04 - Houlahan e Tacka - Kodály in the Third Grade Classroom

Kodály in the Tird Grade Classroom

Kodály oday Handbook Series

Micheál Houlahan and Philip acka Kodály oday: A Cognitive Approach to Elementary Music Education, second edition Kodály in the Kindergarten Classroom: Developing the Creative Brain in the 21st Century Kodály in the First Grade Classroom: Developing the Creative Brain in the 21st Century Kodály in the Second Grade Classroom: Developing the Creative Brain in the 21st Century Kodály in the Tird Grade Classroom: Developing the Creative Brain in the 21st Century Kodály in the Fourth Grade Classroom: Developing the Creative Brain in the 21st Century Kodály in the Fifh Grade Classroom: Developing the Creative Brain in the 21st Century

Kodály in the Tird Grade C lassroom Micheál Houlahan Philip Tacka

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1 Oxord University Press is a department o the University o Oxord. It urthers the University’s objective o excellence in research, scholarship, and education by publishing worldwide. Oxord New York Auckland Cape own Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai aipei oronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Tailand urkey Ukraine Vietnam Oxord is a registered trademark o Oxord University Press in the UK and cer tain other countries. Published in the United States o America by Oxord University Press 198 Madison Avenue, New York, NY 10016

© Oxord University Press 2015 All rights reserved. No part o this publication may be reproduced, stored in a retrieval system, or transmitted, in any orm or by any means, without the prior permission in writing o Oxord University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope o the above should be sent to the Rights Department, Oxord University Press, at the address above. You must not circulate this work in any other orm and you must impose this same condition on any acquirer. Library o Congress Cataloging-in-Publication Data Houlahan, Micheál, author. Kodály in the third grade classroom / by Micheál Houlahan and Philip acka. pages cm. — (Kodály today handbook series) Includes bibliographical reerences and index. ISBN 978–0–19–023580–2 (alk. paper); 978–0–19–024850–5 (hardback) 1. School music—Instruction and study. 2. Kodály, Zoltán, 1882–1967. 3. Tird grade (Education)—Curricula—United States. I. acka, Philip, author. II. itle. M1.H8374 2015 372.87 049—dc23 2014032962 ′

9 8 7 6 5 4 3 2 1 Printed in the United States o America on acid-ree paper

We are the music-makers, And we are the dreamers o dreams, Wandering by lone sea-breakers, And sitting by desolate streams; World-losers and world-orsakers, On whom the pale moon gleams: Yet we are the movers and shakers O the world or ever, it seems. Ode, by Arthur O’Shaughnessy

[. . .] eratque tam turpe Musicam nescire quam litteras rom De Musica, by Isidoris Hispalensis “Legyen A Zene Mindenkié” [Music should belong to everyone] Zoltán Kodály

Contents

vii

Acknowledgments Introduction

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•

ix

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1 Framing a Curriculum Based on the Kodály Concept • 1 e Kodály Concept • 1 Multiple Dimensions of Music • 2 Grade 3 Music Curriculum • 4 Prompt Questions for Constructing a Music Curriculum • Lesson Planning • 10 Key Components of Lesson Plan Design • 11

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2 Developing a MusicRepertoire: Students as Stewards of Teir Cultural and Musical Heritage • 17 Selecting Repertoire • 17 Grade 3 Song Lists • 18 Lesson Planning • 45 3 Teaching Strategies • 57 Eighth Note Followed by Two Sixteenth Notes • 57 low la • 64 Two Sixteenth Notes Followed by an Eighth Note • 70 low so • 75 Internal Upbeat • 82 high do • 86 External Upbeat • 93 Developing a Lesson Plan Design Based on the Teaching Strategies

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•

151

4 Students as Performers: DevelopingMusic Skills and Creative Expression • 113 Tuneful Singing Skills • 113 Reading Skills • 117 Inner-Hearing Skills • 124 Writing Skills • 125 Improvisation Skills • 127 Musical Memory • 130 Understanding Form • 132 Part-Work Skills • 134 Instrumental Performance Skills • 145 Creative Movement Skills • 147 Listening Examples Connected to Grade 3 Concepts and Elements Lesson Planning • 153

Contents

viii

5 Unit Plans and Lesson Plans • 160 Transitions in Lesson Plans • 161 General Points for Planning Lessons • 167 Evaluating a Lesson • 168 Unit Plans • 168 Unit 1: Grade 2 Review • 169 Unit 2: Teaching Eighth Note Followed by Two Sixteenth Notes • 182 Unit 3: Teaching low la • 195 Unit 4: Teaching Two Sixteenth Notes Followed by an Eighth Note • 207 Unit 5: Teaching low so • 219 231 Unit 6: Teaching Teaching Internal Unit 7: high do Upbeat • 243 • Unit 8: Teaching External Upbeat • 255

6 Assessment and Evaluation • 267 Grade 3 Assessments • 267 Notes Index

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289 291

Acknowledgments

We owe athe debt o gratitude the many individuals inspired, helped us along way. Both o ustowere ortunate enoughwho to study at theencouraged, Franz Lisztand Academy/ Kodály Pedagogical Institute in Hungary and at the Kodály Center o America with world-renowned Kodály experts, many o whom were Kodály’s pupils and colleagues, who shared their knowledge with us over many years. Among them were Erzsébet Hegyi, Ildikó Herboly-Kocsár, Lilla Gábor, Katalin Komlós, Katalin Forrai, Mihály Ittzés, Klára Kokas, Klára Nemes, Eva Vendrai, Helga Szabó, Laszlo Eősze, Peter Erdei, and Katalin Kiss. We are especially indebted to Katalin Forrai or her support and encouragement or the research contained in this publication. Our research is grounded in their many valuable insights and research. Special thanks are due to these individuals or critically reading portions o the manuscript, field-testing lesson plans, and insightul suggestions regarding this approach to instruction and learning: Nick Holland, lower school music teacher at St. Paul’s School in Baltimore, Maryland; Lauren Bain, elementary music specialist in the Northeast School District o San Antonio, exas; Georgia Katsourides, music specialist in the Lancaster City School District, Pennsylvania; Meredith Riggs and Loren arnow, music specialists at Bernice Hart College Prep and Brentwood Elementary School; and Vivian Ferchill, retired music specialist rom Round Rock, exas. Special acknowledgment must be made to Patty Moreno, director o the Kodály Certification Program at exas State University, San Marcos, or her support and continued encouragement o this project. We would also like to thank Holly Kood and Lisa Roebuck or their comments, which helped us bring this book to completion. Many o our students in Kodály Certification Programs at exas State University; Belmont University in Nashville, ennessee; and the Eastman School o Music in Rochester, New York, have all helped us shape our approach to instruction and learning presented herein. Kristopher Brown, José Pelaez, Rebecca Morgan, Loren arnow, and Meredith Riggs deserve special mention. Gratitude is due Jennier Alaro or her work on the game directions and Rebecca Seekatz or her work on the accompanying glossary o terms. Our many years working together have not only contributed to the inormation we present but also served as a continuing source o inspiration in working with the pedagogical processes we have shaped. Regarding practical matters, we would like to thank our students at Millersville University o Pennsylvania or helping us with initial drafs o the manuscript. Special thanks are due Jamie Duca or her technical and hands-on assistance. Tis book would not be so complete in terms o pedagogy and educational content were it not or readings and comments rom Blaithín Burns, Kodály instructor at the Blue Coat School. She provided invaluable assistance in the initial design o Kodály in the Tird Grade

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Acknowledgments

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Classroom and field-tested many teaching strategies. Richard Schellhas deser ves thanks or his personal patience and understanding as well as words o encouragement and advice throughout the writing o this manuscript. Research or this publication was supported by a grant rom Millersville University, the State System or Higher Education in Pennsylvania. Te university’s library assistance, technical, administrative, and financial support, and overall encouragement or this project allowed us to bring this volume to completion. We would like to express our gratitude to Gabriella Montoya-Stier and Faith Knowles or their permission to include songs rom their collections El Patio de Mi Casa: raditional Rhymes, Games and Folk Songs rom Mexico and Vamos a Cantar. We are very grateul to Katalin Forrai’s children, András Vikár, amás Vikár, and Katalin van Vooren or permission use materials their mother’s book, Music in Preschool , editedVikár, and translated by JeantoSinor, Budapest,rom Hungary: Kultura, 1995 (srcinal publication 1988). We wish to thank Suzanne Ryan, Editor-in-Chie o Humanities and Executive Editor o Music at Oxord University Press, or her encouragement and critical guidance. We thank Lisbeth Redfield, assistant editor at Oxord University Press, and Molly Morrison, who oversaw editing and production. Very special thanks are due our copy editor, Tomas Finnegan, or his impeccable scrutiny and thoughtul editorial assistance with our manuscript.

Introduction

Purpose of Book

Te primary purpose o this handbook is to give music teachers a practical guide to teaching third grade music that is aligned with inormation contained in Kodály oday and with national standards in music that promote twenty-first-century music learning. Te oundational aspects o this book are a detailed guide or teaching children to sing, move, play instruments, develop music literacy skills, enhance music listening, and promote creativity skills. Te hallmark o this teaching pedagogy is that it integrates the development o problem-solving, critical-thinking skills, and collaborative skills into music instruction and learning. Te importance o this approach is identified in the National Research Council’s i July 2012 report, wherein the authors cite these as “21st century skills” or “deeper learning.” Our hope is that every teacher will absorb the process o teaching as it is detailed in this publication and blend it with personal creativity, which will ultimately result in a lively and valuable musical experience or students. We have tried to give elementary music instructors a reerence with inormation and materials about adopting a teaching approach inspired by the Kodály philosophy o music education. Tis third grade handbook should not be considered a substitute or reading Kodály oday: A Cognitive Approach to Elementary Music Education ; that volume is a practical and detailed guide or teaching a music curriculum to children in the third grade music classroom that is aligned with national and state content standards or music education. ogether,Kodály odayand this handbook or third grade offer teachers a step-by-step roadmap or developing students’ love o music, musical understandings, and metacognition skills. Focus discussions and surveys with music teachers reveal their concern regarding the lack o specificity relating to teaching music. Although many teachers have acquired a number o techniques or use in music activities, many are concerned about developing a more holistic approach to teaching music, one that moves beyond activities and toward developmental skill building. eachers are looking or more direction on how to create an organic curriculum. Tey are looking or more guidance on how to: • Select music materials for teaching • Enhance skills in singing and movement skills that arecognitively and • • • • •

developmentally appropriate Build the foundations of music literacy skills Promote creativity skills Develop improvisation skills Teach active music listening lessons Implement evaluation and assessment tools

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Introduction

xii

Tis text addresses these concerns. Te ideas reflected here have been field-tested and shaped over a more than a decade o collaborative work with music specialists. Te innovative approach o this book, like the collaboration o music teachers with a group o researchers to design the contents o this publication, is truly pioneering. We spell out teaching procedures that are outlined in Kodály oday and demonstrate how they can be used within lesson plans in considerable detail. In this handbook, we reer to chapters in Kodály oday that explain in greater detail the relevant techniques adopted in lesson plans. Te suggestions given should be used as a point o departure or a teacher’s own creativity and personality and need not be taken entirely literally. It is expected that teachers will apply these suggestions in a way that is responsive to the needs, backgrounds, and o their own students. and We sample curriculums areinstructors not meant to beinterests comprehensive, although theyTe arelesson quiteplans detailed. expect that music will inuse these ideas with their own national, state, regional, and local benchmarks or teaching. We appreciate that teachers must develop their own philosophies or teaching music and their own repertoire o songs, procedures, and processes or teaching musical skills, as well as consider such actors as the requency o music instruction, the size o the class, the length o the class, and current music abilities o students.

Chapter Summaries Here are summaries o the chapters in this grade three handbook.

Introduction Summarizes the third grade handbook with a brie outline o all chapters.

Chapter 1: Framing a Curriculum Based on the Kodály Concept Tis chapter presents a sample curriculum summary statement as well as curriculum goals or third grade. Te inormation in this chapter is aligned with Chapter 1 o Kodály oday and the accompanying website.

Chapter 2: Developing a Music Reper toire: Students as Stewards of Teir Cultural and Musical Heritage Tis chapter has a selection o music repertoire or teaching music perormance, music literacy skills, improvisation, and composition as well as listening skills. Tere is also a detailed review summary o how to teach games and dances to children. Te content in this chapter is aligned with Chapter 2 o Kodály odayand the accompanying website.

Chapter 3: eaching Strategies Tis chapter presents teaching strategies or teaching all music concepts and elements, based on the model o learning presented in Chapter 6 o Kodály oday or grade three. More inormation related to Chapter 3 can be ound on a new accompanying website or the second edition o Kodály oday. Inormation in this chapter is aligned with Chapter 6 in Kodály oday.

Introduction

Chapter 4: Students as Performers: Developing Music Skills and Creative Expression Tis chapter offers music teachers guidance on how to develop skill areas in third grade. Tere are lists o music techniques or teaching the music skills o tuneul singing, reading, writing, improvisation, musical memory, understanding o orm, part-work activities, instrument perormance, inner hearing, creative movement activities linked to games, and music listening, Te content in this chapter is aligned with Chapters 3 and 4 o Kodály oday and the accompanying website.

Chapter 5: Unit Plans and Lesson Plans Te music curriculum or this grade is divided into units. Each unit ocuses on the preparation and presentation or teaching a new concept and element, and practice o a known element. Each unit plan has three sections: the first urnishes a list o repertoire or teaching five music lessons, the second includes a summary o music skill activities to practice, and the third presents five sample lesson plans or teaching the music concepts and skills, and practice o a known concept or element or each unit. Worksheets to accompany unit plans are posted on the accompanying website in Chapter 6, teaching strategies. More inormation related to this chapter can be ound on a new accompanying website or the second edition o Kodály oday. Te website will include more than twenty worksheets to be used or practicing reading, writing, and improvisation or music elements related to the handbook or the third grade. Inormation in this chapter is aligned with Chapter 10 in Kodály oday.

Chapter 6: Assessment and Evaluation Tis chapter includes detailed assessment rubrics to assess singing, reading, writing, and improvisation or this grade. Tese rubrics can orm the oundation o any kind o assessment that takes place in the music classroom.

Outstanding Features imely Publication In July 2012 the National Research Council challenged teachers to cultivate approaches to teaching that develop “deeper learning.” Tis third grade handbook supplies music teachers with a model that promotes “twenty-first century skills.”

ranscending All Methods of eaching Music Te researchers have used the Kodály philosophy as a pedagogical compass or this handbook. Te oundation or the approach in this third grade handbook is ocused on developing children’s knowledge o repertoire, perormance skills (singing, moving, playing instruments), reading and writing o music, listening, and improvisation and composition skills—key components o any music curriculum. eachers certified in Kodály, Orff, and Dalcroze training piloted this handbook. Any teacher, regardless o personal philosophy and particular pedagogy, can use this handbook.

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Introduction

Writing Style

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Te writing style o this handbook is accessible; it instantly engages the reader. Te text is filled with examples o activities as well as detailed lesson plans that translate a theoretical model or learning and instruction into a practical handbook or teaching music in the third grade music classroom.

Organic Pedagogy Te authors use an organic approach to teaching music that begins with careul selection o repertoire. Tis repertoire is then used to build students’ skills in singing, movement, playing instruments, reading and writing, listening, and improvisation skills. Tis is accomplished through an “immersion” approach to teaching.

Sequential Pedagogy Te researcher outlines the process or presenting musical concepts and developing music skills. Although several works describing Kodály-based techniques and curriculums exist, ew spell out in detail teaching procedures or presenting musical concepts and integrating them with musical skill development. Some educators amiliar with Kodály-inspired teaching may already know the teaching ideas presented in this text. However, we have combined these ideas with current research findings in the field o music perception and cognition to develop a model o music instruction and learning that offers teachers a map to ollow that will develop their students’ musical understanding and metacognition skills. We have worked to present a clear picture o how one develops a third grade music curriculum based on the philosophy o Kodály, the teaching and learning processes needed to execute this curriculum, and assessment tools.

Vertical Alignment of Music Classes Because o the pedagogy used in this publication, it offers a compelling example o how to achieve vertical alignment in the elementary music curriculum. Like all other subject areas in the elementary curriculum, this handbook develops routines and procedures that are common to music lessons regardless o grade level and teaching philosophy. In this teaching handbook, we delineate the teaching process by including thirty-five lesson plans or third grade or teaching music according to the Kodály philosophy and based on the Kodály odaytext. Tis handbook presents a clear picture o how the teaching and learning processes go hand in hand during the music lesson.

New Cognitive Model for eaching Music Te series presents detailed instructions on how to present music concepts based on a model learning developed in make Kodály oday. Tis modeland builds on the process o o teaching music: prepare, conscious, reinorce, assess. Teaccepted researcher has adopted these phases o learning, but each phase is urther broken down into stages that allow sequential teaching o music concepts and elements as well as the means or their

Introduction

assessment. Tis model o learning inspires the music curriculum, lesson plans, and assessment rubrics or all the handbooks.

Who Should Read Tis Book? Tis book will appeal to methods instructors, pre-service music teachers, beginning music teachers, and practicing or veteran music teachers, or a number o reasons. Tis is a book with a solid methodological oundation that ocuses on creatively enhancing the learning environment o students. Tereore, it appeals to methods instructors who will use the handbooks over the course o a semester to show the necessary elements o a comprehensive musictoeducation. instruction includes what to pre-service teach, how music to teach, and why teach, andEffective this bookmethods addresses all o these areas. Second, teachers will gravitate toward the sequencing and lesson planning included in the book, as well as specific resources (songs, books), when practice-teaching during methods courses, field experiences, and student teaching. Tird, beginning teachers are ofen most concerned with long-term planning or each grade level; unit and lesson plans contained in the handbooks will appeal to these teachers. Finally, this book will appeal to practicing and veteran music teachers because it can be used to reresh knowledge o teaching music. Te book updates traditional ideas and teaching practices associated with the Kodály concept o music education and makes them accessible, practical, and relevant or today’s classrooms.

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Kodály in the Tird Grade Classroom

Chapter

1 1

Framing a Curriculum Based on the Kodály Concept

Tis chapter provides teachers with an overview o the Kodály concept as it relates to curriculum development, and it includes a sample o a grade three curriculum. Also included is a lesson plan design that is used throughout this book to create sample lessons reflecting the content o each chapter. Chapter 1 oKodály Todayoffers teachers a biographical overview o Kodály’s lie as well as an introduction to the Kodály concept o music education.

Te Kodály Concept Zoltán Kodály’s philosophy o music education inspired the development o the Kodály method or the Kodály concept o music education. Te Kodály method was actually developed by his students and colleagues. Simply stated, the method is a comprehensive approach to teaching music skills. Te composer stressed the need or all music teachers to be excellent musicians and conductors, and to have a knowledge o music repertoire to successully develop a music program. Tis section identifies the essential hallmarks o the Kodály method as shaped by Kodály’s philosophy o music education.

Singing Singing is the essence o the Kodály concept, and tuneul singing is the oundation or developing music skills. Generally speaking, singing should be taught beore ormal instrumental lessons. Singing permits quickly internalizing music and allows students to develop the skill o audiation. Chapter 3 o this handbook offers a comprehensive overview or developing the singing voice in the third grade curriculum.

Repertoire Everyone needs to know and celebrate his or her cultural heritage. A key component o this cultural heritage is olk music, which includes children’s songs and games. Tese songs and games

KODÁLY IN THE THIRD GRADE CLASSROOM

include the basic rhythmic and melodic building blocks o music that can be used to make connections to all styles o music. A music curriculum should include these materials:

2

raditional children’s songs and games Folk songs and games o the American culture Folk songs o other cultures Art music (music o the masters) Pedagogical exercises written by composers Recently composed music written by excellent composers

In theelementary handbook music we laycurriculum. out a more comprehensive overview o the repertoire thatChapter is used 2inothe

Reading and Writing Musical reading and writing is another essential component o the Kodály method. Practitioners o this method use a variety o musical tools to develop a student’s fluency in reading and writing music. Tese tools are discussed in more detail in Chapter 4 o this book. Te teaching tools used include relative solmization, moveable do (where the tonic note is do in major and la in minor), hand signs, and rhythm syllables.

Sequencing Another vital component o the Kodály concept is the ability or teachers to sequence materials along with presenting concepts and elements to students that are derived primarily rom singing repertoire musically. Tis is an experience-based approach to learning. We present a thorough approach to curricular sequencing or grade three in Chapter 5 o this book.

Multiple Dimensions of Music Music education, to quote the author Daniel H. Pink, is “undamental, not ornamental.” 1 Learning music gives students many opportunities to perorm music, become stewards o their cultural heritage, develop critical-thinking skills (reading and writing music), be creative human beings, and be inormed listeners and audience members. Trough these multiple dimensions o their music education, students develop skills that not only will make them more accomplished musicians but will also prepare them or lie as citizens o the twenty-first century. When designing a curriculum based on the Kodály philosophy o music education, we need to develop our students’: • Performance skills through singing, playingan instrument, and movement • Knowledge of music repertoire • Knowledge of critical-thinking skills about music through the development of reading and writing skills • Ability to improvise music • Ability to listen to music with understanding


Students as Stewards of Teir Cultural Heritage Students will continue to experience a repertoire o music that includes olk music rom a variety o cultures, art music, patriotic music, and recently composed music. his exposure deepens students’ understanding o the various styles o music, giving them tools to understand a number o music cultures and styles. he music teacher will give students a historical context or all repertoires being studied. Students will grow to understand how diering types o music share the same “music building blocks” as well as what makes music unique. Understanding a particular music style will equip students to begin to understand how they develop their own creative style. his is an invaluable and unique aspect o music education as it develops students’ understanding and knowledge o various cultures.

Students as Performers On completion o third grade, students should be able to sing tuneully, individually as well as in a group, songs with a nine-note range and simple two-part songs rom the staff, stick notation, and hand signs. Tey will sing while playing games, instruments, and conducting in simple meters. Tey will perorm singing by playing instruments and accompany themselves using melodic and rhythmic ostinatos. Perormance includes creative movement through singing, games, and perormance on instruments.

Students as Critical Tinkers Critical thinking is applied in music through reading and writing music to improve literacy skills. hird grade students will sight-read some musical examples in unison and in two parts, and read both rhythmic and melodic notation using learned patterns. hey will write known songs using traditional notation, as well as stick notation with melodic patterns containing both steps and skips. Students will learn to inner-hear songs using solège and rhythm syllables. hey will hear and identiy both the extended pentatonic scale and the minor pentatonic scale and add to their knowledge o solège syllables with the notes la 1, so 1 and high do 1. Rhythmically, they will hear and understand sixteenth notes, sixteenth-note-and-eighth-note patterns, and internal and external upbeats.

Students as Creative Human Beings When students learn how to express themselves through improvisation and composition, they learn more about who they are and what they are capable o accomplishing. Te act o writing a piece o music that no one else could have written gives a student a chance to use his or her ofen-stifled creativity. Making good choices in a composition can lead to good choices in lie. We believe that it is important or students to develop their own creative skills by manipulating rhythmic or melodic elements in a known composition beore they begin to create their own compositions. Children will creatively engage with music and be given several types o improvisation exercise. Tese may include individual and class improvisation or composition o movement, singing, and playing on classroom instruments. Additionally they will improvise short rhythmic and melodic patterns to create new versions o repertoire studied.

3


Students as Informed Listeners

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Students in the twenty-first century are surrounded every day by music rom a variety o mixed media sources. It is our responsibility as music educators to help our students become critical listeners so that they can identiy and understand the purposes o different kinds o music. Tey need to understand that the music they listen to with their riends (social music) can have a purpose different rom music repertoire studied in music classes. O course, students must ultimately understand that all music can be put into two categories: good or bad. It is our job as educators to train students to differentiate between good and bad music and allow them to make their own choices as to music they listen to. We need to develop a student’s ability to listen to a variety o styles o music, and understand the stylistic elements and historical background o this repertoire. It is also important to develop a student’s critical-listening skills. But the music repertoire we choose to use in our music curriculum should reflect the processes that literature teachers employ when they select a book to be read in a literature class. Although there can certainly be disagreement as to what constitutes quality repertoire, there is a general consensus as to what makes great literature. Music education has the ability to affect students undamentally because music is a holistic discipline, reaching body, mind, and spirit. We move to the music, whether in games, or eeling the beat and rhythm, or as perormers. Students are taught tools o analysis as well as tools o creativity, developing parts o their mind and spirit that the traditional academic curriculum does not reach. Tey gain a rich sense o sel-esteem rom music education that comes rom the experiences o using their own creative talents, o finding their place within a community, and o pure enjoyment o music.

Grade 3 Music Curriculum Here we present a sample grade three curriculum that is shaped by our understanding o Zoltán Kodály’ s philosophy o music education. All the sections o the curriculum will be discussed in greater detail in subsequent chapters. O course we oer only a shell o music curriculum; the demands placed on music teachers dier rom one school district to the next. We present a sample grade three curriculum as a starting point or creating engaging music lessons. It is important to remember that, as we read in the Oxford Handbook of Music Education , “although disciplined practice is part o the task, a young aspiring musician’s spirit can be deadened in the ace o a curriculum o tasks to be done and discriminations to be le arned in a standardiz ed way, however ‘age appropriate’ its methods strive to be.” 2 It is likely that the speciic music skills in the sample will need to be modiied according to the requency o instruction. he goal o this curriculum is to make available a model or constructing your own curriculum based on the Kodály philosophy o music education and on current successul models o the Kodály method. Once you have an understanding o this philosophy, you will be able to make modiications to suit your own particular teaching situations. Our goal is to show how the major tenets o the Kodály philosophy, and current practices in teaching music using techniques associated with the Kodály method, can shape a music curriculum.


Students as Stewards of Teir Music Heritage: Repertoire We hope to expand song repertoire to add to students’ knowledge o olk music, art music, recently composed music, and seasonal music. Te students will relate their music perormance to history, to society, and to culture (playing games, singing songs rom an array o cultures, rom the United States and neighboring countries), as well as connect the music to other subjects—reading, writing, language, and math.

Students as Performers: Performance Te curriculum will broaden perormance skills: 1. Singing tuneully A. Students sing songs independently and tuneully. B. Tey increase repertoire by learning thirty to thirty-five new olk songs, games, canons, and simple two-part song arrangements. C. Sing fifeen to twenty songs with solège and hand signs. D. Learn ten to fifeen songs by sight-singing. E. Use known music symbols and terminology reerring to rhythm, melody, timbre, orm, tempo, and dynamics (including mezzo piano and mezzo orte) to perorm and identiy musical sounds presented aurally. F. Sing individually and in groups in call and response, echo singing, game songs, and verse and rerain. 2. Movement A. Students perorm circle games with chase element. B. Tey perorm circle games with choosing. C. Tey perorm double circle games in opposing directions. D. Tey perorm partner games with changing directions and changing partners. E. Tey perorm circle games containing simple square dance patterns. F. Tey perorm line dances containing contradance patterns. G. Tey perorm games and dances rom various cultures. H. Tey perorm partner clapping and body percussion games. I. Tey improvise words and movement to known songs. J. Tey practice tug o war and broad-jumping games. K. Tey conduct duple simple, compound meter, and simple quadruple meter. L. Tey explore games, activities, and movement in personal space or general space. 3. Instruments A. Students demonstrate third grade melodic and rhythmic concepts on classroom instruments. B. Tey accompany classroom singing on classroom instruments. C. Tey play simple xylophone accompaniments to classroom singing. 4. Part work A. Students sing singing songs antiphonally. B. Tey practice intervals simultaneously with solège and hand signs.

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C. Tey accompany a song with a rhythmic ostinato using combinations o sixteenth notes, eighth note ollowed by two sixteenth notes, and two sixteenth notes ollowed by an eighth note in our- and eight-beat rhythm patterns. D. Tey accompany a song with a melodic ostinato using notes o the extended pentatonic scale. E. Tey chant simple rhythmic canons derived rom the rhythms o amiliar songs. F. Tey sing simple melodic canons derived rom the melodic motis o amiliar songs. G. Tey perorm two-part rhythmic exercises based on rhythmic motis o songs. two-part melodic exercises based on the rhythmic and melodic H. known Tey perorm motis o known songs. I. Tey perorm simple olk songs in canon. 5. Conducting A. Students conduct repertoire in duple simple, compound meter (in two), and quadruple meter.

Students as Critical Tinkers and Problem Solvers: Music Literacy 1. Reading and writing o rhythmic elements A. Students know names na d written symbols or combina tions o sixteenth notes, eighth note ollowed by two sixteenth notes, and two sixteenth notes ollowed by an eighth note, and internal and external upbeats. (Students need to sing repertoire fluently with rhythm syllables beore learning the technical names o notes.) B. Tey read with rhythm syllables as well as counting with numbers. C. Tey read or write well-known rhythmic patterns with stick notation and traditional rhythmic notation. D. Tey read a two-part rhythmic exercise. E. Tey expand reading o rhythmic and melodic patterns rom our to eight to sixteen beats. F. Tey write well-known rhythmic patterns with stick notation and traditional rhythmic notation. G. Tey expand writing o rhythmic and melodic patterns rom our to eight to sixteen beats. H. Tey write rhythmic patterns rom memory or when dictated by the teacher in stick notation and traditional rhythmic notation. 2. Reading and writing o melodic elements A. Students know the names and written syllables or all solège notes o the major extended pentatonic scale and minor pentatonic scale. B. Tey read well-known melodic patterns with traditional rhythmic notation and solège syllables as well as on staff notation. C. Tey read a two-part melodic exercise rom notation in exercises o up to thirty-two beats. D. Tey write well-known melodic patterns with traditional rhythmic notation and solège syllables as well as on staff notation.


E. Tey write melodic patterns ound in ocus songs rom memory or when dictated by the teacher using stick and solège syllables, traditional notation, and solège syllables or staff notation. F. Tey write well-known melodic patterns with traditional rhythmic notation and solège syllables as well as on staff notation. G. Tey write known songs using traditional rhythmic notation and solège and staff notation in G-do, F-do, and C-do. H. Tey apply absolute letter names to simple melodic exercises on the staff in G-do, F-do, and C-do. 3. Inner hearing A. B. C. D.

Tey silently silently sing sing known melodicsongs motis or melody rom the teacher’s hand signs. Tey with rhythmic syllables. Tey silently sing known songs with melodic syllables. Tey silently read either ull or partial rhythms or melodies written in traditional notation with solège syllables or staff notation. E. Tey sing back short, known melodic or rhythmic motives rom memory using text (i the student recognizes the song it is abstracted rom), rhythm syllables, or solège syllables. 4. Form A. Students recognize simple song orms (ABAC, AABC, AA’BC). B. Tey identiy and label small and large musical orms such as AB and ABA presented aurally in simple songs and larger works. C. Tey learn to read music with first and second endings. D. Tey recognize rhythmic and melodic variation. E. Tey create simple orms showing phrase variants, or example, ABA’C, AA’BC, AA’BC, and so on. 5. Musical memory A. Students expand skills in memory to include memorization o longer passages (eight to thirty-two beats), reading and writing memory work, improvisation work, and adding absolute names directly rom solège without the notes written on the staff. B. Tey echo our- and eight-beat rhythm patterns clapped by the teacher with rhythm syllables. C. Tey echo our- and eight-beat solège patterns sung by the teacher with solège and hand signs. D. Tey memorize short melodies through hand signs. E. Tey memorize rhythm patterns o our or eight beats rom known songs rom traditional rhythmic notation. F. Tey memorize melodic patterns o our or eight beatsrom known songs rom traditional rhythmic notation with solège syllables or rom staff notation. G. Tey memorize simple two-part exercises.

Students as Creative Human Beings: Improvisation and Composition We hope to expand skills in improvisation and composition to include singing, playing instruments, and moving at the third grade level.

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1. Rhythmic improvisation(based on the rhythmic building blocks o ung s repertoire) A. Improvise rhythm patterns o our or eight beats by clapping and saying rhythm syllables. B. Improvise rhythm patterns o our or eight beats using rhythm instruments. C. Improvise a new rhythm to one measure or more o a well-known song written in traditional notation. D. Improvise question-and-answer motives using known rhythm patterns. E. Improvise to a given orm. 2. Melodic improvisation (based on the melodic building blocks o sung repertoire) A. Improvise melodic patterns o our or eight beats by singing with solège hand signs. B. syllables Improviseand melodic patterns o our or eight beats using barred instruments. C. Improvise short musical motives using notes rom the major pentatonic scale using hand signs, hand staff, or body signs. D. Improvise pentatonic melodies to simple our- or eight-beat rhythms using the voice or a barred instrument. E. Improvise a melody to one measure or more o a well-known song. F. Improvise question-and-answer motives using known melodic patterns.

Students as Informed Audience Members: Listening We hope to expand listening repertoire to teach and reinorce third grade musical concepts. Students will be able to: 1. Expand listening repertoire to teach and reinorce third grade musical concepts 2. Categorize and explain a variety o musical sounds, including those o woodwinds, brass, strings, percussion, and instruments rom various cultures 3. Recognize musical eatures in classroom song repertoire, olk music, and masterworks 4. Recognize rhythmic eatures in classroom song repertoire, olk music, and masterworks 5. Recognize melodic eatures in classroom song repertoire, olk music, and masterworks 6. Develop awareness o expressive controls, that is, dynamics, tempo, timbre, and their distinctive characteristics in masterworks o various historical periods 7. Recognize phrase orms in classroom song repertoire, olk music, and masterworks 8. Recognize tonic, dominant, and subdominant unctions 9. Follow a complete score prepared by the teacher where all known elements will be identified 10. Respond verbally and through movement to short musical examples

Prompt Questions for Constructing a Music Curriculum Tese questions will help you tailor the sample curriculum to your own specific needs. It is important that your curriculum reflect your own teaching philosophy and personality, as


well as your own content knowledge or expertise. Remember also to reinorce the vision and mission o the school with your music programs, and to review your state standards or music education.

Questions on Where You Are Coming From 1. What is your philosophy o music education? 2. What roledoes the Kodály concept o usic m play inthe development o your curriculum? 3. What is the mission and vision o your school? 4. How do you reinorce the mission o your school in your music curriculum? 5. yourthe music students become advocates 6. How How do do you you and develop teaching o music in your schoolor somusic? that music is treated as a core subject area?

Questions on Repertoire in the Classroom 1. How do you select music repertoire or your curriculum? 2. Do you use this repertoire to develop all the students’ music skills in perormance, playing instruments, literacy, improvisation, and composition as well as prepare them to become critical consumers o music? 3. How will you encourage students to use the known rhythmic and melodic building blocks to create and build musical compositions, bolstering critical-thinking skills and creativity? 5. How will music benefit a student’s overall academic achievement in the third grade? 6. How does your classroom reinorce the core curriculum and the vision o the campus? 7. How do you assess student growth in musicianship skills and music literacy throughout the year? 8. How does your classroom embrace cultural diversity though songs? 9. What is the role o olk art and popular music being brought in by students o various cultures, and how do you use it to draw parallels with other genres in your class?

Questions on Music Skills and Content in Grade Tree 1. How will you find a balance among the skills o singing, creative movement, playing instruments, reading and writing music, composing and improvising, and listening to music? 2. How do you create music lesson plans that will develop all o a student’s music skills? 3. What rhythmic and melodic elements will your students master in grade three? Questions on ailoring Your eaching to Student Populations 1. What are some ways in which you meet the various needs o bilingual and transitioning students to strengthen their primary language and promote acquisition o the English language through repertoire? 2. How do you use a broad range o music genres and styles to reach various populations o your campus and promote a lasting love and respect or all music?

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3. How do you use a broad range o learning styles to reach various populations o your campus? 4. What is the place o technology in the music classroom? 5. How do you ensure a sae environment that encourages learning?

Questions on Keeping Your eaching Relevant 1. How do you incorporate modern styles and genres o music in the music clas sroom? 2. How do you incorporate popular and jazz music in the music classroom?

10 Questions on Embracing Music Learning at Your Campus 1. How you encourage your aculty, staff, and administration to support your musicdo program? 2. What steps will you take to ensure your philosophy o music learning is supported by your campus?

Lesson Planning Now that we have created a sample curriculum, we can develop lesson plan outcomes and lessons or teaching music. We advise that your lessons, ocus on developing students’: • Knowledge of repertoire: teachinga new song • Performance skills: learning tosing, play instruments, and move to music • Critical-thinking skills: teaching music concepts and elements to students according to their requency o occurrence in the material they are singing • Creative skills: teaching studentshow to improvise and compose • Listening skills: teaching students how to actively listen to music We address all o these goals in detail throughout the book. Here we begin the process o lesson planning. A primary task or music teachers is to teach basic rhythmic elements. o accomplish this successully, students need to be guided through a variety o experiential activities (preparation activities) beore learning how to identiy sounds and label them with rhythmic or melodic syllables or learning the notation o these sounds (practice activities). Once learned, this inormation (practice) can be applied to expand their musical skills through reading, writing, and improvisation. Lesson planning and acquiring music literacy skills are closely intertwined. eaching a musical element involves eight steps.

Preparation 1. Prepare the learning through kinesthetic activities. 2. Prepare the learning through aural activities. 3. Prepare the learning through visual activities. Presentation 4. Present the solège syllable or rhythm label or the new sound. 5. Present the notation or the new sound.


Practice 6. Incorporate the new element (now identified as a amiliar element) into the practices o reading. 7. Incorporate the new element (now identified as a amiliar element) into the practices o writing. 8. Incorporate the new element (now identified as a amiliar element) into the practices o improvisation. Tis is accomplished throughout a series o lessons. o undertake these steps, there are two basic lesson plan designs: preparation/practice lessons and presentation lessons. In a preparation/practice lesson, we prepare one musical element and practice another. For example, when preparing a new element B (steps 1, 2, and 3) we also practice a amiliar element A (steps 6, 7, and 8). Once we have taught steps 1, 2, and 3, or element B in a preparation/practice lesson, we address steps 4 and 5 or element B in presentation lessons.

Key Components of Lesson Plan Design able 1.1 is the basic preparation/practice lesson plan design we use throughout the book. In each chapter, we will add to this basic lesson plan design to incorporate and reflect the inormation in the chapter. We use a lesson plan structure that divides all lessons into three sections: introduction, core activities, and closure. Tis design can be modified to accommodate the learning objectives or developing students’ skills as perormers, critical thinkers, improvisers, composers, listeners, and stewards o their cultural and musical heritage.

able 1.1 Components of the Basic Preparation/Practice Lesson Plan Design INRODUCION Performance and demonstration of known musical concepts and elements CORE ACIVIIES Acquisition of repertoire Preparation of a rhythmic or melodic element

Element B: this section o the lesson is used or steps 1–3 o preparing a new element

Creative movement Practice and performance of musical skills Element A: Tis section o the lesson is used or steps 6–8 CLOSURE Review and summation

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able 1.2 explains the segments o a basic preparation/practice lesson plan design.

able 1.2

Explanation of the Preparation/Practice Lesson Plan LESSON SECION ONE: INRODUCION

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Demonstration of known musical concepts and elements

Tis segment o the lesson includes vocal warm-up exercises, singing known songs, developing tuneul singing, and singing known songs with rhythmic or melodic syllables. During this section o the lesson, we address music learning outlined in the music curriculum under the title o “Students as Stewards o Teir Cultural Heritage: Repertoire” and “Students as Perormers: Perormance.”

LESSON SECION WO: CORE ACIVIIES Tis section involves acquisition o repertoire and perormance o new concepts or elements. Acquisition of repertoire

eaching a new song serves two purposes. First, it expands students’ repertoire, and second, the new song should also include rhythmic or melodic concepts or elements that will be addressed in upcoming lessons. We present new repertoire or a variety o reasons. Sometimes we wish to teach a song simply to develop students’ singing ability. Sometimes a song may be taught because we need to provide a musical context or teaching uture musical concepts. Te teacher may need to teach repertoire or a uture perormance or concert. During this section o the lesson, we address music learning outlined in the music curriculum under the title “Students as Stewards o Teir Cultural Heritage: Repertoire.”

Preparation of a new concept or element

Here activities ocus on leading students to discover the attributes o a new musical concept or element. Te instruction ocuses on guiding students through kinesthetic (step 1), aural (step 2), and visual learning (step 3) activities. During this section o the lesson, we address music learning outlined in the music curriculum under the title “Students as Critical Tinkers.” Critical thinking is associated with literacy. Trough discovery-based learning, children acquire music literacy skills. In this section o the lesson, students are guided to understand the basic rhythmic or melodic building blocks o the song material as well as the ormal music structures.

Tis first period o concentration is ollowed by a period o relaxation. Creative movement

Students learn singing games and olk songs. Activities ocus on the sequential development o age-appropriate movement skills through songs and olk games. A sequence or age-appropriate movement skill development is provided in Chapter 3 oKodály Today. (Continued)


able 1.2 (continued) Tis period o relaxation is ollowed by a second period o concentration. Practice and musical skill development

In this section, the teacher practices the music skills outlined in the music curriculum under the title “Students as Critical Tinkers.” Tis section reinorces known musical elements while ocusing on a particular music skill such as reading (step 6), writing (step 7), or improvisation and composition (step 8). (O course, we use these skills as anchors or practicing all other music skills, such as inner hearing, orm, memory, part work,

and listening.) LESSON SECION HREE: CLOSURE Review and summation

Review the lesson outcomes Review the new song Review the lesson content. Review the new song. Students may review known songs or play a game. Te teacher may also perorm the next new song that will be taught in a subsequent lesson.

Te next our tables elaborate on the basic presentation lesson plan designs we use throughout the book; we use 1.3 (components) and 1.4 (explanation) to label sounds with syllables, and 1.5 (components) and 1.6 (explanation) to present the notation.

able 1.3 Components of the Basic Presentation Lesson Plan Design for Labeling Sounds with Syllables INRODUCION Performance and d emonstration of known musical concepts and elements CORE ACIVIIES Acquisition of repertoire Presentation of a new concept or element

Element B Tis segment o the lesson is used or step 4

Creative movement Presentation of a new concept or element


CLOSURE Review and summation

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able 1.4 Explanation of Presentation Lesson Plan for Labeling Sounds with Syllables LESSON SECION ONE: INRODUCION Demonstration of known musical concepts and elements

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LESSON SECION WO: CORE ACIVIIES Tis section involves acquisition o repertoire and perormance o new concepts or elements. Acquisition of repertoire Presentation of a new concept or element

Using a known song, the teacher presents the label or the new sound with either rhythmic or melodic syllables. Here the teacher will be presenting elements that are outlined in the music curriculum under the title “Students as Critical Tinkers.” Students are guided to first label the sound o the new musical element and second to learn the notation o the musical element. Tey label the sound o the basic rhythmic or melodic building blocks o the song material and subsequently learn the notation.

Tis first period o concentration is ollowed by a period o relaxation. Movement development Creative movement

Tis period o relaxation is ollowed by a second period o concentration. Presentation of a new concept or Using another known song, the teacher presents element the label or the new sound with either rhythmic or melodic syllables. Here the teacher will be presenting concepts that are outlined in the music curriculum under the title “Students as Critical Tinkers.” Tey label the sound o the basic rhythmic or melodic building blocks o the song material. LESSON SECION HREE: CLOSURE Review and summation



able 1.5 Components of the Basic Presentation Lesson Plan Design for Notating a New Element INRODUCION Performance and d emonstration of known musical concepts and elements CORE ACIVIIES

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Acquisition of repertoire Presentation of a new concept or element


Creative movement Presentation of a new concept or element


CLOSURE Review and summation

able 1.6 Explanation of the Presentation Lesson Plan Design for Notating New Element LESSON SECION ONE: INRODUCION Demonstration of known musical concepts and elements LESSON SECION WO: CORE ACIVIIES Tis section involves acquisition o repertoire and perormance o new concepts or elements. Acquisition of repertoire Presentation of a new concept or element

Element B Using a known song, the teacher presents the notation or the new element. Here the teacher will be presenting concepts that are outlined in the music curriculum under the title “Students as Critical Tinkers.”

Tis first period o concentration is ollowed by a period o relaxation. Movement development Creative movement

(Continued)


able 1.6 (continued) Tis period o relaxation is ollowed by a second period o concentration. Presentation of a new concept or element

Element B Using another known song, the teacher presents notation or the new element. Here the teacher will be presenting concepts that are outlined in the music curriculum under the title “Students as Critical Tinkers.”

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LESSON SECION HREE: CLOSURE Review and summation


Chapter

2

Developing a Music Reper toire Students as Stewards of Teir Cultural and Musical Heritage

Tis chapter provides teachers with an overview o basic repertoire to be used or developing singing, playing instruments, creative movement, improvisation, and listening. Included in this section is an alphabetized list o songs with sources, as well as a pedagogical list o songs or teaching rhythmic and melodic elements. Tis section also includes sequenced directions or teaching singing games and movement activities.

Selecting Repertoire A child’s music education should begin with the olk music and rhymes o her own culture: It is through the indigenous musics o their cultures that students receive the stories o their people, those that ancestors pass down rom generation to generation and others that are contemporary and reflect new customs. Folk music is the treasure trove o student’s values, belies, cultures, knowledge, games, and stories. Te music o student’s own cultures must be given respect and status in the classroom, indirectly giving children a sense o their own values and status. Receptivity toward the music o other cultures can be developed rom this point o reerence, thereby ostering cultural awareness, tolerance and respect.1 We use olk music because it belongs to the oral tradition and it “draws on the power o repeti2 tion and the human urge to generate and create.” In the best olk songs there is a unity between the rhythm and melody; word and musical accents all together logically. Te Kodály approach uses games songs that are highly repetitive and melodically simple to help build “inner hearing” (aural) skills and accurate singing (oral) skills. Tose music activities could be valuable to the development o social skills and sel-confidence in

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children, including those children with special needs, whereby language experience, aural sensitivity and discrimination, and motor skills are cultivated in enjoyable and purposeul music game settings. 3 ake time to amiliarize yoursel with the primary sources or olk music reerenced in Chapter 2 o Kodály oday . Te selection o age appropriate repertoire or each grade is important. Learning to sing this repertoire rom memory will help students “own” it. Te songs are easy to learn and they will engage students in the singing process i they are sung with enjoyment and artistry. Sometimes teachers find it difficult to believe that they can keep the imagination o a child engaged by singing simple unaccompa nied olk

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songs. perormed in aesthetically pleasing the also suggested songs will captureWhen the imaginations o an students. O course, thesemanner, songs may be accompanied using tasteul piano accompaniments. Ruth Craword Seeger’s collection o American olk songs or children is a wonderul example o these kinds o simple and tasteul piano accompaniments. 4 he repertoire selected or classroom use should be o high quality and include not only songs that incorporate musical concepts or teaching but also songs to develop the joy ound in seasonal songs and multicultural songs. Sometimes music teachers choose song material to help students remember classroom rules; or they can be used as an aid in developing literacy skills or numeracy skills. Although these songs are useul or developing students’ social skills, they should not be the primary singing material o the elementary music program. We need to ind ways to connect what we are doing in the classroom with the community at large, as well as acknowledge students’ own music interests. he Oxord Handbook o Music Education proposes that “When children’ s preerences and tastes in music are acknowledged and incorporated into the music curriculum, they can be helped to understand a wider range o 5

music through active involvement in listening.” Asking students to perorm a song or a movement they have developed or piece o music they have learned rom the web, television, or their parents is important. Finding ways to connect this repertoire to music activities in the classroom can be powerul. Inviting musicians into the classroom to perorm live music or students is also a great way to make a musical connection with the community. In so doing, we come to understand “music as an activity to be engaged in and made between people, rather than as a ‘thing’ to be learned, or set o uniorm skills to be imparted, and, moreover, to see how music and musical practices are ever-changing.” 6 We present in this chapter or the third grade: • An alphabetical list of repertoire and sources for these songs • Singing games and directions for playing these games • A pedagogical list of songs suitable for teaching rhythmic and melodic elements

Grade 3 Song Lists Alphabetized Song List able 2.1 is a core list o songs or use in the third grade music class.

Developing a Music Repertoire

Table 2.1

Grade 3 Alphabetical Song List

SonTgitle

Source

“Alonso XII”

El Patio de Mi Casa

“Above the Plain”

Czech Folk Song

“Alabama Gal”

150 American Folk Songs

“Alcitrón”

Sail Away: 155 American Folk Songs

“Are You Sleeping? (Brother John)”

Heritage Songster

“Band o Angels”


“Big Fat Biscuit”

raditional

“Billy Boy”

Heritage Songster

“Blow Ye Winds”

Heritage Songster

“Boots o Shining Leather”

150 Rounds

“Bought Me a Cat”


“Bow Wow Wow”


“Bye, Baby Bunting”


“Caracol” (song)

Vamos a Cantar

“Cape Cod Girls”


“Canoe Song”

150 Rounds, Folk Songs North America Sings

“Las Cascaras de Hueve”

El Patio de Mi Casa

“Cedar Swamp”

Folk Songs o the Southern Appalachians as sung by Jean Ritchie

“Chairs to Mend”

150 Rounds

“Charlie over the Ocean”


“Chickalalelo”


“Circle Round the Zero”

Circle Round the Zero

“Cocky Robin”


“Come Lie, Shaker Lie”

Te Gif o Be Simple

“Come Tru ’Na Hurry”

Alabama Gal

“Cotton Eye Joe”

American Ballads and Folk Songs

“El Coyotito”

Vamos a Cantar

“Cumberland Gap”


“Dance Josey”


“Deedle Deedle Dumpling”

Te Singing Book

“Te Deer Chase” “Dinah”

Sail Away: 155 American Folk Songs Te American Play Party Song

“Do, Do Pity My Case”


19

(Continued)


Table 2.1

(continued)

SonTgitle

20

Source

“A Don Chin Chino”

Vamos a Cantar

“Drunken Sailor”

American Sea Songs and Shanties (sung by Richard Maitland)

“Las Estatuas de Marfil”

El Patio de Mi Casa

“Fed My Horse”

English Folk Songs rom the Southern Appalachians

“Fire in the Mountain”

My Singing Bird

“Firefly”

Te New Haven Song Collection/Te Magic o Music

“Te Gallows Pole”

Sing Out!

“Golden Ring”


“Grandma Grunts” (variant)


“Great Big House in New Orleans”


“Green Gravel”


“Hambone”

Let’s Slice the Ice

“Here Comes a Bluebird”


“Hill and Gully Rider”


“Hogs in the Cornfield”

Te American Play Party Song

“Hold My Mule”


“Hop, Old Squirrel”


“How Many Miles to Babylon?”


“Hush, Little Baby”


“I Lost the Farmer’s Dairy Key”


“Ida Red”


“I’ll Sell My Hat”


“Iroquois Lullaby”

Folk Songs North America Sings

“Jim Along Josie”


“John Kanaka”


“Johnny Cuckoo”


“Johnson Boys”


“Te Jolly Miller”


“Kansas Boys”

My Singing Bird (Continued)


Table 2.1

(continued)

SonTgitle

Source

“King Kong Kitchie”


“King’s Land”

My Singing Bird

“Knock the Cymbals”

Te Song Garden, Book 2

“Land o the Silver Birch”

Heritage Songster

“Let Us Chase the Squirrel”


“Liza Jane”


“A Madrú Señores”

El Patio de Mi Casa

“Mama, Buy Me a Chiney Doll”


“Milano”

El Patio de mi Casa

“Mush oodin”

Folk Songs North America Sings

“Oh, Fly Around”


“Oh, No, John”


“Old Betty Larkin”


“Old Brass Wagon”

Handy Play Party Book

“Old Gray Mare”

My Singing Bird

“Old McDonald”


“Old Molly Hare”


“Old Mr. Rabbit”


“Te Old Sow”


“Old exas”

Te Song Garden, Book 3

“Over the River”


“El Patio de mi Casa”

El Patio de mi Casa

“La Patita”

Vamos a Cantar

“Paw Paw Patch”


“Phoebe in Her Petticoat”

My Singing Bird

“Poor Little Kitty Cat”


“Pourquoi”


“Riding in the Buggy”


“Riding o a Goat”


21

(Continued)


Table 2.1

(continued)

SonTgitle

22

Source

“Rocky Mountain”


“Rosie, Darling Rosie”


“Row, Row, Row Your Boat”

150 Rounds

“A la Rueda de San Miguel”

El Patio de Mi Casa

“Sailing on the Ocean”


“San Serafin del Monte”

El Patio de Mi Casa

“Santo Domingo”

Vamos a Cantar

“Scotland’s Burning”

150 Rounds

“Sea Shell”

Simple Gifs I

“See-Line Woman”


“Shanghai Chicken”


“Sioux Indian Lullaby”

My Singing Bird

“Skin and Bones”


“Skip to My Lou”

Folk Songs USA (Lomax/Seeger)

“Skipping Rope Song”


“Swapping Song”


“ideo”


“urn the Glasses Over”


“engo Una Muneca”

El Patio de mi Casa

“Wallflowers”


“Walter Jumped a Fox”

Some Representative Southern Illinois Folk Songs (perormed by Lottie Hendrickson)

“Weevily Wheat”

American Ballads and Folk Songs

“What’ll We Do with the Baby-o?”


Reerences or Table 2.1 Andrews, Edward D. Te Gif to Be Simple. New York: J. J. Augustin, 1940. Bacon, Denise. Let’s Sing ogether!London: Boosey & Hawkes. 1971. Bolkavec, Edward, and Judith Johnson. 150 Rounds or Singing and eaching. New York: Boosey & Hawkes, 2000. Botkin, Benjamin Albert. Te American Play-Party Song. Lincoln, NE, 1937. Choksy, Lois.Te Kodály Context. Englewood Cliffs, NJ: Prentice-Hall, 1981. Dallin, Leon, and Lynn Dallin. Heritage Songster. Dubuque, IA: Wm. C. Brown, 1966.


Davis, Andy, Mary Cay Brass, and Peter and Mary Alice Amidon. Alabama Gal. Chicago: GIA, 2011. Emrich, Duncan, ed. American Sea Songs and Shanties. (Recordings made by Sam Eskin, Alan Lomax, and Helene Stratman-Tomas, 1939–51.) AFS L26 rack 3. Erdei, Peter (ed.), and Katalin Komlós. 150 American Folk Songs. London: Boosey & Hawkes, 1985 [1974]. Heath, Carol. Te Song Garden. Book II. West Hartord, C: Kodály Musical raining Institute, 1986. Hein, Mary Alice, Lois Choksy, and Kathleen Dalton. Te Singing Book: Beginning Level. San Francisco: Renna/White Associates, 1978. Houlahan, Micheál, and Philip acka. Kodály oday. New York: Oxord University Press, 2008. Johnston, Richard. Folk Songs North America Sings. oronto: Caveat, 1984. Kenney, Maureen.Circle Round the Zero. St. Louis: Magnamusic-Baton, 1983. Knowles, Faith. Vamos a Cantar: 230 Latino and Hispanic Songs to Sing, Read, and Play. Columbus, OH: Kodály Institute at Capitol University, 2008. Locke, Eleanor G. Sail Away: 155 American Folk Songs. London: Boosey & Hawkes, 1988. Lomax, John A., and Alan Lomax. American Ballads and Folk Songs. New York: Ludlow, 1962. Lomax, John A., and Alan Lomax. Folk Songs U.S.A. New York: Plume Books, 1947. Te Magic o Music, Book IV. Boston: Ginn, 1967, p. 195. McIntosh, David.Folk Songs and Singing Games o the Illinois Ozarks. Carbondale: Southern Illinois University Press, 1974. Montoya-Stier, Gabriela.El Patio de Mi Casa. Chicago: GIA, 2008. Te New Haven Song Collection (unpublished, compiled by Kodály teachers in New Haven, C, 1969). Rohrbough, Lynn, and revised by Cecilia Riddell. Handy Play Party Book. Burnsville, NC: World Around Songs, 1982 [1940]. Sharp, Cecil. English Folk Songs rom the Southern Appalachians. London: Oxord University Press, 1932. Sing Out! Vol. 8, No. 1. New York: OAK, 1961. Wyzga, Helen L.Simple Gifs, Books I–III. Pittsburgh: Volkwein Brothers, 1976. Youngberg, Harold C.Making Music Your Own, eacher’s Edition, Book 6. Morristown, NJ: Silver Burdett, 1971. Zacuto, Melinda, and Jerry Silverman. Folk Songs o the Southern Appalachians as Sung by Jean Ritchie. New York: OAK, 1965.

Singing Games and Sequenced Directions for Playing able 2.2 shows a list o songs and game directions or third grade.

Table 2.2

Games for Grade 3

Song/GameTitle

Source

“Big Fat Biscuit” “Boots o Shining Leather”

Hungarian Folk Song with English ext by Anne Kaye (Continued)

23


Table 2.2

24

(continued)

“Dance Josey”


“Deedle Deedle Dumpling” (rhyme)

English radition Rhyme

“Dinah”

Kodaly oday



“Fed My Horse”

Kodaly oday

“Golden Ring”

Folk Songs o the Southern Appalachians

“Great Big House”

From Sound to Symbol

“Hambone”

Let’s Slice the Ice

“Here Comes a Bluebird”

Kodaly oday


Kodaly oday


Kodaly oday





“Ida Red”




“John Kanaka”


“Te Jolly Miller”


“Knock the Cymbals”

Te Kodaly Method

“Let Us Chase the Squirrel”


“Old Betty Larkin”

Folk Songs o the Southern Appalachians


Kodaly oday




Kodaly oday

“Paw Paw Patch”

Kodaly oday



“Sailing o’er the Ocean”


“Shanghai Chicken”


“ideo”



120 Singing Games and Dances or Elementary School

“Wallflowers”


“Yangtze’s Boatman’s Chantey”

An American Methodology


Reerences or Table 2.2 Brummitt, David, and Lois Choksy. 120 Singing Games and Dances or Elementary School. Englewood Cliffs, NJ: Prentice-Hall, 1987. Choksy, Lois. Te Kodály Context. Englewood Cliffs, NJ: Prentice-Hall, 1981. Eisen, Ann, and Lamar Robertson. An American Methodology. Lake Charles, LA: Sneaky Snake, 1996. Erdei, Peter (ed.), and Komlós, Katalin. 150 American Folk Songs. London: Boosey & Hawkes, 1985 [1974]. Houlahan, Micheál, and Philip acka. From Sound to Symbol. New York: Oxord University Press, 2011. Houlahan, Micheál, and Philip acka. Kodaly oday. New York: Oxord University Press, 2008. Locke, Eleanor G. Sail Away: 155 American Folk Songs. London: Boosey & Hawkes, 1988. Zacuto, Melinda, and Jerry Silverman. Folk Songs o the Southern Appalachians as sung by Jean Ritchie. New York: OAK, 1965.

able 2.3 includes directions or playing the singing games. We recognize that teachers may have better ideas and more creative ways to teach musical games. Tese game directions are intended to offer helpul guidance.

Table 2.3

Grade 3 GAME DIRECTIONS

GLOSSARY OF MOVEMENT GAME AND DANCE TERMS* partners match right hands, touching rom hands to elbow. Elbow is bent and Allemande: hands are up. Partners turn around once to the right so that they return to their srcinal position. Te turn may also be done with lef hands in the air, turning to the lef.

Arch: partners join hands and raise arms to let other students through. Bottom o the line: in a line or double line, the position urthest away rom the head couple, music source, or caller. Cast off: in a double line, partners turn away rom each other and walk toward the bottom on the outside o the line. Other couples may ollow. Circle: students stand side by side in a circle, acing in toward the middle. Circle lef: students move clockwise, with hands joined i desired. Circle right: students move counterclockwise, with hands joined i desired. Corner: the person next to you who is not your partner. Do-si-do: two students ace each other, slightly offset. Tey walk orward, passing right shoulders, and go around each other to move back to their srcinal place. Te students should be acing the same direction during the entire movement. Down: students move toward the bottom o the line, urthest away rom the caller or music source. (Continued)

25


Table 2.3

(continued)

Double line: students orm two parallel lines, with each student acing opposite the partner. See Longways set. Elbow turn: students link arms at the elbow with each other and turn around once. Tis may be done to the right, linking right arms, or to the lef, linking lef arms. Grand right and lef: partners ace each other, take right hands, and walk orward passing right shoulders. ake lef hands with the next person you meet and pass lef shoulders. Right to the next, lef to the next, and so on. ake two steps orward or each change o hands. Head couple:in a line dance, the couple closest to the head o the line, the caller, or the music.

26

Lef hand cross: partners ace each other, take lef hands, and walk orward, passing lef shoulders so they have switched places. Longways set: students orm two parallel lines, with each student acing their partner in the opposite line.See Double line. Promenade: partners walk orward side by side, holding each other’s hands, right in right and lef in lef. eachers should get students into position by saying, “Shake right, shake lef, turn orward.” Right hand cross: partners ace each other, take right hands, and walk orward, passing right shoulders so they have switched places. Sashay: partners hold hands and gallop or skip sideways. Strip the willow: in a line dance, the head couple does a right elbow turn once and a hal around so that they are acing the opposite line rom which they started. Tey then each do a lef elbow turn once around with the next person in the line (rom the line opposite their srcinal line). Te head couple meets in the middle or a right elbow turn once around, and then each turns the next person in the opposite line with a lef elbow turn; and so on down the line until they reach the bottom. May also be done by holding hands with your partner and pulling inward rather than an elbow turn.

Wring the dishrag: partners ace each other, holding hands. With hands held, partners swing their hands orward, up, and over their heads as they turn underneath. Partners should be in their srcinal position, hands still held, at the end o the motion. “DRAW ME A BUCKET OF

WATER”

Classroom use: square dance Setup: Start teaching with one set o students, with the other students watching. Follow the text o the song: “Go under” means that one couple holding hands puts their joined hands over a player’s head and behind their back. 1. Square 2. Lead couple holds hands under. 3. Other couple holds hands over.

Dance steps: 1. Both couples hold hands and “saw” back and orth. 2. Students 3 and 4 put their joined hands over lead’s head and behind back o one person in the square. 3. Do this until all members o the square are included. (Continued)


Table 2.3

(continued)

4. “Frog in the bucket … .” All members o the square jump while holding their hands and sing.

Variant: Sister Sally. “FED MY HORSE” Classroom use—game: double circle Setup: Double circle: make one circle, ask every other child to step in Inside Outsidecircle circleaces acesout in

Dance steps: 1. “Fed my horse in a poplar trough” “pop”: lap “lar”: clap “trough”: straight (clap partners hands together) 2. “Coy ma-lin-do kil-ko kil-ko” “coy” lap “lin-do”: clap “kil-ko kil-ko”: cross-clap cross cross cross 3. “kil-ko me” “kil-ko”: cross cross “me”: straight (clap partners hands together) 4. Add: on the word “Fed” outside circle step over to a new partner. Do this three times. Stay in place on words “then he caught the whooping cough.” Can step/sway over like you are shoveling. Version 2

Setup: double line Dance steps: 1. Phrase 1, our steps in and clap partner’s hands 2. Phrase 2, our steps back and snap behind you 3. Phrase 3, our steps in and clap partner’s hands 4. Phrase 4, our steps back and snap behind you 5. Chorus 1, head couple sashay down the line 6. Chorus 2, next couple sashay down the line “FIRE IN THE MOUNTAIN” Classroom use—game: circle Game directions: hal the students sit in a circle in chairs acing the middle; one student sits on a chair in the middle holding a tambourine; the remaining students each stand behind a chair on the outside o the circle. During the singing o the song, students on the outside o circle walk to the beat rom chair to chair; the person in the middle keeps the beat with the tambourine. As in musical chairs, when the person in the middle stops the tambourine, they will run to try to get a chair to stand behind, orcing one o the students behind the chairs to be lef without a chair, thus being “it” or the next round. (Continued)

27


Table 2.3

(continued) “GOLDEN RING AROUND THE SUSAN GIRL”

Classroom use—game: square dance, birdie in a cage Dance steps: 1. “Round and round”—all circle lef 2. “Golden ring”—(phrase 1) lady 1 goes to couple 3, (phrase 2) man 1 orms a circle with couple 3 and (phrases 3 and 4) they circle lef around her 3. “Round and round” circle lef with only our people (couples 1 and 3) 4. “Golden ring” now lady 1 goes to couple 2 and man 1 orms a circle with couple 2 and

28

they circle lef around her 5. “Round and round” circle lef with six people (couples 1, 3, 2) 6. “Golden ring”—lady 1 goes to couple 4, man 4 orms a circle with couple 4 and they circle lef around her 7. “Round and round”—circle lef with whole circle, but be sure to pick up the couples in the right order.

