By Glenn Dickson, Wind Instructor & Orchestra Leader

Due to safety regulations during the pandemic, it was not possible to continue our music program for the wind players without making significant changes to the program. We transitioned to Orff instruments in order to give the wind players a way to continue with an ensemble experience—to continue developing their rhythmic and listening skills.

These mallet instruments originated in Indonesia and Africa and were adapted to Western music. Composer Carl Orff (1895-1982) developed his approach to teaching music to children using these types of instruments, percussion, recorders, singing, movement and drama.

After deciding to focus on the mallet instruments and percussion, the students began playing Orff diatonic soprano, alto and bass xylophones (like small marimbas) with rosewood bars, diatonic glockenspiels with metal bars and percussion.

As Waldorf students are very sophisticated musicians, most of the Orff materials available were too simple for them. We started out with some fun pieces that got them acquainted with the instruments and then we began writing and arranging more sophisticated pieces that would keep the interest of the students while challenging them to progress.

Each class begins with a rigorous warm-up to develop technique and then we dive into learning pieces. In the Orff method, the pieces are taught by rote—it is difficult to read music while playing a xylophone. So this presents a certain challenge, requiring discipline in rehearsal and memorization of all of the parts. This, and the limitations of the instruments (being diatonic without chromatic notes) also poses a challenge to the arranger/composer. It puts the emphasis on rhythmic complexity for interest, ostinatos (repeating patterns that are easy to memorize), and melodies and harmonies that are not too complex.

I have been impressed by the students—they have tackled the challenge with joy and gusto and with intense engagement and creativity. They exhibit awareness of the whole, suggesting changes in the arrangements and the desire to experiment with different ideas in the music. I love it when occasionally while working on a complex interlocking section of the music, the group repeats something over and over without prompting, getting into the complexity in an almost meditative way. In these moments the group becomes like one player.

For me personally, it has been a fulfilling challenge, thinking of music I can arrange for them that will work within the parameters of the instruments and which will challenge and delight. The Beatles "Twist and Shout," based on the Mexican tune "La Bamba" is a case in point. I realized it was perfect for arranging for this group—it has three different interlocking parts which are all challenging, with great ostinatos, and the percussive nature of the instruments works great with the music. Not to mention it is a lot of fun. I am also enjoying writing pieces for the classes, custom designed to challenge within their capabilities. I have been delighted with the students’ willingness to engage and learn the sometimes difficult parts I have given them.