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Micheál Houlahan
Philip Tacka
1
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1
Oxford University Press is a department of the University of
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Contents vii
Acknowledgments • ix
Introduction • xi
Notes • 307
Index • 309
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Acknowledgments ix
We owe a debt of gratitude to the many individuals who inspired, encouraged and helped
us along the way. Both of us were fortunate enough to study at the Franz Liszt Academy/
Kodály Pedagogical Institute in Hungary and at the Kodály Center of America with
world-renowned Kodály experts, many of whom were Kodály’s pupils and colleagues, who
shared their knowledge with us over many years. Among them were Erzsébet Hegyi, Ildikó
Herboly-Kocsár, Lilla Gábor, Katalin Komlós, Katalin Forrai, Mihály Ittzés, Klára Kokas,
Klára Nemes, Eva Vendrai, Helga Szabó, Laszlo Eősze, Peter Erdei, and Katalin Kiss. We are
especially indebted to Katalin Forrai for her support and encouragement for the research
contained in this publication. Our research is grounded in their many valuable insights and
research.
Special thanks are due to these individuals for critically reading portions of the man-
uscript, field-testing lesson plans, and insightful suggestions regarding this approach to
instruction and learning: Nick Holland, lower school music teacher at St. Paul’s School in
Baltimore, Maryland; Lauren Bain, elementary music specialist in the Northeast School
District of San Antonio, Texas; Georgia Katsourides, music specialist in the Lancaster City
School District, Pennsylvania; and Vivian Ferchill, retired music specialist from Round
Rock, Texas.
Special acknowledgment must be made to Patty Moreno, director of the Kodály
Certification Program at Texas State University, San Marcos, for her support and continued
encouragement of this project. We would also like to thank Holly Kofod and Lisa Roebuck
for their comments, which helped us bring this book to completion.
Many of our students in Kodály Certification Programs at Texas State University;
Belmont University in Nashville, Tennessee; and the Eastman School of Music in Rochester,
New York, have all helped us shape our approach to instruction and learning presented
herein. Kristopher Brown, José Pelaez, Rebecca Morgan, Loren Tarnow, and Meredith Riggs
deserve special mention. Gratitude is due Rebecca Seekatz for her work on the game direc-
tions and for her work on the accompanying glossary of terms. Our many years working
together have not only contributed to the information we present but also served as a con-
tinuing source of inspiration in working with the pedagogical processes we have shaped.
Regarding practical matters, we would like to thank our students at Millersville University
of Pennsylvania for helping us with initial drafts of the manuscript. Special thanks are due
Jamie Duca for her technical and hands-on assistance.
This book would not be so complete in terms of pedagogy and educational content were
it not for readings and comments from Blaithín Burns, Kodály instructor at the Blue Coat
School. She provided invaluable assistance in the initial design of Kodály in the Fourth
Grade Classroom and field-tested many teaching strategies. Richard Schellhas deserves
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Acknowledgments
thanks for his personal patience and understanding as well as words of encouragement and
advice throughout the writing of this manuscript.
Research for this publication was supported by a grant from Millersville University,
the State System for Higher Education in Pennsylvania. The university’s library assistance,
x technical, administrative, and financial support, and overall encouragement for this proj-
ect allowed us to bring this volume to completion. We would like to express our gratitude
to Gabriella Montoya-Stier and Faith Knowles for their permission to include songs from
their collections El Patio de Mi Casa: 42 Traditional Rhymes, Chants, and Folk Songs from
Mexico and Vamos a Cantar. We are very grateful to Katalin Forrai’s children, András Vikár,
Tamás Vikár, and Katalin van Vooren Vikár, for permission to use materials from their
mother’s book, Music in Preschool, edited and translated by Jean Sinor, Budapest, Hungary:
Kultura, 1995 (original publication 1988).
We wish to thank Suzanne Ryan, Editor-in-Chief of Humanities and Executive Editor of
Music at Oxford University Press, for her encouragement and critical guidance. We thank
Lisbeth Redfield, assistant editor at Oxford University Press, and Molly Morrison, who over-
saw editing and production. Very special thanks are due our copy editor Thomas Finnegan,
for his impeccable scrutiny and thoughtful editorial assistance with our manuscript.
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Introduction xi
Purpose of Book
The primary purpose of this handbook is to give music teachers a practical guide to teach-
ing fourth grade music that is aligned with information contained in Kodály Today and
with national standards in music that promote twenty-first-century music learning. The
foundational aspects of this book are a detailed guide for teaching children to sing, move,
play instruments, develop music literacy skills, enhance music listening, and promote cre-
ativity skills. The hallmark of this teaching pedagogy is that it integrates the development of
problem-solving, critical-thinking skills, and collaborative skills into music instruction and
learning. The importance of this approach is identified in the National Research Council’s
July 2012 report, wherein the authors cite these as “21st century skills” or “deeper learning.” 1
Our hope is that every teacher will absorb the process of teaching as it is detailed in this
publication and blend it with personal creativity, which will ultimately result in a lively and
valuable musical experience for students.
We have tried to give elementary music instructors a reference with information and
materials about adopting a teaching approach inspired by the Kodály philosophy of music
education. This fourth grade handbook should not be considered a substitute for read-
ing Kodály Today: A Cognitive Approach to Elementary Music Education; that volume is
a practical and detailed guide for teaching a music curriculum to children in the fourth
grade music classroom that is aligned with national and state content standards for music
education. Together, Kodály Today and this handbook for fourth grade offer teachers a
step-by-step roadmap for developing students’ love of music, musical understandings, and
metacognition skills.
Focus discussions and surveys with music teachers reveal their concern regarding the
lack of specificity relating to teaching music. Although many teachers have acquired a num-
ber of techniques for use in music activities, many are concerned about developing a more
holistic approach to teaching music, one that moves beyond activities and toward develop-
mental skill building. Teachers are looking for more direction on how to create an organic
curriculum. They are looking for more guidance on how to:
This text addresses these concerns. The ideas reflected here have been field-tested and
shaped over a more than a decade of collaborative work with music specialists. The innova-
tive approach of this book, like the collaboration of music teachers with a group of research-
ers to design the contents of this publication, is truly pioneering.
xii We spell out teaching procedures that are outlined in Kodály Today and demonstrate
how they can be used within lesson plans, in considerable detail. In this handbook, we refer
to chapters in Kodály Today that explain in greater detail the relevant techniques adopted
in lesson plans. The suggestions given should be used as a point of departure for a teacher’s
own creativity and personality and need not be taken entirely literally. It is expected that
teachers will apply these suggestions in a way that is responsive to the needs, backgrounds,
and interests of their own students. The lesson plans and sample curriculums are not meant
to be comprehensive, although they are quite detailed. We expect that music instructors
will infuse these ideas with their own national, state, regional, and local benchmarks for
teaching. We appreciate that teachers must develop their own philosophy for teaching
music and their own repertoire of songs, procedures, and processes for teaching musical
skills, as well as consider such factors as the frequency of music instruction, the size of the
class, the length of the class, and current music abilities of students.
Chapter Summaries
Here are summaries of the chapters in this Grade Four Handbook.
Introduction
Summarizes the fourth grade handbook with a brief outline of all chapters.
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Introduction
Outstanding Features
Timely Publication
In July 2012 the National Research Council challenged teachers to cultivate approaches
to teaching that develop “deeper learning.” This fourth grade handbook supplies to music
teachers with a model that promotes “twenty-first century skills.”
Writing Style
The writing style of this handbook is accessible; it instantly engages the reader. The text is
filled with examples of activities as well as detailed lesson plans that translate a theoretical
xiv model for learning and instruction into a practical handbook for teaching music in the
fourth grade music classroom.
Organic Pedagogy
The authors use an organic approach to teaching music that begins with careful selection
of repertoire. This repertoire is then used to build students’ skills in singing, movement,
playing instruments, reading and writing, listening, and improvisation skills. This is accom-
plished through an “immersion” approach to teaching.
Sequential Pedagogy
The researcher outlines the process for presenting musical concepts and developing music
skills. Although several works describing Kodály-based techniques and curriculums exist,
few spell out in detail teaching procedures for presenting musical concepts and integrat-
ing them with musical skill development. Some educators familiar with Kodály-inspired
teaching may already know the teaching ideas presented in this text. However, we have
combined these ideas with current research findings in the field of music perception and
cognition to develop a model of music instruction and learning that offers teachers a map
to follow that will develop their students’ musical understandings and metacognition skills.
We have worked to present a clear picture of how one develops a fourth grade music cur-
riculum based on the philosophy of Kodály, the teaching and learning processes needed to
execute this curriculum, and assessment tools.
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Introduction
assessment. This model of learning inspires the music curriculum, lesson plans, and assess-
ment rubrics for all the handbooks.
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Chapter 1
1
This chapter provides teachers with an overview of the Kodály Concept as it relates to curriculum
development, and it includes a sample of a grade four curriculum. Also included is a lesson plan
design that is used throughout this book to create sample lessons reflecting the content of each
chapter. Chapter 1 of Kodály Today offers teachers a biographical overview of Kodály’s life as well
as an introduction to the Kodály concept of music education.
Singing
Singing is the essence of the Kodály concept, and tuneful singing is the foundation for developing
music skills. Generally speaking, singing should be taught before formal instrumental lessons.
Singing permits quickly internalizing music, and allows students to develop the skill of audiation.
Chapter 3 of this handbook offers a comprehensive overview for developing the singing voice in
the fourth grade curriculum.
Repertoire
Everyone needs to know and celebrate his or her cultural heritage. A key component of this cul-
tural heritage is folk music, which includes children’s songs and games. These songs and games
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Kodá ly in t he F ourt h G r a de Cl a s sro om
include the basic rhythmic and melodic building blocks of music that can be used to make
connections to all styles of music. A music curriculum should include these materials:
In Chapter 2 of the handbook we lay out a more comprehensive overview of the repertoire
that is used in the elementary music curriculum.
Sequencing
Another vital component of the Kodály concept is the ability for teachers to sequence
materials along with presenting concepts and elements to students that are derived pri-
marily from singing repertoire musically. This is an experience-based approach to learning.
We present a thorough approach to curricular sequencing for grade four in Chapter 5 of
this book.
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Framing a Curriculum Based on the Kodály Concept
Students as Performers: Performance
The curriculum will broaden performance skills:
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Framing a Curriculum Based on the Kodály Concept
1. Singing tunefully
A. Students will sing songs independently and tunefully.
B. They will learn twenty to twenty-five new songs, canons, and two- and
three-part song arrangements of various cultural origins.
C. They will sing ten to fifteen songs with rhythm and solfège syllables that
include syncopation, dotted quarter note followed by eighth note, dotted
eighth note followed by a sixteenth note, fa, low ti, and triple meter.
D. They will learn ten to fifteen songs by sight singing that include syncopation,
dotted quarter note followed by eighth note, dotted eighth note followed by a 5
sixteenth note, fa, low ti, and triple meter.
E. They will learn five to seven two-part songs.
F. They will use known music symbols and terminology referring to rhythm,
melody, timbre, form, tempo, dynamics (including crescendo and
decrescendo), and articulation (including staccato and legato) to perform and
explain musical sounds presented aurally.
2. Movement
A. Students perform double circle games.
B. They perform circle games containing square dance patterns.
C. They perform line dances containing contradance patterns.
D. They perform basic square dance.
E. They perform games and dances from various cultures.
F. They explore games, activities, and movement in personal space or
general space.
G. They move alone and with others to a varied repertoire of music using
gross-motor, fine-motor, locomotor, and nonlocomotor skills.
3. Instruments
A. Students demonstrate fourth grade rhythmic concepts that include
syncopation, dotted quarter note followed by eighth note, and dotted eighth
note followed by a sixteenth note in duple, triple, and quadruple meter.
B. They demonstrate fourth grade melodic concepts that include fa and low ti.
C. They play classroom instruments such as xylophones, glockenspiels, rhythm
instruments, and recorder.
D. They accompany classroom singing on classroom instruments using patterns
that include syncopation, dotted quarter note followed by eighth note, dotted
eighth note followed by a sixteenth note, fa, low ti, and triple meter.
4. Part work
A. Students sing songs and play instruments in a group.
B. They sing antiphonal songs and call-and-response songs.
C. They practice intervals simultaneously with hand signs that include fa and low ti.
D. They accompany a song with a rhythmic ostinato using these rhythms:
i. Quarter notes
ii. Eighth notes
iii. Quarter note rests
iv. Sixteenth notes
v. Eighth note plus two sixteenth notes
vi. Two sixteenth notes followed by an eighth note
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Framing a Curriculum Based on the Kodály Concept
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Framing a Curriculum Based on the Kodály Concept
Lesson Planning
Now that we have created a sample curriculum, we can develop lesson plan outcomes and
lessons for teaching music. We advise that your lesson focus on developing students’:
We address all of these goals in detail throughout the book. Here we begin the process of
lesson planning. A primary task for music teachers is to teach basic rhythmic elements. To
accomplish this successfully, students need to be guided through a variety of experiential
activities (preparation activities) before learning how to identify sounds and label them
with rhythmic or melodic syllables or learning the notation of these sounds (practice activ-
ities). Once learned, this information (practice) can be applied to expanding their musical
skills through reading, writing, and improvisation.
Lesson planning and acquiring music literacy skills are closely intertwined. Teaching a
musical element involves eight steps.
Preparation
1. Prepare the learning through kinesthetic activities.
2. Prepare the learning through aural activities.
3. Prepare the learning through visual activities.
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Framing a Curriculum Based on the Kodály Concept
Presentation
4. Present the solfège syllable or rhythm label for the new sound.
5. Present the notation for the new sound.
Practice
6. Incorporate the new element (now identified as a familiar element) into the
practices of reading
7. Incorporate the new element (now identified as a familiar element) into the
practices of writing. 11
8. Incorporate the new element (now identified as a familiar element) into the
practices of improvisation and composition.
I N T ROD U C T I ON
Performance and demonstration of known
musical concepts and elements
C OR E AC T I V I T I E S
Acquisition of repertoire:
Preparation of a rhythmic or melodic Element B: this section of the lesson is used
element for steps 1–3 of preparing a new element
Creative movement
Practice and performance of musical skills Element A: this section of the lesson is used
for steps 6–8
C L O SU R E
Review and summation
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 1.2 explains the segments of a basic preparation/practice lesson plan design.
L E S S ON SE C T I ON ON E : I N T ROD U C T I ON
Demonstration This segment of the lesson includes vocal warm-up exercises, singing
of known musical known songs, developing tuneful singing, and singing known songs
12 concepts and with rhythmic or melodic syllables. During this section of the lesson,
elements we address music learning outlined in the music curriculum under the
title of “Students as Stewards of Their Cultural Heritage: Repertoire”
and “Students as Performers: Performance.”
L E S S ON SE C T I ON T WO : C OR E AC T I V I T I E S
This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of Teaching a new song serves two purposes. First, it expands students’
repertoire repertoire, and second, the new song should also include rhythmic
or melodic concepts or elements that will be addressed in upcoming
lessons.
We present new repertoire for a variety of reasons. Sometimes we wish
to teach a song simply to develop students’ singing ability. Sometimes
a song may be taught because we need to provide a musical context
for teaching future musical concepts. The teacher may need to teach
repertoire for a future performance or concert.
During this section of the lesson, we address music learning outlined
in the music curriculum under the title “Students as Stewards of Their
Cultural Heritage: Repertoire.”
Preparation of a Here activities focus on leading students to discover the attributes
new concept or of a new musical concept or element. The instruction focuses on
element guiding students through kinesthetic (step 1), aural (step 2), and visual
learning (step 3) activities.
During this section of the lesson, we address music learning outlined
in the music curriculum under the title “Students as Critical Thinkers.”
Critical thinking is associated with literacy. Through discovery-based
learning children acquire music literacy skills. In this section of the
lesson, students are guided to understand the basic rhythmic or
melodic building blocks of the song material as well as the formal
music structures.
This first period of concentration is followed by a period of relaxation.
Creative Students learn singing games and folk songs. Activities focus on the
movement sequential development of age-appropriate movement skills through
songs and folk games.
A sequence for age-appropriate movement skill development is
provided in Chapter 3 of Kodály Today.
(Continued)
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Framing a Curriculum Based on the Kodály Concept
Table 1.2 (continued)
The next four tables elaborate on the basic presentation lesson plan designs we use
throughout the book; we use Tables 1.3 (components) and 1.4 (explanation) to label
sounds with syllables, and Tables 1.5 (components) and 1.6 (explanation) to present the
notation.
I N T ROD U C T I ON
Performance and demonstration of known
musical concepts and elements
C OR E AC T I V I T I E S
Acquisition of repertoire:
Presentation of a new concept or element Element B
This segment of the lesson is used for step 4
Creative movement
Presentation of a new concept or element Element B
This segment of the lesson is used for step 4
C L O SU R E
Review and summation
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Kodá ly in t he F ourt h G r a de Cl a s sro om
L E S S ON SE C T I ON ON E : I N T ROD U C T I ON
Demonstration
of known musical
concepts and
elements
14 L E S S ON SE C T I ON T WO : C OR E AC T I V I T I E S
This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of
repertoire
Presentation of a Using a known song, the teacher presents the label for the new sound
new concept or with either rhythmic or melodic syllables.
element Here the teacher will be presenting elements that are outlined
in the music curriculum under the title “Students as Critical
Thinkers.” Students are guided to first label the sound of the new
musical element and second to learn the notation of the musical
element. They label the sound of the basic rhythmic or melodic
building blocks of the song material and subsequently learn the
notation.
This first period of concentration is followed by a period of relaxation.
Movement
development
Creative
movement
This period of relaxation is followed by a second period of concentration.
Presentation of a Using another known song, the teacher presents the label for the new
new concept or sound with either rhythmic or melodic syllables.
element Here the teacher will be presenting elements that are outlined in the
music curriculum under the title “Students as Critical Thinkers.” They
label the sound of the basic rhythmic or melodic building blocks of the
song material.
L E S S ON SE C T I ON T H R E E : C L O SU R E
Review and Review the lesson outcomes
summation Review the new song
Review the lesson content. Students may review known songs or play
a game. The teacher may also perform the next new song that will be
taught in a subsequent lesson.
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Framing a Curriculum Based on the Kodály Concept
I N T ROD U C T I ON
Performance and demonstration of known musical
concepts and elements
C OR E AC T I V I T I E S
Acquisition of repertoire: 15
Presentation of a new concept or element Element B
This segment of the lesson is used for
step 5
Creative movement
Presentation of a new concept or element Element B
This segment of the lesson is used for
step 5
C L O SU R E
Review and summation
L E S S ON SE C T I ON ON E : I N T ROD U C T I ON
Demonstration
of known musical
concepts and elements
L E S S ON SE C T I ON T WO : C OR E AC T I V I T I E S
This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of
repertoire
Presentation of a new Element B
concept or element Using a known song, the teacher presents the notation for the
new element.
Here the teacher will be presenting concepts that are outlined
in the music curriculum under the title “Students as Critical
Thinkers.”
This first period of concentration is followed by a period of relaxation.
Movement development
Creative movement
(Continued)
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 1.6 (continued)
Note that in this process once we have presented the label and the notation for an element,
it becomes a known element. As we practice a known element, we will also be incorporat-
ing knowledge of all other known elements into practice activities.
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Chapter 2
This chapter provides teachers with an overview of basic repertoire to be used for developing
singing, playing instruments, creative movement, improvisation, and listening. Included in this
section is an alphabetized list of songs with sources, as well a pedagogical list of songs for teach-
ing rhythmic and melodic elements. This section also includes sequenced directions for teaching
singing games and movement activities.
Selecting Repertoire
A child’s music education should begin with the folk music and rhymes of her own culture:
It is through the indigenous musics of their cultures that students receive the stories of
their people, those that ancestors pass down from generation to generation and others
that are contemporary and reflect new customs. Folk music is the treasure trove of stu-
dent’s values, beliefs, cultures, knowledge, games and stores. The music of student’s own
cultures must be given respect and status in the classroom, indirectly giving children a
sense of their own values and status. Receptivity toward the music of other cultures can
be developed from this point of reference, thereby fostering cultural awareness, tolerance
and respect.1
We use folk music because it belongs to the oral tradition and it “draws on the power of repeti-
tion and the human urge to generate and create.”2 In the best folk songs there is a unity between
the rhythm and melody; word and musical accents fall together logically.
The Kodály approach uses games and songs that are highly repetitive and melodically sim-
ple to help build “inner hearing” (aural) skills and accurate singing (oral) skills. Those music
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Take time to familiarize yourself with the primary sources for folk music referenced in
Chapter 2 of Kodály Today. The selection of age appropriate repertoire for each grade is
important. Learning to sing this repertoire from memory will help students “own” this
music repertoire. The songs are easy to learn and they will engage students in the singing
process if they are sung with enjoyment and artistry. Sometimes teachers find it difficult
to believe that they can keep the imagination of a child engaged by singing simple unac-
companied folk songs. When performed in an aesthetically pleasing manner, the suggested
songs will capture the imagination of students. Of course these songs may also be accompa-
18 nied using tasteful piano accompaniments. Ruth Crawford Seeger’s collection of American
folk songs for children is a wonderful example of these kinds of simple and tasteful piano
accompaniments.4
The repertoire selected for classroom use should be of high quality and include not
only songs that incorporate musical concepts for teaching but also songs to develop
the joy found in seasonal songs and multicultural songs. Sometimes music teachers
choose song material to help students remember classroom rules; or they can be used
as an aid in developing literacy skills or numeracy skills. Although these songs are
useful for developing students’ social skills, they should not be the primary singing
material of the elementary music program. We need to find ways to connect what
we are doing in the classroom with the community at large, as well as acknowledge
students’ own music interests. The Oxford Handbook of Music Education proposes
that “When children’s preferences and tastes in music are acknowledged and incorpo-
rated into the music curriculum, they can be helped to understand a wider range of
music through active involvement in listening.”5 Asking students to perform a song or
a movement they have developed or piece of music they have learned from the web,
television, or their parents is important. Finding ways to connect this repertoire to
music activities in the classroom can be powerful. Inviting musicians into the class-
room to perform live music for students is also a great way to make a musical connec-
tion with the community. In so doing, we come to understand “music as an activity to
be engaged in and made between people, rather than as a ‘thing’ to be learned, or set
of uniform skills to be imparted, and, moreover, to see how music and musical prac-
tices are ever-changing.”6
We present in this chapter, for the fourth grade:
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Developing a Music Repertoire
“Alabama Gal” (Buffalo Gals) 150 American Folk Songs to Sing, Read and Play
“Canoe Round” (My Paddle) 150 Rounds for Singing and Teaching
“Circle Round the Zero” Circle Round the Zero (Play Chants & Singing
Games of City Children)
“Cock Robin” 150 American Folk Songs to Sing, Read and Play
“Come Thru ’Na Hurry” (Alabama Gal) Folk Songs North America Sings
(Continued)
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 2.1 (continued)
“Hey, Ho, Nobody Home” 150 Rounds for Singing and Teaching
“Hungarian Canon” (Láttál-e már 150 Rounds for Singing and Teaching
valaha)
“I Lost the Farmer’s Dairy Key” 150 American Folk Songs to Sing, Read and Play
(Continued)
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Developing a Music Repertoire
Table 2.1 (continued)
“Oh, How Lovely Is the Evening” 150 Rounds for Singing and Teaching
“Riding in the Buggy” 150 American Folk Songs to Sing, Read and Play
R E C OR DI N G S
“Ah! Vous Dirai-je, Maman” (French) El Lobo: Songs and Games of Latin America as
Sung by the Children of Mexico
(Continued)
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 2.1 (continued)
“Canoe Round (My Paddle)” Melinda Caroll, Girls Scouts Greatest Hits, vol. 5, 2002.
“Circle Round the Zero” Peter and Mary Alice Amidon, Rise, Sally Rise, 2014.
“Come Thru ’Na Hurry” (Alabama Gal) Mary Cay Brass, Andy Davis, Peter Maidon,
Mary Alice Amidon, Alabama Gal-Nine: Never-
fail Dancing and Singing Games for Children.
(Continued)
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Developing a Music Repertoire
Table 2.1 (continued)
“Hey, Ho, Nobody Home” The Wagoners, The Wagoners Sing Folks Songs for
Camp, 1956.
“Hill and Gully Rider” Ainsworth Rose, Jamaican Folk Songs, 2013.
“John Kanaka”
“Mamalama”
“Ojos a La Vela”
Discography
“Ainsworth Rose (vocalist).” YouTube performance using traditional Jamaican
instruments, 2013. Web, accessed July 15, 2014.
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Developing a Music Repertoire
G L O S S A RY OF M OV E M E N T G A M E A N D DA N C E T E R M S
The following terms often appear in dance and game directions. We thank our student
Rebecca Seekatz for contributing this glossary of terms.
Allemande: partners match right hands, touching from hands to elbow. Elbow is bent and
26
hands are up. Partners turn around once to the right so that they return to their original
position. The turn may also be done with left hands in the air, turning to the left.
Arch: partners join hands and raise arms to let other students through.
Bottom of the line: in a line or double line, the position furthest away from the head
couple, music source, or caller.
Cast off: in a double line, partners turn away from each other and walk toward the bottom
on the outside of the line. Other couples may follow.
Circle: students stand side by side in a circle, facing in toward the middle.
Circle left: students move clockwise, with hands joined if desired.
Circle right: students move counterclockwise, with hands joined if desired.
Corner: the person next to you who is not your partner.
Do-si-do: two students face each other, slightly offset. They walk forward, passing right
shoulders, and go around each other to move back to their original place. The students
should be facing the same direction during the entire movement.
Down: students move toward the bottom of the line, furthest away from the caller or music
source.
Double line: students form two parallel lines, with each student facing opposite the partner.
See Longways set.
Elbow turn: students link arms at the elbow with each other and turn around once. This
may be done to the right, linking right arms; or to the left, linking left arms.
Grand right and left: partners face each other, take right hands, and walk forward passing
right shoulders. Take left hands with the next person you meet and pass left shoulders. Right
to the next, left to the next, and so on. Take two steps forward for each change of hands.
Head couple: in a line dance, the couple closest to the head of the line, the caller, or the
music.
Left hand cross: partners face each other, take left hands, and walk forward, passing left
shoulders so they have switched places.
(Continued)
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Developing a Music Repertoire
Table 2.2 (continued)
Longways set: students form two parallel lines, with each student facing their partner in the
opposite line. See Double line.
Promenade: partners walk forward side by side, holding each other’s hands, right in right
and left in left. Teachers should get students into position by saying, “Shake right, shake left,
turn forward.”
Right hand cross: partners face each other, take right hands, and walk forward, passing
right shoulders so they have switched places.
Sashay: partners hold hands and gallop or skip sideways.
Strip the willow: in a line dance, the head couple does a right elbow turn once and a half
around so that they are facing the opposite line from which they started. They then each do
a left elbow turn once around with the next person in the line (from the line opposite their 27
original line). The head couple meets in the middle for a right elbow turn once around, and
then each turns the next person in the opposite line with a left elbow turn; and so on down
the line until they reach the bottom. May also be done by holding hands with your partner
and pulling inward rather than an elbow turn.
G A M E DI R E C T I ON S
“A L C I T RON ”
Classroom use—game: circle
Game directions: pass an object around the circle to the steady beat. Pick up on upbeat,
pass on downbeat. On “triki” tap in the direction you’re passing but do not let go, next
“triki” tap in the opposite direction but do not let go, then on “tron” continue passing in the
regular direction. Start slowly, by tapping beat, isolating “triki triki tron,” then passing small
object like a pencil before moving up to a shoe.
Notes: Some say this song is a nonsense song. Jane Pippart-Brown proposed this
insight: Alcitron is slang for a fermented citrus drink. Sabare is like sticking a knife in your
stomach (sabre), randela is when you start spinning, and triki triki tron is when you start to
vomit. This is a drinking game.
“A M ASE E” ( I M U ST SE E )
Classroom use—game: double line (reel), follows “Come Thru ’Na Hurry”
Game directions:
1. Head couple walks down. Turn hands like toasting around your partner’s arm, with
elbows and hands still touching but intertwined. When walking down, let your
backbone slide.
2. “Amasee, Amassee” Lean in to “bump” hips, then sway hips & step away.
3. “You swing yours” Swing your partner with right arm at elbow halfway so you are
facing the opposite line.
4. “And I’ll swing mine” then swing with lowest person on opposite side with your other
(left) arm.
5. “Amasee, Amasee” Circle all the way around with your first partner and end up on the
opposite line from the one you started in, at the bottom. All others step to bottom of
line-together, then to top of line—together with a big step (sort of hop too) so all move
up. Could do step-together the whole time.
(Continued)
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 2.2 (continued)
“AQ UAQ UA DE L A OM A R”
Classroom use—game: circle
Game directions: players form a circle with their palms up. Place the right hand (palm up)
in the left palm of the player to the right. An appointed leader begins the song by tapping
the palm of the player on the left with the leader’s right hand. The tapping goes to a steady
beat. Whomever receives the tap on the fermata decides how long to hold the note. The
fermata person then taps the next hand to finish the song. If a player’s hand is tapped on the
number 5, they are out. If the player is able to move their hand away in time, the tapper is
out. Continue the game until there is one player left.
“B I G FAT B I S C U I T ”
28 Classroom use—game: circle, passing game
Game directions: all students sing the song. Selected students line up side by side, three to
six and a time, and do a flat-foot broad jump at the end of the song. The winner stays and
plays with the next group.
“B I L LY, B I L LY ”
Classroom use—game: double line
Game directions:
1. For this song, you may have girls on the lead side, right of the caller (b/c Sally is the
one who walks down the alley)
2. “Here’s the way we Billy Billy …”—Reach across the set, hold hands, and groove or
shimmy.
3. “Step back Sally”—Step back, clap, step back, clap, step back, clap, step back, clap.
4. “Walking down the alley”—Lead girl improvises a movement down the alley and goes
to end of opposite line.
5. “Here comes the other one …”—Lead boy imitates first girl and goes to the bottom
opposite side. (This way both boys and girls get a chance to lead with their movement.)
Notes: A “Sally” is a common name for a young girl.
“C E DA R S WA M P ”
Classroom use—game: Longways, (double line) couples facing each other. Boys on left.
Girls on the right.
Game directions:
1. Head couple holds hands and sashays to the bottom of the set and back between the
couples.
2. Head couple strips the willow to the bottom.
“C I RC L E ROU N D T H E Z E RO”
Classroom use—game: circle
Game directions: teach by example with a few students before making the large circle.
1. Children stand in a circle while one child walks around the outside.
2. “Back Back Zero” child stops and chooses someone and stands back-to-back with the
person chosen. The child bumps behinds with that person during this phrase.
3. “Side Side Zero” The same happens with the two children as they turn sideways and
bump hips together.
4. “Front Front Zero” The two children face each other and pat hands.
(Continued)
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Developing a Music Repertoire
Table 2.2 (continued)
Table 2.2 (continued)
“G OI N ’ D OW N TO C A I RO”
Classroom use—game: single circle, alternating boys and girls
Game directions:
1. “Goin’ down to Cairo”: circle to the left
2. “Black them boots”: grand right and left
3. “Goin down”: promenade home
Notes: “Cairo” is Cairo, Illinois, pronounced keh-ro; this can be thematically partnered with
“Great Big House in New Orleans.”
“H I L L A N D G U L LY R I DE R”
Classroom use—game: line dance
30 Setup: arrange the class standing in rows of four to six students depending on class size; as
in a line dance.
Game directions:
1. Sing the song and clap the rhythm on the words “Hill and Gully.”
2. “Hill and Gully Rider”: walk four steps forward; “Hill and Gully” clap the rhythm.
