Professional Documents
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Micheál Houlahan
Philip Tacka
1
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1
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Contents vii
Acknowledgments • ix
Introduction • xi
Notes • 341
Index • 343
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Acknowledgments ix
We owe a debt of gratitude to the many individuals who inspired, encouraged, and helped
us along the way. Both of us were fortunate enough to study at the Franz Liszt Academy/
Kodály Pedagogical Institute in Hungary and at the Kodály Center of America with
world-renowned Kodály experts, many of whom were Kodály’s pupils and colleagues, who
shared their knowledge with us over many years. Among them were Erzsébet Hegyi, Ildikó
Herboly-Kocsár, Lilla Gabór, Katalin Komlós, Katalin Forrai, Mihály Ittzés, Klára Kokas,
Klára Nemes, Eva Vendrai, Helga Szabó, Laszlo Eősze, Peter Erdei, and Katalin Kiss. We are
especially indebted to Katalin Forrai for her support and encouragement for the research
contained in this publication. Our research is grounded in their many valuable insights and
research.
Special thanks are due to these individuals for critically reading portions of the man-
uscript, field-testing lesson plans, and insightful suggestions regarding this approach to
instruction and learning: Nick Holland, lower school music teacher at St. Paul’s School in
Baltimore, Maryland; Lauren Bain, elementary music specialist in the Northeast School
District of San Antonio, Texas; Georgia Katsourides, music specialist in the Lancaster City
School District, Pennsylvania; and Vivian Ferchill, retired music specialist from Round
Rock, Texas.
Special acknowledgment must be made to Patty Moreno, director of the Kodály
Certification Program at Texas State University, San Marcos, for her support and continued
encouragement of this project. We would also like to thank Holly Kofod and Lisa Roebuck
for their comments, which helped us bring this book to completion.
Many of our students in Kodály Certification Programs at Texas State University;
Belmont University in Nashville, Tennessee; and the Eastman School of Music in Rochester,
New York, have all helped us shape our approach to instruction and learning presented
herein. Kristopher Brown, José Pelaez, Rebecca Morgan, Loren Tarnow, and Meredith Riggs
deserve special mention. Gratitude is due Rebecca Seekatz for her work on the game direc-
tions and for her work on the accompanying glossary of terms. Our many years working
together have not only contributed to the information we present but also served as a con-
tinuing source of inspiration in working with the pedagogical processes we have shaped.
Regarding practical matters, we would like to thank our students at Millersville University
of Pennsylvania for helping us with initial drafts of the manuscript. Special thanks are due
Jamie Duca, for her technical and hands-on assistance.
This book would not be so complete in terms of pedagogy and educational content were
it not for readings and comments from Blaithín Burns, Kodály instructor at the Blue Coat
School. She provided invaluable assistance in the initial design of Kodály in the Fifth Grade
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.
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Acknowledgments
Research for this publication was supported by a grant from Millersville University,
the State System for Higher Education in Pennsylvania. The university’s library assistance,
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
x Gabriella Montoya-Stier and Faith Knowles for their permission to include songs from their
collections El Patio de Mi Casa: 42 Traditional Rhymes, Chants, and Folk Songs from Mexico
and Vamos a Cantar. We are very grateful to Katalin Forrai’s children, András Vikár, Tamás
Vikár, and Katalin van Vooren Vikár, for permission to use materials from their mother’s
book, Music in Preschool, edited and translated by Jean Sinor, Budapest, Hungary: Kultura,
1995 (original publication 1988).
We wish to thank Suzanne Ryan, editor-in-chief of humanities and executive editor of
music at Oxford University Press, for her encouragement and critical guidance. We thank
Lisbeth Redfield, assistant editor at Oxford University Press, and Molly Morrison, who over-
saw editing and production. Very special thanks are due our copy editor, Thomas Finnegan,
for his impeccable scrutiny and thoughtful editorial assistance with our manuscript.
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Introduction xi
Purpose of Book
The primary purpose of this handbook is to give music teachers a practical guide to teach-
ing fifth grade music that is aligned with information contained in Kodály Today and with
national standards in music that promote twenty-first-century music learning. The 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 Council’s
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 Kodály philosophy of music
education. This fifth grade handbook should not be considered a substitute for reading
Kodály Today: A Cognitive Approach to Elementary Music Education; that volume is a prac-
tical and detailed guide for teaching a music curriculum to children in the fifth grade music
classroom that is aligned with national and state content standards for music education.
Together, Kodály Today and this handbook for fifth 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 how to:
This text addresses these concerns. The ideas reflected here have been field-tested and
shaped over a more than a decade of collaborative work with music specialists. The innova-
tive approach of this book, like the collaboration of music teachers with a group of research-
ers to design the contents of this publication, is truly pioneering.
xii We spell out teaching procedures that are outlined in Kodály Today and demonstrate
how they can be used within lesson plans, in considerable detail. In this handbook, we refer
to chapters in Kodály Today that explain in greater detail the relevant techniques adopted
in lesson plans. The suggestions given should be used as a point of departure for a teacher’s
own creativity and personality and need not be taken entirely literally. It is expected that
teachers will apply these suggestions in a way that is responsive to the needs, backgrounds,
and interests of their own students. The lesson plans and sample curriculums are not meant
to be comprehensive, although they are quite detailed. We expect that music instructors
will infuse these ideas with their own national, state, regional, and local benchmarks for
teaching. We appreciate that teachers must develop their own philosophy for teaching
music and their own repertoire of songs, procedures, and processes for teaching musical
skills, as well as consider such factors as the frequency of music instruction, the size of the
class, the length of the class, and current music abilities of students.
Chapter Summaries
Here are summaries of the chapters in this Grade Five Handbook.
Introduction
Summarizes the fifth grade handbook with a brief outline of all chapters.
Outstanding Features
Timely Publication
In July 2012 the National Research Council challenged teachers to cultivate approaches to
teaching that develop “deeper learning.” This fifth grade handbook supplies to music teach-
ers with a model that promotes “twenty-first century skills.”
Writing Style
The writing style of this handbook is accessible; it instantly engages the reader. The text is
filled with examples of activities as well as detailed lesson plans that translate a theoretical
xiv model for learning and instruction into a practical handbook for teaching music in the fifth
grade music classroom.
Organic Pedagogy
The authors use an organic approach to teaching music that begins with careful selection
of repertoire. This repertoire is then used to build students’ skills in singing, movement,
playing instruments, reading and writing, listening, and improvisation skills. This is accom-
plished through an “immersion” approach to teaching.
Sequential Pedagogy
The researcher outlines the process for presenting musical concepts and developing music
skills. Although several works describing Kodály-based techniques and curriculums exist,
few spell out in detail teaching procedures for presenting musical concepts and integrat-
ing them with musical skill development. Some educators familiar with Kodály-inspired
teaching may already know the teaching ideas presented in this text. However, we have
combined these ideas with current research findings in the field of music perception and
cognition to develop a model of music instruction and learning that offers teachers a map
to follow that will develop their students’ musical understandings and metacognition skills.
We have worked to present a clear picture of how one develops a fifth grade music curric-
ulum based on the philosophy of Kodály, the teaching and learning processes needed to
execute this curriculum, and assessment tools.
assessment. This model of learning inspires the music curriculum, lesson plans, and assess-
ment rubrics for all the handbooks.
Chapter 1
1
This chapter gives teachers an overview of the Kodály concept as it relates to curriculum devel-
opment, and it includes a sample of a grade five curriculum. Also included is a lesson plan design
that is used throughout this book to create sample lessons reflecting the content of each chapter.
Chapter 1 of Kodály Today offers teachers a biographical overview of Kodály’s life as well an
introduction to the Kodály concept of music education.
Singing
Singing is the essence of the Kodály concept, and tuneful singing is the foundation for developing
music skills. Generally speaking, singing should be taught before formal instrumental lessons.
Singing permits quickly internalizing music and allows students to develop the skill of audiation.
Chapter 3 of this handbook offers a comprehensive overview for developing the singing voice in
the fifth grade curriculum.
Repertoire
Everyone needs to know and celebrate his or her cultural heritage. A key component of this
cultural heritage is folk music, which includes children’s songs and games. These songs and
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games include the basic rhythmic and melodic building blocks of music that can be used
to make connections to all styles of music. A music curriculum should include these
materials:
In Chapter 2 of the handbook we lay out a more comprehensive overview of the repertoire
that is used in the elementary music curriculum.
Sequencing
Another vital component of the Kodály concept is the ability for teachers to sequence
materials along with presenting concepts and elements to students that are derived pri-
marily from singing repertoire musically. This is an experience-based approach to learning.
We present a thorough approach to curricular sequencing for grade five in Chapter 5 of
this book.
expanded listening repertoire that includes local artists, classical compositions, popular styles,
and peer performances. Along with the melodic and rhythmic concepts, they will recognize
musical features that include pentatonic scale, triple meter, and simple compound meter.
They will recognize forms in classroom song repertoire, folk song, and masterworks, includ-
ing compound binary, compound ternary, rondo, and sonata allegro. They develop an aware-
ness of dynamics, tempo, and timbre through masterworks of various historical periods.
Students as Performers
The curriculum will broaden performance skills:
1. Singing tunefully
A. Students will sing songs independently and tunefully.
B. They will sing individually and in groups in call and response, verse and
refrain, and game songs.
C. They will learn twenty to twenty-five new songs, canons, and two- and
three-part song arrangements of various cultural origins.
5
D. They will sing ten to fifteen songs with solfège and rhythm names that include
high ti, eighth note followed by dotted quarter note, the natural minor scale,
the harmonic minor scales (si), compound meter, and the Dorian (fi) and
Mixolydian (ta) modes.
E. They will learn ten to fifteen songs by sight singing that include high ti, eighth
note followed by dotted quarter note, the natural minor scale, the harmonic
minor scales, compound meter, and the Dorian and Mixolydian modes.
F. They will learn five to seven two- and three-part song arrangements of various
cultural origins.
G. They will use known music symbols and terminology referring to rhythm,
melody, timbre, form, tempo (including accelerando and ritardando),
dynamics, articulation, and meter (including simple and compound) to
perform and explain musical sounds presented aurally.
2. Movement
A. Students perform double circle games.
B. They perform double line games.
C. They perform basic square games.
D. They perform basic square dance.
E. They perform games and dances from various cultures.
F. They explore games, activities, and movement in personal space or general space.
G. They move alone and with others to a varied repertoire of music using
gross-motor, fine-motor, locomotor, and nonlocomotor skills and integrated
movement such as hands and feet moving together.
3. Instruments
A. Students demonstrate fifth grade melodic and rhythmic concepts that include
high ti, natural minor, harmonic minor, Dorian and Mixolydian scales,
compound meter, and an eighth note followed by a dotted quarter note.
B. They play on classroom instruments such as xylophones, glockenspiels,
rhythm instruments, and recorder.
C. They accompany classroom singing on classroom instruments using
patterns that include high ti, natural minor, harmonic minor, Dorian and
Mixolydian scales, compound meter, and an eighth note followed by a
dotted quarter note.
4. Part work
A. Students do call-and-response singing with rhythmic accompaniment.
B. They sing from hand signs.
C. They practice intervals simultaneously with hand signs.
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G. They write known songs using traditional rhythmic and staff notation, in the
major keys of C-do, F-do, G-do, D-do, B-flat-do, and E-flat-do; and in the
minor keys of A-la, D-la, E-la, B-la, G-la, C-la, and F-sharp-la.
H. They read melodic exercises on the staff with letter names C-do, F-do, G-do,
D-do, B-flat-do, E-flat-do, A-la, D-la, E-la, B-la, G-la, C-la, and F-sharp-la.
3. Inner Hearing
A. Students silently sing melodic motifs or melody from the teacher’s hand signs.
B. They silently sing known songs with rhythmic syllables.
C. They silently sing known songs with solfège syllables. 7
D. They silently read known and unknown rhythms or melodies written in
traditional notation with solfège syllable 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 solfège syllables.
4 . Form
A. Students continue recognition of phrase forms using question-and-answer,
ABAC, and other.
B. They identify rhythmic and melodic motifs.
C. They identify and label small and large musical forms such as AB and ABA,
rondo, and theme and variations presented aurally in simple songs and
larger works.
D. They study the form of folk songs aurally and visually.
E. They identify period structure.
F. They identify cadences.
G. They identify binary form.
H. They identify ternary form.
I. They identify rondo form.
5 . Musical memory
A. Students memorize by reading hand signs that include eighth note followed
by dotted quarter, and rhythmic patterns that include even subdivisions of
the beat as well as uneven subdivisions of the beat of 6*meter in major, minor,
harmonic minor, and Dorian and Mixolydian modes.
B. They memorize from rhythmic notation.
C. They memorize from rhythmic notation with solfège.
D. They memorize from staff notation.
E. They memorize unison and two-part exercises aurally and visually.
B. They improvise a rhythmic chain, beginning each phrase with the last syllable
of a previous student.
C. They improvise rhythm patterns of four or eight beats using rhythm
instruments.
D. They improvise a new rhythm to a phrase of a well-known song written in
traditional notation.
E. They improvise question-and-answer motives using known rhythm patterns.
F. They improvise to a given form.
8 2. Melodic improvisation (based on the melodic building blocks of sung
repertoire)
A. Students improvise melodic patterns of four or eight beats by singing with
solfège and hand signs.
B. They improvise a melodic chain, beginning each phrase with the last syllable
of a previous student.
C. They improvise question-and-answer motives using known melodic patterns.
D. They improvise melodic patterns of four or eight beats using barred
instruments.
E. They improvise short musical motives using known scales.
F. They improvise major, minor, and modal melodies to simple four- or
eight-beat rhythms using the voice or a barred instrument.
G. They improvise a two-part melody using hand signs.
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
all music?
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?
Lesson Planning
We address all of these goals in detail throughout the book. Here we begin the process of
lesson planning. A primary task for music teachers is to teach basic rhythmic elements. To
accomplish this successfully, students need to be guided through a variety of experiential
activities (preparation activities) before learning how to identify sounds and label them
with rhythmic or melodic syllables or learning the notation of these sounds (practice 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 eight steps.
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 solfège syllable or rhythm label for the new sound.
5. Present the notation for the new sound.
Practice
6. Incorporate the new element (now identified as a familiar element) into the
practices of reading.
7. Incorporate the new element (now identified as a familiar element) into the
practices of writing.
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Framing a Curriculum Based on the Kodály Concept
8. Incorporate the new element (now identified as a familiar element) into the
practices of improvisation and composition.
I N T ROD U C T I ON
Performance and demonstration of
known musical concepts and elements
C OR E AC T I V I T I E S
Acquisition of repertoire:
Preparation of a rhythmic or melodic Element B: This section of the lesson is used for
element steps 1–3 of preparing a new element
Creative movement
Practice and performance of musical Element A: This section of the lesson is used for
skills steps 6–8
C L O SU R E
Review and summation
Table 1.2 explains the segments of a basic preparation/practice lesson plan design.
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L E S S ON SE C T I ON 1 : I N T ROD U C T I ON
Demonstration This segment of the lesson includes vocal warm-up exercises,
of known musical singing known songs, developing tuneful singing, and singing
concepts and known songs with rhythmic or melodic syllables. During this
elements section of the lesson, we address music learning outlined in
the music curriculum under the title of “Students as Stewards
12 of Their Cultural Heritage: Repertoire” and “Students as
Performers: Performance.”
L E S S ON SE C T I ON 2 : 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 attributes
concept or element of a new musical concept or element. The instruction focuses on
guiding students through kinaesthetic (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 folk games.
A sequence for age-appropriate movement skill development is
provided in Chapter 3 of Kodály Today.
(Continued)
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Framing a Curriculum Based on the Kodály Concept
Table 1.2 (continued)
The next four tables elaborate on the basic presentation lesson plan designs we use
throughout the book; we use Tables 1.3 (components) and 1.4 (explanation) to label
sounds with syllables, and Tables 1.5 (components) and 1.6 (explanation) to present the
notation.
I N T ROD U C T I ON
Performance and demonstration of known
musical concepts and elements
C OR E AC T I V I T I E S
Acquisition of repertoire:
Presentation of a new concept or element Element B
This segment of the lesson is used for step 4
Creative movement
Presentation of a new concept or element Element B
This segment of the lesson is used for step 4.
C L O SU R E
Review and summation
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Kodá ly in t he Fif t h G r a de Cl a s sro om
L E S S ON SE C T I ON 1 : I N T ROD U C T I ON
Demonstration of known
musical concepts and
elements
L E S S ON SE C T I ON T WO : C OR E AC T I V I T I E S
14 This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of repertoire
Presentation of a new Using a known song, the teacher presents the label for the new
concept or element sound with either rhythmic or melodic syllables.
Here the teacher will be presenting concepts that are outlined
in the music curriculum under the title “Students as Critical
Thinkers.” Students are guided to first label the sound of the
new musical element and second to learn the notation of the
musical element. They label the sound of the basic rhythmic or
melodic building blocks of the song material and subsequently
learn the notation.
This first period of concentration is followed by a period of relaxation.
Movement development
Creative movement
This period of relaxation is followed by a second period of concentration.
Presentation of a new Using another known song, the teacher presents the label for
concept or element the new sound with either rhythmic or melodic syllables.
Here the teacher will be presenting concepts that are outlined
in the music curriculum under the title “Students as Critical
Thinkers.” They label the sound of the basic rhythmic or
melodic building blocks of the song material.
L E S S ON SE C T I ON 3 : C L O SU R E
Review and summation Review the lesson outcomes
Review the new song
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.
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Framing a Curriculum Based on the Kodály Concept
I N T ROD U C T I ON
Performance and demonstration of known
musical concepts and elements
C OR E AC T I V I T I E S
Acquisition of repertoire: 15
Presentation of a new concept or element Element B
This segment of the lesson is used for step 5
Creative movement
Presentation of a new concept or element Element B
This segment of the lesson is used for step 5
C L O SU R E
Review and summation
L E S S ON SE C T I ON 1 : I N T ROD U C T I ON
Demonstration of known
musical concepts and
elements
L E S S ON SE C T I ON 2 : C OR E AC T I V I T I E S
This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of repertoire
Presentation of a new Element B
concept or element Using a known song, the teacher presents the notation for the
new element.
Here the teacher will be presenting concepts that are outlined
in the music curriculum under the title “Students as Critical
Thinkers.”
This first period of concentration is followed by a period of relaxation.
Movement development
Creative movement
This period of relaxation is followed by a second period of concentration.
(Continued)
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 1.6 (continued)
Note that in this process once we have presented the label and the notation for an element,
it becomes a known element. As we practice a known element, we will also be incorporat-
ing knowledge of all other known elements in practice activities.
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Chapter 2
This chapter provides teachers with an overview of basic repertoire to be used for developing
singing, playing instruments, creative movement, improvisation, and listening. Included in this
section is an alphabetized list of songs with sources, as well a pedagogical list of songs for teach-
ing rhythmic and melodic elements. This section also includes sequenced directions for teaching
singing games and movement activities.
Selecting Repertoire
A child’s music education should begin with the folk music and rhymes of her own culture:
It is through the indigenous musics of their cultures that children 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 children’s values,
beliefs, cultures, knowledge, games and stores. The music of children’s own cultures must
be given respect and status in the classroom, indirectly giving children a sense of their own
values and status. Receptivity toward the music of other cultures can be developed from
this point of reference, thereby fostering cultural awareness, tolerance and respect.1
We use folk music because it belongs to the oral tradition and it “draws on the power of repeti-
tion and the human urge to generate and create.”2 In the best folk songs there is a unity between
the rhythm and melody; word and musical accents fall together logically.
The Kodály approach uses games 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
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Kodá ly in t he Fif t h G r a de Cl a s sro om
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
chapter 2 of Kodály Today. The selection of age appropriate repertoire for each grade is
important. Learning to sing this repertoire from memory will help students “own” this
music repertoire. The songs are easy to learn and they will engage students in the singing
process if they are sung with enjoyment and artistry. Sometimes teachers find it difficult to
believe that they can keep the imagination of a student engaged by singing simple unac-
companied folk songs. When performed in an aesthetic pleasing manner the suggested
songs will capture the imagination of students. Of course these songs may also be accompa-
nied using tasteful piano accompaniments. Ruth Crawford Seeger’s 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 children’s preferences and tastes in
music are acknowledged and incorporated 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 con-
nect this repertoire to music activities in the classroom can be powerful. Inviting musicians
into the classroom to perform live music for students is also a great way to make a musical
connection 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 practices are
ever-changing.”6
We present in this chapter, for the fifth grade:
Grade 5 Song Lists
Alphabetized Song List
Table 2.1 is a core list of game songs for use in the fifth grade music class.
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Developing a Music Repertoire
Table 2.1 (continued)
“Hi! Ho! The Rattlin’ Bog” Hi! Ho! The Rattlin’ Bog & Other Folk Songs
for Group Singing
“Las Horas” El Patio de Mi Casa
“I Wonder Where Maria’s Sail Away
Gone”
“If You Trust” 150 Rounds for Singing and Teaching
“Johnny Has Gone for a Folk Songster
Soldier”
“Little Johnny Brown” Step It Down
20 “Las Mananitas” A Fiesta of Folk Songs from Spain and Latin America
“Mister Frog Went Sail Away
a-Courting”
“Morning Is Come” Edward Bolkavac and Judith Johnson
“My Landlord” 120 Singing Games and Dances for Elementary School
“Needle’s Eye” Handy Play Party Book
“Noble Duke of York” Handy Play Party Book (“Alabama Gal” CD track 6_
“Oh, No, John” Collection of English Folk Songs, Vol. 1, No. 182 Version A
“The Old Chisholm Trail” Cowboy Songs and Other Frontier Ballads
“Old Joe Clark” The 111 Best American Ballads Folk Song USA (no. 25)
“(On Top of ) Old Smoky” The 111 Best American Ballads Folk Song USA (no. 18)
“El Pajaro” A Fiesta of Folk Songs from Spain and Latin America
“The Pebble Song” An American Methodology, 2nd ed.
“Praise and Thanksgiving” Psalter Hymnal no. 631
“Rabbit and the Possum” Step It Down
“Rise Up, Oh Flame” 150 Rounds for Singing and Teaching
“Sally Go ’Round de Sun” Sail Away
“Sandy Land” Handy Play Party Book
“Scarborough Fair” Heritage Songster
“Shady Grove” Folk Songs of the Southern Appalachians as Sung
by Jean Ritchie
“Shoo, Fly” Handy Play Party Book
“Short’nin’ Brad” Heritage Songster
“Skating Away” Sail Away
“Skip to My Lou” Ozark Folksong Vol. III, Humorous and Play-Party Songs
“Snake Baked a Hoecake” My Little Rooster and Other Folk Songs, Singing Games, &
Play Parties
(Continued)
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Developing a Music Repertoire
Table 2.1 (continued)
References for Table 2.1
“Beatriz E Aguilar (vocalist).” De Tin Marin, Mi Canto, Mis Raices. 2013
Bolkovac, Edward, and Judith Johnson. 150 Rounds for Singing and Teaching.
New York: Boosey & Hawkes, 1996.
Botkin, Benjamin Albert. The American Play-Party Song. Lincoln, NE, 1937.
Botsford, Florence Hudson. Botsford Collection of Folk Sings, Vol. 2.
New York: Schirmer, 1929.
Brown, Frank C. Collection of North Carolina Folklore, Vol. V. Durham, NC: Duke
University Press, 1962.
Dallin, Leon, and Lynn Dallin. Folk Songster. Dubuque, IA: Wm. C. Brown, 1967.
Dallin, Leon, and Lynn Dallin. Heritage Songster. Dubuque, IA: Wm. C. Brown, 1966.
Eisen, Ann, and Lamar Robertson. An American Methodology, 2nd ed. Lake Charles,
LA: Sneaky Snake, 2010.
Erdei, Peter (ed.), and Katalin Komlós. 150 American Folk Songs. New York: Boosey &
Hawkes, 1974 (7th printing), 1985.
Fowke, Edith F., and Richard Johnston. Folk Songs of Canada. Waterloo, Ont.,
Can.: Waterloo Music, 1954.
Hackett, Patricia. The Melody Book: 300 Selections from the World of Music for Piano,
Guitar, Autoharp, Recorder and Voice. Englewood Cliffs, NJ: Prentice-Hall, 1997.
Haywood, Charles. Folk Songs of the World. New York: John Day, 1966.
Hernandez, Antonio Avitia. Cancionero infantile mexicano. Col Del Valle, Mexico,
D.F., 1996.
Johnson, James Weldon, and J. Rosamund. The Book of American Negro Spirituals.
New York: Viking Press, 1969.
Johnston, Richard. Folk Songs North America Sings. (Toronto: Caveat Music Publishers,
Ltd. 1984).
Kenney, Maureen (collected). Circle Round the Zero: Play Chants and Singing Games of
City Children. St. Louis: Magnamusic-Baton, 1974/1975.
Kim, Don Hwan. Korean Folk Songs. Eumag Chun Choo Sha Ed., 1988.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Knowles, Faith (ed.). Vamos a Cantar: 230 Latino and Hispanic Folk Songs to Sing, Read,
and Play. Columbus, OH: Kodály Institute at Capital University, n.d.
Locke, Eleanor G. Sail Away: 155 American Folk Songs. New York: Boosey &
Hawkes, 1988.
Lomax, John A., and Alan Lomax. Folk Song U.S.A. New York: Plume, 1947.
Mendoza, Vicente T. and Virginia R.R. de Mendoza: Estudio y Clasificación de La Música
Tradicional Hispanica de Nuevo México. (México: Universidad Nacional Autónoma de
México.) 1986.
Michael, Concha. Mexico in sus cantares. Av. Mexico-Coyoacan, Mexico, D.F.: Fonda
Nacional para la Cultura y las Artes, 1997.
Montoya-Stier, Gabriela. El Patio de Mi Casa 42 Traditional Rhymes, Chants, Folk Songs
from Mexico. Chicago: GIA, 2008.
Ritchie, Jean. Folk Songs of the Southern Appalachians as sung by Jean Ritchie.
22 New York: OAK/Embassy Music, 1965.
Salgado, Antonio. Canciones Infantiles. Mier y Pesado 128, Col. Del Valle, 03100 Mexico
D.F. D.R. 1990 Selector, S.A. de C.V.
Stark, Richard B. Juegos Infantiles Cantados en Nuevo México. Santa Fe: Museum of New
Mexico Press, 1973.
Table 2.2 Grade 5
G A M E DI R E C T I ON S
The following terms often appear in dance and game directions. We thank our student
Rebecca Seekatz for contributing this glossary of terms.
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.
(Continued)
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Developing a Music Repertoire
Table 2.2 (continued)
Do-Si-Do: Two students face each other, slightly offset. They walk forward, passing right
shoulders and go around each other to move back to their original place. The students
should be facing the same direction during the entire movement.
Down: Students move toward the bottom of the line, furthest away from the caller or music
source.
Double Line: Students form two parallel lines, with each student facing opposite their
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
23
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.
Longways Set: Students form two parallel lines, with each student facing their partner in
the opposite line. See Double Line.
Promenade: Partners walk forward side by side, holding each other’s hands: right in right and left
in left. Teachers should get students in 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 turn 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.
G A M E DI R E C T I ON S
“A L C I T RON ”
Classroom use—game: Circle
Game directions: pass an object around the circle to the steady beat. Pick up on upbeat,
pass on downbeat. On “triki” tap in the direction you’re passing but do not let go, next
“triki” tap in the opposite direction but do not let go, then on “tron” continue passing in the
regular direction. Start slowly, by tapping beat, isolating “triki triki tron,” then passing small
object like a pencil before moving up to a shoe.
(Continued)
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 2.2 (continued)
“A M ASE E” ( I M U ST SE E )
Classroom use—game: Double line (reel), Follows “Come Thru ’Na Hurry”
Game directions:
1. Head couple walks down. Turn hands like toasting around your partner’s arm,
with elbows and hands still touching but intertwined. When walking down, let
your backbone slide.
2. “Amasee, Amasee”: Lean in to “bump” hips, then sway hips and step away.
3. “You swing yours”: Swing your partner with right arm at elbow halfway so you
are facing the opposite line (opposite from the line in which you started?).
4. “And I’ll swing mine”: Then swing with lowest person on opposite side with
24 your other (left) arm.
5. “Amasee, Amasee”: Circle all the way around with your first partner and end up
on the opposite line from the one you started in, at the bottom. All others step
to bottom of line-together, then to top of line—together with a big step (sort of
hop too) so all move up. Could do step-together the whole time.
