11
Level III Fourth and Fifth Grades

  1. ∎ Sequence of Songs and Listening Selections
  2. ∎ Sequence of Music Concepts
  3. ∎ Model Experiences
  4. ∎ Review of Level III
  5. ∎ Creating a Model Experience
  6. ∎ Monthly Planners
A class performing on Orff instruments Courtesy of Sonor Instruments

A class performing on Orff instruments Courtesy of Sonor Instruments

SEQUENCE OF SONGS AND LISTENING SELECTIONS LEVEL III (GRADES 4–5)

MODEL MUSIC PAGE
30 “Pianists” from Carnival of the Animals, by Saint-Saéns p. 194
31 “Hawaiian Rainbows” (Modern Hawaiian song) p. 196
32 Haiku sound piece p. 200
33 “Carillon” from L’Arlésienne Suite no. 1, by Bizet p. 202
34 “Viennese Musical Clock” from Háry János Suite, by Kodály p. 204
Multicultural Unit
35 “Mango Walk” (Calypso song from Jamaica) p. 208
36 “Stomp Dance” (Cherokee Indian) (excerpt) p. 210
“Mai Wakaringano” (Zimbabwe) (excerpt) p. 210
“Ho Jamalo” (India-Pakistan) (excerpt) p. 210
37 “Corn Grinding Song” (Navajo Indian) p. 212
38 “Wedding Music” (Tunisia) (excerpt) p. 216
“Classical Quintet Ngu Tuyet” (Vietnam) (excerpt) p. 216
“Barong Dance” (Bali) (excerpt) p. 216
39 “Wabash Cannon Ball” (Traditional) p. 220
“Orange Blossom Special,” by Rouse p. 220
Jazz Unit
40 “Lost Your Head Blues” (American blues) p. 222
41 “Piffle Rag,” by Yelvington p. 226
42 “Take Five,” by Desmond p. 230
43 “Four on the Floor,” by Larsen p. 232
Archduke Trio, second movement, by Beethoven (excerpt) p. 232

SEQUENCE OF MUSIC CONCEPTS LEVEL III (GRADES 4–5)

ELEMENTS OF MUSIC MUSIC CONCEPTS
MELODY Pitches can move by stepping up or down (Model 30, “Pianists”)
FORM Phrases in a melody can be the same or different (Model 31, “Hawaiian Rainbows”)
TIMBRE Each instrument has a characteristic timbre that when combined with others can create a sound piece (Model 32, Haiku sound piece)
FORM Sections of a composition can contrast with one another and sections can be repeated (ABA) (Model 33, “Carillon”)
FORM The initial section of a composition may alternate with contrasting sections in rondo form (Model 34, “Viennese Musical Clock”)
HARMONY Chords consist of three or more pitches stacked in thirds (Model 35, “Mango Walk”)
FORM In call and response form, responses can be identical to the call, or contrasting (Model 36, “Stomp Dance,” “Mai Wakaringano,” “Ho Jamalo”)
MELODY A melody can exhibit a distinctive contour as it moves up or down or repeats (Model 37, “Corn Grinding Song”)
TIMBRE Instruments can be identified and grouped by their timbres and materials (Model 38, “Wedding Music,” “Classical Quintet Ngu Tuyet,” “Barong Dance”)
HARMONY Chords can be performed as a song accompaniment (Model 39, “Wabash Cannon Ball,” “Orange Blossom Special”)
FORM Each of the three phrases in “12-bar” blues consists of four “bars” (Model 40, “Lost Your Head Blues”)
FORM Sections of a composition can contrast with one another and sections can be repeated (AABBACCA) (Model 41, “Piffle Rag”)
RHYTHM Beats can be grouped in fives (Model 42, “Take Five”)
ELEMENTS The elements of music can be identified and compared in music of different historical periods (Model 43, “Four on the Floor” and Archduke Trio)

Model 30

MUSIC CONCEPT

Pitches can move by stepping up or down (Melody)

Music

“Pianists,” from Carnival of the Animals, by Camille Saint-Saëns (“sa[h] saw[n]s”) (France, 1835–1921)

Objective

To identify aurally and visually melodies that step up and down and to demonstrate that recognition by playing a barred instrument and by raising colored cards as the music is heard

Standard MU:Pr4.2.4a

Demonstrate understanding of the structure and the elements of music (pitch direction of three melodic patterns) in a musical selection

Barred melody instrument and three mallets

Materials

Pegboard, about two feet square

24 golf tees: 9 yellow, 9 blue, and 8 white—arranged on a pegboard as visualized below

Paper square cards approximately 4" x 4", enough for each student to use one color:

yellow for one-third of the class

blue for one-third of the class

white for one-third of the class

OPEN Key Terms: up, down, step

Step 1: Today we’re going to listen to some melodies that move up and down. First, let’s see what the melodies look like on this pegboard.

Elicit from the students that:

1. the yellow row moves back and forth by step: 1 2 1 2 1 2 1 2 1
2. the blue row moves up and down by step: 1 2 3 4 5 4 3 2 1
3. the white row moves up by step: 1 2 3 4 5 6 7 8

Step 2: Select a student to play the “white melody” on the barred instrument. Help the player to decide whether to begin on low C or high C. (Low C, because the melody moves up.) Have the class name each pitch that the player will perform. Distribute white cards to one-third of the class. Instruct students to lay cards on their desks until asked to use them.

Continue the process above with two additional players, one for the “yellow melody” and one for the “blue melody” using C as the starting pitch for each. Hand out yellow and blue cards.

Indicator of Success

Step 3: Play a listening game: The three players should move to a part of the room where they cannot be seen. Ask them to take turns playing their melodies. Have the class raise their colored cards whenthey hear “their” melody. Verify each correct answer before going on to the next melody.

Indicator of Success

Step 4: Tell the class These same melodies are in a piece called “Pianists.” They move very quickly, but see if you can hear them and raise your cards when you do. Melodies occur in this order: yellow, blue, white. They are repeated four times. Play at least two times with the class raising cards to identify their melodies (no cards on coda) and teacher pointing to pegboard notation. Finally, repeat with students moving their cards in the direction of their melody.

CLOSE

Step 5: Ask the class to tell you what they have learned about the direction of the three melodies (how they move up and down by step). What was the name of the piece? Why did the composer title it “pianists”?

ASSESS

As students become familiar with different music, note how successful they are identifying, playing, and describing pitches stepping up and down.

Adapt

1. Touching the pegs on the board to feel the melodic direction serves as an excellent tactile learning experience for some children—especially for a child with a visual impairment.

Peer-assisted
Learning

2. Some children may have difficulty following the directions for raising cards. It may be helpful to designate peer partners for these activities.

Extend

Cooperative Learning

3. In pairs or small groups, have students write the pitches of one of the three melodies in staff notation and then play. Learn syllables, pitch names, numbers, or all three.

4. Discover that “Pianists” does not end on the home tone (tonic).

Other Songs with Stepwise Melodies (Section III):

"Frère Jacques!" "We Shall Overcome"

Listening Selections:

Archduke Trio, by Beethoven

“Barcarolle” (Tales of Hoffmann), by Offenbach

“Jesu, Joy of Man’s Desiring” (Cantata no. 147), by Bach

“Chopin” (Carnaval), by Schumann

Model 31

MUSIC CONCEPT

Phrases in a melody can be the same or different (abab) (Form)

Objective

To identify same and different phrases in a song and to demonstrate that recognition by movements, singing, and connecting pitches and labeling phrases

Standard MU:Pr4.2.4a

Demonstrate understanding (through singing, movement, and describing) of the structure (same and different phrases) and the elements of music (melodic direction) in a modern Hawaiian song

Materials

Movement directions for teacher, p. 199

Two colored markers, one red, one green

Phrase Chart (Enlarged), p. 198

OPEN Key Terms: phrase, pitches, same, different

Step 1: After reviewing the names of different states, ask students to Listen to this song and decide what state is being sung about. (Hawaii) Ask what words told them it was Hawaii and briefly have them share and discuss what they know about Hawaii including greeting each other with the word Aloha (Hawaiian “Hi” or “Hello”).

Step 2: Let me show you the hand movements that Hawaiian singers use to go with the song. Demonstrate movements as the music plays. Stand and face the class, but reverse your movements. Emphasize slow and graceful movements that match the words.

Step 3: Let’s learn the song and the hand movements. Display the chart and review the words. Teach movements for phrase 1 (“rainbow,” “clouds”). Call students’ attention to the pitches, and have a student draw a line to connect the pitch names, using the red marker. Discuss how the line leaps high (octave jump) and then descends. Sing or play the recording of phrase 1, clarifying and repeating as needed. Sing with movements.

Indicator of Success

Step 4: Teach phrase 2 movements (“colors,” “sky”). Have a different student draw a line connecting phrase 2 pitches, using the green marker. Discuss how the line moves high and low. Sing phrase 2 with movements. Ask Are the pitches in phrase 1 and 2 the same? (no) Sing or play the recording of phrases 1 and 2 with movements.

Indicator of Success

Step 5: Teach movements for phrase 3 (“rainbow,” “me”); have a student connect the pitches using the red marker. Ask Are these pitches the same as any other phrase? (yes—phrase 1) Help students understand that the two red phrases have the same melody pitches. Are the words the same? (only at the beginning) Sing phrase 3 or play the recording with movements.