3. “Hill and Gully Rider”: walk four steps backward; “Hill and Gully” clap the rhythm.
4. “Took my horse and come down”: quarter turn to the right then clap “Hill and Gully.”
5. “But my horse done come down”: quarter turn to the right again then clap “Hill and Gully.”
6. “And the Night time come a tumblin’ down”: quarter turn to the right again then
clap “Hill and Gully.” (You should now be a quarter turn away from original
position.)
7. Repeat for each verse.
“H O G S I N T H E C OR N F I E L D”
Classroom use—game: partner
Game directions version 1: partners decide who will be number 1 and who will be
number 2. One or more pairs come to a line marked on the floor. The pairs grab right
hands and put their toes against the line. The class sings the song once. When the song
is over, each student tries to pull his/her partner over the line. Whoever wins takes his/
her partner over to his/her team. When everyone has had a turn, each team is counted,
including the losers who have come from the other team. The team with the most
students wins.
Game directions version 2: Partners are back to back in the middle of the classroom.
Partners walk away from each other to six beats. On beats 7 and 8 they do rock, paper,
scissors to the eighth note rhythm.
“H U N T T H E C OWS”
Classroom use—game: acting out, circle (extension)
Teaching process: teacher sings first two phrases of song and instructs the students to
march or skip to the left. On the repeat of the first two phrases, students march or skip to
the right. On the third and fourth phrases of the song, the teacher acts out the following
motions, and students imitate motions.
“The cows are lost”
Motions: Kneel to the floor on one knee.
(Continued)
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Developing a Music Repertoire
Table 2.2 (continued)
“The sun is hot”
Motions: Without standing, add the other knee to the kneeling position, so students
are now kneeling on both knees.
“I think I’ll rest”
Motions: Without standing, lean over, putting one elbow on the floor.
“Till they get home”
Motions: Add the other elbow to floor, so that students are kneeling on both knees and
leaning on both elbows.
The teacher signals to stand and sing again. Students return to the circle to march or skip.
If students are not ready to skip around the circle during the first two phrases, replace
skipping with marching around the circle or marching in place.
“I ’ S T H E B Y ”
31
Classroom use—game: circle
Game directions:
1. Circle left eight steps.
2. Circle right eight steps.
3. “Boy” bumps hip of partner for four counts.
4. “Boy” bumps hip of corner for four counts.
5. “Boy” swings partner around for eight counts (one and a half times around) ending up
facing his corner.
6. Boy’s corner becomes his new partner.
“I ’ V E L O S T T H E FA R M E R’ S DA I RY K E Y ”
Classroom use—game: circle
Game directions: students stand in a circle holding hands, one child stands in the middle.
The class sings the song; on the words “do, do” the child in the middle tries to break through
the circle but can only do so without using his or her hands.
“JOH N KA NA KA”
Classroom use—game: double circle, single circle. Traditionally, girls stand in the inside
circle facing the outside circle and their partner.
Game directions:
1. On “I heard, I heard the old man say”: Students do-si-do with their partner.
2. On the refrain “John Kanaka-naka too-la-ay”: students perform the following motions;
one motion for each syllable:
(Actions to accompany syllables stomp right foot, pat (legs), pat, pat, pat, pat, clap,
clap, pat (partners hands)
3. On “Today, today is a holiday”: students do-si-do with their partner.
4. Refrain.
5. On “Too la ay–oh–too la ay”: students perform the following motions:
6. clap, clap, pat—raise hands and shake—clap, clap, pat.
7. On the “oh” of the above phrase, students should step to the right. The inner circle
will move clockwise and the outside circle will move counter clockwise. This places
everyone in front of a new partner.
8. Refrain: perform with the new partner.
Note: It is important for the teacher to model this with one student first.
(Continued)
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 2.2 (continued)
“L ON G L E G G E D S A I L OR”
Classroom use—game fourth grade; acting out, partner
Game directions: partners are facing each other. Sing song and act out words with
each verse.
“Have you…”—: Partners hold hand and swing hands left and right.
+ ~ ^ ~ (action) ~ +
“Ever, ever, ever in your long legged life”
~ (action) ~ (salute) ~ (action) ~ +
“seen a long legged sailor with a long legged wife?”
+ means to clap right hand to right hand
~ means to clap your own hands together
32
^ means to clap left hand to left hand
On the word “long” (and the other words in the subsequent verses) you show through
acting out. On the word “sailor” all should salute.
“Sailor”—salute (in every verse)
“Long legged”—arms extended horizontally
“Short legged”—hands close together
“One legged”—stand on one foot
“No legged”—jump
Teaching Steps: all students face the teacher and pretend to be the teacher’s partner as he/
she performs clapping motions with song at slow tempo so the students can clearly imitate
the motions.
“L ON G ROA D OF I RON ”
Classroom use—game: circle
Game directions: (like “Alcitron”)
Pass an object around the circle to the steady beat. Pick up on upbeat, pass on downbeat.
On “chicky” tap in the direction you’re passing but do not let go, next “chicky” tap in
the opposite direction but do not let go, then on “chay” continue passing in the regular
direction. Start slowly, by tapping beat, isolating “chicky chicky chay,” then passing
small object like a pencil before moving up to a bean bag or shoe.
“M A M A L A M A”
Classroom use—game: circle
Game directions:
1. Students stand in circle, alternating clapping their own hands and neighbors hands on
each side to beat.
2. During “Anie Manie” one student dances to the middle of the circle and back to
their seat.
3. On the repeat, other students copy the movement and dance to the middle and back.
“M Y L A N DL OR D”
Classroom use—game: partnering
Game directions: perform the following steps facing your partner:
1. Cross your arms over your chest.
2. Uncross arms and move your hands down to pat your legs.
(Continued)
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Developing a Music Repertoire
Table 2.2 (continued)
Table 2.2 (continued)
“OV E R T H E R I V E R”
Classroom Use: double line
Game directions:
1. Students stand in a double line across from their partner.
2. Take four steps towards partner, four steps back.
3. Right hand pass with your partner.
4. Take four steps towards partner, four steps back.
5. Right hand pass with your partner.
6. Head couple goes down the alley to bottom by improvising movement, ending at the
bottom and creating a new head couple.
34 “ T H E P E B B L E S ON G”
Classroom use—game: circle
Game directions:
Students stand in a circle, close together, and one student is chosen to be “it,” standing in the
middle of the circle. The circle may hold a string through which runs through a large bead,
or they may simply pass a rock. As the sing the song, they must pass the bead or rock past
as many students as possible without the person in the center seeing it. At the end of two
repetitions of singing, the person who is “it” must try to guess who has the bead or rock.
He or she gets three guesses. Whether he or she guesses correctly or not, the person with
the bead exchanges places with the person in the middle, and the game begins again.
“R I DI N G I N A BU G G Y ”
Classroom use—game: double circle partner game
Game directions:
1. Begin with hand in promenade position walking counter clockwise to the beat.
2. Stop at the chorus and partners face each other (inside and outside circles).
Together they:
3. Pat their own thighs.
4. Clap their own hands together.
5. Pat their partners hands.
6. Clap their own hands.
7. Repeat steps 3–6.
8. Then when the next verse begins the inside circle moves forward to the next partner,
and the game continues with new partners.
“ T I DE O”
Classroom use—game: double circle, partner
Setup:
Double circle: make one circle, ask every other child to step in
Inside circle faces out
Game directions: The following motions are done each time the word is sung:
1. “Tideo” clap pattern instruction: lap, clap, straight (patty-cake-two-hands-out clap).
2. “Pass”: outside circle move one partner to the right.
3. On “jingle” Ss hold two hands and wiggle.
4. Variation: inside circle moves to the right instead of the outside circle.
(Continued)
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Developing a Music Repertoire
Table 2.2 (continued)
“ T U R N T H E G L AS SE S OV E R” ( I ’ V E B E E N TO HA A R L E M )
Classroom use—game: double circle, partner, stealing
Game directions:
1. Teacher partners students, then students form a double line. They should be standing
beside their partner with elbows linked.
2. Circle right, kicking feet out on the upbeats.
3. On “Drink what you have to drink”: partners face each other and hold hands.
4. On “Turn the glasses over”: partners wring the dishrag.
5. On “Sailing east …”: outside circle walks counter clockwise, inside circle walks
clockwise.
6. On “Ocean”: students should be in front of a new partner.
35
Game variation: if playing the “stealing” version, begin the game with one student in the
middle of the circle. On the phrase “Sailing east …” the middle person joins the inner
circle. When the song stops on “Ocean” one person in the inner circle will be left without a
partner. This student is now “it” and begins the next repetition in the middle.
“W E E V I LY W H E AT ”
Classroom use—game: square dance
Setup:
Person in front of caller is lead with his/her back to caller.
Person facing lead is number 2, sometimes called second lead.
Person to lead’s right is number 3.
Person to lead’s left is number 4.
Game directions:
1. “Don’t want your weevily wheat, don’t want your barley”: students take hands and
circle left.
2. “Take some flour in half an hours and bake a cake for Charlie”: circle right.
3. “Five times five is twenty five, five times six is thirty, five times seven is thirty five, five
times eighth is forty”: Lead puts right hand in the middle, the others follow suit and
put their right hands on top of the pile one by one. When all right hands are in, then
put left hands on pile in order one by one. When all hands are in, then pull bottom
hand and put on top.
TEACHER TIP: Explain that you can’t pull your hand out from the middle, only from the
bottom.
4. “Don’t want your weevily wheat”: students circle left and right just as in beginning but
keep hands in the stacked position in the middle. Do this part faster to grind the flower
extra fine.
TEACHER TIP: Can add other multiplication numbers.
“Z U DI O”
Classroom use—game: double line, boys on right of caller. Very similar to “Billy Billy.”
Game directions:
1. “Zudio, zudio, zudio, zudio, zudio, zudio, all night long”: reach across the set, hold
hands, and groove or shimmy.
2. “Step back, sally, sally, sally, all night long”: step, clap, etc. while pretending to swing a
handkerchief and swing your hips.
(Continued)
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 2.2 (continued)
3. “I went down South and what did I see, I saw a big fat man from Tennessee”: lead girl
and boy walk down the middle in a lazy style.
4. “I bet ya five dollars I can beat that man… (repeat)”: slap each other’s right hand up in
the air, then circle halfway around and slap each other’s right hand up in the air again.
5. “To the front, to the back, to the side side side”: all jump front, back, side, other side,
and first side again.
6. “I went to the doctor, and the doctor said, ooh, ah, I got a pain in my head, ooh, ah,
I got a pain in my hip, ooh, ah, I got a pain in my back”: act out while walking down
between the two lines.
7. “To the front, to the back, to the side side side”: all jump front, back, side, side, side.
Notes: The song “Zudio” is only slightly different from “Billy Billy” and has some stronger
36
connotations to “after midnight life.” “Big fat [black] man” = pimp, Sally goes to the doctor
after becoming pregnant doing her “front, back, side, side, side.” “Shortnin’ Bread” is also
the same tune as “Billy Billy” and “Zudio.”
Table 2.3
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Developing a Music Repertoire
Table 2.3 (continued)
“Weldon”
la Pentatonic
“Canoe Song”
“Cock Robin”
“Florcita de Alheli”
“The Gallows Pole”
“Land of the Silver Birch”*
“See-Line Woman”
“Sioux Lullaby” 37
Dotted Quarter Followed by Eighth
“Above the Plain”
“Al Cintron”
“Big Fat Biscuit”
“Chairs to Mend”
“La Cucaracha”
“Hey, Ho, Nobody Home”
“Las Horas”
“Hush-a-Bye”
“John Kanaka”
“Liza Jane”*
“El Patio de Mi Casa”
“Long Road of Iron”
“Viva la Musica”
Other
“Chickalalelo”
fa
s-f-m
“Chairs to Mend”
“Go Tell Aunt Rhody”
“Hungarian Canon”*
“La Muneca”
“Mamalama”
“On a Mountain”
“Redbirds and Blackbirds”
(Continued)
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 2.3 (continued)
“Viva la Musica”
“Whistle Daughter Whistle”
m-f-s
“Above the Plain”
“Are You Sleeping?”
“Redbirds and Blackbirds”
Other fa
“Naranja Dulce”
“Rabbit and the Possum”
38
“Snake Baked a Hoecake”
“Twinkle, Twinkle, Little Star”
“When I First Came to This Land”
“Wishy Washy”
3$Meter
“Alfonso Doce”
“Alphabet Song”
“America”
“Coffee Canon”
“Down in the Valley”
“Goodbye, Old Paint”
“Juniper Tree”*
“Mi Gallina”
“Oh How Lovely Is the Evening”
“On Top of Old Smokey”
t,
dt,d
“When I First Came to This Land”
dt,l,
“Autumn Canon”
“The Birch Tree”*
“Debka Hora”
“Hush-a-Bye”
“Viva la Musica”
l,t,d
“Hey, Ho, Nobody Home”
(Continued)
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Developing a Music Repertoire
Table 2.3 (continued)
Other
“Campanito del Oro”
“Coffee Canon”
“Johnny Has Gone for a Soldier”
“Las Mananitas”
“A La Puerta Del Cielo”
Dotted Eighth Note Followed by Sixteenth Note
gc
“Circle Round the Zero”
39
“Dona Blanca”
“Donkey Riding”*
“Este Niño Lindo”
“Linda Pescadito”
“On a Mountain”
“La Pelota Cantadora”
“Rabbit and the Possum”
“Una Rata Vieja”
“Sail Away, Ladies”
“Shady Grove”
“Snake Baked a Hoecake”
“Sourwood Mountain”
Movement
Associate a motion or game with a known song. Perform one motion or action associated
with the song; students join in singing when they recognize the song. Once the students
recognize the song, sing the starting pitch so all students can join.
Visuals
Create pictures or assemble visuals associated with a particular song; students sing the song
once they recognize the visual clue.
• Students read the rhythm of a song written on the board; as soon as they
recognize it, they may begins to sing it with text as they clap the rhythm.
• Students write the rhythm of a song, but mix up the order of the phrases. Students
read the phrases and try to identify the song.
• Students recognize a song, hearing it performed on a percussion instrument.
• Students sing a song on a neutral syllable, as teacher performs a rhythmic ostinato
on a percussion instrument.
• Students recognize a song by hearing an internal phrase (not the first phrase)
clapped by the teacher.
• Teacher claps the rhythm of a song and students perform in canon, after
two beats.
Lesson Planning
In the accompanying handbooks for all grades we have included an alphabetized repertoire
list of examples of materials that can be used for teaching singing, music literacy, music
skills, and listening. The lesson plans in this chapter and subsequent chapters emphasize the
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Developing a Music Repertoire
sections of the lesson plan that can be expanded as a result of information presented in the
chapter. Our purpose here is to emphasize that everything we do in a music lesson is always
related to song material sung by students.
I N T ROD U C T I ON
Performance and Ss demonstrate their prior knowledge of repertoire and musical
demonstration of elements through performance of known songs selected from the
known musical alphabetized repertoire list.
concepts and elements
C OR E AC T I V I T I E S
Acquisition of New song selected from the alphabetized repertoire list that
repertoire expands students’ repertoire and prepares for the learning of a
music rhythmic or melodic concept or element. Instructional
context: when we are preparing a rhythmic element, the new song
should be selected to prepare the next melodic element; when we
are preparing a melodic element, the new song should be selected
to prepare the new rhythmic element.
Preparation and Learning activities in which Ss are taught a new musical concept
presentation of a through known songs found in the alphabetized repertoire list.
rhythmic or melodic When preparing a rhythmic element, the second part of the
element lesson practices a melodic element, and when preparing a melodic
element, the second part of the lesson practices a rhythmic
element.
(Continued)
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Table 2.4 (continued)
In the first section (preparation of a new concept) of a lesson, we guide students to dis-
cover the concept behind a new element. For example, if we want to teach the musical ele-
ments of quarter and eighth notes, students need to be guided to understand the concept of
one or two sounds on a beat.
In the second section (practice) of the lesson, the teacher reinforces and further develops
students’ understanding of preceding known musical elements through a variety of musical
skills. Of course, musical skills may also be practiced during any section of the lesson plan.
This section of the lesson may also include assessment activities to help the teacher identify
students who may require extra help.
Each preparation/practice lesson has an instructional context (preparation) and a rein-
forcement (practice) context. In this type of lesson, we continue to develop singing abilities,
teach new repertoire, and enhance movement and listening skills. During the preparation/
practice lesson, we do not name the new concept or element but create opportunities for
music students to discover the attributes of the new concept or element being studied. This
dual structure of the preparation/practice lesson gives students time to process their under-
standing of the new concept, while promoting further development of their musical skills
with the previously learned musical element. This is crucial for positive self-esteem and the
enjoyment needed for learning to take place.
Table 2.5 is an example of this type of a lesson plan where the teacher prepares a concept
through aural analysis and guides students to practice writing.
The outcomes for this lesson are:
• Preparation: analyzing repertoire
• Practice: writing melodies
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Developing a Music Repertoire
Table 2.5 Grade 4, Unit 4, Dotted Quarter and Eighth Note, Lesson 2
Outcome Preparation: analyze the concept of two sounds distributed over two
beats, the second sound occurring after the second beat, through aural
activities.
Practice: write a la pentatonic scale.
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up.
• Beat activity.
Mikrokosmos, Vol. 3, No. 78, by Béla Bartók (1881–1945)
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using high and low voices. Make 43
sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind students of the correct posture for singing.
Sing known songs “Come Thru ’Na Hurry”
CSP: F
• Ss sing the song; Ss sing song with an ostinato
(4$xcccsdsdq>).
“Chairs to Mend”
CSP: C
• Ss sing the song in canon.
Develop tuneful “Hey, Ho, Nobody Home”
singing CSP: F
• T directs part of the class to continue the ostinato while the
remaining Ss sing the song.
• Ss sing on a pure vowel in three-part canon.
Kodály Choral Library, Let Us Sing Correctly, no. 38.
Review known “Gallows Pole”
songs and CSP: F
rhythmic • T directs half the class to sing “Gallows Pole” while the
elements remainder sing “Hey, Ho, Nobody Home.”
• Ss sing both songs with rhythm syllables.
• T sings each phrase of “Weevily Wheat,” “Riding in a
Buggy,” “Come Thru ’Na Hurry,” and “Hill and Gully Rider”;
Ss echo-sing each phrase singing with rhythm syllables while
tapping the beat.
• Ss clap the rhythm of the last phrase of “Gallows
Pole” as a rhythmic ostinato into the next song
(2$sdxcd\qQ>).
(Continued)
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Table 2.5 (continued)
C OR E AC T I V I T I E S
Teach a new song “Hungarian Canon”
CSP: F
• T will sing the melody as Ss continue the ostinato.
• T sings again while Ss draw phrases on the board.
• T sings each phrase; Ss echo with rhythm syllables while T writes
stick notation on the board.
• Ss label the form of the song (ABCD).
• Ss sing phrases A and B; T sings C and D.
• T sings phrases A and B; Ss sing C and D.
• T and Ss sing the whole song together.
44
• Ss sing the song alone.
• If possible, Ss sing the song in canon.
Develop “Liza Jane”
knowledge of CSP: D
music literacy • Ss continue clapping the rhythm of “Hungarian Canon” while
concepts singing “Liza Jane.”
Describe what you • Review kinesthetic awareness activities with “Liza Jane.”
hear • T and Ss sing the first four beats of phrase 4 on “loo” while
keeping the beat before asking each of these questions:
• T: “Andy, how many beats did we tap?” (four)
• T: “Andy, which beats have one sound?” (3 and 4)
• T: “Andy, how many sounds did we sing on beats 1 and 2?” (two)
• T: “Andy, describe the sounds on beats 1 and 2 using the words
long and short.” (The first is long, the second is short.)
• Ss clap the rhythm of the rhythm of the entire last phrase (all
eight beats). (“long short ta ta tadi—di ta—ah”)
• Ss sing the first four pitches of the target phrase with solfège
syllables. (high do so la so)
• Ss continue these four (high do so la so) pitches as a melodic
ostinato into the next song.
Creative “John Kanaka”
movement CSP: A
• Ss continue the ostinato while T sings the song.
• Ss sing the song and move into formation.
• Ss sing and play the game.
• Ss clap the rhythm of the second phrase as an ostinato into the
next song (4$rasdsd\qqqQ>).
Practice music “Land of the Silver Birch”
performance and CSP: D
literacy skills • Ss continue the ostinato while singing the song.
Writing • Ss sing the song with solfège syllables while T writes them under
the standard notation of the song.
• Ss sing the tone set of the song.
(Continued)
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Developing a Music Repertoire
Table 2.5 (continued)
• Ss write the tone set on the staff in D = la, E = la, and A = la.
• Ss play the tone set on xylophones as an accompaniment to this
and other known songs in a minor tonality.
SU M M A RY AC T I V I T I E S
Review lesson
outcomes
Review the new “Hungarian Canon”
song
Creating a Presentation Lesson
There are two presentation lessons. In the first we associate solfège or rhythm syllables
with the new element and in the second we present the notation for the new lesson plan.
Throughout this book we identify specific songs for teaching specific elements. We refer
to these songs as focus songs: they contain core building blocks that we want students to
master. Sometimes we target a specific phrase in a focus song; we refer to this phrase as the
target phrase for the song.
As mentioned above, in the first presentation lesson we simply name or label the concept
or element studied during the preparation/practice lesson and continue developing singing
abilities, as well as movement and listening skills, and teach new repertoire. In the second
presentation lesson, we show students how to notate target patterns.
Table 2.6 shows a basic presentation lesson plan template for labeling sounds.
I N T ROD U C T I ON
Performance and Ss demonstrate their prior knowledge of repertoire and musical
demonstration of elements, including the new musical element to be presented
known musical through performance of songs selected from the alphabetized
concepts and elements repertoire list.
C OR E AC T I V I T I E S
Acquisition of New song selected from the alphabetized repertoire list that
repertoire expands Ss’ repertoire and prepares for the learning of a
music rhythmic or melodic concept or element. Instructional
context: when we are preparing a rhythmic element, the new song
should be selected to prepare the next melodic element; when we
are preparing a melodic element, the new song should be selected
to prepare the new rhythmic element.
(Continued)
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Table 2.6 (continued)
Presentation of a T labels the name of the new musical element with rhythm or
rhythmic or melodic solfège syllables for the focus pattern.
element
Creative movement Known song or game found in the alphabetized repertoire list.
Focus on sequential development of age-appropriate movement
skills through songs and folks games.
Presentation of a T labels the name of the new musical element with rhythm or
rhythmic or melodic solfège syllables in a related pattern.
element
C L O SU R E
46 Review and Review of lesson content and the T may perform the next
summation new song to be learned in a subsequent lesson found in the
alphabetized repertoire list
Table 2.7 has a sample presentation lesson for labeling with syllables.
Outcome Presentation: label the concept of two sounds distributed over two
beats, the second sound occurring after the second beat with rhythm
syllables.
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up.
• Beat activity.
Jamaican Rhumba (Arthur Benjamin, 1893–1960)
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: Explore a cow sound using high and low voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known songs “Riding in the Buggy”
CSP: E
• Ss sing the song and perform the movements of the game.
• Ss perform the rhythm of the last four beats as a rhythmic
ostinato into the next song (2$aqa\qQ>).
“Redbirds and Blackbirds”
CSP: B
• Ss sing the song; Ss sing the song with their own lyrics (changing
the birds to other animals).
• Ss perform the rhythm of the song while T sings the next.
(Continued)
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Developing a Music Repertoire
Table 2.7 (continued)
Table 2.7 (continued)
Table 2.8 is a basic lesson plan template for notating rhythmic or melodic elements.
I N T ROD U C T I ON
Performance and Ss demonstrate their prior knowledge of repertoire and musical
demonstration of elements, including the new musical element to be presented
known musical through performance of songs selected from the alphabetized
concepts and elements repertoire list.
C OR E AC T I V I T I E S
Acquisition of New song selected from the alphabetized repertoire list that
repertoire expands Ss’ repertoire and prepares for the learning of a
music rhythmic or melodic concept or element. Instructional
context: when we are preparing a rhythmic element, the new song
should be selected to prepare the next melodic element; when we
are preparing a melodic element, the new song should be selected
to prepare the next rhythmic element.
(Continued)
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Developing a Music Repertoire
Table 2.8 (continued)
Table 2.9 (continued)
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Developing a Music Repertoire
Table 2.9 (continued)
Chapter 3
Teaching Strategies
52 The goal of this chapter is to present teaching strategies for concepts and elements for fourth
grade. The teaching strategies are a sequence of teaching activities that guide students’ under
standing of specific musical concepts and elements. They are presented according to the
Houlahan and Tacka model of instruction and learning. In other words, they follow a specified
order of instruction. An important component of the teaching strategies are the guiding ques
tions that follow the kinesthetic activities in the cognitive phase of instruction and learning.
The questions provide the metacognitive scaffolding that allows students to understand both the
process and product of teaching. Each component of the model of instruction and learning also
promotes many opportunities for developing music skills. The teaching strategies are formulaic
in structure; ultimately teachers will infuse these strategies with their own creativity to accom
modate the changing settings of teaching situations.
We provide some of the most important techniques for preparing, presenting, and practicing
musical elements. The instructor may add to any of these suggestions during the three phases of
instruction.
These teaching strategies are presented in this chapter:
• Syncopation
• la pentatonic scale
• Dotted quarter note followed by an eighth note
• fa
• Triple meter and dotted half note
• low ti
• Dotted eighth note followed by a sixteenth note
Syncopation
Table 3.1 presents an overview of the important information required to teach syncopation.
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Teaching Strategies
Table 3.1
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
This kinesthetic procedure may be guided with nonverbal communication. The instructor
guides students to:
1 . Sing “Canoe Song” and perform the beat for the target phrase.
2. Sing “Canoe Song” and clap the rhythm for the target phrase.
3. Sing “Canoe Song” and point to a representation of the target phrase on the
board. (See Fig. 3.1.) FIGURE 3.1
4. Sing “Canoe Song” and clap the ostinato:
2$ sqsq\qq>
5. Sing the “Canoe Song.” Teacher performs beat, students perform rhythm.
Switch.
6. Divide the class into two groups; one performs the beat and the other the rhythm
while singing. Switch.
7. Sing “Canoe Song” while stepping the beat and clapping the text.
8. Sing “Canoe Song” while tapping the beat in one hand and rhythm in the other.
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Associative Phase: Presentation
Label the Sound
Assess the kinesthetic, aural awareness, and visual awareness activities with the phrase 1 of
the “Canoe Song.”
1. T: “When we hear three uneven sounds over two beats where the first is short, the
second is long, and the third is short, we can label these sounds with our rhythm
syllables ta di--di.”
2. T sings the target phrase of “Canoe Song” with rhythm syllables ta di----di ta di ta;
students echo-sing with rhythm syllables while clapping the rhythm.
3. Students perform the new rhythm with the beat.
4. Students perform the new rhythm with conducting.
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Teaching Strategies
5. Individual students echo the rhythm syllables. Perform this activity with the
rhythm of the entire song.
6. Teacher sings a phrase of “Canoe Song” with text or neutral syllable; students echo
but use rhythm syllables while clapping the rhythm.
1. T: “When the beat is equal to a quarter note, we can represent three sounds over
two beats using the traditional notation:”
aqa
“Our target pattern will look like this:”
2$ aqa\sqq\
“When we write our target pattern we can use stick notation.”
2$ aqa\sqq\
2. “We can read our target pattern using rhythm syllables.” Read the rhythm of 55
“Canoe Song” with rhythm syllables and clap the rhythm. Individual students sing
and point to the rhythm of “Canoe Song” on the board as the class sings the song
with rhythm syllables and claps the rhythm.
3. Teacher shows students how to read with numbers for counting. Sing the “Canoe
Song” with numbers for counting and conduct. Individual students sing and point
to rhythm of “Canoe Song” on the board as the class sings the song with numbers
and conducts.
4. Explain the concept of syncopation to students. If appropriate, present repertoire
that contains syncopation patterns occurring on a beat (sixteenth note followed
by an eigth and sixteenth note).
Part Work
1. Use the target phrase as an ostinato to accompany a known song.
2. Combine the target phrase as an ostinato as well as another motif from the song
so that you are using two ostinatos at the same time.
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Improvisation
1. Teacher claps and says the rhythm syllables in a question phrase that uses new
pattern and students provide an answer.
2. Students clap and say the rhythm syllables in a question phrase that uses new
pattern and another students give an answer.
3. Students change rhythm of a first, second grade or third song and use an eighth,
quarter, eighth note pattern instead of two quarter notes.
4. Students improvise a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.
Inner Hearing
56 1. Teacher sings known phrases of songs and students sing back with rhythm
syllables and clapping.
2. Teacher sings known phrases of songs and students sing back with rhythm
syllables and conducting.
3. Students inner-hear known song and clap ostinato that includes syncopation
rhythm.
Visual Practice
Reading from Hand Signs
1. Students sing known song from teacher’s hand signs that include the new
rhythm pattern.
2. Students sing known song from another student’s hand signs that include the
new rhythm pattern.
Reading
1. Read target motif from traditional rhythmic notation with rhythm syllables.
2. Read a known song with rhythm syllables and clap the rhythm.
3. Read a known song with rhythm syllables and conduct.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand.
5. Transform target motif into a related pattern.
6. Read an unknown song with rhythm syllables and clap the rhythm.
7. Read an unknown song with rhythm syllables and conduct.
8. Transform a known folk song into another folk song.
9. Read the rhythm of a known song and play on a classroom percussion
instrument.
10. Read phrase of a known song with traditional notation and solfège or from the
staff that includes new rhythmic pattern and play on the xylophone or tone bells.
11. Read the rhythm of a known song in two or three parts. For example, students
can sing the rhythm syllables using notes of the tonic chord in major or minor.
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Teaching Strategies
12. Read the rhythm of a known song in two or three parts. For example, students
can play the rhythm patterns using notes of the tonic chord in major or minor
on the recorder.
13. This ostinato may be sung or played with “Come Thru ’Na Hurry,” “Liza Jane,”
“Riding in a Buggy,” and “Weevily Wheat”:
2$qq\qq\qq\w>
d s, d s, d r m
14. It is important for students to learn and understand the concept of eighth note
rest. One way to do this is to write some of the syncopation patterns with eighth
note rests and have them read the patterns and aurally and visually recognize
eighth note rests.
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation.
2. Write related patterns in stick and traditional rhythmic notation.
3. Write a known song in stick and/or traditional rhythmic notation.
4. Fill the missing measures of a known song with the correct rhythms. 57
5. Teacher sings an unknown song and students fill in the missing measures with
the correct rhythms.
6. Students notate rhythm patterns by teacher and add the bar lines and time
signature.
Improvisation
1. Teacher claps a question phrase and chants rhythm syllables; students choose
from four patterns from the board to use as an answering phrase. One phrase
should just include four heart beats.
2. Students clap a question phrase and chant rhythm syllables, another student
chooses from four patterns on the board to use as an answering phrase. One
phrase should just include four heart beats.
3. The instructor writes a known folk song in traditional rhythmic notation
but leaves out four beats. Students read and clap the rhythm and one student
improvises four-beat rhythms that use new rhythm pattern for the missing
measure. These songs can be used for this activity: “Riding in the Buggy,” “Shoo
My Love,” “Liza Jane,” “Alabama Gal,” “Come Thru ’Na Hurry,” “Hill and Gully
Rider,” and “Weevily Wheat.”
Memory
1. Read an unknown song with rhythm syllables and clap the rhythm. Teacher
erases four beats each time and students memorize.
2. Read an unknown song with rhythm syllables and conduct. T erases four beats
each time and students memorize.
