ACTIVITY 1: Introduction to the Pipe Organ

Objectives:

• Learn history and basic elements of pipe organ.
• Observe how the length of pipe affects its pitch, and why.
• Compare 3 pieces of organ music.
• Explore concept of life-long learner.

Estimated Time Needed for Activity:

One 50 minute session, plus extra time if a brief essay is written in class.

Notes:

You will want to preview this video, noting where the stopping points are as described in Procedures.

Addressing Cultural Diversity in the Learning Environment:

Pipe-based instruments are found in many cultures. What instruments do you know about that use pipes? Can you name any cultures that are known for their pipe instruments, for example Scottish and Irish bagpipes, pan flutes, etc.

Materials Needed for this Activity:

• Printed handouts from the Young Person's Guide to the Pipe Organ, if desired.
• http://www.agohq.org/guide/
• One roll from a paper towel roll
• Scissors
• Chart paper and pencils, or white/black board. Create three columns: Piece #1, #2 and #3.

Additional Resources:

• A wonderful website describing the history of the pipe organ and how it works is called: A Young Person's Guide to the Pipe Organ. It may be found at: http://www.agohq.org/guide/ It is divided into several sections.
  
• Elementary school students may enjoy the sections called: In The Beginning, Flue Pipes (with sample sound for Principals - the most basic organ sound, Flutes and Strings),and Reeds (also with sound sample).
  
• Older students (some music background is helpful) may be interested in additional segments, including a Glossary and links to other sites.
• Minnesota Public Radio aired "American Holiday,” a program of folk tunes and patriotic airs played on the pipe organ. It may be heard via Real Audio at this link: http://pipedreams.publicradio.org/
• Organ music preferences are highly individualized. It is suggested that teachers find additional resources through your district's music departments, music society, local church organists, and local library.
• The following website points to mini-bios of various composers of organ music:
• Suggested CDs:
• One of the best and well known organ pieces is Johann Sebastian Bach's Toccata and Fugue in d minor, BWV 565. Many recordings of this piece are available, including:
• Famous Organ Works (Berühmte Orgelwerke), by Johann Sebastian Bach. Decca Record Company Limited, London, 1987. Peter Hurford, Organist. A good selection of pieces for the organ, good for comparing and contrasting the various sounds an organ produces.
• Greatest Hits, by Johann Sebasitian Bach. Sony Classical, 1994. Artists: varied, including Philadelphia Orchestra/Eugene Ormandy, E. Power Biggs, Issac Stern, Glenn Gould and Mormon Tabernacle Choir.Instrumentation includes organ, piano, harpsichord, lute, and various chamber ensembles. Besides the Toccata and Fugue, check out Track 18: Fugue in G minor.
• Sing along with the first melody you hear, and then hear how that melodic theme is carried out in all four voices of the fugue. The 4th voice is played low, using the foot pedals.
It would be impossible to list all the wonderful recordings available for pipe organ.

• Below are two very accessible recordings for the novice listener:
1. Organ Music by Dietrich Buxtehude, 1637-1707. Delos International, Inc., 1986. Robert Noehren, Organist. Legend says that J.S. Bach walked 200 miles to hear Buxtehude play. Tracks 3 (Wie schön leuchtet der Morgenstern" and 9 (Choral Prelude: "Ich ruf zu Dir, Herr Jesu Christ") are good examples of hymn or choral played as a slower-moving, melodic line, with faster running notes embellishing the sound.
2. Pipes & Tubes. Music for Panpipes and Organ.
Koch International, 1997. Artists: Ulrich Herkenhoff, pan pipes, and Matthias Keller, organ. A wonderful collection of pieces spanning three centuries of organ music, including Bach, César Franck, Béla Bartók, and Ulrich Herkenhoff. All pieces for organ and pan pipes.

Procedure:

1. Discussion:
2. What do you know about the pipe organ?
3. Have you heard one?
4. Have you seen an organ (pipe or electronic) "up close" or played one?
5. Where have you seen or heard it? Did it have a particular purpose?
6. Present background of the pipe organ, using Teacher Notes.You may wish to present or print out additional information found at A Young Person's Guide to the Pipe Organ, http://www.agohq.org/guide/ using information appropriate to the age of your students.
7. If possible, play the sample sounds found at the website.
8. Demonstrate how the length of a cylinder or pipe affects its pitch:
• Take a paper towel roller.
• Strike it lightly on your hand.
• Sing the pitch.
• Take another, strike it, and compare the pitch.
• Are they the same? (They might not be, but it should be close.)
• Take one paper towel roller and cut about 2" off one end.
• Compare the two rolls again.
• Have the class listen to and sing back the pitch of one roll, then the other.
• Which roll has the higher pitch? Why?
9. (Longer, less condensed sound waves move at a slower, lower frequency; Smaller lengths create a faster frequency, faster sound wave which is higher in pitch.)
10. Viewing the video:
• Introduce by saying that Catherine Crozier is considered a pioneer in her field, being the first woman to tour as an concert organist. She is compared to Leontyne Price in the video. Who is Leontyne Price? (a world-renowned opera singer).
• Begin viewing the video.
• You will be stopping the video several times as you watch.
  
