DCM Leadership Trainingplaysinglaugh.com/wp-content/uploads/2012/02/DCM2011_USPrint.pdf · Who is a DCM Leader? A DCM Leader is someone who: •is committed to music, movement, and

DCM Leadership Training

Presented by Kalani, MT-BC

What is DCM?Developmental Community Music is an approach to facilitating a creative group process using music as the primary modality.

DCM incorporates a variety of media, experiences, strategies, and techniques that together encourage self-expression, confidence, self-esteem, socialization, sharing, peer support, community building, stress reduction, fun, and a general sense of well being.

DCM is applied across a range of clinical and educational professions.

DCM encourages successful music making as a means to bringing about positive personal and social change.

The DCM approach was created by Kalani, a professional musician, certified Orff-Schulwerk (music and movement for children) educator, and Board-Certified Music Therapist (MT-BC). DCM is available for anyone to use and expand upon.

Who is a DCM Leader?A DCM Leader is someone who:

• is committed to music, movement, and art making.

• loves meeting and working with people from all walks of life.

• enjoys their work - and life in general.

• is welcoming of new ideas, even if they conflict with old ones.

• works to gain new skills and knowledge, especially when it’s challenging.

• is respectful of others’ opinions and views, even when they disagree.

• uses all available resources to best serve his/her clients.

• is comfortable asking for help and not knowing it all.

• trusts their intuition and the creative process.

Essential QualitiesLeader (Guidance) - Provides a clear path to follow.

Dictates activities and actions.

Example: Plays a steady beat and invites everyone to choose an instrument and join in.

Follower (Support) - Supports others’ efforts through

aligning with an action or idea.

Example: Hears someone playing a rhythm pattern and joins by playing the pulse.

Teacher (Knowledge) - Identifies and shares

knowledge in order to expand and improve skills.

Example: Explains how to hold & play a drum or percussion instrument.

Student (Curiosity) - Asks relevant questions in order

to clarify meaning and elicit sharing.

Example: Asks a participant to share how they relate to a particular instrument or rhythm.

Story Teller (Expression) - Talks about the past,

present, and future activities of the group.

Example: Summarizes the experience of a session and talks about what they might do in the future.

Observer (Reception) - Uses all senses to assess the

current strengths and needs of the group.

Example: Takes time to watch people’s facial expressions and assess their emotional state.

Guardian (Safety) - Maintains healthy boundaries and

limits activity when needed.

Example: Sets, explains and enforces rules for participation, such as taking away sticks when used inappropriately.

Friend (Empathy) - Offers physical, intellectual, and

emotional support through active and passive means.

Example: Sits next to someone and reflects their playing while maintaining open body posture.

Leader

Teacher

Observer

Friend

Follower

Student

StoryTeller

Guardian

Developmental

Community Music

The DCM CurriculumMusical

Elements

Movement

Aspects

Process

Presentation

Program

Design

Pulse

Tempo

Rhythm Patterns

Melody, Harmony

Phrasing

Instruments

Voice

Laughter

Texture

Form & Arranging

Personal Awareness

Interpersonal -

Awareness

Spatial Awareness

Free-Form Movement

Dance

Body Language

Gesture

Conducting

Rapport Building

Leadership

Facilitation

Methods

Types

Strategies

Procedures

Exercises

Techniques

Goals

Objectives

Program

Outlines

Applications

Client

Knowledge

Marketing

Three Core Concepts

Inclusion Cooperation

Appreciation

Core Concepts

Inclusion Cooperation Appreciation

•Creating a welcoming environment.

•Finding ways to help people introduce themselves.

•Making social connections.

•Helping people be seen and see others.

• Creating opportunities to work together towards a common goal.

• Providing options for multiple levels of participation.

• Guiding participants towards successful outcomes.

• Acknowledging everyone’s unique gifts and contributions.

• Providing time for personal reflection and group celebration.

• Creating appropriate rituals that promote a sense of gratitude.

Process Presentation refers to the steps a facilitator takes to present a specific activity. This includes information, style, musical and social content and connections. A facilitator may choose to present an activity in a number of different ways depending on the abilities and needs of his/her clients or the specific goals and objectives of the session (musical, social, developmental, recreational, etc.). Process refers to the progression of steps while presentation refers to the general demeanor and effectiveness of the facilitator.