“AQ UAQ UA DE L A OM A R”
Classroom use—game: Circle
Game directions: Players form a circle with their palms up. Place the right hand (palm up)
in the left palm of the player to the right. An appointed leader begins the song by tapping
the palm of the player on the left with the leader’s right hand. The tapping goes to a steady
beat. Whomever receives the tap on the fermata decides how long to hold the note. The
fermata person then taps the next hand to finish the song. If a player’s hand is tapped on the
number 5, they are out. If the player is able to move their hand away in time, the tapper is
out. Continue the game until there is one player left.
“B I G FAT B I S C U I T ”
Classroom use—game: Circle, passing game
Game directions: All students sing the song. Selected students line up side by side, three to
six and a time, and do a flat-foot broad jump at the end of the song. The winner stays and
plays with the next group.
“B O OT S OF SH I N I N G L E AT H E R”
Classroom use: Single, Double or Triple Circle: Song to be performed as a round with
complementary dance
Game directions:
1. Circle left (eight counts)
2. Circle right (eight counts)
3. In four steps (slowly) (eight counts)
4. Out four steps (slowly) (eight counts)
5. In two quick steps, out two quick steps (or do these in place) (four counts)
6. Circle left (eight counts)
7. End on “Ah!” with arms up and hands in the air.
8. This can be made into a double or triple circle, each part beginning the dance
when they begin singing the canon.
(Continued)
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Developing a Music Repertoire
Table 2.2 (continued)
“B OW, B E L I N DA”
Classroom use—game: Double line (men’s line on the right hand of the caller, traditionally)
Game directions:
1. “Bow Belinda”: first man and last lady step in and bow to each other (verses 1–5
involve the 1st man and last lady doing actions only)
2. “Right hand around”: allemande right
3. “Left hand around”: allemande left
4. “Both hands around”: hold both hands and turn in circle
5. “Back to back”: do-si-do around each other
6. “Promenade around”: face your partner across the line. Meet in the center,
shake hands, promenade position (left hands on top, right hands on bottom),
whole line follows the head couple, walks toward the top of the set (toward the
25
caller) and around in a counterclockwise circle, back to their own spots.
7. “Through the tunnel” head couple holds hands, all other couples make an arch
and the head couple walk through to the end of the line.
8. Repeat with the new head couple.
“C E DA R S WA M P ”
Classroom use—Game: Longways, (double line) couples facing each other. Boys on left.
Girls on the right.
Game directions:
1. Head couple holds hands and sashays to the bottom of the set and back between
the couples
2. Head couple strips the willow to the bottom.
“C I RC L E RO U N D T H E Z E RO”
Classroom use—game: Circle
Game directions: Teach by example with a few students before making the large circle.
1. Students stand in a circle while one student walks around the outside.
2. “Back back Zero”: Student stops and chooses someone and stands back-to-back with
the person chosen. The student bumps behinds with that person during this phrase.
3. “Side side Zero”: The same happens with the two students as they turn sideways
and bump hips together.
4. “Front front Zero”: The two students face each other and pat hands.
5. “Tap you lovin’ Zero”: They tap each other’s shoulders.
6. The student who is It then changes places with the other student, and the game continues.
7. The game may also be played with more than one student as It at one time, or as a
cumulative game in which the first student never goes back into the circle and more
students are added to the outer circle with each repetition until all are chosen.
“C OM E T H RU ’ NA H U R RY ” ( A L A BA M A G A L )
Classroom use—game: Double line
Game directions:
1. Students stand in a double line across from their partner.
2. Verse 1: The “head couple” sashays down the middle and back.
3. Verse 2: Couples right hand pass, then left hand pass
(Continued)
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 2.2 (continued)
4. Verse 3: Cast off both lines from the head (“peel the banana”).
5. Verse 4: Head couple makes an arch at the foot, couples hurry through and
return to their spots, creating a new head couple.
“C OT TON E Y E JOE “
Classroom use—game: Line or Circle
Setup: First teach students the motions in one line. After they have mastered the steps,
arrange them in a Texas Star: lines of four in a circle like a spoke in a wheel. Arms can be
over shoulders, or around the waists of their neighbors.
Game directions: Start teaching it by going forward first. In typical performance practice
the star moves with steps backwards.
26
A Section
1. Beats 1 and 2: Cross right heel over left ankle, then kick right foot forward
2. Beats 3 and 4: Triple step back—right, left, right
3. Beats 5 and 6: Cross left heel over right ankle, then kick left foot forward
4. Beats 7 and 8: Triple step back—left, right, left
5. Repeat
B Section
1. Beats 1 and 2: Shuffle forward—right, left, right
2. Beats 3 and 4: Shuffle forward—left, right, left
3. Beats 5 and 6: Shuffle forward—right, left right
4. Beats 7 and 8: Shuffle forward—left, right, left
5. Repeat
“F OU R W H I T E H OR SE S”
Classroom use—game: Square Game
Game directions:
Beginning motions:
Clap, clap partner’s hands (lead couple clap up, other couple clap lower), clap, clap
neighbor’s hands out to the side.
This can be done in a square or in circle (for younger kids)
Harder version:
Instead of clapping out second time each time, clap high once and low once. Other couple
do low first and then high.
Hardest version:
Clap up, clap side, clap down, clap side—opposite for other couple
“H I L L A N D G U L LY R I DE R”
Classroom use—game: Line dance
Setup: Arrange the class standing in rows of four to six students depending on class size; as
in a line dance.
Game directions:
1. Sing the song and clap the rhythm on the words “Hill and Gully.
2. “Hill and Gully Rider”: Walk four steps forward; “Hill and Gully” clap the rhythm.
(Continued)
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Developing a Music Repertoire
Table 2.2 (continued)
3. “Hill and Gully Rider”: Walk four steps backward; “Hill and Gully” clap the rhythm.
4. “Took my horse and come down”: Quarter turn to the right then clap “Hill
and Gully”5. “But my horse done come down”: Quarter turn to the right again
then clap “Hill and Gully”
6. “And the Night time come a tumblin’ down”: Quarter turn to the right again
then clap “Hill and Gully” (you should now be a quarter turn away from
original position)
7. Repeat for each verse.
“H O G S I N T H E C OR N F I E L D”
Classroom use—game: Partner
Game Directions Version 1: Partners decide who will be number one and who will be 27
number two. One or more pairs come to a line marked on the floor. The pairs grab right
hands and put their toes against the line. The class sings the song once. When the song is
over, each student tries to pull his/her partner over the line. Whoever wins takes his/her
partner over to his/her team. When everyone has had a turn, each team is counted, including
the losers who have come from the other team. The team with the most students wins.
Game Directions Version 2: Partners are back to back in the middle of the classroom.
Partners walk away from each other to six beats. On beats 7 and 8 they do rock, paper,
scissors to the eighth note rhythm.
“I ’ S T H E B Y ”
Classroom use—game: Circle.
Game directions:
1. Circle left eight steps
2. Circle right eight steps
3. “Boy” bumps hip of partner for four counts
4. “Boy” bumps hip of corner for four counts
5. “Boy” swings partner around for eight counts (one and a half times around)
ending up facing his corner.
6. Boy’s corner becomes his new partner.
“I ’ V E L O S T T H E FA R M E R’ S DA I RY K E Y ”
Classroom use—game: Circle
Game directions: Students stand in a circle holding hands, one student stands in the
middle. The class sings the song; on the words “do, do” the student in the middle tries to
break through the circle but can only do so without using his or her hands.
“JOH N KA NA KA”
Classroom use—game: Double Circle, single circle. Traditionally, girls stand in the inside
circle facing the outside circle and their partner.
Game directions:
1. On “I heard, I heard the old man say”: Students do-si-do with their partner.
2. On the refrain “John Kanaka-naka too-la-ay”: Students perform the following
motions:
“John Ka - na - ka - na - ka too - la - ay”
Stomp right foot, pat (legs), pat, pat, pat, pat, clap, clap, pat (partners hands)
(Continued)
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 2.2 (continued)
Table 2.2 (continued)
Table 2.2 (continued)
“R A B B I T A N D T H E P O S SU M”
Classroom use—game: Circle game
Game directions: Players sit in a circle on the floor. One person is chosen to be the Rabbit and
is blindfolded. Then another student is selected to be the Possum. Everyone sings the song. At
the conclusion, the Rabbit says (or sings) his or her name. The Possum answers with his name
and the Rabbit tries to catch him based on where the sound is coming from. The Rabbit may
say his name as often as he likes and the Possum must always answer immediately.
(This can also be played with the Rabbit calling out, “Possum, where are you?” The Possum
must respond with “Here I am.”)
“ROM A N S OL DI E R S”
30
Classroom use: Double line
Setup: Students face each other like two armies ready for battle. One side is designated the
English side and one side is designated the Roman side.
Game directions:
1. Verse 1: The Romans advance toward the English line in a belligerent manner
for eight counts. They then retreat backwards for eight counts.
2. Verse 2: The English advance cocky and confident for eight counts. They then
retreat backwards for eight counts.
3. Verse 3: The Romans hold out a hand as though holding a wine goblet and advance
on the English for eight counts. They then retreat backwards for eight counts.
4. Verse 4: The English advance wagging an admonishing finger for eight counts.
They then retreat backwards for eight counts.
5. Verse 5: The Romans advance pointing accusingly for eight counts. They then
retreat backwards for eight counts.
6. Verse 6: The English retaliate with a variety of disrespectful gestures to support
their feeling of scorn for the Roman threat for eight counts. They then retreat
backwards for eight counts.
7. Verse 7: The Romans realizing that their policy has failed walk forward eight
counts with open arms ready for reconciliation (but they do not touch the
others). They then retreat backwards for eight counts.
8. Verse 8: The English respond warmly with gestures of friendship towards the
Romans (i.e., shaking hands, slapping backs, etc.) and sing the final phrase in
the Roman camp.
“ T I DE O”
Classroom use—game: Double circle, partner
Setup:
Double circle: make one circle, ask every other student to step in
Inside circle faces out
Game directions: Outside circle face someone in inside circle. The following motions are
done each time the word is sung
1. “Tideo” clap pattern instruction: Lap, clap, straight
(patty-cake-two-hands-out clap
2. “Pass”: Outside circle move one partner to the right.
(Continued)
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Developing a Music Repertoire
Table 2.2 (continued)
Table 2.2 (continued)
“W E L D ON ”
Classroom use—game: Double line
Suggestion: Instead of “Weldon” substitute the name of your school, town or place
to personalize the text of the song for the students. For example, “Let’s go down to
Austin …”
Verse 1: “Let’s go down to Weldon …”
• Four steps toward partner in other line (clap partner’s hands on beat 4)
• Four steps back to your own line (clap on beat 4)
• Four steps and partner-clap again
• Four steps back and clap again
32 CHORUS “Rally, rally, rally …” (Same for all choruses)
Elbow swing with partner, eight beats
Elbow swing opposite direction and return to your line order, eight beats
Verse 2: “My girl lives in Weldon …”
• Line 2 follows Line 1’s leader all the way around Line 1 and back into place
(sixteen beats)
CHORUS “Rally, rally, rally …” (Same for all choruses)
Verse 3: “Once and a half in Weldon…”
• Four steps toward partner-hand-shake, turn right (four beats)
• Four steps into hand shake, turn right (four beats)
• Four steps into hand shake, turn right (four beats)
• Four steps into hand shake, turn right back into line order (four beats)
CHORUS “Rally, rally, rally …” (Same for all choruses)
Verse 4: “Let’s promenade in Weldon…”
• Head couple wicks off to the left, next pair to the right, etc. (sixteen beats)
• All promenading couples walk/skip around to back of line while singing this verse,
zip back into line order
CHORUS “Rally, rally, rally …” (Same for all choruses)
Verse 5: “Fare thee well in Weldon …”
• Head of Line 1 makes a motion down the alley to the back of the opposite line
(eight beats)
• Head of Line 2 imitates partner’s improvised motion, takes a new spot at back of
partner’s line (eight beats)
• Meanwhile, all other partners in Lines 1 and 2 are clapping on the beat and
sidestepping toward the front of the line to fill space left by those who moved and
create space for them at the back.
CHORUS “Rally, rally, rally …” (same for all choruses)
(Continued)
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Developing a Music Repertoire
Table 2.2 (continued)
“W I SH Y WASH Y ”
Classroom use—game: Circle, partner, acting out, choosing
Game directions:
1. On “Oh, we are two sailors”: The teacher (or leader/sailor/sailors) walks around outside
of circle.
2. Person walking around the circle comes into the circle and faces a partner: On “Wishy
Washy”: Both partners extend their arms and hold each other’s shoulders. Partners
simultaneously jump, with their feet swaying out sideways, mirroring each other.
3. Extension: Have more sailors go around the circle at the same time and more partners.
Notes: Sea shanty
33
High ti
“Alleluia”*
“Alphabet song I”
“Alphabet song II”
“Campanito de Oro”
“Los Diez Perritos”
“Johnny Has Gone for a Soldier”
“Joy to the World”
“Sweet Betsy from Pike”
“Wake up Cannon”
Eighth note followed by a dotted quarter
ar
“All Night, All Day”
“Billy Boy”
“Charlotte Town”*
“Delgadina”
“The Erie Canal”
(Continued)
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 2.3 (continued)
Table 2.3 (continued)
*Focus Song
Movement
Associate a motion or game with a known song. Perform one motion or action associated
with the song; students join in singing when they recognize the song. Once the students
recognize the song, sing the starting pitch so all students can join.
Visuals
Create pictures or assemble visuals associated with a particular song; students sing the song
once they recognize the visual clue.
• Students recognize a song by hearing an internal phrase (not the first phrase)
clapped by the teacher.
• Teacher claps the rhythm of a song and students perform in canon, after
two beats.
Lesson Planning
In the accompanying handbooks for all grades we have included an alphabetized repertoire
list of examples of materials that can be used for teaching singing, music literacy, music
skills, and listening. The lesson plans in this chapter and subsequent chapters emphasize the
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.
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 of a lesson. Conversely, if we prepare a melodic element in the first part of
a lesson, we practice a rhythmic element in the second part of a lesson.
Table 2.4 is a sample basic lesson plan template using repertoire from the alphabetized list.
I N T ROD U C T I ON
Performance and Ss demonstrate their prior knowledge of repertoire and
demonstration of known musical elements through performance of known songs
musical concepts and elements selected from the alphabetized repertoire list. 37
C OR E AC T I V I T I E S
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 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 of a rhythmic or Learning activities in which Ss are taught a new musical
melodic element concept through known songs found in the alphabetized
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 game list.
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
of musical skills on 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
Review the lesson outcomes song to be learned in a subsequent lesson found in the
Review the new song alphabetized repertoire list.
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Table 2.5 is a sample preparation/ presentation lesson plan using repertoire appropriate
for grade five. Note that in the template lesson, we used the wording “Performance and
Demonstration of Known Musical Concepts and Elements” as 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.
Table 2.5 (continued)
C OR E AC T I V I T I E S
Teach a new song “Rose Rose”
CSP: G
• T sings song.
• T sings song on “loo” and Ss follow in canon.
• T sings with text and Ss conduct.
Develop knowledge “Row Your Boat”
of music literacy CSP: D
concepts • Ss sing song.
Create a visual • T assess kinesthetic and aural awareness by allowing the class to
representation of perform several of the kinesthetic and aural awareness activities.
what you hear • T hums the target phrase with a neutral syllable and asks Ss to 39
create a visual representation for the rhythm of the song.
• T: “Pick up what you need to recreate what you heard” or “Draw
what you heard.” T assesses Ss’ level of understanding.
• Ss share their representations with each other.
• 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. Identify solfège syllables
for representation and sing.
• Ss sing “Row, Row, Row Your Boat” with a neutral syllable and
point to the representation.
• Ss figure out the solfège syllables for complete melody and sing.
• Ss sing song in canon.
Creative movement “Zudio” (minor-based)
CSP: D
• Compose a rhythmic ostinato for percussion instrument.
• Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
• Create a new text.
Practice and “Alleluia” (in minor)
performance of CSP: D
music skills • Ss sing with hand signs.
Improvisation • T sings “Go Tell Aunt Rhody” in major and in minor.
• Ss sing in minor.
Practice transforming melodies from the major scale to the minor. Begin
with pentachord and hexachord scales before moving to the minor. Ss
should sing major melodies and T should sing back in minor. Once Ss
can switch back and forth between major and minor, T should begin to
analyze the form and tone set of major and minor melodies as well as
help Ss understand the role of the dominant and tonic notes at the ends
of phrases.
Practice singing question-and-answer phrases in a natural minor key.
SUM M A RY AC T I V I T I E S
Review lesson
outcomes
Review the new song “Rose Rose”
CSP G
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In the first section (preparation of a new concept) of a lesson, we guide students to dis-
cover the concept behind a new element. For example, if we want to teach the musical ele-
ments of quarter and eighth notes, students need to be guided to understand the concept of
one or two sounds on a beat.
In the second section (practice) of the lesson, the teacher reinforces and further develops
students’ understanding of preceding known musical elements through a variety of musical
skills. Of course, musical skills may also be practiced during any section of the lesson plan.
This section of the lesson may also include assessment activities to help the teacher identify
students who may require extra help.
Each preparation/practice lesson has an instructional context (preparation) and a rein-
forcement (practice) context. In this type of lesson, we continue to develop singing abilities,
teach new repertoire, and enhance movement and listening skills. During the preparation/
practice lesson, we do not name the new concept or element but create opportunities for
40 music students to discover the attributes of the new concept or element being studied. This
dual structure of the preparation/practice lesson gives students time to process their under-
standing of the new concept, while promoting further development of their musical skills
with the previously learned musical element. This is crucial for positive self-esteem and the
enjoyment needed for learning to take place.
Creating a Presentation Lesson
There are two presentation lessons. In the first we associate solfège or rhythm syllables
with the new element and in the second we present the notation for the new lesson plan.
Throughout this book we identify specific songs for teaching specific elements. We refer
to these songs as focus songs: they contain core building blocks that we want students to
master. Sometimes we target a specific phrase in a focus song; we refer to this phrase as the
target phrase for the song.
As mentioned above, in the first presentation lesson we simply name or label the concept
or element studied during the preparation/practice lesson and continue developing singing
abilities, as well as movement and listening skills, and teach new repertoire. In the second
presentation lesson, we show students how to notate target patterns.
Table 2.6 is a basic presentation lesson plan template for presenting rhythmic or solfège
syllables.
I N T ROD U C T I ON
Performance and Ss demonstrate their prior knowledge of repertoire and musical
demonstration of elements, including the new musical element to be presented
known musical through performance of songs selected from the alphabetized
concepts and elements repertoire list.
(Continued)
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Developing a Music Repertoire
Table 2.6 (continued)
C OR E AC T I V I T I E S
Acquisition of New song selected from the alphabetized repertoire list that
repertoire expands Ss’ repertoire and prepares for the learning of a
music rhythmic or melodic concept or element. Instructional
context: when we are preparing a rhythmic element, the new song
should be selected to prepare the next melodic element; when we
are preparing a melodic element, the new song should be selected
to prepare the new rhythmic element.
Presentation of a T labels the name of the new musical element with rhythm or
rhythmic or melodic solfège syllables for the focus pattern.
element 41
Creative movement Known song or game found in the alphabetized repertoire list.
Focus on sequential development of age-appropriate movement
skills through songs and folks games.
Presentation of a T labels the name of the new musical element with rhythm or
rhythmic or melodic solfège syllables in a related pattern.
element
C L O SU R E
Review and Review of lesson content and T may perform the next new song
summation to be learned in a subsequent lesson found in the alphabetized
repertoire list
Table 2.7 (continued)
Sing known “Swing Low, Sweet Chariot”
songs CSP: A
• Sing song with text.
• Ss sing song in canon.
Develop tuneful “Sailor, Sailor on the Sea”
singing CSP: A
Tone production • Ss practice singing a phrase of a song and repeating it a minor
second higher. Use a pure vowel sound. Each time you repeat, you
Diction
can sing another on a new vowel sound.
• Ss sing in two parts from T’s hand signs.
• T continues to work on dynamic and tempo markings.
42
Kodály Choral Library, Let Us Sing Correctly, no. 83
Review known “Go Down Moses“
songs and CSP: D
elements • Ss sing song and conduct.
• Ss sing song with rhythm syllables and conduct.
• T sing phrases on “loo” and Ss sing with rhythm syllables.
• T may choose to sing phrases of “All Night, All Day,” “The Erie
Canal,” “Billy Boy,” “Great Big Dog,” “Walk Along John,” “Little
Johnny Brown,” “Go Down Moses” or other known songs that use
known rhythms; Ss echo-sing using rhythm syllables.
C OR E AC T I V I T I E S
Teach a new “Inez”
song CSP: A
• T sings song.
• Ss conduct.
• T and Ss sing.
Presentation “Row, Row, Row Your Boat”
Describe what CSP: D
you hear with • Ss sing song.
rhythm syllables • T assess kinesthetic, aural, and visual awareness activities with
phrase 1 of “Row, Row, Row Your Boat.”
• T presents the names of the rhythm syllables used in
compound meter.
• In compound meter one sound on the beat is called ta.
• One sound held for two beats is called ta-ah.
• Three even sounds that are evenly distributed over one beat are
called ta ki da.
• Two sounds on a beat, one long followed by a short sound, is
called ta da.
• Sing “Row, Row, Row Your Boat” with rhythm syllables while
tapping the beat.
• Sing “Row, Row, Row Your Boat” with rhythm syllables while
conducting the beat.
(Continued)
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Developing a Music Repertoire
Table 2.7 (continued)
Creative “Golden Ring”
movement CSP: C
• Sing song.
• Compose a rhythmic ostinato for percussion instrument.
• Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
• Create a new text.
Presentation “To Work Upon the Railway”
Describe what CSP: A
you hear with • Sing song and conduct.
rhythm or • Sing refrain with rhythm syllables while tapping the beat.
43
solfège syllables • Sing refrain with rhythm syllables while conducting the beat.
SUM M A RY AC T I V I T I E S
Review lesson
outcomes
Review the new “Inez”
song CSP: A
Table 2.8 provides a basic presentation lesson plan template for notating rhythmic or
melodic elements.
I N T ROD U C T I ON
Performance and Ss demonstrate their prior knowledge of repertoire and musical
demonstration of elements, including the new musical element to be presented
known musical through performance of songs selected from the alphabetized
concepts and elements repertoire list.
C OR E AC T I V I T I E S
Acquisition of New song selected from the alphabetized repertoire list that
repertoire expands Ss’ repertoire and prepares for the learning of a
music rhythmic or melodic concept or element. Instructional
context: when we are preparing a rhythmic element, the new song
should be selected to prepare the next melodic element; when we
are preparing a melodic element, the new song should be selected
to prepare the next rhythmic element.
Presentation of a T presents the notation in the focus pattern.
rhythmic or melodic
element
(Continued)
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Table 2.9 (continued)
Creative movement Known song or game found in the alphabetized repertoire list.
Focus on sequential development of age-appropriate movement
skills through songs and folk games.
Presentation of a T presents the notation in related patterns.
rhythmic or melodic
element
C L O SU R E
Review and Review of lesson content; T may perform the next new song
summation to be learned in a subsequent lesson found in the alphabetized
repertoire list.
44
Table 2.9 provides a sample of a presentation lesson.
Table 2.9 (continued)
Review known “Charlotte Town”
songs and CSP: F
elements • Ss sing.
• Ss sing with rhythm syllables.
• T claps each phrase; Ss echo with rhythm syllables.
• T may choose to sing phrases of “All Night, All Day,” “The Erie
Canal,” “Billy Boy,” “Great Big Dog,” “Walk Along John,” “Little
Johnny Brown,” “Go Down Moses” or other known songs that
use known rhythms; Ss echo-sing using rhythm syllables.
C OR E AC T I V I T I E S
Teaching a new “Dors, Dors, ’Tit Bébé” 45
song CSP: A
• Ss sing song and conduct.
• Ss sing song with rhythm syllables and conduct.
• T hums phrases on “loo” and Ss repeat.
Presentation “Row, Row, Row Your Boat”
Notate what you CSP: D
hear T presents the time signature and note values.
Time signature
• Ss sing “Row, Row, Row Your Boat” and keep the beat.
• Ss sing and clap the micro beats.
• T: “Andy, how many macro beats do we have in a
measure?” (two)
• T: “Let’s sing the third phrase and clap the words.”
• T: “Each macro beats contain three micro beats. Since there are
two beats and each beat can be subdivided into three even micro
beats, we can describe the meter as compound duple.”
• T: “If each beat is a dotted quarter note long, then each beat lasts
for three eighth notes.”
• T: “Let’s sing ‘Row, Row, Row Your Boat’ while you keep the
micro beat.”
• T: “Andy, how many micro beats do we have in each
measure?” (six)
• T: “Since there are six micro beats and each one is equal to an
eighth note, our new time signature is 6*.”
Note values in compound meter
• T presents the notation for folk song:
• One sound on one beat in compound meter is notated as a
dotted quarter note.
• One sound held for two beats in compound is notated as two
dotted quarter notes tied.
• Three sounds on one beat in compound meter is notated as three
eighth notes.
(Continued)
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Table 2.9 (continued)
• One long sound followed by a short sound on one beat in
compound meter is notated as a quarter note and eighth note.
• T presents the notation for the melody.
• Ss read the notation with rhythm syllables.
• T shows Ss how to count in compound meter.
• Ss read with numbers and conducting.
• Ss sing in canon.
Creative “Golden Ring”
movement CSP: C
• Sing song.
• Compose a rhythmic ostinato for percussion instrument.
46 • Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
• Create a new text.
Presentation “To Work Upon the Railway”
Notate what you CSP: A
hear • Ss sing with text.
• Ss sing with rhythm syllables and conducting.
• T reviews the notation and time signature.
Outcome Presentation: notation of basic rhythms in compound meter
SU M M A RY AC T I V I T I E S
Review lesson “Dors, Dors, ’Tit Bébé”
outcomes CSP A
Review the new
song
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Chapter 3
Teaching Strategies
The goal of this chapter is to present teaching strategies for concepts and elements for fifth grade.
The teaching strategies are a sequence of teaching activities that guide students’ understand-
ing of specific musical concepts and elements. They are presented according to the Houlahan
and Tacka model of instruction and learning. In other words, they follow a specified order of
instruction. An important component of the teaching strategies are the guiding questions that 47
follow the kinesthetic activities in the cognitive phase of instruction and learning. The questions
provide the metacognitive scaffolding that allows students to understand both the process and
product of teaching. Each component of the model of instruction and learning also promotes
many opportunities for developing music skills. The teaching strategies are formulaic in struc-
ture; ultimately teachers will infuse these strategies with their own creativity to accommodate
the changing settings of teaching situations.
We provide some of the most important techniques for preparing, presenting, and practicing
musical elements. The instructor may add to any of these suggestions during the three phases of
instruction.
These teaching strategies are presented in this chapter:
high ti (major scale)
eighth note followed by dotted quarter note
natural minor scale
compound meter (part 1: 6*simple division)
si (harmonic minor)
compound meter (part 2: 6* even microbeat subdivision 2)
fi (Dorian mode)
compound meter (part 3: 6*uneven microbeat subdivision)
ta (Mixolydian mode)
high ti (Major Scale)
Table 3.1 presents an overview of the important information required to teach high ti.
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Table 3.1
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Alleluia” and imitate the teacher’s motions to show the melodic contour.
2. Clap “Alleluia” following the contour of the melody with hands.
3. Sing “Alleluia” and point to a representation of the melodic contour of phrase 2 at
the board (Fig. 3.1).
FIG. 3.1
T: “Andy, what is the general direction of the melodic contour?” (it goes up)
Determine the number of different pitches in the phrase.
T: “Andy, how many different pitches did we sing?” (eight)
T: “Andy, sing the lowest note of the phrase.”
T: “Andy, which solfège syllable can we use for that pitch?” (do)
T: “Andy, sing the highest note of the phrase.”
T: “Andy, which solfège syllable can we use for that pitch?” (high do)
T: “Let’s sing phrase 1 with solfège syllables and hand signs and phrase 2 on la.”
Teacher sings the major scale on “loo” and students identify the intervals between
the notes as major or minor seconds.
1. Teacher sings the intervals between each pair of notes of the scale and students
echo-sing major second or minor second.
2. Students make a representation of the scale.
3. Students share representation.
4. Teacher invites one student to the board to share a representation with the class.
If necessary, corrections to the representation can be made by reviewing the aural
awareness questions.
5. Students sing the major scale with a neutral syllable and point to the representation.
Associative Phase: Presentation
Label the Sound
1 . Assess the kinesthetic, aural, and visual awareness activities with the focus song “Alleluia.”
2. Students identify the final solfège note of “Alleluia” as high do and discover that
the second-to-last note is a minor second below high do. Teacher presents the
name and hand sign for the new note: ti.
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Major Scale
1. Present the pattern for the major diatonic scale and note the position of the half-
step intervals on the tone ladder. (See Fig. 3.2.)
