The NSW Department of Education and Training would like to thank the following for permission to reproduce copyright material:
Ann French for Cinderella and Summertime rap. © Ann French Therese Carthew for Dig a potato, an adaptation of Sink a potato. © Therese Carthew DipT, AMusA, BA (Mus) Educational Supplies Pty Ltd for Gary Galah. © Louise Pettinger Alison McKay for Jaws. Traditional adapted by © Alison McKay René Boyer-Alexander for Just gimme the beat. © René Boyer-Alexander Carol Richards for the melody of the traditional Sister Cindy. © Carol Richards Gary King and Audrey Klein for Syncopated Cyril. © Gary King and Audrey Klein 1988 Dominie Pty Ltd for Taba naba, traditional Darnley Island. © Frank A York, 1990 Ian Ross Williams for Underneath the mango tree. © Ian Ross Williams PO Box 180, Glasshouse Mountains Qld 4518 Cee and Cee, a division of Berandol Music Ltd for When I get mad I beat my drum by Sandy Offenheim. © Cee and Cee, a division of Berandol Music Ltd Scholastic Australia for Wind song by Lillian Moore. © 1969 Scholastic Magazines Yungha-Dhu (Beryl Carmichael) for Worms. © Yungha-Dhu (Beryl Carmichael)
Music scores: Resolution Music Cover design, graphic design, illustrations and desktop publishing: OTEN
© 1998 NSW Department of Education and Training Curriculum Support Directorate
ISBN 0 7313 5571 7 SCIS Number 952 364
Foreword Schools prepare our young people for future employment, study and life options by ensuring that students learn and acquire the educational basics, such as literacy and numeracy skills. They also play a key role in helping students to develop social, cultural and artistic understanding. Experiences in the arts provide opportunities for students to use their imagination and creativity to explore, respond to and learn about the world. As one of the four art forms along with drama, dance and visual arts, music plays an important role in the physical, intellectual, aesthetic, social and emotional development of the individual and the community. The New South Wales Government is committed to improving learning outcomes in the arts for all students in primary schools and has demonstrated this commitment in its support for the Sing 2001 program, a major initiative in music education. The Sing 2001 program grew out of the need to re-establish singing as an Australian cultural practice. The voice is the one instrument common to all and singing is exhilarating, engendering self-confidence and self-esteem while building community ties. The program has two strands: developing the curriculum support document, Vocal-Ease: A K-6 resource for the classroom and establishing 51 choirs throughout the State. Vocal-Ease will help teachers in primary schools to develop sequential vocal activities, from chanting to choral performance. It provides innovative ideas to support the release of the Creative Arts K-6 Syllabus in 1999, with new strategies and techniques for planning and programming music. It gives students opportunities to be involved in music and equips them with the musical skills and training to participate in the Sing 2001 choirs. Vocal-Ease models classroom approaches and musical experiences that will extend beyond the classroom to foster a lifelong interest in singing.
John Aquilina, MP Minister
Contents
Introduction
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Module 2
From games to performance
Module 1
From speaking to singing
Singing games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 The telephone song
Warming up
. . . . . . . . . . . . . . . . . . . .40
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Syncopated Cyril
. . . . . . . . . . . . . . . . . . . . . . .42
Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Chants and raps Dig a potato
. . . . . . . . . . . . . . . . . . . . . . . . . . . .5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
When I get mad I beat my drum Ms Sue
. . . . . .8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Just gimme the beat Summertime rap
. . . . . . . . . . . . . . . . . . .13
. . . . . . . . . . . . . . . . . . . . . . .16
Three songs with movements . . . . . . . . .46 Funge alafia Tongo
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Taba naba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
A pair of songs
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Wearing my long wing feathers . . . . . . .58 The earth is our mother . . . . . . . . . . . . . . .60
Choral speaking
. . . . . . . . . . . . . . . . . . . . . . . . . . .18
Jaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Rounds
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Wind song
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
If you cross a mouse
Cinderella
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Underneath the mango tree
Singing and speaking . . . . . . . . . . . . . . . . . . . . .25 Peanut butter and jelly . . . . . . . . . . . . . . . . .26 Sister Cindy
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Stone passing games Mal mal mal Obwisana Uk alele
. . . . . . . . . . . . . . . . . . . . .31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
. . . . . . . . . . . . . . . . . . .64
A song for performance Gary Galah
. . . . . . . . . .66
. . . . . . . . . . . . . . . .69
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
2
Introduction
Introduction
Vocal-Ease complements and supports the music strand of the new Creative Arts K–6 syllabus.
The Curriculum Support Directorate, NSW Department of Education and Training, would like to acknowledge the project team who designed and developed this resource:
This curriculum support material has been designed for primary teachers to teach music more effectively. The repertoire has been selected for its appeal and relevance across the primary stages of learning. Modules 1 and 2 provide for progression into Modules 3 and 4, to be published in 1999. Module 1 From speaking to singing: Chants and raps Choral speaking Singing and speaking Stone passing games Module 2 From games to performance: Singing games Songs with movements A pair of songs Rounds A song for performance This document encourages the development of knowledge and understanding of musical skills through sequenced activities. Rather than being a prescriptive manual, it provides strategies and techniques, and models classroom approaches to foster a lifelong interest in singing.
Judy Bedard Miranda North Public School Andrew Bee Performing Arts Unit Margaret Bradley Curriculum Support Directorate Joan Burtland Bald Face Public School Carol Coomber Curriculum Support Directorate Ann French Samuel Gilbert Public School Sharon Fulcher Creative Arts Consultant, Armidale Megan Garritty Auburn Public School Julie Montague Curriculum Support Directorate/Board of Studies Robyn Staveley University of Technology, Kuring-gai Maureen Stevens Creative Arts Consultant, Port Jackson Barbara Stacey Miranda North Public School Liz Strasser Faulconbridge Public School Jan Wood Bondi Public School
Module 1
From
speaking
to singing
4
Warming up
3.
vocalising • hum • sing a syllable softly, e.g. mah • vary dynamics (soft to loud) • vary pitch (low to high) • imitate known sounds, e.g. train in the distance, car alarm
4.
singing • speak or sing known chants and songs.
By warming up, vocalists gradually prepare the body and voice for singing and so focus attention on the task at hand. The warm-up sequence is: 1. relaxing 2. breathing 3. vocalising 4. singing. In classroom activities the warm-up session readily provides part of the lesson introduction. 1.
2.
relaxing • stand • roll shoulders gently • stretch arms • shake out arms • shake out legs breathing • empty the lungs of air • breathe in, filling the bottom of the lungs • release air steadily and silently. * Please note that the lungs are like balloons which get bigger when they fill up; the lungs are not located under the shoulders, so the shoulders should remain still when breathing.
Conducting Conducting provides guidance for the group so everyone can: start together keep together stop together. As there are many ways to do this, your direction needs to be clear to everyone. Hand signals work well; so can eye and head signals. Experiment with your group. Give students a chance to try conducting as there is no right or wrong way.
Chants, raps and choral speaking Repertoire
Outcomes for teachers By the end of these activities, teachers will be able to: 1. implement activities for students which will develop recognition and control of the speaking and singing voice 2. encourage the development of these skills through appropriate repertoire.
Skills
CD track 1.
Dig a potato
CD track 2.
When I get mad I beat my drum
CD tracks 3-4.
Ms Sue
CD tracks 5-6.
Just gimme the beat . . . . . . . . . . . . . . . . . . .13
Not on CD.
Summertime rap
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 . . . . .8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
. . . . . . . . . . . . . . . . . . . . . .16
S P M OS L singing playing moving organising sound listening
By the end of these activities, students will be able to demonstrate that they can use the speaking and singing voice to reflect changes in pitch, rhythm patterns, dynamics and tone colour.
Chants and raps
Choral speaking CD tracks 7-8.
Jaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Not on CD.
Wind song
Not on CD.
Cinderella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Concepts
DP
Dy
T S
duration pitch dynamics tone colour structure
Outcomes for students
Key
Chants raps and
6
Dig a potato Therese Carthew
Tap knees (patsch)
44 œ
œ œ œ
Dig
a
Rub hands
j œ œ
Rub
po - ta
-
œ
j œ
œ
to
deep
in
j j œ œ œ
it
and
scrub
j œ
it
and
j œ
Œ
œ
the
ground
œ
œ
œ
œ
œ
peel
it
all
a - round
Œ
Mime stirring a pot and throwing on a plate
œ
œ
œ
œ
Cook
a
po -
ta
Pat chest
j œ
Whack
œ on
j œ the
-
Œ
œ
œ
œ
œ
œ
œ
to
throw
it
on
a
plate
Clap
œ but
-
œ
œ
ter
mate.
Œ
Snap
Snap
œ
œ
It's
great!
Œ
Purpose
Skills
Activities
S P M OS L
Concepts
DP
To model the chant.
Introduce the chant with students echoing one phrase at a time.
To reinforce chant with body percussion and actions.
Demonstrate actions for each line while saying the words.
To explore performance variations.
Continue actions while chanting in different ways such as softly, loudly, whispered, jerkily. Try the actions while the students are saying the words in their heads (so there is no vocal sound).
To perform a round.
Divide students into two groups. One group begins the chant. The second group begins the chant when the first group gets to the end of the first line. This is a round.
Dy
T S CHANT: See glossary.
Try a similar approach to the following chant written by Yungha-Dhu (Beryl Carmichael) from Broken Hill.
Worms Long creepy crawly worms
Try this round in three or four groups. To develop musical imagination.
Resources
Slithering over the sand
Try the round with actions only.
