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Human Piano

by | Nov 29, 2022

32

Category

vocal

Age

8+

Number of participants

in multiples of 3 or 4

Duration

approx. 20 min.

Working method

group work

Musical abilities of the trainers

1 2 34  5  6

Equipment and instruments
  • any musical instrument or app
    to have the first tuning references
Competences
  • concentration
  • collaboration
  • attention
  • cooperation
  • hearing sensitivity

Human Piano

This activity is designed to learn the pentatonic scale in a funny
and innovative way. In addition, it will develop motor,
cognitive and affective aspects indirectly.

AIM

The aim of the activity is to provide with a basic tool to perform music. The most common and basic multicultural scale: the pentatonic. This knowledge will enable the participants to complete other activities and to have a resource to create music.
In addition, we must comment that this scale is much related to the Hungarian music and that it has also an approaching objective to a participant culture.
Lastly, to promote our aim of impulsive musical activities for young people these kind of active and alternative ways of learning are a tool for it.

Description

  1. The motivator will ask the participants to form lines and to let some space between them.
  2. The facilitator will give a note (part of the pentatonic scale) and ask the participants to repeat it in loud voice.
  3. All together will jump to right or left, and by the new position they will add a new note.
  4. They will be asked to produce a third note, but in the third one the facilitator will not give the “sound clue”, they will only jump to a specific position and they will automatically discover it.
  5. They are not going to use more “sound clues” and they will sing and jump following the facilitator, making music.

Comments for facilitators

Ensure a comfortable place to practice it, spacious and clean.

Printable version

Hallelujah, We Don’t Need Instruments!

by | Nov 29, 2022

34

Category

vocal

Age

8+

Number of participants

10-30

Duration

approx. 20 min.

Working method
  • group work
Musical abilities of the trainers

1  2 3 4 56

Equipment and instruments
  • music player / app to play the song
  • keyboard and instrument for first reference
Competences
  • concentration
  • attention
  • collaboration
  • cooperation
  • hearing sensitivity
  • inner hearing

Hallelujah, We Don’t Need Instruments!

In this activity they will perform the famous song Hallelujah
only with their voices, without instruments, dividing roles
of chords and melody.

AIM

Following the activities dedicated to capella singing, and inner pitching. The idea of performing harmony and melody enables the participants to go a step further in the inner tuning capacity. They are not going to have a harmonic accompaniment. They are going to do it themselves. In that way, all of the participants have to hear to each other and can achieve a more global (harmonic also) view of singing.

Description

  1. They will listen to the song in order to refresh it
  2. The facilitator will explain that they are going to sing a capella
  3. The group will be divided in groups with chord functions and melody functions
  4. The chords function is going to be progressively complicated if they can do it properly: 1st root, 2nd add fifths and 3rd add thirds

Lyrics

Now I’ve heard there was a secret chord
That David played, and it pleased the Lord
But you dont really care for music, do you?
It goes like this, the fourth, the fifth
The minor falls, the major lifts
The baffled king composing Hallelujah…

Your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew her
She tied you to a kitchen chair
She broke your throne, and she cut your hair
And from your lips she drew the Hallelujah…

Well, maybe there’s a God above
As for me all I’ve ever learned from love
Is how to shoot somebody who outdrew you
But it’s not a crime that you’re hear tonight
It’s not some pilgrim who claims to have seen the Light
No, it’s a cold and it’s a very broken Hallelujah…

Well people I’ve been here before
I know this room and I’ve walked this floor
You see I used to live alone before I knew ya
And I’ve seen your flag on the marble arch
But listen love, love is not some kind of victory march, no
It’s a cold and it’s a broken Hallelujah…

There was a time you let me know
What’s really going on below
But now you never show it to me, do you?
And I remember when I moved in you
And the holy dove she was moving too
And every single breath we drew was Hallelujah…

Now I’ve done my best, I know it wasn’t much
I couldn’t feel, so I tried to touch
I’ve told the truth, I didnt come here to London just to fool you
And even though it all went wrong
I’ll stand right here before the Lord of song
With nothing, nothing on my tongue but Hallelujah…

comments for facilitators

If the activity is too difficult for them the piano would be added as a harmonic help. Aspects that must be paid attention to during the exercise are the ability to hold the pitch, and the accuracy of the intervals.
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Mamma Mia Tralala

by | Nov 29, 2022

35

Category

vocal

Age

12+

Number of participants

15-

Duration

approx. 20 min.

Working method

group work

Musical abilities of the trainers

1 2 34  5  6

Equipment and instruments
  • music player / app to play the song
Competences
  • improvisation
  • creativity
  • collaboration
  • attention
  • cooperation
  • concentration
  • hearing sensitivity

Mamma Mia Tralala

Sing a popular and worldwide known song arranged in
an Italian folk singing style (Trallalero Genovese) to follow
with the Italian culture immersion

AIM

The aim is to try and practice some different rhythm/singing techniques (body percussion, trallalero singing and singing in a foreign language)and improve the pitching.