Affect, Gesture, and Body Language

•Affect - Facial expressions that indicate a general mood. (i.e., normal, blunted, or bright)

•Gesture - An action to express and idea or feeling. (i.e., hand, eye, mouth, and arm movement)

•Body Language - Non-verbal communication through movements and relative body position. (i.e., “closed,” such as folding arms, crossing legs, turning away from, and “open,” such as facing or leaning towards someone, opening, etc.)

Process Presentation

Key TermsMethodOne of four types of musical experiences. 1) Improvised, 2) Re-Creative, 3) Compositional, 4) Receptive.

ApproachA philosophical orientation or way of addressing something or someone.

ProcedureA sequence of specific steps designed to reach a goal or objective.

StrategyA plan or policy for reaching a particular goal or objective.

TechniqueAn in-the-moment action taken to produce a specific outcome.

Key Terms con’tGoalA general area of functioning, often described in terms of increasing or decreasing.

ObjectiveAn observable, measurable state that relates to a goal.

ReferentialActions or expressions that relate to an external thing or concept.

AestheticActions or expressions that relate to an internal process or sense.

DevelopmentalThat which helps to reach a goal or objective.

Key Terms con’tAutonomyA sense of self-determination. The ability to determine one’s actions.

FacilitationMaking something easier to do, often through increasing ability or lowering requirements.

ConductionThe in-the-moment use of conducting actions, such as verbal and gestural cues.

ExperienceA personal or group process, often perceived as having a beginning, middle, and end.

ProgramA series of experiences designed to help participants reach a variety of objectives and goals.

Four Timbre Groups

Drums Wood

MetalShakers

&Scrapers

Four Types of Media

Movement

Word

Music

Visual

Four Instrument Types

Singing

Ukulele

Percussion

Native Flute

Instrumental TypesBenefits

Feature Percussion Ukulele Singing Flute

Type

Orientation

Role

Function

Personal

Genres

Group Size

Accessibility

Drums & Perc.

Rhythmic

Energizing

Organizing

Grounding

Most

Any

Progressive

String

Harmonic

Organizing

Supportive

Tactile

Folk - Pop

Small - Medium

Basic Skills

Vocal

Melodic

Centering

Expressive

Emotional

All

Any

Open

Air

Melodic

Expanding

Expressive

Intellectual

Many

Solo - Medium

Basic Skills

Types of Experiences

Traditional Drumming

• based on codified musical traditions

• includes specific techniques and rhythms

• uses specific instrumentation

• includes songs, dances, & cultural context

• requires musical skills and knowledge.

Drum Play

• focused on play outcomes rather than music

outcomes.

• helpful as an entry point for music making.

• examples of the non-technical use of instruments

• often referential (referring to something else),

rather than purely aesthetic.

• generally requires less skill to participate.

Rhythm Games

• based on play rules and structure.

• outcome oriented activities, rather than

improvisations.

• useful as cooperative activities and to create

metaphors.

• often less challenging than playing music.

• often entered into as vocal or body percussion

experiences, which can stand alone or serve as

a pre-instrumental step in a procedure.

Drum Circles (Improvised Group Drumming)

•uses non-directive techniques.

• focuses on creating aesthetically pleasing music.

• focuses on using musical cues, rather than verbal

or visual.

• providing instruction and guidance only when

needed.

• invites input from all members of the group.

• requires a basic musical skill set.

• follows a cyclical process that repeats several times

throughout the session.

Guided Interactive Drumming

• "top-down" and directed by the leader(s).

• suited for populations who require structure and guidance.

• centered in the use of unified play.

• often used to promote a sense unity and excitement.

• generally requires a full rhythm-based musical skill set to lead.

• linear in nature, moving from one point to another, following a procedure.

Song Leading

• bring a community together.

• give a voice to the group.

• pass along lessons, stories, and folklore.

• provide a connection to the breath and body.

• complement instrumental play and dance.

• provide a platform for self-expression and

communication.

Movement Experiences

• share a community experience.

• express thoughts, feelings, and ideas.

• develop personal and spatial awareness.

• develop timing and coordination skills.

• develop conducting and leadership skills.

• represent, through movement, that which exists

in another media type.

Mixed Media Improvisation

• provide multiple options for participation.

• expose participants to new forms of expression.

• connect media types.