“GREAT BIG HOUSE” Classroom use—game: circle Teaching process: the teacher begins by asking the students to take small sideways steps to the lef by saying “step, together, step, together” to the beat. Tis practices the motion at the end o the game once all the students are intertwined. Verse 1: students circle lef. Count off around the circle 1 and 2. Verse 2: “Went down to the old mill stream” Motions: number 1 students take our tiny steps toward the center and join hands with their group. “o etch a pail o water” Motions: number 2 students walk in putting their hands in between the 1 students and hold hands with other 2 students. It’s helpul to demonstrate this motion with several students beore asking all the 2 students to perorm. “Put one arm around my wie” Motions: number 2 students raise their hands and put their arms around the back o the 1 students, keeping hands held. Again, this should be demonstrated by the teacher and a ew students first. “Te other ‘round my daughter” Motions: number 1 students put their arms around the back o the 2 students, keeping hands held. Te teacher may have to discuss with the class how to duck under the neighbor’s arms, especially i there are varying student heights. Verse 3: all players do the “step together” motion to their lef while still holding hands behind each other’s backs. On the last phrase, they release their arms and step back to begin singing again. (At this point you could have the 1’s become 2’s, etc.) (Continued)


Table 2.3

(continued) “HERE COMES A BLUEBIRD”

Classroom use—game: acting out, circle, choice, partners Game directions version :1students stand in a circle with hands joined and lifed to create archways. As they sing, one child walks in and out o the arches. On “take a little partner ” this child takes a partner, joining hands, and gallops in and out o the opening in the circle or dances around inside the circle. Te first child joins the ring, the partner becomes the new “bluebird.” Game directions version 2:play as written above, except both the bluebird and their partner move in and out o the arches when the song begins again. On “take a little partner,” both students select partners to hop inthe garden. Te circle will shrink asmore students become bluebirds. “HOGS IN THE CORNFIELD”

29

Classroom use—game: partner Game directions version 1: Partners decide who will be number 1 and who will be number 2. One or more pairs come to a line marked on the floor. Te pairs grab right hands and put their toes against the line. Te class sings the song once. When the song is over, each student tries to pull his/her partner over the line. Whoever wins takes his/her partner over to his/her team. When everyone has had a turn, each team is counted, including the losers who have come rom the other team. Te team with the most students wins.

Game directions version 2: Partners are back to back in the middle o the classroom. Partners walk away rom each other to 6 beats. On beats 7 and 8 they do rock, paper, scissors to the eighth-note rhythm. “HOP , OLD SQUIR REL” Classroom use—game: choosing Game directions: you will need two yoga or spring balls, and a starting line and finishing line designated on the floor. “Squirrels” race rom point A to point B while “hopping” on yoga balls. Students are allowed to hold onto the ball with their hands and/or legs. Class sings entire song. eacher claps on the final “dee” to signal the start o the race. At the end o the race, both “squirrels” choose another student to take his/her place. “HOW MANY MILES TO BABYLON?” Classroom use—game: double line Game directions: in a double line ormation acing each other, one line stands on one side o the room, and the other line stands on the opposite side o the room. One group are ravelers, the other group are Villagers and should hold hands making arches like the “city gates.” Teaching process: Te groups stand and sing to each other. At the end o the singing, they both walk toward each other. (Continued)


Table 2.3

(continued)

Each raveler chooses which gate to walk through and walks through to the other side o the playing area. Te groups change roles and play again.

“HUSH, LITTLE MINNIE” Classroom use—game: acting out, circle Teaching process: the teacher sings entire song or students. Te teacher sings the song again, replacing the word “hush” with a silent motion. Students echo. Each time the teacher sings, he/she replaces the has nextbeen word with a silent motion until the end o the song. Students echo afer each new word replaced.

30

Motions: “Hush”: back o hand covering mouth, with palm acing out “Minnie”: hold arms as i cradling a baby “Don’t”: finger to lips, as i saying “shhh” “Buy”: slap thigh or pocket “Mockingbird”: bird motion with hands, thumbs crossed with hands mimicking wings “Whistle”: whistle “Sing”: two fingers pointing like sound is coming rom your mouth “Do most anything”: hands criss-cross back and orth in ront o body, with palms acing down

“JOHN KANAKA” Classroom use—game: double circle (this game can also be perormed or first taught as a single circle game). raditionally, girls stand in the inside circle acing the outside circle and their partners. Dance steps: 1. First, teach the repeating line pattern. 2. On the word “John” students stomp their right eet. 3. Tey then pat their thighs on the words “Kanaka-naka”(5 times, alternating hands). 4. Tis is ollowed by two claps on the words “oo-la.” 5. Partners then pat both hands together on the “ay” o “oo-la-ay”. 6. All together this is: stomp, pat (legs), pat, pat, pat, pat, clap, clap, pat (partners hands). It is important to teach this step first. Model this first with one student while having the class clap the rhythm pattern. Add several other pairs, then the entire group. Isolate each step until all are successul. 7. Sing lines 1, 3, and 5 o the song adding the motions above to lines 2, 4, and 6: “John Kanaka naka oo-la-ay” 8. Ten teach the “do-si-do.” As this is a chantey, students do not need to hold their arms in ront across their chests. Instead, they should march around their partner right shoulder to right shoulder (always acing in the same direction). 9. Tis step is perormed on lines 1 and 3. 10. Next add motions or line 5—“oo-la-ay”—students will clap their own hands twice, then pat their partners’ hands. (Continued)


Table 2.3

(continued)

11. On the word “Oh” they will raise their hands up over their heads and shake their hands (jazz hands). 12. Repeat the clap, clap, pat on the word “oo-la-ay.” 13. ogether this is clap, clap, pat, raise and shake, clap, clap, pat. Again it is important to model this with one student first. Put all the steps together and the song is complete with motions in its single circle version.

Double circle variation: o play this game in its double version orm, teach the above steps in order first and then add the ollowing: 1. Now the pairs may move into a double circle ormation. Te inner circle should ace outward, acing their partners. 2. On line 1 students do-si-do with their partner, right shoulder to right shoulder. 3. On line 2 students stamp their right eet, pat their knees with alternating hands 5 times, clap their own hands twice and pat their partners hands once. 4. On line 3 students do-si-do their partners again, right shoulder to right shoulder. 5. On line 4 students repeat line— 2 stamp, pat legs five times, clap, clap, pat partners hands. 6. On line 5 partners clap their own hands twice, pat their partners hands and raise their hands up. When they raise their hands everyone should step to the right. Tis means those in the inner circle will move clockwise and the outside circle will move counterclockwise. Tis places everyone in ront o a new partner. 7. Repeat line 1 on the last line o the song—stomp, pat legs five times, clap, clap, pat partners hands. 8. Repeat the entire song.

“THE JOLLY MILLER” Classroom use—game: double circle Teaching process: the ormation is a double circle o players standing side by side; the inside player has her right arm on the lef shoulder o the outside circle player to orm the spokes o a wheel. One person is designated the “miller” and stands alone in the center o the wheel.

Game directions: as the song is sung, all players walk around in the circle. At the end o the verse, all the inside players drop hands and quickly step up to the next person and touch their shoulders. At the same time, the miller tries to find a partner. One student will be lef alone and becomes the next miller and the game begins again. “KING’S LAND” Classroom use—game: choosing, chase Game directions version 1: in an open play area, one side is the saety zone and one side is the city limits o Boston. Te king stands at one end o the playing area (in Boston) while the others march rom the saety zone across the middle o the space singing the song. At a given signal, the king chases the servants to the opposite saety zone. I the king tags anyone, he/she must stand in Boston with the king to help tag others afer each repetition o the singing and chasing. (Continued)

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Table 2.3

(continued)

Game directions version 2: two students are chosen to be guards. Te remainder o the students sing the song in a “nanny, nanny boo boo” style. At the end o the song, the students run to the “base” while “guards” tag as many students as possible. Any student who is tagged becomes a guard. Te remaining students sing the song again and run back the way they came, trying not to get tagged. “KNOCK THE CYMBALS” Classroom use—game: acting out, partner, circle Game directions: Verse 1: “Knock the cymbals, do, oh, do…”

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Phrase 1: walk our small steps to the middle Phrase 2: walk our steps back to srcinal place. Repeat or phrases 3 and 4. Verse 2: “Lef hand cross, do, oh, do…” Hold out lef hand and walk around the circle counterclockwise. Verse 3: “Right hand cross, do, oh, do…” Hold out right hand and walk around the circle clockwise. Verse 4: “Promenade around, do, oh, do…” Option 1: Put hands on hips and walk around the circle. (easy) Option 2: Partners promenade counterclockwise. (more complicated) Option 3: Partners promenade counterclockwise. On the ourth phrase, the inside circle moves up one person so that they have a new partner or the next repetition.

“LITTLE JOHNNY BROWN” Classroom use—game: circle, acting out Game directions: Players are standing in a circle, singing and clapping. One player in the middle dramatizes the words by olding a large handkerchie one corner at a time. On “ake it to your lover,” they should choose another person in the circle and approach that person. On “Show her (him) your motion,” create a motion that the chosen person must copy. “Lope like a buzzard” is shown by putting hands under arm pits and flapping elbows. Te person who receives the handkerchie is the next one in the middle o the circle. “LONG LEGGED SAILOR” Classroom use—game: acting out, partner Game directions: partners are acing each other. Sing song and act out words with each verse. “Have you …”—partners hold hand and swing hands lef and right. + ~ ^ ~ (action) ~ + “Ever, ever, ever in your long legged lie” ~ (action) ~ (salute) ~ (action) ~ + “seen a long legged sailor with a long legged wie?” (Continued)


Table 2.3

(continued)

+ means to clap right hand to right hand ~ means to clap your own hands together ^ means to clap lef hand to lef hand On the word “long” (the other words in the subsequent verses) you show through acting out. On the word “sailor” all should salute. “Sailor”: salute (in every verse) “Long legged”: arms extended horizontally “Short legged”: hands close together “One legged”: stand on one oot “No legged”: jump

Teachingsteps:all students ace the teacher and pretend to be the teacher’s partner as he or she perorms clapping motions with song at slow tempo so the students can clearly imitate the motions. “OLD BETTY LARKIN” Classroom use—game: square dance, grapevine twist Dance steps: 1. “Hop around, skip around, old Betty Larkin”: circle lef halway, circle right halway. 2. “Needle in a haystack”: girl 1 is the leader o a grapevine twist. 3. “Steal, steal”: grand right and lef, promenade home. 4. “You take mine and I’ll take another”: boy 1 is the leader o a grapevine twist, passing his partner and getting a new partner one to the right. 5. Entire song may repeat, with girl 3, boy 3, girl 2, boy 2, girl 4, boy 4 getting a turn to lead the grapevine twist. “OLD BRAS S W AGON” Classroom use—game: circle, square dance Game directions: “Circle to lef, Old Brass wagon… you’re the one my darling.” Motions: join hands and circle lef until you get home again. “Circle to the right, Old Brass Wagon… you’re the one my darling.” Motions: join hands and circle right until you get home again. “Do-si-do your partner, old brass wagon. Do-si-do your corner, old brass wagon. Do-si-do your partner, old brass wagon, you’re the one my darling.” Motions: take the ull our phrases to complete these three instructions. “Allemande your partner, allemande your corner… you’re the one my darling.” Motions: allemande as noted. On the final “allemande your partner,” set up or promenade with your partner. “Promenade around, old brass wagon.” Motions: promenade ull circle, clockwise. “Swing your partner, swing your corner… you’re the one my darling.” Motions: right hand swing your partner, lef hand swing your corner, right hand swing your partner (Continued)

33


Table 2.3

(continued) “OLD MISTER RABBIT”

Classroom use—game: choosing, lowla, also suitable or younger students. Game directions: Tis is a musical chairs type game. Te chairs should be in a circle and there should be one less chair than students playing. Te last word o the song states a vegetable that a rabbit might eat. Students name different vegetables. Te teacher assigns different students as being different vegetables, some carrots, some corn, some cabbage, etc. At the end o the song, teacher sings one o these words, and those who are the named that vegetable must get

34

up and switch chairs, with the teacher trying to find a seat also. Teaching steps: the number o different oods needs to be no more than our or a class o thirty. ry to seat the students with their chairs against walls. A rabbit puppet or the person in the middle is a great addition to this game.

“OVER THE RIVER” Classroom use: double line Dance steps: 1. Students stand in a double line across rom their partners 2. ake our steps towards partner, our steps back 3. Right hand pass with your partner 4. ake our steps towards partner, our steps back 5. Right hand pass with your partner 6. Head couple goes down the alley to bottom by improvising movement, ending at the bottom and creating a new head couple. “PAW PAW PATCH” Classroom use—game: double line Game directions: Verse 1: head girl skips counterclockwise around the outside o both lines back to place. Verse 2: head girl repeats movement as the entire boy line ollows her. Verse 3: head couple casts off to make an arch at the bottom; each line ollows and goes under the arch and back to place. Te game repeats with new head couple.

Teaching steps: using tape on the floor, have students make two lines (six pairs is a good number). Designate a girl line and a boy line. “Boys” should wear a tie. Te head girl is “Suzie.” Practice the “cast off”… . Boys sit while the girls ollow Suzie outside the line. Suzie and teacher orm a bridge and second girl leads the line back to the top staying in line. Girls sit. Head boy leads boy line in the opposite direction. eacher and head boy orm a bridge and second boy leads line back to the top. All students stand to sing. Using the same head boy and Suzie, play the game rom the beginning. Repeat until every girl is able to be Suzie. (Continued)


Table 2.3

(continued) “PIZZA, PIZZA”

Classroom use—game: choosing, circle, call and response Teaching steps: teacher demonstrates the motions o the eet by first patting on her legs; the words are “Out, cross, out, cross, out.” Students should echo the words and motions with their hands. eacher sings the song while perorming the above motions while students move their hands out, crossed, out, crossed, out. On “Pizza, pizza daddy-o,” the teacher stands and demonstrates how to jump and cross legs out and in, out and in. Te students perorm the jumping motions with the song. eacher may improvise some action words to act out during the song. For example: “Let’s hop it. Hop it, hop it, daddy-o.” Once the students understand the idea o improvising the actions, the teacher may ask several students to come up with the next ew motions. Te teacher may also limit it with categories like “sports” or “playground,” etc., so students pick the words more quickly. “Let’s bat it, swim it, pitch it, swing it, jump it, etc. o end the game, sing “Let’s end it, end it, end it daddy-o,” clapping as you say the word “end.” Te teacher selects one student to go to the middle and be the leader. He/she gets to choose the actions that the class will perorm. On “end it,” the student points in a circle and chooses the next person who will come to the center.

“ROSIE, DARLIN’ ROSIE” Classroom use—game: choosing, chase, circle Teaching steps: Tis game is similar to Cut the Cake but may be played sitting instead o standing. Students sit or stand in a circle. One person is chosen to be the leader. Tat person steps around the outside o the circle, leading the singing and possibly playing a drum or tambourine. On the last syllable o the song, the leader taps the nearest person and runs around the circle. Te tapped person must run in theopposite direction, trying to reach his/her own place beore the leader does. Te loser will then be the next leader.

“SAILING ON THE OCEAN” Classroom use: double circle, our boys on the inside and everyone else on the outside. Dance steps: 1. Verse 1: the outside circle moves clockwise while the inside circle moves counterclockwise. 2. On the words “You can get a pretty girl” each “boy” in the inner circle changes directions and joins hands with a girl o his choice in the outer circle. 3. Verse 2: the outer circle continues to step to the beat. Te boys rom the inner circle walk beside their chosen girls. 4. Verse 3: the boys pull their partners into the inner circle. Tey then change direction and walk counterclockwise in an inside circle o eight. (boy-girl-boy-girl, etc.) 5. On “You can lose,” the boys step into the outer circle. Tey leave the our girls in the inside circle so the girls begin the game again. (Continued)

35


Table 2.3

(continued)

“SKIPPING ROPE GAME EARLY IN THE MORNING ” Classroom use—game: choosing Teaching steps: students first learn to jump rope individually to the steady beat. Ten, groups o two students learn to turn a jump rope or other jumpers. Te class chants the words as two students turn the rope. A designated student begins jumping. In phrase three, “Up JumpElla to open the door,” the jumper substitutes a different name rom the class. Te chosen student then gets to jump. Te ormer jumper takes the place o one o the rope turners. “TIDEO”

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Classroom use—game: double circle, partner, big motor Setup: double circle: make one circle, ask every other child to step in Inside circle aces out Outside circle aces in Dance steps: 1. “ideo” clap pattern instruction a. “Do what I do”: lap, clap, straight (patty-cake-two-hands-out clap) (ta ta ta z). b. “I’m going to sing a song called ideo. Watch me.”T sings and shows clap pattern on the word “ideo.” c. “What word did I do this on?” ideo. d. Every time I sing the word “ideo” do that. e. ie in: how many times did we do ideo? 7 EACHER IP: Students may drop out to count rather than do movements and countI’m at the same time. It to is especially or them to the count while singing at first. . Now going to ask you sing what hard you can, at least “ideos.” g. ie in: how many o you got the same number that you got beore? h. In act, you can sing the whole song this time. 2. ie in: when you pass the window, what are you going to do? Jingle. I you think it’s too much to sing and move this time, just jingle. I you can do it all, go ahead. 3. How many times you do jingle? 3. 4. At this point, insist they try to sing and do all the motions. But i they can’t yet, just the early motions. Stop here the first day. Motions and movements are tantamount to learning. Words come last. eacher must generate the words longer while students learn the movements.

Add big motor Which way should we go? Or “Tis way” (raise a hand) rather than lef or right. We’ll sing “pass one window, tideo” and on tideo we clap with partner. On “pass two windows” outside circle will step over to a new partner and clap. Afer we jingle here we step over here. Pass one window, tideo there. Pass two windows, pass three windows tideo there. Ten stop and we jingle. eacher: pass one window (walk), pass two windows (walk), pass three windows (jingle). Jingle: hold two hands up and wiggle and bend knees and come up. Can modiy with ourth holding one hand. With less than third, no hand holding, just jingling. (Continued)


Table 2.3

(continued)

Afer end product, variation: outside circle stays put, inside circle moves.

“TURN THE GLASSES

OVER” I’VE BEEN TO HAARLEM

Classroom use—game: double circle Dance steps: 1. raditionally, men are on the outside circle and men walk to the right, inner circle walks lef. (Or give them a choice.) “Walk in this direction until I stop singing.” 2. T stops singing on “over”. “What word did I stop on?” Over. 3. “Tis time I’m going to stop on a number word.”T sings, Ss walk. 4. “What was the number word?” Tree. “Remember that because we are going to stop on it every time.” 5. “What was the first word?” Over. “See how many times I sing the word over.” Tree (or five) times. “When you come to the word three, I still want you to stop.” T sings and now Ss sing and walk. 6. Over, pass, over, pass, over and stop on the third person. Tis time pass someone on each over word, and still step on the word three. 7. Now, give the person on the inside your shaking hand, and turn so you are acing the same way the outside circle is acing (right), and turn and cross your body and shake their other hand above the first shake (like skater’s position, it is a promenade). Now we are going to sing and walk like this. 8. “What happens to the girl in the ocean?” Gets lost. “On the word ‘lose’ I want you to lif up the top handshake hands, ‘man’ turn the person on the inside circle away rom you, halway around, and let go o hands. Send your gal so that the inside circle now goes opposite o how you were promenading” (inside circle lef). 9. See i youcan sing through this part again. When we come to “Sailing East, Sailing est, W” it’s always the samethere, we callthat the rerain.Start on “Sailing. ” Ready, all h t e way, start again. 10. Tis time, you have tocount people so that you end upwith somebody new. (Itis supposed to be two people up rom your srcinal partner, but no one is exactly sure how to make this happen. I say any partner is a good one!) “WALLFLOWERS” Classroom use: choosing, circle Teaching/dance steps:initially, teacher sings as students walk to the beat in a circle. eacher demonstrates how to “kick and point her toes” during the last phrase o the song. On second singing, during “Let’s all go to Mary’s house,” the teacher substitutes another student’s name or Mary. Tat student comes to the center o the circle and kicks and points his/her toes during the last phrase. On the third singing, that student remains in the center o the circle and chooses the next student, substituting his/her name in the song. * Tese terms ofen appear in dance and game directions. We thank our student Rebecca Seekatz or contributing this glossary o terms.

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Grade 3 Pedagogical Song List for Teaching Rhythmic and Melodic Concepts and Elements In able 2.4, we present a list o songs or teaching core rhythmic and melodic concepts and elements or grade three. Note that each element is taught in a basic our-beat pattern. We suggest teaching a variety o patterns that contain any new element.

Table 2.4

Grade 3 Songs Listed in Pedagogical Order

Major Pentatonic

“Bow Wow Wow”

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“Chatter with the Angels” “Dance Josey” “Fed My Horse” “Firefly” “Great Big House” “Here Comes a Bluebird” “Ida Red” “Knock the Cymbals” “Mama, Buy Me a Chiney Doll” “Rocky Mountain” “Sailing on the Ocean” “urn the Glasses Over”

$Meter 4 “Are You Sleeping? (Brother John)” “Bluebird Trough My Window” “Button You Must Wander” “Chickalalelo” “Dinah” “Fed My Horse” “Fire in the Mountain” “How Many Miles to Babylon?” “Hunt the Cows” “Knock the Cymbals” “Mama, Buy Me a Chiney Doll” “Old Brass Wagon” “Rocky Mountain” (Continued)


Table 2.4

(continued)

Eighth Note Followed by Two Sixteenth Notes Eighth Note Followed by wo Sixteenth Notes on First Beat

“Chickalalelo” “Drunken Sailor” “Fire in the Mountain” “Golden Ring” “Hogs in the Cornfield”

39

“How Many Miles to Babylon?” “Jim Along Josie” “Oh, Fly Around” “San Serafin del Monte” “Wallflowers” Eighth Note Followed by wo Sixteenth Notes on Second Beat

“Caracol” (song) “Fed My Horse” “Johnny Cuckoo” “Las Cascaras de Huevo” “Mama, Buy Me a Chiney Doll” “Walter Jumped a Fox” Eighth Note Followed by wo Sixteenth Notes on Tird Beat

“Te Deer Chase” “Hogs in the Cornfield” “Hush Little Baby” low la smrdl

“Alonso XII” (la based, not pentatonic; use phrase 1) “Grinding Corn” “Phoebe in Her Petticoat” “Poor Little Kitty Cat” (Continued)


Table 2.4

(continued)

“Skin and Bones” “Walter Jumped a Fox” “Yangtze Boatman’s Chantey” dl,d

“Big Fat Biscuit” “Cocky Robin” “Te Gallows Pole” “Hambone”

40

“Jim Along Josie” “Land o the Silver Birch” “Lullaby, Little Papoose” “Mush oodin” “Old House” “Old Mr. Rabbit” “Rosie, Darling Rosie” “Sioux Indian Lullaby” “Skip to the Barbershop” rl,d

“Iroquois Lullaby” “See-Line Woman”

Minor Pentatonic “Cocky Robin” “Te Gallows Pole” “Land o the Silver Birch” “See-Line Woman” “Walter Jumped a Fox”

Two Sixteenth Notes Followed by an Eighth Note wo Sixteenth Notes Followed by an Eighth Note on First Beat

“Do, Do Pity My Case” “Kansas Boys” “Old Betty Larkin” “Over the River” “Walter Jumped a Fox” (Continued)


Table 2.4

(continued)

wo Sixteenth Notes Followed by an Eighth Note on Second Beat

“Bought Me a Cat” “Hogs in the Cornfield” “Ida Red” “Old Molly Hare” “Skip to My Lou” “Skipping Rope Song”

41

wo Sixteenth Notes Followed by an Eighth Note on Tird Beat

“Do, Do Pity My Case” “Cumberland Gap” “Grandma Grunts” (variant) “Hop, Old Squirrel” “Jim Along Josie” low so dl,s

“Band o Angels” “Chatter with the Angels” “Cotton Eye Joe” “Dance Josey” “Head and Shoulders” “Hold My Mule” “King Kong Kitchie” “Old Brass Wagon” “Old Gray Mare” “Over the River” “Riding o a Goat” “Sailing o’er the Ocean” “urn the Glasses Over” (Continued)


Table 2.4

(continued)

ds

“Charlie over the Ocean” “A Don Chin Chino” “Te Jolly Miller” “Old MacDonald” “Te Old Sow” “La Patita”

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s, dm

“El Coyotito” “Las Estatuas de Marfil” s, drm

“Alcitron de un Fandango” “San Serafin del Monte” “Santo Domingo” s, l

“See-Line Woman"

Internal Upbeat Single Eighth Note

“Bye, Baby Bunting” “Do, Do Pity My Case” “Down Came a Lady” “Fed My Horse” “I Lost the Farmer’s Dairy Key” “Johnson Boys” “King’s Land” “Milano” “Mush oodin” “Old Mr. Rabbit” “Over the River” Quarter Note

“A Madrú Señores” “urn the Glasses Over” (Continued)


Table 2.4

(continued)

high do s d’ s

“A Madru, Senores” “La Muneca” d’ls

“Cape Cod Girls” “Hogs in the Cornfield” “John Kanaka”

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“Johnson Boys” “Mush oodin” “Pourquoi” “Riding in the Buggy” “What’ll We Do with the Baby-o?” d’sl

“Circle Round the Zero” “I Lost the Farmer’s Dairy Key” “Liza Jane” “ideo”

External Upbeat Quarter Note

“Blow Ye Winds” “Boots o Shining Leather” “I’ll Sell My Hat” wo Eighth Notes

“A la Rueda de San Miguel” “Band o Angels” “Billy Boy” “Old Mr. Rabbit” Single Eighth Note “Above the Plain” (Continued)


Table 2.4

(continued)

“Te Jolly Miller” “El Patio de Mi Casa” “Weevily Wheat”

*Meter 6 “Row, Row, Row Your Boat”

Introducing Songs within a Lesson

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Here are suggestions or introducing songs. Movement

Associate a motion or game with a known song. Perorm one motion or action associated with the song; students join in singing when they recognize the song. Once the students recognize the song, sing the starting pitch so all students can join. Visuals

Create pictures or assemble visuals associated with a particular song; students sing the song once they recognize the visual clue.

Introducing Songs to Students Using a Rhythmic Focus • Teacher asks students to sing a song. • Students recognize the song from rhythmic clapping. • Students read the rhythm of a song written on the board; as soon as they recognize it, they may begin to sing it with text as they clap the rhythm. • Students write the rhythm of a song, but mix up the order of the phrases. Students read the phrases and try to identiy the song. • Students recognize a song, hearing it performed on a percussion instrument. • Students sing a song on a neutral syllable, as teacher performs a rhythm ostinato on a percussion instrument. • Students recognize a song by hearing an internal phrase (not the rst phrase) clapped by the teacher. • Teacher claps the rhythm of a song and students perform in canon aer two beats.

Introducing Songs to Students Using a Melodic Focus • Teacher asks students to sing a song • Students recognize song by hearing the teacher sing using a neutral syllable. • Students read from hand signs with solfège syllables once they recognize the song. • Students read an internal phrase of music from teacher’s hand signs with solfège syllables to recognize a song.


• Students read the teacher’s hand signs using inner hearing a nd recognize a song. • Students read an internal phrase of song from the teacher’s or another student’s hand signs using inner hearing and recognize a song. • Students read in canon from teacher’s hand signs and recognize a song. • Read from the tone ladder using solfège syllables and hand signs and recognize a song. • Read an internal phrase of the song from the tone ladder using solfège syllables and hand signs and recognize a song. • Read from the tone ladder using solfège syllables and hand signs and recognize song. • aRead an internal phrase of the song from the tone ladder using inner hearing with solfège syllables and hand signs and recognize a song. • Read from traditional rhythmic notation with solfège syllables beneath, using solfège syllables and hand signs to recognize a song. • Read an internal phrase from a song written in traditional rhythmic notation with solfège syllables beneath, using solfège syllables and hand signs to recognize a song. • Read from traditional notation with solfège syllables beneath, using inner hearing to recognize a song.

Lesson Planning In the accompanying handbooks or all grades we have included an alphabetized repertoire list o examples o materials that can be used or teaching singing, music literacy, music skills, and listening. Te lesson plans in this chapter and subsequent chapters emphasize the sections o the lesson plan that can be expanded as a result o inormation presented in the chapter. Our purpose here is to emphasize that everything we do in a music lesson is always related to song material sung by students.

Creating a Preparation/Practice Lesson Plan Beore we label any element in a music lesson, we give students practical experiences that guide them to make a connection with the new element through kinesthetic, aural, and visual activities. Tis is always done in the context o perormance. We call these preparation activities. Once we label an element, we practice it. In other words, we are developing lessons that ocus on preparing a new concept as well as practicing known concepts. Generally speaking, we try to address both rhythmic and melodic skills in each lesson. Whenever we are preparing a rhythmic element in the first part o a lesson, we practice a melodic element in the second part. Conversely, i we prepare a melodic element in the first part o a lesson, we practice a rhythmic element in the second part. able 2.5 shows a basic preparation/practice lesson plan template. Note that in the template lesson, we used the wording “Perormance and Demonstration o Known Musical Concepts and Elements” as a generic terminology or all activities in the introduction. We will continue to use this wording in lesson plan templates so that the reader can ocus on the core activities o the lesson.

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Table 2.5

Basic Preparation/Practice Lesson Plan Template INTRODUCTION

Perormance and demonstration o known musical concepts and elements

Ss demonstrate their prior knowledge o repertoire and musical elements through perormance o known songs selected rom the alphabetized repertoire list.

Acquisition o repertoire

New song selected rom the alphabetized repertoire list that expands students’ repertoire and prepares or the learning o a music rhythmic or melodic concept or element. Instructional context: when we are preparing a rhythmic element, the new song should be selected to prepare the next melodic element; when we are preparing a melodic element, the new song should be selected to prepare the new rhythmic element.

CORE ACTIVITIES

46

Preparation and Learning activities in which Ss are taught a new musical presentation o a rhythmic concept through known songs ound in the alphabetized or melodic element repertoire list. When preparing a rhythmic element, the second part o the lesson practices a melodic element, and when preparing a melodic element, the second part o the lesson practices a rhythmic element. Movement development

Known song or game ound in the alphabetized repertoire list or singing game list.

Creative movement

Focus on the sequential development o age-appropriate movement skills through songs and olks games.

Practice and perormance Ss reinorce their knowledge o musicalelements working on o musical skills the skill areas o orm, memory, inner hearing, ensemble work, improvisation and composition, and listening through known songs ound in the alphabetized repertoire list. When practicing a rhythmic element, the first part o the lesson prepares a melodic element; when practicing a melodic element, the first part o the lesson prepares a rhythmic element. CLOSURE Review and summation

Review the lesson outcomes Review the new song

Review o lesson content; T may perorm the next new song to be learned in a subsequent lesson ound in the alphabetized repertoire list.


In the first section (Preparation o a New Concept) o a lesson, we guide students to discover the concept behind a new element. For example, i we want to teach the musical elements o quarter and eighth notes, students need to be guided to understand the concept o one or two sounds on a beat. In the second section (Practice) o the lesson, the teacher reinorces and urther develops students’ understanding o preceding known musical elements through a variety o musical skills. O course, musical skills may also be practiced during any section o the lesson plan. Tis section o the lesson may also include assessment activities to help the teacher identiy students who may require extra help. Each preparation/practice lesson has an instructional context (preparation) and a reinorcement (practice) context. Inand thisenhance type o movement lesson, we continue to develop ing abilities, teach new repertoire, and listening skills. singDuring the preparation/practice lesson, we do not name the new concept or element but create opportunities or music students to discover the attributes o the new concept or element being studied. his dual structure o the preparation/practice lesson gives students time to process their understanding o the new concept, while promoting urther development o their musical skills with the previously learned musical element. his is crucial or positive sel-esteem and the enjoyment needed or learning to take place. able 2.6 is an example o this type o a lesson plan where the teacher prepares a concept through aural analysis and guides students to practice writing. Te outcomes or this lesson are: • Preparation: analyzing repertoire • Practice: writing melodies

Table 2.6 Outcome

Grade 3: Internal Upbeat, Lesson 2 Preparation: Analyzing repertoire that contains an internal upbeat Practice: Writing pentatonic melodies that containlow sol

INTRODUCTOR Warm-up

Y ACTIVITIES

• Body Warm-up • Beat Activity “Fossils,” rom Carnival o the Animals,Camille Saint-Saëns (1835–1921) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon • Resonance: Explore a cowsound using a low and high voice. Make sure that the Ss are inhaling and exhaling correctly with the support muscles. • Posture: Remind Ss o the correct posture or singing (Continued)

47


Table 2.6

48

(continued)

Sing known songs

“Over the River” CSP: F-sharp • Ss sing the song. • Ss sing the song and add an ostinato. “ideo” CSP: F-sharp • Ss sing the song while continuing the ostinato..

Develop tuneul singing


one production Diction

CSP: F-sharp • Ss sing the song. • Ss hum melodic patterns rom the song. • Ss sing the song with the syllable “yip.” • Ss sing with a “koo” sound. Kodály Choral Library,Let Us Sing Correctly, no. 48

Expression

Review known songs and rhythmic elements

“Ida Red” CSP: F • Ss sing the song and keep the beat. • Ss sing with rhythm syllables. • T sings each phrase o “Paw Paw Patch,” “ideo,” “Dinah,” “Ida Red,” and “Chickalalelo”;Ss echo sing each phrase with rhythm syllables while tapping the beat.

Teach a new song

“John Kanaka”

CORE ACTIVITIES

CSP: A • T sings the song and demonstrates sections o the game. • T scaffolds in each movement whileSs perorm individually. • T and Ss sing and play parts o the game.

Develop knowledge o music literacy concepts Describe what you hear

“Old Mister Rabbit” CSP: F • Ss sing the song. • Review kinesthetic activities. • Ss sing song and pat the beat. • Ss sing and clap on the downbeat o each phrase, and pat on the remaining beats beore asking each question. • T: “On which word do we clap our hands in phrase 1?” (old) • T: “On which word do we clap our hands in phrase 2?” (got) • T: “On which word do we clap our hands in phrase 3?” (jumping) • T: “On which word do we clap our hands in phrase 4?” (eating) (Continued)


Table 2.6

(continued) T: “What’s the first word in phrase 2?” (you’ve) T: “What’s the first word in phrase 3?” (o) T: “What’s the first word in phrase 4?” (and) T: “Do all o these words all on the strong part o the beat or the weak part o the beat?” (weak) • Ss sing the song and only sing the first word o each phrase and the down beat. • • • •

Creative Movement

“ideo” CSP: F-sharp • Ss sing and play the game. • Ss may create ostinato and select instruments with which to accompany the song.

Practice o perormance and literacy skills Writing

“Dance Josey” CSP: F • T writes the song on the board (rhythmic notation and solfège or on the sta), leaving phrase 2 blank. • Ss sing the song with solfège syllables and hand signs. • Ss complete the writing worksheets. • Ss may complete other known songs withlow so, as time allows. • Ss create a rhythm pattern usingd s, l, s, and play it on the xylophone as an accompaniment to known songs.

SUMMARY ACTIVITIES Review lesson outcomes Review the new song

“John Kanaka” CSP: A

• Preparation: analyzing or describing repertoire • Practice: writing melodies

Creating a Presentation Lesson ere are two presentation lessons. In the rst we associate solfège or rhythm syllables with the new element and in the second we present the notation or the new lesson plan. Troughout this book we identiy specific songs or teaching specific elements. We reer to these songs as ocus songs: they contain core building blocks that we want students to master. Sometimes we target a specific phrase in a ocus song; we reer to this phrase as the target phrase or the song. As mentioned above, in the first presentation lesson we simply name or label the concept or element studied during the preparation/practice lesson and continue developing singing abilities, as well as movement and listening skills, and teach new repertoire. In the second presentation lesson, we show students how to notate target patterns. able 2.7 shows a basic presentation lesson plan template or labeling sounds.

49


Table 2.7 Basic Lesson Plan Template for Presenting Rhythmic or Solfège Syllables INTRODUCTION Perormance and demonstration o known musical concepts and elements

Ss demonstrate their prior knowledge o repertoire and musical elements, including the new musical element to be presented through perormance o songs selected rom the alphabetized repertoire list.


New song selected rom the alphabetized repertoire list that expands Ss’ repertoire and prepares or the learning o a musical rhythmic or melodic concept or element. Instructional context: when we are preparing a rhythmic element, the new song should be selected to prepare the next melodic element; when we are preparing a melodic element, the new song should be selected to prepare the new rhythmic element.

CORE ACTIVITIES

50

Presentation o a rhythmic T labels the name o the new musical element with rhythm or or melodic element solfège syllables for the focus pattern. Creative movement

Known song or game ound in the alphabetized repertoire list. Focus on sequential development o age-appropriate movement skills through songs and olks games.

Presentation o a rhythmic T labels the name o the new musical element with rhythm or or melodic element solfège syllables in a related pattern. CLOSURE Review and summation

Review o lesson content and theT may perorm the next new song to be learned in a subsequent lesson ound in the alphabetized repertoire list.

able 2.8 has a sample presentation or labeling with rhythmic syllables.

Table 2.8

Grade 3: Internal Upbeat, Lesson 4

Outcome

Presentation: Label the sound o a musical phrase that contains an internal upbeat

Warm-up

“Te Tunderer,” by John Philip Sousa (1854–1932) • Body warm-up • Breathing exercise

INTRODUCTOR

Y ACTIVITIES

• Beat/movement activity (Continued)


Table 2.8

(continued)

Sing known songs

“Sailing o’er the Ocean” CSP: F • Ss sing the song with a simple ostinato. “Riding in the Buggy” CSP: D • Ss sing the song and briefly play the game.




• T directs a small group o Ss to sing the song. • Ss sing the song and keep the beat. • Ss sing with a “koo” sound or rerain. • Ss sing the song slowly with text and open vowels Kodály Choral Library,Let Us Sing Correctly, no. 56

Expression

51

Review known “Hogs in the Cornfield” songs and rhythmic CSP: F elements • Ss sing song with text and conduct. • Ss sing song with rhythm syllables and conduct. • T sings each phrase o “Hogs in the Cornfield”;Ss echo sing each phrase with rhythm syllables while tapping the beat. • If time permits, perform the above activity with Paw “ Paw Patch,” “ideo,” “Dinah,” “Ida Red,” and “Chickalalelo.” CORE ACTIVITIES Teach a new song

“Cedar Swamp” CSP: C • T perorms the song orSs with an instrument (guitar, dulcimer, piano, etc.). • Ss may join in singing the rerains. • When Ss are able to sing the rerain,T will demonstrate the game while Ss sing. ○ Formation: double line,partners acing one another the line ○ Beats 1–8: Head couple sashays down to the oot o ○ Beats 9–12: Head couple swings right arms ○ Beats 13–16: Head couple swingslef arms ○ Beats 17–20: All couples swing right arms ○ Beats 21–24: All couples swing lef arms • T sings the verses; Ss sing the rerains and play the game. • Ss sing the rerain o “Cedar Swamp” whileT sings “Old Mr. Rabbit” as a partner song. Switch.

Develop knowledge “Old Mr. Rabbit” CSP: F o music literacy concepts • Review kinesthetic, aural, and visual awareness activities. • T: “A note that that comes beore the strong beat o a phrase is Describe what you called an upbeat or a pickup. Because the upbeat occurs within hear with rhythm or inside the piece o music and not at the beginning, we call it syllables an internal upbeat.” (Continued)


Table 2.8

(continued) • T sings the song with rhythm syllables;Ss echo with rhythm syllables and conduct. • T echo sings with at least eight individuals; Ss must conduct.

Creative movement “I Lost the Farmer’s Dairy Key” CSP: D • T sings the song while Ss continue the ostinato. • Ss create additional ostinati with which to accompany the song. • Ss sing and play the game.

52

• Ss continue their accompanimentinto the next song. Develop knowledge “Do, Do Pity My Case” o music literacy CSP: A concepts • Ss sing the song. • T: “A note that comes beore the strong beat o a phrase is called an Describe what you upbeat or a pickup. Because the upbeat occurs Inside the piece o hear with rhythm music and not at the beginning, we call it an internal upbeat.” syllables • Ss sing and conduct the song. • T connects the concept to other related song material; Ss sing and conduct. ○ “Johnson Boys” ○ “King Kong Kitchie” ○ “Mush oodin” • Ss create a rhythm pattern usingdo, so, la, so and play it on the xylophone as an accompaniment to known songs.

SUMMARY ACTIVITIES Review lesson outcomes

“Cedar Swamp” CSP: A

Review the new song able 2.9 is a basic lesson plan template or notating rhythmic or melodic elements.

Table 2.9 Basic Lesson Plan Design for Notating Rhythmic or Melodic Elements INTRODUCTION Perormance and demonstration o known

Ss demonstrate their prior knowledge o repertoire and musical elements, including the new musical element to be

musical concepts and elements

presented through perormance o songs selected rom the alphabetized repertoire list. (Continued)


Table 2.9

(continued) CORE ACTIVITIES


New song selected rom the alphabetized repertoire list that expands Ss’ repertoire and prepares or the learning o a musical rhythmic or melodic concept or element. Instructional context: when we are preparing a rhythmic element, the new song should be selected to prepare the next melodic element; when we are preparing a melodic element, the new song should be selected to prepare the

next rhythmic element. Presentation o a rhythmic T presents the notation in the ocus pattern. or melodic element

Creative movement

53

Known song or game ound in the alphabetized repertoire list. Focus on sequential development o age-appropriate movement skills through songs and olk games.

Presentation o a rhythmic T presents the notation in related patterns. or melodic element CLOSURE Review and summation

Review o lesson content; T may perorm the next new song to be learned in a subsequent lesson ound in the alphabetized repertoire list.

able 2.10 is a sample o a presentation lesson.

Table 2.10

Grade 3: Internal Upbeat, Lesson 5

Outcome

Presentation: label sound o a musical phrase that contains an internal upbeat.

Warm-up

• Body Warm-up • Beat Activity “Te Tunderer,” by John Philip Sousa (1854–1932) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explor e a cow sound using low an d high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

INTRODUCTOR

Y ACTIVITIES

(Continued)


Table 2.10

54

(continued)

Sing known songs

“Over the River” CSP: D • Ss sing the song with an ostinato. “Riding in the Buggy” CSP: D • Ss sing the song; i time permits briefly play the game.


“King Kong Kitchie” CSP: F


• Ss sing the song. • Ss sing the song on the syllable “koo.” • Ss sing the song on the syllable “voo.” • Ss sing the song on the syllable “vee.” Kodály Choral Library,Let Us Sing Correctly, no. 60

Expression


“Jim Along Josie” CSP: A • Ss sing the song. • Ss sing song with rhythm syllables. • T sings each phrase o “Paw Paw Patch,” “ideo,” “Dinah,” “Ida Red,” and “Chickalalelo”;Ss echo sing each phrase with rhythm syllables while tapping the beat.

Teach a new song


CORE ACTIVITIES

• T sings the song while Ss continue the ostinato. • Ss perorm the rhythm o the verse  rom the board while T sings.

$sdsxc\sdq\ 2 sdsd\qq\ sdsd\xxxcq\ sdsd\qq| • T sings the verse. • Ss sing the rerain and then the entire song. • When Ss are able to sing the rerain,T will demonstrate the game while Ss sing. ○ ○ ○ ○ ○ ○

Formation: in double line,partners ace one another. Beats 1–8: head couple sashays down to the oot o the line. Beats 9–12: head couple swings right arms. Beats 13–16: head couple swings lef arms. Beats 17–20: all couples swing right arms. Beats 21–24: all couples swing lef arms.

• T sings the verses, the rerains, and Ss play the game. • Ss sing the rerain o “Cedar Swamp” whileT sings “Old Mr. Rabbit” as a partner song. Switch. (Continued)


Table 2.10

(continued)

Presentation o music literacy concepts Notate what you hear

“Old Mr. Rabbit” CSP: F • Ss sing the song. • Review kinesthetic, aural, and visual awareness activities. • T: “A note that that comes beore the strong beat o a phrase is called an upbeat or a pickup. Because the upbeat occurs inside the piece o music and not at the beginning, we call it an internal upbeat.” • T sings the song with rhythm syllables,Ss echo with rhythm syllables and conduct. • T: “Sometimes a new phrase can start between beats, or even in the middle o a beat. When that happens, we have to split the eighth notes and it looks like this [separate notes with flags]. We can call the single eighth note an upbeat or a pickup note.” • T writes the standard rhythmic notation on the board.Ss read with rhythm syllables.

$qsd\qaa\sdsd\qaa\sdsd\qaa\sdsd\sdQ| 2 • T draws in the phrase markings over the rhythm.Ss sing and point and draw the phrases in the air. • T shows students how to count with numbers.Ss read with numbers and keep the beat. • Ss perorm the last our beats o the song as a rhythmic ostinato into the next song (2 $sdsd\sdQ>).

Creative movement

“Hogs in the Cornfield” CSP: D • Ss sing the song; Ss create ostinati to accompany the song. • Ss sing and play the game.

Presentation o music literacy concepts

“Do, Do Pity My Case” CSP: F • Ss sing the song. • T: “A note that that comes beore the strong beat o a phrase is called an upbeat or a pickup. Because the upbeat occurs inside the piece o music and not at the beginning, we call it an ‘internal upbeat.” • Ss sing the song with rhythm syllables and conduct. • T: “Sometimes a new phrase can start between beats, or even in the middle o a beat. When that happens, we have to split the eighth notes and it looks like this [separate notes with flags]. We can call

Notate what you hear

the single eighth note an upbeat or a pickup note.” (Continued)

55


Table 2.10

(continued) • •

Ss read the song rom the board and conduct. T transorms the song into other related song material: • “Johnson Boys” • “King Kong Kitchie” • “Mush oodin” SUMMARY ACTIVITIES

Review lesson outcomes Review the new song

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Chapter

3

Teaching Strategies

Te goal of this chapter is to present teaching strategies for concepts and elements for third grade. Te teaching strategies are a sequence of teaching activities that guide students’ understanding of specific musical concepts and elements. Tey are presented according to the Houlahan and acka model of instruction and learning. In other words, they follow a specific order of instruction. Te guiding questions that follow the kinesthetic activities in the cognitive phase of instruction and learning are an important component of the teaching strategies. Te questions provide the metacognitive scaffolding that allows students to understand both the process and product of teaching. Each component of the model of instruction and learning also promotes many opportunities for developing music skills. Te teaching strategies are formulaic in structure; ultimately, teachers will infuse these strategies with their own creativity to accommodate the changing settings of teaching situations. We provide some of the most important techniques for preparing, presenting, and practicing musical elements. Te instructor may add to any of these suggestions during the three phases of instruction. Tese teaching strategies are presented in this chapter: Eighth note followed by two sixteenth notes Low la wo sixteenth notes followed by and eighth notes Low so Internal upbeat High do External upbeat

Eighth Note Followed by Two Six teenth Notes able 3.1 presents an overview of the important information required to teach an eighth note followed by two sixteenth notes.

57


Table 3.1 Element

Concept

Focus Song

Present Syllables

An eighth note followed by two sixteenth notes

Tree “Fed ta dimi sounds My on a beat, Horse” not evenly distributed; the first sound being longer than the last two sounds

Teor y Sixteenth note subdivisions of the beat

raditional Practice Notation sxc

58

Additional Songs

do “Ida Red,” pentatonic “Mama, Buy Me a Chiney Doll,” “How Many Miles to Babylon?” “Sailing o’er the Ocean,” “Chickalalelo,” “Skip to My Loo,” “Hogs in the Cornfield,” “Debka Hora,” “Fire in the Mountain,” “Johnny Cuckoo”

Cognitive Phase: Preparation Internalize Music Trough Kinesthetic Activities 1. Sing “Fed My Horse” and pat the beat. 2. Sing “Fed My Horse” and clap the rhythm. 3. Sing “Fed My Horse” and point to a representation (Fig. 3.1) of the target rhythm on the board. Fig. 3.1

4. Sing “Fed My Horse.” Step the beat and clap the rhythm. 5. Have two students perform the song on rhythm instruments. One performs the beat and one performs the rhythm.

Describe What You Hear 1. Assess the kinesthetic awareness: students sing “Fed My Horse” and walk the beat. 2. eacher and students sing phrase 2 on “loo” while keeping the beat before each question. 3. Determine the number of beats in the target phrase: : “Andy, how many beats did we tap?” (four) 4. Determine the number of sounds on each beat. : “Andy, which beat had one sound?” (beat 4) : “Andy, how many sounds are on beat 3?” (two) : “Andy, how many sounds are on beat 1?” (two) : “Andy, how many sounds did we sing on beat 2?” (three)

Teaching Strategies

5. Describe the sounds on beat 2: : “Were the sounds on beat 2 even or uneven?” (uneven) : “Describe these sounds using the words long and short.” (long short short) 6. eacher sings “Fed My Horse” as follows and students echo: a di long short short a di a 7. Small groups and individuals echo-sing with teacher. 8. All students sing phrases 1 and 2 as tadi long short short tadi ta.

Create a Visual Representation of What You Hear 1. Assess kinesthetic and aural awareness by allowing the class to perform several of kinesthetic and auralphrase awareness 2. the eacher sings the target with activities. a neutral syllable and asks students to create a visual representation of the melody of the target phrase. Students may use manipulatives. : “Pick up what you need to recreate what you heard,” or “Draw what you heard.” eacher assesses students’ level of understanding. 3. Students share their representations with each other. 4. Te teacher invites one student to the board to share a representation with the class. If necessary, corrections to the representation can be made by reviewing the aural awareness questions. 5. Students sing the first phrase of “Fed My Horse” wi th a neutral syllable and point to the representation, then sing with known elements:ta di “long short short” ta di ta. 6. Students determine the solfègesyllables for the first four phrases of “Fed My Horse. ”

Associative Phase: Presentation Label the Sound eacher presents new rhythm syllable. 1. Assess the kinesthetic and aural awareness and visual awareness activities with the focus song “Fed My Horse.” 2. : “We call three sounds on a beat where the first is long and the second and third are short ta dimi.” 3. Te teacher sings the target phrase of “Fed My Horse” with rhythm syllables. Students echo with rhythm syllables while clapping the rhythm. ta di ta dimi ta di ta 4. Te teacher sings the target phrase of “Fed My Horse” with text; students echo with rhythm syllables while clapping the rhythm. 5. Te teacher echo-sings with at least eight individual students.

Notate What You Hear Te teacher presents notation for new sound. 1. : “When the beat is a quarter note, we can use an eighth note followed by two sixteenth notes to represent three sounds unevenly spaced on a beat.” 2. : “Our first phrase of ‘Fed My Horse’ looks like this intraditional rhythm notation:”

$sqsxq\sqq\ 2

59


3. : “Our first phrase of ‘Fed My Horse’ looks like this in stick notation:”

$sqsxq\sqq\ 2 4. : “We can read this rhythm pattern using rhythm syllables.” 5. It is important to notate examples using a time signature and practice reading these examples with both rhythm syllables and counting with numbers.

Assimilative Phase: Practice Music Skills Aural Practice Singing Solfège Syllables and Hand Signs

60

• e teacher sings known melodies with words and students echo-sing with rhythm syllables. : “I sing the words, you sing rhythm syllables.” : “Fed my horse in a poplar trough.” Ss: “ta di ta di mi ta di ta.” : “Down the road and across the creek.” Ss: “ta di ta di mi ta di ta.” : “Mama buy me a chiney doll.” Ss: “ta di ta di mi ta di ta.” : “How many miles to Babylon?” Ss: “ta di mi ta di ta di ta.” • Teacher hums motifs from know songs and students sing back with rhythm syllables. • : “I’ll clap a rhythm, you echo rhythm syllables.”

Part Work • Use the target phrase as an ostinato to accompany a known song. • Combine the target phrase as an ostinato as well as another motif from the song so that you are using two ostinatos at the same time. • e teacher claps a rhythm and students follow in canon aer two beats. • Students perform a two-part rhythmic reading exercise. Group 1 performs the upper part and group 2 the lower part. Switch. • Students performs a two-part rhythmic reading exercise. Perform the upper part with right hand and lower part with le hand.

Improvisation • Improvise an ostinato that incorporates the new rhythmic pattern. • e teacher claps and sings a question phrase using the new rhythm pattern; students respond with an answer phrase that uses the new rhythm pattern. • Students clap and say the rhythm syllables in a question phrase that uses the new pattern and other students provide an answer. • Students change rhythm of a rst or second grade song and use a newly learned rhythmic pattern. • Student improvises a four-beat pattern. e next student begins their four-beat improvisation with the last two beats of the first student.

Teaching Strategies

Inner Hearing • Teacher sings known fragments of songs and students sing back with rhythm syllables and clapping. • Teacher sings known fragments of songs and students sing back with rhythm syllables and conducting.

Visual Practice Reading from Hand Signs • Students read from teacher’s hand signs known motifs that incorporate the new rhythmic pattern. • Transform the target pattern into four-beat patterns found in the students’ song material.

Reading • • • • • • • • • •

Read target motif from traditional rhythmic notation with rhythm syllables. Read a known song with rhythm syllables and clap the rhythm. Read a known song with rhythm syllables and conduct. Read a known song with rhythm syllables while tapping the rhythm with le hand and conducting with right hand. Transform target motif into a related pattern. Read an unknown song with rhythm syllables and clap the rhythm. Read an unknown song with rhythm syllables and conduct. Transform a known folk song into another folk song. Read the rhythm ofa known song and play on a classroom percussion instruments. Read “San Serafín del Monte” and play the rhythm on an instrument(see Fig. 3.2).

Fig. 3.2

Reprinted from University. Source:

Vamos a Cantar with

permission of the Kodály Institute at Capital

• Read phrase of a known song with traditional notation and solfège or from the staff that includes new rhythmic pattern and play on the xylophone or tone bells.

61


• Read the rhythm of a known song in two or three parts. For example, students can sing the rhythm syllables using notes of the tonic chord in major or minor. • Read the rhythm of a known song in two or three parts. For example, students may play the rhythm patterns using notes of the tonic chord.

Writing • Write phrases 1 and 2 of “Fed My Horse” in stick notation. • Write phrase 1 of “Ida Red” using traditional notation and perform it on rhythm instruments. • Students ll in the missing rhythms for a piece of music that is written with notation. • rhythmic Add bar lines to a given rhythm that includes the new pattern. • Teacher hums a new melody and students must write the rhythm from memory.

Improvisation

62

• Teacher claps a question phrase and chants rhythm syllables; students choose from four patterns on the board to use as an answering phrase. One phrase should just include four heartbeats. • Student claps a question phrase and chants rhythm syllables; another student choses from four patterns on the board to use as an answering phrase. One phrase should just include four heartbeats. • e teacher writes a kno wn folk song in tradi tional rhythmic no tation but leaves out four beats. Students read and clap the rhythm and one student improvises four-beat rhythms that use the ne w rhythm pattern for the missing measure.

Memory • Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases four beats each time and students memorize. • Read an unknown song with rhythm syllables and conduct. Teacher erases four beats each time and students memorize.

Inner Hearing • Recognize familiar songs from teacher’s clapping. • Teacher sings known fragments of songs and students sing back with rhythm syllables and keep the beat. • Teacher provides students with four ash cards with rhythm and students must identify the song and arrange ash cards in the correct order.

Part Work • Divide the class into two groups. Group 1 sings the song with solfège and hand signs and group 2 taps a rhythmic ostinato that is read from notation. • Read a known song with rhythm syllables and clap the rhythm. Divide the class into two groups and perform the activity in canon aer two beats. • Read a known song with rhythm syllables and conduct. Divide the class into two groups and perform the activity in canon aer two beats. • Students read a known song with rhythm syllables while tapping the rhythm with le hand and conducting with right hand. Divide the class into two groups and perform the activity in canon aer two beats.

Teaching Strategies

• Read a known song with rhythm syllables and clap the rhythm. Divide the class into two groups; one group performs the activity from the beginning and the other from the end of the song. • Read a known song with rhythm syllables and conduct. Divide the class into two groups; one performs the activity from the beginning and the other from the end of the song. • Students read a known song with rhythm syllables while tapping the rhythm with le hand and conducting with right hand. As a challenge, divide the class into two groups; one group performs the activity from the beginning and the other in retrograde (from the end of the song). • Students sing a known song and clap the rhythm of another well-known song simultaneously. • Students sing a known song, tap a rhythm from traditional rhythmic notation with right hand, and tap an ostinato with le hand.

Listening • “Badinerie,” from Sonata in B minor, BWV 1067, by J. S. Bach (1685–1750) (first phrase). • Rosamunde in G major, ballet music, by Franz Schubert (1797–1828), themes A, B, and C. Teme A

$sxqsxq\sqq\sqq\sxqq\ 2 sxqsxq\sxqsq\sxqsq\sxqq\ sxqsq\sxqsq\sxqsq\sxqsq\ sxqsq\sqsq\sqsq\sqq\ Teme B

$sxqsq\sqsq\sqsq\sqq\ 2 sxqsq\sqsq\sqsq\qQ\ sxqsq\sqq\sxqsq\sqq\ sxqsq\sqsq\sqsq\qq\ Teme C

$sxqsxq\qsxq\sqsq\qq\ 2 sxqsxq\qsxq\sqsq\qQ\ Sonata in D minor, K. 64, by Domenico Scarlatti (1685–1757). is piece includes orna mentations that change some of the note values.

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Sight Singing Micheál Houlahan and Philip acka. Sound Tinking: Music or Sight-Singing and Ear raining, vol. 1 (New York: Boosey & Hawkes, 1995), pp. 57–70.

low la able 3.2 presents an overview of the important information required to teach low la.

Table 3.2 Element

Concept

Focus Song

Present Syllables

A pitch a skip lower than do

“Phoebe lowla in Her Petticoat”

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Teory

raditional Notation

lowla may function as a tonic note; extended do pentatonic scale

low la on different staff placements

Practice sx c

Additional Songs “Jim Along Josie,” “Old Mr. Rabbit,” “Poor Little Kitty Cat,” “Lullaby Little Papoose,” “Rosie, Darling Rosie,” “Skin and Bones,” “See-Line Woman”

Cognitive Phase: Preparation Internalize Music Trough Kinesthetic Activities

Fig. 3.3a

1. Sing “Phoebe in Her Petticoat” and point to a representation of the melodic contour at the board (Fig. 3.3a). 2. Sing “Phoebe in Her Petticoat” and show the melodic contour for the target phrase, phrase 1. 3. Sing “Phoebe in Her Petticoat” with rhythm syllables while showing the melodic contour. 4. Sing “Phoebe in Her Petticoat” in canon.

Describe What You Hear 1. Assess kinesthetic awareness. 2. eacher keeps the beat and sings the target phrase on “loo” before asking each question. 3. Determine the number of beats. : “Andy, how many beats did we tap?” (four) 4. Determine which beat has the lowest pitch. : “Andy, which beat had the lowest pitch?” (beat 4) : “Let’s sing the phrase on ‘loo’ but sing ‘low’ for the lowest note.”

Teaching Strategies

5. Determine the solfège of known elements and sing “low” for the new note. : “Sing the first four pitches with solfège syllables and hand signs.” (mi re do do) Students identify and sing the remaining solfège syllables of the target phrase, singing “low” on beat 4 and pointing low on beat 4. : “Is our new sound a step or a skip below do?” (skip) Students sing as a whole group, then teacher may select individuals to sing the target phrase.

Create a Visual Representation of What You Hear 1. Assess kinesthetic and aural awareness by allowing the class to perform several of andthe aural awareness activities. 2. the Tekinesthetic teacher hums target phrase with a neutral syllable and asks students to create a visual representation of the target phrase. Students may use manipulatives. : “Pick up what you need to recreate what you heard” or “Draw what you heard.” eacher assesses students’ level of understanding. 3. Students share their representations with each other. 4. Te instructor invites one student to the board to share a representation with the class. If necessary, corrections to the representation can be made by reviewing the aural awareness questions. 5. Students sing the first phrase of “Phoebe in Her Petticoat” with neutral a syllable and point to the representation, and then sing with known elements: mi re do do re do low. 6. Identify the rhythm for the first phrase of “Phoebe in Her Petticoat.”

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Associative Phase: Presentation Label the Sound

Te teacher presents new solfège syllables. 1. Review the kinesthetic and aural awareness and visual awareness activities with the focus song “Phoebe in Her Petticoat.” 2. : “When we hear a pitch a skip below do we call it low la.” Te instructor shows the hand sign. 3.  sings phrase 1 of “Phoebe in Her Petticoat” with solfège syllables and students echo-sing. (mi-re-do-do-re-do–low la) 4. eacher hums target phrase and students echo-sing with solfège and hand signs.

Notate What You Hear Te teacher presents notation for new pitch.

l s

1. Present the position of low la on the steps. (See Fig. 3.3b.) 2. eacher points to target phrase on tone ladder and students sing with solfège and hand signs. 3. Present the target phrase of “Phoebe in Her Petticoat” with rhythmic notation and solfège and students sing with solfège and hand signs.

m r d

l

Fig. 3.3b


4. Identify do-low la as being a skip of a third.

$sdsd\sdq\ 2 mr dd r d l 5. Present the ruleof placementforlow la on the staff (consider using the finger staff). If low la is in a space,do is in the space above; iflow la is on a line,do is on the line above. 6. Present the target phrase of “Phoebe in Her Petticoat” in staff notation in the placements do = C, F, G in treble clef.

Assimilative Phase: Practice Music Skills Aural Practice Singing with Rhythm Syllables

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• e teacher sings known melodies with words and students echo-sing with solfège syllables. : “I sing the words, you sing the hand signs.” : “Phoebe in Her Petticoat.” Ss: “mi re do do re do la.” : “Hey Jim along, Jim along Josie.” Ss: “so so so mi do re re do la, do.” : “Eating all my cabbage.” Ss: “mi mi do la, la, do.” : “Poor little feller.” Ss: “re re do la, do.” • Teacher sings motifs on “loo,” and students echo with solfège syllables.

Singing Intervals • e teacher sings each interval of the pentatonic tone set on “loo.” Students sing the intervals with solfège syllables and hand signs and identify whether the interval is a skip or a step. • e teacher plays intervals on the piano melodically or harmonically and a student identifies the intervals as a step or a skip. • e teacher practices related patterns that include low la with hand signs and solfège syllables.

Part Work • Use the target phrase as an ostinato. • Students echo-sing four-beat patterns provided by the teacher with solfège syllables and hand signs but begin singing at beat 3 of the teacher’s pattern. • Sing the song in canon if it is a pentatonic song. • Sing the song in canon with a rhythmic ostinato. • Sing the song in canon with a melodic ostinato. • Combine a phrase as an ostinato as well as another motif from the song so that you are using two ostinatos at the same time. Tis works with pentatonic music. • Students sing a major pentatonic song and teacher accompanies with a drone made up of do or do-so played on an instrument. • Students sing a minor pentatonic song and teacher accompanies with a drone made up of low la or la-mi played on an instrument.

Teaching Strategies

Improvisation Note: Tese improvisation suggestions are for the major pentatonic scale using low la and not for the minor pentatonic scale. • Teacher sings a music question with solfège syllables and hand signs and students provide an answer. Question ends on so and aer several activities ends on re. Answer ends on do. • Student sings a music question with solfège syllables and hand signs and another student provides an answer. • Student improvises a four-beat pattern. e next student begins a four-beat improvisation with the last two beats of the first student.

Inner Hearing Recognize familiar songs from teacher’s hand signs.

