Malaysian school children playing instruments. Photo by Universiti Teknologi MARA, Malaysia/ISME 2006.
Malaysian school children playing instruments. Photo by Universiti Teknologi MARA, Malaysia/ISME 2006.
SEQUENCE OF SONGS AND LISTENING SELECTIONS LEVEL I (GRADES K-1)
| MODEL | MUSIC | PAGE |
| 1 | “Golden Gate” (Traditional chant) | p. 114 |
| 2 | “Riding in the Buggy” (American folk song) | p. 116 |
| 3 | “Parade,” from Divertissement, by Ibert | p. 118 |
| 4 | “Sally, Go ’Round the Sun” (American folk song) | p. 120 |
| 5 | “Boogie-Woogie Walk,” by Spencer | p. 122 |
| 6 | “Looby Loo” (Traditional) | p. 124 |
| 7 | “Ballet of the Unhatched Chicks,” from Pictures at an Exhibition, by Mussorgsky | p. 126 |
| 8 | “John the Rabbit” (American folk song) | p. 130 |
| 9 | “The Elephant” and “The Aviary,” from Carnival of the Animals, by Saint-Saens | p. 134 |
| 10 | “Five Angels” (German folk song) | p. 136 |
| 11 | “Wishy Washy Wee” (American folk song) | p. 140 |
| 12 | “Head-Shoulders, Baby” (African American game song) | p. 142 |
| 13 | “Bata Drums” (Nigeria) (excerpt) | p. 144 |
| “Munomuno” (Mulondo, Uganda) (excerpt) | p. 144 | |
| 14 | “Wake Me!” (American folk song) | p. 146 |
| 15 | “Matarile” (Mexican folk song) | p. 148 |
SEQUENCE OF MUSIC CONCEPTS LEVEL I (GRADES K-1)
| ELEMENTS OF MUSIC | MUSIC CONCEPTS |
| RHYTHM | Chants can move with a steady beat (Model 1, “Golden Gate”) |
| RHYTHM | Music can move with a steady beat (Model 2, “Riding in the Buggy”) |
| DYNAMICS | Music can be soft or loud or become gradually softer or louder (Model 3, “Parade”) |
| FORM | Songs may have a clear ending (Model 4, “Sally, Go ’Round the Sun”) |
| TEMPO | Music can move in a fast and slow tempo (Model 5, “Boogie-Woogie Walk”) |
| FORM | Melodies can be made up of sections that are different (Model 6, “Looby Loo”) |
| RHYTHM | The rhythm of a melody includes long and short sounds (Model 7, “Ballet of the Unhatched Chicks”) |
| FORM | Repeating patterns can create unity (Model 8, “John the Rabbit”) |
| MELODY | Pitches can be high or low (Model 9, “The Elephant” and “The Aviary”) |
| MELODY | Pitches can move up (Model 10, “Five Angels”) |
| MELODY | Pitches can move down (Model 11, “Wishy Washy Wee”) |
| MELODY | Pitches in a melody can stay the same (Model 12, “Head-Shoulders, Baby”) |
| TIMBRE | Sounds are produced by vibrations (Model 13, “Bata Drums” and “Munomuno”) |
| HARMONY/TEXTURE | A melody can be performed alone or with an accompaniment (Model 14, “Wake Me!”) |
| RHYTHM | The rhythm of a melody includes long and short sounds (Model 15, “Matarile”) |
PREMUSIC CONCEPT
Chants can move with a steady beat (Rhythm)
Objective
To identify aurally a chant that moves in steady beats and to demonstrate that recognition through body movements
Standard MU:Cr1.Ka
With guidance, explore and experience a music concept (steady beat).
Materials
None needed (chart below is for teacher preparation)
| Two, | four, | six, | eight, |
| | | | | | | | |
| Meet me | at the | Golden | Gate. |
| | | | | | | | |
| If you're | late, | I won't | wait |
| | | | | | | | |
| Two, | four, | six, | eight. |
| | | | | | | | |
OPEN Patsch means to pat tops of thighs. Key Term: steady beat
Step 1: Begin patsching steady beats (| | | |) and invite students to try some steady beats with me. When steady beats are well established, suggest they keep those steady beats going while I add some words:
Indicator of Success
Step 2: Discuss the words of the chant—have children find the rhyming words. Teach each line of the chant in echo form while maintaining steady-beat patsching. When all the words are learned, announce we’re ready to do the whole chant together. I’ll keep the steady beats going; you just chant the words. Repeat several times. Encourage expressive speaking. If students are able, have them patsch as they repeat the chant.
CLOSE
Step 3: When do you like to say chants? Elicit answers like “jumping rope, bouncing a ball,” and so on. It’s easy to keep ball bouncing and rope jumping steady when we use a chant with a steady beat.
ASSESS
Observe how students can successfully keep a steady beat with a different chant.
1. Prepare visual prompts to help children remember the sequence of words “2, 4, 6, 8,” “meet” illustration, “Golden Gate” Bridge picture, etc. Make the visuals large and colorful enough to attract and focus the children’s attention.
2. For children with physical challenges, create gestures that the class can do too for feeling and showing the beat (e.g., head bobbing).
3. Steady beats can be performed with other body rhythms. For example, students could tap fingertips together, forming a Golden Gate Bridge with their arms.
Movement
4. When students can successfully perform the steady beats with body rhythms, have them step the steady beats with their feet by moving about the room as they chant.
Kodaly Adaptation Music Learning Theory
5. While the class chants, mark beat lines (|) on the board. Repeat the chant, pointing to the beat lines. (If students are able to read, the words of the chant could also be written on the board.) Have students take turns touching the beat lines as the class chants. The class could also speak “ta” or “du” for each beat.
Orff Adaptation
6. Accompany the chant with a steady-beat accompaniment on a rhythm instrument such as a small drum or a tambourine, or on a barred instrument (e.g., xylophone or resonator bars) using the pitches C (low) and G played simultaneously.
Social Studies
7. Share a book about San Francisco and its famous Golden Gate Bridge— for example, M. Sasek’s This is San Francisco (Universe, 2003) or R. Berman’s Sasha—The San Francisco Sea Lion (Smith Novelty Co., 2003).
Visual Art
8. Challenge students to see the relationship between steady beats in music and the similarities in Wayne Thiebaud’s Big Suckers and Sprinkles Cupcakes. Download the pictures from www.images.google.com.
Language Arts
9. Read one of the following books to children—B. Martin’s Chicka Chicka Boom Boom (Simon & Schuster, 1989) or A. Parkins and E. Guerney’s Hand, Hand, Fingers, Thumb (Random House, 1997). Both convey a strong feeling of beat.
See collection in Appendix C.
MUSIC CONCEPT
Music can move with a steady beat (Rhythm)
Objective
To identify aurally and sing a song that moves with a steady beat and to demonstrate that recognition in body rhythms
Standard MU:Pr4.2.1a
With limited guidance, demonstrate knowledge of music concept (steady beat) in a song
Materials
None needed
OPEN Key Term: beat
Step 1: With students seated in a circle, review steady-beat clapping with a chant such as “Golden Gate” in Model 1. Then, invite students to listen to a song and clap the steady beats. Sing the song or play the recording, with students clapping steady beats.
