Professional Documents
Culture Documents
material:
Ann French for Cinderella and Summertime rap. Ann French Therese Carthew for Dig a potato, an adaptation of Sink a potato. Therese Carthew DipT, AMusA, BA (Mus) Educational Supplies Pty Ltd for Gary Galah. Louise Pettinger Alison McKay for Jaws. Traditional adapted by Alison McKay Ren Boyer-Alexander for Just gimme the beat. Ren Boyer-Alexander Carol Richards for the melody of the traditional Sister Cindy. Carol Richards Gary King and Audrey Klein for Syncopated Cyril. Gary King and Audrey Klein 1988 Dominie Pty Ltd for Taba naba, traditional Darnley Island. Frank A York, 1990 Ian Ross Williams for Underneath the mango tree. Ian Ross Williams PO Box 180, Glasshouse Mountains Qld 4518 Cee and Cee, a division of Berandol Music Ltd for When I get mad I beat my drum by Sandy Offenheim. Cee and Cee, a division of Berandol Music Ltd Scholastic Australia for Wind song by Lillian Moore. 1969 Scholastic Magazines Yungha-Dhu (Beryl Carmichael) for Worms. Yungha-Dhu (Beryl Carmichael)
Music scores: Resolution Music Cover design, graphic design, illustrations and desktop publishing: OTEN
Foreword
Schools prepare our young people for future employment, study and life options by ensuring that students learn and acquire the educational basics, such as literacy and numeracy skills. They also play a key role in helping students to develop social, cultural and artistic understanding. Experiences in the arts provide opportunities for students to use their imagination and creativity to explore, respond to and learn about the world. As one of the four art forms along with drama, dance and visual arts, music plays an important role in the physical, intellectual, aesthetic, social and emotional development of the individual and the community. The New South Wales Government is committed to improving learning outcomes in the arts for all students in primary schools and has demonstrated this commitment in its support for the Sing 2001 program, a major initiative in music education. The Sing 2001 program grew out of the need to re-establish singing as an Australian cultural practice. The voice is the one instrument common to all and singing is exhilarating, engendering self-confidence and self-esteem while building community ties. The program has two strands: developing the curriculum support document, Vocal-Ease: A K-6 resource for the classroom and establishing 51 choirs throughout the State. Vocal-Ease will help teachers in primary schools to develop sequential vocal activities, from chanting to choral performance. It provides innovative ideas to support the release of the Creative Arts K-6 Syllabus in 1999, with new strategies and techniques for planning and programming music. It gives students opportunities to be involved in music and equips them with the musical skills and training to participate in the Sing 2001 choirs. Vocal-Ease models classroom approaches and musical experiences that will extend beyond the classroom to foster a lifelong interest in singing.
Contents
Introduction
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Module 1
Module 2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 . . . . . .8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 . . . . . . . . . . . . . . . . . . .13
A pair of songs
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
. . . . . . . . . . . . . . . . . . . . . . .16
Wearing my long wing feathers . . . . . . .58 The earth is our mother . . . . . . . . . . . . . . .60
Choral speaking
Wind song Cinderella
. . . . . . . . . . . . . . . . . . . . . . . . . . .18
Jaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Rounds
. . . . . . . . . . . . . . . .69
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
. . . . . . . . . . . . . . . . . . . . .31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Introduction
Vocal-Ease complements and supports the music strand of the new Creative Arts K6 syllabus. This curriculum support material has been designed for primary teachers to teach music more effectively. The repertoire has been selected for its appeal and relevance across the primary stages of learning. Modules 1 and 2 provide for progression into Modules 3 and 4, to be published in 1999. Module 1 From speaking to singing: Chants and raps Choral speaking Singing and speaking Stone passing games Module 2 From games to performance: Singing games Songs with movements A pair of songs Rounds A song for performance This document encourages the development of knowledge and understanding of musical skills through sequenced activities. Rather than being a prescriptive manual, it provides strategies and techniques, and models classroom approaches to foster a lifelong interest in singing.
Introduction
The Curriculum Support Directorate, NSW Department of Education and Training, would like to acknowledge the project team who designed and developed this resource: Judy Bedard Miranda North Public School Andrew Bee Performing Arts Unit Margaret Bradley Curriculum Support Directorate Joan Burtland Bald Face Public School Carol Coomber Curriculum Support Directorate Ann French Samuel Gilbert Public School Sharon Fulcher Creative Arts Consultant, Armidale Megan Garritty Auburn Public School Julie Montague Curriculum Support Directorate/Board of Studies Robyn Staveley University of Technology, Kuring-gai Maureen Stevens Creative Arts Consultant, Port Jackson Barbara Stacey Miranda North Public School Liz Strasser Faulconbridge Public School Jan Wood Bondi Public School
Module 1
speaking
From
to singing
Warming up
By warming up, vocalists gradually prepare the body and voice for singing and so focus attention on the task at hand. The warm-up sequence is: 1. relaxing 2. breathing 3. vocalising 4. singing. In classroom activities the warm-up session readily provides part of the lesson introduction. 1. relaxing stand roll shoulders gently stretch arms shake out arms shake out legs breathing empty the lungs of air breathe in, filling the bottom of the lungs release air steadily and silently. * Please note that the lungs are like balloons which get bigger when they fill up; the lungs are not located under the shoulders, so the shoulders should remain still when breathing.
3.
vocalising hum sing a syllable softly, e.g. mah vary dynamics (soft to loud) vary pitch (low to high) imitate known sounds, e.g. train in the distance, car alarm singing speak or sing known chants and songs.
4.
Conducting
Conducting provides guidance for the group so everyone can: start together keep together stop together. As there are many ways to do this, your direction needs to be clear to everyone. Hand signals work well; so can eye and head signals. Experiment with your group. Give students a chance to try conducting as there is no right or wrong way.
2.
Key
Skills
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 . . . . .8
Dig a potato
S P M OS L
singing playing moving organising sound listening
Concepts
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Not on CD.
Choral speaking
CD tracks 7-8. Not on CD. Not on CD.
DP
Dy
T S
Cinderella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Dig a potato
Therese Carthew
Tap knees (patsch)
4 4
Dig
a po - ta -
to
j
deep
in
j
the
ground
Rub hands
j
it
j j
and scrub it
j
and
peel
it
all
Rub
a - round
Cook
po -
ta -
to
throw
it
on
plate
Pat chest
on
j
the
Clap
Snap
Snap
but -
ter
mate.
It's
great!
Whack
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
To model the chant. To reinforce chant with body percussion and actions. To explore performance variations. Introduce the chant with students echoing one phrase at a time. Demonstrate actions for each line while saying the words.
DP
Dy
T S
CHANT: See glossary.