Inner Hearing
1. Recognize familiar songs from teacher’s clapping.
2. Teacher sings known phrases of songs and students sing back with rhythm
syllables and keep the beat.
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Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège
and hand signs, and group 2 taps a rhythmic ostinato that is read from
notation.
2. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups and perform the activity in canon after two beats.
3. Read a known song with rhythm syllables and conduct. Divide the class into two
groups and perform the activity in canon after two beats.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups and
perform the activity in canon after two beats.
5. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups; one performs the activity from the beginning and the other
58 from the end of the song.
6. Read a known song with rhythm syllables and conduct. Divide the class into two
groups; one group performs the activity from the beginning and the other from
the end of the song.
7. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups; one
group performs the activity from the beginning and the other from the end of
the song.
8. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
9. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
10. Students perform from Denise Bacon’s “My Paddle” (46 American Folk Songs
p. 16).1
Listening
Mikrokosmos, Vol. 2, No. 40, “The Swine Herd,” by Béla Bartók (1881–1945). Listen to
the bass part for syncopation.
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, Vol. 1. New York: Boosey and Hawkes, 1995, pp. 87–109.
Zoltán Kodály. Kodály Choral Library: 333 Elementary Exercises. London: Boosey and
Hawkes, 1963. Major keys, nos. 8, 26, 27, 89, 169, 184.
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Teaching Strategies
Table 3.2
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1. Teacher sings “Land of the Silver Birch” and points to a representation of the
melodic contour of the third phrase (Fig. 3.2).
FIGURE 3.2
2. Teacher sings phrases 1, 2, and 4; students sing and point to the melodic contour
of the third phrase.
3. Students turn to partner. They sing whole song and clap the melodic contour of
the third while matching their partner.
4. Students sing song with a rhythmic or melodic ostinato.
3. Students get in pairs; one person sings phrase 1, one person sings phrase 2, and
together they sing and mirror-clap phrase 3.
4. Teacher asks students to sing the last note with solfège.
5. Sing the entire phrase with solfège syllables and hand signs.
6. Individual students sing the phrase with solfège syllables and hand signs.
7. Students sing all of the notes in the phrase from lowest to highest, with solfège
syllables and hand signs.
8. Teacher sings the intervals of the minor pentatonic scale (l-d, d-r, r-m, m-s, s-l)
and students echo-sing that the interval is either a step or a skip.
1. Teacher sings the target phrase with a neutral syllable and asks students to
create a visual representation of the melody of the target phrase. They may use
manipulatives. T: “Pick up what you need to recreate what you heard” or “Draw
what you heard.” Teacher assesses students’ level of understanding.
60 2. Students share their representations with each other.
3. Teacher invites one student to the board to share a representation with the class.
If necessary, corrections to the representation can be made by reviewing the aural
awareness questions.
4. Students sing the third phrase of “Land of the Silver Birch” with a neutral syllable
and point to the representation.
5. Identify the meter, bar lines, and rhythm and sing the third phrase of “Land of
the Silver Birch” with rhythm syllables. Identify the solfège syllables and sing with
hand signs.
Associative Phase: Presentation
Label the Sound
Assess the kinesthetic, aural, and visual awareness activities with the focus song “Land of
the Silver Birch.”
1. Teacher and students sing the target phrase with solfège and hand signs. Students
identify the notes of the target phrase, singing from lowest to highest.
2. Teacher specifically names these notes as a “la pentatonic scale,” pentatonic
because it has five different pitches with a skip between low la and do as well as
mi-so, and because the piece of music ends on low la.
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Teaching Strategies
la Pentatonic Scale
1. Present the name of the scale on tone ladder.
2. Students sing the target phrase with solfège syllables. They present the notes on
the tone ladder. Identify the steps between the notes of the phrase as steps or
skips, “large or small seconds.” Present the name of the scale.
3. Identify the intervals between the tonic note and all degrees of the scale.
4. Present that notation for the la pentatonic scale on the staff.
5. Present the Rule of Placement for la pentatonic tone set.
6. Present la pentatonic on staff written in a number of keys, up to two sharps and flats.
7. Students sing the scale with solfège and hand signs.
8. Students identify the intervals (steps and skips) between notes of the scale, for
example, la–do = skip. (See Fig. 3.3.)
FIGURE 3.3
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• At this time the teacher may practice the pentatonic scales from hand signs. If you
choose to do this, focus on the re and mi pentatonic scales when working with
the la pentatonic minor scale. The re pentatonic scale can be practiced using “I
Wonder Where Maria’s Gone” and “Older Betty Larkin” (Zoltán Kodály. Kodály
Choral Library: 333 Elementary Exercises. London: Boosey and Hawkes, 1963, nos.
279 and 330).
Singing Intervals
1. Teacher sings the intervals between the notes of la pentatonic scale; students sing
the intervals and identify whether each is a skip or a step.
2. Teacher sings the intervals between the tonic note and notes of the minor
pentatonic tone set; students sing the intervals and identify intervals.
3. Teacher plays intervals on the piano melodically or harmonically, and students
identify the solfège and the interval name.
4. Students sing major and minor pentatonic scales from the same pitch.
5. Teacher sings interval patterns that can be sung with same solfège. For example,
l-s-m-r can be sung with the syllables r-d-l,-s,. The teacher can sing l-s-m-r patterns
and students must sing a perfect fifth below, singing the same solfège syllables,
or they can sing with r-d-l,-s,. Through this exercise, students are practicing real
answers. This should always be done by studying several music examples. The
teacher may consider using some “Old Style” Hungarian folk music. The theme of
the “Peacock Variations” by Zoltán Kodály is an example of this kind of structure.
Part Work
1. Use the target phrase as an ostinato to accompany known minor pentatonic songs.
2. Students echo-sing four-beat patterns provided by the teacher with solfège and
hand signs but begin singing at beat 3 of the teacher’s pattern.
3. Sing the song in canon, if it is a pentatonic song.
4. Sing the song in canon with a rhythmic ostinato.
5. Sing the song in canon with a melodic ostinato.
6. Combine a phrase as an ostinato and another motif from the song so that you are
using two ostinatos at the same time.
7. Students sing a minor pentatonic song and teacher accompanies with a drone
made up of la or la-mi played on an instrument.
8. Students sing a minor pentatonic song and teacher accompanies with la or mi.
Reverse.
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Teaching Strategies
Improvisation
1. Teacher sings a music question with solfège syllables and hand signs and
students give an answer. Question should end on mi and the answer on low la.
2. One student sings a music question with solfège syllables and hand signs and
another student answers. Question should end on mi and the answer on low la.
3. One student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.
Inner Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège
syllables.
Visual Practice
Reading from Hand Signs
1. Students sing known song from teacher’s hand signs that include the new solfège
pattern.
2. Students sing known song from another student hand signs that include the new 63
solfège pattern.
3. Student reads a motif from a teacher’s hand sign and play on a classroom
instrument. Teacher provides the starting place on the instrument.
Reading
1. Read target motifs from the tone ladder.
2. Read known melodies from the tone ladder.
3. Read target motif from traditional rhythmic notation and solfège with solfège
syllables and hand signs.
4. Read a known song from traditional rhythmic notation with solfège syllables
and hand signs.
5. Read a known song with solfège syllables and conduct.
6. Read a known song from staff notation with solfège syllables and hand signs.
7. Read a known song from staff notation with solfège syllables and conduct.
8. Transform target motif into a related pattern.
9. Read an unknown song with solfège syllables and hand signs.
10. Read an unknown song with solfège syllables and conduct.
11. Teacher shows hand signs and students read after two beats in canon with
hand signs.
12. Transform a known folk song into another folk song.
13. Read phrases of known song, notated with traditional rhythmic notation and
solfège, and play on a classroom instrument.
Intervals
1. Students identify intervals from notation of known songs.
2. Students identify intervals from notation of unknown songs.
3. Students are given a starting pitch by the teacher and then sing in solfège from a
series of intervals written on the board.
4. Students read different pentatonic scales from the same starting note.
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Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation with solfège
syllables.
2. Write related patterns in stick and traditional rhythmic notation with solfège syllables.
3. Write the tones of a known song on the board as a student or class sings a known
song in solfège syllables.
4. Write a known song in stick and/or traditional rhythmic notation.
5. Fill the missing measures of a known song with the correct solfège syllables.
Teacher can provide the rhythm but not the syllables for the missing measure.
6. Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms and solfège syllables.
64 7. Students transcribe a song written in rhythmic notation with solfège syllables into
staff notation.
8. Write a scale on the staff and mark the half steps.
Improvisation
1. Teacher sings a question phrase with solfège syllables and hand signs and a
student chooses from four patterns from the board to use as an answering phrase.
One phrase should just include four heart beats.
2. One student sings a question phrase with solfège syllables and hand signs; another
student chooses from four patterns from the board to use as an answering phrase.
One phrase should just include four heart beats.
3. The instructor writes a known folk song in traditional rhythmic notation and
solfège but leaves out four beats. Students read with solfège and one student
improvises four-beat melody that uses the new melodic note.
4. Students improve a new folk song to a give form and scale. For example, students
compose a new melody using the form ABAB. Teacher furnishes students with
the A phrase ending on mi and students must improvise the B phrase, which
should end on la.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
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Teaching Strategies
3. Teacher gives students four flash cards with rhythm and students must identify
the song and arrange flash cards in the correct order.
4. Students sing known songs but inner-hear the phrase containing the new target
pattern.
5. Students sing known songs but inner-hear the phrase containing the new target
pattern.
6. Students sing a song but have to inner-hear the song at a signal from the teacher.
Students sing the song aloud from a signal from the teacher.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège
and hand signs and group 2 taps a rhythmic ostinato that is read from
notation.
2. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings a melodic ostinato that is read from notation.
3. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings a descant with solfège and hand signs that is read from
notation. 65
4. Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing
and group 2 clapping in canon.
5. Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing
and group 2 clapping in canon.
6. Read a known song with solfège syllables while showing hand signs with the
left hand and conducting with the right hand. Divide the class into two groups,
the first performing the activity and the second clapping rhythm in canon after
two beats.
7. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
8. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
9. Students sing la pentatonic scale in two- and three-part canon.
10. Sing “Sioux Lullaby” from Sourwood Mountain, p. 1.
Listening
“An Evening in the Village,” from Hungarian Sketches, by Béla Bartók (1881–1945).
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, Vol. 1. New York: Boosey and Hawkes, 1995, pp. 87–109.
Zoltán Kodály. Kodály Choral Library: 333 Elementary Exercises. London: Boosey and
Hawkes, 1963, nos. 164, 173, 176, 178, 179, 181, 184.
Syncopation in minor keys: Minor Key in 333 Elementary Exercises: 151, 169, 184,
313, 323.
Denise Bacon, 50 Two Part Exercises, no. 36.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 3.3
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Liza Jane” and pat the beat for the target pattern in phrase 4.
2. Sing “Liza Jane” and clap the rhythm for the target pattern phrase 4.
3. Sing “Liza Jane” and point to a representation of the rhythm on the board
(Fig. 3.4).
4. Sing “Liza Jane” while
FIGURE 3.4 performing this ostinato:
2$ sqsq\qq>
5 . Sing “Liza Jane.” Teacher performs beat, and students perform rhythm. Switch.
6. Divide the class into two groups; one performs the beat and the other the rhythm
while singing. Switch.
7. Sing “Liza Jane” while stepping the beat and clapping the text.
8. Sing “Liza Jane” while tapping the beat in one hand and rhythm in the other.
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Teaching Strategies
Associative Phase: Presentation
Describe What You Hear with Rhythm Syllables
1. Assess the kinesthetic, aural awareness, and visual awareness activities with the
focus song “Liza Jane.”
2. T: “We call two uneven sounds over two beats where the first is long and the
second is short ta--------di.”
3. Teacher sings the target phrase of “Liza Jane” with rhythm syllables.
4. Students echo with rhythm syllables and keeping the beat.
5. Students echo with rhythm syllables and conduct.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
FIGURE 3.5
6. Students sing the last two phrases with rhythm syllables; half of the class sings
rhythm syllables and claps the rhythm while the other half sings the rhythm
syllables but performs the beat. Switch.
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Teaching Strategies
Part Work
1. Use the target phrase as an ostinato to accompany a known song.
2. Combine the target phrase as an ostinato with another motif from the song so
that you are using two ostinatos at the same time.
3. Teacher claps a rhythm and students follow in canon after two beats.
4. Students perform a two-part rhythmic reading exercise. Group 1 performs the
upper part and group 2 the lower part. Switch.
5. Student performs a two-part rhythmic reading exercise. Perform the upper part
with right hand and lower part with left hand.
Improvisation
1. Teacher claps and says the rhythm syllables in a question phrase that uses new
pattern, and students answer.
2. One student claps and says the rhythm syllables in a question phrase that uses
new pattern, and another student gives an answer.
3. Students change rhythm of a first or second grade song and use a dotted quarter
note followed by an eighth note instead of two quarter notes.
4. One student improvises a four-beat pattern. The next student begins a four-beat 69
improvisation with the last two beats of the first student.
Inner Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with rhythm
syllables and clapping.
3. Teacher sings known phrases of songs and students sing back with rhythm
syllables and conducting.
Visual Practice
Reading from Hand Signs
1. Students sing known songs that include new pattern from teacher’s hand signs
with solfège syllables.
2. Students sing known songs from another student’s hand signs with solfège
syllables.
Reading
1. Read target motif from traditional rhythmic notation with rhythm syllables.
2. Read a known song such as “John Kanaka” with rhythm syllables and clap the
rhythm.
3. Read a known song with rhythm syllables and conduct.
4. Transform target motif into a related pattern.
5. Read an unknown song with rhythm syllables and clap the rhythm.
6. Read an unknown song with rhythm syllables and conduct.
7. Transform a known folk song into another folk song. Read “Liza Jane” in
traditional rhythm notation and transform to “John Kanaka.”
8. Read the rhythm of a known song and play on a classroom percussion
instrument.
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9. Read phrase of a known song with traditional notation and solfège, or from the
staff, that includes new rhythmic pattern and play on the xylophone or tone bells.
10. Read the rhythm of a known song in two or three parts. For example, students
can sing the rhythm syllables using notes of the tonic chord in major or minor.
11. Read the rhythm of a known song in two or three parts. For example, students can
play the rhythm patterns using notes of the tonic chord in major or minor on pitched
instruments. The tonic chord can be used to accompany a known pentatonic song.
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation.
2. Write related patterns in stick and traditional rhythmic notation.
3. Write a known song such as “Liza Jane” and “John Kanaka” in stick and/or
traditional rhythmic notation.
4. Fill the missing measures of a known song with the correct rhythms.
5. Teacher sings an unknown song, and students fill in the missing measures with
the correct rhythms.
6. Students notate rhythm patterns by teacher and add the bar lines and time signature.
70
Improvisation
1. Teacher claps a question phrase and chants rhythm syllables; students choose
from four patterns from the board to use as an answering phrase. One phrase
should just include four heartbeats.
2. One student claps a question phrase and chants rhythm syllables; another
student chooses from four patterns from the board to use as an answering
phrase. One phrase should just include four heartbeats.
3. The instructor writes a known folk song in traditional rhythmic notation but leaves
out four beats. Students read and clap the rhythm, and one student improvises
four-beat rhythms that use new rhythm pattern for the missing measure.
Memory
1. Read an unknown song with rhythm syllables and clap the rhythm. Teacher
erases four beats each time and students memorize.
2. Read an unknown song with rhythm syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner Hearing
1. Recognize familiar songs from teacher’s clapping.
2. Teacher sings known phrases of songs and students sing back with rhythm
syllables and keep the beat.
3. Teacher supplies students with four flash cards with rhythm; they must identify
the song and arrange flash cards in the correct order.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège
and hand signs and group 2 taps a rhythmic ostinato that is read from
notation.
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Teaching Strategies
2. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups and perform the activity in canon after two beats.
3. Read a known song with rhythm syllables and conduct. Divide the class into two
groups and perform the activity in canon after two beats.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups and
perform the activity in canon after two beats.
5. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups, one performing the activity from the beginning and the other
from the end of the song.
6. Read a known song with rhythm syllables and conduct. Divide the class into two
groups; one performs the activity from the beginning and the other from the
end of the song.
7. Read a known song with rhythm syllables while tapping the rhythm with the left hand
and conducting with the right hand. Divide the class into two groups; one group
performs the activity from the beginning and the other from the end of the song.
8. Students sing a known song and clap the rhythm of another well-known song
simultaneously. 71
9. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
10. This ostinato may be sung or played with major pentatonic repertoire containing
the new rhythmic element:
2$qq\qq\qq\w>
d s, d s d r m
This ostinato may be sung or played with a known major pentatonic song:
. 2$qq\w>
d s, d
• Read known songs and accompany with this rhythmic ostinato:
raqQ>
• Perform “Sweet William,” in 46 Two-part American Folk Songs, by Denise Bacon, p. 42.
Listening
1. “The Happy Farmer,” from Album for the Young, no. 10, by Robert Schumann
(1810–1856).
2. Little Fugue in G minor, by Johann Sebastian Bach (1685–1750).
3. To a Wild Rose, Edward MacDowell (1860–1908).
4. “Chester,” New England Triptych, third movement, by William Schuman (1910–1992).
5. “Simple Gifts,” section B of the Shaker Hymn in Appalachian Spring, by Aaron
Copland (1900–1990); rhythm included.
2$w\ra\sqsq\ra\qsq\qq\qsq\qq\
w\ra\qsq\qsq\qq\qsq\qq\w|
6. Waltz in A-Flat Major, Op. 39, No. 15, by Johannes Brahms (1833–1897).
7. “Waltz,” Music for Young People, Op 65, No. 6, by Sergei Prokofiev (1891–1953).
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Kodá ly in t he F ourt h G r a de Cl a s sro om
8. It is also important to practice eighth note followed by a dotted quarter note; see
the choral work Esti Dal, by Zoltán Kodály (1882–1967).
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight Singing and Earn
Training, Vol. 1. New York: Boosey and Hawkes, 1995, pp. 71–76.
fa
Table 3.4 presents an overview of the important information required to teach fa.
Table 3.4
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Teaching Strategies
Cognitive Phase: Preparation
Internalize Music through Kinesthetic Activities
1 . Sing “Hungarian Canon” and show the melodic contour for phrase 2.
2. Sing “Hungarian Canon” and point to a representation of the melodic contour of
phrase 2 at the board. (See Fig. 3.7.)
3. Sing “Hungarian Canon”
with rhythm syllables
while clapping the
melodic contour.
FIGURE 3.7
4. Sing “Hungarian
Canon” as a two-part or
four-part canon.
73
Describe What You Hear
For this concept, students should be able to hear the difference between minor second and
major second intervals. For example, students could sing “Hungarian Canon” (starting do)
and “Juba” (starting on mi mi fa fa) from the same starting note. Another way to practice
this skill is for the teacher to hum the notes do-re-mi and mi-fa-so from the same starting
pitch and have students hum back.
2. The instructor sings the target phrase with a neutral syllable and asks students to
create a visual representation of the melody of the target phrase. Students may use
manipulatives. T: “Pick up what you need to recreate what you heard” or “Draw
what you heard.” Teacher assesses students’ level of understanding.
3. Students share their representations with each other.
4. The instructor invites one student to the board to share a representation with the
class. If necessary, corrections to the representation can be made by reviewing the
aural awareness questions.
5. Students sing the second phrase of “Hungarian Canon” with a neutral syllable and
point to the representation.
6. Identify the form of the melody, and the meter. Sing the phrase with rhythm syllables.
7. Students sing the phrase with known solfège and sing “loo” on fa.
1. T: “When we hear a sound between mi and so we call it fa.” (The instructor shows
the hand sign.) “We can sing the second phrase with these syllables and hand
signs:” o
2. Students perform the new melody with solfège syllables and hand signs.
3. Students perform the new melody with solfège syllables and conduct.
4. Teacher performs individual phrases of song with solfège syllables and hand signs.
Individual students echo-sing with solfège syllables and hand signs.
5. Teacher sings a phrase of “Hungarian Canon” with a neutral syllable, and students
echo with solfège syllables and hand signs.
6. Students identify the notes of the tone set; teacher labels it a major pentachord.
7. Teacher identifies the intervals between the notes of the major pentachord scale
do as major or minor seconds.
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Teaching Strategies
3. Write the target melody on the staff. Individual students sing and point to the
melody on the board written on the staff as the class sings the song with solfège
syllables and hand signs.
4. Present the target phrase of “Hungarian Canon” in staff notation and present the
Rule of Placement in C = do. (See Fig. 3.8.)
FIGURE 3.8
5. Present the Rule of Placement for fa on the staff and present the target phrase of
“Hungarian Canon” in staff notation G = d. (See Fig. 3.9.)
75
FIGURE 3.9
FIGURE 3.12
9. Teacher presents the notation for the major pentachord scale on the staff.
A. Present the major pentachord scale in staff notation and the Rule of Placement.
B. Students sing the scale with solfège and hand signs.
C. Students identify the intervals (steps or skips) between pairs of notes of the scale.
Singing Intervals
1. Teacher sings the intervals between the notes of the tone set; students sing the
intervals and identify whether each is a major or minor second.
2. Teacher sings the intervals between the tonic note and notes of the tone set;
students sing the intervals and identify intervals.
3. Teacher plays intervals on the piano melodically or harmonically, and students
identify the solfège and the interval name.
Part Work
1. Students echo-sing four-beat patterns provided by the teacher with solfège and
hand signs but begin singing at beat 3 of the teacher’s pattern.
2. Sing the song in canon.
3. Sing the song in canon with a rhythmic ostinato.
4. Sing the song in canon with a melodic ostinato.
5. Combine a phrase as an ostinato with another motif from the song so that you are
using two ostinatos at the same time.
6. Students sing song and teacher accompanies with a drone made of up do or do-so
played on an instrument.
Improvisation
1. Teacher sings a music question with solfège syllables and hand signs and students
answer. Question ends on so and after several activities ends on re. Answer
ends on do.
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Teaching Strategies
2. One student sings a music question with solfège syllables and hand signs, and
another student supplies an answer.
3. One student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.
Inner Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège syllables.
Visual Practice
Reading from Hand Signs
1. Students sing known song from teacher’s hand signs that includes the new
solfège pattern.
2. Students sing known song from another student’s hand signs that includes the
new solfège pattern.
3. Students read a motif from the teacher’s hand signs and play on a classroom
instrument. Teacher indicates the starting place on the instrument.
4. Teacher shows hand signs and students read after two beats in canon with hand signs. 77
5. Read known major hexachord songs from hand signs.
Reading
1. Read target motif from traditional rhythmic notation and solfège with solfège
syllables and hand signs.
2. Read a known song from traditional rhythmic notation with solfège syllables
and hand signs.
3. Read a known song, e.g., “This Old Man,” “Go Tell Aunt Rhody,” with solfège
syllables and conduct.
4. Read a known song from staff notation with solfège syllables and hand signs.
5. Read a known song from staff notation with solfège syllables and conduct.
6. Transform target motif into a related pattern.
7. Read an unknown song with solfège syllables and
hand signs.
8. Read an unknown song with solfège syllables and
conduct.
9. Teacher shows hand signs and students read after two beats
s
in canon with hand signs.
f
10. Transform a known folk song into another folk song.
11. Read phrases of known song, notated with traditional m
rhythmic notation and solfège syllables, and play on a
r
classroom instrument. (See Fig. 3.13.)
12. Read phrases from known song material noted on the
d
staff with letter names where do = G and G.
FIGURE 3.13
13. Read known major hexachord songs from the staff.
Intervals
1. Students identify intervals from notation of known songs.
2. Students identify intervals from notation of unknown songs.
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3. Students are given a starting pitch by the teacher and then sing in solfège from a
series of intervals written on the board.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation with solfège
syllables.
2. Write related patterns in stick and traditional rhythmic notation with solfège
syllables.
3. Write the tone set of a known song on the board.
4. Write a known song in stick and/or traditional rhythmic notation.
5. Fill the missing measures of a known song with the correct solfège syllables.
78 Teacher can give the rhythm but not the syllables for the missing measure.
6. Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms and solfège syllables.
7. Write pentachord and hexachord scales in the key areas C, F, G, D, and B-flat.
See the next section for introducing the flat sign and page 90 for introducing the
sharp sign.
1. Students should work with songs having the range of a pentachord and aurally
identify the large and small seconds in the song.
2. Give students the opportunity to play these songs on xylophones or other
instruments that show the whole and half steps clearly.
3. Students should play these songs while singing them with letter names. The
teacher should work toward getting the students to feel as secure with letter names
as they do with solfège syllables. Use both C-do and G-do positions because these
do not have any accidentals.
4. Ask the students to sing a do-pentachord scale beginning on G. Reinforce the
concept that the distance between mi and fa is a half step. The students will note
the closeness of B and C in the G-do position.
5. Ask the students to sing a do-pentachord scale beginning on F. Have the
students discover that the note B must be moved closer to the note A. Play or
sing the notes A-B and ask the students to determine if the distance is a half or
whole step.
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Teaching Strategies
6. The students must discover the need to lower the sound. The teacher could
demonstrate this on the piano by using the black note to lower the sound.
7. Name the lowered sound “B-flat.” Draw a flat sign; show how it is written on
the staff.
8. Explain that the sign is placed before the note. Name this new note “bes” to use in
singing with absolute letter names.
9. Key signatures should not be used at first. Add the flat signs in front of the pitch
for several lessons. Later put the flat at the beginning and explain the purpose of
key signatures. (See Fig. 3.14.)
FIGURE 3.14
Improvisation
• Teacher sings a question phrase with solfège syllables and hand signs and a
student chooses from four patterns on the board to use as an answering phrase.
One phrase should just include four heartbeats.
• Teacher sings a question phrase with solfège syllables and hand signs, and a
student chooses from four patterns on the board to use as an answering phrase.
One phrase should just include four heartbeats.
• The instructor writes a known folk song in traditional rhythmic notation and
solfège but leaves out four beats. Students read with solfège, and one student
improvises four-beat melody that uses the new melodic note.
• Students improvise a new folk song to a given form and scale. For example,
students compose a new melody using the form ABAB. Teacher furnishes
students with the A phrase and students must improvise the B phrase and should
end on do.
Memory
• Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
• Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Inner Hearing
• Recognize familiar songs from teacher’s hand signs.
• Teacher sings known phrases of songs, and students sing back with solfège
syllables and signs.
• Teacher gives students four flash cards with rhythm, and students must identify
the song and arrange flash cards in the correct order.
• Students sing known songs but inner-hear the phrase containing the new target
pattern.
• Students sing known songs but inner-hear the phrase containing the new target
pattern.
• Students sing a song but have to inner-hear the song on a signal from the teacher.
Students sing the song aloud at a signal from by teacher.
Part Work
• Divide the class into two groups. Group 1 sings the song with solfège syllables and
hand signs, and group 2 taps a rhythmic ostinato that is read from notation.
• Divide the class into two groups. Group 1 sings the song with solfège syllables and
80 hand signs; group 2 sings a melodic ostinato that is read from notation.
• Divide the class into two groups. Group 1 sings the song with solfège syllables and
hand signs, and group 2 sings a descant with solfège syllables and hand signs that
is read from notation.
• Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
• Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
• Read a known song with solfège syllables while showing hand signs with the left
hand and conducting with the right hand. Divide the class into two groups; group
1 performs the activity and group 2 claps rhythm in canon after two beats.
• Students sing a known song and clap the rhythm of another well-known song
simultaneously.
• Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
• Sing pentachord and hexachord scales in canon.
Listening
“Go Tell Aunt Rhody,” by Ella Jenkins, in Songs and Rhymes from Near and Far.
“Chorale,” from the fourth movement of Symphony No. 9, by Ludwig van Beethoven
(1770–1827): m-m-f-s-s-f-m-r-d-d-r-m-m-r-r.
Canon in D, by Johann Pachelbel (1653–1706): d’-s-l-m-f-d-f-s.
“Finale,” from the Firebird Suite, by Igor Stravinsky (1882–1971): s-f-m-s-r-d-f-m-r-f-m-d-r-r.
Rondo No. 1, for piano, by Béla Bartók (1881–1945).
Mikrokosmos, Vol. 1, No. 6, by Béla Bartók (1881–1945); themes A, B, and C include
d-r-m-f-s-l.
For listening exercises in do pentachord, see these works by Béla Bartók (1881–
1945): “Round Dance,” no. 6 in For Children, Vol. 2, No. 6; Mikrokozmos, Vol.
2 No. 40, and Vol. 2 No. 60 (sections); 44 Duets, no. 16, “Burleske,” and no. 1,
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Teaching Strategies
“Matchmaking Song.” In do hexachord, see For Children, Vol. 2 No. 1; and 44 Duets,
no 2, “Maypole Dance.”
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, Vol. 2. New York: Boosey & Hawkes, 1995, pp. 25–44.
Béla Bartók. For Children, Vol. 1. No. 4, “Pillow Dance.” New York: Boosey &
Hawkes, 1947.
Table 3.5
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
When teaching meter, the teacher should use a drum to mark the strong and weak beats.
Emphasis the first note of a measure musically.
1. Students sing “Rise Up, Oh Flame” with a pat clap clap ostinato (pat clap clap / pat
clap clap / pat clap clap / pat clap clap):
qqq\qqq\qqq\qqq>
qqq\qqq\qqq\qqq>
2 . Students point to a representation of strong and weak beats (not rhythm). (See Fig. 3.15.)
3. Clap the rhythm and walk
the beat, while singing FIGURE 3.15
the song.
4. Sing the song in canon.
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Associative Phase: Presentation
Label the Sound
1 . Assess kinesthetic, aural, and visual awareness.
2. T: “When we have a pattern of three pulsations with the first being strong and the
next two being weak, we have a pattern of three beats per measure. This is referred
to as triple meter. Each measure is divided into three beats.”
3. A long note that has three beats is called ta-a-a.
4. Students perform with rhythm syllables and clap the beat.
5. Students perform the target pattern with rhythm syllables and
conducting.
6. Individual students echo the rhythm syllables. Perform this activity with the
rhythm of the entire song.
7. Teacher sings a phrase of “Rise Up, Oh Flame” with text or neutral syllable.
Students echo but use rhythm syllables while clapping the rhythm.
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Teaching Strategies
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2 . Students sing the notated melody with rhythm syllables while clapping the rhythm.
3. Students sing the notated melody with rhythm syllables and conduct.
4. Students sing the notated melody counting with numbers.
Improvisation
1. Teacher claps and says the rhythm syllables in a question phrase in triple meter,
and students offer an answer.
2. Student claps and says the rhythm syllables in a question phrase in triple meter,
and another student answers.
3. Students change meter of a song from duple into triple meter.
4. One student improvises a six-beat pattern in triple meter. The next student begins
a four-beat improvisation with the last two beats of the first student.
Inner Hearing
1. Teacher sings known phrases of songs in triple meter and students sing back with
rhythm syllables and clapping.
2. Teacher sings known phrases of songs in triple meter and students sing back with
rhythm syllables and conducting.
Visual Practice
Reading from Hand Signs
1. Students sing known song from teacher’s hand signs that includes the new rhythm
pattern.
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2. Students sing known song from another student’s hand signs that includes the
new rhythm pattern.
Reading
1. Read target motif from traditional rhythmic notation with rhythm syllables.
2. Read a known song, “Rise Up, Oh Flame,” with rhythm syllables and clap the
rhythm.
3. Read a known song, “Goodbye, Old Paint,” with rhythm syllables and conduct.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand.