• The first stop time is after the narrator says, "I would not have found some hot shot organist....." How many keyboards do you see? (four, including the foot pedals! )
• Listen and watch as her hands move from keyboard to keyboard.
• Does the sound change? How does it change?
• Note the buttons on either side of the keyboards. These are the stops, each one has a different sound. Each keyboard in this piece has different stops activated, so the keyboards can sound differently from each other, and from one piece to the next.
• The texture or quality of sound is called its timbre.
• What are some descriptive words you would use to describe this music?
• Write the answers down on the chart paper or black/white board in the column "Piece #1."
11. Start and stop, and review this section as necessary to gather and record the information.
12. Then allow the video to proceed to through the first interview.
13. Stop the video again as Crozier is playing the second organ, after you see her playing the foot pedals.
    
14. Ask: Which part of her feet are used to play the foot pedals? (both toe and heel). Note her shoes, which have a small heel. Organists, even men, usually have a special pair of shoes used only for playing the organ. They have a certain height heel which makes it easier to play the foot pedals. {Note: this is a short section, you will want to repeat it.)
    
15. Let the video proceed, and stop after her playing has ended.
    
16. Ask, "What words would you use to describe this music? What feelings does it create?"
    
17. Record the answers in the column "Piece #2."
18. Resume viewing the video to the third piece. Take the time to ask for, and write down, descriptive words to the third piece in the column “Piece #3.”
19. Pause at the final organ piece, and note the slow moving melody in the lower tones notes (played with the feet) contrasted with the faster, running pattern of the higher notes (played by the hand).
    
20. This is one format used by Johann Sebastian Bach. The slower notes are a chorale or hymn tune that his audience would recognize, and the other, faster notes are colorful embellishments.
    
21. Allow the students to listen to this, then watch the video to the end.
22. Follow-up discussion:
• What impresses you the most about Catherine Crozier?
• She has been one of the foremost concert organists. Does she feel she has stopped learning?
• Would you call her a life-long student?
• Compare the three pieces you heard, using the information listed on the chart.
• How did they vary?
• Was there a significant variation of sounds, moods and feelings among the three? Do you have a preference?
• How did Crozier get through college?
  
23. If you had a benefactor who would pay your way to learn anything you wanted to learn, what would it be?
    
24. Optional: Write a brief essay about your ideal subject to study, if money were not an issue.

Assessment

• Use the Group Discussion Scoring Guide to assess this activity.

Extensions and Adaptations

You might allow the students to experiment with paper towel rolls.
See if they can create different notes that the first few notes of a scale - think "do re mi", or "do a deer (a female deer)".
Prior to the activity, ask these questions: What would happen if I hit the roll hard on the desk? Is it appropriate to hit it on the floor? On someone else? The natural consequence for inappropriate use of the paper towel roll is losing the privilege of doing the activity. See Jeffrey Stolet, Lesson #2 for more information on elements of sound, and manipulating or changing sound.

ACTIVITY 2: Making Pan Pipes

Objectives:

• Learn the background of the pan pipes and listen to sample recordings.
• Understand how length of the hollow tube affects the sound.
• Create a pan pipe.

Estimated Time Needed for Activity:

One 50-minute class period

Notes:

• You will want to have the bamboo pre-cut when doing this project at the elementary school level. Depending on class size, availability of tools and parent aides, and school district policy, middle school and high school students could measure and cut the bamboo with appropriate safety measures and supervision.
• You will need to set up a station where two parent aides can use glue guns. If older students are allowed to use glue guns, have additional glue guns available if available. Be sure to review safety rules prior to their use.
• Bamboo may be found in some import stores, and in home and garden supply stores. Bamboo is hollow, except for the area where the rings are. This provides a natural "plug" for the end of each piece.
• To view detailed instructions regarding bamboo cutting, please see the addendum at the end of the activities.

Addressing Cultural Diversity in the Learning Environment:

Pan pipes are found in many countries including South America, Greece, and Romania. They have been made out of many kinds of hollow material, including bone, reed, cane and bamboo. Flutes are also used in many cultures throughout the world. Ask the students if there a panpipe or specific kind of flute that is played in the culture with which they identify.