Step 2: Share with them what a buggy is and who is riding in it. Sing again, with students dramatizing how they hold the reins and bounce (gently), as to a steady beat of a horse’s hooves. Encourage them to sing the “Riding in the buggy, Miss Mary Ann” parts. Repeat the singing and moving, also learning the “She’s a long way from home” phrase.
Step 3: Create new verses about other vehicles, such as a car and substitute a student name for “Mary Ann.” Have students show how they “drive a car” with hands on an imaginary steering wheel, “turning” from left to right on each beat as they sing. (The student whose name is substituted could be in center of circle to lead the movements!)
Indicator of Success
Step 4: While the class sings, mark beats (|) on the board creating the four lines of four beats below. Repeat the song, pointing to the beats. Invite students to take turns pointing to the beats as the class sings and moves (or claps).
| | | | | | | | |
| | | | | | | | |
| | | | | | | | |
| | | | | | | | |
CLOSE
Step 5: What a good job you did showing the steady beats in the song! Invite students to show steady beats one more time as they walk back to their seats and sing the song.
ASSESS
Note whether students are successful in keeping a steady beat as they sing a different but familiar song and point to the beats with reasonable accuracy.
Peer-assisted Learning
1. Since some children may have difficulty following the beat lines on a chart displayed several feet away, team children with peer partners. Using a small beat chart, one partner can point to the beats while the other holds the small chart.
2. To clarify the meaning of the words for English language learners (and other children as well), prepare visual cues such as colorful cards or charts of a: house, horse and buggy (with “Miss Mary Ann”).
3. Encourage any active response for feeling the beat (e.g., swaying from side to side, nodding head, etc.) for children who are limited physically. Children who are having difficulty feeling the beat might be helped by exaggerated modeling of the motions or the teacher moving around the room and tapping the beat on all the children’s shoulders.
Movement
4. Have students freely explore movements depicting vehicles such as boats, trains, and trucks as they create new verses for “Riding in the Buggy.”
Kodály Adaptation Music Learning Theory
5. Introduce traditional notation by converting the beat lines (|) to quarter notes (
). Repeat singing and clapping while pointing to the quarter-note beats. Students could practice speaking the quarter-note beats with “ta” or “du.”
Language Arts
6. Share a book focusing on children’s names: E. Sanders’s What’s Your Name? From Ariel to Zoe (Holiday House, 1995) or Y. Choi’s The Name Jar (Dragonfly Books, 2003).
Movement
7. Choose songs or instrumental selections from “Other Music,” and involve students in steady-beat experiences. Use nonlocomotor movements like moving arms, swaying, and stepping in place, then use locomotor movements like marching. Students could also play rhythm instruments.
“Hickory, Dickory, Dock”
“Obwisana”
“Ring Around the Rosy”
“Sally, Go ’Round the Sun”
“Wake Me!”
“Wishy Washy Wee” 
“The Stars and Stripes Forever,” by Sousa 
“Viennese Musical Clock” (Háry János Suite), by Kodály 
“Hoedown” (Rodeo), by Copland
MUSIC CONCEPT
Music can be soft or loud or become gradually softer or louder (Dynamics)
Objective
To identify aurally the parts of a musical composition that are soft and loud and to demonstrate that recognition by responding with appropriate body movements
Standard MU:Pr4.2.Ka
With guidance, explore and demonstrate (through movement) awareness of music contrasts such as loud/soft in music.
Materials
None needed
OPEN Key Terms: loud, soft, steady beat
Step 1: Play a “Follow the Leader” game with students clapping steady beats, but experimenting with soft and loud steady-beat clapping. Then, ask students to listen to a piece of music that begins softly but has loud parts too. Clap the steady beats and show when the music is loud or soft.
Step 2: After listening and clapping with “Parade,” ask How did the music begin? Soft or loud? (soft) How did it end? (soft) Was it soft or loud in the middle? (loud)
Indicator of Success
Step 3: Invite students to think of ways to show soft steps (tiptoe), loud steps (marching), and steps for in-between loud and soft (walking). Choose a group to try those movements with the music. Repeat, giving all students an opportunity to move. (Students not moving could be clapping steady beats.) Compliment students on showing the differences between the louds and softs in the music.
CLOSE
Step 4: Ask students to suggest possible titles for the music. If “Parade” is not suggested, share with them the composer’s title. Ask if they can decide where the parade was located (far away or up close) when the music was soft, when it was loud, when it was in between loud and soft. Talk a bit with them about parades—the bands playing instruments, floats, flags, and so on allowing them to share their own experiences.
ASSESS
Observe how successful students are when they sing a familiar song once soft and once loud and describe the differences.
1. Model the soft and loud beats with exaggeration to help children who may have difficulty hearing the contrasting dynamics and/or matching their movements to the beat. Encourage children who may not be physically able to clap or march to use any mobility they have to demonstrate soft and loud beats.
2. For visual learners, prepare and label picture cards suggesting “soft” and “loud” to reinforce what is happening in the music. Examples might be: fingers over lips saying “SHHHHH!” and hands cupped around open mouth as if calling. Help English language learners pronounce the words “soft” and “loud” as they associate the words with the movement and the pictures.
Language Arts
3. Read G. Baer’s Thump, Thump, Rat-a-Tat-Tat (HarperTrophy, 1991), inviting children to join in on the repeated lines using the appropriate loud and soft inflections. Choose rhythm instruments to accompany “Thump, Thump” and “Rat-a-Tat-Tat.”
Movement
4. Play a loud/soft movement game. Using a drum, first explore moving to steady beats. Then suggest different movements for when the drum sounds loud or soft—for example, jumping for loud, tiptoeing for soft.
Peer-Assisted Learning
5. In pairs, have students search the classroom for objects that produce loud and soft sounds. Pairs should find three and be prepared to share them with the class.
Social Studies
6. Ask children to share the different kinds of parades they have seen. Talk with them about the kinds of things they saw in the parade. Share books about parades such as H. Ziefert’s Hats Off for the Fourth of July (Viking, 2000) or D. Crews’ Parade (Mulberry, 1986).
Movement Dramatization
7. Plan a parade with students marching to music with a steady beat, playing in a band (use rhythm sticks or other rhythm instruments), carrying pom-poms, flags, and so forth. Sousa’s “The Stars and Stripes Forever” is great marching music.
“The Stars and Stripes Forever,” by Sousa 
“Dream March” (Red Pony Suite), by Copland
“March” (Children’s Games), by Bizet
“Spring” (The Four Seasons), by Vivaldi
MUSIC CONCEPT
Songs may have a clear ending (Form)
Objective
To identify aurally the ending in the song and to demonstrate that end by jumping and turning on the final pitch and playing a drum
Standard MU:Cr1.Ka
With guidance, explore and experience the music concept of song endings
Materials
Large pictures and word cards of sun, moon, chimney (with a pipe at the top) Large drum and beater
OPEN Key Term: end
Step 1: Ask What do you do just before leaving home to come to school? (put on jackets, backpacks, and so on). Ask What is the last thing you do when you leave home? (close the door) Note how closing the door suggests the end of being at home.