• increase appreciation for other disciplines.

• develop leisure skills.

• provide participants with more autonomy and a

sense of self-determination (choices).

Daily Schedule

Day 1

• Morning:

Walking & Melting, Number Walk, I am the Drum!

Name That Circle - Speech, Movement, Sequence.

Body Percussion - Mini Canon, Group Canon, Timbre Levels

- Break -

Ukulele: C & F chords. Song Leading: Three Little Birds Chorus

Native Flute: Introduction, Breath, Top Notes.

About Song LeadingDCM Leaders can provide guidance and support for group singing. The use of songs has many benefits. Some of these include:

• Providing familiar and accessible material for music making.

• Eliciting memories, desirable feelings and emotional responses.

• Structuring a musical experience (providing rhythm, phrasing, and form)

• Providing text for consideration and discussion.

• Providing information and instruction through lyrics and pantomime.

• Providing opportunities for composing via lyric replacement.

• Providing an alternative means of expression.

About the UkuleleThe ukulele is a user-friendly string instrument that is ideal for providing a harmonic ground for singing and instrumental play. With a long history in folk music, benefits of the ukulele include:

• low cost and high availability.

• technically accessible and easy to learn.

• portable and small enough to use anywhere.

• approachable for clients of any age.

• world-wide community of players.

• rich musical history, both as a folk and popular instrument.

• easy to play in the key of ‘C,’ like many educational and recreational instruments.

Ukulele Chords

Finger Legend: 1=index, 2=middle, 3=ring

G C E A

3

CG C E A

21

F

Ukulele Chords


G C E A

12 3

G7

Three Little Birds (chorus)

Don’t worry about a thing‘causeEvery little thing‘gonna be alright.

Mary Ann

All day and all night Mary Ann Down by the sea side - sifting sand. Even little children love Mary Ann Down by the sea side - sifting sand

(Chorus)

This Little Light of MineThis little light of mine,I’m gonna let it shine.This little light of mine,I’m gonna let it shine.This little light of mine,I’m gonna let it shine.Let it shine, let it shine, let it shine. (F) (C)

Flute Play

1. Anatomy 2. Breath Types3. Placing the Fingers4. Playing the top 2 notes5. Playing the bottom 3 notes

About Flute PlayDCM Leaders can provide a melodic element in addition to, or in place of, singing to complement other instruments and add to the overall richness of the experience. Some of the benefits of providing and teaching flute play include:

• Providing a melodic element to complement non-pitched instruments.

• Substituting flute for voice and other pitched instruments to teach a melody.

• Using flute melodies within dialoguing techniques to elicit musical communication and expression.

• Adding melodic richness to fix-tuning instruments, such as kalimba, Orff instruments, HAPI drum, Boomwhacker tubes, etc.

• Expanding one’s personal musical abilities and helping others to expand theirs.

• Using flute play in one’s personal self-care, such as for breathing & relaxation.

Parts of the Flute

A G E D C AMouthpiece

Bird Flu Sound Holes

Bore

Body

Spirit FluteC A G E D C

(when hole is covered)Notes on the ‘A’ Flute

Day 1

• Afternoon:

Drum Play: Where’s Froggy?, Rumble Ball

Rhythm Games: Drum Call, Pieces of Eight

Drum Improvisation: Grounding, Synchronizing, Matching

Where’s Froggy?

1. Explain that “froggy” likes to hide in the room and that the group will work together to help someone find him. (Use a small wooden frog or similar.)

2. Choose someone to be the “seeker.” They leave and are called back in when froggy is hidden. (Create a musical or verbal cue, such as three unison sounds.)

3. Someone hides froggy in the room, showing everyone where he is.

4. The seeker is called back into the room and the game begins.

5. Players get louder and softer as the seeker moves closer to and away from froggy, eventually guiding the seeker towards their goal.

Rotate ‘hiders’ and ‘seekers.’ Try with two seekers. Try changing other elements of music.

Procedure

Rumble Ball

1. Explain that you will be using a “magic” ball that creates an amazing sound.Use a physical or imaginary ball. (Small foam balls are suited for indoors)

2. Bounce, Toss, and Roll the ball as you invite the group to synchronize their playing with the motions of the ball.

3. Differentiate the three types of movement by asking the group to describe the ‘qualities’ of each (i.e., the bounce is sudden, heavy, hard, etc.)