Continue actions while chanting in different ways such as softly, loudly, whispered, jerkily. Try the actions while the students are saying the words in their heads (so there is no vocal sound). Divide students into two groups. One group begins the chant. The second group begins the chant when the first group gets to the end of the first line. This is a round. Try this round in three or four groups.
Try a similar approach to the following chant written by Yungha-Dhu (Beryl Carmichael) from Broken Hill.
To perform a round.
Worms
Long creepy crawly worms Slithering over the sand Even after the sun has set Worms are still around Their glowing brightness very bright Much better after a rainy night
Skills
Concepts
S PM
OS
D P
Dy
T S
Yungha-Dhu/Beryl Carmichael
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
To explore sound sources. To imitate accurately. Experiment with making drumming sounds by using body percussion or by drumming on objects in the classroom. Select a leader to drum a pattern which the class echoes. Take turns with different leaders. Game: Find the sound. Everyone closes their eyes except for one person. He/she drums a pattern somewhere around the room and returns to sit with the group. The students then open their eyes and are invited to reproduce the drumming pattern using the same sound source. Introduce the chant with students echoing one phrase at a time while patsching the beat with both hands. Repeat the chant and invite the students to join in the Dum da dum line each time it occurs. To explore performance variations. Divide the class into small groups to work on ways of presenting the chant. Incorporate some of the ideas used in Dig a potato. Groups perform for each other. Invite the class to listen for the aspects of each groups performance that they like. Share positive responses. Make up new verses: When I get mad, I shake my fist Dum da dum I shake my fist Right off my wrist. Change the instrument from a drum to something else, for example: When I get mad, I play my flute. Doo da doo, do da doo, doo da doo, da da doo I play my flute In my blue tracksuit.
DP
Dy
T S
BODY PERCUSSION: See glossary.
10
Ms Sue
Traditional
2 j 4
Ms
j
Sue,
( )
(clap)
j
Ms
j
Sue,
( )
(clap)
j
Ms
Sue from Par - ra -
j
mat - ta. Hey
j
you,
( )
(clap)
j
scoo-be - doo
( ) .
(clap)
r
your ma-ma's got the mea-sles,
j
your pa- pa's got the flu.
flu.
Take an a b c d
.
e f
g,
take a n
Ma - gic
mea - sles,
ma - gic
h i j k l m n o p.
Take a
smooth
shot,
take a
smooth
shot. Now
freeze.
Lyrics
Ms Sue , Ms Sue Ms Sue from Parramatta Hey you, scoo bee doo Your mamas got the measles Your papas got the flu. Magic measles, magic flu
Lean forward to the left on papas. Hands on hips; lean forward to the left and then, continuing to lean forward, move upper body around to the right until the word flu.
Keep left hand on hip: with right-hand first finger, wag finger on each letter, moving arm with wagging finger across body to left side.
Take an a b c d e f g.
Put right hand on hip; wag with left-hand first finger across body back to the right side, wagging on each letter of the alphabet.
Take an h i j k l m n o p.
Slide both hands down sides of body while chanting the word smooth. Freeze in position on the word freeze.
11
12
S P M OS L
Recite chant for students or play the recording. During the second time through, invite students to add the clapped patterns that occur in the first lines.
DP
Dy
T S
CD track 3
Create actions to accompany the chant. Emphasise the word smooth with a body movement.
To perform in unison.
Perform actions in unison. Everybody does exactly the same thing at the same time. Perform the chant for another class.
Skills
Concepts
S PM
OS
D P
Dy
T S
Ren Boyer-Alexander
beat,
j
the beat,
j j
the B - E - A - T. Ain't got no
words
j
ain't got
no
(no words)
tune
(no
j
tune). Just gim- me the
beat,
j
the beat,
j j
the B - E - A - T. You know that
rhy - thm is
some- thing that will
j .
make you
move,
from your
head to your hips
down
j .
to your
.
shoes.
j
Your
bo - dy keeps on rock - in' as you
j .
rap and
.
rhyme.
j
You al - ways feel it best
in
j .
four- four
j
time.
13
14
S P M OS L
To maintain a steady beat and to develop feeling for 4-beat metre. All students perform the following body percussion: clap patsch
DP
Dy
T S
NB Using both hands for a body percussion pattern is indicated by the use of double stems on the musical note.
4 4 ..
..
To model the chant and to perform the chant accurately. Perform the chant (or play the recording) while the class continues the body percussion and accompaniment. Teach the chant through echo; include response phrases (no words/no tune). PATSCH: See glossary.
Divide the class into groups to devise suitable body percussion to accompany the second part of the chant: You know that rhythm is something that will make you move.
Perform chant in the following sequence: Section Section Section Section Section Section Section A B A C A D A Whole Group Whole Group Whole Group Whole class performs Just gimme the beat section 1 performs You know section with body percussion class performs Just gimme the beat section 2 performs You know section with body percussion class performs Just gimme the beat section 3 performs You know section with body percussion class performs Just gimme the beat section.
Extension To use the voice to perform rhythm patterns and to fit word patterns to metre of chant. To use the voice to express pitch, duration, dynamics and tone colour. To develop structure for performance. Perform the chant in the same rondo form as previously, but replace the You know section with new rhymes. Each group selects a rhyme to chant (could be nursery rhymes such as Humpty Dumpty or Hickory Dickory Dock) Practise performing it with the same (or modified) body percussion as your old You know section Vary the performance through changes in dynamics (soft, loud, getting loud, etc), pitch (high voice, low voice etc), tone colour (ways of using the voicegrowly voice, whispering voice etc) Complete the performance by deciding as a class on a suitable beginning (Introduction) and ending (Coda).
Skills
Concepts
S PM
OS
D P
Dy
T S
15
Summertime rap
Ann French
Movement Lyrics
16
snap patsch
4 .. 4
. .
Chorus
Boom ch
a . - boom boom ch
)
..
Busy, fizzy, zip, zop, zap Here we go with the Summertime rap Boom ch a boom boom ch.
Verse 1
snap patsch
4 .. 4
. .
snap patsch
4 .. 4
X4
Down to the beach with a bucket and spade, A big umbrella to give us shade. Slop on the sunscreen, slap on the hat Or youll burn to a crisp in no time flat.
Verse 2
snap patsch
4 4 ..
X6
..
Run to the water, dive in the waves Run down the sandhills, search the caves. Summers the time for outdoor fun. But remember Priority Number One Is slop on the sunscreen, slap on the hat Or youll burn to a crisp in no time flat.
Hand roll on busy. Point index finger to the sky on fizzy. Snap fingers x 3 zip, zop, zap. Chorus Coda
snap patsch
4 .. 4
. .
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Teach boom ch pattern. Body percussion:
DP
4 4 .. 4 4
Boom
Dy
T S
See glossary: RAP PATSCH
..