Materials Needed for this Activity:

• Pre-activity preparation (by parent aide?):
• Pre-Cut one length of bamboo per student, approximately 35" inches long and 1/2 inch in diameter (see Teacher's Notes)
• Craft saw
• Ruler
• Pencil
• Copies of Procedure below. With younger students, a poster illustrating the steps might be preferable.
• NOTE: If middle school or high school students are cutting their own bamboo, additional craft saws, rulers and pencils are needed.
• For assembly of pan pipe:
• Sand Paper
• Tape
• Yarn in several colors if possible.
• Typed instructions (for younger children, a poster illustrating the steps might be preferable)
• Hot glue sticks and hot glue guns (used by responsible adults or older students)
• Parent aides to help as needed (at least two to work the glue guns, and one or two more to help with assembly)
• Sample recordings of pan flutes (see Additional Resources for suggestions)
• CD Player

Additional Resources:

• There are several directions on the internet for making pan pipes using pvc pipes. One such location is:
• http://homepages.uc.edu:8000/WorldMusic/Classes/DistributedLearning/make_panpipes.htm
• Your music department may have an example of a pan pipe. You might be able to find inexpensive pan pipes in import stores. Use one as an example. (Ones made by the class will be straight, not curved.)
• Suggested CDs:
1. Panpipes from the Andes, by Incantation (Musical group) K-tel International, 2000. Traditional and contemporary music featuring panpipes.
2. Pipes & Tubes. Music for Panpipes and Organ.Koch International, 1997. Artists: Ulrich Herkenhoff, Pan pipes, and Matthias Keller, Organ. A wonderful collection of pieces spanning three centuries of organ music, including Bach, César Franck, Béla Bartók, and Ulrich Herkenhoff. All pieces arranged or composed for organ and pan pipes.
3. Songs of South America. Andanzas (musical group) Northeastern, 1990.Features many South American instruments, including panpipes.
4. Georghe Zamfir. Vol. 2, by Georghe Zamfir. Delta Music, c1990. Zamfir is the premier Romanian panpipe player; music is Roman (gypsy) in influence, quite lively and fun.

Procedure:

1. Ask: has anyone ever seen a pan pipe?
   
2. What materials were used?
   
3. Do you know of any cultures that use them? Show one if you have one.
   
4. If you have a recording, play one selection to demonstrate what the pan pipe sounds like.
   
5. If you have a sample panpipe, play it, or ask a parent or student who plays the flute to demonstrate.
6. How does the shortest pipe sound in comparison to the longest pipe (it is higher in pitch). Why?
   
7. (Sound waves are more condensed, with a shorter column of air; it moves faster, generating more cycles per second and a higher itch. A longer pipe has a longer column of air which vibrates more slowly. The gap between each compression is longer, with fewer cycles per second, creating a lower pitch.)
8. Tell the students that pan pipes were the precursor to the pipe organ.
   
9. (If the students have not yet seen the video on Catherine Crouzier, wait until the end of the class period. Those who have completed their pan pipes may watch the video while the others may listen as they complete their project).
10. Each student should have six pieces of bamboo in varying lengths.
    
11. Lightly sand the ends of the pieces of bamboo.
12. Line up bamboo pieces in order of length, from shortest to longest.
    
13. Line up the TOPS of each piece (the end OPPOSITE the bamboo rings).
    
14. Tape the pieces of bamboo together, starting at the lower half of the smallest piece.
    
15. This is to temporarily hold the pieces in place.
    
16. For ease in handling, you may wish to tape three pieces together, then add the rest.
17. Starting above the tape, begin to weave a long piece of yarn in-between the pipes, using an over and under pattern.
18. When you get to the end, bring the yarn around the last piece of bamboo and weave back the other way.
    
19. Do this 12-14 times to secure the pipes. (For decoration, you may choose to weave different colors of yarn.)
20. Use a hot glue gun on either side of the woven yarn to help hold the pieces in place.

Assessment

• Use the Creation Scoring Guide to assess this activity.

Extensions and Adaptations

• There are many books on the science of sound and music. A few are listed here:
• Gibson, Gary. Hearing Sounds: With Easty to make science projects. Science For Fun series. Brookfield, CT: Cooper Beech Books, 1994
• Sabbeth, Alex. Rubber Band Banjos and a Java Jive Bass: Projects and Activities on the Science of Sound and Music. NY: Wiley & Sons, 1997.
• Sound, Noise and Music: Easy To Make Science Experiments with Bright Ideas and Why They Work. Series: Science Workshop. New York: Shooting Star Press, 1995.
• For more information on physics of sound and sound manipulation, see Jeffrey Stolet, Lesson #2.
• For more on non-conventional and home-made instruments, see Steve Cohen, Lesson #1, and Jeffrey Stolet, Lesson #2.
  

ACTIVITY 3: Boomwhackers (Tone Tubes)

Objectives:

• Experiment with rhythms and sound using plastic musical pipes.
• Learn exercises that combine simple rhythms together into Polyrhythms.

