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Thom Borden, Clinician
Treasures
Of
Music Literacy
Using Children’s Literature in the Music Classroom
Prepared for the
Kentucky Orff Chapter
March 3, 2012
Thom Borden, Clinician 11740 Presley Circle Plainfield, IL 60585
www.thomborden.com
www.thomborden.blogspot.com
OPENING ACTIVITY
Thom Borden, Clinician
OPENING MOVEMENT: Les Bastringue (French Canadian Folk Music) A Section: T. “Do you want to dance?” – S. “Yes, I do!”
Invite students to clap on what the words say.
B Section: Take 16 steps to new location – Repeat.
A Section: Invite students to find a partner. Put the T-words on patsch – S-words on partner-claps.
B Section: Take 16 steps to find a new partner.
B Section: Add R-arm, L-arm swing.
Sing me a story.
Play me a tale.
Sing a happy song I will
Remember without fail.
Original poem by Thomas Borden
ACTIVITY: Have the children join you in singing Simi Yadech. Add poem as a ―B‖ section. Body levels can be
added if desired.
MOVEMENT: Game Choose a partner.
Phrase 1 Take partners hand
Phrase 2 Take partners other hand
Phrase 3-4 Swing hands together
Repeat
On “Hey, hey, my good friend . . . “ walk CCW with partner.
Separate and find new partner while reciting poem “A Story.”
Simi Yadech – Give Me Your Hand Israeli Folk Song
OPENING ACTIVITY
Thom Borden, Clinician
From Spotlight on Music, © 2011.
Reproduced by permission of Macmillan/McGraw-Hill Exclusively for Training Materials – Thom Borden, Clinician
All Rights Reserved.
A JOURNEY
Language for rhythm patterns by Thom Borden
Let’s go north, let’s go south. Let’s go north, let’s go south. Let’s go! Let’s go! Let’s go north and south.
One! (rest) Two! (rest) (rest) We passed a Rest – stop, Rest – stop, Rest – stop, Rest – stop.
Let’s take a trip! East. West. Let’s take a trip! You know best.
Process for teaching body levels:
Teach the poem using body actions.
Teach play-along rhythms using body percussion suggestions below:
Body Levels for the rhythms in the play-along
Perform rhythm with claps—touch shoulders on rest.
Perform notate rhythm with claps and rests with stamps.
Perform quarter note rhythms with claps, rests with stamps, eighth-notes with snaps.
Add play-along body percussion to poem.
Recording Used by permission: Jungle Moon by Brent Lewis – www.brentlewis.com
Hello, Hello
Thom Borden, Clinician
Schlein, M. Hello, Hello. Simon and Schuster: New York, NY, 2002.
ISBN: 978-0-68983-435-6
Macmillan/McGraw-Hill School Division: New York, NY, 2002. Big Book ISBN: 0-02-192438-4/1
ACTIVITY: Sing Bonjour, mes amis each time a new animal is introduced in the story. Add the movement as desired.
FORMATION: Partners in a double circle
MOVEMENT: Game
Meas. 1-2 Shake with R hand and hold
Meas. 3-4 Shake with L hand (cross over R) and hold
Meas. 5-8 2-hand turn (8 beats)
Meas. 9 Take 4 steps to R to greet a new partner
Interlude R-arm swing (4 beats), L-arm swing (4 beats)
Bonjour, mes amis Cajun Folk Song
Thom Borden, Clinician
Bad Kitty
Bruel, N. Bad Kitty. Roaring Brook Press: New Milford, CT, 2005.
ISBN: HB 1-59643-069-9 From Spotlight on Music, © 2011.
Reproduced by permission of Macmillan/McGraw-Hill.
Exclusively for Training Materials – Thom Borden, Clinician All Rights Reserved.
ACTIVITY: Children perform Orff arrangement“Ding Dong Diggy Diggy Dong” (from Music for Children, Vol. 1,
page 24 Murray ed.) at the beginning and ending of the story.