4. Associate specific instruments with each type of the three ball motions (i.e., Drums and blocks play for bounces because they share the same qualities.)

5. Play with the new sounds. Invite others to take over the conduction roll.

Try multiple leaders. Add more movements and sound types.

Procedure

Drum Call

1. Invite players to echo you as you say and/or play one- and two-note cues.

2. Reverse the cue so they play 2 when you play 1 and vice versa.

3. In Round Robin fashion, participants say or play one- or two-note cues in a steady rhythm as the group echos.

4. Try cues of different types, such as visual or in other languages.

5. Vary pitch, dynamics, tempo, play rules, and number (add three and four).

6. Add other types of verbal cues, such as math (2+1) or knowledge (legs on a chair). Remind participants to use clear language. Challenge them with other topics, such as geometry, biology, etc.

Procedure

Pieces of Eight

1. Using a variety of timbres and pitches, invite participants to choose one number from one to eight.

2. Explain that they will make one sound on their number and that you will count from one to eight as they repeat the cycle.

3. Begin counting out loud, supporting the beat if needed, from one to eight.

4. Invite participants to notice who else is playing on their number and to listen to the melody that results.

Vary tempo, dynamics, and playing technique. Add more numbers.Add a movement or vocal sound.Form groups of like numbers and arrange those groups in circular order.

Procedure

Grounding1. Listen to the music of your partner or group.

2. Determine the underlying pulse, using accents, repetition, and cycles as indicators.

3. Play a steady beat (Rhythmic Ground) that aligns with and supports the music.

4. Continue to ground the rhythm and any changes that might take place during group play, including sudden or gradual changes.

In Tonal Grounding, the facilitator provides a stable tonality, over which musical explorations may take place.

In Harmonic Grounding, the facilitator creates a harmonic or key center, over which melodic exploration may take place.

Procedure

Synchronizing

1. Listen to the music of your partner or group.

2. Using the same dynamics, timbre, rhythm, phrasing and other musical elements, align your playing exactly with that of your partner.

3. Continue to follow the music of your partner without influencing it.

In uni-modal synchronizing, the facilitator uses the same instrumentation as the participant - or as close as is available.

In cross-modal synchronizing, the facilitator uses a different instrument and even a different media in the process, such as synchronizing movements to music, for example.

Procedure

Matching1. Listen to the music of your partner or group.

2. Using similar dynamics, timbre, rhythm, phrasing and other musical elements, play in a way that approximates that of your partner.

3. Continue to match the music of your partner without influencing it.

In uni-modal matching, the facilitator uses the same instrumentation as the participant - or as close as is available.

In cross-modal matching the facilitator uses a different instrument and even a different media in the process, such as matching movements to music, for example.

Procedure



Day 2• Morning:

Program Design : Example Experience

Lecture: Program Design - Goals and Objectives

- Break -

Ukulele: Adding the C7 Chord: You Are my Sunshine,

I Can Drum

Native Flute: Partner Improv.

Program Groups: Design Time (Working Lunch)

Example Program

Clapandele

Aloha Song

Day at the Museum

Orbit Conduction

Magic Mirror

The Blues

Blues Form

Statement Statement Resolution

I like to do it - do it just for fun. ( Yeah)

I like to do it - do it just for fun. (Yes I do)

You know what I’m talking about - - playing my drum.

Rhyme the LAST word of each line.

A A B

Program Design

Identify GoalGOAL : Increase Socialization

1. Make Eye Contact

2. Greet Each Other

3. Share Something

Q 1: What does that look like?

Objectives}

General Musical Activities 1. Make Eye Contact 2. Greet Each Other 3. Share Something

Q 2: What Specific Experiences Meet the Objectives?

1. Pass Something Around

2. Sing a “Hello” Song

3. Create in Groups

1. Follow a Leader

2. Partner Dance

3. Talk About an Experience

Specific Musical ActivitiesQ 3: What Musical Activities Have These Actions?

Pass Something Around

Sing a “Hello” Song

Create in Groups

Follow a Leader

Partner Dance

Talk About an Experience

Clapandele

Aloha Song

Day at the Museum

Orbit Conduction

Magic Mirror

The Blues

Sequencing ActivitiesQ 4: What Sequence will Create a Progressive Flow?