Indicator of Success

Step 6: Teach phrase 4 movements (“mountains,” “sea”), then have a student connect its pitches, using the green marker. Sing or play recording of phrase 4. Ask students Why did we use the green marker for both phrases 2 and 4? (the pitches are the same) Help them understand that identical melodies can have different words. Sing or play the recording of phrases 3 and 4 with movements. Finally, sing the entire song with movements.

CLOSE

Step 7: Briefly review the same and different phrases shown by the red and green lines, noting same and different pitches. Ask students to help in labeling each phrase as follows: 1—a; 2—b; 3—a; 4—b.

Have a final sing-through with movements ending with saying Mahalo “mah-hah-low” (Hawaiian “Thank you”) to each other.

ASSESS

As students become familiar with different music, note how accurately they can identify and describe same and different phrases.

Adapt

1. Show photographs of the key words in the song (rainbows, clouds, sky, mountain, and sea) to aid students (including English language learners) with the order of the words and their meaning.

Peer-assisted Learning

2. Assign peer partners as support and “teachers” for the movement experience. Use a model group to demonstrate the dance initially.

Extend

Cooperative Learning

3. Give one barred melody instrument with two mallets to each of four pairs of students and have them practice one assigned phrase of the song. (Each could play half a phrase.) Perform with singers.

Social Studies

4. Have class discover Hawaii’s natural beauty through pictures. List features that students notice on the board: beaches, palm trees, volcanoes, rainbows, and so on. Divide the class into randomly assigned groups of three or four; have them list features of their own community’s natural beauty and then report to the entire class. On the board make a list of their own region’s features, alongside Hawaii’s. Decide which are the same and which are different.

Science

5. Help students learn that rainbows develop when falling water droplets are illuminated by a strong light source (the sun), and that the order of rainbow colors is: ROYGBV = red, orange, yellow, green, blue, violet.

Language Arts

7. Share the following books about Hawaii with children:

FEENEY, S. (1985). Hawaii is a Rainbow. (A Kolowalu Book) University of Hawaii Press.

JONES, L. (1999). Kids Around the World Celebrate!: The Best Feasts and Festivals from Many Lands (Kids Around the World Series). Wiley.

Other Songs (Section III)

“Battle Hymn of the Republic” (abac twice)

“Hey, Ho! Nobody Home” (abca)

“We Gather Together” (abcd)

“Hawaiian Rainbows” Movement Directions

Formation:

Kneel sitting low on heels. Stretch both arms high to the left, with fingers pointing up and palms facing out. Perform each motion slowly so it extends through two measures. Make each motion smooth and flowing, with eyes always following the hands.

Ha - wai - ian rain - bows, White clouds roll by,
Slowly swing arms over the head from left to right to show the shape of a rainbow. Swing arms back from right to left. At the same time, hold one hand over the other to show clouds.
You show your col - ors A - gainst the sky.
Swing arms from left to right. At the same time, make a rippling motion with the fingers as if pointing to all the colors of the rainbow. Raise both hands high to the right (palms up). Move the left hand "across the sky" to the left side.
Ha - wai - ian rain - bows, It seems to me,
Slowly swing arms over the head from left to right to show the shape of a rainbow. Place the right hand under the left elbow and point the index finger of the left hand toward the chest ("it seems to me").
Reach from the moun - tain Down to the sea.
Raise both hands high to the left. Slowly lower hands toward the right knee and continue moving them out to the right ("down to the sea").

Model 32

MUSIC CONCEPT

Each instrument has a characteristic timbre that when combined with others can create a sound piece (Timbre)

Objective

To create an original accompaniment to a haiku poem by choosing and playing classroom instruments in combination with a haiku poem and evaluating the resulting composition

Standard MU:Cr2.1.5a

Demonstrate selected and developed musical ideas for a sound piece to express intent and explain connection to purpose and context

Materials

Assorted classroom instruments including sticks, claves, wood blocks, drums, castanets, sand blocks, maracas, Autoharp(s), several rubber and wooden mallets. (For total, see Step 4 below.) Haiku poem on board or chart (see margin below)

OPEN

Step 1: Briefly mention the origin of the haiku poem on the board (see Background Note). Read expressively the haiku for the class, asking students to listen and explain what is causing the poem’s busy sounds. (barnacles) Discuss barnacles (see margin note) and the phrase “barnacled rocks.” Have the class read the poem aloud, slowly, with expression. Repeat several times. Explain they are going to form small groups to create an accompaniment for the poem.

These barnacled rocks, just uncovered by the tide . . . how busy they sound!

Haiku poem by James W. Hackett Key Terms: special sound, timbre

Step 2: Have class as a whole decide What sounds are suggested by the poem? (tide, barnacles, water splashing against rocks) Display assorted classroom instruments and ask for ideas about how to suggest each of the sounds. (A sound for a barnacle might be rapidly alternating rubber mallets on a wood block.) Discuss briefly how each instrument has a unique timbre. For example, some are “dry,” some “mellow,” and some “ringing.”

A barnacle strains plankton from water during high tide; during low tide the plates at the top of the shell close to trap water and prevent drying out. The closing of the barnacle’s shell produces a barely audible popping.

Without the poem, have several students try out their ideas using different instruments. Each sound should last for several seconds. Evaluate. Did your instrument produce the special sound you wanted? (Remember, the sound can be only suggestive, not literal.)

Step 3: Select successful players for three contrasting sounds and have them simultaneously play while the class reads the poem. Remind them that their sounds need to be continuous, not just a single one. Mention the instruments will overlap this time, producing yet another special sound.

Evaluate the performances. Did they play loudly (or softly) enough? Balance in dynamics? Last long enough? Play at an appropriate moment? Repeat the playing, reading, and evaluating. Consider having an instrument perform an introduction and a coda.

Cooperative Learning

Step 4: Divide the class into groups of five students. Give them one or two minutes to designate members as follows: one poem reader, three instrumentalists, one secretary. Explain that the secretary will write down the reasons for their choice/combination of instrumental sounds. Have the instrumentalists in each group select an instrument from the assortment in the classroom. (In addition to instrument sounds, students could tap a chair or table, or “scrub” feet on the floor.)

Have groups follow the same procedure the whole class did: select and try instruments, add the poem, and evaluate as they go along. Be sure they understand that each group will later perform their sound piece for the class and explain their choices. Establish a ten-minute time allotment and move between the groups to assist as needed. Give a signal one minute before the deadline. After a final run-through, begin the group performances/ explanations.

Indicator of Success

Step 5: As students perform for each other, listen to the group’s justifications and notice the special sound of each instrument and combination.

ASSESS

As students become familiar with different poems, note how they choose and use instruments expressively to create a sound piece and justify their choices.

Background Note

Haiku is a form of Japanese nature poetry that is today composed in many languages. Its spirit of naturalness, simplicity, and directness is essential. Its arrangement of syllables in a 5–7–5 arrangement is often varied, but not its three-line form.

Adapt

Science

1. Locate photographs of ocean life (tides, barnacles, and water splashing against rocks) to help all learners understand this special poem.

2. Make sure all students (including those with special needs) are active participants in the cooperative-learning groups as the group selects their choice/combination of instrumental sounds.

Extend

3. Have the class choose ideas from the various group compositions to combine into a class composition. Videorecord the class composition (MU:Cr2.1.4a).

Language Arts

4. Have each student compose a haiku poem. (See more haiku in Appendix C.) An outstanding guide for teaching children haiku is located at www.artsedge.kennedy-center.org. Click “Educators,” then “lessons” to reach “You Too Can Haiku” lesson.

Science

5. Include barnacles in the study of how animals are grouped according to their structure as invertebrate (barnacle) or vertebrate animals.

Multicultural Social Studies

6. Create a traditional Japanese environment in the classroom. Have children research, locate, and arrange items such as tatami (“tah-tah-mee”) or reed beach mats for the floor, low tables, and cushions for seating. Devise a large display niche (tokonoma “toe-koe-no-mah”) with scroll painting and/or flower arrangement. Remove shoes, wear kimonos, have a meal of rice and tea, and listen to Japanese music. Visit the “Kids Web Japan” website at http://web-japan.org/kidsweb/explore/calendar for more ideas.

Other Haiku Poems in Appendix C

Model 33

MUSIC CONCEPT

Sections of a composition can contrast with one another and sections can be repeated (ABA) (Form)

Objective

To identify the pattern heard in the A section and to demonstrate that recognition by playing the pattern, showing pitch direction with hand, and by raising hands when it is heard in the recording

Standard MU:Re7.2.4a

Demonstrate and explain how responses to music are informed by the structure (ABA form), the use of the elements of music (ostinato pattern), and context

Materials

Resonator bars E, F♯, G♯

Notation (see below)

OPEN Key Terms: pattern, ostinato, repeat, contrast, sections, ABA

Step 1: Hold up the E, F♯, and G♯ bars. Discuss which bar sounds the lowest (E) and which the highest (G♯); F♯ is right in between. Have a student Play E, F♯, G♯ bars over and over again in a steady rhythm without pauses.

Step 2: Have other students find and play the six different combinations of the three bars, such as E, G♯, F♯ and F♯, G♯, E. Then ask them to focus on the G♯, E, F♯ pattern and notate it on the board:

Kodály Adaptation Sol-fa syllables and Curwen hand signs may be used.

Have several students play the pattern shown above; stress keeping a steady beat without pauses, and have the class show pitch direction with their hands.

A carillon consists of bells hung in a tower, played manually or mechanically.