Visual Practice Reading from Hand Signs • Student reads from teacher’s hand signs. • Transform the target pattern intobasic four-beat patterns found inthe student’s song material.

Reading • Read “Phoebe in Her Petticoat” in stick notation and sta notation. • Have students play on instruments the rst phrase of “Phoebe in Her Petticoat” from staff notation. • Read “Yangtze Boatman’s Chantey” in stick notation and stanotation. • Change several measures of the song “Phoebe in Her Petticoat” so that it becomes a reading exercise. • Identify the intervals in a reading exercise as skips or steps. • Read the skeleton of known songs. To do this, delete repeating notes or passing notes in the example. • Read these exercises found in Zoltán Kodály, Kodály Choral Library: 333 Elementary Exercises (London: Boosey & Hawkes, 1963), nos. 140, 142, 144, 152, 161, 164, 165, 280, 282, 287, 291, 292, and 295.

Intervals • Interval practice through echo-singing and hand signs: : “la, do.” Ss: “Tat’s a skip.” : “do re.” Ss: “Tat’s a step.” mi.” a step.”  Ss::“re “Tat’s : “mi so.” Ss: “Tat’s a skip.” : “so la.” Ss: “Tat’s a step.”

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: “la so.” Ss: “Tat’s a step.” : “so mi.” Ss: “Tat’s a skip.” : “mi re.” Ss: “Tat’s a step.” : “re do.” Ss: “Tat’s a step.” : “do la.” Ss: “Tat’s a step.” • Students identify intervals from notation of known songs. • Students identify intervals from notation of unknown songs. • Students are given a starting pitch by the teacher and then sing in solfège from a series of intervals written on the board.

Memory

68

• Read an unknown song with solfège syllables and conduct. Teacher erases four beats each time and students memorize.

Read in wo Parts from eacher’s Hand Signs • Students read in two parts from teacher’s hand signs.

Writing • Write the tone set of a known song on the board as a student or class sings a known song with solfège syllables. • Write the target pattern in stick and/or traditional rhythmic notation with solfège syllables. • Write related patternsin stickand traditionalrhythmic notationwith solfège syllables. • Write a known song in stick and/or traditional rhythmic notation. • Fill the missing measures of a known song with the correct solfège syllables. eacher can provide the rhythm but not the syllables for the missing measure. • Teacher sings an unknown song and students ll in the missing measures with the correct rhythms and solfège. • Students transcribe asong writtenin rhythmicnotation and solfège into staff notation. • Transcribe a melody with rhythmic notation and solfège to the sta.

Improvisation • Teacher sings a question phrase with solfège syllables and hand signs and a student chooses from four patterns on the board to use as an answering phrase. One phrase should just include four heartbeats. • Teacher sings a question phrase with solfège syllables and hand signs; another student chooses from four patterns on the board to use as an answering phrase. One phrase should just include four heartbeats.

Teaching Strategies

• e teacher writes a known folk song in traditional rhythmic notation and solfège but leaves out four beats. Students read with solfège and one student improvises a four-beat melody that uses the new melodic note. • Students improvise a new folk song to a given form and scale. For example, students compose a new melody using the form ABAB. eacher provides students with the A phrase and students must improvise the B phrase and should end on do.

Memory • Read an unknown song with solfège syllables and hand signs. Teacher erases four beats each time and students memorize.

Inner Hearing • Recognize familiar songs from teacher’s hand signs. • Teacher sings known phrases of songs on a neutral syllable; students echo-sing the phrase with solfège syllables and hand signs. • Teacher provides students with four ash cards with rhythm and students must identify the song and arrange ash cards in the correct order. • Students sing known songs but inner-hear the phrase containing the new target pattern. • Students sing a song but have to inner-hear the song from a signal provided by the teacher. Students sing the song aloud from a signal provided by teacher.

Part Work • Divide the class into two groups. Group 1 sings the song with solfège

• •

•

•

•

• •

and hand signs and group 2 taps a rhythmic ostinato that is read from notation. Divide the class into two groups. Group 1 sings the song with solfège and hand signs and group 2 sings a melodic ostinato that is read from notation. Divide the class into two groups. Group 1 sings the song with solfège and hand signs and group 2 sings a descant with solfège and hand signs that is read from notation. Read a known song with solfège syllables and hand signs. Divide the class into two groups and perform the activity in canon aer two beats, group 1 singing and group 2 clapping in canon. Read a known song with solfège syllables and conducting. Divide the class into two groups and perform the activity in canon aer two beats, group 1 singing and group 2 clapping in canon. Read a known song with solfège syllabl es while showing hand signs wi th left hand and conducting with right hand. Divide the class into two groups; one performs the activity and the other claps rhythm in canon after two be ats. Students sing a known song and clap the rhythm of another well-known song simultaneously. Students sing a known song, tap a rhythm from traditional rhythmic notation with right hand, and tap an ostinato with le hand.

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Listening “An Evening in the Village,” fromHungarian Sketches, by Béla Bartók (1881–1945).

Sight Singing Micheál Houlahan and Philip acka. Sound Tinking: Music or Sight-Singing and Ear raining, vol. 1 (New York: Boosey & Hawkes, 1995), pp. 71–76. Zoltán Kodály.Te Kodály Choral Library: 333 Elementary Exercises: Nos. 140, 142, 144, 152, 161, 164, 165. Examples in an extended pentatonic scale: 280, 282, 287, 291, 292, 295. Examples exploring the re-la interval are nos. 57, 58, 59, 60, 62, 64, 66, 73, 83, 86, 93, 94, 95, 96, 97, 98, 100, 102, 105, 106, 107, 108, 109, 111, 113, 115, 116, 118, 120, 121, 125, 127, 128, 129, 135, 136, andsight 138.singing, see exercises 22 and 36 in Denise Bacon’s Fify wo-Part For two-part Exercises.

Two Sixteenth Notes Followed by an E ighth Note able 3.3 presents an overview of the important information required to teach two sixteenth notes followed by an eighth note.

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Table 3.3 Element

Concept

Focus Song

Present Syllables

Teory

wo sixteenth

Tree sounds

“Hogs in the

taka di

wo sixteenth

notes followed by an eighth

on a beat. Not evenly distributed; the first

Cornfield”

note

two sounds being shorter than the last sound

raditional Notation xcd

Practice

Additional Songs

low la


notes followed by an eighth

(Charlie), “Hop, Old Squirrel,” “Jim Along

note

Josie,” “Skipping Rope Song,” “Sailing o’er the Ocean”

Cognitive Phase: Preparation Internalize Music Trough Kinesthetic Activities 1. Sing “Hogs in the Cornfield.” 2. Sing phrase 2 of “Hogs in the Cornfield” and pat the beat. 3. Sing phrase 2 of “Hogs in the Cornfield” and clap the rhythm. 4. Sing phrase 2 of “Hogs in the Cornfield” and point to a representation of the rhythm (Fig. 3.4). Fig. 3.4

5. Sing phrase 2 of “Hogs in the Cornfield” while stepping the beat and clapping the rhythm.

Teaching Strategies

6. Split the class into two groups. Te first group pats the beat for phrase 2 and the other claps the rhythm. Switch. 7. Sing “Hogs in the Cornfield.” Step the beat and clap the text.

Describe What You Hear 1. Assess kinesthetic awareness. 2. Sing phrase 2 of “Hogs in the Cornfield” singing “loo” while keeping the beat before asking each question. 3. Determine the number of beats in the phrase. : “Andy, how many beats did we keep?” (four) 4. Determine the number of sounds on each beat. : “Andy, which beats have two sounds?” (beats 1 and 4) : “Andy, how many sounds did we sing on beat 3?” (three sounds) : “Andy, describe these sounds using the words long and short.” (long, short, short) : “Andy, what rhythm syllables would we use?” ta ( dimi) 5. Determine the number of sounds on the target beat. : “Andy, how many sounds did we sing on beat 2?” (three) : “Andy, describe these sounds with the words long and short.” (short, short, long) Sing the phrase as follows: ta di

short short long

ta dimi

ta di

Create a Visual Representation of What You Hear 1. Assess kinesthetic and aural awareness by allowing the class to perform several of the kinesthetic and aural awareness activities. 2. eacher hums the target phrase with a neutral syllable and asks students to create a visual representation of the target phrase. Students may use manipulatives. : “Pick up what you need to recreate what you heard” or “Draw what you heard.” eacher assesses students’ level of understanding. 3. Students share their representations with each other. 4. Te instructor invites one student to the board to share a representation with the class. If necessary, corrections to the representation can be made by reviewing the aural awareness questions. 5. Students sing the first phrase of “Hogs in the Cornfield” with a neutral syllable and point to the representation, and then sing with known elements: ta di short short long ta di mi ta di.

Associative Phase: Presentation Label the Sound eacher presents new rhythm syllable. 1. : “When we hear three sounds on a beat where the first two sounds are short and the third sound is long, we call it taka di.” 2. eacher sings the target phrase of “Hogs in the Cornfield” on “loo, ” and students echo with rhythm syllables while clapping the rhythm.

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Notate What You Hear eacher presents notation for new sound. 1. : “When the beat is a quarter note, we can use two sixteenth notes followed by an eighth note to represent three sounds on the beat: two short and one long.” 2. : “We can read this pattern using our rhythm syllables.” Students read rhythm with rhythm syllables and keep the beat. $sdxcd\sxc sd\ 2 3. : “We can write this pattern using stick notation.”

$ 2 sdxcd\sxc sd\with numbers.” Students conduct and count with numbers. 4.  : “We can count : “Remember that four sounds on a beat can be counted as ‘1-e-and-a’.”

Assimilative Phase: Practice Music Skills

72

Aural Practice Singing with Solfège Syllables and Hand Signs • Teacher sings known melodies with words and students echo-sing with rhythm syllables. : “I sing the words; you sing rhythm syllables.” : “ell them pretty gals I’m coming over.” Ss: “ta di taka di ta di mi ta di.” : “Over the river to feed my sheep.” Ss: “taka di taka di.” : “Hop, Old Squirrel, ei-dle dum ei-dle dum.”

• • • • •

Ss: “taka di taka di.” : “Hey Jim along, Jim along Josie.” Ss: “ta dimi ta di taka di ta di.” T: “Up jump Ella to open the door.” Ss: “ta di taka di taka di ta.” : “You will find a pretty girl, by and by.” Ss: “ta ka di mi ta ka di ta di ta.” Students echo-sing four-beat melodic patterns containing new rhythm provided by the teacher, with rhythm syllables and clapping the rhythm. Students echo-sing four-beat melodic patterns containing new rhythm provided by the teacher, with rhythm syllables and conducting. Students sing known melodies with rhythm syllables and keep the beat. Students sing known melodies with rhythm syllables and conduct. Teacher hums known and unknown motifs and students sing back with rhythm syllables.

Part Work

• Use the target phrase as an ostinato to accompany a known song. • Combine the target phrase as an ostinato as well as another motif from the song so that you are using two ostinatos at the same time. • e teacher claps a rhythm and students follow in canon aer two beats.

Teaching Strategies

• Students perform a two-part rhythmic reading exercise. Group 1 performs the upper part and group 2 the lower part. Switch. • Students perform a two-part rhythmic reading exercise. Perform the upper part with right hand and lower part with le hand.

Improvisation • Improvise an ostinato that incorporates the new rhythmic pattern. • Teacher claps and says the rhythm syllables in a question phrase that uses a new pattern and students provide an answer. • Student claps and says the rhythm syllables in a question phrase that uses a new another student provides an answer. • pattern Studentsand change rhythm of a rst or second grade song and substitute the taka di rhythm for two eighth notes. • Student improvises a four-beat pattern. e next student begins their four-beat improvisation with the last two beats of the first student.

Inner Hearing • Teacher sings known phrases of songs and students echo-sing with rhythm syllables as they clap the rhythm. • Teacher sings known phrases of songs and students sing back with rhythm syllables as they conduct.

Visual Practice Reading from Hand Signs • Students sing a known song with solfège syllables and hand signs reading from teacher’s hand signs. Be certain that the song includes the new rhythm pattern. • Students sing known song from another student’s hand signs that include the new rhythm pattern.

Reading • • • • • • • • • •

Read target motif from traditional rhythmic notation with rhythm syllables. Read a known song with rhythm syllables and clap the rhythm. Read a known song with rhythm syllables and conduct. Read a known song with rhythm syllables while tapping the rhythm with le hand and conducting with right hand. Transform target motif into a related pattern. Read an unknown song with rhythm syllables and clap the rhythm. Read an unknown song with rhythm syllables and conduct. Transform a known folk song into another folk song. Read the rhythm of a known song and play on classroom percussion instruments. Read the rhythm of a known song in two or three parts. For example, students can

sing the rhythm syllables using notes of the tonic chord in major or minor. • Read the rhythm of a known song in two or three parts. For example, students can play the rhythm patterns using notes of the tonic chord in major or minor. • Have two students perform the rhythm of “Hogs in the Corneld” and “Hop, Old Squirrel” at the same time.

73


Writing • Write the text of “Hogs in the Corneld.” Have students write the correct rhythm notation above the text. • Write phrases 1 and 2 of “Hogs in the Corneld” with rhythmic notation. • Write the rhythm of “Ida Red” and perform it on rhythm instruments. • Add bar lines to the rhythm notation of a known song. • Students notate rhythm patterns by teacher and add the bar lines and time signature.

Improvisation

74

• Teacher claps a question phrase chants rhythm students from four patterns written on theand board to use as ansyllables; answering phrase.choose Use fourbeat phrases. • Student claps a question phrase and chants rhythm syllables; another student chooses from four patterns on the board to perform as an answering phrase. Use four-beat phrases. • e instructor writes a known folk song in traditional rhythmic notation but leaves out four beats. Students read and clap the rhythm and one student improvises four-beat rhythms that use a new rhythm pattern for the missing measure.

Memory • Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases four beats each time and students memorize. • Read an unknown song with rhythm syllables and conduct. e teacher erases four beats each time and students memorize.

Inner Hearing • Recognize familiar songs from teacher’s clapping. • Teacher sings known fragments of songs on a neutral syllable and students sing back with rhythm syllables while keeping the beat. • Teacher provides students with four ash cards with rhythm and students identify the song and arrange ash cards in the correct order. • Students read the rhythm of a known song but inner-hear the new pattern.

Part Work • Divide the class into two groups. Group 1 sings the song with solfège and hand signs and group 2 taps a rhythmic ostinato that is read from notation. • Read a known song with rhythm syllables and clap the rhythm. Divide the class into two groups and perform the activity in canon aer two beats. • Read a known song with rhythm syllables and conduct. Divide the class into two groups and perform the activity in canon aer two beats. • Read a known song with rhythm syllables while tapping the rhythm with le hand and conducting with right hand. Divide the class into two groups and perform the activity in canon aer two beats. • Read a known song with rhythm syllables and clap the rhythm. Divide the class into two groups; one performs the activity from the beginning and the other from the end of the song.

Teaching Strategies

• Read a known song with rhythm syllables and conduct. Divide the class into two groups; one group performs the activity from the beginning and the other from the end of the song. • Read a known song with rhythm syllables while tapping the rhythm with le hand and conducting with right hand. Divide the class into two groups; one performs the activity from the beginning and the other from the end of the song. • Students sing a known song and clap the rhythm of another well-known song simultaneously. • Students sing a known song and tap a rhythm from traditional rhythmic notation with right hand and tap an ostinato with le hand.

Listening • “Badinerie,” from Sonata in B minor, BWV 1067, by J. S. Bach (1685–1750) (entire work). • “Comedians Gallop,” Op. 26, No. 2, “Presto,” by Dimitri Kabalevsky (1904–1987). • “Musette in D,” from Anna Magdalena’s Notebook, by J. S. Bach (1685–1750). • “Circa Mea Pectora,” from Carmina Burana, by Carl Or (1895–1982).


low so able 3.4 presents an overview of the important information required to teach low so.

Table 3.4 Element

Concept

Focus Song

Present Syllables

Teor y


low so

A pitch a step lower than low la

“Dance Josey”

low so

Extended pentatonic scale in major and minor

Ledger lines

New tonal center: so pentatonic scale

so, on different staff placements

Practice xcd

Additional Songs “Head and Shoulders,” “See-Line Woman,” “Sailing o’er the Ocean,” “urn the Glasses Over,” “Old McDonald,” “Walk Along John,” “Over the River,” “Scotland’s Burning,” “Charlie over the Ocean”

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Cognitive Phase: Preparation Internalizing Music Trough Kinesthetic Activities 1. Sing “Dance Josey” with ostinato. Fig. 3.4

Fig. 3.5

2. Sing phrase 2 of “Dance Josey” and show the melodic contour. 3. Sing phrase 2 of “Dance Josey” and point to a representation of the melodic contour on the board (Fig. 3.5). 4. Sing “Dance Josey” with rhythm syllables while showing the melodic contour of phrase 2. 5. Determine the final note of the song.

Describe What You Hear

76

1. Assess kinesthetic awareness. 2. Sing “loo” while keeping the beat before asking each question below. 3. Determine the number of beats in phrase 2 of “Dance Josey.” : “Andy, how many beats did we tap?” (four) 4. Determine which beat has the lowest pitches. : “Andy, which beat has the lowest pitches? (beat 4) : “Let’s sing the phrase on ‘loo.’” 5. Determine the solfège on beats 1 and 2. : “If this is our final note (teacher hums) what hand sign do we use for the pitches on the first two beats? (do hand sign) 6. Determine the number of different pitches on beat 4. : “Andy, how many different pitches did we sing on beat 4?” (two) 7. Determine the solfège of known elements and sing “low” for the new note. : “Andy, since this phrase starts like phrase 1, sing it with solfège and hand signs but sing ‘low’ for the last note.” d( o-do-do-do-do-do-do-re-do-la, low) : “Andy, is our new sound a step or a skip lower thanla?” (a step)

Create a Visual Representation of What You Hear 1. Assess kinesthetic and aural awareness by allowing the class to perform several of the kinesthetic and aural awareness activities. 2. he instructor hums the target phrase with a neutral syllable and asks students to create a visual representation of the melody of the target phrase. Students may use manipulatives. : “Pick up what you need to recreate what you heard” or “Draw what you heard.” eacher assesses students’ level of understanding. 3. Students share their representations with each other. 4. Te instructor invites one student to the board to share a representation with the class. If necessary, corrections to the representation can be made by reviewing the aural awareness questions. 5. Students sing the first phrase of “Dance Josey” with a neutral syllable and point to the representation, and then sing with known elements: do do do do do do re do la, low. 6. Determine the solfège syllables for phrases 1, 3, and 4 of “Dance Josey.”

Teaching Strategies

Associative Phase: Presentation Label the Sound Te teacher presents new solfège syllables. 1. Review kinesthetic and aural awareness and visual awareness activities with the focus song “Dance Josey.” 2. We call the pitch that is a step lower than low la low so . eacher shows the hand sign, same as so, but lower in comparison to low la. Students immediately echo-sing phrase 2 of “Dance Josey” with solfège syllables and hand signs. 3. eacher sings phrase 2 of “Dance Josey” with text, and students echo with solfège and hand signs.

Notate What You Hear eacher presents notation for new pitch. 1. Present the position of so on the steps. (See Fig. 3.6.) 2. Present the target phrase of “Dance Josey” in traditional rhythm notation.

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l s

m r

$xxxd sd\sd sd\ 2 d dddd d d rd l, s l • Individual students sing and point to the s melody on the board as the class sings the song with solfège syllables and hand signs. • Explain the rule of placement. If low la is on a line, low so is on the space below; if low la is on a space, low so is on the line below. • Write the target phrase of “Dance Josey” in sta notation. Individual students sing and point to the melody on the board written on the staff as the class sings the song with solfège syllables and hand signs. 

Assimilative Phase: Practice Music Skills Aural Practice Singing with Solfège Syllables • Teacher sings known melodies with words and students echo-sing with solfège syllables. : “I sing the words; you sing the hand signs.” : “Chicken on the fencepost, can’t Dance Josey.” Ss: “do do do do do do re do la, so.” : “You will find a pretty girl, by and by.” Ss: “do do la, la, so, so, so, mi re do.” : “I’ve been to Haarlem, I’ve been to Dover.” Ss: “do do do la, so, do do do la, so.” : “Old McDonald had a farm E I E I O.”



Fig. 3.6


Ss: “do do do so, la, la, so, mi mi re re do.” : “Ding ding dong, ding ding dong.” Ss: “do so, do (rest) do so, do (rest).” • Teacher hums known melodies and students echo-sing with solfège syllables.

Singing Intervals • Teacher hums the intervals between the notes of the tone set; students sing the intervals and identify whether it is a skip or a step. • Teacher hums the intervals between the tonic note and notes of the tone set; students sing the intervals and identify intervals. • Teacher plays intervals on the piano melodically or harmonically and students identify the solfège syllable and determine whether the notes are a step or a skip.

Part Work

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• Use the target phrase as an ostinato. • Students echo-sing four beat patterns provided by the teacher with solfège and hand signs but begin singing at beat 3 of the teacher’s pattern. • Sing the song in canon if it is a pentatonic song. • Sing the song in canon with a rhythmic ostinato. • Sing the song in canon with a melodic ostinato. • Combine a phrase as an ostinato as well as another motif from the song so that you are using two ostinatos at the same time. Tis works with pentatonic music. • Students sing a major pentatonic song and teacher accompanies with a drone made of up do or do-so played on an instrument. • Students sing a diatonic song and teacher accompanies with do or so. Reverse. • Students sing a diatonic song and teacher accompanies with do, a, or so. Reverse.

Improvisation • Teacher sings a music questions with solfège syllables and hand signs and students provide an answer. Question ends on low so and aer several activities ends on re. Answer ends on do. • One student sings a music questions with solfège syllables and hand signs and another student provides an answer. • One student improvises a four-beat pattern. e next student begins a four-beat improvisation with the last two beats of the first student.

Inner Hearing • Recognize familiar songs from teacher’s hand signs. • Teacher hums known fragments of songs and students sing back with solfège.

Visual Practice Reading from Hand Signs • Student reads from teacher’s hand signs. • Transform the target pattern into basic four-beat patterns found in the students’ song material. Identify patterns ending on do or low la or low so. • Practice the motifs do-la,-so; so,-la,-do; so,-do; do-so,-do.

Teaching Strategies

Reading • Read “Dance Josey” from rhythmic notation and solfège and sta notation with solfège syllables and hand signs. • Use the solfège steps. e instructor points to the notes of “Turn the Glasses Over” and the students sing with solfège and hand signs. • Read “Over the River (to Charlie)” from traditional rhythm notation with solfège syllables. • Read these patterns: so,-la,-do; do-la,-so; so,-do; so,-re; so,-mi. • Read these exercises from Kodály 333: 176, 190, 200, 303, 304, 319, 321.

Additional Reading • Read target motifs from the tone ladder. • Read known melodies from the tone ladder. • Read target motif from traditional rhythmic notation and solfège with solfège syllables and hand signs. • Read a known song from traditional rhythmic notation with solfège syllables beneath using solfège syllables and hand signs. • Read a known song with solfège syllables and conduct. • Read a known song from sta notation with solfège syllables and hand signs. • Read a known song from sta notation with solfège syllables and conduct. • Transform target motif into a related pattern. • Read an unknown song with solfège syllables and hand signs. • Read an unknown song with solfège syllables and conduct. • Teacher shows hand signs and students read aer two beats in canon with hand signs. • Transform a known folk song into another folk song. • solfège, Read phrases of known song notated with traditional rhythmic notation and and play on a classroom instrument.

Intervals • Interval practice through echo-singing and hand signs: : “so, la” Ss: “Tat’s a step.” : “la, do” Ss: “Tat’s a skip.” : “do re” Ss: “Tat’s a step.” : “re mi” Ss: “Tat’s a step.” : “mi so” Ss: “Tat’s a skip.” : “so la” “Tat’s Ss ::“la so” a step.” Ss: “Tat’s a step.” : “so mi” Ss: “Tat’s a skip.”

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: “mi re” Ss: “Tat’s a step.” : “re do” Ss: “Tat’s a step.” : “do la” Ss: “Tat’s a step.” : “la, so” Ss: “Tat’s a step.” • Students identify intervals from notation of known and/or unknown songs. • Students are given a starting pitch by the teacher and then sing in solfège from a series of intervals written on the board.

Memory • Read an unknown song that includesso, with solfège syllables and hand signs. Teacher erases a phrase or a portion aer each performance and students memorize. • Read an unknown song that includes so, with solfège syllables and conduct. eacher erases four beats each time and students memorize.

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Writing • Write the target pattern in stick and/or traditional rhythmic notation with solfège. • Write related patterns in stick and traditional rhythmic notation with solfège. • Write the tone set of a known song on the board as a student or class sings a known song in solfège. • Write a known song in stick and/or traditional rhythmic notation. • Fill in the missing measures of a known song with the correct solfège syllables. Te teacher can provide the rhythm but not the syllables for the missing measure. • Teacher sings an unknown song and students ll in the missing measures with the correct rhythms and solfège. • Students transcribe asong written inrhythmic notation andsolfège into stanotation. • Write “Dance Josey” in stick notation and sta notation. • Providestudents with the stanotation of“Dance Josey” and/or “Overthe River (to Charlie)” and have students circle all steps and put aoxb around all skips inthe melody. • Aer writing phrase 2 of “Dance Josey” in sta notation, have students play the phrase on the xylophone or bells. (See Fig. 3.7.) Fig. 3.7

• Write “Sailing o’er the Ocean” using rhythmic notation and solfège syllables as well as in staff notation. • Aurally identify so in so,-la,-d and do-la,-so motifs. Write these patterns in stick or staff notation.

Teaching Strategies

• Sing a melodic ostinato to accompany a pentatonic song. Aer learning the ostinato, write it in stick or staff notation. Consider the following:

2 xxxc sd \sxc sd \qq\qQ> $ dddd l s s ss l d m r d

Improvisation • Teacher sings a question phrase with solfège syllables and hand signs and a student chooses from four patterns on the board to use as an answering phrase. One phrase should just include four heartbeats. • Teacher sings a question phrase with solfège syllables and hand signs, another student chooses from four patterns on the board to use as an answering phrase. One phrase should just include four heartbeats. • e teacher writes a known folk song in traditional rhythmic notation and solfège but leaves out four beats. Students read with solfège and one student improvises a four-beat melody that uses the new melodic note. • Students improve a new folk song to a give form and scale. For example, students compose a new melody using the form ABAB. eacher provides students with the A phrase and students must improvise the B phrase, to end on do.

Memory • Read an unknown song with solfège syllables and hand signs. Teacher erases four beats each time and students memorize. • Read an unknown song with solfège syllables and conduct. Teacher erases four beats each time and students memorize.

Inner Hearing • Recognize familiar songs from teacher’s hand signs. • Teacher hums known fragments of songs and students sing back with solfège syllables and signs. • Teacher provides students with four ash cards with rhythm and students must identify the song and arrange ash cards in the correct order. • Students sing known songs but inner-hear the phrase containing the new target pattern. • Students sing a song but have to inner-hear the song from a signal provided by the teacher. Students sing the song aloud from a signal provided by teacher.

Part Work • Divide the class into two groups. Group 1 sings the song with solfège and hand signs and group 2 taps a rhythmic ostinato that is read from notation. • Divide the class into two groups. Group 1 sings the song with solfège and hand signs and group 2 sings a melodic ostinato that is read from notation. • Divide the class into two groups. One group sings the song with solfège and hand signs and the other sings a descant with solfège and hand signs that is read from notation. • Read a known song with solfège syllables and hand signs. Divide the class into two groups and perform the activity in canon aer two beats, group 1 singing and group 2 clapping in canon.

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• Read a known song with solfège syllables and conducting. Divide the class into two groups and perform the activity in canon aer two beats, rst group singing and second group clapping in canon. • Read a known song with solfège syllables while showing hand signs with le hand and conducting with right hand. Divide the class into two groups, one performing the activity and the other clapping rhythm in canon aer two beats. • Students sing a known song and clap the rhythm of another well-known song simultaneously. • Students sing a known song, tap a rhythm from traditional rhythmic notation with right hand and tap an ostinato with le hand. •• Sing containing low so in canon. Readsongs the two-part arrangement of“Rocky Mountain”from Denise Bacon’s publication 46 wo-Part American Folk Songs. • Zoltán Kodály, Te Kodály Choral Library; 24 Canons on the Black Keys, no. 1 (perform as a canon). • Denise Bacon, 50 wo Part Exercises, nos. 31–33.

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Listening • “Promenade,” from Pictures at an Exhibition, by Modest Mussorgsky (1839–1881). • “Köszöntő”trans. “A Birthday Greeting, ” choral work, by Zoltán Kodály (1882–1967). • Mikrokosmos, Vol. 3, No. 78, by Béla Bartók (1881–1945). • Zoltán Kodály, Peacock Variations, theme.

Sight Singing Micheál Houlahan and Philip acka. Sound Tinking: Music or Sight-Singing and Ear raining, vol. 1 (New York: Boosey & Hawkes, 1995), pp. 77–86. Zoltán Kodály.Kodály Choral Library: 333 Elementary Exercises(London: Boosey & Hawkes), 1963, nos. 176, 182, 190, 200, 303, 304, 319, 321. ese exercises explorere-so the interval: nos. 59, 60, 61, 70, 81, 84, 85, 93, 97, 101, 102, 104, 107, 109, 115, 128, 132, 137, and 139.

Internal Upbeat able 3.5 presents an overview of the important information required to teach internal upbeat.

Table 3.5 Element

Concept

Focus Song

Present Syllables

Teory


Practice

Additional Songs

Single eighth

Sound or sounds

“Old Mr.

Dependent on where

Internal upbeat

Split eighth notes

low so

“Down Came a Lady,” “Bye,

note (internal upbeat)

occurring Rabbit” the sound before a falls in strong beat relation to the beat

Baby Bunting,” “Do, Do Pity My Case”

Teaching Strategies

Cognitive Phase: Preparation Internalizing Music Trough Kinesthetic Activities 1. Sing “Old Mister Rabbit” and draw the phrases in the air. 2. Sing “Old Mister Rabbit” and pat the beat. 3. Sing “Old Mister Rabbit” while drawing the phrases with one hand and patting the beat with the other. 4. Sing “Old Mister Rabbit” and clap the ostinato “clap, pat, pat, pat. ”

Describe What You Hear 1. Assess the kinesthetic awareness. 2. Sing and pat the beat before asking each question below. 3. Determine the downbeat of each phrase. : “Andy, on which word do we clap our hands in phrase 1?” (old) : “Andy, on which word do we clap our hands in phrase 2?” (got) : “Andy, on which word do we clap our hands in phrase 3?” (jumping) : “Andy, on which word do we clap our hands on phrase 4?” (eating) 4. Determine the beginning of each phrase. : “Andy, what’s the first word in phrase 2? (you’ve) : “Andy, what’s the first word in phrase 3?” (of) : “Andy, what’s the first word in phrase 4?” (and) 5. Determine these words in relation to the beat.

: “Andy, do these words fall on the strong or weak part of the beat?” (weak)

Create a Visual Representation of What You Hear 1. Assess kinesthetic and aural awareness by allowing the class to perform several of the kinesthetic and aural awareness activities. 2. Te instructor sings “Old Mr. Rabbit” with the ostinato clap, pat, pat, pat. 3. eacher and students sing the song but only sing the words that fall on the strong beats and inner-hear the remainder of each phrase. 4. Students create a beat chart and indicate the words that occur on the strong beats. 5. : “Where should we write the words ‘you’ve,’ ‘of,’ and ‘and’?” (Te point is to let the students discover this.) 6. Students share their representations with each other. 7. Te instructor invites one student to the board to sha re a representation with the class.

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8. Students point to the representation and then sing with rhythm syllables. Te student representation should include Figures 3.8, 3.9, and 3.10. Fig. 3.8

Associative Phase: Presentation

Label the Sound eacher presents new element.

84

1. Review kinesthetic and aural awareness and visual awareness activities with the focus song “Old Mister Rabbit.” 2. : “We call a phrase that begins with a weak beat an upbeat. Because the upbeat occurs within the piece of music and not at the beginning, we call it aninternalupbeat.” eacher indicatesthe upbeat for students. 3. eacher sings “OldMr. Rabbit” with rhythm syllables and students echo-sing with rhythm syllables and conduct.

Fig. 3.9

Fig. 3.10

Fig. 3.11

4. eacher echo-sings with at least eight individuals.

Notate What You Hear eacher presents notation for new element. 1. 2. 3. 4.

eacher presents the rhythm notation. eacher indicates the phrases. : “In order to show the phrase, we need to split the beamed eighth notes.” : “When we split the beamed eighth notes, it looks like this [separate eighth notes with ags] and sometimes we take a breath between beats. We can call the sing le eighth note an upbeat or a pickup note. ” (Write the rhythm

Teaching Strategies

syllables and the traditional notation.) Read with rhythm syllables. (See Fig. 3.11.)

Assimilative Phase: Practice Music Skills

Fig. 3.12

Aural Practice Singing and Conducting • Teacher known melodies with words and students echo-sing with rhythm syllables sings or while conducting. : “I sing the words; you sing rhythm syllables.” : “And eating all my cabbage.” Ss: “di ta di ta di ta di (rest).” : “And she was dressed in blue.” Ss: “di ta di ta di ta (rest).” : “o wrap his baby bunting in.” Ss: “di ta di ta di ta di ta.” : “My clothes to wash when I get home.” Ss: “di ta di ta di ta di ta.” • Students echo-sing four-beat melodic patterns, containing a new rhythm provided by the teacher, with rhythm syllables and conducting. • Student sings known melodies with rhythm syllables and conducts. • Teacher hums known and unknown motifs and students sing back with rhythm syllables.

Part Work • Teacher claps a rhythm and students follow in canon aer two beats. • Students perform a two-part rhythmic reading exercises. Group 1 performs the upper part and group 2 the lower part. Switch. Include internal upbeats. • Student performs a two-part rhythmic reading exercises. Perform the upper part with right hand and lower part with le hand. Include internal upbeats.

Improvisation • Teacher sings a four-beat rhythm on pitch while conducting. Students’ task is to conduct and create an answer that includes an internal upbeat. • e teacher claps and says the rhythm syllables in a question phrase that uses an internal upbeat and students provide an answer. “Bye, Baby Bunting” is a good model for this exercise. • One student claps and says the rhythm syllables in a question phrase that uses an internal upbeat, and another student answers.

Inner Hearing • Students sing songs with internal upbeats but inner-hear the phrases that do not have the internal upbeat.

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Visual Practice Reading from Hand Signs • Students read known songs containing internal upbeats from teacher’s hand signs.

Reading • Read from traditional notation written according to phrase. Have the rhythm of “Old Mister Rabbit” on the board in traditional rhythm notation; students point and read with rhythm syllables. • Change one song to another: read rhythmic notation of “Old Mister Rabbit” and “Do, Do Pity My Case” in rhythmic notation, with the internal upbeat.

Writing • Students write “Down Came a Lady” with rhythmic notation and in four phrases; they must write the final phrase with the internal upbeat (i.e., place a single eighth note at the beginning of the final phrase).

Improvisation

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• Begin by having students chant and clap the rhythm of any well-known song written on the board. Guide students to improvise the nal phrase of a known song with the stipulation that the final phrase begins with an upbeat. For example, students could perform the rhythm of “Great Big House in New Orleans,” but when they get to the final phrase, they must improvise a new phrase that begins with an upbeat and write the rhythm on the board.


high do able 3.6 presents an overview of the important information required to teach high do.

Table 3.6 Element

Concept

Focus Song

Present Syllables

Teor y


Practice

Additional Songs

Hido

Apitch a skip higher (minor third) than la


high do

Octave; extended pentatonic scale

high do on different staff placements

Internal upbeat

“Liza Jane,” “Circle Round the Zero,” “I Lost the Farmer’s Dairy Key,” “Riding in a Buggy,” “ideo,” “John Kanaka,” “Pourquoi”

Teaching Strategies

Cognitive Phase: Preparation Internalize Music Trough Kinesthetic Activities 1. Sing “Hogs in the Cornfield” with an ostinato. 2. Sing “Hogs in the Cornfield” and point to a representation of the melodic contour of phrase 2 on the board (Fig. 3.12). 3. Sing “Hogs in the Cornfield” and show the melodic contour for the target, phrase 2. 4. Sing “Hogs in the Cornfield” with rhythm syllables while showing the melodic contour.

Describe What You Hear 1. Review kinesthetic awareness. 2. Sing phrase 2 on “loo” while keeping the beat before asking each question below. 3. Determine the number of beats. : “Andy, how many beats did we tap?” (four) 5. Determine which beats have the lowest pitch and highest pitch. : “Andy, which beat had the highest pitch?” (beat 1) : “Andy, which beat has the lowest pitch?” (4) 6. Determine the solfège syllable of the final pitch. : “Andy, what is the solfège syllable of the final pitch?”do) ( 7. Determine the solfège syllables for beats 3 and 4. : “Class, let’s sing the pitches on beats 3 and 4.” : “Andy, sing that in solfège.” m ( i-re-re-do-do) 8. Determine the solfège syllables for beats 1 and 2. : “Let’s sing the first three pitches.” : “Andy, how would you describe the first pitch?” (high) : “Andy, sing ‘high’ for the first note and sing the rest in solfège.” (‘high’-la-so-so-so) : “Andy, sing the whole phrase with hand signs.” (‘high’-la-so-so-so-mi-re-re-do-do)

Create a Visual Representation of What You Hear 1. Assess kinesthetic and aural awareness by allowing the class to perform several of the kinesthetic and aural awareness activities. 2. Te instructor hums the target phrase with a neutral syllable and asks students to create a visual representation of the melody of the target phrase. Students may use manipulatives. eacher: “Pick up what you need to recreate what you heard” or “Draw what you heard.” eacher assesses students’ level of understanding. 3. Students share their representations with each other. 4. Te teacher invites one student to the board to share a representation with the class. If necessary, corrections to the representation can be made by reviewing the aural awareness 5. Students sing thequestions. second phrase of “Hogs in the Cornfield” with a neutral syllable and point to the representation, then sing with known elements: ‘high’ la so so so me re re do do. 6. Determine the rhythm of the song and sing it with rhythm syllables.

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Associative Phase: Presentation Label the Sound eacher presents new solfège syllables. 1. Assess kinesthetic and aural awareness and visual awareness activities with the focus song “Hogs in the Cornfield.” 2. : “When we hear a sound a skip above la we call it high do.” Te instructor shows the hand sign. 3. eacher sings phrase 2 of “Hogs in the Cornfield” with solfège syllables and students echo-sing. (d’-la-so-so-so-mi-re-re-do-do) 4. eacher echo-sings with at least eight students. 5. Identify the interval high do-la as a skip.

Notate What You Hear eacher presents notation for new pitch.

88 d' l s

m r

1. Present the position of high do on the steps. Identify the interval la–high do as a skip of a third. (S ee Fig. 3.13.) 2. Present the target phrase of “Hogs in the Cornfield” in stick notation.

$sd xsd \sxc sd\ 2 d’ l ss s m rr d d

d

Fig. 3.13

• Write the target melody with traditional rhythmic notation and solfège. Individual students sing and point l to the melody on the board as the class sings the song s with solfège syllables and hand signs • Designate the rule of placement. If high do is in a space, la is in the space below; if high do is on a line, la is on the line below. 3. Show the second phrase of “Hogs in the Cornfield” on staff. • Write the target melody on the sta. Individual students sing and point to the melody written on the staff as the class sings the song with solfège syllables and hand signs.

Assimilative Phase: Practice Music Skills Aural Practice Singing with Solfège Syllables • Teacher sings known melodies with words and students echo-sing with solfège syllables. : “I sing the words; you sing the hand signs.” : “ell them pretty gals I’m coming over.”

Teaching Strategies

Ss: “d’ la so so so mi re re do do.” : “Oh Eliza, little Liza Jane.” Ss: “d’ so la so mi mi re do.” : “Do, do let me out I’m in some lady’s garden.” Ss: “d’ d’ so mi do re mi so re mi do do.” : “Who moans for me? Who moans for me?” Ss: “do do mi so d’ la mi so.” • Teacher hums known melodies and students echo-sing with solfège syllables. • Students sing known melodies containing high do with solfège syllables and hand signs. • Students sing known melodies containing high do with solfège syllables and conducting. • Teacher hums motifs from known songs and students sing back with solfège syllables and hand signs. • Teacher hums do extended pentatonic and la extended pentatonic motifs and students sing back with solfège and hand signs.

Singing Intervals • Teacher hums the intervals between the notes of the tone set; students sing the intervals and identify whether each is a skip or a step. • Teacher plays intervals on the piano melodically or harmonically and students identify the solfège syllable and whether the interval is a step or a skip.

Part Work • Use the target phrase as an ostinato. • Students echo-sing four beat patterns provided by the teacher with solfège and hand signs but begin singing at beat 3 of the teacher’s pattern. • Sing the song in canon if it is a pentatonic song. • Sing the song in canon with a rhythmic ostinato. • Sing the song in canon with a melodic ostinato. • Combine a phrase as an ostinato as well as another motif from the song so that you are using two ostinatos at the same time. Tis works with pentatonic music. • Students sing a major pentatonic song and teacher accompanies with a drone made of up do or do-so played on an instrument.

Improvisation • Teacher sings a music question with solfège syllables and hand signs and students provide an answer. Question ends on so and aer several activities ends on re. Answer ends on do. • One student sings a music question with solfège syllables and hand signs and another student gives an answer. • One student improvises a four-beat pattern. e next student begins a four-beat improvisation with the last two beats of the first student.

Inner Hearing • Recognize familiar songs from teacher’s hand signs. • Teacher sings known fragments of songs and students sing backwith solfège syllables.

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Visual Practice Reading from Hand Signs • Student reads from teacher’s hand signs. • Transform the target pattern into basic four-beat patterns found in the last phrase of “I Lost the Farmer’s Dairy Key.”

Reading • Read target motifs from the tone ladder. • Read known melodies from the tone ladder. • Read target motif from traditional rhythmic notation and solfège with solfège

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and hand • syllables Read a known songsigns. from traditional rhythmic notation with solfège syllables and hand signs. • Read a known song with solfège syllables and conduct. • Read a known song from sta notation with solfège syllables and hand signs. • Read a known song from sta notation with solfège syllables and conduct. • Transform target motifinto a related pattern. • Read an unknown song with solfège syllables and hand signs. • Read an unknown song with solfège syllables and conduct. • Teacher shows hand signs and students read aer two beats in canon with hand signs. • Transform a known folk song into another folk song. • Read phrases of known song, notated with traditional rhythmic notation and solfège, and play on a classroom instrument. • Read “Hogs in the Corneld” using rhythmic notation and solfège and sta notation. • Read “I Lost the Farmer’s Dairy Key” using rhythmic notation and sta notation. • Read and play the two phrases of “Hogs in the Corneld” on the xylophone or tone bells. • Read Zoltán Kodály, Kodály Choral Library: 333 Elementary Exercises (London: Boosey & Hawkes, 1963), exercise 327.

Intervals • Students identify intervals from notation of known songs as steps or skips. • Interval practice through echo-singing and hand signs: : “do re.” Ss: “Tat’s a step.” : “re mi.” Ss: “Tat’s a step.” : “mi so.” Ss: “Tat’s a skip.”

: “so la.” Ss: “Tat’s a step.” : “la do.” Ss: “Tat’s a skip.” : “do’ la.”

Teaching Strategies

Ss: “Tat’s a skip.” : “la so.” Ss: “Tat’s a step.” : “so mi.” Ss: “Tat’s a skip.” : “mi re.” Ss: “Tat’s a step.” : “re do.” Ss: “Tat’s a step.” • Students identify intervals from notation of unknown songs. • Students are givenwritten a starting pitchboard. by the teacher and then sing in solfège from a series of intervals on the

Memory • Read an unknown song with solfège syllables and hand signs. Teacher erases four beats each time and students memorize. • Read an unknown song with solfège syllables and conduct. Teacher erases four beats each time and students memorize.


Writing • Write the tone set of a known song on the board as a student or class sings a known song in solfège. • Fill in theeacher miss ingcan measures a known withthe thesyllables correct so syllables. provideofthe rhythmson butg not forlfège the missing measure. • Write the target pattern in stick and/or traditional rhythmic notation with solfège • Write related patterns in stick and traditional rhythmic notation with solfège • Write a known song in stick and/or traditional rhythmic notation • Teacher sings an unknown song and students ll in the missing measures with the correct rhythms and solfège. • Students transcribe a song written in rhythmic notation and solfège into sta notation. • Write either the last phrase of “Hogs in the Corneld” or the last phrase of “I Lost the Farmer’s Dairy Key” with rhythmic notation and/or sta notation. Play phrase 2 of “Hogs in the Cornfield” on the bells or xylophone. • Transcribe a melody from rhythmic notation and solfège to sta notation.

Improvisation • e teacher sings a question phrase in solfège syllables written on the board; students sing one of the possible answer phrases in solfège syllables also written on the board (at first do this with “Hogs in the Cornfield” and “I Lost the Farmer’s Dairy Key”); leave a blank answer choice for them to create their own.

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• Gradually change the question phrase to a dierent phrase. Students may still echo the last phrase of “Hogs in the Cornfield” or “I Lost the Farmer’s Dairy Key,” or another known song or one created from their own. • Once students are comfortable echoing an answer phrase beginning on high do, ask them to improvise a different phrase that begins on high do or that uses high do, and then ask them to write their answer on the board. • e teacher writes a known folk song in traditional rhythmic notation and solfège but leaves out four beats. Students read with solfège, and one student improvises a four-beat melody that uses the new melodic note. • Students improvise a new folk song to a given form and scale. For example, they compose a new melody using the form gives A phrase and students must improvise the B ABAB. phrase eacher to end on do. students the

Memory

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• Read an unknown song with solfège syllables and hand signs. Teacher erases four beats each time and students memorize. • Read an unknown song with solfège syllables and conduct. Teacher erases four beats each time and students memorize.

Inner Hearing • Recognize familiar songs from teacher’s hand signs. • Teacher hums known fragments of songs and students sing back with solfège syllables and signs. • Teacher provides students with four ash cards with rhythm and students must identify the song and arrange ash cards in the correct order. • Students sing known songs but inner-hear the phrase containing the new target pattern. • Students sing a song but have to inner-hear the song from a signal provided by the teacher. Students sing the song aloud from a signal provided by teacher.

Part Work • Divide the class into two groups. Group 1 sings the song with solfège and hand signs and group 2 taps a rhythmic ostinato that is read from notation. • Divide the class into two groups. Group 1 sings the song with solfège and hand signs and group 2 sings a melodic ostinato that is read from notation. • Divide the class into two groups. Group 1 sings the song with solfège and hand signs and group 2 sings a descant with solfège and hand signs that is read from notation. • Read a known song with solfège syllables and hand signs. Divide the class into two groups and perform the activity in canon aer two beats, group 1 singing and group 2 clapping in canon. • Read a known song with solfège syllables and conducting. Divide the class into two groups and perform the activity in canon aer two beats, rst group singing and second group clapping in canon. • Read a known song with solfège syllables while showing hand signs with le hand and conducting with right hand. Divide the class into two groups, one performing the activity and the other clapping the rhythm in canon aer two beats.

Teaching Strategies

• Students sing a known song and clap the rhythm of another well-known song simultaneously. • Students sing a known song, tap a rhythm from traditional rhythmic notation with right hand, and tap an ostinato with le hand. • Sing scales in canon.

Listening • “On the Trail,” from Grand Canyon Suite, by Ferde Grofé (1892–1972). • “Ecce Gratum,” from Carmina Burana, by Carl Or (1895–1982). • For Children, Vol 1. No. 5, by Béla Bartók (1881–1945).


External Upbeat able 3.7 presents an overview of the important information required to teach external upbeat.

Table 3.7 Element

Concept

Focus Song

An eighth note external upbeat

Sound or sounds preceding the strong beat at the beginning of a composition


wo eighth notes as external upbeat

Present Syllables

Teory


Practice

Additional Songs

External upbeat

Quarter and paired eighth notes and single eighth note

high do

“Aquaqua Del A Omar,” “Shoes of John,” “Band of Angels,” “Oh, No, John,” “Te Tree Rogues”

Quarter note as external upbeat

Cognitive Phase: Preparation Use dierent kinds of external upbeats; consider upbeats beginning with an eighth or two eighths or a quarter note. Te process for teaching will always remain the same, as outlined below. Our one caveat is that students must know how to conduct in duple and quadruple meter and understand that the strong beat in conducting is the downbeat.

Internalize Music Trough Kinesthetic Activities 1. Sing “I Lost the Farmer’s Dairy Key” and trace the phrase in air. 2. Students perform the beat by clapping the first beat of each phrase and patting the subsequent seven beats.

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3. Students perform the beat by bending their knees on the first beat of each phrase and patting the subsequent seven beats. 4. Sing “I Lost the Farmer’s Dairy Key” and point to the representation of the beat and the phrases on the board. 5. Students sing and conduct the beat.

Describe What You Hear 1. Review kinesthetic activities. 2. Before asking each question, students and teacher should sing and conduct each phrase. what word the first phrase begin?” (I)beat?” (lost)  :: “Andy, “Andy,on what word dodoes we sing when we pat the first : “Andy, does the ‘I’ve’ fall on the strong part of the beat or the weak part of the beat?” (weak part)

Create a Visual Representation of What You Hear

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1. Assess kinesthetic and aural awareness by allowing the class to perform several of the kinesthetic and aural awareness activities. 2. Te instructor hums the target phrase with a neutral syllable and asks students to create a visual representation of the words of the target phrase indicating the first word in each phrase and the word that falls on the strong beat. “Draw what you heard.” eacher assesses students’ level of understanding. 3. Students share their representations with each other. (Students will write the words with an accent mark or bar lines as well as a phrase mark.) 4. Te instructor invites one student to the board to share a representation with the class. If necessary, corrections to the representation can be made by reviewing the aural awareness questions. 5. Students sing the first phrase of the song with a neutral syllable and point to the representation, then sing with rhythm syllables. Add the bar lines and time signature to the piece of music.

Associative Phase: Presentation Label the Sound eacher presents new element. 1. : “We call a phrase that begins with a weak beat an upbeat. Because the upbeat occurs at the beginning the piece of music, we call it an external upbeat.” 2. eacher sings “I Lost the Farmer’s Dairy Key” and conducts; students echo-sing and conduct. Repeat this activity but use rhythm syllables. 3. eacher and students identify the eighth note upbeat.

Notate What You Hear Te teacher presents notation for upbeat. Explain how to write the last measure of the song. $a\sdsdsdsd\sdsdqq\ 4 qqsdaa\sdsdqa |

Teaching Strategies

Students read the notation with rhythm syllables while clapping the rhythm. Students read the notation with rhythm syllables and conduct.

Assimilative Phase: Practice Music Skills Aural Practice Singing with Rhythm Syllables • Teacher sings known melodies with words and students echo-sing with rhythm syllables or conducting. : “I sing the words; you sing rhythm syllables.” thedifarmer’s dairy I’m lady’s garden  Ss::“I’ve “di talost di ta ta di ta di ta dikey ta di ta in ta.some ” : “I am standing in the shoes of John.” Ss: “ta di ta di ta di ta ta ta-ah.” : “Tere was one, there were two, there were three, little angels.” Ss: “ta di ta ta di ta ta di ta ta di ta di.” • Teacher hums known melodies with words and students echo-sing with rhythm syllables or conducting.

Part Work • Teacher claps a rhythm and students follow in canon aer two beats. • Students perform a two-part rhythmic reading exercise. Group 1 performs the upper part and group 2 the lower part. Switch. • Students perform a two-part rhythmic reading exercise. Perform the upper part with right hand and lower part with le hand.

Improvisation

• Teacher claps and says the rhythm syllables in a question phrase that uses external upbeat and students give an answer. • One student claps and says the rhythm syllables in a question phrase that uses external upbeat and another student answers. • One student improvises a four-beat pattern. e next student begins a four-beat improvisation with the last two beats of the first student.

Inner Hearing • Teacher hums known fragments of songs and students sing back with rhythm syllables and clapping. • Teacher hums known fragments of songs and students sing back with rhythm syllables and conducting.

Visual Practice Reading • Read “I Lost the Farmer’s Dairy Key” in rhythmic notation, with the upbeats beginning each phrase. • Read “e Shoes of John” in rhythmic notation, with the upbeats beginning each phrase.

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• Read “Band of Angels” in rhythmic notation, with the upbeats beginning each phrase. • Read from Denise Bacon’s publication, 50 Easy wo Part Exercises, nos. 43, 44, and 48.

Writing • • • •

Write the target pattern in stick and/or traditional rhythmic notation. Write related patterns in stick and traditional rhythmic notation. Write a known song in stick and/or traditional rhythmic notation. Fill in the missing measures of a known song with the correct rhythms.

• Teacher sings an unknown song and students ll in the missing measures with the correct rhythms. • Students notate rhythm patterns by teacher and add the bar lines and time signature.

Improvisation

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• Teacher claps a question phrase and chants rhythm syllables, and students choose from four patterns on the board to use as an answering phrase. One phrase should just include four heartbeats. • One student claps a question phrase and chants rhythm syllables, and another student chooses from four patterns on the board to use as an answering phrase. One phrase should just include four heartbeats. • e teacher writes a known folk song in traditional rhythmic notation but leaves out four beats. Students read and clap the rhythm and one student improvises four-beat rhythms that use a new rhythm pattern for the missing measure. • Begin with the rhythm of a song the students know well and write it on the board. For example, consider “Dance Josey” and “Sailing o’er the Ocean.” Students then improvise a variation of the srcinal using external and internal upbeats. Te upbeat can be a single quarter note, two eighth notes, or an eighth note. Ask a student to write the answer on the board.

Listening • Appalachian Spring, by Aaron Copland (1900–1990). Section A of the Shaker Hymn begins with an upbeat. • “e Happy Farmer,” from Album or the Young, by Robert Schumann (1810–1856). • “Toccatina,” from Tirty Children’s Pieces, Op. 27, Book 1, No. 7, for piano, by Dimitri Kabalevsky (1904–1987). • “Bandinerie,” from Suite No. 2 in b minor, by J. S. Bach (1685–1750).

$sxd \sxd sxd \qxxxd \xxxd xxxq\sd 2 sxd \sxqsxd \qxsq\xsd sd \sd xsd \xsd sd \sd xxxc \xxxc xxxc \xxxc xxxc \xxxc xxxc \xxxc xxxc \xxxc sd \qQ|

Teaching Strategies

“Sleepers Wake,” from Cantata No. 140, by J. S. Bach (1685–1750). 1. 4 $a\xsd sd sd sd \xsd sd sd Q\ 2. 4 $a\qxxxc xxxc sxc \xxxd xxxd sd A 3. a\aqaxsd Aa\aqaxsqA

Sight Singing Micheál Houlahan and Philip acka. Sound Tinking: Music or Sight-Singing and Ear raining , vol. 1 (New Boosey & Hawkes, 1995), pp. wo 87–109. For two-part sight York: singing, see Denise Bacon’s 50 Easy Part Exercises, nos. 43, 44, 48.

Developing a Lesson Plan Design Based on the Teaching Strategies Te goal of this section is to show how our model of instruction and learning incorporates information for developing musical literacy into the preparation/practice and presentation lesson plan designs. In the cognitive phase of learning, students explore a music concept moving through three stages of learning. In stage 1, they learn to internalize music and construct kinesthetic awareness. In stage 2, they learn to describe the characteristics of the new concept by constructing aural awareness. In stage 3, they construct a representation of the new concept. he stages of learning in this phase are explored in three lesson plans. In the associative phase of learning, students learn how to describe the sounds of music with rhythm or solfège syllables and how to translate these sounds into music notation. Stage 1 is aural presentation of the new rhythmic or melodic syllables and hand signs using known song material that contains the target pattern (the most frequent pattern that contains the new element) and related patterns . Stage 2 is visual presentatio n of the target pattern using traditional notation. Each stage of learning here is explored in a lesson plan. In the assimilative phase of learning, students practice and gain uency in integrating the new element into their vocabulary of other known rhythmic and melodic elements. In stage 1, students aurally practice the rhythm or solfège syllables and hand signs for the new element with music skills. In stage 2, students visually practice the new element with musical skills. Aural practice should take place independently from visual practice, but visual practice should never take place without recourse to aural practice. Tese stages of learning take place in a concentrated manner over three lessons and may be practiced independently or combined. Figure 3.14 demonstrates how the phases of learning are reected in dierent types of lessons.

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Fig. 3.14 Connecting Lesson Plans to Phases of Learning and Instruction

PHASE ONE: HE COGNIIVE PHASE PREPARAION Lesson 1 Stage 1: internalizing music through kinesthetic activities; constructing kinesthetic awareness

Ss listen to  sing the new song. Ss perform the new song with movement. Rationale: to match patterns of experience to patterns of music. Lesson 2 Stage 2: describe what you hear; constructing aural awareness by responding to questions

Ss aurally analyze the characteristics of the new musical element with the help of the teacher. Ss describe the characteristics of the new element.

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Rationale: to verbalize what they perceive. Lesson 3 Stage 3: constructing a representation from memory: constructing visual awareness

Ss create a visual representation based on their aural understanding. Rationale: to visually represent what they have heard and verbalized.

PHASE WO: HE ASSOCIAIVE PHASE PRESENAION Lesson 4 Stage 1: associate the sound of the new element with solfège or rhythmic syllables. Lesson 5 Stage 2: associate traditional notation with the sound of the new musical element. Aer lesson 5, the new element is now referred to as a known element.

PHASE HREE: ASSIMIL

AIVE PHAS E PRACICE

Aer the h lesson,  begins with the introduction of another new element in preparation/ practice and presentation lesson plan cycle. During the practice segments of these lessons,  assimilates the known element. Stage 1: Ss aurally practice music skills, assimilating the new element, in familiar and new songs. Stage 2: Ss visually practice music skills, assimilating the new element, in familiar and new songs.

Teaching Strategies

Te lesson plan designs and lesson plans below represent how students begin the process of understanding the sounds of a new element before learning how to notate it. Tese plans show where the various phases and stages of learning take place. We will include aer each plan design a lesson plan segment from an actual lesson plan so you can see how these ideas translate into practical applications in the classroom. For the purposes of showing you examples of lesson plans, we use these elements: New element

Grade 3, Unit 3, low la

Known element

Grade 3, Unit 3, eighth note followed by two sixteenth notes

New element

Grade 3, Unit 4, teaching two sixteenth notes followed by an eighth note

Known element

Grade 3, Unit 4, low la

Lesson 1: Kinesthetic Table 3.8 shows the lesson plan design for developing a preparation/practice lesson plan framework for the cognitive phase of learning, stage 1.

Table 3.8 Outcome INRODUCOR

Y ACIVIIES

Warm-up Sing known songs Develop tuneful singing one production Diction Expression Review known songs and elements CORE ACIVIIES each a new song Preparation of new concept

Cognitive Phase, Stage 1

Develop knowledge of music literacy concepts

Ss listen to the instructor sing the focus song.

Ss perform the focus song with a movement that Internalize music through kinesthetic demonstrates the concept. activities Rationale: o match patterns of experience to patterns of music. (Continued)

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Table 3.8

(continued)

Creative movement Practice music performance and literacy skills Reading and listening

SUMMARY ACIVIIES Review lesson outcomes Review the new song

Table 3.9 shows a lesson plan for developing a preparation/practice lesson plan frame work for the cognitive phase of learning, stage 1.

Table 3.9

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Grade 3: low la, Lesson 1

Outcome

Preparation: internalizing a pitch a skip lower thando through kinesthetic activities Practice: reading the rhythm of melodies containing an eighth note followed by two sixteenth notes.

INRODUCOR

Y ACIVIIES

Warm-up Sing known songs Develop tuneful singing one production Diction Expression Review known songs and melodic elements CORE ACIVIIES each a new song Develop knowledge of music literacy concepts Internalize music through kinesthetic activities

“Phoebe in Her Petticoat” CSP: A • Ss sing “Phoebe in Her Petticoat” and keep the beat. • Ss sing the song and clap the melodic contour for the target phrase (phrase 1). • Sing song and point to a representation of themelodic contour on the board.

•  selects individuals to come to the board to point to the contour. (Continued)

Teaching Strategies

Table 3.9

(continued) • Ss find partners (could be same partner from the game) to mirror one another while clapping the contour. • Sing withrhythm syllables whileshowing melodic con tour.

Creative movement Practice music performance and literacy skills Reading


Lesson 2: Aural Table 3.10 has a lesson plan template for developing a preparation/practice lesson plan for the cognitive phase of learning, stage 2.


Y ACIVIIES

Warm-up Sing known songs Develop tuneful singing one production Diction Expression

Review known songs and elements CORE ACIVIIES each a new song Preparation of new concept Develop knowledge of music literacy concepts Describe what you hear

Cognitive Phase, Stage 2 Describe what you hear. • Ss aurally analyze the characteristics of the new musical with help of the instructor. • element Ss describe thethe characteristics of the new element by answering a series of carefully sequenced questions from . In this way, Ss can develop their audiation skills during the process of answering questions. Tey must inner-hear the focus phrase in order to be able to answer’s questions. (Continued)

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Table 3.10

(continued)

Creative movement Practice music performance and literacy skills Writing SUMMARY ACIVIIES Review lesson outcomes Review the new song

Table 3.11 presents a lesson plan for developing a preparation/practice lesson plan for the cognitive phase of learning, stage 2.

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Table 3.11


Outcome

Preparation: analyzing repertoire that contains a pitch that is a skip below do Practice: writing musical phrases that contain an eighth note followed by two sixteenth notes

INRODUCOR

Y ACIVIIES


Review known songs and melodic elements CORE ACIVIIES each a new song Develop knowledge of music literacy concepts Describe what you hear

“Phoebe in Her Petticoat” CSP: A •  directs half the class to continue the ostinato while the remaining sing the song. Switch. • Review kinesthetic awareness activities. •  and Ss tap the beat and sing the first phrase on “loo” before asking each question: • : “Andy, how many beats did we tap?” (four) • : “Andy, which beat has the lowest pitch?” (beat 4) (Continued)

Teaching Strategies

Table 3.11

(continued) • : “Let’s sing the phrase on ‘loo’ but sing ‘low’ for the lowest note.” •  sings the first four pitches on “loo.” • : “Andy, what hand signs do we use to sing those pitches? (mr dd) • : “Let’s sing our phrase with solfège syllables and hand signs but sing ‘low’ for our lowest pitch.” m ( rd d r d low) •• Ss sing andispoint downpitch for the low or pitch. : “Andy, our lowest a step a skip from do?” (skip) • Ss sing as a whole group, and then may select individuals to sing the target phrase. (m r d d r d low) • Ss sing “Phoebe in Her Petticoat” while sings “Over the River” as a partner song.

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Creative movement Practice music, performance, and literacy skills Writing


Lesson 3: Visual Table 3.12 presents a lesson plan design for developing a preparation/practice lesson plan framework for the cognitive phase of learning, stage 3.


Y ACIVIIES

Warm-ups Sing known songs Develop tuneful singing one production Diction Expression

Review known songs and elements (Continued)


Table 3.12

(continued) CORE ACIVIIES

each a new song Preparation of new concept

Cognitive phase


Stage 3: constructing a representation from memory Constructing visual awareness

Create a representation of what you hear

Students create a visual representation of the focus phrase based on their aural understanding. Rationale: to visually represent what they have heard and verbalized.

Creative movement Practice music performance and literacy skills Improvisation

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Table 3.13 shows a lesson plan for developing a preparation/practice lesson plan framework for the cognitive phase of learning, stage 3.

