04 - Houlahan e Tacka - Kodály in The Third Grade Classroom

Kodly inthe Third Grade Classroom
Kodly Today HandbookSeries

Michel Houlahan and PhilipTacka
Kodly Today:ACognitive Approach to Elementary Music Education, second edition
Kodly in the Kindergarten Classroom:Developing the Creative Brain in the 21st Century
Kodly in the First Grade Classroom:Developing the Creative Brain in the 21st Century
Kodly in the Second Grade Classroom:Developing the Creative Brain in the 21st Century
Kodly in the Third Grade Classroom:Developing the Creative Brain in the 21st Century
Kodly in the Fourth Grade Classroom:Developing the Creative Brain in the 21st Century
Kodly in the Fifth Grade Classroom:Developing the Creative Brain in the 21st Century
Kodly inthe Third
Grade Classroom
Michel Houlahan
PhilipTacka
1
1
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Library of Congress Cataloging-in-PublicationData

Houlahan, Michel, author.
Kodly in the third grade classroom / by Michel Houlahan and PhilipTacka.
pages cm. (Kodly today handbook series)
Includes bibliographical references andindex.
ISBN 9780190235802 (alk.paper); 9780190248505 (hardback)
1. School musicInstruction and study. 2. Kodly, Zoltn, 18821967. 3. Third grade
(Education)CurriculaUnited States. I. Tacka, Philip, author. II. Title.
MT1.H83742015
372.87049dc23
2014032962
987654321
Printed in the United States of America
on acid-freepaper
We are the music-makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams;
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, itseems.
Ode, by Arthur OShaughnessy
[...] eratque tam turpe Musicam nescire quam litteras

from De Musica, by Isidoris Hispalensis
Legyen AZene Mindenki [Music should belong to everyone]

ZoltnKodly
Contents vii
Acknowledgments ix
Introduction xi
1 Framing a Curriculum Based on the Kodly Concept 1

The Kodly Concept 1
Multiple Dimensions of Music 2
Grade 3 Music Curriculum 4
Prompt Questions for Constructing a Music Curriculum 8
Lesson Planning 10
Key Components of Lesson Plan Design 11
2 Developing a Music Repertoire:Students as Stewards of Their Cultural
and Musical Heritage 17
Selecting Repertoire 17
Grade 3 Song Lists 18
Lesson Planning 45
3 Teaching Strategies 57
Eighth Note Followed by Two Sixteenth Notes 57
low la 64
Two Sixteenth Notes Followed by an Eighth Note 70
low so 75
Internal Upbeat 82
high do 86
External Upbeat 93
Developing a Lesson Plan Design Based on the Teaching Strategies 97
4 Students as Performers:Developing Music Skills
and Creative Expression 113
Tuneful Singing Skills 113
Reading Skills 117
Inner-Hearing Skills 124
Writing Skills 125
Improvisation Skills 127
Musical Memory 130
Understanding Form 132
Part-Work Skills 134
Instrumental Performance Skills 145
Creative Movement Skills 147
Listening Examples Connected to Grade 3 Concepts and Elements 151
Lesson Planning 153
Content s
5 Unit Plans and Lesson Plans 160

Transitions in Lesson Plans 161
General Points for Planning Lessons 167
Evaluating a Lesson 168
viii Unit Plans 168
Unit 1:Grade 2 Review 169
Unit 2: Teaching Eighth Note Followed by Two Sixteenth Notes 182
Unit 3: Teaching low la 195
Unit 4: Teaching Two Sixteenth Notes Followed by an Eighth Note 207
Unit 5: Teaching low so 219
Unit 6: Teaching Internal Upbeat 231
Unit 7: Teaching high do 243
Unit 8: Teaching External Upbeat 255
6 Assessment and Evaluation 267
Grade 3 Assessments 267
Notes 289
Index 291
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/
Kodly Pedagogical Institute in Hungary and at the Kodly Center of America with
world-renowned Kodly experts, many of whom were Kodlys pupils and colleagues, who
shared their knowledge with us over many years. Among them were Erzsbet Hegyi, Ildik
Herboly-Kocsr, Lilla Gbor, Katalin Komls, Katalin Forrai, Mihly Ittzs, Klra Kokas,
Klra Nemes, Eva Vendrai, Helga Szab, Laszlo Esze, 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. Pauls 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; Meredith Riggs and Loren Tarnow, music specialists at
Bernice Hart College Prep and Brentwood Elementary School; and Vivian Ferchill, retired
music specialist from Round Rock,Texas.
Special acknowledgment must be made to Patty Moreno, director of the Kodly
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 Kodly 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, Jos Pelaez, Rebecca Morgan, Loren Tarnow, and Meredith
Riggs deserve special mention. Gratitude is due Jennifer Alfaro for her work on the game
directions and Rebecca Seekatz 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 continuing 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 Blaithn Burns, Kodly instructor at the Blue Coat
School. She provided invaluable assistance in the initial design of Kodly in the Third Grade
A ck now le d g ment s
Classroom and field-tested many teaching strategies. Richard Schellhas deserves 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,
x the State System for Higher Education in Pennsylvania. The universitys library assistance,
technical, administrative, and financial support, and overall encouragement for this project
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:Traditional Rhymes, Games and Folk Songs from Mexico and
Vamos a Cantar. We are very grateful to Katalin Forrais children, Andrs Vikr, Tams
Vikr, and Katalin van Vooren Vikr, for permission to use materials from their mothers
book, Music in Preschool, edited and translated by Jean Sinor, Budapest, Hungary:Kultura,
1995 (original publication1988).
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.
Introduction xi
Purpose ofBook
The primary purpose of this handbook is to give music teachers a practical guide to teach-
ing third grade music that is aligned with information contained in Kodly Today and with
national standards in music that promote twenty-first-century music learning. The foun-
dational 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 creativ-
ity 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 Councils
July 2012 report, wherein the authors cite these as 21st century skills or deeper learning.i
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 Kodly philosophy of music
education. This third grade handbook should not be considered a substitute for reading
Kodly Today:ACognitive Approach to Elementary Music Education; that volume is a prac-
tical and detailed guide for teaching a music curriculum to children in the third grade
music classroom that is aligned with national and state content standards for music educa-
tion. Together, Kodly Today and this handbook for third grade offer teachers a step-by-step
roadmap for developing students love of music, musical understandings, and metacogni-
tion 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 howto:
Select music materials for teaching

Enhance skills in singing and movement skills that are cognitively and
developmentally appropriate
Build the foundations of music literacyskills
Promote creativityskills
Develop improvisationskills
Teach active music listening lessons
Implement evaluation and assessmenttools
Intro duc t ion
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 Kodly Today and demonstrate
how they can be used within lesson plans in considerable detail. In this handbook, we refer
to chapters in Kodly 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 teachers
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 philosophies 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 three handbook.
Introduction
Summarizes the third grade handbook with a brief outline of all chapters.
Chapter1:Framing a Curriculum Based onthe Kodly Concept

This chapter presents a sample curriculum summary statement as well as curriculum goals
for third grade. The information in this chapter is aligned with Chapter1 of Kodly Today
and the accompanying website.
Chapter2:Developing a Music Repertoire:Students asStewards

ofTheir Cultural and Musical Heritage
This chapter has a selection of music repertoire for teaching music performance, music
literacy skills, improvisation, and composition as well as listening skills. There is also a
detailed review summary of how to teach games and dances to children. The content in this
chapter is aligned with Chapter2 of Kodly Today and the accompanying website.
Chapter 3:Teaching Strategies

This chapter presents teaching strategies for teaching all music concepts and elements,
based on the model of learning presented in Chapter6 of Kodly Today for grade three.
More information related to Chapter3 can be found on a new accompanying website for
the second edition of Kodly Today. Information in this chapter is aligned with Chapter6
in KodlyToday.
Introduction
Chapter4:Students asPerformers:Developing Music Skills

and Creative Expression
This chapter offers music teachers guidance on how to develop skill areas in third grade.
There are lists of music techniques for teaching the music skills of tuneful singing, read- xiii
ing, writing, improvisation, musical memory, understanding of form, part-work activities,
instrument performance, inner hearing, creative movement activities linked to games, and
music listening, The content in this chapter is aligned with Chapters 3 and 4 of Kodly
Today and the accompanying website.
Chapter 5: Unit Plans and Lesson Plans

The music curriculum for this grade is divided into units. Each unit focuses on the prepa-
ration and presentation for teaching a new concept and element, and practice of a known
element. Each unit plan has three sections:the first furnishes a list of repertoire for teaching
five music lessons, the second includes a summary of music skill activities to practice, and
the third presents five sample lesson plans for teaching the music concepts and skills, and
practice of a known concept or element for each unit. Worksheets to accompany unit plans
are posted on the accompanying website in Chapter6, teaching strategies.
More information related to this chapter can be found on a new accompanying website
for the second edition of Kodly Today. The website will include more than twenty work-
sheets to be used for practicing reading, writing, and improvisation for music elements
related to the handbook for the third grade. Information in this chapter is aligned with
Chapter10 in KodlyToday.
Chapter6:Assessment and Evaluation

This chapter includes detailed assessment rubrics to assess singing, reading, writing, and
improvisation for this grade. These rubrics can form the foundation of any kind of assess-
ment that takes place in the music classroom.
Outstanding Features
Timely Publication
In July 2012 the National Research Council challenged teachers to cultivate approaches to
teaching that develop deeper learning. This third grade handbook supplies music teachers
with a model that promotes twenty-first century skills.
Transcending All Methods ofTeachingMusic

The researchers have used the Kodly philosophy as a pedagogical compass for this hand-
book. The foundation for the approach in this third grade handbook is focused on devel-
oping childrens knowledge of repertoire, performance skills (singing, moving, playing
instruments), reading and writing of music, listening, and improvisation and composition
skillskey components of any music curriculum. Teachers certified in Kodly, Orff, and
Dalcroze training piloted this handbook. Any teacher, regardless of personal philosophy
and particular pedagogy, can use this handbook.
Intro duc t ion
WritingStyle
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
third 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 Kodly-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 Kodly-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 understanding and metacognition skills.
We have worked to present a clear picture of how one develops a third grade music cur-
riculum based on the philosophy of Kodly, the teaching and learning processes needed to
execute this curriculum, and assessment tools.
Vertical Alignment ofMusic Classes

Because of the pedagogy used in this publication, it offers a compelling example of how
to achieve vertical alignment in the elementary music curriculum. Like all other subject
areas in the elementary curriculum, this handbook develops routines and procedures that
are common to music lessons regardless of grade level and teaching philosophy. In this
teaching handbook, we delineate the teaching process by including thirty-five lesson plans
for third grade for teaching music according to the Kodly philosophy and based on the
Kodly Today text. This handbook presents a clear picture of how the teaching and learning
processes go hand in hand during the music lesson.
New Cognitive Model forTeachingMusic

The series presents detailed instructions on how to present music concepts based on a
model of learning developed in Kodly Today. This model builds on the accepted pro-
cess of teaching music:prepare, make conscious, reinforce, and assess. The researcher has
adopted these phases of learning, but each phase is further broken down into stages that
allow sequential teaching of music concepts and elements as well as the means for their
Introduction
assessment. This model of learning inspires the music curriculum, lesson plans, and assess-
ment rubrics for all the handbooks.
Who Should Read ThisBook? xv

This book will appeal to methods instructors, pre-service music teachers, beginning music
teachers, and practicing or veteran music teachers, for a number of reasons. This is a book
with a solid methodological foundation that focuses on creatively enhancing the learn-
ing environment of students. Therefore, it appeals to methods instructors who will use the
handbooks over the course of a semester to show the necessary elements of a comprehen-
sive music education. Effective methods instruction includes what to teach, how to teach,
and why to teach, and this book addresses all of these areas. Second, pre-service music
teachers will gravitate toward the sequencing and lesson planning included in the book, as
well as specific resources (songs, books), when practice-teaching during methods courses,
field experiences, and student teaching. Third, beginning teachers are often most concerned
with long-term planning for each grade level; unit and lesson plans contained in the hand-
books will appeal to these teachers. Finally, this book will appeal to practicing and vet-
eran music teachers because it can be used to refresh knowledge of teaching music. The
book updates traditional ideas and teaching practices associated with the Kodly concept of
music education and makes them accessible, practical, and relevant for todays classrooms.
Kodly inthe Third Grade Classroom
Chapter 1
1
Framing a Curriculum Based

onthe Kodly Concept
This chapter provides teachers with an overview of the Kodly concept as it relates to curriculum
development, and it includes a sample of a grade three curriculum. Also included is a lesson plan
design that is used throughout this book to create sample lessons reflecting the content of each
chapter. Chapter1 of Kodly Today offers teachers a biographical overview of Kodlys life as well
as an introduction to the Kodly concept of music education.
The Kodly Concept

Zoltn Kodlys philosophy of music education inspired the development of the Kodly method
or the Kodly concept of music education. The Kodly method was actually developed by his
students and colleagues. Simply stated, the method is a comprehensive approach to teaching
music skills. The composer stressed the need for all music teachers to be excellent musicians and
conductors, and to have a knowledge of music repertoire to successfully develop a music pro-
gram. This section identifies the essential hallmarks of the Kodly method as shaped by Kodlys
philosophy of music education.
Singing
Singing is the essence of the Kodly 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.
Chapter3 of this handbook offers a comprehensive overview for developing the singing voice in
the third grade curriculum.
Repertoire
Everyone needs to know and celebrate his or her cultural heritage. Akey component of this cul-
tural heritage is folk music, which includes childrens songs and games. These songs and games
Kod ly in t he T hir d 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. Amusic curriculum should include these materials:
Traditional childrens songs andgames

Folk songs and games of the American culture
Folk songs of other cultures
Art music (music of the masters)
Pedagogical exercises written by composers
2 Recently composed music written by excellent composers
In Chapter2 of the handbook we lay out a more comprehensive overview of the repertoire
that is used in the elementary music curriculum.
Reading and Writing

Musical reading and writing is another essential component of the Kodly method.
Practitioners of this method use a variety of musical tools to develop a students fluency
in reading and writing music. These tools are discussed in more detail in Chapter4 of this
book. The teaching tools used include relative solmization, moveable do (where the tonic
note is do in major and la in minor), hand signs, and rhythm syllables.
Sequencing
Another vital component of the Kodly 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 three in Chapter5 of
thisbook.
Multiple Dimensions ofMusic

Music education, to quote the author Daniel H.Pink, is fundamental, not ornamental.1
Learning music gives students many opportunities to perform music, become stewards of
their cultural heritage, develop critical-thinking skills (reading and writing music), be cre-
ative human beings, and be informed listeners and audience members. Through these mul-
tiple dimensions of their music education, students develop skills that not only will make
them more accomplished musicians but will also prepare them for life as citizens of the
twenty-first century.
When designing a curriculum based on the Kodly philosophy of music education, we
need to develop our students:
Performance skills through singing, playing an instrument, and movement

Knowledge of music repertoire
Knowledge of critical-thinking skills about music through the development of
reading and writingskills
Ability to improvisemusic
Ability to listen to music with understanding
Framing a Curriculum Based on the Kodly Concept
Students asStewards ofTheir Cultural Heritage

Students will continue to experience a repertoire of music that includes folk music
from a variety of cultures, art music, patriotic music, and recently composed music.
This exposure deepens students understanding of the various styles of music, giving
them tools to understand a number of music cultures and styles. The music teacher will
give students a historical context for all repertoires being studied. Students will grow
to understand how differing types of music share the same music building blocks as
well as what makes music unique. Understanding a particular music style will equip
students to begin to understand how they develop their own creative style. This is an
3
invaluable and unique aspect of music education as it develops students understanding
and knowledge of various cultures.
Students asPerformers
On completion of third grade, students should be able to sing tunefully, individually as well
as in a group, songs with a nine-note range and simple two-part songs from the staff, stick
notation, and hand signs. They will sing while playing games, instruments, and conducting
in simple meters. They will perform singing by playing instruments and accompany them-
selves using melodic and rhythmic ostinatos. Performance includes creative movement
through singing, games, and performance on instruments.
Students asCritical Thinkers

Critical thinking is applied in music through reading and writing music to improve
literacy skills. Third grade students will sight-read some musical examples in unison
and in two parts, and read both rhythmic and melodic notation using learned patterns.
They will write known songs using traditional notation, as well as stick notation with
melodic patterns containing both steps and skips. Students will learn to inner-hear
songs using solfge and rhythm syllables. They will hear and identify both the extended
pentatonic scale and the minor pentatonic scale and add to their knowledge of solfge
syllables with the notes la1, so1 and high do1. Rhythmically, they will hear and under-
stand sixteenth notes, sixteenth-note-and-eighth-note patterns, and internal and exter-
nal upbeats.
Students asCreative HumanBeings

When students learn how to express themselves through improvisation and composition,
they learn more about who they are and what they are capable of accomplishing. The act of
writing a piece of music that no one else could have written gives a student a chance to use
his or her often-stifled creativity. Making good choices in a composition can lead to good
choices in life. We believe that it is important for students to develop their own creative
skills by manipulating rhythmic or melodic elements in a known composition before they
begin to create their own compositions.
Children will creatively engage with music and be given several types of improvisation
exercise. These may include individual and class improvisation or composition of move-
ment, singing, and playing on classroom instruments. Additionally they will improvise
short rhythmic and melodic patterns to create new versions of repertoire studied.
Students asInformed Listeners

Students in the twenty-first century are surrounded every day by music from a variety
of mixed media sources. It is our responsibility as music educators to help our students
become critical listeners so that they can identify and understand the purposes of different
kinds of music. They need to understand that the music they listen to with their friends
(social music) can have a purpose different from music repertoire studied in music classes.
Of course, students must ultimately understand that all music can be put into two catego-
ries:good or bad. It is our job as educators to train students to differentiate between good
4 and bad music and allow them to make their own choices as to music they listen to. We
need to develop a students ability to listen to a variety of styles of music, and understand
the stylistic elements and historical background of this repertoire. It is also important to
develop a students critical-listening skills. But the music repertoire we choose to use in our
music curriculum should reflect the processes that literature teachers employ when they
select a book to be read in a literature class. Although there can certainly be disagreement
as to what constitutes quality repertoire, there is a general consensus as to what makes great
literature.
Music education has the ability to affect students fundamentally because music is a holis-
tic discipline, reaching body, mind, and spirit. We move to the music, whether in games, or
feeling the beat and rhythm, or as performers. Students are taught tools of analysis as well
as tools of creativity, developing parts of their mind and spirit that the traditional academic
curriculum does not reach. They gain a rich sense of self-esteem from music education that
comes from the experiences of using their own creative talents, of finding their place within
a community, and of pure enjoyment ofmusic.
Grade 3 Music Curriculum

Here we present a sample grade three curriculum that is shaped by our understand-
ing of Zoltn Kodlys philosophy of music education. All the sections of the curricu-
lum will be discussed in greater detail in subsequent chapters. Of course we offer only
a shell of music curriculum; the demands placed on music teachers differ from one
school district to the next. We present a sample grade three curriculum as a starting
point for creating engaging music lessons. It is important to remember that, as we read
in the Oxford Handbook of Music Education, although disciplined practice is part of
the task, a young aspiring musicians spirit can be deadened in the face of a curriculum
of tasks to be done and discriminations to be learned in a standardized way, however
age appropriate its methods strive to be.2 It is likely that the specific music skills in
the sample will need to be modified according to the frequency of instruction. The goal
of this curriculum is to make available a model for constructing your own curriculum
based on the Kodly philosophy of music education and on current successful models
of the Kodly method. Once you have an understanding of this philosophy, you will be
able to make modifications to suit your own particular teaching situations. Our goal
is to show how the major tenets of the Kodly philosophy, and current practices in
teaching music using techniques associated with the Kodly method, can shape a music
curriculum.
Students asStewards ofTheir Music Heritage:Repertoire

We hope to expand song repertoire to add to students knowledge of folk music, art music,
recently composed music, and seasonal music. The students will relate their music perfor-
mance to history, to society, and to culture (playing games, singing songs from an array of
cultures, from the United States and neighboring countries), as well as connect the music to
other subjectsreading, writing, language, andmath.
Students asPerformers:Performance 5
The curriculum will broaden performance skills:
1. Singing tunefully
A. Students sing songs independently and tunefully.
B. They increase repertoire by learning thirty to thirty-five new folk songs,
games, canons, and simple two-part song arrangements.
C. Sing fifteen to twenty songs with solfge and handsigns.
D. Learn ten to fifteen songs by sight-singing.
E. Use known music symbols and terminology referring to rhythm, melody,
timbre, form, tempo, and dynamics (including mezzo piano and mezzo forte)
to perform and identify musical sounds presented aurally.
F. Sing individually and in groups in call and response, echo singing, game
songs, and verse and refrain.
2. Movement
A. Students perform circle games with chase element.
B. They perform circle games with choosing.
C. They perform double circle games in opposing directions.
D. They perform partner games with changing directions and changing partners.
E. They perform circle games containing simple square dance patterns.
F. They perform line dances containing contradance patterns.
G. They perform games and dances from various cultures.
H. They perform partner clapping and body percussiongames.
I. They improvise words and movement to knownsongs.
J. They practice tug of war and broad-jumpinggames.
K. They conduct duple simple, compound meter, and simple quadruplemeter.
L. They explore games, activities, and movement in personal space or generalspace.
3. Instruments
A. Students demonstrate third grade melodic and rhythmic concepts on
classroom instruments.
B. They accompany classroom singing on classroom instruments.
C. They play simple xylophone accompaniments to classroom singing.
4. Partwork
A. Students sing songs antiphonally.
B. They practice singing intervals simultaneously with solfge and handsigns.
C. They accompany a song with a rhythmic ostinato using combinations of

sixteenth notes, eighth note followed by two sixteenth notes, and two sixteenth
notes followed by an eighth note in four- and eight-beat rhythm patterns.
D. They accompany a song with a melodic ostinato using notes of the extended
pentatonicscale.
E. They chant simple rhythmic canons derived from the rhythms of
familiarsongs.
F. They sing simple melodic canons derived from the melodic motifs of
6 familiarsongs.
G. They perform two-part rhythmic exercises based on rhythmic motifs of
knownsongs.
H. They perform two-part melodic exercises based on the rhythmic and melodic
motifs of knownsongs.
I. They perform simple folk songs incanon.
5 . Conducting
A. Students conduct repertoire in duple simple, compound meter (in two), and
quadruplemeter.
Students asCritical Thinkers and Problem Solvers: Music Literacy

1. Reading and writing of rhythmic elements
A. Students know names and written symbols for combinations of sixteenth notes,
eighth note followed by two sixteenth notes, and two sixteenth notes followed by
an eighth note, and internal and external upbeats. (Students need to sing repertoire
fluently with rhythm syllables before learning the technical names of notes.)
B. They read with rhythm syllables as well as counting with numbers.
C. They read or write well-known rhythmic patterns with stick notation and
traditional rhythmic notation.
D. They read a two-part rhythmic exercise.
E. They expand reading of rhythmic and melodic patterns from four to eight to
sixteenbeats.
F. They write well-known rhythmic patterns with stick notation and traditional
rhythmic notation.
G. They expand writing of rhythmic and melodic patterns from four to eight to
sixteenbeats.
H. They write rhythmic patterns from memory or when dictated by the teacher in
stick notation and traditional rhythmic notation.
2. Reading and writing of melodic elements
A. Students know the names and written syllables for all solfge notes of the
major extended pentatonic scale and minor pentatonicscale.
B. They read well-known melodic patterns with traditional rhythmic notation
and solfge syllables as well as on staff notation.
C. They read a two-part melodic exercise from notation in exercises of up to
thirty-twobeats.
D. They write well-known melodic patterns with traditional rhythmic notation
E. They write melodic patterns found in focus songs from memory or when
dictated by the teacher using stick and solfge syllables, traditional notation,
and solfge syllables or staff notation.
F. They write well-known melodic patterns with traditional rhythmic notation
G. They write known songs using traditional rhythmic notation and solfge and
staff notation in G-do, F-do, andC-do.
H. They apply absolute letter names to simple melodic exercises on the staff in
G-do, F-do, andC-do. 7
3. Inner hearing
A. They silently sing melodic motifs or melody from the teachers handsigns.
B. They silently sing known songs with rhythmic syllables.
C. They silently sing known songs with melodic syllables.
D. They silently read either full or partial rhythms or melodies written in
traditional notation with solfge syllables or staff notation.
E. They sing back short, known melodic or rhythmic motives from memory
using text (if the student recognizes the song it is abstracted from), rhythm
syllables, or solfge syllables.
4 . Form
A. Students recognize simple song forms (ABAC, AABC, AABC).
B. They identify and label small and large musical forms such as AB and ABA
presented aurally in simple songs and largerworks.
C. They learn to read music with first and second endings.
D. They recognize rhythmic and melodic variation.
E. They create simple forms showing phrase variants, for example, ABAC,
AABC, AABC, andsoon.
5 . Musicalmemory
A. Students expand skills in memory to include memorization of longer passages
(eight to thirty-two beats), reading and writing memory work, improvisation
work, and adding absolute names directly from solfge without the notes
written on thestaff.
B. They echo four- and eight-beat rhythm patterns clapped by the teacher with
rhythm syllables.
C. They echo four- and eight-beat solfge patterns sung by the teacher with
solfge and handsigns.
D. They memorize short melodies through handsigns.
E. They memorize rhythm patterns of four or eight beats from known songs
from traditional rhythmic notation.
F. They memorize melodic patterns of four or eight beats from known songs from
traditional rhythmic notation with solfge syllables or from staff notation.
G. They memorize simple two-part exercises.
Students asCreative Human Beings:Improvisation

and Composition
We hope to expand skills in improvisation and composition to include singing, playing
instruments, and moving at the third gradelevel.
1. Rhythmic improvisation (based on the rhythmic building blocks of sung repertoire)

A. Improvise rhythm patterns of four or eight beats by clapping and saying
rhythm syllables.
B. Improvise rhythm patterns of four or eight beats using rhythm instruments.
C. Improvise a new rhythm to one measure or more of a well-known song
written in traditional notation.
D. Improvise question-and-answer motives using known rhythm patterns.
E. Improvise to a givenform.
8 2. Melodic improvisation (based on the melodic building blocks of sung repertoire)
A. Improvise melodic patterns of four or eight beats by singing with solfge
syllables and handsigns.
B. Improvise melodic patterns of four or eight beats using barred instruments.
C. Improvise short musical motives using notes from the major pentatonic scale
using hand signs, hand staff, or bodysigns.
D. Improvise pentatonic melodies to simple four- or eight-beat rhythms using the
voice or a barred instrument.
E. Improvise a melody to one measure or more of a well-knownsong.
F. Improvise question-and-answer motives using known melodic patterns.
Students asInformed Audience Members:Listening

We hope to expand listening repertoire to teach and reinforce third grade musical concepts.
Students will be ableto:
1. Expand listening repertoire to teach and reinforce third grade musical concepts
2. Categorize and explain a variety of musical sounds, including those of
woodwinds, brass, strings, percussion, and instruments from various cultures
3. Recognize musical features in classroom song repertoire, folk music, and
masterworks
4. Recognize rhythmic features in classroom song repertoire, folk music, and
masterworks
5. Recognize melodic features in classroom song repertoire, folk music, and
masterworks
6. Develop awareness of expressive controls, that is, dynamics, tempo, timbre, and
their distinctive characteristics in masterworks of various historical periods
7. Recognize phrase forms in classroom song repertoire, folk music, and
masterworks
8. Recognize tonic, dominant, and subdominant functions
9. Follow a complete score prepared by the teacher where all known elements will
be identified
10. Respond verbally and through movement to short musical examples
Prompt Questions forConstructing a Music Curriculum

These questions will help you tailor the sample curriculum to your own specific needs. It is
important that your curriculum reflect your own teaching philosophy and personality, as
well as your own content knowledge or expertise. Remember also to reinforce the vision
and mission of the school with your music programs, and to review your state standards for
music education.
Questions on Where You Are ComingFrom

1. What is your philosophy of music education?
2. What role does the Kodly concept of music play in the development of your
curriculum?
3. What is the mission and vision of your school? 9
4. How do you reinforce the mission of your school in your music curriculum?
5. How do you and your music students become advocates formusic?
6. How do you develop the teaching of music in your school so that music is treated
as a core subjectarea?
Questions on Repertoire in the Classroom

1. How do you select music repertoire for your curriculum?
2. Do you use this repertoire to develop all the students music skills in performance,
playing instruments, literacy, improvisation, and composition as well as prepare
them to become critical consumers ofmusic?
3. How will you encourage students to use the known rhythmic and melodic
building blocks to create and build musical compositions, bolstering
critical-thinking skills and creativity?
5. How will music benefit a students overall academic achievement in the
thirdgrade?
6. How does your classroom reinforce the core curriculum and the vision of the
campus?
7. How do you assess student growth in musicianship skills and music literacy
throughout theyear?
8. How does your classroom embrace cultural diversity thoughsongs?
9. What is the role of folk art and popular music being brought in by students of
various cultures, and how do you use it to draw parallels with other genres in
yourclass?
Questions on Music Skills and Content in GradeThree

1. How will you find a balance among the skills of singing, creative movement,
playing instruments, reading and writing music, composing and improvising, and
listening tomusic?
2. How do you create music lesson plans that will develop all of a students music
skills?
3. What rhythmic and melodic elements will your students master in gradethree?
Questions on Tailoring Your Teaching to Student Populations

1. What are some ways in which you meet the various needs of bilingual and
transitioning students to strengthen their primary language and promote
acquisition of the English language through repertoire?
2. How do you use a broad range of music genres and styles to reach various
populations of your campus and promote a lasting love and respect for allmusic?
3. How do you use a broad range of learning styles to reach various populations of
your campus?
4. What is the place of technology in the music classroom?
5. How do you ensure a safe environment that encourages learning?
Questions on Keeping Your Teaching Relevant

1. How do you incorporate modern styles and genres of music in the music classroom?
2. How do you incorporate popular and jazz music in the music classroom?
10
Questions on Embracing Music Learning at YourCampus
1. How do you encourage your faculty, staff, and administration to support your
music program?
2. What steps will you take to ensure your philosophy of music learning is supported
by your campus?
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 lessons, focus on developing students:
Knowledge of repertoire:teaching a newsong

Performance skills:learning to sing, play instruments, and move tomusic
Critical-thinking skills:teaching music concepts and elements to students
according to their frequency of occurrence in the material they are singing
Creative skills:teaching students how to improvise and compose
Listening skills:teaching students how to actively listen tomusic
We address all of these goals in detail throughout the book. Here we begin the process of
lesson planning. Aprimary 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 activi-
ties). Once learned, this information (practice) can be applied to expand their musical skills
through reading, writing, and improvisation.
Lesson planning and acquiring music literacy skills are closely intertwined. Teaching a
musical element involves eightsteps.
Preparation
1. Prepare the learning through kinesthetic activities.
2. Prepare the learning through aural activities.
3. Prepare the learning through visual activities.
Presentation
4. Present the solfge syllable or rhythm label for the newsound.
5. Present the notation for the newsound.
Practice
6. Incorporate the new element (now identified as a familiar element) into the
practices of reading.
practices of writing.
practices of improvisation.
This is accomplished throughout a series of lessons. 11

To undertake these steps, there are two basic lesson plan designs:preparation/practice
lessons and presentation lessons.
In a preparation/practice lesson, we prepare one musical element and practice another.
For example, when preparing a new element B (steps 1, 2, and 3)we also practice a famil-
iar element A(steps 6, 7, and 8). Once we have taught steps 1, 2, and 3, for element B in a
preparation/practice lesson, we address steps 4 and 5 for element B in presentation lessons.
Key Components ofLesson PlanDesign

Table 1.1 is the basic preparation/practice lesson plan design we use throughout the book.
In each chapter, we will add to this basic lesson plan design to incorporate and reflect the
information in the chapter. We use a lesson plan structure that divides all lessons into three
sections:introduction, core activities, and closure. This design can be modified to accom-
modate the learning objectives for developing students skills as performers, critical think-
ers, improvisers, composers, listeners, and stewards of their cultural and musical heritage.
Table1.1 Components ofthe Basic Preparation/Practice Lesson

PlanDesign
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 13 of preparing a new element
Creative movement
Practice and performance of musical skills Element A:This section of the lesson is used
for steps 68
C L O SU R E
Review and summation
Table 1.2 explains the segments of a basic preparation/practice lesson plan design.
Table1.2 Explanation ofthe Preparation/Practice LessonPlan
L E S S ON SE C T I ON ON E : I N T ROD U C T I ON
Demonstration of This segment of the lesson includes vocal warm-up exercises,
known musical concepts singing known songs, developing tuneful singing, and singing
and elements known songs with rhythmic or melodic syllables. During this
12 section of the lesson, 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
repertoire students 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 new Here activities focus on leading students to discover the
concept or element attributes of a new musical concept or element. The instruction
focuses on 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 movement Students learn singing games and folk songs. Activities focus on
the sequential development of age-appropriate movement skills
through songs and folkgames.
A sequence for age-appropriate movement skill development is
provided in Chapter3 of Kodly Today.
(Continued)
Table1.2 (continued)
This period of relaxation is followed by a second period of concentration.

Practice and musical In this section, the teacher practices the music skills outlined
skill development in the music curriculum under the title Students as Critical
Thinkers. This section reinforces known musical elements while
focusing on a particular music skill such as reading (step 6),
writing (step 7), or improvisation and composition (step 8). (Of
course, we use these skills as anchors for practicing all other 13
music skills, such as inner hearing, form, memory, part work,
and listening.)
L E S S ON SE C T I ON T H R E E : C L O SU R E
Review and summation Review the lesson outcomes
Review the newsong
Review the lesson content. Review the new song. 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.
The next four tables elaborate on the basic presentation lesson plan designs we use through-
out the book; we use 1.3 (components) and 1.4 (explanation) to label sounds with syllables,
and 1.5 (components) and 1.6 (explanation) to present the notation.
Table1.3 Components ofthe Basic Presentation Lesson Plan

Design forLabeling Sounds withSyllables
Performance and demonstration of known
musical concepts and elements
Presentation of a new concept or element ElementB
This segment of the lesson is used for step 4
Creative movement
C L O SU R E
Table1.4 Explanation ofPresentation Lesson Plan forLabeling

Sounds withSyllables
Demonstration of known
This section involves acquisition of repertoire and performance of new concepts or
14 elements.
Presentation of a new concept or Using a known song, the teacher presents the label
element for the new sound with either rhythmic or melodic
syllables.
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.
Movement development
Creative movement
Presentation of a new concept or Using another known song, the teacher presents
element the label for the new sound with either rhythmic or
melodic syllables.
Here the teacher will be presenting concepts that
Students as Critical Thinkers. They label the sound of
the basic rhythmic or melodic building blocks of the
song material.
Review the newsong
Review the lesson content. Review the new song.
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.
Table1.5 Components ofthe Basic Presentation Lesson Plan

Design forNotating a New Element
Performance and demonstration of known
Acquisition of repertoire 15
Creative movement
C L O SU R E
Table1.6 Explanation ofthe Presentation Lesson Plan Design

forNotating New Element
Demonstration of known musical
concepts and elements
This section involves acquisition of repertoire and performance of new concepts or
elements.
Presentation of a new concept or ElementB
element Using a known song, the teacher presents the
notation for the new element.
Students as Critical Thinkers.
Movement development
Creative movement
(Continued)
Table1.6 (continued)

Presentation of a new concept or ElementB
element Using another known song, the teacher presents
notation for the new element.
16 Students as Critical Thinkers.
Review the newsong
Review the lesson content. Review the new song.
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.
Chapter 2
Developing a Music Repertoire

17
Students as Stewards of Their Cultural
and Musical Heritage
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 as a pedagogical list of songs for
teaching rhythmic and melodic elements. This section also includes sequenced directions for
teaching singing games and movement activities.
Selecting Repertoire
A childs 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-
dents values, beliefs, cultures, knowledge, games, and stories. The music of students 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 Kodly approach uses games songs that are highly repetitive and melodically simple
to help build inner hearing (aural) skills and accurate singing (oral) skills. Those music
activities could be valuable to the development of social skills and self-confidence in
children, including those children with special needs, whereby language experience,
aural sensitivity and discrimination, and motor skills are cultivated in enjoyable and
purposeful music game settings.3
Take time to familiarize yourself with the primary sources for folk music referenced in
Chapter2 of Kodly Today. The selection of age appropriate repertoire for each grade
is important. Learning to sing this repertoire from memory will help students own it.
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 unaccompanied folk
songs. When performed in an aesthetically pleasing manner, the suggested songs will
capture the imaginations of students. Of course, these songs may also be accompanied
using tasteful piano accompaniments. Ruth Crawford Seegers collection of American
18 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 childrens 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 thirdgrade:
An alphabetical list of repertoire and sources for thesesongs

Singing games and directions for playing thesegames
Apedagogical list of songs suitable for teaching rhythmic and melodic elements
Grade 3 SongLists
Alphabetized SongList
Table 2.1 is a core list of songs for use in the third grade musicclass.
Table2.1 Grade 3 Alphabetical SongList
Song Title Source

Alfonso XII El Patio de Mi Casa
Above the Plain Czech Folk Song
Alabama Gal 150 American Folk Songs
Alcitrn Sail Away:155 American Folk Songs
Are You Sleeping? (Brother John) Heritage Songster
Band of Angels 150 American Folk Songs
Big Fat Biscuit Traditional
Billy Boy Heritage Songster
19
Blow Ye Winds Heritage Songster
Boots of Shining Leather 150 Rounds
Bought Me a Cat 150 American Folk Songs
Bow Wow Wow 150 American Folk Songs
Bye, Baby Bunting 150 American Folk Songs
Caracol (song) Vamos a Cantar
Cape Cod Girls 150 American Folk Songs
Canoe Song 150 Rounds, Folk Songs North America Sings
Las Cascaras de Hueve El Patio de Mi Casa
Cedar Swamp Folk Songs of the Southern Appalachians as sung
by Jean Ritchie
Chairs to Mend 150 Rounds
Charlie over the Ocean 150 American Folk Songs
Chickalalelo 150 American Folk Songs
Circle Round the Zero Circle Round the Zero
Cocky Robin 150 American Folk Songs
Come Life, Shaker Life The Gift To Be Simple
Come Thru Na Hurry Alabama Gal
Cotton Eye Joe American Ballads and Folk Songs
El Coyotito Vamos a Cantar
Cumberland Gap Sail Away:155 American Folk Songs
Dance Josey 150 American Folk Songs
Deedle Deedle Dumpling The Singing Book
The Deer Chase Sail Away:155 American Folk Songs
Dinah The American Play Party Song
Do, Do Pity My Case 150 American Folk Songs
(Continued)
Table2.1(continued)
Song Title Source

A Don Chin Chino Vamos a Cantar
Drunken Sailor American Sea Songs and Shanties (sung by Richard
Maitland)
Las Estatuas de Marfil El Patio de Mi Casa
Fed My Horse English Folk Songs from the Southern Appalachians
Fire in the Mountain My Singing Bird
Firefly The New Haven Song Collection/The Magic
of Music
20 The Gallows Pole Sing Out!
Golden Ring Folk Songs of the Southern Appalachians as sung
by Jean Ritchie
Grandma Grunts (variant) 150 American Folk Songs
Great Big House in New Orleans Sail Away:155 American Folk Songs
Green Gravel Sail Away:155 American Folk Songs
Hambone Lets Slice the Ice
Here Comes a Bluebird 150 American Folk Songs
Hill and Gully Rider Sail Away:155 American Folk Songs
Hogs in the Cornfield The American Play Party Song
Hold My Mule 150 American Folk Songs
Hop, Old Squirrel 150 American Folk Songs
How Many Miles to Babylon? 150 American Folk Songs
Hush, Little Baby 150 American Folk Songs
I Lost the Farmers Dairy Key 150 American Folk Songs
Ida Red 150 American Folk Songs
Ill Sell My Hat 150 American Folk Songs
Iroquois Lullaby Folk Songs North America Sings
Jim Along Josie 150 American Folk Songs
John Kanaka Sail Away:155 American Folk Songs
Johnny Cuckoo 150 American Folk Songs
Johnson Boys Sail Away:155 American Folk Songs
The Jolly Miller 150 American Folk Songs
Kansas Boys My Singing Bird
(Continued)
Table2.1(continued)
Song Title Source

King Kong Kitchie 150 American Folk Songs
Kings Land My Singing Bird
Knock the Cymbals The Song Garden, Book 2
Land of the Silver Birch Heritage Songster
Let Us Chase the Squirrel 150 American Folk Songs
Liza Jane 150 American Folk Songs
A Madr Seores El Patio de Mi Casa
Mama, Buy Me a Chiney Doll 150 American Folk Songs 21
Milano El Patio de mi Casa
Mush Toodin Folk Songs North America Sings
Oh, Fly Around 150 American Folk Songs
Oh, No, John Sail Away:155 American Folk Songs
Old Betty Larkin Folk Songs of the Southern Appalachians as sung
by Jean Ritchie
Old Brass Wagon Handy Play Party Book
Old Gray Mare My Singing Bird
Old McDonald 150 American Folk Songs
Old Molly Hare 150 American Folk Songs
Old Mr. Rabbit 150 American Folk Songs
The Old Sow 150 American Folk Songs
Old Texas The Song Garden, Book 3
Over the River Folk Songs of the Southern Appalachians as sung
by Jean Ritchie
El Patio de mi Casa El Patio de mi Casa
La Patita Vamos a Cantar
Paw Paw Patch 150 American Folk Songs
Phoebe in Her Petticoat My Singing Bird
Poor Little Kitty Cat 150 American Folk Songs
Pourquoi 150 American Folk Songs
Riding in the Buggy 150 American Folk Songs
Riding of a Goat 150 American Folk Songs
(Continued)
Table2.1(continued)
Song Title Source

Rocky Mountain 150 American Folk Songs
Rosie, Darling Rosie 150 American Folk Songs
Row, Row, Row Your Boat 150 Rounds
A la Rueda de San Miguel El Patio de Mi Casa
Sailing on the Ocean 150 American Folk Songs
San Serafin del Monte El Patio de Mi Casa
Santo Domingo Vamos a Cantar
Scotlands Burning 150 Rounds
22
Sea Shell Simple Gifts I
See-Line Woman 150 American Folk Songs
Shanghai Chicken 150 American Folk Songs
Sioux Indian Lullaby My Singing Bird
Skin and Bones Folk Songs of the Southern Appalachians as sung
by Jean Ritchie
Skip to My Lou Folk Songs USA (Lomax/Seeger)
Skipping Rope Song 150 American Folk Songs
Swapping Song Folk Songs of the Southern Appalachians as sung
by Jean Ritchie
Tideo 150 American Folk Songs
Turn the Glasses Over 150 American Folk Songs
Tengo Una Muneca El Patio de mi Casa
Wallflowers Sail Away:155 American Folk Songs
Walter Jumped a Fox Some Representative Southern Illinois Folk Songs
(performed by Lottie Hendrickson)
Weevily Wheat American Ballads and Folk Songs
Whatll We Do with the Baby-o? Folk Songs of the Southern Appalachians as sung by
Jean Ritchie
References forTable2.1
Andrews, Edward D. The Gift to Be Simple. NewYork:J. J.Augustin,1940.
Bacon, Denise. Lets Sing Together! London:Boosey & Hawkes.1971.
Bolkavec, Edward, and Judith Johnson. 150 Rounds for Singing and Teaching.
NewYork:Boosey & Hawkes,2000.
Botkin, Benjamin Albert. The American Play-Party Song. Lincoln, NE,1937.
Choksy, Lois. The Kodly Context. Englewood Cliffs, NJ:Prentice-Hall,1981.
Dallin, Leon, and Lynn Dallin. Heritage Songster. Dubuque, IA:Wm. C.Brown,1966.
Davis, Andy, Mary Cay Brass, and Peter and Mary Alice Amidon. Alabama Gal.
Chicago:GIA,2011.
Emrich, Duncan, ed. American Sea Songs and Shanties. (Recordings made by Sam Eskin,
Alan Lomax, and Helene Stratman-Thomas, 193951.) AFS L26 Track3.
Erdei, Peter (ed.), and Katalin Komls. 150 American Folk Songs. London:Boosey &
Hawkes, 1985 [1974].
Heath, Carol. The Song Garden. Book II. West Hartford, CT:Kodly Musical Training
Institute,1986.
Hein, Mary Alice, Lois Choksy, and Kathleen Dalton. The Singing Book:Beginning Level.
San Francisco:Renna/White Associates,1978.
Houlahan, Michel, and Philip Tacka. Kodly Today. NewYork:Oxford University
Press,2008.
Johnston, Richard. Folk Songs North America Sings. Toronto:Caveat,1984.
Kenney, Maureen. Circle Round the Zero. St. Louis:Magnamusic-Baton,1983. 23
Knowles, Faith. Vamos a Cantar:230 Latino and Hispanic Songs to Sing, Read, and Play.
Columbus, OH:Kodly Institute at Capitol University,2008.
Locke, Eleanor G. Sail Away:155 American Folk Songs. London:Boosey & Hawkes,1988.
Lomax, John A., and Alan Lomax. American Ballads and Folk Songs.
NewYork:Ludlow,1962.
Lomax, John A., and Alan Lomax. Folk Songs U.S.A. NewYork:Plume Books,1947.
The Magic of Music, Book IV. Boston:Ginn, 1967, p.195.
McIntosh, David. Folk Songs and Singing Games of the Illinois Ozarks.
Carbondale:Southern Illinois University Press,1974.
Montoya-Stier, Gabriela. El Patio de Mi Casa. Chicago:GIA,2008.
The New Haven Song Collection (unpublished, compiled by Kodly teachers in
New Haven, CT,1969).
Rohrbough, Lynn, and revised by Cecilia Riddell. Handy Play Party Book. Burnsville,
NC:World Around Songs, 1982 [1940].
Sharp, Cecil. English Folk Songs from the Southern Appalachians. London:Oxford
University Press,1932.
Sing Out! Vol. 8, No. 1.NewYork:OAK,1961.
Wyzga, Helen L. Simple Gifts, Books IIII. Pittsburgh:Volkwein Brothers,1976.
Youngberg, Harold C. Making Music Your Own, Teachers Edition, Book 6.Morristown,
NJ:Silver Burdett,1971.
Zacuto, Melinda, and Jerry Silverman. Folk Songs of the Southern Appalachians as Sung
by Jean Ritchie. NewYork:OAK,1965.
Singing Games and Sequenced Directions forPlaying

Table 2.2 shows a list of songs and game directions for thirdgrade.
Table2.2 Games forGrade3
Song/Game Title Source

Big Fat Biscuit
Boots of Shining Leather Hungarian Folk Song with English
Text by Anne Kaye
(Continued)
Table2.2(continued)
Dance Josey 150 American Folk Songs