Step 2: Songs can also have a clear ending. Sing or play the recording and ask students to listen to a song about a girl named Sally and see if you can discover what the last word is. (“Boom”) Repeat the song with students joining in on the boom by speaking and throwing both hands up in the air to show a “boom.”
Step 3: Ask students to discover all the things “Sally goes ’round” as they listen again and join in on the “boom.” As they identify sun, moon, chimney pot, display the picture of each in a place where all students can see. Sing the entire song using the pictures for visual cues. Then, repeat adding the sight-word cards.
Step 4: Bring out the drum demonstrating how to play. Ask students in what special place in the song might the drum sound appropriate (“boom”). Move through the class letting children play the “boom” on the drum. Then, have students sing again, adding a student playing the “boom.”
Indicator of Success
Step 5: Play the drum to help arrange students in a circle (hands joined). Add a student drum player in the center to play the “boom.” Then, have them step the steady beats, as the song is sung and jump on the ending word, boom. Repeat several times. (On each repeat of song, students could change direction from clockwise to counterclockwise.) Finally, have students drop hands and sing the song as they move back to their seats (with a final “sitdown” on the “boom”).
CLOSE
What a good job you did showing when the song comes to an end! What was the last word? (“boom”)
ASSESS
Note whether students are successful in identifying a song or a composition ending when they become familiar with different pieces of music.
1. Make a circle on the floor with brightly colored masking tape to give students a visual reference for a moving circular line.
2. To develop children’s memories and help them learn the words of the song, make picture cards large and colorful enough to attract the children’s attention and use only one picture at a time to focus attention. Children who are unable to step and jump can be the assistants in the middle of the circle holding up the appropriate pictures.
3. If a child is unable to grasp the beater to play the drum, try a modified drum beater or attach the beater to the child’s hand with a strip of Velcro®.
4. Teach a chant (Appendix C) or read a story and let students discover the final word(s).
Movement
5. Choose a song from “Other Music” and create a movement experience to accompany it that will help children show the ending.
Science/Language Arts
6. Form a large circle with one child in the center to be the “sun.” Have another child step just inside the circle to be the “earth” and to walk around the “sun.” Accompany this by creating new words to fit this idea about the solar system. Repeat so that other children can be the “sun” and the “earth.”
Orff Adaptation
7. Invite students to add an accompaniment using, e.g., soprano metallophones and alto xylophones to play a block and alternating bordun.
“London Bridge”
“Punchinella”
“Ring Around the Rosy”
“Teddy Bear”
“Wishy Washy Wee” 
MUSIC CONCEPT
Music can move in a fast and slow tempo (Tempo)
Objective
To identify aurally sounds and music that move fast and slow and to demonstrate that recognition in body movements
Standard MU:Pr4.2.Ka
With guidance, explore and demonstrate (through movement) awareness of music contrasts (fast/slow)
Materials
Drum
OPEN Key Terms: fast, slow
Step 1: We can walk in many different ways. Who can show how you’d walk if you were excited about going somewhere? Ask for individuals to demonstrate. How about if you were not happy about going somewhere? Continue with questions that will elicit creative fast and slow walks such as going to an ice cream shop to order their favorite ice cream cone, coming in from playing outside to clean up for dinner, and so forth. Encourage arm movements too.
Step 2: Let’s have a drum be part of our special walks. Ask individuals to choose a place that they would like to walk and to keep it a secret. As they walk, match their walking beat with the drum. After the student demonstrates, ask the class if it was a slow or fast walk and have the student share where they were going on their walk.
Step 3: Tell the students that music can move fast and slow too. Listen to this music and tap the beats on your laps as you imagine going somewhere you are excited about or in a slow way to somewhere you are not excited about. Be sure to match your tapping with the music. Play the recording, encouraging them to listen carefully. After listening, ask them to raise hands and share where they went quickly, where they went slowly.
Indicator of Success
Step 4: Now let’s try our walks with the music. Decide where you are going for the fast part and where you are going for the slow part. Before playing the recording, arrange students as a group (or take turns in small groups) in a space that will allow them to move freely and safely. Alert them to listen carefully for the fast and slow changes.
CLOSE
Step 5: After students have moved to the music, congratulate them on how their movements matched the slow and fast tempos. Ask them to raise hands and share where they went on their walks. Comment on how the body moves in ways that express how we feel: when we are excited, we might move fast; and when we are not excited, we may move slower. Ask the students to now show your very special slow walk as you move quietly back to your seats.
ASSESS
Note when students move to other music with tempo changes that they demonstrate recognition of different speeds through their movements.
Language Arts
1. Pictures of children or animals moving fast versus slow would reinforce what is happening in the music and help suggest movements. Or books such as J. Hindley’s Funny Walks (Troll Communications, 1997) and P. Showers’s The Listening Walk (HarperCollins, 1993) would be a natural connection.
2. Help English language learners pronounce the words “fast” and “slow” as they associate the words with the movement and the pictures. Encourage the sharing of how to say those words in Spanish and other languages.
3. Children who are unable to physically walk (and joined by several other classmates) could move puppets to show a fast and a slow walk.
Movement
4. Play the drum/moving game, but introduce the concepts of gradually getting faster (accelerando) and gradually getting slower (ritardando).
Dramatization
5. Step the steady beats and chant “Engine, Engine” (Appendix C). Incorporate tempo changes with train movements. For example, children could chant and move faster as the train leaves the station and slow down when it arrives at the station.
6. To continue to open children’s ears to jazz (boogie-woogie was an early form), share the book/CD Ella Elephant Scats like That with them. The “Intro to Ella” (track 1) includes scatting fast and slow and “Duck Ellington plays the Piano” (track 11) would be great music for a jazzy walk.
“Barcarolle” (Tales of Hoffmann), by Offenbach (mostly slow)
“Jesu, Joy of Man’s Desiring” (Cantata no. 147), by Bach (mostly slow)
“The Swan” (Carnival of the Animals), by Saint-Saëns (mostly slow)
“Devil’s Dance” (The Soldier’s Tale), by Stravinsky (mostly fast) 
“Four on the Floor,” by Larsen (mostly fast)
“Russian Dance” (The Nutcracker Suite), by Tchaikovsky (mostly fast)
“In the Hall of the Mountain King” (Peer Gynt Suite no. 1), by Grieg (gradually faster)
“The Little Train of the Caipira” (Bachianas Brasileiras no. 2), by Villa-Lobos (slow/fast)
MUSIC CONCEPT
Melodies can be made up of sections that are different (Form)
Objective
To identify aurally the sections of the song that are different and to demonstrate that recognition by singing/responding with contrasting movements
Standard MU:Pr4.2.Ka
With guidance, explore and demonstrate (through singing and movement) awareness of music contrasts (same/different) in a song
Materials
None needed
OPEN Key Terms: sections/parts, different
Step 1: Review the days of the week with students and ask them to listen for a day of the week in a new song (Saturday). Play the recording or sing the first section (“Here we go . . .”), asking them to patsch a steady beat along with our song. Review the “silly” words and repeat several times with students joining in singing.
