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When students gain confidence, they can expand their calls to include two and then three adjoining notes. After the response is secure, groups of students can improvise rhythmic calls on a single note, A, G, or E. In order to assess individual students, pick a small group to play the response while everyone else sings the call. Alternating the sung call with the played response extends the interest and provides opportunity for important repetitive fingering practice. Soon after beginning recorders, students can master the three note response. This a great piece for beginning soprano recorder players, especially if you start teaching recorder with the descending minor third of G and E. After one side of the set has been the leaders, sing the song and then repeat solos with the other side being the leaders. For large groups with limited time, each new walker starts when the previous one is halfway down the set. The next set of partners follows in the same way. The other partner either copies the walk or improves it. Once the walks are created, one of the partners at the head of the set starts down the set. They can then add some funk to different body parts like hips, knees, elbows, and hands. Give the students ideas by having them try out movement words like slink, prowl, or swagger. Solos take the form of interesting walks down the middle of the set. Allow different groups to perform for each other to help spread ideas.
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Make sure to compliment students that acting out the words in interesting, innovative ways. Once the students can land their jumps on the beat and clap on the offbeats (a minor miracle in many communities), the artistry comes in the acting out of the calls. Jump back on the first three beats of the response, landing on the beats and clapping on the off beats (Jump back, (clap) 2, (clap) 3, (clap), Rest). Act out the words as you step forward on the beat for each phrase of the call (Walk forward, 2, 3, 4). Movementįorm a longways set (Two lines facing each other). The beauty of call and response is the ability for a soloist to improvise new calls while the group holds the form together by repeating the call.
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PARTS OF THE BODY SONG HAVE FUN TEACHING LYRICS HOW TO
If we are playing recorders, I show them how to play the response on the notes A, G, and E. I sing the whole first call and and then let them fill in the rhyming words at the end of the second call. Depending on where we are going with the song, I might start introducing them to the couplets of the call. They echo sing the phrase to me and I turn that part over to them. They quickly pick up on the response “Step back, baby, step back”. I sing the song for the first time in a very dramatic fashion. This time I want them to listen to for a part of the story that happens over and over. I tell the students that I’m going to tell them the story again. I introduce the melody and the call and response form next. Should have seen the way those robbers ran! I get my students interested by asking them if they want to hear a very scary experience I had the other night.
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Once students are familiar with the traditional form of the song, it can be extended with new rhyming couplets, recorder improvisations, or scat singing. The repetition of the response phrase makes the song perfect practice for the A, G, and E notes on soprano recorder. It is also attractive to to older beginners because of the mysterious story and swinging nature of the tune. Objectivesīecause of the repetition of the response phrase “step back, baby, step back” the song is great practice for re, do, and la. The song is in call and response form and features a re, do, la tone set, both emblematic of African-American music. Bessie Jones, author of Step It Down and member of the Georgia Sea Island Singers, taught the song at the Kodály Music Training Institute when she visited in 1973. “Step Back, Baby” can in found in the song collection My Singing Bird published by the Kodály Center of America.
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