Add more, encouraging your students to not only think of instruments, but also rhythms. Use these as they are, or adapt them freely. STOMP is a unique combination of percussion, movement and visual comedy. Coordinating movement as they play will also make it more exciting.Īt the bottom of this page, we have included a few ideas for made instruments and rhythms students could incorporate in the song. Stomp Out Loud : the International Stage Sensation takes to the streets of New. Or put sparkling streamers on the ends of their pencils, etc. For example, have them paint garbage can lids (clean ones, of course) bright colors. Let students decorate their found percussion. If you are using this piece in performance, consider the idea of visual interest. Add the newly created sounds to the pitched instruments (and the recording), and you will have quite a percussive event! Put the students in groups to work together (a wise reinforcement of teamwork on your part). Let your students create or invent their own percussion instruments using found and/or common objects. The premise of Stomp is to make music with found objects, some pitched and some non-pitched. Franco Terrero Performance Observation : Stomp Out Loud Stomp Out Loud. (We even wrote a song with a similar emphasis in Volume 8, Number 2 called "Sounds All Around Us.") View Essay - Stomp Out Loud.docx from MUSIC DUAL ENROL at Mater Academy Charter High. You could also let students play pianos or synthesizers.Īs the title suggests, the idea is to make a whole lot of musical sound "out loud." We borrowed this idea from the performing group Stomp (and their popular video "Stomp Out Loud") which we have talked about many times in Music K-8. If you do not have Boomwhackers®, or if you wish to supplement them, consider adding any pitched percussion in the key of C, such as xylophones. STOMP Out Loud Once you have completed the project, I would love to see your work If you can, please take a picture of your worksheet responses and record your performance with your homemade instruments. We have suggested that you can use Boomwhackers® as your pitched percussion and have included a part separate from the piano/vocal on page 36 of this issue. Combining aggressively-physical dancing with everyday objects (brooms, garbage can lids, hammers, and plastic jugs, among other. The real emphasis of this piece is, of course, the percussion - both pitched and unpitched. The creators of the internationally successful stage production Stomp produced this video, taking the shows innovative style out of the theater and into the streets of New York City. It might be difficult to have students play and sing simultaneously, despite the ease of the melody and "words." Then again, older kids may find the coordination no problem. Select a group of students to do the singing while others are selected to play the various percussion parts. You will note that we have not included a lyric page for this piece as its only lyrics are "Woh" and "Whomp." We figured your singing students could remember that without much help.
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Energy builds on the stairs, thrusts foamed through the ballerinas’ twirling dance and swinging around to the bottom Of the piece where the focus slows before beginning again at the base of the staircase.ĭegas’ pallet for the Ballet Rehearsal includes reds, blues, and yellows but relies heavily on browns, tans, gold, and white for the majority of forms in the composition. Movement is at the soul off this piece, the Whole composition seems to curve and twirl. The extended arms seem to curve and wing downward while the dancer’s legs swing up, this causes their forms to appear to spiral and twirl just like the staircase. Y having the dancers in the background extend one arm towards the right and one leg to the left Degas implies line in the forms of their bodies. The vertical and downward spirals of the staircase bring focus once again to the base of the stairs, Degas successfully utilizes line to connect all of the separate elements contained in the painting, In addition to its unifying quality in the work line also is used to portray the energy in the dancers’ movements. Strong lines tossed at the base of the back wall and between the tan and red portions of the same wall once again pulls the attention t the piece this time to the top to the spiral staircase. These lines that draw us further into the scene produce a wonderful sense to depth. Degas uses the floorboards of the studio to create a path for the viewer’s focus to follow, Thin lines in the floor invite the gaze from the bottom of the spiral staircase through the two groups of dancers to the top right corner of the painting. One element of Degas’ painting ties all of the other elements of the work into a complete image is line. Brochure 201 1) The elements Of the composition are split into three sections, an energetic clustered section filled with movement, a void of activity in the middle and a serene detailed section meant to be contrasted to the first section. This is no surprise Degas spent hours and hours backstage making preparatory sketches that preceded the artist working with oils on canvas. Degas rigorously structures his painting with strong diagonals and symmetries, the chaos of the scene dissolves into a clear and understandable composition which achieves a satisfying harmony. #Edgar degas the rehearsal of the ballet onstage windows#Large windows on the far wall allow light to break through and spill onto the wooden floor and a figure, perhaps a teacher, waits and watches from the back right corner of the field of view.Ī dominant spiral staircase tucked in the extreme left of the foreground partially obscures the row of dancers behind it To the right a group of resting dancers sit quiet in heir placid corner of the work. The dancers, “go through back breaking work-outs at the bar or squat, breathless with fatigue, their features sagging, muscles bulging as their bodies graciously, with legs sprawling wide apart, totally devoid to erotic or any other charm,” (Honor et al, 2005). 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