Even after the sun has set Worms are still around Their glowing brightness very bright Much better after a rainy night
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
©Yungha-Dhu/Beryl Carmichael
duration pitch dynamics tone colour structure
Skills
7
Chants raps and
8
When I get mad I beat my drum Sandy Offenheim
When I get mad, I beat my drum. Dum da dum, dum da dum, dum da dum da da dum. I beat my drum till my arm gets numb. Dum da dum, dum da dum, dum da dum da da dum. I beat my drum right through the day. Dum da dum, dum da dum, dum da dum da da dum. Until that BAD MAD goes away. Dum da dum, dum da dum, dum da dum da da dum. When I get mad, I beat my drum. Dum da dum, dum da dum, dum da dum da da dum. When I get mad, I beat my drum. Dum da dum, dum da dum, dum da dum da da dum.
Purpose
Skills
Activities
S P M OS L
DP
To explore sound sources.
Experiment with making drumming sounds by using body percussion or by drumming on objects in the classroom.
To imitate accurately.
Select a leader to drum a pattern which the class echoes. Take turns with different leaders.
To develop aural awareness.
Game: Find the sound.
To maintain a steady beat.
Concepts
Everyone closes their eyes except for one person. He/she drums a pattern somewhere around the room and returns to sit with the group. The students then open their eyes and are invited to reproduce the drumming pattern using the same sound source.
Dy
Resources
T S BODY PERCUSSION: See glossary.
Read Bertie and the Bear by Pamela Allan.
Introduce the chant with students echoing one phrase at a time while patsching the beat with both hands. Repeat the chant and invite the students to join in the “Dum da dum…” line each time it occurs.
To explore performance variations.
Divide the class into small groups to work on ways of presenting the chant. Incorporate some of the ideas used in Dig a potato. • Groups perform for each other. • Invite the class to listen for the aspects of each group’s performance that they like. • Share positive responses.
To innovate in the text.
Make up new verses: When I get mad, I shake my fist Dum da dum… I shake my fist Right off my wrist. Change the instrument from a drum to something else, for example: When I get mad, I play my flute. Doo da doo, do da doo, doo da doo, da da doo I play my flute In my blue tracksuit.
Literacy link: Innovate on the text.
9
10
Chants raps and
Ms Sue Traditional
24 œj Ms
j œ
(œ œ ) ‰
Sue,
(clap)
j œ
Ms
(clap)
œ
œ
œ
Ma - gic
scoo-be - doo
œ
mea - sles,
œ
œ
ma - gic
œ œ œ œ œœœœœ h
i
j
k
l
m n
o p.
j œ
(œ œ ) ‰
Sue,
j œ œ œ
(œ œ)‰
you,
j œ
j œ
(clap)
Ms
œ flu.
œ œ Take a
Sue from
Par - ra
-
your ma-ma's got the mea-sles,
œ œ œ œ œ œ Take an
a
œ
œ
smooth
shot,
b
œ œ take a
c
d
mat - ta.
Hey
j œ œ œ œ œ œ‰
r œ œ œ œ œ œ œ
(œ œ )‰ . (clap)
j œ œ ‰ œ
œ œ œ œ
your
pa- pa's got the flu.
œ œ.
œ
œ œ
e
g,
take a n
f
œ
œ œ
œ
smooth
shot. Now
freeze.
‰
Movement Stand upright and clap as indicated in the music.
(Ms Sue: clap clap, Ms Sue: clap clap).
(Hey you – clap clap, scoo bee doo – clap clap).
Hands on hips; lean forward to the right on mama’s.
Lean forward to the left on papa’s.
Lyrics
Ms Sue , Ms Sue Ms Sue from Parramatta Hey you, scoo bee doo Your mama’s got the measles Your papa’s got the flu.
Hands on hips; lean forward to the left and then, continuing to lean forward, move upper body around to the right until the word flu.
Magic measles, magic flu
Keep left hand on hip: with right-hand first finger, wag finger on each letter, moving arm with wagging finger across body to left side.
Take an a b c d e f g.
Put right hand on hip; wag with left-hand first finger across body back to the right side, wagging on each letter of the alphabet.
Take an h i j k l m n o p.
Slide both hands down sides of body while chanting the word smooth. Freeze in position on the word freeze.
Take a smooth shot, take a smooth shot. Now freeze!
11
12
Chants raps and Purpose
Skills
Activities
S P M OS L
Concepts
DP
Dy
T S
Recite chant for students or play the recording. During the second time through, invite students to add the clapped patterns that occur in the first lines.
To model the chant.
CD track 3
Teach all the words to the chant, phrase by phrase.
Create actions to accompany the chant. Emphasise the word “smooth” with a body movement.
To perform in unison.
Perform actions in unison. Everybody does exactly the same thing at the same time. Perform the chant for another class.
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Skills
Resources
Just gimme the beat
René Boyer-Alexander
44 œj œ œ œj Just
gim - me
the
A
œ
‰ œj œ
beat,
‰ œj œ œ œ œ ‰ œj œ œ
the beat,
œ
œ
tune
(no
the
j œ ‰ œ œ œ œ tune).
Just
gim- me the
B
œ œ œ rhy - thm
is
B - E - A - T.
œ œ œ œ some- thing that will
œ œ œ œ œ œ œ œ bo - dy keeps on rock - in'
as
you
j œ œ.
Ain't got
‰ œj œ
œ beat,
no
œ
œ
words
the beat,
the
ain't
B - E - A - T.
œ œ
move,
from your
j œ œ.
œ.
j œ œ œ œ œ œ
rap and
rhyme.
You
(no words)
j œ œ got
œ no
‰ œj œ œ œ œ ‰ œj œ œ
œ
make you
‰
œ
œ œ œ œ head
al - ways feel
to your hips
it
best
You know that
œ
j œ œ.
down
to your
œ. shoes.
œ
j œ œ.
j œ
in
four- four
time.
j œ Your
13
14
Chants raps and Purpose
Skills
Activities
S P M OS L To maintain a steady beat and to develop feeling for 4-beat metre.
Concepts
DP
Dy
Resources
T S
All students perform the following body percussion: clap patsch
4 4 .. œ
œ
œ œ
..
NB Using both hands for a body percussion pattern is indicated by the use of double stems on the musical note.
œ To model the chant and to perform the chant accurately.
Perform the chant (or play the recording) while the class continues the body percussion and accompaniment. Teach the chant through echo; include response phrases (no words/no tune).
To devise appropriate movements to fit the 4-beat metre.
Divide the class into groups to devise suitable body percussion to accompany the second part of the chant: “You know that rhythm is something that will make you move.”
To perform within a set structure.
Perform chant in the following sequence: Section Section Section Section Section Section Section
A B A C A D A
Whole Group Whole Group Whole Group Whole
class performs “Just gimme the beat” section 1 performs “You know” section with body percussion class performs “Just gimme the beat” section 2 performs “You know” section with body percussion class performs “Just gimme the beat” section 3 performs “You know” section with body percussion class performs “Just gimme the beat” section.
Continue until all groups have performed in rondo form.
PATSCH: See glossary.
RONDO: See glossary.
Extension Perform the chant in the same rondo form as previously, but replace the “You know” section with new rhymes. • Each group selects a rhyme to chant (could be nursery rhymes such as “Humpty Dumpty” or “Hickory Dickory Dock”)
To use the voice to perform rhythm patterns and to fit word patterns to metre of chant. To use the voice to express pitch, duration, dynamics and tone colour. To develop structure for performance.
OS
•
Vary the performance through changes in dynamics (soft, loud, getting loud, etc), pitch (high voice, low voice etc), tone colour (ways of using the voice—growly voice, whispering voice etc)
•
Complete the performance by deciding as a class on a suitable beginning (Introduction) and ending (Coda).
Concepts
L
singing playing moving organising sound listening
S PM
Practise performing it with the same (or modified) body percussion as your old “You know” section
D P
Dy
T S
duration pitch dynamics tone colour structure
Skills
•
15
Chants raps and
Summertime rap
16
Ann French
Movement
snap patsch
œ 4 .. 4 œ
(
Chorus
œ . . œ œ
œ œ . œa - boom œ boom œ chœ
Boom ch
)
Lyrics
Boom ch a-boom boom Hand roll on “busy”. Point index finger to the sky on “fizzy”. Snap fingers x 3 “zip, zop, zap”.
Busy, fizzy, zip, zop, zap Here we go with the Summertime rap Boom ch a boom boom ch.
snap patsch
œ 4 .. 4 œ
œ . . œ œ
œ 4 .. 4 œ
œ . . œ œ
Verse 1
snap patsch
4 .. 4 œ
œ
œ œ œ
Down to the beach with a bucket and spade, A big umbrella to give us shade. Slop on the sunscreen, slap on the hat Or you’ll burn to a crisp in no time flat.
X4
..
Verse 2
snap patsch
4 4 .. œ
œ
œ œ œ
Run to the water, dive in the waves Run down the sandhills, search the caves. Summer’s the time for outdoor fun. But remember Priority Number One Is slop on the sunscreen, slap on the hat Or you’ll burn to a crisp in no time flat.
X6
..
Hand roll on “busy”. Point index finger to the sky on “fizzy”. Snap fingers x 3 “zip, zop, zap”.
Chorus
Coda
Busy, fizzy, zip, zop, zap Suntime, fun-time, Summertime rap.
snap patsch
Purpose
Skills
Concepts
Activities
S P M OS L
DP
Dy
T S
Teach “boom ch” pattern. Body percussion:
4 4 .. œ
œ
Spoken:
4 4
œ. œ œ œ œ
œ Boom
To maintain an ostinato throughout a rap.
œ œ œ
ch
Resources
See glossary: RAP PATSCH
..