Clapandele

Aloha Song

Day at the Museum

Orbit Conduction

Magic Mirror

The Blues

Preparation & SeguesQ 5: What Preparations and Segues are Needed?

Clapandele

Aloha Song

Day at the Museum

Orbit Conduction

Magic Mirror

The Blues

Form a Circle - Model

Play Music and Model

Model - Guide

Model - Form Pairs

Explain - Set Limits

Play Music - Model

Extra-Musical Prep. Q 6: What Space, Setup, and Materials are Needed?

Clapandele

Aloha Song

Day at the Museum

Orbit Conduction

Magic Mirror

The Blues

Space to form a Circle

Ukulele and Amp

Space for Circle

Space for Partners

Instruments, Spaces

Ukulele & Amp, Groups

Extra-Musical Prep.

Q 6: What Space, Setup, and Materials are Needed?

Q 1: What does that look like?

Q 5: What Preparations and Segues are Needed?

Q 4: What Sequence will Create a Progressive Flow?

Q 3: What Musical Activities Have These Actions?

Q 2: What Specific Experiences Meet the Objectives?

Clapandele (Fast Clap)

1. In a circle, model clapping hands in different ways (loud/soft, changing timbre, etc.)

2. Explain that each person will “toss the clap” to another in the circle, not repeating anyone until everyone has had a turn.

3. Convey that the goal is to toss the clap it as fast as possible.

4. Ask the group about strategies to pass it from person to person, even faster (Brain storm).

5. If not suggested, remind the group that they can rearrange themselves into a circle.

6. Add other sounds and gestures and you pass around, changing direction with a special cue and trying different “things” to pass around (sounds, gestures, looks, ??)

Procedure

Magic Mirror

1. Explain that participants will be working in pairs, facing each other.

2. Model how to mirror your partner by synchronizing your movements with his/hers. Mention strategies for success, such as moving slowly and clearly.

3. Explain that the leader role will move between partners when the current leader pauses long enough for his parter to take over. There might be times when neither player is clear as to who is leading and who is following. This is OK!

4. Invite participants to form pairs and mirror their partner. As an option, play music to provide a structure and ‘container’ for the experience.

Try “opposite mirroring” by switching the Left-Right orientation.

Procedure

Day at the Museum

1. Divide into small groups of three-four participants.

2. Explain that each group will get to choose a specific number and type of instruments, and accessories. (You can decide depending on what is available).

3. Explain that each group will have a certain amount of time to create a sculpture. (You might offer a theme, concept, referent, or limitation).

4. Help and monitor groups as they create their sculptures.

5. When time is up, play some background music as everyone visits the “museum.” Remind participants of proper etiquette (i.e., no talking.)

6. Invite each group to tell the others about their work (name, theme, what it represents, etc.) Option: Invite people to draw, write about, play, or move to each sculpture.

Procedure

Ukulele Chords


G C E A

1

C7

You Are my Sunshine

You are my sunshine, my only sunshine. You make me happy whenskies are grey. You’ll never know dear, how much I love you. Please don’t take my sunshine away.

I Can DrumThere were some friends who like to drum, like to drum like to drum.There were some friends who like to drum, just ‘cause it was fun.

(Based on the Scottish folk song “Aiken Drum”)

Flute Play

1. Steps and leaps2. Bends3. Trills4. Grace Notes5. Percussive Breathwork

Day 2

• Afternoon:

Music Facilitation: Imitating, Tagging,

Interjecting, Making Spaces, Repeating.

Guided Drumming: Groove & Echo, Orbit Echo

Traditional Drumming: Paranae, Baiana

Music FacilitationTechniques

Imitating (echoing)1. Listen to the music of your partner or group.

2. Using the same dynamics, timbre, rhythm, phrasing and other musical elements, play exactly what your parter played, after they play it.

3. Continue to imitate the music of your partner without influencing it.

In uni-modal imitation, the facilitator uses the same instrumentation as the participant - or as close as is available.

In cross-modal imitation, the facilitator uses a different instrument and even a different media in the process, such as imitating movements to music, for example.

Procedure

Tagging


2. Momentarily synchronize with the music you hear. If cycles are present, repeat the process.

3. When playing in a group, try tagging the music of several different players by creating a rhythm pattern that incorporates elements of each.

