“Let’s make music with Boomwhackers®!” Figure Courtesy of Rhythm Band Instruments, Inc.
“Let’s make music with Boomwhackers®!” Figure Courtesy of Rhythm Band Instruments, Inc.
SEQUENCE OF SONGS AND LISTENING SELECTIONS LEVEL II (GRADES 2–3)
| MODEL | MUSIC | PAGE |
| 16 | “Sing about Martin!” by “Miss Jackie” Weissman | p. 156 |
| 17 | “Barcarolle,” from Tales of Hoffmann, by Offenbach (excerpt) | p. 158 |
| “Devil’s Dance,” from The Soldier’s Tale, by Stravinsky | p. 158 | |
| 18 | “Shoo, Fly” (American folk song) | p. 160 |
| 19 | “Chinese Dance,” from The Nutcracker Suite, by Tchaikovsky | p. 162 |
| 20 | “Willowbee” (American game song) | p. 164 |
| 21 | “Kangaroos,” from Carnival of the Animals, by Saint-Saens | p. 166 |
| 22 | “Cielito Lindo” (Mexico) | p. 168 |
| 23 | “Chatter with the Angels” (African American song) | p. 171 |
| 24 | “The Stars and Stripes Forever,” by Sousa | p. 173 |
| 25 | “Jesu, Joy of Man’s Desiring,” from Cantata no. 147, by Bach | p. 175 |
| 26 | Canzona, by Gabrieli | p. 177 |
| Trout Quintet, fourth movement, by Schubert (excerpt) | p. 177 | |
| Serenade for Wind Instruments, Theme and Variations (K. 361), by Mozart | p. 177 | |
| Toccata, third movement, by Chávez | p. 177 | |
| 27 | “Ebeneezer Sneezer,” by Olson | p. 181 |
| 28 | “A Ram Sam Sam” (Moroccan folk song) | p. 185 |
| 29 | “The Dragon Song” (Chinese folk melody) | p. 187 |
SEQUENCE OF MUSIC CONCEPTS LEVEL II (GRADES 2–3)
| ELEMENTS OF MUSIC | MUSIC CONCEPTS |
| FORM | In call and response form, responses can be identical to the call (Model 16, “Sing About Martin!”) |
| EXPRESSIVE QUALITIES | Music can be performed legato and/or staccato (Model 17, “Barcarolle” and Devil’s Dance”) |
| FORM | Melodies are divided into smaller parts called phrases (Model 18, Shoo, Fly”) |
| MELODY | Pitches can be high or low (Model 19, “Chinese Dance”) |
| MELODY | Pitches in a melody can move by step (Model 20, “Willowbee”) |
| RHYTHM | The rhythm of a melody includes long and short sounds (Model 21, “Kangaroos”) |
| TIMBRE | String and brass instruments have their own special sounds (Model 22, “Cielito Lindo”) |
| HARMONY | Borduns and ostinatos can add harmony to a melody (Model 23, “Chatter with the Angels”) |
| RHYTHM | Beats can be grouped in twos (Model 24, “The Stars and Stripes Forever”) |
| RHYTHM | Beats can be grouped in threes (Model 25, “Jesu, Joy of Man’s Desiring”) |
| TIMBRE | Instruments are grouped into families (Model 26, Canzona, Trout Quintet, Serenade for Wind Instruments, Toccata) |
| MELODY | Pitches in a melody can move up and down by step (Model 27, “Ebeneezer Sneezer”) |
| RHYTHM | The rhythm of a melody includes short and long sounds (Model 28, “A Ram Sam Sam”) |
| FORM | Phrases in a melody can be the same or different (Model 29, “The Dragon Song”) |
MUSIC CONCEPT
In call and response form, responses can be identical to the call (Form)
Objective
To identify aurally the responses that are identical to the call and to demonstrate that awareness through singing and signing
Standard MU:Pr4.2.3a
Demonstrate (through singing and signing) understanding of the structure (call-and-response form) in a song
Materials
ASL signs for key words, p. 318, see explanations and video for ASL signs at http://commtechlab.msu.edu/sites/aslweb/browser.htm
Photograph of Dr. Martin Luther King Jr.
OPEN Key Terms: echo, call/response
Step 1: I’m thinking of an important person—can you guess who it is? Here are some clues. (Mention African American, January birthday a national holiday, worked for peace and nonviolence, “I Have a Dream” speech, etc.) After students have guessed Dr. Martin Luther King Jr., show his picture and together talk briefly about his achievements.
Step 2: We’re going to learn a song about Dr. King. Play the recording, asking students to discover what the words tell us about Dr. King. Write the key words on the board as students recall them and arrange in order: Martin, caring/loving, peace, and world. Elicit from them how these words sing about Martin, sing about caring, and so forth are echoed throughout, making it easy for them to learn the words. Have them echo or respond as you speak each “call.” Then, sing or play the recording again, asking the children to join in on each echo (response) while you point to the words on the board.
Step 3: Let’s learn some signs for the special words in “Sing about Martin.” Introduce the “M” sign for Martin by asking students to see if they can form a letter “M” with their fingers. With the “M” finger position, move hand a half circle to the right. (Students might even sign “M” close to their heart to show how Dr. King was a caring person.) Then ask students How could you show caring or loving in signs—no words? Discuss their choices and show the crossed fists on heart sign. Sing the entire song with the class, but now engage the children in signing Martin, caring, and loving on the echo part (response).
Step 4: Next introduce signs for peace and all around the world. For peace, point out that this is a soft and gentle sign made by touching hands together and then slowly and smoothly moving hands downward in front of the body showing a quieting effect. Repeat the song singing and signing Martin, caring/loving, and peace.
Indicator of Success
Can you make a “W” with your fingers? Hold up three fingers in both hands to create the “W” for world and then ask them to draw all around the world by circling their right hand “W” around in front of their left hand. Repeat singing the song and signing all the key words several times.
CLOSE
Step 5: Ask students to tell you what was special about the calls and responses (they were identical!). Close by noting how each of us is a special person—as Dr. King was—and compliment them on how well they learned to do the signs and sing the echo responses for “Sing about Martin!” Ask them to give themselves applause the “signing way” (shake both hands in the air overhead, with an excited, happy face).
ASSESS
As students sing other call and response songs, note how successfully they identify and sing the calls and responses at the right time.
Awarded the Nobel Peace Prize in 1964, Dr. Martin Luther King Jr. (1929–1968) was an African American Baptist minister and civil rights leader who worked for equality for African Americans. A federal holiday commemorates his birthday, January 15. February is African American History month.
1. For English language learners, encourage their sounding out the key words—caring/loving, peace, and world—and with the help of the ASL signs, understand the meaning of the words.
2. Visual learners may need their own individual cards for the key words.
Social Studies
3. Using books that follow and other resources, help students learn more about Dr. King. Record their findings on a class KWL chart—which is found on the companion website.
MARZALO, J. (1993). Happy Birthday, Martin Luther King. Scholastic.
RAPPAPORT, D. and B. COLLIER, illustr. (2007). Martin’s Big Words: The Life of Dr. Martin Luther King. Jump Sun Press.
4. Divide the class into two groups and have one group sing the calls and the other group the responses. Be sure to include the signing so students can see and hear the identical calls and responses.