Hey! This fits with PDHealthPE!
a- boom boom ch
Students continue body percussion accompaniment while a leader recites the verse. Whole class joins in with the “boom ch” pattern and chorus. Teach coda and then perform.
CODA: See glossary.
Divide class into 5 groups. To transfer rhythm of body percussion to instruments.
Group 1
To devise appropriate movement patterns to accompany rap.
Group 2 & 3 Devise movements to accompany verse 1
To structure a work for performance.
Group 4 & 5 Devise movements to accompany verse 2.
L
singing playing moving organising sound listening
OS
Non-melodic percussion instruments such as a drum and tambourine.
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Perform as a class.
Skills
S PM
Transfer “boom ch” pattern to non-melodic percussion instruments and repeat pattern for the duration of the rap. For example, snap = tambourine, patsch = drum.
17
Choral
speaking
18
Jaws
Traditional adapted by Alison McKay Movement click make scissor actions to the beat with your arms (from the shoulder) make bigger scissor actions
Lyrics
There was a story About Jaws
..............
doo doo doo doo doo
......................
doo doo doo doo doo
There was a papa
...............
doo doo doo doo doo
......................
doo doo doo doo doo
little scissor actions
And a baby
tired scissor actions
And a grandpa
..................
doo doo doo doo doo
pat your hairdo
There was a lady . . . . . . . . . . . . . . . . doo doo doo doo doo
make fists and move forearm up and down from elbow
And a man . . . . . . . . . . . . . . . . . . . . . . . doo doo doo doo doo
flex your muscles and move forearms up and down
A muscle man . . . . . . . . . . . . . . . . . . . doo doo doo doo doo
beckon and make swimming actions
She said
..........................
“Come to the water and go for a swim.”
little scissor actions
But there was Jaws
.............
doo doo doo doo doo (softly)
bigger scissor actions
But there was Jaws
.............
doo doo doo doo doo (louder)
biggest scissor actions hold your nose and with an arm in the air, pretend to sink flex your muscles, as above look around do the “swim” pretend to sink, as above click move two fingers like scissors
BUT THERE WAS JAWS There was a scream It was the man
doo doo doo doo doo (loud) Aaahh! doo doo doo doo doo
...........
doo doo doo doo doo
.................
doo doo doo doo doo
.........................
doo doo doo doo doo
She could swim
What’s next? Jaws II !
............
..................
“I’ll save you honey”
Not him!
......
....................
doo doo doo doo doo
...........................
doo doo doo doo doo
Purpose
Skills
Concepts
Activities
S P M OS L
DP
Dy
Resources
T S
Play the recording of “Jaws” for the class.
To perform demonstrated rhythm patterns.
Invite students to chant doo, doo, doo, doo, doo at the end of each line of the story.
4 4
Œ
Œ
click
click
œ
˙
doo
doo
Œ
Œ
click
j œ œ doo
Œ
click
doo
j œ ˙ doo
To enhance words with actions.
Add the actions.
To explore performance variations.
Discuss ways of making the story really exciting for an audience. Experiment with different ways of speaking, chanting, whispering and shouting the words.
How about dramatising this!
Refine the performance by encouraging students to make constructive comments from an audience member’s point of view. When the whole group of students is satisfied with the way “Jaws” looks and sounds, perform it for another class.
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Skills
19
Choral
speaking
20
Wind song Lillian Moore
When the wind blows the quiet things speak. Some whisper, some clang, Some creak. Grasses swish Treetops sigh. Flags slap and snap at the sky. Wires on poles whistle and hum. Ashcans roll. Windows drum. When the wind goes — suddenly then, the quiet things are quiet again.
Purpose
Skills
Activities
S P M OS L To respond to text.
Concepts
DP
Dy
Resources
T S
If appropriate, let students read the poem silently before hearing it. Otherwise, read the poem aloud. Discuss the meaning of words and the atmosphere created.
To explore onomatopoeia.
Identify all the verbs. Experiment with ways of saying the verbs, such as swish, sigh, slap.
As a class, read through the poem aloud, emphasising the sounds of the verbs. Use vocal sounds or body percussion to enhance these words. Literacy link: choral speaking Record a performance on cassette. Listen and discuss the effect created.
Cassette recorder
Extension activity: Using the audio tape recording as a soundtrack, devise movements to express the poem.
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Skills
21
Choral
speaking
22
Cinderella Ann French
Cinderella was the drudge in the family home,
Poor Cinders, poor Cinders, ain’t life rough?
“Yipes!” Cinders cried in mortal fear,
She worked her fingers to the bone.
Those ugly crones are making it tough.
“So long, Prince — I’m outta here.”
Her Sisters (Step!) and Mum as well
Poor Cinders, poor Cinders, boo hoo hoo,
“No!” shrieked His Highness,“Stay, please do,
Gave that little Cinders hell.
A miracle’s needed to rescue you.
I can’t do much with one glass shoe.”
“Go Cinders, go Cinders, go, go, go,
With a zap and a flash came the
For days the Prince trudged up and down,
Scrub those floors till they’re white as snow.
Fairy Godmum,
He knocked on every door in town,
Go Cinders, go Cinders, wash and rinse,
“O.K. Cinders, here’s the drum.
Till, at last, feet sore with blisters,
We’re going to dance with the handsome
I’ll give you a coach, a gown and all,
He came to the home of the Ugly Sisters
Prince.”
Go kick up your heels at the palace ball.” And there, at last, he found his Bride,
Poor Cinders sobbed and tore her hair,
“Yippee! “ cried Cinders, “Yes! All right!
The church bells rang o’er the countryside,
“Drat!” she cried, “It isn’t fair!
I’ll rock ’n’ roll till broad daylight.”
The day was filled with joy and laughter
Those ugly crones get all the fun,
“Hang on!” warned the Fairy. “Not so fast!
And all lived happily ever after.
While I have zero, zilch and none!”
This spell doth end when midnight’s past.” Go Cinders, go Cinders, real cool cat, The Prince’ll be yours in no time flat. Twas true! The guy was bowled right over. Yes!” thought Cinders. “I’m in clover.” BUT — (clock strikes midnight).
Purpose
Skills
Activities
S P M OS L To develop feeling for telling a story.
Concepts
DP
Dy
Resources
T S
This is a choral speaking work. The aim is to develop the skill of speaking as a whole group in unison, with dramatic effect changing the way of speaking, depending on the character or the narrator. The group decides who does what.
Literacy link: variations on a narrative
Session 1 To experience performance suggestions.
Discuss fairy tales and specifically “Cinderella” stories in a range of cultures including those represented in the class. Present and compare two versions of “Cinderella”. Discuss the characters, traditional versus modern and other issues.
HSIE intercultural study
Session 2 and subsequent sessions To develop repertoire of movement to express dramatic ideas.
Identify the characters in the story of “Cinderella”.
To experiment with performance ideas.
Leader reads the poem while the characters portray their parts in mime.
To experiment with use of voice.
As a whole group, develop a performance which includes: • movements which enhance meaning • variation in vocal expression.
To practise speaking in an ensemble.
Performance suggestion
Costumes if desired.
Have three smaller groups within the big group to portray Cinders, Godmother and the Prince. This will still produce the effect of speaking in unison, but will also focus interest on where the sound is coming from
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Skills
Have you read Roald Dahl’s “Revolting Rhymes”?
23
Singing and speaking Repertoire
Key
Peanut butter and jelly . . . . . . . . . . . . . . . . . . .26
By the end of these activities, students will be able to demonstrate that they can differentiate between the uses of the singing voice and the speaking voice.
CD track 10.
Sister Cindy
Outcomes for teachers By the end of these activities, teachers will be able to use repertoire which develops the speaking and singing voices.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Skills
S P M OS L singing playing moving organising sound listening
CD track 9.
Concepts
DP
Dy
T S
duration pitch dynamics tone colour structure
Outcomes for students
Singing
and
26
speaking
Peanut butter and jelly Traditional
Movement
Lyrics Verse 1
22 œ . œ œ . œ œ . œ œ . œ For example: picking peanuts smashing peanuts spreading peanut butter
œ. œ œ. œ œ. œ œ. œ
First you get the pea - nuts and you
pick them and you pick them and you
Chorus
œ. œ œ. œ œ. œ œ. œ
œ. œ œ. œ œ. œ œ. œ
Pick them and you pick them and you
smash them and you smash them and you
œ.
œ œ.
œ œ.
Smash
them smash
them smash
œ œ. œ them and
you
j œ œ.
& 22 .. œ œ œ œ œ Pea - nut
but- ter and
œ ˙.
..
jel - ly.
Ó
spread 'em.
Chorus Verse 2 For example: picking berries smashing berries spreading jelly (jam)
Then you get the berries and you pick them and you pick them and you pick them, pick them, pick them. Then you smash them and you smash them and you smash them, smash them, smash them. Then you spread ‘em. Chorus Verse 3
For example: hold sandwich in two hands and bite it gulp sandwich
Then you get the sandwich and you eat it, and you eat it, and you eat it, eat it, eat it. Then you gulp it and you gulp it and you gulp it, gulp it, gulp it. Chorus
(Hum the tune as if your mouth is full) Coda
(Sing once only).
Purpose
Skills
Activities
S P M OS L
Concepts
DP
Dy
Resources
T S
Teach the chorus of “Peanut butter and jelly” and include the arm movements.
To demonstrate change of pitch with actions.
Tell the story of the peanut butter and jelly sandwich by chanting the verses with actions. Everyone joins in with the chorus each time it occurs.
To contrast sung and spoken text.
Choose individuals or a small group to chant the verses with the rest of the class singing the chorus. Alternatively, everyone performs chant and choruses.