Fig. 3.5
Singing Intervals
1. Teacher sings intervals on solfège, and students echo-sing and identify the 51
intervals as either major or minor seconds.
2. Sing and identify the intervals between the tonic note and all the other scale
degrees.
3. Teacher sings the intervals between the notes of major scale, and students sing the
intervals and identify whether it is a major or minor second.
4. Teacher sings the intervals between the tonic note and notes of the major scale
tone set, and students sing the intervals and identify intervals.
5. Teacher plays intervals on the piano melodically or harmonically and students
identify the solfège and the interval name.
6. Students sing all known major scales and minor scales from the same pitch.
Part Work
1. Students echo-sing four beat patterns provided by the teacher with solfège and
hand signs but begin singing at beat 3 of the teacher’s pattern.
2. Sing the song in canon with a rhythmic ostinato.
3. Sing the song in canon with a melodic ostinato.
4. Combine a phrase as an ostinato with another motif from the song so that you are
using two ostinatos at the same time.
Improvisation
• Teacher sings descending major scale with a specific rhythm. Students improvise
the ascending major scale with the same or different rhythm.
• Teacher sings a four-beat question in solfège syllables using the notes of the major
scale, including high ti and students echo an answer phrase in solfège syllables.
• Students improvise a new melody based on the form of a known folk song using
the major scale.
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Visual Practice
Reading from Hand Signs
• Teacher shows the “Alleluia” using hand signs and students read.
• Teacher shows known and unknown melodic phrases using hand signs and the
students sing these phrases using solfège syllables
• Teacher shows typical patterns in major key and students sing back with
solfège: d’ t l; l t d’; t s d’
Reading
1. Read target motifs from the tone ladder.
2. Read known melodies from the tone ladder.
3. Read target motif from traditional rhythmic notation and solfège with solfège
syllables and hand signs.
4. Read a known song from traditional rhythmic notation with solfège syllables
and hand signs.
5. Read a known song with solfège syllables and conduct.
6. Read a known song from staff notation with solfège syllables and hand signs.
52 7. Read a known song from staff notation with solfège syllables and conduct.
8. Transform target motif into a related pattern.
9. Read an unknown song with solfège syllables and hand signs.
10. Read an unknown song with solfège syllables and conduct.
11. Teacher shows hand signs and students read after two beats in canon with
hand signs.
12. Transform a known folk song into another folk song.
13. Read phrases of known song, notated with traditional rhythmic notation and
solfège, and play on a classroom instrument.
14. Read “Alleluia” from traditional rhythmic notation and solfège syllables.
15. Read “Alleluia” from staff notation.
16. Read known melodies on the staff.
17. Read “Heidenröslein” by Johannes Brahms (1833–1897) and listen to recording.
18. Read sight-singing examples from Sound to Symbol as well as from Sound
Thinking.
Intervals
1. Students identify intervals from notation of known songs.
2. Students identify intervals from notation of unknown songs.
3. Students are given a starting pitch by the teacher and then sing in solfège from a
series of intervals written on the board.
4. Students read different major and minor scales types from the same starting note.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
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Teaching Strategies
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation with
solfège syllables.
2. Write related patterns in stick and traditional rhythmic notation with solfège
syllables.
3. Write the tones of a known song on the board as a student or the class sings a
known song in solfège syllables.
4. Write a known song in stick and/or traditional rhythmic notation.
5. Fill the missing measures of a known song with the correct solfège syllables.
Teacher can furnish the rhythm but not the syllables for the missing measure.
6. Teacher sings an unknown song and students fill in the missing measures with
the correct rhythms and solfège syllables.
7. Students transcribe a song written in rhythmic notation with solfège syllables
into staff notation.
8. Write a scale on the staff and mark the half steps.
9. Write “Alleluia” using rhythmic notation and solfège syllables.
10. Write “Alleluia” on the staff.
11. Write patterns with rhythmic notation and solfège or on the staff from the songs 53
“Handsome Butcher,” “Roman Soldiers,” “Kookaburra,” and “Joy to the World.”
Improvisation
1. Teacher sings a question phrase with solfège syllables and hand signs and students
choose from four patterns from the board to use as an answering phrase. One
phrase should just include four heartbeats.
2. Students sing a question phrase with solfège syllables and hand signs, and another
student chooses from four patterns from the board to use as an answering phrase.
One phrase should just include four heartbeats.
3. The instructor writes a known folk song in traditional rhythmic notation and
solfège but leaves out four beats. Students read with solfège and improvise a
four-beat melody that uses the new melodic note.
4. 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 A phrase and students must improvise the B phrase, which should
end on do.
5. Create an alternative ending to a known song. Rhythm can be provided for students.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner-Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
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3. Teacher provides students with four flash cards with rhythm and students must
identify the song and arrange flash cards in the correct order.
4. Students sing known songs but inner-hear the phrase containing the new target
pattern.
5. Students sing known songs but inner-hear the phrase containing the new target
pattern.
6. Students sing a song but have to inner-hear the song at a signal from the teacher.
Students sing the song aloud at another signal from the teacher.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings taps a rhythmic ostinato that students read from notation.
2. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings a melodic ostinato that students read from notation.
3. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings a descant with solfège and hand signs that students read
from notation.
54 4. Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing
and group 2 clapping in canon.
5. Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing
and group 2 clapping in canon.
6. Read a known song with solfège syllables while showing hand signs with the
left hand and conducting with the right hand. Divide the class into two groups;
group 1 performs the activity and group 2 claps rhythm in canon after two beats.
7. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
8. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
9. Students sing major scale in two- and three-part canon.
10. With the introduction of ti the teacher can now accompany major songs with the
tonic, dominant, and subdominant harmonic functions.
11. Sing some of these songs:
“Dear Companion,” Sourwood Mountain, by Philip Tacks and Susan
Taylor-Howell, pp. 32–33.
“I Will Give My Love an Apple,” The Owl Sings, by Susan Taylor-Howell, p. 10.
“Oro, My Bodeen,” The Owl Sings, by Susan Taylor-Howell, p. 11.
“That Music Enchanting,” from The Magic Flute, by Wolfgang Amadeus Mozart
(1756–1791)
“In Dulce Jubilo” (1582), recorded by the King’s College Choir of Cambridge.
Variations on a Theme by Haydn, Op. 56a, by Johannes Brahms (1833–1897).
Performed by Magdalena Baczewska and Joanne Polk 2011.
“Hornpipe Rigadoon,” by Henry Purcell (1659–1695).
Minuet in G, from The Notebook of Ana Magdalena, by Johann Sebastian Bach
(1685–1750).
“Jupiter,” from The Planets, Op. 32, by Gustav Holst (1874–1934).
Canon, by Thomas Tallis (1505–1585); performed at St. Patrick’s Cathedral, Dublin.
Mikrokosmos, vol. 1, nos. 7 and 28, by Béla Bartók (1881–1945).
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, vol. 2 (New York: Boosey & Hawkes, 1995), p. 45–49.
Table 3.2
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Charlotte Town” and pat the beat.
2. Sing “Charlotte Town” and determine the meter and conduct.
3. Sing “Charlotte Town” and clap the rhythm.
4. Sing “Charlotte Town” and point to a representation of the rhythm on the board.
5. Sing “Charlotte Town” while performing this ostinato:
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Associative Phase: Presentation
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with the focus song
“Charlotte Town.”
2. T: “We call two uneven sounds over two beats where the first is short and the
second is long ta di---.”
3. Teacher sings the target phrase of “Charlotte Town” with rhythm syllables.
4. Students echo with rhythm syllables while clapping the rhythm or performing the
beat. (See Fig. 3.7.)
FIG. 3.7
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Teaching Strategies
5. Teacher sings the target phrase of “Charlotte Town” on “loo” and students echo
with rhythm syllables while clapping the rhythm.
1. Present symbols for two uneven sounds over two beats on the board in traditional
notation and then in stick notation. Students immediately clap and echo-sing the
target phrase of “Charlotte Town” in rhythm names.
A. T (if the beat is a quarter note long): “We can write our new rhythm using an
eighth note followed by a dotted quarter note.”
Traditional notation:
2$sqq\sqq\ar\ar\
B. T: “We can also write this phrase using stick notation and solfège syllables.”
Stick notation:
2$sqq\sqq\ar\ar\
d d r mm f md r s, 57
Part Work
1. Use the target phrase as an ostinato to accompany a known song.
2. Combine the target phrase as an ostinato with another motif from the song so
that you are using two ostinatos at the same time.
3. Teacher claps a rhythm and students follow in canon after two beats.
4. Students perform a two-part rhythmic reading exercises. Group 1 performs the
upper part and group two the lower part. Switch.
5. Students performs a two-part rhythmic reading exercises. Perform the upper part
with right hand and lower part with left hand.
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Improvisation
1. Teacher claps and says the rhythm syllables in a question phrase that uses new
pattern, and students give an answer.
2. One student claps and says the rhythm syllables in a question phrase that uses
new pattern, and another student answers.
3. Students change rhythm of simple songs and use a Ta di—instead of two Ta notes.
4. One student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student’s pattern.
Inner-Hearing
1. Teacher sings known phrases of songs and students sing back with rhythm
syllables and clapping.
2. Teacher sings known phrases of songs and students sing back with rhythm
syllables and conducting.
3. Students inner-hear known song and clap ostinato that includes new rhythm.
Visual Practice
58 Reading from Hand Signs
1. Students sing known song from teacher’s hand signs that include the new rhythm
pattern.
2. Students sing known song from another student’s hand signs that include the new
rhythm pattern.
Reading
1. Read target motif from traditional rhythmic notation with rhythm syllables.
2. Read a known song with rhythm syllables and clap the rhythm.
3. Read a known song with rhythm syllables and conduct.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand.
5. Transform target motif into a related pattern.
6. Read an unknown song with rhythm syllables and clap the rhythm.
7. Read an unknown song with rhythm syllables and conduct.
8. Transform a known folk song into another folk song.
9. Read the rhythm of a known song and play on classroom percussion instruments.
10. Read phrase of a known song with traditional notation and solfège, or from
the staff, that includes new rhythmic pattern and play on the xylophone or
tone bells.
11. Read the rhythm of a known song in two or three parts. For example, students
can sing the rhythm syllables using notes of the tonic chord in major or minor.
12. Read the rhythm of a known song in two or three parts. For example, students
can play the rhythm patterns using notes of the tonic chord in major or minor
on the recorder.
13. Read the rhythmic notation of “Charlotte Town.”
14. Transform the target pattern into basic four-beat patterns found in the students’
repertoire.
15. Transform the rhythm of phrase 1 of “Charlotte Town” into phrase 2 of “All
Night, All Day.”
16. Read “All Night, All Day” with rhythmic notation or on the staff.
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Teaching Strategies
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation.
2. Write related patterns in stick and traditional rhythmic notation.
3. Write a known song in stick and/or traditional rhythmic notation.
4. Fill the missing measures of a known song with the correct rhythms.
5. Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms.
6. Students notate rhythm patterns by teacher and add the bar lines and time signature.
7. Write “Charlotte Town” with traditional notation.
8. Fill in the missing rhythms to measures of known songs, such as “All Night, All Day.”
Improvisation
1. Teacher claps a question phrase and chants rhythm syllables, and students choose
from four patterns from the board to use as an answering phrase. One phrase
should just include four heartbeats.
2. Students claps a question phrase and chants rhythm syllables, and another student
chooses from four patterns from the board to use as an answering phrase. One
phrase should just include four heartbeats. 59
3. The instructor writes a known folk song in traditional rhythmic notation but
leaves out four beats. Students read and clap the rhythm and improvise four-beat
rhythms that use new rhythm pattern for the missing measure:
• Students are given a written rhythmic exercise from a known or unknown
song. (Some of the measures contain only “heartbeats” or beat bars.)
• Students perform the rhythm where it is notated, and pat the beat elsewhere.
• Students perform the rhythm where it is notated, and improvise for the missing
measures.
4. Students read a four-phrase sixteen-beat rhythmic composition in ABAC form;
then teacher erases the C phrase and students create a new C phrase using eighth
and dotted quarter rhythms.
Memory
1. Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases
four beats each time and students memorize.
2. Read an unknown song with rhythm syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner-Hearing
1. Recognize familiar songs from teacher’s clapping.
2. Teacher sings known phrases of songs and students sing back with rhythm
syllables and keep the beat.
3. Teacher provides students with four flash cards with rhythm and they must
identify the song and arrange flash cards in the correct order.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings taps a rhythmic ostinato that students read from notation.
2. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups and perform the activity in canon after two beats.
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3. Read a known song with rhythm syllables and conduct. Divide the class into two
groups and perform the activity in canon after two beats.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups and
perform the activity in canon after two beats.
5. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups; one group performs the activity from the beginning and the
other from the end of the song.
6. Read a known song with rhythm syllables and conduct. Divide the class into two
groups; one group performs the activity from the beginning and the other from
the end of the song.
7. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups; one
group performs the activity from the beginning and the other from the end of
the song.
8. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
60 9. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
Listening
“An Evening in the Village,” theme, from Hungarian Sketches, by Béla Bartók
(1881–1945).
Mikrokosmos, vol. 3, no. 94, by Béla Bartók (1881–1945).
“Hungarian Rondo,” by Zoltán Kodály (1882–1967):
4$sqsqsqsq\arw\sqsqsqsq\arw\
sqsqsqsq\arra\arra\arra\arw|
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, vol. 1. New York: Boosey & Hawkes, 1995, pp. 71–76, 87–98.
Zoltán Kodály. Kodály Choral Library: 333 Elementary Exercises. London: Boosey &
Hawkes, 1963, nos. 267 and 268.
Natural Minor Scale
Table 3.3 presents an overview of the important information required to teach natural
minor scale.
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Teaching Strategies
Table 3.3
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1. Sing “Alleluia” in
minor and point to a
representation of the
melodic contour at the
board (Fig. 3.8).
2. Sing “Alleluia” in
minor and point to FIG. 3.8
melodic contour of the
song with your eyes
closed.
3. Sing “Alleluia” in minor with rhythm syllables and show the melodic contour.
Associative Phase: Presentation
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with the focus song
“Alleluia” in minor.
2. Teacher and students sing the seven pitches of “Alleluia” in minor from low
to high.
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Teaching Strategies
3. Teacher specifically names the scale as a “natural minor scale,” because it has
seven pitches from low la to la with half steps between mi and fa and between low
ti and do.
4. Students sing the scale with hand signs.
5. Teacher sings the song with solfège and hand signs.
6. Students sing the song with solfège and hand signs.
7. Teacher hums motifs on “loo” and students sing the song with solfège and
hand signs.
8. Teacher presents scale degree numbers for the minor scale.
9. Teacher sings the song with scale degree and hand signs. Students echo-sing with
scale degrees and hand signs.
Minor Scale
1. Present the pattern for the natural minor scale on the steps.
2. Present the natural minor scale in staff notation and the
Rule of Placement. l
s
3. Mark the half step intervals between fa and mi and f
between do and ti. (See Fig. 3.9.). m
r
4. Show students how to write the natural minor scale, d
beginning on C and F-sharp t,
l, FIG. 3.9
Singing Intervals
1. Teacher sings the intervals between the notes of natural minor scale, and students
sing the intervals and identify whether each is a skip or a step.
2. Teacher sings the intervals between the tonic note and notes of the natural minor
tone set, and students sing the intervals and identify them.
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Part Work
1. Use the target phrase as an ostinato to accompany known minor songs.
2. Students echo-sing four-beat patterns provided by the teacher with solfège and
hand signs but begin singing at beat 3 of the teacher’s pattern.
3. Sing the song in canon with a rhythmic ostinato.
4. Sing the song in canon with a melodic ostinato.
5. Combine a phrase as an ostinato with another motif from the song so that you are
using two ostinatos at the same time.
Improvisation
1. Teacher sings a music question with solfège syllables and hand signs and students
give an answer. Question should end on mi and the answer on low la.
64 2. One student sings a music question with solfège syllables and hand signs and
another student answers. Question should end on mi and the answer on low la.
3. One student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.
4. Practice transforming melodies from the major scale to the natural minor scale.
Begin with pentachord and hexachord scales before moving to the minor. The
students should sing major melodies and the teacher should sing back in minor.
Once students can switch back and forth between major and minor, the teacher
should begin to analyze the form and tone set of major and minor melodies as
well as understand the role of the dominant and tonic notes at the end of phrases.
5. Practice singing question-and-answer phrases in a natural minor key.
Inner Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège
syllables.
Visual Practice
Reading from Hand Signs
1. Read target motifs from the tone ladder.
2. Read known melodies from the tone ladder.
3. Read target motif from traditional rhythmic notation and solfège with solfège
syllables and hand signs.
4. Read a known song from traditional rhythmic notation with solfège syllables and
hand signs.
5. Read a known song with solfège syllables and conduct.
6. Read a known song from staff notation with solfège syllables and hand signs.
7. Read a known song from staff notation with solfège syllables and conduct.
8. Transform target motif into a related pattern.
9. Read an unknown song with solfège syllables and hand signs.
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Teaching Strategies
Intervals
1. Students identify intervals from notation of known songs.
2. Students identify intervals from notation of unknown songs.
3. Students are given a starting pitch by the teacher and then sing in solfège from a
series of intervals written on the board. 65
4. Students read different pentatonic scales from the same starting note.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation with solfège
syllables.
2. Write related patterns in stick and traditional rhythmic notation with solfège
syllables.
3. Write the tones of a known song on the board as a student or the class sings a
known song in solfège syllables.
4. Write “Alleluia” in minor in traditional rhythmic notation with solfège and staff
notation.
5. Write in traditional rhythmic notation with solfège and staff notation
“Hashivenu,” “Ghost of Tom,” “Dona, Dona, Dona,” “Sweet William,” “Come to
the Land,” or “Tumbalalaika.”
6. Students transcribe a song written in rhythmic notation with solfège syllables into
staff notation.
7. Write the natural minor scales with and without key signature in A, D, E, G, B, C,
and F-sharp. Mark the half steps on the score.
Improvisation
1. Teacher sings a question phrase with solfège syllables and hand signs and students
choose from four patterns from the board to use as an answering phrase. One
phrase should just include four heartbeats.
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2. One student sings a question phrase with solfège syllables and hand signs, and
another student chooses from four patterns from the board to use as an answering
phrase. One phrase should just include four heartbeats.
3. The instructor writes a known folk song in traditional rhythmic notation and
solfège but leaves out four beats. Students read with solfège and improvise
four-beat melody that uses the new melodic note.
4. Students improvise a new folk song to a given form and scale. For example,
students compose a new melody using the form ABAB. Teacher gives students the
A phrase and students must improvise the B phrase, which should end on do.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner-Hearing
66 1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
3. Teacher provides students with four flash cards with rhythm and students must
identify the song and arrange flash cards in the correct order.
4. Students sing known songs but inner-hear the phrase containing the new target
pattern.
5. Students sing known songs but inner-hear the phrase containing the new target
pattern.
6. Students sing a song but have to inner-hear the song at a signal from the teacher.
Students sing the song aloud at another signal from the teacher.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 sings taps a rhythmic ostinato that students read from notation.
2. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 sings a melodic ostinato that students read from notation.
3. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 sings a descant with solfège and hand signs that students read
from notation.
4. Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
5. Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
6. Read a known song with solfège syllables while showing hand signs with the
left hand and conducting with the right hand. Divide the class into two groups;
group 1 performs the activity and group 2 claps rhythm in canon after two beats.
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Teaching Strategies
7. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
8. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
9. Students perform:
“Sweet William,” from Denise Bacon’s 46 Two Part American Folk Songs, p. 42.
“I Will Give My Love an Apple,” from Philip Tacka and Susan Taylor-Howell’s The
Owl Sings, p. 10.
Zoltán Kodály, Bicinia Hungarica, vol. 1, nos. 33, 34, 36; and vol. 3, nos. 108,
112, 119.
Listening
“When Jesus Wept,” by William Billings
Toccatina, Op. 27, Book 1, No. 7, by Dmitri Kabalevsky (1904–1987).
Symphony no. 4, movement 2, Andante con moto, by Felix Mendelssohn (1809–1847).
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear 67
Training, vol. 2. New York: Boosey & Hawkes, 1995, pp. 84–85.
Table 3.4
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Row, Row, Row Your Boat” and pat the beat for the entire song. (rr).
2. Determine the meter. (duple) Sing and conduct.
3. Determine the macro and micro beats. (You can label this a compound meter,
since the macro beat can be divided into three micro beats.)
4. Sing “Row, Row, Row Your Boat” and conduct.
5. Sing “Row, Row, Row Your Boat” and point to a representation of the rhythm on
the board (Fig. 3.10).
Fig. 3.10
68 6 . Teacher claps the beat and students sing the song and clap the rhythm.
7. Divide the class into two groups. Group 1 pats the beat for the target phrase and
group 2 claps the rhythm; then switch.
8. Sing “Row, Row, Row Your Boat.” Step the beat and clap the rhythm.
Phrase 1
T: “Andy, how many beats did we keep in phrase 1?” (four)
T: “Andy, how many sounds were on beats 1, 2, and 4?” (one) We can call one
sound on a beat in compound meter ‘ta’.”
T: “Andy, how many sounds did we sing on beat 3?” (two)
T: “Andy, describe these sounds.” (long, short)
Phrase 2
T: “Andy, how many beats did we keep in phrase 2?” (four)
T: “Andy, was there a pitch that lasted two beats?” (yes, on beats 3 and 4)
T: “We can call one sound held for two beats in compound meter a Ta-ah.”
T: “Andy, how many sounds did we sing on beat 1?” (two)
T: “Andy, describe these sounds” (long, short)
T: “Andy, how many sounds did we sing on beat 2?” (two)
T: “Andy, describe these sounds.” (long, short)
Phrase 3
T: “Andy, how many beats did we keep?” (four)
T: “Andy, how many sounds did we sing on each beat?” (three)
T: “Andy, describe these sounds.” (they are even)
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Teaching Strategies
Phrase 4
T: “Andy, how many beats did we keep?” (four)
T: “Andy, how many sounds did we sing on beats 3 and 4?” (one)
T: “We can describe this as a ta-ah.”
T: “Andy, describe the sounds on beats 1 and 2.” (long short, long short . . .)
Associative Phase: Presentation
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with phrase 1 of
“Row, Row, Row Your Boat.”
2. Present the names of the rhythm syllables used in compound meter.
• One sound on the beat is called ta.
• One sound held for two beats is called ta—ah.
• Three even sounds that are evenly distributed over one beat are called ta ki da.
• Two sounds on a beat, one long followed by a short sound, are called ta da.
3. Sing “Row, Row, Row Your Boat” with rhythm syllables while tapping the beat.
4. Sing “Row, Row, Row Your Boat” with rhythm syllables while conducting the beat.
(See Fig. 3.11.)
FIG. 3.11
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Kodá ly in t he Fif t h G r a de Cl a s sro om
6*rr\qar\
qaqa\t\
sddsdd\sddsdd\
qaqa\t|
• Students read the rhythm of “Row, Row, Row Your Boat” with rhythm syllables
while keeping the beat and conducting.
• Teacher presents how to count compound melodies with numbers.
• Students read the rhythm of “Row, Row, Row Your Boat” with numbers while
keeping the beat and conducting.
6 . Sing “Row, Row, Row Your Boat” with rhythm syllables and keep the beat.
7. Sing “Row, Row, Row Your Boat” with rhythm syllables and conduct.
Part Work
1. Use the target phrase as an ostinato to accompany a known song.
2. Combine the target phrase as an ostinato with another motif from the song so
that you are using two ostinatos at the same time.
3. Teacher claps a rhythm and students follow in canon after two beats.
4. Students perform a two-part rhythmic reading exercises. Group 1 performs the
upper part and group two the lower part. Switch.
5. Students performs a two-part rhythmic reading exercises. Perform the upper part
with right hand and lower part with left hand.
Improvisation
• Let the students decide how to sing “Row, Row, Row Your Boat” (canon, adding a
melodic ostinato, adding a rhythmic ostinato).
• Teacher claps a four-beat rhythmic pattern in compound meter and students clap
an answering four-beat phrase. 71
• Students improvise a new rhythmic composition in compound meter based on a
given form.
Inner-Hearing
1. Teacher sings known phrases of songs in compound duple meter and students
sing back with rhythm syllables and clapping.
2. Teacher sings known phrases of songs in compound duple meter and students
sing back with rhythm syllables and conducting.
Visual Practice
Reading from Hand Signs
• Read “Row, Row, Row Your Boat” from hand signs.
• Read from hand sings other known and unknown compound melodies.
Reading
1. Read target motif from traditional rhythmic notation with rhythm syllables.
2. Read a known song with rhythm syllables and clap the rhythm.
3. Read a known song with rhythm syllables and conduct.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand.
5. Transform target motif into a related pattern.
6. Read a known song from teacher’s hand signs.
7. Read an unknown song from teacher’s hand signs.
8. Teacher shows hand signs and students read after two beats in canon.
9. Read an unknown song with rhythm syllables and clap the rhythm.
10. Read an unknown song with rhythm syllables and conduct.
11. Transform a known folk song into another folk song.
12. Read the rhythm of a known song and play on classroom percussion instruments.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
13. Read phrase of a known song with traditional notation and solfège syllables or
from the staff that includes new rhythmic pattern and play on the xylophone or
tone bells.
14. Read the rhythm of a known song in two or three parts. For example,
students can sing the rhythm syllables using notes of the tonic chord in major
or minor.
Writing
1. Write rhythm patterns in compound duple meter in stick and/or traditional
rhythmic notation.
2. Write a known song in stick and/or traditional rhythmic notation.
3. Fill the missing measures of a known song with the correct rhythms.
4. Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms.
5. Students notate rhythm patterns by teacher and add the bar lines and time
signature.
72 Improvisation
1. Teacher claps a question phrase and chants rhythm syllables, and students choose
from four patterns from the board to use as an answering phrase.
2. One student claps a question phrase and chants rhythm syllables, and another
chooses from four patterns from the board to use as an answering phrase.
3. The instructor writes a known folk song in traditional rhythmic notation but
leaves a few measures blank. Students read and clap the rhythm and improvise
four-beat rhythms that use new rhythm pattern for the missing measures.
Memory
1. Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases
four beats each time and students memorize.
2. Read an unknown song with rhythm syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner-Hearing
1. Recognize familiar songs from teacher’s clapping.
2. Teacher sings known phrases of songs and students sing back with rhythm
syllables and keep the beat.
3. Teacher provides students with four flash cards with rhythm and they must
identify the song and arrange flash cards in the correct order.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 sings taps a rhythmic ostinato that students read from notation.
2. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups and perform the activity in canon after two beats.
3. Read a known song with rhythm syllables and conduct. Divide the class into two
groups and perform the activity in canon after two beats.
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Teaching Strategies
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups and
perform the activity in canon after two beats.
5. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups; one group performs the activity from the beginning, and the
other from the end of the song.
6. Read a known song with rhythm syllables and conduct. Divide the class into two
groups; one group performs the activity from the beginning, and the other from
the end of the song.
7. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups; one
group performs the activity from the beginning, and the other from the end of
the song.
8. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
9. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
10. Students perform: 73
• The OAKE Collection, vol. 2: The Owl Sings (Whitewater, WI: Organization of
American Kodály Educators, 1991), p. 7.
• Two-Part American Songs, book 2, by Mark Williams (San Antonio,
TX: Southern Music Co., 1988), nos. 10, 12, 25.
• The OAKE Collection: The Sounds of Rounds and Canons, by Ruth Boshkoff
and Kathy Sorensen, pp. 47, 73.
• Classical Canons, by Antal Molnar (Editio Musica Budapest, 1983), nos.
157, 164.
Listening
Sonatina in G major, KA 5, No. 1, by Ludwig van Beethoven (1770–1827).
“The Wild Rider” (Horseman), Op. 68, No. 8, from Album for the Young, by Robert
Schumann (1810–1856).
Six Variations on “Nel cor piu non mi sento” by Paisiello, by Ludwig van Beethoven
(1770–1827). (works for a\qaqa\xxxxxc r )
Symphony no. 4, movement 1, Allegro vivace, by Felix Mendelssohn (1809–1847).
Sight Singing
• Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing
and Ear Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 15–24,
45–56, 105–120.
si (Harmonic Minor)
Table 3.5 presents an overview of the important information required to teach si (harmonic
minor).
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 3.5
Cognitive Phase: Preparation
Internalize Music through Kinesthetic Activities
1. Sing “Ah, Poor Bird” and point to a representation of the melodic contour at the
board (Fig. 3.12).
FIG. 3.12
2. Sing “Ah, Poor Bird” with rhythm syllables and show the melodic contour while
clapping the rhythm.
Associative Phase: Presentation
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with the focus song
“Ah, Poor Bird.”