“Charlie Over the Ocean” (call and response song)
“Down by the Bay” (call and response song)
“Hello, There!” (call and response song)
“Kye Kye Kule” (call and response song)
“Good Morning Song” (call and response song, signing)
“Kum Ba Yah” (signing)
MUSIC CONCEPT
Music can be performed legato and/or staccato (Expressive Qualities: articulation)
Objective
To identify compositions that use mostly legato and mostly staccato melodies and to demonstrate that recognition by drawing abstract figures on paper while listening to music
Standard MU:Re8.1.3a
Demonstrate and describe how the legato (smooth and connected) and staccato (short and separated) melodies are used to reflect the composers’ expressive intent
Materials
Two different-colored sheets of construction paper for each student: one a light, bright color and one a darker color, and two crayons of contrasting color for each
OPEN Key Terms: legato, staccato Barcarolle A boat song of Venetian gondoliers; always in 6/8 or 12/8 meter, and a moderate tempo.
Step 1: When I call out a word, use one hand to show what the word suggests. For example, if I say “popcorn popping,” what kind of line will you draw in the air? Show me. Continue with several examples: airplane taking off, jackhammer, typing, waterfall, and so on. Discuss with students that some of those movements were smooth and connected, and some were short and separated. Music can be like that, too. In music, we call melodies that are smooth and connected—legato and those that are short and separated—staccato.
Step 2: Tell students that they will listen to two pieces of music (keep titles a secret!) and draw something that will match each piece. Distribute paper, two different colors to each student. Play part of each composition, and after they have heard both, ask them to choose the color they want to use for each. (There is no right or wrong answer!)
Step 3: Distribute crayons, two colors to each student. Caution class to avoid drawing pictures of recognizable objects. Encourage them to draw the same things they drew in the air. Make your drawing look either legato or staccato. Play each composition for the drawing experience. Move through the group to observe students as they draw.
Indicator of Success
Step 4: Let’s have an art gallery showing. Ask one half of the class to hold up their drawings for “Barcarolle” for all to see. Ask how they look the same and why. (smooth, connected lines) Use the same process with the other half of the class for “Devil’s Dance.” Note the drawings that contain many separate dots or marks that look like the staccato melodies in the music.
CLOSE
Elicit from students how the two musical selections (and the drawings) were contrasting. Ask them to describe how the staccato music conveyed a devil dancing and the legato music suggested music used for rowing a boat. (A barcarolle is a boating song sung by gondoliers.)
ASSESS
Observe how successful students are in identifying legato and staccato in other pieces of music.
1. For students who may have difficulty drawing with the music, encourage movements such as swaying for the legato selection and head bobbing for the staccato one or any gestures/expressions that are comfortable for them.
2. Make sure that English language learners understand that legato and staccato are Italian terms for English words such as smooth and connected, short and separated. Encourage them to share what those words would be in their native language.
Movement
3. Try movements to each piece. “Barcarolle” may inspire smooth ice-skating or sliding while “Devil’s Dance” will likely suggest jumpy or hoppy abstract movements. Or have students use streamers to illustrate the smooth versus jumpy flow and add visual interest to the movements.
4. Using flashlights covered with different colored cellophane, create a “light show” (room lights off) for “Barcarolle” and “Devil’s Dance.” Some ideas might include “dancing” the flashlights on the ceiling and walls in smooth, long movements for “Barcarolle” and in contrasting short, jumpy movements for “Devil’s Dance.” Students can pass flash lights around so everyone can have a turn!
Language Arts
5. Create a “sound story” using a variety of classroom instruments along with a story having two contrasting sections, such as Where the Wild Things Are by Sendak (MU:Cr1.1.2a).
“Ballet of the Unhatched Chicks,” by Mussorgsky (staccato)
“The Swan” (Carnival of the Animals), by Saint-Saëns (legato)
“Kangaroos” (Carnival of the Animals), by Saint-Saëns (legato and staccato)
“Dance Macabre” by Saint-Saëns (legato and staccato)
“Star Wars” theme (legato and staccato)
MUSIC CONCEPT
Melodies are divided into smaller parts called phrases (Form)
Objective
To identify aurally a musical phrase and to demonstrate that recognition by singing and by changing movement directions on each phrase
Standard MU:Pr4.2.3a
Demonstrate (through singing and moving) understanding of the structure (phrases) in a song
Materials
Tambourine
Room-sized Beat Chart (margin below)
OPEN Key Term: phrase
Step 1: Introduce the tambourine and demonstrate hitting and shaking. Shake to signal students to stand and play steady beats as students move to a space in the room where they can do movements. After students are in place, tell them that the tambourine will tell us when to move and when to stop. When you hear the tambourine, walk. But when the tambourine stops, you stop, too.
Beat Chart
Step 2: Let’s see how that four-beat stepping fits the “Shoo, Fly” song. Play the recording or sing the refrain and play the tambourine as students repeat their stepping. Review the song’s words and the forward/ backward stepping by introducing the chart (in margin). Show students how “Shoo, Fly” has four phrases, with each phrase four beats (steps) long: forward four beats, backward four beats, forward four beats, backward four beats. Repeat singing and stepping until students are secure with words and stepping.
Help students discover the phrases in the “Shoo, Fly” part really helped decide when to change direction. Remind them that they probably took a breath to sing each phrase, too!
Step 3: Have the class try a folk dance for both the “Shoo, Fly” (refrain) and “I feel, I feel . . .” (verse).
| Formation: | Circle, facing center, hands joined. |
| Refrain: | Four steps in toward center (arms raised), four steps back (arms lowered). Repeat. |
| Verse: | Slide sideway counter clockwise, facing center with hands joined for first half of verse and slide sideways clockwise for second half of verse. On "so" face center again and repeat refrain directions. |
Indicator of Success CLOSE
Ask How many phrases are there in the “Shoo, Fly” part of our song? (four) Have them demonstrate their understanding by singing just the “Shoo, Fly” part and holding up fingers for each phrase (1, 2, 3, 4) as they sing. Then, have them sing the song while you play steady beats on the tambourine until all students have moved back to their seats.
ASSESS
As students sing a familiar but different song, note how accurate they are identifying and demonstrating phrases.
Peer-assisted Learning
1. To help all children be successful with the folk dance, use a model group of four students to demonstrate the dance, followed by a second model group, and then with the entire class. Place students who may have difficulty next to good models.
2. Students who are unable to do locomotor movements can “step” with their fingers, move their wheelchair back and forth, or use any gesture that is comfortable to show forward and backward stepping.
Language Arts Science
3. Write “shoo, fly” on the board and help English language learners understand that a fly is a flying insect and shoo is a sound for scaring away the fly. Help children learn more about insects. Share V. Wilkinson’s book Flies are Fascinating (Children’s Press, 1994).
Phrase/Beat Chart
4. Use the Phrase/Beat Chart (with quarter notes and curved line to show phrases) while singing “Shoo, Fly.” Students or teacher can point to each steady beat. This will fit both the song’s refrain and verse.