Literacy link: innovate on the text; reading and writing procedures
Change the text by making up new words for the song, eg. tomato, cheese and lettuce or banana, ants and butterflies.
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Skills
27
Singing
and
28
speaking
Sister Cindy Traditional with melody by Carol Richards
& 44 œ
œ.
She's
& œ dark
&œ up
& œ down
& œ round
& œ ground
li
œ œ. -
ving in
œ
œ.
dark
dres
œ. Sis
ter
œ. -
ses
Cin
ter Cin
-
-
-
ter Cin
ter
Cin
a -
Ten - nes - see,
bove
her
œ œ
j œ œ
dy from
Ten - nes
j œ œ
dy from
Ten - nes
œ œ
j œ œ
dy from
Ten - nes
-
œ œ -
dy from
œ
she wears
j œ œ
j œ œ
œ œ
œ œ. -
called
œ
up
œ œ.
œ. Sis
-
œ œ.
œ. Sis
œ œ.
j œ œ œ œ
j œ œ
œ
a place
œ œ. -
Sis
œ œ
œ
knees,
hands
j œ œ -
œ
see,
hands
j œ œ -
œ.
see,
turn
j œ œ -
see,
œ
Ten - nes
œ
œ
-
see.
œ a -
œ.
œ
touch
the
Chanted
I’ve never been to college and I’ve never been to school But when I came home I was an educated fool.
œ
Skills
Activities
S P M OS L
Concepts
DP
To use singing voice and to accompany song with movement reflecting structure of song.
Have the group stand in a circle. Teach the song, movement and chant (refer to chart of words and associated movements).
To explore using the voice expressively.
Perform movements in a circle while singing song and saying chant. During chanted section, a person in the middle covers eyes, turns around and points. The person pointed to on the word “fool” is the next soloist.
Dy
T S Chart of words and associated movements.
Why not read “Sister Madge’s Book of Nuns?”
Solo section (chanted) Soloist Class
My mother she sang Your mother she sang? (exaggerated questioning voice)
Soloist Class
She sang like this (soloist improvises, can add movement) Class echoes the soloist.
Resources
After the “fool” has performed the solo section, all the preceding “fools”, in descending order, redo their sections. e.g.
My mother she sang, My toothbrush he sang, My dog he sang etc.
After all the solos are performed, return to the singing section. Finish with: Teacher And where’s Sister Cindy singing? Class Who cares?
Skills
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Purpose
29
Singing
and
30
speaking
Words and associated movements for each beat and bar of
Sister Cindy
Lyrics Movement
She’s ... living in a right foot step forward
dark, dark right foot forward, pat knees
up Sister right foot forward, hands up
down Sister
place called left foot forward, pat knees
dresses up a – left foot forward, hands up
Cindy from left foot forward, hands down
Cindy from
crouch, pat the ground
round Sister
Cindy from Cindy from
point to self
right foot back, pat knees
Tenness – right foot back, hands up
Tenness –
left foot step back
knees, hands left foot back, pat knees
ee, hands left foot back, hands up
ee, touch the left foot back, hands down
Tenness
ee, turn a –
Tenness –
ee. I’ve
1/4 turn
college and I’ve
never been to
1/4 turn
school, but when
point to left
point to right
I came home
bove her
ee, she wears
1/4 turn
1/4 turn
never been to
right foot step back
right foot back, hands down
right foot forward, hands down
ground Sister
Tenness –
I was an thumb point over shoulder
educated hands in book pose
fool. point to head
Stone passing games Repertoire
Key
Mal, mal, mal
By the end of these activities, students will be able to demonstrate that they can: 1. sing within a small pitch range 2. maintain a steady beat.
CD track 12.
Obwisana
CD track 13.
Uk alele
Outcomes for teachers By the end of these activities, teachers will be able to: 1. model a song accurately or use appropriate means to model a song accurately 2. teach a song using the echo method 3. use body percussion to maintain a steady beat 4. use a number of strategies to develop the singing voice 5. use a number of strategies to develop the musical imagination.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Skills
S P M OS L singing playing moving organising sound listening
CD track 11.
Concepts
DP
Dy
T S
duration pitch dynamics tone colour structure
Outcomes for students
Stone
passing
32
games
Mal, mal, mal Traditional New Guinea
# 2 & 4 œ Mal
&
#
œ go
œ
œ
œ
mal
mal
œ Kal -
œ œ œ
œ
Kam - e - me
œ um
˙ -
bus,
œ œ œ
œ
œ go
œ Kal -
Kam - e - me
œ um
˙ -
bus.
Purpose
Skills
Activities
S P M OS L
Concepts
DP
Dy
Resources
T S
Learning the song To be able to hear an accurate model of a song and to maintain a steady beat.
Demonstrate the song while lightly patsching the beat. Teach the song by echo, while patsching to maintain the beat.
“Playing” with the song To reproduce modelled phrases of a song. To develop a feeling for phrasing.
Why not study New Guinea, one of our nearest neighbours?
Divide the class into two groups and sing alternate phrases. For example: Group Group Group Group Group
1 2 1 2 1
Mal, mal, mal Kameme go Kameme go Kalumbus Kalumbus
To develop the musical imagination.
Sing only the first sound of each phrase.
To associate sounds with beats.
Change the body percussion to patsch and clap and sing only the sounds which occur on the patsch or clap.
To develop a feeling for harmony using vocal ostinato and canon.
Maintain the body percussion but sing only on the first and last words of the song.
Make up a vocal ostinato by using a phrase of the song, for example, “Kalumbus”. If possible, sing in canon (the second part enters after “mal, mal, mal”).
(Continued on page 34)
33
Stone
passing
34
games
Purpose
Skills
Concepts
Activities
S P M OS L
DP
Dy
Resources
T S
Playing the stone passing game To maintain the beat through “passing” the beat.
Sit in a circle. Decide the direction in which the stones, sticks, bean bags or objects are going to be passed. With one hand behind back, practise picking up an imaginary object and pass to next person while chanting.
24 .. ˙
To be able to perform through singing and moving.
pick up
˙
˙
˙
pass
pick up
pass
..
Sticks or stones or other appropriate objects which can be passed easily.
Gradually introduce objects (start by just passing 1 or 2 objects, then increase according to ability of group). Replace chant with song.
Extension Divide class into 3 groups; rotate groups. To devise patterns using existing rhythm patterns within song.
1.
Devise a percussion accompaniment: Use some of the rhythm patterns of the words of the song to develop an ostinato on non-melodic percussion instruments, e.g. claves
24 .. œ œ Kal - um -
To devise ways of performing the beat through movement.
2.
˙
..
bus
Devise a new way of performing the stone passing game: pass stone in opposite direction pass stones around outside of circle using 2 stones, devise a different way of passing which includes tapping stones together.
Non-melodic percussion instruments.
Purpose
Skills
Concepts
Activities
S P M OS L
DP
Dy
Resources
T S
Obwisana is an African stone passing game which can be treated similarly to “Mal, mal, mal”.
Obwisana (“Oh gramma, I just hurt my finger on a rock.”) Traditional Ghana
## 2 X & 4 œ œ œ œ
O
Ob - wi - sa - na
sa
&
##
X
œ œ œ œ Ob - wi - sa - na
œ
O
œ
sa
na - na
œ œ -
œ œ œ œ
œ œ -
na - na
O
X
˙
Ob - wi - sa - na - sa.
X
œ œ œ œ Ob - wi - sa - na -
O
˙ sa.
Lyrics
A stone fell on my hand Movement
X O
Pick up stone Pass stone
35
Stone
passing
36
games
Uk alele Traditional Pacific
j j œ œ
j & 24 œj ‰ ‰ œ œ Uk
Pronunciation
A -
Ook
le
-
le
a
Pe - re
ti - ke
Ah - lay
-
lay
ah
Pair - eh
tick - eh
j j & œj œ œ œj œ Ma - sse
œ œ œ œ
œ
j œ œ
j œ
j j œ œ
œ -
ba
a
tomb -
tom
ah
ah
34
j œ
j œ œ
Ma - sse
Ma
-
sse
U
A
-
lo
-
ah
A
-
lo
-
Mus - sah Mus- sah
Mus
-
sah
Oo
Ah
-
loh
-
ah
Ah
-
loh
-
& 34 œj œ ah ah
A
j œ œ -
lo - he.
Ah -
loh - ay.
..
Purpose
Skills
Activities
S P M OS L
Concepts
DP
Dy
Resources
T S
Learning the song Using a patsch and clap body percussion pattern, teach the song in a similar fashion to “Mal, mal, mal”.
To accurately reproduce pitch patterns. To maintain a steady beat.
clap
To develop a feeling for changing metre.
patsch
To experience changes in accent.
2 4 .. œ
œ
œ œ
Sticks, stones or other appropriate objects which can be passed easily.
..
Note: The last bar has 3 beats whereas every other bar has 2 beats. As a result, while your body percussion may have started with the patsch on the strong beat, the strong beat will be on the clap every alternate time through.
Playing the stone passing game Practise the passing as for “Mal, mal, mal”, then when secure, add song. Note: The metre change (from 2 to 3 beats) will add an interesting dimension to the feeling for passing the beat.
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Skills
37
Module 2 From games to performance
Singing games Repertoire
Key
The telephone song
By the end of these activities, students will be able to demonstrate that they can: 1. move between their speaking and singing voices 2. perform answering phrases.
CD track 15.
Syncopated Cyril
Outcomes for teachers By the end of these activities, teachers will be able to implement activities which develop movement between the speaking and singing voices.
. . . . . . . . . . . . . . . . . . . . . .40
. . . . . . . . . . . . . . . . . . . . . . . . .42
Skills
S P M OS L singing playing moving organising sound listening
CD track 14.