Table 3.13


Outcome

Preparation: creating a visual representation of a musical phrase containing a pitch that is a skip below do Practice: improvising musical phrases that contain an eighth note followed by two sixteenth notes

INRODUCOR

Y ACIVIIES


Review known songs and melodic elements CORE ACIVIIES each a new song (Continued)

Teaching Strategies

Table 3.13

(continued)

Develop knowledge of music literacy concepts Create a representation of what you hear

“Phoebe in Her Petticoat” CSP: A • Ss continue the ostinato while singing the song. • Review kinestheticand aural awarenessactivities. •  sings the target phrase on a neutral syllable. • : “Use Unix cubes to recreate what you heard.” • Ss create a visual representation of the target phrase. • Ss share their representations with each other. • Ss make corrections if necessary. •  invites one Ss to the board to share a representation. • Ss sing on “loo” as they point to the representation on the board. • Ss sing the song and put away their materials.

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Lesson 4: Presentation able 3.14 shows a lesson plan design for the associative phase of learning, stage 1, presentation. Label the sound.


Y ACIVIIES

Warm-ups Sing known songs Develop tuneful singing one production Diction Expression (Continued)


Table 3.14

(continued)

Review known songs and elements CORE ACIVIIES each a new song Presentation of music literacy concepts

Phase two: associative phase: presentation

Describe what you hear with solfège or rhythm syllables

Creative movement Presentation of music literacy concepts

Stage 1: associate the sound of the new element with solfège or rhythmic syllables with a focus pattern Phase two: associative phase: presentation

Describe what you hear with solfège or rhythm syllables

Stage 1: associate the sound of the new element with solfège or rhythmic syllables with a related pattern

SUMMARY ACIVIIES

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able 3.15 is a presentation lesson plan for the associative phase of learning, stage 1, presentation. Label the sound.

Table 3.15


Outcome

Presentation: label the pitch that is a skip belowdo as low la

INRODUCOR

Y ACIVIIES

Warm-up Sing known songs Develop tuneful singing one production Diction Expression Review known songs and melodic elements CORE ACIVIIES eaching a new song Presentation of music


literacy concepts Describe what you hear with rhythm or solfège syllables

CSP: A • Ss sing the song. • Review kinesthetic, aural, and visual awareness activities. • : “When we hear a pitch a skip belowdo, we call itlow la.” (Show sign.) (Continued)

Teaching Strategies

Table 3.15

(continued) •  sings phrase 1 with solfège syllables and hand signs. • Class sings the target phrase with solfège syllables and hand signs. • Six to eight individual Ss sing the target phrase with solfège syllables and hand signs. • Ss perform the rhythm of phrase 1 as a rhythmic ostinato into the next song 2 $ ( sdsd\sdq>).

Creative movement Presentation of music literacy concepts Describe what you hear with rhythm or solfège syllables

“Jim Along Josie” CSP: A • Ss sing the song. • Ss sing with rhythm syllables while keeping the beat. • Ss sing the target phrase with solfège syllables and hand signs. • Ss identify the solfège syllables of theremaining phrases. • Ss sing the song with solfège syllables and hand signs. •  connects low la to other known songs; and Ss sing these songs with solfège syllables and hand signs. ○ “Rosie, Darling Rosie” ○ “Big Fat Biscuit” ○ “Jim Along Josie” ○ “Old Mr. Rabbit”


Lesson 5: Presentation able 3.16 shows a template for a presentation lesson plan for the associative phase of learning, stage 2, a new element.


Y ACIVIIES

Warm-up Sing known songs Develop tuneful singing one production Diction Expression (Continued)

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Table 3.16

(continued)

Review known songs and elements CORE ACIVIIES each a new song Presentation of music literacy concepts Notate what you hear

Creative movement Presentation of music literacy concepts Notate what you hear

Phase two: associative phase: presentation Stage 2: associate traditional notation with the sound of the new musical element in a focus pattern

Phase two: associative phase: presentation Stage 2: associate traditional notation with the sound of the new musical element in a related pattern

SUMMARY ACIVIIES

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able 3.17 has a presentation lesson plan for the associative phase of learning, stage 2, presentation. Present the notation.

Table 3.17


Outcome

Presentation: presentlow la in standard and staff notation INRODUCOR Y ACIVIIES

Warm-up Sing known songs Develop tuneful singing one production Diction Expression Review known songs and melodic elements CORE ACIVIIES eaching a new song Presentation of music literacy concepts Notate what you hear

“Phoebe in Her Petticoat” CSP: A •  directs part of the class to continue singing “Sailing o’er the Ocean” while the remainder sing “Phoebe in Her Petticoat.” •  reviews aural presentation. (Continued)

Teaching Strategies

Table 3.17

(continued) •  places low la on the tone ladder. • Ss sing all known solfège syllables and their intervals. • Ss write the solfège syllables for phrase 1 of the song beneath the standard notation. • Ss read the notation with solfège syllables and hand signs. •  explains the rule of placement for low la. •  writes the first phrase of the song in staff notation and explains rule of placement for low la (do = C, F, G). • Ss read the notation with solfège syllables and hand signs.

Creative movement Presentation of music literacy concepts Notate what you hear

“Jim Along Josie” CSP: A • Ss sing with words and conduct. • Ss sing with solfège syllables and hand signs. • Ss place the solfège syllable tone set on the tone ladder and sing with hand signs. • Ss read the standard rhythmic notation with solfège syllables written beneath with hand signs. •  reviews the r ule of placement. •  presents the target phrase on the staff. • Ss read the target phrase on the staff with solfège syllables and hand signs.


Te assimilative phase, stages 1 and 2, takes place during the next units. Stages 1 and 2 are integrated into various sections of lessons of the next units. In our lesson plan structure, we focus on the skills of reading, writing, and improvisation during the next three lessons at the same time as we are preparing another new element to be mastered.

Lesson Segment for Practicing Reading We use the preparation/practice lesson plan framework, but note how we focus on practicing reading while preparing the next new element (able 3.18).

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Table 3.18

Grade 3: Two Sixteenths, One Eighth Note, Lesson 1

Outcome

Preparation: internalizing three uneven sounds on one beat (short short long) through kinesthetic activities Practice: reading music with low la

INRODUCOR

Y ACIVIIES


Review known songs and rhythmic elements CORE ACIVIIES

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each a new song Develop knowledge of music literacy concepts Internalize music through kinesthetic activities

Creative movement Practice music performance and literacy skills Reading

“Phoebe in Her Petticoat” CSP: A • Ss sing the song. • Sing using solfège syllables andhand signs; one S places notes on tone ladder. • S identifies scale. • Ss read from traditional notation and solfège syllables using hand signs. • Ss read from staff notation using solfège syllables and hand signs in the keys of C, F, and/or G. • Ss read the main theme of “An Evening in the Village,” from Hungarian Sketches, by Béla Bartók (1881–1945) from ’s hand signs and listens to the melody.


Teaching Strategies

Lesson Segment for Practicing Writing We use the preparation/practice lesson plan framework, but note how we focus on practicing writing while preparing the next new element (Table 3.19).

Table 3.19

Grade 3: Two Sixteenth Notes, One Eighth Note, Lesson 2

Outcome

Preparation: aurally analyze repertoire that contains three uneven sounds on one beat Practice: writing music with low la

INRODUCOR

Y ACIVIIES


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Review known songs and elements CORE ACIVIIES each a new song Develop knowledge of music literacy concepts Describe what you hear

Creative movement Practice music performance and literacy skills Writing

“Phoebe in Her Petticoat” CSP: A • Ss sing the song. • Ss sing the song with solfège syllables. • Ss write the solfège syllables under the rhythmic notation on the board. • Ss complete the writing worksheet. • Ss sing in canon aer two beats.


Lesson Segment for Practicing Improvisation We use the preparation/practice lesson plan framework, but note how we focus on F.5 practicing improvisation while preparing the next new element (Table 3.20). Fig. 3.8Fig. 3.8Fig. 3.15Fig. 3.17Fig. 3.18


Table 3.20 Lesson 3

Grade 3: Two Sixteenth Notes and One Eighth Note,

Outcome

Preparation: creating a visual representation of a musical phrase that contains three uneven sounds on a beat (short short long) Practice: improvising melodic patterns that containlow la

INRODUCOR

Y ACIVIIES


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Review known songs and rhythmic elements CORE ACIVIIES each a new song Develop knowledge of music literacy concepts Create a visual representation of what you hear


“Phoebe in Her Petticoat” CSP: A • Ss sing “Phoebe in Her Petticoat.” • Ss sing with solfège syllables and hand signs. • Ss identify the form. (ABAD) • Ss place the tone set on the board. • Ss sing a new A phrase incorporating low la ending on so from  pointing to tone set. (d l,-dr-ms-s) D phrase will be last phrase of “Phoebe in Her Petticoat.” • Ss sing new A; individual Ss improvises a new B phrase, and Ss sing new A followed by D.


Chapter

4

Students as Performers Developing Music Skills and Creative Expression

Tis chapter provides a quick overview o techniques or developing tuneul singing, reading, writing, improvisation, playing instruments, creative movement, and listening skills. More detailed activities are included in Chapters 3 and 7 o Kodály oday. Also included are listening examples that may be used or movement development as well as to develop music literacy skills. When possible, music skills should practice all o the rhythmic and melodic elements outlined in the curriculum or each grade. Grade three elements include knowledge o pitches o the extended pentatonic scale and the minor pentatonic scale. Rhythmically, students will understand sixteenth notes, sixteenth note and eighth note patterns, internal and external upbeats, and the concept o subdivision o beats in compound meter.

Tuneful Singing Skills Posture 1. Balance the head. o accomplish this, the ace should look straight ahead. ry several exercises, such as moving the head up and down and sideways to relax the head and neck muscles. Stand with your back against a wall and make sure that your head and the heels o your eet are touching the wall. Te head should eel suspended as i you are a puppet or a balloon. Keep the spine straight. 2. Explain the correct seating position: Shoulders should be relaxed and rotated toward the back. Neck muscles should be relaxed. ongue should be relaxed in the bottom o the mouth. Spine should be extended. Rib cage is lifed. Be at the edge o your chair when singing. Feet are on the floor. Hands are on the legs. Eyes are on the conductor.

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KODÁLY IN THE THIRD GRADE CLASSROOM 3. Explain the correct standing position: Shoulders should be relaxed and rotated toward the back. Neck muscles should be relaxed. ongue should be relaxed in the bottom o the mouth. Spine should be extended. Rib cage is lifed. Arms should dangle reely at the sides. Hands should be relaxed at the sides. Knees should be relaxed and very slightly bent. Feet should be firmly placed on the ground and roughly ten to twelve inches apart. Make sure is resting on the balls o the eet. Eyes are onthe thebody conductor.

Body Warm-up

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1. Body stretches. eacher explains that students’ shoulders should be kept down, and they should reach or the stars; each hand should alternate with the other. 2. Shaking arms. Extend arms in rom o your body and shake each arm separately. 3. Shoulder roll. Roll each shoulder separately, making a circle. 4. Shrugging shoulders. Shrug your shoulders, hold position or several counts, and then release. 5. Head rolls. Drop head to lef shoulder and trace a hal circle, moving chin toward chest and right shoulder. 6. Neck stretch. Drop the right ear to the right shoulder and the lef ear to the lef shoulder. Move the neck, making a yes-or-no motion. 7. Facial stretch. Ask students to act surprised. ry to drop your jaw and say mah, mah, mah several times. 8. Knee flex. Arms should be extended orward and hands should be relaxed; bounce the body by flexing the knees. 9. Wiggle toes. Wiggle toes inside your shoes.

Breathing 1. Correct breathing posture.Students lie on the floor with a book placed on their abdominal muscles. When inhaling, the book rises, and when exhaling, the book lowers. Students should stand and place a hand on the abdominal muscles. Tey then exhale and inhale, paying attention to the abdominal muscles and not raising their shoulders. Tey need to be encouraged to take in a deep breath through their nose and mouth and not a shallow one. Sometimes it is useul or students to exhale air against the palm o the hand. 2. Awareness of the diaphragm and other abdominal muscles for breathing. Tese exercises will help students understand use o the abdominal muscles or breathing: Show students how to sip through a straw correctly and expand their waist. Show students how to release air using a “sss” or hissing sound. Show students how to release air using the word “ha.” Guide the students to yawn, as this opens up the back o the throat and relaxes the voice.

Students as Performers

3. Sighing. Tis is a gentle way o using a higher voice than students usually speak with. ry having them sigh a ew times, starting each sigh a little higher than the last. 4. Practice breathing. Breathe in through the nose or our counts and exhale through the mouth or our counts. 5. Consonants. Students echo our-beat patterns o consonants (k-k-k-k, ss-ss-ss-ss, p-p-p-p, zz-zz-zz-zz, etc.).

Resonance 1. Use ofsof sirens. the sound o along siren with thesirens, voice. and Challenge to make andImitate loud, high and low, and short sirens the thatstudents just go up, just come down, or do both. 2. Falling off a cliff.Pretend you’re alling off a cliff and say “aaaahhhhhhhhhh!” 3. Use a ball. eacher throws a ball rom one student to another. Students have to ollow the movement o the ball with their voices.

one Production 1. Humming melodic patterns from folk songs. Students hum a pattern rom a song, but the last note should be shortened to take a breath and repeat the pattern. 2. Singing known songs with the word yip. Students sing known song with a “yip” sound. 3. Students speak with a “koo” sound. Students repeat “koo” to known rhythm patterns. 4. Students sing with a “koo” sound. Students sing known melodies to a “koo” sound. 5. Pure vowel sounds. Sing with known solège syllables and hand signs. 6. Combination vowels. Sing vocalizations that include combinations o vowels to the melodic patterns in songs, or example, using “mi-oh” and “my.” I sung to “Snail, Snail” we have this: Phrase 1: “mi-oh mi–oh,” Phrase 2: “mi-oh mi-oh mi-oh my.” 7. Vowel focus on v. Direct students to sing “voo-voh, vah-veh-vee” using pentatonic patterns and motis. 8. Combination vowels. Students sing the sequence o “oh-oo-ah” on notes o the pentatonic scale. For example, students sing the three vowel sounds on mi and then re and finally do. Pay attention to the jaw on all the vowel sounds. Keep repeating but sing a minor second higher each time. 9. Extending vocal range. Students practice singing a phrase o a song and repeating it a minor second higher. Use a pure vowel sound. Every time you repeat, you can sing another on a new vowel sound.

Diction 1. ongue twisters sung.Students gain flexibility by singing tongue twisters on one pitch and repeating at intervals o a minor second. 2. ongue twisters sung with two voice parts. Students gain flexibility by singing tongue twisters at the interval o a ourth or fifh.

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KODÁLY IN THE THIRD GRADE CLASSROOM 3. Unvoiced consonants.Students say the unvoiced consonants p, t, and k using rhythm patterns o songs. 4. Voiced consonants.Students sing songs using voiced consonants b, d, g, and j. 5. Inner smile. Singing melodic patterns with an inner smile. Ask students to keep their lips closed and do an inner smile. Using this position, ask them to echo-sing melodic patterns with this inner smile. 6. Practice singing diphthongs(dominant vowel sound and a lesser vowel sound. For example, practice saying and singing on a pitch: How now brown Cow Te rain in Spain stays mainly in the plain Like a smart child

uneful Singing

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1. Review interval practice rom the second grade: work with patt erns such as so-mi-do, so-mi-re-do, la-so-mi-do, la-so-mi-re-do . Review the do-so and so-do perect intervals. All o these patterns can be practiced with the teacher using two hand signs. Another important interval to review is so-re. Again, this may be practiced by singing pentatonic songs while the teacher gently hums a sodrone throughout the song, or it may be practiced with two-part hand sign singing. Students are now introduced to low la , which introduces students consciously to the minor scale. It is through modeling that the teacher presents the basic ormulas, using well-known songs or patterns la-do-re and la-do-re-mi . In a minor context, the rein a minor setting will be sung closer to the do than in a major setting and the interval between la and do will be much darker. Now the students are ready to sing more interesting melodic ostinatos in two parts. 2. Singing phrases of songs on “oh” sound. Students sing phrases o songs on “oh” and make sure the tone is very light and relaxed. 3. Singing with dynamic markings.Students should sing known melodies using the correct dynamic names and terms: pp pianissimo p piano mp mezzo-piano mf mezzo-orte f orte ff ortissimo It is best to sing songs using two contrasting dynamics, as with f and p. 4. Sing songs using two-part hand signs. Students sing in two parts rom the teacher’s hand signs. Begin with using a sustained tone in one vocal part. 5. Singing longer phrases. Students sing known songs but combine two phrases into one. 6. empo markings. Students should be taught the Italian terms and English meanings: Largo very slow Adagio slow Andante moderately slow


Moderato moderate Allegretto moderately ast Allegro ast Presto very ast Students should begin singing known songs using two differing tempi. 7. Staggered breathing. Students sing on one pitch using the word “loo” and must learn to breath quietly and enter sofly afer each breath to maintain the sound and vowel color. 8. Staccato and legato. Students practice singing songs legato and staccato.

Reading Skills We distinguish reading as ollows: when students read a melody, they know it is reerred to as reading. When the teacher transorms a known melody to create a new and unamiliar melody, we reer to this as sight singing.

Rhythm Reading Activities Read traditional rhythmic notation rom flash cards, the interactive SMAR board, or worksheets. Read a known song rom rhythmic notation that includes grade three elements. Te process: 1. Sing the song and tap the beat. 2. Sing the song with rhythm syllables. 3. ap the beat as the students keep the beat and read the rhythm o the complete song, or the rhythm o a specific phrase using inner hearing or aloud.

Transform Rhythm of Known Song into an Unknown Song ransorm a known song into an unknown song by sequentially changing rhythms that include grade three elements. Te process: 1. 2. 3. 4.

Students sing a known song. eacher erases parts o the song. Students clap the rhythm and say the new rhythm syllables. eacher transorms to a new rhythm entirely and sings a new song.

Form Present mixed-up phrases o the rhythm o a known song to have students correctly rearrange the orm. Te process: 1. eacher presents the phrases out o order. 2. Students identiy the song. 3. Tey arrange the phrases in proper order. 4. Students sing the song.

Inner Hearing Students can practice inner hearing using both aural and visual activities.

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KODÁLY IN THE THIRD GRADE CLASSROOM Aural Inner-Hearing Exercises Students chant rhythm o a known melody and inner-hear specific rhythmic motis signaled or indicated by teacher. Te process: 1. Sing song with text. 2. Sing song with rhythm syllables and keep the beat. 3. Sing song with rhythm syllables; teacher signals which measures to chant silently. Visual Inner-Hearing Exercises Students read the rhythmic notation o a known melody and inner-hear certain motis indicated by teacher on the reading exercises. Te process: 1. Sing song with text. 2. Sing song with rhythm syllables and keep the beat. 3. Sing song with rhythm syllables rom notation; teacher indicates which measures to chant silently. Students read the rhythmic notation o an unknown melody and inner-hear certain motis indicated by teacher in the reading exercises. Te process:

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1. Sing song with text. 2. Sing song with rhythm syllables and keep the beat. 3. Sing song with rhythm syllables rom notation; the teacher indicates which measures to chant silently.

Matching Match song titles to written rhythms that include grade three elements. Te process: 1. List the titles o our songs on the board. 2. Write a phrase rom each o the our songs in rhythmic notation. 3. Students match the rhythm to the title o the song.

Error Identification Students read the rhythm o a known song and identiy rhythmic errors that are made by the teacher. Te process: 1. eacher or a student writes a sixteen-beat rhythm pattern. 2. eacher or the student claps a slightly different pattern. 3. Another student must identiy the phrases and the beats where the changes occur.

Retrograde Read a rhythm o a known song in retrograde that includes grade three elements. Te process: 1. 2. 3. 4.

Sing song with text. Sing song with rhythm syllables and keep the beat. Sing song with rhythm syllables rom notation. Sing song backward with rhythm syllables rom notation.


Two-Part Rhythm Reading Students read the rhythm o multiple songs, and they sing one song while reading the rhythm o another. Te process: 1. Students sing known song A. 2. Divide class into two groups. One group claps rhythm o song B while the other sings song A. Reverse. 3. Students sing song A and clap rhythm o song B. Students read two-part rhythmic notation that includes grade three concepts. Te process: 1. Students speak each part all together on rhythm names. 2. Divide class into two groups. One group claps rhythm o upper part while other claps rhythm o lower. Reverse. 3. Students chant the rhythm to the upper part and clap rhythm o lower part.

Canon 1. 2. 3. 4. 5.

Students say the rhythm syllables and clap the rhythm rom notation. Students think the rhythm syllables and clap the rhythm. Students think and clap the rhythm while the teacher taps it in canon. Te teacher claps the rhythm while the students clap it in canon. Divide the class into two groups. One hal cla ps the rhythm while the other hal claps in canon so that the teacher can observe any students who may be having difficulty. 6. Individuals may then perorm the rhythmic canon saying the rhythm syllables while clapping it in canon.

Sight Singing the Rhythm of an Unknown Song eacher places rhythm o unknown song on board or reading. Te process: 1. Students sing songs containing rhythmic motis in the new reading activity. 2. eacher hums these motis and students identiy with rhythmic syllables and clap the rhythm. 3. Students clap and read rhythm o song with rhythm syllables with inner hearing. 4. Students clap and read rhythm o song with rhythm syllables. Extensions: • Play the rhythm on instruments. • Read the rhythm backward (in retrograde). • Change into an improvisation activity by erasing beats.

Reading Alternating Phrases for Rhythm Read alternating phrases o a known song.

1. eacher writes rhythm o known song on board. 2. eacher and students alternate reading phrases and then switch.

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Melodic Reading Hand Signs Sing a known and an unknown song rom teacher’s hand signs to include grade three concepts. Te process: 1. eacher sings on “loo” and shows hand signs or a phrase o music. 2. Students sing with solège and hand signs.

Tone Ladder eacher points to a pattern on the tone ladders that includes grade three concepts. 1. eacher points to notes o a known song on the tone ladder. 2. Students can sing each note or wait to sing the melodic moti. 3. Students sing with solège and hand signs.

Reading Traditional Rhythmic Notation with Solfège Syllables Students read known melodies rom flash cards or rom the SMAR board to include grade three elements. Tey sing known elements using solège and hand signs. Te process:

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1. Students sing the known song with rhythm syllables. 2. Te teacher points to the notation, keeping the beat while the students read the rhythm syllables and clap the rhythm. 3. Te teacher points to the notation, keeping the beat while the students clap the rhythm. 4. Te students locate the highest and lowest notes. 5. Te teacher provides the starting pitch and may have the students sing the tone set. 6. Students read the melody rom the teacher’s hand signs. Te teacher may hum an occasional note to help the students. 7. Te students read and perorm the exercise aloud singing with solège syllables. 8. Te students perorm the exercise aloud singing on a neutral syllable.

Flash Cards Students read unknown melodies rom flash cards or a SMAR board that include grade three elements. Tey sing the known element using solège and hand signs. Te process: 1. Te instructor points to the notation, keeping the beat while the students read the rhythm syllables and clap the rhythm. 2. Te instructor points to the notation, keeping the beat while the students clap the rhythm. 3. Te students locate the highest and lowest notes. 4. Te instructor provides the starting pitch and may have the students sing the tone set. 5. Students read the melody rom the instructor’s hand signs. Te instructor may hum an occasional note to help the students. 6. Te students read and perorm the exercise aloud singing with solège syllables. 7. Te students perorm the exercise aloud singin g on a neutral syllable.


Reading from Finger Staff Sing a song while showing placement on a finger staff that can include grade three concepts. Te process: 1. eacher sings with solège syllables and shows placement on finger staff. 2. Students sing with solège syllables and show placement on finger staff.

Reading from the Staff Students read known melodies with solège syllables and letter names rom the staff that include grade three elements. Students sing using solège syllables and hand signs. melodies with solège syllables andsyllables letter names romsigns. the staff thatStudents include read gradeunknown three elements. Students sing using solège and hand 1. Students sing the known song with rhythm syllables. 2. Te instructor points to the notation, keeping the beat while the students read the rhythm syllables and clap the rhythm. 3. Te instructor points to the notation, keeping the beat while the students clap the rhythm. 4. Te students sing the known song with solège syllables. 5. Te students locate the highest and lowest notes. 6. Te instructor provides the startingitch p and may have the students sing the tone set. 7. Students read the melody rom the instructor’s hand signs. 8. eacher reviews the rule o placement or the students, and they read the notes o the melody rom the tone set written on the staff. 9. Te students showthe hand signs anduse their inner hearing while the instructor points to keep the beat. Te instructor may hum an occasional note to help the students. 10. Te students read the known song rom the staff aloud singing with solège syllables and hand signs. 11. Te students perorm the exercise aloud singing on a neutral syllable.

Transform a Melody ransorm a known song into an unknown song by sequentially changing rhythms and pitches. Tis can be accomplished using traditional rhythmic notation and solège syllables or rom the staff. Te process: 1. Sing known song. 2. eacher transorms parts o song. 3. Students clap rhythm, say new rhythm syllables, and sing with solège syllables. 4. eacher transorms additional parts o a new melody. Students sing new song.

Form Present mixed-up phrases o a known song written with traditional rhythmic notation and solège or on the staff, and students correctly rearrange the song. Te process: 1. eacher presents phrases out o order. 2. Students identiy the song. 3. Tey arrange in proper order. 4. Sing song.

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Inner Hearing Aural Activities Students read a known song rom the teacher’s hand signs with solège syllables and “hide” a specific melodic moti that is indicated by the teacher. Melodic notes include notes rom the grade three curriculum. Students read an unknown song rom the teacher’s hand signs and “hide” a specific melodic moti that is indicated by the teacher. Melodic notes include notes rom the grade three curriculum. Te process: 1. Sing song with text. 2. song with with solège solège syllables syllables and signs. 3. Sing Sing song and hand teacher will signal which measures to sing silently. Visual Activities Students read a known song rom rhythmic notation and solège or staff and “hide” a specific moti that includes notes o the grade three curriculum. Students read rom the staff and sing on solège with hand signs. Students read an unknown song rom rhythmic notation and solège or staff and “hide” a specific moti that includes notes o the grade three curriculum. Students read rom the staff and sing on solège with hand signs. Te process:

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1. Sing song with text. 2. Sing song with rhythm syllables and solège syllables and hand signs. 3. Sing song with syllables rom notation; teacher indicates which measures to sing silently .

Matching

Match song titles to written melodies that include notes o the grade three curriculum. Te process: 1. eacher writes phrases on board. 2. Students identiy sections rom known songs.

Error Identification Students read a known song and identiy rhythmic or melodic errors that include notes o the grade three curriculum. Te process: 1. Te instructor or a student writes a sixteen-beat melody on the board. 2. eacher or students sing changing the notes. 3. Another student must identiy the phrases and the beats where the changes occur.

Reading a wo-Part Known Melody from Rhythmic Notation and Solfège Syllables Students read two-part songs in rhythmic notation with solège that include notes o the grade three curriculum. Tey sing the known song with rhythm syllables and solège syllables.


1. Te instructor points to the notation o the upper part, keeping the beat while the students read the rhythm syllables and clap the rhythm. 2. Te instructor points to the notation o the lower part, keeping the beat while the students read the rhythm syllables and clap the rhythm. 3. Students clap the upper part and teacher claps the lower part. Reverse. 4. Divide the class into two groups. One group claps the upper part and the other group claps the lower part. Reverse. 5. Students read the upper part rom the teacher’s hand signs. 6. Students read the lower part rom the teacher’s hand signs. 7. Students read the upper part rom the teacher’s hand signs while teacher sings lowerread voice. 8. the Students theReverse. upper part with hand signs while teacher sings the lower voice. Reverse. 9. Divide the class into two groups. One group sings the upper part and the other group the lower part. Reverse. 10. One student sings the upper voice part and another shows the hand signs or the lower part. Reverse.

Reading a wo-Part Known Melody from Staff Notation Students read two-part songs rom staff with solège syllables that include notes o the grade three curriculum. Tey sing the known song with rhythm syllables and solège syllables. 1. Te instructor points to the notation o the upper part, keeping the beat while the students read the rhythm syllables and clap the rhythm. 2. Te instructor points to the notation o the lower part, keeping the beat while the students read the rhythm syllables and clap the rhythm. 3. Students clap the upper part and teacher claps the lower part. Reverse. 4. Divide the class into two groups. One group claps the upper part and the other group claps the lower part. Reverse. 5. Students read the upper part rom the teacher’s hand signs. 6. Students read the lower part rom the teacher’s hand signs. 7. Students read the upper part rom the teacher’s hand signs while teacher sings the lower voice. Reverse. 8. Te students locate the highest and lowest notes. 9. Te instructor provides the starting pitch and may have the students sing the tone set. 10. eacher reviews the rule o placement or the students, and they read the notes o the upper and lower parts rom the tone set written on the staff. 11. Students read the upper part with hand signs while teacher sings the lower voice. Reverse. 12. Divide the class into two groups. One group sings the upper part and the other group the lower part. Reverse. 13. One student sings the upper voice part and another shows the hand signs or the lower part. Reverse.

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Inner-Hearing Skills Hand Signs 1. Students ollow teacher’s hand signs o known songs and inner-hear solège. 2. Students ollow and sing teacher’s hand signs and inner-hear specific solège syllables. 3. eacher shows hand signs or a whole known song, and students inner-hear and recognize the song. 4. Students “sing” the indicated measures o a song using inner hearing.

one Ladder 1. Students ollow teacher pointing to tone ladder and inner-hear solège. 2. Students ollowand sing rom the one t ladder and inner-hear specific solège syllables. 3. eacher points out a whole song on the tone ladder and students inner-hear and recognize the song.

Rhythmic Notation or Staff Notation 1. Students recognize a song rom inner-hearing rhythmic or staff notation. 2. Sight-read and memorize a simple melodic pattern without hearing it aloud.

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Flash Cards and SMAR Board 1. Students inner-hear rom flash card patterns. 2. Students sing three o the our melodic flash cards and inner-hear the last card, and then switch the last card to something new and repeat.

Rhythm 1. eacher claps rhythm or known a song and students inner-hear and recognize the song. 2. eacher sings part o a known song, and students inner-hear solège syllables and clap the rhythm or the second phrase.

Melody 1. Students inner-hear solège written out without rhythmic notation and recognize the song. 2. Tey inner-hear a song written with traditional notation and solège syllables. 3. Tey inner-hear a song written on the staff.

Additional Inner-Hearing Activities 1. Sing a melody with solège syllables; the teacher indicates where students should sing the melody silently. 2. Students read rom a score; the instructor indicates where they should sing silently with inner hearing.


3. Te teacher sings or plays a melody and the students have to remember the first note. Tis exercise can be extended rom short to longer motis. 4. Students sing a well-known song, and teacher claps a our-beat ostinato. Students must clap and sing known song. Tis activity can be extended to an eight-beat ostinato. 5. Students sing a series o notes, and the teacher plays a series o notes above or below those. Students must identiy the intervals o the solège o the melody sung or perormed by the teacher.

Writing Skills Writing Rhythm Manipulatives Students use manipulatives to create a visual representation o a new concept. Te process: 1. eacher sings ocus pattern on neutral syllable. 2. Students use Unifix cubes or SMAR Boards to create representation.

Fill in the Blank Fill in the blanks o a known song. Te process: 1. eacher and students sing song. 2. eacher sings song on “loo” and students echo-sing with rhythm syllables. 3. eacher has written song on the board with missing measure or measures, and students fills in missing measures.

Traditional Rhythmic Notation

Students write the rhythmic notation o known and unknown motis that include notes o the grade three curriculum. Te process: 1. 2. 3. 4. 5. 6. 7. 8. 9.

Sing the song and keep the beat. Te students sing the phrase and clap the beat. Te students sing the phrase and clap the rhythm. Te students sing the phrase with rhythm syllables. Students can draw a representation o the rhythm. eacher reviews how to write different sounds on the beat. Students write the phrase with stick notation. Students add note heads. Students read notation with rhythm syllables.

Writing Melody Manipulatives Students use manipulatives to create a visual representation o a new concept. Te process: 1. eacher sings ocus pattern on neutral syllable. 2. Students use Unifix cubes or SMAR Boards to create representations.

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one Set Write the tone set o a song on the board as it is being perormed that includes elements o the grade three curriculum. Te process: 1. Sing song with text. 2. Sing song with solège. 3. Inner-hear the song. 4. Student goes to the board and writes down highest to lowest pitches in the song.

Traditional Notation with Solfège Syllables Students write the rhythmic notation with solège syllables o a known or unknown song that includes elements o the grade three curriculum. Te process:

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1. Sing the song and keep the beat. 2. Te students sing the phrase and clap the beat. 3. Tey sing the phrase and clap the rhythm. 4. Tey sing the phrase with rhythm syllables. 5. Tey can draw a representation o the rhythm. 6. eacher reviews how to write different sounds on the beat. 7. Students write the phrase with stick notation. 8. Tey add note heads. 9. Tey read notation with rhythm syllables. 10. Tey sing the known phrase with solège syllables. 11. Students sing example and add solège syllables. 12. Practice the example on the hand staff. 13. eacher presents students with the note heads on the staff and students add the stems. 14. Present students with the rhythmic notation and students add the solège syllables. 15. Present notes on the staff, and students must add the note heads and stems. 16. Simultaneously sing and write the melodic phrase on the staff.

Fill in the Blank Students complete the empty measures o a known song with traditional notation and solège or on the staff. Te process: 1. eacher and students sing song. 2. eacher sings song on “loo” and students echo-sing with rhythm and solège syllables while conducting. 3. eacher has written song with missing measure or measures, and students fill in missing measures.

Writing a Pentatonic Scale Write a scale on the staff. 1. eacher writes known song on the board. 2. Students sing with solège syllables and hand signs. 3. Tey identiy the tone set.


4. Tey identiy steps and skips on the tone ladder. 5. eacher reviews the rule o placement or notes o the scale. 6. Students write the corresponding scale, marking the skips and steps on the staff.

Writing Major Scales Write a scale with correct hal and whole steps with appropriate accidentals. 1. eacher writes known song on the board. 2. Students sing with solège and hand signs. 3. Tey identiy the tone set. 4. identiythe hal andowhole steps or on the tone 5. Students eacher reviews rule placement notes on ladder. the staff. 6. Students write the notes on the staff by associating a solège syllable with each note o the scale. 7. Students indicate the hal and whole steps. 8. Students add the appropriate accidentals to maintain whole and hal step relationships.

Staff Notation Students write staff notation that includes elements o the grade three curriculum. Te process: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Sing the song and keep the beat. Te students sing the phrase and clap the beat. Tey sing the phrase and clap the rhythm. Tey sing the phrase with rhythm syllables. Tey identiy the meter and sing the phrase with rhythm syllables and conduct. Tey can draw a representation o the rhythm. eacher reviews how to write different sounds on the beat. Students write the phrase with stick notation. Tey add note heads, meter, and bar lines. Tey read notation with rhythm syllables. Tey sing the known phrase with solège syllables. Tey sing examples and write in the solège syllables beneath the rhythmic notation. eacher reviews rule o placement or students or a given do position. Students sing song with solège syllables and point to notes on the finger staff. Students write the note heads on the staff and then add the stems. Students sing the notation with solège syllables and hand signs.

Improvisation Skills Rhythm Improvisation Choose Alternate Ending Students clap the rhythm o a known song and choose an alternate ending rom our choices that contain the musical element being practiced in a our-beat pattern. Te process: 1. Students sing known song. 2. Tey identiy the orm.

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KODÁLY IN THE THIRD GRADE CLASSROOM 3. Tey sing the song with rhythm syllables. 4. Tey sing the song with rhythm syllables but choose an alternative rhythmic ending rom our choices.

Rhythm Chain Students improvise rhythm patterns. Te process: 1. Students clap a our-beat rhythm pattern one afer the other without pause, using known rhythmic patterns. 2. In another version, students clap a our-beat rhythm pattern one afer the other without pause, using known rhythmic patterns, but a student must repeat the our beats o the previous student.

Improvise Rhythmic Ostinato Students create a rhythmic ostinato to known songs. Te process: 1. 2. 3. 4.

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Students sing a known song. eacher demonstrates an improvised rhythmic ostinato. Students create their own rhythmic ostinato. Individuals perorm rhythmic ostinato on a classroom percussion instrument while class sings known song.

Improvise Rhythmic Pattern to Known Songs Students are challenged to fill in the missing measures o known songs with improvised rhythms. Te process: 1. Students are given the rhythmic notation o a known song. (Some o the measures contain only heartbeats or beat bars.) 2. Tey sing the song, perorming the rhythm where it is notated and patting the beat elsewhere. 3. Tey perorm the rhythm where it is notated and improvise elsewhere.

Creating a New Rhythmic Composition Based on a Form P rovided by the Instructor Students improve rhythms to a new orm. Te process: 1. Te instructor provides students with an A phrase (question) that is our beats long and asks students to improvise a B phrase (answer). Tis may be turned into a larger improvisation exercise using the orm ABAC. 2. Te instructor may speciy a longer compositio n, such as an AABA composition. 3. Tis could be perormed as a group activity or by an individ ual student. Tis exercise should be based on song material the class is studying.


Fill-in-the-Blank Improvisation Students improvise a new rhythm while reading. Te process: 1. Place a series o our flash cards on the board. 2. hree o the lash cards have a rhythm written on them; the third card is blank. 3. Ask students to clap flash cards 1, 2, and 4 while an individual student improvises a our-beat rhythm pattern or flash card 3. (When beginning this activity, consider putting our beats on the third card and ask them to change only one beat.)

Melodic Improvisation Improvise Melodic Ostinato Students create a our- or eight-beat melodic ostinato with known melodic elements. Te process: 1. Students sing known song with text. 2. Tey sing known song with solège syllables and hand signs. 3. eacher sings a melodic ostinato, and students sing known song with solège and hand signs. 4. eacher sings song and students improvise a new melodic ostinato.

Choose Alternate Ending Students sing a known song and choose an alternate ending rom our options that contain the musical element being practiced in a our-beat pattern. eacher gives students a series o choices with just the beginning and ending notes. Te process: 1. Students sing known song with text. 2. Tey sing known song with solège syllables and hand signs. 3. Tey sing known song with solège syllables and hand signs but only tap beats or the last phrase. 4. Tey sing known song with solège syllables and hand signs, and choose to complete the ending or the song rom our options provided by teacher.

Improvise New Phrases to Known Form Improvise phrases in a known song. Te process: 1. 2. 3. 4. 5.

eacher assigns each student a phrase o the orm ABA’C. Student 1 sings phrase A. Student 2 improvises phrase B. Student 3 improvises a variant or phrase A’. Student 4 improvises phrase C.

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Improvise New Form Improvise a new orm or a known song. Te process: 1. Students sing known song. 2. Tey analyze the orm o the known song. 3. Tey change the orm. 4. Tey perorm the song with a different orm.

Question and Answer Students create an answer to a question. Te process:

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1. eacher establishes the beat and sings a our-beat melody; students respond with a different our-beat melody. 2. Sing a pattern and ask the students to change one beat. (Tis can also be done visually and may be easier or some students.) 3. As students become more proficient, teacher lengthens the phrase or changes the tempo. Tis leads to perormance o melodic conversations. Question-and-answer conversations can continue as a chain around the class. Remember that it is best to begin the exercise using orms with these ending notes: A ends on low so; A’ ends on do A ends on re; B ends on do A ends on so; B ends on do A ends on re; B ends on do

Create Movement to a Given Form Create movements that correlate to the orm o a song or piece o music. Te process: 1. Students sing known song. 2. Discuss the orm. 3. Students create mov ements or each section o the song (i.e., verse or rerain). 4. Students perorm the song with movements.

Musical Memory Memorizing by Reading Hand Signs Show typical melodic and rhythmic patterns and ask the students to sing patterns back that include elements o the grade three curriculum. Te process: 1. Select a melody and show it with hand signs. 2. Students sing rom hand signs in solège syllables. 3. Students sing in canon with hand signs with solège syllables.


4. Students sing in canon with hand signs with letter names. 5. Students write the melody rom memory.

Memorization from Rhythmic Notation Students look at a rhythmic score and memorize it. Te process: 1. Students inner-hear the notation with rhythm syllables. 2. Tey identiy the orm. 3. Tey chant the rhythm syllables out loud. 4. Tey chant the example with rhythm syllables rom memory. 5. Tey may write the rhythm using rhythmic notation.

Memorization from Rhythmic Notation with Solfège Syllables Students memorize a new piece o music rom notation. Te process: 1. Students look at a score and memorize a phrase o the musical example by silently singing in their heads using hand signs. 2. Tey identiy the orm. 3. Tey sing the example with hand signs rom memory. 4. Tey may write the melody using rhythmic notation and solège syllables.

Memorizing from Staff Notation Students memorize a new piece o music rom staff notation. Te process: 1. Students look at a score and memorize a phrase o the musical example by silently singing in their heads using hand signs. 2. I some phrases o the musical example are known and others are unknown, the students may sing the known phrases and the teacher may sing the unknown phrases. Tey listen and learn the unamiliar phrases. 3. Tey may write the melody using rhythmic notation and solège syllables.

Inner-Hearing Memorization Students are given an unknown piece that contains known elements to learn without singing aloud. Te process: 1. Students inner-hear the example with rhythm syllables and keep the beat. 2. Tey inner-hear the example with solège syllables and hand signs. 3. Tey identiy the orm o the example. 4. Tey write down the example rom memory.

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Memorizing by Ear eacher plays a musical phrase on the piano, and students memorize by ear by ollowing this process: 1. 2. 3. 4. 5. 6.

Students identiy the meter. Tey sing the example with rhythm syllables. Tey identiy the solège syllables or the ending and starting pitches. Tey sing the example with solège syllables and hand signs. Tey sing the example with absolute pitch names and hand signs. Tey write the exercise or play it back on the piano.

Memorizing wo-Part Rhyth mical Examples Here is a process that may be used to memorize a two-part rhythm: 1. 2. 3. 4. 5.

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Sing the selected extracts in two parts. Memorize one part silently using rhythmic syllables. Sing the memorized part out loud while conducting. Practice the other part ollowing steps 1 through 3. Say and clap both parts in a group and then as solos using rhythmic syllables. 6. Write both parts o the musical example. 7. Clap one part and say the second part with rhythm syllables.

Memorizing wo-Part Musical E xamples

Tis process may be used or memorizing a two-part musical example written on the staff or in traditional rhythmic notation and solège: 1. 2. 3. 4. 5.

Sing the selected extracts in two parts. Memorize one part silently using rhythm and solège syllables. Sing the part out loud while conducting. Practice the other part ollowing steps 1 through 3. Divide the class into two groups. Group 1 sings the upper part and group 2 sings the lower part. Reverse. 6. One student can sing one part and show the hand signs or another. 7. Write both parts o the musical example. 8. Sing one part and play the other on the piano.

Understanding Form Identifying Form with Letters Use letter names to identiy the orm in more complex songs.


Students should be guided to aurally and visually recognize simple song orms such as AABA, ABAB, and ABAC. Understanding orm is valuable in helping students de velop their musical memory. For example, “Great Big House in New Orleans” is in ABAC orm. Tis orm is clearly audible when perormed with a breath every two measures. Te process: 1. Sing known songs. 2. Sing known songs and show the phrases. 3. Identiy each phrase with a letter name.

Comparing Forms It is important or students to compare the orms o the olk songs they are singing. Te process: 1. 2. 3. 4.

Students sing known songs. eacher writes orm on the board. Students write orm on the board. eacher sings two songs, and students categorize them by notating orm on the board.

Changing a Folk Song Is it important to identiy the orm o a song or children. Tis becomes an important component or improvisation. Te process: 1. Students label the orm o a olk song. For example, the orm o the “Canoe Round” is ABAC. 2. eacher erases the C and has students create a new C ending. 3. Students label the orm o the new olk song and chang e the song to reflect a new orm.

Movement It is important or students to create new movements to known songs. Tey should identiy the orm o the song so that the new movements will reflect the orm. Te process: 1. Students label the orm o a known olk dance. 2. Tey create a dance to show the orm o the music. 3. Tey are in groups o our and stand in the shape o a diamond. Tey all ace the same direction, and lead student improvises movement or phrase A that everyone copies. At the end o phrase A, students turn to the right, giving the group a new leader. I the second phrase is the same as A, then the leader does the same movement rom A; i it’s a new phrase, the leader will create a new movement or all to ollow. Tis pattern repeats until all children have been the leader. eacher leads the music by signing or playing an instrument.

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Part-Work Skills As you begin to implement these activities into your lessons, ollow this teaching sequence: 1. 2. 3. 4. 5.

eacher and class. Class and teacher. Divide the class into two groups, each perorming its own part. Switch. wo small ensembles, each perorming its own part. wo students, each perorming his/her own part.

Tis section gives techniques and activities that are divided between simpler and more advanced part work. Te activities are useul or helping students learn simpler repertoire. Once they have mastered these activities with easier repertoire, the transition to perorming more complex musical examples will occur more quickly.

Keep a Beat Sing a olk song while marching, walking, or in some way moving to the beat. Perorming a song while keeping the beat requires students to concentrate on two tasks at the same time. Tis activity is valuable in both the classroom and the choral rehearsal.

134 Keep a Beat and Demonstrate Music Comparatives Once students can sing and perorm the beat both accurately and musically, add the task o oundation altering tempo and able dynamics. o accomplish the students strong in being to demonstrate musicthis, comparatives suchwill as need slow a and ast, high and low, loud and sot, duple meter beat (marching), and compound meter beat.

Call-and-Response or Antiphonal Singing Although students perorm only one phrase o music in a call-and-response song, they must eventually learn to sing both phrases i they are going to be able to sing rhythmically and musically. Developing this ability requires audiation practice (using inner hearing). Call-and-response singing may be applied to olk songs (you may also think o call and response as responsorial singing). Some simple examples o call-and-response songs are “Skin and Bones,” “Charlie over the Ocean,” and “Pizza, Pizza.”

Pointing to a Beat Perorm or point to a visual o the beat in a song while singing. Tis “tracking” ability promotes more fluent music reading and reading in general. Students may also keep the beat by perorming it on a percussion instrument.


Clapping the Rhythm Sing a song while clapping the rhythm. Tis can be accomplished in a number o ways. Students need to perorm this activity musically and always according to the phrase. Tey may sing while clapping (we suggest clapping with two fingers) the rhythm or perorming the rhythm on a percussion instrument. wo students may perorm a simple olk song, one perorming the beat while the other does the rhythm; use different timbres or beat and rhythm. Te teacher may write the rhythm o a known song on the board and place the beat below the rhythmic notation. wo students can go to the board and perorm the song, with one pointing to the beat and the other to the rhythm.

apping on Specified Beat When students are singing amiliar melodies, ask them to tap on the strong beats while singing. Or they might tap on the rests in a known song or the beginning o each phrase. Tis activity may also be done with a musical instrument.

Singing the Final Note of a Composition Te teacher sings a known melody but does not sing the final note; students must fill it in. Tis activity helps them understand the tonal strength o each note. An interesting activity is to have students explore alternative endings to known compositions. Tis strengthens their understanding o harmonic unctions and voice leading.

Finding the onic Note of a Composition Tis exercise can be perormed with known songs, known canons, or new songs. Te teacher sings a known song to the students and stops in the middle. Students must identiy the tonic o the melody. Tey sing a canon; theteacher signals a pause. Students then must sing the tonic note.

Creating Organ Points on a Specified Beat Guide students to sing the first note o each phrase o a known composition on neutral syllable or to sustain a note in phrase or the length o the phrase. Tis could be the tonic note o the known melody. Tis activity is most successul when the students sing and the teacher provides an accompaniment.

Rhythmic Ostinato An ostinato is a repeated rhythmic or melodic motive used to accompany a song. Here we offer a procedure or perorming a rhythmic ostinato. Singing songs with hand-clapping movements can also be included in this category. For example, the singing game “Four White Horses” has specified hand-clapping movements to perorm while singing the song. Depending on the age o the students, you may use several ostinatos together. Te students sing the melody while the teacher claps a rhythmic ostinato or sings a melodic ostinato. (It is important, when teaching students a knowledge o rhythm, that the students do not develop their knowledge o rhythm on the basis o visual clues. Te

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KODÁLY IN THE THIRD GRADE CLASSROOM teacher should always make sure the students hear the new rhythm pattern being clapped, as opposed to it being seen.) Use this process: 1. Te students sing the melody while the teacher claps a rhythmic ostinato or sings a melodic ostinato. 2. Te students and the teacher exchange parts. 3. Divide the students into two groups, one group to sing and the other to perorm the ostinato. Switch tasks. 4. wo students perorm the work. 5. One student sings while perorming the second part. More advanced students can perorm the ostinato on percussion.

Performing Rhythm Canons Based on Simple Rhythms Tese canons are based on simple rhymes or rhythms o very simple melodies. B egin the canon afer one measure. Rhythm syllables can be used to perorm the canons. It is useul to practice both types o canons with amiliar material beore moving to unknown repertoire. Although the rhythm o many olk songs can work well when perormed in canon, the best songs or this type o activity are those that have a rest at the end o every phrase. A good example is “Bow Wow Wow.” Perorm the canon with two timbres. Te process:

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1. 2. 3. 4.

eacher and class. Class and teacher. Divide the class into two groups; each perorms its own part. Switch. wo small ensembles, each perorming its own part.

5. wo eachbegin perorming one rhythm part. o a simple song; the teacher can clap 6. Havestudents, the students to clap the in canon. Once they are comortable with hearing the canon, the teacher and students can reverse roles. Canons maybe perormed kinesthetically, aurally, and visually, or using a combination o techniques.

Performing a Kinesthetic Canon (Body Canon) Te teacher perorms a rhyme with a beat motion or every our beats. Te students ollow in canon, perorming the rhythm as well as the beat motion. For example, say “Ali Baba orty thieves” while tapping our beats. Now say it and tap the beats on different parts o your body, and have students imitate. Once students are proficient at this activity, perorm it in canon afer our beats with text. You could also perorm a rhythm and have students clap it back afer two or our beats.

Performing a Visual Rhythm Canon with Rhythm Syllables Te goal o this activity is or students to read a rhythm in canon. Te canon can be perormed with the teacher and students, or just the students. o perorm a rhythm canon visually, have students read rhythm flash cards o the rhyme or melody to be used or


the canon. Te teacher should keep a steady pulse but show the card quickly and move on to the next card while the students are still perorming the rhythm o the first card. In other words, give the students a brie look at every card in succession. Te speed o this process may be increase d so that the students are always saying something different rom what they are seeing. Students should perorm the canon by reading with rhythm syllables.

Performing an Aural Rhythm Canon with Rhythm Syllables Perorming aural canons can be more challenging than visual canons. Aural rhythm canons are perormed without the clapping aid o notation. I a motion is attached a phrase, exercise is simple to perorm. Echo is a preliminary preparation ortoaural canonthe work. Tis task can be made more complex by having students clap back the rhythm while chanting or singing the rhythm syllables.

Performing Simple Rhythm Canons Based on Simple Folk Songs Tese canons are based on the rhythms o very simple melodies. Rhythm syllables can be used to perorm the canons. Here is a procedure or perorming a rhythmic canon: 1. 2. 3. 4. 5.

Perorm the song with actions and words. Sing the song with rhythm syllables and keep the beat. Say rhythm syllables while clapping the rhythm. Tink the rhythm syllables and clap the rhythm. eacher taps the rhythm using a drum or wood block; students clap and say the rhythm syllables beginning afer our beats.

6. eacher writes the canonic part below the notation othe song.T: “Where should we begin writing the second part? What should be written in the empty measures?” 7. eacher and students may perorm in canon afer two beats. 8. Challenge a student to sing while pointing to the notation in canon.

Drones Students sing a olk song as the teacher accompanies the students’ singing with a tonic drone. As they gain fluency with this technique they can sing a drone made up o the tone and dominant notes to accompany known pentatonic melodies. Drones may be sung as held notes to each phrase, or they may be sung on the strong beats o each measure. Sometimes a teacher might sing an accompanying melody primarily made up o a dominant drone to accompany a pentatonic song. his is an excellent technique or developing in-tune singing. Pentatonic and diatonic melodies provide a good basis or the development o unctional and harmonic thinking. For do-centered and la-centered pentatonic songs, accompany the song by having a group o students sustain the tonal center while the class perorms the song. his pitch is the chord root note o the tonic triad. hese songs may also be accompanied by a drone made up o do-so or do-mi-so (major tonic triad) or do pentatonic repertoire and la-mi or

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KODÁLY IN THE THIRD GRADE CLASSROOM la-do-mi (minor tonic triad) or la pentatonic repertoire. Be mindul that sustained pitches tend to go lat.

Melodic Ostinato Students accompany known songs with melodic ostinatos. Melodic ostinati should be based on the melodic building blocks o known song repertoire. Tis activity is only appropriate or classes that have a good number o independent, strong singers.

Combining Drones and Melodic Ostinatos Divide the class into three groups. One group sings the olk song. A second group accompanies the olk song with a drone composed o the tonic note or tonic and dominant notes, and a third group sings a melodic ostinato.

Tree-Part Singing Here are examples o how to create pieces o music rom a simple olk song:

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1. Sing a melody with two complementary melodic ostinati. 2. Sing a pentatonic melody in canon and add a melodic ostinato. 3. Sing a melody in canon and add a third voice that sings a descant. Kodály’s “Ladybird” is an example o this compositional technique. 4. Rhythmic ostinatos work well with all o these techniques.

Discovering an Ostinato as the C hildren Sing a Known Song Te students sing a song while the teacher taps a rhythmic ostinato or sings the ostinato on one note. Children discover the ostinato and write it on the board.

Discovering an Ostinato as the C hildren Sight-Read a Song Have students sight-sing an unknown melody while the teacher taps a rhythmic ostinato or sings the ostinato on one note. Children discover the ostinato and write it down.

wo-part Hand Sign Singing (Note-Against-Note) Guide students to sing in two parts rom teacher’s hand signs. Using pentatonic musical examples beore moving to diatonic will ensure more secure intonation. Initially begin and end the exercise with the same notes. 1. Hold one tone in one voice while the other voice perorms a simple melody. Switch parts. 2. Show a simple canon rom hand signs (teacher signs both parts simultaneously). 3. Perorm two individual melodies holding one note against another voice. (One melody is more stationary than the other.) 4. Perorm two individual lines.


Singing Simple Melodies as Canons with ext All pentatonic songs may be sung in canon with text. Choose simple olk songs. Te teacher may begin to sing the melody and the children ollow in canon afer one measure. Careully select pentatonic songs that may be perormed as canons. Initially the canon should begin on the same pitch that the first part is singing. Tese songs meet the criteria: “Down Came a Lady”

Te second part begins afer our beats.

“I See the Moon”

Te second part begins afer two or our beats.

“BowWowWow”

Tesecondpart beginsafertwobeats.

Canons may be performed with words or with rhythm or solfège syllables. Once children have mastered singing simple pentatonic songs, they can sing pentachord, hexachord, and major and minor canons. Remember that canons may be performed aurally (without the aid of notation) or visually (using notation).

Partner Songs Remember that all pentatonic songs can be perormed in canon and can be perormed together. For example, hal the class may perorm the song “Liza Jane” while the other hal perorms “Rocky Mountain.” Here are additional examples o partner songs: “Dinah” and “Bounce High, Bounce Low” “Bow Wow Wow” and “I See the Moon” “Land o the Silver Birch” and “Cocky Robin?” “Liza Jane” and “Come Tru ’Na Hurry” “Liza Jane,” “Come Tru ’Na Hurry,” “All Around the Brickyard,” and “Dinah”

Singing a Known Song and Clapping Rhythmic Motives as an Accompaniment Guide students to sing one song while reading and clapping the rhythms o another known song. For example, the students may sing “Rocky Mountain” while reading and clapping the rhythm o “ideo.” Te teacher might ask students to read rom the board a series o our-beat rhythms that are abstracted rom a known song or are typical rhythms ound in the repertoire being sung by students. Another variation on this technique is or the teacher to label the phrases o a song or a series o rhythms with a number and the students sing a known song and clap according to a given number sequence, or example, 1, 4, 3, 2. In other words, they have to sing a known song, look at the number, and clap the corresponding phrase. Tis requires considerable concentration. It is always best that these activities lead to music making rather than be mere technical exercises.

Singing and Clapping a K nown Pentatonic Melody Create a two-part arrangement o a pentatonic olk song. Have the upper voice perorm phrase 1 and the lower voice phrase 2. Create a rhythmic ostinato or accompaniment or

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KODÁLY IN THE THIRD GRADE CLASSROOM the voice that is not singing. Divide the class into two groups. When group 1 begins, group 2 will perorm the rhythmic accompaniment. It is important or the students to sing the complete melody fluently with solège syllables and hand signs so that when they are clapping their part o the composition, they are also listening to the other voice part in order or the example to be perormed musically.

Singing Simple Pentatonic Melodies as Canons with Solfège Syllables All pentatonic songs may be sung in canon with solège syllables. Choose simple olk songs. Begin singing the melody with solège syllables and have the children ollow in canon afer one measure. Once children have mastered singing simple pentatonic songs, they can sing pentachord, hexachord, and major and minor canons. Remember that canons may be perormed aurally (without notation) or visually (using notation).

Sight Singing and Clapping in Canon Guide students to sight-sing an unknown melody, and clap the rhythm in canon afer one measure. Tis helps them develop the a cility o looking at two lines o music at thesame time.

Singing Pentatonic Scales in Canon

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Students can now sing major and minor pentatonic scales in two or more parts. Begin the canon afer two notes. Tis is an excellent activity or developing intonation.

More Advanced Part-Work Skills Divide the class into three groups. One group sings a pentatonic melody in canon and the other groups may sing a pentatonic scale in two or more parts. Tis activity is also excellent or developing secure intonation.

Singing Simple Pentatonic Folk Songs in Tree Parts In this activity, the class is divided into two groups. Perorm the pentatonic olk song as a two-part canon. Once the students can perorm the two parts with ease, the teacher may sing in canon with the students, creating a third part.

Sing Simple Pentatonic Melodic Motives and Melodies in Canon at the Octave, Fourth, and Fifth with Solfège Syllables Once students can sing simple melodies in canon, the teacher can add another challenge. Provide the starting pitch o a well-known song or students, and sing or play in canon in unison, and then in canon at the ourth or fifh. In other words, sing in canon but the second part will come in a ourth or fifh higher. Tis can be done with other intervals as well. Students will enjoy figuring out the puzzle as to how the teacher perormed the canon. Te teacher can sing the example using the same solège as the students.


Even though the teacher and students are technically singing in two keys, the canon can be sung using the same solège syllables. With the introduction o the major scale, students will understand that the scale is broken into two tetrachords, do-re-mi-fa and so-la-ti-do. A simple way to think about this exercise is to pe rorm “Hot Cross Buns” in canon, having students sing the melody with do-re-mi; the teacher can sing at a canon o a fifh using the notes do-re-mi or so-la-ti.

Music for Children’s Choir Bacon, Denise. 46 wo-Part American Folk Songs for Elementary Grades. Columbus, OH: Capital University, Kodály Center o America, 1973. Bolkovac, Edward. Sing We Now Merrily. New York: Boosey and Hawkes, 2007. Bolkovac, Edward, and Judith Johnson. 150 Rounds for Singing and eaching . New York: Boosey and Hawkes, 1996. acka, Philip, and Susan aylor-Howell.Sourwood Mountain: 28 North American & English Songs Arranged for wo Voices.Whitewater, WI: Organization o American Kodály Educators, 1986. aylor-Howell, Susan. Te Owl Sings: 22 Folk Songs Arranged for 2 or 3 Voices . Whitewater, WI: Organization o American Kodály Educators, 1997.

Singing Simple wo-Part Song Arrangements When teaching students to sing in two parts, build on their prior knowledge. It is a good idea to select two-part arrangements where they already know the melody; now they will be learning an arrangement o the olk song. Many o these olk songs can include some or all o these compositional techniques: 1. A rhythmic or melodic ostinato to accompany the olk song. 2. Including a tonic or a tonic and dominant drone that may be sung as an accompaniment. 3. Te melody line may be shared between the upper and lower voices. 4. Songs should include imitation.

eaching the Second Part to a Known Song by Rote Students should already be able to sing songs with rhythmic and melodic ostinato as well as songs in canon beore learning simple two-part songs. Here is a suggested teaching procedure or teaching a two-part song arrangement: 1. Sing the unamiliar part or harmony while playing the melody on the piano or perorming with another student. 2. Ask students questions based on the perormance o the song: A. Howthe many are there in this arrangement? B. Did twophrases parts begin and end each phrase together? C. Did both parts have the same text?

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KODÁLY IN THE THIRD GRADE CLASSROOM D. How would you describe the tune o the harmony line? E. Did both parts begin and end on the same pitch? 3. Sing the harmony line phrase by phrase and have the students repeat. Tis can be done with rhythm or solège syllables or on a neutral syllable i the students have not learned all the solège or rhythm syllables. Tis is easiest when done with text. 4. Perorm the melody on the piano or each phrase as the students learn the harmony line phrase by phrase. 5. Students and the instructor sing the harmony line while the instructor plays the melody line on the piano. 6. Te students Switch parts. sing the harmony line while the instructor sings the melody line. 7. Divide the class into two groups. Group 1 sings the harmony and group 2 sings the melody. Switch parts.

eaching the Second Part to a K nown Song by Note Here is a teaching procedure or working with a two-part song arrangement:

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1. All students should know the main melody. 2. Te instructor may sing the unamiliar part or harmony while playing the melody on the piano or have several students perorm the known melody. 3. Ask students questions based on the perormance o the song. A. How many phrases are there in this arrangement? B. Did the two parts begin and end each phrase together? C. Did both parts have the same text? D. How would you describe the tune o the harmony line? E. Did both parts begin and end on the same pitch? 4. Hum the harmony line while pointing to the contour o the melody on the board. Students repeat and point to the contour. Instructor repeats the exercise, but students have to repeat each phrase and indicate the contour with their hands. Students sing and draw the contour o the harmony line. 5. Te instructor identifies the rhythm and solège syllables o the harmony line phrase by phrase, and the students repeat. 6. Students are presented with the score and clap and sa y the rhythm o the melody with rhythm sy llables or numbers or counting. Te teacher prepares the staff placement or do, and students read the harmony line with solège syllables. 7. Sing the melody; the students perorm the harmony line with solège syllables. 8. Students perorm the harmony line with neutral syllables and then learn to sing the text with the help o the teacher. 9. Te students sing the harmony line while the instructor sings the melody line using solège and then text. Switch parts. 10. Divide the class into two groups. Group 1 sings the harmony and group 2 sings the melody using solège syllables and then text. Switch parts.


eaching a Simple wo-Part Song by Rote Students should already be able to sing and perorm songs with rhythmic and melodic ostinati, perorm in canon, and perorm simple two-part olk song arrangements prior to learning a two-part song that is not amiliar. 1. Perorm the new two-part song by singing one part and playing the other on the piano or by singing and having a student sing the second part or by playing a recorded perormance. 2. Ask students questions based on the perormance o the song. Perorm the song again and ask students to respond:

3. 4. 5.

6.

7. 8.

A. How many parts are there in this arrangement? B. What did you notice about the orm o the piece? C. How many phrases are there in this arrangement? D. Did the two parts begin and end each phrase together? E. Did both parts have the same text? F. Did both parts begin and end on the same pitch? G. Which is the harmony line? H. How would you describe the tune o the harmony line? Sing one part and play the second part on the piano phrase by phrase while the students repeat rom memory. Te students and instructor sing the first part while the instructor plays the second part on the piano. Sing the second part and play the first part on the piano, phrase by phrase, and have the students repeat rom memory. Hum or play the first part as the students are singing the second part phrase by phrase. Te students and instructor sing the second part while the instructor plays the first part on the piano. Te students sing the second part while the instructor plays the first part on the piano. Te students singthe second part while the instructor sings the first part. Swit ch parts. Divide the class into two groups. Group 1 sings the top part and group 2 sings the second. Switch parts.

eaching a Simple wo-Part Song by Note Here is a teaching procedure or working with a two-part song arrangement. 1. Sing one part o the arrangement while playing the second part on the piano or perorming with another student. Switch. 2. Ask students questions based on the perormance o the song: A. Where did you hear the melody? Or, which voice had the new melody? B. How many phrases are there in this arrangement? C. Did the two parts begin and end each phrase together? D. Did both parts have the same text? E. How would you describe the tune o the harmony line? F. Did both parts begin and end on the same pitch?