2. Teacher presents the name and high sign for the new note. (The hand sign for si is
most often showed with fingers slightly spread; see Fig. 3.13.)
3. Teacher sings the third phrase with solfège syllables and
hand signs. Students echo-sing with solfège and hand signs.
4. Teacher hums phrases on “loo” and students echo-sing with
solfège and hand signs.
5. Teacher hums the notes of the harmonic minor scale.
Students identify the notes of the scale with solfège
syllables. Teacher presents the name of the scale as
“harmonic minor.”
FIG. 3.13
6. Teacher identifies the new interval, fa-si, as an “augmented
second.”
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Kodá ly in t he Fif t h G r a de Cl a s sro om
4$qqw\qqw\sqsqsqsq\qqw|
l, t, d d r m m l l si l m m r d t, l,
Fig. 3.14
76 4. Present the notation for “Ah Poor Bird” on the staff using different do positions.
Students read the notation with solfège and hand signs as well as letter names and
hand signs. (See Fig. 3.14.)
Minor Scale
1. Present the interval pattern for the harmonic minor scale on the steps (Fig. 3.15).
l
si
f
m
r
d
t,
l,
FIG. 3.15
2. Present the Rule of Placement and present the harmonic minor scale in staff
notation. (See Fig. 3.16.)
Fig. 3.16
Singing Intervals
1. Teacher sings the intervals between the notes of the tone set, and students sing the
intervals and identify whether each is a skip or a step.
2. Teacher sings the intervals between the tonic note and notes of the tone set, and
students sing the intervals and identify them.
3. Teacher plays intervals on the piano melodically or harmonically and students
identify the solfège and the interval name.
77
Part Work
1. Use the target phrase as an ostinato.
2. Students echo-sing four-beat patterns provided by the teacher with solfège and
hand signs but begin singing at beat 3 of the teacher’s pattern.
3. Combine a phrase as an ostinato with another motif from the song so that you are
using two ostinatos at the same time.
4. Students sing a minor song and teacher accompanies with a drone made up of low
la or la-mi played on an instrument.
5. Students sing a minor and teacher accompanies with the solfège syllables
la or mi.
Improvisation
1. Teacher sings a music question with solfège syllables and hand signs and students
give an answer. Question ends on mi and after several activities ends on ti. Answer
ends on la.
2. One student sings a music question with solfège syllables and hand signs and
another student answers.
3. One student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.
4. Students transform a minor melody into a major melody.
Inner-Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège.
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Visual Practice
Reading from Hand Signs
1. Students sing known song from teacher’s hand signs that includes the new solfège
pattern.
2. Students sing known song from another student’s hand signs that includes the
new solfège pattern.
3. Students read a motif from a teacher’s hand sign and play on a classroom
instrument. Teacher provides the starting place on the instrument.
Improvisation
• Teacher claps a question phrase using solfège syllables belonging to harmonic
minor scale and students give an answering phrase.
Visual Practice
Reading from Hand Signs
1. Teacher shows hand signs for phrases of “Ah, Poor Bird” and students read with
solfège and hand signs.
78 2. Teacher shows hand signs for “Vine and Fig Tree” and students read with solfège
and hand signs.
Reading
1. Read target motifs from the tone ladder.
2. Read known melodies from the tone ladder.
3. Read known melodies from the tone ladder.
4. Read target motif from traditional rhythmic notation and solfège with solfège
syllables and hand signs.
5. Read a known song from traditional rhythmic notation with solfège syllables
and hand signs.
6. Read a known song with solfège syllables and conduct.
7. Read a known song from staff notation with solfège syllables and hand signs.
8. Read a known song from staff notation with solfège syllables and conduct.
9. Transform target motif into a related pattern.
10. Read an unknown song with solfège syllables and hand signs.
11. Read an unknown song with solfège syllables and conduct.
12. Teacher shows hand signs and students read after two beats in canon with
hand signs.
13. Transform a known folk song into another folk song.
14. Read phrases of known song, notated with traditional rhythmic notation and
solfège, and play on a classroom instrument.
15. Read “Ah, Poor Bird” in rhythm notation with solfège syllables notation and
from staff notation.
16. Read “Go Down, Moses” and/or “Vine and Fig Tree” in rhythm notation with
solfège syllables or staff notation.
Intervals
1. Students identify intervals from notation of known songs.
2. Students identify intervals from notation of unknown songs.
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Teaching Strategies
3. Students are given a starting pitch by the teacher and then sing in solfège from a
series of intervals written on the board.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation with
solfège syllables.
2. Write related patterns in stick and traditional rhythmic notation with solfège
syllables.
3. Write the tone set of a known song on the board as a student or the class sings a
known song in solfège syllables.
4. Write a known song in stick and/or traditional rhythmic notation.
5. Fill the missing measures of a known song with the correct solfège syllables. 79
Teacher can furnish the rhythm but not the syllables for the missing
measure.
6. Teacher sings an unknown song and students fill in the missing measures with
the correct rhythms and solfège syllables.
7. Students transcribe a song written in rhythmic notation and solfège syllables
into staff notation.
8. Write a minor scale on the staff and mark the half steps.
9. Write “Ah, Poor Bird” in rhythm notation with solfège syllable notation and staff
notation.
10. Write “Go Down, Moses” or “Vine and Fig Tree” in rhythm notation with solfège
syllables or staff notation.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner-Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
3. Teacher provides students with four flash cards with rhythm and students must
identify the song and arrange flash cards in the correct order.
4. Students sing known songs but inner-hear the phrase containing the new target
pattern.
5. Students sing known songs but inner-hear the phrase containing the new target
pattern.
6. Students sing a song but have to inner-hear the song at a signal from the teacher.
80 Students sing the song aloud at another signal from the teacher.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and
hand signs, and group 2 sings taps a rhythmic ostinato that students read from
notation.
2. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 sings a melodic ostinato that students read from notation.
3. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 sings a descant with solfège and hand signs that students read
from notation.
4. Read a known song with solfège syllables and hand signs. Divide the class into
two groups, and perform the activity in canon after two beats, group 1 singing
and group 2 clapping in canon.
5. Read a known song with solfège syllables and conducting. Divide the class into
two groups, and perform the activity in canon after two beats, group 1 singing
and group 2 clapping in canon.
6. Read a known song with solfège syllables while showing hand signs with the
left hand and conducting with the right hand. Divide the class into two groups;
group 1 performs the activity, and group 2 claps rhythm in canon after two beats.
7. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
8. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand. Sing minor pentachord
scales in canon.
9. Sing the natural minor scale as a two- or three-part canon.
10. Sing the following:
“Pat-a Pan,” The Owl Sings, by Philip Tacka and Susan Taylor-Howell, p. 37.
Classical Canons, nos. 25, 106, 108, 109.
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Teaching Strategies
Listening
Little Fugue in G Minor, by J. S. Bach (1685–1750).
Polonaise in G Minor, Anna Magdalena Bach Notebook, BWV Anhang 125, by Johann
Sebastian Bach (1685–1750).
“In Church,” Album for the Young, Op. 68, No. 23, by Robert Schumann (1810–1856).
“Sunrise, Sunset,” from Fiddler on the Roof, by Jerry Bock (1928–2010), lyrics by
Sheldon Harnick (1924–).
“The Wild Rider” (Horseman), Album for the Young, Op. 68, No. 8, by Robert
Schumann (1810–1856).
Csondes Kánon, by Lajos Bardos (1899–1986).
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 80–82 and 83–89.
Table 3.6
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1. Sing “Morning Is Come” and pat the beat for the entire song. (Sing as two
phrases.)
2. Sing “Morning Is Come”; pat the macro beat in the right hand and the micro beat
in the left hand for the entire song.
3. Determine the macro and micro beats.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
FIG. 3.17
7. Divide the class into two groups. Group 1 pats the beat for the target phrase, and
group two claps the rhythm. Switch.
8. Sing “Morning Is Come.” Step the beat and clap the rhythm.
82 Second phrase
T: “Andy, how many beats did we keep in phrase 2?” (four)
T: “How many sounds were there on beat 4?” (one) “What do we call one sound
on one beat in compound meter?”
T: “Which beats had three sounds?” (1 and 3) “What do we call three sounds on
one beat in compound meter?”
T: “Andy, which beat had the most sounds?” (beat 2)
T: “Andy, sing beats 1, 3, and 4 with rhythm syllables, and sing beat 2 with ‘loo’.”
T: “Andy, how many sounds were on beat 2?” (five)
T: “Andy, let’s describe these sounds with long and short.” (long, short, short,
short, short; or the first sound was longer than the other sounds)
Associative Phase: Presentation
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with the second
phrase of “Morning Is Come.”
2. T: “In compound meter, any attack on the beat is called a ta.”
3. T: “Three sounds that are evenly distributed over one beat are called Ta ki da.”
4. T: “Six sounds that are evenly distributed over one beat are called tava kidi dama.”
5. T: “Five sounds that occur on one beat, long short short short short, are called ta
ki di da ma.”
6. Teacher sings second phrase of “Morning Is Come” with rhythm syllables while
clapping the rhythm.
7. Students sing second phrase of “Morning Is Come” with rhythm syllables while
clapping the rhythm.
8. Teacher hums phrases from “Morning Is Come” and students echo-sing with
rhythm syllables.
9. Sing “Morning Is Come” with rhythm
syllables while conducting the beat.
(See Fig. 3.18.)
83
FIG. 3.18
Notate What You Hear
1. Time signature. T: “In compound duple meter, where we have two macro beats
per measure, the time signature is 6*.”
2. Dotted quarter note. T: “In compound meter, the macro beat is a dotted
quarter note.”
3. Three eighth notes. T: “Three even sounds that occur on one beat, where the beat
is equal to a dotted quarter note, are called three eighth notes.”
6*r r \r r \
ssqssq\ssqssq\
4. Eighth note followed by quarter note. T: “Two sounds on a beat, where the first
sound is short and the second sound is long, are represented as an eighth note
followed by a quarter note.”
5. Sixteenth notes. T: “Six even sounds on a beat are represented as sixteenth notes.”
6. Eighth note followed by four sixteenth notes. T: “Five sounds on a beat, where
the first sound is long and the other four sounds are short, are represented as an
eighth note followed by four sixteenth notes.”
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Kodá ly in t he Fif t h G r a de Cl a s sro om
6*ssq ssq\ssq ssq\
sxxxqsxxxq\sxxxqsxxxq\
Target phrase:
6*ssqsxxxq\ssqr\
ssqssq\ssqssq\
6*ssdr\ssdr\
ssdsxxxc\ssdr|
84
• Students sing with rhythm syllables.
Part Work
1. Use the target phrase as an ostinato to accompany a known song.
2. Combine the target phrase as an ostinato with another motif from the song so
that you are using two ostinatos at the same time.
3. Teacher claps a rhythm and students follow in canon after two beats.
4. Students perform a two-part rhythmic reading exercises. Group 1 performs the
upper part, and group 2 the lower part. Switch.
5. Students performs a two-part rhythmic reading exercises. Perform the upper part
with the right hand and lower part with the left hand.
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Teaching Strategies
Improvisation
1. Let the students decide how to sing “Row, Row, Row Your Boat” (canon, adding a
melodic ostinato, adding a rhythmic ostinato).
2. Teacher claps a four-beat rhythmic pattern in compound meter and students clap
an answering four-beat phrase.
3. Students improvise a new rhythmic composition in compound meter based on a
given form.
Inner-Hearing
1. Teacher sings known phrases of songs in compound duple meter and students
sing back with rhythm syllables and clapping.
2. Teacher sings known phrases of songs in compound duple meter and students
sing back with rhythm syllables and conducting.
Visual Practice
Reading from Hand Signs
1. Read from hand sings “Morning Is Come.”
2. Read from hand signs other known and unknown compound melodies that 85
include the new rhythmic pattern.
Reading
1. Read target motif from traditional rhythmic notation with rhythm syllables.
2. Read a known song with rhythm syllables and clap the rhythm.
3. Read a known song with rhythm syllables and conduct.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand.
5. Transform target motif into a related pattern.
6. Read a known song from teacher’s hand signs.
7. Read an unknown song from teacher’s hand signs.
8. Teacher shows hand signs and students read after two beats in canon.
9. Read an unknown song with rhythm syllables and clap the rhythm.
10. Read an unknown song with rhythm syllables and conduct.
11. Transform a known folk song into another folk song.
12. Read the rhythm of a known song and play on classroom percussion
instruments.
13. Read a phrase of a known song with traditional notation and solfège syllables, or
from the staff, that includes new rhythmic pattern and play on the xylophone or
tone bells.
14. Read the rhythm of a known song in two or three parts. For example, students
can sing the rhythm syllables using notes of the tonic chord in major or minor.
15. Read “Morning Is Come” in traditional rhythmic notation with rhythm syllables.
16. Read “Morning Is Come” notated on staff with rhythm syllables and solfège
syllables and hand signs.
17. Transform the rhythm of “Morning Is Come” into other known compound
melodies.
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Writing
1. Write rhythm patterns in compound duple meter in stick and/or traditional
rhythmic notation.
2. Write a known song in stick and/or traditional rhythmic notation.
3. Fill the missing measures of a known song with the correct rhythms.
4. Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms.
5. Students notate rhythm patterns by teacher and add the bar lines and time
signature.
6. Write “Morning Is Come” using traditional rhythmic notation and solfège.
7. Write “Morning Is Come” on the staff.
Improvisation
1. Teacher claps a question phrase and chants rhythm syllables, and students choose
from four patterns from the board to use as an answering phrase.
2. Students clap a question phrase and chant rhythm syllables; another student
chooses from four patterns from the board to use as an answering phrase.
86 3. The instructor writes a known folk song in traditional rhythmic notation but
leaves a few measures blank. Students read and clap the rhythm and improvise
four-beat rhythms that use new rhythm pattern for the missing measures.
Memory
1. Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases
four beats each time and students memorize.
2. Read an unknown song with rhythm syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner-Hearing
1. Recognize familiar songs from teacher’s clapping.
2. Teacher sings known phrases of songs and students sing back with rhythm
syllables and keep the beat.
3. Teacher provides students with four flash cards with rhythm and they must
identify the song and arrange flash cards in the correct order.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 sings taps a rhythmic ostinato that students read from notation.
2. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups, and perform the activity in canon after two beats.
3. Read a known song with rhythm syllables and conduct. Divide the class into two
groups, and perform the activity in canon after two beats.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups, and
perform the activity in canon after two beats.
5. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups; one group performs the activity from the beginning, and the
other from the end of the song.
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Teaching Strategies
6. Read a known song with rhythm syllables and conduct. Divide the class into two
groups; one group performs the activity from the beginning and the other from
the end of the song.
7. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups; one
group performs the activity from the beginning, and the other from the end of
the song.
8. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
9. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
10. Students sing “Come, Let’s Dance” and “With Laughter and Singing.”
Listening
Fantasia in D, second movement, by Georg Philipp Telemann (1681–1767).
(Telemann’s Fantaisies pour le clavessin, c. 1732, 3me douzaines, no. 10.)
Six Variations on “Nel cor piu non mi sento” by Paisiello, by Ludwig van Beethoven
(1770–1827). 87
Sight Singing
• Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing
and Ear Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 15–24,
45–56, 105–120.
fi (Dorian Mode)
Table 3.7 presents an overview of the important information required to teach fi
(Dorian mode).
Table 3.7
This is a challenging concept, and the introduction of fi opens up myriad possibilities for
students. It is best to use this sequence:
This unit plan will focus on teaching fi in the context of the Dorian scale.
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1. Sing the fourth phrase and point to a representation of the melodic contour at the
board (Fig. 3.19).
2. Sing the fourth phrase of “Drunken Sailor” and show the melodic contour.
3. Sing the fourth phrase of “Drunken Sailor” with rhythm syllables and show the
melodic contour.
88
FIG 3.19
Associative Phase: Presentation
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with phrase 1 of
“Drunken Sailor.”
2. Teacher names new element as “fi” and shows the hand sign.
3. Teacher sings the target phrase of “Drunken Sailor” with solfège syllables and
hand signs. Students echo-sing.
4. Teacher hums phrases from “Drunken Sailor,” and students echo-sing with
solfège and hand signs.
5. Teacher and students identify the tone set of “Drunken Sailor”: la-ti-do-re-mi-fi-so-la.
6. Teacher specifically names the notes of the tone set as the “Dorian mode.”
7. Teacher sings the Dorian mode from low to high and back with solfège syllables
and hand signals, and students echo.
8. Teacher identifies the characteristic interval of the Dorian mode, la-fi, as a
major sixth interval.
9. Students identify the intervals between the tonic note and the other notes of the scale.
10. Teacher hums the Dorian mode on “loo,” and students figure out that it can also
be sung with the solfège syllables re-mi-fa-so-la-ti-do-re.
11. Sing “Drunken Sailor” using a re or la tonic.
Dorian Mode
1. Present the Dorian scale tone ladder.
2. Present the scale on the staff: analyze the intervals between the notes as well as
between the tonic and all other scale degrees. Teacher explains that the Dorian is a
minor scale with a characteristic major sixth interval (la-fi).
Fig. 3.20
90 Demonstrate how the Dorian mode is a minor-sounding mode and it may be sung begin-
ning with one of two starting pitches: (1) sing it beginning on la and raise the note fa to fi,
or (2) sing the scale beginning on re. Note that the half step intervals are in the same posi-
tion (Figs. 3.20 and 3.21).
Fig. 3.21
2. Practice singing minor hexachord melodies in Dorian mode beginning on la. Sing
them again using re as the tonic note.
Singing Intervals
1. Practice singing the intervals between each pair of scale degrees of the
Dorian scale.
2. Practice singing the intervals between the tonic note and each scale degree of the
Dorian scale. The interval of the major sixth, la-fi, is the characteristic interval of
the Dorian mode. Note the intervals between low la–low ti, do-re, re-mi, mi-fi, and
so-la are whole steps. The distance between low ti–do and between fi-so is a half
step. We can refer to whole steps as major seconds (M2) and half steps as minor
seconds (m2).
Part Work
1. Use the target phrase as an ostinato.
2. Students echo-sing four beat patterns provided by the teacher with solfège and
hand signs but begin singing at beat 3 of the teacher’s pattern.
3. Sing the song in canon with a melodic ostinato. 91
4. Combine a phrase as an ostinato with another motif from the song so that you are
using two ostinatos at the same time. This works with pentatonic music.
5. Students sing a minor song and teacher accompanies with a drone made up of low
la or la-mi played on an instrument.
Improvisation
1. Teacher sings a question using notes of the Dorian scale, and students provide an
answer. These can be performed with both solfège systems.
2. Students improvise a new melody in Dorian mode to a given form.
3. Teacher sings a music question with solfège syllables and hand signs, and students
give an answer. Question ends on mi and after several activities ends on ti. Answer
ends on la.
4. One student sings a music question with solfège syllables and hand signs, and
another student answers.
5. One student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.
6. Students transforms major scale into minor scale.
Inner-Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège.
Visual Practice
Reading from Hand Signs
1. Students read from teacher’s hand signs using melodic patterns that are based on
the Dorian mode.
2. Teacher sings three-note melodic patterns and students echo after two beats,
creating a canon.
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Reading
1. Read “Drunken Sailor” in rhythm notation with solfège syllables notation and
staff notation starting on low la and again starting on re.
2. Students sight-read “Ground Hog.”
3. Read a song in minor, “To Work Upon the Railroad,” and sing it with fi
instead of fa.
4. Students read and label the intervals for the scale starting on low la.
5. Students read and label the intervals for the scale starting on re.
Intervals
1. Students identify intervals from notation of known songs.
2. Students identify intervals from notation of unknown songs.
3. Students are given a starting pitch by the teacher and then sing in solfège from a
series of intervals written on the board.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
92 beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation with
solfège syllables.
2. Write related patterns in stick and traditional rhythmic notation with solfège
syllables.
3. Write the tone set of a known song on the board as a student or the class sings a
known song in solfège syllables.
4. Write a known song in stick and/or traditional rhythmic notation.
5. Fill the missing measures of a known song with the correct solfège syllables.
Teacher can furnish the rhythm but not the syllables for the missing measure.
6. Teacher sings an unknown song and students fill in the missing measures with
the correct rhythms and solfège syllables.
7. Students transcribe a song written in rhythmic notation and solfège syllables
into staff notation.
8. Write a Dorian scale on the staff and mark the half steps.
9. Write “Drunken Sailor” in rhythm notation with solfège syllable notation and
staff notation.
10. Teacher sings a short melodic pattern using the Dorian scale and students
inner-hear and write the pattern on the staff.
Improvisation
1. Teacher sings a question phrase with solfège syllables and hand signs, and
students choose from four patterns from the board to use as an answering phrase.
One phrase should just include four heartbeats.
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Teaching Strategies
2. Teacher sings a question phrase with solfège syllables and hand signs, and a
student chooses from four patterns from the board to use as an answering phrase.
One phrase should just include four heartbeats.
3. The instructor writes a known folk song in traditional rhythmic notation and
solfège but leaves out four beats. Students read with solfège, and one student
improvises four-beat melody that uses the new melodic note.
4. Students improvise a new folk song to a given form and scale. For example,
students compose a new melody using the form ABAB. Teacher gives students the
A phrase and they must improvise the B phrase, which should end on do.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner-Hearing
1. Recognize familiar songs from teacher’s hand signs. 93
2. Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
3. Teacher provides students with four flash cards with rhythm and students must
identify the song and arrange flash cards in the correct order.
4. Students sing known songs but inner-hear the phrase containing the new target
pattern.
5. Students sing known songs but inner-hear the phrase containing the new target
pattern.
6. Students sing a song but have to inner-hear the song at a signal from the teacher.
Students sing the song aloud at another signal from the teacher.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 sings taps a rhythmic ostinato that students read from notation.
2. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 sings a melodic ostinato that students read from notation.
3. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs, and group 2 sings a descant with solfège and hand signs that students read
from notation.
4. Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
5. Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
6. Read a known song with solfège syllables while showing hand signs with the left
hand and conducting with the right hand. Divide the class into two groups; group
1 performs the activity, and group 2 claps rhythm in canon after two beats.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
7. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
8. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand. Sing minor pentachord
scales in canon.
9. Sing minor hexachord scales in canon.
10. Sing this two-part repertoire:
Fifteen Two-Part Exercises, no. 7, by Zoltán Kodály (1882–1967).
“The Drunken Sailor,” The Owl Sings, by Philip Tacka and Susan Taylor Howell,
pp. 29–35.
Mikrokosmos, vol. 1, no. 31, by Béla Bartók.
Bicinia Hungarica, by Zoltán Kodály, vol. 1, nos. 38, 44, 45; vol. 3, nos. 101 102,
103, 107, 111, and 117.
Listening
Greensleeves (be careful, because many versions have fa instead of fi!)
For Children, vol. 1. (revised Boosey & Hawkes, 1947), no. 28, by Béla Bartók.
94 Mikrokosmos, vol. 1, no. 32, and vol. 2, no. 65 (revised Boosey & Hawkes, 1947), by
Béla Bartók.
Polonaise in G minor, BWV 119, by J. S. Bach (1685–1750).
15 Hungarian Peasant Folk Songs, no. 11, by Béla Bartók.
Sight Singing
Micheál Houlahan and Philip Tacka, Sound Thinking: Music for Sight-Singing and Ear
Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 57–69, 83–89.
Table 3.8
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Early to Bed” and pat the beat for the entire song.
2. Determine the macro and micro beats. Sing and conduct.
3. Determine the meter (compound duple).
4. Sing “Early to Bed” and clap the rhythm for the entire song.
5. Sing “Early to Bed” and point to a representation of the rhythm on the board
(Fig. 3.22).
FIG. 3.22
6. Divide the class into two groups. Group 1 pats the beat for the target phrase, and
group 2 claps the rhythm. Switch.
7. Sing “Early to Bed.” Step the beat and clap the rhythm.
5. Students sing “Early to Bed” with a neutral syllable and point to the
representation.
6. Figure out the rhythm syllables for known rhythmic patterns and hum for the
unknown pattern.
7. Figure out the solfège syllables for the melody.
Associative Phase: Presentation
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with phrase 1 of
“Early to Bed.”
T: “In compound meter any attack on the beat is called a ta.”
T: “Three sounds that are evenly distributed over one beat are called Ta ki da.”
T: “Two sounds on a beat; one long followed by a short sound, is called ta da.”
T: “Three uneven sounds on a beat, where the first sound is the longest, followed
by the third sound and the second sound is the shortest, are called ta di da.”
2. Sing “Early to Bed” with rhythm syllables while tapping the beat.
96 3. Sing “Early to Bed” with rhythm syllables while conducting the beat.
4. Sing counting with numbers. (Remember that we have to use “and” for counting
subdivisions in compound meter; see Fig. 3.23.)
FIG. 3.23
6*r r \r r \
ssqssq\ssqssq\
4. Dotted half note. T: “One sound on two beats, where the macro beat is equal to a
dotted quarter note, is called a dotted half note.”
6*t \t \ ssqssq\ssqssq\
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Teaching Strategies
5. Quarter note followed by an eighth note. T: “Two sounds on a beat, where the
macro beat is equal to a dotted quarter note, and where the first sound is twice as
long as the second, are called a quarter note followed by an eighth note.”
6*qa qa \qa qa \
ssqssq\ssqssq\
6. Eighth note followed by a quarter note. T: “Two sounds on a beat, where the
macro beat is equal to a dotted quarter note, where the first sound is short
and the second sound is long, are represented as an eighth note followed by a
quarter note.”
6*aq aq \aq aq \
ssqssq\ssqssq\
6*gvdqa\ssdr\
gcdssd\ssdr\
rssd\rr|
9. Read “Early to Bed” with rhythm syllables and conducting as well as with
numbers for counting and conducting.
10. Add the solfège syllables and read “Early to Bed” with solfège syllables and
hand signs.
5. Teacher sings known and unknown motifs and students sing back with rhythm
syllables.
6. Teacher sings each phrase of “Early to Bed” and students echo-sing with rhythm
syllables.
Part Work
1. Use the target phrase as an ostinato to accompany a known song.
2. Combine the target phrase as an ostinato with another motif from the song so
that you are using two ostinatos at the same time.
3. Teacher claps a rhythm and students follow in canon after two beats.
4. Students perform a two-part rhythmic reading exercises. Group 1 performs the
upper part and group 2 the lower part. Switch.
5. Students performs a two-part rhythmic reading exercises. Perform the upper part
with right hand and lower part with left hand.
Improvisation
1. Let the students decide how to sing “Row, Row, Row Your Boat” (canon, adding a
98 melodic ostinato, adding a rhythmic ostinato).
2. Teach claps a four-beat rhythmic pattern in compound meter and students clap an
answering four-beat phrase.
3. Students improvise a new rhythmic composition in compound meter based on a
given form.
Inner-Hearing
1. Teacher sings known phrases of songs in compound duple meter and students
sing back with rhythm syllables and clapping.
2. Teacher sings known phrases of songs in compound duple meter, and students
sing back with rhythm syllables and conducting.
Visual Practice
Reading from Hand Signs
1. Read “Early to Bed” in traditional rhythmic notation with rhythm syllables and
numbers (for counting).
2. Read “Early to Bed” from staff notation with rhythm syllables, numbers (for
counting).
Reading
1. Read target motif from traditional rhythmic notation with rhythm syllables.
2. Read a known song with rhythm syllables and clap the rhythm.
3. Read a known song with rhythm syllables and conduct.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand.
5. Transform target motif into a related pattern.
6. Read a known song from teacher’s hand signs.
7. Read an unknown songs from teacher’s hand signs.
8. Teacher shows hand signs and students read after two beats in canon.
9. Read an unknown song with rhythm syllables and clap the rhythm.
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Teaching Strategies
Writing
1. Write rhythm patterns in compound duple meter in stick and/or traditional
rhythmic notation. 99
2. Write a known song in stick and/or traditional rhythmic notation.
3. Fill the missing measures of a known song with the correct rhythms.
4. Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms.
5. Students notate rhythm patterns by teacher and add the bar lines and time signature.
6. Write “Early to Bed” with rhythmic notation and solfège syllables.
7. Write “Early to Bed” in staff notation.
Improvisation
1. Teacher claps a question phrase and chants rhythm syllables, and students choose
from four patterns from the board to use as an answering phrase.
2. Students claps a question phrase and chants rhythm syllables, another student
chooses from four patterns from the board to use as an answering phrase.
3. The instructor writes a known folk song in traditional rhythmic notation but
leaves a few measures blank. Students read and clap the rhythm and improvise
four-beat rhythms that use new rhythm pattern for the missing measures.
Memory
1. Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases
four beats each time and students memorize.
2. Read an unknown song with rhythm syllables and conduct. Teacher erases four
beats each time and students memorize.