5. Transform target motif into a related pattern.
6. Read a known song from teacher’s hand signs.
7. Read an unknown song from teacher’s hand signs.
8. Teacher shows hand signs, and students read after two beats in canon.
9. Read an unknown song with rhythm syllables and clap the rhythm.
10. Read an unknown song with rhythm syllables and conduct.
11. Transform a known folk song into another folk song.
84 12. Read the rhythm of a known song and play on a classroom percussion instrument.
13. Read a phrase of a known song with traditional notation and solfège syllables, or from
the staff, that includes new rhythmic pattern, and play on the xylophone or tone bells.
14. Read the rhythm of a known song in two or three parts. For example, students
can sing the rhythm syllables using notes of the tonic chord in major or minor.
15. Read the rhythm of a known song in two or three parts. For example, students
can play the rhythm patterns using notes of the tonic chord in major or minor
on the recorder.
16. Read “Entre las matas” and play it on an instrument. (See Fig. 3.16.)
Source: Reprinted from Vamos a Cantar with permission of the Kodály Institute at Capital
University.
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Teaching Strategies
Writing
1. Write rhythm patterns in triple meter in stick and/or traditional rhythmic
notation.
2. Write a known song in stick and/or traditional rhythmic notation.
3. Fill the missing measures of a known song with the correct rhythms.
4. Teacher sings an unknown song, and students fill in the missing measures with
the correct rhythms.
5. Students notate rhythm patterns sung by teacher and add the bar lines and time
signature.
Improvisation
1. T claps a question phrase and chants rhythm syllables; students choose from four
patterns on the board to use as an answering phrase.
2. One student claps a question phrase and chants rhythm syllables; another student
choses from four patterns on the board to use as an answering phrase.
3. Teacher writes a known folk song in traditional rhythmic notation but leaves a few
measures blank. Students read and clap the rhythm, and one student improvises
four-beat rhythms that use new rhythm pattern for the missing measures. 85
Memory
1. Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases
four beats each time and students memorize.
2. Read an unknown song with rhythm syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner Hearing
1. Recognize familiar songs from teacher’s clapping.
2. Teacher sings known phrases of songs, and students sing back with rhythm
syllables and keep the beat.
3. Teacher provides students with four flash cards with rhythm; students must
identify the song and arrange flash cards in the correct order.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 taps a rhythmic ostinato that is read from notation.
2. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups, and perform the activity in canon after two beats.
3. Read a known song with rhythm syllables and conduct. Divide the class into two
groups, and perform the activity in canon after two beats.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups, and
perform the activity in canon after two beats.
5. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups; one group performs the activity from the beginning and the
other from the end of the song.
6. Read a known song with rhythm syllables and conduct. Divide the class into two
groups; one performs the activity from the beginning and the other from the end
of the song.
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7. Read a known song with rhythm syllables while tapping the rhythm with the
left hand and conducting with the right hand. Divide the class into two groups,
one performing the activity from the beginning and the other from the end of
the song.
8. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
9. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
Listening
Minuet in G Major, by Johann Sebastian Bach (1685–1750).
“Finale,” from Symphony No. 4, by Peter Ilyich Tchaikovsky (1840–1893).
For Children, Vol. 1, No. 30, by Béla Bartók (1881–1945), revised Boosey and Hawkes,
1947. The rhythm switches from triple to duple meter.
Al otro lado del rio, by Jorge Drexler (1964–).
Waltz in A-Flat Major, Op. 39, No. 15, by Johannes Brahms (1833–1897).
“Abécédé,” from Háry János, by Zoltán Kodály (1882–1967).
86
Sight Singing
Denise Bacon. 50 Two Part Exercises, nos. 16, 21, 23, 28, 30, 35, 40, 45, and 49.
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, Vol. 1. New York: Boosey and Hawkes, 1995, pp. 16–19.
Zoltán Kodály. Kodály Choral Library: 333 Elementary Exercises. London: Boosey and
Hawkes, 1963, nos. 9 and 299.
low ti
Table 3.6 presents an overview of the important information required to teach low ti.
Table 3.6
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Teaching Strategies
We teach low ti as part of the la pentachord scale. We can use the same process for teaching
the la pentachord and hexachord scale.
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “The Birch Tree” and show the melodic contour.
2. Sing “The Birch Tree” and show the melodic contour for phrase 1.
3. Sing “The Birch Tree” and point to a representation of the melodic contour at the
board (Fig. 3.17).
FIGURE 3.17
4 . Sing “The Birch Tree” with rhythm syllables while showing the melodic contour.
5. Clap “The Birch Tree” following the contour of the melody with hands. 87
6. Sing “The Birch Tree” with ostinato performed by a student on xylophone.
Associative Phase: Presentation
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with the focus song
88 “The Birch Tree.”
2. Teacher names the new note “low ti” and shows the students the hand sign and
presents all of the solfège syllables for the phrase.
3. Students perform the new melody with solfège and hand signs.
4. Students perform the new melody with solfège and conduct.
5. Teacher performs individual phrases of song with solfège syllables and hand signs.
Individual students echo-sing with solfège syllables and hand signs.
6. Teacher sings a phrase of “The Birch Tree” with text or neutral syllable; students
echo with solfège syllables and hand signs.
FIGURE 3.18
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Teaching Strategies
4. Write the target melody with traditional rhythmic notation and solfège.
Individual students sing and point to the melody on the board as the class sings
the song with solfège syllables and hand signs.
5. Write the target melody with traditional rhythmic notation and solfège syllables.
Individual students sing and point to the melody on the board as the class sings
the song with solfège syllables and conducts.
6. Write the target melody on the staff. Individual students sing and point to the
melody on the board written on the staff as the class sings the song with solfège
syllables and hand signs.
7. Write the target melody on the staff. Individual students sing and point to the
melody on the board written with on the staff as the class sings the song with
solfège syllables and conducts.
8. Present the name of the scale.
9. Students sing the target phrase with solfège syllables. They present the notes on
the tone ladder. Identify the steps between the notes of the phrase as steps or
skips, “large or small seconds.” Present the name of the scale.
10. Identify the intervals between the tonic note and all degrees of the scale.
89
Present Scale Degree Numbers
When we write the pitches of “The Birch Tree” in descending order, we discover that, just
as in the major pentachord, there are five adjacent
pitches. We can label these pitches with solfège syl
Solfège Syllable Degree Number
lables mi-re-do–low ti–low la or numbers 5 4 3 2 1,
m 5
respectively. The final note of the composition is low r 4
la, which we can refer to as the tonic note. We refer d 3
t, 2
to this collection of notes as a la or minor pentachord l, 1 FIGURE 3.19
scale (Fig. 3.19).
FIGURE 3.21
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1. Present the la pentachord scale in staff notation and the Rule of Placement.
2. Students sing the scale with solfège and hand signs.
3. Students identify the intervals (steps and skips) between notes of the scale.
1. Teacher sings motifs from known songs and students sing back with solfège
syllables and hand signs.
2. Students sing “Debka Hora” with solfège and hand signs.
3. Students sing “Debka Hora” with solfège and conduct.
4. Teacher sings do pentatonic and la pentatonic scales and students sing back with
solfège and hand signs.
Singing Intervals
1. Teacher sings the intervals between the notes of the tone set; students sing the
intervals and identify whether it is a major or minor interval.
2. Teacher sings the intervals between the tonic note and notes of the tone set;
student sing the intervals and identify intervals.
3. Teacher plays intervals on the piano melodically or harmonically, and students
identify the solfège and the interval name.
Part Work
1. Use the target phrase as an ostinato.
2. Students echo-sing four beat patterns provided by the teacher with solfège and
hand signs but begin singing at beat 3 of the teacher’s pattern.
3. Sing the song in canon with a rhythmic ostinato.
4. Sing the song in canon with a melodic ostinato.
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Teaching Strategies
5. Combine a phrase as an ostinato with another motif from the song so that you
are using two ostinatos at the same time. This works with pentatonic music.
6. Students sing a minor pentachord song and teacher accompanies with a drone
made of up low la or la-mi played on an instrument.
7. Students sing a minor pentachord song and teacher accompanies with the
solfège syllables la or mi.
8. Students sing minor pentachord and hexachord scales in canon.
Improvisation
1. Teacher sings a music question with solfège syllables and hand signs and
students provide an answer. Question ends on mi and after several activities ends
on ti. Answer ends on la.
2. One student sings a music question with solfège syllables and hand signs, and
another student gives an answer.
3. One student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.
4. Students transform a do pentachord into a la pentachord melody.
5. Students transform a la pentachord melody into a do pentachord. 91
6. Students transform a do hexachord into a la hexachord melody.
7. Students transform a la hexachord melody in to a do hexachord.
Inner Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège.
Reading
1. Read target motifs from the tone ladder.
2. Read known melodies from the tone ladder.
3. Read known melodies from the tone ladder.
4. Read target motif from traditional rhythmic notation and solfège with solfège
syllables and hand signs.
5. Read a known song from traditional rhythmic notation with solfège syllables
and hand signs.
6. Read a known song with solfège syllables and conduct.
7. Read a known song from staff notation with solfège syllables and hand signs.
8. Read a known song from staff notation with solfège syllables and conduct.
9. Transform target motif into a related pattern.
10. Read an unknown song with solfège syllables and hand signs.
11. Read an unknown song with solfège syllables and conduct.
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12. Teacher shows hand signs and students read after two beats in canon with hand signs.
13. Transform a known folk song into another folk song.
14. Read phrases of known song, notated with traditional rhythmic notation and
solfège, and play on a classroom instrument.
Intervals
1. Students identify intervals from notation of known songs.
2. Students identify intervals from notation of unknown songs.
3. Students are given a starting pitch by the teacher and then sing in solfège from a
series of intervals written on the board.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
92 Writing
1. Write the target pattern in stick and/or traditional rhythmic notation with solfège
syllables.
2. Write related patterns in stick and traditional rhythmic notation with solfège syllables.
3. Write the tone set of a known song on the board as a student or class sings a
known song in solfège syllables.
4. Write a known song in stick and/or traditional rhythmic notation.
5. Fill the missing measures of a known song with the correct solfège syllables.
Teacher can supply the rhythm but not the syllables for the missing measure.
6. Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms and solfège syllables.
7. Students transcribe a song written in rhythmic notation and solfège syllables into
staff notation.
8. Write a minor pentachord and hexachord scale on the staff and mark the half steps.
9. Write this ostinato in staff notation and perform it with “Charlotte Town.” The
ostinato may also be performed on a xylophone or tone bells.
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d t, l, s, d t, l, s, d s, l, t, d t, l, s, d
Improvisation
1. Teacher sings a question phrase with solfège syllables and hand signs, and a
student chooses from four patterns from the board to use as an answering phrase.
One phrase should just include four heartbeats.
2. Teacher sings a question phrase with solfège syllables and hand signs; another
student chooses from four patterns on the board to use as an answering phrase.
One phrase should just include four heartbeats.
3. The instructor writes a known folk song in traditional rhythmic notation and
solfège but leaves out four beats. Students read with solfège, and one student
improvises four-beat melody that uses the new melodic note.
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Teaching Strategies
4. Students improve a new folk song to a given form and scale. For example, students
compose a new melody using the form ABAB. Teacher provides students with the
A phrase and students must improvise the B phrase. If the new melody is based
on the minor pentachord, then the A phrase ends on mi and the B phrase ends on
low la.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases
four beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
3. Teacher gives students four flash cards with rhythm, and they must identify the
song and arrange flash cards in the correct order. 93
4. Students sing known songs but inner-hear the phrase containing the new target
pattern.
5. Students sing known songs but inner-hear the phrase containing the new target
pattern.
6. Students sing a song but have to inner-hear the song at a signal from the teacher.
Students sing the song aloud on a signal from teacher.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 taps a rhythmic ostinato that is read from notation.
2. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings a melodic ostinato that is read from notation.
3. Divide the class into two groups. Group 1 sings the song with solfège and hand signs
and group 2 sings a descant with solfège and hand signs that is read from notation.
4. Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing
and group 2 clapping in canon.
5. Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing
and group 2 clapping in canon.
6. Read a known song with solfège syllables while showing hand signs with the
left hand and conducting with the right hand. Divide the class into two groups;
group 1 performs the activity and group 2 claps rhythm in canon after two beats.
7. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
8. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand. Sing minor pentachord
scales in canon.
9. Sing minor hexachord scales in canon.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
10. Sing this two-part repertoire: Denis Bacon, 46 Two Part American Folk Songs,
“My Paddle,” p. 16, and “The Three Rogues,” pp. 25–26. Upper melody only.
Students can learn lower part by rote, from “Go Tell Aunt Rhody,” p. 31. Lower
part introducing notes from extended range of scale: “May Day Carol,” p. 39, and
“Sweet William,” p. 42.
Listening
• Finale, “Allegro con Fuoco,” from Symphony No. 4, by Peter Ilyich Tchaikovsky
(1840–1883). The movement uses the Russian folk song “The Birch Tree.”
• For Children, Vol. 1 (revised Boosey and Hawkes, 1947), “Round Dance,” no. 17,
and no. 3, untitled, by Béla Bartók (1881–1945).
• Additional examples of la pentachord for listening: Mikrokosmos, Vol. 1, nos. 3
and 18, by Béla Bartók (1881–1945).
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, Vol. 1. New York: Boosey and Hawkes, 1995, pp. 45–56.
“The Little Birch Tree,” Russian folk song, arr. Mary Goetze. Unison with optional
94 flute accompaniment. New York: Boosey and Hawkes.
Zoltán Kodály. Kodály Choral Library: 333 Elementary Exercises. London: Boosey and
Hawkes, 1963, nos. 53, 54, 117, 121, 188, 198, 199, 218, 220, 229, 242, 243, 261, 264.
Examples with syncopation: 151, 169, 184, 313, 323.
Table 3.7
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Teaching Strategies
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Donkey Riding” and pat the beat for the target phrase 1.
2. Sing “Donkey Riding” and clap the rhythm for the target phrase 1.
3. Sing “Donkey Riding” and point to a representation of the rhythm on the board
(Fig. 3.22).
FIGURE 3.22
4. Sing “Donkey Riding”
performing this
ostinato: 2$sqsq\qq>
1. The instructor sings the target phrase with a neutral syllable and asks students
to create a visual representation of the target phrase. Students may use
manipulatives. T: “Pick up what you need to recreate what you heard” or “Draw
what you heard.” Teacher assesses students’ level of understanding.
2. Students share their representations with each other.
3. The instructor invites one student to the board to share a representation with the
class. If necessary, corrections to the representation can be made by reviewing the
aural awareness questions.
4. Students sing the first phrase of “Donkey Riding” with a neutral syllable and point
to the representation.
5. Determine the meter and solfège syllables for the target phrase.
6. Students sing with all known rhythm syllables and sing “loo” for new element.
Associative Phase: Presentation
Label the Sound
Assess the kinesthetic, aural, and visual awareness activities with the focus song “Donkey
Riding.”
1. Teacher labels the sound. T: “We call two uneven sounds on one beat where the
first is long and the second is short ta mi.”
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2. Teacher sings phrase 1 of “Donkey Riding” with rhythm syllables. (See Fig. 3.23.)
FIGURE 3.23 ta mi ta di ta di ta ta di ta di ta di ta
96
Assimilative Phase: Practice Music Skills
Aural Practice
Singing with Rhythm Syllables
1. Sing “Donkey Riding” with rhythmic syllables.
2. Sing “Shady Grove” with rhythmic syllables.
3. Teacher claps ostinato pattern and students echo on rhythm syllables.
4. Students echo-sing four-beat melodic patterns, containing new rhythm provided
by the teacher, with rhythm syllables and clapping the rhythm.
5. Students echo-sing four beat melodic patterns, containing new rhythm provided
by the teacher, with rhythm syllables and conduct.
6. Students sing known melodies with rhythm syllables and keep the beat.
7. Students sing known melodies with rhythm syllables and conduct.
8. Teacher sings known and unknown motifs and students sing back with rhythm
syllables.
Part Work
1. Use the target phrase as an ostinato to accompany a known song.
2. Combine the target phrase as an ostinato with another motif from the song so
that you are using two ostinatos at the same time.
3. Teacher claps a rhythm and students follow in canon after two beats.
4. Students perform a two-part rhythmic reading exercise. Group 1 performs the
upper part and group 2 the lower part. Switch.
5. Student performs a two-part rhythmic reading exercise. Perform the upper part
with right hand and lower part with left hand.
Improvisation
1. Teacher claps and says the rhythm syllables in a question phrase and students
answer. (We can use duple, triple, and quadruple meter.)
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Teaching Strategies
2. One student claps and says the rhythm syllables in a question phrase and another
student gives an answer. (We can use duple, triple, and quadruple meter.)
3. Students change meter of a song from duple into triple meter.
4. One student improvises a pattern in triple meter. The next student begins a four-
beat improvisation with the last two beats of the first student.
Inner Hearing
1. Teacher sings known phrases of songs in triple meter and students sing back
with rhythm syllables and clapping.
2. Teacher sings known phrases of songs in triple meter and students sing back
with rhythm syllables and conducting.
Visual Practice
Reading from Hand Signs
1. Students sing known song from teacher’s hand signs that includes the new
rhythm pattern.
2. One student sings known song from another student’s hand signs that includes
the new rhythm pattern. 97
Reading
1. Read “Donkey Riding” in traditional rhythm notation.
2. Transform target motif into a related pattern.
3. Read a known song from teacher’s hand signs.
4. Read an unknown songs from teacher’s hand signs.
5. Teacher shows hand signs, and students read after two beats in canon.
6. Read an unknown song with rhythm syllables and clap the rhythm.
7. Read an unknown song with rhythm syllables and conduct.
8. Transform a known folk song into another folk song.
9. Read the rhythm of a known song and play on a classroom percussion
instrument.
10. Read phrase of a known song with traditional notation and solfège syllables, or
from the staff, that includes new rhythmic pattern and play on the xylophone or
tone bells.
11. Read the rhythm of a known song in two or three parts. For example, students
can sing the rhythm syllables using notes of the tonic chord in major or minor.
12. Read the rhythm of a known song in two or three parts. For example, students
can play the rhythm patterns using notes of the tonic chord in major or minor
on the recorder.
13. Read “Circle Round the Zero” and play it on an instrument.
14. Read “Yankee Doodle” on rhythm syllables.
15. Transform the rhythm of phrase 3 and four of “Donkey Riding” into phrases
from “Sail Away Ladies.”
16. Read from 46 Two-part American Folk Songs by Denise Bacon, “Ida Red,” p. 19.
Writing
1. Write “Donkey Riding” in rhythmic notation and include the solfège syllables.
2. Write “Yankee Doodle” in rhythmic notation and include the solfège syllables.
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Improvisation
1. Students improvise the rhythm of the last four beats of any phrase in these
songs: “Sail Away Ladies,” “Circle Round the Zero,” “Yankee Doodle.” A student
writes the improvisation on the board.
2. Teacher claps a question phrase and chants rhythm syllables; students choose
from four patterns on the board to use as an answering phrase.
3. One student claps a question phrase and chants rhythm syllables; another student
chooses from four patterns on the board to use as an answering phrase.
98 4. The instructor writes a known folk song in traditional rhythmic notation but
leaves a few measures blank. Students read and clap the rhythm, and one student
improvises four-beat rhythms that use new rhythm pattern for the missing
measures.
Listening
Variations on a Theme by Joseph Haydn (St. Anthony Chorale), by Johannes Brahms
(1833–1897).
“Soldier’s March,” from Album for the Young, by Robert Schumann (1810–1856).
This piece also includes eighth note rests.
“Feierlich und Gemessen,” from Symphony No. 1, by Gustav Mahler
(1860–1911).
“Norwegian Dance No. 2,” by Edvard Grieg (1843–1907); A section.
“Andante,” from Symphony No. 94, by Joseph Haydn (1732–1809). Check the
variation that uses the dotted rhythm.
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For dotted eighth and sixteenth notes and reverse, see “Ku-Ku-Ku-kuskám” from
Háry János by Zoltán Kodály (1882–1967).
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, Vol. 1. New York: Boosey and Hawkes, 1995, pp. 62–64.
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Teaching Strategies
In the cognitive phase of learning, students explore a music concept moving through
three stages of learning. In stage 1, they learn to internalize music and construct kinesthetic
awareness. In stage 2, they learn to describe the characteristics of the new concept by con
structing aural awareness. In stage 3, they construct a representation of the new concept.
The stages of learning in this phase are explored in three lesson plans.
In the associative phase of learning, students learn how to describe the sounds of music
with rhythm or solfège syllables and how to translate these sounds into music notation.
Stage 1 is aural presentation of the new rhythmic or melodic syllables and hand signs using
known song material that contains the target pattern (the most frequent pattern that con
tains the new element) and related patterns. Stage 2 is visual presentation of the target pat
tern using traditional notation. Each stage of learning here is explored in a lesson plan.
In the assimilative phase of learning, students practice and gain fluency in integrating
the new element into their vocabulary of other known rhythmic and melodic elements. In
Stage 1, students aurally practice the rhythm or solfège syllables and hand signs for the new
element with music skills. In stage 2, students visually practice the new element with musi
cal skills. Aural practice should take place independently from visual practice, but visual
practice should never take place without recourse to aural practice. These stages of learning
take place in a concentrated manner over three lessons and may be practiced independently 99
or combined.
Figure 3.24 demonstrates how the phases of learning are reflected in different types of
lessons.
(continued)
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Figure 3.24 (continued)
Phase 2: Associative Phase
Presentation
Lesson 4
Stage 1: associate the sound of the new element with solfège or rhythmic syllables.
Lesson 5
Stage 2: associate traditional notation with the sound of the new musical element.
After lesson 5, the new element is now referred to as a known element.
Phase 3: Assimilative Phase
Practice
After the fifth lesson, T begins with the introduction of another new element in
Preparation/Practice and Presentation lesson plan cycle. During the practice segments of
these lessons, T assimilates the known element.
Stage 1: Ss aurally practice music skills, assimilating the new element, in familiar and
100 new songs.
Stage 2: Ss visually practice music skills, assimilating the new element, in familiar and new songs.
The lesson plan designs and lesson plans below represent how students begin the
process of understanding the sounds of a new element before learning how to notate
the new element. These plans show where the various phases and the stages of learning
take place. We will include after each plan design a lesson plan segment from an actual
lesson plan so you can see how these ideas translate into practical applications in the
classroom. For the purposes of showing you examples of lesson plans, we use these
elements:
Lesson 1: Kinesthetic
Table 3.8 shows the lesson plan design for developing a preparation/practice lesson plan
framework for cognitive phase of learning, stage 1.
Table 3.8
Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
(Continued)
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Teaching Strategies
Table 3.8 (continued)
Develop tuneful
singing
Tone production
Diction
Expression
Review known
songs and elements
C OR E AC T I V I T I E S
Teach a new song
Preparation of new Cognitive Phase, Stage 1
concept Ss listen to the instructor sing the focus song.
Develop knowledge Ss perform the focus song with a movement that demonstrates the
of music literacy concept.
concepts Rationale: to match patterns of experience to patterns of music.
Internalize music 101
through kinesthetic
activities
Creative movement
Practice music
performance and
literacy skills
Reading and
listening
SUM M A RY AC T I V I T I E S
Review lesson
outcomes
Review the new song
Table 3.9 shows a lesson plan for developing a preparation/practice lesson plan frame
work for cognitive phase of learning, stage 1.
Table 3.9 (continued)
Develop tuneful
singing
Tone production
Diction
Expression
Review known
songs and rhythmic
elements
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge “Liza Jane”
of music literacy CSP: F-sharp
concepts • Ss sing the song.
Internalize music • Ss sing the song in canon after four beats.
102 through kinesthetic • Ss sing and clap the rhythm of the chorus in canon.
activities • T directs half the class to sing and clap the rhythm while the
remainder sing and perform the beat. Switch. Ss sing and
perform the beat and rhythm in canon.
• Ss sing the target phrase and point to a representation on
the board.
________ __ ____ ____
• Four to six Ss come to the board to point to the representation
while the class sings together.
• Ss sing the first four beats of the target phrase with solfège
syllables and hand signs (high do so la so).
• Ss sing these four pitches as straight quarter notes.
• Ss use this melodic motif as a transition into the next song.
Creative movement
Practice music
performance and
literacy skills
Reading
SU M M A RY AC T I V I T I E S
Review lesson
outcomes
Review the new song
Lesson 2: Aural
Table 3.10 has a lesson plan template for developing a preparation/practice lesson plan for
cognitive phase of learning stage 2.
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Teaching Strategies
Table 3.10
Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and
elements
C OR E AC T I V I T I E S
Teach a new song
Preparation of new Cognitive Phase, Stage 2
concept • Describe what you hear. 103
Develop knowledge of • Ss aurally analyze the characteristics of the new musical
music literacy concepts element with the help of the instructor.
Describe what you hear • Ss describe the characteristics of the new element by
answering a series of carefully sequenced questions
from T. In this way, Ss can develop their audiation skills
during the process of answering questions. Students must
inner-hear the focus phrase in order to be able to answer
T’s questions.
Creative movement
Practice music
performance and
literacy skills
Writing
SUM M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
Table 3.11 presents a lesson plan for developing a preparation/practice lesson plan for
cognitive phase of learning, stage 2.
Table 3.11 (continued)
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Review known songs
and rhythmic elements
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge of “Liza Jane”
music literacy concepts CSP: D
Describe what you hear • Ss continue clapping the rhythm of “Hungarian Canon”
while singing “Liza Jane.”
• Review kinesthetic awareness activities with “Liza Jane.”
104 • T and Ss sing the first four beats of phrase 4 on “loo” while
keeping the beat before asking each of these questions:
• T: “Andy, how many beats did we tap?” (four)
• T: “Andy, which beats have one sound?” (3 and 4)
• T: “Andy, how many sounds did we sing on beats 1 and 2?”
(two sounds)
• T: “Andy, describe the sounds on beats 1 and 2 using the
words long and short.” (the first is long, the second is short)
• Ss clap the rhythm of the rhythm of the entire last phrase
(all eight beats). (long—short ta ta ta di—di ta—ah)
• Ss sing the first four pitches of the target phrase with
solfège syllables (high do so la so).
• Ss continue these four (high do so la so) pitches as a
melodic ostinato into the next song.
Creative movement
Practice music
performance and
literacy skills
Writing
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
Lesson 3: Visual
Table 3.12 presents a lesson plan template for developing a preparation/practice lesson plan
framework for cognitive phase of learning, stage 3.
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Teaching Strategies
Table 3.12
Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-ups
Table 3.13 shows a lesson plan for developing a preparation/practice lesson plan frame
work for cognitive phase of learning, stage 3.
(Continued)
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 3.13 (continued)
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and .
rhythmic elements
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge of music “Liza Jane”
literacy concepts CSP: F-sharp
106 Create a representation of what • Ss sing the song while continuing the ostinato.
you hear • Ss sing the song in canon after four beats.
• Review kinesthetic and aural awareness
activities.
• T sings target phrase on “loo” while Ss pat the beat.
• T: “Use the Unifix cubes to create a picture of what
you heard.”
• Ss work with partners to create a visual of the
target phase.
• Ss sing and point to their representations.
• T selects an individual to draw a representation on
the board.
• T and Ss label all known elements in song.
2$sdsd\sdq\aqa\w\
sdsd\sdq\aqa\w\
---- - \qq\aqa\w\
---- - \qq\aqa\w|
• Ss sing “Liza Jane” with rhythm syllables and long
short for the unknown element.
• T sings “Rabbit and the Possum” as a partner
song.
Creative movement
Practice music performance
and literacy skills
Improvisation
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
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Teaching Strategies
Lesson 4: Presentation
Table 3.14 shows a lesson plan template for the associative phase of learning, Stage 1, pre
sentation. Label the sound.
Table 3.14
Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-ups
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and elements
107
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge of music literacy Phase 2: Associative Phase: Presentation
concepts Stage 1: associate the sound of the new element
Describe what you hear with solfège or with solfège or rhythmic syllables with a focus
rhythm syllables pattern.
Creative movement
Presentation of music literacy concepts Phase 2: Associative Phase: Presentation
Describe what you hear with solfège or Stage 1: associate the sound of the new element with
rhythm syllables solfège or rhythmic syllables with a related pattern.
SUM M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
Table 3.15 is a presentation lesson plan for the associative phase of learning, stage 1, pre
sentation. Label the sound.
(Continued)
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Table 3.15 (continued)
Develop tuneful
singing
Tone production
Diction
Expression
Review known songs
and rhythmic elements
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge of “Liza Jane”
music literacy concepts CSP: F-sharp
Describe what you hear • Ss sing the song.
with rhythm syllables • Review kinesthetic, aural, and visual awareness activities.
• T: “We call two uneven sounds over two beats where the
108 second sound happens after the second beat ta—di.”
• T sings target phrase with rhythm syllables.
• Ss echo with rhythm syllables.
• Ss sing the last two phrases with rhythm syllables; half the class
sings rhythm syllables and claps the rhythm while the other
half sings the rhythm syllables and performs the beat. Switch.
• Ss conduct and sing the song with rhythm syllables.
• Ss perform the rhythm of the text “O Eliza”
(4$raqq>) as a rhythmic ostinato in the next song.
Creative movement
Presentation of music “John Kanaka”
literacy concepts CSP: A
Describe what you hear • Ss sing “Liza Jane” with rhythm syllables.
with rhythm syllables • T is “reminded” of another song that may have ta—di in it
(“John Kanaka”).
• Ss listen and identify where they hear ta—di in the song.
• Ss sing and clap the rhythm syllables of the song.
• Ss identify and perform known songs with rhythm syllables:
○ “Long Road of Iron”
○ “Hey, Ho, Nobody Home”
○ “Above the Plain”
○ “Chairs to Mend”
○ “The Birch Tree”
• Ss create ostinati that contain the ra rhythm pattern and
perform them on xylophones as an accompaniment to any
of their known songs.
SU M M A RY AC T I V I T I E S
Review lesson
outcomes
Review the new song
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Teaching Strategies
Lesson 5: Presentation
Table 3.16 shows a template for a presentation lesson plan for associative phase of learning,
stage 2, a new element.
Table 3.16
Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and
elements
109
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge of Phase 2: Associative Phase: Presentation
music literacy concepts Stage 2: associate traditional notation with the sound of the
Notate what you hear new musical element in a focus pattern.
Creative movement
Presentation of music Phase 2: Associative Phase: Presentation
literacy concepts Stage 2: associate traditional notation with the sound of the
Notate what you hear new musical element in a related pattern.
SUM M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
Table 3.17 has a presentation lesson plan for the associative phase of learning, stage 2,
presentation. Present the notation.
Table 3.17 (continued)
(Continued)
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Teaching Strategies
Table 3.17 (continued)
The assimilative phase, stages 1 and 2, takes place during the next units. Stages 1 and 2
are integrated into various sections of lessons of the next units. In our lesson plan structure,
we focus on the skills of reading, writing, and improvisation during the next three lessons 111
at the same time as we are preparing another new element to be mastered.
Table 3.18 (continued)
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Teaching Strategies
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Teaching Strategies
Table 3.20 (continued)
115
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Chapter 4
Students as Performers
Developing Music Skills and Creative Expression
This chapter provides a quick overview of techniques for developing tuneful singing, reading,
writing, improvisation, playing instruments, creative movement, and listening skills. More
116 detailed activities are included in Chapters 3 and 7 of Kodály Today. Also included are listen-
ing examples that may be used for movement development as well as to develop music literacy
skills. Where possible, music skills should practice all of the rhythmic and melodic elements
outlined in the curriculum for each grade. Grade four elements include knowledge of pitches of
the extended pentatonic scale and the minor pentatonic scale. Rhythmically, students will under-
stand sixteenth notes, sixteenth note and eighth note patterns, internal and external upbeats, and
the concept of subdivision of beat in compound meter.