5. Try a more challenging dance for the song’s verses. See directions on p. 315
“Bow, Belinda”
“Jim-Along, Josie”
“Looby Loo” 
“Old Brass Wagon”
“Sally, Go ’Round the Sun” 
“Skip to My Lou”
MUSIC CONCEPT
Pitches can be high or low (Melody)
Objective
To identify aurally the high-pitched and low-pitched phrases that recur and to demonstrate that recognition by raising hands and cards during the phrases
Standard MU:Re8.1.2a
Demonstrate (by raising hands/cards) understanding of the music concept (high-pitched and low-pitched phrases) in an instrumental music selection
Materials
Paper square card (4" Χ 4") for each student; one color for half the class and a different color for the other half
Two paper squares (4" X 4"); one labeled "Introduction" and the other "Coda"
OPEN Key Terms: high, low
Step 1: Initiate a conversation (pick any topic!) with a student—ask questions and take turns talking. After the demonstration, elicit from the class what you were doing.
Indicator of Success
Step 2: We are going to listen to a composition that is like a musical conversation—one short phrase is answered by another. Divide the class into two groups. Assign one group to raise hands when the first phrase (Question) is heard and assign the second for raising hands when the second (Answer) is heard. Play the entire piece and, after the introduction, help groups to raise hands at the appropriate time, signaling students not to raise hands during the ending (coda). (After the introduction, these paired phrases alternate six times, followed by the coda: Introduction QAQAQAQAQAQA Coda.)
Step 3: Distribute cards of one color to the first-phrase group and the other color to the second. Ask students to raise and bounce their cards as they listen to the music again and to notice whether their phrase is mostly high or mostly low. Review meaning of high/low pitch levels. Which instruments played high? (flute, piccolo) Which instruments played low? (violin, cello)
Indicator of Success
Step 4: After listening, help students to verbalize that the first phrase in each pair was high-pitched and the second was low-pitched. Then, tell students that the class is going to count how many high-pitched and how many low-pitched phrases are heard. Choose several “counters” in each phrase group to count silently as the groups listen and raise cards. Choose two students to hold up the Introduction and Coda cards at the appropriate time.
Step 5: After groups have determined that each counted six phrases, select one student from each to collect six cards from his or her group to place on the board tray as the class listens one more time. (The two students should place the cards—one at a time—on the board tray as the music is heard.) Place the “Introduction” card and the “Coda” card at the beginning and end of the board tray.
CLOSE
Using the card display as a visual cue, review with students how one phrase is answered by another throughout the piece. Ask them to tell you which phrases have high pitches, which have low, and how many phrases there are of each.
ASSESS
Observe how successful students are in demonstrating and describing the differences between high and low phrases in similar compositions.
The Nutcracker ballet has become a Christmas favorite in many countries, and an abbreviated version of the music (The Nutcracker Suite) is one of the most recorded compositions in classical music. (Go to www.nutcrackerballet.net and click on “Music” to listen.)
The Nutcracker story is about a little girl (Clara) who receives a nutcracker doll on Christmas Eve. Clara falls asleep under the tree with the Nutcracker in her arms, and dreams he has turned into a handsome prince who takes her on a series of fantastic adventures. They travel to the Land of Sweets and are entertained by Chinese and Russian dancers, flowers performing a waltz, and a Sugar Plum Fairy dancing.
Peer-assisted Learning
1. Some children may have difficulty following the directions for raising hands and cards and being “counters.” It may be helpful to designate peer partners for these activities.
2. English language learners (and other children as well) may not be familiar with the word “conversation” or its meaning. Take time to explain and write the word on the board encouraging correct pronunciation.
3. Use high and low rhythm instruments—for example, triangle and large drum—with the two melodies in the music. Students in each group could play as their group’s melody is heard.
4. Help students learn about the Nutcracker ballet and Tchaikovsky through stories, software and CDs.
Language Arts
HAUTZIG, D. (2006). Story of the Nutcracker Ballet.
Tchaikovsky’s Nutcracker: The Music Game. (CD-ROM – Windows)
Tchaikovsky Discovers America. Classical Kid Series. Book and CD.
“Kangaroos” (Carnival of the Animals), by Saint-Saëns (high and low)
“The Elephant” (Carnival of the Animals), by Saint-Saëns (mostly low)
“The Aviary” (Carnival of the Animals), by Saint-Saëns (mostly high) 
MUSIC CONCEPT
Pitches in a melody can move by step (Melody)
Objective
To identify aurally three pitches stepping down and to demonstrate that recognition by singing, playing, and doing hand motions when the pattern is heard
Standard MU:Pr4.2.2a
Demonstrate (through singing and hand motions) understanding of the music concept (stepwise pattern) in a song
Materials
Resonator bars C to C1, a mallet, and a resonator-bar stepladder frame (if available)
OPEN Key Terms: skip, step, up/down
Step 1: Draw stairs on the board (see margin). Elicit from students that one can go up/down on each step or skip. Display a set of resonator bars arranged on a step frame. Play a series of pitches skipping at least two bars at a time and ask students Are the pitches skipping or stepping from one to another? Invite several students to demonstrate stepwise movement on the bars and note that stepping means that pitches are close together.
Step 2: Place the E, D, and C bars where all can see them, and play this descending pattern several times. Also show the visual of E, D, and C helping students see the stepping-down pattern. Then, ask students to listen to a song that has these three pitches stepping down. Raise your hand whenever you hear the pattern. (end of song) Sing or play the recording. Repeat the song several times, allowing students to take turns playing the pattern while other class members sing and demonstrate with hand motions the “all day long” part. Review all of the words and encourage students to sing the entire song.
Step 3: Perform a folk dance with the song.
| Formation: | Two lines, facing each other |
| Refrain: | Partners stand in place, swinging crossed hands (joined) from side to side but stopping on the pattern. |
| Verse: | Partners raise their joined hands, forming an arch under which the lead couple moves down the �alley�/line. The lead couple stops at the end of the line, on the pattern. |
Repeat the dance with other verses and differing movements (dancing, skating etc.) as each couple moves “down the alley.”
Indicator of Success CLOSE
Step 4: Conclude with students singing as much of the song as they can, playing bars and doing hand motions. How did the pitches move in our pattern—by step or skip? (step) In what direction—up or down? (down)
ASSESS
As students sing other songs with stepwise patterns, note how successful they are in showing the melodic movement and direction.
Peer-assisted Learning
1. Organize the class into pairs to assist children who may have difficulty doing the hand motions and playing the resonator bars. A peer partner can help with the hand motions by guiding the partner’s hand or teaming with the partner to play the resonator bars. If a child is unable to grasp the mallet to play the resonator bars, attach a mallet to the child’s hand with a strip of Velcro® or use a modified mallet.
2. Use a model group to demonstrate the folk dance initially. Then, place students who may have difficulty next to appropriate models as the entire class enjoys the dance.
Kodály Adaptation
3. Incorporate Curwen/Glover hand signs (Appendix A) for “all day long” (mi-re-do) and use music notation too.
Orff Adaptation
4. Perform an accompaniment to the song, using xylophones, metallophones, and/or glockenspiels. See ensemble on p. 336.
“Duerme Pronto” (“sin llorar” and “va a cantar”)
“Long-Legged Sailor” (“long-legged wife”)
“My Dreydl” (“dreydl I shall play”)
“Shoo, Fly” (“I belong to somebody”)
“This Old Man” (“rolling home”)
MUSIC CONCEPT
The rhythm of a melody includes long and short sounds (Rhythm)
Objective
To identify aurally the long and short durations in the rhythm of a melody and to demonstrate that recognition by manipulating puppets appropriately
Standard MU:Re7.2.2a
Describe how the music concept (long and short sounds) is used to support a specific purpose in the music
Materials
A small branch of a tree (with leaves), about two feet tall
Two puppets:
Puppet show screen, if available
OPEN Key Terms: short sounds, long sounds
Step 1: Pretend you are cats looking around for a bird. Show what type of movement you might make. Select a few students to describe or act out their ideas, which might include crouching and stalking.
