The Melodion- a teacher’s guide. (under construction, illustrations and musical examples to be added) Why choose the Melodion? The Melodion is -in many ways- a unique and ideal school instrument, combining both breath control (as a wind instrument) and keyboard skills together. The Melodion has been around for quite some time and is now gaining more popularity in Europe.

It has been extensively used in general music education in Japan (where it is manufactured) and as a pre-band instrument, makes an ideal introduction for brass, woodwind and keyboard.

The Melodion is an excellent ensemble instrument in its own right and is a good choice for using in ensemble work, playing along with other orchestral instruments, keyboards and classroom percussion.

This very versatile instrument -if taught systematically- can be a stimulating and satisfying musical experience for both pupil and teacher. Being polyphonic, the Melodion also offers the teacher an ideal instrument on which to explore the composition of scales, intervals and chord structures. The tuning of the melodion is obtained electronically and is a constant A440. It is also possible to use the melodion for silent practice as dummy keyboard.

There is a range of different models available, all now at affordable prices. It is recommended that you try at least one model out with this instruction guide! A demo CD Disc is currently available.

This course is the result of lessons given in real class-room situations throughout numerous schools and is written as a practical guide. Teachers should of course feel free to adapt and modify the contents to suit their own style of teaching.

INTRODUCING THE INSTRUMENT.

It is useful to have students sitting in pairs or groups at a desk or table in such a position where they can all see the teacher.

Assemble the melodion by first inserting the air tube and secondly the mouthpiece (these are included with the Melodion and additional mouthpieces can also be purchased separately).

Children cannot resist the temptation to play an instrument when confronted with one- whether they can play it or not, so let them blow and play freely for a minute or two.

The teacher can change the standard short mouthpiece for the longer flexible pipe mouthpiece. This allows the instrument to be played ‘keyboard style’. Position the mouthpiece so that the instrument can be played with the keyboard facing towards the right.

KNOW THE POSITION OF THE KEYBOARD.

FIRST PLAYING OF THE INSTRUMENT

HOW TO TONGUE CORRECTLY

You will have observed during the class play of the rhythms that some pupils will have held the note down and produced sound by blowing. Others will have played the note each time they were required to produce a sound as on a Piano. Explain that the correct method is to hold the note down and make the sound by moving the tongue as if saying "TU, TU"

Practice this with the class, and more importantly individually. Pupils can practice in pairs. Get them to check that their neighbour has the thumb held on the note C.

KNOW THE POSITION OF G ON THE KEYBOARD

1. Ask the pupils to play C with the thumb, neighbours to check each other, and then walk up one finger at a time until they arrive at G with the little finger. Check that they are all at the same note. Ask neighbouring pupils to check each other.

2. Repeat all the steps rhythmically as for the note C.

PLAYING C AND G

1. Using the thumb on C and little finger on G play the rhythms on the left and ask the pupils to copy them. Make the point that if the fingering is correct they do not need to look down at the keyboard.

2. At this point you might find it suitable to write them on a board on the treble cleff stave so the pupils may see the shape of high and low notes. Repeat the exercises asking pupils not to look down at their hands but to read the notes as they play. Ask a pupil to point as the class play, individually, in rows etc.

In order to emphasise the playing and feeling of phrases ask the class to listen to the tune on the left. After playing it through, tell the class that it is divided into four sections called phrases. Play it again. Next, ask the class to stand and move around clockwise in half turns at the end of each phrase. At the end of the tune they should all be facing the front again. Play it again and ask the class to clap once at each turn. Try to all move and clap together.

Next, play the first phrase again, inserting the pupils' notes G at the end of the line. Pupils place their little finger on G. Neighbours check that they are correct. Ask the pupils to play these two G notes at the end of each phrase. Play it. Practise it until it is together. Make sure it is tongued and the second crotchet given the correct value and not lengthened.

Play the second phrase with the pupils playing C with their thumb.

Repeat each phrase until the whole tune can be performed.

FACING FRONT

PHRASE 1 - FACING LEFT

PHRASE 2 - BACK TO TEACHER

PHRASE 3 - FACING RIGHT

PHRASE 4 - FACING FRONT AGAIN

INTRODUCTION TO PLAYING IN TWO PARTS

Using the rhythm opposite ask the pupils to play the first two bars. Write it on the board in staff notation. Clap the rhythm and then play it. Write the next two bars and ask the pupils to clap it and play it. Join the four bars together. Repeat the four bars to make an eight bar tune as shown in the music opposite.

Tell the pupils that you are going to play a tune to go along with their one. Count them in and play the duet.

Some pupils will play G in the wrong place and it may be necessary to go back and repeat the class part without the melody. Remember that while you are helping an individual that the others can practice in pairs without blowing. One pupil can clap while watching the other finger the notes.

You will find that every pupil can play it.

KNOWING THE NOTES D AND E

Without showing the keyboard to the class, ask the pupils to place their thumb on the note ‘C’. Neighbors check that they are correct. The thumb must not be removed. Tell the class to listen. Play the tune below and say that you would like anyone who can play the tune to put their hand up. Play the tune once more for the class.

Ask each pupil in turn who’s hand is up to play the tune to the class. Ask the class after each player if the tune is correct. You will find that after a little practice, they will be able to play three notes. Tell the class that the new notes are ‘D’ and ‘E’. Ask pupils individually to play the three notes again while the class observes the fingering. Some will play all three notes with the thumb, some with fingering 1, 2 and 3. Some with the index finger only. Teach all the class to play with the correct fingering 1, 2 and 3. Practice the tune backwards; E, D, C.

Using exactly the same procedure as above teach the class E, F and G using 3, 4 and 5 fingering.

Practice the three phases opposite as if they were all part of one tune. Write it on the board and ask the class to play the tune together, in rows, and individually. Ask a pupil to point out the tune as the class plays. Neighbors should check each other for fingering accuracy.

Show the class the tune opposite and explain that the three phrases as the end of lines 1, 2 and 3 come from the tune they have just played. Play the tune through emphasizing the pupils sections. Play it with the class together, individually, in groups etc. You will find that no pupil is left behind.

When playing the tunes above ensure the hand position is maintained as shown in the photograph.

If you play tune three loudly it sounds like a March. Played softly it will sound like a lullaby.

Once you have learned to play tune four it can be played along with tune three as a duet.

Chord symbols have been written above the melody line so that simple percussion parts, guitar chords or keyboard/piano accompaniment may be added. Ask individual pupils to point out the melody and practice playing them as described before.

MERRILY WE ROLL ALONG

LARGO

LIGHTLY ROW

JINGLE BELLS

WHEN THE SAINTS GO MARCHING IN.

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