Deedle Deedle Dumpling (rhyme) English Tradition Rhyme
Dinah Kodaly Today
Do, Do Pity My Case 150 American Folk Songs
Fed My Horse Kodaly Today
Golden Ring Folk Songs of the Southern
Appalachians
Great Big House From Sound to Symbol
Hambone Lets Slice the Ice
24 Here Comes a Bluebird Kodaly Today
Hogs in the Cornfield Kodaly Today
Hop, Old Squirrel Kodaly Today
How Many Miles to Babylon? 150 American Folk Songs
I Lost the Farmers Dairy Key 150 American Folk Songs
Ida Red 150 American Folk Songs
Jim Along Josie 150 American Folk Songs
John Kanaka Sail Away:155 American Folk Songs
The Jolly Miller 150 American Folk Songs
Knock the Cymbals The Kodaly Method
Let Us Chase the Squirrel 150 American Folk Songs
Old Betty Larkin Folk Songs of the Southern
Appalachians
Old Brass Wagon Kodaly Today
Old Mr. Rabbit 150 American Folk Songs
Over the River Kodaly Today
Paw Paw Patch Kodaly Today
Rosie, Darling Rosie 150 American Folk Songs
Sailing oer the Ocean 150 American Folk Songs
Shanghai Chicken 150 American Folk Songs
Tideo 150 American Folk Songs
Turn the Glasses Over 120 Singing Games and Dances for Elementary
School
Wallflowers Sail Away:155 American Folk Songs
Yangtzes Boatmans Chantey An American Methodology
References forTable2.2
Brummitt, David, and Lois Choksy. 120 Singing Games and Dances for Elementary School.
Englewood Cliffs, NJ:Prentice-Hall,1987.
Choksy, Lois. The Kodly Context. Englewood Cliffs, NJ:Prentice-Hall,1981.
Eisen, Ann, and Lamar Robertson. An American Methodology. Lake Charles, LA:Sneaky
Snake,1996.
Erdei, Peter (ed.), and Komls, Katalin. 150 American Folk Songs. London:Boosey &
Hawkes, 1985 [1974].
Houlahan, Michel, and Philip Tacka. From Sound to Symbol. NewYork:Oxford
Houlahan, Michel, and Philip Tacka. Kodaly Today. NewYork:Oxford University
Press,2008.
Locke, Eleanor G. Sail Away:155 American Folk Songs. London:Boosey & Hawkes,1988.
Zacuto, Melinda, and Jerry Silverman. Folk Songs of the Southern Appalachians as sung by 25
Jean Ritchie. NewYork:OAK,1965.
Table 2.3 includes directions for playing the singing games. We recognize that teachers
may have better ideas and more creative ways to teach musical games. These game direc-
tions are intended to offer helpful guidance.
Table2.3Grade3
G A M E DI R E C T I ON S
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 *
Allemande: partners match right hands, touching from hands to elbow. Elbow is bent and
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.
(Continued)
Table2.3(continued)
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.
26
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 others 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
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.
Wring the dishrag: partners face each other, holding hands. With hands held, partners
swing their hands forward, up, and over their heads as they turn underneath. Partners
should be in their original position, hands still held, at the end of the motion.
DR AW M E A BU C K E T OF WAT E R
Classroom use: squaredance
Setup:
Start teaching with one set of students, with the other students watching.
Follow the text of the song:Go under means that one couple holding hands puts their
joined hands over a players head and behind theirback.
1.Square
2. Lead couple holds handsunder.
3. Other couple holds handsover.
Dancesteps:
1. Both couples hold hands and saw back andforth.
2. Students 3 and 4 put their joined hands over leads head and behind back of one person
in the square.
3. Do this until all members of the square are included.
(Continued)
Table2.3(continued)
4. Frog in the bucket . All members of the square jump while holding their hands
andsing.
Variant:Sister Sally.
F E D M Y H OR SE
Classroom usegame:doublecircle
Setup:
Double circle:make one circle, ask every other child to stepin
Inside circle facesout
Outside circle faces in
Dancesteps:
27
1. Fed my horse in a poplar trough
pop:lap
lar:clap
trough:straight (clap partners hands together)
2. Coy ma-lin-do kil-ko kil-ko
coylap
lin-do:clap
kil-ko kil-ko:cross-clap cross crosscross
3. kil-kome
kil-ko:crosscross
me:straight (clap partners hands together)
4. Add:on the word Fed outside circle step over to a new partner. Do this three times.
Stay in place on words then he caught the whooping cough. Can step/sway over like
you are shoveling.
Version2
Setup:doubleline
Dancesteps:
1. Phrase 1, four steps in and clap partnershands
2. Phrase 2, four steps back and snap behindyou
3. Phrase 3, four steps in and clap partnershands
4. Phrase 4, four steps back and snap behindyou
5. Chorus 1, head couple sashay down theline
6. Chorus 2, next couple sashay down the line
F I R E I N T H E M OU N TA I N
Classroom usegame:circle
Game directions: half the students sit in a circle in chairs facing the middle; one student sits
on a chair in the middle holding a tambourine; the remaining students each stand behind a
chair on the outside of the circle.
During the singing of the song, students on the outside of circle walk to the beat from chair
to chair; the person in the middle keeps the beat with the tambourine.
As in musical chairs, when the person in the middle stops the tambourine, they will run
to try to get a chair to stand behind, forcing one of the students behind the chairs to be left
without a chair, thus being it for the next round.
(Continued)
Table2.3(continued)
G OL DE N R I N G A ROU N D T H E SU S A N G I R L
Classroom usegame: square dance, birdie inacage
Dancesteps:
1. Round and roundall circleleft
2. Golden ring(phrase 1)lady 1 goes to couple 3, (phrase 2)man 1 forms a circle with
couple 3 and (phrases 3 and 4)they circle left aroundher
3. Round and round circle left with only four people (couples 1and3)
4. Golden ring now lady 1 goes to couple 2 and man 1 forms a circle with couple 2 and
they circle left aroundher
5. Round and round circle left with six people (couples 1,3,2)
28 6. Golden ringlady 1 goes to couple 4, man 4 forms a circle with couple 4 and they
circle left aroundher
7. Round and roundcircle left with whole circle, but be sure to pick up the couples in
the right order.
G R E AT B I G H OU SE
Classroom usegame:circle
Teaching process: the teacher begins by asking the students to take small sideways steps to
the left by saying step, together, step, together to the beat. This practices the motion at the
end of the game once all the students are intertwined.
Verse 1:students circleleft.
Count off around the circle 1and2.
Verse2:
Went down to the old mill stream
Motions:number 1 students take four tiny steps toward the center and join hands with
theirgroup.
To fetch a pail ofwater
Motions:number 2 students walk in putting their hands in between the 1 students and
hold hands with other 2 students. Its helpful to demonstrate this motion with several
students before asking all the 2 students to perform.
Put one arm around mywife
Motions:number 2 students raise their hands and put their arms around the back of
the 1 students, keeping hands held. Again, this should be demonstrated by the teacher
and a few studentsfirst.
The other round my daughter
Motions:number 1 students put their arms around the back of the 2 students, keeping
hands held. The teacher may have to discuss with the class how to duck under the
neighbors arms, especially if there are varying student heights.
Verse 3:all players do the step together motion to their left while still holding hands
behind each others backs. On the last phrase, they release their arms and step back to
begin singing again. (At this point you could have the 1s become 2s, etc.)
(Continued)
Table2.3(continued)
H E R E C OM E S A B LU E B I R D
Classroom usegame:acting out, circle, choice, partners
Game directions version 1:students stand in a circle with hands joined and lifted to create
archways. As they sing, one child walks in and out of the arches. On take a little partner this
child takes a partner, joining hands, and gallops in and out of the opening in the circle or dances
around inside the circle. The first child joins the ring, the partner becomes the new bluebird.
Game directions version 2: play as written above, except both the bluebird and their partner
move in and out of the arches when the song begins again. On take a little partner, both students
select partners to hop in the garden. The circle will shrink as more students become bluebirds.
H O G S I N T H E C OR N F I E L D
29
Classroom usegame: partner
Game directions version1:
Partners decide who will be number 1 and who will be number2.
One or more pairs come to a line marked on the floor. The pairs grab right hands and put
their toes against theline.
The class sings the song once. When the song is over, each student tries to pull his/her
partner over theline.
Whoever wins takes his/her partner over to his/herteam.
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 studentswins.
Game directions version2:
Partners are back to back in the middle of the classroom.
Partners walk away from each other to 6beats.
On beats 7 and 8 they do rock, paper, scissors to the eighth-note rhythm.
H OP, OL D S QU I R R E L
Classroom usegame: choosing
Game directions:you will need two yoga or spring balls, and a starting line and finishing
line designated on the floor. Squirrels race from point Ato point B while hopping on
yoga balls. Students are allowed to hold onto the ball with their hands and/or legs. Class
sings entire song. Teacher claps on the final dee to signal the start of the race. At the end of
the race, both squirrels choose another student to take his/her place.
H OW M A N Y M I L E S TO BA B Y L ON ?
Classroom usegame: doubleline
Game directions: in a double line formation facing each other, one line stands on one side
of the room, and the other line stands on the opposite side of the room. One group are
Travelers, the other group are Villagers and should hold hands making arches like the city
gates.
Teaching process:
The groups stand and sing to eachother.
At the end of the singing, they both walk toward eachother.
(Continued)
Table2.3(continued)
Each Traveler chooses which gate to walk through and walks through to the other side of
the playingarea.
The groups change roles and play again.
H U SH , L I T T L E M I N N I E
Classroom usegame: acting out,circle
Teaching process: the teacher sings entire song for students. The teacher sings the song
again, replacing the word hush with a silent motion. Students echo. Each time the teacher
sings, he/she replaces the next word with a silent motion until the end of the song. Students
echo after each new word has been replaced.
Motions:
30
Hush:back of hand covering mouth, with palm facingout
Minnie:hold arms as if cradlingababy
Dont:finger to lips, as if sayingshhh
Buy:slap thigh orpocket
Mockingbird:bird motion with hands, thumbs crossed with hands mimickingwings
Whistle:whistle
Sing:two fingers pointing like sound is coming from yourmouth
Do most anything:hands criss-cross back and forth in front of body, with palms
facing down
JOH N KA NA KA
Classroom usegame: double circle (this game can also be performed or first taught as a
single circle game). Traditionally, girls stand in the inside circle facing the outside circle and
their partners.
Dancesteps:
1. First, teach the repeating line pattern.
2. On the word John students stomp their rightfeet.
3. They then pat their thighs on the words Kanaka-naka(5 times, alternating hands).
4. This is followed by two claps on the words Too-la.
5. Partners then pat both hands together on the ay of Too-la-ay.
6. A ll together this is:stomp, pat (legs), pat, pat, pat, pat, clap, clap, pat (partners hands).
It is important to teach this step first. Model this first with one student while having
the class clap the rhythm pattern. Add several other pairs, then the entire group.
Isolate each step until all are successful.
7. S ing lines 1, 3, and 5 of the song adding the motions above to lines 2, 4, and 6:John
Kanaka naka Too-la-ay
8. Th
en teach the do-si-do. As this is a chantey, students do not need to hold their arms
in front across their chests. Instead, they should march around their partner right
shoulder to right shoulder (always facing in the same direction).
9. This step is performed on lines 1and3.
10. Next add motions for line 5Too-la-aystudents will clap their own hands twice,
then pat their partnershands.
(Continued)
Table2.3(continued)
11. O
n the word Oh they will raise their hands up over their heads and shake their
hands (jazz hands).
12. Repeat the clap, clap, pat on the word Too-la-ay.
13. Together this is clap, clap, pat, raise and shake, clap, clap,pat.
Again it is important to model this with one student first. Put all the steps together and the
song is complete with motions in its single circle version.
Double circle variation:
To play this game in its double version form, teach the above steps in order first and then
add the following:
1. Now the pairs may move into a double circle formation. The inner circle should face
outward, facing their partners. 31
2. On line 1 students do-si-do with their partner, right shoulder to right shoulder.
3. On line 2 students stamp their right feet, pat their knees with alternating hands
5 times, clap their own hands twice and pat their partners handsonce.
4. On line 3 students do-si-do their partners again, right shoulder to right shoulder.
5. On line 4 students repeat line 2stamp, pat legs five times, clap, clap, pat partnershands.
6. On line 5 partners clap their own hands twice, pat their partners hands and raise their
hands up. When they raise their hands everyone should step to the right. This means
those in the inner circle will move clockwise and the outside circle will move counter-
clockwise. This places everyone in front of a new partner.
7. Repeat line 1 on the last line of the songstomp, pat legs five times, clap, clap, pat
partnershands.
8. Repeat the entire song.
T H E JOL LY M I L L E R
Classroom usegame: doublecircle
Teaching process: the formation is a double circle of players standing side byside;
the inside player has her right arm on the left shoulder of the outside circle player to form
the spokes of a wheel. One person is designated the miller and stands alone in the center of
thewheel.
Game directions: as the song is sung, all players walk around in the circle. At the end of the
verse, all the inside players drop hands and quickly step up to the next person and touch
their shoulders. At the same time, the miller tries to find a partner. One student will be left
alone and becomes the next miller and the game begins again.
K I N G S L A N D
Classroom usegame: choosing,chase
Game directions version 1: in an open play area, one side is the safety zone and one side
is the city limits of Boston. The king stands at one end of the playing area (in Boston) while
the others march from the safety zone across the middle of the space singing thesong.
At a given signal, the king chases the servants to the opposite safety zone. If the king tags
anyone, he/she must stand in Boston with the king to help tag others after each repetition of
the singing and chasing.
(Continued)
Table2.3(continued)
Game directions version 2: two students are chosen to be guards. The remainder of
the students sing the song in a nanny, nanny boo boo style. At the end of the song, the
students run to the base while guards tag as many students as possible. Any student who
is tagged becomes a guard. The remaining students sing the song again and run back the
way they came, trying not to get tagged.
K N O C K T H E C YM BA L S
Classroom usegame:acting out, partner,circle
Game directions:
Verse 1:Knock the cymbals, do, oh,do
Phrase 1:walk four small steps to themiddle
32
Phrase 2:walk four steps back to originalplace.
Repeat for phrases 3and4.
Verse 2:Left hand cross, do, oh,do
Hold out left hand and walk around the circle counterclockwise.
Verse 3:Right hand cross, do, oh,do
Hold out right hand and walk around the circle clockwise.
Verse 4:Promenade around, do, oh,do
Option 1:Put hands on hips and walk around the circle.(easy)
Option 2:Partners promenade counterclockwise. (more complicated)
Option 3:Partners promenade counterclockwise. On the fourth phrase, the inside circle
moves up one person so that they have a new partner for the next repetition.
L I T T L E JOH N N Y B ROW N
Classroom usegame: circle, actingout
Game directions: Players are standing in a circle, singing and clapping. One player in the
middle dramatizes the words by folding a large handkerchief one corner at a time. On Take
it to your lover, they should choose another person in the circle and approach that person.
On Show her (him) your motion, create a motion that the chosen person must copy. Lope
like a buzzard is shown by putting hands under arm pits and flapping elbows. The person
who receives the handkerchief is the next one in the middle of the circle.
L ON G - L E G G E D S A I L OR
Classroom usegame: acting out, partner
Game directions: partners are facing each other. Sing song and act out words with
eachverse.
Have you partners hold hand and swing hands left andright.
+ ~ ^ ~ (action) ~ +
Ever, ever, ever in your long leggedlife
~ (action) ~ (salute) ~ (action) ~ +
seen a long legged sailor with a long leggedwife?
(Continued)
Table2.3(continued)
+ means to clap right hand to righthand

~ means to clap your own hands together
^ means to clap left hand to lefthand
On the word long (the other words in the subsequent verses) you show through acting
out. On the word sailor all should salute.
Sailor:salute (in everyverse)
Long legged:arms extended horizontally
Short legged:hands close together
One legged:stand on onefoot
No legged:jump
Teaching steps: all students face the teacher and pretend to be the teachers partner as he or she 33
performs clapping motions with song at slow tempo so the students can clearly imitate the motions.
OL D B E T T Y L A R K I N
Classroom usegame: square dance, grapevinetwist
Dancesteps:
1. Hop around, skip around, old Betty Larkin:circle left halfway, circle right halfway.
2. Needle in a haystack:girl 1 is the leader of a grapevinetwist.
3. Steal, steal:grand right and left, promenadehome.
4. You take mine and Ill take another:boy 1 is the leader of a grapevine twist, passing
his partner and getting a new partner one to theright.
5. Entire song may repeat, with girl 3, boy 3, girl 2, boy 2, girl 4, boy 4 getting a turn to
lead the grapevine twist.
OL D B R AS S WAG ON
Classroom usegame: circle, squaredance
Game directions:
Circle to left, Old Brass wagon youre the one my darling.
Motions:join hands and circle left until you get homeagain.
Circle to the right, Old Brass Wagon youre the one my darling.
Motions:join hands and circle right until you get homeagain.
Do-si-do your partner, old brass wagon. Do-si-do your corner, old brass wagon.
Do-si-do your partner, old brass wagon, youre the one my darling.
Motions:take the full four phrases to complete these three instructions.
Allemande your partner, allemande your corner youre the one my darling.
Motions:allemande as noted. On the final allemande your partner, set up for
promenade with your partner.
Promenade around, old brass wagon.
Motions:promenade full circle, clockwise.
Swing your partner, swing your corner youre the one my darling.
Motions:right hand swing your partner, left hand swing your corner, right hand swing
your partner
(Continued)
Table2.3(continued)
OL D M I ST E R R A B B I T
Classroom usegame: choosing, low la, also suitable for younger students.
Game directions:
This is a musical chairs type game. The chairs should be in a circle and there should be one
less chair than students playing. The last word of the song states a vegetable that a rabbit
might eat. Students name different vegetables. The teacher assigns different students as
being different vegetables, some carrots, some corn, some cabbage, etc. At the end of the
song, teacher sings one of these words, and those who are the named that vegetable must get
up and switch chairs, with the teacher trying to find a seatalso.
Teaching steps: the number of different foods needs to be no more than four for a class of
34 thirty. Try to seat the students with their chairs against walls. Arabbit puppet for the person
in the middle is a great addition to this game.
OV E R T H E R I V E R
Classroom use:doubleline
Dancesteps:
1. Students stand in a double line across from their partners
2. Take four steps towards partner, four stepsback
3. Right hand pass with your partner
4. Take four steps towards partner, four stepsback
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.
PAW PAW PATC H
Classroom usegame: doubleline
Game directions:
Verse 1:head girl skips counterclockwise around the outside of both lines back toplace.
Verse 2:head girl repeats movement as the entire boy line followsher.
Verse 3:head couple casts off to make an arch at the bottom; each line follows and goes
under the arch and back to place. The game repeats with new head couple.
Teaching steps: using tape on the floor, have students make two lines (six pairs is a good
number). Designate a girl line and a boy line. Boys should wear a tie. The head girl is
Suzie.
Practice the cast off . Boys sit while the girls follow Suzie outside theline.
Suzie and teacher form a bridge and second girl leads the line back to the top staying in
line. Girlssit.
Head boy leads boy line in the opposite direction.
Teacher and head boy form a bridge and second boy leads line back to thetop.
All students stand to sing. Using the same head boy and Suzie, play the game from the
beginning. Repeat until every girl is able to be Suzie.
(Continued)
Table2.3(continued)
P I Z Z A , P I Z Z A
Classroom usegame: choosing, circle, call and response
Teaching steps: teacher demonstrates the motions of the feet by first patting on her legs; the
words are Out, cross, out, cross, out. Students should echo the words and motions with
their hands. Teacher sings the song while performing the above motions while students
move their hands out, crossed, out, crossed, out. On Pizza, pizza daddy-o, the teacher
stands and demonstrates how to jump and cross legs out and in, out and in. The students
perform the jumping motions with the song. Teacher may improvise some action words to
act out during the song. For example:Lets hop it. Hop it, hop it, daddy-o.
Once the students understand the idea of improvising the actions, the teacher may ask
several students to come up with the next few motions. The teacher may also limit it with 35
categories like sports or playground, etc., so students pick the words more quickly. Lets
bat it, swim it, pitch it, swing it, jump it, etc. To end the game, sing Lets end it, end it, end it
daddy-o, clapping as you say the wordend.
The teacher selects one student to go to the middle and be the leader. He/she gets to
choose the actions that the class will perform. On end it, the student points in a circle
and chooses the next person who will come to the center.
RO SI E , DA R L I N RO SI E
Classroom usegame: choosing, chase,circle
Teachingsteps:
This game is similar to Cut the Cake but may be played sitting instead of standing. Students
sit or stand in a circle.
One person is chosen to be the leader. That person steps around the outside of the circle,
leading the singing and possibly playing a drum or tambourine.
On the last syllable of the song, the leader taps the nearest person and runs around the circle.
The tapped person must run in the opposite direction, trying to reach his/her own place
before the leaderdoes.
The loser will then be the next leader.
S A I L I N G ON T H E O C E A N
Classroom use: double circle, four boys on the inside and everyone else on the outside.
Dancesteps:
1. Verse 1:the outside circle moves clockwise while the inside circle moves
counterclockwise.
2. On the words You can get a pretty girl each boy in the inner circle changes
directions and joins hands with a girl of his choice in the outer circle.
3. Verse 2:the outer circle continues to step to the beat. The boys from the inner circle
walk beside their chosengirls.
4. Verse 3:the boys pull their partners into the inner circle. They then change direction
and walk counterclockwise in an inside circle of eight. (boy-girl-boy-girl,etc.)
5. On You can lose, the boys step into the outer circle. They leave the four girls in the
inside circle so the girls begin the game again.
(Continued)
Table2.3(continued)
SK I P P I N G ROP E G A M E ( E A R LY I N T H E M OR N I N G )
Classroom usegame: choosing
Teaching steps: students first learn to jump rope individually to the steadybeat.
Then, groups of two students learn to turn a jump rope for other jumpers.
The class chants the words as two students turn the rope. Adesignated student begins jumping.
In phrase three, Up Jump Ella to open the door, the jumper substitutes a different name
from the class. The chosen student then gets tojump.
The former jumper takes the place of one of the rope turners.
T I DE O
36 Classroom usegame: double circle, partner, bigmotor
Setup: double circle:make one circle, ask every other child to stepin
Inside circle facesout
Outside circle faces in
Dancesteps:
1. Tideo clap pattern instruction
a. Do what Ido:lap, clap, straight (patty-cake-two-hands-out clap) (ta tataz).
b. Im going to sing a song called Tideo. Watch me. T sings and shows clap pattern on
the word Tideo.
c. What word did Ido this on?Tideo.
d. Every time Ising the word Tideo dothat.
e. Tie in:how many times did we do Tideo?7
TEACHER TIP:Students may drop out to count rather than do movements and
count at the same time. It is especially hard for them to count while singing atfirst.
f. Now Im going to ask you to sing what you can, at least the Tideos.
g. Tie in:how many of you got the same number that you got before?
h. In fact, you can sing the whole song thistime.
2. Tie in:when you pass the window, what are you going to do? Jingle. If you think its too
much to sing and move this time, just jingle. If you can do it all, goahead.
3. How many times you do jingle?3.
4. At this point, insist they try to sing and do all the motions. But if they cant yet, just the
early motions. Stop here the firstday.
Motions and movements are tantamount to learning. Words come last. Teacher must
generate the words longer while students learn the movements.
Add bigmotor
Which way should we go? Or This way (raise a hand) rather than left orright.
Well sing pass one window, tideo and on tideo we clap with partner. On pass two
windows outside circle will step over to a new partner and clap. After we jingle here we step
over here. Pass one window, tideo there. Pass two windows, pass three windows tideo there.
Then stop and we jingle.
Teacher:pass one window (walk), pass two windows (walk), pass three windows (jingle).
Jingle:hold two hands up and wiggle and bend knees and come up. Can modify with fourth
holding one hand. With less than third, no hand holding, just jingling.
(Continued)
Table2.3(continued)
After end product, variation:outside circle stays put, inside circle moves.
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 usegame: doublecircle

Dancesteps:
1. Traditionally, men are on the outside circle and men walk to the right, inner circle
walks left. (Or give them a choice.) Walk in this direction until Istop singing.
2. T stops singing on over. What word did Istop on?Over.
3. This time Im going to stop on a number word. T sings, Sswalk.
4. What was the number word? Three. Remember that because we are going to stop
on it everytime. 37
5. What was the first word? Over. See how many times Ising the word over. Three
(or five) times. When you come to the word three, Istill want you to stop. T sings
and now Ss sing andwalk.
6. Over, pass, over, pass, over and stop on the third person. This time pass someone on
each over word, and still step on the wordthree.
7. Now, give the person on the inside your shaking hand, and turn so you are facing the
same way the outside circle is facing (right), and turn and cross your body and shake
their other hand above the first shake (like skaters position, it is a promenade). Now
we are going to sing and walk likethis.
8. What happens to the girl in the ocean? Gets lost. On the word lose Iwant you to
lift up the top handshake hands, man turn the person on the inside circle away from
you, halfway around, and let go of hands. Send your gal so that the inside circle now
goes opposite of how you were promenading (inside circleleft).
9. See if you can sing through this part again. When we come to Sailing East, Sailing West, its
always the same there, we call that the refrain. Start on Sailing. Ready, all the way, startagain.
10.This time, you have to count people so that you end up with somebody new. (It is
supposed to be two people up from your original partner, but no one is exactly sure
how to make this happen. Isay any partner is a good one!)
WA L L F L OW E R S
Classroom use: choosing,circle

Teaching/dance steps: initially, teacher sings as students walk to the beat in a circle. Teacher
demonstrates how to kick and point her toes during the last phrase of thesong.
On second singing, during Lets all go to Marys house, the teacher substitutes another
students name for Mary. That student comes to the center of the circle and kicks and points
his/her toes during the last phrase.
On the third singing, that student remains in the center of the circle and chooses the next
student, substituting his/her name in the song.
* These terms often appear in dance and game directions. We thank our student Rebecca Seekatz
for contributing this glossary ofterms.
Grade 3 Pedagogical Song List forTeaching Rhythmic

and Melodic Concepts and Elements
In Table 2.4, we present a list of songs for teaching core rhythmic and melodic concepts and
elements for grade three. Note that each element is taught in a basic four-beat pattern. We
suggest teaching a variety of patterns that contain any new element.
Table2.4 Grade 3 Songs Listed inPedagogicalOrder
Major Pentatonic
Bow Wow Wow
Chatter with the Angels
38
Dance Josey
Fed My Horse
Firefly
Great Big House
Here Comes a Bluebird
Ida Red
Knock the Cymbals
Mama, Buy Me a Chiney Doll
Rocky Mountain
Sailing on the Ocean
Turn the Glasses Over
4$Meter
Are You Sleeping? (Brother John)
Bluebird Through My Window
Button You Must Wander
Chickalalelo
Dinah
Fed My Horse
Fire in the Mountain
How Many Miles to Babylon?
Hunt the Cows
Knock the Cymbals
Old Brass Wagon
Rocky Mountain
(Continued)
Table2.4(continued)
Eighth Note Followed by Two Sixteenth Notes
Eighth Note Followed by Two Sixteenth Notes on First Beat
Chickalalelo
Drunken Sailor
Golden Ring
Hogs in the Cornfield
How Many Miles to Babylon? 39

Jim Along Josie
Oh, Fly Around
San Serafin del Monte
Wallflowers
Eighth Note Followed by Two Sixteenth Notes on Second Beat
Caracol(song)
Fed My Horse
Johnny Cuckoo
Las Cascaras de Huevo
Walter Jumped a Fox
Eighth Note Followed by Two Sixteenth Notes on Third Beat
The Deer Chase
Hush Little Baby
low la
smrdl
Alfonso XII (la based, not pentatonic; use phrase1)
Grinding Corn
Phoebe in Her Petticoat
Poor Little Kitty Cat
(Continued)
Table2.4(continued)
Skin and Bones

Walter Jumped a Fox
Yangtze Boatmans Chantey
dl,d
Big Fat Biscuit
Cocky Robin
The Gallows Pole
Hambone
40 Jim Along Josie
Land of the Silver Birch
Lullaby, Little Papoose
Mush Toodin
Old House
Old Mr. Rabbit
Rosie, Darling Rosie
Sioux Indian Lullaby
Skip to the Barbershop
rl,d
Iroquois Lullaby
See-Line Woman
Minor Pentatonic
Cocky Robin
The Gallows Pole
Land of the SilverBirch
See-Line Woman
Walter Jumped a Fox
Two Sixteenth Notes Followed by an Eighth Note
Two Sixteenth Notes Followed by an Eighth Note on First Beat
Do, Do Pity My Case
Kansas Boys
Old Betty Larkin
Over the River
Walter Jumped a Fox
(Continued)
Table2.4(continued)

on Second Beat
Bought Me a Cat
Ida Red
Old Molly Hare
Skip to My Lou
Skipping Rope Song

41
on Third Beat
Do, Do Pity My Case
Cumberland Gap
Grandma Grunts (variant)
Hop, Old Squirrel
Jim Along Josie
low so
dl,s
Band of Angels
Cotton Eye Joe
Dance Josey
Head and Shoulders
Hold My Mule
King Kong Kitchie
Old Brass Wagon
Old Gray Mare
Over the River
Riding of a Goat
Sailing oer the Ocean
(Continued)
Table2.4(continued)
ds
Charlie over the Ocean
A Don ChinChino
The Jolly Miller
Old MacDonald
The Old Sow
La Patita
s, dm
42
El Coyotito
Las Estatuas de Marfil
s, drm
Alcitron de un Fandango
San Serafin del Monte
Santo Domingo
s,l
See-Line Woman"
Internal Upbeat
Single Eighth Note
Bye, Baby Bunting
Do, Do Pity My Case
Down Came a Lady
Fed My Horse
I Lost the Farmers Dairy Key
Johnson Boys
KingsLand
Milano
Mush Toodin
Old Mr. Rabbit
Over the River
Quarter Note
A Madr Seores
(Continued)
Table2.4(continued)
highdo
sds
A Madru, Senores
La Muneca
dls
Cape Cod Girls
John Kanaka 43
Johnson Boys
Mush Toodin
Pourquoi
Riding in the Buggy
Whatll We Do with the Baby-o?
dsl
Circle Round the Zero
I Lost the Farmers Dairy Key
Liza Jane
Tideo
External Upbeat
Quarter Note
Blow Ye Winds
Boots of Shining Leather
Ill Sell My Hat
Two Eighth Notes
A la Rueda de San Miguel
Band of Angels
Billy Boy
Old Mr. Rabbit
Single Eighth Note
Above the Plain
(Continued)
Table2.4(continued)
The Jolly Miller

El Patio de MiCasa
Weevily Wheat
6*Meter
Row, Row, Row Your Boat
Introducing Songs within aLesson

44 Here are suggestions for introducingsongs.
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 canjoin.
Visuals
Create pictures or assemble visuals associated with a particular song; students sing the song
once they recognize the visualclue.
Introducing Songs toStudents Using a RhythmicFocus

Teacher asks students to sing asong.
Students recognize the song from rhythmic clapping.
Students read the rhythm of a song written on the board; as soon as they
recognize it, they may begin 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 thesong.
Students recognize a song, hearing it performed on a percussion instrument.
Students sing a song on a neutral syllable, as teacher performs a rhythm 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
twobeats.
Introducing Songs toStudents Using a MelodicFocus

Teacher asks students to singasong
Students recognize song by hearing the teacher sing using a neutral syllable.
Students read from hand signs with solfge syllables once they recognize thesong.
Students read an internal phrase of music from teachers hand signs with solfge
syllables to recognize asong.
Students read the teachers hand signs using inner hearing and recognize
asong.
Students read an internal phrase of song from the teachers or another students
hand signs using inner hearing and recognize asong.
Students read in canon from teachers hand signs and recognize asong.
Read from the tone ladder using solfge syllables and hand signs and recognize
asong.
Read an internal phrase of the song from the tone ladder using solfge syllables
and hand signs and recognize asong.
Read from the tone ladder using solfge syllables and hand signs and recognize
asong.
Read an internal phrase of the song from the tone ladder using inner hearing with
solfge syllables and hand signs and recognize asong.
Read from traditional rhythmic notation with solfge syllables beneath, using 45
solfge syllables and hand signs to recognize asong.
Read an internal phrase from a song written in traditional rhythmic notation
with solfge syllables beneath, using solfge syllables and hand signs to recognize
asong.
Read from traditional notation with solfge syllables beneath, using inner hearing
to recognize asong.
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
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.
Creating a Preparation/Practice LessonPlan

Before we label any element in a music lesson, we give students practical experiences that
guide them to make a connection with the new element through kinesthetic, aural, and
visual activities. This is always done in the context of performance. We call these prepara-
tion activities. Once we label an element, we practice it. In other words, we are develop-
ing lessons that focus on preparing a new concept as well as practicing known concepts.
Generally speaking, we try to address both rhythmic and melodic skills in each lesson.
Whenever we are preparing a rhythmic element in the first part of a lesson, we practice
a melodic element in the second part. Conversely, if we prepare a melodic element in the
first part of a lesson, we practice a rhythmic element in the second part.
Table 2.5 shows a basic preparation/practice lesson plan template. Note that in the tem-
plate lesson, we used the wording Performance and Demonstration of Known Musical
Concepts and Elements as a generic terminology for all activities in the introduction. We
will continue to use this wording in lesson plan templates so that the reader can focus on
the core activities of the lesson.
Table2.5 Basic Preparation/Practice Lesson Plan Template
Performance and Ss demonstrate their prior knowledge of repertoire and
demonstration of known musical elements through performance of known songs
musical concepts and selected from the alphabetized repertoire list.
elements
Acquisition of repertoire New song selected from the alphabetized repertoire list
that 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
46 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
presentation of a rhythmic concept through known songs found in the alphabetized
or melodic element repertoire list. When preparing a rhythmic element, the
second part of the lesson practices a melodic element, and
when preparing a melodic element, the second part of the
lesson practices a rhythmic element.
Movement development Known song or game found in the alphabetized repertoire list
or singing gamelist.
Creative movement Focus on the sequential development of age-appropriate
movement skills through songs and folks games.
Practice and performance Ss reinforce their knowledge of musical elements working on
of musical skills the skill areas of form, memory, inner hearing, ensemble work,
improvisation and composition, and listening through known
songs found in the alphabetized repertoire list. When practicing
a rhythmic element, the first part of the lesson prepares a
melodic element; when practicing a melodic element, the first
part of the lesson prepares a rhythmic element.
C L O SU R E
Review and summation Review of lesson content; T may perform the next new song
to be learned in a subsequent lesson found in the alphabetized
repertoire list.
Review the lesson

outcomes
Review the new song
In the first section (Preparation of a New Concept) of a lesson, we guide students to

discover the concept behind a new element. For example, if we want to teach the musical
elements of quarter and eighth notes, students need to be guided to understand the concept
of one or two sounds on abeat.
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 extrahelp.
Each preparation/practice lesson has an instructional context (preparation) and a
reinforcement (practice) context. In this type of lesson, we continue to develop sing-
ing 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 cre-
ate opportunities for music students to discover the attributes of the new concept or 47
element being studied. This dual structure of the preparation/practice lesson gives
students time to process their understanding of the new concept, while promoting
further development of their musical skills with the previously learned musical ele-
ment. This is crucial for positive self-esteem and the enjoyment needed for learning
to takeplace.
Table 2.6 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 lessonare:
Preparation:analyzing repertoire
Practice:writing melodies
Table2.6 Grade 3:Internal Upbeat, Lesson2
Outcome Preparation:Analyzing repertoire that contains an

internalupbeat
Practice:Writing pentatonic melodies that contain low sol
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, Camille Saint-Sans
(18351921)
Breathing:Ss practice blowing up a balloon and watch
how air is released when deflating the balloon
Resonance:Explore a cow sound using a low and high
voice. Make sure that the Ss are inhaling and exhaling
correctly with the support muscles.
Posture:Remind Ss of the correct posture for singing
(Continued)
Table2.6(continued)
Sing known songs Over theRiver
CSP:F-sharp
Ss sing thesong.
Ss sing the song and add an ostinato.
Tideo
CSP:F-sharp
Ss sing the song while continuing the ostinato..
Develop tuneful singing Do, Do Pity MyCase
Tone production CSP:F-sharp
Ss sing thesong.
Diction
Ss hum melodic patterns from thesong.
48 Expression Ss sing the song with the syllableyip.
Ss sing with a koosound.
Kodly Choral Library, Let Us Sing Correctly, no.48
Review known songs IdaRed
and rhythmic elements CSP:F
Ss sing the song and keep thebeat.
Ss sing with rhythm syllables.
T sings each phrase of Paw Paw Patch, Tideo, Dinah,
Ida Red, and Chickalalelo; Ss echo sing each phrase
with rhythm syllables while tapping the beat.
Teach a new song John Kanaka
CSP:A
T sings the song and demonstrates sections of thegame.
T scaffolds in each movement while Ss perform
individually.
T and Ss sing and play parts of the game.
Develop knowledge of Old Mister Rabbit
music literacy concepts CSP:F
Describe what you hear Ss sing thesong.
Review kinesthetic activities.
Ss sing song and pat thebeat.
Ss sing and clap on the downbeat of each phrase, and pat
on the remaining beats before asking each question.
T: On which word do we clap our hands in phrase
1?(old)
T: On which word do we clap our hands in phrase 2?(got)
T: On which word do we clap our hands in phrase 3?
(jumping)
T: On which word do we clap our hands in phrase 4?
(eating)
(Continued)
Table2.6(continued)
T: Whats the first word in phrase 2? (youve)

T: Whats the first word in phrase 3?(of)
T: Whats the first word in phrase 4?(and)

T: Do all of these words fall on the strong part of the beat

or the weak part of the beat?(weak)
Ss sing the song and only sing the first word of each
phrase and the down beat.
Creative Movement Tideo
CSP:F-sharp
Ss sing and play thegame.
Ss may create ostinato and select instruments with which
49
to accompany the song.
Practice of performance DanceJosey
and literacyskills CSP:F
Writing Twrites the song on the board (rhythmic notation and
solfge or on the staff), leaving phrase 2blank.
Ss sing the song with solfge syllables and handsigns.
Ss complete the writing worksheets.
Ss may complete other known songs with low so, as time
allows.
Ss create a rhythm pattern using d s, l, s, and play it on the
xylophone as an accompaniment to known songs.
SUM M A RY AC T I V I T I E S
Review lesson outcomes John Kanaka
Review the new song CSP:A
Preparation:analyzing or describing repertoire

Practice:writing melodies
Creating a PresentationLesson
There are two presentation lessons. In the first we associate solfge 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 thesong.
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 2.7 shows a basic presentation lesson plan template for labeling sounds.
Table2.7 Basic Lesson Plan Template forPresenting Rhythmic

or Solfge Syllables
demonstration of known musical elements, including the new musical element to be
musical concepts and presented through performance of songs selected from the
elements alphabetized repertoire list.
Acquisition of repertoire New song selected from the alphabetized repertoire list that
expands Ss repertoire and prepares for the learning of a
musical rhythmic or melodic concept or element. Instructional
50 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.
Presentation of a rhythmic T labels the name of the new musical element with rhythm or
or melodic element solfge syllables for the focus pattern.
Creative movement Known song or game found in the alphabetized repertoirelist.
Focus on sequential development of age-appropriate
movement skills through songs and folks games.
Presentation of a rhythmic T labels the name of the new musical element with rhythm or
or melodic element solfge syllables in a related pattern.
C L O SU R E
Review and summation Review of lesson content and the T may perform the next
new song to be learned in a subsequent lesson found in the
alphabetized repertoire list.
Table 2.8 has a sample presentation for labeling with rhythmic syllables.
Outcome Presentation:Label the sound of a musical phrase that contains an

internal upbeat
Warm-up The Thunderer, by John Philip Sousa (18541932)
Body warm-up
Breathing exercise
Beat/movement activity
(Continued)
Table2.8(continued)
Sing known songs Sailing oer theOcean
CSP:F
Ss sing the song with a simple ostinato.
Riding in theBuggy
CSP:D
Ss sing the song and briefly play the game.
Develop tuneful John Kanaka
singing CSP:A
Tone production T directs a small group of Ss to sing thesong.
Diction
Ss sing with a koo sound for refrain.
Expression 51
Ss sing the song slowly with text and openvowels
Review known Hogs in the Cornfield
songs and rhythmic CSP:F
elements Ss sing song with text and conduct.
Ss sing song with rhythm syllables and conduct.
T sings each phrase of Hogs in the Cornfield; Ss echo sing each
phrase with rhythm syllables while tapping thebeat.
If time permits, perform the above activity with Paw Paw
Patch, Tideo, Dinah, Ida Red, and Chickalalelo.
Teach a new song CedarSwamp
CSP:C
T performs the song for Ss with an instrument (guitar, dulcimer,
piano,etc.).
Ss may join in singing the refrains.
When Ss are able to sing the refrain, T will demonstrate the
game while Sssing.
Formation:double line, partners facing one another
Beats 18:Head couple sashays down to the foot of theline
Beats 912:Head couple swings rightarms
Beats 1316:Head couple swings leftarms
Beats 1720:All couples swing rightarms
Beats 2124:All couples swing leftarms
T sings the verses; Ss sing the refrains and play thegame.
Ss sing the refrain of Cedar Swamp while T sings Old Mr.
Rabbit as a partner song. Switch.
Develop knowledge Old Mr. Rabbit
of music literacy CSP:F
concepts Review kinesthetic, aural, and visual awareness activities.
Describe what you T: A note that that comes before the strong beat of a phrase is
hear with rhythm called an upbeat or a pickup. Because the upbeat occurs within
syllables or inside the piece of music and not at the beginning, we call it
an internal upbeat.
(Continued)
Table2.8(continued)
T sings the song with rhythm syllables; Ss echo with rhythm

syllables and conduct.
T echo sings with at least eight individuals; Ss must conduct.
Creative movement I Lost the Farmers DairyKey
CSP:D
T sings the song while Ss continue the ostinato.
Ss create additional ostinati with which to accompany thesong.
Ss continue their accompaniment into the next song.
Develop knowledge Do, Do Pity MyCase
52 of music literacy CSP:A
concepts Ss sing thesong.
Describe what you T:A note that comes before the strong beat of a phrase is called an
hear with rhythm upbeat or a pickup. Because the upbeat occurs Inside the piece of
syllables music and not at the beginning, we call it an internal upbeat.
Ss sing and conduct thesong.
T connects the concept to other related song material; Ss sing
and conduct.
JohnsonBoys
King Kong Kitchie
Mush Toodin
Ss create a rhythm pattern using do, so, la, so and play it on the
xylophone as an accompaniment to known songs.
SU M M A RY AC T I V I T I E S
Review lesson CedarSwamp
outcomes CSP:A
Review the new
song
Table 2.9 is a basic lesson plan template for notating rhythmic or melodic elements.
Table2.9 Basic Lesson Plan Design forNotating Rhythmic

or Melodic Elements
demonstration of known musical elements, including the new musical element to be
musical concepts and presented through performance of songs selected from the
elements alphabetized repertoire list.
(Continued)
Table2.9(continued)
Acquisition of repertoire New song selected from the alphabetized repertoire list
that expands Ss repertoire and prepares for the learning
of a musical 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.
Presentation of a rhythmic T presents the notation in the focus pattern.
or melodic element 53
Creative movement Known song or game found in the alphabetized repertoirelist.
Focus on sequential development of age-appropriate
movement skills through songs and folk games.
Presentation of a rhythmic T presents the notation in related patterns.
or melodic element
C L O SU R E
Review and summation Review of lesson content; T may perform the next new song
to be learned in a subsequent lesson found in the alphabetized
repertoire list.
Table 2.10 is a sample of a presentation lesson.
Outcome Presentation:label sound of a musical phrase that contains an internal

upbeat.
Warm-up Body Warm-up
Beat Activity
The Thunderer, by John Philip Sousa (18541932)
Breathing:Ss practice blowing up 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.
(Continued)
Table2.10(continued)
Sing known Over theRiver

songs CSP:D
Ss sing the song with an ostinato.
Riding in theBuggy
CSP:D
Ss sing the song; if time permits briefly play the game.
Develop tuneful King Kong Kitchie
singing CSP:F
Tone production Ss sing thesong.
Ss sing the song on the syllablekoo.
Diction
54 Ss sing the song on the syllablevoo.
Expression Ss sing the song on the syllablevee.
Review known Jim AlongJosie
songs and CSP:A
rhythmic Ss sing thesong.
elements Ss sing song with rhythm syllables.
T sings each phrase of Paw Paw Patch, Tideo, Dinah, Ida
Red, and Chickalalelo; Ss echo sing each phrase with rhythm
syllables while tapping the beat.
Teach a new CedarSwamp
song CSP:A
Ss perform the rhythm of the verse from the board while Tsings.
2$sdsxc\sdq\
sdsd\qq\
sdsd\xxxcq\
sdsd\qq|
T sings theverse.
Ss sing the refrain and then the entiresong.
When Ss are able to sing the refrain, T will demonstrate the game
while Sssing.
Formation:in double line, partners face one another.
Beats 18:head couple sashays down to the foot of theline.
Beats 912:head couple swings rightarms.
Beats 1316:head couple swings leftarms.
Beats 1720:all couples swing rightarms.
Beats 2124:all couples swing leftarms.
T sings the verses, the refrains, and Ss play thegame.
Ss sing the refrain of Cedar Swamp while T sings Old
Mr. Rabbit as a partner song. Switch.
(Continued)
Presentation of Old Mr. Rabbit

music literacy CSP:F
Notate what you Review kinesthetic, aural, and visual awareness activities.
hear T: A note that that comes before the strong beat of a phrase is
called an upbeat or a pickup. Because the upbeat occurs inside
the piece of music and not at the beginning, we call it an internal
upbeat.
T sings the song with rhythm syllables, Ss echo with rhythm
T: Sometimes a new phrase can start between beats, or even in the 55
middle of a beat. When that happens, we have to split the eighth
notes and it looks like this [separate notes with flags]. We can call
the single eighth note an upbeat or a pickupnote.
T writes the standard rhythmic notation on the board. Ss read with
rhythm syllables.
2$qsd\qaa\sdsd\qaa\sdsd\qaa\sdsd\sdQ|
T draws in the phrase markings over the rhythm. Ss sing and point
and draw the phrases in theair.
T shows students how to count with numbers. Ss read with
numbers and keep thebeat.
Ss perform the last four beats of the song as a rhythmic ostinato

into the next song (2$sdsd\sdQ>).
Creative Hogs in the Cornfield
movement CSP:D
Ss sing the song; Ss create ostinati to accompany thesong.
Ss sing and play the game.
Presentation of Do, Do Pity MyCase
music literacy CSP:F
Notate what you T: A note that that comes before the strong beat of a phrase is
hear called an upbeat or a pickup. Because the upbeat occurs inside
the piece of music and not at the beginning, we call it an internal
upbeat.
Ss sing the song with rhythm syllables and conduct.
T: Sometimes a new phrase can start between beats, or even in the
middle of a beat. When that happens, we have to split the eighth
notes and it looks like this [separate notes with flags]. We can call
the single eighth note an upbeat or a pickupnote.
(Continued)
Ss read the song from the board and conduct.

T transforms the song into other related song material:
JohnsonBoys
King Kong Kitchie
Mush Toodin
outcomes CSP:A
Review the new
song
56
Chapter 3
Teaching Strategies
The goal of this chapter is to present teaching strategies for concepts and elements for third grade. 57
The teaching strategies are a sequence of teaching activities that guide students understanding 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 specific order of instruction.
The guiding questions that follow the kinesthetic activities in the cognitive phase of instruction
and learning are an important component of the teaching strategies. 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 oppor
tunities for developing music skills. The teaching strategies are formulaic in structure; ultimately,
teachers will infuse these strategies with their own creativity to accommodate the changing set
tings 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:
Eighth note followed by two sixteenthnotes

Lowla
Two sixteenth notes followed by and eighthnotes
Lowso
Internalupbeat
Highdo
Externalupbeat
Eighth Note Followed byTwo SixteenthNotes

Table 3.1 presents an overview of the important information required to teach an eighth note
followed by two sixteenthnotes.
Table3.1
Element Concept Focus Present Theory Traditional Practice Additional

Song Syllables Notation Songs
An Three Fed ta dimi Sixteenth sxc do Ida Red,
eighth sounds My note sub pentatonic Mama, Buy
note on a beat, Horse divisions Me a Chiney
followed not evenly of the Doll, How
by two distributed; beat Many Miles
sixteenth the first to Babylon?
notes sound Sailing oer
being the Ocean,
longer than Chickalalelo,
the last two Skip to My
sounds Loo, Hogs in
the Cornfield,
Debka Hora,
Fire in the
58 Mountain,
Johnny
Cuckoo
Cognitive Phase:Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing Fed My Horse and pat thebeat.
2. Sing Fed My Horse and clap the rhythm.
3. Sing Fed My Horse and point to a representation (Fig. 3.1) of the target rhythm
on theboard.
Fig.3.1
4. Sing Fed My Horse. Step the beat and clap the rhythm.
5. Have two students perform the song on rhythm instruments. One performs the
beat and one performs the rhythm.
Describe What YouHear

1 . Assess the kinesthetic awareness:students sing Fed My Horse and walk thebeat.
2. Teacher and students sing phrase 2 on loo while keeping the beat before each
question.
3. Determine the number of beats in the target phrase:
T:Andy, how many beats did we tap?(four)
4. Determine the number of sounds on eachbeat.
T:Andy, which beat had one sound? (beat4)
T:Andy, how many sounds are on beat 3?(two)
T:Andy, how many sounds did we sing on beat 2? (three)
Teaching Strategies
5. Describe the sounds on beat2:

T:Were the sounds on beat 2 even or uneven? (uneven)
T:Describe these sounds using the words long and short. (long shortshort)
6. Teacher sings Fed My Horse as follows and studentsecho:
Ta di long short short Tadi Ta
7. Small groups and individuals echo-sing with teacher.
8. All students sing phrases 1 and 2 as tadi long short short tadita.
Create a Visual Representation ofWhat YouHear

1. Assess kinesthetic and aural awareness by allowing the class to perform several of
the kinesthetic and aural awareness activities.
2. Teacher 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 eachother.
4. The 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 59
aural awareness questions.
5. Students sing the first phrase of Fed My Horse with a neutral syllable and point to
the representation, then sing with known elements:ta di long short short tadita.
6. Students determine the solfge syllables for the first four phrases of Fed My Horse.
Associative Phase:Presentation
Label theSound
Teacher presents new rhythm syllable.
1. Assess the kinesthetic and aural awareness and visual awareness activities with the
focus song Fed My Horse.
2. T:We call three sounds on a beat where the first is long and the second and third
are short tadimi.
3. The teacher sings the target phrase of Fed My Horse with rhythm syllables.
Students echo with rhythm syllables while clapping the rhythm.
ta di ta dimi tadi ta
4. The teacher sings the target phrase of Fed My Horse with text; students echo
with rhythm syllables while clapping the rhythm.
5. The teacher echo-sings with at least eight individual students.
Notate What YouHear

The teacher presents notation for newsound.
1. T:When the beat is a quarter note, we can use an eighth note followed by two
sixteenth notes to represent three sounds unevenly spaced on abeat.
2. T:Our first phrase of Fed My Horse looks like this in traditional rhythm notation:
2$sqsxq\sqq\
3. T:Our first phrase of Fed My Horse looks like this in stick notation:
2$sqsxq\sqq\
4. T:We can read this rhythm pattern using rhythm syllables.
5. It is important to notate examples using a time signature and practice reading
these examples with both rhythm syllables and counting with numbers.
Assimilative Phase:Practice MusicSkills

Aural Practice
Singing Solfge Syllables and HandSigns
The teacher sings known melodies with words and students echo-sing with
rhythm syllables.
T:I sing the words, you sing rhythm syllables.
T:Fed my horse in a poplar trough.
Ss:ta di ta di mi ta dita.
T:Down the road and across the creek.
60 Ss:ta di ta di mi ta dita.
T:Mama buy me a chineydoll.
Ss:ta di ta di mi ta dita.
T:How many miles to Babylon?
Ss:ta di mi ta di ta dita.
Teacher hums motifs from know songs and students sing back with rhythm
syllables.
T:Ill clap a rhythm, you echo rhythm syllables.
PartWork
Use the target phrase as an ostinato to accompany a knownsong.
Combine the target phrase as an ostinato as well as another motif from the song
so that you are using two ostinatos at the sametime.
The teacher claps a rhythm and students follow in canon after twobeats.
Students perform a two-part rhythmic reading exercise. Group1 performs the
upper part and group 2 the lower part. Switch.
Students performs a two-part rhythmic reading exercise. Perform the upper part
with right hand and lower part with lefthand.
Improvisation
Improvise an ostinato that incorporates the new rhythmic pattern.
The teacher claps and sings a question phrase using the new rhythm pattern;
students respond with an answer phrase that uses the new rhythm pattern.
Students clap and say the rhythm syllables in a question phrase that uses the new
pattern and other students provide an answer.
Students change rhythm of a first or second grade song and use a newly learned
rhythmic pattern.
Student improvises a four-beat pattern. The next student begins their four-beat
improvisation with the last two beats of the first student.
Teaching Strategies
Inner Hearing
Teacher sings known fragments of songs and students sing back with rhythm
syllables and clapping.
syllables and conducting.
Visual Practice
Reading from HandSigns
Students read from teachers hand signs known motifs that incorporate the new
rhythmic pattern.
Transform the target pattern into four-beat patterns found in the students song
material.
Reading
Read target motif from traditional rhythmic notation with rhythm syllables.
Read a known song with rhythm syllables and clap the rhythm.
Read a known song with rhythm syllables and conduct.
Read a known song with rhythm syllables while tapping the rhythm with left hand
61
and conducting with righthand.
Transform target motif into a related pattern.
Read an unknown song with rhythm syllables and clap the rhythm.
Read an unknown song with rhythm syllables and conduct.
Transform a known folk song into another folksong.
Read the rhythm of a known song and play on a classroom percussion
instruments.
Read San Serafn del Monte and play the rhythm on an instrument (see Fig.3.2).

Fig.3.2
Source: Reprinted from Vamos a Cantar with permission of the Kodly Institute at Capital
University.
Read phrase of a known song with traditional notation and solfge or from the
staff that includes new rhythmic pattern and play on the xylophone or tonebells.
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 orminor.
Read the rhythm of a known song in two or three parts. For example, students
may play the rhythm patterns using notes of the tonicchord.
Writing
Write phrases 1 and 2 of Fed My Horse in stick notation.
Write phrase 1 of Ida Red using traditional notation and perform it on rhythm
instruments.
Students fill in the missing rhythms for a piece of music that is written with
rhythmic notation.
Add bar lines to a given rhythm that includes the new pattern.
Teacher hums a new melody and students must write the rhythm from memory.
Improvisation
Teacher claps a question phrase and chants rhythm syllables; students choose
from four patterns on the board to use as an answering phrase. One phrase should
62 just include four heartbeats.
Student claps a question phrase and chants rhythm syllables; another student
choses from four patterns on the board to use as an answering phrase. One phrase
should just include four heartbeats.
The teacher 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 the new rhythm pattern for the missing measure.
Memory
Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases
four beats each time and students memorize.
Read an unknown song with rhythm syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner Hearing
Recognize familiar songs from teachers clapping.
syllables and keep thebeat.
Teacher provides students with four flash cards with rhythm and students must
identify the song and arrange flash cards in the correctorder.
PartWork
Divide the class into two groups. Group1 sings the song with solfge and hand
signs and group 2 taps a rhythmic ostinato that is read from notation.
Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups and perform the activity in canon after twobeats.
Read a known song with rhythm syllables and conduct. Divide the class into two
groups and perform the activity in canon after twobeats.
Students read a known song with rhythm syllables while tapping the rhythm with
left hand and conducting with right hand. Divide the class into two groups and
perform the activity in canon after twobeats.
Teaching Strategies
into two groups; one group performs the activity from the beginning and the
other from the end of thesong.
groups; one performs the activity from the beginning and the other from the end
of thesong.
Students read a known song with rhythm syllables while tapping the rhythm with
left hand and conducting with right hand. As a challenge, divide the class into
two groups; one group performs the activity from the beginning and the other in
retrograde (from the end of thesong).
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 lefthand.
Listening
Badinerie, from Sonata in B minor, BWV 1067, by J. S. Bach (16851750)
(first phrase). 63
Rosamunde in G major, ballet music, by Franz Schubert (17971828), themes A,
B,andC.
ThemeA
2$sxqsxq\sqq\sqq\sxqq\
sxqsxq\sxqsq\sxqsq\sxqq\
sxqsq\sxqsq\sxqsq\sxqsq\
sxqsq\sqsq\sqsq\sqq\
ThemeB
2$sxqsq\sqsq\sqsq\sqq\
sxqsq\sqsq\sqsq\qQ\
sxqsq\sqq\sxqsq\sqq\
sxqsq\sqsq\sqsq\qq\
ThemeC
2$sxqsxq\qsxq\sqsq\qq\
sxqsxq\qsxq\sqsq\qQ\
Sonata in D minor, K.64, by Domenico Scarlatti (16851757). This piece includes orna
mentations that change some of the note values.
Sight Singing
Michel Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, vol. 1 (NewYork:Boosey & Hawkes, 1995), pp.5770.
lowla
Table 3.2 presents an overview of the important information required to teach lowla.
Table3.2

A pitch Phoebe low la low la may low la on sxc Jim Along
a skip in Her function different Josie, Old
lower Petticoat as a tonic staff Mr. Rabbit,
than do note; placements Poor Little
extended Kitty Cat,
64 do Lullaby Little
pentatonic Papoose,
scale Rosie,
Darling
Rosie, Skin
and Bones,
See-Line
Woman
1. Sing Phoebe in Her Petticoat and point to a representation of the melodic
contour at the board (Fig.3.3a).
2.Sing Phoebe in Her Petticoat and show the melodic contour for the target
phrase, phrase1.
3.Sing Phoebe in Her Petticoat with
rhythm syllables while showing the
melodic contour.
Fig.3.3a
4.Sing Phoebe in Her Petticoat
incanon.

1 . Assess kinesthetic awareness.
2. Teacher keeps the beat and sings the target phrase on loo before asking each
question.
3. Determine the number ofbeats.
4. Determine which beat has the lowestpitch.
T:Andy, which beat had the lowest pitch? (beat4)
T:Lets sing the phrase on loo but sing low for the lowestnote.
Teaching Strategies
5. Determine the solfge of known elements and sing low for the newnote.
T:Sing the first four pitches with solfge syllables and hand signs. (mi redodo)
Students identify and sing the remaining solfge syllables of the target phrase,
singing low on beat 4 and pointing low on beat4.
T:Is our new sound a step or a skip below do?(skip)
Students sing as a whole group, then teacher may select individuals to sing the
target phrase.

2. The teacher hums 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.
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 65
5. Students sing the first phrase of Phoebe in Her Petticoat with a neutral syllable
and point to the representation, and then sing with known elements:mi re do do re
dolow.
6. Identify the rhythm for the first phrase of Phoebe in Her Petticoat.
Label theSound
The teacher presents new solfge syllables.
1. Review the kinesthetic and aural awareness and visual awareness activities with
the focus song Phoebe in Her Petticoat.
2. T:When we hear a pitch a skip below do we call it low la. The instructor shows
the handsign.
3. T sings phrase 1 of Phoebe in Her Petticoat with solfge syllables and students
echo-sing. (mi-re-do-do-re-dolowla)
4. Teacher hums target phrase and students echo-sing with solfge and handsigns.
Notate What YouHear

The teacher presents notation for newpitch. l
s
1. Present the position of low la on the steps. (See
Fig.3.3b.) m
2. Teacher points to target phrase on tone ladder r
and students sing with solfge and handsigns. d
3. Present the target phrase of Phoebe in
Her Petticoat with rhythmic notation and l1
solfge and students sing with solfge and
Fig.3.3b
handsigns.
4. Identify do-low la as being a skip of athird.
2$sdsd\sdq\
mr dd r d l
5. Present the rule of placement for low la on the staff (consider using the finger staff). If
low la is in a space, do is in the space above; if low la is on a line, do is on the lineabove.
6. Present the target phrase of Phoebe in Her Petticoat in staff notation in the
placements do = C, F, G in trebleclef.