Step 3: This pattern, heard over and over in a composition, is called an “ostinato.” Write term on board and review their previous ostinato experiences. Select one player to perform the ostinato with the recording as class does hand motions. (Play only the first third or the A section of “Carillon.”)

Indicator of Success

Step 4: After students discover that this ostinato pattern is heard throughout the A section, explain that the composition is much longer. Find another student or several to play the pattern and indicate that the player should perform whenever the ostinato pattern or A section is heard. Challenge them to discover if section A is repeated and if there is a section different from A. Ask the class to help the performer by raising their hands if they hear another A section. (Play the entire composition. The form is ABA.)

CLOSE

Step 5: Elicit from students that the ostinato is heard in the first and last sections and that it is not heard in the contrasting middle section. Discuss the different melodies, rhythms, instruments, and tempos of the two sections. Write the letters ABA on the board and ask students Do these letters correctly label the form of “Carillon”? Why?

Adapt

1. To help students (including English language learners) understand what a carillon is, locate a photograph. Students should be intrigued with the size of this instrument made up of at least 23 cup-shaped bronze bells of various sizes, operated by a large keyboard (much like an organ, but considerably larger), played with the fists, and housed in a bell tower.

Peer-assisted Learning

2. If some students have difficulty doing the hand motions or playing all three notes of the ostinato, have them perform on the strong beat (G♯) only. And/or organize the class into peer partners to assist students with the hand motions and playing the resonator bars.

Extend

Movement

3. Create a movement experience for “Carillon” that expresses the repeated and contrasting sections. Explore movements in space (sliding) and in place (swaying). Long scarves or streamers may be used to feel the flow in the “B” section.

Language Arts

4. Discuss different types of bells (carillons, sleigh bells, etc.). Create a story about how a bell made a difference in the life of a boy or a girl.

Orff Adaptation

5. Using metallophones, glockenspiels, and xylophones, compose a piece in ABA form. Set up a pentatonic scale, such as G-A-B-D1-E1 or F♯-G♯-A♯ C♯–D♯. Use the rhythm of a familiar song or poem for the A section and improvise a contrasting B section (MU:Cr2.1.4a).

6. Using Super Duper Music Looper or GarageBand software, engage students in composing a piece in ABA form (MU:Cr2.1.4a).

Other Music

Listening Selections:

“The Elephant” (Carnival of the Animals), by Saint-Saëns (ABA)

“Dance of the Sugar Plum Fairy” (The Nutcracker Suite), by Tchaikovsky (ABA)

“Gavotte” (Classical Symphony) by Prokofiev (ABA)

“Laideronette, Empress of the Pagodas” (Mother Goose Suite), by Ravel (ABA)

Songs (Section III):

“Hey, Lidee” (ABA)

“Looby Lou” (ABA)

“Shoo, Fly” (ABA)

“Tinga Layo” (ABA)

Model 34

MUSIC CONCEPT

The initial section of a composition may alternate with contrasting sections in rondo form (Form)

Objective

To identify aurally the recurrence of the first section, A, as it alternates with contrasting sections B, C, and D to form a rondo and to demonstrate that recognition by placing like and differing objects in the correct order

Standard MU:Re7.2.4a

Demonstrate and explain how responses to music are informed by the structure (rondo form), the use of the elements of music (same and contrasting melodies), and context

Materials

Objects: four wristwatches and three different clocks (e.g., alarm clock, digital clock, pocket watch, kitchen timer, toy clock)

Two cards—one labeled “Introduction,” one labeled “Coda”

OPEN

Step 1: Place the four wristwatches on a table with the three different clocks. Notice how I am going to arrange these four watches and three different clocks. Place in the following order, where all can see.

Key Terms: section, same, different, rondo

Watch Clock 1 Watch Clock 2 Watch Clock 3 Watch

Ask students to describe the arrangement. (four watches, alternating with three different clocks) These watches and clocks will help you remember what you hear as we listen to music about a special clock. Mention that there will be a brief introduction at the beginning and short ending called the coda. (Display these cards.) The teacher should break up the arrangement of watches and clocks, setting out each piece one at a time as the music plays. Be sure to hold up the Introduction and Coda cards at the appropriate times too.

“Intro” Watch Clock 1 Watch Clock 2 Watch Clock 3 Watch Coda

(A B A C A D A)

Step 2: Ask Why did I place the watches and clocks in this particular order? Students should be able to explain why there are four wristwatches. (four similar sections of music) Help them explain that each different clock represents a different section of the music. When one section returns often and alternates with different sections, the design is called rondo. Write Rondo on board.

Step 3: Choose nine students: four to set out the “A” section watches, three students for the “B,” “C,” and “D” section clocks, one to hold up the Introduction card, one to hold up the Coda card. Leave the watches and clocks in order (not scrambled) for students to lift into full view as needed. Ask the rest of the class to help the nine students recognize each section by tapping their make-believe wrist-watches for the “A” section, and select other timekeeping motions for “B,” “C,” and “D.” Play the recording again (and signal, if needed, the beginning of each section). Repeat with different students, if there is interest and attention.

CLOSE

Step 5: Finally, ask What is the musical design called in which one section keeps returning and alternates with different sections? (Rondo) Then write the following letter pattern on the board and ask how it is the same as rondo form: “A B A C A D A.” (Each letter represents a different section; A alternates with different letters.)

ASSESS

Observe how accurately students can identify, demonstrate, and explain the difference between sections in similar compositions in rondo form.

Adapt

1. If clocks and watches are not readily available, use the accompanying set of a paper version. Provide each student with a set—students can cut out the nine examples and arrange on their desks in order as the music is performed.

2. Describe each of the displayed clocks, and so forth before listening to the music the first time to assist a student with limited vision. This will help him or her (and the rest of the class) be better prepared to figure out how the music matches the same and different clocks and watches. A student with a visual impairment can also set out a clock or wrist-watch in subsequent listening experiences.

Extend

3. Engage students in listening to the music and following the accompanying Listening Guide for “Viennese Musical Clock.” Review the orchestral instruments featured.

Movement Cooperative Learning

4. Form four groups (for the A, B, C, and D sections of the music) and have students create appropriate movements for different clocks. For example, group A might portray a grandfather clock, and group B, a cuckoo clock. Members of the group should integrate their movements so that each person depicts one part of a clock. Have groups perform their movements individually and then again with the music.

5. Chant and/or clap an eight-beat phrase, the rhythm of a familiar melody, a short rhyme/chant, or a proverb (see Appendix C) as the A theme of a rondo. Improvise contrasting B, C, and D sections of the same length. Transfer the rhythms to four different barred instruments (MU:Cr1.1.4a).

Other Music

“Fossils” (Carnival of the Animals), by Saint-Saëns (ABACA)

“The March of the Siamese Children” (The King and I), by Rodgers and Ham-merstein (ABACABA)

“Romanze” (Eine kleine Nachtmusik), by Mozart (ABACA)

Background Note

“Viennese Musical Clock,” written in 1926, is a musical description of the large clock in front of the Imperial Palace in Vienna, Austria. The story goes that Háry János, a beloved old soldier in Hungarian folklore, visited the Imperial Palace and was captivated by its sights and sounds, especially the famous musical clock. When the hour is struck, toy soldiers in bright uniforms march stiffly and jerkily around on a circular track to the dashing little march-like tune.

Model 35

MUSIC CONCEPT

Chords consist of three or more pitches stacked in thirds (Harmony)

Objective

To identify pitches in two chords (F, C7) and to demonstrate that recognition by playing F-A-C and C-E-G-B as a song accompaniment

Standard MU:Pr4.2.5a

Demonstrate (through performance and identification of chord tones) understanding of how chords are built (harmony) and used as an accompaniment to a calypso song

Materials

Song notation for each student, p. 296

Resonator bars F-A-C, C-E-G-B♭ and seven mallets

Sketch of steel drum (see margin) on board and another on chart board about 24 inches in diameter

Multicultural Unit

This model experience can be part of a multicultural unit. See the three models that follow.

OPEN Key Terms: chord, chord/root

Step 1: On a map, have students locate the Caribbean Sea and the island of Jamaica. Share that calypso music originated in Jamaica. Listen to “Mango Walk,” a calypso song from Jamaica, to discover its special sounds and see what you can discover about the words. Have students note anything special they hear in the music and identify some of the words. Explain that they may have no particular meaning and may even be invented.

Step 2: Distribute the song notation and have students review the words. Ask them to follow the music as they listen again to the song. Then, have them sing the song.

Step 3: Tell students that we’re going to create an accompaniment for “Mango Walk.” Ask them to locate the F and C7 chord symbols in the music.

As students identify the chord symbols, write the order on the board:

Point to each chord symbol in your music as you sing while teacher points to symbols on the board, using the one-chord-per-measure rhythm.

Indicator of Success

Step 4: Select one student to play the F bar for the F chord, another student to play the C bar for the C7 chord—playing on the first beat of each measure. Practice bar playing with teacher pointing to symbols on the board. (Use the song’s tempo.) Repeat with singing, pointing, and bar players. Note that F and C are the most important pitches (and are the chord roots) in each chord.

Step 5: Since Jamaicans might accompany their singing with steel pans or drums, let’s try something similar. Display the steel-drum diagram and place the chart on a table. Ask two different students to put the F and C resonator bars in the correct place on the steel drum chart. Then, have them try accompanying the class singing “Mango Walk.”