Procedure

Interjecting & Spaces


2. If spaces are present in the music, interject music that is congruent with that of your partner.

3. Create spaces in your playing as an invitation for your partner to interject. Employ eye contact, affect, and gesture to elicit play. Spaces may also be created by lowering one’s volume or simplifying and “thinning” one’s playing.

Procedure

Repeating

1. Play a motif or theme that is short enough to easily identify.

2. Repeat the theme several times at the same tempo and dynamic level.

3. Continue to repeat the theme until other players join in.

Procedure

Groove & Echo

1. Cue part of the circle to CONTINUE.

2. Stop the other part and reinforce the playing part (groove).

3. Play simple rhythms for the stopped group to echo (imitate).

4. After a few phrases, cue the echoing group to groove and continue.

5. Repeat the echo process with the other side.

Echo verbally or with body percussion.Select participants to lead the echo side.Try dancing, songs, and other forms of imitation or synchronization over the groove. Try three or four sections, each doing something different (i.e., grooving, moving, singing, body percussion, resting.)

Procedure

Orbit Echo

1. During a groove, give a STOP CUE then play a short phrase for the group to echo. Repeat the play-echo process several times.

2. Choose someone to take over the Leader role (let them know beforehand).

3. In Round Robin fashion, participants take turns playing a short phrase for the group to echo (imitate).

4. Try with Vocal sounds, body percussion, movement, and other media.

Try with part of the group playing a groove “Groove and Orbit Echo.”

Procedure

Songs from Brazil

Paranae: Paranae, Paranae Parana

Baiana: Eh Baiana - Eh Eh Eh Baiana

Rhythmic Feel: Samba



Day 3

• Morning:

Movement: Rhythm Rainbow, Rhythm Web

Ukulele: Song Leading:

I Had a Rooster, The Laughing Song, One Love

Rhythm Game: Let’s All Play Our Drum

- Break

Flute

Group Drumming

Rhythm Rainbow

1. Explain that participants will be using colored scarves to show rhythms.

2. Model how to hold and move a scarf in rhythm, tossing it up on beat ‘seven’ of an eight-beat phrase and catching it on beat ‘one.’

3. Distribute scarves and provide participants with ample time to work with their scarves and practice tossing and catching their scarf in rhythm as described.

4. Circle Pass: Everyone passes their scarf to their left (or right) on beat seven.

5. Group MIxer Pass: Participants move around the room, showing the music in their bodies and with their scarf. On beat seven, scarves are tossed up high enough to allow other players to catch them on beat 1. Remind participants to toss up and not ‘at‘ someone. Make sure eye contact is established beforehand.

Procedure

Rhythm Web

1. Explain that participants will be using ribbons to make connections and patterns.

2. Model how to hold and move a ribbon to create various shapes and patterns, such as circles, zig-zags, figure-eight, curves, and lines. Play music as participants move their ribbon and move around the room.

3. Form partners and hold the ribbons between you (one end in each hand).

4. Move with your partner, keeping tension between the ribbons.

5. Combine with another pair and form shapes with four ribbons (such as the tic-tac-toe field). Cross ribbons to form “stars” and other shapes.

6. Combine with other groups to form larger forms. (Stars are formed by one player folding their ribbon over/under all the others.)

Procedure

I Had a Rooster (Waltz)

I had a rooster and my rooster pleased me. And I fed my rooster by the old oak tree. [And my little rooster said “cock-a-doo-dle-doo”] dee doodle-dee-doodle-dee-doodle-dee-do.(Add different animals and sounds and repeat the section between [ ] for each in a cumulative process, adding each)

The Laughing SongThere was a little laughing man, who lived inside a laughing can, and when he laughed, it sounded just like this - It sounded like... (laughing) and when he laughed, it sounded just like that. (G7)Words and Music by Kalani

One Love (Chorus)

One LoveOne HeartLet’s join together andwe’ll feel alright.

Let’s All Play Our Drum!

1. Model four levels of body percussion (snap, clap, pat, stamp) as you precede each sound with the phrase “Let’s all [clap] our [HANDS].”

2. Vary the tempo and dynamics of the cue phrase to elicit response.

3. Invite participants to lead one action in Round Robin fashion.

4. Transfer to instruments using the cue “Let’s all play our DRUM!”

5. Over time, reduce the cue by removing the beginning words (i.e., All play our ... and Play our ...) Continue changing tempo and phrasing.

