Conga Line

Time to push back those chairs, get up on your feet and get moving! Every kid, young and old, should know what a conga line is and have a chance to take part in the fun - and by golly, we're just the ones to give them (and you!) that chance.

As usual in our fourth issue of the year, we have incorporated a jazz ensemble in our recording session and some pretty exciting charts to go with it. As you might suspect, this means that you will get the most out of this music if you are using the Performance/Accompaniment CD or cassette with this issue.

"Conga Line" is one of the songs that depends on the recording, and the piano/vocal provided in the magazine is meant to be more of a condensed score or road map than an actual piano part. In fact, the complexity of the individual lines in each of the instrument groups prohibits us from including them here. Luckily for you, we employed top notch players to perform them on the recording so that your students can clearly hear each line as it enters and exits whether they are singing, dancing or both.

Let your students listen to the instrumental version of the song at least once so they can identify as many instruments as possible. Are they able to hear what each group of instruments is playing? To assist in this identification, we have listed the sections (rhythm, saxes, trombones, horns, trumpets) on the lyric page that goes with the song.

The lyric page is also more of an outline than anything because, let's face it, the only lyrics in the whole song are "Oh, conga. Join the conga line." Not exactly hard to remember, is it? The reason we included the lyric page is so that you would have this outline and could use it as a study for instrumentation or form or rhythm or whatever you like. It also provides you with a graphic illustration of a conga line to share with your own dancers.

You will note in our illustration that the dancers are lined up, single file. Obviously, there is a leader who decides where to take the line. (By the way, this would be a good "reward" for a number of activities. For example, the student with the highest test score last week gets to lead the conga line today.) Each subsequent dancer puts one hand on the shoulder of the student in front of him. Or he puts both hands on both shoulders. Or he can switch hands as he switches feet, kicking his arm out the same way he kicks his foot out. In adult conga lines, you frequently see each dancer holding onto the waistline of the dancer in front. This is probably not the best idea for children. If you would rather avoid physical contact entirely, that is also completely fine. Just keep them in single file, stepping together and kicking together.

The conga beat is a very familiar one to most of us. On the recording it begins with the toms of the drum set in measure 2. Measure 1 is a drum fill that sets up the beat and allows your dancers to get ready to go. Have them listen to the fill and then the beat at measure 2 to identify it before they begin to move.

Once they are all ready, let them step off on beat 1 of measure 2. Remember that it is in cut-time. On the piano/vocal, we have suggested this step:

• step left
• step right
• step left
• kick and hold right foot out to side
• step right
• step left
• step right
• kick and hold left foot out to side

The basic movement continues throughout the piece and stops when the song does. The "kick" can be interpreted however you like. It can be a real bona fide kick to the side, or it can be more subtle. It could be a toe touching the ground to the side instead of something more energetic. You will want to decide this before getting under way. Also, remember that the "hold" isn't a very long one as the next step goes on with the next beat. If kicking to the syncopation (as indicated on the music) proves to be too challenging, alter the kick to land right on the beat.

Of course, before your conga line is on the move, you need to be sure you have a path for it! Clear away any chairs or desks that might be obstacles and discuss the route possibilities with the leader. The idea is that the line moves like a long snake. It doesn't cross itself and it doesn't lead to somewhere that would entangle any part of it. It is constantly undulating to the beat, pausing to kick every other measure. The steps should be small so everyone can keep up. Other parts of the body, such as the arms, hands or head, can emphasize the beat as well. Don't stifle your dancers with too many rules, but keep enough of them to ensure a safe and somewhat controlled atmosphere.

If you prefer, you can use this song as a movement-only piece. Just eliminate the singing entirely! Or, if you think you'd like to learn the movement first, you can add the singing later. It's very simple and unison, so it should come easily. Also, if you let them listen to the singers on the recording as they learn it, they'll be singing along in no time.

Keep in mind that not every student is well coordinated and may not find it easy to move rhythmically and sing at the same time. Present the whole activity as non-threateningly as possible. If they just follow along in the line participating, that's all that matters. Fun is the objective outwardly. Learning is the added benefit: rhythm, listening, movement, interaction, cooperation, and so on.

They even have a bit of dynamic reinforcement at the end of the piece. After the percussion break/conga solo at measure 35, the piece goes back to the instrumental interlude and then on to the coda, where it starts at fortissimo. Each succeeding repeat gets quieter: forte, mezzo-forte, mezzo-piano, piano, pianissimo. The last two bars of the tune are back to fortissimo. This will also force them to count carefully to be sure they get quieter together and then louder together! Consider having one or more students count out loud at each repeat of 39 to keep everyone on target.

One more thing. Since this song emphasizes percussion, especially the congas, ask your students to listen and try to identify the various types of percussion used in the song. We used congas, shakers, cowbells, samba whistle and triangle, as well as a drum set. You could certainly add more to the blend with your own classroom percussionists! Have them play along with the "conga beat" that the toms play, or join in with any other rhythm they hear or feel.