Concepts
DP
Dy
T S
duration pitch dynamics tone colour structure
Outcomes for students
Singing
40
games
The telephone song Traditional
Group
Soloist
& 44 œ
œ
"Hey
‰ œj œ œ
œ
A - dam!"
"I
think
j œ œ
bœ œ J
I
hear
Group
my
œ
name."
"Hey
Soloist
&œ A
-
dam!"
& œ wan
‰
œ
œ -
on
& œ rick
& œ rick
Re
-
-
-
tick
tel
I'm
œ
tick - e -
bœ
œ -
tick
œ
œ
ty
tack
œ -
bœ hear
bœ J
bec - ca
bœ
tick
I
think
œ œ œ
œ -
"I
the
&œ œ œ is - n't
œ
œ
œ
ted
Group
j œ œ
e
-
œ
œ
it
a - gain."
e
-
phone."
bœ J
œ
not
at
œ
ty
tack
œ
œ
œ
"Well
if
it
Group
home."
œ
œ "you're
j œ œ
œ
œ
œ Soloist
j œ œ
œ -
œ
‹
‹
‹
Oh
yeah!
‹
‹
Oh
yeah!
œ
œ
With
a
œ
œ
With
a
‹
Purpose
Skills
Activities
S P M OS L To maintain a steady beat with body percussion.
Concepts
DP
Dy
Resources
T S
Present the song accompanied by body percussion. Students join in with body percussion. clap patsch
To develop pitch matching.
4 4 .. œ
œ
œ œ
That rings a bell! Communications is a great unit of work to include!
..
Teach the song through echo or by question and answer.
Perform with the whole class singing the response. Provide the beat on a tambour while the class is singing.
Tambour
Teacher: “Hey (Year Three)” Whole class: “ I think I hear my name”
To develop confidence in the individual’s use of the voice.
Perform using students’ own names or those from a variety of cultures, with individual students singing the response. Younger children find it easier to think of the “next person” if sitting in a circle where they can see each other’s face.
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Skills
41
Singing
42
games
Syncopated Cyril Gary King and
œœ
Swing
=
j œœ 3
& 44 œ œ œ œ œj œ . Syn - co - pa - ted
j œ œ.
j & œ œ watch
& œ once
&œ
his
œ a -
gain
œ œ
cop - y - ing
and
j œ œ. Wan - da,
to
œ
œ
down
the
street;
j œ œ watch
his
œ
œ
j œ œ
the
œ end
œ
feet.
œ
fol - low - ing
œ œ œ œ Cy - ril
œ
walk - ing
j œ
hands
œ
œ
Cy - ril,
Œ
œ
œ
Here comes
œ
œ
Œ
be - hind;
œ
œ
œ
of
the
line.
Chant
Cross the street, cross the street, to the other side; Turn around, turn around on the other side. Go back, go back, to your own side; Turn around, turn around, on your own side.
œ
Œ
Audrey Klein
Purpose
Skills
Activities
S P M OS L
Concepts
DP
Dy
Resources
T S
Introducing the sung section To maintain a steady beat.
Introduce the sung section of “Syncopated Cyril” while patsching lightly on the knees. Students imitate patsching while listening to the song.
To match pitch accurately.
Teach song by echo while maintaining patsching.
PATSCH: See glossary
Introducing the chanted section To accurately learn rhythm of the chant.
Demonstrate the chant “Cross the street…” with a different body percussion accompaniment. clap patsch
4 4 .. œ
œ
œ œ
..
Students echo the chant.
To consolidate quality and style of movement from previous movement lessons.
Students explore different movement styles to perform with the chant, for example, moving in a variety of ways around the room; changing on a given signal; exploring high and low levels.
Learning “the game” To contrast sung and spoken text.
Perform sung section followed by spoken section, while maintaining the beat with body percussion. Repeat several times. (Continued on page 44)
43
Singing
44
games Purpose
Skills
Activities
S P M OS L To devise ways of reinforcing beat and rhythm through movement.
DP Explain to the class that the “game” is about copying a leader. With students standing in their own space, the teacher improvises a walking style for the class to copy. Select a student to improvise a walking style while the class sings: “Syncopated Cyril, walking down the street; Watch his hands and watch his feet”.
To imitate movement and respond to the structure of the song.
Students imitate leader’s walk and perform the second part of the song: “Once again Wanda, following behind, copying Cyril to the end of the line.”
Performing the “Syncopated Cyril” game To contrast sung and spoken text.
Concepts
Students stand in two lines, opposite and facing a partner. Section A: Leader of line 1
improvises a walk to the other end of the line while class sings bars 1–4 (“Syncopated Cyril, walking down the street; watch his hands and watch his feet”).
Leader of line 2
copies Cyril while class sings bars 5–8 (“Once again Wanda, following behind; copying Cyril to the end of the line”).
Section B: While performing the chant (“Cross the street…”) and imitating Cyril, lines cross over and swap positions, and then return to their original positions. Repeat with a new leader.
Dy
T S
Resources
Extension To identify known rhythm patterns and use them as ostinato accompaniments.
Clap some of the rhythms from the chant for the students to identify.
Play the rhythms on other percussion instruments such as drums, tambourines and claves and use them to accompany Section B. For example: claves “cross the street, cross the street” drum “other side”.
Use tuned percussion instruments such as xylophones and glockenspiels in C pentatonic (CDE GA as indicated in the resources column). Select a small group of students to improvise an accompaniment to Section A.
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Skills
45
Three songs with movement Repertoire
Key
CD track 16.
Funge alafia . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Skills
By the end of these activities, the students will be able to demonstrate that they can: 1. sing three simple children’s songs 2. perform a call and response song 3. respond to variations in dynamics and tone colour.
CD tracks 17-18.
Tongo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
S P M OS L
By the end of these activities, teachers will have implemented strategies to teach simple songs and encouraged the exploration of dynamics and tone colour through the voice.
naba
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Concepts
DP
Dy
T S
duration pitch dynamics tone colour structure
Outcomes for teachers
CD tracks 19-21. Taba
singing playing moving organising sound listening
Outcomes for students
Funge alafia Traditional Ghana
& 44 œJ & œJ
j œ œ
œ
Fun - ge
a
œ
j œ œ
Fun - ge
a
-
-
la
la
-
-
œ
j œ œ
j œ œ
fia
a
a -
-
sche
sche.
œ
j œ œ
j œ œ
fia
a
a -
-
sche
Œ Œ
sche.
to head
to heart
to L arm
to R arm
L step
close
L step
close
Hands
Feet
47
48
Three with songs movement Purpose
Skills
Activities
S P M OS L To familiarise students with the actions and meaning of the song.
Concepts
DP Teach actions for head, heart and sleeves without speaking the words. Discuss what the students think the actions might mean.
Dy
Resources
T S Actions marked on the music for “Funge alafia”.
Demonstrate the song with the actions and then explain the lyrics: “I greet you with my head, my heart and I have nothing up my sleeves.” which means “I respect you, I care for you and I am an honest person.” To echo pitch accurately.
Teach the song by echoing phrases and then add the step-wise movement as indicated on the music above.
To use movement to reinforce beat.
Add step-wise movement as outlined in the music.
To identify same and different pitches.
The song has two phrases. Have the class listen again to the pitch of the two phrases and identify if they are the same. If not, how are they different?
With the class standing in a circle, perform the song with movement and actions.
Trace the pitch contour of each phrase, first in the air and then using graphic notation. Divide class into two groups and perform “Funge alafia” as a call and reponse. Group 1: sings phrase one (“Funge alafia asche asche”) Group 2: answers with phrase two. To develop aural imagination.
Movements explained on the music.
Repeat, singing words in your head, not out loud while performing actions.
See glossary: PHRASE GRAPHIC NOTATION PITCH CONTOUR
To develop skills in the use of the voice for both speaking and singing.
Explore different spoken ways to greet people in English, for example: Hi, how are you? Great to see you!
What’s new? Welcome.
How do you do?
In other languages, for example: Bonjour.
Chukran.
Konichiwa.
To develop confidence in vocal improvisation.
Explore variations in dynamics and tone colour of spoken greetings.
To use movement to reinforce structure.
Develop a structure for performance which includes the spoken greetings. For example: Section A Whole class performs “Funge alafia” with actions and movement Section B Selected student performs own spoken greeting which class echoes Section A Repeat Section C Another student performs spoken greeting which the rest of the class echoes Section A Repeat
See glossary: RONDO (This structure is called rondo form). Another version of “Funge alafia” appears in “Songs From Around the World” by Gary and Carol Crees 2/12 George Street Manly NSW 2095
Extension To add simple accompaniments to a song.
Add instruments to accompany the song. Non-melodic instruments (i.e. drum)
Melodic instruments (i.e. alto xylophone)
To experiment with performance ideas.
44 .. œ
œ
& 44 .. œ œ
œ œ œ
œ œ
œ
..
œ œ
..
Devise an introduction and coda (ending) for the piece.
49
50
Three with songs movement
Tongo Traditional Polynesian
# # 2Leader & 4 œ
Group
œ œ
Ton -
&
##
go,
Ton -
&
&
&
&
##
bye
œ œ
œ
oh,
Ton
j œ œ
Leader
j œ de
j œ
œ. -
a
œ œ
œ
go,
Leader
Ooh
Ton -
go,
œ œ
œ Ton -
go,
œ. œ œ œ Jim - nee bye
œ œ œ bye
oh,
Group
Oom - ba
##
œ œ œ
Leader
-
œ œ
œ Group
œ. œ œ œ
Ton
##
go,
Leader
Jim - nee bye
##
œ œ
œ
-
go,
œ œ
œ Ton
-
go,
œ œ œ kim
bye
œ
oh,
Œ
lay,
j œ œ
Oom - ba Group
œ. Ooh
ka - ah - lo
œ œ œ œ
œ œ
way. Mah- le - ka - ah - lo
j œ de
j œ -
Group
œ œ œ
Ton
Group
˙ way.
a
œ œ
œ -
go,
œ œ œ kim
bye
oh, Leader
œ lay,
..