Form: Naughty Kitty Cat
Introduction Play last 8 beats of BX Arranged by T. Borden
Song Voices with instruments voice
Interlude Using cat sounds, 8 beats
Song Voices with instruments AX/SX
CODA ―Scat!‖ BX
Process:
Teach AX / BX voice
Teach SG / SM
Teach vibra-slap part AX/SX
BX
ACTIVITY: Children sing and play Naughty Kitty Cat after several letters in the story. Place a small sticker in the
book to assist you in where to include the singing game. Give students sentence strips with each of the letters and foods
that are used in the story – place ―yucky‖ foods on one side, ―yummy‖ foods on the other. Another group of sentence
strips includes the ―bad kitty‖ and ―good kitty‖ activities.
Thom Borden, Clinician
Click, Clack, Moo – Cows That Type
Cronin, D. Click, Clack, Moo – Cows That Type, Simon & Schuster Books for Young Readers. New
York, NY, 2000.
ISBN: 0-689-83213-3
ACTIVITY: At various places within the story, children will play different non-pitch percussion instruments
representing a typewriter as the story is told. Have the children help decide look locations to sing Hunt the Cows.
Process:
Discuss ways to communicate your thoughts in writing: email, letter, book, etc.
Discuss ways to actually write the letter: pencil, pen, computer keyboard, typewriter, etc.
As typewriters are not as common in the classroom, ask if anyone knows what a typewriter
looks like. How does it work? Bring in a typewriter for the children to explore.
Use instruments to ―explore‖ the sounds of a typewriter—sticks, finger cymbals or triangle,
ratchet, etc.
Have children play instruments as a ―sound‖ letter is written in class.
Introduce the story Click, Clack, Moo.
Use instruments to represent the letters that are written.
Create an ostinato pattern (a rhythmic pattern that repeats) for the repeating phrase ―click,
clack moo . . .‖ Have the children sing the phrase as follows:
Read / tell story with instrumentation and singing.
Introduce children to the music of Leroy Anderson using the piece ―The Typewriter.‖ Create a
listening map to go with the music.
Thom Borden, Clinician
From Head to Toe
Carle, E. From Head to Toe. Simon & Schuster Books for Young Readers: New York, NY, 2007.
ISBN: 978-0-06443-596-3
MMH Big Book: 0-02-192434-1
ACTIVITY: Children repeat different movements as different animals are introduced in the story. This is a great book
to use to introduce options for movement when children don’t have beginning ideas on how they can make their body
move. Cut pictures from the book and rearrange to create a new sequence for telling the story.
MOVEMENT: Game
Stand in a circle around one child who has been chosen to be ―Punchinella.‖
Sing verse 1 while ―Punchinella‖ performs a motion in time to the beat.
Sing verse 2 while everyone imitates ―Punchinella’s‖ motion.
Sing verse 1 again as ―Punchinella‖ covers his or her eyes with one hand and moves
slowly around, pointing with the other hand, and finally stopping at the end of the verse
to point to the next ―Punchinella.‖
Sing again as the new ―Punchinella‖ goes to the center of the circle.
MATERIALS: laminated pictures from the book
Punchinella African American Singing Game
Thom Borden, Clinician
Knuffle Bunny
Willems, M. Knuffle Bunny. Hyperion Books for Children: New York, 2004.
ISBN: 0-78-681870-0
MATERIALS: die-cut shapes of socks with melodic patterns (rhythmic patterns can also be used)
SONG SELECTIONS:
John, the Rabbit – adapted by Thom Borden
Oh, Knuffle Bunny – Oh, Yes!
Oh, Knuffle Bunny – Oh, Yes!
Has a might bad habit – Oh, Yes!
Of jumpin’ in the dryer – Oh, Yes!
With shirts he jumbled – Oh, Yes!
And socks he tumbled – Oh, Yes!
And if I live – Oh, Yes!
To see next Fall – Oh, Yes!
I won’t leave – Oh, Yes!
Knuffle Bunny behind – Oh, Yes!
ACTIVITY: Movement
Sing the song – have children listen for the repeating ―Oh, yes!‖
Invite them to sing the response.