Aural Practice
Singing with Rhythm Syllables
The teacher sings known melodies with words and students echo-sing with solfge
syllables.
T:I sing the words, you sing the hand signs.
T:Phoebe in Her Petticoat.
66 Ss:mi re do do re dola.
T:Hey Jim along, Jim along Josie.
Ss:so so so mi do re re do la,do.
T:Eating all my cabbage.
Ss:mi mi do la, la,do.
T:Poor little feller.
Ss:re re do la,do.
Teacher sings motifs on loo, and students echo with solfge syllables.
Singing Intervals
The teacher sings each interval of the pentatonic tone set on loo. Students
sing the intervals with solfge syllables and hand signs and identify whether the
interval is a skip or astep.
The teacher plays intervals on the piano melodically or harmonically and a
student identifies the intervals as a step or askip.
The teacher practices related patterns that include low la with hand signs and
solfge syllables.
PartWork
Use the target phrase as an ostinato.
Students echo-sing four-beat patterns provided by the teacher with solfge
syllables and hand signs but begin singing at beat 3 of the teachers pattern.
Sing the song in canon if it is a pentatonicsong.
Sing the song in canon with a rhythmic ostinato.
Sing the song in canon with a melodic ostinato.
Combine a phrase as an ostinato as well as another motif from the song so that
you are using two ostinatos at the same time. This works with pentatonicmusic.
Students sing a major pentatonic song and teacher accompanies with a drone
made up of do or do-so played on an instrument.
Students sing a minor pentatonic song and teacher accompanies with a drone
made up of low la or la-mi played on an instrument.
Teaching Strategies
Improvisation
Note:These improvisation suggestions are for the major pentatonic scale using low la and
not for the minor pentatonicscale.
Teacher sings a music question with solfge syllables and hand signs and students
provide an answer. Question ends on so and after several activities ends on re.
Answer endsondo.
Student sings a music question with solfge syllables and hand signs and another
student provides an answer.
Student improvises a four-beat pattern. The next student begins a four-beat
Inner Hearing
Recognize familiar songs from teachers handsigns.
Visual Practice
Student reads from teachers handsigns. 67
Transform the target pattern into basic four-beat patterns found in the students
song material.
Reading
Read Phoebe in Her Petticoat in stick notation and staff notation.
Have students play on instruments the first phrase of Phoebe in Her Petticoat
from staff notation.
Read Yangtze Boatmans Chantey in stick notation and staff notation.
Change several measures of the song Phoebe in Her Petticoat so that it becomes
a reading exercise.
Identify the intervals in a reading exercise as skips orsteps.
Read the skeleton of known songs. To do this, delete repeating notes or passing
notes in the example.
Read these exercises found in Zoltn Kodly, Kodly Choral Library:333
Elementary Exercises (London:Boosey & Hawkes, 1963), nos. 140, 142, 144, 152,
161, 164, 165, 280, 282, 287, 291, 292, and295.
Intervals
Interval practice through echo-singing and handsigns:
T:la,do.
Ss:Thats askip.
T:dore.
Ss:Thats astep.
T:remi.
Ss:Thats astep.
T:miso.
Ss:Thats askip.
T:sola.
Ss:Thats astep.
T:laso.
Ss:Thats astep.
T:somi.
Ss:Thats askip.
T:mire.
Ss:Thats astep.
T:redo.
Ss:Thats astep.
T:dola.
Ss:Thats astep.
Students identify intervals from notation of knownsongs.

Students identify intervals from notation of unknownsongs.
Students are given a starting pitch by the teacher and then sing in solfge from a
series of intervals written on theboard.
Memory
68 Read an unknown song with solfge syllables and conduct. Teacher erases four
Read in Two Parts from Teachers HandSigns

Students read in two parts from teachers handsigns.
Writing
Write the tone set of a known song on the board as a student or class sings a
known song with solfge syllables.
Write the target pattern in stick and/or traditional rhythmic notation with solfge
syllables.
Write related patterns in stick and traditional rhythmic notation with
solfge syllables.
Write a known song in stick and/or traditional rhythmic notation.
Fill the missing measures of a known song with the correct solfge syllables.
Teacher can provide the rhythm but not the syllables for the missing measure.
Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms and solfge.
Students transcribe a song written in rhythmic notation and solfge
into staff notation.
Transcribe a melody with rhythmic notation and solfge to thestaff.
Improvisation
Teacher sings a question phrase with solfge 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 solfge syllables and hand signs; another
Teaching Strategies
The teacher writes a known folk song in traditional rhythmic notation and solfge
but leaves out four beats. Students read with solfge and one student improvises a
four-beat melody that uses the new melodicnote.
Students improvise 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 Aphrase and students must improvise the B phrase and should
endondo.
Memory
Read an unknown song with solfge syllables and hand signs. Teacher erases four
Inner Hearing
Teacher sings known phrases of songs on a neutral syllable; students echo-sing the
phrase with solfge syllables and handsigns.
Teacher provides students with four flash cards with rhythm and students must 69
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 from a signal provided by the
teacher. Students sing the song aloud from a signal provided by teacher.
PartWork
Divide the class into two groups. Group1 sings the song with solfge
and hand signs and group 2 taps a rhythmic ostinato that is read from
notation.
signs and group 2 sings a melodic ostinato that is read from notation.
signs and group 2 sings a descant with solfge and hand signs that is read from
notation.
Read a known song with solfge 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 incanon.
Read a known song with solfge syllables and conducting. Divide the class into
Read a known song with solfge syllables while showing hand signs with left
hand and conducting with right hand. Divide the class into two groups; one
performs the activity and the other claps rhythm in canon after twobeats.
simultaneously.
Listening
An Evening in the Village, from Hungarian Sketches, by Bla Bartk (18811945).
Sight Singing
Zoltn Kodly. The Kodly Choral Library:333 Elementary Exercises:Nos. 140, 142, 144,
152, 161, 164, 165. Examples in an extended pentatonic scale:280, 282, 287, 291, 292, 295.
Examples exploring the re-la interval are nos. 57, 58, 59, 60, 62, 64, 66, 73, 83, 86, 93, 94, 95,
96, 97, 98, 100, 102, 105, 106, 107, 108, 109, 111, 113, 115, 116, 118, 120, 121, 125, 127, 128,
129, 135, 136, and138.
For two-part sight singing, see e xercises22 and 36 in Denise Bacons Fifty Two-Part
Exercises.
Two Sixteenth Notes Followed byan EighthNote

Table 3.3 presents an overview of the important information required to teach two six
70 teenth notes followed by an eighthnote.
Table3.3

Two Three Hogs taka di Two xcd low la Over the
sixteenth sounds in the sixteenth River
notes on a beat. Cornfield notes (Charlie),
followed Not evenly followed Hop, Old
by an distributed; by an Squirrel,
eighth the first eighth Jim Along
note two sounds note Josie,
being Skipping
shorter Rope Song,
than the Sailing oer
last sound the Ocean
1 . Sing Hogs in the Cornfield.
2. Sing phrase 2 of Hogs in the Cornfield and pat thebeat.
3. Sing phrase 2 of Hogs in the Cornfield and clap the rhythm.
4. Sing phrase 2 of Hogs in the Cornfield and point to a representation of the
rhythm (Fig.3.4).
Fig.3.4
5.Sing phrase 2 of Hogs in the Cornfield while stepping the beat and clapping the
rhythm.
Teaching Strategies
6. Split the class into two groups. The first group pats the beat for phrase 2 and the
other claps the rhythm. Switch.
7. Sing Hogs in the Cornfield. Step the beat and clap thetext.

2. Sing phrase 2 of Hogs in the Cornfield singing loo while keeping the beat
before asking each question.
3. Determine the number of beats in the phrase.
T:Andy, how many beats did we keep?(four)
4. Determine the number of sounds on eachbeat.
T:Andy, which beats have two sounds? (beats 1and4)
T:Andy, how many sounds did we sing on beat 3? (three sounds)
T:Andy, describe these sounds using the words long and short. (long,
short,short)
T:Andy, what rhythm syllables would we use? (tadimi)
5. Determine the number of sounds on the targetbeat.
T:Andy, how many sounds did we sing on beat 2? (three) 71
T:Andy, describe these sounds with the words long and short. (short,
short,long)
Sing the phrase as follows:
ta dishort short longta dimitadi

2. Teacher hums 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.
class. If necessary, corrections to the representation can be made by reviewing the
5. Students sing the first phrase of Hogs in the Cornfield with a neutral syllable
and point to the representation, and then sing with known elements:ta di short
short long ta di mitadi.
Label theSound
Teacher presents new rhythm syllable.
1. T:When we hear three sounds on a beat where the first two sounds are short and
the third sound is long, we call it takadi.
2. Teacher sings the target phrase of Hogs in the Cornfield on loo, and students
echo with rhythm syllables while clapping the rhythm.
Notate What YouHear

Teacher presents notation for newsound.
1. T:When the beat is a quarter note, we can use two sixteenth notes followed
by an eighth note to represent three sounds on the beat:two short and
onelong.
2. T:We can read this pattern using our rhythm syllables. Students read rhythm
with rhythm syllables and keep thebeat.
2$sdxcd\sxcsd\
3. T:We can write this pattern using stick notation.
2$sdxcd\sxcsd\
4. T:We can count with numbers. Students conduct and count with numbers.
T:Remember that four sounds on a beat can be counted as 1-e-and-a.

Aural Practice
72 Singing with Solfge Syllables and HandSigns
Teacher sings known melodies with words and students echo-sing with rhythm
syllables.
T:I sing the words; you sing rhythm syllables.
T:Tell them pretty gals Im comingover.
Ss:ta di taka di ta di mi tadi.
T:Over the river to feed my sheep.
Ss:taka di taka di.
T:Hop, Old Squirrel, ei-dle dum ei-dledum.
Ss:taka di taka di.
T:Hey Jim along, Jim along Josie.
Ss:ta dimi ta di taka di tadi.
T:Up jump Ella to open thedoor.
Ss:ta di taka di taka dita.
T:You will find a pretty girl, by andby.
Ss:ta ka di mi ta ka di ta dita.
Students echo-sing four-beat melodic patterns containing new rhythm provided
by the teacher, with rhythm syllables and clapping the rhythm.
Students echo-sing four-beat melodic patterns containing new rhythm provided
by the teacher, with rhythm syllables and conducting.
Students sing known melodies with rhythm syllables and keep thebeat.
Students sing known melodies with rhythm syllables and conduct.
Teacher hums known and unknown motifs and students sing back with rhythm
syllables.
PartWork
Use the target phrase as an ostinato to accompany a knownsong.
Combine the target phrase as an ostinato as well as another motif from the song
so that you are using two ostinatos at the sametime.
The teacher claps a rhythm and students follow in canon after twobeats.
Teaching Strategies

Students perform a two-part rhythmic reading exercise. Perform the upper part
Improvisation
Improvise an ostinato that incorporates the new rhythmic pattern.
Teacher claps and says the rhythm syllables in a question phrase that uses a new
pattern and students provide an answer.
Student claps and says the rhythm syllables in a question phrase that uses a new
pattern and another student provides an answer.
Students change rhythm of a first or second grade song and substitute the taka di
rhythm for two eighthnotes.
Student improvises a four-beat pattern. The next student begins their four-beat
Inner Hearing
Teacher sings known phrases of songs and students echo-sing with rhythm 73
syllables as they clap the rhythm.
Teacher sings known phrases of songs and students sing back with rhythm
syllables as they conduct.
Visual Practice
Students sing a known song with solfge syllables and hand signs reading
from teachers hand signs. Be certain that the song includes the new rhythm
pattern.
Students sing known song from another students hand signs that include the new
rhythm pattern.
Reading
Read target motif from traditional rhythmic notation with rhythm syllables.
Read a known song with rhythm syllables and clap the rhythm.
Read a known song with rhythm syllables and conduct.
and conducting with righthand.
Read an unknown song with rhythm syllables and clap the rhythm.
Read an unknown song with rhythm syllables and conduct.
Read the rhythm of a known song and play on classroom percussion instruments.
sing the rhythm syllables using notes of the tonic chord in major orminor.
play the rhythm patterns using notes of the tonic chord in major orminor.
Have two students perform the rhythm of Hogs in the Cornfield and Hop, Old
Squirrel at the sametime.
Writing
Write the text of Hogs in the Cornfield. Have students write the correct rhythm
notation above thetext.
Write phrases 1 and 2 of Hogs in the Cornfield with rhythmic notation.
Write the rhythm of Ida Red and perform it on rhythm instruments.
Add bar lines to the rhythm notation of a knownsong.
Students notate rhythm patterns by teacher and add the bar lines and time
signature.
Improvisation
Teacher claps a question phrase and chants rhythm syllables; students choose
from four patterns written on the board to use as an answering phrase. Use four-
beat phrases.
Student claps a question phrase and chants rhythm syllables; another student
chooses from four patterns on the board to perform as an answering phrase. Use
four-beat phrases.
The instructor writes a known folk song in traditional rhythmic notation
74 but leaves out four beats. Students read and clap the rhythm and one student
improvises four-beat rhythms that use a new rhythm pattern for the missing
measure.
Memory
Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases
Read an unknown song with rhythm syllables and conduct. The teacher erases
Inner Hearing
Recognize familiar songs from teachers clapping.
Teacher sings known fragments of songs on a neutral syllable and students sing
back with rhythm syllables while keeping thebeat.
Teacher provides students with four flash cards with rhythm and students identify
the song and arrange flash cards in the correctorder.
Students read the rhythm of a known song but inner-hear the new pattern.
PartWork
into two groups and perform the activity in canon after twobeats.
groups and perform the activity in canon after twobeats.
and conducting with right hand. Divide the class into two groups and perform the
activity in canon after twobeats.
into two groups; one performs the activity from the beginning and the other from
the end of thesong.
Teaching Strategies
groups; one group performs the activity from the beginning and the other from
the end of thesong.
and conducting with right hand. Divide the class into two groups; one performs
the activity from the beginning and the other from the end of thesong.
simultaneously.
Students sing a known song and tap a rhythm from traditional rhythmic notation
with right hand and tap an ostinato with lefthand.
Listening
Badinerie, from Sonata in B minor, BWV 1067, by J. S.Bach (16851750)
(entirework).
Comedians Gallop, Op.26, No. 2, Presto, by Dimitri Kabalevsky (19041987).
Musette in D, from Anna Magdalenas Notebook, by J. S. Bach
(16851750).
Circa Mea Pectora, from Carmina Burana, by Carl Orff (18951982). 75
Sight Singing
lowso
Table 3.4 presents an overview of the important information required to teach lowso.
Table3.4

low so A pitch Dance low so Extended Ledgerlines xcd Head and
a step Josey pentatonic so, on Shoulders,
lower scale in different See-Line
than low major staff Woman,
la andminor placements Sailing oer the
New tonal Ocean, Turn
center:so the Glasses
pentatonic Over, Old
scale McDonald,
Walk Along
John, Over
the River,
Scotlands
Burning,
Charlie over
the Ocean
Internalizing Music Through Kinesthetic Activities
1. Sing Dance Josey with ostinato.
Fig.3.4 2.Sing phrase 2 of Dance Josey
and show the melodic contour.
3.Sing phrase 2 of Dance Josey
and point to a representation
Fig.3.5 of the melodic contour on the
board (Fig.3.5).
4. Sing Dance Josey with rhythm syllables while showing the melodic contour of
phrase2.
5. Determine the final note of thesong.

2. Sing loo while keeping the beat before asking each questionbelow.
3. Determine the number of beats in phrase 2 of Dance Josey.
76 T:Andy, how many beats did we tap?(four)
4. Determine which beat has the lowest pitches.
T:Andy, which beat has the lowest pitches? (beat4)
T:Lets sing the phrase on loo.
5. Determine the solfge on beats 1and2.
T:If this is our final note (teacher hums) what hand sign do we use for the
pitches on the first two beats? (do hand sign)
6. Determine the number of different pitches on beat4.
T:Andy, how many different pitches did we sing on beat 4?(two)
7. Determine the solfge of known elements and sing low for the newnote.
T:Andy, since this phrase starts like phrase 1, sing it with solfge and hand signs
but sing low for the last note. (do-do-do-do-do-do-do-re-do-la,low)
T:Andy, is our new sound a step or a skip lower than la? (astep)

2. The instructor hums 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.
5. Students sing the first phrase of Dance Josey with a neutral syllable and point to
the representation, and then sing with known elements:do do do do do do re do
la,low.
6. Determine the solfge syllables for phrases 1, 3, and 4 of Dance Josey.
Teaching Strategies
Label theSound
The teacher presents new solfge syllables.
1. Review kinesthetic and aural awareness and visual awareness activities with the
focus song Dance Josey.
2. We call the pitch that is a step lower than low la low so. Teacher shows
the hand sign, same as so, but lower in comparison to low la. Students
immediately echo-sing phrase 2 of Dance Josey with solfge syllables and
handsigns.
3. Teacher sings phrase 2 of Dance Josey with text, and students echo with solfge
and handsigns.
Notate What YouHear

Teacher presents notation for newpitch.
1. Present the position of so on the steps.

(See Fig.3.6.)
l 77
s
2. Present the target phrase of Dance Josey in
traditional rhythm notation. m
r
2$xxxd sd\sdsd\ d
dddd d d rd l,s
l1
Individual students sing and point to the
s1
melody on the board as the class sings the song
with solfge syllables and handsigns. Fig.3.6
Explain the rule of placement. If low la is on a
line, low so is on the space below; if low la is on
a space, low so is on the linebelow.
Write the target phrase of Dance Josey in staff notation. Individual students
sing and point to the melody on the board written on the staff as the class sings
the song with solfge syllables and handsigns.

Aural Practice
Singing with Solfge Syllables
Teacher sings known melodies with words and students echo-sing with solfge
syllables.
T:I sing the words; you sing the hand signs.
T:Chicken on the fencepost, cant Dance Josey.
Ss:do do do do do do re do la,so.
T:You will find a pretty girl, by andby.
Ss:do do la, la, so, so, so, mi redo.
T:Ive been to Haarlem, Ive been to Dover.
Ss:do do do la, so, do do do la,so.
T:Old McDonald had a farm E IEIO.
Ss:do do do so, la, la, so, mi mi re redo.

T:Ding ding dong, ding dingdong.
Ss:do so, do (rest) do so, do (rest).
Teacher hums known melodies and students echo-sing with solfge syllables.
Singing Intervals
Teacher hums the intervals between the notes of the tone set; students sing the
intervals and identify whether it is a skip or astep.
Teacher hums the intervals between the tonic note and notes of the tone set;
students sing the intervals and identify intervals.
Teacher plays intervals on the piano melodically or harmonically and students
identify the solfge syllable and determine whether the notes are a step or askip.
PartWork
Students echo-sing four beat patterns provided by the teacher with solfge and
hand signs but begin singing at beat 3 of the teachers pattern.
78 Sing the song in canon if it is a pentatonicsong.
Combine a phrase as an ostinato as well as another motif from the song
so that you are using two ostinatos at the same time. This works with
pentatonicmusic.
made of up do or do-so played on an instrument.
Students sing a diatonic song and teacher accompanies with do or so. Reverse.
Students sing a diatonic song and teacher accompanies with do, fa, or so. Reverse.
Improvisation
Teacher sings a music questions with solfge syllables and hand signs and students
provide an answer. Question ends on low so and after several activities ends on re.
Answer endsondo.
One student sings a music questions with solfge syllables and hand signs and
another student provides an answer.
One student improvises a four-beat pattern. The next student begins a four-beat
Inner Hearing
Teacher hums known fragments of songs and students sing back with solfge.
Visual Practice
Student reads from teachers handsigns.
Transform the target pattern into basic four-beat patterns found in the students
song material. Identify patterns ending on do or low la or lowso.
Practice the motifs do-la,-so; so,-la,-do; so,-do; do-so,-do.
Teaching Strategies
Reading
Read Dance Josey from rhythmic notation and solfge and staff notation with
solfge syllables and handsigns.
Use the solfge steps. The instructor points to the notes of Turn the Glasses
Over and the students sing with solfge and handsigns.
Read Over the River (to Charlie) from traditional rhythm notation with solfge
syllables.
Read these patterns:so,-la,-do; do-la,-so; so,-do; so,-re; so,-mi.
Read these exercises from Kodly 333:176, 190, 200, 303, 304, 319,321.
Additional Reading
Read target motifs from the tone ladder.
Read known melodies from the tone ladder.
Read target motif from traditional rhythmic notation and solfge with solfge
Read a known song from traditional rhythmic notation with solfge syllables
beneath using solfge syllables and handsigns.
Read a known song with solfge syllables and conduct. 79
Read a known song from staff notation with solfge syllables and handsigns.
Read a known song from staff notation with solfge syllables and conduct.
Read an unknown song with solfge syllables and handsigns.
Read an unknown song with solfge syllables and conduct.
Teacher shows hand signs and students read after two beats in canon with
handsigns.
Read phrases of known song notated with traditional rhythmic notation and
solfge, and play on a classroom instrument.
Intervals
T:so,la
Ss:Thats astep.
T:la,do
Ss:Thats askip.
T:dore
Ss:Thats astep.
T:remi
Ss:Thats astep.
T:miso
Ss:Thats askip.
T:sola
Ss:Thats astep.
T:laso
Ss:Thats astep.
T:somi
Ss:Thats askip.
T:mire
Ss:Thats astep.
T:redo
Ss:Thats astep.
T:dola
Ss:Thats astep.
T:la,so
Ss:Thats astep.
Students identify intervals from notation of known and/or unknownsongs.
Memory
Read an unknown song that includes so, with solfge syllables and hand signs.
Teacher erases a phrase or a portion after each performance and students memorize.
Read an unknown song that includes so, with solfge syllables and conduct.
Teacher erases four beats each time and students memorize.
80
Writing
Write the target pattern in stick and/or traditional rhythmic notation with solfge.
Write related patterns in stick and traditional rhythmic notation with solfge.
known song in solfge.
Fill in the missing measures of a known song with the correct solfge syllables.
The teacher can provide the rhythm but not the syllables for the missing measure.
Students transcribe a song written in rhythmic notation and solfge into staff notation.
Write Dance Josey in stick notation and staff notation.
Provide students with the staff notation of Dance Josey and/or Over the River (to
Charlie) and have students circle all steps and put a box around all skips in the melody.
After writing phrase 2 of Dance Josey in staff notation, have students play the
phrase on the xylophone or bells. (See Fig.3.7.)
Fig.3.7
Write Sailing oer the Ocean using rhythmic notation and solfge syllables as
well as in staff notation.
Aurally identify so in so,-la,-d and do-la,-so motifs. Write these patterns in stick or
staff notation.
Teaching Strategies
Sing a melodic ostinato to accompany a pentatonic song. After learning the

ostinato, write it in stick or staff notation. Consider the following:
2$xxxc sd \sxc sd \qq\qQ>
dddd ls s ss l d mr d
Improvisation
Teacher sings a question phrase with solfge syllables and hand signs and a
Teacher sings a question phrase with solfge syllables and hand signs, another
but leaves out four beats. Students read with solfge and one student improvises a
Students improve a new folk song to a give form and scale. For example, students
compose a new melody using the form ABAB. Teacher provides students with the
Aphrase and students must improvise the B phrase, to endondo. 81
Memory
Read an unknown song with solfge syllables and conduct. Teacher erases four
Inner Hearing
Teacher hums known fragments of songs and students sing back with solfge
syllables andsigns.
pattern.
PartWork
Divide the class into two groups. One group sings the song with solfge and hand
signs and the other sings a descant with solfge and hand signs that is read from
notation.
two groups and perform the activity in canon after two beats, first group singing
and second group clapping incanon.
Read a known song with solfge syllables while showing hand signs with left hand
and conducting with right hand. Divide the class into two groups, one performing
the activity and the other clapping rhythm in canon after twobeats.
simultaneously.
with right hand and tap an ostinato with lefthand.
Sing songs containing low so incanon.
Read the two-part arrangement of Rocky Mountain from Denise Bacons
publication 46 Two-Part American FolkSongs.
Zoltn Kodly, The Kodly Choral Library; 24 Canons on the Black Keys, no.1
(perform as a canon).
Denise Bacon, 50 Two Part Exercises, nos.3133.
82 Listening
Promenade, from Pictures at an Exhibition, by Modest Mussorgsky (18391881).
Ksznt trans. A Birthday Greeting, choral work, by Zoltn Kodly
(18821967).
Mikrokosmos, Vol. 3, No. 78, by Bla Bartk (18811945).
Zoltn Kodly, Peacock Variations,theme.
Sight Singing
Zoltn Kodly. Kodly Choral Library:333 Elementary Exercises (London:Boosey & Hawkes),
1963, nos. 176, 182, 190, 200, 303, 304, 319, 321. These exercises explore the re-so interval:nos.
59, 60, 61, 70, 81, 84, 85, 93, 97, 101, 102, 104, 107, 109, 115, 128, 132, 137, and139.
InternalUpbeat
Table 3.5 presents an overview of the important information required to teach internal
upbeat.
Table3.5

Single Sound or Old Dependent Internal Split eighth low so Down Came
eighth sounds Mr. on where upbeat notes a Lady, Bye,
note occurring Rabbit the sound Baby Bunting,
(internal before a falls in Do, Do Pity
upbeat) strong beat relation to My Case
the beat
Teaching Strategies
Internalizing Music Through Kinesthetic Activities
1 . Sing Old Mister Rabbit and draw the phrases in theair.
2. Sing Old Mister Rabbit and pat thebeat.
3. Sing Old Mister Rabbit while drawing the phrases with one hand and patting
the beat with theother.
4. Sing Old Mister Rabbit and clap the ostinato clap, pat, pat,pat.

1 . Assess the kinesthetic awareness.
2. Sing and pat the beat before asking each questionbelow.
3. Determine the downbeat of each phrase.
T:Andy, on which word do we clap our hands in
phrase 1?(old)
T:Andy, on which word do we clap our hands in
phrase 2?(got)
T:Andy, on which word do we clap our hands in 83
phrase 3? (jumping)
T:Andy, on which word do we clap our hands on
phrase 4? (eating)
4. Determine the beginning of each phrase.
T:Andy, whats the first word in phrase 2? (youve)
T:Andy, whats the first word in phrase 3?(of)
T:Andy, whats the first word in phrase 4?(and)
5. Determine these words in relation to thebeat.
T:Andy, do these words fall on the strong or weak part of the
beat?(weak)

2. The instructor sings Old Mr. Rabbit with the ostinato clap,
pat, pat,pat.
3. Teacher and students sing the song but only sing the words that fall on the strong
beats and inner-hear the remainder of each phrase.
4. Students create a beat chart and indicate the words that occur on the strong beats.
5. T: Where should we write the words youve, of, and and? (The point is to let
the students discoverthis.)
7. The instructor invites one student to the board to share a representation with
theclass.
8.Students point to the repre

sentation and then sing with
rhythm syllables.
The student representation
should include Figures 3.8,
3.9, and3.10.
Fig.3.8
Associative Phase:
Presentation
Label theSound
Teacher presents new element.
1.Review kinesthetic and aural

awareness and visual awareness
Fig.3.9 activities with the focus song Old
84 Mister Rabbit.
2.T:We call a phrase that
begins with a weak beat
an upbeat. Because the
upbeat occurs within the
piece of music and not
at the beginning, we call
it an internal upbeat.
Teacher indicates the
Fig.3.10 upbeat for students.
3.Teacher sings Old Mr.
Rabbit with rhythm
syllables and students
echo-sing with rhythm
Fig.3.11
4.Teacher echo-sings with at least eight individuals.
Notate What YouHear

Teacher presents notation for new element.
1 . Teacher presents the rhythm notation.

2. Teacher indicates the phrases.
3. T:In order to show the phrase, we need to split the beamed eighth notes.
4. T:When we split the beamed eighth notes, it looks like this [separate eighth
notes with flags] and sometimes we take a breath between beats. We can
call the single eighth note an upbeat or a pickup note. (Write the rhythm
Teaching Strategies
syllables and the traditional

notation.) Read with
rhythm syllables. (See
Fig.3.11.)
Fig.3.12
Assimilative
Phase:Practice MusicSkills
Aural Practice
Singing and Conducting
syllables or while conducting.
T:And eating all my cabbage.
Ss:di ta di ta di ta di (rest).
T:And she was dressed inblue.
Ss:di ta di ta di ta (rest).
T:To wrap his baby buntingin. 85
Ss:di ta di ta di ta dita.
T:My clothes to wash when Igethome.
Ss:di ta di ta di ta dita.
Students echo-sing four-beat melodic patterns, containing a new rhythm provided
by the teacher, with rhythm syllables and conducting.
Student sings known melodies with rhythm syllables and conducts.
Teacher hums known and unknown motifs and students sing back with rhythm
syllables.
PartWork
Teacher claps a rhythm and students follow in canon after twobeats.
Students perform a two-part rhythmic reading exercises. Group1 performs the
upper part and group 2 the lower part. Switch. Include internal upbeats.
Student performs a two-part rhythmic reading exercises. Perform the upper part
with right hand and lower part with left hand. Include internal upbeats.
Improvisation
Teacher sings a four-beat rhythm on pitch while conducting. Students task is to
conduct and create an answer that includes an internal upbeat.
The teacher claps and says the rhythm syllables in a question phrase that uses an
internal upbeat and students provide an answer. Bye, Baby Bunting is a good
model for this exercise.
One student claps and says the rhythm syllables in a question phrase that uses an
internal upbeat, and another student answers.
Inner Hearing
Students sing songs with internal upbeats but inner-hear the phrases that do not
have the internal upbeat.
Visual Practice
Students read known songs containing internal upbeats from teachers handsigns.
Reading
Read from traditional notation written according to phrase. Have the rhythm of
Old Mister Rabbit on the board in traditional rhythm notation; students point
and read with rhythm syllables.
Change one song to another:read rhythmic notation of Old Mister Rabbit and
Do, Do Pity My Case in rhythmic notation, with the internal upbeat.
Writing
Students write Down Came a Lady with rhythmic notation and in four phrases;
they must write the final phrase with the internal upbeat (i.e., place a single eighth
note at the beginning of the final phrase).
Improvisation
Begin by having students chant and clap the rhythm of any well-known song
86 written on the board. Guide students to improvise the final phrase of a known
song with the stipulation that the final phrase begins with an upbeat. For example,
students could perform the rhythm of Great Big House in New Orleans, but
when they get to the final phrase, they must improvise a new phrase that begins
with an upbeat and write the rhythm on theboard.
Sight Singing
highdo
Table 3.6 presents an overview of the important information required to teach highdo.
Table3.6

Hi do A pitch Hogs high do Octave; high do on Internal Liza Jane,
a skip in the extended different upbeat Circle
higher Cornfield pentatonic staff Round the
(minor scale placements Zero, I Lost
third) the Farmers
than la Dairy Key,
Riding in
a Buggy,
Tideo,
John
Kanaka,
Pourquoi
Teaching Strategies
1 . Sing Hogs in the Cornfield with an ostinato.
2. Sing Hogs in the Cornfield and point to a representation of the melodic contour
of phrase 2 on the board (Fig.3.12).
3. Sing Hogs in the Cornfield and show the melodic contour for the target,
phrase2.
4. Sing Hogs in the Cornfield with rhythm syllables while showing the melodic
contour.

1 . Review kinesthetic awareness.
2. Sing phrase 2 on loo while keeping the beat before asking each questionbelow.
3. Determine the number ofbeats.
5. Determine which beats have the lowest pitch and highestpitch.
T:Andy, which beat had the highest pitch? (beat1)
T:Andy, which beat has the lowest pitch?(4)
87
6. Determine the solfge syllable of the finalpitch.
T:Andy, what is the solfge syllable of the final pitch?(do)
7. Determine the solfge syllables for beats 3and4.
T:Class, lets sing the pitches on beats 3 and4.
T:Andy, sing that in solfge. (mi-re-re-do-do)
8. Determine the solfge syllables for beats 1and2.
T:Lets sing the first three pitches.
T:Andy, how would you describe the first pitch? (high)
T:Andy, sing high for the first note and sing the rest in solfge.
(high-la-so-so-so)
T:Andy, sing the whole phrase with hand signs.
(high-la-so-so-so-mi-re-re-do-do)

2. The instructor hums 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. Teacher: Pick up what you need to recreate what you heard or
Draw what you heard. Teacher assesses students level of understanding.
4. The teacher invites one student to the board to share a representation with the
5. Students sing the second phrase of Hogs in the Cornfield with a neutral syllable
and point to the representation, then sing with known elements:high la so so so
me re redodo.
6. Determine the rhythm of the song and sing it with rhythm syllables.
Label theSound
Teacher presents new solfge syllables.
1. Assess kinesthetic and aural awareness and visual awareness activities with the
focus song Hogs in the Cornfield.
2. T:When we hear a sound a skip above la we call it high do. The instructor shows
the handsign.
3. Teacher sings phrase 2 of Hogs in the Cornfield with solfge syllables and
students echo-sing. (d-la-so-so-so-mi-re-re-do-do)
4. Teacher echo-sings with at least eight students.
5. Identify the interval high do-la as askip.
Notate What YouHear

Teacher presents notation for newpitch.
88 1.Present the position of high do on the steps. Identify

the interval lahigh do as a skip of a third. (See
d'
Fig.3.13.)
l 2.Present the target phrase of Hogs in the Cornfield in
s
stick notation.
m
2$sd xsd \sxcsd\
r
d l ss s m rr dd
d
Write the target melody with traditional rhythmic
notation and solfge. Individual students sing and point
l1
to the melody on the board as the class sings the song
s1 with solfge syllables and handsigns
Fig.3.13 Designate the rule of placement. If high do is in a space,
la is in the space below; if high do is on a line, la is on the
linebelow.
3. Show the second phrase of Hogs in the Cornfield on staff.
Write the target melody on the staff. Individual students sing and point to the
melody written on the staff as the class sings the song with solfge syllables and
handsigns.

Aural Practice
Singing with Solfge Syllables
Teacher sings known melodies with words and students echo-sing with solfge
syllables.
T:I sing the words; you sing the hand signs.
T:Tell them pretty gals Im comingover.
Teaching Strategies
Ss:d la so so so mi re re dodo.
T:Oh Eliza, little LizaJane.
Ss:d so la so mi mi redo.
T:Do, do let me out Im in some ladys garden.
Ss:d d so mi do re mi so re mi dodo.
T:Who moans for me? Who moans forme?
Ss:do do mi so d la miso.
Teacher hums known melodies and students echo-sing with solfge syllables.
Students sing known melodies containing high do with solfge syllables and
handsigns.
Students sing known melodies containing high do with solfge syllables and
conducting.
Teacher hums motifs from known songs and students sing back with solfge
Teacher hums do extended pentatonic and la extended pentatonic motifs and
students sing back with solfge and handsigns.
Singing Intervals 89
Teacher hums the intervals between the notes of the tone set; students sing the
intervals and identify whether each is a skip or astep.
Teacher plays intervals on the piano melodically or harmonically and students
identify the solfge syllable and whether the interval is a step or askip.
PartWork
Students echo-sing four beat patterns provided by the teacher with solfge and
hand signs but begin singing at beat 3 of the teachers pattern.
Sing the song in canon if it is a pentatonicsong.
Combine a phrase as an ostinato as well as another motif from the song so that
you are using two ostinatos at the same time. This works with pentatonicmusic.
made of up do or do-so played on an instrument.
Improvisation
Teacher sings a music question with solfge syllables and hand signs and students
provide an answer. Question ends on so and after several activities ends on re.
Answer endsondo.
One student sings a music question with solfge syllables and hand signs and
another student gives an answer.
Inner Hearing
Teacher sings known fragments of songs and students sing back with solfge syllables.
Visual Practice
Student reads from teachers handsigns.
Transform the target pattern into basic four-beat patterns found in the last phrase
of I Lost the Farmers DairyKey.
Reading
Read target motifs from the tone ladder.
Read known melodies from the tone ladder.
Read target motif from traditional rhythmic notation and solfge with solfge
Read a known song from traditional rhythmic notation with solfge syllables and
handsigns.
Read a known song with solfge syllables and conduct.
Read a known song from staff notation with solfge syllables and handsigns.
Read a known song from staff notation with solfge syllables and conduct.
90 Read an unknown song with solfge syllables and handsigns.
Read an unknown song with solfge syllables and conduct.
Teacher shows hand signs and students read after two beats in canon with
handsigns.
Read phrases of known song, notated with traditional rhythmic notation and
solfge, and play on a classroom instrument.
Read Hogs in the Cornfield using rhythmic notation and solfge and staff
notation.
Read I Lost the Farmers Dairy Key using rhythmic notation and staff
notation.
Read and play the two phrases of Hogs in the Cornfield on the xylophone or
tonebells.
Read Zoltn Kodly, Kodly Choral Library:333 Elementary Exercises
(London:Boosey & Hawkes, 1963), exercise327.
Intervals
Students identify intervals from notation of known songs as steps orskips.
T:dore.
Ss:Thats astep.
T:remi.
Ss:Thats astep.
T:miso.
Ss:Thats askip.
T:sola.
Ss:Thats astep.
T:lado.
Ss:Thats askip.
T:dola.
Teaching Strategies
Ss:Thats askip.
T:laso.
Ss:Thats astep.
T:somi.
Ss:Thats askip.
T:mire.
Ss:Thats astep.
T:redo.
Ss:Thats astep.
Students identify intervals from notation of unknownsongs.
Memory
beats each time and students memorize. 91

Writing
known song in solfge.
Fill in the missing measures of a known song with the correct solfge
syllables. Teacher can provide the rhythm but not the syllables for the missing
measure.
Write the target pattern in stick and/or traditional rhythmic notation with
solfge
Write related patterns in stick and traditional rhythmic notation with solfge
Write a known song in stick and/or traditional rhythmic notation
Students transcribe a song written in rhythmic notation and solfge into staff
notation.
Write either the last phrase of Hogs in the Cornfield or the last phrase of I
Lost the Farmers Dairy Key with rhythmic notation and/or staff notation. Play
phrase 2 of Hogs in the Cornfield on the bells or xylophone.
Transcribe a melody from rhythmic notation and solfge to staff notation.
Improvisation
The teacher sings a question phrase in solfge syllables written on the board;
students sing one of the possible answer phrases in solfge syllables also written
on the board (at first do this with Hogs in the Cornfield and I Lost the Farmers
Dairy Key); leave a blank answer choice for them to create theirown.
Gradually change the question phrase to a different phrase. Students may still
echo the last phrase of Hogs in the Cornfield or I Lost the Farmers Dairy Key,
or another known song or one created from theirown.
Once students are comfortable echoing an answer phrase beginning on high do,
ask them to improvise a different phrase that begins on high do or that uses high
do, and then ask them to write their answer on theboard.
but leaves out four beats. Students read with solfge, and one student improvises a
Students improvise a new folk song to a given form and scale. For example,
they compose a new melody using the form ABAB. Teacher gives students the
Aphrase and students must improvise the B phrase to endondo.
Memory
92 beats each time and students memorize.
Inner Hearing
Teacher hums known fragments of songs and students sing back with solfge
syllables andsigns.
pattern.
PartWork
signs and group 2 sings a descant with solfge and hand signs that is read from
notation.
two groups and perform the activity in canon after two beats, first group singing
and second group clapping incanon.
Read a known song with solfge syllables while showing hand signs with left hand
and conducting with right hand. Divide the class into two groups, one performing
the activity and the other clapping the rhythm in canon after twobeats.
Teaching Strategies
simultaneously.
Sing scales incanon.
Listening
On the Trail, from Grand Canyon Suite, by Ferde Grof (18921972).
Ecce Gratum, from Carmina Burana, by Carl Orff (18951982).
For Children, Vol 1.No. 5, by Bla Bartk (18811945).
Sight Singing
ExternalUpbeat
Table 3.7 presents an overview of the important information required to teach external upbeat. 93
Table3.7

An eighth Sound or I Lost External Quarter high do Aquaqua
note sounds the upbeat and paired Del
external preceding Farmers eighth AOmar,
upbeat the strong Dairy notes and Shoes
Two eighth beat at the Key single of John,
notes as beginning eighth note Band of
external of a Angels,
upbeat composition Oh, No,
John,
Quarter
The Three
note as
Rogues
external
upbeat
Use different kinds of external upbeats; consider upbeats beginning with an eighth or two
eighths or a quarter note. The process for teaching will always remain the same, as outlined
below. Our one caveat is that students must know how to conduct in duple and quadruple
meter and understand that the strong beat in conducting is the downbeat.

1 . Sing I Lost the Farmers Dairy Key and trace the phrase inair.
2. Students perform the beat by clapping the first beat of each phrase and patting the
subsequent seven beats.
3. Students perform the beat by bending their knees on the first beat of each phrase
and patting the subsequent sevenbeats.
4. Sing I Lost the Farmers Dairy Key and point to the representation of the beat
and the phrases on the board.
5. Students sing and conduct thebeat.

1 . Review kinesthetic activities.
2. Before asking each question, students and teacher should sing and conduct each
phrase.
T:Andy, on what word does the first phrase begin?(I)
T:Andy, what word do we sing when we pat the first beat?(lost)
T:Andy, does the Ive fall on the strong part of the beat or the weak part of the
beat? (weakpart)

94 the kinesthetic and aural awareness activities.
2. The instructor hums the target phrase with a neutral syllable and asks students to
create a visual representation of the words of the target phrase indicating the first
word in each phrase and the word that falls on the strong beat. Draw what you
heard. Teacher assesses students level of understanding.
3. Students share their representations with each other. (Students will write the
words with an accent mark or bar lines as well as a phrasemark.)
5. Students sing the first phrase of the song with a neutral syllable and point to
the representation, then sing with rhythm syllables. Add the bar lines and time
signature to the piece ofmusic.
Label theSound
Teacher presents new element.
1. T:We call a phrase that begins with a weak beat an upbeat. Because the upbeat
occurs at the beginning the piece of music, we call it an external upbeat.
2. Teacher sings I Lost the Farmers Dairy Key and conducts; students echo-sing
and conduct. Repeat this activity but use rhythm syllables.
3. Teacher and students identify the eighth note upbeat.
Notate What YouHear

The teacher presents notation for upbeat. Explain how to write the last measure of thesong.
4$a\sdsdsdsd\sdsdqq\
qqsdaa\sdsdqa|
Teaching Strategies
Students read the notation with rhythm syllables while clapping the rhythm. Students read
the notation with rhythm syllables and conduct.

Aural Practice
Singing with Rhythm Syllables
syllables or conducting.
T:Ive lost the farmers dairy key Im in some ladys garden
Ss:di ta di ta di ta di ta di ta di ta di tata.
T:I am standing in the shoes ofJohn.
Ss:ta di ta di ta di ta ta ta-ah.
T:There was one, there were two, there were three, little angels.
Ss:ta di ta ta di ta ta di ta ta di tadi.
Teacher hums known melodies with words and students echo-sing with rhythm
syllables or conducting. 95
PartWork
Teacher claps a rhythm and students follow in canon after twobeats.
Students perform a two-part rhythmic reading exercise. Perform the upper part
Improvisation
Teacher claps and says the rhythm syllables in a question phrase that uses external
upbeat and students give an answer.
One student claps and says the rhythm syllables in a question phrase that uses
external upbeat and another student answers.
Inner Hearing
Teacher hums known fragments of songs and students sing back with rhythm
syllables and clapping.
Teacher hums known fragments of songs and students sing back with rhythm
syllables and conducting.
Visual Practice
Reading
Read I Lost the Farmers Dairy Key in rhythmic notation, with the upbeats
beginning each phrase.
Read The Shoes of John in rhythmic notation, with the upbeats beginning each
phrase.
Read Band of Angels in rhythmic notation, with the upbeats beginning each
phrase.
Read from Denise Bacons publication, 50 Easy Two Part Exercises, nos. 43, 44,
and48.
Writing
Write the target pattern in stick and/or traditional rhythmic notation.
Write related patterns in stick and traditional rhythmic notation.
Fill in the missing measures of a known song with the correct rhythms.
correct rhythms.
Students notate rhythm patterns by teacher and add the bar lines and time
signature.
Improvisation
Teacher claps a question phrase and chants rhythm syllables, and students choose
96 from four patterns on the board to use as an answering phrase. One phrase should
just include four heartbeats.
One student claps a question phrase and chants rhythm syllables, and another
The teacher 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 a new rhythm pattern for the missing measure.
Begin with the rhythm of a song the students know well and write it on the board.
For example, consider Dance Josey and Sailing oer the Ocean. Students then
improvise a variation of the original using external and internal upbeats. The
upbeat can be a single quarter note, two eighth notes, or an eighth note. Ask a
student to write the answer on theboard.
Listening
Appalachian Spring, by Aaron Copland (19001990). Section Aof the Shaker
Hymn begins with an upbeat.
The Happy Farmer, from Album for the Young, by Robert Schumann
(18101856).
Toccatina, from Thirty Childrens Pieces, Op.27, Book 1, No. 7, for piano, by
Dimitri Kabalevsky (19041987).
Bandinerie, from Suite No. 2 in b minor, by J.S. Bach (16851750).
2$sxd \sxd sxd \qxxxd \xxxd xxxq\sd
sxd \sxqsxd \qxsq\xsdsd\sd
xsd \xsd sd \sd xxxc \xxxc xxxc\xxxc
xxxc \xxxc xxxc \xxxc xxxc \xxxc sd\qQ|

Teaching Strategies
Sleepers Wake, from Cantata No. 140, by J.S. Bach (16851750).
1. 4$a\xsd sd sd sd \xsd sdsdQ\
2.4$a\qxxxc xxxc sxc \xxxd xxxdsdA
3. a\aqaxsd Aa\aqaxsqA
Sight Singing
For two-part sight singing, see Denise Bacons 50 Easy Two Part Exercises, nos. 43, 44,48.
Developing a Lesson Plan Design

Based onthe Teaching Strategies
The goal of this section is to show how our model of instruction and learning incorporates
information for developing musical literacy into the preparation/practice and presentation 97
lesson plan designs.
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 con
struct kinesthetic awareness. In stage 2, they learn to describe the characteristics of
the new concept by constructing aural awareness. In stage 3, they construct a repre
sentation of the new concept. The stages of learning in this phase are explored in three
lessonplans.
In the associative phase of learning, students learn how to describe the sounds of
music with rhythm or solfge 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 pat
tern that contains the new element) and related patterns. Stage 2 is visual presentation of
the target pattern using traditional notation. Each stage of learning here is explored in a
lessonplan.
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 solfge syllables and hand signs for the new ele
ment with music skills. In stage 2, students visually practice the new element with musical
skills. Aural practice should take place independently from visual practice, but visual prac
tice 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 or
combined.
Figure3.14 demonstrates how the phases of learning are reflected in different types of
lessons.
Fig.3.14 Connecting Lesson Plans to Phases of Learning
and Instruction
P HASE ON E : T H E C O G N I T I V E P HASE ( P R E PA R AT I ON )
Lesson 1
Stage 1:internalizing music through kinesthetic activities;constructing kinesthetic awareness
Ss listen to T sing the newsong.
Ss perform the new song with movement.
Rationale:to match patterns of experience to patterns ofmusic.
Lesson 2
Stage 2:describe what you hear;constructing aural awareness by responding to questions
Ss aurally analyze the characteristics of the new musical element with the help of the
teacher.
Ss describe the characteristics of the new element.
Rationale:to verbalize what they perceive.
98
Lesson 3
Stage 3:constructing a representation from memory:constructing visual awareness
Ss create a visual representation based on their aural understanding.
Rationale:to visually represent what they have heard and verbalized.
P HASE T WO : T H E AS S O C IAT I V E P HASE ( P R E SE N TAT I ON )

Lesson4
Stage 1:associate the sound of the new element with solfge or rhythmic syllables.
Lesson5
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.
P HASE T H R E E : AS SI M I L AT I V E P HASE ( P R AC T I C E )
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
newsongs.
Stage 2:Ss visually practice music skills, assimilating the new element, in familiar and new
songs.
Teaching Strategies
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 it. These plans
show where the various phases and 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:
New element Grade 3, Unit 3, low la

Known element Grade 3, Unit 3, eighth note followed by two sixteenth notes
New element Grade 3, Unit 4, teaching two sixteenth notes followed
by an eighth note
Known element Grade 3, Unit 4, low la
Lesson 1:Kinesthetic
Table 3.8 shows the lesson plan design for developing a preparation/practice lesson plan
framework for the cognitive phase of learning, stage1. 99
Table3.8
Outcome
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and elements
Teach a new song
Preparation of new concept Cognitive Phase, Stage1
Develop knowledge of music literacy Ss listen to the instructor sing the focussong.
concepts Ss perform the focus song with a movement that
Internalize music through kinesthetic demonstrates the concept.
activities Rationale:To match patterns of experience to
patterns of music.
(Continued)
Table3.8(continued)
Creative movement
Practice music performance and
literacyskills
Reading and listening
Review lesson outcomes
Review the new song
Table 3.9 shows a lesson plan for developing a preparation/practice lesson plan frame
work for the cognitive phase of learning, stage1.
Table3.9 Grade 3:low la, Lesson1

100 Outcome Preparation:internalizing a pitch a skip lower than do
through kinesthetic activities
Practice:reading the rhythm of melodies containing an eighth
note followed by two sixteenth notes.
Warm-up
Sing known songs
Tone production
Diction
Expression
Review known songs and
melodic elements
Teach a new song
Develop knowledge of Phoebe in Her Petticoat
music literacy concepts CSP:A
Internalize music through Ss sing Phoebe in Her Petticoat and keep thebeat.
kinesthetic activities Ss sing the song and clap the melodic contour for the
target phrase (phrase1).
Sing song and point to a representation of the melodic
contour on theboard.
T selects individuals to come to the board to point to the

contour.
(Continued)
Teaching Strategies
Table3.9(continued)
Ss find partners (could be same partner from the game) to
mirror one another while clapping the contour.
Sing with rhythm syllables while showing melodic contour.
Creative movement
Practice music
performance and
literacyskills
Reading
Review the new song
Lesson 2:Aural
Table 3.10 has a lesson plan template for developing a preparation/practice lesson plan for 101
the cognitive phase of learning, stage2.
Table3.10
Outcome
Warm-up
Sing known songs
Develop tuneful
singing
Tone production
Diction
Expression
Review known songs
and elements
Teach a new song
Preparation of new Cognitive Phase, Stage2
concept Describe what youhear.
Develop knowledge of Ss aurally analyze the characteristics of the new musical
music literacy concepts element with the help of the instructor.
Ss describe the characteristics of the new element by
Describe what you hear
answering a series of carefully sequenced questions from T.
In this way, Ss can develop their audiation skills during the
process of answering questions. They must inner-hear the
focus phrase in order to be able to answer Ts questions.
(Continued)
Creative movement
Practice music
performance and
literacyskills
Writing
Review lesson
outcomes
Review the new song
Table 3.11 presents a lesson plan for developing a preparation/practice lesson plan for
the cognitive phase of learning, stage2.
102 Table3.11 Grade 3:low la, Lesson2
Outcome Preparation:analyzing repertoire that contains a pitch that

is a skip belowdo
Practice:writing musical phrases that contain an eighth
note followed by two sixteenth notes
Warm-up
Sing known songs
Tone production
Diction
Expression
melodic elements
Teach a new song
Develop knowledge of music Phoebe in Her Petticoat
literacy concepts CSP:A
Describe what you hear T directs half the class to continue the ostinato while
the remaining sing the song. Switch.
Review kinesthetic awareness activities.
T and Ss tap the beat and sing the first phrase on
loo before asking each question:
T:Andy, which beat has the lowest pitch? (beat4)
(Continued)
Teaching Strategies
T:Lets sing the phrase on loo but sing low for the
lowestnote.
T sings the first four pitches onloo.
T:Andy, what hand signs do we use to sing those
pitches? (mrdd)
T:Lets sing our phrase with solfge syllables and
hand signs but sing low for our lowest pitch. (m r d
d rdlow)
Ss sing and point down for the lowpitch.
T:Andy, is our lowest pitch a step or a skip from
do?(skip)
Ss sing as a whole group, and then T may select
individuals to sing the target phrase. (m r d d rdlow)
Ss sing Phoebe in Her Petticoat while T sings Over
the River as a partner song.
Creative movement 103
Practice music, performance,
and literacyskills
Writing
Review the new song
Lesson 3:Visual
Table 3.12 presents a lesson plan design for developing a preparation/practice lesson plan
framework for the cognitive phase of learning, stage3.
Table3.12
Outcome
Warm-ups
Sing known songs
Tone production
Diction
Expression
(Continued)
Teach a new song
Preparation of new concept Cognitivephase
Develop knowledge of music Stage 3:constructing a representation from memory
literacy concepts Constructing visual awareness
Create a representation of what you Students create a visual representation of the focus
hear phrase based on their aural understanding.
Rationale:to visually represent what they have
heard and verbalized.
Creative movement
literacyskills
Improvisation
104 SU M M A RY AC T I V I T I E S
Review the new song
Table 3.13 shows a lesson plan for developing a preparation/practice lesson plan frame
work for the cognitive phase of learning, stage3.
Outcome Preparation:creating a visual representation of a musical

phrase containing a pitch that is a skip belowdo
Practice:improvising musical phrases that contain
an eighth note followed by two sixteenth notes
Warm-up
Sing known songs
Tone production
Diction
Expression
Review known songs and melodic
elements
Teach a new song
(Continued)
Teaching Strategies
Develop knowledge of music Phoebe in Her Petticoat

Create a representation of what you Ss continue the ostinato while singing thesong.
hear Review kinesthetic and aural awareness activities.
T sings the target phrase on a neutral syllable.
T:Use Unifix cubes to recreate what you heard.
Ss create a visual representation of the target
phrase.
Ss share their representations with eachother.
Ss make corrections if necessary.
T invites one Ss to the board to share a
representation.
Ss sing on loo as they point to the
representation on theboard.
Ss sing the song and put away their materials.
Creative movement 105
literacyskills
Improvisation
Review the new song
Lesson 4:Presentation
Table 3.14 shows a lesson plan design for the associative phase of learning, stage 1, presen
tation. Label thesound.
Table3.14
Outcome
Warm-ups
Sing known songs
Tone production
Diction
Expression
(Continued)

Teach a new song
Presentation of music literacy Phase two:associative phase:presentation
concepts Stage 1:associate the sound of the new element
Describe what you hear with solfge with solfge or rhythmic syllables with a focus
or rhythm syllables pattern
Creative movement
concepts Stage 1:associate the sound of the new element
Describe what you hear with solfge with solfge or rhythmic syllables with a related
or rhythm syllables pattern
106 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 thesound.
Outcome Presentation:label the pitch that is a skip below do as low la

Warm-up
Sing known songs
Tone production
Diction
Expression
melodic elements
Teaching a new song
Presentation of music Phoebe in Her Petticoat
Describe what you hear with Ss sing thesong.
rhythm or solfge syllables Review kinesthetic, aural, and visual awareness activities.
T:When we hear a pitch a skip below do, we call it low
la. (Showsign.)
(Continued)
Teaching Strategies
T sings phrase 1 with solfge syllables and handsigns.

Class sings the target phrase with solfge syllables and
handsigns.
Six to eight individual Ss sing the target phrase with
Ss perform the rhythm of phrase 1 as a rhythmic
ostinato into the next song (2$sdsd\sdq>).
Creative movement
Presentation of music Jim AlongJosie
rhythm or solfge syllables Ss sing with rhythm syllables while keeping thebeat.
Ss sing the target phrase with solfge syllables and
handsigns.
Ss identify the solfge syllables of the remaining phrases.
107
T connects low la to other known songs; T and Ss sing
these songs with solfge syllables and handsigns.
Rosie, DarlingRosie
Big Fat Biscuit
Jim AlongJosie
Old Mr. Rabbit
Review the new song
Lesson 5:Presentation
Table 3.16 shows a template for a presentation lesson plan for the associative phase of learn
ing, stage 2, a new element.
Table3.16
Outcome
Warm-up
Sing known songs
Tone production
Diction
Expression
(Continued)

elements
Teach a new song
concepts Stage 2:associate traditional notation with the sound of
Notate what you hear the new musical element in a focus pattern
Creative movement
concepts Stage 2:associate traditional notation with the sound of
Notate what you hear the new musical element in a related pattern
108 Review the new song
Table 3.17 has a presentation lesson plan for the associative phase of learning, stage 2,
presentation. Present the notation.
Outcome Presentation:present low la in standard and staff notation

Warm-up
Sing known songs
Tone production
Diction
Expression
melodic elements
Teaching a new song
Notate what you hear T directs part of the class to continue singing Sailing
oer the Ocean while the remainder sing Phoebe in
Her Petticoat.
T reviews aural presentation.
(Continued)
Teaching Strategies
T places low la on the tone ladder.