Continue with bird movements, selecting a different group to act out the short, quick movements of a tiny bird.
Step 2: Play the music and ask the class to listen, especially to hear if a bird and cat seem to move at the same time. (no) Ask When the short sounds are heard, which creature is moving? (Most students will say: bird) During the longer sounds, which creature moves? (cat) Students could imagine short movements being like a bird’s “tweet” and long movements like a cat’s lengthy “mee-ow.”
Indicator of Success
Step 3: Have students depict the bird with one arm, the cat with the other, while they hear the music again. Ask them to think of a plot to go with the actions. (Observe students who are successful and who might be the first puppeteers.)
Discuss students’ ideas for a plot or story. (These ideas should reflect the two musical ideas alternating throughout, concluding with a high-pitched chord.)
Indicator of Success
Step 4: Let’s have a puppet show to tell our story. Display the puppets and choose two students to act out the cat and bird story. Place puppeteers on either side of a third student holding the tree branch. Have them fit their story to the music. Repeat with several groups of students.
CLOSE
Elicit from students what they learned about the music and conclude that the long and short sounds (and the high and low pitches) made that very good music for our puppet show.
ASSESS
Observe how accurate students are in identifying and describing long and short sounds in other pieces of music.
Saint-Saëns described Carnival of the Animals as “a zoological fantasy” and included many realistic and witty effects—such as including pianists in his musical zoo! (See model experience, p. 194.) Carnival, composed in 1866, is a suite of 14 pieces with titles such as “Fossils,” “Aquarium,” and so forth.
1. Some students may have coordination difficulties depicting both the bird and cat (Step 3) with their hands. Adapt by having one half of the class do the bird movements and the other half the cat.
2. Associate the names for cat and bird with puppets and movements to assist English language learners. Encourage the sharing of the names for each animal in other languages.
Dramatization
3. Create a movement dramatization similar to the puppetry action. Make simple costumes such as bird wings, whiskers, and so on.
Visual Art
4. Construct a long–short collage using materials such as yarn cut into two different lengths. Notice how the differing colors, placement, and so forth are unified by the similar lengths and texture.
5. Engage students in learning about the entire composition Carnival of the Animals by using some of the many materials listed below.
Saint-Saëns. Carnival of the Animals. DVD, 30 min., ages 3 up. www.musicmotion.com.
Carnival of the Animals Listening Guide and Coloring Book by M. A. Stewart. www.musicmotion.com.
LITHGOW, J. (2004). Carnival of the Animals. Simon & Schuster. Book with accompanying CD.
“Ballet of the Unhatched Chicks” (Pictures at an Exhibition), by Mussorgsky 
“Long-Eared Persons” and “Hens and Roosters” (Carnival of the Animals), by Saint-Saëns
“Tuileries” (Pictures at an Exhibition), by Mussorgsky
MUSIC CONCEPT
String and brass instruments have their own special sounds (Timbre)
Music
Objective
To identify visually and/or aurally string and brass instruments in mariachi music and to demonstrate that recognition by naming and describing the instruments and the role of mariachi musicians in Mexican culture
Standard MU:Re8.1.3a
Demonstrate and describe how timbre is used in mariachi music for expressive purposes
Materials
Pictures of Mariachi (www.images.google.com)
Mariachi Activity Worksheet, p. 170
OPEN Key Terms: mariachi, trumpet, violin, guitars
Step 1: Watch and listen. Show pictures of the Mariachi ensemble, as you play an excerpt of “Cielito Lindo.” Then, ask students what is this group called? (Mariachi) Who has heard/seen a Mariachi group and where? (answers might include: fairs, festivals, Mexican restaurants, etc.) Share that this is a very popular song and is often played (and sung) by a Mariachi ensemble.
Step 2: Distribute the Mariachi Activity Worksheet to each student. Then, using the worksheet, have students discover the special hats, outfits, and instruments. Note that the outfits are very colorful and suggest that later they will create colorful outfits on their activity sheet. Help the class identify the trumpet, violin, and Mexican guitars, and pronounce the instruments’ names in Spanish and English. Keep your eyes on the worksheet as you listen for the trumpets. Point to the trumpets every time you hear them.
trompeta (“trome-PAY-tah”)
After listening, direct their attention to how the trumpet makes it sound (blow through the mouthpiece – vibrating column of air), what it is made of (brass), and how it plays different pitches (push down valves). Review its Spanish name.
Indicator of Success guitarra (“gee-TAR-rah”)
Step 3: Ask students what’s different about how the violin and the Spanish guitars make their sound (made out of wood, have vibrating strings, played with bow or strummed). Now listen again for the strings. If you hear the violin, point to it on your worksheet. If you hear the others, do the same.
Indicator of Success
Step 4: Let’s join the mariachi band. Challenge students to a final listening game. Explain that they will hear the instruments again. When they hear the trumpet and the strings, have them “join” the mariachi band and pantomime the playing position of each to show recognition.
CLOSE
Conclude by briefly eliciting from students information about the mariachi and Mexican American music. Then, direct students to the Mariachi Activity Worksheet and suggest they color the costumes of the mariachi performers.
ASSESS
As students listen to other music featuring string and brass instruments, note how successful they are in identifying the instrument family and describing any specific instruments they hear.
Social Studies
The mariachi, a strolling folk orchestra, combines vibrant music with a vivid visual presentation created by the Charro costumes the performers wear. The sounds of the mariachi are as colorful as their costumes! Instruments heard in the mariachi include violins, trumpets, guitars and guitar variants, and sometimes a Mexican harp. Mariachi music began in the rural areas of Mexico, but today the mariachi tradition is enjoyed around the world. Mariachi groups perform at weddings, birthdays, saints’ days, masses, and other celebrations, dressed in ornamented and fitted jacket, pants, and riding boots. A symbol of Mexican culture and nationalism, mariachi ensembles are popular throughout the United States and more and more secondary schools and universities are offering students the opportunity to play in a mariachi group. Visit folkways.si.edu/flash/mariachi.html for more information about mariachis.
1. For a child who may have difficulty focusing on the worksheet or who is visually impaired, describe the mariachi outfits and instruments as the class identifies them. These verbal descriptions will benefit all learners.
2. Ask volunteers to read and pronounce the names of the trumpet, violin, and guitars out loud as they are introduced to assist English language learners.
Language Arts
3. Music (and mariachi) are often part of Mexican American celebrations. Read Hello Amigos (Scholastic, 1986) and learn how friends and family celebrate the birth day of Frankie Valdez. Is music a part of Frankie’s party? What “happy birthday” songs do they sing?