œ œ Mah - le Ocean sounds
8 bars
..
D.C.
Purpose
Skills
Concepts
Activities
S P M OS L To develop awareness of the structure of the song.
DP
T S
Play the recording of “Tongo” and discuss the three-part structure: Section A: sung Section B: instrumental Section A: the song is repeated. Play the recording again. Discuss the effects used in the instrumental (sea soundscape) section. Students add rowing actions on the 1st beat of the bar during the sung section and improvise movements during the instrumental section. Encourage the students to vary the movements with the dynamics of the music.
To become aware of call and response structure.
Dy
Resources
See glossary: DYNAMICS CALL AND RESPONSE
Discuss the use of the voices in the sung section, the use of a leader who “calls” and a group who answer or “respond”. Learning the song
To echo rhythm patterns and accurate pronunciation.
CD track 17
Clap and chant the following patterns for the students to echo.
24 .. . œ œ œ œ Jim - nee bye
Ooh
bye
j œ
24 .. œ . -
œ œ œ
a
œ
..
oh
Œ
lay
24 .. œj œ
j œ
Oom - ba
..
de
24 .. œ œ Mah - le
œ -
ka
To echo pitch accurately.
Sing or demonstrate the call “Tongo”. Students echo.
To perform a call and response song.
Divide class into two groups. Group 1 performs call Group 2 performs response
..
œ œ œ
-
kim
bye
oh
œ
œ
œ
ah -
lo
way
..
(Continued on page 52)
51
52
Three with songs movement Purpose
Skills
Concepts
Activities
S P M OS L To develop individuals’ confidence in using the voice.
DP
Dy
Resources
T S
Select a student to perform the call with actions. The rest of the class responds, copying the leader’s actions. Clap some of the rhythms from the song and ask students to identify the phrase. For example:
24 .. œj œ Oom - ba
j œ de
œ œ œ kim
bye
oh
..
j œ
24 .. œ . Ooh
-
a
œ
Œ
lay
To accompany song with rhythmic ostinato, using body percussion and instruments.
Transfer the rhythms to percussion instruments and perform as an ostinato to accompany the song.
To create a soundscape using a variety of sound sources.
Create a sea soundscape. Discuss sounds you may hear near the sea and make a class list. Ask students to suggest ways to recreate the sounds of the sea using voices, body percussion, environmental material, melodic or non-melodic instruments. Divide class into small groups of 4–6. Each group creates its own water soundscape. Encourage students to graphically notate their soundscape.
To perform a rondo.
Invent a rondo. For example, with the class divided into two groups: Section A Section Section Section Section
B A C A
..
Group 1 performs the call and Group 2 the response from “Tongo”. Group 1 performs its soundscape. Call and response. Group 2 performs its soundscape. Call and response.
Continue until all groups have performed their soundscapes.
Tambour, claves, tambourines etc.
Taba naba
Darnley Island Torres Strait Islands
G
C
# 4 ‹ ‹ ‹ ‹ & 4 œ œ œ œ Ta - ba Pronounced Tah - buh Pronunciation
na - ba, nah - buh,
G
&
#
na - ba nah - buh
C
D
œ œ œ œ œ
din - ghy dihn - gee
em em*
Ta - ba Tah - buh
œ œ œ œ œ
tu - gei too - geh
œ œ œ
pe peh
nai - sir nye - sihr
mi mee
Mi ko Mee koh
Rh to L Sh
kei mi keh mee
Lh to R Sh
Lh to Fl at R
œ œ œ œ œ ˙ sir - ir sihr - ihr
em em*
nar - ba - re. nahr- buh - reh.
G BH touch Shs
œ J
œ
na - ba nah - buh
BH on Wst & sway (rock side to side) . . . . . . . . . . . .
œ œ œ no noh
-
Lyrics
Taba naba naba norem. Come, let us go to the reef.
C
œ œ œ œ
œ
Rh to L Sh & hold
Translation
Rh to Fl at L
na - ba - tre. nah - buh- treh.
BH up High
# j œ œ
Rh to Fl at L
G
D
&
‹
no - rem, noh- rem,*
Lh to R Sh
Lh to Fl at R
œ
D
‹ ‹ ‹ œ œ œ ˙ J J
Br.
w
∑
rem. rem.* *The "e" is pronounced as in "yet".
Tugei penaisir mi dinghy em nabatre. Get into the dinghy when the morning tide is low Mi ko keimi serer em narbare. Let us row to the edge of the reef. Taba naba norem. Come, let us go to the reef. This song is remembered from long ago, the composer is not known but it is definitely of Erub origin. The dance actions, according to Erub (Darnley Island) elder and historian, George Myre, may be attributed to one of Erub’s foremost dancers, Sweeney George Morseu. It celebrates reef travel via “the taxi of the Torres Strait”, the dinghy. The sung was originally sung for Frank York by Dalassa Pau.
53
54
Three with songs movement
Taba naba
(continued)
3
Melody
# 4 & 4 # 4 & 4
3
Harmony
‹ ‹ ‹ ‹ .. œ œ œ œ
Br.
Ta - ba
Movements with lyrics
.. œ œ œ œ
Students sit cross legged in a circle:
Bars 1–2 Brush hands together
Bar 3 Point right hand to floor at left (beat 1) then place right hand on left shoulder (beat 3) and hold
Bar 6 Point left hand to floor at right (beat 1) then place left hand on right shoulder (beat 3)
&
#
&
din - ghy
Bar 5 Point right hand to floor at left (beat 1) then place right hand on left shoulder (beat 3)
# j & œ œ &
&
œ œ œ œ œ œ
na - ba
tu - gei pe nai - sir
na - ba,
Rh to Fl at L
œ
œ
#
#
na
-
ba
œ -
tre.
no - rem,
Rh to L Sh
mi
Lh to R Sh
Lh to Fl at R
œ œ œ œ
œ œ œ œ œ ˙
Mi
sir - ir
ko
kei
mi
em
nar - ba - re.
œ œ J
œ œ œ
Ta - ba
na - ba
no
j œ œ
j œ œ
œ
Ta - ba
na - ba
no
-
# w rem.
œ œ œ œ œ ˙
Mi
sir - ir
ko
kei
mi
∑ ∑
em
nar - ba - re.
BH on Wst & sway (rock side to side) . . . . . . . . . . . .
w
∑
..
∑
..
rem.
∑
2. BH on Wst and sway . . . . . . . . . . . . . . . .
w
œ œ œ œ
1.
BH touch Shs
rem.
&
mi
Ta - ba
na - ba - tre.
œ œ œ œ
Bar 7 Both hands up above head, then on both shoulders
Bars 8–9 Both hands on waist and sway from side to side.
tu - gei pe nai - sir
no - rem,
œ œ œ œ œ œœœ
#
BH up High
Bar 4 Point left hand to floor at right knee (beat 1) then place left hand on right shoulder (beat 3)
na - ba
Rh to L Sh & hold
j œ œ œj ˙
œ œ œ œ œ œ em
Rh to Fl at L
Sing Part A 1st time
Lh to R Sh
Lh to Fl at R
din - ghy
na - ba,
‹ ‹ ‹ ‹ œ œ œ ˙ J J
Purpose
Skills
Activities
S P M OS L
Concepts
DP
Dy
Resources
T S
Learning the song To develop listening skills.
Read the phonetic pronunciation phrase by phrase, for the students to echo.
To accompany the song with a steady beat.
Play the recording of the song and accompany by playing the beat on your knees for the class to imitate. Transfer to another body part or to non-melodic instruments.
To match pitch accurately.
Demonstrate the song, phrase by phrase, for the students to echo. Perform the song with the recording.
CD track 19
Learning the dance This song comes from Darnley Island and is a “sit-down” dance. The actions are written beside the music. Learn the dance to accompany the song.
To observe the gradual build of dynamics.
Divide the class into four or more groups.
Skills
OS
L
singing playing moving organising sound listening
S PM
Group 1 Group 2 Group 3 Group 4 Continue
performs song with actions joins in second time through joins in third time through joins in fourth time through. until all students are singing.
Discuss the effect of adding voices cumulatively.
Have you thought of linking this with a HSIE unit?
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
To learn a sit-down dance from the Torres Strait Islands.
(Continued on page 56)
55
56
Three with songs movement Skills
Concepts
Activities
S P M OS L To add simple accompaniments to a song.
DP
Dy
T S
Extension Add the following patterns to accompany the song Shaker
4 .. 4 œ œ œ œ œ œ œ œ ..
Tambour (low)
4 .. œ 4
Œ
œ
Œ
..
Guiro
4 .. Π4
œ
Œ
œ
..
High drum
4 .. œ 4
œ
œ
œ
..
Try adding the second vocal part.
To experience simple harmony singing.
Skills
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Purpose
Resources
A pair
of
songs
Repertoire
Key
CD track 22.
Wearing my long wing feathers . . . . . .58
Skills
By the end of these activities, students will be able to demonstrate that they can use: 1. the singing voice within a restricted pitch range 2. singing techniques to sing on pitch 3. singing techniques to develop tonal quality of the singing voice.
CD tracks 23-25.
The earth is our mother . . . . . . . . . . . . . .60
S P M OS L
By the end of these activities, teachers will be able to use appropriate repertoire as well as teach skills and techniques to develop the singing voices of students.