Spoken:
.
ch a- boom boom ch
Students continue body percussion accompaniment while a leader recites the verse. Whole class joins in with the boom ch pattern and chorus. Teach coda and then perform. Divide class into 5 groups. CODA: See glossary.
To transfer rhythm of body percussion to instruments. To devise appropriate movement patterns to accompany rap. To structure a work for performance.
Skills
Group 1
Transfer boom ch pattern to non-melodic percussion instruments and repeat pattern for the duration of the rap. For example, snap = tambourine, patsch = drum.
S PM
OS
D P
Dy
T S
17
Choral
speaking
18
Jaws
There was a story About Jaws
..............
doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo
...................... ...............
...................... ..................
And a grandpa
There was a lady . . . . . . . . . . . . . . . . doo doo doo doo doo And a man . . . . . . . . . . . . . . . . . . . . . . . doo doo doo doo doo A muscle man . . . . . . . . . . . . . . . . . . . doo doo doo doo doo She said
.......................... ............. ............. ......
Come to the water and go for a swim. doo doo doo doo doo (softly) doo doo doo doo doo (louder) doo doo doo doo doo (loud) Aaahh! doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo
BUT THERE WAS JAWS There was a scream It was the man
............
.................. ...........
.................
......................... ....................
...........................
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Play the recording of Jaws for the class.
DP
Dy
T S
Invite students to chant doo, doo, doo, doo, doo at the end of each line of the story.
4 4
To enhance words with actions. To explore performance variations.
click
doo
click
click
click
doo
j
doo doo
j
doo
Discuss ways of making the story really exciting for an audience. Experiment with different ways of speaking, chanting, whispering and shouting the words. Refine the performance by encouraging students to make constructive comments from an audience members point of view. When the whole group of students is satisfied with the way Jaws looks and sounds, perform it for another class.
Skills Concepts
S PM
OS
D P
Dy
T S
19
Choral
speaking
20
Wind song
Lillian Moore When the wind blows the quiet things speak. Some whisper, some clang, Some creak. Grasses swish Treetops sigh. Flags slap and snap at the sky. Wires on poles whistle and hum. Ashcans roll. Windows drum. When the wind goes suddenly then, the quiet things are quiet again.
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
To respond to text. If appropriate, let students read the poem silently before hearing it. Otherwise, read the poem aloud. Discuss the meaning of words and the atmosphere created.
DP
Dy
T S
To explore onomatopoeia.
Identify all the verbs. Experiment with ways of saying the verbs, such as swish, sigh, slap.
As a class, read through the poem aloud, emphasising the sounds of the verbs. Use vocal sounds or body percussion to enhance these words. Literacy link: choral speaking Record a performance on cassette. Listen and discuss the effect created. Cassette recorder
Extension activity: Using the audio tape recording as a soundtrack, devise movements to express the poem.
Skills
Concepts
S PM
OS
D P
Dy
T S
21
Choral
speaking
22
Cinderella
Ann French
Poor Cinders, poor Cinders, aint life rough? Those ugly crones are making it tough. Poor Cinders, poor Cinders, boo hoo hoo, A miracles needed to rescue you. With a zap and a flash came the Fairy Godmum, O.K. Cinders, heres the drum. Ill give you a coach, a gown and all, Go kick up your heels at the palace ball. And there, at last, he found his Bride, Yippee! cried Cinders, Yes! All right! Ill rock n roll till broad daylight. Hang on! warned the Fairy. Not so fast! This spell doth end when midnights past. Go Cinders, go Cinders, real cool cat, The Princell be yours in no time flat. Twas true! The guy was bowled right over. Yes! thought Cinders. Im in clover. BUT (clock strikes midnight). The church bells rang oer the countryside, The day was filled with joy and laughter And all lived happily ever after. Yipes! Cinders cried in mortal fear, So long, Prince Im outta here. No! shrieked His Highness,Stay, please do, I cant do much with one glass shoe. For days the Prince trudged up and down, He knocked on every door in town, Till, at last, feet sore with blisters, He came to the home of the Ugly Sisters
Cinderella was the drudge in the family home, She worked her fingers to the bone. Her Sisters (Step!) and Mum as well Gave that little Cinders hell. Go Cinders, go Cinders, go, go, go, Scrub those floors till theyre white as snow. Go Cinders, go Cinders, wash and rinse, Were going to dance with the handsome Prince. Poor Cinders sobbed and tore her hair, Drat! she cried, It isnt fair! Those ugly crones get all the fun, While I have zero, zilch and none!
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
To develop feeling for telling a story. This is a choral speaking work. The aim is to develop the skill of speaking as a whole group in unison, with dramatic effect changing the way of speaking, depending on the character or the narrator. The group decides who does what. Session 1 To experience performance suggestions. Discuss fairy tales and specifically Cinderella stories in a range of cultures including those represented in the class. Present and compare two versions of Cinderella. Discuss the characters, traditional versus modern and other issues. Session 2 and subsequent sessions To develop repertoire of movement to express dramatic ideas. To experiment with performance ideas. To experiment with use of voice. To practise speaking in an ensemble. Identify the characters in the story of Cinderella.
DP
Dy
T S
Costumes if desired.
Leader reads the poem while the characters portray their parts in mime. As a whole group, develop a performance which includes: movements which enhance meaning variation in vocal expression. Performance suggestion Have three smaller groups within the big group to portray Cinders, Godmother and the Prince. This will still produce the effect of speaking in unison, but will also focus interest on where the sound is coming from
Skills Concepts
S PM
OS
D P
Dy
T S
23
Key
Skills
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
S P M OS L
singing playing moving organising sound listening
Concepts
DP
Dy
T S
Singing
and
speaking
26
2 . . . . 2
For example: picking peanuts smashing peanuts spreading peanut butter
First you get the pea - nuts and you
. . . .
pick them and you pick them and you
Chorus
. . . .
Pick them and you pick them and you
. . . .
smash them and you smash them and you
& 2 .. 2
Pea - nut but- ter and
.
jel - ly.
..
.
Smash
.
them smash
.
them smash
.
them and you
j .
spread 'em.
Chorus Verse 2 For example: picking berries smashing berries spreading jelly (jam)
Then you get the berries and you pick them and you pick them and you pick them, pick them, pick them. Then you smash them and you smash them and you smash them, smash them, smash them. Then you spread em.
Chorus Verse 3
For example: hold sandwich in two hands and bite it gulp sandwich
Then you get the sandwich and you eat it, and you eat it, and you eat it, eat it, eat it. Then you gulp it and you gulp it and you gulp it, gulp it, gulp it.
Chorus
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Teach the chorus of Peanut butter and jelly and include the arm movements.
DP
Dy
T S
Tell the story of the peanut butter and jelly sandwich by chanting the verses with actions. Everyone joins in with the chorus each time it occurs.