Inner-Hearing
1. Recognize familiar songs from teacher’s clapping.
2. Teacher sings known phrases of songs and students sing back with rhythm
syllables and keep the beat.
3. Teacher provides students with four flash cards with rhythm and they must
identify the song and arrange flash cards in the correct order.
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Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and
hand signs, and group 2 sings taps a rhythmic ostinato that students read from
notation.
2. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups, and perform the activity in canon after two beats.
3. Read a known song with rhythm syllables and conduct. Divide the class into two
groups, and perform the activity in canon after two beats.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups, and
perform the activity in canon after two beats.
5. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups; one group performs the activity from the beginning and the
other from the end of the song.
6. Read a known song with rhythm syllables and conduct. Divide the class into two
groups; one group performs the activity from the beginning and the other from
the end of the song.
100 7. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups; one
group performs the activity from the beginning and the other from the end of
the song.
8. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
9. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
10. Students perform:
The OAKE Collection, Vol. 2, The Owl Sings (Organization of American Kodály
Educators, 1991, p. 12).
The OAKE Collection: The Sounds of Rounds and Canons, by Ruth Boshkoff and
Kathy Sorensen, p. 67.
Listening
“Danza de la Moza Donosa,” Op. 2, No. 2, from Danzas Argentinas for piano, by
Alberto E. Ginastera (1916–1983).
Piano Sonata No. 11 in A Major, K. 331, Andante grazioso by W. A. Mozart
(1756–1791).
“Morning Greeting,” Op. 130, No. 1, by Cornelius Gurlitt (1850–1938).
Sight Singing
Micheál Houlahan and Philip Tacka, Sound Thinking: Music for Sight-Singing and Ear
Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 15–24, 45–56,
105–120.
ta (Mixolydian Mode)
Table 3.9 presents an overview of the important information required to teach ta
(Mixolydian mode).
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Teaching Strategies
Table 3.9
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1. Sing the last phrase of “Old
Joe Clark” and point to a
representation of the melodic
contour at the board (Fig. 3.24).
2. Sing the last phrase of “Old Joe
Clark,” and clap the melodic FIG. 3.24
contour.
3. Sing the last phrase with rhythm
syllables while clapping melodic contour.
3. Determine the solfège syllables for beats 1 and 2 for the target phrase.
T: “Andy, if we start on so, sing the solfège for beat 1.” (so la)
T: “Andy, what is the solfège for the last note on beat 2?” (la)
T: “Andy, sing the pitches ascending for beats 1 and 2.”
T: “Andy, sing the intervals between these notes.” (major second followed by
minor second)
Teacher sings the first three pitches using so, la, and humming on the new note.
4. Students should verbalize that the note hummed is a half step above la.
5. Students sing the target phrase with solfège and hand signs but hum on the
new sound.
Associative Phase: Presentation
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities.
T: “We have a note that is between la and ti; we call it Ta.” Teacher shows the hand
sign for the new note.
2. Teacher sings the target phrase with solfège and hand signs and the students
echo-sing with solfège and hand signs.
3. Teacher hums phrases from “Old Joe Clark” and students echo-sing with solfège
and hand signs.
4. Students determine the tone set of “Old Joe Clark.”
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Teaching Strategies
5. Teacher and students sing the tone set and label as the Mixolydian mode
(d-r-m-f-s-l-ta-d’).
6. Students will figure out with the help of the teacher that we can also use the notes
s-l-t-d-r-m-f-s to sing the same scale.
Mixolydian Mode
1. Present the notes of the mode on the tone ladder.
2. Present the scale on the staff; analyze the intervals between the notes of the scale 103
and from the tonic to each degree of the scale.
3. Demonstrate how the Mixolydian mode can written with two solfège syllable
interpretations: (1) beginning on do and lowering the seventh degree a half step,
or (2) beginning on so and singing the scale with no alterations. (See Figs. 3.25,
3.26 and 3.27)
Fig. 3.25
Fig. 3.26
4. Review the intervallic distances between the notes of the Mixolydian Mixolydian
beginning beginning
Mixolydian mode. on d on s
• Note that the interval between ta and high do is a whole d’ s
step, and that the distance corresponds in distance to ta f
l m
the new scale. We refer to whole steps as major seconds s r
(M2; ta–high do) and half steps as minor seconds (m2; f d
m t
ti–high do). r l
d s FIG. 3.27
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Singing Intervals
1. Teacher hums intervals based on the Mixolydian scale, and students echo-sing
and identify these intervals.
2. Students sing the intervals between notes of the Mixolydian scale.
3. Students sing the intervals between the tonic and notes of the Mixolydian scale.
The minor seventh is a characteristic interval of the Mixolydian mode.
Singing Intervals
1. Practice singing the intervals between scale degrees of the Mixolydian scale.
2. Practice singing the intervals between the tonic note and each scale degree of the
Mixolydian scale. The interval of the minor seventh do-ta is the characteristic
interval of the mode.
Part Work
1. Use the target phrase as an ostinato.
2. Students echo-sing four-beat patterns provided by the teacher with solfège and
hand signs but begin singing at beat 3 of the teacher’s pattern.
3. Sing the song in canon with a melodic ostinato.
4. Combine a phrase as an ostinato with another motif from the song so that you are
using two ostinatos at the same time. This works with pentatonic music.
Improvisation
1. Teacher sings a question using notes of the Mixolydian scale and students give an
answer. These can be performed with both solfège systems.
2. Students improvise a new melody in Mixolydian mode to a given form.
3. Teacher sings a music question with solfège syllables and hand signs and students
give an answer. Question ends on so and answer ends on do.
4. One student sings a music question with solfège syllables and hand signs, and
another student answers.
5. One student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.
6. Students transforms major scale into minor scale.
7. Teachers sings a question using notes of the Mixolydian mode, and students sing
an answer in solfège.
8. Students improvise a Mixolydian melody using the text of Text of “Old Joe Clark.”
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Teaching Strategies
Inner-Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège.
Visual Practice
Reading from Hand Signs
1. Students read from teacher’s hand signs using melodic patterns that are based on
the Mixolydian mode.
2. Teacher sings three-note melodic patterns and students echo after two beats,
creating a canon.
Reading
1. Read “Old Joe Clark” from rhythm notation with solfège syllable notation.
2. Read “Old Joe Clark” from staff with solfège syllable notation.
Intervals
1. Students identify intervals from notation of known songs.
2. Students identify intervals from notation of unknown songs. 105
3. Students are given a starting pitch by the teacher and then sing in solfège from a
series of intervals written on the board.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation with
solfège syllables.
2. Write related patterns in stick and traditional rhythmic notation with solfège
syllables.
3. Write the tone set of a known song on the board as a student or the class sings a
known song in solfège syllables.
4. Write a known song in stick and/or traditional rhythmic notation.
5. Fill the missing measures of a known song with the correct solfège syllables.
Teacher can furnish the rhythm but not the syllables for the missing measure.
6. Teacher sings an unknown song, and students fill in the missing measures with
the correct rhythms and solfège syllables.
7. Students transcribe a song written in rhythmic notation and solfège syllables
into staff notation.
8. Write a Mixolydian scale on the staff and mark the half steps.
9. Write “Old Joe Clark” in rhythm notation with solfège syllable notation.
10. Write “Old Joe Clark” on the staff.
Improvisation
1. Students compose a question and answer in Mixolydian mode.
2. Students compose a new composition based on the form of a known folk song.
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3. Teacher sings a question phrase with solfège syllables and hand signs and students
choose from four patterns from the board to use as an answering phrase. One
phrase should just include four heartbeats.
4. Teacher sings a question phrase with solfège syllables and hand signs, and a
student chooses from four patterns from the board to use as an answering phrase.
One phrase should just include four heartbeats.
5. The instructor writes a known folk song in traditional rhythmic notation and
solfège but leaves out four beats. Students read with solfège and one student
improvises four-beat melody that uses the new melodic note.
6. 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 A phrase and they must improvise the B phrase, which should end on do.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
106 beats each time and students memorize.
Inner-Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
3. Teacher gives students four flash cards with rhythm and students must identify
the song and arrange flash cards in the correct order.
4. Students sing known songs but inner-hear the phrase containing the new target
pattern.
5. Students sing known songs but inner-hear the phrase containing the new target
pattern.
6. Students sing a song but have to inner-hear the song at a signal from the teacher.
Students sing the song aloud at another signal from the teacher.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 taps a rhythmic ostinato that students read from notation.
2. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings a melodic ostinato that students read from notation.
3. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings a descant with solfège and hand signs that students read
from notation.
4. Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
5. Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
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Teaching Strategies
6. Read a known song with solfège syllables while showing hand signs with the
left hand and conducting with the right hand. Divide the class into two groups;
group 1 performs the activity and group 2 claps rhythm in canon after two beats.
7. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
8. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand. Sing the Mixolydian
scale in canon.
9. Sing minor hexachord scales in canon.
10. Singing this two-part repertoire:
In 46 Two-Part American Folk Songs, by Denise Bacon: “Good Bye, Girls, I’m
Going to Boston,” pp. 47–48; “Old Joe Clark,” pp. 59–60; and “I’m Goin’ Home
on a Cloud,” pp. 57–58.
Bicinia Hungarica, vol. 3, by Zoltán Kodály, nos. 110 and 118.
Listening
Mikrokosmos, vol. 2 (revised Boosey & Hawkes, 1947), no. 48 (the solfège for this
piece of music begins on s!); and no. 40. 107
Sight Singing
Micheál Houlahan and Philip Tacka, Sound Thinking: Music for Sight-Singing and Ear
Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 65–68, 69–74.
take place in a concentrated manner over three lessons and may be practiced independently
or combined.
Figure 3.28 demonstrates how the phases of learning are reflected in different types of
lessons.
P HASE 1 : 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 new song.
Ss perform the new song with movement.
Rationale: to match patterns of experience to patterns of music.
Lesson 2
Stage 2: describing what you hear: constructing aural awareness by responding to questions
108 Ss aurally analyze the characteristics of the new musical element with the help of the
instructor.
Ss describe the characteristics of the new element.
Rationale: to verbalize what they perceive.
Lesson 3
Stage 3: constructing a representation from memory; constructing visual awareness
Students create a visual representation based on their aural understanding.
Rationale: to visually represent what they have heard and verbalized.
P HASE 3 : 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: students aurally practice music skills, assimilating the new element, in familiar and
new songs
Stage 2: students visually practice music skills, assimilating the new element, in familiar and
new songs
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Teaching Strategies
The lesson plan designs and lesson plans below represent how students begin the pro-
cess of understanding the sounds of a new element before learning how to notate the new
element. These plans show where the various phases and the stages of learning take place.
We will include after each plan design a lesson plan segment from an actual lesson plan so
you can see how these ideas translate into practical applications in the classroom. For the
purposes of showing you examples of lesson plans, we use these elements:
Lesson 1: Kinesthetic
Table 3.10 shows the lesson plan design for developing a preparation/practice lesson plan
framework for cognitive phase of learning, stage 1.
109
Table 3.10
Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and elements
C OR E AC T I V I T I E S
Teach a new song
Preparation of new concept Cognitive Phase, Stage 1
Develop knowledge of music • Ss listen to T sing the focus song.
literacy concepts • Ss perform the focus song with a movement
that demonstrates the concept.
Internalize music through
• Rationale: to match patterns of experience to
kinesthetic activities
patterns of music.
Creative movement
Practice music performance and
literacy skills
Reading and Listening
SUM M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 3.11 shows a lesson plan for developing a preparation/practice lesson plan frame-
work for cognitive phase of learning, stage 1.
Lesson 2: Aural
Table 3.12 has a lesson plan template for developing a preparation/practice lesson plan for
cognitive phase of learning stage 2.
Table 3.12
Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and 111
elements
C OR E AC T I V I T I E S
Teach a new song
Preparation of new concept Cognitive Phase, Stage 2
Develop knowledge of music Describe what you hear
literacy concepts • Ss aurally analyze the characteristics of the new
Describe what you hear musical element with T’s help.
• Ss describe the characteristics of the new element by
answering a series of carefully sequenced questions
from T. In this way, they can develop their audiation
skills during the process of answering questions. Ss
must inner-hear the focus phrase in order to be able
to answer T’s questions.
Creative movement
Practice music performance
and literacy skills
Writing
SUM M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
Table 3.13 presents a lesson plan for developing a preparation/practice lesson plan for
cognitive phase of learning, stage 2.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 3.13 (continued)
Creative movement
Practice music
performance and
literacy skills
Writing
SUM M A RY AC T I V I T I E S
Review the lesson
outcomes
Review the new song
Lesson 3: Visual
Table 3.14 presents a lesson plan template for developing a preparation/practice lesson plan 113
framework for cognitive phase of learning, stage 3.
Table 3.14
Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and
elements
C OR E AC T I V I T I E S
Teach a new song
Preparation of new concept Cognitive phase
Develop knowledge of Stage 3: constructing a representation from memory;
music literacy concepts constructing visual awareness
Create a representation of • Ss create a visual representation of the focus phrase
what you hear based on their aural understanding.
• Rationale: to visually represent what they have heard
and verbalized.
(Continued)
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 3.14 (continued)
Creative movement
Practice music performance
and literacy skills
Improvisation
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
Table 3.15 shows a lesson plan for developing a preparation/practice lesson plan frame-
work for cognitive phase of learning, stage 3.
Table 3.15 (continued)
Lesson 4: Presentation
Table 3.16 shows a lesson plan template for the associative phase of learning, Stage 1, pre-
sentation. Label the sound.
Table 3.16
Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-ups
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and
elements
C OR E AC T I V I T I E S
Teach a new song
Presentation of music Phase 2: Associative Phase (Presentation)
literacy concepts Stage 1: associate the sound of the new element with solfège
Describe what you hear with or rhythmic syllables with a focus pattern
solfège or rhythm syllables
(Continued)
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Table 3.16 (continued)
Creative movement
Presentation of music Phase 2: Associative Phase (Presentation)
literacy concepts Stage 1: associate the sound of the new element with solfège
Describe what you hear with or rhythmic syllables with a related pattern
solfège or rhythm syllables
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
Table 3.17 is a presentation lesson plan for the associative phase of learning, stage 1, pre-
sentation. Label the sound.
Table 3.17 (continued)
Lesson 5: Presentation
Table 3.18 shows a template for a presentation lesson plan for associative phase of learning,
stage 2, a new element.
Table 3.18
Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and
elements
(Continued)
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Table 3.18 (continued)
C OR E AC T I V I T I E S
Teach a new song
Presentation of music literacy Phase 2: Associative Phase (Presentation)
concepts Stage 2: associate traditional notation with the sound of
Notate what you hear the new musical element in a focus pattern
Creative movement
Presentation of music literacy Phase 2: Associative Phase (Presentation)
concepts Stage 2: associate traditional notation with the sound of
Notate what you hear the new musical element in a related pattern
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
118
Table 3.19 has a presentation lesson plan for the associative phase of learning, stage 2,
presentation. Present the notation.
Table 3.19 (continued)
The assimilative phase, stages 1 and 2, takes place during the next units. Stages 1 and 2
are integrated into various sections of lessons of the next units. In our lesson plan structure,
we focus on the skills of reading, writing, and improvisation during the next three lessons
at the same time as we are preparing another new element to be mastered.
(Continued)
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Table 3.20 (continued)
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expressions
Review known songs and
elements
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge of music
concepts
120
Internalize music through
kinesthetic activities
Creative movement
Practice and performance of “Alleluia”
music skills CSP: D
Reading Reading from T’s hand signs
• Ss sing “Alleluia” in two parts.
• T shows “Alleluia” using hand signs, and Ss read with
solfège
Reading from notation
• Read “Alleluia” from traditional rhythmic notation
and solfège syllables.
• Read “Alleluia” from staff notation.
• Read Bartók’s For Children, vol. 1 (revised Boosey &
Hawkes, 1947), no. 11, from T’s hand signs.
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
Chapter 4
Students as Performers
Developing Music Skills and Creative Expression
This chapter provides a quick overview of techniques for developing tuneful singing, reading,
writing, improvisation, playing instruments, creative movement, and listening skills. More
detailed activities are included in Chapters 3 and 7 of Kodály Today. Also included are listening 123
examples that may be used for movement development as well as to develop music literacy skills.
Where possible, music skills should practice all of the rhythmic and melodic elements outlined in
the curriculum for each grade. Grade five elements include knowledge of pitches of the extended
pentatonic scale, major, minor, and modal scales. Rhythmically, students will understand eighth
and dotted quarter notes, and compound meter.
Tuneful Singing Skills
Posture
1. Balance the head. To accomplish this, the face should look straight ahead. Try several
exercises, such as moving the head up and down and sideways to relax the head and
neck muscles. Stand with your back against a wall and make sure that your head and
the heels of your feet are touching the wall. The head should feel suspended as if you
are a puppet or a balloon. Keep the spine straight.
2. Explain the correct seating position:
Shoulders should be relaxed and rotated toward the back.
Neck muscles should be relaxed.
Tongue should be relaxed in the bottom of the mouth.
Spine should be extended.
Rib cage is lifted.
Be at the edge of your chair when singing.
Feet are on the floor.
Hands are on the legs.
Eyes are on the conductor.
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Body Warm-up
1. Body stretches. Teacher explains that students’ shoulders should be kept down, and
they should reach for the stars; each hand should alternate with the other.
2. Shaking arms. Extend arms in from of your body and shake each arm separately.
3. Shoulder roll. Roll each shoulder separately, making a circle.
4. Shrugging shoulders. Shrug your shoulders, hold position for several counts, and
then release.
5. Head rolls. Drop head to left shoulder and trace a half circle, moving chin toward
124 chest and right shoulder.
6. Neck stretch. Drop the right ear to the right shoulder and the left ear to the left
shoulder. Move the neck, making a yes-or-no motion.
7. Facial stretch. Ask students to act surprised. Try to drop your jaw and say mah,
mah, mah several times.
8. Knee flex. Arms should be extended forward and hands should be relaxed; bounce
the body by flexing the knees.
9. Wiggle toes. Wiggle toes inside your shoes.
Breathing
1. Correct breathing posture. Students lie on the floor with a book placed on their
abdominal muscles. When inhaling, the book rises, and when exhaling, the book
lowers. Students should stand and place a hand on the abdominal muscles. They
then exhale and inhale, paying attention to abdominal muscle and not raising
their shoulders. They need to be encouraged to take in a deep breath through
their nose and mouth and not a shallow one. Sometimes it is useful for students to
exhale air against the palm of the hand.
2. Awareness of the diaphragm and other abdominal muscles for breathing. These
exercises will help students understand use of the abdominal muscles for
breathing:
Show students how to sip through a straw correctly and expand their waist.
Show students how to release air using a “sss” or hissing sound.
Show students how to release air using the words “ha.”
Guide the students to yawn, as this opens up the back of the throat and relaxes
the voice.
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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 the last.
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 do both.
2. Falling off a cliff. Pretend you’re falling off a cliff and say “aaaahhhhhhhhhh!”
3. Use a ball. Teacher throws a ball from one student to another. Students have to
follow the movement of the ball with their voices.
Tone Production
1. Humming melodic patterns from folk songs. Students hum a pattern from a song,
but the last note should be shortened to take a breath and repeat the pattern.
2. Singing known songs with the word yip. Students sing known song with a “yip” sound.
3. Students speak with a “koo” sound. Students repeat “koo” to known rhythm patterns.
4. Students sing with a “koo” sound. Students sing known melodies to a “koo” sound. 125
5. Lip trills. Teacher directs students to then use lip trills to sing the song.
6. Pure vowel sounds. Sing with known solfège syllables and hand signs.
7. Vowel scales. Unify vowel sounds by singing descending in several pentatonic
scales on “mee,” “meh,” “mah,” “moh,” and “moo.”
8. Combination vowels. Students sing the sequence of “oh-oo-ah” on notes of the
pentatonic scale. For example, students sing the three vowel sounds on mi and
then re and finally do. Pay attention to the jaw on all the vowel sounds. Keep
repeating but singing a minor second higher each time.
9. Extending vocal range. Students practice singing a phrase of a song and repeating
it a minor second higher. Use a pure vowel sound. Each time you repeat, you can
sing another on a new vowel sound.
Diction
1. Tongue twisters sung. Students gain flexibility by singing tongue twisters on one
pitch and repeating at intervals of a minor second.
2. Tongue twisters sung with two voice parts. Students gain flexibility by singing
tongue twisters at the interval of a fourth or fifth.
3. Unvoiced consonants. Students say the unvoiced consonants p, t, and k using
rhythm patterns of songs.
4. Voiced consonants. Students sing songs using voiced consonants b, d, g, and j using
rhythm patterns of songs.
5. Inner smile. Singing melodic patterns with an inner smile. Ask students to keep
their lips closed and do an inner smile. Using this position, ask them to echo-sing
melodic patterns with this inner smile.
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6. Practice singing diphthongs (dominant vowel sound and a lesser vowel sound). For
example, practice saying and singing on a pitch:
How now brown cow
The rain in Spain stays mainly in the plain
7. Singing melodic patterns with an inner smile. Ask students to keep their lips
closed and do an inner smile. Using this position, ask them to echo sing melodic
patterns with this inner smile.
8. Singing using a sustained m or n. Ask students to sing the sequences “Moo-moh,”
“mah meh mee,” and “noo-noh-nah-neh nee” on a sustained note or using notes
of the pentatonic scale.
Tuneful Singing
1. Work with more melodic ostinatos and descants. Students can now begin to work
with simple canons using a smaller range of notes. They can also begin to sing
simple bicinia arrangements of folk songs.
2. Singing phrases of songs on “oh” sound. Students sing phrases of songs on oh
making sure the tone is very light and relaxed.
3. Singing with dynamic markings. Students should sing known melodies using the
correct dynamic names and terms:
pp pianissimo
p piano
126 mp mezzo-piano
mf mezzo-forte
f forte
ff fortissimo
It is best to sing songs using two very different dynamics: f and p.
4. Sing songs using two part–hand signs. Students sing in two parts from the teacher’s
hand signs.
5. Singing longer phrases. Students sing known songs but combine two phrases into
one phrase.
6. Tempo markings. Students should be taught the Italian terms and English
meanings:
Largo very slow
Adagio slow
Andante moderately slow
Moderato moderate
Allegretto moderately fast
Allegro fast
Presto very fast
Students should begin singing known songs using two differing tempi.
7. Staggered breathing. Students sing on one pitch using the word “loo” and must
learn to breath quietly and enter softly after each breath to maintain the sound
and vowel color.
8. Staccato and legato. Students practice singing songs legato and staccato.
9. Crescendo and decrescendo. Students should sing songs using crescendo and
decrescendo.
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Students as Performers
Reading Skills
We distinguish reading as follows: when students read a melody, they know it is referred to
as reading. When the teacher transforms a known melody to create an new and unfamiliar
melody, we refer to this as sight singing.
Reading Rhythms
Reading tradition rhythmic notation from flash card, the interactive SMART Board, or
worksheets. Read a known song from rhythmic notation that includes grade five elements.
The process:
Form
Present mixed-up phrases of the rhythm of a known song, to have students correctly rear-
range the form. The process:
Inner-Hearing
Students can practice inner hearing using both aural and visual activities.
Students read the rhythmic notation of an unknown melody and inner-hear certain motifs
indicated by teacher on the reading exercises. The process:
Matching
Match song titles to written rhythms that include grade five elements. The process:
Error Identification
Students read the rhythm of a known song and identify rhythmic errors that are made by
the teacher. The process:
Retrograde
Read a rhythm of a known song in retrograde that includes grade four elements. The process:
Students read two-part rhythmic notation that includes grade five concepts. The process:
Canon
1 . Students say the rhythm syllables and clap the rhythm from notation.
2. Students think the rhythm syllables and clap the rhythm.
3. Students think and clap the rhythm while the teacher taps it in canon.
4. The teacher claps the rhythm while the students clap it in canon.
5. Divide the class into two groups. One half claps the rhythm while the other half
claps in canon so that the teacher can observe any students who may be having
difficulty.
6. Individuals may then perform the rhythmic canon saying the rhythm syllables
while clapping it in canon.
Melodic Reading
Hand Signs
Sing a known and an unknown song from teacher’s hand signs, to include grade five con-
cepts. The process: 129
1 . Teacher sings on “loo” and shows hand signs for a phrase of music.
2. Students sing with solfège and hand signs.
Tone Ladder
Teacher points to a pattern on the tone ladder that includes grade five concepts.
7 . The students read and perform the exercise aloud singing with solfège syllables.
8. The students perform the exercise aloud, singing on a neutral syllable.
1. The instructor points to the notation, keeping the beat while the students read the
rhythm syllables and clap the rhythm.
2. The instructor points to the notation, keeping the beat while the students clap the
rhythm.
3. The students locate the highest and lowest notes.
4. The instructor provides the starting pitch and may have the students sing the
tone set.
5. Students read from the melody from the instructor’s hand signs. The instructor
may hum an occasional note to help the students.
6. The students read and perform the exercise aloud singing with solfège syllables.
7. The students perform the exercise aloud singing on a neutral syllable.
Reading from Finger Staff
Sing a song while showing placement on finger staff that can include grade five concepts.
The process:
130
1 . Teacher sings with solfège syllables and shows placement on finger staff.
2. Students sing with solfège syllables and show placement on finger staff.
Reading from the Staff
Students read known melodies with solfège syllables and letter names from the staff that
include grade five elements. Students sing using solfège syllables and hand signs.
Students read unknown melodies with solfège syllables and letter names from the staff
that include grade five elements. Students sing using solfège syllables and hand signs.
10. The students read the known song from the staff aloud, singing with solfège
syllables and hand signs.
11. The students perform the exercise aloud, singing on a neutral syllable.
Transform a Melody
Transform a known song into an unknown song by sequentially changing rhythms and
pitches. This can be accomplished using traditional rhythmic notation and solfège syllables
or from the staff. The process:
1. Sing known song.
2. Teacher transforms parts of song.
3. Students clap rhythm, say new rhythm syllables, and sing with solfège syllables.
4. Teacher transforms additional parts of a new melody. Students sing new song.
Form
Present mixed-up phrases of a known song written with traditional rhythmic notation and
solfège or on the staff, and students correctly rearrange the song. The process:
Visual Activities
Students read a known song from rhythmic notation and solfège, or staff, and “hide” a spe-
cific motif that include notes of the grade five curriculum. Students read from the staff and
sing on solfège with hand signs.
Students read an unknown song from rhythmic notation and solfège, or staff and “hide”
a specific motif that include notes of the grade five curriculum. Students read from the staff
and sing on solfège with hand signs. The process:
Matching
Match song titles to written melodies that include notes of the grade five curriculum. The
process:
Error Identification
Students read a known song and identify rhythmic or melodic errors that include notes of
the grade five curriculum. The process:
1. The instructor points to the notation of the upper part, keeping the beat while
132 the students read the rhythm syllables and clap the rhythm.
2. The instructor points to the notation of the lower part, keeping the beat while
the students read the rhythm syllables and clap the rhythm.
3. Students clap the upper part and teacher claps the lower part. Reverse.
4. Divide the class into two groups. One group claps the upper part and the other
group claps the lower part. Reverse.
5. Students read the upper part from the teacher’s hand signs.
6. Students read the lower part from the teacher’s hand signs.
7. Students read the upper part from the teacher’s hand signs while teacher sings
the lower voice. Reverse.
8. Students read the upper part with hand signs while teacher sings the lower voice.
Reverse.
9. Divide the class into two groups. One group sings the upper part and the other
group the lower part. Reverse.
10. One student sings the upper voice part and shows the hand signs for the lower
part. Reverse.
1. The instructor points to the notation of the upper part, keeping the beat while the
students read the rhythm syllables and clap the rhythm.
2. The instructor points to the notation of the lower part, keeping the beat while the
students read the rhythm syllables and clap the rhythm.
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Students as Performers
3. Students clap the upper part and teacher claps the lower part. Reverse.
4. Divide the class into two groups. One group claps the upper part and the other
group claps the lower part. Reverse.
5. Students read the upper part from the teacher’s hand signs.
6. Students read the lower part from the teacher’s hand signs.
7. Students read the upper part from the teacher’s hand signs while teacher sings
the lower voice. Reverse.
8. The students locate the highest and lowest notes.
9. The instructor provides the starting pitch and may have the students sing the
tone set.
10. Teacher reviews the Rule of Placement for the students, and they read the notes
of the upper and lower parts from the tone set written on the staff.
11. Students read the upper part with hand signs while teacher sings the lower voice.
Reverse.
12. Divide the class into two groups. One group sings the upper part and the other
group the lower part. Reverse.
13. One student sings the upper voice part and shows the hand signs for the lower
part. Reverse.
Inner-Hearing Skills
Hand Signs
133
1 . Students follow teacher’s hand signs of known songs and inner-hear solfège.