Step 6: Chords usually include three or more pitches. Let’s add the other pitches in each chord to create a more interesting accompaniment. Explain the every-other-pitch idea and help students to identify F-A-C for the F chord and C-E-G-B♭ for the C7 chord (note that the 7 indicates four notes in the chord instead of three and the B♭ is required in “Mango Walk”). Have one student place the F, A, and C resonator bars on the chart, and with two mallets first play just two of the pitches simultaneously and then, all three. Do the same with another student and the C, E, G, and B bars (two mallets in each hand will be needed).

Indicator of Success

Step 7: Bar players should perform with teacher pointing to chord symbols. When secure, repeat with other students playing bars, and the rest of the class singing and pointing to the song notation. Change bar players and repeat as long as interest remains high.

CLOSE

Conclude by reviewing how chords include three or four pitches. Elicit from students which pitches are in the F chord and C7 chord and how the chords are formed by using every other pitch.

ASSESS

As students become familiar with different songs, note that they identify correct pitches in the chords and play them as a song accompaniment.

Background Note

Social Studies

Steel drums (“pans”) were invented in Trinidad after World War II, using discarded 55 gallon oil drums left behind by the military. “Pans” come in sets with each having a different number of pitches and producing a variety of pitch levels. Steel drums were used for calypso music and even though calypso has been succeeded in popularity by reggae and rap, it still remains in the repertoire of many steel bands.

Adapt

1. Help students (especially English language learners) understand the meaning of the word “root.” Note that it can mean the underground part of a plant, or the part from which other things develop—as in this case, where the root pitch of a chord is the pitch on which the chord is built.

2. To simplify the chord playing, two students can perform each of the chords. For example, for the F chord, one student can play F and the other A and C. Color-code the chords in two different colors in the song notation and on the steel-drum chart.

Extend

3. Create a more interesting accompaniment by performing the pitches in the chord one after another instead of simultaneously. Encourage students to evaluate their performance n(MU:Cr6.1.5b).

Cooperative Learning Language Arts

4. In small groups, create a new set of words for “Mango Walk.” (Calypso lyrics were often improvised.) Share with the class.

5. Suggest students search the internet for calypso songs, especially those performed on steel drums, and pick an example to share (on their electronic device).

Other Songs (Section III)

One-Chord Songs Two-Chord Songs
"Frère Jacques!" (D) "Hey, Ho! Nobody Home" (Dm, Am)
"Zum Gali Gali" (Dm) "Hey, Lidee" (C, G7)

Model 36

MUSIC CONCEPT

In call and response form, responses can be identical to the call, or contrasting (Form)

“Mai Wakaringano” (Zimbabwe) (excerpt)

“Ho Jamalo” (India–Pakistan) (excerpt)

Objective

To identify aurally and visually the responses that are identical to or contrast with the call and to demonstrate that awareness through body movements, singing, and by visually identifying shapes on a chart

Standard MU:Re7.2.4a

Demonstrate and explain how responses to music are informed by the structure (call-and-response form), the use of the elements of music, and cultural context

Materials

Large chart (see margin below)

World map

Multicultural Unit

This model experience can be part of a multicultural unit. See the model that precedes and the two that follow.

OPEN Key Terms: call, response, same, different

Step 1: If I ask you to answer my clapping, what will you do? (Teacher claps: and class probably claps an identical response.) Tell students to clap a clear echo to a series of calls (at least 8) that you will clap. Establish an underlying framework of four beats. Listen, and then clap an exact response to my call.

Step 2: Have students look at the two sets of shapes on the chart. Ask Which one looks like the clapping we just did? (“A”) Discuss why.

Step 3: Explain that they will hear a “Stomp Dance” song of the Cherokee Indians and the song will follow the “A” design. Ask if they have seen Indian dancing and to guess what movements might be used in a “stomp” dance. (stomping) Now watch “A” as you listen and see if you can hear the singers echo the leader exactly. Play the recording of “Stomp Dance.”

After listening, discuss the identical call/response. Replay, pointing to the shapes. (The words are syllables or vocables with no exact meaning, and the “Stomp Dance” is part of an old ceremony that praises the Creator where dancers stomp in a circle around a nighttime fire.)

Mai Wakaringano (“my wah-kah-ring-gone-oh”)

Step 4: Mention that music from around the world can use call and response form. Introduce “Mai Wakaringano” as a call and response from the southern part of Africa (Zimbabwe). Explain that the story is about a mother who keeps her beautiful daughter (Karingano) safely in a cave until she is ready to be married.

Indicator of Success

Focus attention on “B” and ask how it is different from “A.” (the responses are different from the calls) Invite students to listen for the response that repeats while you point to “B.” (mai wakaringano) Practice pronouncing “Mai Wakaringano” (means “mother of Karingano”), and repeat singing the responses. Review that the response was always the same but the calls were different.

CLOSE

Step 6: Conclude by reviewing the two kinds of call and response form. (identical call and response, or response remains the same and the call changes) Briefly elicit from students what they learned about the three songs and the cultures that created them (Cherokee, Africa, India). On a world map, help students locate the United States, Zimbabwe, and India.

ASSESS

As students sing a familiar call and response song (see “Other Music”), note that they correctly identify calls and responses that are identical and those that are contrasting.

Adapt

1. Prepare individual copies of the A and B chart to be placed on a desk, wheelchair tray, or on a communication device to assist those students who may have difficulty focusing on a classroom-sized chart. Make sure all learners (especially English language learners) understand the key terms—same, different, call, response.

2. Students who are physically unable to clap should be encouraged to use any mobility they can to demonstrate steady beats (nodding head, tapping, etc.).

Extend

Orff Adaptation

3. Play a clapping game in which students repeat the same response—for example, —to contrasting four-beat calls by the teacher.

4. Notate the teacher’s clapped patterns that use only quarter and eighth notes. Students should first draw the stems and later add the note heads. Try patterns such as , and .

Cooperative Learning Peer-assisted Learning

5. In pairs or small groups, students should share one new fact they learned about each of the three songs. Encourage discussion about their discoveries.

Other Music (Section III)

Model 37

MUSIC CONCEPT

A melody can exhibit a distinctive contour as it moves up or down or repeats (Melody)

Objective

To identify aurally the repeated pitches and the pitches that move up and down in a melody and to demonstrate that recognition by tracing the contour of the melody as it is heard

Standard MU:Re7.2.4a

Demonstrate and explain how responses to music are informed by the structure, the use of the elements of music (melodic contour), and cultural/ historical context

Materials

Worksheet for each student of the melodic contour p. 215

Optional: Poster-sized version of the melodic contour drawing, p. 215

Drawing of Indian woman grinding corn, p. 214

Optional: ear of corn and cornmeal

Draw “practice contour” on board (see margin)

Multicultural Unit

This model experience can be part of a multicultural unit. See models that precede and follow.

OPEN Key Terms: up, down, repeated pitches

Step 1: With students seated in a circle, begin a discussion about how important corn is to Native Americans, and how before machines could grind corn for cooking, Navajos would grind corn for corn-meal themselves. Either show the drawing of a Navajo woman kneeling on the ground in front of a stone with corn on it and rubbing a smaller stone back and forth over the corn to crush it or describe the corn-grinding process to them. (Show an ear of corn and cornmeal if available.) Have students share ideas about how easy or difficult the task of grinding corn might be. Then, invite them to listen to this Navajo corn-grinding song and try the rubbing and crushing motion as a Navajo woman sings.

(“Practice contour”)

Play the recording and encourage two-handed grinding in the same direction.

Step 2: Invite students to listen again, but this time to be ready to tell how the song’s melody moves—Does it move up and down? Does it repeat at all by staying on the same pitch? Play the recording, and after listening and discussing the up/down/repeating pitches, note how the singer sometimes moved quickly from low to high.

Step 3: Have students look at the practice contour on the board and decide how the line resembles the corn-grinding melody. (It moves up and down, as well as staying level) Call attention to the dotted line that represents the singer’s quick vocal jump from low to high. Have students move their arms from low to high, to show the ups, downs, and jump of the line while you trace the contour.

Indicator of Success

Step 5: Distribute the worksheet (p. 215) and have the students trace the up, down, and repeated pitches as they hear them. Play the entire piece. Teachers must move throughout the class to observe the degree of student success, occasionally referring to the large contour chart to help those who may get lost.

If some students finished too soon, discover why. (Perhaps they drew too quickly, not really listening for the high and low tones.) Play and trace the melody several times, perhaps using a different color crayon for each hearing. Encourage students to hum or sing the melody as they trace it.

CLOSE

Step 6: Look at the contour (shape) of the entire melody and discover how often it leaps to its highest point. (four times) The rest of the time, the melody stays on the same repeated tone. Some students will notice the two sections where the contour leaps to a “midpoint.” Conclude by briefly eliciting information about Native Americans, Navajos, corn, and corn-grinding songs discussed in Step 1 and mention that November is National American Indian Heritage Month.

ASSESS

When students trace the melodic contour of familiar songs as they sing, observe how accurately they identify when the melody goes up or down, or repeats.

Background Note

The Navajo “Corn Grinding Song” is sung by a woman, accompanied by a steady drum beat. It was not unusual, however, for a Navajo man to sing grinding songs for the women as they worked. Navajo melodies often display a high-to-low “pendulum-like” movement as exhibited in this corn-grinding song. Navajo vocal style is strongly nasal, with pulsations on held tones. In the “Corn Grinding Song” there are both words and vocables. The meaning of the words is not known, and the vocables are syllables without exact meaning.