Choose individuals or a small group to chant the verses with the rest of the class singing the chorus. Alternatively, everyone performs chant and choruses. Change the text by making up new words for the song, eg. tomato, cheese and lettuce or banana, ants and butterflies.
Skills
Concepts
S PM
OS
D P
Dy
T S
27
Singing
and
speaking
28
Sister Cindy
Traditional with melody by Carol Richards
&4 4
She's
.
li -
.
ving in
a place
called
j j
bove her
j
she wears
&
dark
dark
.
dres -
.
ses up
a -
j
knees,
hands
&
up
.
Sis -
.
ter Cin -
dy from
j
Ten - nes -
j
see,
hands
&
down
.
Sis -
.
ter Cin -
dy from
j
Ten - nes -
j
see,
.
turn
a -
&
round
.
Sis -
.
ter Cin -
dy from
j
Ten - nes -
j
see,
.
touch
the
&
ground
.
Sis -
.
ter Cin -
dy from
see.
Ten - nes
Chanted
Ive never been to college and Ive never been to school But when I came home I was an educated fool.
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
To use singing voice and to accompany song with movement reflecting structure of song. To explore using the voice expressively. Have the group stand in a circle. Teach the song, movement and chant (refer to chart of words and associated movements).
DP
Dy
T S
Chart of words and associated movements.
Perform movements in a circle while singing song and saying chant. During chanted section, a person in the middle covers eyes, turns around and points. The person pointed to on the word fool is the next soloist. Solo section (chanted) Soloist Class Soloist Class My mother she sang Your mother she sang? (exaggerated questioning voice) She sang like this (soloist improvises, can add movement) Class echoes the soloist.
After the fool has performed the solo section, all the preceding fools, in descending order, redo their sections. e.g. My mother she sang, My toothbrush he sang, My dog he sang etc.
After all the solos are performed, return to the singing section. Finish with:
Skills
Concepts
S PM
OS
D P
Dy
T S
29
Singing
and
speaking
30
Words and associated movements for each beat and bar of
Sister Cindy
Lyrics Movement
place called
left foot forward, pat knees
Tenness
right foot step back
dark, dark
right foot forward, pat knees
dresses up a
left foot forward, hands up
bove her
right foot back, pat knees
knees, hands
left foot back, pat knees
up Sister
right foot forward, hands up
Cindy from
left foot forward, hands down
Tenness
right foot back, hands up
ee, hands
left foot back, hands up
down Sister
right foot forward, hands down
Tenness
right foot back, hands down
ground Sister
crouch, pat the ground
Tenness Tenness
1/4 turn
round Sister
1/4 turn
never been to
point to right
never been to
point to left
I came home
point to self
educated
hands in book pose
Key
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Skills
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
S P M OS L
singing playing moving organising sound listening
Concepts
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
DP
Dy
T S
Stone
passing
games
32
# 2 & 4
Mal
mal
mal
Kam - e - me
go
Kam - e - me
&
go
Kal -
um -
bus,
Kal -
um -
bus.
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Learning the song To be able to hear an accurate model of a song and to maintain a steady beat. To reproduce modelled phrases of a song. To develop a feeling for phrasing. Demonstrate the song while lightly patsching the beat. Teach the song by echo, while patsching to maintain the beat.
DP
Dy
T S
Playing with the song Divide the class into two groups and sing alternate phrases. For example: Group Group Group Group Group 1 2 1 2 1 Mal, mal, mal Kameme go Kameme go Kalumbus Kalumbus
Change the body percussion to patsch and clap and sing only the sounds which occur on the patsch or clap.
Maintain the body percussion but sing only on the first and last words of the song.
Make up a vocal ostinato by using a phrase of the song, for example, Kalumbus. If possible, sing in canon (the second part enters after mal, mal, mal).
33
Stone
passing
games
Skills Activities Concepts Resources
34
Purpose
S P M OS L
Playing the stone passing game To maintain the beat through passing the beat. To be able to perform through singing and moving. Sit in a circle. Decide the direction in which the stones, sticks, bean bags or objects are going to be passed. With one hand behind back, practise picking up an imaginary object and pass to next person while chanting.
DP
Dy
T S
2 .. 4
pick up
pass
pick up
pass
..
Gradually introduce objects (start by just passing 1 or 2 objects, then increase according to ability of group). Replace chant with song.
Extension Divide class into 3 groups; rotate groups. To devise patterns using existing rhythm patterns within song. 1. Devise a percussion accompaniment: Use some of the rhythm patterns of the words of the song to develop an ostinato on non-melodic percussion instruments, e.g. claves Non-melodic percussion instruments.
2 .. 4
Kal - um -
bus
..
2.
Devise a new way of performing the stone passing game: pass stone in opposite direction pass stones around outside of circle using 2 stones, devise a different way of passing which includes tapping stones together.
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Obwisana is an African stone passing game which can be treated similarly to Mal, mal, mal.
DP
Dy
T S
Obwisana
(Oh gramma, I just hurt my finger on a rock.) Traditional Ghana
O
## 2 X & 4
Ob - wi - sa - na
na - na
sa
Ob - wi - sa - na - sa.
&
##
Ob - wi - sa - na
na - na
Ob - wi - sa - na -
sa
sa.
Lyrics
X O
35
Stone
passing
games
36
Uk alele
Traditional Pacific
j & 2 j 4
Uk A le -
j j
le lay a ah
Pe - re Pair - eh ti - ke tick - eh
tom tomb -
j j
ba ah a ah
Pronunciation
Ook
Ah - lay
j j & j j
Ma - sse Ma - sse Ma Mus Mus - sah Mus- sah
sse sah
j
U Oo A Ah -
j
lo loh -
j
ah ah A Ah -
j
lo loh -
3 4
& 3 j 4
ah ah A Ah -
j
lo - he. loh - ay.
..
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Learning the song To accurately reproduce pitch patterns. To maintain a steady beat. To develop a feeling for changing metre. To experience changes in accent. clap patsch Using a patsch and clap body percussion pattern, teach the song in a similar fashion to Mal, mal, mal.
DP
Dy
T S
Sticks, stones or other appropriate objects which can be passed easily.
2 4 ..
..
Note: The last bar has 3 beats whereas every other bar has 2 beats. As a result, while your body percussion may have started with the patsch on the strong beat, the strong beat will be on the clap every alternate time through.
Playing the stone passing game Practise the passing as for Mal, mal, mal, then when secure, add song. Note: The metre change (from 2 to 3 beats) will add an interesting dimension to the feeling for passing the beat.
Skills
Concepts
S PM
OS
D P
Dy
T S
37
Module 2
From games to performance
Singing games
Repertoire
Outcomes for students
By the end of these activities, students will be able to demonstrate that they can: 1. move between their speaking and singing voices 2. perform answering phrases.