2. Students follow and sing teacher’s hand signs and inner-hear specific solfège
syllables.
3. Teacher shows hand signs for a whole known song, and students inner-hear and
recognize the song.
4. Students “sing” the indicated measures of a song using inner hearing.
Tone Ladder
1 . Students follow teacher pointing to tone ladder and inner-hear solfège.
2. Students follow and sing from the tone ladder and inner-hear specific solfège
syllables.
3. Teacher points out a whole song on the tone ladder and students inner-hear and
recognize the song.
Rhythm
1. Teacher claps rhythm for a known song and students inner-hear and recognize
the song.
2. Teacher sings part of a known song, and students inner-hear solfège syllables and
clap the rhythm for the second phrase.
Melody
1. Students inner-hear solfège written out without rhythmic notation and recognize
the song.
2. They inner-hear a song written with traditional notation and solfège syllables.
3. They inner-hear a song written on the staff.
Writing Skills
Writing Rhythm
Manipulatives
Students use manipulatives to create a visual representation of a new concept. The
process:
Fill in the Blank
Fill in the blanks of a known song. The process:
Writing Melody
Manipulatives
Students use manipulatives to create a visual representation of a new concept. The process:
135
Tone Set
Write the tone set of a song on the board as it is being performed that includes elements of
the grade five curriculum. The process:
Fill in the Blank
Students complete the empty measures of a known song with traditional notation and
solfège or on the staff. The process:
Writing a Pentatonic Scale
Write a scale on the staff.
Staff Notation
Students write staff notation that includes elements of the grade five curriculum. The process:
Improvisation Skills
Rhythm Improvisation
Choose Alternate Ending
Students clap the rhythm of a known song and choose an alternate ending from four choices
that contain the musical element being practiced in a four-beat pattern. The process: 137
1 . Students sing known song.
2. They identify the form.
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.
Rhythm Chain
Students improvise rhythm patterns. The process:
1. Students clap a four-beat rhythm pattern, one after the other, without pause, using
known rhythmic patterns.
2. In another version, students clap a four-beat rhythm pattern, one after the other,
without pause, using known rhythmic patterns; but a student must repeat the four
beats of the previous student.
1. Students are given the rhythmic notation of a known song. (Some of the measures
contain only “heartbeats” or beat bars.)
2. They sing the song, performing the rhythm where it is notated and patting the
beat elsewhere.
3. They perform the rhythm where it is notated, and improvise elsewhere.
Question and Answer
Students create a rhythmic question and answer. The process:
1. The instructor provides students with an A phrase (question) that is four beats
long and asks students to improvise a B phrase (answer). This may be turned into
a larger improvisation exercise using the form ABAC.
2. The instructor may specify a longer composition, an AABA composition.
3. This could be performed as a group activity or could be performed by an individual
student. This exercise should be based on song material the class is studying.
Fill-in-the-Blank Improvisation
Students improvise a new rhythm while reading. The process:
Change Meter
Students perform a known song in a different meter. The process:
Melodic Improvisation
Improvise Melodic Ostinato
Students create a four- or eight-beat melodic ostinato with known melodic elements. The
process:
Choose Alternate Ending
Students sing a known song and choose an alternate ending from four options that contain
the musical element being practiced in a four-beat pattern. Teacher gives students a series
of choices with just the beginning note and ending note. The process:
139
Improvise New Form
Improvise a new form for a known song. The process:
Question and Answer
Students create an answer to a question. The process:
1. Teacher establishes the beat and sings a four-beat melody; students respond with a
different four-beat melody.
2. Sing a pattern and ask the students to change one beat. (This can also be done
visually and may be easier for some students.)
3. As students become more proficient, teacher lengthens the phrase or changes the
tempo. This leads to performance of melodic conversations. Question-and-answer
conversations can continue as a chain around the class. Remember that it is best
to begin the exercise using forms with these ending notes:
Major improvisations
A ends on so; A’ ends on do
A ends on re; B ends on do
Minor improvisations
A ends on mi; B ends on low la
A ends on si; B ends on low la
Song in Different Meter
Students sing known songs in a different meter from the original. The process:
New Tonality
Students perform a known song in a different tonality, for example, singing a major penta-
chord song in the parallel minor key. The process:
Musical Memory
Memorizing by Reading Hand Signs
Show typical melodic and rhythmic patterns and ask the students to sing patterns back that
include elements of the grade five curriculum. The process:
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Students as Performers
1. Students look at a score and memorize a phrase of the musical example by silently
singing in their head using hand signs.
2. They identify the form. 141
3. They sing the example with hand signs from memory.
4. They may write the melody using rhythmic notation and solfège syllables.
1. Students look at a score and memorize a phrase of the musical example by silently
singing in their head using hand signs.
2. If some phrases of the musical example are known and others unknown, the
students may sing the known phrases and the teacher may sing the unknown
phrases. They listen and learn the unfamiliar phrases.
3. They may write the melody using rhythmic notation and solfège syllables.
Inner-Hearing Memorization
Students are given an unknown piece that contains known elements to learn without sing-
ing aloud. The process:
1 . Students inner-hear the example with rhythm syllables and keep the beat.
2. They inner-hear example with solfège syllables and hand signs.
3. They identify the form of the example.
4. They write down the example from memory.
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Memorizing by Ear
Teacher plays a musical phrase on the piano, and students memorize by ear by following
this process:
Understanding Form
Identifying Form with Letters
Use letter names to identify the form in more complex songs.
Students should be guided to aurally and visually recognize simple song forms such
as AABA, ABAB, and ABAC. Understanding form is valuable in helping students
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Students as Performers
develop their musical memory. For example, “Great Big House in New Orleans” is in
ABAC. This form is clearly audible when performed with a breath every two measures.
The process:
1. Sing known songs.
2. Sing known songs and show the phrases.
3. Identify each phrase with a letter name.
Comparing Forms
It is important for students to compare the forms of the folk songs they are singing. The
process:
Changing a Folk Song
Is it important to identify the form of a song with children. This becomes an important
component for improvisation. The process: 143
1. Students label the form of a folk song. For example, the form of the “Canoe
Round” is ABAC.
2. Teacher erases the C and have students create a new C ending.
3. Students label the form of the new folk song and change the song to reflect a
new form.
Movement
It is important for students to create new movements to known songs. They should
identify the form of the song so that the new movements will reflect the form. The
process:
Part-Work Skills
As you begin to implement these activities into your lessons, follow this teaching sequence.
1. Teacher and class.
2. Class and teacher.
3. Divide the class into two groups, each performing its own part. Switch.
4. Two small ensembles, each performing its own part.
5. Two students, each performing its own part.
This section gives techniques and activities that are divided between simpler and more
advanced part work. The activities are useful for helping students learn simpler repertoire.
Once they have mastered these activities with easier repertoire, the transition to perform-
ing more complex musical examples will occur more quickly.
Keep a Beat
Sing a folk song while marching, walking, or in some way moving to the beat. Performing a
song while keeping the beat requires students to concentrate on two tasks at the same time.
This activity is valuable in both the classroom and the choral rehearsal.
Pointing to a Beat
Perform or point to a visual of the beat in a song while singing. This “tracking” ability pro-
motes more fluent music reading and reading in general. Students may also keep the beat
by performing it on a percussion instrument.
Clapping the Rhythm
Sing a song while clapping the rhythm. This can be accomplished in a number of ways.
Students need to perform this activity musically, and always according to the phrase.
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Students as Performers
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 sim-
ple 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 on Specified Beat
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 music instrument.
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 sing-
ing game “Four White Horses” has specified hand-clapping movements to perform
while singing the song. Depending on the age of the students, you may use several
ostinatos together.
The students sing the melody while the teacher claps a rhythmic ostinato or sings a
melodic ostinato. (It is important, when teaching students a knowledge of rhythm, that
the students do not develop their knowledge of rhythm on the basis of visual clues. The
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Kodá ly in t he Fif t h G r a de Cl a s sro om
teacher should always make sure the students hear the new rhythm pattern being clapped,
as opposed to it being seen.) Use this process:
1. The students sing the melody while the teacher claps a rhythmic ostinato or sings
a melodic ostinato.
2. The students and the teacher exchange parts.
3. Divide the students into two groups, one group to sing and the other to perform
the ostinato. Switch tasks.
4. Two students perform the work.
5. One student sings while performing the second part. More advanced students can
perform the ostinato on percussion.
on to the next card while the students are still performing the rhythm of the first card.
In other words, give the students a brief look at every card in succession. The speed of
this process may be increased so that the students are always saying something different
from what they are seeing. Students should perform the canon by reading with rhythm
syllables.
Drones
Students sing a folk song as the teacher accompanies the students’ singing with a tonic
drone. As they gain fluency with this technique they can sing a drone made up of the
tone and dominant notes to accompany known pentatonic melodies. Drones may be
sung as held notes to each phrase, or they may be sung on the strong beats of each
measure.
Sometimes a teacher might sing an accompanying melody primarily made up of a dom-
inant drone to accompany a pentatonic song. This is an excellent technique for developing
in-tune singing. Pentatonic and diatonic melodies provide a good basis for the develop-
ment of functional and harmonic thinking. For do-centered and la-centered pentatonic
songs, accompany the song by having a group of students sustain the tonal center while
the class performs the song. This pitch is the chord root note of the tonic triad. These songs
may also be accompanied by a drone made up of do-so or do-mi-so (major tonic triad) for
do pentatonic repertoire and la-mi or la-do-mi (minor tonic triad) for la pentatonic reper-
toire. Be mindful that sustained pitches tend to go flat.
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Melodic Ostinato
Students accompany known songs with melodic ostinati. Melodic ostinati should be based
on the melodic building blocks of known song repertoire. This activity is only appropriate
for classes that have a good number of independent, strong singers.
Three-Part Singing
Here are examples how to create pieces of music from a simple folk song:
1. Hold one tone in one voice while the other voice performs a simple melody.
Switch parts.
2. Show a simple canon from hand signs (teacher signs both parts simultaneously).
3. Perform two individual melodies holding one note against another voice. (One
melody is more stationary than the other.)
4. Perform two individual lines.
select pentatonic songs that may be performed as canons. Initially the canon should begin
on the same pitch that the first part is singing. Canons may be performed with words or
with rhythm or solfège 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).
Partner Songs
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 partner songs:
pentachord, hexachord, and major and minor canons. Remember that canons may be per-
formed aurally (without notation) or visually (using notation).
Denise Bacon. 46 Two-Part American Folk Songs for Elementary Grades. Columbus,
OH: Capital University, Kodály Center of America, 1973.
Edward Bolkovac. Sing We Now Merrily. New York: Boosey and Hawkes, 2007.
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Students as Performers
Edward Bolkovac, and Judith Johnson. 150 Rounds for Singing and Teaching.
New York: Boosey and Hawkes, 1996.
Susan Taylor-Howell. The Owl Sings: 22 Folk Songs Arranged for 2 or 3 Voices.
Whitewater, WI: Organization of American Kodály Educators, 1997.
Philip Tacka and Susan Taylor-Howell. Sourwood Mountain: 28 North American &
English Songs Arranged for Two Voices. Whitewater, WI: Organization of American
Kodaly Educators, 1986.
1. Sing the unfamiliar part or harmony while playing the melody on the piano or
performing with another student.
2. Ask students questions based on the performance of the song:
A. How many phrases are there in this arrangement?
B. Did the two parts begin and end each phrase together?
C. Did both parts have the same text?
D. How would you describe the tune of the harmony line?
E. Did both parts begin and end on the same pitch?
3. Sing the harmony line phrase by phrase and have the students repeat. This can be
done with rhythm or solfège syllables or on a neutral syllable if the students have
not learned all the solfège or rhythm syllables. This is easiest when done with text.
4. Perform the melody on the piano for each phrase as the students learn the
harmony line phrase by phrase.
5. Students and the instructor sing the harmony line while the instructor plays the
melody line on the piano.
6. The students sing the harmony line while the instructor sings the melody line.
Switch parts.
7. Divide the class into two groups. Group 1 sings the harmony and group 2 sings
the melody. Switch parts.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
1. Perform the new two-part song by singing one part and playing the other on the
piano or by singing and having a student sing the second part or by playing a
recorded performance.
2. Ask students questions based on the performance of the song. Perform the song
again and ask students to respond.
A. How many parts are there in this arrangement?
B. What did you notice about the form of the piece?
C. How many phrases are there in this arrangement?
D. Did the two parts begin and end each phrase together?
E. Did both parts have the same text?
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Students as Performers
1. Sing one part of the arrangement while playing the second part on the piano or 153
performing with another student. Switch.
2. Ask students questions based on the performance of the song.
A. Where did you hear the melody? Or, which voice had the new melody?
B. How many phrases are there in this arrangement?
C. Did the two parts begin and end each phrase together?
D. Did both parts have the same text?
E. How would you describe the tune of the harmony line?
F. Did both parts begin and end on the same pitch?
3. Sing the melody line phrase by phrase and the students repeat. This can be
done with rhythm or solfège syllables or on a neutral syllable if the students
have not learned all the solfège or rhythm syllables. This is easiest when done
with text.
4. Students sing the melody line with syllables and text.
5. Students sing the melody line, and the teacher hums the second part. Teacher
sings the second part with text.
6. Sing the harmony line phrase by phrase, and the students repeat. This can be done
with rhythm or solfège syllables or on a neutral syllable if the students have not
learned all the solfège or rhythm syllables. This is easiest when done with text.
7. Students perform the harmony line on their own. Perform it a second time as the
instructor sings the melody line.
8. The students sing the harmony line while the instructor sings the melody line.
Switch parts.
9. Divide the class into two groups. Group 1 sings the harmony and group 2 sings
the melody. Switch parts.
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• Students sing familiar songs while the instructor sings or plays the functional
notes or chord roots, as an accompaniment.
• Students sing familiar songs while showing with hand signs when the functional
note or chord root in the melody changes.
• Individual students sing familiar songs while showing hand signs for the
functional note or playing the functional notes on the piano.
• 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 of form.
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Students as Performers
These exercises are very important for developing musicianship. Being able to harmonize
melodies with the chord roots of tonic, dominant, and subdominant functions develops
another very important skill in our students, the ability to sense when chords change
in music.
Discovering Bass Lines
The instructor plays a two-part melody on the piano; students listen and show the melodic
contour of the lowest voice with arm motions.
Xylophone: for playing a moving drone, ostinato, and melodies; two mallets striking
Recorder: more extended range
Claves: rhythmic ostinati
Rhythm sticks: rhythmic ostinati
Guitar: for playing chords
Keyboard: accompaniment
Drums: emphasize the beat
Tambourine: beat and rhythm
Teaching Progression
1. Beginning music examples should be derived from known singing material. Sing
the song with text.
2. Perform the music with rhythm syllables and conduct.
3. Perform the music with solfège syllables and hand signs
4. Connect the fingering to solfège syllables and perform.
5. Read the music with rhythm syllables and conduct.
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Students as Performers
Beat and Rhythm
Use simple rhythm instruments to perform the beat with a folk song and the rhythm to a
folk song; then use them to perform the beat and rhythm of a folk song simultaneously.
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 folk song.
Melodic Ostinati
Use glockenspiels, xylophone, metalophones, and melody bells to perform a melodic osti-
nato to a folk song.
157
Canons
Instruments may be used for playing canons in the classroom.
Rhythmic Canons
1. Teacher performs a known rhythmic pattern in canon with students clapping the
rhythmic pattern. Use simple rhythmic instruments.
Melodic Canons
1. Teacher performs a folk song in canon with students on a pitched-percussion
instrument.
2. Teacher performs a folk song in canon with students on a piano.
3. Teacher performs a folk song in canon with students on guitar.
4. Teacher performs known melodic pattern on guitar and students echo with
solfège syllables.
Listening
These activities may be used with instruments for developing listening.
Transitions
Here are two activities that use instruments to transition from one segment of a lesson to
another.
Creative Movement Skills
Beat Motions
Form
1 . Have students create beat motions that reflect the form of a folk song.
2. Have students create motions for each phrase of a song, and then shuffle the
motions to change the order of the phrases in a folk song.
3. Have students create motions to reflect forms (for example, binary) in a listening
example of classical music.
4. Have students show cadences by freezing at the point of the cadence.
Instruments
159
1 . Have students create a rhythmic or melodic ostinato on instruments.
2. Have students become a pentatonic piano, and choose a conductor to point to
each student to create a melodic pattern.
3. Have students use instruments to create sound effects to accompany a folk song
(i.e., train sounds).
Rhythmic Concepts
1. Have students create motions to reflect the tempo of various folk songs or classical
listening examples.
2. Have students create motions that reflect a rhythmic ostinato.
3. Have students demonstrate the difference between simple meter and compound
meter by skipping or marching.
Singing
1 . Have students create alternate text for a folk song.
2. Have students conduct each other in different styles.
Melodic Concepts
1. Have students create motions that reflect the melodic contour of a folk song.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 4.1
M OV E M E N T L I ST
Song Title Composer Features
C L AS SI C A L
“Ballet of the Unhatched Modest Mussorgsky Presto, staccato, orchestra
Chicks,” from Pictures at (1839–1928)
an Exhibition
“Alla Turca,” from Piano Wolfgang Amadeus Mozart Allegro, piano solo, $
2 , xccc
Sonata No. 11 in A (1756–1791)
160 “March of the Toy Pyotr Ilyich Tchaikovsky Vivace, fanfare, orchestra
Soldiers,” from Nutcracker (1840–1893)
Suite
“Fossils,” from Carnival of Camille Saint-Saëns Allegro, orchestra, xylophone,
the Animals (1835–1921) xccc
“In the Hall of the Edvard Grieg (1843–1907) Moderato, accelerando,
Mountain King,” from Peer orchestra, dynamic contrast
Gynt, Suite No. 1
“Moderato,” from Minuet Ludwig van Beethoven Moderato, triple meter, strings
in G, No. 2 (1770–1827)
“Les Toreadors,” from Georges Bizet (1838–1875) Allegro, march, orchestra
Carmen
“Funeral March of a Charles Gounod Allegro, compound meter,
Marionette” (1818–1893) orchestra
Hungarian Dance No. 5 Johannes Brahms Contrasting tempi, orchestra
(1833–1897)
Turkish March, Op. 113 Ludwig van Beethoven Allegro, march, accents
(1770–1827)
“Overture,” from William Gioachino Rossini Allegro vivace, fanfare, finale,
Tell (1792–1868) orchestra
“Trepak,” from Nutcracker Pyotr Ilyich Tchaikovsky Molto vivace, orchestra
Suite (1840–1893)
(Continued)
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Students as Performers
Table 4.1 (continued)
M OV E M E N T L I ST
Eine kleine Nachtmusik Wolfgang Amadeus Mozart Allegro, strings only
(Serenade No. 13 for (1756–1791)
strings), movement 1
Fur Elise (Bagatelle No. 25) Ludwig van Beethoven Allegro, triple meter, piano
(1770–1827) solo
Organ Concerto in G George Frideric Handel Andante, compound meter,
minor, Op. 4, movement 4 (1685–1759) organ and strings
Military March No. 1 Franz Schubert (1797–1828) Allegro vivace, orchestra
“An Evening in the Village” Béla Bartók (1881–1945) Lento, rubato, form, la
pentatonic
A Doll’s Funeral Pyotr Ilyich Tchaikovsky Grave, form, gb, piano solo
Procession,” Children’s (1840–1893)
Album, Op. 39, No. 7
Playing Soldiers, Op. 31, Vladimir Rebikov Allegro, march, piano solo, gb
No. 4 (1866–1920)
Minuet in G, BMV Johann Sebastian Bach Moderato, triple meter,
Anh 114 (1685–1750) keyboard solo
161
For Children, Vol. 1, No. 11 Béla Bartók (1881–1945) Lento, high ti, piano solo
“Ecce gratum,” from Carl Orff (1895–1982) Pesante, full orchestra,
Carmina Burana chorus, fa
“Dies irae,” from Requiem Wolfgang Amadeus Mozart Allegro assai, full orchestra,
(1756–1791) chorus
Rigadoon Henry Purcell (1659–1695) Allegro, high ti
C ON T E M P OR A RY C L AS SI C A L
“Palladio” Karl Jenkins (1944–) Moderato, strings only
“Jamaican Rumba” Arthur Benjamin Lively, piano duet, syncopation
(1893–1960) over one beat
C L AS SI C A L OP E R A
“Non so più,” from The Wolfgang Amadeus Mozart Allegro vivace, staccato vs.
Marriage of Figaro (1756–1791) legato
JA Z Z
“Maple Leaf Rag” Scott Joplin (c. 1867–1917) Lively, ragtime, piano solo
“Crazy Race” Roy Hargrove (1969–) Moderato, hip-hop influence
“It Don’t Mean a Thing” Duke Ellington (1899–1974) Presto, big band, vocals
“Sing, Sing, Sing” Louis Prima (1910–1978) Fast swing, big band
(Continued)
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Table 4.1 (continued)
M OV E M E N T L I ST
“Groovin’ Hard” Don Menza (1936–) Moderato, big band
“Joshua Fit the Battle of African American spiritual Lively, big band, vocals
Jericho” (performed by Chris
Barber’s Jazz Band)
“Take the A Train” Billy Strayhorn (1915-67) Allegro, big band
C ON C E RT BA N D
“Stars and Stripes Forever” John Philip Sousa Allegro, march
(1854–1932)
“Short Ride in a Fast John Adams (1947–) Fast, minimalism, woodblock
Machine” throughout
C ON T E M P OR A RY
“Montezuma” Cusco (c. 1979) Presto, South American flutes
“Chariots of Fire” Vangelis (1943–) Andante, electronic
162
P OP U L A R
“ABC” Berry Gordy, Alphonzo Andante, dance, motown
Mizell, Freddie Perren, Deke
Richards (performed by the
Jackson 5)
“Blame It on the Boogie” Mick Jackson (performed by Allegro, dance, motown
the Jacksons)
“YMCA” Jacques Morali (performed Allegro, dance
by the Village People)
“Sir Duke” Stevie Wonder Allegro, funk
F OL K
“Wassail Wassail” Anonymous (performed by Adagio, compound meter,
Mannheim Steamroller) Renaissance
“Old Joe Clark” Traditional (performed Quick, mandolin, Mixolydian
by Bluegrass Mandolin
Extravaganza)
“Charlotte Town” Traditional (performed by Quick, ar
Judy Henske)
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Students as Performers
1. Teacher sings a known song for the class with accompaniment as a live listening
performance.
2. Teacher performs a known or an unknown song for the class on a music instrument.
3. Teacher performs an instrumental piece of music for the students.
4. Teacher plays a recorded piece of music that contains the new element.
5. Teacher plays a recorded piece of music for students but creates a listening map
for the students to follow. This map can include the form of the piece as well as the
important themes notated.
6. Teacher plays a recorded piece of music for the students but furnishes a complete
score for students to follow. For example, the teacher may create a line score of the
students to follow. The score will include the traditional rhythmic notation and/
or solfège for themes that students can sing. If there are sections in the piece of
music that include rhythms or melodies in another voice part that students can
listen to or perform, this should be employed. The teacher can insert beat bars
in measures that contain rhythmic and melodic elements that students cannot
read and sing. It is important to spell out the phrasing and make sure students are
reading complete motives. 163
Major Scale: high ti
Live Performance
“Oro, My Bodeen”
“Sleep, Little One”
“Des Colores”
“The Ship That Never Returned”
“The Little Dappled Cow”
“When I Was a Young Girl”
“Sweet Betsy from Pike”
Recorded Performance
For Children, vol. 1 (revised by Boosey & Hawkes, 1947), no. 11, by Béla Bartók
(1881–1945).
Eine Kleine Nachtmusik, K. 525, movement 3, Allegretto, by W. A. Mozart (1756-1791).
“Jupiter,” from The Planets, by Gustav Holst (1874–1934).
Die Forelle, Quintet, Op. 114, “The Trout,” fourth movement, by Franz Schubert
(1797–1828).
Recorded Performance
Music by Béla Bartók (1881–1945):
For Children, no. 18
Gyermekeknek Für Kinder, Vol. 4, Editio Musica Budapest, 1946, p. 11
“An Evening in the Village,” from Ten Easy Pieces, no. 5
[Evening in Transylvania], from Hungarian Sketches, theme 2
Mikrokosmos, Vol. 3, No. 95
Natural Minor Scale
Live Performance
“Dona, Dona, Dona”
“Drill, Ye Tarriers”
“To Work Upon the Railway”
“Sweet William”
“Hashivenu” (w/ solfège syllables)
164 “Come to the Land”
“Tumbalalaika”
“Alleluia” (in minor)
“Hush-a-bye”
Recorded Performance
“When Jesus Wept,” by William Billings.
Theme from Symphony No. 4, second movement, by Felix Mendelssohn (1809–1847).
“Dona Dona,” on album From Jewish Life, Signum Classics, performed by John Lenehan
and Paul Marleyn; also on album Amulet, sung by Nikitob, Chamsa Records, 2004.
From film Schindler’s List, theme, by John Williams (1932–).
Recorded Performance
Jesu, Joy of Man’s Desiring, from Cantata No. 147, by Johann Sebastian Bach
(1685–1750).
Horn Concerto No. 4 in E-flat major, K. 495, movement 3, Rondo, by Wolfgang
Amadeus Mozart (1756–1971).
“When Johnny Comes Marching Home,” from Songs of the Civil War, played by the
U.S. Military Academy Band
“The Wild Horseman,” from Album for the Young, Op. 68, No. 8, by Robert Schumann
(1810–1856).
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Students as Performers
Harmonic Minor (si)
Live Performance
“Ah, Poor Bird”
“Inez”
“Ser Come el Aire Libre”
“Dors, Dors, ’Tit Bébé”
Recorded Performance
Album for the Young, Op. 39, Nos. 23 and 24, by Peter Ilyich Tchaikovsky (1844–1893).
Polonaise in G Minor, BWV Anh. 125, from Notebook for Anna Magdalena Bach, by
Johann Sebastian Bach (1685–1750).
Recorded Performance
Horn Concerto No. 4 in E-flat major, K.495, movement 3, Rondo, by Wolfgang
Amadeus Mozart (1756–1791).
Violin Concerto, movement 3, by Ludwig van Beethoven (1770–1827).
“When Johnny Comes Marching Home,” from Songs of the Civil War, played by the
165
U.S. Military Academy Band.
Dorian Mode (fi)
Live Performance
“Ground Hog”
“Scarborough Fair”
“Wondrous Love”
“Hangman’s Tree”
“The Ballad of Springhill”
“Song on Courtship”
“Drunken Sailor”
“Bow Belinda”
Recorded Performance
“Wondrous Love,” as sung by Jean Ritchie.
“Round Dance,” Mikrokosmos, vol. 1, nos. 31 and 32, and vol. 2, no. 65.
“Drunken Sailor,” as sung by the Irish Rovers.
“Scarborough Fair,” as sung by the Gothard Sisters.
“The Ballad of Spring,” as sung by Peter, Paul, and Mary.
Recorded Performance
Gigue, from 6 Piano Pieces, Op. 52, Anton Dvořák (1841–1904).
Violin Concerto, movement 3, by Ludwig van Beethoven (1770–1827).
“Ride of the Valkyries,” from Die Walküre, act 3, by Richard Wagner (1813–1883).
Mixolydian Mode (ta)
Live Performance
“Old Joe Clark”
“Git Along, Lil Dogies”
“Good Morning, My Pretty Little Miss”
“The Dying Cowboy”
“The Avondale Mine Disaster”
“As I Roved Out”
“I’m Going Home on a Cloud”
Recorded Performance
Mikrokosmos, Vol. 2 (revised Boosey & Hawkes, 1947), No. 40, by Béla Bartók
166 (1881–1945).
Lesson Planning
Designing a Preparation/Practice Lesson Plan
Design That Includes Music Skills
In this chapter we have presented activities for developing a child’s singing voice, move-
ment skills, and instrumental skills, as well as discussing how the instructor can develop
music literacy skills. As a result of the information contained in this chapter, we can pro-
pose modifications to our basic preparation/practice lesson plan:
Table 4.2 presents a preparation/practice lesson plan template that shows how the
information for this chapter can now be used to modify a lesson plan design. We have
bolded the sections of the lesson plan that can be modified to incorporate material from
Chapter 4.
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Students as Performers
I N T ROD U C T I ON
Demonstration Body warm-ups and breathing exercises
of known • Ss demonstrate their prior knowledge of repertoire and musical
musical concepts elements through performance of songs selected from the
and elements alphabetized repertoire list.
• These songs may be accompanied by rhythmic or melodic
instruments.
C OR E AC T I V I T I E S
Acquisition of • Teach a new song by rote using an appropriate technique.
repertoire
Preparation of a • Learning activities in which Ss are taught a new musical concept
new concept through known songs found in the alphabetized repertoire list.