Adapt

1. Some children may need assistance in tracing the melody and would benefit from an enlarged version of the line drawing while others may need hand-over-hand assistance (place your hand over the student’s hand to guide the tracing). Glue yarn to an enlarged version of the line drawing to enable a student with a visual impairment to feel and trace the melody’s contour as he or she listens to the music.

Peer-assisted Learning

2. Designate peer partners if some students might benefit from support in tracing the melody on the worksheet.

Extend

3. Keep time with the singer’s voice by singing “Hay, yea, yea, yea” on a repeated pitch for four beats. Push the breath on each “yea”.

Social Studies Language Arts

4. Encourage students to read and report on one of the listed books on the next page to learn more about Native Americans, and one of their basic foods—corn.

ALIKI. (1986). Corn Is Maize: The Gift of the Indians. HarperTrophy.

CAMERON, A. (1997). How Raven Freed the Moon. Harbour Publishing. Northwest Indian legend recounts raven’s magic tricks.

MCDERMOTT, G. (1977). Arrow to the Sun. Viking Press. A Pueblo Indian boy, created by an unexplained spark of life, searches for his father (the sun).

MILES, M. (1972). Annie and the Old One. Little, Brown & Co. A Navajo girl attempts to delay her beloved grandmother’s death.

ODELL, S. (1990). Island of the Blue Dolphins. Houghton Mifflin. Based on the true story of a California Indian who refused relocation from her tribal island.

ODELL, S. (1999). Sing Down the Moon. Econo-Clad Books.

Indian woman grinding corn.

Indian woman grinding corn.

Model 38

MUSIC CONCEPT

Instruments can be identified and grouped by their timbres and materials (Timbre)

Music

“Wedding Music” (Tunisia) (excerpt)

“Classical Quintet Ngu Tuyet” (Vietnam) (excerpt)

“Barong Dance” (Bali) (excerpt)

Objective

To identify aurally four contrasting instrumental groups and to demonstrate that recognition by circling the appropriate word on a worksheet and locating the country of origin on a map

Standard MU:Re7.2.6a

Demonstrate and explain how instruments of the world are classified and grouped by their timbres and materials in response to the music of three different cultures

Materials

Drum or drumhead with drumstick or mallet

Several grains of rice or popcorn

Listening Worksheet for each student p. 218 (Answer sheet for teacher, p. 219) An instrument from each classification, or photos of instruments

Multicultural Unit

This model experience can be part of a multicultural unit. See the three preceding models.

OPEN Key Terms: timbre, membranophone, chordophone, aerophone, idiophone (“mehm-BRAN-uh-fone” “KORD-uh-fone” “AIR-uh-fone” “IH-dee-uh-fone”)

Step 1: Let’s do an experiment. Position the drum or drumhead at the front of the room where all can see, and put several grains of rice on the head of the drum. Discuss what will happen when the drumhead is struck. (the rice will move) Have a student play the drum to demonstrate. Challenge the class to explain why the rice moves. (the drumhead is vibrating) Help the class decide that the vibration of the skin or membrane creates the drum’s special timbre.

Step 2: Challenge the students to name some other materials that can produce a musical sound, such as wood, metal, strings (of gut or wire), seeds, and fiber. Explain that instruments of the world are classified and grouped by anthropologists and organologists according to their material and sound, and there are special terms for these groupings.

Review What vibrates in a drum? (the skin head or membrane) This is why the drum can be called a membranophone. Write the word on the board and discuss the stem -phone (Greek phonos, “sound”). Have students think of other words using the phonos stem, such as phonograph and microphone. (Draw a visual and add categories when introduced.) Using instruments or photos, introduce the other classifications and add to visual: chordophone (Greek: chordos, “string”)—strings vibrating on instruments such as guitars, zithers, violins; aerophone (a cylinder of air vibrating)—instruments such as flutes, recorders oboes; idiophone—solid instruments (the body of the instrument vibrates) that produce sound when struck, shaken, or scraped, such as sticks, xylophones, and gongs.

Cooperative Learning “Think–Pair–Share”

Step 3: Divide the class into pairs. Distribute the worksheet (p. 218) to each student and explain that students should circle the appropriate instrument category (or categories) as they hear each selection. Listen to the first piece, and then give students one or two minutes to think and make a choice. Share and compare answers with their partners and then share with the class giving reasons for their choice. Identify the correct instrument classification and country. Have students locate the country of origin and write its name on the worksheet. Replay the selection. Continue similarly for each piece. Answers are found on p. 219.

Indicator of Success

CLOSE

Step 4: Ask students What determines the timbres of each instrument? (the material that vibrates) Elicit from them the various groupings and instrument examples in each category.

ASSESS

As students hear music of different cultures, observe how accurately they identify the instrumental timbre and correctly group instruments according to the classifications.

Adapt

Peer-assisted Learning

1. In pairing students for the worksheet activity, consider kind partners for those students with special needs.

2. Encourage all students to read the instrumental categories aloud as they associate the instruments with the names.

Extend

3. Continue with instrumental timbre and classifications study by exploring electrophones—electronic instruments whose vibrations pass through a loud speaker before being heard as sound. Examples would be electronic keyboards and guitars, QChords®, and others. Students could also share and demonstrate the different sound effects possible on their electronic devices.

Language Arts

5. Engage students in reading and reporting on one of the listed books below.

KILBORNE, S.S. and M. SWEET, illus. (1999). Leaving Vietnam: The Journey of Tuan Ngo, a Boat Boy. Simon & Schuster.

KRASNO, R. and I. C. LEE, illus. (1997). Kneeling Carabao and Dancing Giants: Celebrating Filipino Festivals. Pacific View Press.

LEVINSON, R. (1995). Watch the Stars Come Out. Puffin.

MASTERS, E. and S. ALSHAMS, illus. (1998). The Thief in Chinatown (Adventures in Hawaii Series). Island Heritage Publishing.

Other Music

“Bata Drums,” excerpt (membranophones)

“Munomuno,” excerpt by Mulondo, (idiophone)

“Serenade for Wind Instruments,” excerpt, by Mozart (aerophones)

“Spring” (The Four Seasons), by Vivaldi (chordophones)

Answers for Student Listening Worksheet

  1. “Wedding music” from Tunisia

    Answers:

    aerophones

    membranophone

  2. “Classical Quintet Ngu Tuyet” from Vietnam

    Answers:

    chordophone (moon-shaped lute)

  3. “Barong Dance” from Bali, a small Indonesian island east of Java. The dance is accompanied by the gamelan, a Balinese orchestra composed primarily of bronze instruments played with mallets. This dance drama depicts the triumph of good over evil and features the Barong, a mythological figure with a fantastic dragon-lion head and a body covered with feathers. Three dancers are needed for the Barong’s head and body.

    Answers:

    membranophone (a barrel-shaped drum with two heads)

    idiophones (several xylophone-like bronze instruments of various sizes, played with mallets)

    idiophones (tuned gongs)

    aerophone (bamboo flute)

Model 39

MUSIC CONCEPT

Chords can be performed as a song accompaniment (Harmony)

“Orange Blossom Special,” Ervin T. Rouse (United States)

Objective

To identify the three chords of G, C, D7 and their chord tones in a song, and to perform the three chords as an accompaniment

Standard MU:Pr4.2.5a

Demonstrate (through performance and identification of chord tones) understanding of how chords are built (harmony) and used as a song accompaniment

Materials

Map of the United States and Canada

Song notation for each student, pp. 330–331

Autoharp®, QChord®, or any available harmonic instrument

Pictures of “Orange Blossom Special” at images.google.com

OPEN Key Terms: chord, chord/root

Step 1: Display a map of the United States and Canada and explain how transcontinental railroads made a huge difference in travel and trade, not to mention the development of the United States. Ask them to listen to “Wabash Cannon Ball,” a song about a mythical train, and discover all the places the train traveled. After listening, list on the board the places (sequentially as they occur in the song, if possible) and repeat listening as needed. Locate some or all of the places on the map.

Step 2: Using the song notation, invite students to read the words aloud in rhythm before singing along with the recording. As they become comfortable with the melody and the lyrics, encourage them to patsch on the strong beat (first) of each measure.

Step 3: Find the letter names for the chords above the melody. As students discover the three chords of G, C, and D7, write the symbols on the board in the order as they occur. Help students discover that the chord sequence is the same throughout the song.

As they sing the song again, ask them to point to the chord symbol in the music notation.

Indicator of Success

Step 4: Let’s add an accompaniment to the song using these three chords. Review with students which note in each chord is the chord root and what other pitches are in each chord using the every-other-pitch idea. Then, with students working in pairs, have them take turns performing the chord accompaniment while the class sings the lyrics. Use an Autoharp or Qchord for the chords and remind students to strum the chord on the first beat of each measure. (Pointing to the chord symbols on the board will help the performers stay on track.) Change instrument players and repeat as long as interest remains high.

Step 5: Listen to another song about a train, but this train was a real one called the “Orange Blossom Special.” Invite students to discover where the train travels in the song and how the music imitates the sounds of the train. After listening, have students share their discoveries and provide additional information about this famous train and its bluegrass style (see Background Note). As they listen again, have them note and describe some of the differences between the two songs.

CLOSE

Step 6: Conclude by reviewing how “Wabash Cannon Ball” and “Orange Blossom Special” are two songs about trains (one mythical and one real). Elicit what chords were used in “Wabash Cannon Ball” and the pitches in each. Note that “Orange Blossom Special” also features three chords and that in subsequent listenings they will discover them.

ASSESS

Observe when students become familiar with different songs how effective and accurate they are in identifying and playing pitches in the chords.