Multicultural Social Studies
4. Plan a Mexican celebration of songs and dances for Hispanic Heritage Month (September 15–October 15), Las Posadas (December 14–24), or Cinco de Mayo (May 5). Involve members of the school and community. See monthly planners, p. 238
Science Cooperative Learning
5. Form small groups and give each group one thin and one thick rubber band. Have them discover several things that cause the two rubber bands to sound different (thickness, length, and tension). They might pull and listen to it vibrate or pinch off about the same length from two different thicknesses. They can pull gently, then hard, to discover various playing techniques. Then have them help you list on the board all the things that cause the rubber bands to sound different. Look at a guitar, violin or other stringed instrument to discover how strings sound different because of varying thickness, tension, and length.
MUSIC CONCEPT
Borduns and ostinatos can add harmony to a melody (Harmony)
Objective
To identify a bordun and an ostinato as repetitive accompaniment patterns and to demonstrate by playing a bordun and ostinato to accompany a song
Standard MU:Pr4.2.2a
Demonstrate (through singing and playing instruments) understanding of the music concept (borduns/ostinato) in a song selected for performance
Materials
Alto metallophone or resonator bars F and C
Xylophone or resonator bar F
OPEN Key Terms: bordun, ostinato, accompaniment
Step 1: Sing or play recording of song, asking students to discover what the angels are doing. (chattering) Discuss and review all the words. Repeat, with students patsching in a slow, steady rhythm. (
) Encourage students to join in singing as soon as possible.
Step 2: When words are secure, review what an accompaniment is. Let’s add an accompaniment to “Chatter with the Angels.”
Hold up a set of resonator bars or place an alto metallophone in full view. Point to F and ask students to decide what pitch is five notes higher. (C) Ask a student to play those two pitches simultaneously in a slow, steady rhythm. (
) Write the letter names or the notation on the board.
Step 3: These two pitches played together are called a bordun. Write word on board next to pitch names. Have the bordun player begin, and when the part is secure, the class should join in singing and patsching. Repeat with different bordun players.
Step 4: Next, have students add an ostinato as an accompaniment to their singing. Using the F resonator bar or the F on a xylophone, have a student play the rhythm of the words “Chatter with the angels” over and over. Then, have the class join in singing while the student plays the ostinato accompaniment. When a melody pattern like this is repeated over and over as an accompaniment, it is called an ostinato. (Write the word on the board.) Repeat with different ostinato players.
Indicator of Success
Step 5: Finally, combine the bordun and ostinato for an accompaniment. Have a bordun player begin alone, followed by an ostinato player (this could serve as an introduction), then have the singers join the instruments, followed by the bordun and ostinato performers extending their playing at the end for a coda.
CLOSE
Review these accompaniment patterns by eliciting from students what was the same and what was different about the bordun and ostinato. Conclude with one final performance with the introduction and coda.
ASSESS
As students select and perform bordun and ostinato accompaniments for other songs, note how successful they are in demonstrating and describing their understandings.
1. To assist children with learning the words, discuss what “chattering” means versus regular talking. The ASL signs below for “chatter” (and “angels”) may help children (including English language learners) understand the word meaning.
Move fingers back and forth to mouth ("talking")
Flutter hands for angel wings
2. Create visuals for the lyrics to aid students with the order of the words.
Peer-assisted Learning
3. For those who may need assistance in playing the instrumental accompaniment, organize the class into peer partners. Peer partners can play the instrument as a twosome and if a child is unable to grasp the mallet to play the bars, use a modified mallet.
Orff Adaptation
4. Try other borduns and ostinatos to accompany the song. See ideas on p. 255
Kodály Adaptation
5. Sing tonic sol-fa syllables for “all day long” (A-G-F). Use Curwen/Glover hand signs too (Appendix A).
Language Arts
6. Sing the additional verses and create some new verses of your own.
“Good Morning Song” (F–C bordun)
“Scotland’s Burning” (F–C bordun)
“Long-Legged Sailor” (F–C bordun)
“Charlie Over the Ocean” (G–D bordun)
“Circle Right” (G–D bordun)
MUSIC CONCEPT
Beats can be grouped in twos (Rhythm)
Objective
To visually and aurally identify beat groupings in two and to demonstrate that recognition through body rhythms and in a stick game
Standard MU:Pr4.2.2a
Demonstrate (through body rhythms and stick game) understanding of the music concept (beat groupings in two) in a march
Materials
Rhythm sticks
Notation on board or chart (see below)
OPEN Key Terms: beat, downbeat, groups of twos
Step 1: Point to the two examples of beat groupings and ask Which example, number 1 or number 2, shows beats grouped into sets of two? (number 1)
Direct students' attention to the visual difference in the two examples. Demonstrate that difference by having the class perform steady beats in groups of two (lap, clap) and in groups of three (lap, clap, clap). Continue until students are comfortable with the twos and threes. Then have the class try the twos motions (lap, clap) facing a partner (without clapping the partner's hands). Write 1 and 2 beneath the notes.(
)
Indicator of Success
Step 2: These groups of two will fit nicely with march music. On the signal, you and your partner begin lap, clap. After the eight-beat introduction in the recording, the teacher should indicate the downbeat (beat 1) in the music and say aloud “one, two.” Observe and help students having difficulty. (You might want students to feel the twos with marching before trying the stick game in Step 3.) Point to: 
on the board.
Step 3: Try a stick game with the music. Choose two students to sit cross-legged on the floor, facing each other. Give each pair two rhythm sticks to hold vertically. The pattern for the game is
Indicator of Success
Try the motions without the music, and then with the music. Signal the downbeat as before. Have other pairs of students try the stick game.
CLOSE
Stick games are a good way to show beats grouped in twos. Elicit from students that the first beat in the grouping is called the downbeat. Note that this music is a march and give its title and composer. Marches are usually in twos—great for keeping steady beats and marching “left, right.”
ASSESS
Observe how successful students are in aurally identifying and demonstrating beat groupings in two in different compositions.
John Philip Sousa, known as “The March King,” wrote almost l50 marches that are striking in their rhythmic and instrumental effects. “The Stars and Stripes Forever” (1896) is one of his most famous and is the official march of the United States (designated by Congress in 1987). Sousa led the United States Marine (Corps) Band for 12 years before forming his own band that toured worldwide.
1. Performing the twos on a drum rather than rhythm sticks would be an excellent choice for a child who has a hearing loss. With the drum, he or she will be able to feel the vibrations.
Peer-assisted Learning
2. Some children may not have the coordination skills to do the lap/clap pattern or the stick game. In that case, pair the entire class with peer partners and modify the movements to using just one hand, only clapping or tapping with the sticks.
Cooperative Learning
3. In small groups, discover other ways to show groups of twos in body movements: for example, clap/pat-a-cake, step-clap. Transfer these body rhythms to classroom instruments or paper plates (hold like cymbals).
4. Sing familiar songs in twos, and use body rhythms or instruments to show twos. (See “Jingle Bells” and “Clap Your Hands” in Section III.)
Peer-assisted Learning
5. In pairs, have students notate example 1 in Step 1 and then perform using body rhythms. Students could take turns pointing to quarter notes and performing lap, clap, lap, clap, and so on.