Movement • Focus on the sequential development of age-appropriate
development movement skills through songs and folk games.
Practice and • Ss reinforce their knowledge of musical concepts and elements
musical skill working on the skill areas of reading and writing, form, memory,
development inner hearing, ensemble work, instrumental work, improvisation
and composition, and listening through known songs found in the
alphabetized repertoire list. 167
C L O SU R E
Review and • Review of lesson content; T may perform the next new song
summation 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 (continued)
Table 4.3 (continued)
I N T ROD U C T I ON
Demonstration Body warm-ups and breathing exercises
of known musical • Ss demonstrate their prior knowledge of repertoire and
concepts and musical elements through performance of songs selected from
elements the alphabetized repertoire list.
• These songs may be accompanied by rhythmic or melodic
instruments.
C OR E AC T I V I T I E S
Acquisition of • Teach a new song by rote using an appropriate technique.
repertoire
(Continued)
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Table 4.4 (continued)
Presentation of new • T presents the syllables for the new musical element in the
element focus pattern of a known song.
Movement • Known song or game found in the alphabetized repertoire list
development • Focus on the sequential development of age-appropriate
movement skills through songs and folk games.
Presentation of new • T presents the syllables for the new musical element in a
element related pattern of a known song.
C L O SU R E
Review and Review of lesson content; T may perform the next new song to be
summation learned in a subsequent lesson found in the alphabetized repertoire
list.
Again, when repertoire and selected activities are applied to in a lesson, the lesson plan-
ning process itself becomes more evident. The lesson plan in Table 4.5 includes activities
appropriate to a presentation lesson.
Table 4.5 (continued)
Table 4.5 (continued)
Presentation of “Rose Rose”
music literacy CSP: G
concepts • Ss sing song.
Describe what • Ss sing song in canon.
you hear with • T assesses kinesthetic, aural, and visual awareness activities with
rhythm or “Rose Rose.”
solfège syllables • T reviews the name and hand sign for the new note.
• Ss determine the solfège for phrase 1.
• T hums phrases on “loo” and Ss echo with solfège syllables and
hand signs.
• T reviews the harmonic minor scale.
SU M M A RY AC T I V I T I E S
Review lesson “Morning Is Come”
outcomes CSP: F
Review the new
song
172
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Chapter 5
A primary objective of this text is to present teachers with a sequential series of lesson plans to
inspire the artistry inherent in every student. As is evident in all of our publications, we are also
involved with developing cognition, the “thinking” abilities that lead to a deeper understanding
and appreciation of music through performing, critical thinking, listening, literacy, composing,
and improvising. Kodály offers us a timely reminder concerning the importance of excellent
teaching techniques to enable the student to engage with music as a true artist: “It is not tech-
nique that is the essence of art, but the soul. As soon as the soul can communicate freely, without
obstacles, a complete musical effect is created. Technique sufficient for a free manifestation of the
child’s soul can easily be mastered under a good leader in any school.”1
This chapter furnishes teachers with a detailed series of lesson plans arranged according to 173
concept. With the exception of Unit 1 (review lessons), each unit is divided into three sections:
Section 1. A summary overview of the repertoire used to prepare, present, and practice a
particular music element
Section 2. A brief outline of the music skills that are to be developed in the unit plan
Section 3. Five sequential lesson plans for preparing, presenting, and practicing a music
element
Please consult Kodály Today for a more comprehensive overview of lesson planning.
These are the lesson plan units presented in this chapter:
Remember that these lesson plans are only sketches of what can be accomplished in the
lesson. We have not included transitions between the sections of the lessons as we want
teachers to get an idea as to the flow of the lesson plan. Teachers should infuse these lessons
with their own musicianship and creativity.
Our suggested five-lesson sequence allows students to engage and explore concepts
through music literature. Building on the numerous performance experiences within these
lessons, the teacher can guide students toward an understanding of musical elements and
concepts.
The five sequenced lessons are divided as follows. The first three are preparation/practice
lesson plans.
Lesson one is a plan for developing the kinesthetic awareness of a new melodic or
rhythmic concept and concentrated practice of known melodic or rhythmic ele-
ments through reading. (Reading is normally connected to listening.)
Lesson two is a plan for developing aural awareness of a new melodic or rhyth-
mic concept and concentrated practice of known melodic or rhythmic elements
through writing.
Lesson three is a plan for developing visual awareness of a new melodic or rhyth-
mic concept and concentrated practice of known melodic or rhythmic elements
through improvisation and composition.
Lesson four is the first presentation lesson; the goal is to label the new sound with
rhythm or solfège syllables.
Lesson five is the second presentation lesson; the goal is to present the notation for the
174 new element.
The objectives for each type of lesson are derived from activities proposed in the teach-
ing strategies (Chapter 4). 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 presenting and initial practice of the newly learned element.
Chapter 10 of Kodály Today describes the types of lesson plan structure as well as informa-
tion on adapting these lesson plans for the inclusive classroom.
Transitions in Lesson Plans
Transitions are the cement that holds the segments of a lesson together. Transitioning
between songs and activities can become an interesting 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 lesson. Here we present some sample transition activities that can be used to
enliven a creative 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 to different activities. Spend
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Unit Plans and Lesson Plans
time analyzing all of the repertoire and materials you will be using in the lesson. This will
allow you to see possible connections in the suggested repertoire. Transitions should be
logical. When they are properly planned, they add the elements of surprise, creativity,
and magic to a lesson. Many of the best transitions are musical. If you are transitioning
into a segment of a lesson where the focus is on rhythm, use a rhythmic activity such
as an ostinato to move to the next segment of the lesson. If you are transitioning into
a melodic segment of the lesson, you could use a melodic ostinato to move to the next
section of your lesson.
There are three types of transition:
1. Sing several songs in the same tonality. The preparation for this type of activity
may be accomplished by pointing to the tone steps or staff ladder.
2. The teacher connects two songs together by using the same melodic motive. For
example:
A. “Rocky Mountain” and “Hot Cross Buns” share the mi re do motif at the end.
B. “Tideo” and “Great Big House in New Orleans” share the mi so so la mi so so
melodic motif.
3. Structural reductions
A. The music teacher can use structural reductions of folk songs to move from
one song to another. To make a structural reduction, write the notes that
occur on each beat in a phrase. Do not include passing notes. The structural
reduction (for example so la so mi is the structural reduction of the first
four beats of “Lucy Locket”) is the same as the first phrase of “Bounce High,
Bounce Low.” Finding these links between songs can build a powerful
connection for students.
4. Structural reductions and partner songs
A. Sing the structural reduction of one song and use it as a partner song with
another song, for example, “Liza Jane” and “Ridin’ in a Buggy.”
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Kodá ly in t he Fif t h G r a de Cl a s sro om
5. Melodic transformations
A. Transform the melodic phrase of one song into a phrase of another song.
6. Melodic motifs
A. Use a melodic motif in a song as a melodic ostinato for another song.
7. Canon
A. For older students, show the hand signs of a known song and ask them to
follow in canon. The teacher then transforms the known song into another
song as the students are following in canon.
8. Harmonic functions
A. Divide the class into two groups. One group performs the song. The other
performs the functional chord root tones. As one group continues to repeat
the functional chord root tones, the teacher can use hand signs and have
students sing another melody that shares the same harmonic rhythm with the
first melody.
9. Character of repertoire
A. Sing several songs having the same character or mood.
Form Connections
1. Unconscious connections
A. Sing several songs that have the same rhythmic form. For example, “All
Around the Buttercup” and “Let Us Chase the Squirrel” share the same form.
B. Sing several songs that have the same melodic form.
2. Conscious connections
A. Sing several songs that have the same rhythmic form. Students will identify
the forms of these songs.
178 B. Sing several songs that have the same melodic form. Students will identify the
forms of these songs.
Chapter 10 of Kodály Today includes many ideas for creating transitions in lesson plans.
Tables 5.1 and 5.2 show two versions of the same lesson plan: Table 5.1 is a lesson plan
with no transitions, and Table 5.2 has the same lesson plan with transitions. Transitions
should not detract from the lesson but should allow the teacher to move smoothly from one
segment of the lesson to another.
Table 5.1 Unit 2, high ti and dotted eighth note and sixteenth notes,
Lesson 2
Table 5.1 (continued)
Table 5.1 (continued)
180 Table 5.2 Unit 2, high ti and dotted eighth note and sixteenth notes,
Lesson 2
Table 5.2 (continued)
Table 5.2 (continued)
C OR E AC T I V I T I E S
Teach a new song “Camptown Races”
CSP: B
• T sings song.
• T sings song. Ss create a score indicating the meter
and bar lines.
• T sings song. Ss identify the form.
• T sings song and Ss follow a score that
includes text.
• Ss sing song.
• T show hand signs for phrase 1 of the next song
and Ss sing with solfège syllables and hand sign. As
they sing, T notates the notes on a tone ladder.
Develop knowledge of music “Alleluia”
literacy concepts CSP: D
Describe what you hear • Ss sing song.
• T assesses the kinesthetic activities with the focus
song “Alleluia.” Sing phrase 2 while keeping the beat
before asking each question below.
• Ss sing and determine the number of beats per
phrase and the general direction of the melody.
• Ss sing the second phrase on “loo” before T asks
each of these questions:
Determine the number of different pitches in the phrase.
182
• T: “Andy, how many beats are in the second
phrase?” (eight)
• T: “Andy, what is the general direction of the
melodic contour?” (it goes up)
• T: “Andy, how many different pitches did we sing?”
(eight)
• T: “Andy, sing the lowest note of the phrase.”
• T: “Andy, which solfège syllable can we use for that
pitch?” (do)
• T: “Andy, sing the highest note of the phrase.”
• T: “Andy, which solfège syllable can we use for that
pitch?” (high do)
• T sings the major scale on “loo” and Ss identify all
intervals as major or minor seconds.
• Ss sing song in canon.
• T points the solfège syllables of the next song and
Ss recognize it through inner-hearing.
(Continued)
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Unit Plans and Lesson Plans
Table 5.2 (continued)
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 pedagogical one.
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 you’re moving.
10. Give the students plenty of individual experience in the classroom. It is
important to work from the group toward individual activities. You’ll notice that
students are attentive to their peers when they do things like go to the board or
perform on their own.
11. We have suggested a comfortable starting pitch for each song. Feel free to
experiment with what works best for your classroom.
Evaluating a Lesson
1. Learning should stem from the enjoyment of singing songs, chanting rhymes,
and playing games. The overarching goals of a music lesson should be singing,
listening, and enjoyment of music. Musical concepts and elements are taught to
enhance this enjoyment.
2. We believe that reading and/or writing should be addressed during each lesson.
Even if students simply read or write a small motive from a song, they develop a
deeper understanding and appreciation of the song. We recommend checking our
other publications for more ideas on how to teach music literacy concepts:
184 Sound Thinking: Music for Sight-Singing and Ear Training, vols. 1 and 2, published
by Boosey & Hawkes
From Sound to Symbol: Fundamentals of Music, published by Oxford
University Press
3. Include opportunities for both review and reinforcement of musical elements and
concepts.
4. A good lesson plan should reveal clear answers to these questions:
A. Was the lesson presented musically?
B. What were the primary and secondary goals of the lesson?
C. How were the goals of the lesson achieved?
D. How many songs and games were used in the lesson?
E. What activities used in conjunction with the song material led students to an
understanding of the goals of the lesson?
F. Was there an emphasis on singing and making music?
G. Did the lesson use a variety of songs?
H. Were the goals of the lesson achieved?
I. Was new material prepared and presented in the lesson? What exercises were
used in the lesson? Did the musical exercises planned for the lesson help the
students achieve the goals?
J. Was there a logical sequence and pacing in the lesson?
K. Was the culmination of the lesson clear?
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Unit Plans and Lesson Plans
Unit Plans
The units presented here give teachers lesson plans arranged according to concept.
M U SI C A L SK I L L DE V E L OP M E N T
Practice known elements
Reading Read rhythm of Read la pentatonic Ss read song Read a
known songs. songs from tone from T’s hand two-part
ladder, traditional signs. arrangement
notation and of a
solfège and staff. well-known
song.
186
Writing Dictation of Write a known Write a known
target phrases song with rhythmic song in staff
in traditional notation and notation.
notation of “Liza solfège.
Jane.”
Improvisation Improvise a new Improvise osti- Improvise Improvise
and melodic ending natos for chosen pentatonic rhythm
composition for known song songs in unit. melodies to patterns using
ending on tonic. Improvise ques- simple four or a variety of
tion-and-answer eight beat. all known
motives using rhythmic
known rhythm or elements up
melodic patterns. to date.
Listening Live performance Movement activity Listening with
to listening a prepared
score
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Unit Plans and Lesson Plans
Unit 1, Review low ti and Dotted Eighth and Sixteenth Note, Lesson 1
Outcome Presentation: label the sound a pitch a half step below do, as low
ti, with solfège syllables
Presentation: label two sounds on one beat, the first being long
and the second short, with rhythm syllables (ta---mi)
I N T ROD U C TORY AC T I V I T I E S
Warm-ups “Ecce Gratum,” fifth movement of Carmina Burana, by Carl Orff
(1895–1982)
• Body warm-up
• Beat activity
• Breathing: Ss practice breathing exercises.
• Resonance: 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
do both.
• Posture: remind Ss about correct posture for singing.
Sing known songs “Debka Hora”
CSP: A
Sing “Debka Hora” in canon on a neutral syllable.
• T sings the song on “loo.”
• Ss identify the melody and sing in unison with text.
• T divides the class into the appropriate number of parts.
• Ss sing in canon with T directing their entrances and indi-
cating cadence points.
188 Develop tuneful “Sail Away, Ladies”
singing CSP: F-sharp
Tone production Sing “Sail Away, Ladies” on pure vowels [i, a, o, u].
• T sings the song on “loo.”
Diction
• Ss identify the melody and sing along with text.
Expression • T directs Ss to then sing on a chosen pure vowel, monitoring
their voices to ensure proper vowel shapes and to see that Ss
are not emphasizing each note with a glottal attack.
“Shady Grove”
CSP: D
Vocal range (be sure to sing with rhythm syllables)
Sing a pattern from “Shady Grove” progressively higher or lower.
• Ss sing a song in unison.
• T extracts a phrase or part of a phrase. T modulates the key
up or down (Ss do not sing the modulation) and Ss repeat
the chosen section of the song.
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Unit Plans and Lesson Plans
Unit 1, Review low ti and Dotted Eighth and Sixteenth Note, Lesson 2
Outcome Presentation: notate low ti, using steps, stick, and staff notation
Presentation: notate two sounds on one beat, the first being long
and the second being short, with a dotted eighth and sixteenth
190 note
I N T ROD U C TORY AC T I V I T I E S
Warm-ups “Ecce Gratum,” fifth movement of Carmina Burana, by Carl Orff
(1895–1982)
• Body warm-up
• Beat activity
• Breathing: Ss practice breathing exercises.
• Resonance: imitate the sound of a siren with the voice.
Challenge the Ss to make soft and loud, high and low, long
and short sirens, and sirens that just go up, just come down,
or do both.
• Posture: remind Ss about correct posture for singing.
Sing known songs “O, How Lovely Is the Evening”
CSP: F
• Ss sing and T sings in canon.
• Ss sing in canon.
“Debka Hora”
CSP: A
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Unit Plans and Lesson Plans
Unit 1, Review low ti and Dotted Eighth and Sixteenth Note, Lesson 3
Outcome Read low ti, using steps, stick, and staff notation
Read two sounds on one beat, the first being long and the second
being short, with a dotted eighth and sixteenth note
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Unit Plans and Lesson Plans
I N T ROD U C TORY AC T I V I T I E S
Warm-ups “Ecce Gratum,” fifth movement of Carmina Burana, by Carl Orff
(1895–1982)
• Body warm-up
• Beat activity
• Breathing: Ss practice breathing exercises.
• Resonance: imitate the sound of a siren with the voice.
Challenge the Ss to make soft and loud, high and low, long
and short sirens, and sirens that just go up, just come down,
or do both.
• Posture: remind Ss about correct posture for singing.
Sing known songs “Weevily Wheat”
CSP: A
• Ss sing song and play game.
“Hill and Gully Rider”
CSP: C
• Sing “Hill and Gully Rider”
• Ss read with inner hearing “Hill and Gully Rider” from
rhythmic notation on board.
• Ss sing song and conduct.
• Individual Ss sing the verse and the class sings the refrain.
Develop tuneful “Hungarian Canon”
singing CSP: F
Tone production • Sing “Hungarian Canon” on pure vowels.
• T sings the song on “loo.”
Diction
• Ss identify the melody and sing along with hand signs and 193
Expression solfège syllables.
• T directs Ss to then sing on a chosen pure vowel, monitoring
their voices to ensure proper vowel shapes and to see that Ss
are not emphasizing each note with a glottal attack.
• Ss sing in canon on “loo.”
Practice of known “The Birch Tree”
elements CSP: A
Reading low ti • Ss sing the song.
• Ss read the song from the tone ladder.
• Ss read the song from standard rhythmic notation and
solfège.
• Ss read the song with solfège syllables and hand signs from
staff notation.
• Ss read the song with letter names and hand signs.
• Ss read theme with solfège and hand signs and listen to For
Children, vol. 1, no. 8, by Béla Bartók (1881–1945) and iden-
tify the “A” and “B” sections in the music.
• Ss sing phrases with solfège syllables and hand signs as they
listen to the Bartók.
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C OR E AC T I V I T I E S
Teach a new song “Go Down, Moses”
CSP: B
• T sings song.
• Ss determine the phrase, form, and meter.
• T gives the text and rhythmic notation of song for the
known phrases and only the text for those phrases that
contain unknown element. Ss sing with rhythm syllables,
keeping the beat for known element and words and beat for
unknown.
• T sings each phrase with words and Ss echo-sing with
words.
Review of known “Circle Round the Zero”
elements CSP: F-sharp
Reading dotted eighth • Ss sing and keep the beat.
and two sixteenths • Ss sing song and clap rhythm.
• Ss sing with rhythm syllables and conduct.
• Ss writes the rhythm on the board.
• Ss sing song in canon with rhythm syllables.
• Ss sing song in canon with words.
Creative movement “Mamalama”
CSP: F
• Ss sing the song and play the game.
• Ss create their own movements to the game to reflect form.
• Ss create their own rhythmic accompaniment to game.
194 • Ss create their own melodic accompaniment to game.
Review of known “Donkey Riding”
elements CSP: F
Reading dotted eighth • Ss sing song.
and two sixteenths • Ss read “Donkey Riding” in traditional rhythm with rhythm
syllables and conducing.
• Transform “Donkey Riding” into “Circle Round the Zero.”
• T sings the rhythm of the listening example on “loo” and Ss
sing back with rhythm syllables as they conduct.
• Ss read the rhythm of the theme and listen to a recording of
“Feierlich und Gemessen” from Symphony No. 1, by Gustav
Mahler (1860–1911).
SU M M A RY AC T I V I T I E S
Review lesson “Go Down, Moses”
outcomes CSP: B
Review the new song • Ss sing with text.
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Unit 1, Review low ti and Dotted Eighth and Sixteenth Note, Lesson 4
C OR E AC T I V I T I E S
Teach a new song “Scarborough Fair”
CSP: D
• T sings song.
• Ss determine the phrases and form. T creates a score indicat-
ing only the phrases and beats.
• Ss follow the score as T sings with text.
Review known “The Birch Tree”
elements CSP: A
• Ss sing the song.
• Ss sing phrase 1 with solfège syllables and hand signs.
• Ss write in the solfège syllables for phrase 1 under standard
rhythmic notation.
• Ss write phrase 1 of the song on the staff in different la
positions.
• Class sings the song in canon with letter names.
Creative movement “Wishy Washy”
CSP: A
Ss sing the song and play the game.
• Ss create their own movements to the game to
reflect form.
• Ss create their own rhythmic accompaniment to game.
Practice known “Yankee Doodle”
elements CSP: A
Writing • T and Ss sing “Yankee Doodle” with text.
196 • T sings “Yankee Doodle” on “loo.”
• Ss identify “Yankee Doodle” and sing with text and then
repeat using rhythm syllables.
• Ss write “Yankee Doodle” in rhythmic notation.
• Ss sing “Yankee Doodle” from T’s hand signs with solfège
syllables.
• Ss write the solfège syllables beneath the rhythm notation.
SU M M A RY AC T I V I T I E S
Review lesson “Scarborough Fair”
outcomes CSP: D
Review the new song • T sings song for Ss, and they listen to a recording of this
song.
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Unit Plans and Lesson Plans
Unit 2: high ti
S ONG R E P E RTOI R E
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Prepare Movement Practice
Singing Known Next Concept: Known 199
Elements Concepts: high ti Elements
ar
Lesson “Sail Away, “Johnny “The Birch “Charlotte “Alleluia” “Rabbit and “Donkey
1 Ladies” Has Gone Tree,” Town” the Possum” Riding”
for a reviewing
Soldier” minor
pentachord
scale
Lesson “Viva la “Alphabet “When “Camptown “Alleluia” “Rabbit and “Donkey
2 Musica!” Song” I First Races” the Possum” Riding”
“Charlotte Came to
Town” This Land”
Lesson “The Birch “Wake “Debka “Colorado “Alleluia” “Mamalama” “Donkey
3 Tree,” Up! Hora” Trail” Riding”
“Camptown Canon”
Races”
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of high ti. Remember, in the first three lessons Ss practice the pre-
vious musical element, in this case, dotted eighth note followed by a sixteenth note.
Unit 2, high ti and Dotted Eighth Note and Sixteenth Notes, Lesson 1
Unit 2, high ti and Dotted Eighth Note and Sixteenth Notes, Lesson 2 203
Unit 2, high ti and Dotted Eighth Note and Sixteenth Notes, Lesson 3
C OR E AC T I V I T I E S
Teach a new song “Colorado Trail”
CSP: F-sharp
• T sings song.
• Ss identify the meter and form.
• Ss create their own score for the music indicating the bar
lines and form.
Develop knowledge “Alleluia”
of music literacy CSP: D
concepts • Ss sing song.
Create a representation • T assesses kinesthetic and aural awareness by allowing the
of what you hear class to perform several of the kinesthetic and aural aware-
ness activities.
• T sings phrase 2 on a neutral syllable and asks Ss to create a
visual representation of the melody of the target phrase. Ss
may use manipulatives. T: “Pick up what you need to recre-
ate what you heard” or “Draw what you heard.” T assesses Ss’
level of understanding.
• Ss share their representations with each other.
• 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.
Identify the meter.
• Ss sing the second phrase of “Alleluia” with a neutral syllable
and point to the representation.
• T hums the notes of the major scale and asks Ss to change their 207
visual representation to show the major and minor seconds.
• Ss sing song in canon.
Creative movement “Mamalama”
CSP: F
• Compose a rhythmic ostinato for a percussion instrument.
• Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
• Create a new text.
Practice music “Donkey Riding”
performance and CSP: F
literacy skills • Ss sing song.
Improvisation • T claps a rhythmic question based on the new rhythm
pattern and Ss provide an answer. Use rhythmic phrases of
“Donkey Riding.” Ss clap back their answer and say rhythm
syllables.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
S ONG R E P E RTOI R E
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Prepare Movement Practice
Singing Known Next New Concept: Known
Elements Concept: eighth Elements:
212 natural and high ti
minor scale dotted
quarter
Lesson “Shady “Camptown “Donkey “Dona, “Charlotte “Aquaqua “Alleluia”
1 Grove,” Races” Riding” Dona, Town” Del-a
“Swing Dona” Omar”
Low, Sweet
Chariot”
Lesson “Sourwood “Colorado “Sail “The Raggle “Charlotte “Rabbit “Alleluia”
2 Mountain,” Trail” Away, Taggle Town” and the
“Dona, Ladies” Gypsies” Possum”
Dona,
Dona”
Lesson “Sail Away, “All Night, “Shady “Hashivenu” “Charlotte “Zudio” “Alleluia”
3 Ladies,” All Day” Grove” Town” (minor-
“The Raggle based)
Taggle
Gypsies”
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Unit Plans and Lesson Plans
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of an eighth note followed by a dotted quarter note. Remember, in 213
the first three lessons Ss practice the previous musical element, in this case high ti.
Improvisation T sings a
question
phrase
using
high
ti; Ss
sing an
answer
phrase
using
high ti
but must
end on
high do.
Movement “Aquaqua Del-a “Rabbit and the “Zudio” “Rabbit “Bow,
Omar” Possum” (minor and the Belinda”
variant) Possum”
Listening For Children,
Vol. 1/2 (revised
Boosey &
Hawkes, 1947),
No. 11, by
Béla Bartók
(1881–1945)
214
Unit 3, Prepare Eighth Note and Dotted Quarter Note and Practice
high ti, Lesson 1
216 Unit 3, Prepare Eighth Note and Dotted Quarter Note and Practice
high ti, Lesson 2
Unit 3, Prepare Eighth Note and Dotted Quarter Note and Practice
high ti, Lesson 3
C OR E AC T I V I T I E S
Teach a new song “Hashivenu”
CSP: C
“Hushabye”
CSP: D
• T sings song.
• T provides with the rhythm and words to the song.
• T sings song and students indicate the phrases and the form.
• T sings song and Ss point to a visual of the contour of the
melody.
• Ss sing song.
Presentation “Charlotte Town”
Describe what you hear CSP: F
with rhythm syllables • Ss sing song.
• Assess the kinesthetic, aural, and visual awareness activities
with the focus song “Charlotte Town.”
• T: “We call two uneven sounds over two beats where the first
is short and the second is long ta di---.”
• T sings the target phrase of “Charlotte Town” with rhythm
syllables.
• Ss echo with rhythm syllables while clapping the rhythm or
performing the beat.
• T sings the target phrase of “Charlotte Town” on “loo” and
Ss echo with rhythm syllables while clapping the rhythm
both as a class and individually.
222 Creative movement “Rabbit and the Possum”
CSP: D
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Presentation “Erie Canal” or “Go Down, Moses”
Describe what you hear CSP: A
with rhythm or solfège • Ss sing song.
syllables • T sings the selected phrases with rhythm syllables both as a
class and individually.
• Ss echo with rhythm syllables while clapping the rhythm or
performing the beat.
• T sings the a phrase from any of these songs on a neutral
syllable and Ss echo with rhythm syllables while clapping the
rhythm both as a class and individually.
° “All Night, All Day,” “Billy Boy,” “Great Big Dog,” “Walk
Along, John,” “Little Johnny Brown,” “Go Down, Moses.”
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Unit Plans and Lesson Plans
SUM M A RY AC T I V I T I E S
Review lesson “Hashivenu”
outcomes CSP: C
Review the new song “Hushabye”
CSP: D
• Ss sing song.
• T: “We can also write the first two phrases using stick nota-
tion and solfège syllables.”
• Ss read the melody of the first two phrases from rhythmic
notation and solfège syllables with solfège and hand signs.
• Ss read the melody of the first two phrases from the staff
with solfège syllables and hand signs as well as absolute letter
names and hand signs.
• Ss sing song.
SUM M A RY AC T I V I T I E S
Review lesson “Alleluia” in minor
outcomes CSP: D
Review the new song • Ss sing in minor.
S ON G R E P E RTOI R E
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Next Prepare Movement Practice
Singing Known Concept: Concept: Known
Elements: Compound Natural Elements
Major Meter 1 Minor
Scale
Lesson “Wake “Dona, “Alphabet “I’s the B’y” “Alleluia” “Long Road “Charlotte
1 Up! Dona, Song” (in minor) of Iron” Town”
Canon” Dona”
225
Lesson “Alphabet “Hashivenu” “Sweet “Row Your “Alleluia” “Long Road “Charlotte
2 Song,” “I’s William” Boat” (in minor) of Iron” Town”
the B’y”
Lesson “Sweet “The Raggle “All Night, “When “Alleluia” “Alabama, “Charlotte
3 Betsy Taggle All Day” Johnny Comes (in minor) Mississippi” Town”
from Gypsies” Marching
Pike” Home”
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Next Present Movement Present
Singing Known Concepts Concept: Concept:
Elements high ti high ti
Lesson “Johnny “Dona, “Sweet “Boots of “Alleluia” “Rabbit and “Dona,
4 Has Gone Dona, Betsy from Shining (in minor) the Possum” Dona, Dona,”
for a Dona” Pike” Leather” “Hashivenu,”
Soldier” “Alleluia” (in
minor), “The
Raggle Taggle
Gypsies”
Lesson “Wake “The Raggle “Sweet “Sailor, Sailor “Alleluia” “Aquaqua “Hashivenu “
5 Up! Taggle Betsy from on the Sea” (in minor) Del-a
Canon” Gypsies” Pike” Omar”
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of natural minor. Remember, in the first three lessons Ss practice
the previous musical element, in this case an eighth note followed by a dotted quarter note.