Step 2: When the first section is learned, have students stand and sing as they get into a circle. Encourage a light, swinging walk as they sing this first part of the song and move in the circle without joining hands.
Step 3: Note that this is only part of the song. Tell them that on the other part we will try some different movements with our bodies. Let’s listen and see what we will do. Play the recording or sing the second section (“I put my right hand . . .”). Help students learn the new section by reviewing the words and trying the movements.
Indicator of Success
Step 4: Now try the entire song with students walking in a circle on the “Here we go . . .” section and standing in place as they move their right arms inside or outside of circle on the “I put my right hand . . .”. As students become confident, they can add the other verses using other parts of the body.
CLOSE
Step 5: Ask Were the words the same for both parts of our song? (No!) Review the different words. Did we do the same movements for both parts? (No!) Review the different movements. You really showed with your singing and movements how our “Looby Loo” song had two different sections!
ASSESS
Observe how successful students are in identifying same and different sections in other songs.
1. Make a circle on the floor with brightly colored masking tape to give children an outline to follow as they move in a circle with hands not joined. A child unable to do locomotor movements (and joined by several other classmates) could make his or her hands be the “Looby Loo Walkers” during the “Here we go” part.
2. For children who have difficulty combining two concepts such as “right” and “hand” simultaneously (for the second part of the song), have the entire class put “one hand” in and then the “other hand” in. When that concept is understood, add the directions “right” and “left.” Small stickers with “R” and “L” could be placed on their hands as reminders.
Language Arts
3. Since “Saturday” is mentioned in the song, the days of the week could be reviewed for English language learners. Write the seven names on the board and help children understand that the “day” part is common to all and is much like a “last name” while the first part is similar to a “first name.”
Movement/Language Arts
4. Create additional verses of the song, focusing on rhyming words and use of words. Create different body movements for each verse while keeping the “Here we go . . .” movements the same.
Math
5. Draw different shapes (e.g., square, circle) on board and ask children to name. (Elicit from them that some are made out of lines and others out of curves.) Ask them to choose one shape for the “Here we go” part guiding them to decide whether a different shape or the same should be used for the “I put my” part. Sing the song again with students taking turns pointing, at the beginning of each section, to the two different shapes.
Movement
6. For a similar experience helping young children learn body parts and the difference between left and right, sing and do the motions for the “Hokey Pokey” song.
“Get on Board”
“Hey, Lidee”
“Shoo, Fly”
“Up on the Housetop”
“Willowbee”
“Wishy Washy Wee”
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 in body movements
Standard MU:Re7.2.Ka
With guidance, demonstrate (through movement) how a specific music concept (long and short durations) is used in music
Materials
Baby chick puppet or toy
Picture Map (for children), p. 128, illustrated on a large chart
Listening Guide for Teachers, p. 129
OPEN Key Terms: short sounds, long sounds
Step 1: Show the baby chick puppet or toy and ask students to identify and describe. Pretend you are a baby chick, pecking with its beak. Show with your hand what kind of movement you might make. Help students form a “beak” with thumb and fingers to show their ideas. Comment on students’ fast and slow movements and on how the chick uses its beak to hatch out of its shell.
Step 2: Tell students they are going to hear some music about a chick pecking and breaking out of its shell. Have them look at the Picture Map, first noticing the last two pictures. Then have them tell what is happening in each picture. Have students follow the pictures as they listen to the recording. Ask them to listen for the sound when the chick finally breaks out of the shell (last two pictures).
Indicator of Success Listening Guide for Teachers gives precise timings.
Step 3: Repeat the Picture Map experience with students depicting the story with their hands (cup one hand to be the “egg” and “peck” with the other—short pecking followed by a long peck). Help them show the “resting” portion (for about 15 seconds during number 5 at the beginning of the B section) by “putting their chick to rest” and holding the position. Help them understand that fast movements go with short musical sounds and slow movements with long sounds. Repeat the listening and movement until most students are successful.
CLOSE
Step 4: Ask students to show your baby chick pecking with short movements. Now, with long movements! Let’s put our baby chicks to sleep! Compliment the students on how well they showed the long and short sounds of the baby chick hatching out of its shell.
ASSESS
After students become familiar with different music, observe whether they are able to show short sounds by fast movements and long sounds by slow movements.
1. Describe or involve the class in describing each part of the Picture Map before the first listening to assist a child with limited vision (and the rest of the class). Either print out the Picture Map in raised ink or enhance the map with fabric or paper to enable the child to follow. A child with a hearing loss will be able to follow the class Picture Map (with teacher guidance) to discover the music events as they unfold.
Language Arts
2. Help English language learners pronounce the words “long” and “short” as they associate the words with the hand movements and the music. A word card for each will help all children learn to read the two words.
Dramatization
3. Try a simple, but creative movement/dramatization for “Ballet of the Unhatched Chicks”—one that matches the music. For example, children can curl up and become “the chick inside the shell,” pecking at the hole, taking a rest, and finally breaking open the “egg.”
4. Draw short and long horizontal lines on the board and while rhythmically pointing to each, have students clap or move hands in the air. Try patterns such as — — – – —, — – – — —, and – – – – — —.
Science
5. Read with the students one of the following books to help them learn more about the life cycle of a chicken.
Legg, G. (1998). From Egg to Chicken (Lifecycles). Franklin Watts.
Sklansky, A. E. and P. Paparone. (2005). Where Do Chicks Come From? HarperTrophy.
Sykes, J. (1998). Dora’s Eggs. Little Tiger Press.
"Devil's Dance" (The Soldier's Tale), by Stravinsky (short sounds)
“Kangaroos” (Carnival of the Animals), by Saint-Saëns (long and short)
“Ase’s Death” (Peer Gynt Suite), by Grieg (long sounds)
MUSIC CONCEPT
Repeating patterns can create unity (Form)
Objective
To identify aurally the repeated patterns in a rhythm game and in a song and to demonstrate that recognition by performing the repeated patterns
Standard MU:Pr4.2.1a
With limited guidance, demonstrate understanding of the music concept (repeating pattern) in a song
Materials
Sticks or claves
D (low) resonator bar
Large picture chart of key words (peas, cabbage, etc.), see p. 132
OPEN Key Terms: repeat, pattern, unity
Step 1: Challenge the students to play an echo game with you. I am going to clap a pattern. I want you to echo me exactly. Clap some different patterns for students to repeat. Have individual students make up patterns for the class to echo, and note that the class repeats them.
Step 2: Tell students I am thinking of a little animal—can you guess what it is? Give clues such as floppy ears, fluffy tail, hippety hop, wiggly nose, nibble/nibble/nibble (rabbit). Then, clap the rhythm of the clues and have students repeat.
Indicator of Success
Step 3: I know a song about a rabbit named John. Can you discover the part that is repeated? After singing the song or playing the recording, talk about the “Oh, yes” repeats and encourage students to sing that part with you.
Repeat the singing with body movements for “Oh, yes.” For example, use both hands as rabbit ears that bend twice on each response. Encourage students to discover what John is doing as they listen and sing. Discuss the lyrics and use the pictures to assist in understanding and learning the words of the song.
