables at a slower tempo while the class lines up

Paw Paw Patch

Folk dance Heel & Toe Polka A1 inside heel/toe/heel/toe, 4 sashays to center A2 outside heel/toe/heel/toe, 4 sashays home B1 RRR, LLL, BBB, PPP B2 swing 1 ½ turns, turn to face new partner

Winding back a folk dance  Play the “heel/toe” game  Play the “heel/toe” game, sashay to center/home/both  Play the clapping game  Perform the job of the feet only  Perform the job of the hands only  Perform the dance figures in self-space

Winding back a folk dance (cont.)  View a graphic representation of the dance figures  “Finger dance”  Draw with chalk on the carpet for the student to follow  Read the calls from a chart  Pre-teach individual students before the dance is introduced to the class  Students call while dancing  Use Anytune app to slow down the tempo of recorded music

Winding back a folk dance (cont.)  Allow certain individuals to select partners first  Demonstrate the dance with the student who will need the most repetition (s. has an opportunity to lead, to dance without the music, and at a slower tempo)  Allow individuals to observe before participating (perfectionists, “thinkers”, shy students)  Play the “change partners-heel/toe” game  B2: 2-handed turn, walk past to meet new partner

Winding back in a choral setting Risseldy, Rosseldy (arr. Jay Broeker)  Chant the rhythm using rhythm syllables from the staff with pitches omitted or from rhythm notation only.  Chant the text in rhythm.  Reinforce the tonality and harmonic functions through the addition of the chord root melody. Sing melody + chord root melody in 2 parts.  Use of solfege ladder to “read” all or part of the melody/isolate and practice challenging intervals or important motifs.

Risseldy Rosseldy

Solfege ladder m r d t, l, s,

Winding back in a choral setting (cont.)  Use pointer/tone set to link the solfege to its staff placement.  Sing solfege from the staff with rhythm omitted. Instruct students to focus only on the noteheads or renotate the passage with noteheads only.  Sing using solfege in rhythm.  Sing with text in rhythm.

Rocky Mountain

Winding in an instrumental setting Pat beat to Rocky Mountain while teacher sings Clap rhythm to Rocky Mountain while teacher sings Pat microbeat while teacher sings

Winding back in an instrumental setting Sing Rocky Mountain on text while patting beat Sing Rocky Mountain on text while clapping rhythm Sing Rocky Mountain on text while switching between beat and rhythm Sing Rocky Mountain using rhythm syllables Sing Rocky Mountain switching between rhythm syllables and text.

Winding back in an instrumental setting Sing Rocky Mountain switching between rhythm syllables and text while patting beat and/or microbeat. Sing Rocky Mountain using solfege. Sing Rocky Mountain switching between solfege and text. Sing Rocky Mountain using absolute note names.

Winding back in an instrumental setting Sing Rocky Mountain using absolute note names while fingering instrument. Sing Rocky Mountain switching between solfege and absolute note names while fingering instrument. Play Rocky Mountain on instruments. Sing chord root melody to Rocky Mountain in solfege.

Winding back in an instrumental setting Play chord root melody on instruments Alternate between chord root melody and melody Improvise on the “Do Do Do Do” sections of Rocky Mountain. Play Rocky Mountain melody or chord root melody while including improvisation section, and melody for end. Eat snack and take a nap.

Winding back in an instrumental setting Use folk or art song material that is familiar to the students. Use sound and video files for practice. Teach solfege and rhythm separately. Allow student to choose level of participation and exact place in the sequence to begin or proceed with instruments.

Winding back in an instrumental setting Provide sound, iconic, and notation files in advance. Teach paraprofessionals as you teach the students. Provide them with an instrument, if possible, to help them prepare for class. Consulting the IEP or 504 Plan can help in determining current levels of functioning, participation, and assessment.

Winding back in an instrumental setting Determine the notes the student can play. Determine the best tempo for the current skills of the student. Examine modalities and your use of them in the classroom. Experiment with size, color, and pacing.

Winding back in an instrumental setting If the use of adaptation and accommodations strategies are not successful for the student, begin winding back to find the appropriate aural, visual, and kinesthetic performance level of the student on that instrument.

Winding back in an instrumental setting It is important to wind executive skills as well: Posture Care of instrument Navigating the rehearsal room Music stands and folders

Winding back in an instrumental setting Ways to adapt specific repertoire Chord root melody Simplified harmony line Play first beat of every measure Play only half or quarter notes that are in the piece Partial participation – only the pieces the student has been able to learn

Winding in General Honors the personhood of each individual student May be used with any student who struggles at any point in a sequence or curriculum Is an imperfect science that can be updated or reordered at any time Lends itself easily to individualized assessment

Kodály "We put up the fancy spires first. When we saw that the whole edifice was shaky, we set to building the walls. We have still to make a cellar." — Zoltán Kodály"We put up the fancy spires first. When we saw that the whole edifice was shaky, we set to building the walls. We have still to make a cellar."Zoltán Kodály