6. Conduct beats in twos with this march. (For conducting patterns, see Appendix A.)
Social Studies
7. Look at and discuss pictures of a band, such as a marching band led by a drum major or a concert band led by a director/conductor. Identify family members who are in bands (or other musical groups). How do these musical groups influence students’ lives and make them better? What would our lives be like without music? Learn how a band is a group, with roles as in other groups (e.g., leaders, followers, innovators, isolates).
“Parade” (Divertissement), by lbert 
“Piffle Rag,” by Yelvington 
“Viennese Musical Clock” (Háry János Suite), by Kodály 
“Hoedown” (Rodeo), by Copland
“Hotter Than That,” by Louis Armstrong
“Orange Blossom Special,” by Rouse 
“Russian Dance” (The Nutcracker Suite), by Tchaikovsky
“The Washington Post March,” by Sousa
MUSIC CONCEPT
Beats can be grouped in threes (Rhythm)
Music
Objective
To identify aurally beat groupings in three and to demonstrate that recognition using the conducting pattern for triple meter along with the music
Standard MU:Pr4.2.2a
Demonstrate by conducting understanding of the music concept (beat groupings in three) in a composition by Bach
Materials
Not needed
OPEN Key Terms: beat, downbeat, threes
Step 1: I know a musician who shows steady beats to other musicians. Ask students if they can guess who I am and what I’m doing. (Teacher positions self at front of room and begins conducting while recording plays.) After students have discovered you are a conductor, briefly discuss conductor’s location in front of a group and the use of arms to keep the steady beat.
Step 2: Engage students in steady-beat clapping (to get ready to be conductors) and then show beats grouped in threes (e.g., lap, clap, clap). Draw three quarter notes on the board and have a student point to the notes as the class performs steady beats in threes. Speak “1, 2, 3” aloud and have students join you in saying “1, 2, 3” as they do the body movements. Then have students try the lap, clap, clap (1, 2, 3) with an excerpt from the music “Jesu, Joy of Man’s Desiring.”
Step 3: Next, tell students they are now going to become conductors, so they will need to learn the conductor’s pattern for steady beats in threes. Draw the conducting diagram on the board (see margin), omitting numbers and verbal clues.
Each student should use the dominant hand and arm for conducting.
Demonstrate the pattern for the class, reversing your movements or standing with your back to the class. Ask them Which movement is the first (or downbeat) in the pattern? (the downward motion) Label each movement in the pattern: “1, 2, 3.”
Have students stand and try the pattern until most seem secure, giving verbal cues such as “down, right, up” as needed. (Use a tempo similar to that of “Jesu, Joy of Man’s Desiring.”) Move throughout the class to help students.
Indicator of Success CLOSE
Step 4: As soon as the class is secure, have students stand and conduct with the music pretending that they are standing in front of an orchestra. Be sure to help with the downbeat. After the conducting, review keeping a steady beat, locating the downbeat, and conducting music in beat groupings of three.
ASSESS
Observe how successful students are in aurally identifying and demonstrating beat groupings in three in different compositions.
1. Some students may need assistance in hearing the three-beat groupings in the music and learning the conducting pattern. First, have them listen for the downbeat and pat their “lap” on beat one only. Gradually add the “clap, clap” on beats two and three. Second, do the same with the conducting pattern, e.g., perform the downbeat stroke only, then gradually add the other motions. Draw a large example of the conducting pattern on the board and have different students take turns tracing the pattern.
2. Encourage children who may have limited range of movement to use any mobility they have to demonstrate the beat and beat groupings (swaying, nodding, etc.). Invite them to be part of the pretend orchestra keeping the beat as they follow their conductors.
3. Initiate a discussion with the children about attending a concert and what happens when the conductor (maestro) enters the stage. Talk about when it is appropriate to clap, what the conductor does to indicate that the concert is starting, and what happens with the lights to cue the audience about the concert’s beginning and ending. What is the appropriate behavior or audience etiquette for such a concert?
Peer-assisted Learning
4. In pairs, have students create hand games in beat groupings of twos or threes. Perform, and have the class decide whether the example is in two or three.
5. Engage students in learning more about J. S. Bach through the DVD or CD Mr. Bach Comes to Call (Classical Kids Series). Challenge students to signal when they hear the excerpt of “Jesu, Joy of Man’s Desiring” in the story. Or invite students to read about this famous composer in one of the books listed below or the Discover Bach CD-Rom/DVD software.
Language Arts
KETCHAM, S. J. (1999). Bach’s Big Adventure. Orchard Books.
WINTER, J. (1999). Sebastian: A Book about Bach. Harcourt.
“Carillon,” from L’Arlésienne Suite no. 1, by Bizet 
“The Elephant” from Carnival of the Animals, by Saint-Saëns 
“Waltz of the Flowers” (The Nutcracker Suite), by Tchaikovsky
MUSIC CONCEPT
Instruments are grouped into families (Timbre)
Toccata for Percussion, III. by Carlos Chávez (Mexico, 1899–1978) PERCUSSION family
Serenade, No. 10 (K. 361), VI. Theme and Variations by Wolfgang Mozart (Austria, 1756–1791) WOODWIND family
Trout Quintet in A Major, Op. 114, D. 667, IV. by Franz Schubert (Austria, 1797–1828) STRING family
Objective
To identify aurally that instruments are grouped into families and to demonstrate that recognition by circling the appropriate family on a worksheet
Standard MU:Re8.1.2a
Demonstrate and describe knowledge of music concept (the timbre of instrumental families) in Western Art Music
Materials
Room-sized pictures of selected instruments (see samples, p. 179)
Instrument Families Listening Worksheet for each student, p. 179
OPEN Key Terms: woodwind, strings, brass, percussion
Step 1: I’m thinking of a special word that describes brother, sister, mother, and others. What is it? (family/families) Discuss what makes these people a family—related names, looks, etc.
Write key terms on board as they are introduced.
Step 2: Mention that instruments in the orchestra come in families too, and are related in looks and sounds. Display pictures of brass instruments and have students hold pictures for all to see. Point to familiar ones such as trumpet and trombone and ask students to name. Then decide What do they have in common that makes them brass family members? (brass material, cup-shaped mouthpieces, long cylinders that are wound up and end in flaring bells) Ask How do brass instruments produce their sounds? (by blowing into the mouthpieces) Play the excerpt of Canzona and ask students to listen for the instruments in the brass family.
Step 3: Play the excerpt of the Trout Quintet and ask students to identify the instruments in a different family. (strings) As they identify stringed instruments, display the pictures—violin, double bass, and so on and identify their similarities. (strings that are bowed or plucked, wooden bodies of similar shape but different sizes) Ask students about the differences between the strings and brass in terms of sounds and looks.
Step 4: Show photos of familiar woodwind instruments such as clarinet and flute. Because of the materials and construction, woodwinds will sound different from strings. Discuss the similarities and differences of woodwind instruments. (wood or metal bodies, single-reed or double-reed mouthpieces—except the flute’s open hole the player blows across.) Play the excerpt of Serenade for students to listen for the woodwind instruments.
Step 5: Play the excerpt of Toccata, and have students identify the orchestral family. (percussion) Display pictures of percussion instruments and discuss how percussion are all played by striking or shaking. Identify some that are struck (drums, cymbals), and some that are shaken (maracas, sleigh bells).
Indicator of Success
Step 6: Distribute the worksheet to each student and review the directions for listening to the four selections, and marking the worksheet.