CD track 14. CD track 15.
Key
. . . . . . . . . . . . . . . . . . . . . .40
Skills
. . . . . . . . . . . . . . . . . . . . . . . . .42
S P M OS L
singing playing moving organising sound listening
Concepts
DP
Dy
T S
Singing
games
40
&4 4
Group
Soloist
j
"I think I
Soloist
b J
hear my
j
name."
Group
"Hey Group
"Hey
A - dam!"
&
A -
dam!"
j
"I think
b
hear
it
Soloist
"you're
a - gain."
&
wan -
ted
on
the
b J
tel -
e -
j
phone."
"Well
if Group
it
&
is - n't Re -
bec - ca I'm
b J
not
at
j
home."
With
&
rick -
tick -
ty
tack
Oh
yeah!
With
tick - e -
&
rick -
tick -
b
tick -
e -
ty
tack
Oh
yeah!
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
To maintain a steady beat with body percussion. Present the song accompanied by body percussion. Students join in with body percussion. clap patsch
DP
Dy
T S
4 4 ..
..
Perform with the whole class singing the response. Provide the beat on a tambour while the class is singing. Teacher: Hey (Year Three) Whole class: I think I hear my name
Tambour
Perform using students own names or those from a variety of cultures, with individual students singing the response. Younger children find it easier to think of the next person if sitting in a circle where they can see each others face.
Skills
Concepts
S PM
OS
D P
Dy
T S
41
Singing
games
42
Syncopated Cyril
Gary King and
Swing
Audrey Klein
j
3
& 4 j . 4
Syn - co - pa - ted Cy - ril,
j
and
down
the
street;
walk - ing
j &
watch his
j .
hands
j
watch his
j
feet.
Here comes
&
once
a -
gain
j .
Wan - da,
be - hind;
&
Cy - ril to the
end
of
the
line.
cop - y - ing
Chant
Cross the street, cross the street, to the other side; Turn around, turn around on the other side. Go back, go back, to your own side; Turn around, turn around, on your own side.
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Introducing the sung section To maintain a steady beat. Introduce the sung section of Syncopated Cyril while patsching lightly on the knees. Students imitate patsching while listening to the song.
DP
Dy
T S
PATSCH: See glossary
Introducing the chanted section To accurately learn rhythm of the chant. Demonstrate the chant Cross the street with a different body percussion accompaniment. clap patsch
4 4 ..
..
Students explore different movement styles to perform with the chant, for example, moving in a variety of ways around the room; changing on a given signal; exploring high and low levels.
Learning the game To contrast sung and spoken text. Perform sung section followed by spoken section, while maintaining the beat with body percussion. Repeat several times.
(Continued on page 44)
43
Singing
games
Purpose Skills Activities Concepts Resources
44
S P M OS L
To devise ways of reinforcing beat and rhythm through movement. Explain to the class that the game is about copying a leader. With students standing in their own space, the teacher improvises a walking style for the class to copy. Select a student to improvise a walking style while the class sings: Syncopated Cyril, walking down the street; Watch his hands and watch his feet.
DP
Dy
T S
Students imitate leaders walk and perform the second part of the song: Once again Wanda, following behind, copying Cyril to the end of the line.
Performing the Syncopated Cyril game To contrast sung and spoken text. Students stand in two lines, opposite and facing a partner. Section A: Leader of line 1 improvises a walk to the other end of the line while class sings bars 14 (Syncopated Cyril, walking down the street; watch his hands and watch his feet). copies Cyril while class sings bars 58 (Once again Wanda, following behind; copying Cyril to the end of the line). While performing the chant (Cross the street) and imitating Cyril, lines cross over and swap positions, and then return to their original positions. Repeat with a new leader.
Leader of line 2
Section B:
Extension To identify known rhythm patterns and use them as ostinato accompaniments. Clap some of the rhythms from the chant for the students to identify.
Play the rhythms on other percussion instruments such as drums, tambourines and claves and use them to accompany Section B. For example: claves cross the street, cross the street drum other side.
Use tuned percussion instruments such as xylophones and glockenspiels in C pentatonic (CDE GA as indicated in the resources column). Select a small group of students to improvise an accompaniment to Section A.
Skills
Concepts
S PM
OS
D P
Dy
T S
45
Key
Skills
S P M OS L
singing playing moving organising sound listening
Concepts
DP
Dy
T S
Funge alafia
Traditional Ghana
&4 4 J & J
j
a la -
fia
j
a sche
j
a sche.
Fun - ge
j
a la -
fia
j
a sche
j
a sche.
Fun - ge
to head Hands
to heart
to L arm
to R arm
47
48
S P M OS L
To familiarise students with the actions and meaning of the song. Teach actions for head, heart and sleeves without speaking the words. Discuss what the students think the actions might mean. Demonstrate the song with the actions and then explain the lyrics: I greet you with my head, my heart and I have nothing up my sleeves. which means I respect you, I care for you and I am an honest person. To echo pitch accurately. Teach the song by echoing phrases and then add the step-wise movement as indicated on the music above. Add step-wise movement as outlined in the music. With the class standing in a circle, perform the song with movement and actions. The song has two phrases. Have the class listen again to the pitch of the two phrases and identify if they are the same. If not, how are they different? Trace the pitch contour of each phrase, first in the air and then using graphic notation. Divide class into two groups and perform Funge alafia as a call and reponse. Group 1: sings phrase one (Funge alafia asche asche) Group 2: answers with phrase two. To develop aural imagination. Repeat, singing words in your head, not out loud while performing actions.
DP
Dy
T S
Actions marked on the music for Funge alafia.
To develop skills in the use of the voice for both speaking and singing.
Explore different spoken ways to greet people in English, for example: Hi, how are you? Great to see you! Whats new? Welcome. How do you do?
In other languages, for example: Bonjour. To develop confidence in vocal improvisation. To use movement to reinforce structure. Chukran. Konichiwa.
Develop a structure for performance which includes the spoken greetings. For example: Section A Whole class performs Funge alafia with actions and movement Section B Selected student performs own spoken greeting which class echoes Section A Repeat Section C Another student performs spoken greeting which the rest of the class echoes Section A Repeat Extension
See glossary: RONDO (This structure is called rondo form). Another version of Funge alafia appears in Songs From Around the World by Gary and Carol Crees 2/12 George Street Manly NSW 2095
4 .. 4 & 4 .. 4
.. ..
49
50
Tongo
Traditional Polynesian
# # 2Leader & 4
Ton -
Group
go,
Ton -
go,
Ton Group
go,
Ton -
go,
&
## ## ## ## ##
Leader
.
Jim - nee bye Leader
bye oh,
.
