Believe it or not, there really can be Orff without instruments. While much of the published literature focuses on the use of pitched and unpitched instruments, in reality, there is usually a major segment of class work devoted to singing, speech, body percussion and movement, all elements that can be experienced without instruments. Ostinato patterns, echo, improvisation and other techniques associated with the Orff approach are still possible and can be highly musical without instrument use.

The basic modes of expression used with the Orff approach are: Speech /Verbal (words and sounds); Vocal (singing); Body Percussion (clap, pat, snap, etc.); Movement;Unpitched Percussion (drums, rattles, gongs, etc.); Pitched percussion (Xylophones, Metallophones, Glockenspiels, Recorders).

Here are a few ideas for using each mode of expression.

Speech and verbal expression: Speech ostinato patterns can be used to accompany poems, rhymes or songs. For example; use the rhyme, "Hickory Dickory Dock", as a chant. While one group chants this poem, another can add a complimentary ostinato pattern made up of three rests (two dotted quarters and one quarter rest) followed by the words "tick- tock" (eighth and dotted quarter notes). Just this simple ostinato makes the entire nursery rhyme much more of a musical experience. Verbal expression (nonsense words and noises) can be used in the same way. In the same example, substitute "squeak, squeak, squeak"(mouse sounds) for the three rests. Now there are three levels of musical independence; the poem, the speech ostinato and the verbal expression ostinato for a simple but effective musical composition.

Word chains are an easy way to create and make excellent music. Using a specific topic, list various related words. Choose several that have interesting rhythms and put them into an order within a phrase. For example; if the topic was winter weather one phrase might be "cold wind, icicles, freezing rain, snow" (quarter -quarter, eighth- eighth- quarter, eighth- eighth- quarter, half note.) Add an ostinato pattern to this and it will instantly become even more interesting.

Vocal expression: Canons, Rounds and Partner songs are excellent, obvious ways to work on vocal training and various musical concepts. A variation on this type of work is the use of vocal ostinato patterns. Using pentatonic notes (do, re, mi, sol, la) create simple complimentary melodies on a specific topic. Layers these together to create a musical experience. It will be most effective if there is a "do" and a "sol" on each strong beat, somewhere within the combined layers of patterns.

Body percussion: Body percussion ostinato patterns can be used as accompaniments for other rhythm, song or speech sections. Body percussion is also effective for improvisational exercises. One way to work with body percussion is to take a speech pattern (like our earlier nursery rhyme) and transfer the rhythm of the words to one level of body percussion. For example; try clapping the rhythm of the words of "Hickory Dickory Dock" and then accompany it with an ostinato of snaps ("squeak, squeak") and one of stamps ("tick- tock").

Pitched and Unpitched percussion: Kitchen band can be lots of fun for students and can also provide an excellent jumping off point for lessons on the science of sound. Various "found sounds" can be used to substitute for traditional pitched and unpitched percussion instruments. For example; a large plastic garbage can makes a great bass drum. Water cooler jugs, buckets, and cardboard boxes make satisfying drum sounds as well. Fast food restaurants usually have wonderful large plastic pickle barrels to give away for a conga type sound. Various shakers can be created with assorted bottles full of rice, beans or gravel. Percussion stores actually sell tin cans with rice as an instrument so why not make some instead? Tin cans also work well as quiros. Extra large cans (found at fast food restaurants) make a deep variation that is hard to find in a traditional instrument. Old keys, suspended one by one from a stick, can make an inexpensive version of a chime tree. Pan lids of various sizes and shapes produce beautiful Metallophone like sounds when struck on the edge of the lid. It takes some time to track down enough lids but eventually a full scale can be created and used when the more expensive instrument is not available (or for the fun of trying something new). Other pitched percussion options include drinking glasses tuned with water, cardboard tubes of various lengths (similar to Boomwackers), and pieces of wood in various lengths (similar to Xylophones). These various "found instruments" can be used to substitute for existing instrument parts or they can be a springboard for creating something new, using the techniques of ostinato layering, echo patterns, improvisation, rhythm of words, etc.

Movement: Any of the other expressions can always be enhance through the use of movement,ostinato patterns, creative movement sections or dance. Movement can help students comprehend various musical concepts such and loud and soft, fast and slow, lyrical and staccato. Ideally movement should be included within every lesson.

Some basic teaching techniques used with the Orff approach include: Echo: Echoing builds a vocabulary of musical experiences for the child. When performed in canon, echo can build musical independence as well as listening skills. Echoing can be done using voice (easiest with pentatonic), verbal expression, body percussion and movement. With body percussion various levels can also be utilized and combined to make more challenging patterns for students.

Ostinato: Layers of ostinato patterns are frequently used with the Orff approach and they can be very effective with body percussion, verbal expression or with kitchen band. A simple ostinato pattern can be created and then additional complimentary patterns can be added, one by one until the students level of musical independence has reached its limit. Depending on the age and experience level of the children this may be two patterns simultaneously or ten. One fun extension is to build a section of layered ostinato patterns, use them as an A section and then create contrasting sections by letting various groups improvise ("boys with green shirts", "girls wearing stripes", "snappers", "clappers", "metal players", "cardboard players", etc.) These improvisations, along with the A section of layered ostinato patterns, can be used to form a Rondo.

Improvisation: There are many ways to work improvisation into a lesson and it is a wonderful vehicle for allowing children the opportunity to express themselves creatively. Generally, the more structured the improvisation is, the easier it will be. Using the rhythm of the words of a familiar poem is one way to give structure. For example; using our poem again, allow students to play the rhythm of the words of "Hickory Dickory Dock " using any combination of body percussion that they desire. Every student will have a unique performance. The same poem can structure a melodic improvisation played on drinking glasses. Using the length of a familiar song as a guide, students can improvise freely on their kitchen instruments to create a contrasting section. Giving the guidelines of an eight beat phrase, students can create simple improvised patterns of verbal sounds. Question and answer patterns can be used to structure just about any mode of expression. The great part is that the children are creating their own music.

One of the delights of the Orff approach is the interweaving of speech, body percussion and movement with songs and instruments. Using Orff's various modes of expression and techniques such as ostinato, echo and improvisation, a lot of music can be created with limited or no instrumentation. Having the instruments allows exploration of a wide range of material, including the wonderful music of the Orff-Keetman volumes. But lack of instruments shouldn't stop anyone from enjoying the real benefit of the Orff approach; the process and a special way of looking at music. This process builds knowledge by moving from experience to theory, nurtures creative expression, utilizes the entire classroom as a community and works with the whole child. The instruments are simply a beautiful support for the various techniques within this process. But with voices, bodies, a little creativity and maybe a trip to the local burger joint for "instruments", many great musical experiences can be had. Happy music making!

©2001 Alice Olsen

Looking for published materials for using the Orff approach without instruments? Check out Alice's song collections; "Sing For The Morning", "Feet & Hands, Bottles & Cans" and "Bing! Bang! Boom!". For more information about the Orff approach or how to attend workshops on this topic, visit the American Orff Schulwerk Association web site at www.aosa.org.