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KODÁLY IN THE THIRD GRADE CLASSROOM 3. Sing the melody line phrase by phrase and the students repeat. Tis can be done with rhythm or solège syllables or on a neutral syllable i the students have not learned all the solège or rhythm syllables. Tis is easiest when done with text. 4. Students sing the melody line with syllables and text. 5. Students sing the melody line, and the teacher hums the second part. eacher sings the second part with text. 6. Sing the harmony line phrase by phrase, and the students repeat. Tis can be done with rhythm or solège syllables or on a neutral syllable i the students have not learned all the solège or rhythm syllables. Tis is easiest when done with text. 7. Students harmony instructorperorm sings thethe melody line.line on their own. Perorm it a second time as the 8. Te students sing the harmony line while the instructor sings the melody line. Switch parts. 9. Divide the class into two groups. Group 1 sings the harmony and group 2 sings the melody. Switch parts. We now discuss more advanced part-work concepts and teaching techniques.

Singing Folk Songs in Tirds and Sixths

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As children begin to learn music o other cultures, they will discover the stylistic traits o this repertoire. Guide students to recognize amiliar elements in this repertoire, but also to discover a greater variety o musical elements. Singing olk songs in thirds and sixths is another skill in the development o part work.

Accompanying Melodies with onic and Dominant Chords Roots (Harmonic Functions) As students add the solège syllables fa andti to their melodic vocabulary, they begin to discover the need or a note other thando in major andla in minor melodies or their accompaniments. While they are singing known pentachord, hexachord, and diatonic melodies, the instructor should quietly hum the unctional notes (chord roots) do and so or do-centered pieces.

Sing or Hum la and mi for la-Centered Pieces Once the students are amiliar with these accompanying pitches, the instructor guides them to discover the solège syllables o the new accompanying notes and introduces the terms tonic unction and dominant unction.

Accompanying Melodies with onic, Dominant, and Subdominant Chord Roots (Harmonic Functions) When students sing olk songs rom Germany, many times the bass part outlines the notes o the tonic, subdominant, and dominant unctions.


Practice suggestions: • Students sing familiar songs while the instructor sings or plays the functional notes or chord roots as an accompaniment. • Students sing familiar songs while showing with hand signs when the functional note or chord root in the melody changes. • Individual students sing familiar songs while showing hand signs for the unctional note or playing the unctional notes on the piano. • Students identify the tonic, subdominant, and dominant functions of unknown melodies sung or played by the instructor. • Students transpose melodies into their parallel major or minor key and sing them with the corresponding unctions. • Students may be presented with sight-singing materials that include a melody and an accompaniment built on the tonic, subdominant, and dominant unctions. Tese materials can also be used or dictation, memory work, and analyzing the harmonic basis o the melodies. • Students relate harmonic functions to their knowledge of form. Tese exercises are very important or developing musicianship . Being able to harmonize melodies with the chord roots o tonic, dominant, and subdominant unctions develops another very important skill in our students, the ability to sense when chords change in music.

Instrumental Performance Skills Appropriate Instruments Xylophone: or playing a moving drone, ostinato, and melodies; two mallets striking Recorder: more extended range Claves: rhythmic ostinatos Rhythm sticks: rhythmic ostinatos Guitar: or playing chords Keyboard: accompaniment Drums: emphasize the beat ambourine: beat and rhythm

eaching Progression 1. Beginning music examples should be derived rom known singing material. Sing the song with text. 2. Perorm the music with rhythm syllables and conduct. 3. Perorm the music with solège syllables and hand signs. 4. Connect the fingering to solège syllables and perorm. 5. Read the music with rhythm syllables and conduct. 6. Read the music solège syllables and hand signs. 7. Sing the music with letter names and hand signs. 8. Perorm the example but inner-hear the solège syllables.

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Reinforce Concepts Using Instruments Beat Use simple percussion instruments to keep the beat o a rhyme or olk song.

Beat and Rhythm Use simple rhythm instruments to perorm the beat o a olk song and then the rhythm o a olk song; then use them to perorm the beat and rhythm o a olk song simultaneously.

Rhythmic Ostinati Use simple rhythmic instruments to perorm a rhythmic ostinato (a repeated rhythmic pattern) to a olk song. Ten use them to perorm two simultaneous-sounding ostinati to a olk song.

Melodic Ostinati Use glockenspiels, xylophone, metalophones, and melody bells to perorm a melodic ostinato to a olk song.

Canons Instruments may be used or playing canons in the classroom.

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Rhythmic Canons 1. eacher perorms a known rhythmic pattern in canon with students clapping the rhythmic pattern. Use simple rhythmic instruments.

Melodic Canons 1. eacher perorms a olk song in canon with students on a pitched percussion instrument. 2. eacher perorms a olk song in canon with students on piano. 3. eacher perorms a olk song in canon with students on guitar. 4. eacher perorms known melodic pattern on guitar and students echo with solège syllables.

Listening Tese activities may be used with instruments or developing listening. 1. eacher perorms and introduces a new song on a pitched percussion instrument. 2. eacher perorms an excerpt rom a listening example on a nonpitched instrument beore playing the recording or the students. 3. eacher perorms an excerpt rom a listening example on the recorder beore playing the recording or the students. 4. eacher perorms and introduces a new song on the recorder. 5. eacher perorms an excerpt rom a listening example on an instrument beore playing the recording or the students.


ransitions Here are two activities that use instruments to transition rom one segment o lesson a to another. 1. eacher perorms a rhythmic ostinato on a classroom instrument to accompany a olk song and maintains the ostinato to transition to the next song in the lesson. 2. eacher perorms a melodic ostinato on a classroom instrument to accompany a olk song and maintains the ostinato to transition to the next song in the lesson.

Aural Rhythmic Practice 1. eacher perorms known rhythmic pattern on nonpitched percussion instrument and students echo with rhythm syllables.

Aural Melodic Practice 1. eacher perorms known melodic pattern on pitched percussion instrument and students echo with solège syllables. 2. eacher perorms known melodic pattern on recorder and students echo with solège syllables. 3. eacher perorms known melodic pattern on piano and students echo with solège syllables.

Writing Rhythmic Practice 1. eacher perorms the ocus pattern or related pattern o a rhythmic concept on a nonpitched percussion instrument, and students write missing beats or whole pattern on the board. 2. eacher perorms the ocus pattern or related pattern o the concept on piano, and students write missing beats or whole pattern on the board.

Writing Melodic Practice 1. eacher perorms the ocus pattern or related pat tern o a melodic concept on a pitched percussion instrument, and students write missing beats or whole pattern on the board. 2. eacher perorms the ocus pattern or related pattern o a melodic concept on a recorder, and students write missing beats or whole pattern on the board. 3. eacher perorms the ocus pattern or related pattern o amelodic concept on guitar, and students write missing beats or whole pattern on the board.

Creative Movement Skills Improvisation Students improvise motions to a song. 1. eacher and students sing “Over the River” while playing a line game. 2. Students choose a movement and perorm. 3. Students repeat the process.

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Form Students choose movements to the orm o the song. 1. eacher and students sing “Johnson Boys.” 2. Students choose locomotor movement or one phrase (jog, walk, march). 3. Students choose a nonlocomotor movement or another phrase.

Ostinati Students demonstrate creative movement through ostinati (body percussion). 1. Students create our-beat ostinato using our levels o body percussion (snap, clap, pat, stomp).

Props Students use props to show creative movement. 1. Students move to sung or recorded music using props, such as scarves or ribbons, matching the mood o the piece.

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Hand Games Create hand games with a partner. 1. eacher and students sing “Head and Shoulders.” 2. Students create movements with partners on words.

Extensions Create game extensions. 1. Students create different ways to play singing games other than the one they have already learned.

Square Dancing Concepts “Do-Si-Do” Movement 1. eacher and students sing “Old Brass Wagon. ” 2. Students learn to pass acing each other, right shoulder to right shoulder, back to back, lef shoulder to lef shoulder, and ending ace to ace.

Stealing a Partner

1. eacher and students sing “Old Betty Larkin.” 2. Students learn how to “steal” a partner rom one another. 3. On the third verse, an extra student enters the circle by joining a couple, causing another student to be displaced and become the new “stealer.”


Side-Close Step 1. eacher and students sing “Great Big House in New Orleans. ” 2. Students step to the side with their right eet on the strong beats and close with lef eet, ending with both eet together on the weak beats. 3. Students perorm motions while singing and keeping the beat.

Double Circle 1. eacher and students sing “Fed My Horse.” 2. Students orm two circles, inside and outside. 3. Students ace partners. 4. Students in the outside circle perorm a side-close step.

Movement able 4.1 shows movement examples that can be used as an introductory activity in each lesson and are part o the body warm-up or students. We recommend choosing a movement piece that connects to the next singing activity in the lesson. Look or examples that are in the same meter, tempo, tonality, key, and dynamics as the next song in the lesson. Recorded examples or movement may also include some o the listening repertoire that students will later read and listen to in the music lesson. Tese examples were developed by teachers in the Kodály Certification Program at exas State University in 2014.

able 4.1

149 CLASSICAL

Title

Composer/Performer

Key/Style/Features

Canon in D

Johann Pachelbel (1653–1706)

Major, legato movement, slower tempo

“Russian Sailor’s Dance, ” Reinhold Gliere romTe Red Poppy (1875–1956)

Contrasting styles and beat

“Viennese Musical Zoltán Kodály Clock,” romHary Janos (1882–1967)

Beat and orm

“Sabre Dance,” rom Gayane

Aram Khachaturian (1903–1978)

Minor, orte, ast tempo, allegro/presto

“In the Hall o the Mountain King”

Edvard Grieg (1843–1907)

Minor, accelerando

“Stars and Stripes”

John P. Sousa (1854–1932)

Movements or piccolo, marching, themes, “solo” sections, orm

JAZZ Title “In the Mood”

Composer/Performer Glen Miller Orchestra (1904–1944)

Key/Style/Features Form, major, dynamics

“It Don’t Mean a Ting”

Duke Ellington (1899–1974)

Scatting, improvisation, minor (Continued)


able 4.1

(continued)

“Sing, Sing, Sing” (with Benny Goodman a Swing)” (1909–1986)

Minor, orm, ast

“A isket, a asket”

Folk song, Ella Fitzgerald (1917–1996)

Major and minor tonalities, orm

“Moanin”

CharlesMingus (1922–1979)

Moti (squat on low note); stop at 1:57

“ake5”

DaveBrubeck (1920–2012)

Phrases/orm, saxophone eature

“Jump Jive an’ Wail”

Louis Prima, (1910–1978)

Movement, major , 4/4, walking bass, chord progress

Title

Composer/Performer

Key/Style/Features

“Apache” (Jump on It)

Sugarhill Gang, rom the album 8th Wonder (released 1981)

Steady beat, rap, strong and weak beats

POPULAR

150

“I Like to Move It, Move (Dreamworks Film It,” rom Dreamworks’ 2005), Reel 2 Real Madagascar (released 1993)

Fast tempo throughout, high energy

“Good Feeling”

Flo Rida, rom the album Good Feeling (released 2012)

Strong beat, contrasting sections, ast tempo, rap

“ribal Dance”

2 Unlimited, rom the Rhythmic elements, strong album No Limit (released beat, rap, high energy 1993)

“I Want to Hold Your Hand”

Te Beatles (released 1964)

Major, upbeat, mezzo-orte clap ta-di di ta (syncopation)

“Waka”

JohnHill/Shakira (released 2010)

Movements, major, Latin/ Arican influence

“Blue” (Da Ba Dee)

Eiffel 65 (released 1999)

“Best Day o My Lie”

American Authors (released 2013)

Body movement, 4/4, D major, moderate tempo

“Ghost Busters”

Charlie Parker Jr. (b. 1954)

Halloween, pop/rock, major, instrumental/vocal

Title

Composer/Performer

“Chilili”

Bolivianolksong

Body movement, minor, moderate tempo good or beat

FOLK Key/Style/Features

Goodororm,ast-paced (Continued)


able 4.1

(continued)

“Carnavalito”

Brazilian olk song

Good or orm or beat, skip game

“Henehene Kou’Aka”

Perormed by Israel Kamakawiwo’ole (1959–1997)

Hawaiian dance movements

“Down on the Danorth”

New England Dance Masters

Modal, largo, mezzo-piano, olk dance song

“La Charreada”

Linda Ronstadt (b. 1946)

“TeFox”

olksong,NickelCreek (released 2000)

Mariachi, movement, call and response, major, dmsd’ Folk orchestration, major

Listening Examples Connected to Grade 3 Concepts and Elements Listening examples will also include songs that the teacher sings to children and will not include new element.

Eighth Note Followed by wo Sixteenth Notes Live Performance “Portland own” “Robin Hood and the Peddler” “Wayaring Stranger” “Tis Lady” “Sailing o’er the Ocean” “Chickalalelo” (rom150 American Folk Songs) “Skip to My Loo” “Hogs in the Cornfield” (rom Kodály oday) “Debka Hora”

Recorded Performance “Badinerie,” rom Sonata in B Minor, BWV 1067, by J. S. Bach (1685–1750), first phrase.

Short Complete Listening Resources Rosamunde, ballet music, by Franz Schubert (1797–1828).

low la (la,) Live Performance “Te Night Herding Song” “I Ride an Old Paint”

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KODÁLY IN THE THIRD GRADE CLASSROOM “Jessie James” “Blow, Boys, Blow”

Recorded Performance Mikrokosmos, Vol. 5, No. 127, by Béla Bartók (1881–1945).

Short Complete Listening Resources “Wayaring Stranger,” sung by Anonymous 4 on the albumGloryland. “An Evening in the Village,” romHungarian Sketches, by Béla Bartók (1881–1945).

wo Sixteenth Notes Followed by an Eighth Note Live Performance “Hill and Gully Rider” “Song o the Snowflakes”

Recorded Performance “Badinerie,” rom Sonata in B Minor, BWV 1067, by J. S. Bach (1685–1750), entire work.

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Short Complete Listening Resources “Comedians Gallop,” rom Te Comedians , Op. 26, No. 2, “Presto,” by Dimitri Kabalevsky (1904–1987). “Musette in D,” romAnna Magdalena’s Notebook, by J. S. Bach (1685–1750).

low so (so,) It is important to note whether the listening example is using a new note in a major or a minor context.

Live Performance “Black Jack Davy” (major) “Te Cherry ree Carol” (major)

Recorded Performance Köszöntő (trans. “A Birthday Greeting”), by Zoltán Kodály (1882–1967), choral work (major).

Short Complete Listening Resources Mikrokosmos, Vol. 3, No. 78, by Béla Bartók (1881–1945) (minor). “Pentatonic une,” rom For Children, Vol. 1, No. 29, by Béla Bartók (1881–1945) (minor). “Promenade,” romPictures at an Exhibition , by Modest Mussorgsky (1839–1881) (major).

Internal Upbeat (Anacrusis) Live Performance “Daughter, Will You Marry?”


high do (do’) Live Performance “Didn’t My Lord Deliver Daniel” “La Bella Hortelana” “Cairo” “Old Joe Clark” “Pourquoi” “Liza Jane” “Te Farmer’s Curst Wie”

Recorded Performance “Ecce Gratum,” romCarmina Burana, by Carl Orff (1895–1982). “On the rail,” rom Grand Canyon Suite, by Ferde Groé (1892–1972).

External Upbeat Live Performance “I Lost the Farmer’s Dairy Key” “Above the Plain” “Te Jolly Miller” “Old Mr. Rabbit”

Recorded Performance “Shaker Hymn,” romAppalachian Spring, by Aaron Copland (1900–1990). “Sleepers Wake,” rom Cantata No. 140, by J. S. Bach (1685–1750). “Badinerie,” romSuite Dreams: Te Music of Johann Sebastian Bach for Flute and Jazz Orchestra, perormed by I-Chee Lee/Union Square Group.

Lesson Planning Designing a Preparation/Practice Lesson Plan Design Tat Includes Music Skills In this chapter we have presented activities or developing a child’s singing voice, movement skills, and instrumental skills, as well as discussing how the instructor can develop music literacy skills. As a result o the inormation contained in this chapter, we can propose modifications to our basic preparation/practice lesson plan: 1. Developing appropriate creative movement activities or children 2. Developing appropriate instrumental activities or children 3. Developing appropriate reading, writing, and improvisation activities 4. Developing appropriate inner-hearing activities 5. Developing appropriate listening activities 6. Developing appropriate part-work skills able 4.2 presents a preparation/practice lesson plan template that shows how the inormation or this chapter can now be used to modiy a lesson plan design.

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able 4.2

Preparation/Practice Lesson Plan Design INTRODUCTION

Demonstration o known musical concepts and elements

Body warm-ups and breathing exercises • Ss demonstrate their prior knowledge o repertoire and musical elements through perormance o songs selected rom the alphabetized repertoire list. • ese songs may be accompanied by rhythmic or melodic instruments. CORE ACTIVITIES

Acquisition o repertoire

• Teach a new song by rote using an appropriate technique.

Preparation o a new concept

• Learning activities in which Ss are taught a new musical concept through known songs ound in the alphabetized repertoire list.

Movement development

• Focus on the sequential development of age-appropriate movement skills through songs and olk games.

Practice and musical skill development

• Ss reinorce their knowledge omusical concepts and elements working on the skill areas o reading and writing, orm, memory, inner hearing, ensemble work,instrumental work, improvisation and composition, and listening through known songs ound in the alphabetized repertoire list.

154

CLOSURE

Review and summation

• Review of lesson content; T may perorm the next new song to be learned in a subsequent lesson ound in the alphabetized repertoire list.

When repertoire and selected activities are applied to the preparation/practice lesson ramework, the lesson itsel becomes more visible. Te lesson plan in able 4.3 includes repertoire and several activities; some procedural portions o this lesson have been removed.

able 4.3 Grade 3: wo Sixteenth Notes Followed by an Eighth Note, Lesson 2 Outcome

Preparation: aurally analyze repertoire that contains three uneven sounds on one beat Practice: writing music with low la INTRODUCTOR

Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity Concerto or Four Harpsichords, BVW 1065, J. S. Bach (1685–1750) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. (Continued)


able 4.3

(continued) • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“O Fly Around” CSP: D • Ss sing the song with a simple ostinato:$ 2 qq\xxxcq> “Dance Josey” CSP: F • Ss sing the song; they sing in canon afer two beats. • Ss sing “Dance Josey” whileT sings “Over the River” as a partner song.

Develop tuneful singing

one production Diction Expression

“Over the River” CSP: C • T directs part o the class to sing “Dance Josey” while the remainder sing “Over the River.” Switch. • Ss sing the song in unison. • Ss sing vowels ocusing on v: “voo-voh, vah-veh-vee.” • Ss sing “Over the River” on the syllable “vee.” Kodály Choral Library,Let Us Sing Correctly, no. 38

Review known songs and elements

“Fed My Horse” CSP: F-sharp • Ss sing the song and keep the beat. Ss •• T sings sing with rhythm syllables. phrases 1, 2, and 3;Ss echo with rhythm syllables. • T sings each phrase o “Paw Paw Patch,” “ideo,” and “Dinah,” phrase 1 o “Ida Red,” and phrases 1 and 2 o “Chickalalelo”; Ss echo-sing each phrase with rhythm syllables and tap the beat.

Teach a new song

“Old Brass Wagon” CSP: C • Ss phrase the song in the air while T sings. • T sings and Ss write the orm o the song next to each phrase. • Ss sing phrase D; T sings A, B, and C. Switch. • Ss sing the whole song.


“Hogs in the Cornfield” CSP: D • Ss sing the song. • Review kinesthetic awareness activities. • T and Ss sing phrase 2 on “loo” and tap the beat beore asking each o these questions.

CORE ACTIVITIES

Describe what you hear

(Continued)

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able 4.3

(continued) • • • •

T: “Andy, how many beats did we tap?” (our) Ss identiy the number o sounds on each be at. T: “Andy, which beats have two sounds?” (1 and 4) T: “Andy, how many sounds didwe sing on beat3?” (three)

• T: “Andy, describe the sounds on beat 3 with ‘long’ and ‘short.’” (long short short) • T: “Andy, we already know that rhythm. What rhythm syllables should we sing on beat 3?” (ta dimi) Ss identiy the number o sounds on beat 2. • T: “Andy, how many sounds did we sing on beat 2?” (three) • T: “Andy, describe those sounds with ‘short’ and ‘long.’” (short short long) • Ss sing the phrase rhythm syllables and “short short long” on beat 2. (ta di short short long ta dimi ta di) Creative movement

“urn the Glasses Over” CSP: F • Ss sing the song. • Ss sing and play the game. • Ss sing the lastour beats o the Asection (“urn the glasses over”) as a melodic ostinato into the next song mm ( rr d d).

Practice music performance and

“Phoebe in Her Petticoat” CSP: A

156

literacy skills Writing

• Ss sing the song. • Ss sing the song with solège syllables. • Ss write the solège syllables under the rhythmic notation at the board. • Ss complete the writing worksheets. • Ss sing in canon afer two beats. SUMMARY ACTIVITIES

Review lesson outcomes


Review the new song

CSP: C

Designing a Presentation Lesson P lan emplate Tat Includes Music Skills

able 4.4 is an example o a presentation lesson plan template. We want to show how the inormation in this chapter can be incorporated into this lesson.


able 4.4 Presentation Lesson Plan Design for Labeling Sounds with Syllables INTRODUCTION

Demonstration o known musical concepts and elements

Body warm-ups and breathing exercises • Ss demonstrate their prior knowledge o repertoire and musical elements through perormance o songs selected rom the alphabetized repertoire list. • ese songs may be accompanied by rhythmic or melodic instruments.

CORE ACTIVITIES

Acquisition o repertoire

• Teach a new song by rote using an appropriate technique.

Presentation o new element

• T presents the syllables or the new musical element in the ocus pattern o a known song.

Movement development

• Known song or game found in the alphabetized repertoire list. • Focus on the sequential development of age-appropriate movement skills through songs and olk games.

Presentation o new element

• T presents the syllables or the new musical element in a related pattern o a known song.

Review and

• Review of lesson content; T may perorm the next

summation

new song to be learned in a subsequent lesson ound in the alphabetized repertoire list.

CLOSURE

Again, when repertoire and selected activities are applied in a lesson, the lesson planning process itsel becomes more evident. Te lesson plan in able 4.5 includes activities appropriate to a presentation lesson.

able 4.5 Grade 3: wo Sixteenth Notes Followed by an Eighth Note, Lesson 5 Outcome

Presentation: notating three uneven sounds on one beattakadi) ( with two sixteenth notes ollowed by an eighth note

Warm-up

• Body warm-up

INTRODUCTOR

Y ACTIVITIES

• Beat activity Surprise Symphony, by Franz Joseph Haydn (1732–1809) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. (Continued)

157


able 4.5

(continued) • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Ida Red” CSP: D • Ss sing the song with an ostinato:2 $qq\sdq> “King Kong Kitchie” CSP: F • Ss sing song; add an ostinato:2 $qq\Aaq>

p c ss • Ss continue the ostinato into the next song. Develop tuneful singing one production Diction Expression

“Jim Along Josie” CSP: C • Ss sing the song and step perorm the beat. • Ss sing the song on “vee” syllable. Kodály Choral Library,Let Us Sing Correctly, no. 39


“Chickalalelo” CSP: D • Ss sing the song. • Ss sing with rhythm syllables and conduct. • T sings phrases on “loo” andSs echo-sing with rhythm syllables.

158

Teach new song

Presentation of music literacy concepts


CORE ACTIVITIES “Old exas” CSP: C • T sings while Ss trace the phrases, pausing afer each to label the orm. (ABCD) • T sings the song again whileSs echo in canon.

“Hogs in the Cornfield” CSP: D • Review kinesthetic, aural, and visual awareness activities. • Review aural presentation. • T: “When the beat is a quarter note, we can use two sixteenth notes, ollowed by an eighth note to represent three sounds on a beat, two short and one long. When we read our target phrase in standard notation it will look like this”:

$sdxcd\sxcsd| 2 • T: “When we write the pattern, we’ll use stick notation.” • Ss sing the song in canon afer two beats. (Continued)


able 4.5

(continued)

Creative movement

“urn the Glasses Over” CSP: F • Ss create accompaniment through movement, rhythm elements, or melodic elements; they sing and play the game.


“Ida Red” CSP: D • Ss sing song with words and conduct. • Ss sing with rhythm syllables and keep beat.


• • • •

T reviews notation or song. Ss read with rhythm names. Ss read with numbers or counting and keep the beat. T connects the new rhythm syllables (taka di) to related song material: ○ “Jim Along Josie” ○ “Over the River” y Case” ○ “Do, Do Pity M ○ “Sailing o’er the Ocean” ○ “Hop, Old Squirrel” • Ss create a our-beat rhythm pattern that usestaka di as an accompaniment to any or all o the songs. SUMMARY ACTIVITIES


“Old exas”

Review the new song

CSP: C

159

Chapter

5

Unit Plans and Lesson Plans

A primary objective o this text is to present teachers with a sequential series o lesson plans to inspire the artistry inherent in every student. As is evident in all o our publications, we are also involved with developing cognition, the “thinking” abilities that lead to a deeper understanding and appreciation o music through perorming, critical thinking, listening, literacy, composing, and improvising. Kodály offers us a timely reminder concerning the importance o excellent teaching techniques to enable the student to engage with music as a true artist: “It is not technique that is the essence o art, but the soul. As soon as the soul can communicate reely, without obstacles, a complete musical effect is created. echnique sufficient or a ree maniestation o the child’s soul can easily be mastered under a good leader in any school.”1

160

Tis chapter urnishes teachers with a detailed series o lesson plans arranged according to concept. With the exception o Unit 1 (review lessons), each unit is divided into three sections: Section 1. A summary overview o the repertoire used to prepare, present, and practice a particular music element Section 2. A brie outline o the music skills that are to be developed in the unit plan Section 3. Five sequential lesson plans or preparing, presenting, and practicing a music element Please consult Kodály odayor a more comprehensive overview o lesson planning. Te ollowing are the lesson plan units presented in this chapter: Unit 1: Grade 2 Review Unit 2: eaching Eighth Note Followed by wo Sixteenth Notes Unit 3: eachinglow la Unit 4: eaching wo Sixteenth Notes Followed by an Eighth Note Unit 5: eachinglow so Unit 6: eaching Internal Upbeat Unit 7: eachinghigh do Unit 8: eaching External Upbeat


Remember that these lesson plans are only sketches o what can be accomplished in the lesson. We have not included transitions between the sections o the lessons as we want teachers to get an idea o the flow o the lesson plan. eachers should inuse these lessons with their own musicianship and creativity. Our suggested five-lesson sequence allows students to engage and explore concepts through music literature. Building on the numerous perormance experiences within these lessons, the teacher can guide students toward an understanding o musical elements and concepts. Te five sequenced lessons are divided as ollows. Te first three are preparation/practice lesson plans. Lesson one is a plan or developing the kinesthetic awareness o a new melodic or rhythmic concept and concentrated practice o known melodic or rhythmic elements through reading. (Reading is normally connected to listening.) Lesson two is a plan or developing aural awareness o a new melodic or rhythmic concept and concentrated practice o known melodic or rhythmic elements through writing. Lesson three is a plan or developing visual awareness o a new melodic or rhythmic concept and concentrated practice o known melodic or rhythmic elements through improvisation and composition. Tere are two presentation lessons in the associative phase. Lesson our is the first presentation lesson; the goal is to label the new sound with rhythm or solège syllables. Lesson five is the second presentation lesson; the goal is to present the notation or the new element. Te objectives or each type o lesson are derived rom activities proposed in the teaching strategies (Chapter 4). Although the lessons will differ across the three phases o learning, all preparation/practice lessons, regardless o the element being prepared, are similar in structure. Te same is true or all presentation lessons. You will note that lessons one, two, and three ocus on kinesthetic, aural, and visual preparation o a new element respectively and practice o a amiliar element through reading, writing, and improvisation activities. Lessons our and five ocus on the presentation and initial practice o the newly learned element. Chapter 10 o Kodály oday describes the types o lesson plan structures as well as inormation on adapting these lesson plans or the inclusive classroom.

Transitions in Lesson Plans ransitions are the cement that holds the segments o a lesson together. ransitions between songs and activities can become means to help tie and ofen hold the lesson together. Tey can be used to move students rom one activity to another in a music lesson. Here we present some sample transition activities that can be used to enliven a creative music lesson plan. ransitions may be thought o as conscious and unconscious: with the ormer, the students are aware that they are moving between songs or activities, and with the latter, the teacher guides students toward different activities. Spend time analyzing all o the repertoire and materials you will be using in the lesson. Tis will allow

161


you to see possible connections in the suggested repertoire. ransitions should be logical. When they are properly planned, they add elements o surprise, creativity, and magic to a lesson. Many o the best transitions are musical. I you are transitioning into a segment o a lesson where the ocus is on rhythm, use a rhythmic activity such as an ostinato to move to the next segment o the lesson. I you are transitioning into a melodic segment o the lesson, you could use a melodic ostinato to move to the next section. Chapter 10 o Kodály odayincludes many ideas or creating transitions in lesson plans. ables 5.1 and 5.2 show two versions o the same lesson plan: able 5.1 is a lesson plan with no transitions, and able 5.2 is the same lesson plan with transitions. ransitions should not detract rom the lesson but should allow the teacher to move smoothly rom one segment o the lesson to another.

Table 5.1


Outcome

Preparation: analyzing repertoire that containslow la, a pitch that is a skip belowdo Practice: writing musical phrases that contain an eighth note ollowed by two sixteenth notes. INTRODUCTOR

Warm-Up

Y ACTIVITIES

• Body warm-up • Beat activity “Russian Dance,” romTe Nutcracker Suite, Op. 71, by Peter Ilyich chaikovsky (1840–1893) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore acow sound using low and high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

162

Sing known songs

“Hunt the Cows” CSP: C • Ss sing the song.


“Old Mr. Rabbit” CSP: F • Ss sing the song. • Imitate the sound of a siren with the voice. Challenge the children to make sof and loud, high and low, long and short sirens, and sirens that just go up, just come down, or do both. • Falling o a cli. Pretend you’re falling o acli and say


“aaaahhhhhhhhhh!” • Use a ball. T throws a ball  rom one S to another; Ss have to ollow the movement o the ball with their voices. Kodály Choral Library,Let Us Sing Correctly, no. 38 (Continued)


Table 5.1

(continued)

Review known songs and melodic elements

“Let Us Chase the Squirrel” CSP: F • T and Ss sing song. • Ss sing the solège syllables o the whole song. • T sings the text o phrases in “Let Us Chase the Squirrel”; Ss echo-sing using solège syllables and hand signs. • If time permits, continue the activity with “Let Us Chase the Squirrel,” “Rocky Mountain,” “Bow Wow Wow,” “Here Comes a Bluebird,” or other known songs that use the solège syllables la, so, mi, re, and do. CORE ACTIVITIES

Teach a new song

“Hogs in the Cornfield” CSP: D • T sings again andSs identiy the number o phrases in the song. (two) • T sings again, pausing afer each phrase orSs to identiy and label the orm o the song. (AB) • T and Ss sing and play the game.


“Phoebe in Her Petticoat” CSP: A • T instructs hal the class to continue the ostinato while the remainder sing the song. Switch. • Review kinesthetic awareness activities.


• T and Ss tap the beat and sing the first phrase on “loo” beore asking each question: • T: “Andy, how many beats did we tap?” (our) • T: “Andy, which beat has the lowest pitch?” (4) • T: “Let’s sing the phrase on ‘loo’ but sing ‘low’ or the lowest note.” • T sings the first our pitches on “loo.” • T: “Andy, what hand signs do we use to sing those pitches? (mr dd) • T: “Let’s sing our phrase with solège syllables and hand signs but sing ‘low’ or our lowest pitch.” m ( r d d r d low) • Ss sing and point down or the low pitch. • T: “Andy, is our lowest pitch a step or a skip rom do?” (skip) • Ss sing as a whole group; thenT may select individuals to sing the target phrase (m r d d r d low). • Ss sing “Phoebe in Her Petticoat” whileT sings “Over the River” as a partner song. Creative movement

“Over the River” CSP: C • T and Ss play game. (Continued)

163


Table 5.1

(continued)

Practice music, performance, and literacy skills

Writing

“Fed My Horse” CSP: A • Ss sing the song. • Ss sing phrase 1 with rhythm syllables. • Ss sing the rhythm syllables and point to the our blank beats that T has placed on the board (include bar lines and a time signature). • Ss identiy the rhythms or each beat and fill in the blanks. • Ss fill in the rhythm with stick notation. SUMMARY ACTIVITIES


Review the new song

Table 5.2

“Hogs in the Cornfield” CSP: D


Outcome

Preparation: analyzing repertoire that containslow la, a pitch that is a skip belowdo Practice: writing musical phrases that contain an eighth note ollowed by two sixteenth notes INTRODUCTOR

Warm-Up

164 •

•

• •

Sing known songs

Y ACTIVITIES

• Body warm-up and beat activity: “Russian Dance,” from Te Nutcracker Suite, Op. 71, by Peter Ilyich chaikovsky (1840–1893); or “Cotton Eye Joe,” by Just Dance; dress in western cowboy clothes Breathing: T blows up a balloon while Ss pretend they’re blowing a balloon and watch how air is released when deflating the balloon. Make sureSs are inhaling and exhaling correctly with the support muscles. Resonance: Ss say “Yeehaw!” to find their head voice. Practice singing “Yoo-hoo, Dinner!” so-mi, ( so-mi) T can use a triangle to ring afer Ss sing. Posture: remind Ss o the correct posture or singing. T: “My grandpa was a dairy armer and a bull rider, and when I’d visit him as a little girl, he’d take me with him to eed the cows.When we’d call the cows, he’d say ‘sic-cow!’” (head voice so-mi) Let’s try. What song do we know about cows?”

“Hunt the Cows” CSP: C • Ss sing the song. • Ss perorm the rhythm o the last our beats o phrase 2 as a rhythmic ostinato into the next song (4 $sdsdqQ>). • Ss sing the song and choose oneS to play the rhythmic ostinato on cowbell. (Continued)


Table 5.2

(continued)

Develop tuneful singing one production Diction Expression

“Old Mr. Rabbit” CSP: F • Ss sing the song. • Imitate the sound of a siren with the voice. Challenge Ss to make sof and loud, high and low, long and short sirens, and sirens that just go up, just come down, or do both. • Falling o a cli. Pretend they’re falling oa cli and say “aaaahhhhhhhhhh!” • Use a ball. T tosses a ball rom one S to another; Ss have to ollow the movement o the ball with their voices. Kodály Choral Library,Let Us Sing Correctly, no. 38. Te teacher hums “Let Us Chase the Squirrel” as the students perorm this exercise on loo.


“Let Us Chase the Squirrel” CSP: F • T and Ss sing song. • Ss sing the solège syllables o the whole song. • T sings the text o phrases in “Let Us Chase the Squirrel”; Ss echo-sing using solège syllables and hand signs. • Continue the activity with “Rocky Mountain,” “Bow Wow Wow,” “Here Comes a Bluebird,” last phrase o “Dance Josie,” or other known songs that use the solège syllables la, so, mi, re, and do. • T chooses phrases to sing on “loo” and Ss echo solège syllables. Ss sing phrase one o the next song, “Hogs in the Cornfield” rom the  handsigns and  hums the second phrase.. CORE ACTIVITIES

Teach a new song

“Hogs in the Cornfield” CSP: D • T sings again andSs identiy the number o phrases in the song. (two) • T sings again, pausing afer each phrase orSs to identiy and label the orm o the song. (AB) • T and Ss sing and play the game: ○ ○ ○

Each S chooses a partner. Te pair decides who is number 1 and number 2. One or more pairs come to a line marked on the floor, grasp each other’s right hands, and put their toes against the line while the class sings the song once. (Continued)

165


Table 5.2

(continued) When the song is over, each student tries to pull his or her partner across the line. Whoever wins takes the loser over to their team. ○ When everyone has had a turn, each team is counted, including the losers who have come rom the other team. Te team with the most people wins. • Ss sing rhythmic ostinato (4 $qqsd q>) pat, clap, pat, pat, snap into the next song. ○



“Phoebe in Her Petticoat” CSP: A • T instructs the class to continue the ostinato while singing the song. • Review kinesthetic awareness activities. • T and Ss tap the beat and sing the first phrase on “loo” beore asking each question: • T: “Andy, how many beats did we tap?” (our) • T: “Andy, which beat has the lowest pitch?” (4) • T: “Let’s sing the phrase on ‘loo’ but sing ‘low’ or the lowest note.” • T sings the first our pitches on “loo.” • T: “Andy, what hand signs do we use to sing those pitches?” (mr dd) • T “Let’s sing our phrase with solfègesyllables and hand signs but sing ‘low’ or our lowest pitch.” m ( r d d r d low) • Ss sing and point down or the low pitch. • T: “Andy, is our lowest pitch a step or a skip rom do?” (skip) • Ss sing as a whole group; thenT may select individuals to sing the target phrase (m r d d r d low). • Ss sing “Phoebe in Her Petticoat” whileT sings “Over the River” as a partner song.

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Creative movement

“Over the River” CSP: C • Ss sing song and conduct. • Ss play game: 1. Verse 1: players advance toward each other oursteps, pat their partner’s hands, and then step back our steps. On the third phrase, they step toward each other again with right hand extended, passby, and go to the opposite side. 2. Verse 2: repeat the same steps, but rom the new position, ending in their srcinal place. 3. Verse 3: the first gent “prances” down the alley or our measures, and then his partner prances down the alley. • Ss sing song as they move back to their seats, asT quietly sings “Fed My Horse” as a partner song. • T and Ss switch songs and perorm the partner songs. (Continued)


Table 5.2

(continued)

Practice music, performance, and literacy skills

Writing

“Fed My Horse” CSP: A • Ss sing the song. • Ss sing phrase 1 w ith rhythm syllables. • Ss sing the rhythm syllables and point to the our blank beats T has placed on the board (include bar lines and a time signature). • Ss identiy the rhythms or each beat and fill in the • blanks. T erases the board and distributes writing materials. • Ss sing the first phrase o “Fed My Horse” with rhythm syllables while touching the beats on their papers. • Ss fill in the rhythm with stick notation. • T repeats the process with the first phrase o “Fire in the Mountain.” • Ss use one o the rhythms to create an accompaniment on a xylophone or the next song. SUMMARY ACTIVITIES


Review the new song


General Points for Planning Lessons 1. Goals or each lesson should come rom the outcomes listed in the concept plans, but singing in tune should always be a primary goal o each lesson. 2. Work to select the best song material or each class and make sure you enjoy this repertoire. We suggest three to eight songs in a thirty-to-orty-minute lesson. Memorize all o the song material you are going to use. 3. Every new song you teach should be introduced appropriately. Sometimes we review a amiliar song as we would a new song. Tis is an opportunity or the teacher to spend more time polishing the song and making sure that students are able to sing artully. 4. When teaching a new element, is it surrounded by known rhythmic or melodic patterns? 5. Our lessons contain both rhythmic and melodic elements, one or preparation and the other or practice. Remember that when you abstract a pattern or moti rom a song, always sing the song again to put it back in context and give students the experience o enjoying the perormance o the song. 6. Tere should beormally. a ocus to each section o the lesson that you can assess inormally and 7. Know your repertoire. Be able to analyze the materials or each lesson rom an analytical, perormance perspective and rom a pedagogical one. 8. ry to find variety in the song material or the lesson.

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9. Our lessons include periods o relaxation and concentration. Te pace o a lesson is critical. Veteran teachers always tell us that it is better to teach aster than slower. Students will ollow you i you’re moving. 10. Give the students plenty o individual experience in the classroom. It is important to work rom the group toward individual activities. You’ll notice that students are attentive to their peers when they do things like go to the board or perorm on their own. 11. We have provided a comortable starting pitch or each song. Feel ree to experiment with what works best or your classroom.

Evaluating a Lesson 1. Learning should stem rom the enjoyment o singing songs, chanting rhymes, and playing games. Te overarching goals o a music lesson should be singing, listening, and enjoyment o music. Musical concepts and elements are taught to enhance this enjoyment. 2. We believe that reading and/or writing should be addressed during each lesson. Even i students simply read or write a small motive rom a song, they develop a deeper understanding and appreciation o the song. 3. Include opportunities or both review and reinorcement o musical elements and concepts. 4. A good lesson plan should reveal clear answers to these questions: A. Was the lesson presented musically? B. What were the primary and secondary goals o the lesson? C. How were the goals o the lesson achieved? D. How many songs and games were used in the lesson?

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E. What activities o used conjunction with the song material led students to an understanding thein goals o the lesson? F. Was there an emphasis on singing and making music? G. Did the lesson use a variety o songs? H. Were the goals o the lesson achieved? I. Was new material prepared and presented in the lesson? What exercises were used in the lesson? Did the musical exercises planned or the lesson help the students achieve the goals? J. Was there a logical sequence and pacing in the lesson? K. Was the culmination o the lesson clear? L. Were there periods o relaxation and concentration in the lesson? M. What musical skills were developed in the lesson? N. Were the students active collectively and individually during the lesson? O. Did the lesson plan offer an opportunity to assess student progress? P. Was the lesson enjoyable or the students? Q. Did the lesson begin and end with singing?

Unit Plans Te units presented here give teachers lesson plans arranged according to concept.

Unit 1: Grade 2 Review Sections 1 and 2 Prepare: review grade 2 songs and concepts Focus song:

Practice: review grade 2 SONG REPERTOIRE

Known Songs

Lesson 1

Songs for Tuneful Singing

Songs to Review Known Rhythmic Elements

Songs to Prepare Next New Concepts

Songs to Review Known Melodic Elements

Creative Movement

Songs to Practice Known Elements

“Great Big House “Blue”

“HereComesa

“Knock the


“Fed My Horse”

“Bow Wow Wow”

in New Orleans”

Bluebird” (review w )

Cymbals”

(review presentation o do pentatonic)

(review notation do pentatonic)

Lesson 2

“Ida Red,” “Fed My Horse”

“Button, You Must Wander”

“Hot Cross Buns” (review re)

“Chickalalelo”

“Rocky Mountain” (review reading o do pentatonic)

Lesson 3

“Here Comes a Bluebird,” “Chickalalelo”

“Firefly”

“Paw Paw Patch” (review xxxc)


“Are You Sleeping?” “ideo” (review kinaesthetic and aural awareness o 4 $)

“BowWow Wow” (review improvisationdo pentatonic)

Lesson 4

“Bow Wow Wow,” “How Many Miles to Babylon?”

“Chatter with the Angels”

“Rocky Mountain” “Fire in the (review do Mountain” pentatonic)

“Are You Sleeping?” “How Many (review visual Miles to awareness o 4 $) Babylon?”


Lesson 5

“Frosty Weather,” “Knock the “Fire in the Mountain”

“Dinah”

“OFlyAround”

Cymbals”

“AreYou Sleeping?” (review presentation o4 $)

1 6 9

“ideo”

“BowWowWow” (review writing do pentatonic)

“Fire in the

“Button, You Must

Mountain”

Wander”

1 7 0

MUSICAL SKILL DEVELOPMENT NewElemenP t ractice

KnownElemenP t ractice

“Rocky Mountain”: ourth phrase using solège

Fourth phrase o “Rocky Mountain” solège romT’s

“Rocky Mountain”:Ss read T and Ss sing “Rocky Mountain.” question and answer phrases rom T writes song on board using

syllables with hand signs.

hand signs.

the board, using do re mi fa so rom traditional notation.

standard notation.phrases T and Ss alternate reading and then switch.

Writing

“Here Comes a Bluebird”: using the second phrase, Ss write solège syllables under rhythmic notation on the board.

T places rhythm o second phrase o “Here Comes a Bluebird” on board using stick notation. Ss write missing solège under rhythmic notation on the board.

“Who’s Tat apping at the Window?” on “loo”:T claps rhythm while Ss pat the beat. T selects our Ss to echo-sing first phrase o song with rhythm names. Ss write rhythmic phrases on board using stick notation.

“Paw Paw Patch” to “Dinah”:  writes a sixteen-beat pattern on the board. T claps the rhythm with an error on one beat.Ss identiy on which beat the error occurred and write the correct rhythm. T repeats process with several Ss until the final rhythm is that o the new song.

Improvisation and composition

“Knock the Cymbals,” the question phrase, and T chooses rom patterns on the board.

T sings the question phrase and Ss choose rom patterns on the board.

Known song: Ss compose two- or our-beat ostinato.Ss clap/pat ostinato while singing song.

T and Ss sing pentatonic melody.Ss choose solège syllable pattern rom the song to create a simple melodic ostinato. Ss perorm song with ostinato. Ss perorm ostinato on pitched percussion instruments.

Reading

Recorded perormance: Recorded perormance: “ortoises,” “Carillon,” rom L’Arlésienne Suite “Largo,” rom Symphony rom Te Carnival of the Animals , No. 1, by Georges Bizet. No. 9, by Dvorak (1841–1904) by Camille Saint-Saens.

Listening

Part work

“Paw Paw Patch”:Ss sing with body percussion ostinato.

Ss create simple vocal ostinato pattern and choose one to sing with the song.

Ss sing with a simple ostinato using body percussion.

Ss sing melody while T perorms a melodic ostinato.T sings melody and Ss perorm a melodic ostinato.

Memory

“Button, You Must Wander”: T shows typical melodic patterns with hand signs. Ss sing back the patterns and show hand signs.

 notates a our-beat phrase on board. Ss audiate and use hand signs.  asks or volunteer to sing the piece rom memory.

T sings song on loo.Ss identiy meter. T sing and Ss conduct. T sing and Ss identiy starting and ending pitches with solège syllables. Ss sing example with solège syllables and hand signs.

T and Ss sing known song. T demonstrates a vocal or instrumental ostinato.Ss sing or play ostinato while otherSs sing known song.

Inner hearing

“Bow Wow Wow”:T sings third phrase o song on solège syllables and stops at a random place in the

Ss read song silently while showing hand signs.Ss recognize song.

T notates song on staff.T keeps beat while Ss read and inner-hear. Ss keep beat while reading and inner-hearing again.

T points to the solège syllables on the tone ladder.Ss watch and audiate as T points to the notes o a song. Ss identiy song and

Ss clap rhythm as they read and inner-hear. Ss identiy song and perorm as group.

perorm the song as a group and individually.

song. Ss sing next pitch(es) with solège syllable(s). T hides the new note (do). Form

“Are You Sleeping?”:Ss draw phrases. T writes the orm o the song on the board.

T sings first phrase.Ss sing second phrase (alternate until song is complete).Ss verbally provide the orm.

T sings song on “loo” while Ss draw Ss create simple orms showing phrases in air.T draws arches to phrase variants (AA’BA; AAA’A; represent the phrases on the board ABA’C). while Ss sing on “loo.”  choosesS to label orm on the board with letters (ABAA, ABAB, etc.).

Instruments

“ideo”: Ss sing the do pentatonic scale rom lowest to highest and transer to bass, alto, and soprano xylophones.

Ss transer vocal ostinato to alto xylophones.

Ss play simple bordun on xylophone.

1 7 1

Ss play a rhythmic ostinato to accompany song.


Unit 1, Grade 2 Review, Lesson 1 Outcome

Review aural presentation and notation o thedo pentatonic scale

Warm-up

• Body warm-up • Beat activity Symphony No. 15 in G major, K 124, II, Andante, by W. A. Mozart (1756–1791) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon.

INTRODUCTOR

Y ACTIVITIES

• Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing. Sing known songs

“Great Big House in New Orleans” CSP: F-sharp • Ss sing the song with an ostinato.


Expression

“Blue” CSP: F-sharp • T and Ss sing the song. • Ss sing first verse on the syllable “koo.” • Ss read rom T’s hand signs. • Individual Ss sing verses.


“Here Comes a Bluebird” CSP: A


• Ss sing the song; Ss read the rhythm o the song rom the board.

172

$qsd\qq\qsd\qq\ 2 w\sdsd\qq\qQ| • Ss sing the song and perorm the rhythm in canon afer eight beats, then our beats, then two beats. • T sings phrases o “Rocky Mountain,” “Bow Wow Wow,” and “Here Comes a Bluebird,” as well as other known songs;Ss echo-sing with rhythm syllables. CORE ACTIVITIES Teach a new song

“Fed My Horse” CSP: F-sharp • T sings the song whileSs keep the beat and show the phrases. • T sings the first our phrases, pausing afer each orSs to label the orm (ABAC). • Ss sing the A phrases, T sings B and C; switch.


Review known elements

“Rocky Mountain” CSP: D • Ss sing song and conduct. • Ss sing song and conduct, and teacher sings the second voice part o “Rocky Mountain,” rom Denise Bacon’s46 wo Part American Folk Songs, p. 11. • Briey review kinesthetic, aural, and visual awareness activities. • T: “Sing the five pitches in the last phrase o ‘Rocky Mountain’ rom the highest to the lowest.” l(s m r d ) • T: “When we put five pitches (l s m r d ) together, we call it the do pentatonic scale. • Individual Ss sing the do pentatonic scale up and down. • Ss read the next song romT’s hand signs.

Creative movement

“Knock the Cymbals” CSP: D • T and Ss sing the song and play the game.


“Bow Wow Wow” CSP: D • Sing song. • Sing song with solfège syllables andhand signs. • Review aural presentation. • T: “When we put these five pitches together, it is called the do pentatonic scale because it starts on do and penta tonic means ‘five tones’ or five notes! Tere is a skip betweenmi and so and a step between do and re and re and mi and so and la.”

Review do pentatonic

•• • •

T T sings sings rom rom low hightotohigh low and andSs Ss echo. echo. Individual Ss sing the do pentatonic scale up and down. T: “Now let’s see how we can show thedo pentatonic scale on the tone ladder and the staff.” Identiy the steps and skips. l s

m r d

• Review the rule of placement for the notes of the pentatonic scale using the finger staff. • Present the pattern for the do pentatonic scale on the staff and identiy the steps and skips. (Keys without accidentals: C, F, G) • Ss read rom staff notation with hand signs.

173


• T points to pentatonic phrases rom these songs andSs sing with solège syllables and hand signs: ○ “All Around the Buttercup” ○ “Button, You Must Wander” ○ “Great Big House in New Orleans” SUMMARY ACTIVITIES Review lesson outcomes

Review the new song

“Fed My Horse” CSP: F-sharp • T points to the song on the solège steps or tone ladder and Ss sing the song with solège. • Ss sing the song with text.


Review reading and writing o the do pentatonic scale. INTRODUCTOR

Y ACTIVITIES

Warm-up

• Body warm-up • Beat activity Symphony No. 15 in G major, K 124, Menuetto and rio, W. A. Mozart (1756–1791) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Ida Red” CSP: D • Ss sing the song with an ostinato. • Ss sing the song and T sings the second voice part o Denise Bacon’s arrangement ound in46 wo-Part American Folk Songs, p. 19. “Fed My Horse” CSP: F-sharp • Ss sing the song.


“Button, You Must Wander” CSP: D • T and Ss sing song.

174


• Ss practice “sirens.” • S pretend they’re alling off a cliff and say “aaaahhhhhhhhhh!” • Ss sing song on syllables “mi-oh.”



“Hot Cross Buns” CSP: A • Ss sing the song. • Ss sing “Hot Cross Buns” with rhythm syllables and then solège syllables. • T sings “Rocky Mountain,” “Bow Wow Wow,” and “Here Comes a Bluebird” to review the solège syllables la, so, mi, re, and do; Ss echo-sing using solège syllables and hand signs.

Teach a new song

“Chickalalelo” CSP: D • T sings the song and accompanies on an instrument. • Ss choose instruments and create a rhythmic ostinato with which to accompany the song.


“Rocky Mountain” CSP: D • Ss sing the song. • Ss sing song with solège syllables and hand signs. • Ss sing song with solège syllables and oneS places the notes on tone ladder. • T uses the tone ladder and points to the pentatonic melody theme “Largo,” rom New World Symphony, by Antonin Dvořák (1841–1904). Ss sing with solège syllables and hand signs. • T plays a recording o theNew World Symphony, and Ss identiy the melody.

CORE ACTIVITIES

Reading do pentatonic

Creative movement

“ideo” CSP: F-sharp • T and Ss sing the song and play the game. • Ss choose instruments and create an accompaniment or the song.


“Bow Wow Wow” CSP: D • Ss sing the song. • Ss sing phrase 4 with solège syllables and hand signs. • Ss write the tone set o the song on the tone ladder. • Ss complete the writing worksheets, filling in thedo pentatonic scale on the tone ladder and writing it on the staff in D = do, F = do, and D = do. • Ss add a simple our-beat ostinato accompaniment and sing the song.

Writing do pentatonic


Review the new song

“Chickalalelo” CSP: D

175



Review kinesthetic and aural awareness o 4 $meter Review improvisation o thedo pentatonic scale

Warm-up

• Body warm-up • Beat activity Symphony No. 15 in G major, K. 124, Menuetto and rio, by W. A. Mozart (1756–1791) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon.

INTRODUCTOR

Y ACTIVITIE

S

• inhaling Resonance: cowsoundwith using and high voices. Makesure Ss are andexplore exhalinga correctly thelow support muscles. • Posture: remind Ss o the correct posture or singing. Sing known songs

“Here Comes a Bluebird” CSP: A $w\sdq> • Ss sing the song with an ostinato:2 “Chickalalelo” CSP: D • Ss sing the song. • Ss continue the ostinato whileT sings the next song.


“Firefly” CSP: A • T and Ss sing the song and continue the ostinato. • Ss sing song on the syllable “koo.” • Ss sing the song with text in canon afer eight beats.


176

Expression Review known songs and elements

“Paw Paw Patch” CSP: F • Ss sing and keep beat. • Ss sing with rhythm syllables and keep the beat. • T provides the Ss with the first measure o each phrase andSs complete the notation or the missing measures:

$sdsd\ 2 sdsd\ sdsd\ sdxxxc\

\ \ \ | CORE ACTIVITIES

Teach a new song

“How Many Miles to Babylon?” CSP: A • T sings the song andSs keep the beat. • T briefly explains the rules o the game; T and Ss sing and play game. • Aer each cycle of the game, Ss must sing an additional phrase until they are able to sing the song unassisted.



“Are You Sleeping?” CSP: F • Ss sing the song in two-part canon. • Ss sing the song and perorm an ostinato showing the strong and weak beats (step, clap, clap, clap, or something similar). • Ss perorm ostinato with a partner (pat together, snap, snap, snap). • Ss sing and point to a representation o the strong and weak beats on the board. • Six to eight individuals come tothe board to tap the representation while the class sings and points. • Ss sing phrase 1 and keep the beat beore asking each question: • T: “How many beats did we keep?” (eight) • • • •

T: “Do all o the beats eel the same?” (no, some are stronger) T: “Which beats eel stronger?” (beats 1 and 5) T: “I beats 1 and 5 are strong, then the other beats are …” (weak) T: “Let’s sing again and show with our motions the strong and weak beats.”

Creative movement

“ideo” CSP: F-sharp • T and Ss sing the song and play the game. • Ss choose instruments and create an accompaniment or the song.


“Bow Wow Wow” CSP: D • Ss sing the song. • T isolates phrase 3 and Ss sing with solège syllables. • T modifies phrases 3 and 4 to:

Improvisation do pentatonic

$sdsd\sdq\qq\qQ| 2 s s s l smd m r s • Ss improvise an answer. Tey can select rom the ollowing. Answer 1:2 (“Bow Wow Wow,” phrases 3 and 4) $sdsd\sdq\qq\qQ| s s s l smd m r d Answer 2:$sdsd\sdq\sdsd\qQ| 2 (“Great Big House in New Orleans,” phrase 2) s s s l mss ms mr d $sdq\sdq\sdsd\sdq| (“Ida Red,” phrases 3 and 4) Answer 3: 2 dms s l s ms l s mr d • T sings the questions and selects individuals to choose an answer. • Ss may also improvise their own answer using pitches rom the do pentatonic scale. SUMMARY ACTIVITIES


Review the new song

“How Many Miles to Babylon?” CSP: A

177



Review visual awareness and aural presentation o 4 $meter INTRODUCTOR

Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity Symphony No. 15 in G major, K. 124, Menuetto and rio, by W. A. Mozart (1756–1791) • Breathing: Ss practice blowing a up balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

178

Sing known songs

“Bow Wow Wow” CSP: D • Ss sing the song and keep the beat. • Ss sing the song while T sings “How Many Miles to Babylon?” as a partner song. Switch. “How Many Miles to Babylon?” CSP: F-sharp • Ss sing the song and keep the beat.


“Chatter with the Angels” CSP: F • Ss sing the song.


• Ss use this rhythm to practice voiced consonants. “Rocky Mountain” CSP: F • Sing song. Individual Ss sing different verses. • Depending on the skill level of the class, T sings each phrase o “Paw Paw Patch,” “ideo,” “Dinah,” or “Chatter with the Angels” on “loo”; Ss echo-sing each phrase with rhythm syllables while tapping the beat. • Ss perorm Denise Bacon’s arrangement o “Rocky Mountain,”46 wo Part American Folksongs, p. 11. CORE ACTIVITIES

Teach a new song

“Fire in the Mountain” CSP: A • T sings the song whileSs keep the beat. • T sings the song whileSs trace the phrases in the air. • Ss identiy the number o phrases. (our) • Two or three Ss trace the phrases on the board while T sings. • T sings the song, pausing afer each phrase orSs to label the orm. (ABA’B) • Ss sing the A phrases and T sings the Bs. Switch. • Ss sing the song.


“Are You Sleeping?” CSP: F • Ss sing the song (in two-part canon) with a beat ostinato Create a representation “clap, pat, pat, pat.” o what you hear • Review kinesthetic and aural awareness activities for Quadruple meter quadruple meter. • T sings the target phrase with a neutral syllable and asks Ss to create a visual representation o the beat o the target phrase (strong-weak-weak-weak). • Ss pick up manipulatives to create their representations. Review known elements

• Ss share their representations with each other. • T invites one S to the board to share a representation with the class. I necessary, corrections to the representation can be made by reviewing the aural awareness questions. • Ss sing the first phrase o “Are You Sleeping?” with a neutral syllable and point to the representation. Creative movement

“How Many Miles to Babylon?” CSP: A • T and Ss sing the song and move into position or the game. • Ss sing and play the game whileT accompanies on an instrument. • Ss choose instruments and create rhythmic ostinati or the song. • Ss sing and play the game with their accompaniment.


“Button, You Must Wander” CSP: F • Ss sing the song in canon. • Review kinesthetic, aural, and visual awareness activities. • T: “In music, we call the strong beats accents. We can show accents by conducting.” • T sings and demonstrates a our-beat conducting pattern. Ss copy. • T: “Our pattern o strong and weak beats is in groups o our: strong-weak-weak-weak… one, two, three, our; so we can call this ‘our-beat meter.’” • Ss sing and conduct the song. • Ss identiy other known songs that may be in our-beat meter: ○ “Blue” ○ “Bluebird Trough MyWindow”

Describe what you hear with rhythm syllables Quadruple meter

○

“Chatter with theAngels” ○ “Firefly” Ss add simple our-beat ostinato accompaniments on xylophones to any or all o these songs.

179



“Fire in the Mountain” CSP: A

Review the new song


Review aural presentation and notation o 4 $meter

Warm-up

• Body warm-up • Beat activity Symphony No. 15 in G major, K. 124, Menuetto and rio, by W. A. Mozart (1756–1791) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Frosty Weather” CSP: A • Ss sing the song in canon afer our beats. Fire in the Mountain”

INTRODUCTOR

Y ACTIVITIES

CSP: F-sharp • Ss sing the song with an ostinato:2 $qq\xxxc q>

180 Develop tuneful singing

one production Diction Expression Review known songs and elements

“Knock the Cymbals” CSP: D • Ss sing the song with text; Ss sing again on the syllable “koo” or other vowels preceded by a consonant. • Ss sing the song with text and then with solège syllables. “Dinah” CSP: D • Ss sing the song and tap the beat. • T sings each phrase o “Paw Paw Patch,” “ideo,” and “Dinah”; Ss echo-sing each phrase with rhythm syllables and tap the beat. CORE ACTIVITIES

Teach a new song

“O Fly Around” CSP: B-flat • T sings the song whileSs quietly perorm a beat ostinato. • T perorms the song accompanying on an instrument, andSs show phrases. • Ss identiy the number o phrases. (our)


• Two or three Ss trace the phrases on the board while T sings. • T sings the song, pausing afer each phrase orSs to label the orm. (ABAC) • Repeat the previous step with a simple ostinato:

$qq\sdq> 2 • Ss continue the ostinato on an instrument and sing all the phrases with T. Review known elements

“Are You Sleeping?” CSP: F • Ss sing the song in canon. • Ss sing the song with rhythm syllables and keep beat by using a pat clap clap clap ostinato. • Review awareness activities and aural presentation. • T: “In music, we call the strong beats accents. We can show accents by conducting.” • T sings and conducts a our-beat pattern,Ss copy. • T: “Our pattern o strong and weak beats is in groups o our: strong-weak-weak-weak… one, two, three, our; so we can call this ‘our beat meter.’”T directs Ss to add bar lines:

qqqq\qqqq\ qqw\qqw\ sdsdqq\sdsdqq\ qqw\qqw\ • T: “o show that it is the end o the song, we put a double bar line.” • T: “o show how many beats are in each measure and how long each beat is, we need to add a ‘time signature’ to the beginning.” T adds a 4 $. • Ss sing and conduct the song. Creative movement

“Fire in the Mountain” CSP: A • T and Ss sing the song and move into position or the game while T plays the beat on a drum; T briefly explains the rules o the game.


“Button, You Must Wander” CSP: D • Ss sing the song in canon. • Ss sing song with rhythm syllables. • Ss add bar lines and time signature to the notation o the rhythm on board.Ss read notation rom board. • Ss add a simple ostinato accompaniment on xylophones to perorm with “Button, You Must Wander.” SUMMARY ACTIVITIES


Review the new song

“O Fly Around” CSP: B-flat

181

1 8 2

Unit 2: Teaching Eighth Note Followed by Two Sixteenth Notes SONG REPERTOIRE Known S ongs

Songs for Tuneful

Songs to

Songs to

Songs to

Creative

Songs to Practice

Singing

Review Known Elements: $Meter 4

Prepare Next New Concepts: low la

Prepare Concept: sxc

Movement

Known Element (do Pentatonic)

Lesson 1

“Great Big House in New Orleans,” “O Fly Around”


“Are You Sleeping?”


“Fed My Horse”

“Ida Red”


Lesson 2

“Rocky Mountain,” “Jim Along Josie”

“Chickalalelo”

“Bluebird Trough My Window”


“Fed My Horse”



Lesson 3

“Ida Red,” “Old Mr. Rabbit”

“Mama, Buy Me a Chiney Doll”

“Bluebird Trough “Phoebe in Her My Window” Petticoat”

“Fed My Horse”

“How Many Miles “Button, You Must to Babylon?” Wander”

Known S ongs


Songs to Review Known Elements: $Meter 4

Songs to Present Concept: sxc

Songs to Prepare Next New Concepts

Songs to Present Concept

Songs to Prepare Next New Concepts: low la

Lesson 4

“Knock the “Fire in the Mountain” “Button, You Cymbals,” “Phoebe Must Wander” in Her Petticoat”

“Big Fat Biscuit” “Fed My Horse”

“Ida Red”


Lesson 5

“Button, You Must Wander,” “Big Fat Biscuit”




“IdaRed”

“Knockthe Cymbals”

“Fed My Horse”

Here is a chart o the primary musical skills that are developed in the five lessons associated with teaching the concept o three uneven sounds on a beat ta dimi. Remember, in the first three lessons studentspractice the previous musical element, in this case, quadruple meter, which was learned in kindergarten. L esso1n Reading

L esso2n

L esso3n

Lesso4 n

L esso5 n

Ss read “Rocky Mountain” with solège rom notation or hand signs while conducting.