Jim - nee bye Group
bye oh,
&
Ton Leader
go,
Ton -
go,
Ton Group -
go,
Ton -
go,
&
j
de
kim bye oh,
j
de
kim bye oh, Leader
Oom - ba Leader
Oom - ba Group
&
.
Ooh -
j
a
lay, Group
.
Ooh -
j
a
lay,
Mah - le Ocean sounds
&
ka - ah - lo
way.
..
8 bars
..
way. Mah- le - ka - ah - lo
D.C.
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
To develop awareness of the structure of the song. Play the recording of Tongo and discuss the three-part structure: Section A: sung Section B: instrumental Section A: the song is repeated. Play the recording again. Discuss the effects used in the instrumental (sea soundscape) section. Students add rowing actions on the 1st beat of the bar during the sung section and improvise movements during the instrumental section. Encourage the students to vary the movements with the dynamics of the music. To become aware of call and response structure. Discuss the use of the voices in the sung section, the use of a leader who calls and a group who answer or respond. Learning the song To echo rhythm patterns and accurate pronunciation. Clap and chant the following patterns for the students to echo.
DP
Dy
T S
CD track 17
2 .. . 4
Jim - nee bye
bye oh
..
2 .. j 4
Oom - ba
j
de
kim bye oh
..
2 .. . 4
Ooh -
j
a
lay
..
2 .. 4
Mah - le -
ka -
ah -
lo
way
..
Sing or demonstrate the call Tongo. Students echo. Divide class into two groups. Group 1 performs call Group 2 performs response
51
52
S P M OS L
To develop individuals confidence in using the voice. Select a student to perform the call with actions. The rest of the class responds, copying the leaders actions. Clap some of the rhythms from the song and ask students to identify the phrase. For example:
DP
Dy
T S
2 .. j 4
Oom - ba
j
de
kim bye oh
..
2 .. . 4
Ooh -
j
a
lay
..
To accompany song with rhythmic ostinato, using body percussion and instruments. To create a soundscape using a variety of sound sources.
Transfer the rhythms to percussion instruments and perform as an ostinato to accompany the song.
Create a sea soundscape. Discuss sounds you may hear near the sea and make a class list. Ask students to suggest ways to recreate the sounds of the sea using voices, body percussion, environmental material, melodic or non-melodic instruments. Divide class into small groups of 46. Each group creates its own water soundscape. Encourage students to graphically notate their soundscape.
To perform a rondo.
Invent a rondo. For example, with the class divided into two groups: Section A Section Section Section Section B A C A Group 1 performs the call and Group 2 the response from Tongo. Group 1 performs its soundscape. Call and response. Group 2 performs its soundscape. Call and response.
T aba naba
G C D
# 4 & 4
Br. Ta - ba Pronounced Pronunciation Tah - buh na - ba, nah - buh,
J J
na - ba nah - buh no - rem, noh- rem,*
Rh to Fl at L
pe peh
Rh to L Sh & hold
mi mee
Lyrics Translation
G
Rh to Fl at L Rh to L Sh
C
Lh to Fl at R
&
Lh to Fl at R
Lh to R Sh
em em* na - ba - tre. nah - buh- treh.
Mi ko Mee koh kei mi keh mee
sir - ir sihr - ihr em em* nar - ba - re. nahr- buh - reh.
Tugei penaisir mi dinghy em nabatre. Get into the dinghy when the morning tide is low Mi ko keimi serer em narbare. Let us row to the edge of the reef. Taba naba norem. Come, let us go to the reef.
This song is remembered from long ago, the composer is not known but it is definitely of Erub origin. The dance actions, according to Erub (Darnley Island) elder and historian, George Myre, may be attributed to one of Erubs foremost dancers, Sweeney George Morseu. It celebrates reef travel via the taxi of the Torres Strait, the dinghy. The sung was originally sung for Frank York by Dalassa Pau.
&
# j
BH up High
BH touch Shs
no noh -
w
rem. rem.*
Ta - ba Tah - buh
na - ba nah - buh
53
54
(continued)
Melody
T aba naba
Movements with lyrics Students sit cross legged in a circle:
# 4 & 4 # 4 & 4
3 3
Br.
..
Ta - ba na - ba,
J J
na - ba no - rem,
Rh to Fl at L
mi
Rh to L Sh & hold
Harmony
..
Ta - ba
j j
na - ba no - rem,
tu - gei pe nai - sir mi
na - ba,
Bar 6 Point left hand to floor at right (beat 1) then place left hand on right shoulder (beat 3)
& &
# #
Lh to Fl at R
Lh to R Sh
Rh to Fl at L
Rh to L Sh
Lh to Fl at R
Lh to R Sh
din - ghy em na - ba - tre.
Mi ko kei mi
sir - ir em nar - ba - re.
Bar 3 Point right hand to floor at left (beat 1) then place right hand on left shoulder (beat 3) and hold
din - ghy na -
ba -
tre.
Mi ko kei mi
sir - ir em nar - ba - re.
Bar 4 Point left hand to floor at right knee (beat 1) then place left hand on right shoulder (beat 3)
# j & & # j
BH up High
J j
BH touch Shs
1.
no -
w
rem.
.. ..
Ta - ba
na - ba
no
Ta - ba
na - ba
Bar 5 Point right hand to floor at left (beat 1) then place right hand on left shoulder (beat 3)
& &
# #
w
rem.
w
rem.
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Learning the song To develop listening skills. Read the phonetic pronunciation phrase by phrase, for the students to echo.
DP
Dy
T S
Play the recording of the song and accompany by playing the beat on your knees for the class to imitate. Transfer to another body part or to non-melodic instruments.
Demonstrate the song, phrase by phrase, for the students to echo. Perform the song with the recording.
CD track 19
Learning the dance To learn a sit-down dance from the Torres Strait Islands. To observe the gradual build of dynamics. This song comes from Darnley Island and is a sit-down dance. The actions are written beside the music. Learn the dance to accompany the song. Have you thought of linking this with a HSIE unit?
Divide the class into four or more groups. Group 1 Group 2 Group 3 Group 4 Continue performs song with actions joins in second time through joins in third time through joins in fourth time through. until all students are singing.
Skills
Concepts
S PM
OS
D P
Dy
T S
55
56
S P M OS L
To add simple accompaniments to a song. Extension Add the following patterns to accompany the song Shaker
DP
Dy
T S
4 .. 4 .. 4 .. 4 4 .. 4 4 .. 4 .. .. ..
Tambour (low)
Guiro
High drum
Skills
Concepts
S PM
OS
D P
Dy
T S
A pair
Outcomes for students
By the end of these activities, students will be able to demonstrate that they can use: 1. the singing voice within a restricted pitch range 2. singing techniques to sing on pitch 3. singing techniques to develop tonal quality of the singing voice.
of
songs
Key
Skills
Repertoire
CD track 22. CD tracks 23-25.