Step 4: Have a student play the “Oh, yes” part with rhythm sticks or claves as the class sings and pantomimes the stick playing. Introduce the D resonator bar for the “Oh, yes” part. Involve the entire class by holding the bar and moving quickly from student to student, inviting each to play during the song.
CLOSE
Step 5: Conclude by noting how important the repeated part was in the echo game and in the song. Clap a few more patterns for them to repeat, and review the repeated tonal pattern in the song.
ASSESS
As students become familiar with different songs, note their success at identifying and performing a repeating pattern.
Language Arts
1. Using the labeled pictures for the key words in the song will assist all children (including English language learners) in learning to read (and pronounce) the words. Have children share the vegetable names in other languages.
2. Encourage a child who has motor impairments to show the “Oh, yes” in any way he or she can (e.g., bobbing head, tapping fingers, etc.) and to choose from several instruments that can be manipulated easily or that have only minor adaptations.
Language Arts
3. Read a poem or story that has repeated lines and invite students to join in speaking those lines. Two good examples are S. Silverstein’s “It’s All the Same to the Clam” (see p. 133) and E. Carle’s “The Very Clumsy Click Beetle” (New York: Philomel Books, 1999).
Visual Art
4. Study paintings for repetition, such as The Pie Counter or Sugar Cones, by Wayne Thiebaud; The Equatorial Jungle, by Henri Rousseau; or Little Girl in a Blue Armchair, by Mary Cassatt. Discuss what repeats in each and how these repetitions unify the artwork (see images.google.com).
5. Play the echo game using children’s names. Clap and chant names with the class repeating each.
Orff Adaptation
6. Add a steady-beat accompaniment by alternating D (low) and A on a barred instrument (xylophone, metallophone, resonator bars).
Language Arts
7. Share one of the following books on rabbits.
COLE, H. (1997). Jack’s Garden. HarperCollins.
A cute story about Jack planting a garden and the fun in watching the garden bloom.
Fleming, C. (2002). Muncha! Muncha! Muncha! Anne Schwartz Books/ Atheneum.
A delighful story about Mr. McGreely’s garden and the persistent bunnies that want to munch on his vegetables.
Rohmann, E. (2007). My Friend Rabbit. Square Fish.
A rabbit and a mouse become good friends in this story even though the rabbit has a habit of getting into trouble.
“Hello, There!”
“Kye Kye Kule”
“Sing About Martin”
You may leave the clam on the ocean's floor.
It's all the same to the clam.
For a hundred thousand years or more,
It's all the same to the clam.
You may bury him deep in mud and muck
Or carry him 'round to bring you luck,
Or use him for a hockey puck,
It's all the same to the clam.
You may call him Jim or Frank or Nell,
It's all the same to the clam.
Or make an ashtray from his shell,
It's all the same to the clam.
You may take him riding on the train
Or leave him sitting in the rain.
You'll never hear the clam complain,
It's all the same to the clam.
Yes, the world may stop or the world may spin,
It's all the same to the clam.
And the sky may come a-fallin' in,
It's all the same to the clam.
And man may sing his endless songs
Of wronging rights and righting wrongs.
The clam just sets—and gets along,
It's all the same to the clam.
(Shel Silverstein)
"It's All the Same to the Clam" from A Light in the Attic by Shel Silverstein. © 1981, renewed 2002 Evil Eye, LLC. By permission of Edite Kroll Literary Agency Inc.
MUSIC CONCEPT
Pitches can be high or low (Melody)
Objective
To identify aurally pitches that are mostly high and mostly low and to demonstrate that recognition by choosing and playing high/low sounds on a barred instrument and by creating contrasting movements to high and low music
Standard MU:Pr4.2.Ka
With guidance, explore and demonstrate (through movement) awareness of music contrasts (high/low) in music
Materials
Large pictures of objects that illustrate high and low, for example, airplane high in the sky and airplane on the ground
Barred melody instrument (preferably in stepladder position)
Two cards labeled high and low
OPEN Key Terms: high/low
Step 1: Display the pictures and ask students Which pictures show high and which show low? As the pictures are discussed, encourage students to demonstrate, with their hands, high and low concepts.
Step 2: Explore high and low sounds on the barred melody instrument (hold on end with the large bars down), associating hand movements with the pitch level. Use the cards to introduce the words for the differing pitch levels. Invite individual students to play high and low sounds on the instrument.
Step 3: Who can show us how to use our whole body to show high and low? (Stand tall on tiptoe with arms raised to show high and lean over close to the ground to show low.) Explain that the students will hear two different pieces of music and will show with body movements whether the music is mostly high or mostly low. Listen to an excerpt of each before trying the creative movements.
Indicator of Success
Step 4: Choose a group to try out their creative movements with the two pieces. (Pieces can be played one at a time in their entirety, or excerpts of each could be alternated.) Encourage contrasting movements (tiptoe vs. crouching low). Compliment students on their success showing contrasting movements for the high and low music and ask students to show either high or low as you move quietly back to your seats.
CLOSE
As students become familiar with similar compositions, observe how accurate they are in identifying and describing mostly high and mostly low music.
ASSESS
1. Prepare cards for “high” and “low”—large ones for the whole class and small ones for learners who need focus. Cards can be placed on their desks, wheelchair tray or on a communication device. A group of children including a child who is unable to physically move around the room could show high and low with streamers or scarves or use the ASL signs for high and low.
2. Help English language learners pronounce and associate the words for high and low with what they hear in the music.
Movement
3. Share the title of each piece and repeat with interpretative movements for elephants and birds.
Cooperative Learning
4. Using a variety of rhythm instruments, students in small groups should decide which ones produce high sounds (e.g., triangle) and which ones low sounds (e.g., large drum). Use the instruments for an accompaniment to a chant (see 6, below) or to accompany the movement experience with “The Elephant” and “The Aviary.”
Peer-assisted Learning
5. In pairs, students find objects in the room that produce high and low sounds and share their finds with the class.
6. To experience pitch levels with speaking voices, chant a rhyme from Appendix C all in high voices or all in low voices. Chant while walking the beat (use tiptoe steps for high-voice chanting and crouching low for low-voice chanting), or chant with body rhythms (clap hands high and low, etc.).
Dramatization
7. Tell or read the story of “The Three Bears,” emphasizing the pitch level for the little wee bear (high), the mama bear (middle), and the papa bear (low). Invite students to repeat certain lines with you. Later, develop a “sound story” using rhythm instruments (or a synthesizer) to represent each character (Mu:Cr1.1.1a).
Science
8. Experiment with filling (and sealing) two identical containers (glasses, jars) with differing amounts of water until one container sounds high and one sounds low. (Tune as closely as possible to the musical scale.) Strike container with a wooden or hard-rubber mallet. (Students should learn that the length of the air column determines the pitch—not the amount of water).