Ss sing all known solfge syllables and their intervals.
Ss write the solfge syllables for phrase 1 of the song
beneath the standard notation.
Ss read the notation with solfge syllables and
handsigns.
T explains the rule of placement for lowla.
T writes the first phrase of the song in staff notation
and explains rule of placement for low la (do =
C,F,G).
Ss read the notation with solfge syllables and hand
signs.
Creative movement
Ss sing with words and conduct.
109
Notate what you hear
Ss sing with solfge syllables and handsigns.
Ss place the solfge syllable tone set on the tone ladder
and sing with handsigns.
Ss read the standard rhythmic notation with solfge
syllables written beneath with handsigns.
T reviews the rule of placement.
T presents the target phrase on thestaff.
Ss read the target phrase on the staff with solfge
syllables and hand signs.
Review the new song
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
at the same time as we are preparing another new element to be mastered.
Lesson Segment forPracticing Reading

We use the preparation/practice lesson plan framework, but note how we focus on practic
ing reading while preparing the next new element (Table3.18).
Table3.18 Grade 3:Two Sixteenths, One Eighth Note, Lesson1
Outcome Preparation:internalizing three uneven sounds on one beat

(short short long) through kinesthetic activities
Practice:reading music with low la
Warm-up
Sing known songs
Tone production
Diction
Expression
rhythmic elements
110 Teach a new song
Develop knowledge of
music literacy concepts
Internalize music through
kinesthetic activities
Creative movement
Practice music Phoebe in Her Petticoat
performance and CSP:A
literacyskills Ss sing thesong.
Reading Sing using solfge syllables and hand signs; one S places
notes on tone ladder.
S identifiesscale.
Ss read from traditional notation and solfge syllables
using handsigns.
Ss read from staff notation using solfge syllables and
hand signs in the keys of C, F, and/orG.
Ss read the main theme of An Evening in the Village,
from Hungarian Sketches, by Bla Bartk (18811945)
from Ts hand signs and listens to the melody.
Review the new song
Teaching Strategies
Lesson Segment forPracticing Writing

We use the preparation/practice lesson plan framework, but note how we focus on practic
ing writing while preparing the next new element (Table3.19).
Table3.19 Grade 3:Two Sixteenth Notes, One Eighth Note, Lesson2
Outcome Preparation:aurally analyze repertoire that

contains three uneven sounds on onebeat
Practice:writing music with low la
Warm-up
Sing known songs
Tone production
Diction
Expression
111
Teach a new song
Develop knowledge of music
literacy concepts
Describe what you hear
Creative movement
Practice music performance and Phoebe in Her Petticoat
literacyskills CSP:A
Writing Ss sing thesong.
Ss sing the song with solfge syllables.
Ss write the solfge syllables under the
rhythmic notation on theboard.
Ss complete the writing worksheet.
Ss sing in canon after two beats.
Review the new song
Lesson Segment forPracticing Improvisation

We use the preparation/practice lesson plan framework, but note how we focus on
practicing improvisation while preparing the next new element (Table 3.20).F.5
Fig.3.8Fig.3.8Fig.3.15Fig.3.17Fig.3.18
Table3.20 Grade 3:Two Sixteenth Notes and One Eighth Note,

Lesson3

phrase that contains three uneven sounds on a beat (short
shortlong)
Practice:improvising melodic patterns that contain low la
Warm-up
Sing known songs
Tone production
Diction
Expression
rhythmic elements
112
Teach a new song
Develop knowledge of
music literacy concepts
Create a visual
representation of what you
hear
Creative movement
literacyskills Ss sing Phoebe in Her Petticoat.
Improvisation Ss sing with solfge syllables and handsigns.
Ss identify the form.(ABAD)
Ss place the tone set on theboard.
Ss sing a new Aphrase incorporating low la ending on
so from T pointing to tone set. (d l,-dr-ms-s) D phrase
will be last phrase of Phoebe in Her Petticoat.
Ss sing new A; individual Ss improvises a new B phrase,
and Ss sing new Afollowed by D.
Review the new song
Chapter 4
Students asPerformers
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
detailed activities are included in Chapters 3 and 7 of Kodly Today. Also included are listen- 113
ing examples that may be used for movement development as well as to develop music literacy
skills. When possible, music skills should practice all of the rhythmic and melodic elements out-
lined in the curriculum for each grade. Grade three 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 beats in compound meter.
Tuneful SingingSkills
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 theback.
Neck muscles should be relaxed.
Tongue should be relaxed in the bottom of themouth.
Spine should be extended.
Rib cage is lifted.
Be at the edge of your chair when singing.
Feet are on thefloor.
Hands are on thelegs.
Eyes are on the conductor.
3. Explain the correct standing position:

Shoulders should be relaxed and rotated toward theback.
Neck muscles should be relaxed.
Tongue should be relaxed in the bottom of themouth.
Spine should be extended.
Rib cage is lifted.
Arms should dangle freely at the sides. Hands should be relaxed at thesides.
Knees should be relaxed and very slightlybent.
Feet should be firmly placed on the ground and roughly ten to twelve inches
apart.
Make sure the body is resting on the balls of thefeet.
Eyes are on the conductor.
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 theother.
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.
5. Head rolls. Drop head to left shoulder and trace a half circle, moving chin toward
114 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 severaltimes.
8. Knee flex. Arms should be extended forward and hands should be relaxed; bounce
the body by flexing theknees.
9. Wiggle toes. Wiggle toes inside yourshoes.
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 the abdominal muscles 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 theirwaist.
Show students how to release air using a sss or hissingsound.
Show students how to release air using the word ha.
Guide the students to yawn, as this opens up the back of the throat and relaxes
thevoice.
Students as Performers
3. Sighing. This is a gentle way of using a higher voice than students usually speak
with. Try having them sigh a few times, starting each sigh a little higher than
thelast.
4. Practice breathing. Breathe in through the nose for four counts and exhale through
the mouth for four counts.
5. Consonants. Students echo four-beat patterns of consonants (k-k-k-k, ss-ss-ss-ss,
p-p-p-p, zz-zz-zz-zz,etc.).
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 doboth.
2. Falling off a cliff. Pretend youre 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,
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 yipsound.
3. Students speak with a koo sound. Students repeat koo to known rhythm 115
patterns.
4. Students sing with a koo sound. Students sing known melodies to a koosound.
5. Pure vowel sounds. Sing with known solfge syllables and handsigns.
6. Combination vowels. Sing vocalizations that include combinations of vowels to the
melodic patterns in songs, for example, using mi-oh and my. If sung to Snail,
Snail we havethis:
Phrase 1: mi-oh mioh,
Phrase 2: mi-oh mi-oh mi-oh my.
7. Vowel focus on v. Direct students to sing voo-voh, vah-veh-vee using pentatonic
patterns and motifs.
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 sing 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. Every time you repeat, you can
sing another on a new vowelsound.
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 orfifth.
3. Unvoiced consonants. Students say the unvoiced consonants p, t, and k using

rhythm patterns ofsongs.
4. Voiced consonants. Students sing songs using voiced consonants b, d, g,andj.
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 innersmile.
6. Practice singing diphthongs (dominant vowel sound and a lesser vowel sound. For
example, practice saying and singing on apitch:
How now brownCow
The rain in Spain stays mainly in theplain
Like a smartchild
Tuneful Singing
1. Review interval practice from the second grade: work with patterns such as
so-mi-do, so-mi-re-do, la-so-mi-do, la-so-mi-re-do. Review the do-so and so-do
perfect intervals. All of these patterns can be practiced with the teacher using
two hand signs. Another important interval to review is so-re. Again, this may
be practiced by singing pentatonic songs while the teacher gently hums a so-
drone throughout the song, or it may be practiced with two-part hand sign
singing. Students are now introduced to low la, which introduces students
consciously to the minor scale. It is through modeling that the teacher
116 presents the basic formulas, using well-known songs for patterns la-do-re and
la-do-re-mi. In a minor context, the re- in a minor setting will be sung closer
to the do than in a major setting and the interval between la and do will be
much darker. Now the students are ready to sing more interesting melodic
ostinatos in two parts.
2. Singing phrases of songs on oh sound. Students sing phrases of songs on oh and
make sure the tone is very light and relaxed.
3. Singing with dynamic markings. Students should sing known melodies using the
correct dynamic names andterms:
pp pianissimo
p piano
mpmezzo-piano
mf mezzo-forte
f forte
ff fortissimo
It is best to sing songs using two contrasting dynamics, as with fandp.
4. Sing songs using two-part hand signs. Students sing in two parts from the teachers
hand signs. Begin with using a sustained tone in one vocalpart.
5. Singing longer phrases. Students sing known songs but combine two phrases
intoone.
6. Tempo markings. Students should be taught the Italian terms and English
meanings:
Largo veryslow
Adagio slow
Andantemoderatelyslow
Moderato moderate
Allegrettomoderatelyfast
Allegro fast
Presto veryfast
Students should begin singing known songs using two differingtempi.
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 vowelcolor.
8 . Staccato and legato. Students practice singing songs legato and staccato.
ReadingSkills
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 a new and unfamiliar
melody, we refer to this as sight singing.
Rhythm Reading Activities

Read traditional rhythmic notation from flash cards, the interactive SMART board, or
worksheets. Read a known song from rhythmic notation that includes grade three ele-
ments. The process:
1 . Sing the song and tap thebeat. 117

2. Sing the song with rhythm syllables.
3. Tap the beat as the students keep the beat and read the rhythm of the complete
song, or the rhythm of a specific phrase using inner hearing oraloud.
Transform Rhythm ofKnown Song intoan UnknownSong

Transform a known song into an unknown song by sequentially changing rhythms that
include grade three elements. The process:
1 . Students sing a knownsong.

2. Teacher erases parts of thesong.
3. Students clap the rhythm and say the new rhythm syllables.
4. Teacher transforms to a new rhythm entirely and sings a new song.
Form
Present mixed-up phrases of the rhythm of a known song to have students correctly rear-
range the form. The process:
1 . Teacher presents the phrases out oforder.

2. Students identify thesong.
3. They arrange the phrases in properorder.
4. Students sing thesong.
Inner Hearing
Students can practice inner hearing using both aural and visual activities.
Aural Inner-Hearing Exercises

Students chant rhythm of a known melody and inner-hear specific rhythmic motifs sig-
naled or indicated by teacher. The process:
1 . Sing song withtext.

2. Sing song with rhythm syllables and keep thebeat.
3. Sing song with rhythm syllables; teacher signals which measures to chant silently.
Visual Inner-Hearing Exercises

Students read the rhythmic notation of a known melody and inner-hear certain motifs
indicated by teacher on the reading exercises. The process:

3. Sing song with rhythm syllables from notation; teacher indicates which measures
to chant silently.
Students read the rhythmic notation of an unknown melody and inner-hear certain motifs
indicated by teacher in the reading exercises. The process:

118 3. Sing song with rhythm syllables from notation; the teacher indicates which
measures to chant silently.
Matching
Match song titles to written rhythms that include grade three elements. The process:
1 . List the titles of four songs on theboard.

2. Write a phrase from each of the four songs in rhythmic notation.
3. Students match the rhythm to the title of thesong.
Error Identification
Students read the rhythm of a known song and identify rhythmic errors that are made by
the teacher. The process:
1 . Teacher or a student writes a sixteen-beat rhythm pattern.

2. Teacher or the student claps a slightly different pattern.
3. Another student must identify the phrases and the beats where the changesoccur.
Retrograde
Read a rhythm of a known song in retrograde that includes grade three elements. The process:

3. Sing song with rhythm syllables from notation.
4. Sing song backward with rhythm syllables from notation.
Two-Part Rhythm Reading

Students read the rhythm of multiple songs, and they sing one song while reading the
rhythm of another. The process:
1 . Students sing known songA.

2. Divide class into two groups. One group claps rhythm of song B while the other
sings song A. Reverse.
3. Students sing song Aand clap rhythm of songB.
Students read two-part rhythmic notation that includes grade three concepts. The process:
1 . Students speak each part all together on rhythmnames.

2. Divide class into two groups. One group claps rhythm of upper part while other
claps rhythm of lower. Reverse.
3. Students chant the rhythm to the upper part and clap rhythm of lowerpart.
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 incanon.
4. The teacher claps the rhythm while the students clap it incanon.
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
119
difficulty.
6. Individuals may then perform the rhythmic canon saying the rhythm syllables
while clapping it incanon.
Sight Singing the Rhythm of an Unknown Song

Teacher places rhythm of unknown song on board for reading. The process:
1 . Students sing songs containing rhythmic motifs in the new reading activity.
2. Teacher hums these motifs and students identify with rhythmic syllables and clap
the rhythm.
3. Students clap and read rhythm of song with rhythm syllables with inner hearing.
4. Students clap and read rhythm of song with rhythm syllables.
Extensions:
Play the rhythm on instruments.

Read the rhythm backward (in retrograde).
Change into an improvisation activity by erasingbeats.
Reading Alternating Phrases forRhythm

Read alternating phrases of a knownsong.
1 . Teacher writes rhythm of known song onboard.

2. Teacher and students alternate reading phrases and then switch.
Melodic Reading
HandSigns
Sing a known and an unknown song from teachers hand signs to include grade three con-
cepts. The process:
1 . Teacher sings on loo and shows hand signs for a phrase ofmusic.
2. Students sing with solfge and handsigns.
ToneLadder
Teacher points to a pattern on the tone ladders that includes grade three concepts.
1 . Teacher points to notes of a known song on the tone ladder.

2. Students can sing each note or wait to sing the melodic motif.
Reading Traditional Rhythmic Notation withSolfge Syllables

Students read known melodies from flash cards or from the SMART board to include
grade three elements. They sing known elements using solfge and hand signs. The
process:
1 . Students sing the known song with rhythm syllables.

120 2. The teacher points to the notation, keeping the beat while the students read the
rhythm syllables and clap the rhythm.
3. The teacher points to the notation, keeping the beat while the students clap the
rhythm.
4. The students locate the highest and lowestnotes.
5. The teacher provides the starting pitch and may have the students sing the
toneset.
6. Students read the melody from the teachers hand signs. The teacher may hum an
occasional note to help the students.
7. The students read and perform the exercise aloud singing with solfge syllables.
8. The students perform the exercise aloud singing on a neutral syllable.
FlashCards
Students read unknown melodies from flash cards or a SMART board that include grade
three elements. They sing the known element using solfge and hand signs. The process:
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.
4. The instructor provides the starting pitch and may have the students sing the
toneset.
5. Students read the melody from the instructors hand signs. The instructor may
hum an occasional note to help the students.
6. The students read and perform the exercise aloud singing with solfge syllables.
Reading fromFingerStaff
Sing a song while showing placement on a finger staff that can include grade three concepts.
The process:
1 . Teacher sings with solfge syllables and shows placement on fingerstaff.

2. Students sing with solfge syllables and show placement on fingerstaff.
Reading fromtheStaff
Students read known melodies with solfge syllables and letter names from the staff that
include grade three elements. Students sing using solfge syllables and handsigns.
Students read unknown melodies with solfge syllables and letter names from the staff
that include grade three elements. Students sing using solfge syllables and handsigns.
1. Students sing the known song with rhythm syllables.

2. The instructor points to the notation, keeping the beat while the students read
the rhythm syllables and clap the rhythm.
3. The instructor points to the notation, keeping the beat while the students clap
the rhythm.
4. The students sing the known song with solfge syllables.
6. The instructor provides the starting pitch and may have the students sing the toneset.
7. Students read the melody from the instructors hand signs.
8. Teacher reviews the rule of placement for the students, and they read the notes of the
121
melody from the tone set written on the staff.
9. The students show the hand signs and use their inner hearing while the instructor
points to keep the beat. The instructor may hum an occasional note to help the students.
10. The students read the known song from the staff aloud singing with solfge
Transform aMelody
Transform a known song into an unknown song by sequentially changing rhythms and
pitches. This can be accomplished using traditional rhythmic notation and solfge syllables
or from the staff. The process:
1. Sing knownsong.
2. Teacher transforms parts ofsong.
3. Students clap rhythm, say new rhythm syllables, and sing with solfge syllables.
4. Teacher transforms additional parts of a new melody. Students sing newsong.
Form
Present mixed-up phrases of a known song written with traditional rhythmic notation and
solfge or on the staff, and students correctly rearrange the song. The process:
1 . Teacher presents phrases out oforder.

2. Students identify thesong.
3. They arrange in properorder.
4. Singsong.
Inner Hearing
Aural Activities
Students read a known song from the teachers hand signs with solfge syllables and hide
a specific melodic motif that is indicated by the teacher. Melodic notes include notes from
the grade three curriculum.
Students read an unknown song from the teachers hand signs and hide a specific
melodic motif that is indicated by the teacher. Melodic notes include notes from the grade
three curriculum. The process:

2. Sing song with solfge syllables and handsigns.
3. Sing song with solfge syllables and teacher will signal which measures to sing
silently.
Visual Activities
Students read a known song from rhythmic notation and solfge or staff and hide a spe-
cific motif that includes notes of the grade three curriculum. Students read from the staff
and sing on solfge with hand signs.
Students read an unknown song from rhythmic notation and solfge or staff and hide
a specific motif that includes notes of the grade three curriculum. Students read from the
staff and sing on solfge with hand signs. The process:
122 1 . Sing song withtext.

2. Sing song with rhythm syllables and solfge syllables and handsigns.
3. Sing song with syllables from notation; teacher indicates which measures to sing silently.
Matching
Match song titles to written melodies that include notes of the grade three curriculum. The
process:
1 . Teacher writes phrases on board.

2. Students identify sections from knownsongs.
Error Identification
Students read a known song and identify rhythmic or melodic errors that include notes of
the grade three curriculum. The process:
1 . The instructor or a student writes a sixteen-beat melody on theboard.

2. Teacher or students sing changing the notes.
3. Another student must identify the phrases and the beats where the changesoccur.
Reading a Two-Part Known Melody from Rhythmic

Notation and Solfge Syllables
Students read two-part songs in rhythmic notation with solfge that include notes of the grade
three curriculum. They sing the known song with rhythm syllables and solfge syllables.
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
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 teachers handsigns.
6. Students read the lower part from the teachers handsigns.
7. Students read the upper part from the teachers 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 another shows the hand signs for the
lower part. Reverse.
Reading a Two-Part Known Melody fromStaff Notation

Students read two-part songs from staff with solfge syllables that include notes of the
grade three curriculum. They sing the known song with rhythm syllables and solfge
syllables. 123
1. The instructor points to the notation of the upper part, keeping the beat while
2. The instructor points to the notation of the lower part, keeping the beat while
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 teachers handsigns.
6. Students read the lower part from the teachers handsigns.
7. Students read the upper part from the teachers hand signs while teacher sings
the lower voice. Reverse.
9. The instructor provides the starting pitch and may have the students sing the
toneset.
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.
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 another shows the hand signs for the
lower part. Reverse.
Inner-HearingSkills
HandSigns
1 . Students follow teachers hand signs of known songs and inner-hear solfge.
2. Students follow and sing teachers hand signs and inner-hear specific solfge syllables.
3. Teacher shows hand signs for a whole known song, and students inner-hear and
recognize thesong.
4. Students sing the indicated measures of a song using inner hearing.
ToneLadder
1 . Students follow teacher pointing to tone ladder and inner-hear solfge.
2. Students follow and sing from the tone ladder and inner-hear specific solfge syllables.
3. Teacher points out a whole song on the tone ladder and students inner-hear and
recognize thesong.
Rhythmic Notation or Staff Notation

1 . Students recognize a song from inner-hearing rhythmic or staff notation.
2. Sight-read and memorize a simple melodic pattern without hearing italoud.
124 Flash Cards and SMARTBoard

1 . Students inner-hear from flash card patterns.
2. Students sing three of the four melodic flash cards and inner-hear the last card,
and then switch the last card to something new and repeat.
Rhythm
1 . Teacher claps rhythm for a known song and students inner-hear and recognize thesong.
2. Teacher sings part of a known song, and students inner-hear solfge syllables and
clap the rhythm for the second phrase.
Melody
1. Students inner-hear solfge written out without rhythmic notation and recognize
thesong.
2. They inner-hear a song written with traditional notation and solfge syllables.
3. They inner-hear a song written on thestaff.
Additional Inner-Hearing Activities

1. Sing a melody with solfge syllables; the teacher indicates where students should
sing the melody silently.
2. Students read from a score; the instructor indicates where they should sing
silently with inner hearing.
3. The teacher sings or plays a melody and the students have to remember the first
note. This exercise can be extended from short to longer motifs.
4. Students sing a well-known song, and teacher claps a four-beat ostinato. Students
must clap and sing known song. This activity can be extended to an eight-beat
ostinato.
5. Students sing a series of notes, and the teacher plays a series of notes above or
below those. Students must identify the intervals of the solfge of the melody sung
or performed by the teacher.
WritingSkills
WritingRhythm
Manipulatives
Students use manipulatives to create a visual representation of a new concept. The process:
1 . Teacher sings focus pattern on neutral syllable.

2. Students use Unifix cubes or SMART Boards to create representation.
Fill intheBlank
Fill in the blanks of a known song. The process:
1 . Teacher and students singsong.

2. Teacher sings song on loo and students echo-sing with rhythm syllables.
125
3. Teacher has written song on the board with missing measure or measures, and
students fills in missing measures.
Traditional Rhythmic Notation

Students write the rhythmic notation of known and unknown motifs that include notes of
1 . Sing the song and keep thebeat.

2. The students sing the phrase and clap thebeat.
3. The students sing the phrase and clap the rhythm.
4. The students sing the phrase with rhythm syllables.
5. Students can draw a representation of the rhythm.
6. Teacher reviews how to write different sounds on thebeat.
7. Students write the phrase with stick notation.
8. Students add noteheads.
9. Students read notation with rhythm syllables.
WritingMelody
Manipulatives
Students use manipulatives to create a visual representation of a new concept. The process:
1 . Teacher sings focus pattern on neutral syllable.

2. Students use Unifix cubes or SMART Boards to create representations.
ToneSet
Write the tone set of a song on the board as it is being performed that includes elements of

2. Sing song with solfge.
3. Inner-hear thesong.
4. Student goes to the board and writes down highest to lowest pitches in the song.
Traditional Notation withSolfge Syllables

Students write the rhythmic notation with solfge syllables of a known or unknown song
that includes elements of the grade three curriculum. The process:
1. Sing the song and keep thebeat.

3. They sing the phrase and clap the rhythm.
4. They sing the phrase with rhythm syllables.
5. They can draw a representation of the rhythm.
8. They add noteheads.
126 9. They read notation with rhythm syllables.
10. They sing the known phrase with solfge syllables.
11. Students sing example and add solfge syllables.
12. Practice the example on the handstaff.
13. Teacher presents students with the note heads on the staff and students add thestems.
14. Present students with the rhythmic notation and students add the solfge syllables.
15. Present notes on the staff, and students must add the note heads and stems.
16. Simultaneously sing and write the melodic phrase on thestaff.
Fill intheBlank
Students complete the empty measures of a known song with traditional notation and
solfge or on the staff. The process:
1 . Teacher and students singsong.

2. Teacher sings song on loo and students echo-sing with rhythm and solfge
syllables while conducting.
3. Teacher has written song with missing measure or measures, and students fill in
missing measures.
Writing a PentatonicScale
Write a scale on thestaff.
1 . Teacher writes known song on theboard.

2. Students sing with solfge syllables and handsigns.
3. They identify the toneset.
4 . They identify steps and skips on the tone ladder.

5. Teacher reviews the rule of placement for notes of the scale.
6. Students write the corresponding scale, marking the skips and steps on thestaff.
Writing Major Scales

Write a scale with correct half and whole steps with appropriate accidentals.
1 . Teacher writes known song on theboard.

3. They identify the toneset.
4. Students identify half and whole steps on the tone ladder.
5. Teacher reviews the rule of placement for notes on the staff.
6. Students write the notes on the staff by associating a solfge syllable with each
note of thescale.
7. Students indicate the half and whole steps.
8. Students add the appropriate accidentals to maintain whole and half step
relationships.
Staff Notation
Students write staff notation that includes elements of the grade three curriculum. The
process:
1. Sing the song and keep thebeat. 127

3. They sing the phrase and clap the rhythm.
4. They sing the phrase with rhythm syllables.
5. They identify the meter and sing the phrase with rhythm syllables and conduct.
6. They can draw a representation of the rhythm.
9. They add note heads, meter, and barlines.
10. They read notation with rhythm syllables.
11. They sing the known phrase with solfge syllables.
12. They sing examples and write in the solfge syllables beneath the rhythmic notation.
13. Teacher reviews rule of placement for students for a given do position.
14. Students sing song with solfge syllables and point to notes on the fingerstaff.
15. Students write the note heads on the staff and then add the stems.
16. Students sing the notation with solfge syllables and handsigns.
ImprovisationSkills
Rhythm Improvisation
Choose AlternateEnding
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:
1 . Students sing knownsong.

2. They identify theform.
3 . They sing the song with rhythm syllables.

4. They sing the song with rhythm syllables but choose an alternative rhythmic
ending from four choices.
RhythmChain
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.
Improvise Rhythmic Ostinato

Students create a rhythmic ostinato to known songs. The process:
1 . Students sing a knownsong.

2. Teacher demonstrates an improvised rhythmic ostinato.
3. Students create their own rhythmic ostinato.
4. Individuals perform rhythmic ostinato on a classroom percussion instrument
128 while class sings knownsong.
Improvise Rhythmic Pattern toKnownSongs

Students are challenged to fill in the missing measures of known songs with improvised
rhythms. The process:
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.
Creating a New Rhythmic Composition Based ona Form Provided

bythe Instructor
Students improve rhythms to a new form. The process:
1. The instructor provides students with an Aphrase (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 formABAC.
2. The instructor may specify a longer composition, such as an AABA
composition.
3. This could be performed as a group activity or by an individual student. This
exercise should be based on song material the class is studying.
Fill-in-the-Blank Improvisation
Students improvise a new rhythm while reading. The process:
1 . Place a series of four flash cards on theboard.

2. Three of the flash cards have a rhythm written on them; the third card
isblank.
3. Ask students to clap flash cards 1, 2, and 4 while an individual student improvises
a four-beat rhythm pattern for flash card 3.(When beginning this activity,
consider putting four beats on the third card and ask them to change only
onebeat.)
Melodic Improvisation
Improvise Melodic Ostinato
Students create a four- or eight-beat melodic ostinato with known melodic elements. The
process:
1 . Students sing known song withtext.

2. They sing known song with solfge syllables and handsigns.
3. Teacher sings a melodic ostinato, and students sing known song with solfge and
handsigns.
4. Teacher sings song and students improvise a new melodic ostinato. 129
Choose AlternateEnding
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 and ending notes. The process:
1 . Students sing known song withtext.

2. They sing known song with solfge syllables and handsigns.
3. They sing known song with solfge syllables and hand signs but only tap beats for
the last phrase.
4. They sing known song with solfge syllables and hand signs, and choose to
complete the ending for the song from four options provided by teacher.
Improvise New Phrases toKnownForm

Improvise phrases in a known song. The process:
1 . Teacher assigns each student a phrase of the formABAC.

2. Student 1 sings phraseA.
3. Student 2 improvises phraseB.
4. Student 3 improvises a variant for phraseA.
5. Student 4 improvises phraseC.
Improvise NewForm
Improvise a new form for a known song. The process:

2. They analyze the form of the knownsong.
3. They change theform.
4. They perform the song with a differentform.
Question andAnswer
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 endingnotes:
A ends on low so; A ends on do
A ends on re; B ends on do
130 A ends on so; B endsondo
A ends on re; B endsondo
Create Movement toa GivenForm

Create movements that correlate to the form of a song or piece of music. The process:

2. Discuss theform.
3. Students create movements for each section of the song (i.e., verse or
refrain).
4. Students perform the song with movements.
MusicalMemory
Memorizing byReading HandSigns
Show typical melodic and rhythmic patterns and ask the students to sing patterns back that
include elements of the grade three curriculum. The process:
1 . Select a melody and show it with handsigns.

2. Students sing from hand signs in solfge syllables.
3. Students sing in canon with hand signs with solfge syllables.
4 . Students sing in canon with hand signs with letternames.

5. Students write the melody from memory.
Memorization fromRhythmic Notation

Students look at a rhythmic score and memorize it. The process:
1 . Students inner-hear the notation with rhythm syllables.

3. They chant the rhythm syllables outloud.
4. They chant the example with rhythm syllables from memory.
5. They may write the rhythm using rhythmic notation.
Memorization fromRhythmic Notation withSolfge Syllables

Students memorize a new piece of music from notation. The process:
1. Students look at a score and memorize a phrase of the musical example by silently
singing in their heads using hand signs.
3. They sing the example with hand signs from memory.
4. They may write the melody using rhythmic notation and solfge syllables.
131
Memorizing fromStaff Notation

Students memorize a new piece of music from staff notation. The process:
1. Students look at a score and memorize a phrase of the musical example by silently
singing in their heads using hand signs.
2. If some phrases of the musical example are known and others are 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 solfge 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 thebeat.
2. They inner-hear the example with solfge syllables and hand signs.
3. They identify the form of the example.
4. They write down the example from memory.
MemorizingbyEar
Teacher plays a musical phrase on the piano, and students memorize by ear by following
this process:
1 . Students identify themeter.

2. They sing the example with rhythm syllables.
3. They identify the solfge syllables for the ending and starting pitches.
4. They sing the example with solfge syllables and handsigns.
5. They sing the example with absolute pitch names and handsigns.
6. They write the exercise or play it back on thepiano.
Memorizing Two-Part Rhythmical Examples

Here is a process that may be used to memorize a two-part rhythm:
1 . Sing the selected extracts in twoparts.

2. Memorize one part silently using rhythmic syllables.
3. Sing the memorized part out loud while conducting.
4. Practice the other part following steps 1 through 3.
5. Say and clap both parts in a group and then as solos using
rhythmic syllables.
132 6. Write both parts of the musical example.
7. Clap one part and say the second part with rhythm syllables.
Memorizing Two-Part Musical Examples

This process may be used for memorizing a two-part musical example written on the staff
or in traditional rhythmic notation and solfge:
1 . Sing the selected extracts in twoparts.

2. Memorize one part silently using rhythm and solfge syllables.
3. Sing the part out loud while conducting.
4. Practice the other part following steps 1 through 3.
5. Divide the class into two groups. Group1 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 thepiano.
UnderstandingForm
Identifying Form withLetters
Use letter names to identify the form in more complexsongs.
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 form.
This form is clearly audible when performed with a breath every two measures. The
process:
1. Sing knownsongs.
2. Sing known songs and show the phrases.
3. Identify each phrase with a lettername.
ComparingForms
It is important for students to compare the forms of the folk songs they are singing. The process:
1 . Students sing knownsongs.

2. Teacher writes form on theboard.
3. Students write form on theboard.
4. Teacher sings two songs, and students categorize them by notating form on the
board.
Changing a FolkSong 133

Is it important to identify the form of a song for children. This becomes an important com-
ponent for improvisation. The process:
1. Students label the form of a folk song. For example, the form of the Canoe
Round isABAC.
2. Teacher erases the C and has students create a new C ending.
3. Students label the form of the new folk song and change the song to reflect a newform.
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:
1 . Students label the form of a known folkdance.

2. They create a dance to show the form of themusic.
3. They are in groups of four and stand in the shape of a diamond. They all face
the same direction, and lead student improvises movement for phrase A that
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 its 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-WorkSkills
As you begin to implement these activities into your lessons, follow this teaching
sequence:
1. Teacher andclass.
2. Class and teacher.
3. Divide the class into two groups, each performing its own part. Switch.
4. Two small ensembles, each performing its ownpart.
5. Two students, each performing his/her 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.
KeepaBeat
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.
134
Keep a Beat and Demonstrate Music Comparatives
Once students can sing and perform the beat both accurately and musically, add the
task of altering tempo and dynamics. To accomplish this, the students will need a
strong foundation in being able to demonstrate music comparatives such as slow
and fast, high and low, loud and soft, duple meter beat (marching), and compound
meterbeat.
Call-and-Response or Antiphonal Singing

Although students perform only one phrase of music in a call-and-response song, they
must eventually learn to sing both phrases if they are going to be able to sing rhythmically
and musically. Developing this ability requires audiation practice (using inner hearing).
Call-and-response singing may be applied to folk songs (you may also think of call and
response as responsorial singing). Some simple examples of call-and-response songs are
Skin and Bones, Charlie over the Ocean, and Pizza, Pizza.
Pointing toaBeat
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.
Clapping theRhythm
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.
Tapping onSpecifiedBeat
When students are singing familiar melodies, ask them to tap on the strong beats while
singing. Or they might tap on the rests in a known song or the beginning of each phrase.
This activity may also be done with a musical instrument.
Singing theFinal Note ofa Composition

The teacher sings a known melody but does not sing the final note; students must fill it in.
This activity helps them understand the tonal strength of each note. An interesting activity
is to have students explore alternative endings to known compositions. This strengthens
their understanding of harmonic functions and voice leading. 135
Finding theTonic Note ofa Composition

This exercise can be performed with known songs, known canons, or new songs. The teacher
sings a known song to the students and stops in the middle. Students must identify the tonic of
the melody. They sing a canon; the teacher signals a pause. Students then must sing the tonicnote.
Creating Organ Points ona SpecifiedBeat

Guide students to sing the first note of each phrase of a known composition on neutral
syllable or to sustain a note in phrase for the length of the phrase. This could be the tonic
note of the known melody. This activity is most successful when the students sing and the
teacher provides an accompaniment.
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
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 exchangeparts.
3. Divide the students into two groups, one group to sing and the other to perform
the ostinato. Switchtasks.
4. Two students perform thework.
5. One student sings while performing the second part. More advanced students can
perform the ostinato on percussion.
Performing Rhythm Canons Based onSimple Rhythms

These canons are based on simple rhymes or rhythms of very simple melodies. Begin the
canon after one measure. Rhythm syllables can be used to perform the canons. It is use-
ful to practice both types of canons with familiar material before moving to unknown
repertoire. Although the rhythm of many folk songs can work well when performed
in canon, the best songs for this type of activity are those that have a rest at the end of
every phrase. Agood example is Bow Wow Wow. Perform the canon with two timbres.
The process:
136 1. Teacher andclass.

2. Class and teacher.
3. Divide the class into two groups; each performs its own part. Switch.
4. Two small ensembles, each performing its ownpart.
5. Two students, each performing onepart.
6. Have the students begin to clap the rhythm of a simple song; the teacher can clap
in canon. Once they are comfortable with hearing the canon, the teacher and
students can reverse roles. Canons maybe performed kinesthetically, aurally, and
visually, or using a combination of techniques.
Performing a Kinesthetic Canon (BodyCanon)

The teacher performs a rhyme with a beat motion for every four beats. The students follow
in canon, performing the rhythm as well as the beat motion. For example, say Ali Baba forty
thieves while tapping four beats. Now say it and tap the beats on different parts of your
body, and have students imitate. Once students are proficient at this activity, perform it in
canon after four beats with text. You could also perform a rhythm and have students clap it
back after two or fourbeats.
Performing a Visual Rhythm Canon withRhythm Syllables

The goal of this activity is for students to read a rhythm in canon. The canon can be per-
formed with the teacher and students, or just the students. To perform a rhythm canon
visually, have students read rhythm flash cards of the rhyme or melody to be used for
the canon. The teacher should keep a steady pulse but show the card quickly and move
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.
Performing anAural Rhythm Canon withRhythm Syllables

Performing aural canons can be more challenging than visual canons. Aural rhythm canons
are performed without the aid of notation. If a motion is attached to a phrase, the exercise
is simple to perform. Echo clapping is a preliminary preparation for aural canon work. This
task can be made more complex by having students clap back the rhythm while chanting or
singing the rhythm syllables.
Performing Simple Rhythm Canons Based onSimple FolkSongs

These canons are based on the rhythms of very simple melodies. Rhythm syllables can be
used to perform the canons. Here is a procedure for performing a rhythmic canon:
1 . Perform the song with actions andwords.

2. Sing the song with rhythm syllables and keep thebeat.
3. Say rhythm syllables while clapping the rhythm. 137
4. Think the rhythm syllables and clap the rhythm.
5. Teacher taps the rhythm using a drum or wood block; students clap and say the
rhythm syllables beginning after fourbeats.
6. Teacher writes the canonic part below the notation of the song. T:Where should
we begin writing the second part? What should be written in the empty measures?
7. Teacher and students may perform in canon after twobeats.
8. Challenge a student to sing while pointing to the notation incanon.
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 dominant 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 development of functional and harmonic thinking. For do-centered and
la-centered pentatonic songs, accompany the song by having a group of students sus-
tain 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 repertoire. Be mindful that sustained
pitches tend to goflat.
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.
Combining Drones and Melodic Ostinatos

Divide the class into three groups. One group sings the folk song. Asecond group accom-
panies the folk song with a drone composed of the tonic note or tonic and dominant notes,
and a third group sings a melodic ostinato.
Three-Part Singing
Here are examples of how to create pieces of music from a simple folk song:
1 . Sing a melody with two complementary melodic ostinati.

2. Sing a pentatonic melody in canon and add a melodic ostinato.
3. Sing a melody in canon and add a third voice that sings a descant. Kodlys
138 Ladybird is an example of this compositional technique.
4. Rhythmic ostinatos work well with all of these techniques.
Discovering anOstinato asthe Children Sing a KnownSong

The students sing a song while the teacher taps a rhythmic ostinato or sings the ostinato on
one note. Children discover the ostinato and write it on theboard.
Discovering anOstinato asthe Children Sight-ReadaSong

Have students sight-sing an unknown melody while the teacher taps a rhythmic ostinato or
sings the ostinato on one note. Children discover the ostinato and write itdown.
Two-part Hand Sign Singing (Note-Against-Note)

Guide students to sing in two parts from teachers hand signs. Using pentatonic musical
examples before moving to diatonic will ensure more secure intonation. Initially begin and
end the exercise with the same notes.
1. Hold one tone in one voice while the other voice performs a simple melody.
Switchparts.
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 individuallines.
Singing Simple Melodies asCanons withText

All pentatonic songs may be sung in canon with text. Choose simple folk songs. The teacher
may begin to sing the melody and the children follow in canon after one measure. Carefully
select pentatonic songs that may be performed as canons. Initially the canon should begin
on the same pitch that the first part is singing. These songs meet the criteria:
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 solfge syllables. Once children
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).
PartnerSongs
Remember that all pentatonic songs can be performed in canon and can be performed
together. For example, half the class may perform the song Liza Jane while the other half
performs Rocky Mountain. Here are additional examples of partnersongs:
139
Dinah and Bounce High, BounceLow
Bow Wow Wow and I See theMoon
Land of the Silver Birch and Cocky Robin?
Liza Jane and Come Thru NaHurry
Liza Jane, Come Thru Na Hurry, All Around the Brickyard, and Dinah
Singing a Known Song and Clapping Rhythmic Motives

asan Accompaniment
Guide students to sing one song while reading and clapping the rhythms of another known
song. For example, the students may sing Rocky Mountain while reading and clapping
the rhythm of Tideo. The teacher might ask students to read from the board a series of
four-beat rhythms that are abstracted from a known song or are typical rhythms found in
the repertoire being sung by students.
Another variation on this technique is for the teacher to label the phrases of a song or a series
of rhythms with a number and the students sing a known song and clap according to a given
number sequence, for example, 1, 4, 3, 2.In other words, they have to sing a known song, look
at the number, and clap the corresponding phrase. This requires considerable concentration. It
is always best that these activities lead to music making rather than be mere technical exercises.
Singing and Clapping a Known Pentatonic Melody

Create a two-part arrangement of a pentatonic folk song. Have the upper voice perform
phrase 1 and the lower voice phrase 2.Create a rhythmic ostinato or accompaniment for
the voice that is not singing. Divide the class into two groups. When group 1 begins, group 2
will perform the rhythmic accompaniment. It is important for the students to sing the com-
plete melody fluently with solfge syllables and hand signs so that when they are clapping
their part of the composition, they are also listening to the other voice part in order for the
example to be performed musically.
Singing Simple Pentatonic Melodies asCanons

withSolfge Syllables
All pentatonic songs may be sung in canon with solfge syllables. Choose simple folk songs.
Begin singing the melody with solfge syllables and have the children follow in canon after
one measure. Once children have mastered singing simple pentatonic songs, they can sing
pentachord, hexachord, and major and minor canons. Remember that canons may be per-
formed aurally (without notation) or visually (using notation).
Sight Singing and Clapping inCanon

Guide students to sight-sing an unknown melody, and clap the rhythm in canon after one
measure. This helps them develop the facility of looking at two lines of music at the sametime.
Singing Pentatonic Scales inCanon

140 Students can now sing major and minor pentatonic scales in two or more parts. Begin the
canon after two notes. This is an excellent activity for developing intonation.
More Advanced Part-Work Skills

Divide the class into three groups. One group sings a pentatonic melody in canon and the
other groups may sing a pentatonic scale in two or more parts. This activity is also excellent
for developing secure intonation.
Singing Simple Pentatonic Folk Songs inThreeParts

In this activity, the class is divided into two groups. Perform the pentatonic folk song as a
two-part canon. Once the students can perform the two parts with ease, the teacher may
sing in canon with the students, creating a third part.
Sing Simple Pentatonic Melodic Motives and Melodies inCanon

atthe Octave, Fourth, and Fifth withSolfge Syllables
Once students can sing simple melodies in canon, the teacher can add another
challenge. Provide the starting pitch of a well-known song for students, and sing or play
in canon in unison, and then in canon at the fourth or fifth. In other words, sing in canon
but the second part will come in a fourth or fifth higher. This can be done with other inter-
vals as well. Students will enjoy figuring out the puzzle as to how the teacher performed
the canon. The teacher can sing the example using the same solfge as the students.
Even though the teacher and students are technically singing in two keys, the canon can be
sung using the same solfge syllables.
With the introduction of the major scale, students will understand that the scale is
broken into two tetrachords, do-re-mi-fa and so-la-ti-do. Asimple 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.
Music forChildrensChoir
Bacon, Denise. 46 Two-Part American Folk Songs for Elementary Grades. Columbus,
OH:Capital University, Kodly Center of America,1973.
Bolkovac, Edward. Sing We Now Merrily. NewYork:Boosey and Hawkes,2007.
Bolkovac, Edward, and Judith Johnson. 150 Rounds for Singing and Teaching.
NewYork: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
Kodly Educators, 1986.
Taylor-Howell, Susan. The Owl Sings: 22 Folk Songs Arranged for 2 or 3 Voices.
Whitewater, WI: Organization of American Kodly Educators, 1997.
Singing Simple Two-Part Song Arrangements

When teaching students to sing in two parts, build on their prior knowledge. It is a good 141
idea to select two-part arrangements where they already know the melody; now they will
be learning an arrangement of the folk song. Many of these folk songs can include some or
all of these compositional techniques:
1 . Arhythmic or melodic ostinato to accompany the folksong.

2. Including a tonic or a tonic and dominant drone that may be sung as an
accompaniment.
3. The melody line may be shared between the upper and lower voices.
4. Songs should include imitation.
Teaching theSecond Part toa Known Song byRote

Students should already be able to sing songs with rhythmic and melodic ostinato as well as
songs in canon before learning simple two-part songs. Here is a suggested teaching proce-
dure for teaching a two-part song arrangement:
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 thesong:
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 sametext?
. How would you describe the tune of the harmonyline?

D
E. Did both parts begin and end on the samepitch?
3. Sing the harmony line phrase by phrase and have the students repeat. This can
be done with rhythm or solfge syllables or on a neutral syllable if the students
have not learned all the solfge or rhythm syllables. This is easiest when done
withtext.
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 thepiano.
6. The students sing the harmony line while the instructor sings the melody line.
Switchparts.
7. Divide the class into two groups. Group1 sings the harmony and group 2 sings
the melody. Switchparts.
Teaching theSecond Part toa Known Song byNote

Here is a teaching procedure for working with a two-part song arrangement:
1. All students should know the main melody.

2. The instructor may sing the unfamiliar part or harmony while playing the
melody on the piano or have several students perform the known melody.
142 3. Ask students questions based on the performance of thesong.
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 sametext?
D. How would you describe the tune of the harmonyline?
E. Did both parts begin and end on the samepitch?
4. Hum the harmony line while pointing to the contour of the melody on the
board. Students repeat and point to the contour. Instructor repeats the exercise,
but students have to repeat each phrase and indicate the contour with their
hands. Students sing and draw the contour of the harmonyline.
5. The instructor identifies the rhythm and solfge syllables of the harmony line
phrase by phrase, and the students repeat.
6. Students are presented with the score and clap and say the rhythm of the
melody with rhythm syllables or numbers for counting. The teacher prepares
the staff placement for do, and students read the harmony line with solfge
syllables.
7. Sing the melody; the students perform the harmony line with solfge syllables.
8. Students perform the harmony line with neutral syllables and then learn to sing
the text with the help of the teacher.
9. The students sing the harmony line while the instructor sings the melody line
using solfge and then text. Switchparts.
the melody using solfge syllables and then text. Switchparts.
Teaching a Simple Two-Part Song byRote

Students should already be able to sing and perform songs with rhythmic and melodic
ostinati, perform in canon, and perform simple two-part folk song arrangements prior to
learning a two-part song that is not familiar.
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 thepiece?
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 sametext?
F. Did both parts begin and end on the samepitch?
G. Which is the harmonyline?
H. How would you describe the tune of the harmonyline?
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 thepiano. 143
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
plays the first part on thepiano.
7. The students sing the second part while the instructor sings the first part. Switchparts.
8. Divide the class into two groups. Group1 sings the top part and group 2 sings the
second. Switchparts.
Teaching a Simple Two-Part Song byNote

Here is a teaching procedure for working with a two-part song arrangement.
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 sametext?
E. How would you describe the tune of the harmonyline?
F. Did both parts begin and end on the samepitch?
3. Sing the melody line phrase by phrase and the students repeat. This can be done
with rhythm or solfge syllables or on a neutral syllable if the students have not
learned all the solfge or rhythm syllables. This is easiest when done withtext.
4. Students sing the melody line with syllables andtext.
5. Students sing the melody line, and the teacher hums the second part. Teacher
sings the second part withtext.
6. Sing the harmony line phrase by phrase, and the students repeat. This can be
done with rhythm or solfge syllables or on a neutral syllable if the students
have not learned all the solfge or rhythm syllables. This is easiest when done
withtext.
7. Students perform the harmony line on their own. Perform it a second time as the
instructor sings the melodyline.
8. The students sing the harmony line while the instructor sings the melody line.
Switchparts.
the melody. Switchparts.
We now discuss more advanced part-work concepts and teaching techniques.
Singing Folk Songs inThirds andSixths

As children begin to learn music of other cultures, they will discover the stylistic traits of
144 this repertoire. Guide students to recognize familiar elements in this repertoire, but also
to discover a greater variety of musical elements. Singing folk songs in thirds and sixths is
another skill in the development of partwork.
Accompanying Melodies withTonic and Dominant Chords

Roots (Harmonic Functions)
As students add the solfge syllables fa and ti to their melodic vocabulary, they begin to discover
the need for a note other than do in major and la in minor melodies for their accompaniments.
While they are singing known pentachord, hexachord, and diatonic melodies, the instructor
should quietly hum the functional notes (chord roots) do and so for do-centered pieces.
Sing or Hum la and mi for la-Centered Pieces

Once the students are familiar with these accompanying pitches, the instructor guides them
to discover the solfge syllables of the new accompanying notes and introduces the terms
tonic function and dominant function.
Accompanying Melodies withTonic, Dominant,

and Subdominant Chord Roots (Harmonic Functions)
When students sing folk songs from Germany, many times the bass part outlines the notes
of the tonic, subdominant, and dominant functions.
Practice suggestions:
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 thepiano.
Students identify the tonic, subdominant, and dominant functions of unknown
melodies sung or played by the instructor.
Students transpose melodies into their parallel major or minor key and sing them
with the corresponding functions.
Students may be presented with sight-singing materials that include a melody and
an accompaniment built on the tonic, subdominant, and dominant functions.
These materials can also be used for dictation, memory work, and analyzing the
harmonic basis of the melodies.
Students relate harmonic functions to their knowledge ofform.
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 inmusic.
145
Instrumental PerformanceSkills
Appropriate Instruments
Xylophone:for playing a moving drone, ostinato, and melodies; two mallets striking
Recorder:more extendedrange
Claves:rhythmic ostinatos
Rhythm sticks:rhythmic ostinatos
Guitar:for playingchords
Keyboard:accompaniment
Drums:emphasize thebeat
Tambourine:beat andrhythm
Teaching Progression
1. Beginning music examples should be derived from known singing material. Sing
the song withtext.
2. Perform the music with rhythm syllables and conduct.
3. Perform the music with solfge syllables and hand signs.
4. Connect the fingering to solfge syllables and perform.
5. Read the music with rhythm syllables and conduct.
6. Read the music solfge syllables and handsigns.
7. Sing the music with letter names and handsigns.
8. Perform the example but inner-hear the solfge syllables.
Reinforce Concepts Using Instruments

Beat
Use simple percussion instruments to keep the beat of a rhyme or folksong.
Beat andRhythm
Use simple rhythm instruments to perform the beat of a folk song and then the rhythm of
a folk song; then use them to perform the beat and rhythm of a folk song simultaneously.
Rhythmic Ostinati
Use simple rhythmic instruments to perform a rhythmic ostinato (a repeated rhythmic
pattern) to a folk song. Then use them to perform two simultaneous-sounding ostinati to
a folksong.
Melodic Ostinati
Use glockenspiels, xylophone, metalophones, and melody bells to perform a melodic osti-
nato to a folksong.
Canons
Instruments may be used for playing canons in the classroom.
146
RhythmicCanons
1. Teacher performs a known rhythmic pattern in canon with students clapping the
rhythmic pattern. Use simple rhythmic instruments.
MelodicCanons
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 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
solfge syllables.
Listening
These activities may be used with instruments for developing listening.
1 . Teacher performs and introduces a new song on a pitched percussion instrument.

2. Teacher performs an excerpt from a listening example on a nonpitched
instrument before playing the recording for the students.
3. Teacher performs an excerpt from a listening example on the recorder before
playing the recording for the students.
4. Teacher performs and introduces a new song on the recorder.
5. Teacher performs an excerpt from a listening example on an instrument before
playing the recording for the students.
Transitions
Here are two activities that use instruments to transition from one segment of a lesson to another.
1. Teacher performs a rhythmic ostinato on a classroom instrument to accompany a

folk song and maintains the ostinato to transition to the next song in the lesson.
2. Teacher performs a melodic ostinato on a classroom instrument to accompany a
folk song and maintains the ostinato to transition to the next song in the lesson.
Aural Rhythmic Practice

1. Teacher performs known rhythmic pattern on nonpitched percussion instrument
and students echo with rhythm syllables.
Aural Melodic Practice

1. Teacher performs known melodic pattern on pitched percussion instrument and
students echo with solfge syllables.
2. Teacher performs known melodic pattern on recorder and students echo with
solfge syllables.
3. Teacher performs known melodic pattern on piano and students echo with
solfge syllables.
147
Writing Rhythmic Practice
1. Teacher performs the focus pattern or related pattern of a rhythmic concept on
a nonpitched percussion instrument, and students write missing beats or whole
pattern on theboard.
2. Teacher performs the focus pattern or related pattern of the concept on piano, and
students write missing beats or whole pattern on theboard.
Writing Melodic Practice

1. Teacher performs the focus pattern or related pattern of a melodic concept on a pitched
percussion instrument, and students write missing beats or whole pattern on theboard.
2. Teacher performs the focus pattern or related pattern of a melodic concept on a
recorder, and students write missing beats or whole pattern on theboard.
3. Teacher performs the focus pattern or related pattern of a melodic concept on
guitar, and students write missing beats or whole pattern on theboard.
Creative MovementSkills
Improvisation
Students improvise motions to asong.
1 . Teacher and students sing Over the River while playing a line game.
2. Students choose a movement and perform.
3. Students repeat the process.
Form
Students choose movements to the form of thesong.
1 . Teacher and students sing JohnsonBoys.

2. Students choose locomotor movement for one phrase (jog, walk, march).
3. Students choose a nonlocomotor movement for another phrase.
Ostinati
Students demonstrate creative movement through ostinati (body percussion).
1. Students create four-beat ostinato using four levels of body percussion (snap, clap,
pat, stomp).
Props
Students use props to show creative movement.
1. Students move to sung or recorded music using props, such as scarves or ribbons,
matching the mood of thepiece.
148 HandGames
Create hand games with a partner.
1 . Teacher and students sing Head and Shoulders.