Tuneful Singing Skills
Posture
1. Balance the head. To accomplish this, the face should look straight ahead. Try several
exercises, such as moving the head up and down and sideways to relax the head and
neck muscles. Stand with your back against a wall and make sure that your head and
the heels of your feet are touching the wall. The head should feel suspended as if you
are a puppet or a balloon. Keep the spine straight.
2. Explain the correct seating position:
Shoulders should be relaxed and rotated toward the back.
Neck muscles should be relaxed.
Tongue should be relaxed in the bottom of the mouth.
Spine should be extended.
Rib cage is lifted.
Be at the edge of your chair when singing.
Feet are on the floor.
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Students as Performers
Body Warm-up
1. Body stretches. Teacher explains that students’ shoulders should be kept down, and
they should reach for the stars; each hand should alternate with the other.
2. Shaking arms. Extend arms in from of your body and shake each arm separately.
3. Shoulder roll. Roll each shoulder separately, making a circle.
4. Shrugging shoulders. Shrug your shoulders, hold position for several counts, and
then release. 117
5. Head rolls. Drop head to left shoulder and trace a half circle, moving chin toward
chest and right shoulder.
6. Neck stretch. Drop the right ear to the right shoulder and the left ear to the left
shoulder. Move the neck, making a yes-or-no motion.
7. Facial stretch. Ask students to act surprised. Try to drop your jaw and say mah,
mah, mah several times.
8. Knee flex. Arms should be extended forward and hands should be relaxed; bounce
the body by flexing the knees.
9. Wiggle toes. Wiggle toes inside your shoes.
Breathing
1. Correct breathing posture. Students lie on the floor with a book placed on their
abdominal muscles. When inhaling, the book rises, and when exhaling, the book
lowers. Students should stand and place a hand on the abdominal muscles. They
then exhale and inhale, paying attention to abdominal muscle and not raising
their shoulders. They need to be encouraged to take in a deep breath through
their nose and mouth and not a shallow one. Sometimes it is useful for students to
exhale air against the palm of the hand.
2. Awareness of the diaphragm and other abdominal muscles for breathing. These
exercises will help students understand use of the abdominal muscles for
breathing:
Show students how to sip through a straw correctly and expand their waist.
Show students how to release air using a “sss” or hissing sound.
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Resonance
1. Use of sirens. Imitate the sound of a siren with the voice. Challenge the students to
make soft and loud, high and low, long and short sirens, and sirens that just go up,
just come down, or do both.
2. Falling off a cliff. Pretend you’re falling off a cliff and say “aaaahhhhhhhhhh!”
3. Use a ball. Teacher throws a ball from one student to another. Students have to
follow the movement of the ball with their voices.
Tone Production
1. Humming melodic patterns from folk songs. Students hum a pattern from a song,
118 but the last note should be shortened to take a breath and repeat the pattern.
2. Singing known songs with the word yip. Students sing known song with a “yip” sound.
3. Students speak with a “koo” sound. Students repeat “koo” to known rhythm patterns.
4. Students sing with a “koo” sound. Students sing known melodies to a “koo” sound.
5. Lip trills. Teacher directs students to then use lip trills to sing the song.
6. Pure vowel sounds. Sing with known solfège syllables and hand signs.
7. Vowel scales. Unify vowel sounds by singing descending in several pentatonic
scales on “mee,” “meh,” “mah,” “moh,” and “moo.”
8. Combination vowels. Students sing the sequence of “oh-oo-ah” on notes of the
pentatonic scale. For example, students sing the three vowel sounds on mi and
then re and finally do. Pay attention to the jaw on all the vowel sounds. Keep
repeating but singing a minor second higher each time.
9. Extending vocal range. Students practice singing a phrase of a song and repeating
it a minor second higher. Use a pure vowel sound. Each time you repeat, you can
sing another on a new vowel sound.
Diction
1. Tongue twisters sung. Students gain flexibility by singing tongue twisters on one
pitch and repeating at intervals of a minor second.
2. Tongue twisters sung with two voice parts. Students gain flexibility by singing
tongue twisters at the interval of a fourth or fifth.
3. Unvoiced consonants. Students say the unvoiced consonants p, t, and k using
rhythm patterns of songs.
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Students as Performers
4. Voiced consonants. Students sing songs using voiced consonants b, d, g, and j using
rhythm patterns of songs.
5. Inner smile. Singing melodic patterns with an inner smile. Ask students to keep
their lips closed and do an inner smile. Using this position, ask them to echo-sing
melodic patterns with this inner smile.
6. Practice singing diphthongs (dominant vowel sound and a lesser vowel sound). For
example, practice saying and singing on a pitch:
How now brown cow?
The rain in Spain stays mainly in the plain.
7. Singing melodic patterns with an inner smile. Ask students to keep their lips
closed and do an inner smile. Using this position, ask them to echo sing melodic
patterns with this inner smile.
8. Singing using a sustained m or n. Ask students to sing the sequences “Moo-moh,”
“mah meh mee,” and “noo-noh-nah-neh nee” on a sustained note or using notes
of the pentatonic scale.
Tuneful Singing
1. Work with more melodic ostinatos and descants. Students can now begin to work
with simple canons using a smaller range of notes. They can also begin to sing
simple bicinia arrangements of folk songs.
2. Singing phrases of songs on “oh” sound. Students sing phrases of songs on oh
making sure the tone is very light and relaxed. 119
3. Singing with dynamic markings. Students should sing known melodies using the
correct dynamic names and terms:
pp pianissimo
p piano
mp mezzo-piano
mf mezzo-forte
f forte
ff fortissimo
It is best to sing songs using two very different dynamics: f and p.
4. Sing songs using two part-hand signs. Students sing in two parts from the teacher’s
hand signs.
5. Singing longer phrases. Students sing known songs but combine two phrases into
one phrase.
6. Tempo markings. Students should be taught the Italian terms and English
meanings:
Largo very slow
Adagio slow
Andante moderately slow
Moderato moderate
Allegretto moderately fast
Allegro fast
Presto very fast
Students should begin singing known songs using two differing tempi.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
7. Staggered breathing. Students sing on one pitch using the word “loo” and must
learn to breath quietly and enter softly after each breath to maintain the sound
and vowel color.
8. Staccato and legato. Students practice singing songs legato and
staccato.
9. Crescendo and decrescendo. Students should sing songs using crescendo and
decrescendo.
Reading Skills
We distinguish reading as follows: when students read a melody, they know it is referred to
as reading. When the teacher transforms a known melody to create an new and unfamiliar
melody, we refer to this as sight singing.
Reading Rhythms
Reading tradition rhythmic notation from flash card, the interactive SMART Board, or
worksheets. Read a known song from rhythmic notation that includes grade four elements.
The process:
Form
Present mixed-up phrases of the rhythm of a known song, to have students correctly rear-
range the form. The process:
Inner Hearing
Students can practice inner hearing using both aural and visual activities.
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Students as Performers
Students read the rhythmic notation of an unknown melody and inner-hear certain motifs
indicated by teacher on the reading exercises. The process:
Matching
Match song titles to written rhythms that include grade four elements. The process:
Error Identification
Students read the rhythm of a known song and identify rhythmic errors that are made by
the teacher. The process:
Retrograde
Read a rhythm of a known song in retrograde that includes grade four elements. The process:
Students read two-part rhythmic notation that includes grade four concepts. The process:
Canon
1 . Students say the rhythm syllables and clap the rhythm from notation.
2. Students think the rhythm syllables and clap the rhythm.
3. Students think and clap the rhythm while the teacher taps it in canon.
4. The teacher claps the rhythm while the students clap it in canon.
5. Divide the class into two groups. One half claps the rhythm while the other half claps
in canon so that the teacher can observe any students who may be having difficulty.
122 6. Individuals may then perform the rhythmic canon saying the rhythm syllables
while clapping it in canon.
Melodic Reading
Hand Signs
Sing a known and an unknown song from teacher’s hand signs, to include grade four con-
cepts. The process:
1 . Teacher sings on “loo” and shows hand signs for a phrase of music.
2. Students sing with solfège and hand signs.
Tone Ladder
Teacher points to a pattern on the tone ladder that includes grade four concepts. The process:
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Students as Performers
3. The teacher points to the notation, keeping the beat while the students clap the
rhythm.
4. The students locate the highest and lowest notes.
5. The teacher provides the starting pitch and may have the students sing the tone set.
6. Students read the melody from the teacher’s hand signs. The teacher may hum an
occasional note to help the students.
7. The students read and perform the exercise aloud singing with solfège syllables.
8. The students perform the exercise aloud, singing on a neutral syllable.
1. The instructor points to the notation, keeping the beat while the students read the
rhythm syllables and clap the rhythm.
2. The instructor points to the notation, keeping the beat while the students clap the
rhythm.
3. The students locate the highest and lowest notes.
4. The instructor provides the starting pitch and may have the students sing the
tone set.
5. Students read from the melody from the instructor’s hand signs. The instructor
may hum an occasional note to help the students.
6. The students read and perform the exercise aloud singing with solfège syllables. 123
7. The students perform the exercise aloud singing on a neutral syllable.
Reading from Finger Staff
Sing a song while showing placement on finger staff that can include grade four concepts.
The process:
Reading from the Staff
Students read known melodies with solfège syllables and letter names from the staff that
include grade four elements. Students sing using solfège syllables and hand signs.
Students read unknown melodies with solfège syllables and letter names from the staff that
include grade four elements. Students sing using solfège syllables and hand signs. The process:
Transform a Melody
Transform a known song into an unknown song by sequentially changing rhythms and
pitches. This can accomplished using traditional rhythmic notation and solfège syllables or
from the staff. The process:
1. Sing known song.
2. Teacher transforms parts of song.
3. Students clap rhythm, say new rhythm syllables, and sing with solfège syllables.
4. Teacher transforms additional parts of a new melody. Students sing new song.
Form
Present mixed-up phrases of a known song written with traditional rhythmic notation and
124 solfège or on the staff, and students correctly rearrange the song. The process:
Inner Hearing
Aural Activities
Students read a known song from the teacher’s hand signs with solfège syllables and “hide”
a specific melodic motif that is indicated by the teacher. Melodic notes include notes from
the grade four curriculum.
Students read an unknown song from the teacher’s hand signs and “hide” a specific
melodic motif that is indicated by the teacher. Melodic notes include notes from the grade
four curriculum. The process:
Visual Activities
Students read a known song from rhythmic notation and solfège, or staff, and “hide” a spe-
cific motif that include notes of the grade four curriculum. Students read from the staff and
sing on solfège with hand signs.
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Students as Performers
Students read an unknown song from rhythmic notation and solfège, or staff and “hide”
a specific motif that include notes of the grade four curriculum. Students read from the staff
and sing on solfège with hand signs. The process:
Matching
Match song titles to written melodies that include notes of the grade four curriculum. The
process:
Error Identification
Students read a known song and identify rhythmic or melodic errors that include notes of
the grade four curriculum. The process:
1. The instructor points to the notation of the upper part, keeping the beat while
the students read the rhythm syllables and clap the rhythm.
2. The instructor points to the notation of the lower part, keeping the beat while
the students read the rhythm syllables and clap the rhythm.
3. Students clap the upper part and teacher claps the lower part. Reverse.
4. Divide the class into two groups. One group claps the upper part and the other
group claps the lower part. Reverse.
5. Students read the upper part from the teacher’s hand signs.
6. Students read the lower part from the teacher’s hand signs.
7. Students read the upper part from the teacher’s hand signs while teacher sings
the lower voice. Reverse.
8. Students read the upper part with hand signs while teacher sings the lower voice.
Reverse.
9. Divide the class into two groups. One group sings the upper part and the other
group the lower part. Reverse.
10. One student sings the upper voice part and shows the hand signs for the lower
part. Reverse.
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1. The instructor points to the notation of the upper part, keeping the beat while
the students read the rhythm syllables and clap the rhythm.
2. The instructor points to the notation of the lower part, keeping the beat while
the students read the rhythm syllables and clap the rhythm.
3. Students clap the upper part and teacher claps the lower part. Reverse.
4. Divide the class into two groups. One group claps the upper part and the other
group claps the lower part. Reverse.
5. Students read with solfège the upper part from the teacher’s hand signs.
6. Students read with solfège the lower part from the teacher’s hand signs.
7. Students read with solfège the upper part from the teacher’s hand signs while
teacher sings the lower voice. Reverse.
8. The students locate the highest and lowest notes.
9. The instructor provides the starting pitch and may have the students sing the
tone set.
10. Teacher reviews the Rule of Placement for the students, and they read the notes
of the upper and lower parts from the tone set written on the staff.
126 11. Students read the upper part with hand signs while teacher sings the lower voice.
Reverse.
12. Divide the class into two groups. One group sings the upper part and the other
group the lower part. Reverse.
13. One student sings the upper voice part and shows the hand signs for the lower
part. Reverse.
Inner-Hearing Skills
Hand Signs
1. Students follow teacher’s hand signs of known songs and inner-hear solfège.
2. Students follow and sing teacher’s hand signs and inner-hear specific solfège
syllables.
3. Teacher shows hand signs for a whole known song, and students inner-hear and
recognize the song.
4. Students “sing” the indicated measures of a song using inner hearing.
Tone Ladder
1. Students follow teacher pointing to tone ladder and inner-hear solfège.
2. Students follow and sing from the tone ladder and inner-hear specific solfège
syllables.
3. Teacher points out a whole song on the tone ladder and students inner-hear and
recognize the song.
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Rhythm
1. Teacher claps rhythm for a known song and students inner-hear and recognize
the song.
2. Teacher sings part of a known song, and students inner-hear solfège syllables and
clap the rhythm for the second phrase.
Melody
1. Students inner-hear solfège written out without rhythmic notation and recognize
the song.
2. They inner-hear a song written with traditional notation and solfège syllables. 127
3. They inner-hear a song written on the staff.
Writing Skills
Writing Rhythm
Manipulatives
Students use manipulatives to create a visual representation of a new concept. The process:
Fill in the Blank
Fill in the blanks of a known song. The process:
128
Writing Melody
Manipulatives
Students use manipulatives to create a visual representation of a new concept. The
process:
Tone Set
Write the tone set of a song on the board as it is being performed that includes elements of
the grade four curriculum. The process:
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Fill in the Blank
Students complete the empty measures of a known song with traditional notation and
solfège or on the staff. The process:
Writing a Pentatonic Scale
Write a scale on the staff.
Staff Notation
Students write staff notation that includes elements of the grade four curriculum. The
process:
Improvisation Skills
Rhythm Improvisation
Choose Alternate Ending
Students clap the rhythm of a known song and choose an alternate ending from four choices
that contain the musical element being practiced in a four-beat pattern. The process:
Rhythm Chain
Students improvise rhythm patterns. The process:
1. Students clap a four-beat rhythm pattern, one after the other, without pause,
using known rhythmic patterns.
2. In another version, students clap a four-beat rhythm pattern, one after the other,
without pause, using known rhythmic patterns; but a student must repeat the
four beats of the previous student.
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1. Students are given the rhythmic notation of a known song. (Some of the measures
contain only “heartbeats” or beat bars.)
2. They sing the song, performing the rhythm where it is notated and patting the
beat elsewhere.
3. They perform the rhythm where it is notated, and improvise elsewhere.
Question and Answer
Students create a rhythmic question and answer. The process:
1. Clap a four-beat rhythmic question to the student; he or she must respond by 131
clapping back a four-beat answer.
2. Students may do this exercise without naming any of the rhythms. Later, they can
clap their answer and say rhythm syllables. Question-and-answer conversations
can continue as a chain around the class.
1. The instructor provides students with an A phrase (question) that is four beats
long and asks students to improvise a B phrase (answer). This may be turned into
a larger improvisation exercise using the form ABAC.
2. The instructor may specify a longer composition, an AABA composition.
3. This could be performed as a group activity or could be performed by an individual
student. This exercise should be based on song material the class is studying.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Fill-in-the-Blank Improvisation
Students improvise a new rhythm while reading. The process:
Change Meter
Students perform a known song in a different meter. The process:
Melodic Improvisation
Improvise Melodic Ostinato
Students create a four- or eight-beat melodic ostinato with known melodic elements. The
process:
132
1 . Students sing known song with text.
2. They sing known song with solfège syllables and hand signs.
3. Teacher sings a melodic ostinato, and students sing known song with solfège and
hand signs.
4. Teacher sings song and students improvise a new melodic ostinato.
Choose Alternate Ending
Students sing a known song and choose an alternate ending from four options that contain
the musical element being practiced in a four-beat pattern. Teacher gives students a series
of choices with just the beginning note and ending note. The process:
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Improvise New Form
Improvise a new form for a known song. The process:
Question and Answer
Students create an answer to a question. The process:
1. Teacher establishes the beat and sings a four-beat melody; students respond with a
different four-beat melody.
2. Sing a pattern and ask the students to change one beat. (This can also be done
visually and may be easier for some students.)
3. As students become more proficient, teacher lengthens the phrase or
changes the tempo. This leads to performance of melodic conversations.
Question-and-answer conversations can continue as a chain around the
class. Remember that it is best to begin the exercise using forms with these 133
ending notes:
Major improvisations:
A ends on so; A’ ends on do.
A ends on r; B ends on do.
Minor improvisations:
A ends on mi; B ends on low la.
A ends on ti; B ends on low la.
Song in Different Meter
Students sing known songs in a different meter from the original. The process:
New Tonality
Students perform a known song in a different tonality, for example, singing a major penta-
chord song in the parallel minor key. The process:
Musical Memory
Memorizing by Reading Hand Signs
Show typical melodic and rhythmic patterns and ask the students to sing patterns back that
include elements of the grade four curriculum. The process:
1. Students look at a score and memorize a phrase of the musical example by silently
singing in their head using hand signs.
2. They identify the form.
3. They sing the example with hand signs from memory.
4. They may write the melody using rhythmic notation and solfège syllables.
1. Students look at a score and memorize a phrase of the musical example by silently
singing in their head using hand signs.
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2. If some phrases of the musical example are known and others unknown, the
students may sing the known phrases and the teacher may sing the unknown
phrases. They listen and learn the unfamiliar phrases.
3. They may write the melody using rhythmic notation and solfège syllables.
Inner-Hearing Memorization
Students are given an unknown piece that contains known elements to learn without sing-
ing aloud. The process:
1 . Students inner-hear the example with rhythm syllables and keep the beat.
2. They inner-hear example with solfège syllables and hand signs.
3. They identify the form of the example.
4. They write down the example from memory.
Memorizing by Ear
Teacher plays a musical phrase on the piano, and students memorize by ear by following
this process:
5. Divide the class into two groups. Group 1 sings the upper part and group 2 sings
the lower part. Reverse.
6. One student can sing one part and show the hand signs for another.
7. Write both parts of the musical example.
8. Sing one part and play the other on the piano.
Understanding Form
Identifying Form with Letters
Use letter names to identify the form in more complex songs.
Students should be guided to aurally and visually recognize simple song forms such as
AABA, ABAB, and ABAC. Understanding form is valuable in helping students develop
their musical memory. For example, “Great Big House in New Orleans” is in ABAC. This
form is clearly audible when performed with a breath every two measures. The process:
1. Sing known songs.
2. Sing known songs and show the phrases.
3. Identify each phrase with a letter name.
Comparing Forms
136 It is important for students to compare the forms of the folk songs they are singing. The
process:
Changing a Folk Song
Is it important to identify the form of a song with children. This becomes an important
component for improvisation. The process:
1. Students label the form of a folk song. For example, the form of the “Canoe
Round” is ABAC.
2. Teacher erases the C and have students create a new C ending.
3. Students label the form of the new folk song and change the song to reflect a new form.
Movement
It is important for students to create new movements to known songs. They should identify
the form of the song so that the new movements will reflect the form. The process:
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everyone copies. At the end of phrase A, students turn to the right, giving the
group a new leader. If the second phrase is the same as A, then the leader does
the same movement from A; if it’s a new phrase the leader will create a new
movement for all to follow. This pattern repeats until all children have been the
leader. Teacher leads the music by signing or playing an instrument.
Part-Work Skills
As you begin to implement these activities into your lessons, follow this teaching sequence:
1. Teacher and class.
2. Class and teacher.
3. Divide the class into two groups, each performing its own part. Switch.
4. Two small ensembles, each performing its own part.
5. Two students, each performing its own part.
This section gives techniques and activities that are divided between simpler and more
advanced part work. The activities are useful for helping students learn simpler repertoire.
Once they have mastered these activities with easier repertoire, the transition to perform-
ing more complex musical examples will occur more quickly.
Keep a Beat 137
Sing a folk song while marching, walking, or in some way moving to the beat. Performing a
song while keeping the beat requires students to concentrate on two tasks at the same time.
This activity is valuable in both the classroom and the choral rehearsal.
Pointing to a Beat
Perform or point to a visual of the beat in a song while singing. This “tracking” ability pro-
motes more fluent music reading and reading in general. Students may also keep the beat
by performing it on a percussion instrument.
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Clapping the Rhythm
Sing a song while clapping the rhythm. This can be accomplished in a number of ways.
Students need to perform this activity musically, and always according to the phrase. They
may sing while clapping (we suggest clapping with two fingers) the rhythm or performing
the rhythm on a percussion instrument. Two students may perform a simple folk song, one
performing the beat while the other does the rhythm; use different timbres for beat and
rhythm. The teacher may write the rhythm of a known song on the board and place the beat
below the rhythmic notation. Two students can go to the board and perform the song, with
one pointing to the beat and the other to the rhythm.
Rhythmic Ostinato
An ostinato is a repeated rhythmic or melodic motive used to accompany a song. Here we
offer a procedure for performing a rhythmic ostinato. Singing songs with hand-clapping
movements can also be included in this category. For example, the singing game “Four
White Horses” has specified hand-clapping movements to perform while singing the song.
Depending on the age of the students, you may use several ostinatos together.
The students sing the melody while the teacher claps a rhythmic ostinato or sings a
melodic ostinato. (It is important, when teaching students a knowledge of rhythm, that
the students do not develop their knowledge of rhythm on the basis of visual clues. The
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teacher should always make sure the students hear the new rhythm pattern being clapped,
as opposed to it being seen.) Use this process:
1. The students sing the melody while the teacher claps a rhythmic ostinato or sings
a melodic ostinato.
2. The students and the teacher exchange parts.
3. Divide the students into two groups, one group to sing and the other to perform
the ostinato. Switch tasks.
4. Two students perform the work.
5. One student sings while performing the second part. More advanced students can
perform the ostinato on percussion.
on to the next card while the students are still performing the rhythm of the first card.
In other words, give the students a brief look at every card in succession. The speed of
this process may be increased so that the students are always saying something different
from what they are seeing. Students should perform the canon by reading with rhythm
syllables.
Drones
Students sing a folk song as the teacher accompanies the students’ singing with a tonic
drone. As they gain fluency with this technique they can sing a drone made up of the tone
and dominant notes to accompany known pentatonic melodies. Drones may be sung as
held notes to each phrase, or they may be sung on the strong beats of each measure.
Sometimes a teacher might sing an accompanying melody primarily made up of a dom-
inant drone to accompany a pentatonic song. This is an excellent technique for developing
in-tune singing. Pentatonic and diatonic melodies provide a good basis for the develop-
ment of functional and harmonic thinking. For do-centered and la-centered pentatonic
songs, accompany the song by having a group of students sustain the tonal center while
the class performs the song. This pitch is the chord root note of the tonic triad. These songs
may also be accompanied by a drone made up of do-so or do-mi-so (major tonic triad) for
do pentatonic repertoire and la-mi or la-do-mi (minor tonic triad) for la pentatonic reper-
toire. Be mindful that sustained pitches tend to go flat.
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Melodic Ostinato
Students accompany known songs with melodic ostinatos. Melodic ostinati should be based
on the melodic building blocks of known song repertoire. This activity is only appropriate
for classes that have a good number of independent, strong singers.
Three-Part Singing
Here are examples how to create pieces of music from a simple folk song:
1. Hold one tone in one voice while the other voice performs a simple melody.
Switch parts.
2. Show a simple canon from hand signs (teacher signs both parts
simultaneously).
3. Perform two individual melodies holding one note against another voice. (One
melody is more stationary than the other.)
4. Perform two individual lines.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
“Down Came a Lady” The second part begins after four beats.
“I See the Moon” The second part begins after two or four beats.
“Bow Wow Wow” The second part begins after two beats.
Canons may be performed with words or with rhythm or solfège syllables. Once chil-
dren have mastered singing simple pentatonic songs they can sing pentachord, hexachord,
and major and minor canons. Remember that canons may be performed aurally (without
the aid of notation) or visually (using notation).
Partner Songs
Remember that all pentatonic songs can be performed in canon and can be performed
142 together. For example, half the class may perform the song “Liza Jane” while the other half
performs “Rocky Mountain.” Here are additional examples of partner songs:
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other intervals as well. Students will enjoy figuring out the puzzle as to how the teacher per-
formed the canon. The teacher can sing the example using the same solfège as the students.
Even though the teacher and students are technically singing in two keys, the canon can be
sung using the same solfège syllables.
With the introduction of the major scale, students will understand that the scale is bro-
ken into two tetrachords, do-re-mi-fa and so-la-ti-do. A simple way to think about this
exercise is to perform “Hot Cross Buns” in canon, having students sing the melody with
do-re-mi; the teacher can sing at a canon of a fifth using the notes do-re-mi or so-la-ti.
The following are excellent sources of music for children’s choir:
Bacon, Denise. 46 Two-Part American Folk Songs for Elementary Grades. Columbus,
OH: Capital University, Kodály Center of America, 1973.
Bolkovac, Edward. Sing We Now Merrily. New York: Boosey and Hawkes, 2007.
Bolkovac, Edward, and Judith Johnson. 150 Rounds for Singing and Teaching.
New York: Boosey and Hawkes, 1996.
Tacka, Philip, and Susan Taylor-Howell. Sourwood Mountain: 28 North American &
English Songs Arranged for Two Voices. Whitewater, WI: Organization of American
Kodaly Educators, 1986.
Taylor-Howell, Susan. The Owl Sings: 22 Folk Songs Arranged for 2 or 3 Voices.
Whitewater, WI: Organization of American Kodály Educators, 1997.
1. Sing the unfamiliar part or harmony while playing the melody on the piano or
performing with another student.
2. Ask students questions based on the performance of the song:
A. How many phrases are there in this arrangement?
B. Did the two parts begin and end each phrase together?
C. Did both parts have the same text?
D. How would you describe the tune of the harmony line?
E. Did both parts begin and end on the same pitch?
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3. Sing the harmony line phrase by phrase and have the students repeat. This can be
done with rhythm or solfège syllables or on a neutral syllable if the students have
not learned all the solfège or rhythm syllables. This is easiest when done with text.
4. Perform the melody on the piano for each phrase as the students learn the
harmony line phrase by phrase.
5. Students and the instructor sing the harmony line while the instructor plays the
melody line on the piano.
6. The students sing the harmony line while the instructor sings the melody line.
Switch parts.
7. Divide the class into two groups. Group 1 sings the harmony and group 2 sings
the melody. Switch parts.
1. Perform the new two-part song by singing one part and playing the other on the
piano or by singing and having a student sing the second part or by playing a
recorded performance.
2. Ask students questions based on the performance of the song. Perform the song
again and ask students to respond.
A. How many parts are there in this arrangement?
B. What did you notice about the form of the piece?
C. How many phrases are there in this arrangement?
D. Did the two parts begin and end each phrase together?
E. Did both parts have the same text?
F. Did both parts begin and end on the same pitch?
G. Which is the harmony line?
H. How would you describe the tune of the harmony line?
3. Sing one part and play the second part on the piano phrase by phrase while the
students repeat from memory.
4. The students and instructor sing the first part while the instructor plays the
second part on the piano.
5. Sing the second part and play the first part on the piano, phrase by phrase, and
have the students repeat from memory. Hum or play the first part as the students
are singing the second part phrase by phrase.
6. The students and instructor sing the second part while the instructor plays the
first part on the piano. The students sing the second part while the instructor
146 plays the first part on the piano.
7. The students sing the second part while the instructor sings the first part.
Switch parts.
8. Divide the class into two groups. Group 1 sings the top part and group 2 sings the
second. Switch parts.
1. Sing one part of the arrangement while playing the second part on the piano or
performing with another student. Switch.
2. Ask students questions based on the performance of the song.
A. Where did you hear the melody? Or, which voice had the new melody?
B. How many phrases are there in this arrangement?
C. Did the two parts begin and end each phrase together?
D. Did both parts have the same text?
E. How would you describe the tune of the harmony line?
F. Did both parts begin and end on the same pitch?
3. Sing the melody line phrase by phrase and the students repeat. This can be
done with rhythm or solfège syllables or on a neutral syllable if the students
have not learned all the solfège or rhythm syllables. This is easiest when done
with text.
4. Students sing the melody line with syllables and text.
5. Students sing the melody line, and the teacher hums the second part. Teacher
sings the second part with text.
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6. Sing the harmony line phrase by phrase, and the students repeat. This can be
done with rhythm or solfège syllables or on a neutral syllable if the students
have not learned all the solfège or rhythm syllables. This is easiest when done
with text.
7. Students perform the harmony line on their own. Perform it a second time as the
instructor sings the melody line.
8. The students sing the harmony line while the instructor sings the melody line.
Switch parts.
9. Divide the class into two groups. Group 1 sings the harmony and group 2 sings
the melody. Switch parts.
• Students sing familiar songs while the instructor sings or plays the functional
notes or chord roots, as an accompaniment.
• Students sing familiar songs while showing with hand signs when the functional
note or chord root in the melody changes.
• Individual students sing familiar songs while showing hand signs for the
functional note or playing the functional notes on the piano.
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These exercises are very important for developing musicianship. Being able to harmonize mel-
odies with the chord roots of tonic, dominant, and subdominant functions develops another
very important skill in our students, the ability to sense when chords change in music.
Discovering Bass Lines
The instructor plays a two-part melody on the piano; students listen and show the melodic
contour of the lowest voice with arm motions. The process:
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Teaching Progression
1. Beginning music examples should be derived from known singing material. Sing
the song with text.
2. Perform the music with rhythm syllables and conduct.
3. Perform the music with solfège syllables and hand signs.
4. Connect the fingering to solfège syllables and perform.
5. Read the music with rhythm syllables and conduct.
6. Read the music solfège syllables and hand signs.
7. Sing the music with letter names and hand signs.
8. Perform the example but inner-hear the solfège syllables.
Beat and Rhythm
Use simple rhythm instruments to perform the beat with a folk song and the
rhythm to a folk song; then use them to perform the beat and rhythm of a folk song
simultaneously.
Melodic Ostinati
Use glockenspiels, xylophone, metalophones, and melody bells to perform a melodic osti-
nato to a folk song.
Canons
Instruments may be used for playing canons in the classroom.
Rhythmic Canons
1. Teacher performs a known rhythmic pattern in canon with students clapping the
rhythmic pattern. Use simple rhythmic instruments.
Melodic Canons
1. Teacher performs a folk song in canon with students on a pitched-percussion
instrument.
2. Teacher performs a folk song in canon with students on a
piano.
3. Teacher performs a folk song in canon with students on guitar.
4. Teacher performs known melodic pattern on guitar and students echo with
solfège syllables.
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Listening
These activities may be used with instruments for developing listening:
Transitions
Here are two activities that use instruments to transition from one segment of a lesson to
another:
Creative Movement Skills
Beat Motions
1 . Have students create beat motion to accompany a folk song.
