, , , ; , , , ( 2 ttt r tort cu e st “—pr—pr-t - BS Ge paluras Pal lacad oA : sus wrolos Gade). Alpha Four 10 (a Te. pes Jim Solomon ith rites Toc Fine a ONT oNT tf or ort prot rttt Form: ABACA, A section: Perform for students, then teach the rhythm of the A section with patschen only. Patsch the rhythm again and add the three claps at the end. Add and practice the claps on beat two. Then perform again and ask students to find which measure of the first three measures does not have a clap on beat four. After the students identity the third measure, practice the A section as it is written.iu \ Il. Alpha Six Jim Solomon SF nocorato ye pret _. = wat gl rT rT] sles Je sae cor ctrr Tee : Fine we? Qo [or prrororpe 1 oT 3! _s Form: ABACA sy reermo ll. Alpha Three | | Jim Solomon 8 : rp} or rel ttre | rT we ne rr tererhe teerteerter eral attra rte teeter tad ToA Form: ABACA } Asection: Establish the meter and tempo by moving in threes befdre beginning the A | Section. Have students take a step on beat one of each measure of the music that you ) play for them. Then practice the J JJ pattem. Porform the A section and have ) students identify how many times that pattern occurs. Ask them to perform only that - , Pattern with you the four times it occurs. After they can do this. they can easily add the rest.- “t Sceoreteere leeerer err cy st 2 — Se NS IV. Dolphinarts Rondo Tororrforsrer yy fe 1 rit is ory] Rape + Form: ABACA, A section: Practice the pattern in measure three. Perform A section for students and have them identify where it occurs. Then proceed to learn the whole A section from the beginning. C section: Perform for students, then have themwatk J 1 Jt .etc., while you echo speak the rhythm. Add the rest of the body percussion measure by measure.V. Las Vegas Rondo Rocause body percussion canaet sustain the vatue of d's, d's, and e ‘s. tls necessary 1O.add vocal sound effects to sustain these Note values in the A section Stucants can * Jim Solornon use train sounds, whistles, etc,, of they can create thelr own sounds, Emphasize @racticel) keeping the tempo steady. Allegro, cyt tt aah 7 ror lee ft r | Creer sn cu tT em an crestrtt “ht rrr rt? 7 ing aft Hy a toto el creo ci ' hactrenerlewererer aaa ToA c oul} L tT Trey * @yn-co-pa-tion Is ac- cents off Form: ABACA C section: Students should be able to speak & before they clap them. Pi trocr rsa the words below the first wo measures seVI. Red Hot Rondo Moderato Jim Solomon Form: ABACADA “f, Bore heer tree cre bearer ere cre seine niet Pie ore Teel “| rrp rt “ corcercorr wa 5 |— fie rt "ror qr roar er Se rar rtf 6a SE ee cnWii. Dolshin Band is The Greatest Ever tim Solomon The title of this piece was created by a student who made up the words to help the group remember the rhythm of the fist three measures of the A section. The group Stated its own C section by creating different rhyinm pattems and then layering them ings ostinato patterns one at atime. Your group could do the same thing, orone ormore students could improvise the C section. eae To B Toc Fine Form: ABACA, 46VIII. Cape Canaveral Rondo Allegro Jim Solomon altel crbrertyreetrte rb rete cu st cu st Seether rf Toor {tt Too TT a D_ Have group decide on a walking pattern for this section. q | mr 1 ! TTT TTT TTT T TTT PY TTT Y Form: ABACADA A section: Emphasize to the group with the top clapping part that the rest is beat one. B section; Mooures 3 and 4, 7 and 8 have the same accents as the Cuben core potter dd If Jd fs ochoclap thi tytn poet teeny eae NS Speak the Sccents; tied patsch the ighin notes Crd Mee He eee Serlonmam oltenscta thet each Weis ployirig Wis part om oe te cocoa ames Oe + second will be with the hand that starts the pattern. of oper ee ivewwwwwrwwwwewv ewe ~~~ ~~ ee ee ee ee eee 4Z IX. San Francisco Rondo Jim Solomon 2. Prere—}—reeatrenine rer? | 3. re r I To oa — Tet TT AGT ee Bopad etf[— 1 J Frat TTS sah reed c rT (or cory ro 1 CC section: Isolate and practice measures 7 and 8.| X. Palin Valley Rondo rt a f a roeee Ieee feel u tro Coe woo a ror noo woe —_, [oplbelblntip im n of one eighth note from measure 11020 3to 4. This repeat 7, and 8. part often reinforces the S=J__J figure and the claps = I>wwe rv~urrecerlev ge goa wevevwevrvewvewuve 8 Xi. Syncopation Celebration PTT Pr oa ee rttrnt fre lom order.”sn cu st rT tT alle (teats ; ry eee ag ale ag ge ese eso Te At last! Here we go. Yes! We love it so. This Is sweet re- lis « (Cotloguial counting) Form: ABACADA A section: Top Part: When teaching measures 1 and 2, make a strong vocal sound on the first beat of measure 2 so that everyone will learn to feel that rest. Isolate and practice measure 4 every day. Bottom Part: Isolate measure 1 and the first beat of measure 2 (this pattem repeats four times). Have the group perform that four times while you perform the rest of the body percussion (the “solder” or “glue” between the repetitions of the pattem). Then they can join you. Bsection: Note the shift inthe patschen part from offoeat to on beat betweenmeasures Zand 4, C section: Have the group count how many times measure 1 repeats (four). Group Performs that rhythm on all odd numbered measures, you perform even numbered measures. Then echo two measures, etc., at atime, D section: Start speaking with high voices. Lower speaking pitch every phrase (every 2 measures).