Background Note

Social Studies

The “Orange Blossom Special” was a train in operation from 1925 through 1953 that traveled from New York (with stops in Philadelphia, Baltimore, and Washington) to the east and west coasts of Florida. The bluegrass song was written in 1938 and became one of the most famous songs ever written about a train.

Adapt

Peer-assisted Learning

1. In pairing students for the chord-playing activity, consider appropriate partners for students with special needs.

2. To help with the chord playing, color-code the chords in three different colors in the song notation and on the instrument(s).

Extend

Cooperative Learning

3. Working in groups of four, students should learn to play Autoharp or QChord accompaniments for the songs listed in “Other Music.” In addition to singing and playing, group members might be assigned special tasks such as one checking to see that correct chords are played while another helps when mistakes are made. Encourage students to evaluate their performance and make suggestions for improvement.

4. Engage students in additional listenings to “Orange Blossom Special.” Have them discover the pattern of the lyrics (aab) and the progression of the three chords.

5. Suggest students search the Internet for other bluegrass songs. Ask them to choose an example to share (on their electronic device).

Other Music (Section III)

“Kum Ba Yah” (C, F, G7 chords)

“Michael, Row the Boat Ashore” (C, F, G7 chords)

“Oh, Susanna” (F, B♭, C7 chords)

“Old Brass Wagon” (G, C, D7 chords)

Model 40

MUSIC CONCEPT

Each of the three phrases in “12-bar” blues consists of four “bars” (measures) (Form)

Objective

To identify aurally and visually the song phrases and to demonstrate this recognition through singing and body movements

Standard MU:Pr4.2.5a

Demonstrate understanding of the structure (12-bar blues) and the elements of music (rhythm, form: phrases) in a blues song

Materials

Woodblock and tambourine

Phrase Chart (Enlarged), verse 1 lyrics, p. 224

Jazz Unit

This model experience can be part of a jazz unit. See the two model experiences that follow.

OPEN

Step 1: Who has ever felt “blue”? Discuss feelings of sad and “down.” Ask students questions such as—what might a blues song sound like? Would it be a fast, lively kind of song? What might the words be about? Then, invite students to Listen to an old blues song and decide who is singing the blues and why? Have students snap steady beats as you play the first verse of the recording.

Key Terms: phrase, beat, “twelve-bar” blues

Step 2: After students share what they discovered about “Lost Your Head Blues,” review the words and ask Which line of words is the same, and which line is different? (lines 1 and 2 are the same; line 3 is different— but related) Have class repeat the words, and then try singing with the recording as they snap the steady beats.

Indicator of Success

Step 3: Now direct their attention to the Phrase Chart and notice that there are three lines of beats to go with the three lines of words. Each vertical mark, straight or wavy, represents one steady beat. Ask students to count the number of steady beats in each phrase. (16) (Each half, as indicated by straight and wavy lines, consists of eight beats.) Have students tap steady beats with pencils as they sing. Start tapping after the introduction. The teacher should point to steady beats on the chart during the singing.

Step 4: Divide the class into three groups: one group (“The Tappers”) for tapping the beats (as in Step 3), a second group (“The Clappers”) to clap the first eight beats, and a third group (“The Snappers”) to snap fingers on the last eight beats of each phrase. Rehearse the three groups without singing.

Indicator of Success

As soon as the class is able, sing with body rhythms and add instruments. Group 2 can include one woodblock player, and group 3 a tambourine player.

bar = measure

Step 5: Focusing on the Phrase Chart again, draw a box around each set of four beats and ask students to count how many boxes there are total. (12) Tell them that in jazz each of these measures is called a bar, so “Lost Your Head Blues” is a 12-bar blues song. As therecording plays again, have students count aloud (1–2–3–4, 2–2–3–4, 3–2–3–4, 4–2–3–4, etc.) as you point to the chart.

CLOSE

Briefly review (through questions posed to the students) the three phrases, the length of each phrase (4 bars), the words of phrases 1 and 2 being the same, and the 12-bar total. Conclude with the students singing “Lost Your Head Blues” again, adding body rhythms and instruments.

ASSESS

Observe when students become familiar with other blues songs how effective and accurate they are in identifying and describing the form and text of 12-bar blues.

Background Note

Often melancholy and slow in tempo, blues is music of African Americans and was developed in the early twentieth century. It has a definite (but flexible) form of phrases and text and a specific harmonic pattern. Blues had a profound influence on the development of jazz. Bessie Smith (1894–1937) was known as the “Empress of the Blues.”

Adapt

1. Make sure that English language learners understand the musical meaning of the word blues, since it is a color and in many cultures may not be associated with feeling sad.

2. Prepare individual copies of the Phrase Chart to be placed on a desk, wheelchair tray, or on a communication device to assist those students who may have difficulty focusing on a classroom-sized chart.

Extend

3. Using the Chord Chart that follows, sing “Joe Turner Blues” p. 284 and play chord roots or chords on a barred instrument, resonator bars, Autoharp, Qchord, or a keyboard/synthesizer. Perform in a steady-beat rhythm.

Language Arts Cooperative Learning

4. In small groups, create new lyrics for “Lost Your Head Blues.” Consider topics such as the environment, historical or legendary figures, or school activities. Follow the three-line format and use body movements. Share with the entire class.

5. Invite students to search the Internet for other blues songs (see below) checking for the 12 bars and similar phrase structure. Ask them to share their findings and bring an example on their electronic device.

Other Music

“Joe Turner Blues,” Section III

“Good Morning Blues” (Leadbelly) (vocal)

“West End Blues” (Louis Armstrong) (instrumental)

“Blues Will Never Die” in Jazz for Young People, by Wynton Marsalis. This jazz curriculum includes a teacher’s guide, student guides, and nine CDs

Phrase Chart

"Lost Your Head Blues" (American blues)—sung by Bessie Smith (called the "Empress of the Blues")

Verse 1

“I was with you, baby, when you did not have a dime.

I was with you, baby, when you did not have a dime.

Now since you got plenty ... money, you have throwed your good gal down.”

Chord Chart

Model 41

MUSIC CONCEPT

Sections of a composition can contrast with one another and sections can be repeated (AABBACCA) (Form)

Objective

To identify aurally the repeating and contrasting sections in a composition and to demonstrate that recognition by raising hands for the A sections and completing a listening worksheet

Standard MU:Re7.2.5a

Demonstrate and explain how responses to music are informed by the structure (same and contrasting sections), the use of the elements of music (melody), and context

Materials

Call Chart Worksheet 1 for each student (p. 228)

Jazz Unit

This model experience can be part of a jazz unit. See model that precedes and one that follows.

OPEN

Step 1: Music comes in all kinds of styles—country and western, rock, classical. Ask students to name some other styles and then invite them to listen and name the instrument, and the style of music heard. Tap a steady beat as you listen. (piano, ragtime) Play the opening of “Piffle Rag.” After the listening and sharing of answers, note that ragtime was popular in the early 1900s and mention one or two of its special characteristics.

Key Terms: sections, repeating/contrasting, ragtime

Step 2: Tell the class that they are going to determine the form of this piece. Write “A” on the board and ask students to begin tapping the steady beats (after the introduction) and through the initial A section. (Teacher should stop the recording after the first 40 beats.)

Step 3: Distribute the Call Chart Worksheet 1 and note that “Piffle Rag” has an introduction, eight sections, and “A” is heard more than once. Listen for the “A” section and raise your hand each time it begins. Play the recording, identifying the sections by number (either hold up fingers or write numbers on board) and encouraging students to write an “A” in the appropriate box. (Form is: “Intro” A A B B A C C A.)

1 2 3 4 5 6 7 8

Step 4: Challenge the students to fill in the rest of the worksheet as they listen to the entire piece again. Note that contrasting sections should be labeled “B” and “C” and that contrasting sections might repeat as “A” did. (Again, the teacher should identify the sections by number as students listen.)

Indicator of Success

Step 5: After reviewing their answers, mention that the contrasting and repeating sections are characteristic of a “rag” format. Repeat the listening to confirm the form. Students could stand and clap or tap for “A,” snap fingers from side to side for “B,” and sway for “C.”

CLOSE

Step 6: Ask questions about which section was especially distinctive (“C”) and what made it different from A and B. Review the form of three contrasting sections, repetition of sections, and what they learned about ragtime.

ASSESS

After listening to several other ragtime selections, note if students can correctly identify the sectional form for each.

Background Note

American ragtime during its golden age spanned a period of roughly 25 years, from the late 1890s to the early 1920s. The music originated with African Americans. Piano “rags” featured a syncopated melody against a steady “oompah” bass and were divided into three or four sections, each symmetrical in length. Although Scott Joplin is the undisputed “King of Ragtime,” many other men and women composed fine rags. In fact, over 150 women are known to have composed and published piano rags at the beginning of this century. The women ragtime composers were mainly white, whereas ragtime in general was a black, male-dominated field. Most of the women composed during their twenties and thirties and then, once they married, apparently gave up their composing. Gladys Yelvington, who hailed from Indianapolis, wrote “Piffle Rag” at the age of 20. Yelvington also played the piano for silent movies.

Adapt

1. To enable a student with a visual impairment to participate fully in this activity, call out the numbers as the music is heard and print out the Call Chart Worksheet 1 in raised ink or enhance the worksheet with fabric or paper. Also, remember that students with limited fine motor skills may need more time to fill in the worksheet.