2. Have students borrow beat motions from another song.
3. Have students create motions that act out the story of a folk song.
4. Have students play charades and act out a song while other students try to guess
the song.
5. Have students perform beat motions in a canon.
152 Form
1 . Have students create beat motions that reflect the form of a folk song.
2. Have students create motions for each phrase of a song, and then shuffle the
motions to change the order of the phrases in a folk song.
3. Have students create motions to reflect forms (for example, binary) in a listening
example of classical music.
4. Have students show cadences by freezing at the point of the cadence.
Instruments
1 . Have students create a rhythmic or melodic ostinato on instruments.
2. Have students become a pentatonic piano, and choose a conductor to point to
each student to create a melodic pattern.
3. Have students use instruments to create sound effects to accompany a folk song
(i.e., train sounds).
Rhythmic Concepts
1. Have students create motions to reflect the tempo of various folk songs or classical
listening examples.
2. Have students create motions that reflect a rhythmic ostinato.
3. Have students demonstrate the difference between simple meter and compound
meter by skipping or marching.
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Singing
1 . Have students create alternate text for a folk song.
2. Have students conduct each other in different styles.
Melodic Concepts
1. Have students create motions that reflect the melodic contour of a folk song.
Table 4.1
M OV E M E N T L I ST
153
Song Title Composer Features
C L AS SI C A L
“Ballet of the Unhatched Modest Mussorgsky Presto, staccato, orchestra
Chicks,” from Pictures at (1839–1928)
an Exhibition
“Alla Turca,” from Piano Wolfgang Amadeus Mozart Allegro, piano solo, 2$, xccc
Sonata No. 11 in A (1756–1791)
“March of the Toy Soldiers,” Pyotr Ilyich Tchaikovsky Vivace, fanfare, orchestra
from Nutcracker Suite (1840–1893)
“Fossils,” from Carnival of Camille Saint-Saëns Allegro, orchestra,
the Animals (1835–1921) xylophone, xccc
“In the Hall of the Edvard Grieg (1843–1907) Moderato, accelerando,
Mountain King” from Peer orchestra, dynamic contrast
Gynt, Suite No. 1
“Moderato,” from Minuet Ludwig van Beethoven Moderato, triple meter,
in G, No. 2 (1770–1827) strings
“Les Toreadors,” from Georges Bizet (1838–1875) Allegro, march, orchestra
Carmen
“Funeral March of a Charles Gounod (1818–1893) Allegro, compound meter,
Marionette” orchestra
Hungarian Dance No. 5 Johannes Brahms (1833–1897) Contrasting tempi, orchestra
(Continued)
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Table 4.1 (continued)
M OV E M E N T L I ST
Song Title Composer Features
Turkish March, Op. 113 Ludwig van Beethoven Allegro, march, accents
(1770–1827)
“Overture,” from William Gioachino Rossini (1792–1868) Allegro vivace, fanfare,
Tell finale, orchestra
“Trepak,” from Nutcracker Pyotr Ilyich Tchaikovsky Molto vivace, orchestra
Suite (1840–1893)
Eine kleine Nachtmusik Wolfgang Amadeus Mozart Allegro, strings only
(Serenade No. 13 for (1756–1791)
strings), movement 1
Fur Elise (Bagatelle No. Ludwig van Beethoven Allegro, triple meter, piano
25) (1770–1827) solo
Organ Concerto in G George Frideric Handel Andante, compound meter,
minor, Op. 4, movement 4 (1685–1759) organ and strings
Military March No. 1 Franz Schubert (1797–1828) Allegro vivace, orchestra
“An Evening in the Béla Bartók (1881–1945) Lento, rubato, form, la
154 Village” pentatonic
A Doll’s Funeral Pyotr Ilyich Tchaikovsky Grave, form, gb, piano solo
Procession,” Children’s (1840–1893)
Album, Op. 39, No. 7
Playing Soldiers, Op. 31, Vladimir Rebikov (1866–1920) Allegro, march, piano solo,
No. 4 gb
Minuet in G, BMV Anh Johann Sebastian Bach Moderato, triple meter,
114 (1685–1750) keyboard solo
C ON T E M P OR A RY C L AS SI C A L
“Palladio” Karl Jenkins (1944–) Moderato, strings only
“Jamaican Rumba” Arthur Benjamin (1893–1960) Lively, piano duet, syncopation
over one beat
C L AS SI C A L OP E R A
“Non so più,” from The Wolfgang Amadeus Mozart Allegro vivace, staccato vs.
Marriage of Figaro (1756–1791) legato
JA Z Z
“Maple Leaf Rag” Scott Joplin (c. 1867–1917) Lively, ragtime, piano solo
“Crazy Race” Roy Hargrove (1969–) Moderato, hip-hop influence
“It Don’t Mean a Thing” Duke Ellington (1899–1974) Presto, big band, vocals
(Continued)
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Students as Performers
Table 4.1 (continued)
M OV E M E N T L I ST
Song Title Composer Features
“Groovin’ Hard” Don Menza (1936–) Moderato, big band
“Take the A Train” Duke Ellington (1899–1974) Allegro, big band
C ON C E RT BA N D
“Stars and Stripes Forever” John Philip Sousa (1854–1932) Allegro, march
“Short Ride in a Fast John Adams (1947–) Fast, minimalism,
Machine” woodblock throughout
C ON T E M P OR A RY
“Montezuma” Cusco (c. 1979) Presto, South American
flutes
“Chariots of Fire” Vangelis (1943–) Andante, electronic
P OP U L A R
“ABC” Berry Gordy, Alphonzo Andante, dance, motown 155
Mizell, Freddie Perren, Deke
Richards (performed by the
Jackson 5)
“Blame It on the Boogie” Mick Jackson (performed by Allegro, dance, motown
the Jacksons)
“YMCA” Jacques Morali (performed by Allegro, dance
the Village People)
“Sir Duke” Stevie Wonder Allegro, funk
F OL K
“Wassail Wassail” Anonymous (performed by Adagio, compound meter,
Mannheim Steamroller) Renaissance
1. Teacher sings a known song for the class with accompaniment as a live listening
performance.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
2 . Teacher performs a known or an unknown song for the class on a music instrument.
3. Teacher performs an instrumental piece of music for the students.
4. Teacher plays a recorded piece of music that contains the new element.
5. Teacher plays a recorded piece of music for students but creates a listening map
for the students to follow. This map can include the form of the piece as well as the
important themes notated.
6. Teacher plays a recorded piece of music for the students but furnishes a complete
score for students to follow. For example, the teacher may create a line score of the
students to follow. The score will include the traditional rhythmic notation and/
or solfège for themes that students can sing. If there are sections in the piece of
music that include rhythms or melodies in another voice part that students can
listen to or perform, this should be employed. The teacher can insert beat bars
in measures that contain rhythmic and melodic elements that students cannot
read and sing. It is important to spell out the phrasing and make sure students are
reading complete motives.
Syncopation
Live Performance
Recorded Performance
“Russian Sailors Dance,” from The Red Poppy, by Reinhold Glière (1875–1956).
“The Swine Herd,” from Mikrokosmos, Vol. 2, No. 40, by Béla Bartók (1881–1945).
For syncopation over one beat, use “Jamaican Rumba,” by Arthur Benjamin
(1893–1960), available on recording by James Galway, Dances for Flute.
Three Rondos, no. 3, by Béla Bartók (1881–1945).
la Pentatonic
Live Performance
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Students as Performers
“Liza Jane”
“Whistle, Daughter, Whistle”
“Gallows Pole”
“Windeyahoh”
Recorded Performance
“Evening in the Village,” from Hungarian Sketches, by Béla Bartók (1881–1945).
Les Preludes, symphonic poem, theme B, by Franz Liszt (1811–1886).
so Pentatonic
Live Performance
“Over the River”
Recorded Performance
Jean Ritchie (1922–), “Sweet William and Lady Margaret,” from CD Ballads from Her
Appalachian Family Tradition.
24 Canons for the Black Keys, no. 1, by Zoltán Kodály (1882–1967).
Suite No. 2 in D major, “Hornpipe,” from Water Music, by George Frideric Handel
(1685–1759).
“Star-Spangled Banner”
“America”
“Somebody’s Knocking at Your Door”
“Liza Jane”
“Chairs to Mend”
“The Birch Tree”
“Viva La Musica”
“Hush-a-Bye”
Recorded Performance
“Thumb Under,” Mikrokosmos, Vol. 4, No. 98, by Béla Bartók (1881–1945).
Little Fugue in G minor, by Johann Sebastian Bach (1685–1750).
To a Wild Rose, by Edward MacDowell (1860–1908)/
fa (do Pentachord)
Live Performance
“Hungarian Canon”
“Snake Baked a Hoecake”
“Debka Hora”
Recorded Performance
“Play,” For Children, Vol. 1, No. 5, by Béla Bartók (1881–1945).
“Go Tell Aunt Rhody,” by Ella Jenkins (1924–).
Rondo No. 1, for piano, by Béla Bartók (1881–1945).
“Soldiers March,” in Album for the Young, by Robert Schumann (1810–1859).
Triple Meter
Live Performance
“America”
“Rise Up, Oh Flame”
“Hashivenu” (as written in 3$)
“Morning Is Come”
“On Top of Old Smoky”
“On Top of Spaghetti”
“Alphabet Song”
“Coffee Canon”
158 “Pretty Saro”
Recorded Performance
Minuet in G Major, by Johann Sebastian Bach (1685–1750).
Waltz in A-Flat Major, Op. 39 No. 15, by Johannes Brahms (1833–1897).
“Debka Hora”
“Yankee Doodle”
“Charlotte Town”
“Rise Up, Oh Flame”
“Morning Is Come”
“The Three Rogues”
“Praise and Thanksgiving”
“When I First Came to This Land”
“The Birch Tree”
“Alfonso Doce”
Recorded Performance
From For Children, by Béla Bartók (1881–1945): vol. 1/2, “Round Dance,” no. 17.
Mikrokosmos, Vol. 1, No. 8 and No. 11, by Béla Bartók (1881–1945).
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Students as Performers
Recorded Performance
“A Doll’s Funeral Procession,” in Children’s Album, Op. 39, by Pyotr Ilyich Tchaikovsky
(1840–1893).
“Feierlich und Gemessen,” from Symphony No. 1, by Gustav Mahler (1860–1911).
“Soldiers March,” in Album for the Young, by Robert Schuman (1810–1856).
Lesson Planning
Designing a Preparation/Practice Lesson Plan Design That 159
Includes Music Skills
In this chapter we have presented activities for developing a child’s singing voice, move-
ment skills, and instrumental skills, as well as discussing how the instructor can develop
music literacy skills. As a result of the information contained in this chapter, we can pro-
pose modifications to our basic preparation/practice lesson plan:
Table 4.2 presents a preparation/practice lesson plan template that shows how the informa-
tion for this chapter can now be used to modify a lesson plan design. We have bolded the
sections of the lesson plan that can be modified to incorporate material from Chapter 4.
I N T ROD U C T I ON
Demonstration Body warm-ups and breathing exercises
of known musical • Ss demonstrate their prior knowledge of repertoire and musical
concepts and elements through performance of songs selected from the
elements alphabetized repertoire list.
(Continued)
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Table 4.2 (continued)
160
When repertoire and selected activities are applied to the preparation/practice lesson
framework, the lesson itself becomes more visible. The lesson plan in Table 4.3 includes
repertoire and several activities; some procedural portions of this lesson have been
removed.
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Students as Performers
Table 4.3 (continued)
Table 4.3 (continued)
I N T ROD U C T I ON
Demonstration Body warm-ups and breathing exercises
of known musical • Ss demonstrate their prior knowledge of repertoire and
concepts and musical elements through performance of songs selected
elements from the alphabetized repertoire list.
• These songs may be accompanied by rhythmic or melodic
instruments.
C OR E AC T I V I T I E S
Acquisition of • Teach a new song by rote using an appropriate technique.
repertoire
(Continued)
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Students as Performers
Table 4.4 (continued)
Presentation of new • T presents the syllables for the new musical element in the focus
element pattern of a known song.
Movement • Known song or game found in the alphabetized repertoire list.
development • Focus on the sequential development of age-appropriate
movement skills through songs and folk games.
Presentation of new • T presents the syllables for the new musical element in a related
element pattern of a known song.
C L O SU R E
Review and Review of lesson content; T may perform the next new song to be
summation learned in a subsequent lesson found in the alphabetized repertoire list.
Again, when repertoire and selected activities are applied to in a lesson, the lesson plan-
ning process itself becomes more evident. The lesson plan in Table 4.5 includes activities
appropriate to a presentation lesson.
Outcome Presentation: notate low ti, using steps, stick, and staff notation. 163
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Rondo Alla Turca,” Piano Sonata in A Major, by W. A. Mozart
(1756–1791), performed by the Swingle Singers
• Breathing: Ss practice blowing a balloon and watch how air is released
when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Pretty Saro”
songs CSP: C
• Ss sing songs with text.
• Ss sing song and conduct.
Develop “Debka Hora”
tuneful CSP: A
singing • Ss sing the song.
Tone • Ss sing the song in canon.
production • Ss sing the song using the syllable “yip.”
Diction • Ss read the rhythm syllables from the board.
Expression • Ss sing the song, performing the rhythm in canon after two beats.
Kodály Choral Library, Let Us Sing Correctly: select from fa exercises in
introduction of the volume.
(Continued)
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Table 4.5 (continued)
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Students as Performers
Table 4.5 (continued)
Chapter 5
A primary objective of this text is to present teachers with a sequential series of lesson plans to
inspire the artistry inherent in every student. As is evident in all of our publications, we are also
involved with developing cognition, the “thinking” abilities that lead to a deeper understanding
and appreciation of music through performing, critical thinking, listening, literacy, composing,
and improvising. Kodály offers us a timely reminder concerning the importance of excellent
teaching techniques to enable the student to engage with music as a true artist: “It is not tech-
nique that is the essence of art, but the soul. As soon as the soul can communicate freely, without
obstacles, a complete musical effect is created. Technique sufficient for a free manifestation of the
child’s soul can easily be mastered under a good leader in any school.”1
166 This chapter furnishes teachers with a detailed series of lesson plans arranged according to
concept. With the exception of Unit 1 (review lessons), each unit is divided into three sections:
Section 1. A summary overview of the repertoire used to prepare, present, and practice a
particular music element
Section 2. A brief outline of the music skills that are to be developed in the unit plan
Section 3. Five sequential lesson plans for preparing, presenting, and practicing a music
element
Please consult Kodály Today for a more comprehensive overview of lesson planning.
These are the lesson plan units presented in this chapter:
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Unit Plans and Lesson Plans
Remember that these lesson plans are only sketches of what can be accomplished in the
lesson. We have not included transitions between the sections of the lessons as we want
teachers to get an idea as to the flow of the lesson plan. Teachers should infuse these lessons
with their own musicianship and creativity.
Our suggested five-lesson sequence allows students to engage and explore concepts
through music literature. Building on the numerous performance experiences within these
lessons, the teacher can guide students toward an understanding of musical elements and
concepts.
The five sequenced lessons are divided as follows. The first three are preparation/practice
lesson plans.
Lesson one is a plan for developing the kinesthetic awareness of a new melodic or
rhythmic concept and concentrated practice of known melodic or rhythmic ele-
ments through reading. (Reading is normally connected to listening.)
Lesson two is a plan for developing aural awareness of a new melodic or rhyth-
mic concept and concentrated practice of known melodic or rhythmic elements
through writing.
Lesson three is a plan for developing visual awareness of a new melodic or rhyth-
mic concept and concentrated practice of known melodic or rhythmic elements
through improvisation and composition.
Lesson four is the first presentation lesson; the goal is to label the new sound with
rhythm or solfège syllables.
Lesson five is the second presentation lesson; the goal is to present the notation for the
new element. 167
The objectives for each type of lesson are derived from activities proposed in the
teaching strategies (Chapter 4). Although the lessons will differ across the three phases
of learning, all preparation/practice lessons, regardless of the element being prepared,
are similar in structure. The same is true for all presentation lessons. You will note that
lessons one, two, and three focus on kinesthetic, aural, and visual preparation of a new
element respectfully and practice of a familiar element through reading, writing, and
improvisation activities. Lessons four and five focus on presenting and initial practice
of the newly learned element. Chapter 10 of Kodály Today describes the types of lesson
plan structure as well as information on adapting these lesson plans for the inclusive
classroom.
between songs or activities, and with the latter the teacher guides students to different
activities. Spend time analyzing all of the repertoire and materials you will be using in
the lesson. This will allow you to see possible connections in the suggested repertoire.
Transitions should be logical. When they are properly planned, they add the elements
of surprise, creativity, and magic to a lesson. Many of the best transitions are musical.
If you are transitioning into a segment of a lesson where the focus is on rhythm, use a
rhythmic activity such as an ostinato to move to the next segment of the lesson. If you
are transitioning into a melodic segment of the lesson, you could use a melodic osti-
nato to move to the next section of your lesson.
There are three types of transition:
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Unit Plans and Lesson Plans
1. Sing several songs in the same tonality. The preparation for this type of activity
may be accomplished by pointing to the tone steps or staff ladder.
2. The teacher connects two songs together by using the same melodic motive. For
example:
A. “Rocky Mountain” and “Hot Cross Buns” share the mi re do motif at
the end.
B. “Tideo” and “Great Big House in New Orleans” share the mi so so la mi so so
melodic motif.
3. Structural reductions
A. The music teacher can use structural reductions of folk songs to move from
one song to another. To make a structural reduction, write the notes that occur
on each beat in a phrase. Do not include passing notes. Finding these links
between songs can build a powerful connection for students.
4. Structural reductions and partner songs
A. Sing the structural reduction of one song and use it as a partner song with
another song, for example, “Liza Jane” and “Ridin’ in a Buggy.”
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Unit Plans and Lesson Plans
5. Melodic transformations
A. Transform the melodic phrase of one song into a phrase of another song.
6. Melodic motifs
A. Use a melodic motif in a song as a melodic ostinato for another song.
7. Canon
A. For older students, show the hand signs of a known song and ask them to
follow in canon. The teacher then transforms the known song into another
song as the students are following in canon.
8. Harmonic functions
A. Divide the class into two groups. One group performs the song. The other
performs the functional chord root tones. As one group continues to repeat
the functional chord root tones, the teacher can use hand signs and have
students sing another melody that shares the same harmonic rhythm with the
first melody.
9. Character of repertoire
A. Sing several songs having the same character or mood.
Form Connections
1. Unconscious connections
A. Sing several songs that have the same rhythmic form.
B. Sing several songs that have the same melodic form.
2. Conscious connections
A. Sing several songs that have the same rhythmic form. Students will identify
the forms of these songs.
B. Sing several songs that have the same melodic form. Students will identify the
forms of these songs.
171
Chapter 10 of Kodály Today includes many ideas for creating transitions in lesson
plans.
Tables 5.1 and 5.2 show two versions of the same lesson plan: Table 5.1 is a lesson plan
with no transitions, and Table 5.2 has the same lesson plan with transitions. Transitions
should not detract from the lesson but should allow the teacher to move smoothly from
one segment of the lesson to another.
Table 5.1 (continued)
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Unit Plans and Lesson Plans
Table 5.1 (continued)
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Unit Plans and Lesson Plans
Table 5.2 (continued)
Table 5.2 (continued)
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Unit Plans and Lesson Plans
Evaluating a Lesson
1. Learning should stem from the enjoyment of singing songs, chanting rhymes,
and playing games. The overarching goals of a music lesson should be singing,
listening, and enjoyment of music. Musical concepts and elements are taught to
enhance this enjoyment.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
2. We believe that reading and/or writing should be addressed during each lesson.
Even if students simply read or write a small motive from a song, they develop a
deeper understanding and appreciation of the song. We recommend checking our
other publications for more ideas on how to teach music literacy concepts: Sound
Thinking: Music for Sight-Singing and Ear Training, Vols. I and II, published by
Boosey & Hawkes; and From Sound to Symbol: Fundamentals of Music, published
by Oxford University Press.
3. Include opportunities for both review and reinforcement of musical elements and
concepts.
4. A good lesson plan should reveal clear answers to these questions:
A. Was the lesson presented musically?
B. What were the primary and secondary goals of the lesson?
C. How were the goals of the lesson achieved?
D. How many songs and games were used in the lesson?
E. What activities used in conjunction with the song material led students to an
understanding of the goals of the lesson?
F. Was there an emphasis on singing and making music?
G. Did the lesson use a variety of songs?
H. Were the goals of the lesson achieved?
I. Was new material prepared and presented in the lesson? What exercises were
used in the lesson? Did the musical exercises planned for the lesson help the
students achieve the goals?
J. Was there a logical sequence and pacing in the lesson?
K. Was the culmination of the lesson clear?
L. Were there periods of relaxation and concentration in the lesson?
M. What musical skills were developed in the lesson? It is important to
178 create a greater focus on the development of part-singing skills in the
upper grades. We suggest that the teacher use these books as sources for
part-work repertoire to enhance their teaching: Denise Bacon, 46 Two-
Part American Folk Songs for Elementary Grades (Columbus, OH: Capital
University, Kodály Center of America, 1973); Edward Bolkovac, 150
Rounds for Singing and Teaching (New York: Boosey & Hawkes, 1996);
Bolkovac, Sing We Now Merrily (New York: Boosey & Hawkes, 2007);
Susan Taylor-Howell, The Owl Sings: 22 Folk Songs Arranged for 2 or 3
Voices (Whitewater, WI: Organization of American Kodály Educators,
1997); Mark Williams, Two-Part American Folk Songs (Bicinia Americana)
(San Antonio, TX: Southern Music, 1977); and Williams’ Book 2, same
publisher, 1988.
N. Were the students active collectively and individually during the
lesson?
O. Did the lesson plan offer an opportunity to assess student progress?
P. Was the lesson enjoyable for the students?
Q. Did the lesson begin and end with singing?
Unit Plans
The units presented here give teachers lesson plans arranged according to concept.
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Unit 1, Third Grade Review
Song Repertoire
Known Songs Songs for Songs to Review Known Songs to Songs to Review Creative Songs to
Tuneful Elements Prepare Next Known Elements movement Practice
Singing New Concept Known
Elements
Lesson 1 “King Kong “The Jolly “Dance Josey” (review low “Canoe Song” “Hogs in the “I Lost the “Tideo” (review
Kitchie,” “Old Miller” sol) Cornfield” (review Farmer’s Dairy high do)
Mr. Rabbit” high do) Key”
Lesson 2 “Do, Do Pity “Golden “Dance Josey” (review low “Weevily “I Lost the Farmer’s “John Kanaka” “Hogs in the
My Case,” Ring” sol) Wheat” Dairy Key” (review Cornfield”
“Canoe Song” kinesthetic and (review high do)
aural awareness of
external upbeat)
Lesson 3 “Johnson “Old Mr. “Fed My Horse” (review “Come Thru “I Lost the Farmer’s “Weevily Wheat” “Hogs in the
Boys,” Rabbit” internal upbeat) ’Na Hurry” Dairy Key” (review Cornfield”
“Weevily visual awareness of (review high do)
Wheat” external upbeat)
Lesson 4 “Mush “Above the “Hogs in the “Hill and “I Lost the Farmer’s “Come Thru ’Na “Three Rogues”
Toodin,” Plain” Cornfield”(review high Gully Rider” Dairy Key” (review Hurry” (review
“Come Thru do) presentation of notation of
’Na Hurry” external upbeat) external upbeat)
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179
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Kodá ly in t he F ourt h G r a de Cl a s sro om
M U SI C A L SK I L L DE V E L OP M E N T
P R AC T I C E K N OW N E L E M E N T S
Reading Read rhythm of Melodic flash Ss read song Read a
known songs. cards with from T’s hand two-part
elements on signs. arrangement
do pentatonic of a well-
songs. known song.
Writing Dictation of target Write a known Write a known Write the
phrases in four-beat song with song in rhythmic
meter in traditional rhythmic traditional staff notation of a
notation. notation and notation. well-known
solfège. song
Improvisation Improvise a new Improvise Improvise Improvise
and melodic ending for ostinatos for pentatonic rhythm
composition known song ending chosen songs in melodies to patterns with
on the tonic. unit. simple 4 to 8 from a variety
Improvise beat. of all known
question-and- rhythmic
answer motives elements up
using known to date.
rhythm or
melodic patterns.
Listening Live performance Movement Choral Listening with
activity to arrangement a prepared
listening of known folk score
180 song
Part work T or Ss divide the Perform do Ss clap T stands at
melody of a known pentatonic tone rhythmic the back of
song into two parts set in canon. patterns from the classroom
and add melodic the board and performs
or rhythmic and say the simple
accompaniment rhythmic rhythmic
to create an syllables in patterns with
arrangement of the canon. instrument,
folk song. and the Ss
clap and say
the rhythm
syllables in
canon.
Memory Write the rhythm Sing “Above the Learn the songs Perform
for “The Jolly Plain” on solfège missing from ostinatos from
Miller” from from memory. third grade that memory.
memory. are needed for
fourth grade
elements.
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Unit Plans and Lesson Plans
181
Outcome Review practice of two sixteenth and one eighth note, and high do
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Finale” from Symphony No. 4, Peter Ilyich Tchaikovsky (1840–1893)
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “King Kong Kitchie”
songs CSP: F
• Ss sing the song with an ostinato: 2$qq\xcdq>
“Old Mr. Rabbit”
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CSP: F
• Ss sing the song.
• Ss add different vegetables to the end to make the song cumulative.
Develop tuneful “The Jolly Miller”
singing CSP: C
Tone production • T and Ss sing song.
Diction • Ss imitate the sound of a siren with the voice. Challenge Ss to
Expression make soft and loud, high and low, long and short sirens, and
sirens that just go up, just come down, or do both.
• Ss pretend to fall off a cliff and say “aaaahhhhhhhhhh!”
• Toss a ball. T tosses a ball from one S to another, and Ss have to
follow the movement of the ball with their voices.
• Ss sing the song.
• Ss sing a melodic ostinato from T’s hand signs.
2$qq\qq>
d s, l, s,
Review known “Dance Josey”
songs and CSP: F-sharp
elements • Ss sing song with text and keep the beat.
• Ss sings song with solfège syllables and hand signs.
• T hums motifs and Ss sing back with solfège syllables and hand signs.
• T sings phrases of other known pentatonic songs that use high do.
Ss echo-sing using solfège syllables and hand signs.
C OR E AC T I V I T I E S
Teach a new song “Canoe Song”
182 CSP: A
• T sings the song.
• Ss discover the form of the song.
• Ss show the strong and weak beats with kinesthetic motions and
conducting.
• T directs Ss to sing the song in two-part canon.
Review known “Hogs in the Cornfield”
songs and CSP: D
elements • Ss sing the song.
Reading • Ss sing phrase 2 with solfège syllables and hand signs.
high do • Ss read the solfège syllables from the board with standard
rhythmic notation and solfège syllables.
2$ sxcsd\sxcsd\
dddms l lls s
sdxcd\sxcsd|
d’l sss mrrdd
• T modifies the rhythm of both phrases. Ss read the changes.
2$qq\qq\
d m l s
qq\qq|
d’ s m d
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Unit Plans and Lesson Plans
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Unit Plans and Lesson Plans
185
• Ss sing and point to a representation of the phrases on
the board. It is important that the Ss sing each phrase
clearly.
• T: “What’s the first word in phrase 1?” (I)
• T: “On which word do we clap our hands in phrase 1?”
(lost)
• T: “Does ‘I’ fall on the strong part of the beat, or the weak part
of the beat?” (weak)
• Ss sing the song, but only the first word of each phrase and the
down beat.
• Ss sing the song and transition into position for the
game.
Creative movement “John Kanaka”
CSP: A
• Ss sing and play the game.
• Ss add a simple melodic ostinato on an instrument to
accompany.
• Ss sing and play the game.
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Unit Plans and Lesson Plans
I’ve lost
Do
• Ss sing the song while turning in their materials and moving into a
circle for the next song.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
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Unit Plans and Lesson Plans
190
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Unit 2, Syncopation
Song Repertoire
Known Songs Songs Songs to Songs to Prepare Songs to Creative Songs to Practice
for Review Known Next New Prepare Movement Known Elements: high
Tuneful Elements: External Concept: la Concept: aqa do
Singing Upbeat Pentatonic Scale
Lesson 1 “I Lost the “Riding “I Am Standing in “Land of the Silver “Canoe Song” “Come Thru ’Na “Hogs in the Cornfield”
Farmer’s Dairy in the the Shoes of John” Birch” Hurry”
Key,” “Hill and Buggy”
Gully Rider”
Lesson 2 “John Kanaka,” “Come “Old Mr. Rabbit” “Land of the Silver “Canoe Song” “Weevily Wheat” “Hogs in the Cornfield”
“Hogs in the Thru ’Na Birch”
Cornfield” Hurry”
Lesson 3 “Old Mr. Rabbit,” “Weevily “Above the Plain” “Gallows Pole” “Canoe Song” “Hill and Gully “Hogs in the Cornfield”
“Land of the Wheat” Rider”
Silver Birch”
Known Songs Songs Songs to Review Songs to Prepare Songs to Creative Songs to Present
for Known Elements: Next New Present Movement Concept: aqa
Tuneful External Upbeat Concept: la Concept: aqa
Singing Pentatonic Scale
Lesson 4 “Riding in the “Weevily “I Am Standing in “Cock Robin” “Canoe Song” “Hill and Gully “Come Thru ’Na Hurry,”
Buggy,” “Gallows Wheat” the Shoes of John” Rider” “Hill and Gully Rider,”
Pole” “Riding in the Buggy,”
“Weevily Wheat”
Lesson 5 “Cedar Swamp,” “Come “Above the Plain” “See-Line Woman” “Canoe Song” “The Jolly “Riding in the Buggy”
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Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of syncopation. Remember, in the first three lessons Ss practice
the previous musical element, in this case, external upbeat, which was learned in grade
three.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “Land of the Silver Birch”
CSP: D
• T and Ss show beat of the song as T sings.
• T sings and points to the phrases again; Ss join.
• T sings the first phrase and Ss label the phrase as “A.”
• T continues to sing, stopping for Ss to label each phrase.
• T and Ss sing song.
Develop “Canoe Song”
knowledge of CSP: A
music literacy • T and Ss sing “Canoe Song” in unison; Ss sing “Canoe Song”
concept while T sings in canon.
Internalize music • Ss stand and sing while clapping the rhythm and stepping the
through kinesthetic beat.
activity • Ss sing and point to a representation of the target phrase on the
board:
__ ______ __ __ __ _____ (target phrase)
• T directs half the class to sing and pat the beat and half to sing
and clap the rhythm by pointing to “B” or “R” on the board; Ss
switch parts.
• Individuals sing, perform rhythm, and beat while singing.
• T divides the class into two groups and directs Ss to sing in
canon.
Creative “Come Thru ’Na Hurry”
movement CSP: F
194 • As Ss sing the song, T chooses individuals to play instruments.
• One plays the steady beat; one plays the subdivision.
• Compose a rhythmic ostinato for a percussion instrument.
• Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
• Create a new text.
Practice of music “Hogs in the Cornfield”
performance and CSP: D
literacy skills • Ss sing the song.
Reading • Ss sing phrase 2 with solfège syllables and hand signs.
• Ss read the solfège syllables from the board with standard
rhythmic notation and solfège syllables.
• Ss read from staff notation.
• Ss read Kodály Choral Library, 333 Elementary Exercises,
no. 327.
• T writes the tone set on the board and prepares Ss to read For
Children, vol 1, no. 5, by Béla Bartók (1881–1945).
• T creates a score for Ss that indicates all known elements with
rhythmic notation and solfège syllables. If the solfège has not
been taught, T can include the rhythmic notation.