Wearing my long wing feathers . . . . . .58 The earth is our mother . . . . . . . . . . . . . .60
S P M OS L
singing playing moving organising sound listening
Concepts
DP
Dy
T S
A pair
of
songs
58
# 4 & 4 j
Wear - ing
j
my long wing fea - thers
as I fly.
Wearing my long wing feathers as I fly Wearing my long wing feathers as I fly I circle around, I circle around, The boundries of the sky.
&
j
Wear - ing
j
my long wing fea - thers
j
as I fly. I
&
j j
cir - cle a- round, I cir - cle a- round, the
Stand on the spot facing inside the circle; cross arms in front of your body, lifting them above your head and then open them out to bring them back down to the sides of your body.
&
of the
.
sky.
bound - 'ries
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Introduction To establish cultural setting and purpose of musical work. Discuss how different peoples develop their world views and express themselves through their stories, music and ceremonies. Find examples of Australian Aboriginal Dreaming stories and Native American stories. Discuss the similarities you can see within Australian Aboriginal Dreaming stories and Native American stories.
DP
Dy
T S
HSIE link: Aboriginal Dreaming stories: Mumbulla, P. & Bancroft, B. The Whalers (collected by Roland Robinson). Angus & Robertson. 1996. Trezise, P. Land of the Dingo People. Angus & Robertson. 1997.
Learning the song To develop the atmosphere of music. To learn song accurately. Speak the words.
Teach the song using echo, phrase by phrase. Native American stories: Erdoes,R. & Obtiz,A. American Indian Myths & Legends. Pimlico, London. 1997.
Add beat on tambour or other suitable drum and then transfer beat onto low E on xylophone, metallophone or chime bar.
59
A pair
of
songs
60
j
we must take care of her. The
Lyrics
# J
Verse 2
j
earth is our mo ther, we must take care of
w
her.
Her sacred ground we walk upon, With every step we take. Her sacred ground we walk upon, With every step we take.
Chorus
J
Hey
w
Verse 3
Chorus
& &
ho
hey yan
yan.
yan - na,
yan - na,
The earth is our mother, She will take care of us. The earth is our mother, She will take care of us.
Chorus
& &
Hey yan - na, ho yan - na,
hey yan
.
yan.
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
To maintain steady beat and perform rhythm pattern to accompany song. All perform body percussion softly while teacher sings song (or plays the recording): knee floor To practise breath control, keeping mouth open but relaxed, using the tongue rather than jaw to change sounds, maintaining long sounds. To develop a feeling for harmony.
DP
Dy
T S
CD track 23
. 4 . 4 ..
Teach the Hey yanna phrases softly, encouraging students to have their mouths open wide, making the y sound with the tongue rather than the jaw, and using an even flow of volume and long aa sounds.
Teach the verse phrase by phrase through echoing. When secure, teacher sings harmony softly over the student part (or sings along with the CD, where the harmony is added from verse 3 onwards). Extension CD has harmony included from verse 3 on tracks 23 and 25
To devise movements which can be performed while singing and reflect the ideas in the song. To use the singing voice to reinforce instrumental parts. To develop independent singing skills.
Encourage students to develop their own simple movements to accompany the song. Make sure the movements do not detract from their ability to sing. Fast or large movements or hands over the heads for extended periods of time are not suitable as the singing voice would be restricted. Perform percussion accompaniment to the song. Teach the parts through singing and body percussion before transferring to percussion instruments. Try performing Wearing my long wing feathers and The earth is our mother as partner songs. This is demonstrated on the CD on track 23.
61
A pair
of
songs
62
# & 4 .. 4 4 & 4 ..
L R
#
L
..
# .. .. ..
4 .. j j 4 J J J j j 4 .. 4 J J 4 .. 4 > > 4 .. 4
j j j J J j j J J > >
.. .. .. ..
& 4 .. 4 4 & 4 ..
Chorus only
. > > . w w ..
clap
chest patsch
. 4 .. . 4
4 4 .. w
LH
. . .. ..
patsch R patsch L
w
LH
..
Rounds
Repertoire
Outcomes for students
By the end of these activities, students will be able to demonstrate that: 1. they can sing simple rounds 2. they are aware of other parts while singing.
Not on CD CD tracks 26-27.
Key
Skills
. . . . . . . . .66
S P M OS L
singing playing moving organising sound listening
Concepts
DP
Dy
T S
Rounds
64
If you cross a mouse (Row, row, row your boat) With an elephant (Gently down the stream) Youll get big holes (Merrily, merrily, merrily, merrily) In your skirting boards (Life is but a dream)
patsch
clap
snap
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Learning the song To revise a well known melody. To experiment with dynamic variations. Demonstrate the song with body percussion illustrated above. Repeat song until students are familiar enough to join in. Sing whole song varying the dynamics of each line. Perform the actions while singing the words silently (in your head). Preparing to sing the round To develop the ability to hold a part. To develop skills in ensemble singing. Divide the class into four groups: Group Group Group Group 1 2 3 4 sing line 1 as an ostinato add line 2 as an ostinato add line 3 as an ostinato add line 4 as an ostinato.
DP
Dy
T S
Sung to the melody of Row, row, row your boat.
Encourage students to listen and blend with the other parts. Experiment with varying the dynamics. Select a student to signal the entry and exit of parts. To sing song as a round. Standing in a circle, divide class into four groups. Perform song as a round with body percussion accompaniment. Extension To perform a more complex round. To develop vocal independence and listening skills. Try performing as a round of up to eight parts.
Divide class into the same four groups as before. When the groups are confident, students move around the room singing their ostinatos. The object is to join up with one member from each of the other groups.
65
Rounds
66
&b 4 4
Un - der- neath the man - go
Dm
Am
Dm
tree were we,
j
Hid- ing in the tree was
&b
Am
Dm
Am
Dm
Look out down be - low
for the
ripe man - go,
Tar - ni - ki - ni.
&b
Rain - ing down be - low
Am
Dm
from the
ripe man - go.
no,
Oh
&b
Am
Dm
Am
Dm
no,
oh
no,
go man - go, man - go!
oh
Tarnikini is flying fox (Tiwi language of Bathurst and Melville Islanders, Northern Territory).
Purpose
Skills
Activities
Concepts
Resources
S P M OS L
Learning the song Listen to the song and discuss what the song is about. Explain Tarnikini which means flying-fox in the Tiwi language of Bathurst and Melville Islanders, Northern Territory.
DP
Dy
T S
Listen again and add following body percussion to accompany the song. floor knees
4 4 ..
..
& 4 .. 4
D
..
A A D
Sing song through in unison. Discuss where students felt they needed to breathe. Sing again, breathing at the end of each two-bar phrase.