Visual Art
9. Locate the high and low body positions in Edgar Degas’s painting Rehearsal on Stage (images.google.com).
“Ballet of the Unhatched Chicks” (Pictures at an Exhibition), by Mussorgsky (high)
“Bydlo” (“Ox-Cart”) (Pictures at an Exhibition), by Mussorgsky (low)
“Dance of the Reed Pipes” (The Nutcracker Suite), by Tchaikovsky (high)
“Dance of the Sugar Plum Fairy” (The Nutcracker Suite), by Tchaikovsky (high)
MUSIC CONCEPT
Pitches can move up (Melody)
Objective
To identify aurally and visually pitches moving up and to demonstrate that recognition by singing and using hand motions
Standard MU:Pr4.2.1a
With limited guidance, demonstrate (through singing and movement) knowledge of the music concept (upward melodic direction) in a song
Materials
Flannelboard or Smart Board with letters: C, D, E, F, G and 5 angels, p. 139
Resonator bars: C, D, E, F, G
Five mallets
Large picture(s) for 5 jobs, p. 138
OPEN Key Term: up
Step 1: Distribute five resonator bars to five students and arrange in order at the front of the room from left to right: C, D, E, F, G. Have students play bars in ascending order. Did the pitches go up or down? Repeat several times, asking class to show with their hands the direction of the pitches.
Step 2: Display the flannelboard or Smart Board and letters. As players identify the letter written on their bar, place the five letters in ascending arrangement. Point to the letters as the bar players perform and the class sings the letter names while moving hands in an upward motion.
Indicator of Success
Step 3: These pitches that move up are very important in a song about some angels. Sing the song or play the recording, asking the students to count the number of times you hear the upward pitches. (Pointing to the board and mapping the direction with your hand will help!)
Step 4: Note the five times the pattern is heard and the five angels. Place the five angels on the board below the letters. Ask students to listen again, move their hands “up” in the pattern, and discover the job of each angel.
Step 5: As students recall the jobs and the story, display the picture(s). Review the words and have the class create a movement to describe each job. Then invite them to sing the song and do the “job” movements as you point to the picture(s). Repeat until the song is learned.
CLOSE
Step 6: Our song was about trying to wake an angel (up)? Elicit from them how the pitches, voices, and bars all moved up on the part about the angels and their jobs. Sing once again with students doing the “up” hand movements.
ASSESS
As students sing a similar song that is familiar to them, observe how successful they are in identifying and showing the upward pitches with their hands.
1. Using numbers as well as letters to identify and play the five pitches may be easier for some learners to understand. Using Boomwhackers® instead of resonator bars to play the pattern might work better for students who may have difficulty grasping a mallet.
2. The picture(s) of the five jobs will help visual learners remember the words and their order (as will the movements for each).
3. All learners, including English language learners, will benefit from additional illustrations of “up” with signs (arrows, stairs, etc.) and movements as they learn to read (and pronounce) the word.
Dramatization Cooperative Learning
4. When students are familiar with the words, involve the class in creating a dramatization for the song. Try one of the ideas with a small group. Then, in groups of six, let children either act out the same dramatization or create a new one. The groups should share their dramatizations while the class sings.
5. Scramble the five resonator bars or tuned tubes (Boomwhacker®) and challenge students to arrange them in sequential order by listening to the pitches. Help them to aurally identify the lowest bar and place first in line and then proceed in ascending order (left to right).
6. Make a 5-step tone ladder on a chart board with “C D E F G.” Use while singing the song.
“Miss Mary Mack” (C, D, E, F)
“This Old Man” (C, D, E, F, G)
“When the Saints Go Marching In” (C, E, F, G)
MUSIC CONCEPT
Pitches can move down (Melody)
Objective
To identify aurally and visually pitches moving down and to demonstrate that recognition by singing and moving arms in a downward direction at the end of the verse and refrain
Standard MU:Pr4.2.1a
With limited guidance, demonstrate (through singing and movement) knowledge of the music concept (downward melodic direction) in a song
Materials
2 sailor hats
Sailor dance directions, p. 337
OPEN Key Terms: down, pitch, high to low
Step 1: Teacher chooses a partner (both don sailor hats). Face each other and join both hands. Ask class to listen to a song and find out who we are. As you sing the song or play the recording, swing arms from right to left along with the music.
Step 2: After they hear the song, ask Who are we? (sailors) and Where do we come from? (o’er the sea) Briefly talk with them about sailors and the jobs sailors must do. Then, invite them to listen again to the song for the part “Come along with me.” Decide how you should move your hand to show the way the music goes on that part of the song: up or down. (down)
Step 3: After sharing student answers, ask them to sing “Come along with me” and move one arm in a downward motion. Incorporate the gesture of “coming along” with moving downward (use a large arc) as they sing the “Come along with me” phrase in the song.
Indicator of Success
Step 4: Review the words in the verse, writing key words such as come from o’er, sea, go away, and me on the board. Have students echo you as you repeat the words phrase by phrase, gesturing downward on the last phrase. Sing the entire song, doing the motion on the last phrase of the verse and the last phrase of the refrain. Note how the pitches moved down on “Come along with me.”
CLOSE
Step 5: Invite students to put on their imaginary “sailor hats” and learn a sailor dance, singing the song as they form a circle. As they dance, students in the circle should continually show the downward motion with their arms on the “Come along with me” part. As the dance comes to an end, ask students to tell you again how the pitches moved on the “Come along with me” phrase. (down) Compliment the “sailors” on fine dancing and suggest that all the “sailors” go back home (to their seats) as they sing one more time.
ASSESS
As students sing a similar song that is familiar to them, observe how successful they are in identifying and showing the downward pitches with their hands.
1. Present visual directions first to help children learn the sailor dance: for example, a visual of the circle with two “sailors” in the center, another with “sailors” swinging with arms linked, and so forth. Or use a model group of several students to demonstrate the dance before inviting the entire class to try. Place students who may have difficulty next to appropriate models.
2. All learners, including English language learners, will benefit from additional illustrations of “down” with signs (arrows, stairs, etc.) and movements as they learn to read (and pronounce) the word. Model the downward gesture with exaggeration.
3. T o help children explore their head voices, have them try downward sliding sounds or glissandos (sounds sliding from high to low very quickly with no exact pitches). Draw a visual. Have them pretend that they are sailors on a ship and need to slide down a pole very fast—encourage them to make the sliding down sound with their voices. Play a game having individual children do the sliding sounds—make sure that they begin in their head voices!
4. Arrange the C, D, E, F, and G resonator bars stepwise using a step-bar frame. Help students decide which bar goes on the bottom (C), which on the next step, and so forth, so they can play the descending pattern “Come along with me” (G F E D C). Notice the size of the bars in relation to the pitch. Encourage their playing other descending (and ascending) patterns and showing the pitch levels with their hand.
Science
5. Show students a defused balloon and ask “what is missing?” (“Air”) Blow up and elicit from them how the air stretched it. Then ask children to watch its movement when you blow it up and release it. Ask them to discover “as the air comes out, will the balloon go upward, downward, or both?” Discuss their discoveries.