• T sings the Bartók melody on “loo” in the parallel minor as a
transition by singing the next melody.
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Unit Plans and Lesson Plans
SUM M A RY AC T I V I T I E S
Review lesson “Land of the Silver Birch”
outcomes CSP: D
Review the new song • Ss sing song and T sings in canon.
C OR E AC T I V I T I E S
Teach a new song “Land of the Silver Birch”
CSP: D
• T and Ss keep the beat while T sings the song alone.
• T sings while Ss point to the phrases.
• T sings, Ss show strong and weak beats; Ss identify meter.
Develop knowledge “Canoe Song” (round)
of musical literacy CSP: D
concept • Ss sing song.
Describe what you • Review kinesthetic activities.
hear • T and Ss sing phrase 1 (the target phrase) on “loo” and tap
the beat before T asks each question.
Determine the number of beats in the phrase.
• T: “Andy, how many beats did we tap?” (four)
Determine the number of sounds on each beat.
• T: “Andy, how many sounds did we sing on beat 4?” (one)
• T: “Andy, how many sounds did we sing on beat 3?” (two)
• T: “Andy, how many sounds did we sing on beats 1 and 2?”
(three)
• T: “Andy, were our three sounds even or uneven?” (uneven)
• T: “Andy, describe our three uneven sounds on beat 3 with
the words short and long.” (short, long, short)
• T: “Let’s sing our phrase like this: short long short tadi ta.
• T: “I’ll sing words and you echo short long short and rhythm
syllables.”
196 • The class then, as individuals, echo-sing with T.
• T eventually sings the text for each phrase; Ss echo-sing with
short long short and the appropriate rhythm syllables.
Creative movement “Weevily Wheat”
CSP: A
• As Ss sing the song, T will choose individuals to play
instruments.
• One plays the steady beat; one plays the subdivision.
• One continues the ostinato: (4$aqaqQ>)
• Compose a rhythmic ostinato for percussion instrument.
• Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
• Create a new text.
Practice music “Hogs in the Cornfield”
performance and CSP: D
literacy skills • T presents the song on the board, leaving phrase 2 blank.
Writing • Ss sing the song with solfège syllables and hand signs.
• Ss complete the writing worksheet. (Songs may be written
with rhythmic notation with solfège syllables beneath or in
staff notation.)
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Unit Plans and Lesson Plans
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “Who Killed Cock Robin?”
CSP: A
• T expressively sings the song, with all verses, and accompanies
on an instrument.
• T sings verse 1; Ss show the phrases and identify the number of
phrases. (four)
• Ss sing “Cock Robin” while T sings “Canoe Song” as a partner
song. Switch.
Presentation of “Canoe Song”
music literacy CSP: A
concepts • T and Ss sing “Canoe Song.”
Describe what you • T transfers the ostinato to a pitched instrument (la, mi, la,-----)
hear with rhythm as accompaniment.
syllables • Ss sing in canon.
• One group walks the beat while they sing, the other claps the
rhythm.
• T sings the target phrase while tapping the beat.
• Ss echo-sing first on “loo.”
• T repeats; Ss echo (short-long-short tadi ta).
• T invites one S to come to board to draw a representation of the
target phrase.
• Ss sing the representation.
• T: “When we hear three uneven sounds over two beats where
the first is short, the second is long, and the third is short, we
200 can label these sounds with our rhythm syllables ta di—di.”
• T may write the syllables “ta di—di” (NOT THE NOTATION)
on the board.
• T sings and conducts “Canoe Song” with rhythm syllables,
After each phrase, Ss echo-sing with rhythm syllables while
clapping the rhythm.
• Individual Ss echo the rhythm syllables after T.
• T sings a phrase of “Canoe Song” with text; Ss echo with
rhythm syllables.
• The Ss sing “Canoe Song” with rhythm syllables and conduct.
• Ss continue the rhythm of the final phrase as an ostinato into
the next song: (4$aqaqQ>)
Creative movement “Hill and Gully Rider”
CSP: C
• T and Ss sing the song while continuing the ostinato.
• Ss choose an instrument and create a simple rhythmic ostinato
with which to accompany the song.
• T and Ss sing and play the game.
• Compose a rhythmic ostinato for a percussion instrument.
• Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
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Unit Plans and Lesson Plans
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Unit Plans and Lesson Plans
Song Repertoire
Known Songs Songs for Songs to Songs to Prepare Songs to Creative Songs to Practice Known
Tuneful Review Next New Prepare Movement Elements: Syncopation
Singing Known Concept: Dotted Concept: la
Elements Quarter and Eighth Pentatonic
Note Scale
Lesson 1 “Above the “Cock “Canoe Song” “See-Line Woman” “Land of the “Weevily “Hill and Gully Rider”
Plain,” “See-Line Robin” Silver Birch” Wheat”
Woman”
Lesson 2 “I Lost the “Gallows “Come Thru “Long Road of Iron” “Land of the “Weevily “Hill and Gully Rider”
Farmer’s Dairy Pole” ’Na Hurry” Silver Birch” Wheat”
Key,” “Liza Jane”
Lesson 3 “Shoes of John,” “Cock “Riding in the “Hush-a-Bye” “Land of the “Long Road of “Come Thru ’Na Hurry”
“Long Road of Robin” Buggy” Silver Birch” Iron”
Iron”
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Known Songs Songs for Songs to Songs to Prepare Songs to Creative Songs to Present
Tuneful Review Next New Concept: Present Movement Concept: la Pentatonic
Singing Known ra Concept: la Scale
Elements Pentatonic
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Scale
Lesson 4 “Old Mr. Rabbit, “Mush “Canoe Song” “John Kanaka” “Land of the “Big Fat “Land of the Silver Birch,”
“Hush-a-Bye” Toodin” Silver Birch” Biscuit” “Sioux Indian Lullaby”
Lesson 5 “The Jolly Miller,” “See-Line “Hill and “Chairs to Mend” “Land of the “Long Road of “Sioux Indian Lullaby”
“Hey, Ho, Nobody Woman” Gully Rider” Silver Birch” Iron”
Home”
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Unit Plans and Lesson Plans
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of la pentatonic. Remember, in the first three lessons Ss practice
the previous musical element, in this case syncopation.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
207
• Ss sing the target phrase and clap the melodic contour.
• Ss turn to face partners, sing, and show melodic contour as a
pair, each mirroring the other’s claps.
• Ss sing the song with rhythm syllables while showing the
melodic contour.
• Ss learn to sing the two-part arrangement of this song found in
Sourwood Mountain, p. 6.
• Ss sing “Land of the Silver Birch” while T hums “Weevily
Wheat” from the board.
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Unit Plans and Lesson Plans
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
When the Saints Go Marching In, arr. by Louis
Armstrong (1901–1971) http://www.youtube.com/
watch?v=wyLjbMBpGDA&feature=player_detailpage
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the
support muscles.
• Posture: remind Ss of the correct posture for
singing.
Sing known songs “I Lost the Farmer’s Dairy Key”
CSP: D
• Ss sing the song.
• Ss sing “I Lost the Farmer’s Dairy Key” while T sings “Liza
Jane” as a partner song. Switch.
“Liza Jane”
CSP: F-sharp
• Ss sing song.
• Ss sing song in canon after four beats.
Develop tuneful “Gallows Pole”
singing CSP: D
Tone production • T and Ss sing song.
Diction • T directs part of the class to sing phrase 4 as a melodic 209
Expression ostinato while the rest of the class sings the song.
• Ss sing the ostinato with solfège syllables (l, l, dd d l,) as T
sings the song with solfège syllables; switch.
• Ss sing “Gallows Pole” with solfège syllables and emphasize
each vowel sound of the solfège syllables.
Kodály Choral Library, Let Us Sing Correctly, no. 19
Review known songs “Come Thru ’Na Hurry”
and melodic elements CSP: F
• Ss sing the song.
• Ss sing the song with solfège syllables and hand signs.
• T sings the text of each phrase to individual Ss’ who echo-
sing with solfège syllables and hand signs.
• T sings phrases of “Jim Along Josie,” “Phoebe in Her
Petticoat,” “Old Mr. Rabbit,” or other known songs that use
the solfège syllables l s m r d low la and low so; Ss echo-sing
using solfège syllables and hand signs both as a class and
individually.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
C OR E AC T I V I T I E S
Teach a new song “Long Road of Iron”
CSP: A
• Ss continue the ostinato while T sings the song.
• T sings the song and directs Ss to sit in a circle and
demonstrates the passing motion of the game. Ss copy.
• T sings the song and Ss practice playing the game.
• T and Ss sing and play the game.
Develop knowledge “Land of the Silver Birch”
of music literacy CSP: D
concepts • T sings the song; Ss join.
Describe what you • Ss sing the song in two-part canon.
hear • Review kinesthetic awareness activities.
T and Ss sing phrase 3 and tap the beat before T asks each of these
questions:
• T: “Andy, how many beats did we tap?” (eight)
• T: “Andy, which beat has the lowest pitch?” (beat 8)
T asks Ss to sing the lowest pitch with solfège syllable (la,)
• T: “Andy, which beat has the highest pitch?” (beats 1 and 2) T
asks Ss to sing the highest pitch on beat 1 with la.
T breaks the phrase into two-beat “chunks,” and Ss identify and
sing the solfège of each “chunk.”
• Ss sing the entire phrase with solfège syllables and hand
signs.
• Individual Ss sing the phrase with solfège syllables and hand
210 signs.
• T guides Ss to sing all of the notes in the phrase from lowest
to highest, with solfège syllables and hand signs.
• T hums notes of the key and Ss identify the steps and skills.
• Ss perform the rhythm of the last four beats of phrase 3 as a
rhythmic ostinato into the next song (2$aqa\sdq>).
Creative movement “Come Thru ’Na Hurry”
CSP: F
• Ss sing the song.
• T selects Ss to choose instrument to play the ostinato while
the class sing and plays the game.
• Ss continue their accompaniment into the next song.
Practice music “Hill and Gully Rider”
performance and CSP: A
literacy skills • Ss sing “Hill and Gully Rider.”
Writing • Ss sing while T points to beats prepared on the board.
• Ss sing the song with rhythm syllables while T points to the
beats on the board.
• T distributes writing materials and worksheets.
• T sings each phrase on “loo” while pointing to the beats; Ss
fill in the missing rhythms on their worksheet.
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Unit Plans and Lesson Plans
I N T ROD U C TORY AC T I V I T I E S
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Unit Plans and Lesson Plans
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Unit Plans and Lesson Plans
• Ss identify and T writes the tone set of the phrase on the board (low
la do re mi so la) from the staff notation.
• Ss write the la pentatonic scale on a worksheet.
• Ss play the la pentatonic scale on xylophones.
Creative “Long Road of Iron”
movement CSP: A
• Ss will continue the ostinato while they sing the song and move into a
circle.
• Ss will sing and play the game. Eliminated players must help
continue the ostinato, which may be performed on percussion
instruments.
Presentation “Sioux Indian Lullaby”
of music CSP: D
literacy • Ss sing the song.
concept • Ss identify and T writes the tone set of the phrase on the board (low
Notate what la do re mi so la) on staff notation.
you hear • Ss sing song and point to the notes on staff notation.
• Ss sing the song and T sings a second part of song from Sourwood
Mountain, p. 1.
• T “remembers” another song also built with the la pentatonic
scale.
• T points out the melody of “Gallows Pole,” phrase 1, on the tone
ladder while Ss inner-hear.
• Ss identify and sing “Gallows Pole” with solfège syllables and hand
signs.
SU M M A RY AC T I V I T I E S 217
Review “Chairs to Mend”
the lesson CSP: B
outcomes • Ss sing the song in canon with T.
Review the
new song
218
Unit 4, Dotted Quarter Followed by Eighth Note
Song Repertoire
Known Songs Songs for Songs to Songs to Prepare Songs to Prepare Creative Songs to
Tuneful Review Known Next New Concepts: ra Movement Practice Known
Singing Rhythmic Concepts: fa Elements: la
Elements Pentatonic Scale
Lesson 1 “Riding in the “Above the “Canoe Song” “Hungarian “Liza Jane” “Bump up “Land of the Silver
Buggy,” “Chairs to Plain” Canon” Tomato” Birch”
Mend” (New Song)
Lesson 2 “Come Thru ’Na “Hey, Ho, “Gallows Pole” “Hungarian “Liza Jane” “John Kanaka” “Land of the Silver
Hurry,” “Chairs to Nobody Canon” Birch”
Mend” Home”
Lesson 3 “Hill and “Above the “Weevily Wheat” “Redbirds and “Liza Jane” “Rabbit and “Land of the Silver
Gully Rider,” Plain” Blackbirds” Possum” Birch”
“Hungarian
Canon”
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Known Songs Songs for Songs to Songs to Prepare Songs to Present Creative Songs to Present
Tuneful Review Known Next New Concepts: ra Movement Concepts: ra
Singing Rhythmic Concepts: fa
Elements
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Lesson 4 “Riding in the “Hey, Ho, Come Thru ’Na “Go Tell Aunt “Liza Jane” “Long Road of “Chairs to Mend,”
Buggy” Nobody Hurry” Rhody” Iron” “John Kanaka”
“Redbirds and Home”
Blackbirds”
Lesson 5 “Weevily Wheat,” “Hush-a-Bye” “Hill and Gully “Whistle “Liza Jane” “John Kanaka” “Chairs to Mend”
“Go Tell Aunt Rider” Daughter,
Rhody” Whistle”
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Unit Plans and Lesson Plans
Here is a chart of the primary musical skills that are developed in the five lessons
associated with teaching the concept of dotted quarter note followed by an eighth note.
Remember, in the first three lessons Ss practice the previous musical element, in this case
la pentatonic, which was learned in kindergarten.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “Hungarian Canon” (from Edward Bolkovac and Judith Johnson, 150
Rounds for Singing and Teaching, New York: Boosey & Hawkes, 1996,
p. 56, no. 4)
CSP: F
• T sings song to Ss on “loo.”
• T sings and Ss write down the rhythm.
• Ss identify the form of the song.
Develop knowledge “Liza Jane”
of music literacy CSP: F-sharp
concepts • Ss sing the song.
Internalize music • Ss sing the song in canon after four beats.
through kinesthetic • T directs half of the class to sing and clap the rhythm while
activities the remainder sing and perform the beat. Switch. Ss sing and
perform the beat and rhythm in canon.
• Ss sing the target phrase (phrase 3, first four beats) and point to
a representation on the board.
________ __ ____ ____
• Four to six Ss come to the board to point to the representation
while the class sings together.
• Ss sing the first four beats of the target phrase with solfège
syllables and hand signs (d’ s l s).
• Ss sing these four pitches as straight quarter notes.
• Ss use this melodic motif as a transition into the next
song.
Creative movement “Bump up Tomato” 221
CSP: F-sharp
• T sings song.
• Ss sing and play the game.
Practice music “Land of the Silver Birch”
performance and CSP: D
literacy skills • Ss sing the song.
Reading • Ss sing the song with solfège syllables and hand signs.
• Ss sing the song with solfège syllables and hand signs from the
staff.
• Ss write the tone set on board while the class sings song.
• Ss sing the tone set from the bottom to the top, identifying
“steps” and “skips.”
• T demonstrates intervals using child’s piano.
• Ss read the scale on the staff from the board with absolute pitch
names. (d minor, e minor, and g minor)
• Ss read from the Kodály Choral Library, 333 Elementary
Exercises: nos. 164, 173, 176, 178, 179, 181, and 184.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
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Unit Plans and Lesson Plans
224
Unit 4, Dotted Quarter and Eighth Note, Lesson 3
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Unit Plans and Lesson Plans
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “Go Tell Aunt Rhody”
CSP: B
• T sings the song and accompanies on an instrument.
• Ss identify the form, meter and rhythms of song.
• T sings song and Ss follow the rhythmic notation of song
written in traditional notation.
Presentation of “Liza Jane”
music literacy CSP: F-sharp
concepts • Ss sing the song.
Describe what you • Review kinesthetic, aural, and visual awareness
hear with rhythm activities.
syllables • T: “We call two uneven sounds over two beats where the
second sound happens after the second beat ta---di.”
• T sings target phrase with rhythm syllables.
• Ss echo with rhythm syllables.
• Ss sing the last two phrases with rhythm syllables; half of the
class sings rhythm syllables and claps the rhythm while the
other half sings the rhythm syllables and performs the beat.
Switch.
• Ss conduct and sing the song with rhythm syllables.
Creative movement “Long Road of Iron”
CSP: A
• Ss sing and play game.
• Ss choose instruments and create a rhythmic ostinato with
228 which to accompany the song.
Presentation of “John Kanaka”
music literacy CSP: A
concepts • Ss sing song.
Describe what you • T is “reminded” of another song that may have ta---di in it
hear with rhythm (“John Kanaka”).
syllables • Ss listen and identify where they hear ta---di in the song.
• T sings the text of each phrase to individual Ss, who echo-sing
with rhythm syllables.
• Ss sing the song with rhythm syllables while tapping
the beat.
• T sings the text of each phrase of the following to both
the class and individual Ss, who echo-sing with rhythm
syllables.
○ “Long Road of Iron”
○ “Hey, Ho, Nobody Home”
○ “Above the Plain”
○ “Chairs to Mend”
○ “The Birch Tree”
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Unit Plans and Lesson Plans
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Unit Plans and Lesson Plans
SUM M A RY AC T I V I T I E S
Song Repertoire
Known Songs Songs for Songs to Songs to Prepare Next Songs to Creative Songs to
Tuneful Singing Review Known New Concepts: Triple Prepare Movement Practice Known
Melodic Meter Concept: fa Elements: ra
Elements
Lesson 1 “Mush “Go Tell Aunt “Jim Along “Rise Up, Oh Flame” “Hungarian “Rabbit and the “Liza Jane”
Toodin,” Rhody” Josie” Canon” Possum”
“Chairs to
Mend”
Lesson 2 “See-Line “Redbirds and “See-Line “Rise Up, Oh Flame” “Hungarian “Rabbit and the “Liza Jane”
Woman,” Blackbirds” Woman” Canon” Possum”
“Chairs to
Mend”
Lesson 3 “Gallows “Are You “Phoebe in Her “Pretty Saro” “Hungarian “Long Road of “Liza Jane”
Pole,” “Rise Sleeping?” Petticoat” Canon” Iron”
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Up, Oh
Flame”
Known Songs Songs for Songs to Review Songs to Prepare Next Songs to Present Creative Songs to Present
Tuneful Singing Known Melodic New Concepts: Triple Concept: fa Movement Concept: fa
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Elements Meter
Lesson 4 “Pretty Saro” “Chairs to Mend” “Liza Jane” “Oh How Lovely Is the “Hungarian “Long Road of “Go Tell Aunt
Evening” Canon” Iron” Rhody”
Lesson 5 “Oh How “Whistle, “Old Mr. “Coffee Canon” “Hungarian “Alabama, “Go Tell Aunt
Lovely Is the Daughter, Rabbit” Canon” Mississippi” Rhody”
Evening” Whistle”
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Unit Plans and Lesson Plans
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of fa. Remember, in the first three lessons Ss practice the previous
musical element, in this case dotted quarter note followed by an eighth note.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “Rise Up, Oh Flame” (This is a known song but it is important to
practicing singing in canon.)
CSP: D
• T sings song; Ss listen while showing the phrases.
• Ss identify the number of phrases. (two)
• Ss identify the number of beats in each phrase. (twelve)
• Ss identify the form of the song. (AB)
• Ss sing the song without assistance.
• Ss sing while T adds accompaniment on the xylophone, playing
an open chord on beat 1 only.
• Ss sing in canon.
Develop “Hungarian Canon”
knowledge of CSP: D
music literacy • Ss sing the song.
concepts • Ss sing phrase 2 and show the contour of the phrase.
Internalize music • Ss point to the contour of phrase 2 on the board.
through kinesthetic • Ss sing with rhythm syllables while clapping melodic contour
activities for phrase 2.
• Ss sing the rhythm syllables of the target phrase and clap the
contour, mirroring with a partner.
• Ss show the contour of the target phrase by clapping hands
together with a partner.
• Ss continue clapping the rhythm of the target phrase
(2$sdsd\qq>) as a rhythmic ostinato into the next song.
Creative “Rabbit and Possum” 235
movement • CSP: D
• Ss sing the song while continuing the ostinato.
• Ss sing the song and move into position for the game.
• Ss sing and play the game.
• Compose a rhythmic ostinato for percussion instrument.
• Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
• Create a new text.
Practice music “John Kanaka”
performance and CSP: A
literacy skills • Ss sing the song.
Reading • Ss sing song with rhythm syllables and conducting.
• Ss read the rhythm of the song from traditional rhythmic
notation:
2$aqa\ra\qq\w\
ra\sdsd\qq\w\
aqa\ra\qq\w\
ra\sdsd\qq\w\
qq\qq\qq\w\
ra\sdsd\qq\w|
• Ss inner-hear phrases 1, 3, and 5; sing phrases 2, 4, and 6.
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Unit Plans and Lesson Plans
• Ss sing the last four beats (“nestle in the tree tops”) on “loo” as a
melodic ostinato into the next song.
Kodály Choral Library, Let Us Sing Correctly, no. 43
Review known “See-Line Woman”
songs and melodic CSP: E
elements • Ss sing the song with an ostinato: 2$aqa\qQ>
• Ss sing song with solfège syllables.
• T sing each phrase with text; Ss echo-sing with solfège syllables
and hand signs.
• T sings phrases of “Jim Along Josie,” “Phoebe in Her Petticoat,”
“Old Mr. Rabbit,” or other known songs that use the solfège
syllables l s m r d low la and low so; Ss echo-sing using solfège
syllables and hand signs as a class and individually
C OR E AC T I V I T I E S
Teach a new song “Rise Up, Oh Flame”
CSP: D
• T sings the song while Ss continue the ostinato.
• Ss draw the phrases on the board while T sings.
• Ss write beat lines under each phrase while T sings. (twelve in
each phrase)
• Ss label the phrases as T sings. (AB)
• Ss sing the song (may add accompaniment).
• Ss sing in canon in three parts.
Develop “Hungarian Canon”
knowledge of CSP: D
music literacy • Ss sing the song.
concepts • Review kinesthetic awareness activities. 237
Describe what you T and Ss sing phrase 2 on “loo” and tap the beat before asking each of
hear these questions:
• T: “Andy, how many beats did we pat?” (four)
• T: “Andy, in which direction does the melody move?” (up)
• T: “Andy, how many different pitches did we sing in the
phrase?”(five)
• T: “Andy, do our five pitches sound like they move in steps or
skips?”(steps)
• (T asks this only if he or she believes Ss can answer correctly)
T: “Andy, are all the steps the same distance apart?” (no, step
3–4 is smaller step)
• Ss perform the last four beats of the song (2$sdsd\qq>) as
a rhythmic ostinato into the next song.
Creative movement “Rabbit and the Possum”
• CSP: D
• Ss sing the song while continuing the ostinato.
• Ss sing and move into position for the game.
• Ss sing and play the game.
• Ss choose instruments and create ostinati with which to
accompany the song.
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Unit Plans and Lesson Plans
Outcome Presentation: label the sound of a pitch a whole step below so and a half
step above mi as fa with solfège syllables.
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Hoedown,” from Rodeo, by Aaron Copland (1900–1990)
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
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Unit Plans and Lesson Plans
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
The Liberty Bell, by John Philip Sousa (1854–1932)
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for
singing.
Sing known songs “Oh How Lovely Is the Evening”
CSP: F
• T and Ss sing song (T may accompany on an instrument).
• T and Ss sing in canon.
Develop tuneful “Whistle, Daughter, Whistle”
singing CSP: A
Tone production • Ss sing the song, pat beats 1 and 2, and clap 3 and 4.
Diction • Ss sing beats 1 and 2 aloud, and hiss the rhythm of beats 3 and
Expression 4. Switch.
• Ss perform the song singing on a “koo” syllable.
• Ss sing the song with solfège syllables reading from T’s hand
signs.
• Ss sing the song in canon after two beats.
Kodály Choral Library, Let Us Sing Correctly, no. 50
Review known “Old Mr. Rabbit” 243
songs and CSP: D
melodic elements • Ss sing song.
• Ss sing with solfège syllables and hand signs.
• T sings the text phrase by phrase to individual students; Ss echo-
sing with solfège syllables and hand signs.
• T sings phrases of “Jim Along Josie,” “Phoebe in Her
Petticoat,” and “Dance Josey” with text or on “loo”; Ss echo-
sing using solfège syllables and hand signs both as a class and
individually.
C OR E AC T I V I T I E S
Teach a new song “Coffee Canon”
CSP: C
• T sings song while Ss show the phrases.
• Ss identify the form of the song. (ABC)
• Ss identify the meter of the song.
• Ss clap the rhythm of song from notation as T sings song.
• Ss sing the song.
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Unit Plans and Lesson Plans
SUM M A RY AC T I V I T I E S
Song Repertoire
Known Songs Songs for Songs to Review Songs to Songs for Creative Movement Songs to
Tuneful Known Rhythmic Prepare Next Preparing Practice Known
Singing Elements Concepts: low ti Concept 3$ Elements: fa
Lesson 1 “Big Fat “Pretty Saro” “Chairs to Mend” “The Birch Tree” “Rise Up, Oh “Alabama, “Hungarian
Biscuit,” “Coffee Flame” Mississippi” Canon”
Canon”
Lesson 2 “Hey, Ho, “Coffee “Chairs to Mend” “Viva Viva la “Rise Up, Oh “Alabama, “Hungarian
Nobody Home,” Canon” Musica!” Flame” Mississippi” Canon”
“The Birch
Tree”
Lesson 3 “Above the “Oh How “Liza Jane” “Viva Viva la “Rise Up, Oh “Debka Hora” “Hungarian
Plain,” “Viva Lovely Is the Musica!” Flame” Canon”
Viva la Evening”
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Musica!”
Known Songs Songs for Songs to Review Songs to Prepare Songs to Creative Movement Songs to Present
Tuneful Known Rhythmic Next Concepts: Present Concept: 3$
Singing Elements low ti Concept: 3$
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Lesson 4 “Liza Jane,” “Pretty Saro” “Go Tell Aunt “Autumn Canon” “Rise Up, Oh “Rabbit and the “Coffee Canon,”
“Viva Viva la Rhody” Flame” Possum” “Pretty Saro”
Musica!”
Lesson 5 “John Kanaka,” “Coffee “Above the Plain” “When I First “Rise Up, Oh “Debka Hora” “Oh How Lovely Is
“Autumn Canon” Came to This Flame” the Evening”
Canon” Land”
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Unit Plans and Lesson Plans
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of triple meter. Remember, in the first three lessons Ss practice the
previous musical element, in this case fa.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new “The Birch Tree”
song CSP: A
• T sings the song while Ss sing the accompaniment.
• Ss draw the phrases over the blank measures that T has prepared on
the board:
• Ss identify the form of the song. (AA’BB)
• T sings while Ss fill in the rhythms of the first phrase.
• T repeats with the remaining phrases.
• Ss sing the B phrases; T sings A and A’.
• Ss sing all phrases of the song without assistance.
Develop “Rise Up, Oh Flame”
knowledge of CSP: D
music literacy • T sings the song while Ss continue the ostinato.
concepts • T directs part of the class to sing the song while the rest continue
Internalize the ostinato.
music through • Ss sing the song in canon.
kinesthetic • Ss sing with an ostinato showing the strong and weak beats.
activities • Ss point to a representation of the pattern of strong and weak beats
as they sing again.
• Ss sing the song, clap the rhythm, and step on the strong beats.
• Ss step the strong beats while inner-hearing the song and clapping
the rhythm.
• Ss step the strong beats while inner-hearing the song and clapping
the rhythm in canon.
• Ss continue stepping the strong beats while T sings the next song. 249
• Ss must “make the song fit” the strong beats.
Creative “Alabama, Mississippi”
movement CSP: F
• Ss sing and play the game.
• Ss choose instruments and create an ostinato with which to
accompany the song.
• Compose a rhythmic ostinato for a percussion instrument.
• Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
• Create a new text.
Practice music “Hungarian Canon”
performance CSP: D
and literacy • Ss sing the song in canon.
skills • Ss sing the song with solfège and hand signs.
Reading • Ss read the song from standard rhythm notation and solfège
syllables.
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SU M M A RY AC T I V I T I E S
I N T ROD U C TORY AC T I V I T I E S
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new “Viva Viva la Musica!”
song CSP: C
• T sings each phrase on a neutral syllable; Ss echo with rhythm
syllables.
• T writes the rhythm in the blank beats on the board after Ss echo:
4$raqsd\qqw\
raqsd\qqw\
qwq\qqw|
• T sings the song with rhythm syllables, pausing after each phrase for
Ss to label the form. (ABC)
• Ss sing and conduct.
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Unit Plans and Lesson Plans
SU M M A RY AC T I V I T I E S
Review lesson “Viva Viva la Musica!”
outcomes CSP: C
Review the new • Ss sing and T sings in canon.
song
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Unit Plans and Lesson Plans
Outcome Presentation: label the metric pattern of one strong beat followed by two
weak beats as triple meter.
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Fossils,” from Carnival of the Animals, by Saint-Saëns (1835–1921)
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Liza Jane”
songs CSP: F-sharp
• Ss sing the song in canon and conduct.
• Ss sing song with rhythm syllables and conduct.
• T hums motifs and Ss sing echo sing with rhythm syllables.
Develop “Pretty Saro”
tuneful CSP: C
singing • Ss sing the song.
Tone • Ss sing pat beat 1 and snap or clap beats 2 and 3.
production • Ss sing the song with ostinato using the syllable “koo.”
Diction • Ss sing the song with solfège syllables reading from T’s
256 Expression hand signs.
Kodály Choral Library, Let Us Sing Correctly: select from fa exercises in
introduction of the volume.
Review “Go Tell Aunt Rhody”
known songs CSP: A
and rhythmic • Ss sing the song.
elements • Ss read the solfège syllables from standard rhythmic
notation:
4$wqq\wqQ\
m m r d d
wqq\qqqQ\
r r f m r d
wqq\wqq\
s s f m m m
qqqq\wW|
r d r m d
• T sings individual phrases with text; Ss echo-sing with rhythm
syllables both as a class and individually.
• T sings each phrase of “Weevily Wheat,” “Riding in a
Buggy,” “Liza Jane,” and “Hill and Gully Rider”; Ss echo-sing
with rhythm syllables while tapping the beat both as a class and
individually.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new “Autumn Canon”
song CSP: D
• T sings the song.
• T sings and Ss trace the phrases in the air (Ss may identify that the
phrases are irregular).
• Ss identify the form of the piece and write it on the board next to the
words. (ABCD)
• T sings each phrase, Ss echo with rhythm syllables, and T or Ss write
them on the board.
• T sings song.
• Ss sing song.
Presentation “Rise Up, Oh Flame”
of music CSP: D
literacy • Ss sing the song in canon while showing the strong and weak beats.
concepts • Review kinesthetic, aural, and visual awareness activities.
Describe • T: “When we have a pattern of three pulsations with the first being
what you hear strong and the next two being weak, we have a pattern of three beats
with rhythm per measure. This is referred to as triple meter. Each measure is
syllables divided into three beats and we show triple meter by conducting.”
• T shows conducting pattern.
• Ss sing the song and conduct.
• T sings the melody of “Rise Up, Οh Flame” in major and accompanies
this with a drone on a pitched instrument, made up of do and so. Ss
sing and conduct.
Creative “Rabbit and the Possum” 257
movement CSP: D
• T and Ss sing and play the game.
• Ss make choices as to what instruments should be added to create an
accompaniment.