2. Students who are physically unable to clap should be encouraged to use any mobility they can to demonstrate steady beats (nodding head, tapping, etc.).

Extend

Peer-assisted Learning

3. Using Call Chart Worksheet 2, pairs of students should fill in the letter names for each section and then listen to “Piffle Rag” jotting down the distinctive musical characteristics that they can identify in each section. Encourage students to use musical terms such as tempo, steady beat, accent, and dynamics in their analyses. Pairs should listen independently, then discuss with their partner and, finally, as a team, share their answers with the class.

4. Create a hand jive with clapping, patsching, tapping, and so on for the 32 beats of the “A” section and make up different hand motions for “B” and “C.”

Other Rags

“Maple Leaf Rag” by Scott Joplin

“Novelty Rag” by May Aufderheide

“Red Rambler Rag” by Julia Lee Niebergall

“That Tired Rag” by Charlotte Blake

“Pineapple Rag” by Scott Joplin

Model 42

MUSIC CONCEPT

Beats can be grouped in fives (Rhythm)

Objective

To identify aurally the five-beat grouping and to demonstrate that recognition in body movements

Standard MU:Re7.2.5a

Demonstrate and explain how responses to music are informed by the structure, the use of the elements of music (rhythm: beat groupings of five), and context

Materials

None needed

Jazz Unit

This model experience can be part of a jazz unit. See models that precede.

Explore the jazz resources in Chapter 4 and at http://americanhistory.si.edu/smithsonian-jazz/education.

OPEN

Step 1: Share with the students that jazz comes in all kinds of styles such as Dixieland, swing, bebop, and modern jazz. Tell them that one style of modern jazz is called “cool jazz” and ask them to listen to this very famous “cool jazz” piece. Clap or tap the fast beats as you listen and together we are going to figure out why the piece is called “Take Five.” Encourage students to keep the beat as the recording plays.

Key Terms: beats, accent, beat groupings of fives

Step 2: After listening, mention that “Take Five” was a piece made famous by the Dave Brubeck Quartet in the 1950s and is still very popular today. “Take Five” has something to do with beat groupings. Review with the class the familiar beat groupings of twos and threes—write: 1 2 and 1 2 3 on the board and have students do body rhythms as you point to each (lap, clap for 2s; lap, clap, clap for 3s). Then ask How many beats would we have if we combined a group of threes and a group of twos? (five)

Step 3: Write: 1 2 3 4 5 on the board. Ask students to clap again with “Take Five” and to watch as you point to the five beats. See if beat groupings in five seem to match with the title “Take Five.” Encourage students to watch the board as they clap and listen.

> = accent

Step 4: Introduce the accent mark (>) and place an accent under the numbers 1 and 4.

1 2 3 4 5
> >

Indicator of Success

Note that now beats 1 and 4 should be accented or stressed and this creates a combination of beat groupings of three and two to equal five. Have students try body rhythms to show this by standing and pushing arms forward (away from body) on 1 and clapping on 4— class should speak the 1 2 3 4 5 aloud as they try the movements. When the movements are secure, try these movements with the music.

CLOSE

Step 5: Repeat the movements with the music as long as interest is there. Then, ask questions to review what they learned about beat groupings of two, three, and five. Beat groupings of five makes “Take Five” a special jazz piece!

Background Note

“Take Five” is an example of “cool jazz,” a lighter, more romantic style of jazz that developed in the 1950s by groups such as the Dave Brubeck Quartet. “Take Five,” composed by Paul Desmond, a member of the Dave Brubeck Quartet, became Brubeck’s signature tune and was the first jazz album to sell one million copies. Dave Brubeck (1920–2012) was one of the twentieth century’s most important jazz composers and performers.

Adapt

1. If some students are having difficulty doing the hand motions on both beats 1 and 4, have them do the “push forward” motion on the strong beat (beat 1) only. For those who are physically unable to do the suggested motions, encourage any gesture(s) for demonstrating the strong beat(s).

2. To help with the concept of beat groupings of five, have students tap with the index finger of one hand each finger of the other hand (thumb is beat 1) both with the music and without the music.

Extend

Peer-assisted Learning

3. In pairs, students should create other body rhythms to show the grouping. For example, partners could strike hands together (patty-cake style) on beats 1 and 4 and clap the other beats. Pairs could also create and notate four measures in meter using a variety of notes and rests.

4. Encourage students to learn about other jazz styles and performers. (See books below and check out internet resources.) Suggest that they prepare a “Jazz Talk Show” where important jazz performers could be interviewed.

KALLEN, S. A. (2003). The History of Jazz. Lucent Books.

McCURDY, R. (2004). Meet the Great Jazz Legends. Alfred Publishing Company.

Model 43

MUSIC CONCEPT

The elements of music can be identified and compared in music of differenthistorical periods (Elements of Music)

Objective

To identify aurally music from earlier times and the twentieth century and through a comparison of the musical elements, describe the similarities and differences between the two compositions

Standard MU:Re7.2.5a

Demonstrate and explain how responses to music are informed by the structure, the use of the elements of music, and historical context

Materials

Large blank sheets of paper—one for each team

Musical Clues List on large paper—one for each team (see p. 234)

Two similar objects (or photos) that represent different time periods (one contemporary and one older), such as a digital watch and a pocket watch or an old record and a compact disc

OPEN Key Terms: timbre, tempo, dynamics, beat, repetition

Step 1: Show students the two similar objects (or photos). Have students brainstorm what is the same, what is different, and how they knew which is contemporary and which is older. List answers on board.

Step 2: Challenge students to listen to excerpts from the two musical examples. Without revealing the titles or the composers’ names, ask students to decide which piece sounds like it was written just a few years ago and which about 200 years ago. (“Four on the Floor,” 1983; Archduke Trio, 1811) After the class has shared their “educated guesses,” discuss briefly when and where Beethoven lived in comparison with Larsen, an active contemporary composer. Note that music from different time periods may sound different but still have much in common.

Cooperative Learning

Step 3: Challenge students to figure out what was the same and what was different musically in the two pieces. In groups of four, give teams two large pieces of paper and ask them to write Larsen in the middle of one and Beethoven in the middle of the other. Give each team a second paper that includes a list of “musical clues.” Review the clues and what they mean. As the students listen to the Larsen piece, encourage them to consult the clues list and jot down their ideas on their corner of the “Larsen” paper. Follow the same procedure for the Beethoven piece. (Students may need several opportunities to listen to the two pieces.)

Indicator of Success

Step 4: After listening to both excerpts, the teams should read each other’sclues and discuss their answers. Then, each team should be given a large blank paper and be asked to divide their paper in two columns—labeling one the same and the other different. As a team, group members should decide which musical clues were the same for the two pieces and which were different and then write those on their team paper. Each team should share its conclusion with the class.

CLOSE

Step 5: Listen to each example once again noticing those prominent similarities and differences that the teams have identified. Involve students in summarizing that music of different historical periods uses the elements of music in similar and contrasting ways.

Background Note

Libby Larsen is one of America’s most active contemporary composers. Her compositions are performed throughout the world. “Four on the Floor” (1983) celebrates American music and was inspired by boogie-woogie. The title refers to speed—gunning a car in high (or fourth) gear and putting the gas pedal down to the floorboard. In fact, Larsen says that “breakneck is the theme of the piece—an America that is speeding up faster and faster, jazzing into eternity.”

Adapt

1. In reviewing the Musical Clues List, use illustrations such as photos of the four instruments, demonstrations of fast/slow, loud/soft, and so forth, to help all learners (including English language learners) understand the terms. Review the meaning of the terms “same” and “different” too.

2. Make sure all students (including those with special needs) are active participants in the cooperative-learning groups as the group decides what is the same and what is different in the two pieces.

Extend

Cooperative Learning

3. Distribute copies of the Venn Diagram (p. 235). Ask students, in small groups, to label one circle Larsen and the other Beethoven. Using the information they discovered about the two pieces, write the special musical characteristics of each in the proper circle, but the characteristics common to both in the overlapping area.

Language Arts

4. Learn about Beethoven’s life through the book, CD-ROM, DVD, or video Beethoven Lives Upstairs and H. Bauer’s Beethoven for Kids (Chicago Review Press, 2011).

Visual Art

5. Discover similarities and differences in two paintings, for example, Bonaparte Crossing the Alps (1800, Jacques-Louis David) and Summer Days (1936, Georgia O’Keeffe). Compare subject matter, realism/abstraction, color, line, use of space, shape/form, and repetition. Note how both the visual arts and music use same and different elements (e.g., instruments/ color) in different historical periods (images.google.com).