Invite them to clap their hands on ―Oh, yes!‖
Invite them to put a rabbit puppet on their finger and sing ―Oh, yes!‖
Invite them to HOP to the circle with their puppet on ―Oh, yes!‖
GAME: Melodic Match-ups
Materials: sock patterns with melodic (or rhythmic) patterns, washing machine, plastic baskets
Have children take a sock from the washing machine.
The child must sing the ―sock‖ that was chosen.
If the child sings correctly, he or she keeps the sock.
The child with the most socks wins.
Extension: Add a black sock in the washer. The child that pulls the black sock must sing ALL of the other
socks that have been chosen. If successful, then the child will automatically win the game.
Extension 2: Have the children try pulling socks in pairs. If they pull 2 different socks, they must sing
both patterns to keep the socks. However, if they pull a matching pair, and can sing the pattern correctly,
they receive an additional turn pulling a pair from the washer.
Extension 3: Use the inside cover of the book to sing m-r-d patterns. After demonstrating the patterns of
the machine fronts, have children sing the patterns that are pointed out. Invite a child to point out a
different pattern. Each time, a new pattern is sure to be revealed.
Thom Borden, Clinician
POEM: Pancakes, Pancakes
Carle, E. Pancakes, Pancakes. Scholastic, Inc.: New York, 1990.
ISBN: 0-59-044453-0
MATERIALS: plate, pancake shapes
POEM: Pancakes, pancakes, in a dish. How many pancakes do you wish?
Adapted by Thom Borden
ACTIVITY:
Pass the plate around the circle, adding ―pancakes‖ to the plate when a child indicates the number they desire.
POEM: Pancakes, pancakes, for my son. Mix them up in a bowl one by one.
Flip them in the skillet like your mother. Put them on a plate and make another.
Original Poem by Thom Borden
ACTIVITY:
Add the poem to the story Pancakes, Pancakes by Eric Carle is shared with the children. Create movements
for each phase. After the movements have been learned, it can become a substitution activity – leaving out
words and the poem is shared – using only the motions until there are no words spoken. Leave out an
additional word each time Jack wants a pancake. Words can be added back phases by phrase.
Mill Wheel Source: Jo Kirk, Colorado State University, Kodály Level 1 Training, 2006.
Formation: Double Circle, one child in the middle with arms stretch out to be the
center of the mill wheel
Game: Children sing the song with the “miller” in the center turning the same
direction. At any time during the song, the “miller” shouts “FLOUR!” All
children, including the “miler” find new partners and get back to the double circle.
The child without a partner becomes the new “miller” in the center as the game
begins again.
Peas Porridge Hot – Nursery Rhyme – Let’s Sing Together: Bacon ACTIVITY: Body Percussion FORMATION: Double circle facing partners
Children create a play-ground “patty-cake” game while speaking the rhyme.
Thom Borden, Clinician
Pancakes, Pancakes
Carle, E. Pancakes, Pancakes. Scholastic, Inc.: New York, 1990.
ISBN: 0-590-44453-0
MATERIALS: fruit shapes, non-pitch percussion instruments
MASSAGE – Pancakes: Touch
Formation: Scattered partners in shared space Take a partner and give a ―pancake‖ massage
One participant lies on the floor, while the other participant is ―mixing‖ pancake batter on his/her back
Easy to do!