2. Students create movements with partners on words.
Extensions
Create game extensions.
1. Students create different ways to play singing games other than the one they have
already learned.
Square Dancing Concepts

Do-Si-Do Movement
1 . Teacher and students sing Old Brass Wagon.
2. Students learn to pass facing each other, right shoulder to right shoulder, back to
back, left shoulder to left shoulder, and ending face toface.
Stealing a Partner
1 . Teacher and students sing Old Betty Larkin.
2. Students learn how to steal a partner from one another.
3. On the third verse, an extra student enters the circle by joining a couple, causing
another student to be displaced and become the new stealer.
Side-CloseStep
1 . Teacher and students sing Great Big House in New Orleans.
2. Students step to the side with their right feet on the strong beats and close with
left feet, ending with both feet together on the weak beats.
3. Students perform motions while singing and keeping thebeat.
DoubleCircle
1 . Teacher and students sing Fed My Horse.
2. Students form two circles, inside and outside.
3. Students face partners.
4. Students in the outside circle perform a side-closestep.
Movement
Table 4.1 shows movement examples that can be used as an introductory activity in each
lesson and are part of the body warm-up for students. We recommend choosing a move-
ment piece that connects to the next singing activity in the lesson. Look for examples that
are in the same meter, tempo, tonality, key, and dynamics as the next song in the lesson.
Recorded examples for movement may also include some of the listening repertoire that
students will later read and listen to in the music lesson. These examples were developed by
teachers in the Kodly Certification Program at Texas State University in 2014.
Table4.1 149
C L AS SI C A L
Title Composer/Performer Key/Style/Features
Canon in D Johann Pachelbel Major, legato movement,
(16531706) slower tempo
Russian Sailors Dance, Reinhold Gliere Contrasting styles and
from The Red Poppy (18751956) beat
Viennese Musical Zoltn Kodly Beat and form
Clock, from Hary Janos (18821967)
Sabre Dance, from Aram Khachaturian Minor, forte, fast tempo,
Gayane (19031978) allegro/presto
In the Hall of the Edvard Grieg Minor, accelerando
Mountain King (18431907)
Stars and Stripes John P.Sousa Movements for piccolo,
(18541932) marching, themes, solo
sections, form
JA Z Z
In the Mood Glen Miller Orchestra Form, major, dynamics
(19041944)
It Dont Mean a Duke Ellington Scatting, improvisation,
Thing (18991974) minor
(Continued)
Table4.1(continued)
Sing, Sing, Sing (with Benny Goodman Minor, form, fast

a Swing) (19091986)
A Tisket, a Tasket Folk song, Ella Fitzgerald Major and minor
(19171996) tonalities, form
Moanin Charles Mingus Motif (squat on low note);
(19221979) stop at 1:57
Take 5 Dave Brubeck Phrases/form, saxophone
(19202012) feature
Jump Jive an Wail Louis Prima, Movement, major, 4/4,
(19101978) walking bass, chord progress
P OP U L A R
Apache (Jump on It) Sugarhill Gang, from Steady beat, rap, strong
the album 8th Wonder and weak beats
(released 1981)
I Like to Move It, Move (Dreamworks Film Fast tempo throughout,
It, from Dreamworks 2005), Reel 2 Real high energy
Madagascar (released 1993)
150
Good Feeling Flo Rida, from the album Strong beat, contrasting
Good Feeling (released sections, fast tempo, rap
2012)
Tribal Dance 2 Unlimited, from the Rhythmic elements, strong
album No Limit (released beat, rap, high energy
1993)
I Want to Hold Your The Beatles (released Major, upbeat,
Hand 1964) mezzo-forte clap ta-di di
ta (syncopation)
Waka John Hill/Shakira Movements, major, Latin/
(released 2010) African influence
Blue (Da Ba Dee) Eiffel 65 (released 1999) Body movement, minor,
moder ate tempo good for
beat
Best Day of My Life American Authors Body movement, 4/4, D
(released 2013) major, moderate tempo
Ghost Busters Charlie Parker Jr. (b. Halloween, pop/rock,
1954) major, instrumental/vocal
F OL K
Chilili Bolivian folk song Good for form, fast-paced
(Continued)
Table4.1(continued)
Carnavalito Brazilian folk song Good for form or beat,

skip game
Henehene KouAka Performed by Israel Hawaiian dance
Kamakawiwoole movements
(19591997)
Down on the New England Dance Modal, largo,
Danforth Masters mezzo-piano, folk dance
song
La Charreada Linda Ronstadt (b. 1946) Mariachi, movement, call
and response, major, dmsd
The Fox folk song, Nickel Creek Folk orchestration, major
(released 2000)
Listening Examples Connected to Grade 3

Concepts and Elements
Listening examples will also include songs that the teacher sings to children and will not
include new element. 151
Eighth Note Followed byTwo SixteenthNotes
Live Performance
PortlandTown
Robin Hood and the Peddler
Wayfaring Stranger
ThisLady
Sailing oer theOcean
Chickalalelo (from 150 American Folk Songs)
Skip to MyLoo
Hogs in the Cornfield (from KodlyToday)
DebkaHora
Recorded Performance
Badinerie, from Sonata in B Minor, BWV 1067, by J. S. Bach (16851750), first
phrase.
Short Complete Listening Resources

Rosamunde, ballet music, by Franz Schubert (17971828).
low la(la,)
Live Performance
The Night HerdingSong
I Ride an OldPaint
JessieJames
Blow, Boys,Blow
Mikrokosmos, Vol. 5, No. 127, by Bla Bartk (18811945).

Wayfaring Stranger, sung by Anonymous 4 on the album Gloryland.
An Evening in the Village, from Hungarian Sketches, by Bla Bartk (18811945).
Two Sixteenth Notes Followed byan EighthNote

Live Performance
Hill and GullyRider

Song of the Snowflakes
Badinerie, from Sonata in B Minor, BWV 1067, by J. S. Bach (16851750), entire
work.

152 Comedians Gallop, from The Comedians, Op. 26, No. 2, Presto, by Dimitri
Kabalevsky (19041987).
Musette in D, from Anna Magdalenas Notebook, by J. S. Bach (16851750).
low so(so,)
It is important to note whether the listening example is using a new note in a major or a
minor context.
Live Performance
Black Jack Davy (major)
The Cherry Tree Carol (major)
Ksznt (trans. A Birthday Greeting), by Zoltn Kodly (18821967), choral work
(major).

Mikrokosmos, Vol. 3, No. 78, by Bla Bartk (18811945) (minor).
Pentatonic Tune, from For Children, Vol. 1, No. 29, by Bla Bartk (18811945) (minor).
Promenade, from Pictures at an Exhibition, by Modest Mussorgsky (18391881) (major).
Internal Upbeat (Anacrusis)

Live Performance
Daughter, Will You Marry?
high do(do)
Live Performance
Didnt My Lord Deliver Daniel
La Bella Hortelana
Cairo
Old JoeClark
Pourquoi
LizaJane
The Farmers CurstWife
Ecce Gratum, from Carmina Burana, by Carl Orff (18951982).
On the Trail, from Grand Canyon Suite, by Ferde Grof (18921972).
ExternalUpbeat
Live Performance
I Lost the Farmers DairyKey
Above thePlain
The Jolly Miller
Old Mr. Rabbit
153
Shaker Hymn, from Appalachian Spring, by Aaron Copland (19001990).
Sleepers Wake, from Cantata No. 140, by J. S. Bach (16851750).
Badinerie, from Suite Dreams: The Music of Johann Sebastian Bach for Flute and Jazz
Orchestra, performed by I-Chee Lee/Union Square Group.
Lesson Planning
Designing a Preparation/Practice Lesson Plan Design
That Includes MusicSkills
In this chapter we have presented activities for developing a childs 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 lessonplan:
1 . Developing appropriate creative movement activities for children

2. Developing appropriate instrumental activities for children
3. Developing appropriate reading, writing, and improvisation activities
4. Developing appropriate inner-hearing activities
5. Developing appropriate listening activities
6. Developing appropriate part-workskills
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.
Table4.2 Preparation/Practice Lesson PlanDesign
Demonstration of known Body warm-ups and breathing exercises
musical concepts and Ss demonstrate their prior knowledge of repertoire and
elements musical elements through performance of songs selected
from the alphabetized repertoirelist.
These songs may be accompanied by rhythmic or melodic
instruments.
Acquisition of repertoire Teach a new song by rote using an appropriate technique.
Preparation of a new Learning activities in which Ss are taught a new musical
concept concept through known songs found in the alphabetized
repertoire list.
Movement development Focus on the sequential development of age-appropriate
movement skills through songs and folk games.
Practice Ss reinforce their knowledge of musical concepts and
and musical skill elements working on the skill areas of reading and writing,
development form, memory, inner hearing, ensemble work, instrumental
work, improvisation and composition, and listening through
154 known songs found in the alphabetized repertoire list.
C L O SU R E
Review and summation Review of lesson content; T may perform the next new
song to be learned in a subsequent lesson found in the
alphabetized repertoire list.
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 rep-
ertoire and several activities; some procedural portions of this lesson have been removed.
Table 4.3 Grade 3: Two Sixteenth Notes Followed

by an Eighth Note, Lesson 2
Outcome Preparation:aurally analyze repertoire that contains three

uneven sounds on onebeat
Warm-up Body warm-up
Beat activity
Concerto for Four Harpsichords, BVW 1065, J.S. Bach (16851750)
Breathing: Ss practice blowing up a balloon and watch how
air is released when deflating the balloon.
(Continued)
Table4.3(continued)
Resonance:explore a cow sound using low and high voices.

Make sure Ss are inhaling and exhaling correctly with the
support muscles.
Sing known songs O Fly Around
CSP:D
Ss sing the song with a simple ostinato:2$qq\xxxcq>
DanceJosey
CSP:F
Ss sing the song; they sing in canon after twobeats.
Ss sing Dance Josey while T sings Over the River as a
partner song.
Develop tuneful Over theRiver
singing CSP:C
Tone production T directs part of the class to sing Dance Josey while the
remainder sing Over the River. Switch.
Diction
Ss sing the song in unison.
Expression Ss sing vowels focusing on v:voo-voh, vah-veh-vee.
Ss sing Over the River on the syllablevee.
Kodly Choral Library, Let Us Sing Correctly, no.38 155
Review known songs Fed MyHorse
and elements CSP:F-sharp
T sings phrases 1, 2, and 3; Ss echo with rhythm syllables.
T sings each phrase of Paw Paw Patch, Tideo, and
Dinah, phrase 1 of Ida Red, and phrases 1 and 2 of
Chickalalelo; Ss echo-sing each phrase with rhythm
syllables and tap the beat.
Teach a new song Old BrassWagon
CSP:C
Ss phrase the song in the air while Tsings.
T sings and Ss write the form of the song next to each
phrase.
Ss sing phrase D; T sings A, B, and C.Switch.
Ss sing the whole song.
Develop knowledge of Hogs in the Cornfield
music literacy concepts CSP:D
T and Ss sing phrase 2 on loo and tap the beat before
asking each of these questions.
(Continued)
Table4.3(continued)

Ss identify the number of sounds on eachbeat.
T:Andy, which beats have two sounds? (1and4)
T:Andy, describe the sounds on beat 3 with long and

short. (long shortshort)
T:Andy, we already know that rhythm. What rhythm
syllables should we sing on beat 3? (tadimi)
Ss identify the number of sounds on beat2.
T:Andy, describe those sounds with short and long.
(short shortlong)
Ss sing the phrase rhythm syllables and short short long
on beat 2.(ta di short short long ta dimi ta di)
Creative movement Turn the GlassesOver

CSP:F
Ss sing thesong.
156 Ss sing the last four beats of the Asection (Turn the glasses
over) as a melodic ostinato into the next song (mm rr d d).

Writing Ss sing the song with solfge syllables.
Ss write the solfge syllables under the rhythmic notation at
theboard.
Ss sing in canon after two beats.
Review lesson Old BrassWagon

outcomes
Review the new song CSP:C
Designing a Presentation Lesson Plan Template

That Includes MusicSkills
Table 4.4 is an example of a presentation lesson plan template. We want to show how the
information in this chapter can be incorporated into this lesson.
Table4.4 Presentation Lesson Plan Design

forLabeling Sounds withSyllables
Demonstration of known musical Body warm-ups and breathing exercises
concepts and elements Ss demonstrate their prior knowledge of repertoire
and musical elements through performance of
songs selected from the alphabetized repertoirelist.
These songs may be accompanied by rhythmic or
melodic instruments.
Acquisition of repertoire Teach a new song by rote using an appropriate
technique.
Presentation of new element T presents the syllables for the new musical
element in the focus pattern of a known song.
Movement development Known song or game found in the alphabetized
repertoire list.
Focus on the sequential development of
age-appropriate movement skills through songs
and folk games.
Presentation of new element T presents the syllables for the new musical 157
element in a related pattern of a known song.
C L O SU R E
Reviewand Review of lesson content; T may perform the next
summation new song to be learned in a subsequent lesson
found in the alphabetized repertoire list.
Again, when repertoire and selected activities are applied in a lesson, the lesson planning
process itself becomes more evident. The lesson plan in Table 4.5 includes activities appro-
priate to a presentation lesson.
Table 4.5 Grade 3: Two Sixteenth Notes Followed

by an Eighth Note, Lesson 5
Outcome Presentation:notating three uneven sounds on one beat (takadi)

with two sixteenth notes followed by an eighth note
Beat activity
Surprise Symphony, by Franz Joseph Haydn (17321809)
Breathing: Ss practice blowing up a balloon and watch how air
is released when deflating the balloon.
(Continued)
Table4.5(continued)

support muscles.
Sing known songs IdaRed
CSP:D
Ss sing the song with an ostinato:2$qq\sdq>
King Kong Kitchie
CSP:F
Ss sing song; add an ostinato:2$qq\Aaq>
pcss
Ss continue the ostinato into the next song.
Develop tuneful Jim AlongJosie
singing CSP:C
Tone production Ss sing the song and step perform thebeat.
Diction Ss sing the song on vee syllable.
Expression Kodly Choral Library, Let Us Sing Correctly, no.39
Review known Chickalalelo
songs and elements CSP:D
158 Ss sing thesong.
Ss sing with rhythm syllables and conduct.
T sings phrases on loo and Ss echo-sing with rhythm
syllables.
Teach new song OldTexas
CSP:C
T sings while Ss trace the phrases, pausing after each to label
the form.(ABCD)
T sings the song again while Ss echo in canon.
Presentation of Hogs in the Cornfield
music literacy CSP:D
Notate what you Review aural presentation.
hear T:When the beat is a quarter note, we can use two sixteenth
notes, followed by an eighth note to represent three sounds on
a beat, two short and one long. When we read our target phrase
in standard notation it will look likethis:
2$sdxcd\sxcsd|
T:When we write the pattern, well use stick notation.
Ss sing the song in canon after two beats.
(Continued)
Table4.5(continued)

CSP:F
Ss create accompaniment through movement, rhythm
elements, or melodic elements; they sing and play the game.
Presentation of IdaRed
concepts Ss sing song with words and conduct.
Notate what you Ss sing with rhythm syllables and keepbeat.
hear T reviews notation forsong.
Ss read with rhythmnames.
Ss read with numbers for counting and keep thebeat.
T connects the new rhythm syllables (taka di) to related song
material:
Jim AlongJosie
Over theRiver
Do, Do Pity MyCase
Hop, Old Squirrel
Ss create a four-beat rhythm pattern that uses taka di as an
accompaniment to any or all of the songs.
159
Review lesson OldTexas
outcomes
Chapter 5
UnitPlans and Lesson Plans
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. Kodly 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
childs soul can easily be mastered under a good leader in any school.1
160 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.Asummary overview of the repertoire used to prepare, present, and practice a
particular music element
Section 2.Abrief outline of the music skills that are to be developed in the unitplan
Section 3.Five sequential lesson plans for preparing, presenting, and practicing a music
element
Please consult Kodly Today for a more comprehensive overview of lesson planning.
The following are the lesson plan units presented in this chapter:
Unit 1: Grade 2 Review

Unit 2: Teaching Eighth Note Followed by Two SixteenthNotes
Unit 3: Teachinglowla
Unit 4: Teaching Two Sixteenth Notes Followed by an EighthNote
Unit 5: Teachinglowso
Unit 6: Teaching InternalUpbeat
Unit 7: Teaching highdo
Unit 8: Teaching ExternalUpbeat
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 of 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
lessonplans.
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.
There are two presentation lessons in the associativephase.
Lesson four is the first presentation lesson; the goal is to label the new sound with
rhythm or solfge syllables.
Lesson five is the second presentation lesson; the goal is to present the notation for the
new element. 161
The objectives for each type of lesson are derived from activities proposed in the teach-
ing strategies (Chapter4). Although the lessons will differ across the three phases of learn-
ing, 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 respectively
and practice of a familiar element through reading, writing, and improvisation activities.
Lessons four and five focus on the presentation and initial practice of the newly learned
element. Chapter10 of Kodly Today describes the types of lesson plan structures as well as
information on adapting these lesson plans for the inclusive classroom.
Transitions inLessonPlans
Transitions are the cement that holds the segments of a lesson together. Transitions
between songs and activities can become means to help tie and often hold the lesson
together. They can be used to move students from one activity to another in a music les-
son. Here we present some sample transition activities that can be used to enliven a cre-
ative music lesson plan. Transitions may be thought of as conscious and unconscious:with
the former, the students are aware that they are moving between songs or activities, and
with the latter, the teacher guides students toward different activities. Spend time ana-
lyzing 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 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 ostinato to move to the next section.
Chapter10 of Kodly Today includes many ideas for creating transitions in lessonplans.
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 is 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.
Outcome Preparation:analyzing repertoire that contains low la, a pitch

that is a skip belowdo
Practice:writing musical phrases that contain an eighth note
followed by two sixteenth notes.
Warm-Up Body warm-up
Beat activity
Russian Dance, from The Nutcracker Suite, Op.71, by Peter
Ilyich Tchaikovsky (18401893)
how air is released when deflating the balloon.
162 Resonance:explore a cow sound using low and high
voices. Make sure Ss are inhaling and exhaling correctly
with the support muscles.
Sing known songs Hunt theCows
CSP:C
Ss sing the song.
Develop tuneful singing Old Mr. Rabbit
Tone production CSP:F
Ss sing thesong.
Diction
Imitate the sound of a siren with the voice. Challenge the
Expression children to make soft and loud, high and low, long and
short sirens, and sirens that just go up, just come down, or
doboth.
Falling off a cliff. Pretend youre falling off a cliff and say
aaaahhhhhhhhhh!
Use a ball. T throws a ball from one S to another; Ss have
to follow the movement of the ball with their voices.
(Continued)
Table5.1(continued)
Review known songs Let Us Chase the Squirrel

and melodic elements CSP:F
T and Ss singsong.
Ss sing the solfge syllables of the wholesong.
T sings the text of phrases in Let Us Chase the Squirrel;
Ss echo-sing using solfge syllables and handsigns.
If time permits, continue the activity with Let Us Chase
the Squirrel, Rocky Mountain, Bow Wow Wow, Here
Comes a Bluebird, or other known songs that use the
solfge syllables la, so, mi, re, and do.
Teach a new song Hogs in the Cornfield
CSP:D
T sings again and Ss identify the number of phrases in the
song.(two)
T sings again, pausing after each phrase for Ss to identify
and label the form of the song.(AB)
T and Ss sing and play the game.
Describe what you hear T instructs half the class to continue the ostinato while the
remainder sing the song. Switch.
T and Ss tap the beat and sing the first phrase on loo 163
before asking each question:
lowestnote.
T:Andy, what hand signs do we use to sing those pitches?
(mrdd)
T:Lets sing our phrase with solfge syllables and hand
signs but sing low for our lowest pitch. (m r d d rdlow)
T:Andy, is our lowest pitch a step or a skip from
do?(skip)
Ss sing as a whole group; then T may select individuals to
sing the target phrase (m r d d r dlow).
Ss sing Phoebe in Her Petticoat while T sings Over the
River as a partner song.
Creative movement Over theRiver
CSP:C
T and Ss play game.
(Continued)
Table5.1(continued)
Practice music, Fed MyHorse

performance, and CSP:A
Writing Ss sing phrase 1 with rhythm syllables.
Ss sing the rhythm syllables and point to the four blank
beats that T has placed on the board (include bar lines and
a time signature).
Ss identify the rhythms for each beat and fill in the blanks.
Ss fill in the rhythm with stick notation.
Review lesson outcomes Hogs in the Cornfield
Review the new song CSP:D
Outcome Preparation:analyzing repertoire that contains low la, a pitch

that is a skip belowdo
Practice:writing musical phrases that contain an eighth note
followed by two sixteenth notes
Warm-Up Body warm-up and beat activity:Russian Dance, from
The Nutcracker Suite, Op.71, by Peter Ilyich Tchaikovsky
164 (18401893); or Cotton Eye Joe, by Just Dance; dress in
western cowboy clothes
Breathing:T blows up a balloon while Ss pretend theyre
blowing a balloon and watch how air is released when
deflating the balloon. Make sure Ss are inhaling and
exhaling correctly with the support muscles.
Resonance:Ss say Yeehaw! to find their head voice.
Practice singing Yoo-hoo, Dinner! (so-mi, so-mi) T can
use a triangle to ring after Sssing.
T:My grandpa was a dairy farmer and a bull rider, and
when Id visit him as a little girl, hed take me with him to feed
the cows. When wed call the cows, hed say sic-cow! (head
voice so-mi) Lets try. What song do we know about cows?
Sing known songs Hunt theCows
CSP:C
Ss sing thesong.
Ss perform the rhythm of the last four beats of
phrase 2 as a rhythmic ostinato into the next song
(4$sdsdqQ>).
Ss sing the song and choose one S to play the rhythmic
ostinato on cowbell.
(Continued)
Table5.2(continued)

Diction Ss sing thesong.
Expression Imitate the sound of a siren with the voice. Challenge
Ss to make soft and loud, high and low, long and short
sirens, and sirens that just go up, just come down, or
doboth.
Falling off a cliff. Pretend theyre falling off a cliff and say
aaaahhhhhhhhhh!
Use a ball. T tosses a ball from one S to another; Ss
have to follow the movement of the ball with their
voices.
Kodly Choral Library, Let Us Sing Correctly, no.38. The
teacher hums Let Us Chase the Squirrel as the students
perform this exercise on loo.
Review known songs Let Us Chase the Squirrel

T and Ss singsong.
Ss sing the solfge syllables of the wholesong.
T sings the text of phrases in Let Us Chase the
Squirrel; Ss echo-sing using solfge syllables and
handsigns.
Continue the activity with Rocky Mountain, Bow
Wow Wow, Here Comes a Bluebird, last phrase of
165
Dance Josie, or other known songs that use the solfge
syllables la, so, mi, re, anddo.
T chooses phrases to sing on loo and Ss echo solfge
syllables. Ss sing phrase one of the next song, Hogs in
the Cornfield from the T handsigns and T hums the
second phrase..
Teach a new song Hogs in the Cornfield

CSP:D
T sings again and Ss identify the number of phrases in
the song.(two)
T sings again, pausing after each phrase for Ss to identify
and label the form of the song.(AB)
T and Ss sing and play thegame:
Each S chooses a partner.
The pair decides who is number 1 and number2.
One or more pairs come to a line marked on the
floor, grasp each others right hands, and put
their toes against the line while the class sings the
songonce.
(Continued)
Table5.2(continued)
When the song is over, each student tries to pull his

or her partner across the line. Whoever wins takes the
loser over to theirteam.
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 peoplewins.
Ss sing rhythmic ostinato (4$qqsd q>) pat, clap,
pat, pat, snap into the next song.
Describe what you hear T instructs the class to continue the ostinato while
singing thesong.
T and Ss tap the beat and sing the first phrase on loo
before asking each question:
lowestnote.
T:Andy, what hand signs do we use to sing those
pitches? (mrdd)
T Lets sing our phrase with solfge syllables and hand
signs but sing low for our lowest pitch. (m r d d rdlow)
166 Ss sing and point down for the lowpitch.
T:Andy, is our lowest pitch a step or a skip from do?(skip)
Ss sing as a whole group; then T may select individuals
to sing the target phrase (m r d d r dlow).
Ss sing Phoebe in Her Petticoat while T sings Over
the River as a partner song.
Creative movement Over theRiver
CSP:C
Ss sing song and conduct.
Ss playgame:
1. Verse 1:players advance toward each other four steps, pat
their partners hands, and then step back four steps. On
the third phrase, they step toward each other again with
right hand extended, pass by, and go to the oppositeside.
2. Verse 2:repeat the same steps, but from the new
position, ending in their originalplace.
3. Verse 3:the first gent prances down the alley for four
measures, and then his partner prances down thealley.
Ss sing song as they move back to their seats, as T quietly
sings Fed My Horse as a partnersong.
T and Ss switch songs and perform the partner songs.
(Continued)
Table5.2(continued)

performance, and CSP:A
Writing Ss sing phrase 1 with rhythm syllables.
Ss sing the rhythm syllables and point to the four blank
beats T has placed on the board (include bar lines and a
time signature).
Ss identify the rhythms for each beat and fill in the
blanks.
T erases the board and distributes writing materials.
Ss sing the first phrase of Fed My Horse with rhythm
syllables while touching the beats on theirpapers.
T repeats the process with the first phrase of Fire in the
Mountain.
Ss use one of the rhythms to create an accompaniment
on a xylophone for the next song.
Review lesson outcomes Hogs in the Cornfield
Review the new song CSP:D
General Points forPlanning Lessons

167
1. Goals for each lesson should come from the outcomes listed in the concept plans,
but singing in tune should always be a primary goal of each lesson.
2. Work to select the best song material for each class and make sure you enjoy this
repertoire. We suggest three to eight songs in a thirty-to-forty-minute lesson.
Memorize all of the song material you are going touse.
3. Every new song you teach should be introduced appropriately. Sometimes we
review a familiar song as we would a new song. This is an opportunity for the
teacher to spend more time polishing the song and making sure that students are
able to sing artfully.
4. When teaching a new element, is it surrounded by known rhythmic or melodic
patterns?
5. Our lessons contain both rhythmic and melodic elements, one for preparation
and the other for practice. Remember that when you abstract a pattern or motif
from a song, always sing the song again to put it back in context and give students
the experience of enjoying the performance of thesong.
6. There should be a focus to each section of the lesson that you can assess
informally and formally.
7. Know your repertoire. Be able to analyze the materials for each lesson from an
analytical, performance perspective and from a pedagogicalone.
8. Try to find variety in the song material for the lesson.
9. Our lessons include periods of relaxation and concentration. The pace of a

lesson is critical. Veteran teachers always tell us that it is better to teach faster
than slower. Students will follow you if youre moving.
10. Give the students plenty of individual experience in the classroom. It is
important to work from the group toward individual activities. Youll notice that
students are attentive to their peers when they do things like go to the board or
perform on theirown.
11. We have provided a comfortable starting pitch for each song. Feel free to
experiment with what works best for your classroom.
Evaluating aLesson
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.
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 thesong.
3. Include opportunities for both review and reinforcement of musical elements and
concepts.
4. Agood 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?
168 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 makingmusic?
G. Did the lesson use a variety ofsongs?
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 thegoals?
J. Was there a logical sequence and pacing in the lesson?
K. Was the culmination of the lessonclear?
L. Were there periods of relaxation and concentration in the lesson?
M. What musical skills were developed in the lesson?
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?
UnitPlans
The units presented here give teachers lesson plans arranged according to concept.
Unit 1:Grade 2Review
Sections 1and2
Prepare:review grade 2 songs and concepts Focussong: Practice:review grade2
S ON G R E P E RTOI R E
Known Songs Songs for Songs to Review Songs to Songs to Review Creative Songs to Practice
Tuneful Known Rhythmic Prepare Next Known Melodic Movement Known Elements
Singing Elements New Concepts Elements
Lesson 1 Great Big House Blue Here Comes a Knock the Rocky Mountain Fed My Horse Bow Wow Wow
in New Orleans Bluebird Cymbals (review (review notation
(review w) presentation of do pentatonic)
do pentatonic)
Lesson 2 Ida Red, Fed Button, You Hot Cross Buns Chickalalelo Rocky Mountain Tideo Bow Wow Wow
My Horse Must Wander (review re) (review reading of (review writing do
do pentatonic) pentatonic)
Lesson 3 Here Comes Firefly Paw Paw Patch How Many Are You Sleeping? Tideo Bow Wow
a Bluebird, (review xxxc) Miles to (review kinaesthetic Wow (review
Chickalalelo Babylon? and aural awareness improvisation do
of $
4 ) pentatonic)
Lesson 4 Bow Wow Chatter with Rocky Mountain Fire in the Are You Sleeping? How Many Button, You Must
Wow, How the Angels (review do Mountain (review visual Miles to Wander
Many Miles to pentatonic) awareness of 4$) Babylon?
Babylon?
Lesson 5 Frosty Weather, Knock the Dinah O Fly Around Are You Fire in the Button, You Must
Fire in the Cymbals Sleeping? (review Mountain Wander
Mountain presentation of 4$)
169
170
M U SI C A L SK I L L DE V E L OP M E N T
New Element Practice Known Element Practice
Reading Rocky Mountain:fourth Fourth phrase of Rocky Rocky Mountain:Ss read T and Ss sing Rocky Mountain.
phrase using solfge Mountain solfge from Ts question and answer phrases from T writes song on board using
syllables with hand signs. hand signs. the board, using do re mi fa so standard notation. T and Ss
from traditional notation. alternate reading phrases and then
switch.
Writing Here Comes a T places rhythm of second Whos That Tapping at the Paw Paw Patch to Dinah:T
Bluebird:using the second phrase of Here Comes a Window? on loo:T claps writes a sixteen-beat pattern on the
phrase, Ss write solfge Bluebird on board using rhythm while Ss pat the beat. board. T claps the rhythm with an
syllables under rhythmic stick notation. Ss write T selects four Ss to echo-sing error on one beat. Ss identify on
notation on the board. missing solfge under first phrase of song with rhythm which beat the error occurred and
rhythmic notation on the names. Ss write rhythmic phrases write the correct rhythm. T repeats
board. on board using stick notation. process with several Ss until the
final rhythm is that of the new song.
Improvisation Knock the Cymbals, the T sings the question phrase Known song:Ss compose two- or T and Ss sing pentatonic melody. Ss
and question phrase, and T and Ss choose from patterns four-beat ostinato. Ss clap/pat choose solfge syllable pattern from
composition chooses from patterns on on the board. ostinato while singing song. the song to create a simple melodic
the board. ostinato. Ss perform song with
ostinato. Ss perform ostinato on
pitched percussion instruments.
Listening Recorded performance: Recorded performance: Tortoises, Carillon, from LArlsienne Suite
Largo, from Symphony from The Carnival of the Animals, No. 1, by Georges Bizet.
No. 9, by Dvorak (18411904) by Camille Saint-Saens.
Part work Paw Paw Patch:Ss sing Ss create simple vocal Ss sing with a simple ostinato Ss sing melody while T performs a
with body percussion ostinato pattern and choose using body percussion. melodic ostinato. T sings melody
ostinato. one to sing with the song. and Ss perform a melodic ostinato.
Memory Button, You Must T notates a four-beat phrase T sings song on loo. Ss identify T and Ss sing known song.
Wander:T shows typical on board. Ss audiate and meter. T sing and Ss conduct. T demonstrates a vocal or
melodic patterns with hand use hand signs. T asks for T sing and Ss identify starting instrumental ostinato. Ss sing or
signs. Ss sing back the volunteer to sing the piece and ending pitches with solfge play ostinato while other Ss sing
patterns and show hand from memory. syllables. Ss sing example with known song.
signs. solfge syllables and hand signs.
Inner hearing Bow Wow Wow:T sings Ss read song silently while T notates song on staff. T T points to the solfge syllables
third phrase of song on showing hand signs. Ss keeps beat while Ss read and on the tone ladder. Ss watch and
solfge syllables and stops recognize song. inner-hear. Ss keep beat while audiate as T points to the notes
at a random place in the reading and inner-hearing again. of a song. Ss identify song and
song. Ss sing next pitch(es) Ss clap rhythm as they read and perform the song as a group and
with solfge syllable(s). T inner-hear. Ss identify song and individually.
hides the new note (do). perform as group.
Form Are You Sleeping?:Ss T sings first phrase. Ss sing T sings song on loo while Ss draw Ss create simple forms showing
draw phrases. T writes the second phrase (alternate until phrases in air. T draws arches to phrase variants (AABA; AAAA;
form of the song on the song is complete). Ss verbally represent the phrases on the board ABAC).
board. provide the form. while Ss sing on loo. T chooses S to
label form on the board with letters
(ABAA, ABAB, etc.).
Instruments Tideo:Ss sing the do Ss transfer vocal ostinato to Ss play simple bordun on Ss play a rhythmic ostinato to
pentatonic scale from alto xylophones. xylophone. accompany song.
lowest to highest and
transfer to bass, alto, and
soprano xylophones. 171
Unit 1, Grade 2 Review, Lesson1
Outcome Review aural presentation and notation of the do pentatonic scale

Beat activity
Symphony No. 15 in G major, K 124, II, Andante, by W.A. Mozart
(17561791)
Breathing:Ss practice blowing up a balloon and watch how air
support muscles.
Sing known songs Great Big House in New Orleans
CSP:F-sharp
Develop tuneful Blue
singing CSP:F-sharp
Tone production T and Ss sing thesong.
Ss sing first verse on the syllablekoo.
Diction
Ss read from Ts handsigns.
Expression Individual Ss sing verses.
Review known Here Comes a Bluebird
songs and elements CSP:A
172 Ss sing the song; Ss read the rhythm of the song from
theboard.
2$qsd\qq\qsd\qq\
w\sdsd\qq\qQ|
Ss sing the song and perform the rhythm in canon after eight
beats, then four beats, then twobeats.
T sings phrases of Rocky Mountain, Bow Wow Wow, and
Here Comes a Bluebird, as well as other known songs; Ss
echo-sing with rhythm syllables.
Teach a new song Fed MyHorse
CSP:F-sharp
T sings the song while Ss keep the beat and show the phrases.
T sings the first four phrases, pausing after each for Ss to label
the form (ABAC).
Ss sing the Aphrases, T sings B and C; switch.
Review known Rocky Mountain

elements CSP:D
Ss sing song and conduct, and teacher sings the second voice
part of Rocky Mountain, from Denise Bacons 46 Two Part
American Folk Songs,p.11.
Briefly review kinesthetic, aural, and visual awareness activities.
T: Sing the five pitches in the last phrase of Rocky Mountain
from the highest to the lowest. (l smrd)
T: When we put five pitches (l s m r d) together, we call it the
do pentatonicscale.
Individual Ss sing the do pentatonic scale up anddown.
Ss read the next song from Ts hand signs.
Creative movement Knock the Cymbals
CSP:D
T and Ss sing the song and play the game.
Presentation of Bow WowWow
concepts Singsong.
Review Sing song with solfge syllables and handsigns.
Review aural presentation.
do pentatonic
T: When we put these five pitches together, it is called the do
pentatonic scale because it starts on do and penta tonic means
five tones or five notes! There is a skip between mi and so and a
step between do and re and re and mi and so andla.
T sings from low to high and Ssecho. 173
T sings from high to low and Ssecho.
Individual Ss sing the do pentatonic scale up anddown.
T: Now lets see how we can show the do pentatonic scale on
the tone ladder and the staff. Identify the steps andskips.
l
s
m
r
d
Review the rule of placement for the notes of the pentatonic

scale using the fingerstaff.
Present the pattern for the do pentatonic scale on the staff and
identify the steps and skips. (Keys without accidentals:C,F,G)
Ss read from staff notation with handsigns.
T points to pentatonic phrases from these songs and Ss sing

with solfge syllables and handsigns:
All Around the Buttercup
Button, You Must Wander
Great Big House in New Orleans
Review lesson Fed MyHorse
outcomes CSP:F-sharp
Review the new T points to the song on the solfge steps or tone ladder and Ss
song sing the song with solfge.
Ss sing the song with text.
Outcome Review reading and writing of the do pentatonic scale.

Beat activity
Symphony No. 15 in G major, K 124, Menuetto and Trio, W.A.
Mozart (17561791)
174 Make sure Ss are inhaling and exhaling correctly with the
support muscles.
CSP:D
Ss sing the song and T sings the second voice part of Denise
Bacons arrangement found in 46 Two-Part American Folk
Songs,p.19.
Fed MyHorse
CSP:F-sharp
Ss sing the song.
Develop tuneful Button, You Must Wander
singing CSP:D
Tone production T and Ss singsong.
Ss practice sirens.
Diction
S pretend theyre falling off a cliff and say aaaahhhhhhhhhh!
Expression Ss sing song on syllables mi-oh.
Review known Hot CrossBuns

songs and CSP:A
elements Ss sing thesong.
Ss sing Hot Cross Buns with rhythm syllables and then solfge
syllables.
T sings Rocky Mountain, Bow Wow Wow, and Here Comes
a Bluebird to review the solfge syllables la, so, mi, re, and do;
Ss echo-sing using solfge syllables and hand signs.
Teach a new song Chickalalelo
CSP:D
T sings the song and accompanies on an instrument.
Ss choose instruments and create a rhythmic ostinato with
which to accompany the song.
Review known Rocky Mountain
elements CSP:D
Reading Ss sing thesong.
Ss sing song with solfge syllables and handsigns.
do pentatonic
Ss sing song with solfge syllables and one S places the notes on
tone ladder.
T uses the tone ladder and points to the pentatonic melody
theme Largo, from New World Symphony, by Antonin Dvok
(18411904). Ss sing with solfge syllables and handsigns.
T plays a recording of the New World Symphony, and Ss identify
the melody.
Creative Tideo 175
movement CSP:F-sharp
T and Ss sing the song and play thegame.
Ss choose instruments and create an accompaniment for the song.
Review known Bow WowWow
elements CSP:D
Writing Ss sing thesong.
Ss sing phrase 4 with solfge syllables and handsigns.
do pentatonic
Ss write the tone set of the song on the tone ladder.
Ss complete the writing worksheets, filling in the do pentatonic
scale on the tone ladder and writing it on the staff in D=do,
F=do, and D=do.
Ss add a simple four-beat ostinato accompaniment and sing
thesong.
Review lesson Chickalalelo
outcomes CSP:D
Review the new
song
Outcome Review kinesthetic and aural awareness of 4$meter

Review improvisation of the do pentatonic scale
I N T RODU C TORY AC T I V I T I E S
Beat activity
Symphony No. 15 in G major, K.124, Menuetto and Trio, by W.A. Mozart (17561791)
Breathing:Ss practice blowing up 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.
Sing known Here Comes a Bluebird
songs CSP:A
Ss sing the song with an ostinato: 2$w\sdq>
Chickalalelo
CSP:D
Ss sing thesong.
Ss continue the ostinato while T sings the next song.
Develop Firefly
tuneful CSP:A
singing T and Ss sing the song and continue the ostinato.
Tone Ss sing song on the syllablekoo.
production Ss sing the song with text in canon after eight beats.
Diction
176 Expression
Review Paw PawPatch
known songs CSP:F
and elements Ss sing and keepbeat.
Ss sing with rhythm syllables and keep thebeat.
T provides the Ss with the first measure of each phrase and Ss complete the notation
for the missing measures:
2$sdsd\\
sdsd\\
sdsd\\
sdxxxc\ |
Teach a new How Many Miles to Babylon?
song CSP:A
T sings the song and Ss keep thebeat.
T briefly explains the rules of the game; T and Ss sing and playgame.
After each cycle of the game, Ss must sing an additional phrase until they are able to
sing the song unassisted.
Review Are You Sleeping?

known CSP:F
elements Ss sing the song in two-partcanon.
Ss sing the song and perform an ostinato showing the strong and weak beats (step,
clap, clap, clap, or something similar).
Ss perform ostinato with a partner (pat together, snap, snap,snap).
Ss sing and point to a representation of the strong and weak beats on theboard.
Six to eight individuals come to the board to tap the representation while the class
sings and points.
Ss sing phrase 1 and keep the beat before asking each question:
T:How many beats did we keep? (eight)
T:Do all of the beats feel the same? (no, some are stronger)
T:Which beats feel stronger? (beats 1and5)
T:If beats 1 and 5 are strong, then the other beats are(weak)
T:Lets sing again and show with our motions the strong and weak beats.
Creative Tideo
movement CSP:F-sharp
T and Ss sing the song and play thegame.
Ss choose instruments and create an accompaniment for the song.
Review Bow WowWow
known CSP:D
Improvisation T isolates phrase 3 and Ss sing with solfge syllables.
T modifies phrases 3 and4to:
do pentatonic
2$sdsd\sdq\qq\qQ|
s ss l smd m r s
Ss improvise an answer. They can select from the following.
Answer 1:2$sdsd\sdq\qq\qQ| (Bow Wow Wow, phrases 3and4) 177
s s s l smd m r d
Answer 2: $
2 sdsd\sdq\sdsd\qQ| (Great Big House in New Orleans, phrase2)
s s s l mss ms mr d
Answer 3:2$sdq\sdq\sdsd\sdq| (Ida Red, phrases 3and4)
dms s l s ms ls mrd
T sings the questions and selects individuals to choose an answer.
Ss may also improvise their own answer using pitches from the do pentatonic scale.
Review lesson How Many Miles to Babylon?
outcomes CSP:A
Review the
new song
Outcome Review visual awareness and aural presentation of 4$meter

Beat activity
Symphony No. 15 in G major, K.124, Menuetto and Trio, by
W.A. Mozart (17561791)
Breathing:Ss practice blowing a up balloon and watch how
support muscles.
Sing known songs Bow WowWow
CSP:D
Ss sing the song while T sings How Many Miles to
Babylon? as a partner song. Switch.
How Many Miles to Babylon?
CSP:F-sharp
Ss sing the song and keep the beat.
Develop tuneful Chatter with the Angels
singing CSP:F
Ss sing thesong.
178 Ss use this rhythm to practice voiced consonants.
Review known songs Rocky Mountain
and elements CSP:F
Sing song. Individual Ss sing different verses.
Depending on the skill level of the class, T sings each phrase
of Paw Paw Patch, Tideo, Dinah, or Chatter with the
Angels on loo; Ss echo-sing each phrase with rhythm
syllables while tapping thebeat.
Ss perform Denise Bacons arrangement of Rocky
Mountain, 46 Two Part American Folksongs, p.11.
Teach a new song Fire in the Mountain
CSP:A
T sings the song while Ss keep thebeat.
T sings the song while Ss trace the phrases in theair.
Ss identify the number of phrases.(four)
Two or three Ss trace the phrases on the board while Tsings.
T sings the song, pausing after each phrase for Ss to label the
form. (ABAB)
Ss sing the Aphrases and T sings the Bs. Switch.
Ss sing the song.
Review known Are You Sleeping?

elements CSP:F
Create a representation Ss sing the song (in two-part canon) with a beat ostinato
of what youhear clap, pat, pat,pat.
Review kinesthetic and aural awareness activities for
Quadruple meter
quadruplemeter.
T sings the target phrase with a neutral syllable and asks
Ss to create a visual representation of the beat of the target
phrase (strong-weak-weak-weak).
Ss pick up manipulatives to create their representations.
T invites one S 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.
Ss sing the first phrase of Are You Sleeping? with a neutral
syllable and point to the representation.
Creative movement How Many Miles to Babylon?

CSP:A
T and Ss sing the song and move into position for thegame.
Ss sing and play the game while T accompanies on an
instrument.
Ss choose instruments and create rhythmic ostinati for
thesong.
Ss sing and play the game with their accompaniment.
Review known Button, You Must Wander

179
elements CSP:F
Describe what you hear Ss sing the song incanon.
with rhythm syllables Review kinesthetic, aural, and visual awareness activities.
T: In music, we call the strong beats accents. We can show
Quadruple meter
accents by conducting.
T sings and demonstrates a four-beat conducting pattern.
Sscopy.
T: Our pattern of strong and weak beats is in groups of
four:strong-weak-weak-weak one, two, three, four; so we
can call this four-beat meter.
Ss identify other known songs that may be in
four-beatmeter:
Blue
Bluebird Through My Window
Firefly
Ss add simple four-beat ostinato accompaniments on xylophones
to any or all of these songs.
Review lesson Fire in the Mountain
outcomes CSP:A
Review the new song
Outcome Review aural presentation and notation of 4$meter

Beat activity
Symphony No. 15 in G major, K.124, Menuetto and Trio, by W.A.
Mozart (17561791)
support muscles.
Sing known songs Frosty Weather
CSP:A
Ss sing the song in canon after fourbeats.
180 CSP:F-sharp
Ss sing the song with an ostinato:2$qq\xxxc q>
Develop tuneful Knock the Cymbals
singing CSP:D
Tone production Ss sing the song with text; Ss sing again on the syllable koo or
other vowels preceded by a consonant.
Diction
Ss sing the song with text and then with solfge syllables.
Expression
Review known Dinah
songs and elements CSP:D
Ss sing the song and tap thebeat.
T sings each phrase of Paw Paw Patch, Tideo, and Dinah;
Ss echo-sing each phrase with rhythm syllables and tap the
beat.
Teach a new song O Fly Around
CSP:B-flat
T sings the song while Ss quietly perform a beat ostinato.
T performs the song accompanying on an instrument, and Ss
show phrases.
Ss identify the number of phrases.(four)
Two or three Ss trace the phrases on the board while Tsings.

form.(ABAC)
Repeat the previous step with a simple ostinato:
2$qq\sdq>
Ss continue the ostinato on an instrument and sing all the
phrases with T.
Review known Are You Sleeping?
elements CSP:F
Ss sing the song incanon.
Ss sing the song with rhythm syllables and keep beat by using a
pat clap clap clap ostinato.
Review awareness activities and aural presentation.
T: In music, we call the strong beats accents. We can show
accents by conducting.
T sings and conducts a four-beat pattern, Sscopy.
T: Our pattern of strong and weak beats is in groups of
four:strong-weak-weak-weak one, two, three, four; so we can
call this four beat meter. T directs Ss to add barlines:
qqqq\qqqq\
qqw\qqw\
sdsdqq\sdsdqq\
qqw\qqw\
T: To show that it is the end of the song, we put a double
barline.
T:To show how many beats are in each measure and how long
each beat is, we need to add a time signature to the beginning.
181
T addsa4$.
Ss sing and conduct the song.
Creative movement Fire in the Mountain
CSP:A
T and Ss sing the song and move into position for the game
while T plays the beat on a drum; T briefly explains the rules of
the game.
Review known Button, You Must Wander
elements CSP:D
Ss sing the song incanon.
Ss sing song with rhythm syllables.
Ss add bar lines and time signature to the notation of the
rhythm on board. Ss read notation fromboard.
Ss add a simple ostinato accompaniment on xylophones to
perform with Button, You Must Wander.
Review lesson O Fly Around
outcomes CSP:B-flat
Review the new song
182
Unit 2: Teaching Eighth Note Followed byTwo SixteenthNotes
Known Songs Songs for Tuneful Songs to Songs to Songs to Creative Songs to Practice
Singing Review Known Prepare Next Prepare Movement Known Element
Elements: New Concepts: Concept: sxc (do Pentatonic)
4$Meter low la
Lesson 1 Great Big House How Many Miles to Are You Jim Along Fed My Ida Red Rocky Mountain
in New Orleans, Babylon? Sleeping? Josie Horse
O Fly Around
Lesson 2 Rocky Chickalalelo Bluebird Old Mr. Fed My How Many Rocky Mountain
Mountain, Jim Through My Rabbit Horse Miles to
Along Josie Window Babylon?
Lesson 3 Ida Red, Old Mama, Buy Me a Bluebird Through Phoebe in Her Fed My How Many Miles Button, You Must
Mr. Rabbit Chiney Doll My Window Petticoat Horse to Babylon? Wander
Known Songs Songs for Tuneful Songs to Songs to Songs to Songs to Songs to Present
Singing Review Known Prepare Next Present Prepare Next Concept
Elements: New Concepts: Concept: sxc New Concepts
4$Meter low la
Lesson 4 Knock the Fire in the Mountain Button, You Big Fat Biscuit Fed My Ida Red How Many Miles
Cymbals, Phoebe Must Wander Horse to Babylon?
in Her Petticoat
Lesson 5 Button, You Ida Red Knock the Rosie, Darling Fed My Big Fat Biscuit How Many Miles
Must Wander, Cymbals Rosie Horse to Babylon?
Big Fat Biscuit
Here is a chart of the primary musical skills that are developed in the five lessons associated with teaching the concept of three uneven sounds on a beat ta
dimi. Remember, in the first three lessons students practice the previous musical element, in this case, quadruple meter, which was learned in kindergarten.
Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Reading Ss read Rocky Mountain Ss read the rhythm of Fed
with solfge from notation My Horse (phrases 1 and 2)
or hand signs while from traditional rhythm
conducting. notation.
Writing Ss write the rhythmic Ss write the rhythm of Fed
notation with solfge of My Horse (phrases 1 and 2)
Rocky Mountain and from traditional rhythm
additional songs. notation.
Improvisation T sings an eight-beat question
phrase with solfge syllables
and Ss echo an eight-beat
response while conducting in
quadruple meter.
Movement Ida Red How Many Miles to How Many Miles to Ida Red Big Fat Biscuit
Babylon? Babylon?
Listening Goodbye Old Paint,
from Billy the Kid Suite,
by Aaron Copland
(19001990). The folk
song Goodbye Old
Paint is a do pentatonic
melody. Ss should learn
the song and listen to the
composition by Copland.
183
Unit 2, Eighth Note Followed byTwo Sixteenth Notes, Lesson1

(long short short) through kinesthetic activities
Practice:reading songs written in do pentatonic
Beat activity
The Marriage of Figaro Overture, by W.A. Mozart (17561791)
Resonance:explore a cow sound using low and high
Sing known songs Great Big House in New Orleans
CSP:F-sharp
T and Ss sing the song while keeping thebeat.
T and Ss sing the song while adding a simple ostinato.
Ss sing the song while T sings the second part of Great
Big House in New Orleans, from Mark Williams,
Two-Part American Songs (Bicinia Americana).
O Fly Around
CSP:D
Ss perform the last four beats as a rhythmic ostinato into
184 the next song:(2$sdsd\qq>)
Develop tuneful singing How Many Miles to Babylon?
Ss sing while performing the ostinato.
Diction
Ss sing and keep thebeat.
Expression Show Ss how to sip through a straw correctly and expand
theirwaists.
Show Ss how to release air using a sss or hissingsound.
Show Ss how to release air using the wordha.
Guide Ss to yawn, as this opens up the back of the throat
and relaxes thevoice.
Ss sing How Many Miles to Babylon?
Review known songs and Are You Sleeping?
rhythmic elements CSP:F
Ss sing the song and conduct thebeat.
Ss read the rhythm of the song from the board and
identify the time signature.
Ss inner-hear the song while clapping the rhythm.
T sings each phrase of Are You Sleeping?; Ss echo-sing
each phrase with rhythm syllables and conduct in
quadruple meter.
Teach a new song Jim AlongJosie
CSP:C
T sings song while Ss pat the beat and then draw phrases.
T sings again, stopping after each phrase for Ss to identify the
form (ABAB); Ss sing the song with T and then playgame.
Ss sing and perform a simple ostinato (4$sdsdqq>).
Develop knowledge of Fed MyHorse
music literacy concepts CSP:F-sharp
Internalize music through Ss sing and briefly play thegame.
kinesthetic activities Ss sing the song and keep thebeat.
Ss sing the song and clap the rhythm.
Sing the song and point to a representation of phrase 1 on
theboard:
Ss sing and point to the representation in different ways
(head, elbow,etc.).
Ss sing and clap the target phrase with a partner.
T directs part of the class to perform the beat while the
remainder perform rhythm. Switch.
Ss sing and step the beat while clapping the rhythm of the
song.
Creative movement IdaRed
CSP:D
Eliminated Ss will play a simple ostinato on various
percussion instruments.
Ss sing and play the game while T plays the second part 185
of Ida Red, from Denise Bacons 46 Two-Part American
Folks Songs, p.19.
Practice music Rocky Mountain
performance and CSP:D
Reading Ss sing with rhythm syllables and then solfge syllables
and hand signs, reading from rhythmic notation and
solfge as well as staff notation on theboard.
Ss determine the toneset.
T points to the melody on the tone set of the listening
example, and Sssing.
Ss listen to recording.
Goodbye, Old Paint, from Billy the Kid Suite, by Aaron
Copland (19001990)
The folk song Goodbye, Old Paint is a do pentatonic melody.
Ss should learn the song and then listen to the composition by
Copland.
Review lesson outcomes Jim AlongJosie
Outcome Preparation:analyzing repertoire that contains three uneven sounds on

one beat (long shortshort)
Practice:writing known songs in four-beat meter
Beat activity
The Marriage of Figaro Overture, W. A. Mozart (17561791)
sure Ss are inhaling and exhaling correctly with the support muscles.
Sing known Jim AlongJosie
songs CSP:C
Ss sing song with a simple ostinato.
Ss continue the beat into the nextsong.
Rocky Mountain
CSP:F
T and Ss sing thesong.
Ss sing while T adds a simple ostinato (2$sdq\sdq>).
Ss continue the rhythmic ostinato while T sings the next song.
Develop Chickalalelo
186 tuneful CSP:D
singing Ss sing thesong.
Tone T practices sighing withSs.
production T and Ss use a higher voice than they usually speak with. Guide Ss to
sigh a few times, starting each sigh a little higher than thelast.
Diction
Ss sing only la, la, la from the song and inner-hear the
Expression remainingwords.
Review known Bluebird Through My Window
songs and CSP:A
rhythmic T and Ss sing thesong.
elements Ss sing song with rhythm syllable and clap the rhythm.
T sings each phrase of Bluebird Through My Window; Ss echo-sing
each phrase with rhythm syllables and conduct.
If time permits, continue the echo activity with Paw Paw Patch,
Tideo, and Dinah or other songs that use known rhythm syllables
and meters.
Teach a new Old Mr. Rabbit
song CSP:F
T sings the song while Ss perform the rhythm.
Ss trace the phrases in the air while T singsagain.
Ss trace the phrases on the board while T sings thesong.
Ss label the form as T sings.(ABCD)

Ss sing phrases Aand B, and T sings C and D; switch.
Ss sing song with T and tap thebeat.
Ss suggest other vegetables that Old Mr. Rabbit could have eaten out
of the garden; perform adding vegetables to the song.
Develop Fed MyHorse
knowledge of CSP:A
music literacy Ss sing and play thegame.
concepts Review kinesthetic awareness activities.
Describe what T and Ss sing phrase 1 on loo and tap the beat before asking each of
you hear these questions:
Determine the number of sounds on eachbeat:
T:Andy, which beat had one sound? (beat4)
T:Andy, how many sounds did we sing on beat 2? (three) 187
Describe the sounds on beat2:
T:Andy, were the sounds on beat two even or uneven? (uneven)
T:Andy, describe these sounds using the words long and short.
(long shortshort)
T:Lets sing our phrase like this:tadi long-short-short tadi ta.
Ssecho.
Small groups and individual Ss echo-sing withT.
Ss sing phrases 1 and 2 as tadi long short short tadita.
Ss sing Fed My Horse while T sings How Many Miles to
Babylon? as a partner song.
Creative How Many Miles to Babylon?
movement CSP:A
Ss play accompaniment on a xylophone with a simple do-low so
bordun.
Practice music Rocky Mountain

performance CSP
and T and Ss sing thesong.
literacyskills Ss conduct and read the rhythm of the song from theboard.
Writing Ss sing with solfge syllables and handsigns.
Ss complete writing worksheets, adding in the missing solfge
syllables.
Ss create an accompaniment of xylophones to accompany the songs.
Review lesson Old Mr. Rabbit
outcomes CSP:F
Review the
new song

phrase containing three uneven sounds on one beat (long
shortshort)
Practice:improvising with rhythms written in four-beat meter
188 Beat activity
The Marriage of Figaro Overture, by W.A. Mozart (17561791)
Practice breathing. Breathe in through nose for four
counts, hold for four counts, and exhale through
mouth for four counts. Extend the number of counts.
Resonance:explore a cow sound using low and
high voices. Make sure Ss are inhaling and exhaling
correctly with the support muscles.
CSP:D
T and Ss sing song and step thebeat.
Ss perform phrase 4 as an ostinato
(2$sdsd\sdq>).
Old Mr. Rabbit
CSP:D
Ss sing the song; Ss may add other vegetables.
Ss sing Old Mr. Rabbit while T sings Mama, Buy
Me a Chiney Doll as a partner song.
Develop tuneful singing Mama, Buy Me a ChineyDoll

Diction
S echo four-beat patterns of consonants (k-k-k-k,
Expression ss-ss-ss-ss, p-p-p-p, zz-zz-zz-zz,etc.).
Ss sing the song and T sings the second part of
Mama, Buy Me a Chiney Doll, from Denise Bacons
46 American Folk Songs,p.23.
Review known songs Bluebird
and rhythmic elements CSP:A
Ss singsong.
Ss correctly place bar lines and time signature for
thesong.
Ss conduct and sing the song with rhythm syllables
from notation.
T sings each phrase of Bluebird; Ss echo-sing
each phrase with rhythm syllables while tapping
thebeat.
Continue the echo activity with Paw Paw Patch,
Tideo, and Dinah or other songs that use known
rhythm syllables.
Teach a new song Phoebe in Her Petticoat
CSP:A 189
T sings the song while Ss show the phrases.
Ss identify and label the form of the song while
T sings.(ABAC)
Ss sing the Aphrases, and T sings B and C; switch.
T can also teach this song through a movement or a
story.
Develop knowledge of music Fed MyHorse
Create a visual representation Ss sing thesong.
of what you hear Review kinesthetic and aural activities.
T distributes Unifix cubes or other visualaids.
T sings phrase 1 onloo.
T:Pick up what you need to recreate what you heard.
Ss create a visual representation of the rhythm of phrase1.
Ss point to the representation andsing.
One S shares a representation with theclass.
Ss point to the representation andsing.
Determine the solfge syllables for phrase 1.(ms ssslss)
Ss sing phrase 1 with solfge syllables and hand signs.
Creative movement How Many Miles to Babylon?