6. Invite participants to take turns leading the group by changing the tempo of the cue. Ask them to identify which variation they will be using. (i.e., 4, 3, or 2 notes)

Procedure

Day 3• Afternoon:

1: 45

Games: Where’s Froggy?, Let’s All Play Our Drum.

Flute: Vibrato, Melodic Contour, Parter Experiences:

- Imitation, Dialoguing, Accompaniment & Solos

Guided Drumming: Groove Pass, Timbre Groups.

3: 30 Break & Presentation Meetings

4:00 Group 1 Presentation


Intensifying & Calming


2. Intensify the music by gradually increasing the volume and/or tempo of the music in such as way that your partner or the group is able to synchronize with these elements. Intensification may also include timbre.

3. Calm the music by gradually decreasing the volume and/or tempo of the music in such as way that your partner or the group is able to synchronize with these elements. Calming may also include playing less (simplification).

Procedure

Fading


2. Increase the autonomy and leadership role of your partner or group members by taking a less active role. This includes playing less, lowering your volume, and eventually fading into the background or completely out.

Note: Fading, although in some ways similar to Calming, is done to increase the role of your partner or the other players, not to decrease musical elements.Use affect, gesture and body language to indicate that the other players are to take a more active role in shaping the music. This may include using visual and verbal cues (conduction) if needed.

Procedure

Modeling

1. Play in a way that demonstrates a desired behavior.

2. Use repetition, eye contact, facial expressions, and body language to support.

3. Reinforce desired behavior through verbal, visual, tactile, and musical feedback.

Procedure

Sharing

• Make part of your instrument available to another player, sharing the playing area with him or her.

• During play, pass instruments to each other, either around or across.

• Hold an instrument for another player.

Techniques

Groove Pass

1. During a full circle groove, cue 1/4 of the group to CONTINUE.

2. Stop the other part of the group and reinforce the playing group.

3. Invite the non-playing group to clap or move to the groove.

4. PASS the GROOVE to an adjacent Arc by counting down then stopping the playing group, and starting the waiting group at the same time.

5. Continue to pass the grooving role around the circle.

Try reducing the length of the playing group in equal phrases over time. End up with each sub-group playing one beat, then segue back to a full-circle groove.

Procedure

Adding Timbre Groups

1. During a full circle groove, use a STOP CUE to bring play to an end and continue to show the pulse through gesture and movements.

2. Verbally invite a specific timbre group, such as the blocks or scrapers, to enter.

3. Continue to bring in different timbre groups over time. There include (metal sounds, shakers, wood sounds, small drums, large drums, tuned percussion, voices, etc.)

During a time when only a portion of the instruments are playing, invite participants to explore other media or modes of play. This includes moving, singing, toning, chanting, as well as exchanging instruments. Instrument exchange can take place by moving the players to the instruments (changing seats) or by moving the instruments to the players (passing instruments).

Procedure



Day 4

• Morning:

Movement - Flocks in Socks

Ukulele: The D7, Am, & F7 Chords

The Aloha Song

The Never-Ending Song

Play’n my Drum Blues

Traditional Drumming: Fanga Alafia, Kuku

- Break -

Program - Group 2

Flocks in Socks

Procedure:

1. Explain that everyone will be following a

leader and that leaders will self-select.

2. Play rules: Anyone may begin an action and

everyone else will synchronize with that action.

3. An action continues until someone in the

group stops, at which point everyone freezes.

Ukulele Chords


G C E A

2 3

D7G C E A

2

Am

Ukulele Chords


G C E A

21

F7

3

The Aloha Song by Kalani

Aloha. Aloha. It’s how we say hello.Aloha. Aloha. It’s how we say hello. (C7)[‘name’] says [‘_?_’] (repeat 3x)That’s how they say hello.