Concepts
DP
Dy
T S
duration pitch dynamics tone colour structure
Outcomes for teachers
singing playing moving organising sound listening
Outcomes for students
A pair
of
58
songs
Wearing my long wing feathers Native American
Movement
Lyrics
Step sideways around the circle, to the right
Wearing my long wing feathers as I fly
Step sideways around the circle, to the left
Wearing my long wing feathers as I fly
Walk in a circle on the spot, to the right
I circle around,
Walk in a circle on the spot, to the left
I circle around,
Stand on the spot facing inside the circle; cross arms in front of your body, lifting them above your head and then open them out to bring them back down to the sides of your body.
# 4 & 4 œj œ
j œ œ œ œ œ
Wear - ing
&
#
Wear - ing
&
#
my long wing fea - thers
j œ œ œ œ œ
j œ œ
œ œ œ œ Œ
my
as
I
fly.
œ œ œ œ ‰ œj
long wing fea - thers
as
I
fly.
‰ œj ‰ œj œ œ œ œ œ œ œ œ œ œ cir - cle
a- round,
I
cir - cle
a- round,
the
The bound’ries of the sky.
&
#
I
œ
œ
bound - 'ries
œ œ œ of
the
˙. sky.
Œ
Purpose
Skills
Activities
S P M OS L
Concepts
DP
Dy
Resources
T S
Introduction To establish cultural setting and purpose of musical work.
Discuss how different peoples develop their world views and express themselves through their stories, music and ceremonies. Find examples of Australian Aboriginal Dreaming stories and Native American stories. Discuss the similarities you can see within Australian Aboriginal Dreaming stories and Native American stories.
Learning the song To develop the atmosphere of music.
Speak the words.
To learn song accurately.
Teach the song using echo, phrase by phrase.
HSIE link: Aboriginal Dreaming stories: Mumbulla, P. & Bancroft, B. The Whalers (collected by Roland Robinson). Angus & Robertson. 1996. Trezise, P. Land of the Dingo People. Angus & Robertson. 1997.
Practise movements which enhance the song.
Teach the movements simultaneously.
To experience harmony created through song and drone on E.
Add beat on tambour or other suitable drum and then transfer beat onto low E on xylophone, metallophone or chime bar.
Native American stories: Erdoes,R. & Obtiz,A. American Indian Myths & Legends. Pimlico, London. 1997.
59
A pair
of
60
songs
The earth is our mother Native American
# & 44 œj œ œ œ œ œ œ œ The
earth
# & 44 œJ & &
# #
is
our mo
-
‰ œj œ œ œ œ œ œ
ther,
œ œ œ œ œ œ œ
we must take care
is
our mo
-
ther,
her. The
‰ œ œ œ œ #œ œ œ J
‰ œj œ œ œ œ œ œ œ œ œ œ œ earth
of
we must take care
w
of
her.
œ œ œ œ œ œ œ œ ‰ Jœ œ œ œ
w
Lyrics
Verse 2
Her sacred ground we walk upon, With every step we take. Her sacred ground we walk upon, With every step we take. Chorus
Verse 3 Chorus
&
#
œ
œ
Hey
&
&
# œ
#
œ
yan - na,
œ
œ
œ
œ
œ
ho
œ
œ
œ
yan - na,
œ
œ
yan - na,
ho
yan - na,
# œ œ œ œ œ œ œ œ
œ œ œ hey
œ
œ œ œ œ œ œ œ œ Hey
&
œ
yan
œ œ œ
œ œ œ hey
yan
œ œ œ
˙ yan.
˙
œ. yan.
œ.
The earth is our mother, She will take care of us. The earth is our mother, She will take care of us. Chorus
Purpose
Skills
Activities
S P M OS L To maintain steady beat and perform rhythm pattern to accompany song.
Concepts
DP All perform body percussion softly while teacher sings song (or plays the recording): knee floor
Dy
Resources
T S CD track 23
œ œ œ œ . 4 . 4 .. œ œ
To practise breath control, keeping mouth open but relaxed, using the tongue rather than jaw to change sounds, maintaining long sounds.
Teach the “Hey yanna” phrases softly, encouraging students to have their mouths open wide, making the “y” sound with the tongue rather than the jaw, and using an even flow of volume and long “aa” sounds.
To develop a feeling for harmony.
Teach the verse phrase by phrase through echoing. When secure, teacher sings harmony softly over the student part (or sings along with the CD, where the harmony is added from verse 3 onwards).
CD has harmony included from verse 3 on tracks 23 and 25
Extension To devise movements which can be performed while singing and reflect the ideas in the song.
Encourage students to develop their own simple movements to accompany the song. Make sure the movements do not detract from their ability to sing. Fast or large movements or hands over the heads for extended periods of time are not suitable as the singing voice would be restricted.
Scarves to enhance movements if desired
To use the singing voice to reinforce instrumental parts.
Perform percussion accompaniment to the song. Teach the parts through singing and body percussion before transferring to percussion instruments.
Percussion arrangement on page 62.
To develop independent singing skills.
Try performing “Wearing my long wing feathers” and “The earth is our mother” as partner songs. This is demonstrated on the CD on track 23.
Melodic and non-melodic percussion instruments.
61
A pair
of
62
songs
“The earth is our mother” Percussion accompaniment Body percussion patterns
Melodic and non-melodic percussion instruments
Use these patterns to teach the percussion parts.
R
R
#œ œ œ œ ˙ & 44 .. L
#œ œ œ œ ˙
R
œ #œ œ œ
4 & 4 .. ˙
L
R
˙
..
œ # œ œ œ ..
˙
j j j œ œ œ œ œ ˙ œ J J j j œ œ œ œ œ œ œ J J œœœ œœœ œœ >œ >œ
..
& 44 .. œ œ œ œ œ œ œ œ
œ œ œ
..
4 & 4 .. œ œ œ œ œ
œ œ œ œ œ
..
clap
4 .. œj œ œj œJ 4 œ J J j j œ œ œ œ 4 .. 4 œ J J 4 .. œ œ œ œ 4 œ > >œ
44 .. œ œ œ œ œ œ œ œ > >
. >œ œ œ œ >œ œ œ œ .
clap
4 .. Π4
œ
..
4 .. Œ Verse only œ 4
Œ
R floor R leg L leg R leg L leg
shake in air
chest patsch
patsch R patsch L
œ
Œ
Œ
œ
Œ
œ
œ œ œ œ œ œ œ œ . 4 .. . 4 œ œ œ œ 4 4
.. œ w LH
œ
˙
œ w LH
œ
˙
..
œ
Chorus only
44 .. œ
œ
Œ œ
œ œ œ
4 .. w 4 & 44 .. œw
œ
œ
˙
œ w
..
..
œ
œ
œ œ . . ..
w œ
œ
Œ
œ œ œ
..
œ
˙
..
Rounds Repertoire
Key
If you cross a mouse . . . . . . . . . . . . . . . . . . .64
By the end of these activities, students will be able to demonstrate that: 1. they can sing simple rounds 2. they are aware of other parts while singing.
CD tracks 26-27.
Underneath the mango tree
Outcomes for teachers By the end of these activities, teachers will be able to implement a variety of strategies for teaching rounds.
. . . . . . . . .66
Skills
S P M OS L singing playing moving organising sound listening
Not on CD
Concepts
DP
Dy
T S
duration pitch dynamics tone colour structure
Outcomes for students
64
Rounds
If you cross a mouse sung to “Row, row, row your boat”
Movement
Lyrics
stamp
If you cross a mouse (Row, row, row your boat)
patsch
With an elephant (Gently down the stream)
clap
You’ll get big holes (Merrily, merrily, merrily, merrily)
snap
In your skirting boards (Life is but a dream)
Purpose
Skills
Activities
S P M OS L
Concepts
DP
Dy
Resources
T S
Learning the song To revise a well known melody.
Demonstrate the song with body percussion illustrated above.
To experiment with dynamic variations.
Repeat song until students are familiar enough to join in.
Sung to the melody of “Row, row, row your boat”.
Sing whole song varying the dynamics of each line. Perform the actions while singing the words silently (in your head). Preparing to sing the round
To develop the ability to hold a part. To develop skills in ensemble singing.
Divide the class into four groups: Group Group Group Group
1 2 3 4
sing line 1 as an ostinato add line 2 as an ostinato add line 3 as an ostinato add line 4 as an ostinato.
Encourage students to listen and blend with the other parts. Experiment with varying the dynamics. Select a student to signal the entry and exit of parts. To sing song as a round.
Standing in a circle, divide class into four groups. Perform song as a round with body percussion accompaniment. Extension
To perform a more complex round.
Try performing as a round of up to eight parts.
To develop vocal independence and listening skills.
Divide class into the same four groups as before. When the groups are confident, students move around the room singing their ostinatos. The object is to join up with one member from each of the other groups.
65
66
Rounds
Underneath the mango tree Ian Ross Williams
Dm
1
& b 44 œ œ œ œ œ œ Un - der- neath the man - go
Am
Dm
&b œ œ œ ˙
oh
tree were we,
Hid- ing in the tree
œ œ
Look out down be - low
for
Am
œ œ
Rain - ing down be - low
&b ˙
œ œ œ œ œ ‰ œj
œ œ ˙
œ œ œ œ œ
&b œ œ œ œ œ Am
Dm
was
Am
2
Tar - ni - ki - ni.
Am
œ œ ˙
the
Dm
ripe
3
œ œ ˙
from the
ripe
Dm
man - go.
Am
˙
˙
˙
no,
oh
no,
Dm
man - go,
˙
˙
Oh
no,
Dm
œ œ œ œ ˙ go
man - go,
man - go!