To develop appropriate breathing and an awareness of long and short notes when singing.
Play the recorded version and ask students to raise their hands when they hear a long note held at the end of each phrase and on oh no, oh no. Sing the song again with correct breathing and holding the long notes for their full value.
67
Rounds
Purpose Skills Activities Concepts Resources
68
S P M OS L
Introducing the round To be familiar with the structure of the song. Introduce the round by discussing the structure used on the recording: introduction, unison (x1), instrumental, round (x2), coda. Play the introduction again. Discuss how it is like section 3, Oh no, oh no, oh no, go mango, mango
DP
Dy
T S
Try singing section 3 as an ostinato to accompany the song. Sing it softly with the recording of the unison section.
Transfer section 3 to xylophone, recorder or another melodic instrument and accompany the song in unison.
& b 4 .. 4
no,
oh
no,
oh
no,
go man- go, man- go.
..
Oh
Divide the class into three groups and sing as a three-part round with the CD.
To use a melodic ostinato to maintain pitch and tonality. To develop vocal blend and harmony.
Try performing the round using melodic instruments to play the accompaniment from the chords on page 66. Record the class version of the round and discuss the blend of voices, dynamics, long notes, breathing and ways to improve the performance. Record it again and compare the two versions.
A song
Outcomes for students
By the end of these activities, students will be able to demonstrate that they can: 1. interpret the words of a song 2. develop a simple song into a performance.
for
performance
Key
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Repertoire
CD tracks 28-29.
Gary Galah
Skills
S P M OS L
singing playing moving organising sound listening
Concepts
DP
Dy
T S
A song
for
performance
70
Gary Galah
Louise Pettinger
4 .. C &4
Bb G
Verse
Dm 7
j
C7/B b
F/A
gum- trees
are
&
Gar - y Ga - lah And the
one 1,2,3
thing that Gar - y
Is to CODA 4.
&
fly - ing Chorus a- round
in
fan -
cy dress.
He wears a
fan - cy dress.
& j
spats,
j J
cow- boy hat,
& J
pair of
1,2
fril - ly shirt and
j J
tar - tan 3. vest,
&
All the things he needs
to
j . J
best.
j G j .. .. J
2.His look his best.
look his
CODA &
Fly- ing a- round in fan - cy dress,
F C
in fan - cy dress.
Lyrics
Verse 1
Verse 3
Way out west where the gum trees are Lives a funny fellow called Gary Galah, And the one thing that Gary likes doing best Is flying around in fancy dress.
Chorus
The other birds think hes somewhat mad To spend his lifetime being a cad But Gary doesnt mind cause hes perfectly fine Flying around just looking divine.
Chorus
He wears a bowtie, sunglasses, cowboy hat, Knickerbockers, braces and a pair of spats, Velvet cloak, frilly shirt and tartan vest, All the things he needs to look his best.
Verse 4
repeat verse 1
Coda
Verse 2
His wardrobe is a hollow tree Where he keeps a variety Of costumes fit for any star. Yes, a fancy dresser is Gary Galah.
Chorus
71
A song
for
performance
Purpose Skills Activities Concepts Resources
72
S P M OS L
Introducing the song To develop listening skills and interpret the words of the song. Gary Galah is about a colourful character. Ask the students to listen for any information they can discover about the character. Each time the chorus occurs, perform actions to reflect the articles of clothing described. Encourage students to join with the actions while listening to the song (they will probably join in singing as well). Discuss what they found about Gary Galahs clothes. Discuss how the actions reflect his costume. Explanation of some items may be necessary. To recognise recurring sections and observe contrast between sections. Talk about the structure of the song: Introduction Verse 1 Chorus Verse 2 Chorus Verse 3 Chorus Verse 1 Coda Learning the song To echo pitch accurately. To practise articulation of consonants to improve diction. Teach chorus with actions. Students echo. Perform the following patterns for the students to echo:
DP
Dy
T S
4 4 .. . . . . ..
Re - par- ti - ca, Re - par- ti - ca
4 4 ..
sh
sh
sh
sh
.. ..
4 4 ..
C
..
4 4 ..
whoo - wit,
whoo - wit.
Discuss the importance of articulation (so the audience will understand the lyrics and the humour in the song). Practise saying the words of the song, emphasizing the consonants. For example: knickerbockers bow tie vest best hat spats cloak
Repeat with words from the verses. Play the recording and encourage the class to snap their fingers on the 2nd and 4th beat of each bar during the verses and to join in the chorus. To develop a sense of musical phrase. Play the recording again and ask the students to move freely around the room, changing direction at the end of each line of the verse (this is a musical phrase). Sing during the chorus. Sing the song, ensuring that students breathe at the end of each phrase. Perform the whole song and record the performance. Discuss how it can be improved. Dress it up. Create some choreography for your own galah chorus. Experiment with the dynamics to add contrast in the verses. Try singing the chorus softly and loudly. Perform the song at assembly or for a special occasion.
To develop appropriate breathing techniques. To listen critically and improve performance. To develop a song for a performance item.
Skills
Concepts
S PM
OS
D P
Dy
T S
73
74
Glossary
anacrusis
an unstressed note at the beginning of a phrase
Glossary
contour
see melodic contour below
bar
the divisions of beats in music
crescendo
gradually getting louder
beat
the steady pulse in music
diminuendo
gradually getting softer
dynamics
the loudness or softness of sound
bridge
a short section of music which links two important sections of a piece of music
echo
imitate
glissando
sliding between notes, either vocally or instrumentally
chorus
the part of a song often repeated after a verse
harmony
two or more pitches sounded together
chromatic
one or more notes which do not belong to a diatonic scale or mode
improvisation
making up the music as it is being performed or, in some cases, with no beat
interval coda
a section which rounds off or ends a piece the distance between two notes; the difference in pitch
melody
the tune or arrangement of pitched sounds
round
a part song in which the voices sing the same melody but enter one after the other
melodic/pitch contour
the shape made by a musical phrase or group of notes
soundscape
an atmosphere created by using sounds, often environmental
metre
the division of beats marked by accents
syncopation
shifting the normal accent from a strong beat to a weak beat
ostinato
a constantly repeated pattern
tambour
a frame drum, like a tambourine, without the jingles
patsch
slap thighs
phrase
a short segment of a melody
tone colour
the timbre or quality of sound
pitch
relative highness or lowness of sounds
unison
all playing or singing the same melody together
ragtime
a popular style of composition for piano in the late 19th and early 20th century, with a syncopated melody line against a strict bass or accompaniment
verse
a section of a song usually alternating with the chorus
vocalising
using the voice
rap
rhythmical speaking
riff
a repeated musical pattern
rhythm
patterns of short and long sounds and silences found in music
rondo
a set structure (ABACA), where section A recurs between alternating sections
75