CSP:A
Ss sing and play game.
Practice music performance Button, You Must Wander
and literacyskills CSP:D
Improvisation Ss sing thesong.
T creates a musical question ending on so using
solfge syllables based on the Aphrase; Ss sing the
Aphrase as the answer phrase. Ss create new question
phrases.
T plays the question phrase on a xylophone;
individual Ss sing and play their answers on a
xylophone.
Review lesson outcomes Phoebe in Her Petticoat
Outcome Presentation:label the sound of three uneven sounds on one

beat with the rhythm syllables ta dimi
190
Beat activity
Mambo, from West Side Story, by Leonard Bernstein
(19181990)
Practice breathing. Breathe in through nose for four
counts, hold for four counts, and exhale through mouth
for four counts. Extend the number of counts.
Sing known songs Knock the Cymbals
CSP:F
Ss sing thesong.
Ss sing and pat thebeat.
Phoebe in Her Petticoat

CSP:A
Ss sing thesong.
Ss sing the song with a simple ostinato
(2$qq\sdq>).
Ss sing the song and T sings the second part of Phoebe
from 46 Two-Part American Folk Songs, p.32.
Develop tuneful singing Fire in the Mountain
Tone production CSP:A
Ss sing thesong.
Diction
Ss sing in canon after fourbeats.
Expression Ss echo four-beat patterns of consonants
(k-k-k-k, ss-ss-ss-ss, p-p-p-p, zz-zz-zz-zz, etc.).
This may be applied to thesong.
Review known songs Button, You Must Wander
and rhythmic elements CSP:D
Ss sing thesong.
Ss sing song with rhythm syllables and clap rhythm.
Ss conduct and read the rhythm of the song from
theboard:
4$sdsdqq\qqqq\
sdsdqq\qqqQ\
qsdqq\qsdqq\
sdsdqq\qqqQ|
T sings each phrase of Button, You Must Wander; 191
Ss echo-sing each phrase with rhythm syllables and
conduct.
T erases one phrase at a time and Ss memorize the
rhythm while conducting.
Teach a new song Big Fat Biscuit
CSP:F
T sings thesong.
Ss identify the sounds that repeat in each phrase.
(chew-ba-loo)
T sings again while Ss keep thebeat.
T briefly explains the rules of thegame.
Presentation of music Fed MyHorse
Describing what you hear Ss sing thesong.
with rhythm syllables Review kinesthetic, aural, and visual awareness activities.
T:When we have three sounds on a beat and the first is long
and the second and third are short, we will say ta di-mi.
T sings phrase 1 of Fed My Horse with rhythm syllables.

(tadi ta dimi tadita).
Ss echo the rhythm syllables.
T sings phrase 1 on words and Ss echo with rhythm
syllables.
T echo-sings with six to eight Ss individually.
Ss sing Fed My Horse while T sings Ida Red as a
partner song.
CSP:F
Ss sing the song and play thegame.
Eliminated Ss choose instruments and create an ostinato
to accompany thesong.
Presentation of music How Many Miles to Babylon?
with rhythm syllables T and Ss sing the first phrase withwords.
T sings the target phrase on loo, and Ss sing with
rhythm syllables.
T sings these phrases and Ss echo with rhythm syllables.
Ida Red (phrase1)
Chickalalelo (phrases 1, 2, and 4)
Review lesson outcomes Big Fat Biscuit
192 Review the new song CSP:F
Outcome Presentation:notating three uneven sounds on one beat with an

eighth note followed by two sixteenth notes
Beat activity
Mambo, from West Side Story, by Leonard Bernstein
(19181990)
Breathing:Ss practice blowing up a balloon and watch how
support muscles.
Sing known songs Button, You Must Wander

CSP:D
Add a simple ostinato (2$qq\sdq>).
Big Fat Biscuit
CSP:F
Ss sing the song and may briefly play the game.
Develop tuneful IdaRed
singing CSP:F
Ss sing the song with lip trills.
Diction
Ss lightly hum the song, and T monitors for proper
Expression resonance andtone.
Review known Knock the Cymbals
elements Singsong.
Ss read the song from theboard:
4$sdsdsdq\
sdsdsdq\
sdsdsdq\
sdsdqq|
Ss sing Knock the Cymbals and clap the above rhythm.
T switches the placement of phrases 1 and 4.Ss read the
changes. 193
T adds four beats of rest to each phrase. Ss perform the
changes:
4$sdsdqq\QQQQ\
sdsdsdq\QQQQ\
sdsdsdq\QQQQ\
sdsdsdq\QQQQ|
Ss perform the rhythm on the board; T sings the responses
of Rosie, Darling Rosie during the rests (Ha, ha Rosie).
Teach a new song Rosie, DarlingRosie
CSP:D
T sings the song while Ss continue toclap.
T sings the calls and indicates for Ss to sing the
responses.
T sings the song and demonstrates the game; Ss
playgame.
Ss listen to the Smithsonian Folkways recording of this
song.
Presentation of music Fed MyHorse

literacy CSP:A
skills Singsong.
Sing the target phrase of Fed My Horse with rhythm
Notate what you hear
syllables.
T:When the beat is a quarter note, we can represent three
sounds on a quarter note beat, where the first is long and the
last two are short, using one eighth note and two sixteenth
notes. Identify the placement of stems andbeams.
T:Our first phrase of Fed My Horse looks likethis:
2$sdsxc\sdq|
T:We can read this rhythm pattern using rhythm syllables.
T sings rhythm syllables; Ss echo-sing andpoint.
T:Stick notation is an easy way to write rhythmic notation.
Stick notation is traditional notation without the note heads.
Our first phrase of Fed My Horse in stick notation looks
likethis:
2$sdsxc\sdq|
Sing Fed My Horse with rhythm syllables while pointing to
the phrase written on the board. Individual Ss sing andpoint.
T explains how to sing with numbers for counting and
conducting. Ss sing with numbers and conduct.
Ss perform the rhythm of the target phrase as a rhythmic
ostinato into the next song (2$sdsxc\sdq>).
Creative Big Fat Biscuit
Movement CSP:F
194 T and Ss sing the song and play the game.
Presentation of music How Many Miles to Babylon?
Notate what you hear Ss singsong.
Ss sing with rhythm syllables and tap thebeat.
Ss notate the first four bars of the melody:
2$sxcsd\sdq\
qsd\qQ|
Ss create a four-beat ostinato that uses the new rhythm to
play on a xylophone to accompany this and related songs.
Review lesson Rosie, DarlingRosie
outcomes CSP:D
Review the new song
Unit 3: Teachinglowla
Known Songs Songs for Songs to Review Songs to Prepare Songs to Creative Songs to
Tuneful Known Elements Next New Prepare Movement Practice Known
Singing Melodic Concepts: xcd Concept: low la Elements: Sxc
Lesson 1 Bluebird Big Fat Let Us Chase the Over the River Phoebe in Her Rosie, Darling Fed My Horse
Through My Biscuit Squirrel Petticoat Rosie
Window, Rosie,
Darling Rosie
Lesson 2 Hunt the Cows Old Let Us Chase the Hogs in the Phoebe in Her Over the River Fed My Horse
Mr. Rabbit Squirrel Cornfield Petticoat
Lesson 3 Button, You Must Rosie, Fire in the Do, Do Pity My Phoebe in Her Jim Along Josie Fed my Horse
Wander, Hogs in Darling Mountain Case Petticoat
the Cornfield Rosie
Known Songs Songs for Songs to Songs to Prepare Songs to Creative Songs to Present
Tuneful Review Known Next New Present Movement Concept: low la
Singing Elements: sxc Concepts: xcd Concept: low la
Lesson 4 Firefly, Do, Do Old Let Us Chase the Hop, Old Phoebe in Her Hogs in the Jim Along Josie
Pity My Case Mr. Rabbit Squirrel, Fire in Squirrel Petticoat Cornfield
the Mountain
Lesson 5 Are You Big Fat Button, You Sailing Oer the Phoebe in Her Rosie, Darling Jim Along Josie
Sleeping? Hop, Biscuit Must Wander Ocean Petticoat Rosie
Old Squirrel
195
196
Here is a chart of the primary musical skills that are developed in the five lessons associated with teaching the concept of low la. Remember, in the first three
lessons students practice the previous musical element, in this case three uneven sounds on a beat, tadimi.

Reading Ss read Fed My Horse Ss read Phoebe in Her
and additional songs Petticoat with hand signs
reading from traditional from steps, traditional
rhythm notation. notation with solfge, and
then from staff notation.
Writing Ss write Fed My Ss write Phoebe in Her
Horse and additional Petticoat with hand signs
songs reading from from steps, traditional
traditional rhythm notation with solfge, and
notation. then from staff notation.
Improvisation T sings a question phrase
written on the board; Ss
sing an answer phrase
written on the board
using rhythm syllables.
Movement Rosie Darling Rosie Over the River Jim Along Josie Hogs in the Rosie, Darling Rosie
Cornfield
Listening Badinerie, from Sonata
in B minor, BWV 1067,
by J.S. Bach (16851750),
first phrase
Unit 3, low la, Lesson1
Outcome Preparation:internalizing low la, a pitch that is a skip lower

than do, through kinesthetic activities
Practice:reading the rhythm of melodies containing an eighth
Beat activity
Dance of the Sugar Plum Fairies, from The Nutcracker Suite,
by Peter Ilyich Tchaikovsky (18401893)
Breathing:Ss practice blowing up a balloon and observe
how air is released when the balloon deflates.
Resonance:explore a moo sound using low and high
Sing known songs Bluebird Through My Window
CSP:A
Rosie, DarlingRosie
CSP:D
Ss sing the song, clapping on beats 2and4.
Ss continue the clapping pattern into the next song.
Develop tuneful singing Big Fat Biscuit
Tone production CSP:F 197
Diction
T sings the calls with solfge syllables, and Ss sing the
Expression responses.
Ss sing the calls with solfge syllables, and T sings the
responses.
Ss sing the entiresong.
Ss inner-hear the calls and sing the responses aloud on
different vowels.
Review known songs and Let Us Chase the Squirrel
melodic elements CSP:D
Ss sing the song withtext.
T sings the text of phrases in Let Us Chase the Squirrel;
Continue the echo activity with Rocky Mountain, Bow
Wow Wow, Here Comes a Bluebird, or other known
songs that use the solfge syllables l s m r and d.
Teach a new song Over theRiver
CSP:C
T singssong.
Ss move into a double line (boy-girl or any other division
is fine) while listening.
T sings each phrase and demonstrates the motions.
Ss echo-sing and copy the motions with their partners.
Internalize music through Ss sing Phoebe in Her Petticoat and keep thebeat.
kinesthetic activities Ss sing the song and clap the melodic contour for the
target phrase (phrase1).
Sing song and point to a representation of the melodic
contour on theboard.
T selects individuals to come to the board to point to the
contour.
Ss find partners (could be the same partner as in the
game) to mirror one another while clapping the contour.
Sing with rhythm syllables while showing melodic
contour.
Creative movement Rosie, DarlingRosie
CSP:D
Ss sing and play the game and add an accompaniment.
198 Practice music Fed MyHorse
performance and CSP:F-sharp
literacyskills Ss sing song withtext.
Reading Ss sing phrase 1 of Fed My Horse with rhythm
syllables.
Ss read the focus phrase from traditional notation:
2$sdsxc\sdq|
T modifies the rhythm several times. Ss perform the
changes after each modification. Eventually the rhythm
must become:
2$sxcsxc\sdsd\
sxcsxc\sdsd\
sdsd\sdsd\
sdsd\sdq|
Ss follow the rhythm on the board while listening to
Russian Dance, from The Nutcracker Suite, Op.71, by
Peter Ilyich Tchaikovsky (18401893)
Review lesson outcomes Over theRiver

Outcome Preparation:analyzing repertoire that contains low la, a pitch that is a skip
belowdo
Practice:writing musical phrases that contain an eighth note followed by
two sixteenth notes
Beat activity
Russian Dance, from The Nutcracker Suite, Op.71, by Peter Ilyich
Tchaikovsky (18401893)
Sing known Bought MeaCat
songs CSP:C
Ss sing thesong.
Ss perform with an ostinato.
Develop tuneful Old Mr. Rabbit
singing CSP:F
Imitate the sound of a siren with the voice. Challenge the children
Diction
to make soft and loud, high and low, long and short sirens, and
Expression sirens that just go up, just come down, or doboth.
Falling off a cliff. Pretend youre falling off a cliff and say 199
aaaahhhhhhhhhh!
Use a ball. Throw a ball from one S to another; Ss have to follow the
movement of the ball with their voices.
Review Let Us Chase the Squirrel
known songs CSP:F
and melodic T and Ss singsong.
elements Ss sing the solfge syllables of the wholesong.
T sings the text of phrases of Let Us Chase the Squirrel; Ss
echo-sing using solfge syllables and handsigns.
Continue the echo activity with Rocky Mountain, Bow Wow
Wow, Here Comes a Bluebird, or other known songs that use the
solfge syllables l s m r and d.
Teach a new Hogs in the Cornfield
song CSP:D
T sings again and Ss identify the number of phrases in the song.(two)
T sings again, pausing after each phrase for Ss to identify and label
the form of the song.(AB)
Develop Phoebe in Her Petticoat

knowledge of CSP:A
music literacy T directs half the class to continue the ostinato while the remainder
concepts sing the song. Switch.
Describe what Review kinesthetic awareness activities.
you hear T and Ss tap the beat and sing the first phrase on loo before
asking each question:
T: Lets sing the phrase on loo but sing low for the lowestnote.
T:Andy, what hand signs do we use to sing those pitches? (mrdd)
T:Lets sing our whole phrase with solfge syllables and hand signs
but sing low for our lowest pitch. (m r d d rdlow)
T:Andy, is our lowest pitch a step or a skip from do?(skip)
Ss sing as a whole group, and then T may select individuals to sing
the target phrase (m r d d r dlow).
Ss sing Phoebe in Her Petticoat while T sings Over the River as
a partner song.
Creative Over theRiver
movement CSP:C
T and Ss play game.
performance, CSP:A
200 and Ss sing thesong.
literacyskills Ss sing phrase 1 with rhythm syllables.
Writing Ss sing the rhythm syllables and point to the four blank beats T has
written on the board (include bar lines and a time signature).
Ss identify the rhythms for each beat and fill in the blanks.
T erases the board and distributes writing materials.
Ss sing the first phrase of Fed My Horse with rhythm syllables
while touching the beats on theirpapers.
T repeats the process with the first phrase of Fire in the Mountain.
Ss use one of the rhythms to create a rhythmic accompaniment on a
xylophone for these or other known songs.
Review lesson Hogs in the Cornfield
outcomes CSP:D
Review the new
song
Outcome Preparation:creating a visual representation of a musical phrase

containing low la, a pitch that is a skip belowdo
Practice:improvising musical phrases that contain an eighth
Beat activity
Russian Dance, from The Nutcracker Suite, Op.71, by Peter
Ilyich Tchaikovsky (18401893)
support muscles.
Sing known songs Button, You Must Wander
CSP:D
Ss sing thesong.
Ss sing from Ts hand signs (m r d Q ) while the remainder
sing thesong.
CSP:D
Ss sing the song; then they sing the song in canon after
four beats. 201
Develop tuneful singing Rosie, DarlingRosie
Tone production CSP:D
Ss sing thesong.
Diction
Ss sing the song and follow T conducting (staccato and
Expression legato, loud and quiet, ritardando and accelerando,etc.).
Use a ball. Throw a ball from one S to another; Ss have to
Review known songs Fire in the Mountain
and melodic elements CSP:A
Ss sing the song with solfge syllables from Ts handsigns.
T sings the text of phrases of Fire in the Mountain;
Continue the echo activity with Let Us Chase the
Squirrel, Rocky Mountain, Bow Wow Wow, Here
Comes a Bluebird, or other known songs that use the
solfge syllables l s m r and d.
Teach a new song Do, Do Pity MyCase
CSP:F-sharp
T sings the song while Ss accompany with the rhythmic
ostinato.
T sings and accompanies on an instrument (guitar, piano,
dulcimer,etc.).
Ss continue and clap the last phrase as a rhythmic ostinato
into the next song (2$sdsd\qq>).
Create a representation Ss continue the ostinato while singing thesong.
of what you hear Review kinesthetic and aural awareness activities.
T sings the target phrase on a neutral syllable.
T:Use Unifix cubes to recreate what you heard.
Ss create a visual representation of the target phrase.
Ss make corrections if necessary.
T invites one S to the board to share a representation.
Sing on loo while each S points to the representation.
Ss sing the song and put away their materials.
Creative movement Jim AlongJosie
CSP:C
Ss sing and play the game, suggesting other motions they
may perform.
202 T selects one S to play a chord bordun on the xylophone as
an accompaniment for thesong.
Practice music Fed MyHorse
literacyskills Ss sing Fed My Horse.
Improvisation Ss read the rhythm of the song from theboard:
2$sdsxc\sdq\
sdsxc\sdq\
sdsxc\sdsd\
sdsd\sdq|
T erases the rhythm of phrase2.
Ss perform phrases 1 and 3, and T improvises a new
rhythm in phrases 2and4.
T performs phrases 1, 3, and 4 and selects individual Ss to
improvise a rhythm in phrase 2.
Review lesson outcomes Do, Do Pity MyCase
Review the new song CSP:F-sharp
Outcome Presentation:label the pitch a skip below do as low la

Beat activity
Sing known songs Firefly
CSP:A
Ss sing thesong.
Do, Do Pity MyCase
CSP:F-sharp
Ss singsong.
Ss sing the song in canon after four beats.
Ss sing thesong.
Diction
Ss sing the song with lip trills.
Expression Ss sing the song onahum.
Ss sing the song onng. 203
Ss hiss the rhythm of thesong.
Review known songs and Let Us Chase the Squirrel
melodic elements CSP:F
CSP:A
Ss sing the song while T claps the rhythm.
Ss sing entire song with solfge syllables and
handsigns.
Divide the class into two groups. Sing the songs phrase
by phrase; group Asings the text, and group B echoes
the phrase with solfge syllables and hand signs.
Teach a new song Hop, Old Squirrel
CSP:A
T and Ss sing and keep beat and then playgame.
Ss play game.

rhythm or solfge syllables Review kinesthetic, aural, and visual awareness
activities.
T:When we hear a pitch a skip below do, we call it low
la. (Showsign.)
T sings phrase 1 with solfge syllables and handsigns.
Class sings the target phrase with solfge syllables and
handsigns.
Six to eight individual Ss sing the target phrase with
Ss perform the rhythm of phrase 1 as a rhythmic
ostinato into the next song
(2$sdsd\sdq>).
Creative movement Hogs in the Cornfield
CSP:D
Ss continue the ostinato while T sings the song;
Ss playgame.
Ss choose instruments and create ostinati to
accompany the song.
rhythm or solfge syllables Ss sing with rhythm syllables while keeping thebeat.
204 Ss sing the target phrase with solfge syllables and
handsigns.
Ss identify the solfge syllables of the remaining
phrases.
T connects low la to other known songs, and T and Ss
sing these songs with solfge syllables and handsigns:
Rosie, DarlingRosie
Big Fat Biscuit
Old Mr. Rabbit
Review lesson outcomes Hop, Old Squirrel

Outcome Presentation:Present low la, in standard and staff notation

Beat activity
The Thunderer, by John Philip Sousa (1854-1932)
Sing known songs Are You Sleeping?
CSP:F
Ss sing the song and conduct.
Ss sing in canon.
Develop tuneful Big Fat Biscuit
singing CSP:F
Tone production Ss singsong.
Ss sing the song, following the expressive gestures in Ts
Diction
conducting (crescendo and decrescendo, accelerando and
Expression ritardando, staccato and legato,etc.).
Use a ball. Throw a ball from one S to another; Ss have to
Review known Button, You Must Wander 205
songs and melodic CSP:F
elements Ss sing the song and conduct.
T shows hand signs and Ss sing with solfge syllables and
handsigns.
T sings the text of phrases in Button, You Must Wander; Ss
echo-sing using solfge syllables and hand signs. Continue the
echo activity with Rosie, Darling Rosie, Jim Along Josie,
Old Mr. Rabbit, or other known songs that use the solfge
syllables l s m r d and low la.
Teach a new song Sailing oer theOcean
CSP:F
T sings while moving Ss into position for thegame.
T sings the song and explains how toplay.
T sings the song and Ssplay.
As they hear the song more, T will put Ss in charge of
selected phrases of thesong.
Ss sing the first verse of the song while T quietly sings Phoebe
in Her Petticoat as a partner song.
Presentation of Phoebe in Her Petticoat

music literacy CSP:A
concepts T directs part of the class to continue singing Sailing
Notate what you hear oer the Ocean while the remainder sing Phoebe in Her
Petticoat.
T gives aural presentation.
T places low la on the tone ladder.
Ss sing all known solfge syllables and their intervals.
Ss write the solfge syllables for phrase 1 of the song beneath
the standard notation.
Ss read the notation with solfge syllables and handsigns.
T explains the rule of placement for low la using
fingerstaff.
T writes the first phrase of the song in staff notation and
explains rule of placement for low la (do = C,F,G).
Ss read the notation with solfge syllables and handsigns.
Ss read the notation with absolute pitch names and hand
signs.
Creative movement Rosie, DarlingRosie
CSP:D
Ss sing the solfge syllables of the response (Ha, ha Rosie) as
a melodic ostinato into the next song.
Presentation of Jim AlongJosie
music literacy CSP:C
206 concepts Ss sing with words and conduct.
Notate what you hear Ss sing with solfge syllables and handsigns.
Ss place the solfge tone set on the tone ladder.
Ss read the standard rhythmic notation with solfge beneath
from theboard.
T reviews the rule of placement.
T presents the target phrase on thestaff.
Ss write the tone set of Jim Along Josie (s m r d l,) on the
staff in F=do.
Review lesson Sailing oer theOcean
outcomes CSP:F
Review the new song Ss sing with words and conduct.
Ss sing with words and conduct and T sings the second part
from Denise Bacons 46 American Folk Songs, p.17.
Unit 4: Teaching Two Sixteenth Notes Followed byan EighthNote
Known Songs Songs for Songs to Songs to Songs to Creative Songs to
Tuneful Singing Review Known Prepare Next Prepare Movement Practice Known
Elements New Concepts: Concept: xcd Elements: low la
low sol
Lesson 1 Fed My Horse, Do, Do Pity My Jim Along Dance Josey Hogs in the Turn the Phoebe in Her
Sailing oer the Case Josie Cornfield Glasses Over Petticoat
Ocean
Lesson 2 O Fly Around, Over the River Fed My Horse Old Brass Hogs in the Turn the Phoebe in Her
Dance Josey Wagon Cornfield Glasses Over Petticoat
Lesson 3 Chickalalelo, Do, Do Pity My Fire in the King Kong Hogs in the Dance Josey Phoebe in Her
Old Brass Case Mountain Kitchie Cornfield Petticoat
Wagon
Known Songs Songs for Songs to Songs to Songs to Present Creative Songs to Present
Tuneful Singing Review Known Prepare Next Concept: xcd Movement Concept: xcd
Elements: low la New Concepts:
low sol
Lesson 4 Fire in the Over the River Chickalalelo King Kong Hogs in the Dance Josey Ida Red
Mountain, Old Kitchie Cornfield
Brass Wagon
Lesson 5 Ida Red, King Jim Along Chickalalelo Old Texas Hogs in the Turn the Ida Red
Kong Kitchie Josie Cornfield Glasses Over
207
208
Here is a chart of the primary musical skills that are developed in the five lessons associated with teaching the concept of three uneven sounds on a beat,
taka di. Remember, in the first three lessons, students practice the previous musical element, in this case lowla.

Reading Ss read Phoebe in Her Ss read the rhythm
Petticoat and additional songs of Hogs in the
using hand signs from steps, Cornfield (phrase 2)
tradition notation with solfge, from traditional
and then staff notation. rhythm notation.
Writing Ss write Snail, Snail and Ss write the rhythm
other duple meter songs of Hogs in the
writing in traditional Cornfield (phrase 2)
rhythm notation with from traditional
solfge and then staff rhythm notation.
notation, and indicate
duple meter.
Improvisation T sings a question
phrase written on the
board; Ss sing an answer
board using hand signs
and solfge syllables.
Movement Turn the Glasses Over Turn the Glasses Over Dance Josey Dance Turn the Glasses
Josey Over
Listening Mikrokosmos, Vol. 3, No. 78, by
Bla Bartk (18811945)
Unit 4, Two Sixteenth Notes Followed byan Eighth Note, Lesson1

(short short long) through kinesthetic activities
Practice:reading music with low la

Beat activity
support muscles.
Sing known songs Fed MyHorse

CSP:A
Ss sing Fed My Horse while T sings Sailing oer the
Ocean as a partner song. Switch.
CSP:F
Ss sing song.

Tone production CSP:A 209
Ss sing the song; repeat singing with the syllablekoo.
Diction
Ss pretend theyre falling off a cliff and say
Expression aaaahhhhhhhhhh!
T teaches Ss the second part of song; repeat singing with
the syllablekoo.
Review known songs Jim AlongJosie

and rhythmic elements CSP:C
Ss read the following from the Ts handsigns:
sxcsd\QQ|
sssmd
Ss sing the motif and T sings the rest of the phrase on
loo.
Ss identify thesong.
Ss sing with text and conduct.
T sings each phrase of Paw Paw Patch, Tideo, and
Dinah, phrase 1 of Ida Red, and phrases 1 and 2 of
Chickalalelo; Ss echo-sing each phrase with rhythm
Teach a new song DanceJosey

CSP:F
T briefly explains the rules of the game, and Ss play the
game.
Develop knowledge of Hogs in the Cornfield

Internalize music Ss singsong.
through kinesthetic Ss sing phrase 2 and pat thebeat.
activities Ss sing phrase 2 and clap the rhythm.
Ss sing phrase 2 and point to a representation of the
rhythm:
__ __ _ _ __ __ _ _____
T instructs half of the class to sing phrase 2 and perform

the beat while the other half performs the rhythm. Switch.
Ss sing phrase 2 while stepping the beat and clapping the
rhythm.
All Ss keep beat and clap the rhythm, while singing both
phrases of the song.

CSP:F
Ss singsong.
Ss play game.

210 performance and CSP:A
Reading Sing using solfge syllables and hand signs; Ss place notes
on tone ladder.
Ss identifyscale.
Ss read from traditional notation and solfge syllables using
handsigns.
Ss read from staff notation using solfge syllables and hand
signs in the keys of C, F,orG.
Ss read examples from Kodly 333. Select from 140, 142,
145, 152, 161, 164, 165, 280, 282,287.
Ss read and memorize the main theme of An Evening
in the Village, from Hungarian Sketches, by Bla Bartk
(18811945) from Ts hand signs and listen to the
melody.
Review lesson outcomes DanceJosey

Review the new song CSP:F
Outcome Preparation:aurally analyze repertoire that contains three uneven

sounds on onebeat
Beat activity
Concerto for Four Harpsichords, BVW 1065, by J.S. Bach, 16851750
Sing known O Fly Around
songs CSP:D
Ss sing the song with a simple ostinato:
2$qq\xxxcq>
DanceJosey
CSP:F
Ss sing the song; then they sing in canon after twobeats.
Ss sing Dance Josey while T sings Over the River as a partner song.
singing CSP:C
Tone production T directs part of the class to sing Dance Josey while the
remainder sing Over the River. Switch. 211
Diction
Ss sing the song in unison.
Expression Ss sing vowels focusing on v:sing voo-voh, vah-veh-vee.
Ss sing Over the River on the syllablevee.
Review known Fed MyHorse
songs and CSP:FSharp
elements Ss sing the song and keep thebeat.
T sings phrases 1, 2, and 3; Ss echo with rhythm syllables.
T sings each phrase of Paw Paw Patch, Tideo, and Dinah, phrase
1 of Ida Red, and phrases 1 and 2 of Chickalalelo; Ss echo-sing
each phrase with rhythm syllables while tapping the beat.
Teach a new Old BrassWagon
song CSP:C
Ss phrase the song in the air while Tsings.
T sings and Ss write the form of the song next to each phrase.
Ss sing phrase D, and T sings A, B, and C; switch.
Ss sing the whole song.
Develop Hogs in the Cornfield

knowledge of CSP:D
music literacy Ss sing thesong.
Describe what T and Ss sing phrase 2 on loo and tap the beat before asking each of
you hear these questions:
Ss identify the number of sounds on eachbeat:
T:Andy, which beats have two sounds? (1and4)
T:Andy, describe the sounds on beat 3 with long and short.
(long shortshort)
T:Andy, we already know that rhythm. What rhythm syllables
should we sing on beat 3? (tadimi)
Ss identify the number of sounds on beat2:
T:Andy, describe those sounds with short and long. (short
shortlong)
Ss sing the phrase rhythm syllables and short short long on beat 2
(ta di short short long ta dimi ta di).
Creative Turn the GlassesOver
movement CSP:F
Ss sing thesong.
Ss sing the last four beats of the Asection (Turn the glasses over)
as a melodic ostinato into the next song (mm rr d d).
212
performance CSP:A
and Ss sing thesong.
literacyskills Ss sing the song with solfge syllables.
Writing Ss write the solfge syllables under the rhythmic notation on
theboard.
Ss sing in canon after twobeats.
Ss create two contrasting ostinati on the xylophone to accompany
Phoebe in Her Petticoat, Jim Along Josie, or Old Mr. Rabbit.
Review lesson Old Brass Wagon
outcomes CSP: C
Review the new
song
Outcome Preparation:creating a visual representation of a musical phrase that

contains three uneven sounds on a beat (short shortlong)
Practice:improvising melodic patterns that contain low la
Beat activity
Concerto for Four Harpsichords, BVW 1065, by J.S. Bach (16851750)
muscles.
Sing known songs Chickalalelo
CSP:D
Old BrassWagon
CSP:F
Ss sing the song.
Develop tuneful Do, Do Pity MyCase
singing CSP:A
Ss sing song on the syllablevoo.
Diction
Ss lightly sing the song on a neutral syllable they choose while 213
Expression tapping thebeat.
Review known Fire in the Mountain
songs and rhythmic CSP:Fsharp
elements Ss sing song and conduct.
Sing with rhythm names while clapping therhythm.
T sings each phrase of Paw Paw Patch, Tideo, and Dinah,
phrase 1 of Ida Red, and phrases 1 and 2 of Chickalalelo;
Ss echo-sing each phrase with rhythm syllables while tapping
the beat.
Teach a new song King Kong Kitchie
CSP:F
T performssong.
On each listening of the song, Ss perform an increasingly
complicated ostinato, for example:
2$sdsd\Aaq>
Develop knowledge Hogs in the Cornfield
of music literacy CSP:D
Create a visual Review kinesthetic and aural activities.
representation of Using Unifix cubes, Ss create a representation of the target phrase.
what you hear T:Create what you heard.
T invites one S to the board to share a representation with the
class. Correct the representation as needed by reviewing the aural
awareness questions.
Ss sing phrase 2 of the song on loo and point to the
representation.
Ss sing the song with all known elements while moving into
position for the game.
Creative movement DanceJosey
CSP:F
Ss sing the song and playgame.
Ss choose instruments and create an ostinato to accompany
214 thesong.
Ss sing Dance Josey while T sings Phoebe in Her Petticoat as a
partner song.
literacyskills Ss sing Phoebe in Her Petticoat.
Improvisation Ss sing with solfge syllables and handsigns.
Ss identify the form.(ABAD)
Ss write the tone set on theboard.
Ss sing Aand B phrases and T sings different D phrases. T notates
these phrases. T sings Aphrase and Ss improvise a D phrase.
They can choose from the notated phrases on the board or they
can improvise a new D phrase.
Review lesson King Kong Kitchie
outcomes CSP:F
Review the new song
Outcome Presentation:label three uneven sounds on one beat (short short long)
with the rhythm syllables taka di
Beat activity
Concerto for Four Harpsichords, BVW 1065, by J.S. Bach (16851750)
support muscles.
Sing known songs Fire in the Mountain
CSP:A
Old BrassWagon
CSP:F
Singsong.
Ss sing in canon after twobeats.
Ss sing the rhythm of the final phrase as an ostinato into the
next song.
singing CSP:C 215
Tone production Ss sing the song; then they sing the song in canon after
twobeats.
Diction
Ss say the unvoiced consonants p, t, k using rhythm patterns of
Expression thesong.
Ss sing the song with different dynamics (piano, forte,
mezzo-forte).
Ss sing the song withtext.
songs and CSP:D
rhythmic elements Ss sing the song while keep thebeat.
Ss sing with rhythm syllables while conducting.
T sings each phrase of Paw Paw Patch, Tideo, Dinah, phrase 1
of Ida Red, and phrases 1 and 2 of Chickalalelo; Ss echo-sing each
phrase singing with rhythm syllables while tapping the beat.
Teach a new song King Kong Kitchie
CSP:F
T sings verse 1 while Ss show the phrases.
T sings all the verses with Ss singing all the responses.
Ss may join in the chorus after two or three verses.
Ss continue the ostinato (2$qq\Aaq>) into the next song.
Describe what you Review kinesthetic, aural, and visual awareness activities.
hear with rhythm T:When we hear three sounds on a beat where the first two
syllables sounds are short and the third sound is long, we call it takadi.
Teacher sings phrase 2 of Hogs in the Cornfield with rhythm
syllables. Ss echo while clapping the rhythm.
T sings phrase 2 of Hogs in the Cornfield on loo. Ss echo on
rhythm syllables while clapping the rhythm.
T sings phrase 2 of Hogs in the Cornfield on loo or with text,
and six to eight Ss echo with rhythm syllables.
Creative DanceJosey
movement CSP:F
Ss choose instruments and create ostinati to accompany
thesong.
Ss perform the rhythm of phrase 4 (2$sdsd\sdq>) as a
216 rhythmic ostinato into the next song.
Describe what you Ss sing the song with rhythm syllables and conduct.
hear with rhythm T connects the new rhythm syllables (taka di) to related song
syllables material by singing each phrase of these songs and asking Ss to
echo-sing with rhythm syllables.
Jim AlongJosie
Over theRiver
Do, Do Pity MyCase
Hop, Old Squirrel
Ss create a four-beat rhythm pattern that uses taka di to perform
as an ostinato to accompany any or all of these songs.
Lesson Outcomes King Kong Kitchie
Review the new CSP:F
song
Outcome Presentation:notating three uneven sounds on one beat (takadi) with

two sixteenth notes followed by an eighth note
Beat activity
Surprise Symphony, by Franz Joseph Haydn (17321809)
muscles.
Sing known IdaRed
songs CSP:D
King Kong Kitchie
CSP:F
Ss sing song; add an ostinato:2$qq\Aaq>
Develop tuneful Jim AlongJosie
singing CSP:C
Tone production Ss sing the song and step-perform thebeat.
Ss sing the song on vee syllable.
Diction 217
Expression
songs and CSP:D
T sings phrases on loo and Ss echo-sing with rhythm
syllables.
Teach new song OldTexas
CSP:C
T sings while Ss trace the phrases, pausing after each to label the
form.(ABCD)
T sings the song again while Ss echo in canon.

Notate what you Review aural presentation.
hear T:When the beat is a quarter note, we can use two sixteenth
notes followed by an eighth note to represent three sounds on a
beat, two short and one long. When we read our target phrase in
standard notation it will look likethis:
2$sdxcd\sxcsd|
T:When we write the pattern well use stick notation.
Creative Turn the GlassesOver

movement CSP:F
Ss create accompaniment through movement, rhythm elements,
or melodic elements and play the game.
concepts Ss sing song with words and conduct.
Notate what you Ss sing with rhythm syllables and keepthe beat.
hear T writes the notation forsong.
Ss read with rhythmnames.
Ss read with numbers for counting and keep thebeat.
T connects the new rhythm syllables (taka di) to related
song material. T sings each phrase and Ss echo with rhythm
syllables.
218
Jim AlongJosie
Over theRiver
Do, Do Pity MyCase
Hop, Old Squirrel
Ss create a four-beat rhythm pattern that uses taka di as an
accompaniment to any or all of these songs.
Review lesson OldTexas

outcomes CSP:C
Review the new
song
Unit 5: Teachinglowso
Known Songs Songs for Songs to Review Songs to Prepare Songs to Creative Songs to Practice Known
Tuneful Known Melodic Next New Concepts: Prepare Movement Elements: xcd
Singing Elements Internal Upbeat Concept:
low sol
Lesson 1 Jim Along Sailing oer Skin and Old Mr. Rabbit Dance Josey Turn the Hogs in the Cornfield
Josie, Old the Ocean Bones Glasses Over
Texas (new song)
Lesson 2 Old Mr. Old Brass Jim Along Johnson Boys Dance Josey Big Fat Hogs in the Cornfield
Rabbit Wagon Josie, Lullaby, Biscuit
Little Papoose
Lesson 3 Rosie, Darling King Kong Jim Along Mush Toodin Dance Josey Ida Red Hogs in the Cornfield
Rosie, Johnson Kitchie Josie
Boys
Known Songs Songs for Songs to Songs to Prepare Songs to Creative Songs to Present Concept:
Tuneful Review Known Next New Concepts: Present Movement low sol
Singing Melodic Internal Upbeat Concept: low
Elements sol
Lesson 4 Phoebe in Old Texas See-Line Mush Toodin Dance Josey Hogs in the Turn the Glasses Over,
Her Petticoat, Woman Cornfield Dance Josey, King Kong
Johnson Boys Kitchie, Old Brass Wagon,
Over the River, Old Texas
219
220
Lesson 5 Jim Along Old Brass Phoebe in Her I Lost the Farmers Dance Josey Turn the Charlie over the Ocean,
Josie, Mush Wagon Petticoat Dairy Key Glasses Over Dance Josey, Turn the Glasses
Toodin Over, King Kong Kitchie, Old
Brass Wagon, Over the River,
Old Texas, Old MacDonald
Here is a chart of the primary musical skills that are developed in the five lessons associated with teaching the concept of low so. Remember, in the first
three lessons, students practice the previous musical element, in this case three uneven sounds on a beat, takadi.

Reading Ss read the rhythm of Ss read Dance Josey
Hogs in the Cornfield (concentrating on phrase 2)with
(phrase 2)and additional hand signs from steps, traditional
songs from tradition notation with solfge, and then
rhythm notation. from staff notation.
Writing Ss write the rhythm of Ss write Dance Josey (phrase 2)
Hogs in the Cornfield putting syllables on the solfge
(phrase 2)from traditional steps, traditional notation with
rhythm notation. solfge, then from staff notation.
Impro T sings a question phrase
visation written on the board, and
Ss sing an answer phrase
Movement Turn the Glasses Over Dance Josey Ida Red Hogs in the Turn the Glasses Over
Cornfield
Listening Badinerie, BWV 1067, by
J.S. Bach (16851750)
Unit 5, low so, Lesson1
Outcome Preparation:internalizing a pitch, low so, that is a step lower than

low la through kinesthetic activities
Practice:reading the rhythms of melodies containing two
sixteenth and one eighth note
Beat activity
Mambo, from West Side Story, by Leonard Bernstein (19181990).
support muscles.
Sing known songs Jim AlongJosie
CSP:C
Ss sing the song and suggest various motions they can
perform to the beat; Ss continue their beat motions into the
nextsong.
OldTexas
CSP:C
Ss and T sing the song.
Develop tuneful Sailing oer theOcean
singing CSP:F 221
Ss place dynamic markings (forte and piano) next to each
Diction
phrase and sing accordingly.
Expression Ss change the dynamic markings by adding mezzo-forte and
mezzo-piano and sing accordingly.
T teaches Ss Denise Bacons arrangement of Sailing oer the
Ocean from 46 Two-Part American Folk Songs,p.17.
Review known songs Skin andBones
and elements CSP:D
Ss identify the song and sing withwords.
T sing phrases and Ss echo-sing with solfge syllables and
handsigns.
T sings phrases with text of Rosie, Darling Rosie, Jim
Along Josie, Phoebe in Her Petticoat, Old Mr. Rabbit, or
other known songs that use the solfge syllables l s m r d and
low la; Ss echo-sing using solfge syllables and hand signs.
Teach a new song Old Mr. Rabbit
CSP:C
T singssong.
T sings while Ss show the phrases.
Ss identify the form.(AABC)
Ss create a beat motion to perform while Tsings.
T chooses Ss beat motions to correlate with the form of thesong.
T sings while Ss demonstrate the form with their body motions.
Ss sing and perform the Aphrases; T sings BandC.
Ss sing Old Mr. Rabbit while T sings Dance Josey as a partner.
Develop knowledge DanceJosey
concepts Ss sing the song while stepping the beat and inner-hear
Internalize music phrases 1and3.
through kinesthetic Ss sing and inner-hear phrases 1, 3,and4.
activity Ss sing and clap the melodic contour of phrase 2 and clap the
melodic contour of phrase 2 with a partner.
Ss sing phrase 2 while pointing to a representation of the
melodic contour.
S sing Dance Josey while T sings Turn the Glasses Over
as a partner song.
CSP:F
222 Ss choose instruments and create a rhythmic
accompaniment for thesong.
Practice music Hogs in the Cornfield
Reading Ss read the rhythm syllables from theboard.
2$sxcsd\sxcsd\
sdxcd\sxcsd|
T modifies phrase 1.Ss read the changes.
2$xcdxcd\xxxcxcd\
sdxcd\sxcsd|
T modifies phrase 2.Ss read the changes.
2$xcdxcd\xxxcxcd\
xxxcxxxc\xxxcxcd|
T copies phrase 1 twice, and phrase 2 once. Ss read the changes.
2$xcdxcd\xxxcxcd\
xcdxcd\xxxcxcd\
xcdxcd\xxxcxcd\
xxxcxxxc\xxxcxcd\
xxxcxxxc\xxxcxcd|
Ss listen for the rhythmic theme in Circa Mea Pectora,
from Carmina Burana, by Carl Orff (18951982).
outcomes CSP:C
Review the new song
Outcome Preparation:analyzing repertoire that contains a pitch, low so,

that is a step lower thanlowla
Practice:writing musical phrases that contain two sixteenth
notes followed by an eighth note
Beat activity
Mambo, from West Side Story, by Leonard Bernstein (19181990)
support muscles.
Sing known songs Old Mr. Rabbit
CSP:C 223
Ss sing the song; T adds an ostinato.
Develop tuneful Old BrassWagon
singing CSP:F
Diction
Expression
Review known songs Jim Along Josie
and melodic elements CSP:B
Ss sing thesong.
Ss sing song with solfge syllables and handsigns.
T sings each phrase on loo; Ss echo with solfge syllables.
T sings phrases of Rosie, Darling Rosie, Phoebe in Her
Petticoat, Old Mr. Rabbit, or other known songs that use
the solfge syllables la so mi re do and low la; Ss echo-sing
using solfge syllables and hand signs.
Teach a new song JohnsonBoys
CSP:A
T performs thesong.
Ss join T in singing the first verse.
Develop knowledge of DanceJosey

Describe what you hear Review kinesthetic activities.
Ss sing phrase 1 and identify the solfge syllables. (dddd
ddmrms)
T and Ss sing phrase 2 on loo and keep the beat before
asking each of the following questions:
T:Andy, which beat has the lowest pitch? (beat4)
T:Andy, how many different pitches did we sing on beat
4?(two)
T:Andy, which pitch on beat 4 is lower? (the second)
T:Since this phrase starts like phrase 1, sing it with solfge
syllables and hand signs, but sing low for the lowest pitch.
(do do do do do do re do la,low)
Ss determine if the lowest pitch is a step or a skip below low
la. (step)
Creative movement Big Fat Biscuit
CSP:F
Ss choose instruments and create an accompaniment for
the song.
224 Writing Ss sing the song with rhythm syllables.
Ss sing the target phrase and pat thebeat.
Ss identify the number of beats in the phrase.(four)
Ss draw the beats on theboard.
Ss sing with rhythm syllables while pointing at thebeats.
Ss complete the writing worksheet.
Ss create a four-beat ostinato that uses taka di and perform it on
xylophones as an accompaniment to any of their known songs.
Review lesson JohnsonBoys
outcomes CSP:A
Review the new song

that contains a pitch that is a step lower thanlowla
Practice:improvising melodies that contain two sixteenth notes
followed by an eighth note
Beat activity
String Quartet No. 4 in C minor, Allegro, by Ludwig van
Beethoven (17701827)
support muscles.
Sing known songs Rosie, DarlingRosie
CSP:D
JohnsonBoys
CSP:A
Ss sing song with an ostinato:2$qq\sxcq>
Develop tuneful King Kong Kitchie
singing CSP:F
Tone production Ss sing the song; Ss sing the song with they syllablekoo.
Diction
aaaahhhhhhhhhh!
Expression T tosses a ball from one S to another and Ss follow the
movement with theirvoices.
Review known songs Jim AlongJosie 225
and melodic elements CSP:A
Ss sing thesong.
Ss sing the song with solfge syllables.
Several Ss write the first phrase of the song on the board
with rhythmic notation and solfge syllables beneath.
T sings phrases of Rosie, Darling Rosie, Phoebe in Her
the solfge syllables l s m r d and low la; Ss echo-sing using
solfge syllables and hand signs.
Teach new song Mush Toodin
CSP:F
T sings the song while Ss quietly sing the melodic motif
from the previous song; Ss sing the song.
Develop knowledge of DanceJosey

Create a visual Ss sing thesong.
representation of what Review kinesthetic and aural awareness activities.
you hear T recites target phrase and asks Ss to create a visual
representation of the melody of the target phrase with
manipulatives. (T:Pick up what you need to recreate what
you heard.)
T assesses Ss level of understanding.
Ss may share their representations with eachother.
T invites one S to board to share a representation withclass.
Ss sing phrase 2 of Dance Josey on loo and point to the
representation.
Determine solfge syllables for phrases 1, 3, and 4; sing
phrases with solfge syllables and hand signs.
CSP:F
Ss sing the song and create a movement activity for Ida
Red.
literacyskills Ss sing the song; Ss sing the song with rhythm syllables.
Improvisation Ss read the song from standard rhythmic notation.
T performs the rhythm of phrase 1; Ss perform the rhythm
of phrase2.
226 T uses phrase 1 as a question and phrase 2 as an answer.
Q: 2$sxcsd\sxcsd\
A: sdxcd\sxcsd|
T reveals, and Ss perform, additional answer phrases:
Q:2$sxcsd\sxcsd\
A1: sdxcd\sxcsd|
A2: qq\xcdq|
A3: xcdxcd\sdq|
T performs the question phrase; individual Ss may choose
one of the written options or create their own four-beat
rhythms containing two sixteenth notes followed by one
eighth.
Ss create a four-beat ostinato using the rhythms sxc and xsd
to play on a xylophone to accompany any of their songs.
Review lesson Mush Toodin
outcomes CSP:F
Review the new song
Outcome Presentation:labeling the sound of a pitch that is a step lower

than low la with the solfge syllable low so
Beat activity
String Quartet No. 4 in C minor, Allegro, by Ludwig van
Beethoven (17701827)
support muscles.
Sing known songs Phoebe in Her Petticoat
CSP:A
Ss sing the song and keep the beat; Ss sing the song in canon
after twobeats.
JohnsonBoys
CSP:A
Ss sing thesong.
Ss perform the song with an ostinato. Ss read the rhythm
from the board:2$qsxc\qq>
Develop tuneful OldTexas 227
singing CSP:C
Tone production T and Ss sing the song incanon.
T reveals the words on the board (if necessary) and directs
Diction
Ss to sing in canon with one another.
Expression Ss sing the song in canon on a staccatodoo.
Ss sing the song in canon. T monitors for proper vocal
resonance.
Review known songs See-Line Woman
and melodic elements CSP:D
Ss perform song withwords.
Ss perform with solfge syllables and handsigns.
T sings phrases of the song and Ss echo-sing with solfge
T sings phrases of Rosie, Darling Rosie, Jim Along Josie,
Phoebe in Her Petticoat, Old Mr. Rabbit, or other known
songs that use the solfge syllables l s m r d and low la;
Ss echo-sing using solfge syllables and hand signs.
Teach a new song Mush Toodin
CSP:F
T sings while Ss continue the ostinato.
Ss perform shoveling motions to the beat while T sings the
song. Repeat.
Ss create a pat, clap, and snap ostinato to perform as they
sing.
Presentation of music DanceJosey
literacyskills CSP:F
with solfge syllables Review kinesthetic, aural, and visual awareness activities.
T:When we have a pitch that is a step lower than low la, we
call it low so. Ss identify whether it is a step or a skip below
lowla.
T shows the hand signs; and sings the target phrase with
solfge syllables. Ssecho.
T echo sings with six to eight individuals, using solfge
Ss sing all four phrases with solfge syllables and hand signs.
Creative movement Hogs in the Cornfield
CSP:D
Ss choose instruments and create ostinati to accompany the
song.
228 Presentation of music Turn the GlassesOver
literacy concepts CSP:F
with solfge syllables Ss identify where s is in thesong.
Sing the song with solfge syllables and handsigns.
T connects low so to other known song material. T sings
with text and Ss echo with hand signs, or from Ts hand
signs and identify the song. T may choose from the
followingsongs:
King Kong Kitchie (phrase1)
Old Brass Wagon (phrases 1and2)
Over the River (phrases 1, 2,or3)
Old Texas (phrases 1and3)
Ss create a four-beat ostinato using the pitches d s, s, d and
play them on a xylophone to accompany any or all of the
songs.
Review lesson Mush Toodin
outcomes CSP:F
Review the new song
Outcome Presentation:present low sol on the tone ladder, with standard

rhythmic notation and solfge syllables, and on the staff
Beat activity
Mars, from The Planets, by Gustav Holst (18741934)
support muscles.
Sing known songs Jim AlongJosie
CSP:C
Ss sing the song and suggest beat motions they may
perform.
Mush Toodin
CSP:F
Ss sing thesong.
Develop tuneful Old BrassWagon
singing CSP:F
Diction
Ss mimic the sound of a siren with theirvoices. 229
Expression aaaahhhhhhhhhh!
T tosses a ball from one S to another; Ss follow the
movement of the ball with their voices.
Review known songs Phoebe in Her Petticoat
Ss sing with words and conduct.
T sings phrases of Rosie, Darling Rosie, Jim Along Josie,
Old Mr. Rabbit, or other known songs that use the solfge
syllables l s m r d and low la; Ss echo-sing using solfge
T shows the hand signs for Old Texas and Ss identify the
song.
Teach a new song I Lost the Farmers DairyKey
CSP:D
T sings the song and shows how to play the game.
Presentation of music DanceJosey

Notate what you hear Ss sing thesong.
Ss sing phrase 2 with solfge syllables and handsigns.
Ss place all known solfge syllables on the tone ladder.
Ss sing phrase 2 of the song while one S points out the
solfge on the tone ladder.
T presents the standard rhythmic notation of phrase 2 and
Ss fill in the solfge syllables.
2$xxxcsd\sdsd|
dddddd rd l,s,
T recites the rule of placement.
T writes phrase 2 in staff notation (in G and F=do) and
presents the rule of placement for low so and Ss read with
Ss read with absolute letter names and hand signs.
CSP:F
Ss play a simple bordun as accompaniment for thesong.
Ss continue the bordun into the next song.
Presentation of music Charlie over theOcean
Notate what you hear Ss sing with words and keepthe beat.
Ss sing with rhythm syllables and clap thewords.
230 Ss sing with solfge syllables and hand signs while reading
from the teachers handsigns.
Ss read from tone ladder andstaff.
Ss read from traditional rhythm notation with solfge
syllables.
Ss read from staff notation.
Ss create a four-beat ostinato to play on a xylophone to
accompany any of their songs.
Review lesson I Lost the Farmers DairyKey
outcomes CSP:D
Review the new song
Unit 6: Teaching InternalUpbeat
Known Songs Songs for Songs to Review Songs to Prepare Songs to Creative Songs to Practice
Tuneful Known Rhythmic Next New Prepare Movement Known Elements:
Singing Elements Concepts: high do Concept: low sol
Internal Upbeat
Lesson 1 Hogs in the Do, Do Pity Ida Red Tideo Old Mr. Rabbit I Lost the Dance Josey
Cornfield My Case Farmers Dairy
Key
Lesson 2 Over theRiver Do, Do Pity Ida Red John Kanaka Old Mr. Rabbit Tideo Dance Josey
Tideo My Case
Lesson 3 Over the River Johnson Boys Hogs in the Riding in the Old Mr. Rabbit John Kanaka Dance Josey
Cornfield Buggy
Known Songs Songs for Songs to Review Songs to Prepare Songs to Creative Songs to Present
Tuneful Known Elements Next New Present Movement Concept: Internal
Singing Concepts: high do Concept: Upbeat
Internal Upbeat
Lesson 4 Sailing oer the John Kanaka Hogs in the Cedar Swamp Old Mr. Rabbit I Lost the Do, Do Pity My
Ocean, Riding Cornfield Farmers Dairy Case
in the Buggy Key
Lesson 5 Over the River, King Kong Jim Along Josie Cedar Swamp Do, Do Pity My Hogs in the Johnson Boys,
Riding in the Kitchie Case Cornfield King Kong
Buggy Kitchie, Mush
Toodin
231
232
Here is a chart of the primary musical skills that are developed in the five lessons associated with teaching the concept of internal upbeat. Remember, in the
first three lessons, students practice the previous musical element, in this case lowso.