Writing

Ss read the rhythm o “Fed My Horse” (phrases 1 and 2) rom traditional rhythm notation. Ss write the rhythmic notation with solège o

Ss write the rhythm o “Fed My Horse” (phrases 1 and 2)

“Rocky Mountain” and additional songs.

rom traditional rhythm notation. T sings an eight-beat question phrase with solège syllables and Ss echo an eight-beat response while conducting in quadruple meter.

Improvisation

Movement

“IdaRed”

Listening

“Goodbye Old Paint,” rom Billy the Kid Suite, by Aaron Copland (1900–1990). Te olk song “Goodbye Old Paint” is ado pentatonic

“HowManyMilesto Babylon?”


melody. Ss should learn the song and listen to the composition by Copland.

1 8 3

“Ida Red”



Unit 2, Eighth Note Followed by Two Sixteenth Notes, Lesson 1 Preparation: internalizing three uneven sounds on one beat (long short short) through kinesthetic activities

Outcome

Practice: reading songs written in do pentatonic INTRODUCTOR Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity Te Marriage of Figaro Overture,by W. A. Mozart (1756–1791) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Great Big House in New Orleans” CSP: F-sharp • T and Ss sing the song while keeping the beat. • T and Ss sing the song while adding a simple ostinato. • Ss sing the song while  sings the second part o “Great Big House in New Orleans,” rom Mark Williams, wo-Part American Songs(Bicinia Americana). “O Fly Around” CSP: D • Ss sing the song with a simple ostinato. • Ss perorm the last our beats as a rhythmic ostinato into the next song: (2 $sdsd\qq>)


“How Many Miles to Babylon?” CSP: F-sharp • Ss sing while perorming the ostinato. • Ss sing and keep the beat. • Show Ss how to sip through a straw correctly and expand their waists. • Show Ss how to release air using a “sss” or hissing sound. • Show Ss how to release air using the wordha. • Guide Ss to yawn, as this opens up the back o the throat and relaxes the voice. • Ss sing ”How Many Miles to Babylon?” Kodály Choral Library,Let Us Sing Correctly, no. 24

184 one production Diction Expression


“Are You Sleeping?” CSP: F • Ss sing the song and conduct the beat. • Ss read the rhythm o the song rom the board and identiy the time signature. • Ss inner-hear the song while clapping the rhythm. • T sings each phrase o “Are You Sleeping?”;Ss echo-sing each phrase with rhythm syllables and conduct in quadruple meter.


CORE ACTIVITIES Teach a new song

“Jim Along Josie” CSP: C • T sings song while Ss pat the beat and then draw phrases. • T sings again, stopping afer each phrase or Ss to identiy the orm (ABAB);Ss sing the song withT and then play game. • Ss sing and perorm a simple ostinato 4 $sdsdqq> ( ).

“Fed My Horse” CSP: F-sharp • Ss sing and briefly play the game. Internalize music through Develop knowledge of music literacy concepts

kinesthetic activities

Creative movement

Practice music performance and literacy skills Reading

• Ss sing the song and keep the beat. • Ss sing the song and clap the rhythm. • Sing the song and point to a representation of phrase 1on the board: • Ss sing and point to the representation in different ways (head, elbow, etc.). • Ss sing and clap the target phrase with a partner. • T directs part o the class to perorm the beat while the remainder perorm rhythm. Switch. • Ss sing and step the beat while clapping the rhythm o the song. “Ida Red” CSP: D • Ss sing and play the game. • Eliminated Ss will play a simple ostinato on various percussion instruments. • Ss sing and play the game whileT plays the second part o “Ida Red,” rom Denise Bacon’s46 wo-Part American Folks Songs, p. 19. “Rocky Mountain” CSP: D • Ss sing the song. • Ss sing with rhythm syllables and then solège syllables and hand signs, reading rom rhythmic notation and solège as well as staff notation on the board. • Ss determine the tone set. • T points to the melody on the tone set o the listening example, and Ss sing. • Ss listen to recording. • Goodbye, Old Paint,” from Billy the Kid Suite, by Aaron Copland (1900–1990) Teshould olk song Old then Paint” is adotopentatonic melody. Ss learn“Goodbye, the song and listen the composition by Copland. SUMMARY ACTIVITIES


Review the new song

“Jim Along Josie” CSP: C

185


Unit 2, Eighth Note Followed by Two Sixteenth Notes, Lesson 2 Outcome

Preparation: analyzing repertoire that contains three uneven sounds on one beat (long short short) Practice: writing known songs in our-beat meter INTRODUCTOR

186

Y ACTIVITIES

Warm-up

• Body warm-up • Beat activity Te Marriage of Figaro Overture,W. A. Mozart (1756–1791) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Jim Along Josie” CSP: C • Ss sing and keep the beat. • Ss sing song with a simple ostinato. • Ss continue the beat into the next song. “Rocky Mountain” CSP: F • T and Ss sing the song. • Ss sing while T adds a simple ostinato (2 $sdq\sdq>). • Ss continue the rhythmic ostinato whileT sings the next song.

Develop

“Chickalalelo”

tuneful singing

CSP: D • Ss sing the song. • T practices sighing with Ss. • T and Ss use a higher voice than they usually speak with. Guide Ss to sigh a ew times, starting each sigh a little higher than the last. • Ss sing only “la, la, la” rom the song and inner-hear the remaining words.


Kodály Choral Library,Let Us Sing Correctly, no. 25 Review known “Bluebird Trough My Window” songs and CSP: A rhythmic • T and Ss sing the song. elements • Ss sing song with rhythm syllable and clap the rhythm. • T sings each phrase o “Bluebird Trough My Window”;Ss echo-sing each phrase with rhythm syllables and conduct. • If time permits, continue theecho activity with “Paw Paw Patch,”

“ideo,” and “Dinah” or other songs that use known rhythm syllables and meters.



“Old Mr. Rabbit” CSP: F • T sings the song whileSs perorm the rhythm. • Ss trace the phrases in the air while T sings again. • Ss trace the phrases on the board while T sings the song.

•• • • Develop knowledge of music literacy concepts


Ss the ormAasand T sings. Ss label sing phrases B, and(ABCD) T sings C and D; switch. Ss sing song with T and tap the beat. Ss suggest other vegetables that Old Mr. Rabbit could have eaten out o the garden; perorm adding vegetables to the song.

“Fed My Horse” CSP: A • Ss sing and play the game. • Review kinesthetic awareness activities. • T and Ss sing phrase 1 on “loo” and tap the beat beore asking each o these questions: • T: “Andy, how many beats did we tap?” (our) Determine the number o sounds on each beat: • T: “Andy, which beat had one sound?” (beat 4) • T: “Andy, how many sounds are on beat 3?” (two) • T: “Andy, how many sounds are on beat 1?” (two) • T: “Andy, how many sounds did we sing on beat 2?” (three) Describe the sounds on beat 2: • T: “Andy, were the sounds on beat two even or uneven?” (uneven) • T: “Andy, describe these sounds using the words long and short.” (long short short) • T: “Let’s sing our phrase like this: tadi ‘ long-short-short tadi ta.’” Ss echo. • Small groups and individual Ss echo-sing with T. • Ss sing phrases 1 and 2 as “tadi long short short tadi ta.” ➢ Ss sing “Fed My Horse” whileT sings “How Many Miles to Babylon?” as a partner song.

Creative movement

“How Many Miles to Babylon?” CSP: A • Ss sing and play the game. • Ss play accompaniment on a xylophone with a simpledo-low so bordun.

187


Practice music “Rocky Mountain” performance CSP and • T and Ss sing the song. literacy skills • Ss conduct and read the rhythm o the song rom the board. • Ss sing with solège syllables and hand signs. Writing • Ss complete writing worksheets, adding in the missing solège syllables. • Ss create an accompaniment o xylophones to accompany the songs. SUMMARY ACTIVITIES Review lesson outcomes

“Old Mr. Rabbit” CSP: F

Review the new song


Preparation: creating a visual representation o a musical phrase containing three uneven sounds on one beat (long short short) Practice: improvising with rhythms written in our-beat meter INTRODUCTOR

Warm-Up

Y ACTIVITIES

• Body warm-up • Beat activity Te Marriage of Figaro Overture,by W. A. Mozart (1756–1791) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Practice breathing. Breathe inthrough nose for four counts, hold or our counts, and exhale through mouth or our counts. Extend the number o counts. • Resonance: explore acow sound using low and high voices. Make sureSs are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

188

Sing known songs

“Ida Red” CSP: D • T and Ss sing song and step the beat. • Ss perorm phrase 4 as an ostinato (2 $sdsd\sdq>). “Old Mr. Rabbit” CSP: D • Ss sing the song; Ss may add other vegetables. • Ss sing “Old Mr. Rabbit” whileT sings “Mama, Buy Me a Chiney Doll” as a partner song.




“Mama, Buy Me a Chiney Doll” CSP: F-sharp • T and Ss sing the song. • S echo four-beat patterns of consonants (k-k-k-k, ss-ss-ss-ss, p-p-p-p, zz-zz-zz-zz, etc.). • Ss sing the song andT sings the second part o “Mama, Buy Me a Chiney Doll,” rom Denise Bacon’s 46 American Folk Songs, p. 23. Kodály Choral Library,Let Us Sing Correctly, no. 26


“Bluebird” CSP: A • Ss sing song. • Ss sing with rhythm syllables and conduct. • Ss correctly place bar lines and time signature or the song. • Ss conduct and sing the song with rhythm syllables rom notation. • T sings each phrase o “Bluebird”; Ss echo-sing each phrase with rhythm syllables while tapping the beat. • Continue the echo activity with “PawPaw Patch,” “ideo,” and “Dinah” or other songs that use known rhythm syllables.

Teach a new song


CORE ACTIVITIES

CSP: A • T sings the song while Ss show the phrases. • Ss identiy and label the orm o the song while T sings. (ABAC) • Ss sing the A phrases, andT sings B and C; switch. • T can also teach this song through a movement or a story. “Fed My Horse” CSP: A • Ss sing the song. Create a visual representation • Review kinesthetic and aural activities. o what you hear • T distributes Unifix cubes or other visual aids. • T sings phrase 1 on “loo.” • T: “Pick up what you need to recreate what you heard.” • Ss create a visual representation o the rhythm o phrase 1. • Ss point to the representation and sing. • Ss share their representations with each other. • One S shares a representation with the class. • Ss point to the representation and sing. • Determine thesolfège syllables for phrase 1. (ms sss ls s) • Ss sing phrase 1 with solège syllables and hand signs. Develop knowledge of music literacy concepts

189


Creative movement

“How Many Miles to Babylon?” CSP: A • Ss sing song and conduct. • Ss sing and play game.

Practice music performance and literacy skills

“Button, You Must Wander” CSP: D • Ss sing the song. • Ss sing with solège syllables and hand signs. • T creates a musical question ending onso using solège syllables based on the A phrase; Ss sing the A phrase as the answer phrase. Ss create new question phrases. • T plays the question phrase on a xylophone; individual Ss sing and play their answers on a xylophone.

Improvisation


Review the new song

“Phoebe in Her Petticoat” CSP: A


190

Presentation: label the sound o three uneven sounds on one beat with the rhythm syllables ta dimi INTRODUCTOR

Warm-up

Sing known songs

Y ACTIVITIES

• Body warm-up • Beat activity “Mambo,” romWest Side Story, by Leonard Bernstein (1918–1990) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Practice breathing. Breathe inthrough nose for four counts, hold or our counts, and exhale through mouth or our counts. Extend the number o counts. • Resonance: explore acow sound using low and high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing. “Knock the Cymbals” CSP: F • Ss sing the song. • Ss sing and pat the beat.


“Phoebe in Her Petticoat” CSP: A • Ss sing the song. • Ss sing the song with a simple ostinato (2 $qq\sdq>). • Ss sing the song andT sings the second part o “Phoebe” rom 46 wo-Part American Folk Songs, p. 32. Develop tuneful singing



“Fire in the Mountain” CSP: A • Ss sing the song. • Ss sing in canon afer our beats. • Ss echo our-beat patterns o consonants (k-k-k-k, ss-ss-ss-ss, p-p-p-p, zz-zz-zz-zz, etc.). Tis may be applied to the song. Kodály Choral Library,Let Us Sing Correctly, no. 31 “Button, You Must Wander” CSP: D • Ss sing the song. • Ss sing song with rhythm syllables and clap rhythm. • Ss conduct and read the rhythm o the song rom the board:

4 $sdsdqq\qqqq\ sdsdqq\qqqQ\ qsdqq\qsdqq\ sdsdqq\qqqQ| • T each phrase o “Button, You Must Wander”; Sssings echo-sing each phrase with rhythm syllables and conduct. • T erases one phrase at a time and Ss “memorize” the rhythm while conducting. CORE ACTIVITIES Teach a new song

“Big Fat Biscuit” CSP: F • T sings the song. • Ss identiy the sounds that repeat in each phrase. (“chew-ba-loo”) • T sings again whileSs keep the beat. • T briey explains the rules of the game. • Ss sing and play the game.

Presentation of music

“Fed My Horse”

literacy concepts Describing what you hear with rhythm syllables

CSP: A sing the song. • Ss • Review kinesthetic, aural, and visual awareness activities. • T: “When we have three sounds on a beat and the first is long and the second and third are short, we will say ta di-mi.”

191


• T sings phrase 1 o “Fed My Horse” with rhythm syllables. (tadi ta dimi tadi ta). • Ss echo the rhythm syllables. • T sings phrase 1 on words andSs echo with rhythm syllables. • T echo-sings with six to eight Ss individually. • Ss sing “Fed My Horse” whileT sings “Ida Red” as a partner song. Creative movement

“Ida Red” CSP: F • Ss sing the song and play the game. • Eliminated Ss choose instruments and create an ostinato to accompany the song. • Ss continue their accompaniment into the next song.


“How Many Miles to Babylon?” CSP: A • Ss sing the song. • T and Ss sing the first phrase with words. • T sings the target phrase on “loo,” andSs sing with rhythm syllables. • T sings these phrases andSs echo with rhythm syllables. “Ida Red” (phrase 1) “Chickalalelo” (phrases 1, 2, and 4)

Describe what you hear with rhythm syllables

SUMMARY ACTIVITIES

192



Review the new song

CSP: F


Presentation: notating three uneven sounds on one beat with an eighth note ollowed by two sixteenth notes

Warm-up

• Body warm-up • Beat activity “Mambo,” romWest Side Story, by Le onard Bernstein (1918–1990) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

INTRODUCTOR

Y ACTIVITIES


Sing known songs

“Button, You Must Wander” CSP: D • T and Ss sing the song. • Add a simple ostinato (2 $qq\sdq>). “Big Fat Biscuit” CSP: F • Ss sing the song and may briefly play the game.


“Ida Red” CSP: F • Ss sing the song. • Ss sing the song with lip trills. • Ss lightly hum the song, andT monitors or proper resonance and tone. Kodály Choral Library,Let Us Sing Correctly, no. 51



“Knock the Cymbals” CSP: F • Sing song. • Ss sing with rhythm syllables and conduct. • Ss read the song rom the board:

$sdsdsdq\ 4 sdsdsdq\ sdsdsdq\ sdsdqq| • Ss sing ”Knock the Cymbals” and clap the above rhythm. • T switches the placement o phrases 1 and 4. Ss read the • changes. T adds our beats o rest to each phrase. Ss perorm the changes:

$sdsdqq\QQQQ\ 4 sdsdsdq\QQQQ\ sdsdsdq\QQQQ\ sdsdsdq\QQQQ| ➢ Ss perorm the rhythm on the board; T sings the responses o “Rosie, Darling Rosie” during the rests (“Ha, ha Rosie”). CORE ACTIVITIES Teach a new song

“Rosie, Darling Rosie” CSP: D • T sings the song whileSs continue to clap. • T sings the calls and indicates or Ss to sing the responses. • T sings the song and demonstrates the game; Ss play game. • Ss listen to the Smithsonian Folkways recording o this song.

193


Presentation of music literacy skills


“Fed My Horse” CSP: A • Sing song. • Sing the target phrase of“Fed My Horse” with rhythm syllables. • T: “When the beat is a quarter note, we can represent three sounds on a quarter note beat, where the first is long and the last two are short, using one eighth note and two sixteenth notes.” Identiy the placement o stems and beams. • T: “Our first phrase o ‘Fed My Horse’ looks like this”:

$sdsxc\sdq| 2

• T: “We can read this rhythm pattern using rhythm syllables.” T sings rhythm syllables;Ss echo-sing and point. • T: “Stick notation is an easy way to write rhythmic notation. Stick notation is traditional notation without the note heads. Our first phrase o ‘Fed My Horse’ in stick notation looks like this”:

$sdsxc\sdq| 2 • Sing “Fed My Horse” with rhythm syllables while pointing to the phrase written on the board. Individual Ss sing and point. • T explains how to sing with numbers or counting and conducting. Ss sing with numbers and conduct. • Ss perorm the rhythm o the target phrase as a rhythmic ostinato into the next song 2 $sdsxc\sdq> ( ). Creative

194

Movement Presentation of music literacy concepts


“Big Fat Biscuit” CSP: F • T and Ss sing the song and play the game. “How Many Miles to Babylon?” CSP: A • Ss sing song. • Ss sing with rhythm syllables and tap the beat. • Ss notate the first our bars o the melody:

2 $sxcsd\sdq\ qsd\qQ| • Ss create a our-beat ostinato that uses the new rhythm to play on a xylophone to accompany this and related songs. SUMMARY ACTIVITIES Review lesson outcomes

Review the new song

“Rosie, Darling Rosie” CSP: D

Unit 3: Teaching low la SONG REPERTOIRE Known Songs

Lesson 1

Lesson 2 Lesson 3


Songs to Prepare Concept: low la

Creative Movement

Songs to Practice Known Elements: Sxc

“Let Us Chase the “Over the River” Squirrel”



“Fed My Horse”

“Let Us Chase the “Hogs in the Squirrel” Cornfield”



“Fed My Horse”

“Button, You Must “Rosie, Wander,” “Hogs in Darling the Cornfield” Rosie”

“Fire in the Mountain”




“Fed my Horse”

Known Songs

Songs to Review Known Elements: sxc

Songs to Prepare Next New Concepts: xcd

Songs to Present Concept: low la

Creative Movement

Songs to Present Concept: low la

“Bluebird “Big Fat Trough My Biscuit” Window,” “Rosie, Darling Rosie” “Hunt the Cows”



Songs to Review Known Elements Melodic

Songs to Prepare Next New Concepts: xcd

Lesson 4

“Firefly,” “Do, Do “Old Pity My Case” Mr. Rabbit”

“Let Us Chase the “Hop, Old Squirrel,” “Fire in Squirrel” the Mountain”




Lesson 5

“Are You Sleeping?” “Hop, Old Squirrel”






“Sailing O’er the Ocean”

1 9 5

1 9 6

Here is a chart o the primary musical skills that are developed in the five lessons associated with teaching the concept o low la. Remember, in the first three lessons studentspractice the previous musical element, in this case three uneven sounds on a beat, ta dimi. L esson 1

Reading

L esson 2

Lesson 4

Ss read “Phoebe in Her

Petticoat“ with hand signs rom steps, traditional notation with solège, and then rom staff notation. Ss write “Fed My Horse“ and additional songs reading rom traditional rhythm notation.

Improvisation

Ss write “Phoebe in Her Petticoat“ with hand signs rom steps, traditional notation with solège, and then rom staff notation. T sings a question phrase written on the board;Ss sing an answer phrase written on the board using rhythm syllables.

“RosieDarlingRosie“

“OvertheRiver“

“JimAlongJosie“

“Hogsinthe Cornfield“

Listening

L esson 5

and additional songs reading rom traditional rhythm notation. Writing

Movement

Lesson 3

Ss read “Fed My Horse”

“Badinerie,” rom Sonata in B minor, BWV 1067, by J. S. Bach (1685–1750), first phrase

“Rosie, Darling Rosie“


Unit 3, low la, Lesson 1 Preparation: internalizinglow la, a pitch that is a skip lower than do, through kinesthetic activities

Outcome

Practice: reading the rhythm o melodies containing an eighth note ollowed by two sixteenth notes INTRODUCTOR Warm-Up

Y ACTIVITIES

• Body warm-up • Beat activity “Dance o the Sugar Plum Fairies,” romTe Nutcracker Suite, by Peter Ilyich chaikovsky (1840–1893) • Breathing: Ss practice blowing up a balloon and observe how air is released when the balloon deflates. • Resonance: explore a “moo” sound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Bluebird Trough My Window” CSP: A • Ss sing and conduct the song. “Rosie, Darling Rosie” CSP: D • Ss sing the song, clapping on beats 2 and 4. • Ss continue the clapping pattern into the next song.



one production

CSP: F • T and Ss sing the song. • T sings the calls with solège syllables, and Ss sing the responses. • Ss sing the calls with solège syllables, and T sings the responses. • Ss sing the entire song. • Ss inner-hear the calls and sing the responses aloud on different vowels. Kodály Choral Library,Let Us Sing Correctly, no. 37

Diction Expression


“Let Us Chase the Squirrel” CSP: D • Ss sing the song with text. • Ss sing with solège syllables and hand signs. • T sings the text o phrases in “Let Us Chase the Squirrel”; Ss echo-sing using solège syllables and hand signs. • Continue the echoactivity with “Rocky Mountain,” “Bow Wow Wow,” “Here Comes a Bluebird,” or other known songs that use the solège syllables l s m r and d.

197



“Over the River” CSP: C • T sings song. • Ss move into a double line (boy-girl or any other division is fine) while listening. • T sings each phrase and demonstrates the motions. • Ss echo-sing and copy the motions with their partners.


“Phoebe in Her Petticoat” CSP: A • Ss sing ”Phoebe in Her Petticoat” and keep the beat. • Ss sing the song and clap the melodic contour or the target phrase (phrase 1). • Sing song and point to a representation of themelodic contour on the board. • T selects individuals to come to the board to point to the contour. • Ss find partners (could be the same partner as in the game) to mirror one another while clapping the contour. • Sing with rhythm syllables while showingmelodic contour.

Internalize music through kinesthetic activities

198

Creative movement

“Rosie, Darling Rosie” CSP: D • Ss sing and keep the beat. • Ss sing and play the game and add an accompaniment.


“Fed My Horse” CSP: F-sharp • Ss sing song with text. • Ss sing phrase 1 o “Fed My Horse” with rhythm syllables. • Ss read the ocus phrase rom traditional notation:

Reading

$sdsxc\sdq| 2 • T modifies the rhythm several times. Ss perorm the changes afer each modification. Eventually the rhythm must become:

$sxcsxc\sdsd\ 2 sxcsxc\sdsd\ sdsd\sdsd\ sdsd\sdq| • Ss ollow the rhythm on the board while listening to “Russian Dance,” romTe Nutcracker Suite, Op. 71, by Peter Ilyich chaikovsky (1840–1893) SUMMARY ACTIVITIES Review lesson outcomes

Review the new song

“Over the River” CSP: C


Unit 3, low la, Lesson 2 Outcome

low la, a pitch that is a skip Preparation: analyzing repertoire that contains below do Practice: writing musical phrases that contain an eighth note ollowed by two sixteenth notes

Warm-up

• Body warm-up • Beat activity “Russian Dance,” romTe Nutcracker Suite, Op. 71, by Peter Ilyich

INTRODUCTOR

Y ACTIVITIES

chaikovsky (1840–1893) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore acow sound using low and high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing. Sing known songs

“Bought Me a Cat” CSP: C • Ss sing the song. • Ss perorm with an ostinato.


“Old Mr. Rabbit” CSP: F • Ss sing the song. one production • Imitate the sound of a siren with the voice. Challenge the children Diction to make sof and loud, high and low, long and short sirens, and Expression sirens that just go up, just come down, or do both. • Falling o a cli. Pretend you’re falling o a cli and say “aaaahhhhhhhhhh!” • Use a ball. row a ball from one S to another; Ss have to ollow the movement o the ball with their voices. Kodály Choral Library,Let Us Sing Correctly, no. 38 Review known songs and melodic elements

“Let Us Chase the Squirrel” CSP: F • T and Ss sing song. • Ss sing the solège syllables o the whole song. • T sings the text o phrases o “Let Us Chase the Squirrel”;Ss echo-sing using solège syllables and hand signs. • Continue the echo activity with “Rocky M ountain,” “Bow Wow Wow,” “Here Comes a Bluebird,” or other known songs that use the solège syllables l s m r and d. CORE ACTIVITIES

Teach a new song

“Hogs in the Cornfield” CSP: D • T sings again andSs identiy the number o phrases in the song. (two) • T sings again, pausing afer each phrase orSs to identiy and label the orm o the song. (AB) • T and Ss sing and play the game.

199




“Phoebe in Her Petticoat” CSP: A • T directs hal the class to continue the ostinato while the remainder sing the song. Switch. • Review kinesthetic awareness activities. • T and Ss tap the beat and sing the first phrase on “loo” beore asking each question: • T: “Andy, how many beats did we tap?” (our) • T: “Andy, which beat has the lowest pitch?” (4) • T: “Let’s sing the phrase on ‘loo’ but sing ‘low’ or the lowest note.” • T sings the first our pitches on “loo.” • T: “Andy, what hand signs do we use to sing those pitches?mr ( dd) • T: “Let’s sing our whole phrase with solège syllables and hand signs but sing ‘low’ or our lowest pitch.” m ( r d d r d low) • Ss sing and point down or the low pitch. • T: “Andy, is our lowest pitch a step or a skip romdo?” (skip) • Ss sing as a whole group, and thenT may select individuals to sing the target phrase (m r d d r d low). • Ss sing “Phoebe in Her Petticoat” whileT sings “Over the River” as a partner song.

200

Creative movement

“Over the River” CSP: C • T and Ss play game.

Practice music, performance,

“Fed My Horse” CSP: A

and literacy skills

Writing

•• Ss song. Ss sing sing the phrase 1 with rhythm syllables. • Ss sing the rhythm syllables and point to the our blank beatsT has written on the board (include bar lines and a time signature). • Ss identiy the rhythms or each beat and fill in the blanks. • T erases the board and distributes writing materials. • Ss sing the first phrase o “Fed My Horse” with rhythm syllables while touching the beats on their papers. • Ss fill in the rhythm with stick notation. • T repeats the process with the first phrase o “Fire in the Mountain.” • Ss use one o the rhythms to create a rhythmic accompaniment on a xylophone or these or other known songs. SUMMARY ACTIVITIES


Review the new song




Preparation: creating a visual representation o a musical phrase containing low la, a pitch that is a skip belowdo Practice: improvising musical phrases that contain an eighth note ollowed by two sixteenth notes INTRODUCTOR

Warm-up

Sing known songs




Y ACTIVITIES

• Body warm-up • Beat activity “Russian Dance,” romTe Nutcracker Suite, Op. 71, by Peter Ilyich chaikovsky (1840–1893) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing. “Button, You Must Wander” CSP: D • Ss sing the song. • Ss sing rom T’s hand signs (m r d Q ) while the remainder sing the song. “Hogs in the Cornfield” CSP: D • Ss sing the song; then they sing the song in canon afer our beats. “Rosie, Darling Rosie” CSP: D • Ss sing the song. • Ss sing the song and ollowT conducting (staccato and legato, loud and quiet, ritardando and accelerando, etc.). • Use a ball. row a ball from one S to another; Ss have to ollow the movement o the ball with their voices. Kodály Choral Library,Let Us Sing Correctly, no. 39 “Fire in the Mountain” CSP: A • T and Ss sing the song. • Ss sing the song with solège syllables romT’s hand signs. • T sings the text o phrases o “Fire in the Mountain”; Ss echo-sing using solège syllables and hand signs. • Continue the echo activity with “Let Us Chase the Squirrel,” “Rocky Mountain,” “Bow Wow Wow,” “Here Comes a Bluebird,” or other known songs that use the solège syllables l s m r and d.

201



“Do, Do Pity My Case” CSP: F-sharp • T sings the song while Ss accompany with the rhythmic ostinato. • T sings and accompanies on an instrument (guitar, piano, dulcimer, etc.). • Ss continue and clap the last phrase as a rhythmic ostinato into the next song (2 $sdsd\qq>).


“Phoebe in Her Petticoat” CSP: A • Ss continue the ostinato while singing the song. • Review kinesthetic and aural awareness activities. • T sings the target phrase on a neutral syllable. • T: “Use Unifix cubes to recreate what you heard.” • Ss create a visual representation o the target phrase. • Ss share their representations with each other. • Ss make corrections i necessary. • T invites one S to the board to share a representation. • Sing on “loo” while each S points to the representation. • Ss sing the song and put away their materials.

Create a representation o what you hear

Creative movement

“Jim Along Josie” CSP: C • Ss sing and play the game, suggesting other motions they may perorm. • T selects one S to play a chord bordun on the xylophone as an accompaniment or the song. • Ss continue their accompaniment into the next song.

202 Practice music performance and literacy skills

Improvisation

“Fed My Horse” CSP: A • Ss sing “Fed My Horse.” • Ss read the rhythm o the song rom the board:

$sdsxc\sdq\ 2 sdsxc\sdq\ sdsxc\sdsd\ sdsd\sdq| • T erases the rhythm o phrase 2. • Ss perorm phrases 1 and 3, and T improvises a new rhythm in phrases 2 and 4. • T perorms phrases 1, 3, and 4 and selects individual Ss to improvise a rhythm in phrase 2. SUMMARY ACTIVITIES


Review the new song

“Do, Do Pity My Case” CSP: F-sharp


Unit 3, low la, Lesson 4 Presentation: label the pitch a skip belowdo as low la

Outcome

INTRODUCTOR Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity Te Tunderer, by John Philip Sousa (1854–1932) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explorea cow sound usinglow andhigh voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Firefly” CSP: A • Ss sing the song. “Do, Do Pity My Case” CSP: F-sharp • Ss sing song. • Ss sing the song in canon afer our beats.


“Old Mr. Rabbit” CSP: F • Ss sing the song. • Ss sing the song with lip trills. • Ss sing the song on a hum.


• Ss sing the song on “ng.” • Ss hiss the rhythm o the song. Kodály Choral Library,Let Us Sing Correctly, no. 39 Review known songs and melodic elements

“Let Us Chase the Squirrel” CSP: F “Fire in the Mountain” CSP: A • Ss sing the song whileT claps the rhythm. • Ss sing entire song with solège syllables and hand signs. • Divide the class intotwo groups. Sing the songs phrase by phrase; group A sings the text, and group B echoes the phrase with solège syllables and hand signs.

Teach a new song


CORE ACTIVITIES

CSP: A • T and Ss sing and keep beat and then play game. • Ss play game.

203



Describe what you hear with rhythm or solège syllables

“Phoebe in Her Petticoat” CSP: A • Ss sing the song. • Review kinesthetic, aural, and visual awareness activities. • T: “When we hear a pitch a skip belowdo, we call itlow la.” (Show sign.) • T sings phrase 1 with solège syllables and hand signs. • Class sings the target phrase with solfège syllables and hand signs. • Six to eight individual Ss sing the target phrase with solège syllables and hand signs. • Ss perorm the rhythm o phrase 1 as a rhythmic ostinato into the next song (2 $sdsd\sdq>).

Creative movement

“Hogs in the Cornfield” CSP: D • Ss continue the ostinato whileT sings the song; Ss play game. • Ss choose instruments and create ostinati to accompany the song.


“Jim Along Josie” CSP: A • Ss sing the song. • Ss sing with rhythm syllables while keeping the beat.

Describe what you hear with rhythm or solège syllables

• Ss singsigns. the target phrase with solège syllables and hand • Ss identiy the solège syllables o the remaining phrases. • Ss sing the song with solège syllables and hand signs. • T connects low la to other known songs, andT and Ss sing these songs with solège syllables and hand signs: ○ “Rosie, Darling Rosie” ○ “Big Fat Biscuit” ○ “Old Mr. Rabbit”

204


Review the new song

“Hop, Old Squirrel” CSP: A



Presentation: Presentlow la, in standard and staff notation

Warm-up

• Body warm-up • Beat activity Te Tunderer, by John Philip Sousa (1854-1932) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explo re a cow sound using lowand highvoices. Make

INTRODUCTOR

Y ACTIVITIES

sureSs are inhaling and exhaling correctlyith w the support muscles. • Posture: remind Ss o the correct posture or singing. Sing known songs

“Are You Sleeping?” CSP: F • Ss sing the song and conduct. • Ss sing in canon.


“Big Fat Biscuit” CSP: F • Ss sing song. • Ss sing the song, ollowing the expressive gestures inT’s conducting (crescendo and decrescendo, accelerando and ritardando, staccato and legato, etc.). • Use a ball. row a ball from one S to another; Ss have to ollow the movement o the ball with their voices. Kodály Choral Library,Let Us Sing Correctly, no. 39



“Button, You Must Wander” CSP: F • Ss sing the song and conduct. • T shows hand signs andSs sing with solège syllables and hand signs. • T sings the text o phrases in “Button, You Must Wander”;Ss echo-sing using solège syllables and hand signs. Continue the echo activity with “Rosie, Darling Rosie,” “Jim Along Josie,” “Old Mr. Rabbit,” or other known songs that use the solège syllables l s m r d and low la. CORE ACTIVITIES

Teach a new song

“Sailing o’er the Ocean” CSP: F • T sings while movingSs into position or the game. • T sings the song and explains how to play. • T sings the song andSs play. • As they hear the song more, T will put Ss “in charge” o selected phrases o the song. • Ss sing the first verse o the song whileT quietly sings “Phoebe in Her Petticoat” as a partner song.

205


“Phoebe in Her Petticoat” CSP: A • T directs part o the class to continue singing “Sa iling o’er the Ocean” while the remainder sing “Phoebe in Her Notate what you hear Petticoat.” • T gives aural presentation. • T places low la on the tone ladder. • Ss sing all known solège syllables and their intervals. • Ss write the solège syllables or phrase 1 o the song beneath the standard notation. Presentation of music literacy concepts

• Ss read the notation with solège syllables and hand signs. • T explains the rule o placement or low la using inger sta. • T writes the first phrase o the song in staff notation and explains rule o placement or low la (do = C, F, G). • Ss read the notation with solège syllables and hand signs. • Ss read the notation with absolute pitch names and hand signs.

206

Creative movement

“Rosie, Darling Rosie” CSP: D • Ss sing the song and play the game. • Ss sing the solège syllables o the response (“Ha, ha Rosie”) as a melodic ostinato into the next song.

Presentation of music literacy

“Jim Along Josie” CSP: C

concepts Notate what you hear

•• • •

Ss conduct. Ss sing sing with with words solègeand syllables and hand signs. Ss place the solège tone set on the tone ladder. Ss read the standard rhythmic notation with solège beneath rom the board. • T reviews the r ule o placement. • T presents the target phrase on the staff. • Ss write the tone set o “Jim Along Josie” s( m r d l,) on the staff in F = do. SUMMARY ACTIVITIES


Review the new song

“Sailing o’er the Ocean” CSP: F • Ss sing with words and conduct. • Ss sing with words and conduct and  sings the second part rom Denise Bacon’s46 American Folk Songs, p. 17.

Unit 4: Teaching Two Sixteenth Notes Followed by an Eighth Note SONG REPERTOIRE Known Songs

Lesson 1

Lesson 2 Lesson 3

Songs for Songs to Tuneful Singing Review Known Elements

“Fed My Horse,” “Do, Do Pity My “Jim Along “Sailing o’er the Case” Josie” Ocean” “O Fly Around,” “Dance Josey”


“Fed My Horse”

Songs to Prepare Next New Concepts: low sol

Songs to Prepare Concept: xcd

Creative Movement

Songs to Practice Known Elements: low la

“Dance Josey”








“Dance Josey”


“Chickalalelo,” “Old Brass Wagon”

“Do, Do Pity My “Fire in the Case” Mountain”



Known Songs

Songs for Songs to Tuneful Singing Review Known Elements: low la

Songs to Prepare Next New Concepts: low sol

Songs to Present Creative Concept: xcd Movement

Songs to Present Concept: xcd

Lesson 4

“Fire in the “Over the River” Mountain,” “Old Brass Wagon”

“Chickalalelo”



“Dance Josey”

“Ida Red”

Lesson 5

“Ida Red,” “King Kong Kitchie”

“Chickalalelo”

“Old exas”



“Ida Red”


2 0 7

2 0 8

Here is a chart o the primary musical skills that are developed in the five lessons associated with teaching the concept o three uneven sounds on a beat, taka di. Remember, in the first three lessons, students practice the previous musical element, in this case low la. Lesso1n Reading

Lesso2n

L esso3n

L esso4n

Lesso5n

Ss read “Phoebe in Her

Ss read the rhythm

Petticoat” and additional songs using hand signs rom steps, tradition notation with solège, and then staff notation.

o “Hogs in the Cornfield” (phrase 2) rom traditional rhythm notation. Ss write “Snail, Snail” and other duple meter songs writing in traditional rhythm notation with solège and then staff notation, and indicate duple meter.

Writing

Ss write the rhythm o “Hogs in the Cornfield” (phrase 2) rom traditional rhythm notation.

T sings a question phrase written on the board; Ss sing an answer phrase written on the

Improvisation

board usingsyllables. hand signs and solège Movement


Listening

Mikrokosmos, Vol. 3, No. 78, by Béla Bartók (1881–1945)


“Dance Josey”

“Dance Josey”



Unit 4, Two Sixteenth Notes Followed by an Eighth Note, Lesson 1 Outcome

Preparation: internalizing three uneven sounds on one beat (short short long) through kinesthetic activities Practice: reading music with low la INTRODUCTOR

Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity Te Tunderer, by John Philip Sousa (1854–1932) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Fed My Horse” CSP: A • Ss sing the song and keep the beat. • Ss sing “Fed My Horse” whileT sings “Sailing o’er the Ocean” as a partner song. Switch. “Sailing o’er the Ocean” CSP: F • Ss sing song.

Develop tuneful singing “Do, Do Pity My Case”



CSP: A • Ss sing the song; repeat singing with the syllable “koo.” • Ss pretend they’re alling off a cliff and say “aaaahhhhhhhhhh!” • T teaches Ss the second part o song; repeat singing with the syllable “koo.” Kodály Choral Library,Let Us Sing Correctly, no. 37 “Jim Along Josie” CSP: C • Ss read the ollowing rom theT’s hand signs:

sxcsd\QQ| sssmd • Ss sing the moti and T sings the rest o the phrase on “loo.” • Ss identiy the song. • Ss sing with text and conduct. • T sings each phrase o “Paw Paw Patch,” “ideo,” and “Dinah,” phrase 1 o “Ida Red,” and phrases 1 and 2 o “Chickalalelo”; Ss echo-sing each phrase w ith rhythm syllables while tapping the beat.

209


Teach a new song

“Dance Josey” CSP: F • Ss sing song and conduct. • T briefly explains the rules o the game, andSs play the game.


“Hogs in the Cornfield” CSP: D • Ss sing song. • Ss sing phrase 2 and pat the beat.


•• Ss Ss sing sing phrase phrase 22 and and clap pointthe to rhythm. a representation o the rhythm: __ __ _ _ __ __ _ _ __ __ • T instructs hal o the class to sing phrase 2 and perorm the beat while the other hal perorms the rhythm. Switch. • Ss sing phrase 2 while stepping the beat and clapping the rhythm. • All Ss keep beat and clap the rhythm, while singing both phrases o the song.

210

Creative movement

“urn the Glasses Over” CSP: F • Ss sing song. • Ss play game.


“Phoebe in Her Petticoat” CSP: A • Ss sing the song. • Sing using solfège syllables and hand signs;Ss place notes on tone ladder. • Ss identiy scale. • Ss read rom traditional notation and solège syllables using hand signs. • Ss read rom staff notation using solège syllables and hand signs in the keys o C, F, or G. • Ss read examples romKodály 333. Select rom 140, 142, 145, 152, 161, 164, 165, 280, 282, 287. • Ss read and memorize the main theme o “An Evening in the Village,” rom Hungarian Sketches, by Béla Bartók (1881–1945) rom T’s hand signs and listen to the melody.

Reading

SUMMARY ACTIVITIES Review lesson outcomes “Dance Josey” CSP: F Review the new song



Preparation: aurally analyze repertoire that contains three uneven sounds on one beat Practice: writing music with low la INTRODUCTOR

Y ACTIVITIES

Warm-up

• Body warm-up • Beat activity Concerto or Four Harpsichords, BVW 1065, by J. S. Bach, 1685–1750 • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore acow sound using low and high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“O Fly Around” CSP: D • Ss sing the song with a simple ostinato:

$qq\xxxcq> 2 “Dance Josey” CSP: F • Ss sing the song; then they sing in canon afer two beats. • Ss sing “Dance Josey” whileT sings “Over the River” as a partner song. “Over the River” CSP: C • T directs part o the class to sing “Dance Josey” while the one production remainder sing “Over the River.” Switch. Diction • Ss sing the song in unison. Expression • Ss sing vowels ocusing on v: sing “voo-voh, vah-veh- vee.” • Ss sing ”Over the River” on the syllable “vee.” Kodály Choral Library,Let Us Sing Correctly, no. 38 Develop tuneful singing


“Fed My Horse” CSP: F Sharp • Ss sing the song and keep the beat. • Ss sing with rhythm syllables. • T sings phrases 1, 2, and 3;Ss echo w ith rhythm syllables. • T sings each phrase o “Paw Paw Patch,” “ideo,” and “Dinah,” phrase 1 o “Ida Red,” and phrases 1 and 2 o “Chickalalelo”; Ss echo-sing each phrase with rhythm syllables while tapping the beat. CORE ACTIVITIES

Teach a new


song

CSP: C • Ss phrase the song in the air while T sings. • T sings and Ss write the orm o the song next to each phrase. • Ss sing phrase D, andT sings A, B, and C; switch. • Ss sing the whole song.

211




“Hogs in the Cornfield” CSP: D • Ss sing the song. • Review kinesthetic awareness activities. T and Ss sing phrase 2 on “loo” and tap the beat beore asking each o these questions: • T: “Andy, how many beats did we tap?” (our) Ss identiy the number o sounds on each be at: • T: “Andy, which beats have two sounds?” (1 and 4) • T: “Andy, how many sounds did we sing on beat 3?” (three) • T: “Andy, describe the sounds on beat 3 with ‘long’ and ‘short.’” (long short short) • T: “Andy, we already know that rhythm. What rhythm syllables should we sing on beat 3?” (ta dimi) Ss identiy the number o sounds on beat 2: • T: “Andy, how many sounds did we sing on beat 2?” (three) • T: “Andy, describe those sounds with ‘short and ‘long.’” (short short long) • Ss sing the phrase rhythm syllables and “short short long” on beat 2 (ta di short short long ta dimi ta di).

212

Creative movement

“urn the Glasses Over” CSP: F • Ss sing the song. • Ss sing and play the game. • Ss sing the last our beats o the A section (“urn the glasses over”) as a melodic ostinato into the next song mm ( rr d d).


“Phoebe in Her Petticoat” CSP: A • Ss sing the song. • Ss sing the song with solège syllables. • Ss write the solège syllables under the rhythmic notation on the board. • Ss complete the writing worksheets. • Ss sing in canon afer two beats. • Ss create two contrasting ostinati on the xylophone to accompany “Phoebe in Her Petticoat,” “Jim Along Josie,” or “Old Mr. Rabbit.”

Writing


Review the new song

“Old Brass Wagon” CSP: C



Preparation: creating a visual representation o a musical phrase that contains three uneven sounds on a beat (short short long) Practice: improvising melodic patterns that containlow la INTRODUCTOR

Y ACTIVITIES

Warm-up

• Body warm-up • Beat activity Concerto or Four Harpsichords, BVW 1065, by J. S. Bach (1685–1750) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Chickalalelo” CSP: D • Ss sing the song with an ostinato. “Old Brass Wagon” CSP: F • Ss sing the song.


“Do, Do Pity My Case” CSP: A • Ss sing the song. • Ss sing song on the syllable “voo.”



• Ss lightly sing the song on a neutral syllable they choose while tapping the beat. Kodály Choral Library,Let Us Sing Correctly, no. 39 “Fire in the Mountain” CSP: F sharp • Ss sing song and conduct. • Sing with rhythm names while clapping the rhythm. • T sings each phrase o “Paw Paw Patch,” “ideo,” and “Dinah,” phrase 1 o “Ida Red,” and phrases 1 and 2 o “Chickalalelo”; Ss echo-sing each phrase with rhythm syllables while tapping the beat.

213



“King Kong Kitchie” CSP: F • T perorms song. • On each listening of the song, Ss perorm an increasingly complicated ostinato, or example:


“Hogs in the Cornfield” CSP: D • Ss sing the song. • Review kinesthetic and aural activities. • Using Unix cubes, Ss create a representation o the target phrase. • T: “Create what you heard.” • Ss share their representations with each other. • T invites one S to the board to share a representation with the class. Correct the representation as needed by reviewing the aural awareness questions. • Ss sing phrase 2 o the song on “loo” and point to the representation. • Ss sing the song with all known elements while moving into position or the game.

$sdsd\Aaq> 2

Create a visual representation o what you hear

Creative movement

“Dance Josey” CSP: F • Ss sing the song and play game. • Ss choose instruments and create an ostinato to accompany the song. • Ss sing “Dance Josey” while T sings “Phoebe in Her Petticoat” as a partner song.


Improvisation

“Phoebe in Her Petticoat” CSP: A • Ss sing ”Phoebe in Her Petticoat.” • Ss sing with solège syllables and hand signs. • Ss identiy the orm. (ABAD) • Ss write the tone set on the board. • Ss sing A and B phrases andT sings different D phrases.T notates these phrases. T sings A phrase andSs improvise a D phrase. Tey can choose rom the notated phrases on the board or they can improvise a new D phrase. SUMMARY ACTIVITIES

Review lesson


outcomes Review the new song

CSP: F



Presentation: label three uneven sounds on one beat (short short long) with the rhythm syllablestaka di INTRODUCTOR

Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity Concerto or Four Harpsichords, BVW 1065, by J. S. Bach (1685–1750) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Fire in the Mountain” CSP: A • Ss sing the song and keep the beat. • Ss continue the beat into the next song. “Old Brass Wagon” CSP: F • Sing song. • Ss sing in canon afer two beats. • Ss sing the rhythm o the final phrase as an ostinato into the next song.

Develop tuneful


singing one production

CSP: C • Ss sing the song; then they sing the song in canon afer two beats. • Ss say the unvoiced consonantsp, t, k using rhythm patterns o the song. • Ss sing the song with different dynamics (piano, orte, mezzo-orte). • Ss sing the song with text. Kodály Choral Library,Let Us Sing Correctly, no. 39

Diction Expression


“Chickalalelo” CSP: D • Ss sing the song while keep the beat. • Ss sing with rhythm syllables while conducting. • T sings each phrase o “Paw Paw Patch,” “ideo,” “Dinah,” phrase 1 o “Ida Red,” and phrases 1 and 2 o “Chickalalelo”; Ss echo-sing each phrase singing with rhythm syllables while tapping the beat.

215



“King Kong Kitchie” CSP: F • T sings verse 1 while Ss show the phrases. • T sings all the verses with Ss singing all the responses. • Ss may join in the chorus afer two or three verses. • Ss continue the ostinato (2 $qq\Aaq>) into the next song.


“Hogs in the Cornfield” CSP: D • Ss sing the song. • Review kinesthetic, aural, and visual awareness activities. • T: “When we hear three sounds on a beat where the first two sounds are short and the third sound is long, we call ittaka di.” • Teacher sings phrase 2 of“Hogs in the Corneld” with rhythm syllables. Ss echo while clapping the rhythm. • T sings phrase 2 o “Hogs in the Cornfield” on “loo.”Ss echo on rhythm syllables while clapping the rhythm. • T sings phrase 2 o “Hogs in the Cornfield” on “loo” or with text, and six to eight Ss echo with rhythm syllables.


Creative movement

216



Lesson Outcomes

Review the new song

“Dance Josey” CSP: F • Ss sing and play the game. • Ss choose instruments and create ostinati to accompany the song. • Ss perorm the rhythm o phrase 4 2 ( ) as a $sdsd\sdq> rhythmic ostinato into the next song. “Ida Red” CSP: D • Ss sing the song. • Ss sing the song with rhythm syllables and conduct. • T connects the new rhythm syllables (taka di) to related song material by singing each phrase o these songs and asking Ss to echo-sing with rhythm syllables. ○ “Jim Along Josie” ○ “Over the River” ○ “Do, Do Pity My Case” ○ “Sailing o’er the Ocean” ○ “Hop, Old Squirrel” • Ss create a our-beat rhythm pattern that usestaka di to perorm as an ostinato to accompany any or all o these songs. SUMMARY ACTIVITIES “King Kong Kitchie” CSP: F



Presentation: notating three uneven sounds on one beattakadi) ( with two sixteenth notes ollowed by an eighth note INTRODUCTOR

Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity Surprise Symphony, by Franz Joseph Haydn (1732–1809) • Breathing: Ss practice blowing up a balloon and watch how air is when deflating thesound balloon. • released Resonance: explore a cow using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Ida Red” CSP: D • Ss sing the song with an ostinato:2 $qq\sdq> “King Kong Kitchie” CSP: F • Ss sing song; add an ostinato:2 $qq\Aaq> • Ss continue the ostinato into the next song.


“Jim Along Josie” CSP: C • Ss sing the song and step-perorm the beat.


• Ss sing theLibrary,Let song on “vee” syllable. Kodály Choral Us Sing Correctly, no. 39


“Chickalalelo” CSP: D • Ss sing the song. • Ss sing with rhythm syllables and conduct. • T sings phrases on “loo” and Ss echo-sing with rhythm syllables. CORE ACTIVITIES

Teach new song

“Old exas” CSP: C • T sings while Ss trace the phrases, pausing afer each to label the orm. (ABCD) • T sings the song again whileSs echo in canon.

217




“Hogs in the Cornfield” CSP: D • Review kinesthetic, aural, and visual awareness activities. • Review aural presentation. • T: “When the beat is a quarter note, we can use two sixteenth notes ollowed by an eighth note to represent three sounds on a beat, two short and one long. When we read our target phrase in standard notation it will look like this”:

$sdxcd\sxcsd| 2 • T: “When we write the pattern we’ll use stick notation.” • Ss sing the song in canon afer two beats. Creative movement

“urn the Glasses Over” CSP: F • Ss create accompaniment through movement, rhythm elements, or melodic elements and play the game.


“Ida Red” • CSP: D • Ss sing song with words and conduct. • Ss sing with rhythm syllables and keep the beat. • T writes the notation or song. • Ss read with rhythm names. • Ss read with numbers or counting and keep the beat. • T connects the new rhythm syllables ( taka di ) to related song material. T sings each phrase and Ss echo with rhythm


syllables. ○ “Jim Along Josie” ○ “Over the River” ○ “Do, Do Pity My Case” ○ “Sailing o’er the Ocean” ○ “Hop, Old Squirrel” • Ss create a our-beat rhythm pattern that usestaka di as an accompaniment to any or all o these songs.

218


Review the new song

“Old exas” CSP: C

Unit 5: Teaching low so SONG REPERTOIRE

Lesson 1

Lesson 2

Lesson 3

Lesson 4

Known Songs


Songs to Review Songs to Prepare Known Melodic Next New Concepts: Elements Internal Upbeat

Songs to Prepare Concept: low sol

“Jim Along Josie,” “Old


“Skin and Bones”


“Dance Josey”

exas” “Old Mr. Rabbit”


“Jim Along Josie,” “Lullaby, Little Papoose”

“Johnson Boys”

“Dance Josey”

(new song) “Big Fat Biscuit”

“Rosie, Darling “King Kong Rosie,” “Johnson Kitchie” Boys”


“Mush oodin”

“Dance Josey”

“Ida Red”

Known Songs



Songs to Prepare Next New Concepts: Internal Upbeat

Songs to Present Concept: low sol

Creative Movement

Songs to Present Concept: low sol

“Phoebe in Her Petticoat,” “Johnson Boys”

“Old exas”

“See-Line Woman”

“Mush oodin”

“Dance Josey”


“urn the Glasses Over,” “Dance Josey,” “King Kong Kitchie,” “Old Brass Wagon,” “Over the River,” “Old exas”

2 1 9

Creative Movement


Songs to Practice Known Elements: xcd




2 2 0

Lesson 5

“Jim Along Josie,” “Mush oodin”




“Dance Josey”


“Charlie over theOcean,” “Dance Josey, ” “urn the Glasses Over,” “King Kong Kitchie,” “Old Brass Wagon,” “Over the River,” “Old exas,” “Old MacDonald”

Here is a chart o the primary musical skills that are developed in the five lessons associated with teaching the concept o low so. Remember, in the first three lessons, students practice the previous musical element, in this case three uneven sounds on a beat, taka di.

L esso1n Reading

L esso2 n

L esso3n

L esso4 n

L esso5 n

Ss read the rhythm o “Hogs in the Cornfield” (phrase 2) and additional songs rom tradition rhythm notation.

Ss read “Dance Josey” (concentrating on phrase 2) with hand signs rom steps, traditional notation with solège, and then rom staff notation. Ss write the rhythm o “Hogs in the Cornfield” (phrase 2) rom traditional rhythm notation.

Writing

Ss write “Dance Josey” (phrase 2) putting syllables on the solège steps, traditional notation with solège, then rom staff notation.

Impro-

T sings a question phrase

visation

written on the board, and Ss sing an answer phrase written on the board using rhythm syllables.

Movement

“urntheGlassesOver”

“DanceJosey”

Listening

“Badinerie,” BWV 1067, by J. S. Bach (1685–1750)

“IdaRed”

“Hogsinthe Cornfield”



Unit 5, low so, Lesson 1 Outcome

Preparation: internalizing a pitch,low so, that is a step lower than low la through kinesthetic activities Practice: reading the rhythms o melodies containing two sixteenth and one eighth note INTRODUCTOR

Y ACTIVITIES

Warm-up

• Body warm-up • Beat activity “Mambo,” romWest Side Story,by Leonard Bernstein (1918–1990). • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Jim Along Josie” CSP: C • Ss sing the song and suggest various motions they can perorm to the beat; Ss continue their beat motions into the next song. “Old exas” CSP: C • Ss and T sing the song.

Develop tuneful


singing one production

CSP: F • Ss sing the song. • Ss place dynamic markings ( forte and piano) next to each phrase and sing accordingly. • Ss change the dynamic markings by addingmezzo-forte and mezzo-piano and sing accordingly. • T teaches Ss Denise Bacon’s arrangement o “Sailing o’er the Ocean” rom 46 wo-Part American Folk Songs, p. 17. Kodály Choral Library,Let Us Sing Correctly, no. 24

Diction Expression


“Skin and Bones” CSP: D • Ss identiy the song and sing with words. • Ss sing with solège syllables and hand signs. • T sing phrases and Ss echo-sing with solège syllables and hand signs. • T sings phrases with text o “Rosie, Darling Rosie,” “Jim Along Josie,” “Phoebe in Her Petticoat,” “Old Mr. Rabbit,” or other known songs that use the solège syllablesl s m r d and low la; Ss echo-sing using solège syllables and hand signs.

221




Internalize music through kinesthetic activity

Creative movement

“Old Mr. Rabbit” CSP: C • T sings song. • T sings while Ss show the phrases. • Ss identiy the orm. (AABC) • Ss create a beat motion to perorm while T sings. • T choosesSs’ beat motions to correlate with the orm o the song. • T sings whileSs demonstrate the orm with their body motions. • Ss sing and perorm the A phrases; T sings B and C. • Ss sing “Old Mr. Rabbit” while T sings “Dance Josey” as a partner. “Dance Josey” CSP: F • Ss sing the song while stepping the beat and inner-hear phrases 1 and 3. • Ss sing and inner-hear phrases 1, 3, and 4. • Ss sing and clap the melodic contour o phrase 2 and clap the melodic contour o phrase 2 with a partner. • Ss sing phrase 2 while pointing to a representation o the melodic contour. • S sing “Dance Josey” while T sings “urn the Glasses Over” as a partner song. “urn the Glasses Over” CSP: F • Ss sing and play the game. • Ss choose instruments create a rhythmic accompaniment or theand song. • Ss continue their accompaniment into the next song.


Reading

“Hogs in the Cornfield” CSP: D • Ss sing the song. • Ss read the rhythm syllables rom the board.

$sxcsd\sxcsd\ 2 sdxcd\sxcsd| • T modifies phrase 1. Ss read the changes.

$xcdxcd\xxxcxcd\ 2 sdxcd\sxcsd| • T modifies phrase 2. Ss read the changes.

$xcdxcd\xxxcxcd\ 2 xxxcxxxc\xxxcxcd| • T copies phrase 1 twice, and phrase 2 once. Ss read the changes.

$xcdxcd\xxxcxcd\ 2 xcdxcd\xxxcxcd\ xcdxcd\xxxcxcd\ xxxcxxxc\xxxcxcd\ xxxcxxxc\xxxcxcd| • Ss listen or the rhythmic theme in “Circa Mea Pectora,” rom Carmina Burana, by Carl Orff (1895–1982).



“Old Mr. Rabbit” CSP: C

Review the new song


Preparation: analyzing repertoire that contains a pitch,low so, that is a step lower thanlow la Practice: writing musical phrases that contain two sixteenth notes ollowed by an eighth note INTRODUCTOR

Warm-up

Sing known songs

Y ACTIVITIES

• Body warm-up • Beat activity “Mambo,” romWest Side Story,by Leonard Bernstein (1918–1990) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing. “Old Mr. Rabbit” CSP: C • Ss sing the song; T adds an ostinato.



“Old Brass Wagon” CSP: F • Ss sing the song. • Ss sing the song on the syllable “koo.” Kodály Choral Library,Let Us Sing Correctly, no. 25


“Jim Along Josie” CSP: B • Ss sing the song. • Ss sing song with solège syllables and hand signs. • T sings each phrase on “loo”;Ss echo with solège syllables. • T sings phrases o “Rosie, Darling Rosie,” “Phoebe in Her Petticoat,” “Old Mr. Rabbit,” or other known songs that use the solège syllables la so mi re do and low la; Ss echo-sing using solège syllables and hand signs.

Teach a new song

“Johnson Boys” CSP: A • T perorms the song. • Ss join T in singing the first verse.

CORE ACTIVITIES

223




“Dance Josey” CSP: F • Review kinesthetic activities. • Ss sing phrase 1 and identiy the solège syllables. (dddd dd mr ms) • T and Ss sing phrase 2 on “loo” and keep the beat beore asking each o the ollowing questions: • T: “Andy, how many beats did we tap?” (our) • T: “Andy, which beat has the lowest pitch?” (beat 4) • T: “Andy, how many different pitches did we sing on beat 4?” (two) • T: “Andy, which pitch on beat 4 is lower?” (the second) • T: “Since this phrase starts like phrase 1, sing it with solège syllables and hand signs, but sing ‘low’ or the lowest pitch.” (do do do do do do re do la, low) • Ss determine i the lowest pitch is a step or a skip belowlow la. (step)

224

Creative movement

“Big Fat Biscuit” CSP: F • Ss sing and play the game. • Ss choose instruments and create an accompaniment or the song.


“Hogs in the Cornfield” CSP: D • Ss sing the song.

Writing

•• • • • • •

Ss sing the the target song with rhythm syllables. Ss sing phrase and pat the beat. Ss identiy the number o beats in the phrase. (our) Ss draw the beats on the board. Ss sing with rhythm syllables while pointing at the beats. Ss complete the writing worksheet. Ss create a our-beat ostinato that uses taka diand perorm it on xylophones as an accompaniment to any o their known songs.


“Johnson Boys” CSP: A

Review the new song


Preparation: creating a visual representation o a musical phrase that contains a pitch that is a step lower thanlow la Practice: improvising melodies that contain two sixteenth notes ollowed by an eighth note


INTRODUCTOR Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity String Quartet No. 4 in C minor, “Allegro,” by Ludwig van Beethoven (1770–1827) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Rosie, Darling Rosie” CSP: D • Ss sing the song with an ostinato:2 $qq\sdq> “Johnson Boys” CSP: A • Ss sing song with an ostinato:2 $qq\sxcq>


“King Kong Kitchie” CSP: F • Ss sing the song; Ss sing the song with they syllable “koo.” • Ss pretend they’re alling off a cliff and say “aaaahhhhhhhhhh!” • T tosses a ball rom oneS to another and Ss ollow the movement with their voices. Kodály Choral Library,Let Us Sing Correctly, no. 26



“Jim Along Josie” CSP: A • Ss sing the song. • Ss sing the song with solège syllables. • Several Ss write the first phrase o the song on the board with rhythmic notation and solège syllables beneath. • T sings phrases o “Rosie, Darling Rosie,” “Phoebe in Her Petticoat,” “Old Mr. Rabbit,” or other known songs that use the solège syllables l s m r d and low la; Ss echo-sing using solège syllables and hand signs.

Teach new song

“Mush oodin” CSP: F • T sings the song while Ss quietly sing the melodic moti rom the previous song;Ss sing the song.

CORE ACTIVITIES

225




“Dance Josey” CSP: F • Ss sing the song. • Review kinesthetic and aural awareness activities. • T recites target phrase and asksSs to create a visual representation o the melody o the target phrase with manipulatives. (T: “Pick up what you need to recreate what you heard.”) • T assesses Ss’ level o understanding. • Ss may share their representations with each other. • T invites one S to board to share a representation with class. • Ss sing phrase 2 o “Dance Josey” on “loo” and point to the representation. • Determine solfège syllables for phrases 1, 3, and 4; sing phrases with solège syllables and hand signs.

Creative movement

“Ida Red” CSP: F • Ss sing the song and create a movement activity or “Ida Red.”


“Hogs in the Cornfield” CSP: D • Ss sing the song; Ss sing the song with rhythm syllables. • Ss read the song rom standard rhythmic notation. • T perorms the rhythm o phrase 1;Ss perorm the rhythm o phrase 2.

Improvisation

• T Q:uses 2 phrase 1 as a “question” and phrase 2 as an “answer.” $sxcsd\sxcsd\ A: sdxcd\sxcsd| • T reveals, and Ss perorm, additional “answer” phrases: Q: 2 $sxcsd\sxcsd\ A1: sdxcd\sxcsd| A2: qq\xcdq| A3: xcdxcd\sdq| • T perorms the question phrase; individual Ss may choose one o the written options or create their own our-beat rhythms containing two sixteenth notes ollowed by one eighth. • Ss create a our-beat ostinato using the rhythmssxc and xsd to play on a xylophone to accompany any o their songs.

226


Review the new song

“Mush oodin” CSP: F



Presentation: labeling the sound o a pitch that is a step lower than low la with the solège syllable low so INTRODUCTOR

Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity String Quartet No. 4 in C minor, “Allegro,” by Ludwig van Beethoven (1770–1827) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Phoebe in Her Petticoat” CSP: A • Ss sing the song and keep the beat;Ss sing the song in canon afer two beats. • Ss continue the beat into the next song. “Johnson Boys” CSP: A • Ss sing the song. • Ss perorm the song with an ostinato.Ss read the rhythm rom the board: 2 $qsxc\qq>


“Old exas” CSP: C • T and Ss sing the song in canon. • T reveals the words on the board (i necessary) and directs Ss to sing in canon with one another. • Ss sing the song in canon on a staccato d “ oo.” • Ss sing the song in canon.T monitors or proper vocal resonance. Kodály Choral Library,Let Us Sing Correctly, no. 27



“See-Line Woman” CSP: D • Ss perorm song with words. • Ss perorm with solège syllables and hand signs. • T sings phrases o the song andSs echo-sing with solège syllables and hand signs. • T sings phrases o “Rosie, Darling Rosie,” “Jim Along Josie,” “Phoebe in Her Petticoat,” “Old Mr. Rabbit,” or other known songs that use the solège syllablesl s m r d and low la; Ss echo-sing using solège syllables and hand signs.