Description

  1. First of all they will watch a “Trallalero” song in youtube (see resources) and also “Mamma mia” (see resources)
  2. The facilitator will explain about the context and the roles in Trallalero singing techniques, also they will experiment with the singing techniques before performing them.
  3. After, they will be divided in 5 groups, each one for a voice role (guitar, basso etc.) and they will sing “Mamma mia” in a Trallalero style version.
  4. The facilitator will give them the tone and the rhythm and they will perform and change periodically the roles.

“Ideas about Trallalero”:
Tenor: sings the melody
Contralto: sings a second melody in falsetto
Baritono: does a tra-la-la constant rhythm
Chitarra: does also a tra-la-la constant rhythm
Basso: maintains the low note mainly 

Mamma mia’s Trallalero version:
Tenor: sings the melody
Contralto: sings the melody with “bocca chiusa” with body percussion
Baritono: does a “mamma mia” constant rhythm
Chitarra: does a “mamma mia” constant rhythm in a higher pitch
Basso: maintains the low note mainly

About Trallalero:
Trallalero is a form of polyphonic Traditional Folk Music originating in the Ligurian region of Genoa, in northern Italy. Although the first written and oral sources of this musical form are from around the mid-19th century, it is reasonable to assume an earlier origin. As the names of parts suggest, the imitation of instrumental styles replaces traditional vocal polyphony which is a distinguishing feature of this genre.
Trallalero groups are almost exclusively formed by males and are called squadra (Italian for „team”). They are usually made up of 7, 9 or 12 elements. Every „squadra” has 5 kinds of voices: a tenor (called primmo) who intones the chant and chooses the right key, a contralto (contræto/bagascetta/segòndo) who sings in falsetto, a baritone (controbasso) who has the task of keeping the rhythm of the trallalero constant, a voice called chitâra that has a rhythmic function obtained by placing the back of the hand in front of the mouth, which serves to accompany the singing with rapid succession of notes that imitate the sound of a plucked string instrument, and various bass voices.

Comments for facilitators

I’ve been cheated by you since I don’t know when
So I made up my mind, it must come to an end
Look at me now, will I ever learn
I don’t know how, but I suddenly lose control
There’s a fire within my soul

and I can hear a bell ring
(One more look) and I forget everything, whoa

Mamma mia, here I go again
My, my, how can I resist you?
Mamma mia, does it show again
My, my, just how much I’ve missed you?

Yes, I’ve been brokenhearted
Blue since the day we parted
Why, why did I ever let you go?
Mamma mia, now I really know
My, my, I could never let you go

I’ve been angry and sad about things that you do
I can’t count all the times that I’ve told you we’re through
And when you go, when you slam the door
I think you know that you won’t be away too long
You know that I’m not that strong

and I can hear a bell ring
(One more look) and I forget everything, whoa

Mamma mia, here I go again
My, my, how can I resist you?
Mamma mia, does it show again
My, my, just how much I’ve missed you?
Yes, I’ve been brokenhearted
Blue since the day we parted
Why, why did I ever let you go?
Mamma mia, even if I say
Bye-bye, leave me now or never
Mamma mia, it’s a game we play
Bye-bye doesn’t mean forever

Mamma mia, here I go again…

Printable version

Vocal Chord Building

by | Nov 29, 2022

36

category

vocal

Age

12+

Number of participants

in multiples of 3 or 4

Duration

approx. 20 min.

Working method

group work

Musical abilities of the trainers

1  2  3  4  56

Equipment and instruments
  • any musical instrument or app to have the first tuning references
Competences
  • attention
  • cooperation
  • concentration
  • hearing sensitivity

Vocal Chord Building

This activity is designed to build the harmonic ear, avoiding the classic exercises. We will improve the inner listening by building chords with our voices, focusing on the triads and on the tonal functions.

AIM

The principal aim is to develop the inner harmonic ear. This cognitive tool will help the participants to understand the musical text in a deeper way, facilitating the singing, humming process and the creative process.
Submitted to that, the activity itself will improve the tuning skills and the listening skills while singing. We cannot forget to mention that cooperation; new ways to practise and healthy singing are part of the second aim.

Description

  1. Order in groups of 3 or 4
    2. Give the participants the musical reference
    3. All together sing with arpeggios the I IV and V degrees withthe guidance of the facilitator.
    4. Repeat the cadence without help
    5. Group by group, give the fundamentals and ask them to develop the chord.
    6. If they complete the precedent activities easily, next they will do directly different cadences. I-V-VI-IV
    7. The most accomplished activity would use different cadences and would alternate the chords they have to do.
    The last cadence but with changing roles, better said.

COMMENTS FOR FACILITATORS

As an illustration, you can search for simple, well-known melodies and songs to which these chords fit and you can sing along with it.

Printable version