Reading Ss read Dance Josey and Ss read the rhythm
additional songs with hand of Do, Do Pity
signs from steps, traditional My Case from
notation with solfge, and traditional rhythm
then from staff notation. notation.
Writing Ss write Dance Josey Ss write the rhythm
and additional songs with of Do, Do Pity
hand signs from steps, My Case from
traditional notation with traditional rhythm
solfge, and then from notation.
staff notation.
board using hand signs
and solfge syllables.
Movement I Lost the Farmers Dairy Tideo John Kanaka I Lost the Hogs in the
Key Farmers Dairy Cornfield
Key
Listening Promenade, from Pictures
at an Exhibition, by Modest
Mussorgsky (18391881)
Unit 6, Internal Upbeat, Lesson1
Outcome Preparation:internalizing an internal upbeat through kinesthetic

activities
Practice:reading pentatonic melodies that contain low so
Warm-up Fossils, from Carnival of the Animals, by Camille Saint-Sans
(18351921)
Body
Breathing
Sing known songs Hogs in the Cornfield
CSP:D
Ss sing the song and conduct.
Ss sing with an ostinato.
CSP:D
Ss sing the song and continue the ostinato.
Ss sing I Lost the Farmers Dairy Key while T sings Do, Do
Pity My Case as a partner song.
Develop tuneful Do, Do Pity MyCase
singing CSP:F-sharp
Tone production T and Ss singsong.
Diction
Sing with a koosound.
Expression Ss sing Denise Bacons arrangement of Do, Do Pity My Case 233
Review known IdaRed
Ss sing with rhythm syllables and keep thebeat.
T sings each phrase of Paw Paw Patch, Tideo, Dinah, and
Chickalalelo; Ss echo-sing each phrase with rhythm syllables
while tapping the beat.
Teach a new song Tideo
CSP:F-sharp
T sings the song and reviews thegame.
Ss learn the second part of this song from Denise Bacons 46
Two-Part American Folk Songs.

Internalize music Ss sing the song and pat thebeat.
through kinesthetic Ss sing the song and draw phrases in theair.
activities Ss sing the song and clap the downbeat of each phrase and pat
the remainingbeats.
Ss sing song and point to a representation of thebeats.
Ss perform the last four beats of the song as a rhythmic
ostinato into the next song (2$sdsd\sdQ ).
CSP:D
Ss sing thesong.
Ss may create additional ostinati and choose instruments to
accompany thesong.
Practice music DanceJosey
performance and CSP:F
Reading Ss sing the song with solfge syllables and handsigns.
Ss read the song from standard rhythmic notation with solfge
syllables.
Ss read the song from staff notation with solfge syllables and
handsigns.
Ss read from Kodlys 333:examples176, 190, 206, 303, 304,
234 319, and321.
Ss read Denise Bacons arrangement of Rocky Mountain
T writes the extended pentatonic tone set on the board and
points to phrases of the listening example they can sing in
solfge, while T hums the other phrases that include solfge
syllables that Ss cannot sing. Ss read the melodyfrom:
Promenade, from Pictures at an Exhibition, by Modest
Mussorgsky (18391881)
Mikrokosmos, Vol. 3, No. 78, by Bla Bartk (18811945)
Review lesson Tideo
outcomes CSP:Fsharp
Review the new song Ss perform the arrangement from Denise Bacons 46 Two-Part
American Folk Songs, p.7.
Outcome Preparation:analyzing repertoire that contains an

internalupbeat
Practice:writing pentatonic melodies that contain low so
Beat activity
Fossils, from Carnival of the Animals, by Camille Saint-Sans
(18351921)
CSP:F-sharp
Ss sing thesong.
Tideo
CSP:F-sharp
Ss sing the song while continuing the ostinato.
Ss sing thesong. 235
Diction
Ss sing melodic patterns from the song on a neutral
Expression syllable, e.g. loo.
Ss sing the song with the syllableyip.
Ss sing with a koosound.
Review known songs and IdaRed
rhythmic elements CSP:F
and Chickalalelo; Ss echo-sing each phrase with rhythm
Teach a new song John Kanaka
CSP:A
T sings the song and demonstrates sections of thegame.
T scaffolds game activities while Ss perform individually.
T and Ss sing and play parts of the game.
Develop knowledge of Old Mr. Rabbit

Review kinesthetic activities.
Ss sing song and pat thebeat.
Ss sing and clap on the downbeat of each phrase and pat
on the remaining beats before asking each question:
T:On which word do we clap our hands in phrase
1?(old)
T:On which word do we clap our hands in phrase
2?(got)
T:On which word do we clap our hands in phrase 3?
(jumping)
T:On which word do we clap our hands in phrase 4?
(eating)
T:Whats the first word in phrase 2? (youve)
T:Whats the first word in phrase 3?(of)
T:Whats the first word in phrase 4?(and)
T:Do all of these words 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 downbeat.
Creative movement Tideo
CSP:F-sharp
Ss may create ostinato and select instruments to
236 accompany the song.
Practice of performance DanceJosey
and literacyskills CSP:F
Writing T writes the song on the board (rhythmic notation and
solfge or on the staff), leaving phrase 2blank.
Ss may complete other known songs with low so, as time
allows.
Ss create a rhythm pattern using d s, l, and s, and play
it on the xylophone as an accompaniment to known
songs.
Review lesson outcomes John Kanaka

that contains an internalupbeat
Practice:improvisation of pentatonic melodies that contain
low so
Beat activity
(18351921)
support muscles.
CSP:A
Ss sing song and keep thebeat.
Ss sing the song in canon after four beats and then after two
beats.
Develop tuneful JohnsonBoys
singing CSP:F
Tone production Ss sing song with the ostinato.
Ss sing the song in canon after twobeats. 237
Diction
Ss sing the song with a koosound.
Expression Ss sing the song with solfge syllables reading from Ts
handsigns.
Review known songs Hogs in the Cornfield
and rhythmic elements CSP:F
Ss sing songs and conduct.
Ida Red, and Chickalalelo; Ss echo-sing each phrase with
rhythm syllables while tapping the beat.
Teach a new song Riding in theBuggy
CSP:D
T sings the song while Ss continue the ostinato; Ss identify
the phrases.(four)
T and Ss sing the song while T demonstrates the game
(T may use any play-party movement).
Develop knowledge of Old Mr. Rabbit

Create a visual T instructs a group of Ss to sing the song while the rest of
representation of what the class continues the accompaniment.
you hear Ss sing thesong.
Review kinesthetic and aural awareness activities.
T gives each S a page with four phrases of four beats printed
on it and asks S to create a visual representation showing
the first word of each phrase and then the word that falls on
the first beat of each phrase.
Ss share their representations with one another.
theclass.
Ss sing Old Mr. Rabbit on a neutral syllable and point to
the representation.
Ss sing the song while turning in their materials and

moving into a circle for the next song.
238 Creative movement John Kanaka
CSP:A
T and Ss sing the song and perform the motions
individually.
Ss perform the motions with a partner.
Ss sing and practice the transition to a new partner.
Ss create an ostinato and choose an instrument with which
they may accompany the song.
Practice music DanceJosey
Improvisation Ss sing the song with solfge syllables and handsigns.
T provides a simple question based on the B phrase of
Dance Josey.
Ss respond with an answer that must endondo.
Ss create a rhythm pattern using the notes d s, l, s, and play
it on the xylophone as an accompaniment to known songs.
Review lesson Riding in theBuggy
outcomes CSP:D
Review the new song
Outcome Presentation:label the sound of a musical phrase that contains an

internal upbeat
Warm-up The Thunderer, by John Philip Sousa (18541932)
Body warm-up
Breathing exercise
Sing known songs Sailing oer theOcean
CSP:F
Riding in theBuggy
CSP:D
Ss sing the song and briefly play the game.
singing CSP:A
Tone production T selects a small group of Ss to sing thesong.
Diction
Ss sing with a koo sound for refrain.
Expression Ss sing the song slowly with text and open vowels.
Review known Hogs in the Cornfield
elements Ss song with text and conduct.
Ss sing song with rhythm syllables and conduct. 239
T sings each phrase of Hogs in the Cornfield; Ss echo-sing
each phrase with rhythm syllables while tapping thebeat.
If time permits, perform the activity with Paw Paw Patch,
Tideo, Dinah, Ida Red, and Chickalalelo.
Teach a new song CedarSwamp
CSP:C
T performs the song for Ss with an instrument (guitar,
dulcimer, piano,etc.).
Ss may join in singing the refrains.
Describe what you T:A note that comes before the strong beat of a phrase is
hear with rhythm called an upbeat or a pickup. Because the upbeat occurs
syllables within or inside the piece of music and not at the beginning,
we call it an internal upbeat.
T sings the song with rhythm syllables, and Ss echo with
rhythm syllables and conduct.
T echo sings with at least eight individuals; Ss conduct.

CSP:D
Ss create additional ostinati to accompany thesong.
Presentation of music Do, Do Pity MyCase
Describe what you Ss sing thesong.
hear with rhythm Review presentations.
syllables T:A note that comes before the strong beat of a phrase is
called an upbeat or a pickup. Because the upbeat occurs
inside the piece of music and not at the beginning, we call it
an internal upbeat.
T connects the concept to other related song material, and Ss
sing and conduct:
JohnsonBoys
King Kong Kitchie
Mush Toodin
Ss create a rhythm pattern using do so, la, so, and play it on
the xylophone as an accompaniment to known songs.
outcomes CSP:C
240 Review the new song
Outcome Presentation:label sound of a musical phrase that contains an internal

upbeat
Beat activity
Resonance:explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
Sing known Over theRiver

songs CSP:D
Riding in theBuggy
CSP:D
Ss sing the song, and if time permits, they briefly play the game.
Develop King Kong Kitchie

tuneful CSP:F
singing Ss sing thesong.
Tone Ss sing the song on the syllablekoo.
production Ss sing the song on the syllablevoo.
Ss sing the song on the syllablevee.
Diction
Expression
Review Jim AlongJosie

known CSP:A
songs and Ss sing thesong.
rhythmic Ss sing song with rhythm syllables.
elements T sings each phrase of Paw Paw Patch, Tideo, Dinah, Ida Red,
and Chickalalelo; Ss echo-sing each phrase with rhythm syllables
Teach a new CedarSwamp

song CSP:A 241
T sings thesong.
Ss perform the rhythm of the verse on the board while Tsings:
2$sdsxc\sdq\
sdsd\qq\
sdsd\xxxcq\
sdsd\qq|
T sings theverse.
Ss sing the refrain and then the entiresong.
When Ss are able to sing the refrain, T demonstrates the game while
Sssing.
Formation:in double line, partners face one another.
Beats 18:Head couple sashay down to the foot of theline.
Beats 912:Head couple swing rightarms.
Beats 1316:Head couple swing leftarms.
Beats 1720:All couples swing rightarms.
Beats 2124:All couples swing leftarms.
T sings the verses and refrains, and Ss play thegame.
Develop Do, Do Pity MyCase

knowledge CSP:D
of music Ss sing thesong.
literacy T:A note that comes before the strong beat of a phrase is called an
concepts upbeat or a pickup. Because the upbeat occurs inside the piece of
Notate what music and not at the beginning, we call it an internal upbeat.
you hear Ss sing the song with rhythm syllables and conduct.
T:Sometimes a new phrase can start between beats, or even in the
middle of a beat. When that happens, we have to split the eighth notes,
and it looks like this [separate notes with flags].
We can call the single eighth note an upbeat or a pickup note.
Ss read the song from the board and conduct.
T transforms the song into other related song material:
Creative Hogs in the Cornfield

movement CSP:D
Ss sing the song; they create ostinati to accompany thesong.
Presentation Old Mr. Rabbit

of music CSP:F
literacy Ss sing thesong.
concepts T:When the beat is a quarter note, we can show the upbeat by
Notate what splitting the eighth notes.
you hear Ss write the rhythm of thesong.
2$qsd\qaa\sdsd\qaa\sdsd\qaa\sdsd\sdQ|
242 T:We can also write the pattern using stick notation.
Ss sing the song with rhythm syllables and conduct.
Ss sing with numbers and conduct.
T transforms the notation into additional related song material; Ss
conduct andsing.
Do, Do Pity MyCase
JohnsonBoys
King Kong Kitchie
Mush Toodin
Review CedarSwamp
lesson CSP A
outcomes
Review the
new song
Unit 7: Teaching highdo
high do UnitPlan
Known Songs Songs for Songs to Review Songs to Songs to Prepare Creative Songs to Practice
Tuneful Known Melodic Prepare Next Concept: high do Movement Known Elements:
Singing Elements New Concepts: Internal Upbeat
External Upbeat
Lesson 1 King Kong Riding in the Dance Josey Jolly Miller Hogs in the I Lost the Old Mr. Rabbit
Kitchie Buggy Cornfield Farmers Dairy
Key
Lesson 2 Old Texas, Tideo Dance Josey Old Mr. Rabbit Hogs in the I Lost the Old Mr. Rabbit
Jolly Miller Cornfield Farmers Dairy
Key
Lesson 3 Old Brass John Kanaka Dance Josey Above the Plain Hogs in the Jolly Miller Old Mr. Rabbit
Wagon, Old Cornfield
Mr. Rabbit
Known Songs Songs for Songs to Songs to Songs to Present Creative Songs to Present
Tuneful Review Known Prepare Next Concept: high do Movement Concept: high do
Singing Elements New Concepts:
External Upbeat
Lesson 4 Dance Josey, Cedar Turn the Above the Plain, Hogs in the Jolly Miller Tideo, I Lost
Above the Swamp Glasses Over Golden Ring Cornfield the Farmers Dairy
Plain Key, John Kanaka,
Riding in the
Buggy
Lesson 5 Cedar Swamp I Lost the Turn the Shoes of John, Hogs in the Above the Plain Tideo, I Lost
Farmers Dairy Glasses Over Three Rogues Cornfield the Farmers Dairy
Key Key, John Kanaka,
Riding in the
Buggy
243
244
Here is a chart of the primary musical skills that are developed in the five lessons associated with teaching the concept of high do (d). Remember, in the
first three lessons, students practice the previous musical element, in this case internal upbeat.

Reading Ss read Rain, Rain, Ss read Hogs in the
Bounce High, Bounce Cornfield and additional
Low, and other duple songs with hand signs from
meter songs from steps, traditional notation
traditional rhythm with solfge, and then staff
notation. notation.
Writing Ss write Rain, Rain, Ss write Hogs in the
Bounce High, Bounce Cornfield and additional
Low, and other duple songs with hand signs from
meter songs reading steps, traditional notation
from traditional rhythm with solfge, and then staff
notation. notation.
board using rhythm
syllables.
Movement I Lost the Farmers Dairy Jolly Miller Jolly Miller Tideo Cedar Swamp
Key
Listening The Happy Farmer,
from Album for the Young,
by Robert Schumann
(18101856)
Unit 7, high do, Lesson1
Outcome Preparation:internalizing a pitch, high do, that is a skip abovela

Practice:reading songs that contain internal upbeats
Beat activity
(18351921)
support muscles.
Sing known songs King Kong Kitchie
CSP:F
2$qq\Aaq>
CedarSwamp
CSP:A
Ss sing the song; then they continue the ostinato
(2$qq\Aaq>).
Develop tuneful Riding in theBuggy
singing CSP:D
Tone production Ss sing thesong. 245
Ss may briefly play thegame.
Diction
Ss sing the first phrase at a slow tempo and pat thebeat.
Expression Ss sing only the pitches that fall on thebeat.
Ss identify, dictate, and sing the pitches that fall on thebeat:
4$qqqq\qqqq|
d d m m r r m m
Use this motive as a tuneful singing exercise. Sing using vowel
sounds.
Review known DanceJosey
songs and melodic CSP:D
elements Ss sing the song and continue the ostinato.
T sings phrases of Jim Along Josie, Phoebe in Her
the solfge syllables la, so, mi, re, do, low la, and low so; Ss
echo-sing using solfge syllables and hand signs.
Teach a new song Jolly Miller
CSP:C
T sings the song and Ss show the phrases with theirbodies.
T and Ss sing and play thegame.
After two or three additional cycles, Ss must sing the song
without assistance to continue thegame.
Ss read an ostinato from the board:4$xxxcqxxxcq>
Ss continue the rhythmic ostinato into the next song
(4$xxxcqxxxcq>).
Develop knowledge Hogs in the Cornfield
of music literacy CSP:D
Internalize music Ss sing the song and pat thebeat.
through kinesthetic Ss sing the song and draw phrases in theair.
activities Ss sing phrase 2 and show the melodic contour.
Ss sing song and point to a representation of the contour.
Ss sing the rhythm syllables of phrase 2 while showing the

contour.
246 Creative movement I Lost the Farmers DairyKey
CSP:D
Practice music Old Mr. Rabbit
literacyskills Ss sing the song and conduct.
Reading Ss sing the song with rhythm syllables and conduct.
Ss read the song from the board with rhythm syllables and tap
the rhythm:
2$qsd\qa
a\sdsd\qa
a\sdsd\qa
a\sdsd\sdQ|
T transforms the song into the rhythm of Bye, Baby Bunting,
and Ss read.
Review lesson Jolly Miller
outcomes CSP:C
Review the new song
Outcome Preparation:internalizing a note, high do, that is a skip higher than la

through kinesthetic activities
Practice:reading the rhythm of songs containing internal upbeats
Beat activity
King Cotton March, by John Philip Sousa (18541932)
muscles.
Sing known OldTexas
songs CSP:C
Ss sing in canon withT.
T divides the class into two groups and Ss sing in canon.
Develop tuneful Tideo
singing CSP:F-sharp
Ss imitate the sound of a siren with their voices. Challenge them to
Diction
make soft and loud, high and low, long and short sirens, and sirens
Expression that just go up, just come down, or doboth.
Ss sing the song onkoo. 247
Review DanceJosey
known songs CSP:D
and melodic Ss sing thesong.
elements Ss sing the song with solfge syllables and handsigns.
T sings phrases of Jim Along Josie, Old Mr. Rabbit, or other
known songs that use the solfge syllables la, so, mi, re, do, low la,
and low so; Ss echo-sing using solfge syllables and hand signs.
Teach a new song Old Mr. Rabbit
CSP:C
Ss trace the phrases while Tsings.
Ss identify the form of the song. (ABCC)
T sings Aand B, and Ss sing C and C. Reverse.
Ss perform the rhythm of the last four beats as an ostinato into the
next song (2$sdq\qQ>).

knowledge of CSP:D
Describe what T and Ss sing phrase 2 of the song on loo and keep the beat
you hear before asking each of these questions:
T:Andy, how many beats did we keep?(four)
T:Andy, which beat has the highest pitch?(1)
T:Andy, what is the solfge syllable of the pitch on beat 4?
(dodo)
T:Lets sing the pitches on beats 3 and 4 with hand signs.
(mi-re-re-do-do)
T:Sing high for the first note and sing the rest with solfge
syllables from my hand signs. (high-la-so-so-so)
T sings the phrase, and five to eight individual Ss echo with
handsigns.
Ss tap the beats as T sings the next song on loo.
Creative I Lost the Farmers DairyKey
movement CSP:D
248 Writing Ss sing with rhythm syllables and point to representation on the
board. (First half of phrase 2 is left blank.)
Ss write phrase2:
2$ a\sdsd\qq
Ss sing thesong.
T guides Ss to transform that rhythm into the rhythm of I Lost
the Farmers Dairy Key.
outcomes CSP:C
Review the new
song
Outcome Preparation:create a visual representation of a note that is a skip

higher thanla
Practice:improvisation of internal upbeat
Beat activity
New Mexico March, by John Philip Sousa (18541932)
support muscles.
Sing known songs Old BrassWagon
CSP:C
Ss singsong.
Ss perform a motion to the beat that can carry into the
nextsong.
Old Mr. Rabbit
CSP:C
Ss sing thesong.
singing CSP:A
Tone production Ss singsong.
T isolates phrase 5 and Ss sing on a pure vowel ([i][] [a]
Diction
[o][u]) sound.
Expression Kodly Choral Library, Let Us Sing Correctly, no.46 249
Review known DanceJosey
songs and melodic CSP:F
elements Ss sing song with text and keep thebeat.
Ss sing song with rhythm syllables and clap rhythm.
T hums motifs and Ss sing back with rhythm syllables.
T sings phrases of Phoebe in Her Petticoat, Old Mr. Rabbit, or
other known songs that use the solfge syllables la, so, mi, re, do,
low la, and low so; Ss echo-sing using solfge syllables and hand
signs.
Teach a new song Above thePlain
CSP:A
T sings the song while Ss keep the beat and show the phrases
with theirbodies.
Ss identify the form.(ABCC)
Ss sing C; T sings AandB.
Ss sing Aand B; T singsC.
T and Ss sing song.

knowledge of CSP:D
concepts Review kinesthetic and aural awareness activities.
Create a visual T hums target phrase and asks Ss to create a visual representation
representation of of the melody of the target phrase. Ss use manipulatives.
what you hear T:Pick up what you need to recreate what you heard or Draw
what you heard. T assesses understanding.
Ss share representations with eachother.
T picks one S to share a representation with the class. Make
necessary corrections by reviewing aural awareness.
Ss sing (high la so so so mi re re do do) as they point to the
representations.
Ss sing the song while putting away their supplies and moving
into position for the next song.
Creative Jolly Miller
movement CSP:D
Ss sing thesong.
Ss create simple rhythmic ostinati with which to accompany the song.
performance and Ss read the rhythm of the song from theboard.
literacyskills Ss identify and correct phrases with internal upbeats.
Improvisation Ss improvise a new text to the rhythm focusing on the upbeats.
Ss create a four-beat ostinato that uses known rhythm patterns and
250 perform it on xylophones as accompaniment to their new song.
Review lesson Above thePlain
outcomes CSP:A
Review the new song
Outcome Presentation:label the sound of that is a pitch a skip higher than la as

high do
Beat activity
Sing known DanceJosey

songs CSP:F
Above thePlain
CSP:A
Note:the key of this song is low and pitched to accommodate the
following song. Ss should be monitored to ensure they are using a
healthy vocal technique.
Ss sing the song in canon.
Develop tuneful CedarSwamp
singing CSP:A
Ss imitate the sound of a siren with their voices. Challenge Ss to
Diction
make soft and loud, high and low, long and short sirens, and sirens
Expression that ascend, descend, or doboth.
Ss pretend theyre falling off a cliff and say aaaahhhhhhhhhh!
Use a ball or bean bag. Throw it from one S to another; Ss have to
follow the movement with their voices.
Ss sing the song focusing on tone production.
Review Turn the GlassesOver
known songs CSP:F
and melodic Ss sing thesong.
elements Ss sing the song with solfge syllables and handsigns.
T sings phrases of Jim Along Josie, Phoebe in Her Petticoat,
Old Mr. Rabbit, or other known songs that use the solfge 251
syllables la, so, mi, re, do, low la, and low so; Ss echo-sing using
solfge syllables and hand signs.
Teach a new GoldenRing
song CSP:D
T sings thesong.
T sings and directs Ss to move into position for thegame.
T sings and demonstrates the game, pausing to give brief
instruction for the movements of eachverse.
T sings and Ss play the game.
concepts T directs a small group of Ss to sing the song while the rest
Describe what continue thechant.
you hear with Ss sing thesong
solfge syllables Review kinesthetic, aural, and visual awareness activities
T:When we hear a sound a skip above la, we call it highdo.
T:We can sing the second phrase of our song like this:do (high
do) la so so so mi re re dodo.
T and Ss sing the phrase severaltimes.
T:When we sing the do pentatonic scale and add high do, we call
that an extended do pentatonic scale.
T:The second phrase of Hogs in the Cornfield contains all the
notes of an extended do pentatonic scale.
T sings phrase 2 of the song with solfge syllables and hand signs;
Ssecho.
T sings the text of phrase 2 individually to six to eight Ss; Ss echo
with solfge syllables and handsigns.
T:We can sing the whole song with solfge syllables and hand
signs. T and Ss sing the song with solfge syllables and handsigns.
Ss perform the solfge syllables of the last two beats as a melodic
ostinato into the next song (mrr dd).
movement CSP:D
Ss sing thesong.
Ss create simple ostinati and choose instruments with which to
accompany the song.
Presentation of Tideo
music literacy CSP:Fsharp
Describe what Review the pitches of the extended pentatonic scale with solfge
you hear with syllables and handsigns.
solfge syllables T reviews that the interval between la and high do is askip.
T guides Ss in singing additional known songs that have highdo.
252 Ss sing Tideo but inner-hear highdo.
Ss identify and sing other known songs with highdo:
John Kanaka
Riding in theBuggy
Ss play a descending pentatonic scale (d l s m r d) using an easy
rhythm pattern on xylophones as an accompaniment to any of their
known songs.
Review lesson GoldenRing
outcomes CSP:D
Review the new
song
Outcome Presentation:notate high do on the tone ladder, with standard notation

and solfge syllables and on the staff
Beat activity
muscles.
Sing known Above the Plain
songs CSP:B
Ss sing thesong.
Develop I Lost the Farmers DairyKey
tuneful singing CSP:D
Tone Ss imitate the sound of a siren with their voices. Challenge Ss to
production make soft and loud, high and low, long and short sirens, and sirens
that ascend, descend, or doboth.
Diction
Ss pretend theyre falling off a cliff and say aaaahhhhhhhhhh!
Expression Use a ball or bean bag. T throws it from one S to another; Ss have to 253
follow the movement with their voices.
Ss sing the song, focusing on vocal production.
Review Turn the GlassesOver
known songs CSP:D
and melodic Ss singsong.
elements Ss sing with solfge syllables and handsigns.
T sings phrases of Hogs in the Cornfield, Tideo, John Kanaka,
or other known songs that use the solfge syllables do (high do) la
so mi re do la, (low la) and so, (low so); Ss echo-sing using solfge
Teach a new Shoes of John or Three Rogues
song CSP:C
Ss keep the beat while T sings thesong.
Ss draw the phrases on the board while Tsings.
T sings while Ss label the form of the phrase on the board.(ABCA)
Ss sing the Aphrases; T sings B and C.Switch.
Ss sing the song, and T follows in canon after eight beats.

Notate what Review aural presentation. T:When we hear a sound that is a skip
you hear above la, we call it highdo.
T presents the position of high do on the musical steps or tone
ladder.
T presents the target phrase of Hogs in the Cornfield using
rhythmic notation with solfge syllables. Ss read notation with
solfge and handsigns:
2$sdx,d\sxcsd|
dl sss mrrd d
T explains the rule of placement for highdo.
Present the target phrase of Hogs in the Cornfield in staff notation
(d = C, F, andG).
Ss read the target phrase from the staff with solfge and handsigns.
Ss sing the song with solfge syllables and move into position for the
next song.
Creative CedarSwamp
movement CSP:B
Presentation of Tideo
music literacy CSP:Fsharp
concepts Ss singsong.
Notate what Ss sing song with solfge syllables and handsigns.
254 you hear Ss add the solfge to traditional rhythmic notation.
Review the rule of placement for high do on thestaff.
T notates the refrain with help of Ss, and they read with solfge
Ss read with absolute letter names and handsigns.
Ss identify and sing other known songs with highdo:
John Kanaka
Riding in theBuggy
Ss play a descending pentatonic scale (d l s m r d) using an easy
rhythm pattern on xylophones as an accompaniment to any of their
known songs.
Review lesson Shoes ofJohn
outcomes CSP:C
Review the new
song
Unit 8: Teaching ExternalUpbeat
Known Songs Songs for Songs to Review Songs to Prepare Songs to Prepare Creative Songs to Practice
Tuneful Known Rhythmic Next New Concept: External Movement Known Elements:
Singing Elements Concepts: aqa Upbeat high do
Lesson 1 Do, Do Pity My Old Mr. Paw Paw Patch Canoe Song I Lost the Farmers Jolly Miller Hogs in the
Case, Shoes of Rabbit Dairy Key Cornfield
John
Lesson 2 Mush Toodin, Old Mr. Paw Paw Patch Weevily Wheat I Lost the Farmers John Kanaka Hogs in the
Canoe Song Rabbit Dairy Key Cornfield
Lesson 3 Old Mr. Rabbit, Above the Old M.Rabbit Liza Jane I Lost the Farmers Weevily Wheat Hogs in the
Canoe Song Plain Dairy Key Cornfield
Known Songs Songs for Songs to Review Songs to Prepare Songs to Present Creative Songs to Present
Tuneful Known Rhythmic Next New Concept: External Movement Concept: External
Singing Elements Concepts Upbeat Upbeat
Lesson 4 King Kong Golden Do, Do Pity My Come Thru Na I Lost the Farmers Riding in the Three Rogues, I Lost
Kitchie, Ring Case Hurry Dairy Key Buggy the Farmers Dairy
Weevily Key, Jolly Miller,
Wheat Above the Plain, Old
Mr. Rabbit
Lesson 5 Johnson Boys, Golden Do, Do Pity My Hill and Gully I Lost the Farmers Come Thru Na Three Rogues, I Lost
Come Thru Na Ring Case Rider Dairy Key Hurry the Farmers Dairy
Hurry Key, Jolly Miller,
Above the Plain, Old
Mr. Rabbit
255
256
Here is a chart of the primary musical skills that are developed in the five lessons associated with teaching the concept of external upbeat. Remember,
in the first three lessons students practice the previous musical element, in this case high do(d).

Reading Ss read Hogs in the Ss read I Lost the
Cornfield and additional Farmers Dairy Key
songs with hand signs from from traditional
steps, traditional notation rhythm notation.
with solfge, and then staff
notation.
Writing Ss write Hogs in the Ss write I Lost the
Cornfield and additional Farmers Dairy Key
songs with hand signs from using traditional
steps, traditional notation rhythm notation.
with solfge, and then staff
notation.
Improvisation T sings a question phrase
written on the board; Ss
sing an answer phrase
Movement Jolly Miller John Kanaka Weevily Wheat Riding in a Come Thru Na
Buggy Hurry
Listening On the Trail, from Grand
Canyon Suite, by Ferde
Grof (18921972)
Unit 8, External Upbeat, Lesson1
Outcome Preparation:internalizing an external upbeat through kinesthetic

activities
Practice:reading melodies that contain high do
Beat activity
Fossils, from Carnival of the Animals, by Camille Saint-Sans (18351921)
Sing known Do, Do Pity MyCase
songs CSP:F-sharp
Ss continue the ostinato into the nextsong.
Shoes ofJohn
CSP:C
Ss sing the song in canon.
singing CSP:D
Diction
Expression
Review known Paw PawPatch
songs and CSP:D
rhythmic Ss sing song and conduct.
elements Ss sing with rhythm syllables and clap on the first word of each phrase.
Ss read the rhythm notation, written by phrases, on the board
with rhythm syllables.
T sings each phrase of Down Came a Lady, Mush Toodin, and
Johnson Boys; Ss echo-sing each phrase with rhythm syllables
Teach a new song Canoe Song (My Paddle)
CSP:A
T sings the song and Ss perform the rhythm, which T has placed
on the board (patting their laps for the blank beats):
2$QQ\sdq\
QQ\qq\
QQ\sdq\
QQ\qQ|
Two or three Ss trace the phrases on the board while T sings. The
remaining Ss continue to perform the rhythm on theboard.
phrases.
Ss inner-hear the Aphrases; T sings BandC.
Ss sing the Aphrases aloud; T sings BandC
Ss sing the Aphrases and inner-hear BandC.
Ss sing all phrases of thesong.
T instructs Ss to sing the song in two-partcanon.
Ss chant the text of the last phrase on do and so in the key of the
next song (F and C).
knowledge of CSP:C
music literacy T instructs part of the class to sing the song while the remainder
concepts continue the ostinato.
Internalize Ss sing the song and pat thebeat.
music through Ss sing the song and draw phrases in theair.
kinesthetic Ss clap the downbeat of each phrase and pat the remaining beats.
activities It is important that Ss sing each phrase clearly.
Ss sing song and point to a representation of thebeats.
Ss sing the song and move into position for the next game.
movement CSP:C
258 Ss sing the song and conduct.
Ss sing the song and play the game.
Reading Ss sing phrase 2 with solfge syllables and handsigns.
Ss read the solfge syllables from the board with standard
rhythmic notation and solfge syllables.
T places notes of tone set on the staff and points to listening example.
T identifies the melody in the Evening Prayer, from Hnsel und
Gretel, by Engelbert Humperdinck. Watch Libera, an all-boy English
vocal group directed by Robert Prizeman, perform this melody.
Ss read melody with solfge and hand signs and listen to
recording.
Review lesson CanoeSong
outcomes CSP:A
Review the new Ss sing thesong.
song Ss sing the song and T sings the second part from Denise Bacons
46 Two-Part American Folk Songs, p.16.
Outcome Preparation:analyzing repertoire that contains an externalupbeat

Practice:writing melodies that contain high do
Beat activity
Fossils, from Carnival of the Animals, by Camille Saint-Sans (18351921)
Sing known Mush Toodin
songs CSP:F
CanoeSong
CSP:A
Ss sing the song while continuing the ostinato.
Ss perform the rhythm of the last phrase as a rhythmic ostinato
into the next song (2$aqa\qQ>).
singing CSP:D
Diction
Expression
Review known Paw PawPatch
songs and CSP:D
rhythmic Ss sing song and conduct.
elements Ss sing with rhythm syllables and clap on the first word of each
phrase.
T sings each phrase of Down Came a Lady, Mush Toodin, and
Johnson Boys; Ss echo-sing each phrase with rhythm syllables
Teach a new song WeevilyWheat
CSP:A
T sings the song as Ss continue the ostinato.
T sings the song while Ss practice the movement for all eight
phrases.
T quickly divides Ss into groups offour.
T sings and Ss practice the movements in small groups.
Ss are encouraged to sing while playing thegame.
Ss perform the rhythm of the last four beats as a rhythmic
ostinato into the next song (2$sdsd\qq>).

knowledge of CSP:D
concepts Review kinesthetic activities.
Describe what T and Ss sing song on loo while tapping the beat before asking
you hear each of these questions:
T:Andy, whats the first word in phrase 1?(Ive)
T:Andy, on which word do we tap the first beat in phrase
1?(lost)
T:Andy, does Ive fall on the strong part of the beat or the weak
part of the beat?(weak)
T:Lets sing the song, but sing the word that falls on the first
strong beat at the beginning of each phrase. Sing the other words
in our heads. (Lost, in, do, and in are the only words that
should be sung aloud.)
Ss perform the rhythm of the last four beats as a rhythmic
ostinato into the next song (2$sdsd\qa>).
Creative John Kanaka
movement CSP:A
Ss sing and play the game; they may create ostinato and select
instruments with which to accompany the song.
literacyskills T presents the song on the board in staff notation, leaving phrase
Writing 2blank.
260 Ss sing the song with solfge syllables and handsigns.
T selects one S to write the tone set on theboard.
S writes the scale on theboard.
T selects one S to point to the notes of the tone set as class sings
Hogs in the Cornfield.
Review lesson WeevilyWheat
outcomes CSP:A
Review the new
song

that contains an externalupbeat
Practice:improvisation of melodies that contain high do
Beat activity
(18351921)
support muscles.
Sing known songs Old Mr. Rabbit
CSP:D
Ss sing thesong.
Ss read solfge syllables from Ts hand signs.
Develop tuneful Above thePlain
singing CSP:A
Tone production Ss imitate the sound of a siren with their voices. Challenge Ss
to make soft and loud, high and low, long and short sirens,
Diction
and sirens that just go up, just come down, or doboth.
Expression Ss pretend theyre falling off a cliff and say
aaaahhhhhhhhhh!
Use a ball. T throws a ball from one S to another; Ss follow
the movement of the ball with their voices.
Ss sing thesong. 261
Kodly Choral Library, Let Us Sing Correctly, nos. 3 and 4
Review known songs Old Mr. Rabbit
and rhythmic elements CSP:D
Ss sing with rhythm syllables and clap on the first word of
each phrase and tap the otherbeats.
T sings each phrase of Old Mr. Rabbit; Ss echo-sing each
phrase with rhythm syllables while tapping thebeat.
T sings each phrase of Paw Paw Patch, Down Came a
Lady, Mush Toodin, and Johnson Boys; Ss echo-sing
Teach a new song WeevilyWheat
CSP:A
T sings the song while Ss show the phrases.
Ss sing the song and learn the game.
Develop knowledge of I Lost the Farmers DairyKey

Create a visual Ss sing thesong.
representation of what Review kinesthetic and aural awareness activities.
you hear T gives each S a page with sixteen hearts printed on it and
asks Ss to create a visual representation showing the first
word of each phrase and then the word that falls on the first
beat of each phrase.
Ss share their representations with one another.
theclass.
Ss sing I Lost the Farmers Dairy Key on a neutral syllable
and point to their representations.
Ss sing the song while handing in their materials and
moving into a circle for the next song.
Creative movement WeevilyWheat
CSP:A
T and Ss sing the song; Ss practice the movements for the
game.
Improvisation Ss read the target phrase from standard rhythmic notation
with solfge syllables:
2$sdxcd\sxcsd|
262 dl sss m rrdd
T sings a slightly different version of the target phrase (this
becomes the question):
2$sdxcd\sdq| (note:T does not write this on theboard)
dl sss ms s
Ss reply with the target phrase.
T says, This is too easy. T modifies the target phrase on
the board (and this becomes the first answer):
2$sdxcd\sdq|
dl sss mr d
T sings the question; individual Ss reply with the answer.
T repeats the process with additional answers:
2$sdxcd\sdq|
dl sss ms d
2$sdxcd\sdq|
dl sss ss d
T sings the question to individual Ss, who reply with any of
the three answers. Ss may also create their own answers.
Ss create an ostinato to play on xylophones as an
accompaniment to known songs. The ostinato should be a
descending scale as follows:d l s m r d.
Review lesson WeevilyWheat
outcomes CSP:A
Review the new song
Outcome Presentation:label the sound of a musical phrase that contains

an external upbeat
Beat activity
support muscles.
Sing known songs King Kong Kitchie
CSP:G
Ss sing the song with a simple ostinato:2$aqa\qQ>
WeevilyWheat 263
CSP:B
Ss sing the song with the ostinato.
Develop tuneful GoldenRing
singing CSP:D
Diction
Expression
Review known songs Do, Do Pity MyCase
and rhythmic elements CSP:Fsharp
each phrase.
T sings each phrase of Do, Do Pity My Case; Ss
echo-sing each phrase with rhythm syllables while tapping
thebeat.
T sings each phrase of Paw Paw Patch, Down Came a
Lady, Mush Toodin, and Johnson Boys; Ss echo-sing
Teach a new song Come Through NaHurry
CSP:G
T performs the song for Ss with an instrument (guitar,
dulcimer, piano,etc.).
Presentation of music I Lost the Farmers DairyKey
literacy concepts CSP:D
Describe the sound with Ss sing thesong.
rhythm syllables Review kinesthetic, aural, and visual awareness activities.
Sing the song with rhythm syllables and conduct.
T:A note that comes before the strong beat of a phrase is
called an upbeat or a pickup.
T:When we have an upbeat inside the song, we know
its an internal upbeat. Now we have an upbeat at the
beginning (or outside of the song).
T:When we have an upbeat at the beginning of the
song, we call it an external upbeat.
T sings the song with rhythm syllables, and Ss echo with
rhythm syllables and conduct.
T echo-sings with at least eight individuals.
Creative movement Riding in theBuggy
CSP:D
Ss create additional ostinati to accompany thesong.
264 Ss sing and play the game.
Presentation of music Three Rogues
literacy concepts CSP:D
Describe the sound with Ss sing thesong.
rhythm syllables Review presentation.
T:When we have an upbeat at the beginning of the song,
we call it an external upbeat.
T and Ss conduct and sing songs that have an external
upbeat, including Shoes of John and Above the Plain.
Review lesson Come Thru NaHurry
outcomes CSP:G
Review the new song
Outcome Presentation:notate a musical phrase that contains an external

upbeat
Beat activity
support muscles.
Sing known songs JohnsonBoys
CSP:B
Ss sing the song with an ostinato:2$qq\xcdq>
Come Through NaHurry
CSP:G
Ss sing the song and may briefly play the game.
Develop tuneful I Lost the Farmers DairyKey
singing CSP:D
Diction
Kodly Choral Library, Let Us Sing Correctly, nos. 7 and 8
Expression
265
Review known Do, Do Pity MyCase
songs and rhythmic CSP:D
elements Ss sing song and conduct.
each phrase.
T sings each phrase of I Lost the Farmers Dairy Key, The
Jolly Miller, Jim Along Josie, Ida Red, and Chickalalelo;
Ss echo-sing each phrase with rhythm syllables while tapping
the beat.
Teach a new song Hill and GullyRider
CSP:C
T sings the song and demonstrates the motions of each phrase.
Sscopy.
Presentation of I Lost the Farmers DairyKey

Notate what you hear Review kinesthetic, aural, and visual awareness activities.
Review aural presentation. T:When we have an upbeat at the
beginning (or the outside) of the song, we call it an external
upbeat.
T writes the standard rhythmic notation on the board. Ss read
with rhythm syllables.
T:Just like in math, sometimes when you have a subtraction
problem, you have to regroup. We have to do the same thing
with external upbeats. We subtract from the end and regroup
at the beginning to determine the value of our external
upbeat.
Ss sing and draw the phrases in the air.

Creative movement Come Thru NaHurry
CSP:F
Ss sing thesong.
Ss sing the song and play the game.
Presentation of Three Rogues
music literacy CSP:B
266 concepts Ss sing thesong.
Notate what you hear Review aural presentation. T:When we have an upbeat at the
beginning (or the outside) of the song, we call it an external
upbeat.
T writes the standard rhythmic notation on the board. Ss read
with rhythm syllables. Ss read with numbers for counting and
conducting.
T and Ss conduct and sing songs that have an external upbeat,
including Shoes of John and Above the Plain.
Review lesson Hill and GullyRider
outcomes CSP:C
Review the new song
Chapter 6
Assessment and Evaluation
The purpose of assessment in the classroom is to evaluate the work of both students and teacher.
This chapter contains examples of assessments for evaluating each musical concept and element
taught in third grade. By assessing a students skill development and the teachers classroom
teaching, we can develop strategies to improve learning and music teaching. Effective assess-
ments lead to development of a more effective music program.
There are five steps to developing assessment rubrics in the third grade classroom:
1 . Decide on the areas of assessment.

2. Determine the activities you will use to assess theseareas.
3. Create assessment rubrics for eacharea.
4. Create a class profile that summarizes the childrens scores.
5. Have the teacher review the results of assessments and decide how to modify the
teaching to help students develop their knowledge ofmusic.
For a more comprehensive view of assessment, consult KodlyToday. 267

We have included assessment rubric samples for grade three. The assessment for each unit
includes assessments for singing, reading, writing, and improvisation. The teacher can elect to
use some or all of the assessment activities for the unit they are teaching. In our assessment for
melodic writing, we have included only rhythmic notation with solfge syllables; teachers should
also consider assessing childrens ability to write melodies on the staff.
Grade 3 Assessments
Assessments forEighth Note Followed byTwo SixteenthNotes
Tuneful singing assessment for eighth note followed by two sixteenth notes is for students singing
of Fed My Horse (Table 6.1).
Table6.1 Tuneful Singing Assessment forEighth Note

Followed byTwo SixteenthNotes
Student Name:_______________ Date:_____ Class:_______________________

Criteria Levels Comments
Student sings the text of Fed My Horse Advanced 4
with accurate intonation, pure vowel
sounds, clear pronunciation, and tall,
balanced posture, giving a musically
sensitive performance that shows
evidence of excellent vocal technique.
Student sings the text of Fed Proficient 3
My Horse with mostly accurate
intonation, primarily pure
vowel sounds, some use of clear
pronunciation, and balanced
posture, giving an overall musical
performance.
Student sings the text of Fed My Basic 2
Horse with some accurate intonation,
few pure vowel sounds, unclear
pronunciation, and generally poor
posture, giving a performance that
lacks musicality.
Student sings the text of Fed My Emerging 1
Horse without accurate intonation,
pure vowel sounds, clear pronunciation,
or tall posture, giving a performance
that lacks musicality and shows
268 evidence of poor vocal technique.
Reading assessment is for students reading of four-beat rhythm patterns that include
eighth notes followed by two sixteenth notes (Table 6.2).
Table6.2 Reading Assessment forEighth Note


Student reads the text of the first phrase Advanced 4
of Fed My Horse from traditional
notation, speaking and clapping
rhythm syllables and making no errors.
(Continued)
Table6.2(continued)
Student reads the text of the first Proficient 3

phrase of Fed My Horse from
traditional notation, speaking and
clapping rhythm syllables and
making only a few errors that do not
detract from the performance.
Student reads the text of the first Basic 2
phrase of Fed My Horse from
clapping rhythm syllables and
making errors that detract from the
performance.
Student does not read and clap the Emerging 1
rhythm of Fed My Horse.
Writing assessment is for students writing of a four-beat rhythmic pattern that includes
eighth notes followed by two sixteenth notes (Table 6.3).
Table6.3 Writing Assessment forEighth Note


Student writes an eight-beat rhythm Advanced 4
pattern with traditional notation of
the first phrase of Fed My Horse,
making no errors. 269
Student writes an eight-beat rhythm Proficient 3
detract from the writing activity.
Student writes an eight-beat rhythm Basic 2
writing activity.
Student does not write an eight-beat Emerging 1
rhythm pattern with traditional
notation of the first phrase of Fed
My Horse.
Improvisation assessment is for students improvising of a four-beat rhythm pattern that

includes an eighth note followed by two sixteenth notes (Table 6.4).
Table6.4 Improvisation Assessment forEighth Note


Student improvises an eight-beat Advanced 4
rhythm pattern that includes an eighth
note followed by two sixteenths on
rhythm syllables, making no errors.
Student improvises an eight-beat Proficient 3
rhythm pattern that contains an
eighth note followed by two sixteenths
on rhythm syllables, making only a
few errors that do not detract from the
performance.
Student improvises an eight-beat Basic 2
rhythm pattern that contains an eighth
note followed by two sixteenths on
rhythm syllables, making errors that
detract from the overall performance.
Student does not improvise an Emerging 1
eight-beat rhythm pattern that
contains an eighth note followed by
two sixteenths.
270
Assessments forlowla
In tuneful singing assessment, student sings Phoebe in Her Petticoat using low la (Table 6.5).
Table6.5 Tuneful Singing Assessment forlowla

Student sings Phoebe in Her Advanced 4
Petticoat on text with accurate
intonation, pure vowel sounds, clear
pronunciation, and tall, balanced
posture, giving a musically sensitive
performance that shows evidence of
excellent vocal technique.
(Continued)
Table6.5(continued)
Student sings Phoebe in Her Proficient 3

Petticoat on text with mostly
accurate intonation, primarily pure
performance.
Student sings Phoebe in Her Basic 2
Petticoat on text with some accurate
intonation, few pure vowel sounds,
unclear pronunciation, and generally
poor posture, giving a performance
that lacks musicality.
Student sings Phoebe in Her Emerging 1
Petticoat on text without accurate
pronunciation, or tall posture, giving
a performance that lacks musicality
and shows evidence of poor vocal
technique.
In reading assessment, student reads four-beat melodic motifs with solfge syllables that
include low la (Table 6.6).
Table6.6 Reading Assessment forlowla

271
Student reads the first phrase of Advanced 4
Phoebe in Her Petticoat from
clapping rhythm syllables, making no
errors.
Student reads the first phrase of Proficient 3
clapping rhythm syllables, making
only a few errors that do not detract
from the performance.
(Continued)
Table6.6(continued)
Student reads the first phrase of Basic 2

traditional notation, speaking
and clapping rhythm syllables,
performance.
rhythm of Phoebe in Her Petticoat.
In writing assessment, student writes four-beat melodic motifs with solfge syllables that
include low la (Table 6.7).
Table6.7 Writing Assessment forlowla

Student writes the solfge syllables Advanced 4
underneath the traditional
rhythmic notation of the first
phrase of Phoebe in Her Petticoat,
making no errors.
Student writes the solfge syllables Proficient 3
underneath the traditional notation
of the first phrase of Phoebe in Her
Petticoat, making only a few errors
that do not detract from the writing
272 activity.
Student writes the solfge syllables Basic 2
of the first phrase of Phoebe in
Her Petticoat, making errors that
Student does not write the solfge Emerging 1
syllables underneath the traditional
rhythmic notation of the first
phrase of Phoebe in Her Petticoat.
In improvisation assessment, student improvises a four-beat melodic motif with solfge

syllables that includes low la (Table 6.8).
Table6.8 Improvisation Assessment forlowla

Student improvises a four-beat melodic Advanced 4
motif with solfge syllables that includes
low la, making no errors.
Student improvises a four-beat melodic Proficient 3
low la, making only a few errors that do
not detract from the performance.
Student improvises a four-beat melodic Basic 2
low la, making errors that detract from
the performance.
Student does not improvise a four-beat Emerging 1
melodic motif with solfge syllables that
includes low la.
Assessments forTwo Sixteenth Notes Followed

byan EighthNote
In tuneful singing assessment of two sixteenth notes followed by an eighth note, student
sings Hogs in the Cornfield (Table 6.9).
Table6.9 Tuneful Singing Assessment forTwo Sixteenth Notes

Followed byan EighthNote
273
Student sings the text of Hogs in the Advanced 4
Cornfield with accurate intonation,
pure vowel sounds, and tall, balanced
Student sings the text of Hogs in Proficient 3
the Cornfield with mostly accurate
intonation, primarily pure vowel
sounds, and balanced posture, giving
an overall musical performance.
(Continued)
Table6.9(continued)
Student sings the text of Hogs in Basic 2

the Cornfield with some accurate
and generally poor posture, giving a
performance that lacks musicality.
Student sings the text of Hogs in Emerging 1
the Cornfield without accurate
intonation, pure vowel sounds, or tall
lacks musicality and shows evidence
of poor vocal technique.
In reading assessment, a student reads a four-beat rhythmic pattern that includes two
sixteenth notes followed by an eighth note (Table6.10).
Table6.10 Reading Assessment forTwo Sixteenth Notes


Student reads the text of the second Advanced 4
phrase of Hogs in the Cornfield
from traditional notation, speaking
and clapping rhythm syllables and
making no errors.
Student reads the text of the second Proficient 3
274 phrase of Hogs in the Cornfield
Student reads the text of the second Basic 2
phrase of Hogs in the Cornfield
performance.
rhythm of the second phrase of
In writing assessment, student writes a four-beat rhythmic pattern that includes two six-
teenth notes followed by an eighth note (Table 6.11).
Table6.11 Writing Assessment forTwo Sixteenth Notes


Student writes a four-beat rhythm Advanced 4
the second phrase of Hogs in the
Cornfield, making no errors.
Student writes a four-beat rhythm Proficient 3
Cornfield, making only a few errors
that do not detract from the writing
activity.
Student writes a four-beat rhythm Basic 2
Cornfield, making errors that detract
from the writing activity.
Student does not write a four-beat Emerging 1
notation of the second phrase of
In improvisation assessment, a student improvises a four-beat rhythmic pattern that 275

includes two sixteenth notes followed by an eighth note (Table6.12).
Table6.12 Improvisation Assessment forTwo Sixteenth Notes


Student improvises a four-beat Advanced 4
rhythm pattern that includes two
sixteenth notes followed by an
eighth note on rhythm syllables,
making no errors.
(Continued)
Student improvises a four-beat Proficient 3

making only a few errors, that do
Student improvises a four-beat Basic 2
performance.
Student does not improvise a Emerging 1
four-beat rhythm pattern that
includes two sixteenth notes
followed by an eighth note.
Assessments for low so

In low so singing assessment, student sings Dance Josey (Table 6.13).
Table6.13 Tuneful Singing Assessment forlowso

Student sings Dance Josey on Advanced 4
276 text with accurate intonation, pure
vowel sounds, clear pronunciation,
and tall, balanced posture, giving a
musically sensitive performance that
shows evidence of excellent vocal
technique.
Student sings Dance Josey on text Proficient 3
with mostly accurate intonation,
primarily pure vowel sounds, some
use of clear pronunciation, and
balanced posture, giving an overall
musical performance.
(Continued)
Student sings Dance Josey on Basic 2

text with some accurate intonation,
lacks musicality.
Student sings Dance Josey on text Emerging 1
without accurate intonation, pure
vowel sounds, clear pronunciation, or
tall posture, giving a performance that
lacks musicality and shows evidence of
poor vocal technique.
In reading assessment, student reads a four-beat melodic motif with solfge syllables that
includes low so (Table 6.14).
Table6.14 Reading Assessment forlowso

