are learned by 'doing'". Students of the Orff Approach learn music by experiencing and participating in the different musical lessons and activities. These lessons stimulate not only the paraxial concepts of music like rhythm and tempo, but also the aesthetic qualities of music. "Orff activities awaken the child’s total awareness" and "sensitize the child’s awareness of space, time, form, line, color, design, and mood- aesthetic data that musicians are acutely aware of, yet find hard to explain to musical novices". Unlike Simply Music or the Suzuki Method, the Orff Schulwerk approach is not a method. There is no systematic stepwise procedure to be followed. There are fundamental principles, clear models and basic processes that all intuitive and creative teachers use to guide their organization of musical ideas. Music The music generated in the Orff Approach is largely improvisational and uses original tonal constructions that build a sense of confidence and interest in the process of creative thinking. Students of the Orff Approach sing, play instruments, and dance alone as well as in groups. Songs are usually short, contain ostinatos, are within singing range, can be manipulated to be played in a round or ABA form. "Music is chosen with strong nationalistic flavor, being related to folk songs and music of the child’s own heritage". Music can also be anything from nursery rhymes to songs that are invented by the children themselves. Orff-Schulwerk music is largely based on simple but forceful variations on rhythmic patterns. This makes for very simple and beautiful musical forms, which are easily learned by young children, and is also useful for adults and thus it has a universal appeal. Composer David Hewson was exposed to Orff Schulwerk and this influence helped to shape a lot of his later music. The music is largely modal, beginning with pentatonic (both major and minor) scales. (English version adapted by Margaret Murray) The drone or bordun, is quickly established as the ground bass that supports most melodies and melodic ostinati add energy and colour. Volume II in Part One, covers hexachordal (added fa) melodies over Major Drone Bass Triads, and then seven notes: Ionian mode. Note, this is not major scale, as the drone bass enforces a non-functional harmony. Parallel thirds and sixths (paraphony) are used liberally here. Part Two introduces the use of triads as following: I – ii, and some I – vi. Goodkin (p172) discusses the progression