Talk about appropriate touches
OSTINATI – Pancakes: Language and Speaking
Formation: Sitting circle ―What are some of the items put on pancakes?‖
Choose 4 items – apples, strawberries, pears, juicy oranges
Use cue cards to visualize items that can be put on pancakes
Speak ostinati – ap-ples, straw-ber-ries, pears, jui-cy orang-es
Speak and clap the ostinati
As the ostinati patterns are spoken, move the cards around – mix them up
Try to only clap the pattern (no speech)
Choose a favorite order of ingredients – clap the rhythm pattern – mix them up
Choose only 2 toppings and clap that pattern
Create a game with ostinati
o Look around the circle – locate others that are clapping the same pattern
o Walk around the shared space clapping ostinati pattern to locate similar patterns
or
o Walk around the shared space clapping ostinati pattern – try to keep your pattern going
while identifying a partners different toppings – once both sets are identified move to a
new partner and try again
Create a different game with ostinati
o Keeping favorite 2-topping ostinati – create large circle – ―chef‖ or conductor walks
around outside of circle tapping different people on the shoulder -- that person starts to
perform ostinati – thus different ―toppings‖ or ostinati can be added – if touched again,
that pattern stops – move around the circle touching lots of different people
o Use different dynamics / change the quality of the sound
o Put 2-topping rhythm patterns / ostinati into the body – move out of circle formation to
allow time to practice individually
o Coming back into circle – play all different ostinati at the same time – but soon after have
a ―chef‖ or conductor move into the center of the circle to teach his/her ostinati pattern –
once everyone is copying the same pattern in body percussion – conductor steps back into
his/her place in the circle and everyone returns to their first chosen ostinati pattern – after
everyone performs their own ostinati pattern a few times a new ―chef‖ or conductor steps
into the circle
*Remember – the group returns to personal ostinati choices between each new ―chef‖ or
conductor – creates a rondo form
INSTRUMENTAL – Pancakes: Playing
Thom Borden, Clinician
Formation: Shared space Choose ―kitchen tools‖ to prepare the toppings – use non-pitch instruments to perform ostinati patterns
Play the chosen rhythms on the non-pitch percussion instruments
Play the chosen ostinati patterns while playing music
Turn volume up and down to assure that the group maintains steady beat throughout and can perform
rhythms independently
Continue playing rhythm patterns with the music, but in a circle – put instruments down and move to a
new instrument on cue – pass the instruments from L hand to R hand to new person (person on the R)
Count 4 – start – count 4 – silent – start again
Count 4 walking into circle (playing)
Count 4 playing – walk back out of circle
Conductor walks around outside of circle – bringing in patterns by touching shoulders (touch again to
stop – move around circle) – keep playing until conductor touches you again
DANCING – Pancakes: Moving
Formation: Sitting circle Reflection over the ideas of the session
Take original pattern of 2 toppings
Put into feet – move around room walking pattern of the toppings
Move pattern side-to-side
Try on front and back
Mix one side-side with front-back
Show us – all try pattern
Do 2 or 3 different patterns that have been created
In a circle – all try one foot pattern – try another – put 2 patterns together
Use music – put foot pattern of the 2 with music (use Putamayo Music selection) – do one of the patterns
4 times – then the other 4 times
Choose a conductor to wave a scarf when time to change to second pattern
Break circle into a line – follow the leader around the shared space
Leader waves scarf when switching from pattern 1 to pattern 2 – snake line
DANCING – PANCAKES: Playing
Formation: Sitting circle Groupwork with all the elaborated elements
Presentation – Create groups of 6 or 8 to create own ―pancakes‖
Use body percussion, instruments, mvt, etc. to create a personal ―group‖ pancake (10 to 15 minutes – group work)
Each group is given the opportunity to present their ―pancake‖
o Divide groups in ½
o If this is done with 6 groups – let 3 perform one at a time while the other group sits and watches
o Discuss – what did you see? What did you like?
o Change – let 2nd
group of groups show their ―pancakes‖
Have a ―chef‖ serve ―pancakes‖ to audience by announcing toppings on the pancakes
*This idea was adapted from a session I attended in Melbourne, 2008 by Rodrigo Fernandez
CLOSING – MASSAGE: Touch
Formation: Scattered partners in shared space
Take a partner – 1 lies on the floor – other kneels beside
Use music that has a piano and violin in the recording
Kneeling partner plays the violin and piano on the back of the other partner
Change places with partner ½ through recording
Music Selection Used for Closure – Arvo Pärt – ―Mirror, Mirror‖
Thom Borden, Clinician
POSSUM COME A-KNOCKIN’
Van Lann, N. Possum Come a-Knockin’. Dragonfly Books: New York, 1992.