Tarnikini is flying fox (Tiwi language of Bathurst and Melville Islanders, Northern Territory).
Purpose
Skills
Concepts
Activities
S P M OS L
DP
Dy
Resources
T S
Learning the song Listen to the song and discuss what the song is about. Explain “Tarnikini” which means flying-fox in the Tiwi language of Bathurst and Melville Islanders, Northern Territory.
To maintain a steady beat.
Listen again and add following body percussion to accompany the song. floor knees
To develop a feel for singing in a minor key.
4 4 .. ˙
œ œ
˙
..
˙
Teach the song by echo, phrase by phrase.
Transfer body percussion patterns to melodic percussion.
& 44 .. ˙
˙
œ œ ˙ ..
D
D
A
A
D
Perform melodic percussion with recorded version.
To develop a sense of phrasing in singing.
Sing song through in unison. Discuss where students felt they needed to breathe. Sing again, breathing at the end of each two-bar phrase.
To develop appropriate breathing and an awareness of long and short notes when singing.
Play the recorded version and ask students to raise their hands when they hear a long note held at the end of each phrase and on “oh no, oh no”. Sing the song again with correct breathing and holding the long notes for their full value.
Unison section of “Underneath the Mango Tree”, track 26 (Continued on page 68)
67
68
Rounds Purpose
Skills
Concepts
Activities
S P M OS L
DP
Dy
Resources
T S
Introducing the round To be familiar with the structure of the song.
Introduce the round by discussing the structure used on the recording: introduction, unison (x1), instrumental, round (x2), coda. Play the introduction again. Discuss how it is like section 3, ”Oh no, oh no, oh no, go mango, mango”
To accompany a song with vocal ostinato.
Try singing section 3 as an ostinato to accompany the song. Sing it softly with the recording of the unison section.
Transfer section 3 to xylophone, recorder or another melodic instrument and accompany the song in unison. A
& b 44 .. ˙
Oh
A
G
F
F
F
E
G
F
E
˙
˙
˙
˙
˙
œ œ œ œ ˙
no,
oh
no,
oh
no,
go man- go, man- go.
To perform as a round in three parts.
Divide the class into three groups and sing as a three-part round with the CD.
To use a melodic ostinato to maintain pitch and tonality.
Try performing the round using melodic instruments to play the accompaniment from the chords on page 66.
To develop vocal blend and harmony.
D
Record the class version of the round and discuss the blend of voices, dynamics, long notes, breathing and ways to improve the performance. Record it again and compare the two versions.
Xylophone, keyboard, recorder or another melodic instrument.
..
Cassette player for recording class compositions.
Repertoire Outcomes for students By the end of these activities, students will be able to demonstrate that they can: 1. interpret the words of a song 2. develop a simple song into a performance.
Outcomes for teachers By the end of these activities, teachers will have implemented strategies which develop a song into a performance piece.
CD tracks 28-29.
Gary Galah
Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Skills
S P M OS L singing playing moving organising sound listening
for
performance
Concepts
DP
Dy
T S
duration pitch dynamics tone colour structure
A song
A song
for
performance
70
Gary Galah Louise Pettinger
Verse
C 4 . . &4 œ œ œ
Bb
G
Ga - lah
gum- trees
are
œ œœ œ œ œ œ
Lives a fun- ny fel- low called
one
thing that Gar - y
1,2,3
G
fly - ing
a- round
œ
in
G
& œ œ œ œ
pair
of
œ
cow- boy
j œ ˙
hat,
G
œ œ œ
spats,
Vel - vet cloak,
&œ œ œ œ œ
œ
the things he needs
to
likes do - ing best 4.
He wears a
fan - cy dress.
œ œ œ œ œ œ œ œ
C
œ œ œj ˙ J
fril - ly
tar - tan
shirt and
œ œ œj œ . J best.
3.
j G j œ .. œJ œ œ ˙ .. 2.His
look his
best.
Fly- ing a- round
in
œ œ œ œ œœ œ œ œ ˙
C
G
fan - cy dress,
Fly- ing a- round
&œ œ œ œ œœ œ œ œ ˙
a
vest,
fi CODA G
fi
œ œ œ ˙
œ œ œ œ
G
look his
to CODA
C
œ œ œ
Is
Knick- er - bock- ers, bra - ces and
1,2
D
All
cy dress.
œ œ œj ˙ J
bow - tie, sun- glas - ses,
& œJ œ
œ œ œ
fan -
Chorus
F
œ œ œ œ œ œ
to Chorus
C
œ
&œ œ œ œ œ
F/A
œ œ œ œ
œ
And the
C
C7/B b
C
& œ œ œ œ œ œ œ Gar - y
G
œ œ
1.Way out west where the
j œ ˙
j œ œ
Dm 7
F
in
C
fan - cy dress.
Lyrics
Verse 1
Way out west where the gum trees are Lives a funny fellow called Gary Galah, And the one thing that Gary likes doing best Is flying around in fancy dress. Chorus
Verse 3
The other birds think he’s somewhat mad To spend his lifetime being a cad But Gary doesn’t mind ’cause he’s perfectly fine Flying around just looking divine. Chorus
He wears a bowtie, sunglasses, cowboy hat, Knickerbockers, braces and a pair of spats, Velvet cloak, frilly shirt and tartan vest, All the things he needs to look his best.
Verse 4
repeat verse 1 Coda
Verse 2
His wardrobe is a hollow tree Where he keeps a variety Of costumes fit for any star. Yes, a fancy dresser is Gary Galah.
Flying around in fancy dress, Flying around in fancy dress.
Chorus
71
A song
for
72
performance Purpose
Skills
Concepts
Activities
S P M OS L
DP Introducing the song
To develop listening skills and interpret the words of the song.
“Gary Galah” is about a colourful character. Ask the students to listen for any information they can discover about the character. Each time the chorus occurs, perform actions to reflect the articles of clothing described. Encourage students to join with the actions while listening to the song (they will probably join in singing as well). Discuss what they found about Gary Galah’s clothes. Discuss how the actions reflect his costume. Explanation of some items may be necessary.
To recognise recurring sections and observe contrast between sections.
Talk about the structure of the song: Introduction Verse 1 Chorus Verse 2 Chorus Verse 3 Chorus Verse 1 Coda Learning the song
To echo pitch accurately.
Teach chorus with actions. Students echo.
To practise articulation of consonants to improve diction.
Perform the following patterns for the students to echo:
4 4 .. œ . œ œ . œ œ . œ œ . œ .. Re - par- ti - ca, Re - par- ti - ca
4 4 .. œ
œ
œ
œ
C
C
C
C
..
4 4 .. œ
œ
œ
œ
sh
sh
sh
sh
4 4 .. œ
œ
œ
œ
whoo - wit,
whoo - wit.
.. ..
Dy
T S
Resources
Discuss the importance of articulation (so the audience will understand the lyrics and the humour in the song). Practise saying the words of the song, emphasizing the consonants. For example: knickerbockers
bow tie
vest
best
hat
spats
cloak
Repeat with words from the verses. Play the recording and encourage the class to snap their fingers on the 2nd and 4th beat of each bar during the verses and to join in the chorus. To develop a sense of musical phrase.
Play the recording again and ask the students to move freely around the room, changing direction at the end of each line of the verse (this is a musical phrase). Sing during the chorus.
To develop appropriate breathing techniques.
Sing the song, ensuring that students breathe at the end of each phrase. Perform the whole song and record the performance. Discuss how it can be improved.
To listen critically and improve performance.
Dress it up. Create some choreography for your own galah chorus. Experiment with the dynamics to add contrast in the verses. Try singing the chorus softly and loudly.
To develop a song for a performance item.
Perform the song at assembly or for a special occasion.
OS
L
singing playing moving organising sound listening
S PM
Concepts
D P
Dy
T S
duration pitch dynamics tone colour structure
Skills
73
74
Glossary
Glossary
anacrusis
contour
an unstressed note at the beginning of a phrase
bar the divisions of beats in music
beat
see “melodic contour” below
crescendo gradually getting louder
diminuendo gradually getting softer
the steady pulse in music
duration body percussion non-melodic sounds made by some part of the body
bridge a short section of music which links two important sections of a piece of music
call and response when a phrase sung by one musician is answered by another musician or by a group
the length of sounds
dynamics the loudness or softness of sound
echo imitate
glissando sliding between notes, either vocally or instrumentally
graphic notation chant reciting in a musical way
chorus the part of a song often repeated after a verse
chromatic one or more notes which do not belong to a
any arrangement of visual symbols to show music
harmony two or more pitches sounded together
improvisation making up the music as it is being performed or, in some cases, with no beat
diatonic scale or mode
interval coda a section which rounds off or ends a piece
the “distance” between two notes; the difference in pitch
melody the tune or arrangement of pitched sounds
melodic/pitch contour the shape made by a musical phrase or group of notes
metre the division of beats marked by accents
ostinato a constantly repeated pattern
patsch slap thighs
phrase a short segment of a melody
pitch relative highness or lowness of sounds
ragtime a popular style of composition for piano in the late 19th and early 20th century, with a syncopated melody line against a strict bass or accompaniment
round a part song in which the voices sing the same melody but enter one after the other
soundscape an atmosphere created by using sounds, often environmental
syncopation shifting the normal accent from a strong beat to a weak beat
tambour a frame drum, like a tambourine, without the jingles
tone colour the timbre or quality of sound
unison all playing or singing the same melody together
verse a section of a song usually alternating with the chorus
vocalising using the voice
rap rhythmical speaking
riff a repeated musical pattern
rhythm patterns of short and long sounds and silences found in music
rondo a set structure (ABACA), where section A recurs between alternating sections
75