Other Music

“Jesu, Joy of Man’s Desiring” (Bach, 1685–1750)

Serenade for Wind Instruments (Mozart, 1756–1791)

Toccata, third movement (Chávez, 1899–1978)

“Devil’s Dance” (Stravinsky, 1882–1971)

Musical Clues List

Big changes in louds and softs Instruments entering at different times
Little change in louds and softs Instruments playing together
Mainly fast tempo Thick texture
Mainly slow tempo Thin texture
Moderate tempo Big changes in tempo Repetition
Little changes in tempo Accents
Steady beat Played by: piano
No steady beat                   violin
                  cello
                  double bass
Clashing sounds
Singable melody

Review of Level III

  1. Identify those music concepts within melody, rhythm, form, harmony, and expressive qualities that children in grades 4 and 5 can perceive.
    1. melody concepts
    2. rhythm concepts
    3. form concepts
    4. harmony concepts
    5. expressive qualities concepts
  2. Describe at least three developmental characteristics (physical, musical, cognitive) of children in grades 4 and 5. How will these characteristics suggest appropriate musical experiences?
  3. Describe these terms and give a musical example for each:
    1. jazz
    2. blues
    3. rondo
    4. ABA form
    5. call and response form
  4. Name one music instrument in each category:
    1. aerophone
    2. chordophone
    3. idiophone
    4. membranophone

  5. Analyze the phrases of the following songs. Circle the correct analysis. (Songs are found in Section III.)

    "Clap Your Hands"

    abab

    aabb

    aaba

    "Hawaiian Rainbows"

    abab

    aabb

    aaba

    "Ode to Joy"

    abab

    aabb

    aaba

  6. What pitches are in the following chords?

    C __________ __________ _______ G7 ___________ _________ ____________ ___________

    F __________ __________ _______ F7 ___________ _________ ____________ ___________

    G __________ __________ _______

    D __________ __________ _______

  7. Create and notate four measures in meter. Use a variety of notes and rests.
  8. Compare the Monthly Planners on pp. 238-241 with the Sequence of Songs and Listening Selections, Level III on p. 192. For each model, make a note of which holiday, special occasion, multicultural celebration, and/or special music focus from the Monthly Planners could be correlated with that particular model experience.
  9. In small groups, discuss the musical and nonmusical reasons why music of a wide variety of cultures should be included in the elementary classroom music curriculum. Prioritize your list of reasons and share the "Top Five" with the class.
  10. Try Internet searches to gather information and teaching ideas for the songs included in Level III model experiences. Check YouTube for videos of teaching examples of any of the music and/or model experiences that were introduced in Level III. Note which teaching ideas and videos would be especially helpful in your teaching.
  11. Practice teach (with peers or children) one of the model experiences in Level III. Evaluate your presentation using the "Self-Evaluation of Model Experience Presentation" form on the companion website. If peers were your students, elicit their feedback by having them fill out the form "Peer Evaluation of Model Experience Presentation" (also available for download on the website).

Creating a Model Expereence-Level III

Plan one or two original model experiences for students in grades 4/5 (Level III). Base each experience on one of the two specified listening selections. This example 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.

  1. The music concept and the musical selection are specified. Plan how to present this concept and music to fourth- and fifth-grade children.
  2. State the objective for the experience, making sure that how and what students will do to demonstrate their understanding is included (see Chapter VII).
  3. Model sequence. Be sure to include key terms and age-appropriate music-making activities. Pay special attention to the "Open" and "Close" of the experience. Specify the exact part of the music that is the main focus of the experience. Identify by rhythm, pitches, or placement in music.
  4. Standards. Identify the specific performance standard that is addressed in the model experience.

Plan two extension activities. One activity should be an extension to the music concept presented in the model experience. Another activity should focus on a different subject area such as language arts, dance, or the visual arts.

Sample Model Lesson Outline

MUSIC CONCEPT

Music Objective Standard Materials

OPEN Key Terms:

Step 1:

Step 2:

Step 3:

Indicator of Success

Step 4:

CLOSE

ASSESS

One activity to reinforce music concept and one related to another curricular area

Music

Extend

1.

(other curricular area)

2.

Back to School:(dates vary) “Hello, There”
“Good Morning Song”
Children’s Book Week: (3rd week in August) Books for Children, Appendix E
Bon Festival: (mid August) “Haiku Sound Piece” (Model 32) Haiku poems, Appendix C
Grandparents’ Day:(first Sunday after Labor Day) “Love Somebody”
Classical Music Month:(September) Bach (Model 25), Beethoven (Model 43), Bizet (Model 33), Gabrieli (Model 26), Kodály (Model 34), Larsen (Model 43), Offenbach (Model 17), Mozart (Model 26), Mussorgsky (Model 7), Saint-Saens (Models 9, 21, 30), Schubert (Model 26), Stravinsky (Model 17), Tchaikovsky (Model 19)
Hispanic Heritage Month(Sept. 15-Oct. 15) “Matarile” (Model 15), “Cielito Lindo” (Model 22) “Al Citron,” “Duermo Pronto,” Los Pollitos,”
Mexican Independence Day:(Sept. 21) “It’s Raining!” (“¡Qué llueva!”)
Columbus Day:(Oct.12) “America”
United Nations Day:(Oct. 24) “Make New Friends”
Halloween:(Oct. 31) “This is Halloween,” “Five Little Pumpkins” (chant), “Old Mother Witch” (chant)“Devil’s Dance” (Model 17)
Vietnamese Autumn Moon Festival: “Classical Quintet Ngu Tuyet” (Model 38)

National American Indian/Alaska Native Heritage Month(November)
American Indian Heritage: “Corn Grinding Song” (Model 37), “Stomp Dance” (Model 36), “Mos\ Mos’l”
Veterans Day: (Nov. 11) “America,” “You’re a Grand Old Flag,” “Parade” (Model 3), “The Stars and Stripes Forever” (Model 24)
Thanksgiving: (4 th Thurs.) “Five Fat Turkeys,” “Over the River and Through the Wood,” “We Gather Together”
St. Nicholas Day: (Dec. 6) “Jolly Old Saint Nicholas”
Las Posadas: (Dec. 16-24) “La piñata”
Hanukkah: (dates vary yearly) “Candles of Hanukkah,” “Hanukkah,” “Hanukkah Song,” “My Dreydl”
Winter Begins: (Dec. 21 or 22) “Jingle Bells”
Christmas: (Dec. 25) “Chinese Dance” from Nutcracker (Model 19),
“Up on the Housetop,” “We Wish You a Merry Christmas”
Kwanzaa: (Dec. 26-Jan. 1) African drumming (Model 13)
Read a New Book Month: Books for Children, Appendix E
Martin Luther King Jr. Day:(third Monday) “Sing About Martin!” (Model 16)
Lunar New Year (China, Korea, Taiwan, Vietnam):(dates vary in Jan./Feb.) “Go a Tin,” “The Dragon Song” (Model 29)
National Book Week:(3rd week) Books for Children, Appendix E

African American History Month: “Sing About Martin!” (Model 16), “Lost Your Head Blues,” (Model 40), “We Shall Overcome,” “He’s Got the Whole World,” “Kye Kye Kule,” “Obwisana,” “Head, Shoulders, Baby” (Model 12) and others in Section III
Valentine’s Day:(Feb. 14) “A Tisket, A Tasket,” “Love Somebody”
President’s Day:(3rd Mon.) “America,” “America the Beautiful,” “Yankee Doodle,” “You’re a Grand Old Flag”
Mardi Gras:(day before Ash Weds.) “When the Saints Go Marching In”
Chinese Lantern Festival:(dates vary yearly) “Go a Tin”
National Anthem Day:(Mar. 3) “The Star-Spangled Banner”
National Women’s History Month/ International Women’s Day:(Mar. 8) Larsen (Model 43), Yelvington (Model 41)
Music in our Schools Month: “Sing, Sing Together,” “Over My Head,” “Viva la Musica”
National Reading Month: Books for Children, Appendix E
Irish-American Heritage Month/St. Patrick’s Day:(Mar. 17) “Michael Finnegan”
Spring Begins:(Mar. 20) “It’s Raining!” (“¡Qué llueva!”) “Ebeneezer Sneezer” (Model 27), “Eency, Weency Spider”

Jazz Appreciation Month: “Boogie-Woogie Walk” (Model 5), “Lost Your Head Blues” (Model 40), “Piffle Rag” (Model 41), “Take Five” (Model 42)
National Poetry Month: “Haiku Sound Piece” (Model 32), Poems, Appendix C
Passover:(April dates vary) “Dayenu”
Easter:(April Sun. dates vary yearly) “Ballet of the Unhatched Chicks” (Model 7), “John the Rabbit (Model 8), “Los pollitos”
Earth Day (USA):(April 22) “America the Beautiful,” “I Love the Mountains,” “Sally, Go “Round the Sun,” “Hawaiian Rainbows” (Model 31)
Asian and Pacific American Heritage Month: “Aririang” (Korea), “Barong Dance” (Bali) and “Classical Quintet Ngu Tuyet” (Vietnam) (Model 38), “Sakura” (Japan), “The Dragon Song” (China) (Model 29), “Flower Drum Song” (China), “Go A Tin” (Taiwan)
Lei Day- Hawaii: “Hawaiian Rainbows” (Model 31)
Cinco de Mayo: (May 5) “Matarile” (Model 15), “Cielito Lindo” (Model 22) “Al Citron,” “Duermo Pronto,” Los Pollitos,”“It’s Raining!” (“¡Qué llueva!”)
Mother’s Day:(May, 2nd Sun.) “Love Somebody,” “If You’re Happy”
Memorial Day:(May, last Mon.) “Parade” (Model 3), “The Stars and Stripes Forever” (Model 24), “America,” “America the Beautiful,” “You’re a Grand Old Flag”
Caribbean American Heritage Month: “Mango Walk” (Jamaica) (Model 35), “Tinga Layo” (Dominican Republic)
Father’s Day:(June, 3rd Sun.) “Love Somebody,” “If You’re Happy”
Flag Day (USA):(June 14) “You’re a Grand Old Flag,” “The Stars and Stripes Forever” (Model 24), “The Star-Spangled Banner”
Independence Day:(July 4) “Miss Mary Mack,” “You’re a Grand Old Flag,” “Parade” (Model 3), “The Stars and Stripes Forever” (Model 24)