ISBN: 978-0-679-83468-0
Materials: clave-heads, Possum Come a-Knockin’ children’s book
Teach “At the Door.”
Use at the beginning and ending of the story – Intro/Coda.W – Women; M – Men.
W: At the door M: The kitchen door, the kitchen door. W: Who’s at the door? M: The kitchen screen door. W: Granny in her chair was rockin’, Ma and Pa the door unlockin’, M: Ma and Pa the door unlockin’. W: At the door M: The kitchen screen door.
Have children respond with “Knock, knock. Whose there?” after each “. . . comes a-knockin’ at the door” in the story.
W: Knock, knock. M: Who’s there?
Music For Children, Vol. 1, page 69 Murray ed. (Language created for rhythms
found in Vol. 1 by T. Borden, 2008)
GAME: Passin’ the Possum
Materials: Possum toy (purchased from Cracker Barrel)
Have one child play sol-mi pattern on xylophone while passing the possum on the steady beat.
When the children hear ―. . . knockin’ at the door‖ they respond, ―Knock, knock.‖ The child holding
the possum toy sings the sol-mi response, ―Who’s there?‖
The game continues around the circle, changing the xylophone player as you like.
Thom Borden, Clinician
Skelly the Skeleton Girl
Pickering, J. Skelly the Skeleton Girl. Simon and Schuster Books for Young Readers: New York, 2007.
ISBN: 978-1-4169-1192-0
MATERIALS: bones with l,—d or d—l, patterns
SONG SELECTIONS:
I Got a Letter
ACTIVITY:
As the story is told, have children sing the solfege pattern found on the bones. After telling the story, a large
pot of bones can be passed in the singing circle. Children pass the pot on the steady beat. The child holding
the pot at the time for the responses will choose a bone from the pot and sing the solfege pattern on the bone.
I Got a Letter South Carolina Singing Game
Thom Borden, Clinician
Ten Apples Up On Top!
LeSieg, T. Ten Apples Up On Top! Beginner Books – Random House: Toronto, Canada, 1989.
ISBN: HB 978-0-394-80019-2
LANGUAGE ARTS: Poetry – Using motions, children repeat each line saying the last line together. Way up in the apple tree,
Two little apples smiled at me.
I shook that tree as hard as I could.
Down came the apples,
Mmmmm! They were good.
Traditional
ACTIVITY: Game – Pass out apple shapes. Children place apples on the “tree” each time they hear
the word “apple” as the story Ten Apples Up On Top! is read aloud.
Additional Game – Once apple shapes are on the tree, invite a child
to remove an apple from the tree each time the poem is recited.
LANGUAGE ARTS: Poetry Apple tree, apple tree,
Will your apple fall on me?
I won’t cry and I won’t shout
If you apple knocks me out.
Traditional
MUSIC LITERACY: Steady Beat
s s m s s m s s l l s s m
s s m m s s m s s l l s s m
MATERIALS: pocket chart, apple shapes, apple puppet / toy
PROCESS:
Children sit in a large circle.
SECTION A
Pass the apple around the circle on the steady beat while singing ―Apple Tree.‖
The child with the apple at the end of the song takes an apple from the tree/chart and
returns to the circle.
SECTION B
Children create a large basket shape with their arms.
Speak the poem while keeping the steady beat with the arms.
Leave out the words of ―apples‖ that have been removed from the tree.
Thom Borden, Clinician
Ten Friendly Fish
Tarbett, D. Ten Friendly Fish. Backpack Books: New York, NY, 2007.
ISBN: 978-1-4351-0177-7
ACTIVITY: Sing the story to the tune of ―One Little Elephant.‖ Repeat the story allowing 10 children to ―perform‖ as
described. Repeat a third time adding rhythm sentences after each fish leaves. Use rhythm sticks to play the rhythms. All
previous rhythms repeat the second time.
MUSIC LITERACY: Reading Rhythms
10
I see a star-fish Let’s go!
9
I want to visit a yellow puffer fish.
8
Hello, hello, red crab.