Listen to number one, and decide what you hear: woodwind, strings, brass, or percussion. Play excerpts from the four compositions; scramble the order. Correct answers immediately after hearing each composition and name the composer and title of each.
CLOSE
Finally ask Which family includes the trumpet and trombone? (brass) Which includes the violin and cello? (strings) Which the drums? (percussion) and Which the clarinet and flute? (woodwinds). Help students conclude that orchestral instruments are grouped into families and each has its own special sound and look.
ASSESS
Observe how successful students are in aurally identifying and correctly naming instrumental families (and their instruments) in different compositions.
1. Encourage English language learners to read the instrumental family names aloud as they associate the instruments with the name.
Peer-assisted Learning
2. Some children may have difficulty following the directions for the worksheet—designate peer partners for this activity.
3. Explore “Instruments of the Orchestra” on SFS Kids “Fun with Music” on the San Francisco Symphony website www.sfskids.org. Play the “Music Match Instruments” game on the New York Philharmonic Kidzone website www.nyphilkids.org. From the home page, click on the Game Room link and select “Music Match Instruments.”
Cooperative Learning
4. Have students work in small groups to complete an orchestra seating chart. Enlarge to room size the Orchestra Seating Chart on p. 180, and with the chart posted on a bulletin board, have them put pictures of instruments in the appropriate sections. They could look for pictures in magazines or catalogs, make their own drawings, or draw the entire chart and instruments.
5. Have students discuss the different audience behaviors that are appropriate for different musical events, for example, orchestral concert, parade, rock concert.
Language Arts
6. Share the following books with students to help them learn more about the orchestra.
Hayes, A. (1991). Meet the Orchestra. Harcourt Brace.
KUSKIN, K. (1986). The Philharmonic Gets Dressed. HarperTrophy.
KOSCIELNIAK, B. (2003). The Story of the Incredible Orchestra. Houghton Mifflin.
Sloan, C. (2015). Welome to the Symphony. Workman Pub. Co.
Young Person’s Guide to the Orchestra, by Britten (all instruments)
You will hear four pieces of music. Decide which family you hear for the first piece and write 1 in the box by its picture. For the second piece, write 2 by its picture. Do the same for pieces 3 and 4.
Photo by John Bacchus, Pearson Education Corporate Digital Archive.
Courtesy of Silver Burdett Ginn Needham.
3d renderings/Shutterstock.com
LHF Graphics/Shutterstock
MUSIC CONCEPT
Pitches in a melody can move up and down by step (Melody)
Objective
To identify aurally pitches stepping up or down and to demonstrate that recognition by singing and by playing resonator bars
Standard MU:Pr4.2.3b
When analyzing a song, read and perform a melodic phrase that moves by step using standard notation
Materials
Resonator bars C, D, E, F, G, A, B, C1 and their stepladder frame (if available) 8 large room-size visuals—see pp. 183–184
OPEN Key Terms: steps, stepping, pitches moving up, down
Step 1: Hide the resonator bars (on a step frame) from view and have students close their eyes; then play the sequence C-D-E-F-G-A-B-C1. Ask you can’t see, but did the pitches move up or down? (up) Play again and ask did they move by step or by skip? (step) Replay with bars in full view and discuss how the pitches move up in order, by steps.
As a student names the bars, write the letter names on the board arranged from low to high, or use music notation, noting that the first and last pitches are the same. (C)
Indicator of Success
Repeat the playing, and have students show with your hands how the pitches step up. Then select pairs of students, one to play the step bars while the other points to letter names (or notation) on board. The class can use hand motions, too. Write the pitches on the board moving from low to high, and similarly have students play bars and point to notation for the downward pitches.
Step 2: Explain they are going to hear a silly song, using those pitches, and ask them to discover how the pitches in the song move: up or down? (up, until it goes quickly down at the end) Introduce “Ebeneezer” while you play the bars: sing or play the recording. (Recording must be in tune with the bars.)
Write the name “Ebeneezer Sneezer” on the board and practice saying it. Sing/play the song again and ask students to tell what kind of a man Ebeneezer is. (topsy-turvy)
Step 3: Focus on learning the words by using the large visuals. (Visuals should be coordinated with the 8 pitches: C = Ebeneezer, D = topsy, E = elbows, and so on.) Repeat singing (with teacher playing bars, if needed) until students are secure.
Step 4: Select eight bar players who will play the C = Ebeneezer, D = topsy, etc. While class sings, eight players perform each ascending pitch and singers alone sing the “Oh Ebeneezer what a man.” Change bar players and repeat as long as interest is high.
CLOSE
How many pitches were in the Ebeneezer song? (eight) Elicit that the pitches moved up and down by steps, in order, and that the first and last pitches have the same name.
ASSESS
As students sing songs that move up and down by step, observe how accurate they are identifying and playing stepwise pitches on an instrument.
Peer-assisted Learning
1. Organize the class into peer partners to assist children who may have difficulty doing the hand motions and playing the resonator bars. A peer partner can help with the hand motions by guiding the partner’s hand or teaming with the partner to play the resonator bars. If a child is unable to grasp the mallet to play the resonator bars, attach a mallet to the child’s hand with a strip of Velcro® or use a modified mallet.
2. Prepare small visuals to be placed on a desk, wheelchair tray, or on a communication device to assist those children who need extra help in remembering the words.
3. Have students show pitch levels by touching hands to different parts of the body: C—knees, D—thighs, E—hips, F—waist, G—chest, A—shoulders, B—head, and C1—hands above head.
Kodály Adaptation
4. Sing the song using Curwen/Glover hand signs (Appendix A) for each pitch. Use the song notation in Section III. Also, try singing sol-fa syllables along with the Curwen/Glover hand signs.
Science
5. Experiment filling eight bottles with water to create “Ebeneezer’s” pitches. (Seal bottles against evaporation and spillage.) Emphasize that it is the length of the air that determines the pitch, not the amount of water. Try “playing” the water xylophone in steps, skips, and repeats. Even try an octave skip (C–C1: 8 notes apart). Note that this big skip called an octave shares the same root as other words such as octopus and octagon.
Cooperative Learning
6. In small groups, have students write the letter names C through C1 arranged in order from low to high (or use music notation) and then sing “Ebeneezer,” pointing to each letter name or note.
“Joy to the World”
“St. Paul’s Steeple”
MUSIC CONCEPT
The rhythm of a melody includes short and long sounds (Rhythm)
Objective
To identify the short and long sounds in the rhythm of the melody and to demonstrate that recognition in body movements, singing, and reading
Standard MU:Pr4.2.3b
When analyzing a song, read and perform the rhythm of the melody using standard notation
Materials
Chart of the song’s rhythm, p. 245. Prepare chart with rhythm and words only.
OPEN Key Terms: short sounds, long sounds, rhythm of the melody
Step 1: Have students echo my clapping. Clap just the steady beat pattern below, with the class echoing. Then, chant the words with the pattern, with class echoing and, when they are successful with the chanting, sing the words. Finally, write the notation on a board and have them read and perform the first part of this song from Morocco. (If a globe or map is available, have them locate Morocco.)