• Ss create simple ostinati to perform on their chosen instruments.
• S continue their accompaniment into the next song.
Presentation “Coffee Canon”
of music CSP: A
literacy • Ss sing the song in canon.
concepts • T: “When we have a pattern of three pulsations with the first being
Describe strong and the next two being weak, we have a pattern of three beats
what you hear per measure. This is referred to as triple meter and we can show triple
with rhythm meter by conducting.
syllables • Ss sing the song and conduct; T sings in canon.
• Ss sing ”Oh How Lovely Is the Evening” and conduct.
SU M M A RY AC T I V I T I E S
Review lesson “Autumn Canon”
outcomes CSP: D
Review the • Ss sing the song
new song • Ss sing the song in canon with T.
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Outcome Presentation: notate one strong beat followed by two weak beats as 3$time.
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Minuet in G, by J. S. Bach (1685–1750)
• Breathing: Ss practice blowing a balloon and watch how air is released
when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “John Kanaka”
songs CSP: A
• Ss sing the song and conduct.
“Autumn Canon”
CSP: D
• Ss sing song in two to three-part canon after six beats.
Develop “Coffee Canon”
tuneful CSP: C
singing • Ss sing the song.
Tone • Ss sing the song with the syllables “oh-oo-ah” on each of the three
production beats throughout the song.
Diction • T conducts and Ss follow various musical elements: legato and
Expression staccato, dynamics, tempo, etc.
258 • Ss sing and conduct with T.
Kodály Choral Library, Let Us Sing Correctly: select from fa exercises in
introduction of the volume.
Review “Above the Plain”
known songs CSP: B-flat
and rhythmic • Ss sing the song.
elements • Ss sing the song with rhythm syllables and conduct.
• T sings the text of individual phrases and Ss echo-sing with rhythm
syllables both as a class and individually.
• T sings each phrase of “Weevily Wheat,” “Riding in a Buggy,” “Oh How
Lovely Is the Evening”; Ss echo-sing each phrase singing with rhythm
syllables while tapping the beat both as a class and individually.
C OR E AC T I V I T I E S
Teach a new “When I First Came to This Land”
song CSP: D
• T sings the first verse of song while Ss show the phrases.
• Ss identify the number of phrases.
• T sings, pausing after each phrase for Ss to label the form. (ABCB’)
• At each verse, T may show pictures depicting the text.
• If time allows, T may sing the song again with Ss singing the
cumulative portion of the song.
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Unit Plans and Lesson Plans
SU M M A RY AC T I V I T I E S
Song Repertoire
Known Songs Songs for Songs to Review Songs to Songs to Creative Songs to Practice Known
Tuneful Known Melodic Prepare Prepare Movement Elements: 3$
Singing Elements Next New Concept: low
Concepts: gc ti
Lesson 1 “Hungarian “Viva Viva la “Oh How Lovely “Donkey “The Birch “Debka Hora” “Rise Up, Oh Flame”
Canon,” “When Musica!” Is the Evening” Riding” Tree”
I First Came to This
Land”
Lesson 2 “Oh How Lovely Is “Autumn “Go Tell Aunt “Sail Away, “The Birch “Circle ’Round “Rise Up, Oh Flame”
the Evening” Canon” Rhody” Ladies” Tree” the Zero”
Lesson 3 “Sail Away, Ladies” “When “Chairs to Mend” “Sourwood “The Birch “Circle ’Round “Rise Up, Oh Flame”
I First Came Mountain” Tree” the Zero”
to This Land”
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Known Songs Songs for Songs to Review Songs to Songs to Creative Songs to Present
Tuneful Known Melodic Prepare Next Present Movement Concept: low ti
Singing Elements New Concepts: Concept: low
gc ti,
Lesson 4 “Go Tell Aunt “Autumn “Long Road of “Shady Grove” “The Birch “Rabbit and the “Viva Viva la Musica!”
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Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of low ti. Remember, in the first three lessons Ss practice the pre-
vious musical element, in this case triple meter.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “Donkey Riding”
CSP: F
• T sings song; Ss identify the form and meter of the song.
• T sings song as Ss point to the melodic contour of the song.
Develop “The Birch Tree”
knowledge of CSP: A
music literacy • Ss sing the song and perform a rhythmic ostinato.
concepts • Ss sing the song in canon.
Internalize • Ss sing the song and show the melodic contour focusing on
music through phrase 1.
kinesthetic • Ss sing the song and point to a representation of the melodic
activities contour of phrase 1.
• Ss sing phrase 1 with rhythm syllables and point to the melodic
contour on the board.
Creative “Debka Hora”
movement CSP: A
• Ss sing the song and perform the dance.
• Ss create simple ostinato and choose instruments with which to
accompany the song.
• Compose a rhythmic ostinato for a percussion instrument.
• Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
• Create a new text.
Practice music “Rise Up, Oh Flame”
performance and CSP: D 263
literacy skills • Ss sing the song and conduct.
Reading • Ss sing the song with rhythm syllables and conduct.
• Ss sing the song in canon with rhythm syllables.
• Ss read the rhythm from the board while conducting:
3$qqq\rasd\sdsdq\raq\
qqq\rasd\sdsdq\t|
• T modifies the rhythm of the first two measures:
3$qsdsd\qqq\sdsdq\raq\
qqq\rasd\sdsdq\t|
• T copies the first two measures into the third and fourth. Ss read
the changes:
3$qsdsd\qqq\qsdsd\qqq\
qqq\rasd\sdsdq\t|
• T modifies the second phrase. Ss read the changes:
3$qsdsd\qqq\qsdsd\qqq\
qsdsd\qsdsd\qsdsd\t>
• Ss read the rhythm and conduct in triple meter.
• Ss listen to the recording of Minuet in G, by J. S. Bach (1685–
1750) and conduct.
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SU M M A RY AC T I V I T I E S
Review lesson “Donkey Riding”
outcomes CSP: F
Review the new • Ss sing the song.
song
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Unit Plans and Lesson Plans
• Ss conduct and read the rhythm from the board (without bar
lines or time signature).
• Ss work individually to complete the writing worksheet:
○ write the beat bars
○ write the bar lines
○ add the correct time signature (3$)
• Ss conduct while singing from their worksheet with rhythm syllables.
• Ss conduct and sing using numbers for counting and conducting.
SU M M A RY AC T I V I T I E S
Review lesson “Sail Away, Ladies”
outcomes CSP: G-sharp
Review the new song • Ss sing the song and T performs melodic accompaniment.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “Sourwood Mountain”
CSP: G-sharp
• T sings the song while Ss continue to conduct.
• T dramatically sings all the verses of the song and Ss identify
the “story” of the song.
• T sings the calls; Ss sing the responses.
Develop knowledge “The Birch Tree”
of music literacy CSP: B
concepts • Ss sing the song in canon after two beats.
Create a • Review kinesthetic and aural awareness activities.
representation of • T: “Use the Unifix cubes [buttons, chips, or pencil and paper]
what you hear to show me what phrase 1 sounds like.”
• Ss recreate what they heard by creating a representation of the
melodic contour.
• Ss sing and point to their representation.
• Ss share their representation with each other.
• Ss sing and point to someone else’s representation.
• One S goes to the board to share a representation.
• Ss sing with rhythm syllables while pointing to the representation.
Creative movement “Circle ’Round the Zero”
CSP: F-sharp
• Ss sing and play the game.
• Ss may create a rhythmic ostinato and choose an unpitched
instrument with which to accompany the song.
Practice music “Rise Up, Oh Flame” 267
performance and CSP: D
literacy skills • Ss sing the song.
Improvisation • Ss sing with rhythm syllables and conducting.
• Ss read rhythm notation from the board:
3$qqq\rasd\sdsdq\raq\
qqq\rasd\sdsdq\t|
• T erases the last six beats of the phrase.
3$qqq\raq\ \ |
• Ss perform the printed rhythm and T improvises a simple
rhythm in the blank beats.
• T identifies the printed rhythm as the “question” phrase.
• T reveals the first “answer”:
3$sdsdq\t|
• T repeats with answers 2 and 3:
3$qqq\t|
3$raq\t|
• Ss play their answer on a xylophone as an ostinato to a song in
triple meter.
• T performs the question and individual Ss perform an answer. Ss
may choose one of the printed answers or may create their own.
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SU M M A RY AC T I V I T I E S
Review lesson “Sourwood Mountain”
outcomes CSP: G-sharp
Review the new song • Ss sing the song.
• Ss sing the song and teacher sings the second part of Denise
Bacon’s 46 Two-Part American Folk Songs.
Outcome Presentation: label the sound a pitch a half step below low do as low
ti with solfège syllables.
I N T ROD U C TORY AC T I V I T I E S
Warm-ups • Body warm-up
• Beat activity
Beatus Vir, by Claudio Monteverdi (1567–1643)
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the
support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known songs “Pretty Saro
CSP: C
268 • Ss sing songs with text.
• Ss read phrases of song from T’s hand signs.
Develop tuneful “Autumn Canon”
singing CSP: E
Tone production • Ss sing song and conduct the beat.
Diction • Ss sing the song in canon on “koo.”
Expression • Ss sing the song in canon.
Kodály Choral Library, Let Us Sing Correctly: select from ti exercises
in introduction of the volume.
Review known “Long Road of Iron”
songs and melodic CSP: F-sharp
elements • Ss sing song.
• Ss sing with solfège syllables reading from T’s hand signs.
• T sings each phrase; Ss echo sing with solfège syllables and
hand signs both as a class and individually.
• T sings phrases of “Hungarian Canon,” “Go Tell Aunt Rhody,”
or other known songs that use the solfège syllables l s f m r d
low la and low so; Ss echo-sing using solfège syllables and hand
signs both as a class and individually.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “Shady Grove”
CSP: E
• T sings the song and accompanies on an instrument while Ss
perform the rhythm on the board.
• After T has performed the song, T sings the chorus and Ss
identify the number of phrases. (four)
• T continues accompanying on an instrument and sings the
verses of the song; Ss sing the refrains.
Presentation of “The Birch Tree”
music literacy CSP: A
concepts • Ss sing the song while continuing the ostinato.
Describe what you • Ss sing the song in canon.
hear with solfège or • Review kinesthetic, aural, and visual awareness activities.
rhythm syllables • T: “When we have a note that is a half-step below do and a
whole step above low la, we call it low ti.”
• T shows Ss hand sign.
• T sings “mi re do low ti low la”; Ss echo.
• T sings “The Birch Tree” with solfège syllables and hand signs.
• T sings each phrase of “The Birch Tree” with solfège syllables
and hand signs; Ss echo.
• T echo-sings with at least eight Ss.
• Ss sing all known solfège syllables from low so to high do.
• Ss read the first phrase of the next song from T’s hand signs.
• Ss identify and sing the song.
Creative movement “Rabbit and Possum” 269
CSP: D
• Ss sing and play the game.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Presentation of “Viva Viva La Musica!”
music literacy CSP: B
concepts • Ss sing the song.
Describe what you • T and Ss figure out the solfège syllables for phrase 1.
hear with solfège or • Ss sing the song with solfège syllables and hand signs for
rhythm syllables phrases 1 and 2 and read the T’s hand signs for phrase 3.
• T makes connections to other related songs. T and Ss sing these
songs with text, then with solfège syllables and hand signs:
○ “Coffee Canon”
○ “When I First Came to This Land”
SUM M A RY AC T I V I T I E S
Review lesson “Shady Grove”
outcomes CSP: E
Review the new song • T sings the verses of the song; Ss sing the refrains.
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Outcome Presentation: notate low ti, using steps, stick, and staff notation.
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Rondo Alla Turca, Piano Sonata in A Major, by W. A. Mozart (1756–
1791), performed by the Swingle Singers
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Pretty Saro
songs CSP: C
• Ss sing song with text.
• Ss sing song with text in canon.
Develop “Debka Hora”
tuneful CSP: A
singing • Ss sing the song.
Tone • Ss sing the song in canon.
production • Ss sing the song using the syllable “yip.”
Diction • Ss read the rhythm syllables from the board.
Expression • Ss sing the song, performing the rhythm in canon after two beats.
Kodály Choral Library, Let Us Sing Correctly: select from exercises that
270 use the solfège syllable ti in introduction of the volume.
Review “Oh How Lovely Is the Evening” or “My Country ’Tis of Thee.”
known songs CSP: D
and melodic • Ss conduct and read the rhythm notation from the board:
elements 3$wq\wq\wq\qqq\wq\qqq\
wq\wq\wq\qqq\wq\qqq\
t\t\t\t\t\t|
• Ss add the solfège syllables and sing with hand signs.
• Ss sing in canon with solfège syllables and hand signs.
• T sings phrases of “Hungarian Canon,” “Go Tell Aunt Rhody,” or
other known songs that use the solfège syllables l s f m r d low la and
low so; Ss echo-sing using solfège syllables and hand signs both as a
class and individually.
C OR E AC T I V I T I E S
Teach a new “Michael, Row the Boat Ashore”
song CSP: D
• T sings the new song.
• T sings the new song while Ss conduct.
• T sings the new song while Ss perform beat and draw phrases.
• T sings each phrase and Ss echo-sing.
• Ss sing the song without assistance.
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Unit Plans and Lesson Plans
Song Repertoire
Known Songs Songs for Songs to Songs to Prepare Songs to Prepare Creative Songs to
Tuneful Review Known Next New Concept: gc Movement Practice Known
Singing Rhythmic Concept: high ti Elements: low ti
Elements
Lesson 1 “Oh How Lovely “Sail Away, “Autumn “Wake Up! Canon” “Donkey Riding” “Zudio” “The Birch Tree”
Is the Evening,” Ladies” Canon”
“Michael, Row
the Boat Ashore”
Lesson 2 “Rise Up, Oh “Sourwood “Viva Viva la “Alleluia” “Donkey Riding” “Circle ‘Round the “The Birch Tree”
Flame,” “Wake Mountain” Musica!” Zero”
Up! Canon”
Lesson 3 “Pretty Saro,” “Shady Grove” “Viva Viva la “Johnny Has Gone “Donkey Riding” “Mamalama” “The Birch Tree”
“Alleluia” Musica!” for a Soldier”
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Known Songs Songs for Songs to Songs to Prepare Songs to Present Creative Songs to Present
Tuneful Review Known Next New Concept: gc Movement Concept: gc
Singing Rhythmic Concept: high ti
Elements
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Lesson 4 “Coffee Canon,” “Michael, “John Kanaka” “Alphabet Song” “Donkey Riding” “Zudio” “Sail Away, Ladies,”
“Johnny Has Row the Boat “London Bridge Is
Gone for a Ashore” Falling Down”
Soldier”
Lesson 5 “Oh How Lovely “Shady Grove” “Debka Hora” “Sweet Betsy from “Donkey Riding” “Mamalama” “Sail Away, Ladies,”
Is the Evening,” Pike” “London Bridge Is
“Alphabet Song” Falling Down”
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Unit Plans and Lesson Plans
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of dotted eighth note followed by a sixteenth note. Remember, in
the first three lessons Ss practice the previous musical element, in this case low ti.
Outcome Preparation: internalize two sounds on one beat, the first long and
the second short, through kinesthetic activities.
Practice: reading melodic patterns that include low ti.
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Symphony No. 4 in A, “Italian,” first movement, “Allegro vivace,” by
Felix Mendelssohn (1809–1847)
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the
support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known songs “Oh How Lovely Is the Evening”
CSP: E
• Ss sing the song in canon.
“Michael, Row the Boat Ashore”
CSP: E
• T and S sing the song and keep the beat.
Develop “Sail Away, Ladies”
tuneful singing CSP: G-sharp
Tone production • Sirens. Ss imitate the sound of a siren with the voice. Challenge
274 Diction them to make soft and loud, high and low, long and short
Expression sirens, and sirens that ascend, descend, or do both.
• Ss pretend to fall off a cliff and say “aaaahhhhhhhhhh!”
• T tosses a ball from one S to another, and they follow the
movement of the ball with their voices.
• Ss sing the song.
• T directs one group of Ss to chant “sail away” (2$gcq>) on
do while another group sings the song. Switch.
Kodály Choral Library, Let Us Sing Correctly: select exercises that use
the solfège syllable ti in introduction of the volume.
Review known “Autumn Canon”
songs and rhythmic CSP: E
elements • Ss sing the song.
• Ss sing with rhythm syllables and clap the contour of the melody.
• Ss sing in canon with rhythm syllables.
• T sings each phrase of “Weevily Wheat,” “Riding in a Buggy,”
“Come Thru ’Na Hurry,” and “Hill and Gully Rider”; Ss echo-
sing each phrase singing with rhythm syllables while tapping
the beat both as a class and individually.
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
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Unit Plans and Lesson Plans
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Hoedown,” from Rodeo, by Aaron Copland (1900–1990)
• Breathing: Ss practice blowing a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the
support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known songs “Rise Up, Oh Flame”
CSP: D
• Ss sing the song and keep the beat.
• Ss sing the song in canon.
“Wake Up! Canon”
CSP: A
• Ss sing the song in two- and three-part canon.
Develop tuneful “Sourwood Mountain”
singing CSP: G-sharp
Tone production • Ss sing the song in canon after four beats.
Diction • Ss sing using voiced consonants: b, d, g, and J using rhythm
Expression patterns of “Sourwood Mountain”
Kodály Choral Library, Let Us Sing Correctly: select from
exercises that use the solfège syllable ti in the introduction of the
volume.
Review known “Viva Viva la Musica!” 277
songs and CSP: B
rhythmic elements • Ss sing the song.
• Ss sing the song in canon.
• Ss sing the song with rhythm syllables.
• T sings each phrase; Ss echo-sing each phrase singing with
rhythm syllables while tapping the beat both as a class and
individually.
C OR E AC T I V I T I E S
Teach a new song “Alleluia”
CSP: D
• T sings song.
• Ss discover the form.
• Ss read the rhythm as T sings song.
• Ss sing the song without assistance.
• T and Ss sing the song in canon.
• Ss sing the song in canon with each other after four
beats.
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Unit Plans and Lesson Plans
SUM M A RY AC T I V I T I E S
Review lesson “Alleluia”
outcomes CSP: D
Review the new • T and Ss sing the song in canon.
song
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Unit Plans and Lesson Plans
Outcome Presentation: label two sounds on one beat, the first being long and
the second short, with rhythm syllables (ta---mi)
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
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Unit Plans and Lesson Plans
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Unit Plans and Lesson Plans
Chapter 6
The purpose of assessment in the classroom is to evaluate the work of both students and teacher.
The chapter contains examples of assessments for evaluating each musical concept and element
taught in fourth grade. By assessing a student’s skill development and the teacher’s classroom
teaching we can develop strategies to improve music learning and music teaching. Effective
assessments lead to development of a more effective music program.
There are five steps to developing assessment rubrics in the fourth grade classroom:
Grade 4 Assessments
Assessments for Syncopation
Syncopation tuneful singing assessment is for a student’s singing of “Canoe Song” (Table 6.1).
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Assessment and Evaluation
Reading assessment is for a student’s reading of a four-beat rhythm pattern that includes
syncopation (Table 6.2).
Table 6.2 (continued)
Writing assessment is for a student’s writing of a four-beat rhythmic pattern that includes
syncopation (Table 6.3).
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Assessment and Evaluation
Table 6.5 (continued)
In reading assessment, a student reads an eight-beat melodic motif with solfège that is
based on la pentatonic scale (Table 6.6).
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Assessment and Evaluation
Table 6.6 (continued)
In writing assessment, a student writes a four-beat melodic motif with solfège that is
based on la pentatonic scale (Table 6.7).
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Assessment and Evaluation
Table 6.9 (continued)
In reading assessment, a student reads a four-beat rhythmic pattern that includes a dotted
quarter note followed by an eighth note (Table 6.10).
In writing assessment, a student writes a four-beat rhythmic pattern that includes a dot-
ted quarter note followed by an eighth note (Table 6.11).
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Assessment and Evaluation
Table 6.12 (continued)
Assessment for fa
In fa singing assessment, a student sings “Hungarian Canon” (Table 6.13).
In reading assessment, a student reads an eight-beat melodic motif with solfège that
includes fa (Table 6.14).
In writing assessment, a student writes a four-beat melodic motif with solfège that
includes fa (Table 6.15).
(Continued)
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Assessment and Evaluation
Table 6.15 (continued)
Assessment for Triple Meter
In triple meter tuneful singing assessment, a student sings “Rise Up, Oh Flame”
(Table 6.17).
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Assessment and Evaluation
(Continued)
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Kodá ly in t he F ourt h G r a de Cl a s sro om
Table 6.19 (continued)
Assessments for low ti
In low ti tuneful singing assessment, a student sings “Birch Tree” (Table 6.21).
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Assessment and Evaluation
In reading assessment, a student reads an eight-beat melodic motif with solfège that
includes low ti (Table 6.22).
Table 6.22 (continued)
In writing assessment, a student writes a six-beat melodic motif with solfège that includes
low ti (Table 6.23).
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Assessment and Evaluation
Table 6.23 (continued)
In reading assessment, a student reads an eight-beat rhythmic pattern that includes dot-
ted eighth followed by sixteenth note (Table 6.26).
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Assessment and Evaluation
Table 6.26 (continued)
In writing assessment, a student writes an eight-beat rhythmic pattern that includes dot-
ted eighth followed by sixteenth note (Table 6.27).
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Notes
Introduction
1. “Education for Life and Work Developing Transferable Knowledge and Skills in the
21st Century.” Report Brief. July 12, 2012. National Research Council. http://www8.
nationalacademies.org/onpinews/newsitem.aspx?RecordID=13398.
Chapter 1
1. Pink, Daniel H. A Whole New Mind: Why Right Brainers Will Rule the Future.
New York: River Head Trade, 2006.
2. Trevarthen, Colwyn, and Stephen Malloch. “Musicality and Musical Culture: Sharing
Narratives of Sound from Early Childhood.” The Oxford Handbook of Music Education,
vol. 1, ed. Gary E. McPherson and Graham F. Welch, chap. 2.3, p. 254. New York: Oxford
University Press, 2012.
Chapter 2
1. David J. Elliott. Praxial Music Education: Reflections and Dialogues. New York: Oxford
University Press, 2005, p. 258.
2. Margaret S. Barrett. “Commentary: Music Learning and Teaching in Infancy and Early
Childhood.” In The Oxford Handbook of Music Education, vol. 1, ed. Gary E. McPherson
and Graham F. Welch, chap. 2.1, p. 228. New York: Oxford University Press, 2012.
3. Lily Chen-Hafteck and Esther Mang. “Music and Language in Early Childhood
Development and Learning.” In The Oxford Handbook of Music Education, vol. 1,
ed. Gary E. McPherson and Graham F. Welch, chap. 2.4, p. 274. New York: Oxford
University Press, 2012.
4. Ruth C. Seeger. American Folk Songs for Children. Garden City, NY: Doubleday, 1948. 307
(Released in 2002.)
5. Neryl Jeanneret and George M. Degraffenreid. “Music Education in the Generalist
Classroom.” In The Oxford Handbook of Music Education, ed. Gary E. McPherson and
Graham F. Welch, vol. 1, chap. 3.6, p. 404. New York: Oxford University Press, 2012.
6. Susan Young and Beatriz Ilari. “Musical Participation from Birth to Three: Toward
a Global Perspective.” In The Oxford Handbook of Music Education, vol. 1, ed. Gary
E. McPherson and Graham F. Welch, vol. 1, chap. 2.5, p. 281. New York: Oxford
University Press, 2012.
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Notes
Chapter 3
1. Denise Bacon, 46 American Folk Songs (Wellesley, MA: Kodály Center of
America, 1973).
Chapter 5
1. Kodály, ”Children’s Choirs,” Selected Writings, pp. 121–122.
308
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Index
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Index
half notes, teaching strategies for triple meter and in transitions lesson plan, 173t, 176t
dotted, 81–86 “Hot Cross Buns,” 144, 170
hand signs Humperdinck, Engelbert, “Evening Prayer,” Hänsel
and developing inner-hearing skills, 126 und Gretel, 183t, 192t
and developing memory skills, 134 “Hungarian Canon”
and developing part-work skills, 141 in dotted quarter note and eighth note lesson, 44t,
and developing reading skills, 122 45t, 104t
for dotted eighth note followed by sixteenth note, 97 in dotted quarter note followed by eighth note unit
and teaching dotted quarter note followed by plan, 218t, 221t, 222t, 223t, 224t
eighth note, 69 in fa assessments, 295–97t
and teaching fa, 77 in fa unit plan, 232t, 233t, 235t, 237t, 239t,
and teaching la pentatonic scale, 63 242t, 244t
and teaching low ti, 90–94 in low ti presentation lesson, 164t
and teaching syncopation, 56 in low ti unit plan, 260t, 262t, 265t, 268t, 270t
and teaching triple meter and dotted half and teaching fa, 72t, 73, 74–75
note, 83–84 in triple meter unit plan, 246t, 247t, 249–50t,
“Happy Farmer, The,” Album for the Young 252t, 255t
(Schumann), 71 “Hunt the Cows,” 30–31t
harmonic functions, 147–48, 171 “Hush-a-Bye”
harmonic progressions, 149 in dotted quarter note and eighth note lesson, 50t
Haydn, Franz Joseph in dotted quarter note followed by eighth note unit
“Andante,” Symphony No. 94, 98 plan, 218t, 229t
Symphony No. 94, Movement II, 220t in la pentatonic unit plan, 204t, 212t, 213t, 214t
“Hey, Ho, Nobody Home” and teaching dotted quarter note followed by
in dotted quarter note and eighth note lesson, 43t, eighth note, 66t
47t, 48t, 108t
in dotted quarter note followed by eighth note unit “Ida Red,” 97, 195t, 199t
plan, 218t, 222t, 223t, 227t, 228t “I Lost the Farmer’s Dairy Key”
in la pentatonic unit plan, 204t, 216t directions for playing, 31t
in triple meter unit plan, 246t, 251t in la pentatonic unit plan, 204t, 209t
“Hill and Gully Rider” in syncopation unit plan, 191t, 192t, 193t
directions for playing, 30t in third grade review unit plan, 179t, 183t, 185t,
in dotted eighth note and sixteenth note unit plan, 187t, 189t
274t, 280t in transitions lesson plan, 172t, 174t
in dotted quarter note and eighth note lesson, 43t, improvisation
47t, 50t developing, 130–34
in dotted quarter note followed by eighth note unit dotted eighth followed by sixteenth note
plan, 218t, 220t, 223t, 225t, 227t, 230t assessment, 306t
in la pentatonic unit plan, 204t, 208t, 210t, 216t in dotted eighth note and sixteenth note unit
in syncopation unit plan, 191t, 192t, 193t, plan, 273t
198t, 200t for dotted eighth note followed by sixteenth note,
and teaching syncopation, 53t, 57 96–97, 98
in third grade review unit plan, 179t, 189t, 190t dotted quarter note followed by eighth note
in transitions lesson plan, 172t, 174t assessment, 294–95t
in triple meter unit plan, 248t, 251t, 254t, 256t in dotted quarter note followed by eighth note unit
“Hoedown,” Rodeo (Copland) plan, 219t
in dotted eighth note and sixteenth note unit plan, fa assessment, 297t
277t, 279t in fa unit plan, 233t
313
in fa unit plan, 240t in grade four curriculum, 7–8
in syncopation unit plan, 197t, 199t, 201t la pentatonic assessment, 291–92t
“Hogs in the Cornfield” in la pentatonic unit plan, 205t
directions for playing, 30t lesson segment for practicing, 114–15t
in syncopation unit plan, 191t, 194t, 196t, 198t low ti assessment, 303t
in third grade review unit plan, 179t, 182t, 186t, in low ti unit plan, 261t
188t, 189t syncopation assessment, 289t
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Index
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Index
and developing part-work skills, 142 in dotted quarter note and eighth note lesson, 44t,
in dotted quarter note and eighth note lesson, 44–45t 47t, 50t, 102t, 104t, 106t, 108t, 110t
in dotted quarter note followed by eighth note unit and dotted quarter note followed by eighth note
plan, 218t, 219t, 221t, 224t, 226t assessment, 292–94t
and la pentatonic assessment, 289–91t in dotted quarter note followed by eighth note unit
in la pentatonic unit plan, 204t, 205t, 207t, 210t, plan, 218t, 219t, 221t, 223t, 225t, 228t, 230–31t
212t, 214t, 216t in fa lesson plan, 113t, 114–15t
in syncopation unit plan, 191t, 194t, 195t, in fa unit plan, 232t, 238t, 240t, 241t
196t, 197t in la pentatonic unit plan, 204t, 207t, 208t, 209t
and teaching la pentatonic scale, 59, 60–61, 62 in low ti assessments, 300–303t
and teaching syncopation, 53t and teaching dotted quarter note followed by
in transitions lesson plan, 172t, 173t, 175t, 176t eighth note, 66, 67, 68, 69, 70
la pentachord, listening examples for, 158 and teaching syncopation, 53t, 57
la pentatonic in triple meter unit plan, 246t, 248t, 251t, 254t, 256t
assessments for, 289–92t “London Bridge Is Falling Down,” 272t, 283t, 285t
listening examples for, 156–57 “Long Legged Sailor,” 32t
songs for teaching, 37t “Long Road of Iron”
teaching strategies for, 58–65 directions for playing, 32t
unit plan for, 204–17t in dotted quarter note and eighth note lesson, 47t,
la pentatonic minor melody, 61 48t, 108t
lesson plan(s). See also preparation/practice lesson in dotted quarter note followed by eighth note unit
plan; presentation lesson plan; unit plan(s) plan, 218t, 219t, 228t
developing, 10–11, 98–100 in fa unit plan, 232t, 233t, 239t, 242t
evaluating, 177–78 in la pentatonic unit plan, 204t, 205t, 210t, 211t,
general points for, 177 212t, 217t
key components of, 11–16 in low ti unit plan, 260t, 268t
transitions in, 167–76 and teaching dotted quarter note followed by
letter names, 136 eighth note, 66t
Liberty Bell, The (Sousa), 238t, 243t and teaching fa, 72t
listening low ti
in dotted eighth note and sixteenth note unit assessments for, 300–303t
plan, 273t listening examples for, 158
for dotted eighth note followed by sixteenth preparation/practice lesson plan for, 160–61t
note, 98 presentation lesson plan for, 163–65t
in dotted quarter note followed by eighth note unit teaching strategies for, 86–94
plan, 219t unit plan for, 260–71t
in fa unit plan, 233t
in grade four curriculum, 8 MacDowell, Edward, 71
instruments and, 151 Mahler, Gustav, “Feierlich und Gemessen,”
in Kodály concept, 3 Symphony No. 1, 98
in la pentatonic unit plan, 205t major scales
in low ti unit plan, 261t in canon, 149
in syncopation unit plan, 192t writing, 129–30
and teaching fa, 80–81 “Mamalama,” 32t, 272t, 273t, 280t, 285t
and teaching la pentatonic scale, 65 manipulatives, 127, 128
and teaching low ti, 94 Marriage of Figaro, The, Overture (Mozart),
and teaching syncopation, 58 213t, 215t
and teaching triple meter and dotted half note, 86 matching, and developing reading skills, 121, 125
315
in third grade review unit plan, 180t “May Day Carol,” 94
in triple meter unit plan, 247t melodic canons, 150
literacy. See reading; writing melodic concepts and elements
Little Fugue in G minor (Bach), 233t basic lesson plan design for notating, 48–49t
“Liza Jane” and developing creative movement skills, 153
and conscious connections, 170 in grade four curriculum, 6–7
and developing part-work skills, 142 songs for teaching, 36–39t
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Index
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Index
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Index
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Index
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