7 Jump, splash and leap. Jump, splash and leap.
6
Wobbly wave, Wobbly wave. Wobbly wave.
5
Gen - tle as a whale.
4
I’m off, I’m off, Off to ex – plore!
3
Off we go! Off we go!
2
Play-ing in the pretty coral bed.
1
Let’s peep! Let’s peep! Let’s peep.
Thom Borden, Clinician
Tops and Bottoms
Stevens, J. Tops and Bottoms. Harcourt Children’s Books: New York, 1995.
ISBN: 978-0-15-292851-3
LANGUAGE ARTS: Poetry – add new body percussion each time the poem is spoken.
Chop, chop, chippity, chop.
Cut off the bottoms and cut off the tops.
What is left goes in the pot.
Chop, chop, chippity, chop. Traditional
Patsch – ―bottoms‖
Clap – ―tops‖
Snap – ―pot‖
Stomp – last ―chop‖ of poem
Music: “Rage Over a Lost Penny” – Beethoven
Perform the poetry piece with body percussion or non-pitch percussion in the A section of the music.
INSTRUMENTS: variety of non-pitched percussion instruments
Thom Borden, Clinician
Yellow Umbrella
Liu, J. Yellow Umbrella. Kane/Miller Book Publishers: La Jolla, CA, 2002.
ISBN: 1-929132-36-0
ACTIVITY: Exploration of Non-Pitched Sounds Explore different timbres using non-pitched instruments to represent the introduction of each umbrella in the story. New
non-pitched instruments are introduced with the entrance of each new umbrella in the story. Children improvise (metered
or non-metered) until a finger cymbal is played. The rainstick is turned over, a page in the story turned, and a new
umbrella introduced. A gong is played at the end of the story.
INSTRUMENTS: rain stick, non-pitched instruments (shakers, scrapers, metals, drums), finger cymbals,
gong.
Rain Rain Go Away Traditional Children’s Game
MOVEMENT: Partner Game Children find a partner and hold hands. Swing arms to steady beat while singing the song.
Form:
Introduction Rain Stick / Non-pitched Percussion Improvisation
A Introduce Yellow Umbrella – one page at a time – each time A repeats, turn the page
B Sing ―Rain, Rain, Go Away‖ while ―seeds‖ run through rain stick.
Swing arms to steady beat while singing the song. ―Wring the dishrag‖ at end of song.
C Improvisation of each page in the children’s book.
Children hold their hands over their head as an umbrella while chanting speaking part. Find new partner.
Did the rain ever stop? No, here comes a rain-drop.
Repeat A with the next page in the story.
Thom Borden, Clinician
Treasures of Literacy
Additional activities will be chosen from the following selections:
Lucy Locket
Lucy Locket – Traditional Nursery Rhyme – Sail Away: Locke ACTIVITY: Body Percussion
A SECTION B Section
Teach Lucy Locket using body percussion – 2 levels. Teach poem using body percussion.
Pat on eighth-notes, clap on quarter notes. Kitty Fisher found it, found it in the alley.
Teach complimentary rhythm pattern. Kitty Fisher gave it to her cousin Sally. Have children repeat the poem in canon.
Lu - cy lost her poc- ket. Kit - ty found it. REPEAT SECTION A
Have children perform both the Lucy Locket rhythm pattern and complimentary pattern.
Divide the children into 2 groups.
Have each group perform patterns separately; perform together.
Queen, Queen Caroline
Queen, Queen Caroline – Nursery Rhyme – Music in Preschool: Forrai
ACTIVITY: Body Percussion FORMATION: Large circle – seated
Step 1
Teach the poem. Queen, Queen, Caroline, washed her hair in turpentine. Turpentine to make it shine. Queen, Queen, Caroline.
Step 2
Repeat the poem in 2-part canon – the second part beginning after the first phrase.
Repeat the poem in 2-part canon – the second part beginning after the first 2 beats.