The Never-ending Song by Kalani

If I gave you some wingswould you start to fly?If I gave you some wingswould you start to fly?Start to fly! (G7)Start to fly! (G7)

Play’n My Drum Blues by Kalani

I woke up in the morning at a quarter to one. You know I wanted some fun so I wasPlay’n my drum. Play’n my drum.Play’n my drum, just for fun. Yeah! (G7)

Songs from Africa

Fanga Alafia: Fanga alafia aché aché

“Fahn-gah ah-lah-fee-ah ah-shay ah-shay”

Kuku: Ohyah eteh kuku foniyeh

“Oh-yah ee-teh coo-coo fohn-ee-yeh”

Day 4• Afternoon:

Music Facilitation: Quoting, Dialoguing, Interrupting, Modulating

Traditional Songs: Zun Zun, Guantanamera

- Break -

Program - Group 3


Quoting


2. Identify themes and motives as played by others.

3. Later in the improvisation, incorporate previously played themes and motives into your own playing, either as they were played or as part of new material.

Procedure

Dialoguing


2. Make eye and ear contact with an individual player.

3. Make spaces in your playing for your partner to interject.

4. As you partner makes spaces, play music that invites a response, leaving spaces for your partner to answer.

Procedure

Interrupting


2. Suddenly introduce new musical elements that are drastically different from those of the group.

3. Ground the new elements through dynamics and repetition until the group joins in.

Procedure

Modulating

1. Match or Ground the music of the group.

2. Choose a single musical element to change over time, such as meter or tonal center. (Not tempo or dynamics)

3. Change the single element while keeping other elements constant.

Procedure

Songs from Cuba

Zun Zun: Zun zun zun con su dambah eh (2x)Pajaro lindo de la madruga (2x)

Guantanemera: Guantanamera Guajira Guantanamera Guantanamera GuajiraGuantanamera

ProgramGroup 3



Day 5

• Morning:

- Review

- Q&A

- DCMU

- DCM Certification

Discussion TechniquesSummarizing: Recalling events and stating them concisely.Helps to:- identify highlights and themes.- get final reactions form participants.

Probing: Asking questions or making requests to elicit information from the client. Helps to:- increase for sharing thoughts/feelings.- increase self-disclosure between participants.

Self-disclosure: Sharing personal thoughts/feelings/information to enhance a relationship. Helps to:- take pressure/spotlight off of individuals.- show empathy and understanding.

Restatement of Content: Summarizing the content of the client’s statement. Helps to:- demonstrates that you have heard what was said.- offer opportunity to provide different or additional information.

Clarification: Asking questions to verify information previously offered. Helps to:- promote sharing greater detail and information.- increase your understanding of what was communicated.

Feedback: Describing how someone might appear, sound, or feel to another person. Helps to:- provide information that could be helpful.- provide insights into the effects of someone’s actions/behaviors.- bring out issues between participants.

Closed Questions*Did you enjoy yourself?Would you like to do this again?Do you feel good?Does this relate to your work?Does this make sense?Wasn’t this fun?Don’t you think that _______?

*Prompts a yes/no response. Usually begins with “is, does, did, would, was, could, will, etc.”

Open-Ended Questions*What was that like for you? What were you thinking of during _____?How did you feel when _____ was happening?What are some other examples of _____?What resonated for you the most?How does that relate to _____?When else have you felt this way?What will you take away from this experience?

* Prompts sharing of personal information. usually begins with “what, how, when, where”

Music FacilitationTechniques Summary

Empathy & Intimacy

Synchronizing - Playing what someone else is playing at the same time.

Echoing (Imitating) - Playing what someone else played, after they play it.

Matching - Playing that is similar to that of another (is congruent).

Tagging - Synchronizing with a portion of someone else’s playing.

Quoting - Using another’s musical motifs or themes in one’s own playing.

Dialoguing - Having a musical “conversation” through statements and responses.

Sharing - Sharing an instrument or playing another’s instrument.

Structuring and Elicitation

Grounding - Outlining the basic pulse and/or tonality of the music.

Repeating - Playing a figure or phrase several times.

Interjecting - Filing a space in the music.

Making Spaces - Leaving spaces in the music to be filled.

Modeling - Demonstrating a desired behavior, technique, or response.

Redirection and Procedural

Modulating - Changing only one aspect of the music, such as meter or tonality to change the quality, while maintaing flow.

Intensifying - Increasing dynamic aspects of the music (tempo, volume, rhythm).

Calming - Decreasing dynamic aspects of the music.

Interrupting - Introducing differentiated musical elements that suddenly change the music.

Fading - Gradually decreasing one’s presence by de-intensifying one’s playing. (Lowering ones volume, playing less, or stopping)

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