Student reads the second phrase Advanced 4
of Dance Josey from traditional
rhythm syllables, making no errors.
Student reads the second phrase Proficient 3
notation, speaking and clapping 277
rhythm syllables, making only a few
errors that do not detract from the
performance.
Student reads the second phrase Basic 2
rhythm syllables, making errors that
second phrase of Dance Josey.
In writing assessment, student writes a four-beat melodic motif with solfge syllables that
includes low so (Table 6.15).
Table6.15 Writing Assessment forlowso

Student writes the solfge syllables Advanced 4
of the second phrase of Dance Josey,
making no errors.
Student writes the solfge syllables Proficient 3
Student writes the solfge syllables Basic 2
writing activity.
Student does not write the solfge Emerging 1
syllables underneath the traditional
rhythmic notation of the second
phrase of Dance Josey.
In improvisation assessment, student improvises a four-beat melodic motif with solfge

syllables that includes low so (Table 6.16).
278
Table6.16 Improvisation Assessment forlowso

melodic motif with solfge syllables
that includes low so, making no errors.
that includes low so, making only a
few errors that do not detract from
the performance.
(Continued)

that includes low so, making errors
that detract from the performance.
four-beat melodic motif with solfge
syllables that includes low so.
Assessments for Internal Upbeat

In tuneful singing assessment for internal upbeat, a student sings Old Mister Rabbit (Table
6.17).
Table6.17 Tuneful Singing Assessment forInternalUpbeat

Student sings the text of Old Mr. Advanced 4
Rabbit with accurate intonation, pure
vowel sounds, clear pronunciation, and
tall, balanced posture, giving a musically
sensitive performance that shows
evidence of excellent vocal technique.
Student sings the text of Old Proficient 3
Mr. Rabbit with mostly accurate
intonation, primarily pure
vowel sounds, some use of clear 279
pronunciation, and balanced posture,
giving an overall musical performance.
Student sings the text of Old Mr. Basic 2
Rabbit with some accurate intonation,
lacks musicality.
Student sings the text of Old Mr. Emerging 1
Rabbit without accurate intonation,
evidence of poor vocal technique.
In reading assessment, student reads an eight-beat rhythmic pattern that includes an

internal upbeat (Table 6.18).
Table6.18 Reading Assessment forInternalUpbeat

Student reads the text of the first and Advanced 4
second phrases of Old Mr. Rabbit
making no errors.
Student reads the text of the first and Proficient 3
from traditional notation, speaking and
clapping rhythm syllables and making
Student reads the text of the first and Basic 2
performance.
rhythm of Old Mr. Rabbit.
In writing assessment, a student writes an eight-beat rhythmic pattern that includes an

280 internal upbeat (Table6.19).
Table6.19 Writing Assessment forInternalUpbeat
Student Name:_______________ Date:_____ Class:_____________________

pattern with traditional notation of the
first and second phrases of Old Mr.
Rabbit, making no errors.
pattern with traditional notation of the first
and second phrases of Old Mr. Rabbit,
(Continued)

pattern with traditional notation of the
first and second phrases of Old Mr.
Rabbit, making errors that detract from
the writing activity.
rhythm pattern with traditional notation
of the first and second phrases of Old
Mr. Rabbit.
In improvisation assessment, a student improvises an eight-beat rhythmic pattern that

includes an internal upbeat (Table6.20).
Table6.20 Improvisation Assessment forInternalUpbeat

rhythm pattern that includes an
internal upbeat on rhythm syllables,
making no errors.
Student improvises an eight-beat Basic 2 281
overall performance.
includes an internal upbeat.
Assessments forhighdo
In tuneful singing assessment for high do, a student sings Hogs in the Cornfield (Table 6.21).
Table6.21 Tuneful Singing Assessment forhighdo

Student sings the text of Hogs Advanced 4
in the Cornfield with accurate
Student sings the text of Hogs Proficient 3
in the Cornfield with mostly
accurate intonation, primarily pure
pronunciation, and balanced posture,
giving an overall musical performance.
Student sings the text of Hogs in Basic 2
the Cornfield with some accurate
unclear pronunciation, and generally
poor posture, giving a performance
that lacks musicality.
Student sings the text of Hogs in the Emerging 1
Cornfield without accurate intonation,
evidence of poor vocal technique.
282
In reading assessment, a student reads a four-beat melodic motif with solfge syllables
that includes high do (Table6.22).
Table6.22 Reading Assessment forhighdo

Student reads the second phrase Advanced 4
of Hogs in the Cornfield from
traditional notation, singing with
solfge syllables and hand signs,
making no errors.
(Continued)
Student reads the second phrase Proficient 3

of Hogs in the Cornfield from
traditional notation, singing with
solfge syllables and hand signs, making
Student reads the second phrase of Basic 2
Hogs in the Cornfield from traditional
notation, singing with solfge syllables
and hand signs, making errors that
Student does not read and clap Emerging 1
Cornfield.
In writing assessment, a student writes a four-beat melodic motif with solfge syllables
that includes high do (Table6.23).
Table6.23 Writing Assessment forhighdo
Student writes the second phrase of Advanced 4

Hogs in the Cornfield in traditional
notation with solfge syllables beneath
making no errors.
283
Student writes the second phrase of Proficient 3
making only a few errors, that do not
Student writes the second phrase of Basic 2

writing activity.
Student does not the second phrase of Emerging 1

notation with solfge syllables beneath.
In improvisation assessment, a student improvises a four-beat melodic motif with solfge

syllables that includes high do (Table6.24).
Table6.24 Improvisation Assessment forhighdo

that includes high do, making no
errors.
that includes high do, making only a
few errors that do not detract from the
performance.
that includes high do, making
errors that detract from the
performance.
four-beat melodic motif with solfge
syllables that includes high do.
Assessments for External Upbeat

In external upbeat singing assessment, a student sings I Lost the Farmers Dairy Key
284 (Table6.25).
Table6.25 Tuneful Singing Assessment forExternalUpbeat

Student sings the text of I Lost the Advanced 4
Farmers Dairy Key with accurate
(Continued)
Student sings the text of I Lost the Proficient 3

Farmers Dairy Key with mostly
accurate intonation, primarily
pure vowel sounds, some use of
clear pronunciation, and balanced
performance.
Student sings the text of I Lost Basic 2
the Farmers Dairy Key with some
accurate intonation, few pure vowel
sounds, unclear pronunciation, and
generally poor posture, giving a
performance that lacks musicality.
Student sings the text of I Lost Emerging 1
the Farmers Dairy Key without
accurate intonation, pure vowel
sounds, clear pronunciation, or tall
lacks musicality and shows evidence
of poor vocal technique.
In reading assessment, a student reads an eight-beat rhythmic pattern that includes an

external upbeat (Table6.26).
Table6.26 Reading Assessment forExternalUpbeat

285
Student reads the rhythm of the first Advanced 4
phrase of I Lost the Farmers Dairy
Key from traditional notation,
speaking and clapping rhythm
syllables and making no errors.
Student reads the rhythm of the first Proficient 3
syllables and making only a few
errors that do not detract from the
performance.
(Continued)
Student reads the rhythm of the first Basic 2

syllables and making errors that
rhythm of I Lost the Farmers Dairy
Key.
In writing assessment, a student writes an eight-beat rhythmic pattern that includes an

external upbeat (Table6.27).
Table6.27 Writing Assessment forExternalUpbeat

pattern with traditional notation
of the first phrase of I Lost the
Farmers Dairy Key, making no
errors.
Farmers Dairy Key, making only a
286 few errors that do not detract from
the writing activity.
Farmers Dairy Key, making errors
that detract from the writing
activity.
notation of the first phrase of I
Lost the Farmers Dairy Key.
In improvisation assessment, student improvises an eight-beat rhythmic pattern that

includes an external upbeat (Table 6.28).
Table6.28 Improvisation Assessment forExternalUpbeat

external upbeat on rhythm syllables,
making no errors.
making only a few errors, and they do
Student improvises an eight-beat Basic 2
overall performance.
contains an external upbeat.
287
Notes
Introduction
i. 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
Chapter1
1. Pink, Daniel H. A Whole New Mind: Why Right Brainers Will Rule the Future
NewYork: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. NewYork:Oxford
Chapter2
1. David J.Elliott. Praxial Music Education:Reflections and Dialogues. NewYork: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. NewYork: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. NewYork:Oxford
4. Ruth C.Seeger. American Folk Songs for Children. Garden City, NY:Doubleday, 1948.
5. Neryl Jeanneret and George M.Degraffenreid. Music Education in the Generalist 289
Classroom. In The Oxford Handbook of Music Education, ed. Gary E.McPherson and
Graham F.Welch, vol. 1, chap.3.6, p.404. NewYork: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
Chapter5
1. Kodly, Childrens Choirs, Selected Writings, pp.121122.
Index
Above thePlain for teaching eighth note followed by two sixteenth

in external upbeat unit plan, 255t, 261t, notes,5960
264t,266t for teaching external upbeat,9495
in high do unit plan, 243t, 249t,250t for teaching highdo,88
as listening example,153 for teaching internal upbeat,8485
All Around the Brickyard,139 for teaching low la,6566
All Around the Buttercup,174t for teaching lowso,77
alternate ending, and developing improvisation for teaching two sixteenth notes followed by eighth
skills, 12728,129 note,7172
antiphonal singing,134 aural inner hearing, and developing reading skills,
Appalachian Spring (Copland),96 118,122
Aquaqua Del AOmar,93t aural practice
Are You Sleeping? and teaching eighth note followed by two sixteenth
in eighth note followed by two sixteenth notes,6061
notes unit plan, 182t,184t and teaching external upbeat,95
in grade two review unit plan, 169t, 177t, and teaching high do,8889
179t,181t and teaching internal upbeat,85
in low la unit plan, 195t,205t and teaching low la,6667
assessment(s),267 and teaching low so,7778
for eighth note followed by two sixteenth and teaching two sixteenth notes followed by
notes, 26770t eighth note,7273
for external upbeat, 28487t
for high do, 28184t Bach, Johann Sebastian
for internal upbeat, 27981t Badinerie, Sonata in b minor, 63, 75, 96, 151,
of lessons,168 152, 153, 196t,220t
for low la, 27073t Concerto for Four Harpsichords, BVW 1065, 154t,
for low so, 27679t 211t, 213t,215t
for two sixteenth notes followed by Musette in D, Anna Magdalenas Notebook,75
eighth note, 27376t Sleepers Wake, Cantata No. 140, 97,153
assimilativephase Badinerie, Sonata in b minor(Bach)
connecting lesson plans to,98t as listening example, 151, 152,153
purpose and stagesof,97 in low la unit plan,196t
for teaching eighth note followed by two in low so unit plan,220t
sixteenth notes,6064 and teaching eighth note followed by two sixteenth
for teaching external upbeat,9597 notes,63
for teaching high do,8893 and teaching external upbeat,96
for teaching internal upbeat,8586 and teaching two sixteenth notes followed by
for teaching low la,6667 eighth note,75 291
for teaching low so,7782 Band of Angels, 93t,96
for teaching two sixteenth notes followed Bartk,Bla
by eighth note,7275 For Children,93
associativephase An Evening in the Village, Hungarian
connecting lesson plans to,98t Sketches,152
presentation lesson plan for,1059t Mikrokosmos, 82, 152, 208t,234t
purpose and stagesof,97 Pentatonic Tune, For Children,152
Index
beat in internal upbeat presentation lesson, 51t, 52t,

and part-work skills, 134,135 54t,56t
reinforcing, with instruments,146 in internal upbeat unit plan, 231t, 239t, 240t,
Beethoven, Ludwig van, String Quartet No. 4 in 241t,242t
C minor, Allegro, 225t,227t Charlie over the Ocean, 75t, 220t,230t
La Bella Hortelana,153 Chatter with the Angels, 169t, 178t,179t
Bernstein, Leonard, Mambo, West Side Story, 190t, Cherry Tree Carol, The,152
192t, 221t,223t Chickalileeo
Big Fat Biscuit in eighth note followed by two sixteenth notes
in eighth note followed by two sixteenth notes unit plan, 182t, 186t,192t
unit plan, 182t, 183t, 191t, 192t,194t in external upbeat unit plan,265t
in low la presentation lesson plan,107t in grade two review unit plan, 169t, 175t,176t
in low la unit plan, 195t, 197t, 204t,205t in internal upbeat unit plan, 233t, 235t, 237t,
in low so unit plan, 219t,224t 239t,241t
Black Jack Davy,152 as listening example,151
Blow, Boys, Blow,152 and teaching eighth note followed by two
Blue, 169t, 172t,179t sixteenth notes,58t
Bluebird Through My Window in two sixteenth notes followed by eighth note
in eighth note followed by two sixteenth notes lesson, 155t,158t
unit plan, 182t, 186t,189t in two sixteenth notes followed by eighth
in grade two review unit plan,179t note unit plan, 207t, 209t, 211t, 213t,
in low la unit plan, 195t,197t 215t,217t
body canon, and developing part-work skills,136 childrens choir, music for,141
Bought Me a Cat,199t Circa Mea Pectora, Carmina Burana (Orff),
Bounce High, Bounce Low, 139,244t 75,222t
Bow WowWow Circle Round the Zero,86t
and developing part-work skills, 136,139 cognitivephase
in grade two review unit plan, 169t, 172t, 173t, connecting lesson plans to,98t
175t, 177t,178t preparation/practice lesson plan framework
in low la lesson plan, 163t,165t for, 99105t
in low la unit plan,201t purpose and stagesof,97
as partner song,139 for teaching eighth note followed by two
breathing, 11415,117 sixteenth notes,5859
Button, You Must Wander for teaching external upbeat,9394
in eighth note followed by two sixteenth notes for teaching highdo,87
unit plan, 182t, 190t, 191t,193t for teaching internal upbeat,8384
in grade two review unit plan, 169t, 174t, for teaching low la,6465
179t,181t for teaching lowso,76
in low la unit plan, 195t, 201t,205t for teaching two sixteenth notes followed by
Bye, Baby Bunting eighth note,7071
in high do unit plan,246t combination vowels,115
and teaching internal upbeat, 82t,85 Comedians Gallop, Op.26 No. 2, Presto
(Kabalevsky), 75,152
Cairo,153 Come Thru NaHurry
call-and-response singing,134 in external upbeat unit plan, 255t, 256t, 264t,
Canoe Song, 255t, 257t, 258t,259t 265t,266t
canon(s) as partner song,139
292 and developing instrument skills,146 composition
and developing part-work skills, 13637, in grade three curriculum,78
139,14041 in grade two review unit plan,170t
and developing reading skills,119 Concerto for Four Harpsichords, BVW 1065
and teaching lowso,78 (Bach), 154t, 211t, 213t,215t
CedarSwamp conducting,85
in high do unit plan, 243t, 244t, 245t, 251t, Copland,Aaron
253t,254t Appalachian Spring,96
Index
Goodbye, Old Paint, Billy the Kid Suite, in two sixteenth notes followed by eighth note
183t,185t lesson,159t
Shaker Hymn, Appalachian Spring,153 in two sixteenth notes followed by eighth note unit
Cotton Eye Joe,164t plan, 207t, 209t, 213t, 216t,218t
creativity, in Kodly concept, 3. See also composition; dominant chord roots,14445
improvisation; movement do pentatonic, song list for teaching,38t
critical thinking Down Came aLady
in grade three curriculum,67 and developing part-work skills,139
in Kodly concept,3 in external upbeat unit plan, 257t, 259t,263t
cultural heritage, students as stewardsof,3 and teaching internal upbeat, 82t,86
curriculum Draw Me a Bucket of Water,26t
in Kodly concept,14 drones,13738
and lesson plan design,1116 Dvok, Antonin, Largo, New World
prompt questions for constructing,810 Symphony,175t
sample, for grade three,48 dynamic markings,116
Dance,Josey ear, memorizing by,132

in high do unit plan, 243t, 245t, 247t, 249t,251t Ecce Gratum, Carmina Burana (Orff), 93,153
in internal upbeat lesson,49t eighth note(s)
in internal upbeat unit plan, 231t, 232t, 234t, assessment for, followed by two sixteenth notes,
236t,238t 26770t
in low la lesson plan,165t assessment for two sixteenth notes followed by,
and low so assessment, 27679t 27376t
in low so unit plan, 219t, 220t, 222t, 224t, 226t, lesson plan for two sixteenth notes and, 110t, 111t,
228t,230t 112t, 15456t
and teaching external upbeat,96 listening examples for, followed by two sixteenth
and teaching low so, 75t, 76, 77,79,80 notes,151
in two sixteenth notes followed by eighth note listening examples for two sixteenth notes followed
lesson,155t by,152
in two sixteenth notes followed by eighth note unit song list for teaching,4344t
plan, 207t, 208t, 210t, 211t, 214t,216t song list for teaching, followed by two sixteenth
Dance of the Sugar Plum Fairies, The Nutcracker notes,39t
Suite (Tchaikovsky),197t song list for teaching two sixteenths followed
Daughter, Will You Marry?,152 by,4041t
Debka Hora, 58t,151 teaching strategies for, followed by two sixteenth
diction,11516 notes,5764
Didnt My Lord Deliver Daniel,153 teaching strategy for two sixteenth notes followed
Dinah by,7075
in eighth note followed by two sixteenth notes unit unit plan for, followed by two sixteenth notes,
plan, 186t,189t 18294t
in grade two review unit plan, 169t, 178t,180t unit plan for two sixteenth notes followed by,
in internal upbeat unit plan, 233t, 235t, 237t, 239t,241t 20718t
as partner song,139 error identification, and developing reading skills,
in two sixteenth notes followed by eighth note 118,122
lesson,155t evaluations. See assessment(s)
in two sixteenth notes followed by eighth note unit Evening in the Village, An, Hungarian Sketches
plan, 209t, 211t, 213t,215t (Bartk),152
diphthongs,116 Evening Prayer, Hnsel und Gretel 293
Do, Do, Pity MyCase (Humperdinck),258t
in external upbeat unit plan, 255t, 257t, 263t,265t externalupbeat
in internal upbeat lesson, 48t, 52t,55t assessment for, 28487t
in internal upbeat unit plan, 231t, 232t, 233t, 235t, listening examples for,153
240t,242t song list for teaching,43t
in low la unit plan, 195t, 202t,203t teaching strategies for,9397
and teaching internal upbeat, 82t,86 unit plan for, 25556t
Index
Farmers Curst Wife, The,153 Fossils, Carnival of the Animals (Saint-Sans)

Fed MyHorse in external upbeat unit plan, 257t, 259t,261t
and developing creative movement skills,149 in high do unit plan,245t
directions for playing,27t in internal upbeat lesson,47t
and eighth note followed by two sixteenth notes in internal upbeat unit plan, 233t, 235t,237t
assessment, 26770t Four White Horses,136
in eighth note followed by two sixteenth notes unit Frosty Weather, 169t,180t
plan, 182t, 183t, 185t, 187t, 189t, 19192t,194t
in grade two review unit plan, 169t, 172t,174t games. See singinggames
in low la lesson plan, 164t, 166t,167t GoldenRing
in low la unit plan, 195t, 196t, 198t, 200t,202t directions for playing,28t
and teaching eighth note followed by two sixteenth in external upbeat unit plan, 255t,263t
notes, 58, 5960,62 in high do unit plan, 251t,252t
in two sixteenth notes followed by eighth note Goodbye, Old Paint, Billy the Kid Suite (Copland),
lesson,155t 183t,185t
in two sixteenth notes followed by eighth note unit grade two review, 16981t
plan, 207t, 209t,211t Great Big House in New Orleans
fill in theblank and developing creative movement skills,149
and developing improvisation skills,129 directions for playing,28t
and developing writing skills, 125,126 in eighth note followed by two sixteenth notes unit
final note, and part-work skills,135 plan, 182t,184t
finger staff, and developing reading skills,121 in grade two review unit plan, 169t, 172t,
Firefly 174t,177t
in grade two review unit plan, 169t, 176t,179t and teaching internal upbeat,86
in low la unit plan, 195t,203t Grof, Ferde, On the Trail, Grand Canyon Suite, 93,
Fire in the Mountain 153,256t
directions for playing,27t
in eighth note followed by two sixteenth notes unit hand games,148
plan,191t handsigns
in grade two review unit plan, 169t, 178t, and developing part-work skills,138
180t,181t and developing reading skills,120
in low la unit plan, 195t, 200t, 201t,203t and inner hearing,124
and teaching eighth note followed by two sixteenth memorization from,13031
notes,58t and teaching eighth note followed by two sixteenth
in two sixteenth notes followed by eighth note unit notes,60,61
plan, 207t, 213t,215t and teaching high do,90,91
flashcards and teaching internal upbeat,86
and developing reading skills,120 and teaching lowla,67
and inner hearing,124 and teaching low so,78,80
focus songs,49 and teaching two sixteenth notes followed by
folk songs andmusic eighth note,72,73
identifying and changing form of,133 and tuneful singing,116
pentatonic, in three parts,140 Happy Farmer, The, Album for the Young
in repertoire,1718 (Schumann), 96,244t
rhythm canons based on,137 harmonic functions,14445
and students as stewards of cultural heritage,3 Haydn, Franz Joseph, Surprise Symphony, 157t,216t
in thirds and sixths,144 Head and Shoulders, 75t,148
294 For Children (Bartk),93 Here Comes a Bluebird
form directions for playing,29t
and developing creative movement skills,148 in grade two review unit plan, 169t, 172t,176t
and developing improvisation skills,12930 in low la lesson plan, 163t,165t
and developing reading skills, 117,121 in low la unit plan,201t
in grade three curriculum,7 highdo
in grade two review unit plan,171t assessment for, 28184t
understanding,13233 listening examples for,153
Index
song list for teaching,43t IdaRed

teaching strategies for,8693 in eighth note followed by two sixteenth notes unit
unit plan for, 24354t plan, 182t, 183t, 185t, 188t, 192t,193t
Hill and GullyRider in external upbeat unit plan,265t
in external upbeat unit plan, 255t, 265t,266t in grade two review unit plan, 169t, 174t,177t
as listening example,152 in internal upbeat lesson,48t
Hogs in the Cornfield in internal upbeat unit plan, 231t, 233t, 235t, 237t,
directions for playing,29t 239t,241t
in external upbeat unit plan, 255t, 256t, 257t, 260t,262t in low so unit plan, 219t, 220t,226t
and high do assessment, 28184t and teaching eighth note followed by two sixteenth
in high do unit plan, 243t, 244t, 246t, 248t, 250t, notes,58t
251t, 253t,254t and teaching two sixteenth notes followed by
in internal upbeat presentation lesson, 51t,55t eighth note,74
in internal upbeat unit plan, 231t, 232t, 233t, 237t, in two sixteenth notes followed by eighth note
239t,242t lesson, 155t, 158t,159t
as listening example,151 in two sixteenth notes followed by eighth note unit
in low la lesson plan, 163t, 164t, 16566t,167t plan, 207t, 209t, 211t, 213t, 215t, 216t, 217t,218t
in low la unit plan, 195t, 196t, 199t, 200t, I Lost the Farmers DairyKey
201t,204t and external upbeat assessment, 28487t
in low so unit plan, 219t, 220t, 222t, 224t, in external upbeat unit plan, 255t, 256t, 257t, 260t,
226t,228t 262t, 264t, 265t,266t
and teaching eighth note followed by two sixteenth in high do unit plan, 243t, 244t, 246t, 248t, 252t,
notes,58t 253t,254t
and teaching high do, 86t, 88, 90,9192 in internal upbeat presentation lesson,52t
and teaching two sixteenth notes followed by in internal upbeat unit plan, 231t, 232t, 233t,
eighth note, 7071,73,74 234t,240t
and two sixteenth notes followed by eighth note as listening example,153
assessment, 27376t in low so unit plan, 220t, 229t,230t
in two sixteenth notes followed by eighth note and teaching external upbeat, 9394,95
lesson, 155t,158t and teaching high do, 86t, 90,9192
in two sixteenth notes followed by eighth note unit improvisation
plan, 207t, 208t, 210t, 212t, 214t, 216t,218t developing,12731
Holst, Gustav, Mars, The Planets,229t and developing creative movement skills,147
Hop, Old Squirrel eighth note followed by two sixteenth notes
directions for playing,29t assessment,270t
in low la unit plan, 195t, 203t,204t in eighth note followed by two sixteenth notes unit
and teaching two sixteenth notes followed by plan,183t
eighth note, 70t,73 external upbeat assessment, 28687t
in two sixteenth notes followed by eighth note in external upbeat unit plan,256t
lesson,159t in grade three curriculum,78
in two sixteenth notes followed by eighth note unit in grade two review unit plan,170t
plan, 216t,218t high do assessment,284t
Hot Cross Buns, 141, 169t,175t in high do unit plan,244t
How Many Miles to Babylon? internal upbeat assessment,281t
directions for playing,2930t in internal upbeat unit plan,232t
in eighth note followed by two sixteenth notes unit low la assessment, 27273t
plan, 182t, 183t, 184t, 187t, 190t, 192t,194t in low la unit plan,196t
in grade two review unit plan, 169t, 176t, low so assessment, 27879t 295
177t,179t in low so unit plan,220t
and teaching eighth note followed by two sixteenth preparation/practice lesson plan for,11112
notes,58t and teaching eighth note followed by two sixteenth
Humperdinck, Engelbert, Evening Prayer, Hnsel notes,60,62
und Gretel,258t and teaching external upbeat,95,96
Hunt the Cows, 162t, 165t,195t and teaching high do, 89,9192
Hush, Little Minnie,30t and teaching internal upbeat,85,86
Index
improvisation (Cont.) in low la unit plan, 195t, 196t, 202t, 204t,

and teaching low la, 67,6869 205t,206t
and teaching low so,78,81 in low so unit plan, 219t, 220t, 221t, 223t, 225t,
and teaching two sixteenth notes followed by 227t,229t
eighth note,73,74 and teaching low la,64t
two sixteenth notes followed by eighth note and teaching two sixteenth notes followed by
assessment, 27576t eighth note,70t
in two sixteenth notes followed by eighth note unit in two sixteenth notes followed by eighth note
plan,208t lesson, 158t,159t
inner hearing in two sixteenth notes followed by eighth note unit
developing,12425 plan, 207t, 209t, 216t, 217t,218t
and developing memory skills,131 John Kanaka
and developing reading skills, 11718,121 directions for playing,3031t
in grade three curriculum,7 in external upbeat unit plan, 255t, 256t,260t
in grade two review unit plan,171t in high do unit plan, 243t, 249t, 252t, 253t,254t
and teaching eighth note followed by two sixteenth in internal upbeat lesson, 48t,49t
notes,61,62 in internal upbeat presentation lesson,51t
and teaching external upbeat,95 in internal upbeat unit plan, 231t, 235t, 236t,
and teaching high do,89,92 238t,239t
and teaching internal upbeat,85 and teaching high do,86t
and teaching low la,67,69 Johnny Cuckoo,58t
and teaching low so,78,81 JohnsonBoys
and teaching two sixteenth notes followed by and developing creative movement skills,148
eighth note,73,74 in external upbeat unit plan, 255t, 257t, 259t,
inner smile,116 263t,265t
instruments in internal upbeat unit plan, 231t, 232t, 237t,
appropriate,145 240t,242t
developing skills,14547 in low so unit plan, 219t, 223t, 224t,227t
in grade three curriculum,56 Jolly Miller,The
in grade two review unit plan,171t directions for playing,31t
teaching progression,145 in external upbeat unit plan, 255t, 256t, 257t,265t
internalupbeat in high do unit plan, 243t, 246t, 250t,252t
assessment for, 27981t as listening example,153
listening examples for,152
presentation lesson plan for,5056t Kabalevsky, Dimitri
sample preparation/practice lesson for,4749t Comedians Gallop, Op.26, No. 2, Presto,
song list for teaching,42t 75,152
teaching strategies for,8286 Toccatina, Thirty Childrens Pieces, Op.27, Book
unit plan for, 23142It 1, No.7,96
intervals kinesthetic activities
and teaching high do, 89,9091 for teaching eighth note followed by two sixteenth
and teaching low la, 66,6768 notes,5859
and teaching low so, 78,7980 for teaching external upbeat,9394
I Ride an Old Paint,151 for teaching highdo,87
I See the Moon,139 for teaching internal upbeat,83
for teaching lowla,64
Jesse James,152 for teaching lowso,76
296 Jim AlongJosie for teaching two sixteenth notes followed by eighth
in eighth note followed by two sixteenth notes unit note,7071
plan, 182t, 185t,186t kinesthetic canon, and developing part-work
in external upbeat unit plan,265t skills,136
in high do unit plan, 245t, 247t,251t King Cotton March (Sousa),247t
in internal upbeat presentation lesson,54t King Kong Kitchie
in internal upbeat unit plan, 231t,241t in external upbeat unit plan, 255t,263t
in low la presentation lesson plan, 107t,109t in high do unit plan, 243t,245t
Index
in internal upbeat presentation lesson,54t in Kodly concept,4

in internal upbeat unit plan, 231t, 240t, 241t,242t in low la unit plan,196t
in low so unit plan, 219t, 220t, 225t,228t in low so unit plan,220t
in two sixteenth notes followed by eighth note and teaching eighth note followed by two sixteenth
lesson,158t notes,63
in two sixteenth notes followed by eighth note unit and teaching external upbeat,9697
plan, 207t, 214t, 216t,217t and teaching highdo,93
Kings Land,3132t and teaching lowso,82
Knock the Cymbals and teaching two sixteenth notes followed by
directions for playing,32t eighth note,70,75
in eighth note followed by two sixteenth notes unit in two sixteenth notes followed by eighth note unit
plan, 182t, 190t,193t plan,208t
in grade two review unit plan, 169t, 173t,180t literacy, in grade three curriculum, 67. See also
Kodly,Zoltn reading; writing
Ksznt [A Birthday Greeting], 82,152 Little Johnny Brown,32t
Peacock Variations,82 Little Papoose, 64t,219t
on teaching technique,160 LizaJane
Kodly concept, 14,1718 in external upbeat unit plan,255t
Ksznt [A Birthday Greeting] (Kodly), 82,152 as listening example,153
as partner song,139
labelingsounds and teaching high do,86t
presentation lesson plan for,157t Long Legged Sailor,3233t
and teaching eighth note followed by two sixteenth lowla
notes,59 assessment for, 27073t
and teaching external upbeat,94 listening examples for,15152
and teaching highdo,88 preparation/practice lesson plan for, 100105t
and teaching internal upbeat,84 presentation lesson plan for,1069t
and teaching lowla,65 song list for teaching,3940t
and teaching lowso,77 teaching strategies for,6470
and teaching two sixteenth notes followed by transitions in lesson plan for,16267
eighth note,71 unit plan for, 195206t
La Bella Hortelana,153 lowso
Ladybird,138 assessment for, 27679t
Land of the Silver Birch,139 listening examples for,152
Largo, New World Symphony (Dvok),175t teaching strategies for,7582
lesson plan(s). See also preparation/practice lesson unit plan for, 21930t
plan; presentation lesson plan; unit plan(s) Lullaby, 64t,219t
based on teaching strategies,97112
developing,1011 major scales, writing,127
evaluating,168 Mama Buy Me a Chiney Doll, 58t, 182t, 188t,189t
general points for,16768 Mambo, West Side Story (Bernstein), 190t, 192t,
transitions in,16167 221t,223t
letter names,13233 manipulatives, and developing writing skills,125
Let Us Chase the Squirrel Marriage of Figaro Overture, The (Mozart), 184t,
in low la lesson plan, 163t,165t 186t,188t
in low la unit plan, 195t, 197t, 199t, 201t,203t Mars, The Planets (Holst),229t
listening matching, and developing reading skills, 118,122
and developing instrument skills,146 melodic concepts and elements 297
in eighth note followed by two sixteenth notes unit basic lesson plan design for,5253t
plan,183t pedagogical song list for teaching,3844t
in external upbeat unit plan,256t reading and writing, in curriculum,67
in grade three curriculum,8 melodic ostinato
in grade two review unit plan,170t and developing improvisation skills,129
in high do unit plan,244t and developing part-work skills,138
in internal upbeat unit plan,232t reinforcing, with instruments,146
Index
melody and teaching two sixteenth notes followed by

and developing instrument skills,147 eighth note,74
and developing part-work skills,13941 musicianshipskills
and harmonic functions,14445 creative movement,14751
improvisation activities, 8,12931 form,13233
and inner hearing,124 improvisation,12731
introducing songs using melodic focus,4445 inner hearing,12425
reading activities,12023 musical memory,13032
writing activities,12527 part work,13445
memory. See musicalmemory reading,11723
Mikrokosmos (Bartk) tuneful singing,11317
in internal upbeat unit plan,234t writing,12527
as listening example,152 music literacy, in grade three curriculum, 67. See
and teaching lowso,82 also reading; writing
in two sixteenth notes followed by eighth note unit Mussorgsky, Modest, Promenade, Pictures at an
plan,208t Exhibition, 82, 152, 232t,234t
minor pentatonic, song list for teaching,40t
minor scale, writing,127 New Mexico March (Sousa), 249t, 250t,253t
movement Night Herding Song,151
developing,14751 notation
and developing improvisation skills,130 and developing reading skills, 120,12223
in eighth note followed by two sixteenth notes unit and developing writing skills, 125, 126,127
plan,183t and inner hearing,124
in external upbeat unit plan,256t memorization from,131
form and,133 and teaching eighth note followed by two sixteenth
in grade three curriculum,5 notes,5960
in high do unit plan,244t and teaching external upbeat,9495
in internal upbeat unit plan,232t and teaching highdo,88
and introducing songs,44 and teaching internal upbeat,8485
in low la unit plan,196t and teaching low la,6566
in low so unit plan,220t and teaching lowso,77
in two sixteenth notes followed by eighth note unit and teaching two sixteenth notes followed by
plan,208t eighth note,72
Mozart, Wolfgang Amadeus note, second part to known song by, 142,14344
The Marriage of Figaro Overture, 184t, 186t,188t note-against-note singing,138
Symphony No. 15 in G major, K 124, II. Andante,
172t, 174t,176t O Fly Around
Symphony No. 15 in G major, K 124, Menuetto in eighth note followed by two sixteenth notes unit
and Trio, 178t,180t plan, 182t,184t
Musette in D, Anna Magdalenas Notebook in grade two review unit plan, 169t, 18081t
(Bach),75 in two sixteenth notes followed by eighth note
Mush Toodin lesson,155t
in external upbeat unit plan, 255t, 257t, in two sixteenth notes followed by eighth note unit
259t,263t plan, 207t,211t
in internal upbeat unit plan, 231t, 240t,242t Oh, No, John,93t
in low so unit plan, 219t, 225t, 226t, 228t,229t Old Betty Larkin, 33t,148
musicalmemory Old BrassWagon
298 developing,13032 and developing creative movement skills,148
in grade three curriculum,7 directions for playing,33t
in grade two review unit plan,171t in high do unit plan, 243t,249t
and teaching eighth note followed by two sixteenth in low so unit plan, 219t, 220t, 223t, 228t,229t
notes,62 in two sixteenth notes followed by eighth note
and teaching high do,91,92 lesson, 155t,156t
and teaching low la,68,69 in two sixteenth notes followed by eighth note unit
and teaching low so,80,81 plan, 207t, 211t, 212t, 213t,215t
Index
Old Joe Clark,153 and developing memory skills,132

Old MacDonald, 75t,220t in grade two review unit plan,170t
Old Mr. Rabbit and teaching eighth note followed by two sixteenth
directions for playing,34t notes, 60,6263
in eighth note followed by two sixteenth notes unit and teaching external upbeat,95
plan, 182t, 187t,188t and teaching high do, 89,9293
in external upbeat unit plan, 255t, 257t, 259t,261t and teaching internal upbeat,85
in high do unit plan, 243t, 245t, 246t, 247t, 248t, and teaching low la,66,69
249t, 250t,251t and teaching low so, 78,8182
and internal upbeat assessment, 27981t and teaching two sixteenth notes followed by
in internal upbeat lesson, 48t, 51t,55t eighth note,7275
in internal upbeat unit plan, 231t, 234t, 236t, 238t, two-part rhythm reading,119
239t, 241t,242t Paw PawPatch
as listening example,153 directions for playing,34t
in low la lesson plan, 107t, 162t,165t in eighth note followed by two sixteenth notes unit
in low la unit plan, 195t, 199t, 203t, 204t,205t plan, 186t,189t
in low so unit plan, 219t, 221t, 222t, 223t, in external upbeat unit plan, 255t, 257t, 259t,263t
227t,229t in grade two review unit plan, 169t, 176t,
and teaching internal upbeat, 82t, 83,84,86 178t,180t
and teaching low la,64t in internal upbeat unit plan, 233t, 235t, 237t,
OldTexas 239t,241t
in high do unit plan, 243t,247t in two sixteenth notes followed by eighth note
in low so unit plan, 219t, 220t, 221t, 227t,228t lesson,155t
in two sixteenth notes followed by eighth note in two sixteenth notes followed by eighth note unit
lesson, 158t,159t plan, 209t, 211t, 213t,215t
in two sixteenth notes followed by eighth note unit Peacock Variations (Kodly),82
plan, 207t, 217t,218t pentatonic melody,13941
On the Trail, Grand Canyon Suite (Grof), 93, pentatonicscale
153,256t in canon,140
Orff,Carl writing,12627
Circa Mea Pectora, Carmina Burana, 75,222t Pentatonic Tune, For Children (Bartk),152
Ecce Gratum, Carmina Burana, 93,153 performance
ostinati. See also melodic ostinato; rhythmic ostinato in grade three curriculum,56
and developing creative movement skills,148 in Kodly concept,3
and developing part-work skills,138 Phoebe in Her Petticoat
and teaching lowso,78 in eighth note followed by two sixteenth notes unit
Over theRiver plan, 182t, 189t, 190t,191t
and developing creative movement skills,147 in high do unit plan, 245t, 249t,251t
directions for playing,34t in improvisation practice lesson plan,112t
in internal upbeat lesson, 48t,54t and low la assessment, 27073t
in internal upbeat unit plan, 231t, 235t, 237t,241t in low la lesson plan, 163t,166t
in low la lesson plan, 163t,166t in low la preparation/practice lesson plan, 100t,
in low la unit plan, 195t, 196t, 198t,200t 1023t,105t
in low so unit plan, 219t, 220t,228t in low la presentation lesson plan, 106t,108t
and teaching low so, 75t,79,80 in low la unit plan, 195t, 196t, 198t, 200t, 202t,
and teaching two sixteenth notes followed by 204t, 205t,206t
eighth note,70t in low so unit plan, 219t, 220t, 221t, 223t,
in two sixteenth notes followed by eighth note 227t,229t 299
lesson, 155t,159t in reading practice lesson plan,110t
in two sixteenth notes followed by eighth note unit and teaching low la, 64, 6566,67
plan, 207t, 211t, 215t, 216t,218t in two sixteenth notes followed by eighth note
lesson,156t
partner songs,139 in two sixteenth notes followed by eighth note unit
partwork plan, 207t, 208t, 210t, 212t,214t
developing,13445 in writing practice lesson plan,111t
Index
Pink, DanielH.,2 in low la unit plan,196t

Pizza Pizza,35t low so assessment,277t
Poor Little Kitty Cat,64t in low so unit plan,220t
Portland Town,151 preparation/practice lesson plan for,10910
posture,11314 and teaching eighth note followed by two sixteenth
Pourquoi, 86t,153 notes,6162
preparation/practice lessonplan and teaching external upbeat,9596
basic template for,46t and teaching highdo,90
for cognitive phase, 99105t and teaching internal upbeat,86
componentsof,11 and teaching lowla,67
creating,4549 and teaching lowso,79
designing,15356 and teaching two sixteenth notes followed by
example,4749t eighth note,73
explanation of,1213t two sixteenth notes followed by eighth note
for improvisation practice,11112 assessment,274t
for reading practice,10910 in two sixteenth notes followed by eighth note unit
in unit plans,161 plan,208t
for writing practice,111 repertoire
presentation lessonplan alphabetized song list,1822t
for associative phase,1059t appropriate,3
basic template for,50t for eighth note followed by two sixteenth notes
components of, 13t,15t unit plan,182t
creating,4956 in grade three curriculum,9
designing,15659 for grade two review unit plan,169t
explanation of, 14t,15t in Kodly concept,12
in unit plans,161 for low la unit plan,195t
Prizeman, Robert,258t for low so unit plan, 21920t
Promenade, Pictures at an Exhibition (Mussorgsky) selecting,1718
in internal upbeat unit plan, 232t,234t singing games,2324t
as listening example,152 for two sixteenth notes followed by eighth note
and teaching lowso,82 unit plan,207t
props,148 resonance,115
retrograde,118
quadruple meter, song list for teaching,38t rhythm
quarter note, song list for teaching,42t and developing instrument skills,147
question and answer, and developing improvisation and developing part-work skills, 135,139
skills,130 improvisation activities, 8,12729
and inner hearing,124
Rain, Rain,244t introducing songs using rhythmic focus,44
reading reading activities,11719
developing,11723 reinforcing, with instruments,146
eighth note followed by two sixteenth notes writing activities,125
assessment, 26869t rhythm canons,13637
in eighth note followed by two sixteenth notes unit rhythm chain,128
plan,183t rhythmic concepts and elements
external upbeat assessment, 28586t basic lesson plan design for,5253t
in external upbeat unit plan,256t pedagogical song list for teaching,3844t
300 in grade three curriculum,67 reading and writing, in curriculum,7
in grade two review unit plan,170t rhythmic ostinato
high do assessment, 28283t and developing improvisation skills,12728
in high do unit plan,244t and part-work skills,13536
internal upbeat assessment,280t reinforcing, with instruments,146
in internal upbeat unit plan,232t rhythmic syllables
in Kodly concept,2 aural rhythm canon with,137
low la assessment, 27172t basic lesson plan template for,50t
Index
and teaching external upbeat,95 Saint-Sans, Camille, Fossils, Carnival of the

and teaching lowla,66 Animals
visual rhythm canon with,13637 in external upbeat unit plan, 257t, 259t,261t
Riding in theBuggy in high do unit plan,245t
in external upbeat unit plan, 255t, 256t,264t in internal upbeat lesson,47t
in high do unit plan, 243t, 245t, 252t,254t in internal upbeat unit plan, 233t, 235t,237t
in internal upbeat unit plan, 231t, 237t, 238t,239t San Serafin del monte,61
and teaching high do,86t Scarlatti, Domenico, Sonata in D minor, K.64,63
Robin Hood and the Peddler,151 Schubert, Franz, Rosamunde in G major, 63,151
Rocky Mountain Schumann, Robert, The Happy Farmer, Album for
and developing part-work skills,139 the Young, 96,244t
in eighth note followed by two sixteenth notes unit Scotlands Burning,75t
plan, 182t, 183t, 185t, 186t,188t second grade review, 16981t
in grade two review unit plan, 169t, 172t, 173t, Seeger, Ruth Crawford,18
175t,178t See-LineWoman
in low la lesson plan, 163t,165t in low so unit plan, 219t,227t
in low la unit plan,201t and teaching low la,64t
and teaching lowso,82 and teaching low so,75t
Rosamunde in G major (Schubert), 63,151 sequencing,2
Rosie, DarlingRosie Shaker Hymn, Appalachian Spring (Copland),153
directions for playing,35t Shoes ofJohn
in eighth note followed by two sixteenth notes unit in external upbeat unit plan, 255t, 264t,266t
plan, 182t, 193t,194t in high do unit plan, 243t, 253t,254t
in low la presentation lesson plan,107t and teaching external upbeat, 93t,95
in low la unit plan, 195t, 196t, 198t, 201t, 204t, singing
205t,206t abilities of third graders,3
in low so unit plan, 219t, 221t, 223t, 225t, in grade three curriculum,5
227t,229t in Kodly concept,1
and teaching low la,64t and teaching internal upbeat,85
rote singinggames
second part to known song by,14142 directions for playing,2637t
two-part song by,143 glossary of terms,2526t
Russian Dance, The Nutcracker Suite, Op.71 in Kodly concept,1718
(Tchaikovsky) list of songs,2324t
in low la lesson plan, 162t,164t sixteenthnotes
in low la unit plan, 198t, 199t,201t assessment for eighth note followed by two,
26770t
Sailing oer theOcean assessment for two, followed by eighth note,
directions for playing,35t 27376t
in internal upbeat presentation lesson,51t lesson plan for two, and one eighth note, 110t,
in internal upbeat unit plan, 231t,239t 111t,112t
as listening example,151 lesson plan for two, followed by eighth note,
in low la presentation lesson plan,108t 15456t
in low la unit plan, 195t, 205t,206t listening examples for eighth note followed by
in low so unit plan, 219t,221t two,151
and teaching eighth note followed by two sixteenth listening examples for two, followed by eighth
notes,58t note,152
and teaching external upbeat,96 song list for teaching, followed by eighth 301
and teaching low so, 75t,80 note,4041t
and teaching two sixteenth notes followed by teaching strategies for eighth note followed by
eighth note,70t two,5764
in two sixteenth notes followed by eighth note teaching strategy for two, followed by eighth
lesson,159t note,7075
in two sixteenth notes followed by eighth note unit unit plan for eighth note followed by two, 18294t
plan, 207t, 209t, 216t,218t unit plan for two, followed by eighth note, 20718t
Index
sixths, singing folk songs in,144 for high do,8693

Skin and Bones, 64t, 219t,221t for internal upbeat,8286
Skipping Rope Game (Early in the Morning), for low la,6470
36t,70t for low so,7582
Skip to My Loo, 58t,151 for two sixteenth notes followed by eighth
Sleepers Wake, Cantata No. 140 (Bach), 97,153 note,7075
SMART Board,124 teaching technique, Kodly on,160
Snail, Snail,208t tempo markings,11617
solfge syllables thirds, singing folk songs in,144
basic lesson plan template for,50t This Lady,151
and developing reading skills, 120,12223 three-part singing,138
and developing writing skills,126 Three Rogues,The
memorization from,131 in external upbeat unit plan, 255t, 264t,266t
pentatonic melodies as canons with,14041 in high do unit plan, 243t,253t
and teaching eighth note followed by two sixteenth and teaching external upbeat,93t
notes,60 Thunderer, The (Sousa)
and teaching high do,8889 in external upbeat unit plan, 263t,265t
and teaching low so,7778 in internal upbeat presentation lesson, 50t,53t
and teaching two sixteenth notes followed by in internal upbeat unit plan, 239t,240t
eighth note,72 in low la unit plan, 203t,205t
Sonata in D minor, K.64 (Scarlatti),63 in two sixteenth notes followed by eighth note unit
Song of the Snowflakes,152 plan,209t
songs Tideo
alphabetized list,1822t and developing part-work skills,139
introducing,4445 directions for playing,3637t
partner,139 in eighth note followed by two sixteenth notes unit
pedagogical list for teaching rhythmic and melodic plan, 186t,189t
concepts,3844t in grade two review unit plan, 169t, 175t, 177t,
sounds, labeling. See labelingsounds 178t,180t
Sousa, JohnPhilip in high do unit plan, 243t, 244t, 247t, 252t,
King Cotton March,247t 253t,254t
New Mexico March, 249t, 250t,253t in internal upbeat lesson,49t
The Thunderer, 50t, 53t, 203t, 205t, 209t, 239t, in internal upbeat unit plan, 231t, 232t, 233t, 234t,
240t, 263t,265t 235t, 236t, 237t, 239t,241t
square dancing concepts,14849 and teaching high do,86t
staggered breathing,117 in two sixteenth notes followed by eighth note
String Quartet No. 4 in C minor, Allegro lesson,155t
(Beethoven), 225t,227t in two sixteenth notes followed by eighth note unit
subdominant chord roots,14445 plan, 209t, 211t,215t
Surprise Symphony (Haydn), 157t,217t Toccatina, Thirty Childrens Pieces, Op.27, Book 1,
Symphony No. 15 in G major, K 124, II, Andante No. 7 (Kabalevksy),96
(Mozart), 172t, 174t,176t tone ladder, 120,124
Symphony No. 15 in G major, K 124, Menuetto and tone production,115
Trio (Mozart), 178t,180t tone set,126
tongue twisters,115
Tchaikovsky, PeterIlyich tonic chord roots,14445
Dance of the Sugar Plum Fairies, The Nutcracker tonic note,135
302 Suite,197t transitions
Russian Dance, The Nutcracker Suite, Op.71, and developing instrument skills,147
162t, 164t, 198t, 199t,201t in lesson plans,16167
teaching strategies,57 tuneful singing
developing lesson plan based on,97112 developing,11317
for eighth note followed by two sixteenth eighth note followed by two sixteenth notes
notes,5764 assessment,268t
for external upbeat,9397 external upbeat assessment, 28485t
Index
high do assessment,282t and teaching two sixteenth notes followed by

internal upbeat assessment,279t eighth note,71
low la assessment, 27071t and writing melody,125
low so assessment, 27677t visual rhythm canon,13637
two sixteenth notes followed by eighth note visuals, and introducing songs,44
assessment, 27374t vowels, combination,115
Turn the Glasses Over (Ive Been to Haarlem)
directions for playing,37t Walk Along John,75t
in high do unit plan, 243t, 251t,253t Wallflowers,37t
in low so unit plan, 219t, 220t, 222t, 228t,230t warm-up exercises,114
and teaching low so, 75t,79 Wayfaring Stranger, 151,152
in two sixteenth notes followed by eighth note Weevily Wheat, 255t, 256t, 259t, 260t, 261t,
lesson, 156t,159t 262t,263t
in two sixteenth notes followed by eighth note unit Who Killed Cocky Robin?,139
plan, 207t, 208t, 210t, 212t,218t writing
two-part song arrangements, 141,14244 developing,12527
and developing instrument skills,147
unit plan(s), 16061. See also lesson plan(s) eighth note followed by two sixteenth notes
for eighth note followed by two sixteenth notes, assessment,269t
18294t in eighth note followed by two sixteenth notes unit
for external upbeat, 25556t plan,183t
grade two review, 16981t external upbeat assessment,286t
for high do, 24354t in external upbeat unit plan,256t
for internal upbeat, 23142It in grade three curriculum,67
for low la, 195206t in grade two review unit plan,170t
for low so, 21930t high do assessment,283t
for two sixteenth notes followed by eighth note, in high do unit plan,244t
20718t internal upbeat assessment, 28081t
in internal upbeat unit plan,232t
visual inner hearing, 118,122 in Kodly concept,2
visual practice low la assessment,272t
and teaching eighth note followed by two sixteenth in low la unit plan,196t
notes,6164 low so assessment,278t
and teaching external upbeat,9597 in low so unit plan,220t
and teaching high do,9093 preparation/practice lesson plan for,111
and teaching internal upbeat,86 and teaching eighth note followed by two sixteenth
and teaching low la,6770 notes,62
and teaching low so,7882 and teaching external upbeat,96
and teaching two sixteenth notes followed by and teaching highdo,91
eighth note,7375 and teaching internal upbeat,86
visual representation and teaching lowla,68
and teaching eighth note followed by two sixteenth and teaching low so,8081
notes,59 and teaching two sixteenth notes followed by
and teaching external upbeat,94 eighth note,74
and teaching highdo,87 two sixteenth notes followed by eighth note
and teaching internal upbeat,8384 assessment,275t
and teaching lowla,65 in two sixteenth notes followed by eighth note unit
and teaching lowso,76 plan, 208t 303

04 - Houlahan e Tacka - Kodály in The Third Grade Classroom

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Kodly inthe Third Grade Classroom

Kodly Today HandbookSeries

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Published in the United States of Americaby

Oxford University Press2015

All rights reserved. No part of this publication may be reproduced, storedin

You must not circulate this work in any otherform

Library of Congress Cataloging-in-PublicationData

Ode, by Arthur OShaughnessy

[...] eratque tam turpe Musicam nescire quam litteras

Legyen AZene Mindenki [Music should belong to everyone]

1 Framing a Curriculum Based on the Kodly Concept 1

5 Unit Plans and Lesson Plans 160

Select music materials for teaching

Chapter1:Framing a Curriculum Based onthe Kodly Concept

Chapter2:Developing a Music Repertoire:Students asStewards

Chapter 3:Teaching Strategies

Chapter4:Students asPerformers:Developing Music Skills

Chapter 5: Unit Plans and Lesson Plans

Chapter6:Assessment and Evaluation

Transcending All Methods ofTeachingMusic

Vertical Alignment ofMusic Classes

New Cognitive Model forTeachingMusic

Who Should Read ThisBook? xv

Framing a Curriculum Based

The Kodly Concept

Traditional childrens songs andgames

Reading and Writing

Multiple Dimensions ofMusic

Performance skills through singing, playing an instrument, and movement

Students asStewards ofTheir Cultural Heritage

Students asCritical Thinkers

Students asCreative HumanBeings

Students asInformed Listeners

Grade 3 Music Curriculum

Students asStewards ofTheir Music Heritage:Repertoire

C. They accompany a song with a rhythmic ostinato using combinations of

Students asCritical Thinkers and Problem Solvers: Music Literacy

Students asCreative Human Beings:Improvisation

1. Rhythmic improvisation (based on the rhythmic building blocks of sung repertoire)

Students asInformed Audience Members:Listening

Prompt Questions forConstructing a Music Curriculum

Questions on Where You Are ComingFrom

Questions on Repertoire in the Classroom

Questions on Music Skills and Content in GradeThree

Questions on Tailoring Your Teaching to Student Populations

Questions on Keeping Your Teaching Relevant

Knowledge of repertoire:teaching a newsong

This is accomplished throughout a series of lessons. 11

Key Components ofLesson PlanDesign

Table1.1 Components ofthe Basic Preparation/Practice Lesson

Table1.2 Explanation ofthe Preparation/Practice LessonPlan

This period of relaxation is followed by a second period of concentration.

Table1.3 Components ofthe Basic Presentation Lesson Plan

Table1.4 Explanation ofPresentation Lesson Plan forLabeling

Table1.5 Components ofthe Basic Presentation Lesson Plan

Table1.6 Explanation ofthe Presentation Lesson Plan Design

This period of relaxation is followed by a second period of concentration.

Developing a Music Repertoire

An alphabetical list of repertoire and sources for thesesongs

Table2.1 Grade 3 Alphabetical SongList

Song Title Source

Song Title Source