Step 2: Ask students to listen for the words that come right after the “A ram sam sam” part. (Sing just the “guli, guli” part—pronounced “goolee”). As students identify these words, ask them to decide if the sounds are shorter or longer than the “A ram sam sam” part (shorter). Write this part on the board and have students read and patsch (pat thighs) these short sounds (alternating on left and right thighs). Then, sing the song with clapping on the “A ram sam sam” and patsching on the “guli guli” parts.
Step 3: Tell students that there is only one part left in the song. Notate this part on the board.
After they determine that “ra” is a long sound, show how to perform by pushing arms out in front. Sing and perform with them.
Indicator of Success
Then, challenge students to sing the entire song with motions repeating several times.
CLOSE
Display the chart of the song’s rhythm. Ask students to identify the shortest sounds and the longest sounds.
Indicator of Success
Elicit the names of the notes and read and perform just the rhythm of the melody again. Discuss how each song has its own distinctive rhythm of the melody.
ASSESS
As students perform or review a different song, observe how successful they are in reading standard notation and performing the rhythm of the melody.
Peer-assisted Learning
1. Organize the class into peer partners to assist students who may have difficulty doing the hand motions.
2. For those who are physically unable to do the suggested motions, encourage any gesture(s) for demonstrating.
Kodály Adaptation
3. Speak rhythm syllables (Appendix A) for all the notes in “A Ram Sam Sam.”
4. Play a game in which students have to guess familiar songs from their rhythms alone (e.g., “This Old Man,” “Jingle Bells,” “Frère Jacques!”). Clap or play on rhythm instruments such as tone block or tambourine.
5. Assign three students three different rhythm instruments such as drum, tone block, and tambourine. Have students decide which instrument is best for each part and have the performers play the rhythm of the melody.
Social Studies
6. Share the following books to help students learn more about life in Morocco:
Language Arts
J. Hermes’s The Children of Morocco (Carolrhoda Books, 1995) and J. Stewart’s A Family in Morocco (Lerner, 1986).
| "Bingo" | "Los Pollitos" |
| "Good Morning Song" | "This Old Man" |
| "Hanukkah" |
MUSIC CONCEPT
Phases in a melody can be the same or different (Form)
Objective
To identify same and different phrases in a song and to demonstrate that recognition through singing and analysis of the number of phrases and same/different words and melody
Standard MU:Pr4.2.3a
Demonstrate (through singing and analyzing) understanding of the structure (same and different phrases) in a Chinese folk song
Materials
Five large poster-sized strips of paper, each displaying the words for one of the five song phrases
OPEN Key Term: same/different phrases
Step 1: Introduce the Chinese New Year’s celebration by greeting students with “Gun Hoy Fat Choy!” (“Happy New Year!”). Use a prop such as a dragon puppet and/or a story such as the Vaughan or Waters/ Slovenz-Low books (see next page) to introduce the importance of the dragon and lion dances. Ask them to share what they know about the celebration.
Sing or play the recording of “The Dragon Song” and invite students to listen and find out more about the dragon and the New Year festival. After listening, have students mention important words they heard (e.g., 100 legs, New Year’s Day, drum, gong).
Cooperative Learning
Step 2: To learn the words, divide the class into five groups and assign each group one song phrase to learn. Distribute a phrase strip to each group. Ask them to review the meaning of their phrase and practice repeating the words together. As a group, listen to the song to see where their phrase comes. Then, after they have made a decision, ask each group to select a representative to bring their phrase strip to the front of class and, with the teacher’s guidance and another listening to the song, arrange the phrases in song order on the board.
Step 3: As a class, have students determine which phrases have the same words. (4 and 5) Invite class to join in singing the last two phrases of the song as the recording plays. Then ask which phrases have different words, but the same melody. (2 and 3) Finally, point out that the first phrase is different from all the rest. Review all lyrics and, then, help them learn the entire song using the phrase strips.
Indicator of Success CLOSE
Step 4: Next, have them try a dragon dance with the song. Form a line, facing front, with their hands on shoulders of students ahead of them. The leader (preferably, the teacher initially) leads the “dragon” SLOWLY on a winding path throughout the classroom. Encourage slowly bending up and down, side to side, and, finally, dropping down on the last note/word. Ask students review questions about the Chinese New Year Celebration, the number of phrases in the song (5), and which phrases were exactly the same in words and melody (4 and 5). Finally invite them to say “Gun Hoy Fat Choy!” to each other before they return to their seats.
ASSESS
After students learn or review a different song, note how successfully they identify same and different phrases.
Social Studies
The dragon represents good luck to the Chinese, and red is a lucky color. Therefore, a Chinese New Year parade will have a dragon with lots of red on it. And last year’s evil will be chased away by the writhing dragon, loud music, and, of course, firecrackers! Between January 21 and February 20 people will gather with family, honor their ancestors, wear new clothes, and exchange gifts. Often a gift is a red envelope with “lucky money” tucked inside.
1. Incorporate ASL signs (p. 261) for the key words at the end of each phrase.
2. Involve a child with special needs as an active participant in the cooperative-learning group noting that he or she may need visuals of the words while the other group members read them. The child could be the group representative for collecting the phrase strip for the group and later bringing it to the front of the class.
Peer-assisted Learning
3. Encourage a student using a wheelchair to be part of the dragon dance by having a peer partner or a paraprofessional push him or her on the winding path around the classroom.
Orff Adaptation
4. Play an ostinato along with the song. Place the bars C and C1 where all can see and play alternately, beginning on low C. (See margin.) (Bars must be in tune with the recording.) Add the drum and gong parts for the last phrase. Or, play the rhythm of the last phrase five consecutive times as a song accompaniment, suggesting a Chinese percussion ensemble.
Social Studies Language Arts
5. Learn the song “Go a Tin” (Section III), which is about the Lantern Festival that is the culmination of the Chinese New Year festivities. Plan a Chinese New Year celebration. Prepare and eat Chinese food, wear traditional clothing, and play Chinese music. Sing the two songs, have a parade and dragon dance (with percussion accompaniment). Construct a class New Year dragon to hold up as they do the dance. Members of the Chinese community would be a great resource for more information about the traditions as would some of these books.
CHINN, K. (1997). Sam and the Lucky Money. Lee & Low Books.
KUO-HANG, H. and P. S. CAMPBELL. (1996). The Lion’s Roar: Chinese Luogu Percussion Ensembles. 2nd ed. Danbury, CT: World Music Press.
VAUGHAN, M. (1996). The Dancing Dragon. Mondo Publishing.
WATERS, K., and M. SLOVENZ-Low. (1990). Lion Dancer: Ernie Wan’s Chinese New Year. Scholastic Inc.
Plan one or two original model experiences for children in grades 2/3 (Level II). Base each experience on one of the two specified listening selections. Each experience should be prepared in a step-by-step sequence using a similar format to the models in The Musical Classroom (see the sample outline that follows). Specific information about each component of the experience follows.
Plan two extension activities. One activity should be an extension of the music concept presented in the model experience. Another activity should focus on a different subject area such as science or social studies.
MUSIC CONCEPT Music Objective Standard Materials
OPEN Key Terms:
Step 1:
Step 2:
Step 3:
Indicator of Success CLOSE
Step 4:
ASSESS
Extend
(One activity to reinforce the music concept and one related to another curricular area)
Music
1.
(other curricular area)
2.