227



“Mush oodin” CSP: F • T sings while Ss continue the ostinato. • Ss perorm “shoveling” motions to the beat whileT sings the song. Repeat. • Ss create a pat, clap, and snap ostinato to perorm as they sing.

Presentation of music literacy skills

“Dance Josey” CSP: F • Ss sing the song. • Review kinesthetic, aural, and visual awareness activities. • T: “When we have a pitch that is a step lower thanlow la, we call it low so.” Ss identiy whether it is a step or a skip below low la. • T shows the hand signs; and sings the target phrase with solège syllables. Ss echo. • T echo sings with six to eight individuals, using solège syllables and hand signs. • Ss sing all our phrases with solège syllables and hand signs.

Describe what you hear with solège syllables

228

Creative movement

“Hogs in the Cornfield” CSP: D • Ss sing and play the game. • Ss choose instruments and create ostinati to accompany the song.


“urn the Glasses Over” CSP: F • Ss sing the song. • Ss identiy where s is in the song. • Sing the song with solfège syllables and hand signs. • T connects low so to other known song material.T sings with text and Ss echo with hand signs, or romT’s hand signs and identiy the song. T may choose rom the ollowing songs: ○ “King Kong Kitchie” (phrase 1) ○ “Old Brass Wagon” (phrases 1 and 2) ○ “Over the River” (phrases 1, 2, or 3) ○ “Old exas” (phrases 1 and 3) • Ss create a our-beat ostinato using the pitchesd s, s, d and play them on a xylophone to accompany any or all o the songs.



Review the new song

“Mush oodin” CSP: F



Presentation: presentlow sol on the tone ladder, with standard rhythmic notation and solège syllables, and on the staff INTRODUCTOR

Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity “Mars,” rom Te Planets, by Gustav Holst (1874–1934) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Jim Along Josie” CSP: C • Ss sing the song and suggest beat motions they may perorm. “Mush oodin” CSP: F • Ss sing the song. • Ss sing the song in canon afer two beats.


“Old Brass Wagon” CSP: F • Ss sing the song.


• Ss mimic the sound o a siren with their voices. • Ss pretend they’re alling off a cliff and say “aaaahhhhhhhhhh!” • T tosses a ball rom one S to another; Ss ollow the movement o the ball with their voices. Kodály Choral Library,Let Us Sing Correctly, no. 31


“Phoebe in Her Petticoat” CSP: F • Ss sing with words and conduct. • Ss sing with solège syllables and hand signs. • T sings phrases o “Rosie, Darling Rosie,” “Jim Along Josie,” “Old Mr. Rabbit,” or other known songs that use the solège syllables l s m r d and low la; Ss echo-sing using solège syllables and hand signs. • T shows the hand signs or “Old exas” andSs identiy the song.

Teach a new song

“I Lost the Farmer’s Dairy Key” CSP: D • T sings the song and shows how to play the game.

CORE ACTIVITIES

229




“Dance Josey” CSP: F • Ss sing the song. • Ss sing phrase 2 w ith solège syllables and hand signs. • Ss place all known solège syllables on the tone ladder. • Ss sing phrase 2 o the song while oneS points out the solège on the tone ladder. • T presents the standard rhythmic notation o phrase 2 and Ss fill in the solège syllables.

$xxxcsd\sdsd| 2 dddddd rd l,s, • T recites the rule o placement. • T writes phrase 2 in staff notation (in G and F =do) and presents the rule o placement orlow so and Ss read with solège syllables and hand signs. • Ss read with absolute letter names and hand signs. Creative movement

“urn the Glasses Over” CSP: F • Ss sing and play the game. • Ss play a simple bordun as accompaniment or the song. • Ss continue the bordun into the next song.


“Charlie over the Ocean” CSP: F • Ss sing with words and keep the beat. • Ss sing with rhythm syllables and clap the words.


• Ss singthe with solègehand syllables and hand signs while reading rom teachers signs. • Ss read rom tone ladder and staff. • Ss read rom traditional rhythm notation with solège syllables. • Ss read rom staff notation. • Ss create a our-beat ostinato to play on a xylophone to accompany any o their songs.

230


Review the new song

“I Lost the Farmer’s Dairy Key” CSP: D

Unit 6: Teaching Internal Upbeat SONG REPERTOIRE Known Songs


Songs to Review Known Rhythmic Elements

Songs to Prepare Songs to Next New Prepare Concepts: high do’ Concept: Internal Upbeat

Creative Movement

Lesson 1



“IdaRed”

“ideo”

Lesson 2

“Over the River” “ideo”


“IdaRed”

“JohnKanaka”

Lesson 3


“Johnson Boys” “Hogs in the Cornfield”

“Riding in the Buggy”

“Old Mr. Rabbit” “John Kanaka”

“Dance Josey”

Known Songs


Songs to Review Known Elements

Songs to Prepare Next New Concepts: high do’

Songs to Present Concept: Internal Upbeat

Songs to Present Concept: Internal Upbeat

Lesson 4

“Sailing o’er the Ocean,” “Riding in the Buggy”

“John Kanaka”


“Cedar Swamp”

“Old Mr. Rabbit” “I Lost the Farmer’s Dairy Key”


Lesson 5

“Over the River,” “Riding in the Buggy”



“Cedar Swamp”


“Johnson Boys,” “King Kong Kitchie,” “Mush oodin”

“OldMr.Rabbit” “ILostthe Farmer’s Dairy

2 3 1

Key” “OldMr.Rabbit” “ideo”

Creative Movement


Songs to Practice Known Elements: low sol

“Dance Josey”

“DanceJosey”

2 3 2

Here is a chart o the primary musical skills that are developed in the five lessons associated with teaching the concept o internal upbeat. Remember, in the first three lessons, studentspractice the previous musical element, in this case low so. L esso1n Reading

L esso2n

Lesso3n

L esso4n

Lesso5n

Ss read “Dance Josey” and

Ss read the rhythm

additional songs with hand signs rom steps, traditional notation with solège, and then rom staff notation.

o “Do, Do Pity My Case” rom traditional rhythm notation. Ss write “Dance Josey” and additional songs with hand signs rom steps, traditional notation with solège, and then rom staff notation.

Writing

Ss write the rhythm o “Do, Do Pity My Case” rom traditional rhythm notation. T sings a question phrase written on the board; Ss sing an answer phrase written on the board using hand signs

Improvisation

Movement


Listening

“Promenade,” rom Pictures at an Exhibition, by Modest Mussorgsky (1839–1881)

“ideo”

and solège syllables. “JohnKanaka”

“ILostthe Farmer’s Dairy Key”



Unit 6, Internal Upbeat, Lesson 1 Outcome

Preparation: internalizing an internal upbeat through kinesthetic activities Practice: reading pentatonic melodies that containlow so

Warm-up

“Fossils,” rom Carnival of the Animals,by Camille Saint-Saëns (1835–1921) • Body • Breathing

Sing known songs

“Hogs in the Cornfield” CSP: D • Ss sing the song and conduct. • Ss sing with an ostinato. “I Lost the Farmer’s Dairy Key” CSP: D • Ss sing the song and continue the ostinato. • Ss sing “I Lost the Farmer’s Dairy Key” whileT sings “Do, Do Pity My Case” as a partner song.


“Do, Do Pity My Case” CSP: F-sharp • T and Ss sing song. • Ss sing the song in canon afer our beats. • Sing with a “koo” sound.

INTRODUCTOR

Y ACTIVITIES

• Beat/movement activity


• Ss sing Denise Bacon’s arrangement o “Do, Do Pity My Case” rom 46 wo-Part American Folk Songs, p. 29. Review known songs and rhythmic elements

“Ida Red” CSP: F • Ss sing the song. • Ss sing with rhythm syllables and keep the beat. • T sings each phrase o “Paw Paw Patch,” “ideo,” “Dinah,” and “Chickalalelo”; Ss echo-sing each phrase w ith rhythm syllables while tapping the beat.

Teach a new song

“ideo” CSP: F-sharp • T sings the song and reviews the game. • Ss learn the second part o this song rom Denise Bacon’s46 wo-Part American Folk Songs.

CORE ACTIVITIES

233




“Old Mr. Rabbit” CSP: F • Ss sing the song. • Ss sing the song and pat the beat. • Ss sing the song and draw phrases in the air. • Ss sing the song and clap the downbeat o each phrase and pat the remaining beats. • Ss sing song and point to a representation o the beats. • Ss perorm the last our beats o the song as a rhythmic ostinato into the next song 2 $sdsd\sdQ ( ).

Creative movement

“I Lost the Farmer’s Dairy Key” CSP: D • Ss sing the song. • Ss may create additional ostinati and choose instruments to accompany the song. • Ss sing and play the game.


“Dance Josey” CSP: F • Ss sing the song. • Ss sing the song with solège syllables and hand signs. • Ss read the song rom standard rhythmic notation with solège syllables. • Ss read the song rom staff notation with solège syllables and hand signs. • Ss read rom Kodály’s 333: examples 176, 190, 206, 303, 304,

Reading

andDenise 321. Bacon’s arrangement o “Rocky Mountain” • 319, Ss read rom 46 wo-Part American Folk Songs, p. 11. • T writes the extended pentatonic tone set on the board and points to phrases o the listening example they can sing in solège, while T hums the other phrases that include solège syllables that Ss cannot sing. Ss read the melody rom: ○ “Promenade,” romPictures at an Exhibition, by Modest Mussorgsky (1839–1881) ○ Mikrokosmos, Vol. 3, No. 78, by Béla Bartók (1881–1945)

234


Review the new song

“ideo” CSP: F sharp Ss perorm the arrangement rom Denise Bacon’s46 wo-Part American Folk Songs, p. 7.


Unit 6, Internal Upbeat, Lesson 2 Preparation: analyzing repertoire that contains an internal upbeat

Outcome

Practice: writing pentatonic melodies that containlow so INTRODUCTOR Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity “Fossils,” rom Carnival of the Animals,by Camille Saint-Saëns (1835–1921) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore acow sound using low and high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Over the River” CSP: F-sharp • Ss sing the song. • Ss sing the song and add an ostinato. “ideo” CSP: F-sharp • Ss sing the song while continuing the ostinato.


“Do, Do Pity My Case” CSP: F-sharp



• Ss sing the song. • Ss sing melodic patterns rom the song on a neutral syllable, e.g. “loo.” • Ss sing the song with the syllable “yip.” • Ss sing with a “koo” sound. Kodály Choral Library,Let Us Sing Correctly, no. 48 “Ida Red” CSP: F • Ss sing the song and keep the beat. • Ss sing with rhythm syllables. • T sings each phrase o “Paw Paw Patch,” “ideo,” “Dinah,” and “Chickalalelo”;Ss echo-sing each phrase with rhythm syllables while tapping the beat. CORE ACTIVITIES

Teach a new song

“John Kanaka” CSP: A • T sings the song and demonstrates sections o the game. • T scaffolds game activities while Ss perorm individually. • T and Ss sing and play parts o the game.

235




“Old Mr. Rabbit” CSP: F • Ss sing the song. • Review kinesthetic activities. • Ss sing song and pat the beat. • Ss sing and clap on the downbeat o each phrase and pat on the remaining beats beore asking each question: • T: “On which word do we clap our hands in phrase 1?” (old) • T: “On which word do we clap our hands in phrase 2?” (got) • T: “On which word do we clap our hands in phrase 3?” (jumping) • T: “On which word do we clap our hands in phrase 4?” (eating) • T: “What’s the first word in phrase 2?” (you’ve) • T: “What’s the first word in phrase 3?” (o) • T: “What’s the first word in phrase 4?” (and) • T: “Do all o these words all on the strong part o the beat or the weak part o the beat?” (weak) • Ss sing the song, but only the first word o each phrase and the downbeat.

Creative movement

“ideo” CSP: F-sharp • Ss sing and play the game. • Ss may create ostinato and select instruments to accompany the song.

Practice of performance and literacy skills

“Dance Josey” CSP: F • T writes the song on the board (rhythmic notation and solège or on the staff), leaving phrase 2 blank. • Ss sing the song with solège syllables and hand signs. • Ss complete the writing worksheets. • Ss may complete other known songs withlow so, as time allows. • Ss create a rhythm pattern using d s, l, and s, and play it on the xylophone as an accompaniment to known songs.

236

Writing


Review the new song




Preparation: creating a visual representation o a musical phrase that contains an internal upbeat Practice: improvisation o pentatonic melodies that contain low so INTRODUCTOR

Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity “Fossils,” rom Carnival of the Animals,by Camille Saint-Saëns (1835–1921) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Over the River” CSP: A • Ss sing song and keep the beat. • Ss sing the song in canon afer our beats and then afer two beats.


“Johnson Boys” CSP: F • Ss sing song with the ostinato.


• Ss sing the song in canon afer two beats. • Ss sing the song with a “koo” sound. • Ss sing the song with solège syllables reading romT’s hand signs. Kodály Choral Library,Let Us Sing Correctly, no. 45


“Hogs in the Cornfield” CSP: F • Ss sing songs and conduct. • Ss sing with rhythm syllables and conduct. • T sings each phrase o “Paw Paw Patch,” “ideo,” “Dinah,” “Ida Red,” and “Chickalalelo”;Ss echo-sing each phrase with rhythm syllables while tapping the beat.

Teach a new song

“Riding in the Buggy” CSP: D

CORE ACTIVITIES

• T sings the song whileSs continue the ostinato;Ss identiy the phrases. (our) • T and Ss sing the song whileT demonstrates the game (T may use any play-party movement).

237




“Old Mr. Rabbit” CSP: F • T instructs a group o Ss to sing the song while the rest o the class continues the accompaniment. • Ss sing the song. • Review kinesthetic and aural awareness activities. • T gives each S a page with our phrases o our beats printed on it and asks S to create a visual representation showing the first word o each phrase and then the word that alls on the first beat o each phrase. • Ss share their representations with one another. • T invites one S to the board to share a representation with the class. • Ss sing ”Old Mr. Rabbit” on a neutral syllable and point to the representation.

• Ss sing the song while turning in their materials and moving into a circle or the next song.

238

Creative movement

“John Kanaka” CSP: A • T and Ss sing the song and perorm the motions individually. • Ss perorm the motions with a partner. • Ss sing and practice the transition to a new partner. • Ss create an ostinato and choose an instrument with which they may accompany the song.


“Dance Josey” CSP: F • Ss sing the song. • Ss sing the song with solège syllables and hand signs. • T provides a simple question based on the B phrase o “Dance Josey.” • Ss respond with an answer that must end ondo. • Ss create a rhythm pattern using the notesd s, l, s, and play it on the xylophone as an accompaniment to known songs.

Improvisation


Review the new song

“Riding in the Buggy” CSP: D



Presentation: label the sound o a musical phrase that contains an internal upbeat INTRODUCTOR

Y ACTIVITIES

Warm-up

Te Tunderer, by John Philip Sousa (1854–1932) • Body warm-up • Breathing exercise • Beat/movement activity

Sing known songs

“Sailing o’er the Ocean” CSP: F • Ss sing the song with a simple ostinato. “Riding in the Buggy” CSP: D • Ss sing the song and briefly play the game.


“John Kanaka” CSP: A • T selects a small group o Ss to sing the song. • Ss sing the song and keep the beat. • Ss sing with a “koo” sound or rerain. • Ss sing the song slowly with text and open vowels. Kodály Choral Library,Let Us Sing Correctly, no. 56



“Hogs in the Cornfield” CSP: F • Ss song with text and conduct. • Ss sing song with rhythm syllables and conduct. • T sings each phrase o “Hogs in the Cornfield”;Ss echo-sing each phrase with rhythm syllables while tapping the beat. • If time permits, perform the activity with “PawPaw Patch,” “ideo,” “Dinah,” “Ida Red,” and “Chickalalelo”. CORE ACTIVITIES

Teach a new song

“Cedar Swamp” CSP: C • T perorms the song orSs with an instrument (guitar, dulcimer, piano, etc.). • Ss may join in singing the rerains.


“Old Mr. Rabbit” CSP: F • Review kinesthetic, aural, and visual awareness activities. • T: “A note that comes beore the strong beat o a phrase is


called an ‘upbeat’ or a ‘pickup.’ Because the upbeat occurs within or inside the piece o music and not at the beginning, we call it an ‘internal upbeat.’” • T sings the song with rhythm syllables, andSs echo with rhythm syllables and conduct. • T echo sings with at least eight individuals;Ss conduct.

239


Creative movement

“I Lost the Farmer’s Dairy Key” CSP: D • T sings the song while Ss continue the ostinato. • Ss create additional ostinati to accompany the song. • Ss sing and play the game. • Ss continue their accompaniment into the next song.


“Do, Do Pity My Case” CSP: A • Ss sing the song. • Review presentations. • T: “A note that comes beore the strong beat o a phrase is called an ‘upbeat’ or a ‘pickup.’ Because the upbeat occurs inside the piece o music and not at the beginning, we call it an ‘internal upbeat.’” • Ss sing and conduct the song. • T connects the concept to other related song material, andSs sing and conduct: ○ “Johnson Boys” ○ “King Kong Kitchie” ○ “Mush oodin” • Ss create a rhythm pattern usingdo so, la, so, and play it on the xylophone as an accompaniment to known songs.


SUMMARY ACTIVITIES

“Cedar Swamp” CSP: C


240

Review the new song


Presentation: label sound o a musical phrase that contains an internal upbeat

Warm-up

• Body warm-up • Beat activity Te Tunderer, by John Philip Sousa (1854–1932) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure

INTRODUCTOR

Y ACTIVITIES

Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.


Sing known songs

“Over the River” CSP: D • Ss sing the song with an ostinato. “Riding in the Buggy” CSP: D • Ss sing the song, and i time permits, they briefly play the game.


“King Kong Kitchie” CSP: F • Ss sing the song.

one production

• Ss sing the song on the syllable “koo.” • Ss sing the song on the syllable “voo.” • Ss sing the song on the syllable “vee.” Kodály Choral Library,Let Us Sing Correctly, no. 60

Diction Expression Review known songs and rhythmic elements

“Jim Along Josie” CSP: A • Ss sing the song. • Ss sing song with rhythm syllables. • T sings each phrase o “Paw Paw Patch,” “ideo,” “Dinah,” “Ida Red,” and “Chickalalelo”;Ss echo-sing each phrase with rhythm syllables while tapping the beat. CORE ACTIVITIES

Teach a new

“Cedar Swamp”

song

CSP: A • T sings the song. • Ss perorm the rhythm o the verse on the board while T sings:

$sdsxc\sdq\ 2 sdsd\qq\ sdsd\xxxcq\ sdsd\qq| • T sings the verse. • Ss sing the rerain and then the entire song. • When Ss are able to sing the rerain,T demonstrates the game while Ss sing. ○ Formation: in double line,partners ace one another. ○ Beats 1–8: Head couple sashay down to the oot othe line. ○ Beats 9–12: Head coupleswing right arms. ○ Beats 13–16: Head couple swing lef arms. ○ Beats 17–20: All couples swing right arms. ○ Beats 21–24: All couples swing lef arms. • T sings the verses and rerains, andSs play the game.

241




“Do, Do Pity My Case” CSP: D • Ss sing the song. • T: “A note that comes beore the strong beat o a phrase is called an ‘upbeat’ or a ‘pickup.’ Because the upbeat occurs inside the piece o music and not at the beginning, we call it an ‘internal upbeat.’” • Ss sing the song with rhythm syllables and conduct. • T: “Sometimes a new phrase can start between beats, or even in the middle o a beat. When that happens, we have to split the eighth notes, and it looks like this [separate notes with flags]. We can call the single eighth note an ‘upbeat’ or a ‘pickup note.’” • Ss read the song rom the board and conduct. • T transorms the song into other related song material:

Creative movement

“Hogs in the Cornfield” CSP: D • Ss sing the song; they create ostinati to accompany the song. • Ss sing and play the game.


“Old Mr. Rabbit” CSP: F • Ss sing the song. • T: “When the beat is a quarter note, we can show the upbeat by splitting the eighth notes.” • Ss write the rhythm o the song.


$qsd\qaa\sdsd\qaa\sdsd\qaa\sdsd\sdQ| 2 • • • •

242

T: “We can also write the pattern using stick notation.” Ss sing the song with rhythm syllables and conduct. Ss sing with numbers and conduct. T transorms the notation into additional related song material; Ss conduct and sing. ○ “Do, Do Pity My Case” ○ “Johnson Boys” ○ “King Kong Kitchie” ○ “Mush oodin” SUMMARY ACTIVITIES


Review the new song

“Cedar Swamp” CSP A

Unit 7: Teaching high do high do Unit Plan SONG REPERTOIRE Known Songs



Songs to Prepare Next New Concepts: External Upbeat

“King Kong

“Riding in the

“Dance Josey”

“Jolly Miller”

Kitchie”

Buggy”

Lesson 2

“Old exas,” “Jolly Miller”

“ideo”

“Dance Josey”

Lesson 3

“Old Brass Wagon,” “Old Mr. Rabbit”

“John Kanaka”

Known Songs

“Dance Josey,” “Above the Plain”

Lesson 1

Lesson 4

Songs to Prepare Concept: high do

“Hogs in the

Creative Movement

Songs to Practice Known Elements: Internal Upbeat

“I Lost the


Cornfield”

Farmer’s Dairy Key”





“Dance Josey”



“Jolly Miller”



Songs to Review Known Elements

Songs to Prepare Next New Concepts: External Upbeat

Songs to Present Concept: high do

Creative Movement

Songs to Present Concept: high do

“Cedar Swamp”


“Above the Plain,” “Golden Ring”


“Jolly Miller”

“ideo,” “I Lost the Farmer’s Dairy Key,” “John Kanaka,” “Riding in the Buggy”

Lesson 5

“Cedar Swamp”



“Shoes o John,” “Tree Rogues”

2 4 3



“ideo,” “I Lost the Farmer’s Dairy Key,” “John Kanaka,” “Riding in the Buggy”

2 4 4

Here is a chart o the primary musical skills that are developed in the five lessons associated with teaching the concept o high do (d’). Remember, in the first three lessons, students practice the previous musical element, in this case internal upbeat. Lesson 1 Reading

L esson 2

L esson 3

Lesson 4

Lesson 5

Ss read “Rain, Rain,”

Ss read “Hogs in the

“Bounce High, Bounce Low,” and other duple meter songs rom traditional rhythm notation.

Cornfield” and additional songs with hand signs rom steps, traditional notation with solège, and then staff notation. Ss write “Rain, Rain,” “Bounce High, Bounce Low,” and other duple meter songs reading rom traditional rhythm notation.

Writing

Ss write “Hogs in the Cornfield” and additional songs with hand signs rom steps, traditional notation with solège, and then staff notation. T sings a question phrase written on the board; Ss sing an answer phrase written on the

Improvisation

board using rhythm syllables. Movement


Listening

“Te Happy Farmer,” rom Album for the Young, by Robert Schumann (1810–1856)

“JollyMiller”

“JollyMiller”

“ideo”

“CedarSwamp”


Unit 7, high do’, Lesson 1 Outcome

Preparation: internalizing a pitch,high do, that is a skip abovela Practice: reading songs that contain internal upbeats INTRODUCTOR

Warm-up

Y ACTIVITIES


Sing known songs

“King Kong Kitchie” CSP: F • Ss sing the song with an ostinato.

$qq\Aaq> 2 “Cedar Swamp” CSP: A • Ss sing the song; then they continue the ostinato (2 $qq\Aaq>). Develop tuneful singing


“Riding in the Buggy” CSP: D • • • • •

Ss sing the song. Ss may briefly play the game. Ss sing the first phrase at a slow tempo and pat the beat. Ss sing only the pitches that all on the beat. Ss identiy, dictate, and sing the pitches that all on the beat:

$qqqq\qqqq| 4 d d m m r r m m • Use this motive as a tuneful singing exercise. Singusing vowel sounds. Kodály Choral Library,Let Us Sing Correctly, no. 47 Review known songs and melodic elements

“Dance Josey” CSP: D • Ss sing the song and continue the ostinato. • Ss sing with solège syllables and hand signs. • T sings phrases o “Jim Along Josie,” “Phoebe in Her Petticoat,” “Old Mr. Rabbit,” or other known songs that use the solège syllables la, so, mi, re, do, low la, and low so; Ss echo-sing using solège syllables and hand signs.

245



“Jolly Miller” CSP: C • T sings the song whileSs continue the ostinato. • T sings the song andSs show the phrases with their bodies. • T and Ss sing and play the game. • Aer two or three additional cycles, Ss must sing the song without assistance to continue the game. • Ss read an ostinato rom the board:4 $xxxcqxxxcq> • Ss continue the rhythmic ostinato into the next song (4 $xxxcqxxxcq>).


“Hogs in the Cornfield” CSP: D • Ss sing the song. • Ss sing the song and pat the beat. • Ss sing the song and draw phrases in the air. • Ss sing phrase 2 and show the melodic contour. • Ss sing song and point to a representation o the contour.


• Ss sing the rhythm syllables o phrase 2 while showing the contour.

246

Creative movement

“I Lost the Farmer’s Dairy Key” CSP: D • Ss sing the song and continue the ostinato. • Ss sing and play the game.


“Old Mr. Rabbit” CSP: F • Ss sing the song and conduct. • Ss sing the song with rhythm syllables and conduct. • Ss read the song rom the board with rhythm syllables and tap the rhythm:

Reading

2 $qsd\qa a\sdsd\qa a\sdsd\qa a\sdsd\sdQ| • T transorms the song into the rhythm o “Bye, Baby Bunting,” and Ss read. SUMMARY ACTIVITIES Review lesson outcomes

Review the new song

“Jolly Miller” CSP: C


Unit 7, high do, Lesson 2 Outcome

Preparation: internalizing a note,high do, that is a skip higher thanla through kinesthetic activities Practice: reading the rhythm o songs containing internal upbeats

Warm-up

• Body warm-up • Beat activity King Cotton March, by John Philip Sousa (1854–1932) • Breathing: Ss practice blowing up a balloon and watch how air is

INTRODUCTOR

Y ACTIVITIES

released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing. Sing known songs

“Old exas” CSP: C • Ss sing in canon withT. • T divides the class into two groups andSs sing in canon.


“ideo” CSP: F-sharp • Ss sing the song. • Ss imitate the sound o a siren with their voices. Challenge them to make sof and loud, high and low, long and short sirens, and sirens that just go up, just come down, or do both.


• Ss sing the song on “koo.” Kodály Choral Library,Let Us Sing Correctly, no. 48 Review known songs and melodic elements

“Dance Josey” CSP: D • Ss sing the song. • Ss sing the song with solège syllables and hand signs. • T sings phrases o “Jim Along Josie,” “Old Mr. Rabbit,” or other known songs that use the solège syllables la, so, mi, re, do, low la, and low so; Ss echo-sing using solège syllables and hand signs. CORE ACTIVITIES

Teach a new song “Old Mr. Rabbit” CSP: C • T sings the song while Ss keep the beat. • Ss trace the phrases while T sings. • Ss identiy the orm o the song. (ABCC’)

• T sings A and B, andSs sing C and C’. Reverse. • Ss perorm the rhythm o the last our beats as an ostinato into the next song (2 $sdq\qQ>).

247




“Hogs in the Cornfield” CSP: D • Ss sing the song. • Review kinesthetic awareness activities. • T and Ss sing phrase 2 o the song on “loo” and keep the beat beore asking each o these questions: • T: “Andy, how many beats did we keep?” (our) • T: “Andy, which beat has the highest pitch?” (1) • T: “Andy, which beat has the lowest pitch?” (4) • T: “Andy, what is the solège syllable o the pitch on beat 4?” (do do) • T: “Let’s sing the pitches on beats 3 and 4 with hand signs.” (mi-re-re-do-do) • T: “Sing ‘high’ or the first note and sing the rest with solège syllables rom my hand signs.” h( igh-la-so-so-so) • T sings the phrase, and five to eight individual Ss echo with hand signs. • Ss tap the beats as T sings the next song on “loo.”

Creative movement

“I Lost the Farmer’s Dairy Key” CSP: D • Ss sing the song and continue the ostinato. • Ss sing and play the game.

Practice music “Old Mr. Rabbit” performance and CSP: F literacy skills • Ss sing the song.

248

Writing

• Ss sing(First with rhythm syllables board. hal o phrase 2 isand lef point blank.)to representation on the • Ss write phrase 2:

$ a\sdsd\qq 2 • Ss sing the song. • T guides Ss to transorm that rhythm into the rhythm o “I Lost the Farmer’s Dairy Key.” SUMMARY ACTIVITIES Review lesson outcomes

“Old Mr. Rabbit” CSP: C

Review the new song

Unit 7, high do’, Lesson 3 Outcome

Preparation: create a visual representation o a note that is a skip higher than la Practice: improvisation o internal upbeat


INTRODUCTOR

Y ACTIVITIES

Warm-up

• Body warm-up • Beat activity New Mexico March, by John Philip Sousa (1854–1932) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Old Brass Wagon” CSP: C • Ss sing song. • Ss perorm a motion to the be at that can carry into the next song. “Old Mr. Rabbit” CSP: C • Ss sing the song. • Ss sing the song with an ostinato. • Ss continue the ostinato into the next song.


“John Kanaka” CSP: A • Ss sing song. • T isolates phrase 5 andSs sing on a pure vowel ([i] [Ԑ] [a] [o] [u]) sound.

one production Diction Expression Review known songs and melodic elements

• Kodály Choral Library,Let Us Sing Correctly, no. 46 “Dance Josey” CSP: F • Ss sing song with text and keep the beat. • Ss sing song with rhythm syllables and clap rhythm. • T hums motis andSs sing back with rhythm syllables. • T sings phrases o “Phoebe in Her Petticoat,” “Old Mr. Rabbit,” or other known songs that use the solège syllablesla, so, mi, re, do, low la, and low so; Ss echo-sing using solège syllables and hand signs.

Teach a new song

“Above the Plain” CSP: A • T sings the song whileSs keep the be at and show the phrases with their bodies.

CORE ACTIVITIES

• • • •

Ss identiy the orm. (ABCC) Ss sing C; T sings A and B. Ss sing A and B; T sings C. T and Ss sing song.

249


“Hogs in the Cornfield” CSP: D • Ss sing the song. • Review kinesthetic and aural awareness activities. • T hums target phrase and asksSs to create a visual representation o the melody o the target phrase.Ss use manipulatives. • T: “Pick up what you need to recreate what you heard” or “Draw what you heard.” T assesses understanding. • Ss share representations with each other. • T picks one S to share a representation with the class. Make



necessary corrections by reviewing aural awareness. • Ss sing (high la so so so mi re re do do) as they point to the representations. • Ss sing the song while putting away their supplies and moving into position or the next song. Creative movement

“Jolly Miller” CSP: D • Ss sing the song. • Ss sing the song and play the game. • Ss create simple rhythmic ostinati with which to accompany the song.


“Old Mr. Rabbit” • Ss read the rhythm o the song rom the board. • Ss identiy and correct phrases with internal upbeats. • Ss improvise a new text to the rhythm ocusing on the upbeats. • Ss create a our-beat ostinato that uses known rhythm patterns and

Improvisation

perorm it on xylophones as accompaniment to their new song. SUMMARY ACTIVITIES

250

“Above the Plain” CSP: A


Review the new song


Presentation: label the sound o that is a pitch a skip higher than la as high do

Warm-up

• Body warm-up • Beat activity New Mexico March, by John Philip Sousa (1854–1932) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore acow sound usinglow and high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

INTRODUCTOR

Y ACTIVITIES


Sing known songs

“Dance Josey” CSP: F • Ss sing the song with an ostinato. “Above the Plain” CSP: A • Note: the key of this song is low and pitched to accommodate the ollowing song. Ss should be monitored to ensure they are using a healthy vocal technique. • Ss sing the song in canon.


“Cedar Swamp” CSP: A • Ss sing the song. • Ss imitate the sound o a siren with their voices. Challenge Ss to make sof and loud, high and low, long and short sirens, and sirens that ascend, descend, or do both. • Ss pretend they’re alling off a cliff and say “aaaahhhhhhhhhh!” • Use a ball or bean bag. row it from oneS to another; Ss have to ollow the movement with their voices. • Ss sing the song ocusing on tone production. • Kodály Choral Library, Let Us Sing Correctly, no. 60



“urn the Glasses Over” CSP: F • Ss sing the song. • Ss sing the song with solège syllables and hand signs. • T sings phrases o “Jim Along Josie,” “Phoebe in Her Petticoat,” “Old Mr.la, Rabbit,” known that the solège syllables so, mi, or re,other do, low la, andsongs low so; Ss use echo-sing using solège syllables and hand signs. CORE ACTIVITIES

Teach a new song

“Golden Ring” CSP: D • T sings the song. • T sings and directs Ss to move into position or the game. • T sings and demonstrates the game, pausing to give brie instruction or the movements o each verse. • T sings and Ss play the game.


“Hogs in the Cornfield” CSP: D • T directs a small group o Ss to sing the song while the rest continue the chant.


sing the song aural, and visual awareness activities •• Ss Review kinesthetic, • T: “When we hear a sound a skip abovela, we call it high do.” • T: “We can sing the second phrase o our song like this:do’ (high do) la so so so mi re re do do.” • T and Ss sing the phrase several times.

251


• T: “When we sing thedo pentatonic scale and add high do, we call that an extended do pentatonic scale.” • T: “Te second phrase o ‘Hogs in the Cornfield’ contains all the notes o an extendeddo pentatonic scale.” • T sings phrase 2 o the song with solège syllables and hand signs; Ss echo. • T sings the text o phrase 2 individually to six to eight Ss; Ss echo with solège syllables and hand signs. • T: “We can sing the whole song with solège syllables and hand signs.” T and Ss sing the song with solège syllables and hand signs. • Ss perorm the solège syllables o the last two beats as a melodic ostinato into the next song m ( rr dd). Creative movement

“Jolly Miller” CSP: D • Ss sing the song. • Ss sing the song and play the game. • Ss create simple ostinati and choose instruments with which to accompany the song.


“ideo” CSP: F sharp • Ss sing the song. • Review the pitches of the extended pentatonic scale with solfège syllables and hand signs. • T reviews that the interval between la and high do is a skip. • T guides Ss in singing additional known songs that havehigh do.


•• Ss “ideo” but inner-hearhigh do. withhigh do: Ss sing identiy and sing other known songs ○ “I Lost the Farmer’s Dairy Key” ○ “John Kanaka” ○ “Riding in the Buggy” • Ss play a descending pentatonic scale (d’ l s m r d) using an easy rhythm pattern on xylophones as an accompaniment to any o their known songs.

252


Review the new song

“Golden Ring” CSP: D



Presentation: notatehigh do on the tone ladder, with standard notation and solège syllables and on the staff INTRODUCTOR

Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity New Mexico March, by John Philip Sousa (1854–1932) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Above the Plain” CSP: B • Ss sing the song. • Ss sing the song with an ostinato. • Ss continue the ostinato into the next song.


“I Lost the Farmer’s Dairy Key” CSP: D • Ss imitate the sound of a siren with their voices. ChallengeSs to make sof and loud, high and low, long and short sirens, and sirens that ascend, descend, or do both. • Ss pretend they’re alling off a cliff and say “aaaahhhhhhhhhh!”


• Use a ball or bean bag. T throws it rom oneS to another; Ss have to ollow the movement with their voices. • Ss sing the song, ocusing on vocal production. • Kodály Choral Library,Let Us Sing Correctly, no. 60 Review known songs and melodic elements

“urn the Glasses Over” CSP: D • Ss sing song. • Ss sing with solège syllables and hand signs. • T sings phrases o “Hogs in the Cornfield,” “ideo,” “John Kanaka,” or other known songs that use the solège syllablesdo’ (high do) la so mi re do la, (low la) and so, (low so); Ss echo-sing using solège syllables and hand signs.

Teach a new song

“Shoes o John” or “Tree Rogues” CSP: C

CORE ACTIVITIES

• • • • •

Ss keep the beat while T sings the song. Ss draw the phrases on the board while T sings. T sings while Ss label the orm o the phrase on the board. (ABCA) Ss sing the A phrases; T sings B and C. Switch. Ss sing the song, andT ollows in canon afer eight beats.

253




“Hogs in the Cornfield” CSP: D • Ss sing the song. • Review aural presentation. T: “When we hear a sound that is a skip above la, we call it high do.” • T presents the position ohigh do on the musical steps or tone ladder. • T presents the target phrase o “Hogs in the Cornfield” using rhythmic notation with solège syllables.Ss read notation with solège and hand signs:

$sdx,d\ sxcsd | 2

d’l’ sss m rrdd • T explains the rule o placement or high do. • Present the target phrase of“Hogs in the Corneld” in sta notation (d = C, F, and G). • Ss read the target phrase rom the staff with solège and hand signs. • Ss sing the song with solège syllables and move into position or the next song. Creative movement

“Cedar Swamp” CSP: B • Ss sing and play the game.


“ideo” CSP: F sharp • Ss sing song. • Ss sing song with solège syllables and hand signs.

Notate what

254

you hear

•• Ss add the to traditional Review the solège rule of placement for rhythmic high do onnotation. the staff. • T notates the rerain with help oSs, and they read with solège syllables and hand signs. • Ss read with absolute letter names and hand signs. • Ss identiy and sing other known songs withhigh do: ○ “I Lost the Farmer’s Dairy Key” ○ “John Kanaka” ○ “Riding in the Buggy” • Ss play a descending pentatonic scale (d’ l s m r d) using an easy rhythm pattern on xylophones as an accompaniment to any o their known songs. SUMMARY ACTIVITIES


Review the new song

“Shoes o John” CSP: C

Unit 8: Teaching External Upbeat SONG REPERTOIRE Known Songs


Songs to Review Songs to Prepare Known Rhythmic Next New Elements Concepts: aqa

Songs to Prepare Concept: External Upbeat

Creative Movement

Songs to Practice Known Elements: high do

Lesson 1

“Do, Do Pity My “Old Mr. Case,” “Shoes o Rabbit” John”

“Paw Paw Patch”

“Canoe Song”


“Jolly Miller”


Lesson 2

“Mush oodin,” “Canoe Song”

“Paw Paw Patch”

“Weevily Wheat”


“John Kanaka”


Lesson 3

“Old Mr. Rabbit,” “Above the “Canoe Song” Plain”

“Old M. Rabbit”

“Liza Jane”


“Weevily Wheat”


Known Songs


Songs to Review Songs to Prepare Known Rhythmic Next New Elements Concepts

Songs to Present Concept: External Upbeat

Creative Movement

Songs to Present Concept: External Upbeat

“King Kong Kitchie,”

“Golden Ring”



“I Lost the Farmer’s “Riding in the Dairy Key” Buggy”

“Tree Rogues,” “I Lost the Farmer’s Dairy Key,” “Jolly Miller,” “Above the Plain,” “Old Mr. Rabbit”

“Johnson Boys,” “Golden “Come Tru ’Na Ring” Hurry”


“Hill and Gully Rider”

“I Lost the Farmer’s “Come Tru ’Na Dairy Key” Hurry”

“Tree Rogues,” “I Lost the Farmer’s Dairy Key,” “Jolly Miller,” “Above the Plain,” “Old Mr. Rabbit”

Lesson 4


“Weevily Wheat” Lesson 5

2 5 5

2 5 6

Here is a chart o the primary musical skills that are developed in the five lessons associated with teaching the concept o external upbeat. Remember, in the first three lessons students practice the previous musical element, in this case high do (d’). Lesso1n Reading

Lesso2n

L esso3n

L esso4n

L esso5n

Ss read “Hogs in the

Ss read “I Lost the

Cornfield” and additional songs with hand signs rom steps, traditional notation with solège, and then staff notation.

Farmer’s Dairy Key” rom traditional rhythm notation.

Ss write “Hogs in the Cornfield” and additional songs with hand signs rom steps, traditional notation with solège, and then staff notation.

Writing

Ss write “I Lost the Farmer’s Dairy Key” using traditional rhythm notation.

T sings a question phrase written on the board;Ss sing an answer phrase written on the board

Improvisation

Movement

“JollyMiller”

Listening

“On the rail,” romGrand Canyon Suite, by Ferde Groé (1892–1972)

“JohnKanaka”

using rhythm syllables. “WeevilyWheat” “Ridingina Buggy”



Unit 8, External Upbeat, Lesson 1 Outcome

Preparation: internalizing an external upbeat through kinesthetic activities Practice: reading melodies that contain high do INTRODUCTOR

Y ACTIVITIES

Warm-up

• Body warm-up • Beat activity “Fossils,” romCarnival of the Animals, by Camille Saint-Saëns (1835–1921) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore acow sound usinglow and high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Do, Do Pity My Case” CSP: F-sharp • Ss sing the song and add an ostinato. • Ss continue the ostinato into the next song. “Shoes o John” CSP: C • Ss sing the song in canon.


“Old Mr. Rabbit” CSP: D • Ss sing the song. • Ss sing the song on the syllable “koo.”

one production Diction Expression Review known songs and rhythmic elements

• Kodály Choral Library,Let Us Sing Correctly, no. 1 “Paw Paw Patch” CSP: D • Ss sing song and conduct. • Ss sing with rhythm syllables and clap on the first word oach e phrase. • Ss read the rhythm notation, written by phrases, on the board with rhythm syllables. • T sings each phrase o “Down Came a Lady,” “Mush oodin,” and “Johnson Boys”; Ss echo-sing each phrase with rhythm syllables while tapping the beat. CORE ACTIVITIES

Teach a new song “Canoe Song” (My Paddle) CSP: A • T sings the song while Ss keep the beat.

• T the song andSs perorm thethe rhythm, which T has placed onsings the board (patting their laps or blank beats):

$QQ \sdq\ 2 QQ \qq\ QQ \sdq\ QQ \qQ|

257


• Two or three Ss trace the phrases on the board while T sings. Te remaining Ss continue to perorm the rhythm on the board. • T sings the song, pausing afer each phrase orSs to label the phrases. • Ss inner-hear the A phrases; T sings B and C. • Ss sing the A phrases aloud; T sings B and C • Ss sing the A phrases and inner-hear B and C. • Ss sing all phrases o the song. • T instructs Ss to sing the song in two-part canon. • Ss chant the text o the last phrase ondo and so in the key o the Develop knowledge of music literacy concepts


next song (F and C). “I Lost the Farmer’s Dairy Key” CSP: C • T instructs part o the class to sing the song while the remainder continue the ostinato. • Ss sing the song and pat the beat. • Ss sing the song and draw phrases in the air. • Ss clap the downbeat o each phrase and pat the remaining beats. It is important thatSs sing each phrase clearly. • Ss sing song and point to a representation o the beats.

• Ss sing the song and move into position or the next game. Creative movement

“Jolly Miller” CSP: C • Ss sing the song and conduct. • Ss sing the song and play the game.


Reading

“Hogs in the Cornfield” CSP: D • Ss sing the song. • Ss sing phrase 2 with solège syllables and hand signs. • Ss read the solège syllables rom the board with standard rhythmic notation and solège syllables. • T places notes o tone set on the staff and points to listening example. • T identifies the melody in the “Evening Prayer,” rom Hänsel und Gretel, by Engelbert Humperdinck. Watch Libera, an all-boy English vocal group directed by Robert Prizeman, perorm this melody. • Ss read melody with solège and hand signs and listen to recording. SUMMARY ACTIVITIES


Review the new song

“Canoe Song” CSP: A • Ss sing the song. • Ss sing the song andT sings the second part rom Denise Bacon’s 46 wo-Part American Folk Songs, p. 16.



Preparation: analyzing repertoire that contains an external upbeat Practice: writing melodies that contain high do INTRODUCTOR

Y ACTIVITIES

Warm-up

• Body warm-up • Beat activity “Fossils,” romCarnival of the Animals, by Camille Saint-Saëns (1835–1921) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a co w sound usinglow and high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Mush oodin” CSP: F • Ss sing the song and add an ostinato. “Canoe Song” CSP: A • Ss sing the song while continuing the ostinato. • Ss perorm the rhythm o the last phrase as a rhythmic ostinato into the next song (2 $aqa\qQ>).


“Old Mr. Rabbit” CSP: D • Ss sing the song. • Ss sing the song on the syllable “koo.”


Kodály Choral Library,Let Us Sing Correctly, no. 2 “Paw Paw Patch” CSP: D • Ss sing song and conduct. • Ss sing with rhythm syllables and clap on the first word o each phrase. • T sings each phrase o “Down Came a Lady,” “Mush oodin,” and “Johnson Boys”; Ss echo-sing each phrase with rhythm syllables while tapping the beat. CORE ACTIVITIES

Teach a new song “Weevily Wheat” CSP: A • T sings the song as Ss continue the ostinato. • T sings the song while Ss practice the movement or all eight

• • • •

phrases. T quickly divides Ss into groups o our. T sings and Ss practice the movements in small groups. Ss are encouraged to sing while playing the game. Ss perorm the rhythm o the last our beats as a rhythmic ostinato into the next song 2 $sdsd\qq> ( ).

259




“I Lost the Farmer’s Dairy Key” CSP: D • Ss sing the song. • Review kinesthetic activities. • T and Ss sing song on “loo” while tapping the beat beore asking each o these questions: • T: “Andy, what’s the first word in phrase 1?” (I’ve) • T: “Andy, on which word do we tap the first beat in phrase 1?” (lost) • T: “Andy, does ‘I’ve’ all on the strong part o the beat or the weak part o the beat?” (weak) • T: “Let’s sing the song, but sing the word that alls on the first strong beat at the beginning o each phrase. Sing the other words in our heads.” (“Lost,” “in,” “do,” and “in” are the only words that should be sung aloud.) • Ss perorm the rhythm o the last our beats as a rhythmic ostinato into the next song 2 $sdsd\qa> ( ).

Creative movement

“John Kanaka” CSP: A • Ss sing and play the game; they may create ostinato and select instruments with which to accompany the song.


“Hogs in the Cornfield” CSP: D • T presents the song on the board in staff notation, leaving phrase 2 blank.

Writing

•• • • •

260

Ss the song with solège syllables and hand signs. Ss sing complete the writing worksheets. T selects one S to write the tone set on the board. S writes the scale on the board. T selects one S to point to the notes o the tone set as class sings “Hogs in the Cornfield.” SUMMARY ACTIVITIES


“Weevily Wheat” CSP: A

Review the new song


Preparation: creating a visual representation o a musical phrase that contains an external upbeat Practice: improvisation o melodies that containhigh do


INTRODUCTOR Warm-up

Y ACTIVITIES


Sing known songs

“Old Mr. Rabbit” CSP: D • Ss sing the song. • Ss sing the song on the syllable “koo.” • Ss read solège syllables rom T’s hand signs.


“Above the Plain” CSP: A • Ss imitate the sound o a siren with their voices. ChallengeSs to make sof and loud, high and low, long and short sirens, and sirens that just go up, just come down, or do both. • Ss pretend they’re alling off a cliff and say “aaaahhhhhhhhhh!” • Use a ball. T throws a ball rom oneS to another; Ss ollow the movement o the ball with their voices.


• Ss sing the song. • Ss sing the song in canon afer our beats. Kodály Choral Library,Let Us Sing Correctly, nos. 3 and 4 Review known songs and rhythmic elements

“Old Mr. Rabbit” CSP: D • Ss sing song and conduct. • Ss sing with rhythm syllables and clap on the first word o each phrase and tap the other beats. • T sings each phrase o “Old Mr. Rabbit”;Ss echo-sing each phrase with rhythm syllables while tapping the beat. • T sings each phrase o “Paw Paw Patch,” “Down Came a Lady,” “Mush oodin,” and “Johnson Boys”; Ss echo-sing each phrase with rhythm syllables while tapping the beat.

Teach a new song

“Weevily Wheat”

CORE ACTIVITIES

CSP: A • T sings the song while Ss show the phrases. • Ss sing the song and learn the game.

261




“I Lost the Farmer’s Dairy Key” CSP: D • Ss sing the song. • Review kinesthetic and aural awareness activities. • T gives each S a page with sixteen hearts printed on it and asks Ss to create a visual representation showing the first word o each phrase and then the word that alls on the first beat o each phrase. • Ss share their representations with one another. • T invites one S to the board to share a representation with the class. • Ss sing “I Lost the Farmer’s Dairy Key” on a neutral syllable and point to their representations. • Ss sing the song while handing in their materials and moving into a circle or the next song.

Creative movement

“Weevily Wheat” CSP: A • T and Ss sing the song; Ss practice the movements or the game.


“Hogs in the Cornfield” CSP: D • Ss sing the song. • Ss read the target phrase rom standard rhythmic notation with solège syllables:

Improvisation

$sdxcd\sxcsd| 2

262

sss amslightly rrdd different version o the target phrase (this • Td’l sings becomes the “question”): $sdxcd\sdq| (note: T does not write this on the board) 2 d’l sss m s s • Ss reply with the target phrase. • T says, “Tis is too easy.”T modifies the target phrase on the board (and this becomes the first “answer”):

$sdxcd\sdq| 2 d’l sss mr d • T sings the question; individual Ss reply with the answer. • T repeats the process with additional answers:

$sdxcd\sdq| 2 d’l sss ms d

$sdxcd\sdq| 2 d’l sss s s d • T sings the question to individual Ss, who reply with any o the three answers. Ss may also create their own answers. • Ss create an ostinato to play on xylophones as an accompaniment to known songs. Te ostinato should be a descending scale as ollows: d’ l s m r d.



“Weevily Wheat” CSP: A

Review the new song


Presentation: label the sound o a musical phrase that contains an external upbeat INTRODUCTOR

Warm-up

Sing known songs

Y ACTIVITIES

• Body warm-up • Beat activity Te Tunderer, by John Philip Sousa (1854–1932) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing. “King Kong Kitchie” CSP: G • Ss sing the song with a simple ostinato:2 $aqa\qQ> “Weevily Wheat” CSP: B • Ss sing the song with the ostinato.



“Golden Ring” CSP: D • Ss sing the song. • Ss sing the song on the syllable “koo.” Kodály Choral Library,Let Us Sing Correctly, no. 5 “Do, Do Pity My Case” CSP: F sharp • Ss sing song and conduct. • Ss sing with rhythm syllables and clap on the first word o each phrase. • T sings each phrase o “Do, Do Pity My Case”; Ss echo-sing each phrase with rhythm syllables while tapping the beat. • T sings each phrase o “Paw Paw Patch,” “Down Came a Lady,” “Mush oodin,” and “Johnson Boys”; Ss echo-sing each phrase with rhythm syllables while tapping the beat.

263



“Come Trough ’Na Hurry” CSP: G • T perorms the song orSs with an instrument (guitar, dulcimer, piano, etc.). • Ss sing and play the game.


“I Lost the Farmer’s Dairy Key” CSP: D • Ss sing the song. • Review kinesthetic, aural, and visual awareness activities. • Sing the song with rhythm syllables andconduct. • T: “A note that comes beore the strong beat o a phrase is called an ‘upbeat’ or a ‘pickup.’” ○ T: “When we have an upbeatinside the song, we know it’s aninternal upbeat. Now we have an upbeat at the beginning (or outside o the song).” ○ T: “When we have an upbeat at the beginning o the song, we call it anexternal upbeat.” • T sings the song with rhythm syllables, andSs echo with rhythm syllables and conduct. • T echo-sings with at least eight individuals.

Describe the sound with rhythm syllables

Creative movement

264

“Riding in the Buggy” CSP: D • T sings the song whileSs continue the ostinato. • Ss create additional ostinati to accompany the song.

Describe the sound with rhythm syllables

• Ss sing and play the game. “Tree Rogues” CSP: D • Ss sing the song. • Review presentation. • T: “When we have an upbeat at the beginning o the song, we call it an external upbeat.” • T and Ss conduct and sing songs that have an external upbeat, including “Shoes o John” and “Above the Plain.”


“Come Tru ’Na Hurry” CSP: G


SUMMARY ACTIVITIES

Review the new song



Presentation: notate a musical phrase that contains an external upbeat INTRODUCTOR

Warm-up

Y ACTIVITIES

• Body warm-up • Beat activity Te Tunderer, by John Philip Sousa (1854–1932) • Breathing: Ss practice blowing up a balloon and watch how air is released when deflating the balloon. • Resonance: explore a cowsound using lowand high voices. Make sure Ss are inhaling and exhaling correctly with the support muscles. • Posture: remind Ss o the correct posture or singing.

Sing known songs

“Johnson Boys” CSP: B • Ss sing the song with an ostinato:2 $qq\xcdq> “Come Trough ’Na Hurry” CSP: G • Ss sing the song and may briefly play the game.


“I Lost the Farmer’s Dairy Key” CSP: D • Ss sing the song. • Ss sing the song on the syllable “koo.” Kodály Choral Library,Let Us Sing Correctly, nos. 7 and 8


“Do, Do Pity My Case” CSP: D • Ss sing song and conduct. • Ss sing with rhythm syllables and clap on the first word o each phrase. • T sings each phrase o “I Lost the Farmer’s Dairy Key,” “Te Jolly Miller,” “Jim Along Josie,” “Ida Red,” and “Chickalalelo”; Ss echo-sing each phrase w ith rhythm syllables while tapping the beat.

Teach a new song

“Hill and Gully Rider” CSP: C • T sings the song and demonstrates the motions o each phrase. Ss copy. • T and Ss sing and play the game.

CORE ACTIVITIES

265


“I Lost the Farmer’s Dairy Key” CSP: D • Ss sing the song. • Review kinesthetic, aural, and visual awareness activities. Notate what you hear • Review aural presentation. T: “When we have an upbeat at the beginning (or the outside) o the song, we call it an external upbeat.” • T sings the song with rhythm syllables;Ss echo with rhythm syllables and conduct. • T writes the standard rhythmic notation on the board.Ss read Presentation of music literacy concepts

with rhythm syllables. • T: “Just like in math, sometimes when you have a subtraction problem, you have to regroup. We have to do the same thing with external upbeats. We subtract rom the end and regroup at the beginning to determine the value o our external upbeat.”

• Ss sing and draw the phrases in the air.

266

Creative movement

“Come Tru ’Na Hurry” CSP: F • Ss sing the song. • Ss sing the song and play the game.

Presentation of music literacy

“Tree Rogues” CSP: B

concepts Notate what you hear

•• Ss sing the song. Review aural presentation. T: “When we have an upbeat at the beginning (or the outside) o the song, we call it an external upbeat.” • T sings the song with rhythm syllables;Ss echo with rhythm syllables and conduct. • T writes the standard rhythmic notation on the board.Ss read with rhythm syllables. Ss read with numbers or counting and conducting. • T and Ss conduct and sing songs that have an external upbeat, including “Shoes o John” and “Above the Plain.” SUMMARY ACTIVITIES


Review the new song

“Hill and Gully Rider” CSP: C

Chapter

6

Assessment and Evaluation

Te purpose of assessment in the classroom is to evaluate the work of both students and teacher. Tis chapter contains examples of assessments for evaluating each musical concept and element taught in third grade. By assessing a student’s skill development and the teacher’s classroom teaching, we can develop strategies to improve learning and music teaching. Effective assessments lead to development of a more effective music program. Tere are five steps to developing assessment rubrics in the third grade classroom: 1. Decide on the areas of assessment. 2. Determine the activities you will use to assess these areas. 3. Create assessment rubrics for each area. 4. Create a class profile that summarizes the children’s scores. 5. Have the teacher review the results of assessments and decide how to modify the teaching to help students develop their knowledge of music. For a more comprehensive view of assessment, consult Kodály Today. We have included assessment rubric samples for grade three. Te assessment for each unit includes assessments for singing, reading, writing, and improvisation. Te teacher can elect to use some or all of the assessment activities for the unit they are teaching. In our assessment for melodic writing, we have included only rhythmic notation with solfège syllables; teachers should also consider assessing children’s ability to write melodies on the staff. Grade 3 Assessments

Assessments for Eighth Note Followed by Two Sixteenth Notes Tuneful singing assessmentfor eighth note followed by two sixteenth notes is for student’s singing of “Fed My Horse” (able 6.1).

267


Table 6.1 Tuneful Singing Assessment for Eighth Note Followed by Two Sixteenth Notes Student Name: _______________ Criteria

Date: _____ Class: _______________________ L evels

Comments

Student sings the text of“Fed My Horse” Advanced 4 with accurate intonation, pure vowel sounds, clear pronunciation, and tall, balanced posture, giving a musically sensitive performance that shows evidence of excellent vocal technique. Student sings the text of “Fed My Horse” with mostly accurate intonation, primarily pure vowel sounds, some use of clear pronunciation, and balanced posture, giving an overall musical performance.

Proficient 3

Student sings the text of “Fed My Basic 2 Horse” with some accurate intonation, few pure vowel sounds, unclear pronunciation, and generally poor posture, giving a performance that lacks musicality.

268

Student sings the text of “Fed My Emerging 1 Horse” without accurate intonation, pure vowel sounds, clear pronunciation, or tall posture, giving a performance that lacks musicality and shows evidence of poor vocaltechnique.

Reading assessment is for student’s reading of four-beat rhythm patterns that include eighth notes followed by two sixteenth notes (able 6.2).

Table 6.2 Reading Assessment for Eighth Note Followed by Two Sixteenth Notes Student Name: _______________ Criteria

Date: _____ Levels

Class: _______________________ Comments

Student reads the text of the first phraseAdvanced 4 of “Fed My Horse” from traditional notation, speaking and clapping rhythm syllables and making no errors. (Continued)


Table 6.2

(continued)

Student reads the text of the first phrase of “Fed My Horse” from traditional notation, speaking and clapping rhythm syllables and making only a few errors that do not detract from the performance.

Proficient 3

Student reads the text of the first phrase of “Fed My Horse” from

Basic 2

traditional notation, speaking and clapping rhythm syllables and making errors that detract from the performance. Student does not read and clap the rhythm of “Fed My Horse.”

Emerging 1

Writing assessmentis for student’s writing of a four-beat rhythmic pattern that includes eighth notes followed by two sixteenth notes (able 6.3).

Table 6.3 Writing Assessment for Eighth Note Followed by Two Sixteenth Notes Student Name: _______________

Date: _____ Class: _______________________

Criteria L evels Comments Student writes an eight-beat rhythm Advanced 4 pattern with traditional notation of the first phrase of “Fed My Horse,” making no errors.

Student writes an eight-beat rhythm pattern with traditional notation of the first phrase of “Fed My Horse,” making only a few errors that do not detract from the writing activity.

Proficient 3

Student writes an eight-beat rhythm pattern with traditional notation of the first phrase of “Fed My Horse,” making errors that detract from the writing activity.

Basic 2

Student does not write an eight-beat rhythm pattern with traditional notation of the first phrase of “Fed My Horse.”

Emerging 1

269


Improvisation assessment is for student’s improvising of a four-beat rhythm pattern that includes an eighth note followed by two sixteenth notes (able 6.4).

Table 6.4 Improvisation Assessment for Eighth Note Followed by Two Sixteenth Notes Student Name: _______________

Date: _____

Criteria

L evels

Student improvises an eight-beat

Class: _______________________ Comments

Advanced 4

rhythm pattern that includes an eighth note followed by two sixteenths on rhythm syllables, making no errors. Student improvises an eight-beat Proficient 3 rhythm pattern that contains an eighth note followed by two sixteenths on rhythm syllables, making only a few errors that do not detract from the performance. Student improvises an eight-beat Basic 2 rhythm pattern that contains an eighth note followed by two sixteenths on rhythm syllables, making errors that detract from the overall performance. Student does not improvise an

Emerging 1

eight-beat rhythm pattern that contains an eighth note followed by two sixteenths.

270

Assessments for low la In tuneful singing assessment, student sings “Phoebe in Her Petticoat” usinglow la (able 6.5).

Table 6.5

Tuneful Singing Assessment for low la

Student Name: _______________ Criteria

Student sings “Phoebe in Her Petticoat” on text with accurate intonation, pure vowel sounds, clear pronunciation, and tall, balanced posture, giving a musically sensitive performance that shows evidence of excellent vocal technique.

Date: _____ Levels

Class: _______________________ Comments

Advanced 4

(Continued)


Table 6.5

(continued)

Student sings “Phoebe in Her Petticoat” on text with mostly accurate intonation, primarily pure vowel sounds, some use of clear pronunciation, and tall, balanced posture, giving an overall musical performance.

Proficient 3

Student sings “Phoebe in Her

Basic 2

Petticoat” on text with some accurate intonation, few pure vowel sounds, unclear pronunciation, and generally poor posture, giving a performance that lacks musicality. Student sings “Phoebe in Her Emerging 1 Petticoat” on text without accurate intonation, pure vowel sounds, clear pronunciation, or tall posture, giving a performance that lacks musicality and shows evidence of poor vocal technique.

In reading assessment, student reads four-beat melodic motifs with solfège syllables that include low la (able 6.6).

Table 6.6

Reading Assessment for low la


Date: _____ L evels

Student reads the first phrase of “Phoebe in Her Petticoat” from traditional notation, speaking and clapping rhythm syllables, making no errors.

Advanced 4

Student reads the first phrase of “Phoebe in Her Petticoat” from traditional notation, speaking and clapping rhythm syllables, making

Proficient 3

Class: _______________________ Comments

only a few errors that do not detract from the performance. (Continued)

271


Table 6.6

(continued)

Student reads the first phrase of “Phoebe in Her Petticoat” from traditional notation, speaking and clapping rhythm syllables, making errors that detract from the performance.

Basic 2

Student does not read and clap the rhythm of “Phoebe in Her Petticoat.”

Emerging 1

In writing assessment, student writes four-beat melodic motifs with solfège syllables that include low la (able 6.7).

Table 6.7

Writing Assessment for low la


Date: _____ L evels

Class: _______________________ Comments

Student writes the solfège syllables Advanced 4 underneath the traditional rhythmic notation of the first phrase of “Phoebe in Her Petticoat,” making no errors.

272

Student writes the solfège syllables Proficient 3 underneath the traditional notation of the first phrase of “Phoebe in Her Petticoat,” making only a few errors that do not detract from the writing activity. Student writes the solfège syllables underneath the traditional notation of the first phrase of “Phoebe in Her Petticoat,” making errors that detract from the writing activity.

Basic 2

Student does not write the solfège Emerging 1 syllables underneath the traditional rhythmic notation of the first phrase of “Phoebe in Her Petticoat.”

In improvisation assessment, student improvises a four-beat melodic motif with solfège syllables that includes low la (able 6.8).


Table 6.8

Improvisation Assessment for low la

Student Name: _______________

Date: _____

Criteria

Class: _______________________

L evels

Comments

Student improvises a four-beat melodic Advanced 4 motif with solfège syllables that includes low la, making no errors. Student improvises a four-beat melodic Proficient 3 motif with solfège syllables that includes low la, making few errors that do not detract fromonly the aperformance. Student improvises a four-beat melodic Basic 2 motif with solfège syllables that includes low la, making errors that detract from the performance. Student does not improvise a four-beat melodic motif with solfège syllables that includes low la.

Emerging 1

Assessments for Two Sixteenth Notes Followed by an Eighth Note In tuneful singing assessment of two sixteenth notes followed by an eighth note, student sings “Hogs in the Cornfield” (able 6.9).

Table 6.9 Tuneful Singing Assessment for Two Sixteenth Notes Followed by an Eighth Note Student Name: _______________ Criteria

Date: _____ L evels

Class: _______________________ Comments

Student sings the text of “Hogs in the Advanced 4 Cornfield” with accurate intonation, pure vowel sounds, and tall, balanced posture, giving a musically sensitive performance that shows evidence of excellent vocal technique. Student sings the text of “Hogs in

Proficient 3

the Cornfield” with mostly accurate intonation, primarily pure vowel sounds, and balanced posture, giving an overall musical performance. (Continued)

273


Table 6.9

(continued)

Student sings the text of “Hogs in the Cornfield” with some accurate intonation, few pure vowel sounds, and generally poor posture, giving a performance that lacks musicality.