Hey, Lidee” (G, F, E, D, C)
“Looby Loo” (G, F, E, D, C)
“My Dreydl” (G, F, E, D, C)
MUSIC CONCEPT
Pitches in a melody can stay the same (Melody)
Objective
To identify aurally repeated pitches in a melody and to demonstrate that recognition through singing, hand movements, and playing a resonator bar
Standard MU:Pr4.2.1a
With limited guidance, demonstrate (through singing and playing an instrument) knowledge of the music concept (pitches staying on same level) in a song
Materials
F resonator bar, plus two others of any pitch
OPEN Key Term: same pitch
Step 1: Let’s play a game! I’ll say a number and you show me the number with your fingers. After trying a variety of numbers 1–10, ask students to listen and decide what numbers are used in a game song we are going to learn (“1, 2, 3”). Sing verse 1 or play the recording.
Step 2: Then, invite students to sing and hold up fingers to show the “one, two, three” part as you sing or play the recording again. Repeat the song, but also ask students to be ready to tell you what body parts are in the song.
Step 3: As the class sings the song again, draw these lines on the board for the “one, two, three” part.
Indicator of Success
Ask the class how the singing looks like these lines (the line stays on the same level, just as the singing stays on the same pitch). Have the class sing the song and use your hand to show the level line, just as if you were drawing it on the board.
Indicator of Success
Step 4: Let’s add some resonator bars during “one, two, three.” First the class must decide whether one bar, two bars, or three bars should be chosen. After students have concluded that only one bar will be used, have students take turns playing the “one, two, three” part on the F resonator bar.
CLOSE
Step 5: Conclude with the students, arranged facing a partner, standing and singing the song, touching “head and shoulders,” and a classmate playing the “one, two, three” part on the bar. Ask the students How did the pitches move on our “one, two, three” part? (they stayed the same) Note that parts of songs often stay on the same pitch.
ASSESS
As students sing a similar song that is familiar to them, observe how successful they are in identifying and showing with their hands pitches that stay on the same level.
Peer-assisted Learning
1. By partnering the children, those with disabilities may feel more comfortable and learn the motions more successfully. The peer partner could touch the child’s “head,” “shoulder,” etc., named in the song if the child would have difficulty physically doing the motion. (Keep in mind that a child with autism may not respond well to being touched by another so performing the motion individually might be best.)
2. Prepare picture- and sight-word cards of the head, shoulder, and other body parts to assist with the words and their sequence in the song. These cards will especially help English language learners in associating the word with the body part.
3. For a child with physical limits, consider changing the lyrics to different body parts to accommodate those limitations (e.g., thumb/finger). Involve the entire class in singing and performing the motions.
Language Arts
4. Learn the other verses of the song. Have students try the motions as they sing (p. 274). Create new verses too.
Movement
5. Sing the song using only verses that include body parts: head/shoulders, shoulders/chest, chest/knees, knees/ankles, and then do in reverse: ankles/knees, and so on. Children should touch the designated parts of their body as they sing.
6. Add an F tuned tube (Boomwhacker®) on the “one, two, three” part with students taking turns hitting the tube.
7. Play a tone-matching game to help young children develop control of their singing voices. The teacher might sing on a single pitch:
"What did you eat for lunch?"
Using the teacher’s same pitch, a student might answer:
"I had pizza and milk."
“Go a Tin”
“Hop, Old Squirrel”
"John the Rabbit"
“Long-Legged Sailor”
“Sally, Go ’Round the Sun”
MUSIC CONCEPT
Sounds are produced by vibrations (Timbre)
Objective
To identify visually and aurally vibrating objects and instruments and to demonstrate that recognition by pantomiming appropriate movements along with a recording.
Standard MU:Re7.2.Ka
With guidance, demonstrate how a specific music concept (timbre: drum, kalimba) is used in African music
Materials
2 drums, coin
Kalimba (thumb piano), see note and drawing on next page
OPEN Key Terms: moving, vibrating, drum, thumb piano
Step 1: As you play steady beats on a drum, ask the students to come join you in a drum circle. With students seated in a circle, hold up a drum and invite a student to make the drum “talk” by striking the drumhead with the palm of the hand. Move through the group, letting other students have a turn.
Place a coin on the drumhead and ask the students What will happen to the coin when the drumhead is hit? (the coin bounces) Why does the coin bounce? (the drumhead moves/vibrates) Select different students to “bounce the coin.” Elicit that when the drumhead moves/ vibrates, the coin bounces and sound is produced.
Step 2: Let’s try some drum “talk.” Teacher plays a short pattern, and students, one at a time, take turns answering the message exactly on their drum. Then, tell the children that drums are very important in Africa and invite them to come to an “African village” and play with the Nigerian drummers (pantomime) as they listen to the “Bata Drums” recording.
Indicator of success
Step 3: Hold up a kalimba (thumb piano) and identify it as another African instrument from another part of Africa. Demonstrate how it is cradled in two hands and the tips of the bars are plucked by alternating thumbs. Holding a thumb piano (but with bars pointing away from your body), move through the group so students can play the bars, feel the vibrations, and listen to the thumb piano’s unique sound.
Step 4: Tell students that they’re going to hear a kalimba played in music from Uganda. Play the recording of “Munomuno” and invite students to pantomime playing a pretend thumb piano.
CLOSE
Step 5: Elicit from the students the names of the two instruments, how they are played, and what vibrates in each. Then conclude by noting you really helped those instruments move (vibrate) and make their sounds!
ASSESS
As students become familiar with different African drum and kalimba music, note how successful they are in identifying each piece’s instruments and vibrating parts and describing a potential purpose for each.
Thumb “piano” kalimba mbira sansa
In Africa there is an incredible variety of drums. “Bata Drums” features two-toned drums that come from the Yoruba people of Nigeria. (A photo of the instruments of the Yoruba people is on p. 53.) The “thumb piano” is played throughout much of Africa and has many names (kalimba, mbira, sansa), depending on the region of Africa. Its box (or soundboard) reinforces the sound (as does a drum’s body).
1. Lay rubberlike “spots” in a circle to mark the place for each child to sit in a circle.
2. Help English language learners pronounce and learn the word “drum” as they associate the word with the instrument. “Kalimba” or thumb piano should be a new word and instrument for all learners—ask them to give reasons why thumb piano is a good English name for this instrument.
3. A child with a hearing loss needs to feel the vibrations that create the sounds he or she may not hear while a child with impaired vision needs to feel and hear what he or she cannot see. Involving them in the drum experiment and plucking the kalimba will reinforce how sound is produced and actively engage them.
4. To learn more about African drums and how to engage children in constructing one:
Social Studies Multicultural
5. Introduce the Kwanzaa festival. Based on African harvest festivals and created in 1966 by Dr. M. Karenga, Kwanzaa—named for the Swahili word kwanza meaning “first fruits”—lasts for seven days, beginning December 26. It includes gift giving, music, and storytelling. Candles are lit daily to symbolize one of the seven principles of Kwanzaa: unity, self-determination, collective work and responsibility, cooperative economics, purpose, creativity, and faith.
Social Studies
6. Share the following books with children to help them learn more about Africa: O. Echewa’s The Magic Tree (Morrow Juniper, 1999) and Oluonye’s Nigeria (Carolrhoda Books, 1998).