Repeat the poem in 2-part canon – the second part beginning after the first beat. Step 3
Repeat the steps above in 4-part canon. Step 4
Teach body percussion: C – clap; P – pat
C C P P C P P P P P P C P P P P P P C C C P P C
Step 5
Alter body percussion:
C C P C C P C P C P C C P C P C P C C C C P C C
Step 6
Repeat canons described above using body percussion.
Thom Borden, Clinician
Cookie’s Week
Cindy Ward – ISBN: 0-590-43604-X MATERIALS: cat puppet
After each day of the week, children sing the song ―Naughty Kitty Cat.‖ Additional activities can include a chasing game.
Children stand or sit in a large circle. One child pretends to be the ―cat‖ and stands in the center of the circle. Another child
can be outside of the circle – doing household chores – i.e. sweeping the floor while keeping the steady beat. One each rest
– the ―cat‖ responds with a ―Meow!‖ At the end of the song, the children ―open the windows‖ to allow the outside child to
run into the ―house‖ and try to catch the ―cat.‖
MOVEMENT SELECTIONS
Cripple Creek – Music: Flatt and Scruggs Formation: double circle, boys on the inside, girls on the outside
Music: You can use any lively bluegrass music in 4/4 time. I use Cripple Creek.
Using this recording, there is an intro, then the dance can be done four times, then a coda to bow to your partner. Each movement takes one 8-beat phrase
All dance forward and bow to partner, dance back to place. Right hand turn with partner Left hand turn with partner Two hand turn with partner CW Do-si-do with right shoulder Do-si-do with left shoulder Promenade around the ring CCW (2 phrases)
Once the dance is learned, change partners at the end of the second do-si-do by promenading with your corner instead of your partner. (This is why it’s called a mixer.)
Goodbye, Brother – Southern Folk Song – Music: Spotlight on Music MOVEMENT: Patterned Movement FORMATION: Double Circle facing partners
Meas. 1 3 steps into circle – clap partners hands
Meas. 2 3 steps out – clap own hands
Meas. 3-4 Right shoulder do-si-do around partner
Meas. 5 3 steps into circle – clap partners hands
Meas. 6 3 step out – clap own hands
Meas. 7-8 Left shoulder do-si-do around partner This activity can become a mixer by moving to next person to the right.
‘Liza Jane – American Folk Song – Music: Spotlight on Music Formation: Four-couple set – two lines of four facing each other. The head couple is closest to the front of the room.
A SECTION
Measures 1-4 Take three steps toward partner, ―high five‖ partner’s hands on ―more.‖
Take three steps back to place, clap own hands after singing ―Jane.‖
Measures 5-8 Swing partner with a right elbow swing.
B SECTION
Measures 1-4 Head couple – join two hands with partner and slide (gallop sideways) down the center of the set
and back (four gallop steps each direction).
Measures 5-8 Head couple – cast (turn away from partner) and dance down the outside of the set to the bottom as
all others sing, clap hands, and move up one place toward the top of the set.
The dance repeats with a new top until all have had a turn.
Thom Borden, Clinician
Ribbon Dance – Music: Sweets of May – Dudley Laufman MOVEMENT: English Folk Dance
Formation: Two lines (one of boys, one of girls) holding hands across the set
1st two sets of 16 beats: Twos walk forward and through in 4 steps, ones step back
Ones walk forward and through in 4 steps, twos steps back
Repeat 4 times
2nd two sets of 16 beats: The entire line makes and arch
Head couple sashays down the set (16) and back to the top (16)
3rd two-sets of 16 beats: The head couple casts off making an arch at the bottom of the set
Each line goes through the arch and up the set until everyone is through
Dance repeats with new head couple
Sellenger’s Round – Music: Historical Recording Formation: Partners in a single circle (as taught to me by Andrea Ostertag—Paris 2002)
MOVEMENT: English Folk Dance FORMATION: Single Circle Gallop – Siding – Arming – Hand Tour – Circling – Men’s Eight – Ladies’ Eight – Zig-Zag - Gallop
So Long – Words and Music by Teresa Jennings
Movement: Have children echo the words and body movements in the song.
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