Basic 2

Student sings the text of “Hogs in Emerging 1 the Cornfield” without accurate intonation, pure vowel sounds, or tall posture, giving a performance that lacks musicality and shows evidence of poor vocal technique.

In reading assessment, a student reads a four-beat rhythmic pattern that includes two sixteenth notes followed by an eighth note (able 6.10).

Table 6.10 Reading Assessment for Two Sixteenth Notes Followed by an Eighth Note Student Name: _______________ Criteria

Student reads the text of the second phrase of “Hogs in the Cornfield”

Date: _____ L evels Advanced 4

from traditional notation, speaking and clapping rhythm syllables and making no errors.

274

Student reads the text of the second Proficient 3 phrase of “Hogs in the Cornfield” from traditional notation, speaking and clapping rhythm syllables and making only a few errors that do not detract from the performance. Student reads the text of the second phrase of “Hogs in the Cornfield” from traditional notation, speaking and clapping rhythm syllables and making errors that detract from the performance.

Basic 2

Student does not read and clap the rhythm of the second phrase of “Hogs in the Cornfield.”

Emerging 1

Class: _______________________ Comments


In writing assessment, student writes a four-beat rhythmic pattern that includes two sixteenth notes followed by an eighth note (able 6.11).

Table 6.11 Writing Assessment for Two Sixteenth Notes Followed by an Eighth Note Student Name: _______________ Criteria

Student writes a four-beat rhythm


Comments

Advanced 4

pattern with traditional notation of the second phrase of “Hogs in the Cornfield,” making no errors. Student writes a four-beat rhythm pattern with traditional notation of the second phrase of “Hogs in the Cornfield,” making only a few errors that do not detract from the writing activity.

Proficient 3

Student writes a four-beat rhythm Basic 2 pattern with traditional notation of the second phrase of “Hogs in the Cornfield,” making errors that detract from the writing activity. Student does not write a four-beat

Emerging 1

rhythm pattern with traditional notation of the second phrase of “Hogs in the Cornfield.”

In improvisation assessment, a student improvises a four-beat rhythmic pattern that includes two sixteenth notes followed by an eighth note (able 6.12).

Table 6.12 Improvisation Assessment for Two Sixteenth Notes Followed by an Eighth Note Student Name: _______________ Criteria

Student improvises a four-beat rhythm pattern that includes two

Date: _____ Levels

Class: _______________________ Comments

Advanced 4

sixteenth notes followed by an eighth note on rhythm syllables, making no errors. (Continued)

275


Table 6.12

(continued)

Student improvises a four-beat rhythm pattern that includes two sixteenth notes followed by an eighth note on rhythm syllables, making only a few errors, that do not detract from the performance.

Proficient 3

Student improvises a four-beat rhythm pattern that includes two

Basic 2

sixteenth notes followed by an eighth note on rhythm syllables, making errors that detract from the performance. Student does not improvise a four-beat rhythm pattern that includes two sixteenth notes followed by an eighth note.

Emerging 1

Assessments for low so In low so singing assessment, student sings “Dance Josey” (able 6.13).

Table 6.13

Tuneful Singing Assessment for low so


276

Date: _____ Levels

Student sings “Dance Josey” on text with accurate intonatio n, pure vowel sounds, clear pronunciation, and tall, balanced posture, giving a musically sensitive performance that shows evidence of excellent vocal technique.

Advanced 4

Student sings “Dance Josey” on text with mostly accurate intonation, primarily pure vowel sounds, some use of clear pronunciation, and balanced posture, giving an overall

Proficient 3

Class: _______________________ Comments

musical performance. (Continued)


Table 6.13

(continued)

Student sings “Dance Josey” on text with some accurate intonation, few pure vowel sounds, unclear pronunciation, and generally poor posture, giving a performance that lacks musicality.

Basic 2

Student sings “Dance Josey” on text without accurate intonation, pure

Emerging 1

vowel sounds, clear pronunciation, or tall posture, giving a performance that lacks musicality and shows evidence of poor vocal technique.

In reading assessment, student reads a four-beat melodic motif with solfège syllables that includes low so (able 6.14).

Table 6.14

Reading Assessment for low so


Student reads the second phrase of “Dance Josey” from traditional

Date: _____ Class: _______________________ Levels

Comments

Advanced 4

notation, speaking and clapping rhythm syllables, making no errors. Student reads the second phrase of “Dance Josey” from traditional notation, speaking and clapping rhythm syllables, making only a few errors that do not detract from the performance.

Proficient 3

Student reads the second phrase of “Dance Josey” from traditional notation, speaking and clapping rhythm syllables, making errors that detract from the performance.

Basic 2

Student does not read and clap the second phrase of “Dance Josey.”

Emerging 1

277


In writing assessment, student writes a four-beat melodic motif with solfège syllables that includes low so (able 6.15).

Table 6.15

Writing Assessment for low so


Date: _____ L evels

Student writes the solfège syllables underneath the traditional notation

Class: _______________________ Comments

Advanced 4

of the second phrase of “Dance Josey,” making no errors. Student writes the solfège syllables Proficient 3 underneath the traditional notation of the second phrase of “Dance Josey,” making only a few errors that do not detract from the writing activity. Student writes the solfège syllables Basic 2 underneath the traditional notation of the second phrase of “Dance Josey,” making errors that detract from the writing activity. Student does not write the solfège syllables underneath the traditional rhythmic notation of the second

Emerging 1

phrase of “Dance Josey.”

278

In improvisation assessment, student improvises a four-beat melodic motif with solfège syllables that includes low so (able 6.16).

Table 6.16

Improvisation Assessment for low so


Date: _____ L evels

Class: _______________________ Comments

Student improvises a four-beat Advanced 4 melodic motif with solfège syllables that includeslow so, making no errors. Student improvises a four-beat melodic motif with solfège syllables that includes low so, making only a few errors that do not detract from the performance.

Proficient 3

(Continued)


Table 6.16

(continued)

Student improvises a four-beat melodic motif with solfège syllables that includeslow so, making errors that detract from the performance.

Basic 2

Student does not improvise a four-beat melodic motif with solfège syllables that includeslow so.

Emerging 1

Assessments for Internal Upbeat In tuneful singing assessment for internal upbeat, a student sings “Old Mister Rabbit” (able 6.17).

Table 6.17

Tuneful Singing Assessment for Internal Upbeat


Date: _____ L evels

Class: _______________________ Comments

Student sings the text of “Old Mr. Advanced 4 Rabbit” with accurateintonation, pure vowel sounds, clear pronunciation, and tall, balanced posture, giving a musically sensitive performance that shows evidence of excellent vocal technique. Student sings the text of “Old Proficient 3 Mr. Rabbit” with mostly accurate intonation, primarily pure vowel sounds, some use of clear pronunciation, and balanced posture, giving an overall musical performance. Student sings the text of “Old Mr. Basic 2 Rabbit” with some accurate intonation, few pure vowel sounds, unclear pronunciation, and generally poor posture, giving a performance that lacks musicality. Student sings the text of “Old Mr. Emerging 1 Rabbit” without accurate intonation, pure vowel sounds, clear pronunciation, or tall posture, giving a performance that lacks musicality and shows evidence of poor vocal technique.

279


In reading assessment, student reads an eight-beat rhythmic pattern that includes an internal upbeat (able 6.18).

Table 6.18

Reading Assessment for Internal Upbeat


Date: _____ L evels

Student reads the text of the first and second phrases of “Old Mr. Rabbit”

Class: _______________________ Comments

Advanced 4

from traditional notation, speaking and clapping rhythm syllables and making no errors. Student reads the text of the first and Proficient 3 second phrases of “Old Mr. Rabbit” from traditional notation, speaking and clapping rhythm syllables and making only a few errors that do not detract from the performance.

280

Student reads the text of the first and second phrases of “Old Mr. Rabbit” from traditional notation, speaking and clapping rhythm syllables and making errors that detract from the performance.

Basic 2

Student does not read and clap the rhythm of “Old Mr. Rabbit.”

Emerging 1

In writing assessment, a student writes an eight-beat rhythmic pattern that includes an internal upbeat (able 6.19).

Table 6.19

Writing Assessment for Internal Upbeat


Student writes an eight-beat rhythm pattern with traditional notation of the first and second phrases of “Old Mr. Rabbit,” making no errors.

Date: _____ Levels

Class: _____________________ Comments

Advanced 4

Student writes an eight-beat rhythm Proficient 3 pattern with traditional notation of thefirst and second phrases of “Old Mr. Rabbit,” making only a few errors that do not detract from the writing activity. (Continued)


Table 6.19

(continued)

Student writes an eight-beat rhythm pattern with traditional notation of the first and second phrases of “Old Mr. Rabbit,” making errors that detract from the writing activity.

Basic 2

Student does not write an eight-beat rhythm pattern with traditional notation of the first and second phrases of “Old

Emerging 1

Mr. Rabbit.”

In improvisation assessment, a student improvises an eight-beat rhythmic pattern that includes an internal upbeat (able 6.20).

Table 6.20

Improvisation Assessment for Internal Upbeat



Comments

Student improvises an eight-beat Advanced 4 rhythm pattern that includes an internal upbeat on rhythm syllables, making no errors. Student improvises an eight-beat Proficient 3 rhythm pattern that includes an internal upbeat on rhythm syllables, making only a few errors that do not detract from the performance. Student improvises an eight-beat Basic 2 rhythm pattern that includes an internal upbeat on rhythm syllables, making errors that detract from the overall performance. Student does not improvise an eight-beat rhythm pattern that includes an internal upbeat.

Emerging 1

Assessments for high do In tuneful singing assessment for high do, a student sings “Hogs in the Cornfield” (able 6.21).

281


Table 6.21

Tuneful Singing Assessment for high do


Date: _____ L evels

Student sings the text of “Hogs in the Cornfield” with accurate intonation, pure vowel sounds, clear pronunciation, and tall, balanced posture, giving a musically sensitive performance that shows evidence of excellent vocal technique.

Class: _______________________ Comments

Advanced 4

Student sings the text of “Hogs Proficient 3 in the Cornfield” with mostly accurate intonation, primarily pure vowel sounds, some use of clear pronunciation, and balanced posture, giving an overall musical performance. Student sings the text of “Hogs in the Cornfield” with some accurate intonation, few pure vowel sounds, unclear pronunciation, and generally poor posture, giving a performance that lacks musicality.

Basic 2

Student sings the text of “Hogs in the Emerging 1 Cornfield” without accurate intonation, pure vowel sounds, clear pronunciation, or tall posture, giving a performance that lacks musicality and shows evidence of poor vocaltechnique.

282 In reading assessment, a student reads a four-beat melodic motif with solfège syllables that includes high do (able 6.22).

Table 6.22

Reading Assessment for high do


Student reads the second phrase of “Hogs in the Cornfield” from traditional notation, singing with solfège syllables and hand signs, making no errors.

Date: _____ L evels

Class: _______________________ Comments

Advanced 4

(Continued)


Table 6.22

(continued)

Student reads the second phrase Proficient 3 of “Hogs in the Cornfield” from traditional notation, singing with solfège syllables and hand signs, making only a few errors that do not detract from the performance. Student reads the second phrase of Basic 2 “Hogs in the Cornfield” from traditional notation, singing with solfège syllables and hand signs, making errors that detract from the performance. Student does not read and clap the second phrase of “Hogs in the Cornfield.”

Emerging 1

In writing assessment, a student writes a four-beat melodic motif with solfège syllables that includes high do (able 6.23).

Table 6.23

Writing Assessment for high do


Student writes the second phrase of “Hogs in the Cornfield” in traditional notation with solfège syllables beneath making no errors.

Date: _____ L evels

Comments

Advanced 4

Student writes the second phrase of Proficient 3 “Hogs in the Cornfield” in traditional notation with solfège syllables beneath making only a few errors, that do not detract from the writing activity. Student writes the second phrase of “Hogs in the Cornfield” intraditional notation with solfège syllables beneath making errors that detract from the writing activity.

Class: _______________________

Basic 2

Student does not the second phrase of Emerging 1 “Hogs in the Cornfield” in traditional notation with solfège syllables beneath.

283


In improvisation assessment, a student improvises a four-beat melodic motif with solfège syllables that includes high do (able 6.24).

Table 6.24

Improvisation Assessment for high do


Date: _____ L evels

Student improvises a four-beat melodic motif with solfège syllables

Class: _______________________ Comments

Advanced 4

that includeshigh do, making no errors. Student improvises a four-beat melodic motif with solfège syllables that includes high do, making only a few errors that do not detract from the performance.

Proficient 3

Student improvises a four-beat melodic motif with solfège syllables that includes high do , making errors that detract from the performance.

Basic 2

Student does not improvise a four-beat melodic motif with solfège syllables that includeshigh do.

Emerging 1

Assessments for External U pbeat

284

In external upbeat singing assessment , a student sings “I Lost the Farmer’s Dairy Key” (able 6.25).

Table 6.25

Tuneful Singing Assessment for External Upbeat


Date: _____ L evels

Class: _______________________ Comments

Student sings the text of “I Lost the Advanced 4 Farmer’s Dairy Key” with accurate intonation, pure vowel sounds, clear pronunciation, and tall, balanced posture, giving a musically sensitive performance that shows evidence of excellent vocal technique. (Continued)


Table 6.25

(continued)

Student sings the text of “I Lost the Farmer’s Dairy Key” with mostly accurate intonation, primarily pure vowel sounds, some use of clear pronunciation , and balanced posture, giving an overall musical performance.

Proficient 3

Student sings the text of “I Lost

Basic 2

the Farmer’s Dairy Key” with some accurate intonation, few pure vowel sounds, unclear pronunciation, and generally poor posture, giving a performance that lacks musicality. Student sings the text of “I Lost the Farmer’s Dairy Key” without accurate intonation, pure vowel sounds, clear pronunciation, or tall posture, giving a performance that lacks musicality and shows evidence of poor vocal technique.

Emerging 1

In reading assessment, a student reads an eight-beat rhythmic pattern that includes an external upbeat (able 6.26).

Table 6.26

Reading Assessment for External Upbeat


Date: _____ L evels

Student reads the rhythm of the first phrase of “I Lost the Farmer’s Dairy Key” from traditional notation, speaking and clapping rhythm syllables and making no errors.

Advanced 4

Student reads the rhythm of the first phrase of “I Lost the Farmer’s Dairy Key” from traditional notation, speaking and clapping rhythm

Proficient 3

Class: _______________________ Comments

syllables and making only a few errors that do not detract from the performance. (Continued)

285


Table 6.26

(continued)

Student reads the rhythm of the first phrase of “I Lost the Farmer’s Dairy Key” from traditional notation, speaking and clapping rhythm syllables and making errors that detract from the performance.

Basic 2

Student does not read and clap the rhythm of “I Lost the Farmer’s Dairy

Emerging 1

Key.”

In writing assessment, a student writes an eight-beat rhythmic pattern that includes an external upbeat (able 6.27).

Table 6.27

Writing Assessment for External Upbeat


Date: _____ L evels

Class: _______________________ Comments

Student writes an eight-beat rhythm Advanced 4 pattern with traditional notation of the first phrase of “I Lost the Farmer’s Dairy Key,” making no errors.

286

Student writes an eight-beat rhythm Proficient 3 pattern with traditional notation of the first phrase of “I Lost the Farmer’s Dairy Key,” making only a few errors that do not detract from the writing activity. Student writes an eight-beat rhythm Basic 2 pattern with traditional notation of the first phrase of “I Lost the Farmer’s Dairy Key,” making errors that detract from the writing activity. Student does not write an eight-beat Emerging 1 rhythm pattern with traditional notation of the first phrase of “I Lost the Farmer’s Dairy Key.”

In improvisation assessment, student improvises an eight-beat rhythmic pattern that includes an external upbeat (able 6.28).


Table 6.28

Improvisation Assessment for External Upbeat



Student improvises an eight-beat rhythm pattern that includes an external upbeat on rhythm syllables, making no errors.

Advanced 4

Student improvises an eight-beat rhythm pattern that contains an external upbeat on rhythm syllables, making only a few errors, and they do not detract from the performance.

Proficient 3

Student improvises an eight-beat rhythm pattern that contains an external upbeat on rhythm syllables, making errors that detract from the overall performance.

Basic 2

Student does not improvise an eight-beat rhythm pattern that contains an external upbeat.

Emerging 1

Comments

287

Notes

Introduction i. “Education or Lie and Work Developing ranserable Knowledge and Skills in the 21st Century,” Report Brie, July 12, 2012. National Research Council. http://www8. nationalacademies.org/onpinews/newsitem.aspx?RecordID=13398

Chapter 1 1. Pink, Daniel H. A Whole New Mind: Why Right Brainers Will Rule the Future New York: River Head rade, 2006. 2. revarthen, Colwyn, and Stephen Malloch. “Musicality and Musical Culture: Sharing Narratives o Sound rom Early Childhood.” Te Oxford Handbook of Music Education, vol. 1, ed. Gary E. McPherson and Graham F. Welch, chap. 2.3, p. 254. New York: Oxord University Press, 2012.

Chapter 2 1. David J. Elliott. Praxial Music Education: Reflections and Dialogues. New York: Oxord University Press, 2005, p. 258. 2. Margaret S. Barrett. “Commentary: Music Learning and eaching in Inancy and Early Childhood.” In Te Oxford Handbook of Music Education, vol. 1, ed. Gary E. McPherson and Graham F. Welch, chap. 2.1, p. 228. New York: Oxord University Press, 2012. 3. Lily Chen-Hafeck and Esther Mang “Music and Language in Early Childhoo d Development and Learning.” In Te Oxford Handbook of Music Education, vol. 1, ed. Gary E. McPherson and Graham F. Welch, chap. 2.4, p. 274. New York: Oxord University Press, 2012. 4. Ruth C. Seeger. American Folk Songs for Children. Garden City, NY: Doubleday, 1948. 5. Neryl Jeanneret an d George M. Degraffenreid . “Music Education in the Generalis t Classroom.” InTe Oxford Handbook of Music Education, ed. Gary E. McPherson and Graham F. Welch, vol. 1, chap. 3.6, p. 404. New York: Oxord University Press, 2012. 6. Susan Young and Beatriz Ilari. “Musical Participation rom Birth to Tree: oward a Global Perspective.” In Te Oxford Handbook of Music Education, vol. 1, ed. Gary E. McPherson and Graham F. Welch, vol. 1, chap. 2.5, p. 281. New York: Oxord University Press, 2012.

Chapter 5 1. Kodály, “Children’s Choirs,” Selected Writings, pp. 121–122.

289

Index

“Above the Plain” in external upbeat unit plan, 255t, 261t,

for teaching eighth note followed by two sixteenth notes, 59–60

264t, 266t in high do unit plan, 243t, 249t, 250t as listening example, 153 “All Around the Brickyard,” 139 “All Around the Buttercup,” 174t alternate ending, and developing improvisation skills, 127–28, 129 antiphonal singing, 134 Appalachian Spring (Copland), 96 “Aquaqua Del A Omar,” 93 t “Are You Sleeping?” in eighth note followed by two sixteenth notes unit plan, 182t, 184t in grade two review unit plan, 169t, 177t, 179t, 181t in low la unit plan, 195t, 205t assessment(s), 267 for eighth note followed by two sixteenth notes, 267–70t for external upbeat, 284–87t for high do, 281–84t for internal upbeat, 279–81t of lessons, 168 for low la, 270–73t for low so, 276–79t for two sixteenth notes followed by eighth note, 273–76t assimilative phase connecting lesson plans to, 98t purpose and stages of, 97 for teaching eighth note followed by two sixteenth notes, 60–64 for teaching external upbeat, 95–97 for teaching high do, 88–93 for teaching internal upbeat, 85–86 for teaching low la, 66–67 for teaching low so, 77–82

for teaching external upbeat, 94–95 for teaching high do, 88 for teaching internal upbeat, 84–85 for teaching low la, 65–66 for teaching low so, 77 for teaching two sixteenth notes followed by eighth note, 71–72 aural inner hearing, and developing reading skills, 118, 122 aural practice and teaching eighth note followed by two sixteenth notes, 60–61 and teaching external upbeat, 95 and teaching high do, 88–89 and teaching internal upbeat, 85 and teaching low la, 66–67 and teaching low so, 77–78 and teaching two sixteenth notes followed by eighth note, 72–73

for teaching two sixteenth notes followed by eighth note, 72–75 associative phase connecting lesson plans to, 98t presentation lesson plan for, 105–9t purpose and stages of, 97

Bartók, Béla For Children, 93 “An Evening in the Village,”Hungarian Sketches, 152 Mikrokosmos, 82, 152, 208t, 234t “Pentatonic une,” For Children, 152

Bach, Johann Sebastian “Badinerie,” Sonata in b minor, 63, 75, 96, 151, 152, 153, 196t, 220t Concerto for Four Harpsichords, BVW 1065, 154t, 211t, 213t, 215t “Musette in D,”Anna Magdalena’s Notebook, 75 “Sleepers Wake,” Cantata No. 140, 97, 153 “Badinerie,” Sonata in b minor (Bach) as listening example, 151, 152, 153 in low la unit plan, 196t in low so unit plan, 220t and teaching eighth note followed by two sixteenth notes, 63 and teaching external upbeat, 96 and teaching two sixteenth notes followed by eighth note, 75 “Band of Angels,” 93t, 96

291

Index

292

beat and part-work skills, 134, 135 reinforcing, with instruments, 146 Beethoven, Ludwig van, String Quartet No. 4 in C minor, “Allegro,” 225 t, 227t “La Bella Hortelana,” 153 Bernstein, Leonard, “Mambo,”West Side Story, 190t, 192t, 221t, 223t “Big Fat Biscuit” in eighth note followed by two sixteenth notes unit plan, 182t, 183t, 191t, 192t, 194t in low la presentation lesson plan, 107t

in internal upbeat presentation lesson, 51t, 52t, 54t, 56t in internal upbeat unit plan, 231t, 239t, 240t, 241t, 242t “Charlie over the Ocean,” 75t, 220t, 230t “Chatter with the Angels,” 169t, 178t, 179t “Cherry ree Carol, Te,” 152 “Chickalileeo” in eighth note followed by two sixteenth notes unit plan, 182t, 186t, 192t in external upbeat unit plan, 265t in grade two review unit plan, 169t, 175t, 176t

in low la unit plan, 195t, 197t, 204t, 205t in low so unit plan, 219t, 224t “Black Jack Davy,” 152 “Blow, Boys, Blow,” 152 “Blue,” 169t, 172t, 179t “Bluebird Trough My Window” in eighth note followed by two sixteenth notes unit plan, 182t, 186t, 189t in grade two review unit plan, 179t in low la unit plan, 195t, 197t body canon, and developing part-work skills, 136 “Bought Me a Cat,” 199t “Bounce High, Bounce Low,” 139, 244 t “Bow Wow Wow” and developing part-work skills, 136, 139 in grade two review unit plan, 169t, 172t, 173t, 175t, 177t, 178t in low la lesson plan, 163t, 165t in low la unit plan, 201t as partner song, 139 breathing, 114–15, 117 “Button, You Must Wander” in eighth note followed by two sixteenth notes unit plan, 182t, 190t, 191t, 193t in grade two review unit plan, 169t, 174t, 179t, 181t in low la unit plan, 195t, 201t, 205t “Bye, Baby Bunting” in high do unit plan, 246t and teaching internal upbeat, 82t, 85 “Cairo,” 153 call-and-response singing, 134 “Canoe Song,” 255t, 257t, 258t, 259t canon(s) and developing instrument skills, 146 and developing part-work skills, 136–37,

in internal upbeat unit plan, 233t, 235t, 237t, 239t, 241t as listening example, 151 and teaching eighth note followed by two sixteenth notes, 58t in two sixteenth notes followed by eighth note lesson, 155t, 158t in two sixteenth notes followed by eighth note unit plan, 207t, 209t, 211t, 213t, 215t, 217t children’s choir, music for, 141 “Circa Mea Pectora,”Carmina Burana(Orff), 75, 222t “Circle Round the Zero,” 86t cognitive phase connecting lesson plans to, 98t preparation/practice lesson plan framework for, 99–105t purpose and stages of, 97 for teaching eighth note followed by two sixteenth notes, 58–59 for teaching external upbeat, 93–94 for teaching high do, 87 for teaching internal upbeat, 83–84 for teaching low la, 64–65 for teaching low so, 76 for teaching two sixteenth notes followed by eighth note, 70–71 combination vowels, 115 “Comedians Gallop,” Op. 26 No. 2, “Presto” (Kabalevsky), 75, 152 “Come Tru ’Na Hurry” in external upbeat unit plan, 255t, 256t, 264t, 265t, 266t as partner song, 139 composition in grade three curriculum, 7–8

139, 140–41 and developing reading skills, 119 and teaching low so, 78 “Cedar Swamp” in high do unit plan, 243t, 244t, 245t, 251t, 253t, 254t

in grade two review unit plan, 170t Concerto for Four Harpsichords, BVW 1065 (Bach), 154t, 211t, 213t, 215t conducting, 85 Copland, Aaron Appalachian Spring, 96

Index

“Goodbye, Old Paint,”Billy the Kid Suite, 183t, 185t “Shaker Hymn,” Appalachian Spring, 153 “Cotton Eye Joe,” 164t creativity, in Kodály concept, 3. See also composition; improvisation; movement critical thinking in grade three curriculum, 6–7 in Kodály concept, 3 cultural heritage, students as stewards of, 3 curriculum in Kodály concept, 1–4 and lesson plan design, 11–16 prompt questions for constructing, 8–10 sample, for grade three, 4–8 “Dance, Josey” in high do unit plan, 243t, 245t, 247t, 249t, 251t in internal upbeat lesson, 49t in internal upbeat unit plan, 231t, 232t, 234t, 236t, 238t in low la lesson plan, 165t and low so assessment, 276–79t in low so unit plan, 219t, 220t, 222t, 224t, 226t, 228t, 230t and teaching external upbeat, 96 and teaching low so, 75t, 76, 77, 79, 80 in two sixteenth notes followed by eighth note lesson, 155t in two sixteenth notes followed by eighth note unit plan, 207t, 208t, 210t, 211t, 214t, 216t “Dance of the Sugar Plum Fairies,”Te Nutcracker Suite (chaikovsky), 197t “Daughter, Will You Marry?,” 152 “Debka Hora,” 58t, 151 diction, 115–16 “Didn’t My Lord Deliver Daniel,” 153 “Dinah” in eighth note followed by two sixteenth notes unit plan, 186t, 189t in grade two review unit plan, 169t, 178t, 180t in internal upbeat unit plan, 233 t, 235t, 237t, 239t, 241t as partner song, 139 in two sixteenth notes followed by eighth note lesson, 155t in two sixteenth notes followed by eighth note unit plan, 209t, 211t, 213t, 215t diphthongs, 116 “Do, Do, Pity My Case” in external upbeat unit plan, 255t, 257t, 263t, 265t in internal upbeat lesson, 48t, 52t, 55t in internal upbeat unit plan, 231t, 232t, 233t, 235t, 240t, 242t in low la unit plan, 195t, 202t, 203t and teaching internal upbeat, 82t, 86

in two sixteenth notes followed by eighth note lesson, 159t in two sixteenth notes followed by eighth note un it plan, 207t, 209t, 213t, 216t, 218t dominant chord roots, 144–45 do pentatonic, song list for teaching, 38t “Down Came a Lady” and developing part-work skills, 139 in external upbeat unit plan, 257t, 259t, 263t and teaching internal upbeat, 82t, 86 “Draw Me a Bucket of Water,” 26t drones, 137–38 Dvořák, Antonin, “Largo,”New World Symphony, 175t dynamic markings, 116 ear, memorizing by, 132 “Ecce Gratum,”Carmina Burana (Orff), 93, 153 eighth note(s) assessment for, followed by two sixteenth notes, 267–70t assessment for two sixteenth notes followed by, 273–76t lesson plan for two sixteenth notes and, 110t, 111t, 112t, 154–56t listening examples for, followed by two sixteenth notes, 151 listening examples for two sixteenth notes followed by, 152 song list for teaching, 43–44t song list for teaching, followed by two sixteenth notes, 39t song list for teaching two sixteenths followed by, 40–41t teaching strategies for, followed by two sixteenth notes, 57–64 teaching strategy for two sixteenth notes followed by, 70–75 unit plan for, followed by two sixteenth notes, 182–94t unit plan for two sixteenth notes followed by, 207–18t error identification, and developing reading skills, 118, 122 evaluations. See assessment(s) “Evening in the Village, An,”Hungarian Sketches (Bartók), 152 “Evening Prayer,” Hänsel und Gretel (Humperdinck), 258t external upbeat assessment for, 284–87t listening examples for, 153 song list for teaching, 43t teaching strategies for, 93–97 unit plan for, 255–56t

293

Index

294

“Farmer’s Curst Wife, Te,” 153 “Fed My Horse” and developing creative movement skills, 149 directions for playing, 27t and eighth note followed by two sixteenth notes assessment, 267–70t in eighth note followed by two sixteenth notes unit plan, 182t, 183t, 185t, 187t, 189t, 191–92t, 194t in grade two review unit plan, 169t, 172t, 174t in low la lesson plan, 164t, 166t, 167t in low la unit plan, 195t, 196t, 198t, 200t, 202t and teaching eighth note followed by two sixteenth

“Fossils,”Carnival of the Animals(Saint-Saëns) in external upbeat unit plan, 257t, 259t, 261t in high do unit plan, 245t in internal upbeat lesson, 47t in internal upbeat unit plan, 233t, 235t, 237t “Four White Horses,” 136 “Frosty Weather,” 169t, 180t

notes, 58, 59–60, 62 in two sixteenth notes followed by eighth note lesson, 155t in two sixteenth notes followed by eighth note unit plan, 207t, 209t, 211t fill in the blank and developing improvisation skills, 129 and developing writing skills, 125, 126 final note, and part-work skills, 135 finger staff, and developing reading skills, 121 “Firefly” in grade two review unit plan, 169t, 176t, 179t in low la unit plan, 195t, 203t “Fire in the Mountain” directions for playing, 27t in eighth note followed by two sixteenth notes unit plan, 191t in grade two review unit plan, 169t, 178t, 180t, 181t in low la unit plan, 195t, 200t, 201t, 203t and teaching eighth note followed by two sixteenth notes, 58t in two sixteenth notes followed by eighth note unit plan, 207t, 213t, 215t flash cards and developing reading skills, 120 and inner hearing, 124 focus songs, 49 folk songs and music identifying and changing form of, 133 pentatonic, in three parts, 140 in repertoire, 17–18 rhythm canons based on, 137 and students as stewards of cultural heritage, 3 in thirds and sixths, 144 For Children (Bartók), 93 form

in high do unit plan, 251t, 252t “Goodbye, Old Paint,”Billy the Kid Suite(Copland), 183t, 185t grade two review, 169–81t “Great Big House in New Orleans” and developing creative movement skills, 149 directions for playing, 28t in eighth note followed by two sixteenth notes unit plan, 182t, 184t in grade two review unit plan, 169t, 172t, 174t, 177t and teaching internal upbeat, 86 Grofé, Ferde, “On the rail,”Grand Canyon Suite, 93, 153, 256t

and developing creative movement skills, 148 and developing improvisation skills, 129–30 and developing reading skills, 117, 121 in grade three curriculum, 7 in grade two review unit plan, 171t understanding, 132–33

games. See singing games “Golden Ring” directions for playing, 28t in external upbeat unit plan, 255t, 263t

hand games, 148 hand signs and developing part-work skills, 138 and developing reading skills, 120 and inner hearing, 124 memorization from, 130–31 and teaching eighth note followed by two sixteenth notes, 60, 61 and teaching high do, 90, 91 and teaching internal upbeat, 86 and teaching low la, 67 and teaching low so, 78, 80 and teaching two sixteenth notes followed by eighth note, 72, 73 and tuneful singing, 116 “Happy Farmer, Te,” Album for the Young (Schumann), 96, 244t harmonic functions, 144–45 Haydn, Franz Joseph, Surprise Symphony, 157t, 216t “Head and Shoulders,” 75t, 148 “Here Comes a Bluebird” directions for playing, 29t in grade two review unit plan, 169t, 172t, 176t in low la lesson plan, 163t, 165t in low la unit plan, 201t high do assessment for, 281–84t listening examples for, 153

Index

song list for teaching, 43t teaching strategies for, 86–93 unit plan for, 243–54t “Hill and Gully Rider” in external upbeat unit plan, 255t, 265t, 266t as listening example, 152 “Hogs in the Cornfield” directions for playing, 29t in external upbeat unit plan, 255 t, 256t, 257t, 260t, 262t and high do assessment, 281–84t in high do unit plan, 243t, 244t, 246t, 248t, 250t, 251t, 253t, 254t

“Ida Red” in eighth note followed by two sixteenth notes un it plan, 182t, 183t, 185t, 188t, 192t, 193t in external upbeat unit plan, 265t in grade two review unit plan, 169t, 174t, 177t in internal upbeat lesson, 48t in internal upbeat unit plan, 231t, 233t, 235t, 237t, 239t, 241t in low so unit plan, 219t, 220t, 226t and teaching eighth note followed by two sixteenth notes, 58t and teaching two sixteenth notes followed by

in internal upbeat presentation lesson, 51t, 55t in internal upbeat unit plan, 231t, 232t, 233t, 237t, 239t, 242t as listening example, 151 in low la lesson plan, 163t, 164t, 165–66t, 167t in low la unit plan, 195t, 196t, 199t, 200t, 201t, 204t in low so unit plan, 219t, 220t, 222t, 224t, 226t, 228t and teaching eighth note followed by two sixteenth notes, 58t and teaching high do, 86t, 88, 90, 91–92 and teaching two sixteenth notes followed by eighth note, 70–71, 73, 74 and two sixteenth notes followed by eighth note assessment, 273–76t in two sixteenth notes followed by eighth note lesson, 155t, 158t in two sixteenth notes followed by eighth note unit plan, 207t, 208t, 210t, 212t, 214t, 216t, 218t Holst, Gustav,Mars, Te Planets, 229t “Hop, Old Squirrel” directions for playing, 29t in low la unit plan, 195t, 203t, 204t and teaching two sixteenth notes followed by eighth note, 70t, 73 in two sixteenth notes followed by eighth note lesson, 159t in two sixteenth notes followed by eighth note unit plan, 216t, 218t “Hot Cross Buns,” 141, 169t, 175t “How Many Miles to Babylon?” directions for playing, 29–30t in eighth note followed by two sixteenth notes unit plan, 182t, 183t, 184t, 187t, 190t, 192t, 194t in grade two review unit plan, 169t, 176t, 177t, 179t

eighth note, 74 in two sixteenth notes followed by eighth note lesson, 155t, 158t, 159t in two sixteenth notes followed by eighth note un it plan, 207t, 209t, 211t, 213t, 215t, 216t, 217t, 218t “I Lost the Farmer’s Dairy Key” and external upbeat assessment, 284–87t in external upbeat unit plan, 255t, 256t, 257t, 260t, 262t, 264t, 265t, 266t in high do unit plan, 243t, 244t, 246t, 248t, 252t, 253t, 254t in internal upbeat presentation lesson, 52t in internal upbeat unit plan, 231t, 232t, 233t, 234t, 240t as listening example, 153 in low so unit plan, 220t, 229t, 230t and teaching external upbeat, 93–94, 95 and teaching high do, 86t, 90, 91–92 improvisation developing, 127–31 and developing creative movement skills, 147 eighth note followed by two sixteenth notes assessment, 270t in eighth note followed by two sixteenth notes un it plan, 183t external upbeat assessment, 286–87t in external upbeat unit plan, 256t in grade three curriculum, 7–8 in grade two review unit plan, 170t high do assessment, 284t in high do unit plan, 244t internal upbeat assessment, 281t in internal upbeat unit plan, 232t low la assessment, 272–73t in low la unit plan, 196t low so assessment, 278–79t in low so unit plan, 220t

and teaching eighth note followed by two sixteenth notes, 58t Humperdinck, Engelbert, “Evening Prayer,”Hänsel und Gretel, 258t “Hunt the Cows,” 162t, 165t, 195t “Hush, Little Minnie,” 30t

preparation/practice lesson plan for, 111–12 and teaching eighth note followed by two sixteenth notes, 60, 62 and teaching external upbeat, 95, 96 and teaching high do, 89, 91–92 and teaching internal upbeat, 85, 86

295

Index

296

improvisation (Cont.) and teaching low la, 67, 68–69 and teaching low so, 78, 81 and teaching two sixteenth notes followed by eighth note, 73, 74 two sixteenth notes followed by eighth note assessment, 275–76t in two sixteenth notes followed by eighth note unit plan, 208t inner hearing developing, 124–25 and developing memory skills, 131

in low la unit plan, 195t, 196t, 202t, 204t, 205t, 206t in low so unit plan, 219t, 220t, 221t, 223t, 225t, 227t, 229t and teaching low la, 64t and teaching two sixteenth notes followed by eighth note, 70t in two sixteenth notes followed by eighth note lesson, 158t, 159t in two sixteenth notes followed by eighth note unit plan, 207t, 209t, 216t, 217t, 218t “John Kanaka”

and developing reading skills, 117–18, 121 in grade three curriculum, 7 in grade two review unit plan, 171t and teaching eighth note followed by two sixteenth notes, 61, 62 and teaching external upbeat, 95 and teaching high do, 89, 92 and teaching internal upbeat, 85 and teaching low la, 67, 69 and teaching low so, 78, 81 and teaching two sixteenth notes followed by eighth note, 73, 74 inner smile, 116 instruments appropriate, 145 developing skills, 145–47 in grade three curriculum, 5–6 in grade two review unit plan, 171t teaching progression, 145 internal upbeat assessment for, 279–81t listening examples for, 152 presentation lesson plan for, 50–56t sample preparation/practice lesson for, 47–49t song list for teaching, 42t teaching strategies for, 82–86 unit plan for, 231–42It intervals and teaching high do, 89, 90–91 and teaching low la, 66, 67–68 and teaching low so, 78, 79–80 “I Ride an Old Paint,” 151 “I See the Moon,” 139

directions for playing, 30–31t in external upbeat unit plan, 255t, 256t, 260t in high do unit plan, 243t, 249t, 252t, 253t, 254t in internal upbeat lesson, 48t, 49t in internal upbeat presentation lesson, 51t in internal upbeat unit plan, 231t, 235t, 236t, 238t, 239t and teaching high do, 86t “Johnny Cuckoo,” 58t “Johnson Boys” and developing creative movement skills, 148 in external upbeat unit plan, 255t, 257t, 259t, 263t, 265t in internal upbeat unit plan, 231t, 232t, 237t, 240t, 242t in low so unit plan, 219t, 223t, 224t, 227t “Jolly Miller, Te” directions for playing, 31t in external upbeat unit plan, 255t, 256t, 257t, 265t in high do unit plan, 243t, 246t, 250t, 252t as listening example, 153

“Jesse James,” 152 “Jim Along Josie” in eighth note followed by two sixteenth notes unit plan, 182t, 185t, 186t in external upbeat unit plan, 265t in high do unit plan, 245t, 247t, 251t in internal upbeat presentation lesson, 54t in internal upbeat unit plan, 231t, 241t in low la presentation lesson plan, 107t, 109t

Kabalevsky, Dimitri “Comedians Gallop,” Op. 26, No. 2, “Presto,” 75, 152 “occatina,”Tirty Children’s Pieces, Op. 27, Book 1, No. 7, 96 kinesthetic activities for teaching eighth note followed by two sixteenth notes, 58–59 for teaching external upbeat, 93–94 for teaching high do, 87 for teaching internal upbeat, 83 for teaching low la, 64 for teaching low so, 76 for teaching two sixteenth notes followed by eighth note, 70–71 kinesthetic canon, and developing part-work skills, 136 King Cotton March(Sousa), 247t “King Kong Kitchie” in external upbeat unit plan, 255t, 263t in high do unit plan, 243t, 245t

Index

in internal upbeat presentation lesson, 54t in internal upbeat unit plan, 231t, 240t, 241t, 242t in low so unit plan, 219t, 220t, 225t, 228t in two sixteenth notes followed by eighth note lesson, 158t in two sixteenth notes followed by eighth note unit plan, 207t, 214t, 216t, 217t “King’s Land,” 31–32t “Knock the Cymbals” directions for playing, 32t in eighth note followed by two sixteenth notes unit plan, 182t, 190t, 193t in grade two review unit plan, 169t, 173t, 180t Kodály, Zoltán Köszöntö [“A Birthday Greeting”], 82, 152 Peacock Variations, 82 on teaching technique, 160 Kodály concept, 1–4, 17–18 Köszöntö [“A Birthday Greeting”] (Kodály), 82, 152 labeling sounds presentation lesson plan for, 157t and teaching eighth note followed by two sixteenth notes, 59 and teaching external upbeat, 94 and teaching high do, 88 and teaching internal upbeat, 84 and teaching low la, 65 and teaching low so, 77 and teaching two sixteenth notes followed by eighth note, 71 “La Bella Hortelana,” 153 “Ladybird,” 138 “Land of the Silver Birch,” 139 “Largo,”New World Symphony(Dvořák), 175t lesson plan(s). See also preparation/practice lesson plan; presentation lesson plan; unit plan(s) based on teaching strategies, 97–112 developing, 10–11 evaluating, 168 general points for, 167–68 transitions in, 161–67 letter names, 132–33 “Let Us Chase the Squirrel” in low la lesson plan, 163t, 165t in low la unit plan, 195t, 197t, 199t, 201t, 203t listening and developing instrument skills, 146 in eighth note followed by two sixteenth notes unit plan, 183t in external upbeat unit plan, 256t in grade three curriculum, 8 in grade two review unit plan, 170t in high do unit plan, 244t in internal upbeat unit plan, 232t

in Kodály concept, 4 in low la unit plan, 196t in low so unit plan, 220t and teaching eighth note followed by two sixteenth notes, 63 and teaching external upbeat, 96–97 and teaching high do, 93 and teaching low so, 82 and teaching two sixteenth notes followed by eighth note, 70, 75 in two sixteenth notes followed by eighth note un it plan, 208t literacy, in grade three curriculum, 6–7. See also reading; writing “Little Johnny Brown,” 32t “Little Papoose,” 64t, 219t “Liza Jane” in external upbeat unit plan, 255t as listening example, 153 as partner song, 139 and teaching high do, 86t “Long Legged Sailor,” 32–33t low la assessment for, 270–73t listening examples for, 151–52 preparation/practice lesson plan for, 100–105t presentation lesson plan for, 106–9t song list for teaching, 39–40t teaching strategies for, 64–70 transitions in lesson plan for, 162–67 unit plan for, 195–206t low so assessment for, 276–79t listening examples for, 152 teaching strategies for, 75–82 unit plan for, 219–30t “Lullaby,” 64t, 219t major scales, writing, 127 “Mama Buy Me a Chiney Doll,” 58t, 182t, 188t, 189t “Mambo,”West Side Story (Bernstein), 190t, 192t, 221t, 223t manipulatives, and developing writing skills, 125 Marriage of Figaro Overture, Te (Mozart), 184t, 186t, 188t Mars, Te Planets (Holst), 229t matching, and developing reading skills, 118, 122 melodic concepts and elements basic lesson plan design for, 52–53t pedagogical song list for teaching, 38–44t reading and writing, in curriculum, 6–7 melodic ostinato and developing improvisation skills, 129 and developing part-work skills, 138 reinforcing, with instruments, 146

297

Index

298

melody and developing instrument skills, 147 and developing part-work skills, 139–41 and harmonic functions, 144–45 improvisation activities, 8, 129–31 and inner hearing, 124 introducing songs using melodic focus, 44–45 reading activities, 120–23 writing activities, 125–27 memory. See musical memory Mikrokosmos (Bartók) in internal upbeat unit plan, 234t

and teaching two sixteenth notes followed by eighth note, 74 musicianship skills creative movement, 147–51 form, 132–33 improvisation, 127–31 inner hearing, 124–25 musical memory, 130–32 part work, 134–45 reading, 117–23 tuneful singing, 113–17 writing, 125–27

as listening example, 152 and teaching low so, 82 in two sixteenth notes followed by eighth note unit plan, 208t minor pentatonic, song list for teaching, 40t minor scale, writing, 127 movement developing, 147–51 and developing improvisation skills, 130 in eighth note followed by two sixteenth notes unit plan, 183t in external upbeat unit plan, 256t form and, 133 in grade three curriculum, 5 in high do unit plan, 244t in internal upbeat unit plan, 232t and introducing songs, 44 in low la unit plan, 196t in low so unit plan, 220t in two sixteenth notes followed by eighth note unit plan, 208t Mozart, Wolfgang Amadeus Te Marriage of Figaro Overture, 184t, 186t, 188t Symphony No. 15 in G major, K 124, II. Andante, 172t, 174t, 176t Symphony No. 15 in G major, K 124, Menuetto and rio, 178t, 180t “Musette in D,”Anna Magdalena’s Notebook (Bach), 75 “Mush oodin” in external upbeat unit plan, 255t, 257t, 259t, 263t in internal upbeat unit plan, 231t, 240t, 242t in low so unit plan, 219t, 225t, 226t, 228t, 229t musical memory developing, 130–32 in grade three curriculum, 7

music literacy, in grade three curriculum, 6–7. See also reading; writing Mussorgsky, Modest, “Promenade,”Pictures at an Exhibition, 82, 152, 232t, 234t

in grade two review unit plan, 171t and teaching eighth note followed by two sixteenth notes, 62 and teaching high do, 91, 92 and teaching low la, 68, 69 and teaching low so, 80, 81

New Mexico March(Sousa), 249t, 250t, 253t “Night Herding Song,” 151 notation and developing reading skills, 120, 122–23 and developing writing skills, 125, 126, 127 and inner hearing, 124 memorization from, 131 and teaching eighth note followed by two sixteenth notes, 59–60 and teaching external upbeat, 94–95 and teaching high do, 88 and teaching internal upbeat, 84–85 and teaching low la, 65–66 and teaching low so, 77 and teaching two sixteenth notes followed by eighth note, 72 note, second part to known song by, 142, 143–44 note-against-note singing, 138 “O Fly Around” in eighth note followed by two sixteenth notes unit plan, 182t, 184t in grade two review unit plan, 169t, 180–81t in two sixteenth notes followed by eighth note lesson, 155t in two sixteenth notes followed by eighth note unit plan, 207t, 211t “Oh, No, John,” 93t “Old Betty Larkin,” 33t, 148 “Old Brass Wagon” and developing creative movement skills, 148 directions for playing, 33t in high do unit plan, 243t, 249t in low so unit plan, 219t, 220t, 223t, 228t, 229t in two sixteenth notes followed by eighth note lesson, 155t, 156t in two sixteenth notes followed by eighth note unit plan, 207t, 211t, 212t, 213t, 215t

Index

“Old Joe Clark,” 153 “Old MacDonald,” 75t, 220t “Old Mr. Rabbit” directions for playing, 34t in eighth note followed by two sixteenth notes unit plan, 182t, 187t, 188t in external upbeat unit plan, 255t, 257t, 259t, 261t in high do unit plan, 243t, 245t, 246t, 247t, 248t, 249t, 250t, 251t and internal upbeat assessment, 279–81t in internal upbeat lesson, 48t, 51t, 55t in internal upbeat unit plan, 231t, 234t, 236t, 238t,

and developing memory skills, 132 in grade two review unit plan, 170t and teaching eighth note followed by two sixteenth notes, 60, 62–63 and teaching external upbeat, 95 and teaching high do, 89, 92–93 and teaching internal upbeat, 85 and teaching low la, 66, 69 and teaching low so, 78, 81–82 and teaching two sixteenth notes followed by eighth note, 72–75 two-part rhythm reading, 119

239t, 241t, 242t as listening example, 153 in low la lesson plan, 107t, 162t, 165t in low la unit plan, 195t, 199t, 203t, 204t, 205t in low so unit plan, 219t, 221t, 222t, 223t, 227t, 229t and teaching internal upbeat, 82t, 83, 84, 86 and teaching low la, 64t “Old exas” in high do unit plan, 243t, 247t in low so unit plan, 219t, 220t, 221t, 227t, 228t in two sixteenth notes followed by eighth note lesson, 158t, 159t in two sixteenth notes followed by eighth note unit plan, 207t, 217t, 218t “On the rail,” Grand Canyon Suite(Grofé), 93, 153, 256t Orff, Carl “Circa Mea Pectora,”Carmina Burana, 75, 222t “Ecce Gratum,”Carmina Burana, 93, 153 ostinati. See also melodic ostinato; rhythmic ostinato and developing creative movement skills, 148 and developing part-work skills, 138 and teaching low so, 78 “Over the River” and developing creative movement skills, 147 directions for playing, 34t in internal upbeat lesson, 48t, 54t in internal upbeat unit plan, 231t, 235t, 237t, 241t in low la lesson plan, 163t, 166t in low la unit plan, 195t, 196t, 198t, 200t in low so unit plan, 219t, 220t, 228t and teaching low so, 75t, 79, 80 and teaching two sixteenth notes followed by eighth note, 70t in two sixteenth notes followed by eighth note lesson, 155t, 159t

“Paw Paw Patch” directions for playing, 34t in eighth note followed by two sixteenth notes un it plan, 186t, 189t in external upbeat unit plan, 255t, 257t, 259t, 263t in grade two review unit plan, 169t, 176t, 178t, 180t in internal upbeat unit plan, 233t, 235t, 237t, 239t, 241t in two sixteenth notes followed by eighth note lesson, 155t in two sixteenth notes followed by eighth note un it plan, 209t, 211t, 213t, 215t Peacock Variations(Kodály), 82 pentatonic melody, 139–41 pentatonic scale in canon, 140 writing, 126–27 “Pentatonic une,”For Children (Bartók), 152 performance in grade three curriculum, 5–6 in Kodály concept, 3 “Phoebe in Her Petticoat” in eighth note followed by two sixteenth notes un it plan, 182t, 189t, 190t, 191t in high do unit plan, 245t, 249t, 251t in improvisation practice lesson plan, 112t and low la assessment, 270–73t in low la lesson plan, 163t, 166t in low la preparation/practice lesson plan, 100t, 102–3t, 105t in low la presentation lesson plan, 106t, 108t in low la unit plan, 195t, 196t, 198t, 200t, 202t, 204t, 205t, 206t in low so unit plan, 219t, 220t, 221t, 223t, 227t, 229t in reading practice lesson plan, 110t

in two sixteenth notes followed by eighth note unit plan, 207t, 211t, 215t, 216t, 218t

and teaching low la, 64, 65–66, 67 in two sixteenth notes followed by eighth note lesson, 156t in two sixteenth notes followed by eighth note un it plan, 207t, 208t, 210t, 212t, 214t in writing practice lesson plan, 111t

partner songs, 139 part work developing, 134–45

299

Index

Pink, Daniel H., 2 “Pizza Pizza,” 35t “Poor Little Kitty Cat,” 64t “Portland own,” 151 posture, 113–14 “Pourquoi,” 86t, 153 preparation/practice lesson plan basic template for, 46t for cognitive phase, 99–105t components of, 11 creating, 45–49 designing, 153–56 example, 47–49t explanation of, 12–13t for improvisation practice, 111–12 for reading practice, 109–10 in unit plans, 161 for writing practice, 111 presentation lesson plan for associative phase, 105–9t basic template for, 50t components of, 13t, 15t creating, 49–56 designing, 156–59 explanation of, 14t, 15t in unit plans, 161 Prizeman, Robert, 258t “Promenade,”Pictures at an Exhibition(Mussorgsky) in internal upbeat unit plan, 232t, 234t as listening example, 152 and teaching low so, 82 props, 148 quadruple meter, song list for teaching, 38t quarter note, song list for teaching, 42t question and answer, and developing improvisation skills, 130

300

“Rain, Rain,” 244t reading developing, 117–23 eighth note followed by two sixteenth notes assessment, 268–69t in eighth note followed by two sixteenth notes unit plan, 183t external upbeat assessment, 285–86t in external upbeat unit plan, 256t in grade three curriculum, 6–7 in grade two review unit plan, 170t high do assessment, 282–83t in high do unit plan, 244t internal upbeat assessment, 280t in internal upbeat unit plan, 232t in Kodály concept, 2 low la assessment, 271–72t

in low la unit plan, 196t low so assessment, 277t in low so unit plan, 220t preparation/practice lesson plan for, 109–10 and teaching eighth note followed by two sixteenth notes, 61–62 and teaching external upbeat, 95–96 and teaching high do, 90 and teaching internal upbeat, 86 and teaching low la, 67 and teaching low so, 79 and teaching two sixteenth notes followed by eighth note, 73 two sixteenth notes followed by eighth note assessment, 274t in two sixteenth notes followed by eighth note unit plan, 208t repertoire alphabetized song list, 18–22t appropriate, 3 for eighth note followed by two sixteenth notes unit plan, 182t in grade three curriculum, 9 for grade two review unit plan, 169t in Kodály concept, 1–2 for low la unit plan, 195t for low so unit plan, 219–20t selecting, 17–18 singing games, 23–24t for two sixteenth notes followed by eighth note unit plan, 207t resonance, 115 retrograde, 118 rhythm and developing instrument skills, 147 and developing part-work skills, 135, 139 improvisation activities, 8, 127–29 and inner hearing, 124 introducing songs using rhythmic focus, 44 reading activities, 117–19 reinforcing, with instruments, 146 writing activities, 125 rhythm canons, 136–37 rhythm chain, 128 rhythmic concepts and elements basic lesson plan design for, 52–53t pedagogical song list for teaching, 38–44t reading and writing, in curriculum, 7 rhythmic ostinato and developing improvisation skills, 127–28 and part-work skills, 135–36 reinforcing, with instruments, 146 rhythmic syllables aural rhythm canon with, 137 basic lesson plan template for, 50t

Index

and teaching external upbeat, 95 and teaching low la, 66 visual rhythm canon with, 136–37 “Riding in the Buggy” in external upbeat unit plan, 255t, 256t, 264t in high do unit plan, 243t, 245t, 252t, 254t in internal upbeat unit plan, 231t, 237t, 238t, 239t and teaching high do, 86t “Robin Hood and the Peddler,” 151 “Rocky Mountain” and developing part-work skills, 139 in eighth note followed by two sixteenth notes unit

Saint-Saëns, Camille, “Fossils,”Carnival of the Animals in external upbeat unit plan, 257t, 259t, 261t in high do unit plan, 245t in internal upbeat lesson, 47t in internal upbeat unit plan, 233t, 235t, 237t “San Serafin del monte,” 61 Scarlatti, Domenico, Sonata in D minor, K. 64, 63 Schubert, Franz, Rosamunde in G major, 63, 151 Schumann, Robert, “Te Happy Farmer,”Album for the Young, 96, 244t “Scotland’s Burning,” 75t

plan, 182t, 183t, 185t, 186t, 188t in grade two review unit plan, 169t, 172t, 173t, 175t, 178t in low la lesson plan, 163t, 165t in low la unit plan, 201t and teaching low so, 82 Rosamunde in G major (Schubert), 63, 151 “Rosie, Darling Rosie” directions for playing, 35t in eighth note followed by two sixteenth notes unit plan, 182t, 193t, 194t in low la presentation lesson plan, 107t in low la unit plan, 195t, 196t, 198t, 201t, 204t, 205t, 206t in low so unit plan, 219t, 221t, 223t, 225t, 227t, 229t and teaching low la, 64t rote second part to known song by, 141–42 two-part song by, 143 “Russian Dance,”Te Nutcracker Suite, Op. 71 (chaikovsky) in low la lesson plan, 162t, 164t in low la unit plan, 198t, 199t, 201t

second grade review, 169–81t Seeger, Ruth Crawford, 18 “See-Line Woman” in low so unit plan, 219t, 227t and teaching low la, 64t and teaching low so, 75t sequencing, 2 “Shaker Hymn,” Appalachian Spring (Copland), 153 “Shoes of John” in external upbeat unit plan, 255t, 264t, 266t in high do unit plan, 243t, 253t, 254t and teaching external upbeat, 93t, 95 singing abilities of third graders, 3 in grade three curriculum, 5 in Kodály concept, 1 and teaching internal upbeat, 85 singing games directions for playing, 26–37t glossary of terms, 25–26t in Kodály concept, 17–18 list of songs, 23–24t sixteenth notes assessment for eighth note followed by two, 267–70t assessment for two, followed by eighth note, 273–76t lesson plan for two, and one eighth note, 110t, 111t, 112t lesson plan for two, followed by eighth note, 154–56t listening examples for eighth note followed by two, 151 listening examples for two, followed by eighth note, 152 song list for teaching, followed by eighth note, 40–41t

“Sailing o’er the Ocean” directions for playing, 35t in internal upbeat presentation lesson, 51t in internal upbeat unit plan, 231t, 239t as listening example, 151 in low la presentation lesson plan, 108t in low la unit plan, 195t, 205t, 206t in low so unit plan, 219t, 221t and teaching eighth note followed by two sixteenth notes, 58t and teaching external upbeat, 96 and teaching low so, 75t, 80 and teaching two sixteenth notes followed by eighth note, 70t in two sixteenth notes followed by eighth note lesson, 159t in two sixteenth notes followed by eighth note unit plan, 207t, 209t, 216t, 218t

teaching strategies for eighth note followed by two, 57–64 teaching strategy for two, followed by eighth note, 70–75 unit plan for eighth note followed by two, 182–94t unit plan for two, followed by eighth note, 207–18t

301

Index

302

sixths, singing folk songs in, 144 “Skin and Bones,” 64t, 219t, 221t “Skipping Rope Game (Early in the Morning),” 36t, 70t “Skip to My Loo,” 58t, 151 “Sleepers Wake,” Cantata No. 140 (Bach), 97, 153 SMAR Board, 124 “Snail, Snail,” 208t solfège syllables basic lesson plan template for, 50t and developing reading skills, 120, 122–23 and developing writing skills, 126

for high do, 86–93 for internal upbeat, 82–86 for low la, 64–70 for low so, 75–82 for two sixteenth notes followed by eighth note, 70–75 teaching technique, Kodály on, 160 tempo markings, 116–17 thirds, singing folk songs in, 144 “Tis Lady,” 151 three-part singing, 138 “Tree Rogues, Te”

memorization from, 131 pentatonic melodies as canons with, 140–41 and teaching eighth note followed by two sixteenth notes, 60 and teaching high do, 88–89 and teaching low so, 77–78 and teaching two sixteenth notes followed by eighth note, 72 Sonata in D minor, K. 64 (Scarlatti), 63 “Song of the Snowflakes,” 152 songs alphabetized list, 18–22t introducing, 44–45 partner, 139 pedagogical list for teaching rhythmic and melodic concepts, 38–44t sounds, labeling. See labeling sounds Sousa, John Philip King Cotton March, 247t New Mexico March, 249t, 250t, 253t Te Tunderer, 50t, 53t, 203t, 205t, 209t, 239t, 240t, 263t, 265t square dancing concepts, 148–49 staggered breathing, 117 String Quartet No. 4 in C minor, “Allegro” (Beethoven), 225t, 227t subdominant chord roots, 144–45 Surprise Symphony (Haydn), 157t, 217t Symphony No. 15 in G major, K 124, II, Andante (Mozart), 172t, 174t, 176t Symphony No. 15 in G major, K 124, Menuetto and rio (Mozart), 178t, 180t chaikovsky, Peter Ilyich “Dance of the Sugar Plum Fairies,”Te Nutcracker Suite, 197t “Russian Dance,”Te Nutcracker Suite, Op. 71,

in external upbeat unit plan, 255t, 264t, 266t in high do unit plan, 243t, 253t and teaching external upbeat, 93t Tunderer, Te (Sousa) in external upbeat unit plan, 263t, 265t in internal upbeat presentation lesson, 50t, 53t in internal upbeat unit plan, 239t, 240t in low la unit plan, 203t, 205t in two sixteenth notes followed by eighth note unit plan, 209t “ideo” and developing part-work skills, 139 directions for playing, 36–37t in eighth note followed by two sixteenth notes unit plan, 186t, 189t in grade two review unit plan, 169t, 175t, 177t, 178t, 180t in high do unit plan, 243t, 244t, 247t, 252t, 253t, 254t in internal upbeat lesson, 49t in internal upbeat unit plan, 231t, 232t, 233t, 234t, 235t, 236t, 237t, 239t, 241t and teaching high do, 86t in two sixteenth notes followed by eighth note lesson, 155t in two sixteenth notes followed by eighth note unit plan, 209t, 211t, 215t “occatina,”Tirty Children’s Pieces, Op. 27, Book 1, No. 7 (Kabalevksy), 96 tone ladder, 120, 124 tone production, 115 tone set, 126 tongue twisters, 115 tonic chord roots, 144–45 tonic note, 135 transitions and developing instrument skills, 147

162t, 164t, 198t, 199t, 201t teaching strategies, 57 developing lesson plan based on, 97–112 for eighth note followed by two sixteenth notes, 57–64 for external upbeat, 93–97

in lesson plans, 161–67 tuneful singing developing, 113–17 eighth note followed by two sixteenth notes assessment, 268t external upbeat assessment, 284–85t

Index

high do assessment, 282t internal upbeat assessment, 279t low la assessment, 270–71t low so assessment, 276–77t two sixteenth notes followed by eighth note assessment, 273–74t “urn the Glasses Over” (“I’ve Been to Haarlem”) directions for playing, 37t in high do unit plan, 243t, 251t, 253t in low so unit plan, 219t, 220t, 222t, 228t, 230t and teaching low so, 75t, 79 in two sixteenth notes followed by eighth note

and teaching two sixteenth notes followed by eighth note, 71 and writing melody, 125 visual rhythm canon, 136–37 visuals, and introducing songs, 44 vowels, combination, 115

lesson, 156t, 159t in two sixteenth notes followed by eighth note unit plan, 207t, 208t, 210t, 212t, 218t two-part song arrangements, 141, 142–44

262t, 263t “Who Killed Cocky Robin?,” 139 writing developing, 125–27 and developing instrument skills, 147 eighth note followed by two sixteenth notes assessment, 269t in eighth note followed by two sixteenth notes un it plan, 183t external upbeat assessment, 286t in external upbeat unit plan, 256t in grade three curriculum, 6–7 in grade two review unit plan, 170t high do assessment, 283t in high do unit plan, 244t internal upbeat assessment, 280–81t in internal upbeat unit plan, 232t in Kodály concept, 2 low la assessment, 272t in low la unit plan, 196t low so assessment, 278t in low so unit plan, 220t preparation/practice lesson plan for, 111 and teaching eighth note followed by two sixteenth notes, 62 and teaching external upbeat, 96 and teaching high do, 91 and teaching internal upbeat, 86 and teaching low la, 68 and teaching low so, 80–81 and teaching two sixteenth notes followed by eighth note, 74 two sixteenth notes followed by eighth note assessment, 275t in two sixteenth notes followed by eighth note un it plan, 208t

unit plan(s), 160–61. See also lesson plan(s) for eighth note followed by two sixteenth notes, 182–94t for external upbeat, 255–56t grade two review, 169–81t for high do, 243–54t for internal upbeat, 231–42It for low la, 195–206t for low so, 219–30t for two sixteenth notes followed by eighth note, 207–18t visual inner hearing, 118, 122 visual practice and teaching eighth note followed by two sixteenth notes, 61–64 and teaching external upbeat, 95–97 and teaching high do, 90–93 and teaching internal upbeat, 86 and teaching low la, 67–70 and teaching low so, 78–82 and teaching two sixteenth notes followed by eighth note, 73–75 visual representation and teaching eighth note followed by two sixteenth notes, 59 and teaching external upbeat, 94 and teaching high do, 87 and teaching internal upbeat, 83–84 and teaching low la, 65 and teaching low so, 76

“Walk Along John,” 75t “Wallflowers,” 37t warm-up exercises, 114 “Wayfaring Stranger,” 151, 152 “Weevily Wheat,” 255t, 256t, 259t, 260t, 261t,

303

04 - Houlahan e Tacka - Kodály in the Third Grade Classroom

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