Estimated Time Needed for Activity:

10-15 minute segments each for a minimum of 14 segments.

Notes:

Boomwhackers are plastic tubes, tuned to specific pitches based on their length.Check with your local music departments or ESDs for supplies. Boomwhackers are available at some teacher supply stores and on the Internet. If you purchase them, be careful. For this activity, you will want only two or three pitches to start with, yet enough boomwhackers for each student. In a class of 24 students, you might want 3 groups of 8 boomwhackers, each group being a different pitch. But many kits offer a
set of multiple boomwhackers, with only one of each pitch. You would have to purchase 8 sets to have 8 boomwhackers of each pitch. For more information about boomwhackers see the addendum at the end of the activities.

Addressing Cultural Diversity in the Learning Environment:

Instruments that use some kind of hollow tubing (pan pipes, flutes, marimbas, etc.) are found the world. Ask the students if they can identify some kind of instrument that uses a hollow tube in the culture with which they identify.

Materials Needed for this Activity:

• Boomwhackers or tone tubes -bought or made (see Notes to Teachers)
• Space for making a big circle, or movement.
• Patience!

Additional Resources:

• Books and CDs available with more ideas for using Boomwhackers.
  
• Link to West Music is: http://www.westmusic.com/

Procedure:

1. First day:
2. Explain that you will all be playing Boomwhackers.
3. Show the Boomwhackers, and ask the students for ideas on how to use them appropriately (don't hit them to hard, don't hit them on the table, floor, other people; ) and what an appropriate consequence would be if the Boomwhacker is misused (loss of privilege to use for the period).
4. Come up with an appropriate signal that means it's time to stop playing the instruments and listen.
5. Show the different lengths of boomwhackers.
6. Play the longest, then the shortest. W
7. What is the difference in sound?
8. (Some students, especially younger, may not hear the difference at first. Ask them all to "sing" the pitches.)
9. Why is there a difference? (Longer, less condensed sound waves move at a slower, lower frequency; Smaller lengths create a faster frequency, faster sound wave which is higher in pitch.)
10. Say your name in rhyme, and play your Boomwhacker in the same rhythm.
11. Have all the students (all the pitches) repeat:
12. Mis -ses Jones..............
13. Mis -ses Jones ..............
14. Mis-ter Smith............
15. Mis-ter.....Smith............
16. Try saying and tapping out the rhythm of other names in the classroom.
17. This might be the end of the first lesson!
18. On another day, repeat #1-3, then ask different students to play and say the rhythm of their name.
19. Ask for other ideas for rhythms, such as foods, places to visit, vocabulary in a social studies or science unit.
20. When the students are comfortable with this, have the C boomwhackers sit together, and the Gs sit together.
21. Have the Cs play their boomwhackers, and the class match the pitch.
22. Then do the same with the Gs.
23. Alternate between groups: Have them sing and tap out something like:
24. "Mis-ses Jones, Mis-ses Jones"
25. Then have the Gs tap out: "Tay-----lor, Tay---- lor."
26. Alternate first one group, then the other, moving back and without a break in rhythm.
27. (Look at Teachers Notes for ideas on adding new elements)
28. Once both groups are confident, have the Cs start, and then have the Gs join in; two parts are singing and tapping simultaneously!
29. Eventually, class skills will develop so you can make a chorus of words and sounds around a chosen theme.
    
30. Again, make sure the class is comfortable with each line first.
    
31. Then combine the simplest line with another line.
    
32. Start with the simplest line first, then add the second.
33. Never move to the next step until the most recent one is solid!
34. In the version below, you might first combine "Pizza" with "Pepperoni,"
35. Then "Pizza" with "Deep dish or thin crust," and so on.
    
36. Always start from the beginning (names, single words) then build.
37. Later, you might have "Pepperoni" be the main phrase, combining it with "Deep dish" and then with "Olives".
38. Gradually, you might be able to put it all together.
39. Periodically, let the students reflect on their challenges, their difficulties, and their progress.
    
40. Piz--- za----- Piz----- za------
41. Pep---er----on---ni, Pep-----er----on----ni
42. Deep--------dish-or thin---------- crust-----
43. O------lives------and- ex-----tra----cheese-----

Assessment

• Use the Group Collaboration Scoring Guide to assess this activity.

Extensions and Adaptations

Upper elementary: How quickly the students progress in this activity depends in large part on previous musical experience. Once students master skills working as a class, they may break into groups of 4 up to
8 students and develop their own two or three part arrangements. In assessment, groups receive higher marks for two-part arrangements that are accurate and well done, rather than three-part arrangements that are
messy and inaccurate. The "theme" of the arrangement might be a unit of study, or a theme chosen by the students. Keep in mind that part playing and singing is complicated for many adults.