“Kye Kye, Kule” (Ghana)
“Obwisana” (Ghana)
MUSIC CONCEPT
A melody can be performed alone or with an accompaniment (Harmony)
Objective
To identify melody and accompaniment and to demonstrate that recognition by singing a melody with and without accompaniment
Standard MU:Pr4.2.Ka
With guidance, explore and demonstrate awareness of music contrasts (with/ without accompaniment) in a performance of a song
Materials
Resonator bars: F, A, and C
Three mallets
OPEN Key Terms: melody, accompaniment
Step 1: Rest your head on your arms and close your eyes to listen to a “wake up” song. Find out what we are going to do when we wake up! Either play the recording or establish pitch on the F resonator bar and sing the entire song. Then, have students “wake up” and answer questions, such as: Where were we going to swing? (Golden Gate), Don’t let me sleep too _____? (late)
Step 2: Teach the song phrase by phrase. Correct any mistakes and repeat phrases sung incorrectly. Then teach two phrases at a time.
Teacher: "Wake me! Shake me!"
Students: " Wake me! Shake me!"
Teacher: "Don't let me sleep too late."
Students: "Don't let me sleep too late."
Teacher: "Gonna get up bright and early in the morning,"
Students: "Gonna get up bright and early in the morning,"
Teacher: "Gonna swing on the Golden Gate."
Students: "Gonna swing on the Golden Gate."
Teacher: "Wake me! Shake me! Don't let me sleep too late."
Students: "Wake me! Shake me! Don't let me sleep too late."
Teacher: "Gonna get up bright and early in the morning, Gonna swing on the Golden Gate."
Students: "Gonna get up bright and. early in the morning, Gonna swing on the Golden Gate."
Indicator of Success
Step 3: Have the students sing the entire song. Praise students by commenting on how well that melody was sung. Repeat, stressing that they are singing the melody without accompaniment.
Step 4: Place the F, A, and C bars where everyone can see them. Ask How many bars do you see? (three) Tell students to watch and listen as they sing the song again. Play the F, A, and C bars simultaneously, as an accompaniment to the singing; use a steady-beat rhythm. (F–A–C are the pitches in the F Major chord.)
Step 5: Note how those three bars “worked together” with our voices and “dressed up” our song. Mention other songs they’ve heard accompanied by guitar, piano, organ, and other instruments.
Indicator of Success
Step 6: Select a student to join you by playing either the F or the C bar, using a steady beat. Give different students an opportunity to play the bars by singing other verses of the song and by creating new verses.
CLOSE
How many bars or pitches did we play for an accompaniment? (three) What did we add when we played those three bars all at the same time? (accompaniment) and what were our voices singing? (melody)
ASSESS
As students perform a song unaccompanied and then accompanied, note how accurate they are in identifying and describing the differences in texture.
1. For English language learners, write the song title “Wake Me!” on the board and encourage their sounding out the words. Then, pantomiming and dramatizing, help them understand the meaning of these words and others in the song. Prepared visuals will help all children remember the order of the words.
2. If a child is unable to grasp the mallet to play the resonator bar, use a strip of Velcro® to attach the mallet to the child’s hand or use a Boomwhacker® instead of a resonator bar.
3. Students can take turns accompanying “Wake Me!” by strumming an F Major chord throughout on the Autoharp® or Chromaharp®. One student can press the chord button (firmly) while another strums steady beats. Help students understand they are playing several different strings/pitches to create accompaniments.
Orff Adaptation
4. Two players can add a steady-beat accompaniment by (a) alternating low F and high F (octave) on a barred instrument (b) playing low F and high C simultaneously (bordun).
“Eena Deena” (C chord)
“Good Morning Song” (F chord)
“Pease Porridge Hot” (C chord)
“Sally, Go ’Round the Sun” (C chord)
MUSIC CONCEPT
The rhythm of a melody includes long and short sounds (Rhythm)
Objective
To identify aurally the long and short sounds in the rhythm of the melody and to demonstrate that recognition by singing and clapping the melody
Standard MU:Pr4.2.1a
With limited guidance, demonstrate (through singing and clapping) knowledge of the music concept (long and short durations) in a song
Materials
Three large cards—one with the word “Matarile,” one with “Jump,” another with “What?”
OPEN Key Terms: beat, long/short, rhythm of melody
Step 1: Sing or play the recording of “Matarile,” asking students to patsch a steady beat with our song as they listen for the repeated word (“Matarile”). After they discover the repeated word, practice saying Matarile and the “Ma-ta-ri-le, ri-le, ri-le (ron)” phrase (use card or write on board), noting that these are Spanish words. (See pronunciation in the margin.)
Matarile (“Mah-tah-ree-leh”)
Step 2: Have students sing only the “Matarile” part when it comes in the song. As they repeat their singing, invite them to clap the way the words go for that part. Note how they were clapping lots of long and short sounds and how that is different than their steady-beat patsching.
rile, ron (“ree-leh,” “rone”)
Step 3: Introduce the “What do you want?” and the “I want to jump” parts. Help students pronounce the words and chant/clap the long and short sounds of the words. Students should now be ready to sing all of the song and clap the way all the words go. Use the word cards to help students remember the order of the words. Repeat until the clapping is secure.
Step 4: Arrange students in a circle and have them perform the song in two different ways. First, sing the entire song while walking the steady beat. Second, sing the song while clapping the long and short sounds of the whole song. Help students note the differences.
CLOSE Indicator of Success
Step 5: Who can clap the rhythm of the entire “Matarile” song alone? Have individuals take turns demonstrating with the class singing. Comment on the combination of long and short sounds in the song and conclude by asking all students to sing the song as they walk back to their seats.
ASSESS
As students sing different songs, observe how successful they are in keeping a steady beat as well as performing the long and short sounds in the melody.
1. Model an exaggerated steady-beat walk around a masking-tape circle to help with the steady beat.
2. Pantomime the action words—jump, march, run—and use the word cards to help visual learners remember the words (large ones for the class and small ones for children who need focus). Cards can be placed on a desk, wheelchair tray, or on a communication device. Or use ASL signs for the action words.
3. Have students play the rhythm of the melody on rhythm sticks as they sing.
Kodály Adaptation
4. Have the students clap the rhythm of the melody while thinking the words but not saying them aloud. This is important as an “inner-hearing” experience.
Kodály Adaptation
5. When both the beat and the rhythm of the melody are secure, students should walk the beat and clap the melody’s rhythm at the same time.
Dramatization
6. Students should learn the Spanish verses of “Matarile,” and dramatize with one group asking the questions and another answering.
“Al Citrón”
“It’s Raining!”
“Looby Loo”
“Los Pollitos”
“Sally, Go ’Round the Sun”
Plan one to three original model experiences for children in kindergarten/first grade (Level I). Base each experience on one of the three specified concepts and songs. 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 social studies, language arts, or science.
MUSIC CONCEPT
Music Objective Standard Materials
OPEN Key Terms:
Step 1:
Step 2:
Step 3:
Indicators of Success
Step 4:
CLOSE
ASSESS Extend
(One activity to reinforce the music concept and one related to another curricular area)
Music
1.
(other curricular area)
2.