C OR E AC T I V I T I E S
Teach a new song “I’s the B’y”
CSP: A
• T sings song.
• T asks Ss to create a beat chart, add bar lines, and figure out the
number of beats per measure. Ss create a score indicating the
bar lines, beat bars, and form. (Ss should be able to figure out
that this is in duple meter.)
• T sings song and students add in the phrase marks and
the form.
• Ss sing song.
Develop knowl- “Alleluia” (in minor)
edge of music CSP: D
concepts • Ss sing “Alleluia” in minor and point to a representation of the
Internalize music melodic contour at the board.
through kinesthetic • Ss sing “Alleluia” in minor and point to melodic contour of the
activities song with their eyes closed.
• Ss sing “Alleluia” in minor with rhythm syllables while showing
the melodic contour.
Creative “Long Road of Iron”
movement CSP: A
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
228 • Ss create a new text.
Practice and “Charlotte Town”
performance of CSP: F
music skills • Ss sing the song.
Reading • T sing phrases of “Charlotte Town” and Ss echo on rhythm
syllables.
• Ss sing “Charlotte Town” on rhythm syllables in canon with T
and in small groups.
• Ss read the rhythmic notation of “Charlotte Town.”
• T transforms the target pattern into basic four-beat patterns
found in Ss’ song material. Transform the rhythm of phrase 1 of
“Charlotte Town” into phrase 2 of “All Night, All Day.”
• Ss read the rhythm to Mikrokosmos, vol. 3 no. 94, by Béla Bartók
(1881–1945).
SU M M A RY AC T I V I T I E S
Review lesson “I’s the B’y”
outcomes CSP: A
Review the new • Ss sing song.
song
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “Row, Row, Row Your Boat”
CSP: D
• T sings song.
• T sings song and Ss create a beat chart.
• T sings song and Ss identify the meter. (duple)
• T sings song and Ss add in bar lines.
• T sings and Ss conduct using a duple-meter conducting pattern.
• Ss sing and conduct using a duple-meter conducting pattern.
Develop knowl- “Alleluia” (in minor)
edge of music CSP: D
literacy concepts • Ss sing song in minor.
Describe what you • Assess the kinesthetic activities with the focus song “Alleluia”
hear in minor.
• Ss sing while keeping the beat before asking each question below
about the second phrase of the song.
Determine the lowest and highest notes
• T: “Andy, sing the lowest note of the song.” (low la)
• T: “Andy, sing the highest note of the song.” (la)
Determine how many pitches we have in the second phrase
• T: “Andy, how many different pitches did we sing?” (eight) (It
may be best to do this by breaking down the second phrase into
smaller motifs.)
• T sings these notes as a scale and determine the intervals by ask-
ing to identify the intervals as major or minor seconds.
230 Creative “Long Road of Iron”
movement CSP: A
• Ss sing and play game.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Practice and “Charlotte Town”
performance of CSP: F
music skills • Ss sing song.
Writing • Ss sing with rhythm syllables and conducting.
• Ss write “Charlotte Town” with traditional rhythmic notation.
• Using a worksheet, Ss fill in the missing rhythms to measures of
known songs, such as “All Night, All Day.”
SU M M A RY AC T I V I T I E S
Review lesson “Row, Row, Row Your Boat”
outcomes CSP: D
Review the new • Ss sing in canon with T.
song
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “When Johnny Comes Marching Home”
CSP: A
• T sings song.
• T sings song and Ss identify meter.
• T sings song and Ss identify form.
• T shows hand signs and Ss sing with solfège with hand signs.
• T sings song and Ss follow the words provided by the T.
• Ss sing song.
• Review singing this song with all verses.
Develop knowledge “Alleluia” (in minor)
of music literacy CSP: D
concepts • Ss sing song.
Create a visual repre- • T assess kinesthetic and aural awareness by allowing the
sentation of what you class to perform several of the kinesthetic and aural aware-
hear ness activities.
• T hums the target phrase with a neutral syllable and asks Ss to
create a visual representation of the melody of the target phrase.
• T: “Pick up what you need to recreate what you heard”
or “Draw what you heard.” T assesses Ss’ level of
understanding.
• Ss share their representations with each other.
• 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.
232 • Ss sing “Alleluia” in minor with a neutral syllable and point
to the representation.
Creative movement “Alabama, Mississippi”
CSP: F
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Practice and perfor- “Charlotte Town”
mance of music skills CSP: F
Improvisation • Ss sing song.
• Ss are given the rhythm notation of the song. (Some of the
measures contain only “heartbeats” or beat bars.)
• Ss perform the rhythm where it is notated, and pat the beat
elsewhere.
• Ss perform the rhythm where it is notated, and improvise for
the missing measures.
• Ss read a four-phrase, sixteen-beat rhythmic composition in
ABAC form. Then T erases the C phrase, and Ss create a new
C phrase using eighth and dotted quarter rhythms, or they
create a B and a C phrase.
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Unit Plans and Lesson Plans
SUM M A RY AC T I V I T I E S
Review lesson “When Johnny Comes Marching Home”
outcomes CSP: A
Review the new song • T sings song and Ss conduct.
• Ss sing song.
Outcome Presentation: labeling natural minor melody and scale with solfège syllables.
I N T ROD U C TORY AC T I V I T I E S
Warm-up Palladio, by Karl Jenkins (1944–)
or
T selects a piece of contemporary popular music for movement.
• Body warm-up
• Beat activity
• Breathing: Ss practice breathing exercises.
• Resonance: 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 do both.
• Posture: remind Ss about the correct posture to sing sitting and or
standing.
Sing known “When Johnny Comes Marching Home”
songs CSP: A
• Ss sing with text.
• Ss sing and conduct. 233
Develop tuneful “Dona, Dona, Dona”
singing CSP: A
Tone production • Ss sing a vocal warm-up shown by the T in two parts from T’s
hand signs.
Diction
• Continue to work on tempo markings and dynamic markings.
Expression
Kodály Choral Library, Let Us Sing Correctly, no. 74
Review known “Sweet Betsy from Pike”
songs and CSP: D
elements • Ss sing song and conduct.
• Ss sing song with solfège syllables and hand signs.
• T hums phrases on “loo” and Ss repeat with solfège and hand signs
both as a class and individually.
• T may choose to sing phrases of “Ghost of Tom,” “Dona, Dona,
Dona,” “Drill, Ye Tarriers,” “To Work Upon the Railway,” “Sweet
William,” “Hashivenu,” “Come to the Land,” “Tumbalalaika,” “Rise
Up, O Flame,” “Shalom Chaverim”; (art music) “Urians Reise um
die Welt,” Eight Songs, Op 52, No. 1, by Ludwig van Beethoven
(1770–1827); or other known songs that use the solfège syllables low
la low ti do re mi fa so la; Ss echo-sing using with solfège syllables
and hand signs both as a class and individually.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
C OR E AC T I V I T I E S
Teach a new “Boots of Shining Leather”
song CSP: D
• T has each phrase of the text written on the board.
• T sings song with text.
• Ss identify meter and conduct.
• T sings song with text and Ss notate the rhythm bar lines, and
determine the meter.
• Ss sing song and conduct.
Presentation “Alleluia” (in minor)
Describe what CSP: D
you hear with • Ss sing song.
rhythm or • T assesses kinesthetic, aural, and visual awareness activities with
solfège syllables the focus song “Alleluia” in minor.
• T sings the song with solfège and hand signs.
• Ss echo-sing with solfège and hand signs.
• T hums motifs from song; Ss echo-sing with solfège and
hand signs.
• T and Ss sing the seven pitches of “Alleluia” from low to high with
solfège syllables and hand signs.
• T specifically names the scale as a “natural minor scale,” because it
has seven pitches from low la to la with half steps between mi and
fa and between low ti and do.
• Ss sing the scale with solfège and hand signs both as a class and
individually.
234 • Ss sing the scale in canon.
Creative “Rabbit and the Possum”
movement CSP: D
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Presentation “Dona, Dona, Dona”
Describe what CSP: A
you hear with • Ss sing song.
rhythm or • T presents solfège syllables and hand signs for last two phrases
solfège syllables of song.
• Ss sing the last two phrases of song with solfège and hand signs.
SU M M A RY AC T I V I T I E S
Review lesson “When Johnny Comes Marching Home”
outcomes CSP: G
Review the new • Ss sing song with text.
song
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Unit Plans and Lesson Plans
C OR E AC T I V I T I E S
Teach a new song “Sailor, Sailor on the Sea”
CSP: A
• T sings song.
• Ss read T hand signs with solfège syllables.
• T sings song and Ss read the text.
• Ss sing song.
Develop knowledge of “Alleluia” (in minor)
music concepts CSP: D
Notate what you hear • T presents the melody with rhythmic notation with solfège
syllables written beneath.
• T presents the melody on a staff and reviews the Rule of
Placement.
• Ss sing with solfège syllables and hand signs.
• Ss sing with absolute letter names and hand signs.
• Ss sing in canon with words.
Creative movement “Aquaqua Del-a Omar”
CSP: E
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion
instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Presentation of “Dona, Dona, Dona”
236 music skills CSP: A
Notate what you hear “Hashivenu”
CSP: B
• Ss sing song.
• Ss sing melody with solfège syllables and hand signs.
• T reviews the Rule of Placement for notes of minor scale and
presents the scale on the staff.
• Ss sing the last two phrases of song with solfège sylla-
bles while pointing to the notes of the minor scale on
the staff.
• Ss identify the whole and half steps.
SU M M A RY AC T I V I T I E S
Review lesson “Sailor, Sailor on the Sea”
outcomes CSP: A
Review the new song • Ss sings song and keep the beat.
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Unit Plans and Lesson Plans
S ONG R E P E RTOI R E
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Prepare Movement Practice
Singing Known Next New Concept: Known
Elements Concepts: si Compound Elements:
(Harmonic Meter 1 Natural
Minor) Minor
Lesson “Sailor, “I’s the “All Night, “Ah, Poor “Row, Row, “Aquaqua “Alleluia”
1 Sailor on B’y” All Day” Bird” Row Your Del-a (in minor)
the Sea” Boat” Omar”
Lesson “Colorado “To Work “Little “Ah, Poor “Row, Row, “Aquaqua “Alleluia”
2 Trail” Upon the Johnny Bird” Row Your Del-a (in minor)
Railway” Brown” Boat” Omar”
Lesson “All Night, “To Work “Go “Inez” “Row, Row, “Zudio” “Alleluia”
3 All Day” Upon the Down, Row Your (minor- (in minor)
Railway” Moses” Boat” based)
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Present Movement Present
Singing Known Next New Concept: Concept:
Elements: Concepts: si Compound Compound
Natural (Harmonic Meter 1 Meter 1
Minor Minor)
Lesson “Swing “Sailor, “Go “Rose Rose” “Row, Row, “Golden “Row, Row,
4 Low, Sailor on Down, Row Your Ring” Row Your
Sweet the Sea” Moses” Boat” Boat,” “To 237
Chariot” Work Upon
the Railway,”
“Sailor,
Sailor on
the Sea”
Lesson “Colorado “Swing “Charlotte “Dors, “Row, Row, “Golden “To Work
5 Trail” Low, Town” Dors, ’Tit Row Your Ring” Upon the
Sweet Bébé” Boat” Railway”
Chariot,”
“Inez”
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of compound meter (even patterns). Remember, in the first three
lessons Ss practice the previous musical element, in this case natural minor.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
C OR E AC T I V I T I E S
Teach a new song “Alabama Gal”
CSP: F
• Ss sing.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument
using tonic, subdominant, and dominant notes.
• Ss create a new game movement.
• Ss create a new text.
Develop knowledge “Row, Row, Row Your Boat”
of music literacy CSP: D
concepts • Ss sing song.
Create a visual repre- • T assesses kinesthetic and aural awareness by allowing the
sentation of what you class to perform several of the kinesthetic and aural aware-
hear ness activities.
• T hums the target phrase with a neutral syllable and asks Ss
to create a visual representation for the rhythm of the song.
• T: “Pick up what you need to recreate what you heard.”
or “Draw what you heard.” T assesses Ss’ level of
understanding.
• Ss share their representations with each other.
• 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.
Identify solfège syllables for representation and sing.
• Ss sing “Row, Row, Row Your Boat” with a neutral syllable 245
and point to the representation.
• Ss figure out the solfège syllables for complete melody
and sing.
• Ss sing song in canon with text.
Creative movement “Zudio” (minor-based)
CSP: D
• Ss sing and play game.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Practice and perfor- “Alleluia” (in minor)
mance of music skills CSP: D
Improvisation • Ss sing with hand signs.
• T sings “Hungarian Canon" in major. Ss sing scale.
• T sings “Hungarian Canon" in minor. Ss sing scale.
• Ss sing “Hungarian Canon" in major and minor from the
same starting note. Ss sing scale.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
S ON G R E P E RTOI R E
Known Songs Songs to Songs to Songs to Creative Songs to
Songs for Review Prepare Prepare Movement Practice
Tuneful Known Next New Concept: si Known
Singing Elements: Concept: (Harmonic Elements:
Natural Compound Minor) Compound
Minor Meter 2 Meter 1
Lesson “Boots of “Go “To Work “Come, “Ah, Poor “I’s the B’y” “Row, Row,
1 Shining Down, Upon the Let’s Dance” Bird” Row Your
Leather” Moses” Railway” Boat”
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Unit Plans and Lesson Plans
Lesson “Dona, “Go “Hungarian “The “Ah, Poor “I’s the B’y” “Row, Row,
2 Dona, Down, Canon” (in Cherry Tree Bird” Row Your
Dona” Moses” minor) Carol” Boat”
Lesson “The “Dors, “Go Tell “Morning Is “Ah, Poor “Draw Me “Row, Row,
3 Cherry Tree Dors, Aunt Come” Bird” a Bucket of Row Your
Carol” (II) ’Tit Rhody” in Water” Boat”
Bébé” minor
Known Songs Songs to Songs to Songs to Creative Songs to
Songs for Review Prepare Present Movement Present
Tuneful Known Next New Concept: Concept: si
Singing Elements: Concept: si (Harmonic
Compound Compound (Harmonic Minor)
Meter 1 Meter 2 Minor)
Lesson “The Raggle “Inez” “Alleluia” “Shoo, Fly” “Ah, Poor “Draw Me “Rose Rose”
4 Taggle (in minor) Bird” a Bucket of
Gypsies” Water”
Lesson “Hungarian “Inez” “Alleluia” “Hinay Ma “Ah, Poor “Rabbit “Rose Rose”
5 Canon” (in (in minor) Tov” Bird” and the
minor) Possum”
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of si (harmonic minor). Remember, in the first three lessons Ss
practice the previous musical element, in this case compound meter 1.
Improvisation T sings a
question
phrase in
compound
meter
with even
subdivisions;
Ss echo
an answer
phrase.
Movement “I’s the B’y” “I’s the B’y” “Aquaqua “Rabbit “Rabbit and
Del-a Omar” and the the Possum”
Possum”
Listening “When Johnny “The Wild
Comes Marching Rider,”
Home” from Op. 68, No.
Songs of the Civil 8, from
War, played by Album for
the U.S. Military the Young,
Academy Band by Robert
Schumann
(1810–1856)
C OR E AC T I V I T I E S
Teach a new song “Morning Is Come”
CSP: F
• T sings song.
• Ss identify the meter and form and create score.
• T sings and Ss add in phrases.
• T sings song and accompanies with tonic and dominant
notes on an instrument. Ss identifies the notes of the accom-
paniment using solfège syllables.
• Ss sing and keep the beat.
Develop knowledge “Ah, Poor Bird”
of music literacy CSP: D
concepts • Ss sing song.
Create a visual repre- • T assesses kinesthetic and aural awareness by allowing the
sentation of what you class to perform several of the kinesthetic and aural aware-
hear ness activities.
• T hums the target phrase with a neutral syllable and asks Ss
to create a visual representation of the melody of the target
phrase. Ss may use manipulatives.
• T: “Pick up what you need to recreate what you heard” or
“Draw what you heard.”
• T assesses Ss’ level of understanding.
• Ss share their representations with each other.
• Ss circle all half steps in their representations.
• Ss sing “Ah, Poor Bird” with a neutral syllable and point to
258 the representation.
• T hums notes of the harmonic minor scale and Ss identify
intervals. (fa-si; Ss will identify as a skip)
Creative movement “Draw Me a Bucket of Water”
CSP: G
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Practice and perfor- “Row, Row, Row Your Boat”
mance of music skills CSP: D
Improvisation • Ss sing song.
• T claps a four-beat rhythmic pattern in compound meter
and Ss clap an answering four-beat phrase.
• Ss improvise a new rhythmic composition based on a
given form.
• Ss compose a rhythmic composition to a given form based
on known folk songs.
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Unit Plans and Lesson Plans
263
Unit 7: Compound Meter (Part 2, Subdivision of the Beat)
S ONG R E P E RTOI R E
Known Songs Songs to Songs to Songs to Creative Songs to
Songs for Review Prepare Prepare Movement Practice
Tuneful Known Next New Concept: Known
Singing Elements Concepts: fi Compound Elements: si
(Dorian) Meter 2 (Harmonic
Minor)
Lesson “To Work “Coffee “Row, Row, “Bow Belinda” “Morning Is “Shoo, Fly” “Ah, Poor
1 Upon the Canon” Row Your Come” Bird”
Railway” Boat”
Lesson “I’s the “Come, “To Work “Drunken “Morning Is “Bow, “Ah, Poor
2 B’y” Let’s Upon the Sailor” Come” Belinda” Bird”
Dance” Railway”
Lesson “All “Sailor, “To Work “Scarborough “Morning Is “Bow, “Ah, Poor
3 Night, All Sailor, Upon the Fair,” “Here’s a Come” Belinda” Bird”
Day” on the Railway” Health”
Sea”
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Here is a chart of the primary musical skills that are developed in five lessons associated
with teaching the concept of compound meter 2 (uneven divisions). Remember, in the first
three lessons Ss practice the previous musical element, in this case si (harmonic minor).
Improvisation T sings a
question
phrase in
harmonic
minor Ss
echo an
answer
phrase in
harmonic
minor
ending on
la.
Movement “Bow, “Drunken “I’s the “Mamalama”
Belinda” Sailor” B’y”
Listening Movement 3
from Violin
Concerto by
Ludwig van
Beethoven
(1770–1827)
267
Unit 7, Compound Meter (Part 2), Lesson 2
Second phrase:
• T: “How many beats did we keep?” (four)
• T: “Andy, how many beats did we keep in phrase 2?” (four)
• T: “How many sounds were there on beat 4?” (one)
• T: “Which beats had three sounds?” (1 and 3)
• T: “Which beat had one sound? (4)
• T: “Andy, which beat had the most sounds?” (2)
• T: “Andy, sing beats 1, 3, and 4 with rhythm syllables and sing
beat 2 with ‘loo’.”
• T: “Andy, how many sounds were on beat 2?” (five)
• T: “Andy, let’s describe these sounds with long and short.” (long,
short, short, short, short; or the first sound was longer than the
other sounds)
• Ss sing song in canon and T accompanies with chord roots of
tonic and dominant on an instrument.
Creative movement “Bow, Belinda”
CSP: A
• Ss sing song and conduct.
• Ss sing song and play game.
• Ss compose a rhythmic ostinato for a percussion
instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Practice and “Ah, Poor Bird”
performance of CSP: D 269
music skills • Ss sing in canon.
Writing • Ss sing with solfège syllables and hand signs.
• Ss write “Ah, Poor Bird” with rhythm notation and solfège
syllables.
• Write the harmonic minor scale on the staff beginning on dif-
ferent tonic notes such as A, D, and E.
• Write “Ah, Poor Bird” in staff notation.
• Ss sing in canon.
SUM M A RY AC T I V I T I E S
Review lesson “Drunken Sailor”
outcomes CSP: A
Review the new • Ss sing with text and conduct.
song
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Kodá ly in t he Fif t h G r a de Cl a s sro om
C OR E AC T I V I T I E S
Teach a new song “Here’s a Health” or “Scarborough Fair”
CSP: F
• T sings song.
• Ss identify the meter and form.
• T sings and Ss create a score with beats bars, barline.
• T sings and Ss add in the phrases.
• T sings and Ss follow the text.
• Ss sings with text and conduct.
Develop knowledge “Morning Is Come”
of music literacy CSP: F
concepts • Ss sing song.
Create a visual repre- • T assesses kinesthetic and aural awareness by allowing the
sentation of what you class to perform several of the kinesthetic and aural aware-
hear ness activities.
• T hums the target phrase with a neutral syllable and asks Ss
to create a visual representation of the target phrase.
• T: “Pick up what you need to recreate what you heard”
or “Draw what you heard.” T assesses Ss’ level of
understanding.
• Ss share their representations with each other.
• 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 “Morning Is Come” with a neutral syllable and point
to the representation. 271
• Ss figure out the solfège syllables for the phrase or melody.
• Ss sing song in canon.
Creative movement “Bow, Belinda”
CSP: A
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion
instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Practice and perfor- “Ah, Poor Bird”
mance of music skills CSP: D
Improvisation • Ss sing with words and in canon.
• T sings a question phrase using solfège syllables belong-
ing to harmonic minor scale ending on mi and Ss provide
an answer phrase ending on la. Other notes belonging to
the dominant triad can be used for the ending note of the
question.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
SU M M A RY AC T I V I T I E S
Review lesson “Here’s a Health”
outcomes CSP: F
Review the new song • Ss sing with words and in canon and T accompanies on a
instrument the tonic, subdominant, and dominant tones.
C OR E AC T I V I T I E S
Teach a new song “The Higher the Plum Tree”
CSP: D
• T sings song.
• Ss figure out the form and meter.
• Ss conducts and T sings.
• T sings song and Ss sing in canon.
Presentation “Come, Let’s Dance”
Describe what you hear CSP: C
with rhythm syllables • Ss sing song.
• T assesses the kinesthetic, aural, and visual awareness activi-
ties with the second phrase of “Morning Is Come.”
• T presents the rhythm syllables. T: “In compound meter any
attack on the beat is called a ta.”
• T: “Three sounds that are evenly distributed over one beat
are called ta ki da.”
• T: “Six sounds that are evenly distributed over one beat are
called tava kidi dama.”
• T: “Four sounds that occur on one beat, short short long
long, are called ta va ki da.”
• T sings song with rhythm syllables while clapping the
rhythm.
• Ss sing with rhythm syllables while clapping the rhythm.
• T sings phrases of melody and Ss echo-sing with rhythm
syllables while tapping the beat.
• Ss sing song in canon. 273
Creative movement “I’s the B’y”
CSP: A
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument
based on the tonic and dominant chord roots.
• Ss create a new game movement.
• Ss create a new text.
Presentation Morning Is Come”
Describe what you hear CSP: F
with rhythm or solfège • Ss sing song.
syllables • T assesses the kinesthetic, aural, and visual awareness activi-
ties with the second phrase of “Morning Is Come.”
• T presents the rhythm syllables. T: “In compound meter any
attack on the beat is called a ta.”
• T: “Three sounds that are evenly distributed over one beat
are called ta ki da.”
• T: “Six sounds that are evenly distributed over one beat are
called tava kidi dama.”
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Kodá ly in t he Fif t h G r a de Cl a s sro om
S ON G R E P E RTOI R E
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Prepare Movement Practice
Singing Known Next New Concept: fi Known
Elements Concepts: (Dorian) Elements:
Compound Compound
Meter 3 Meter 2
Lesson “Go “Bow “Raggle “Carrion “Drunken “Boots of “Morning Is
1 Down, Belinda” Taggle Crow” Sailor” Shining Come”
Moses” Gypsy” Leather”
Lesson “Inez” “Ah, Poor “Raggle “Early to “Drunken “Boots of “Morning Is
2 Bird” Taggle Bed” Sailor” Shining Come”
Gypsy” Leather”
276 Lesson “Ah, “Go “Ah, Poor “Early to “Drunken “Bow “Morning Is
3 Poor Down, Bird” Bed” Sailor” Belinda” Come”
Bird” Moses”
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Present Movement Present
Singing Known Next New Concept: fi Concept
Elements Concepts: (Dorian)
Compound
Meter 3
Lesson “Dors, “Twinkle, “Rose “Hashivenu” “Drunken “Alabama, “Scarborough
4 Dors, Twinkle Rose” Sailor” Mississippi” Fair”
’Tit Little Star”
Bébé,” (beginning
“Early on la)
to Bed”
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Unit Plans and Lesson Plans
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of fi (Dorian mode and melodic minor scale). Remember, in the
first three lessons Ss practice the previous musical element, in this case compound meter 2.
S ONG R E P E RTOI R E
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Prepare Movement Practice
Singing Known Next New Concept: Known
Elements Concepts: ta Compound Elements: fi
(Mixolydian) Meter 3 (Dorian)
Lesson “Come, “Scarborough “Row, “Old Joe “Early to “Hashivenu” “Drunken
1 Let’s Fair” Row, Clark” Bed” Sailor”
Dance” Row Your
Boat”
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Unit Plans and Lesson Plans
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of compound meter 3 (dotted patterns). Remember, in the first
three lessons Ss practice the previous musical element, in this case fi (Dorian mode and
melodic minor scale).
289
Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5
Reading Ss read Ss read the
“Drunken rhythm of
Sailor” and “Early to Bed”
additional or additional
songs with songs from
hand signs traditional
from steps, rhythm
traditional notation.
nota-
tion with
solfège, and
then staff
notation.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
I N T ROD U C TORY AC T I V I T I E S
Warm-up Select from any of the following: “Gigue” from 6 Piano Pieces,
Op. 52, by Anton Dvorak (1841–1904); Violin Concerto in D
Major, Op. 61, by Ludwig van Beethoven (1770–1827), movement
3; “Ride of the Valkyries,” from Die Walküre, act 3, by Richard
Wagner (1813–1883); or T selects a piece of contemporary popu-
lar music for movement.
• Body warm-up
• Beat activity
• Breathing: Ss practice breathing exercises.
• Resonance: 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
do both.
• Posture: remind Ss about the correct posture to sing sitting
and standing.
Sing known songs “Come, Let’s Dance”
CSP: C
• Ss sing song with test.
• Ss sing song with canon.
Develop tuneful “Scarborough Fair”
singing CSP: D
Tone production • Ss sing song and conduct.
• Ss practice singing a phrase of a song, and T has them repeat
Diction
it a minor second higher. Use a pure vowel sound. Each time
Expressions Ss repeat they can sing another on a new vowel sound. 291
• T continues to work on dynamic and tempo markings.
• Ss sing the Dorian scale in canon beginning on re or la
plus fi.
Kodály Choral Library, Let Us Sing Correctly, no. 98
Review known songs “Row, Row, Row Your Boat”
and elements CSP: D
• Ss sing song and conduct.
• Ss sing song with rhythm syllables.
• T sings phrases on “loo,” and Ss echo-sing with rhythm
syllables both as a class and individually.
• T may choose to sing phrases of “With Laughter and
Singing,” “The Cherry Tree Carol,” “Come, Let’s Dance,” or
other known songs that use known rhythms in compound
meter; Ss echo-sing using rhythm syllables both as a class
and individually.
C OR E AC T I V I T I E S
Teach a new song “Old Joe Clark”
CSP: E
• T sings song.
• Ss identify the form and meter.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
C OR E AC T I V I T I E S
Teach a new “Old Joe Clark”
song CSP: E
• T sings song.
• Ss identify the form and meter.
• Ss read the rhythm as the T sings the song.
• Ss sing song.
• Ss sing song.
Develop knowl- “Early to Bed”
edge of music CSP: B
literacy concepts • Ss sing song.
Describe what • T assesses kinesthetic activities with the focus song.
you hear • Ss sing the target phrase using a neutral syllable while keeping the
beat before asking each question:
Determine the number of beats in the phrase
• T: “Andy, how many beats did we keep?” (four)
Phrase 1
• T: “Andy, which beat has one sound?” (4) “We call that a ta.”
• T: “Andy, how would you describe the sounds on beat 3?” (even)
• T: “Andy, how many sounds do we sing on beat 3?” (three) “We call
that ta ki da.”
• T: “Andy, how would you describe the sounds on beat 2?” (long,
short) “We call that ta da.”
Phrase 2
• T: “Andy, how many sounds do we sing on beat 1?” (three)
294 • T: “Andy, how would you describe the sounds on beat 1? Are they
even sounds, like the sounds on beat 3?” (no) “How could you
describe them?” (three sounds; first is the longest, then the third is
the next longest, and finally the middle sound is the shortest)
• T: “Andy, hum the sounds on beat 3 and sing all of the other beats
with rhythm syllables while keeping the beat.”
Creative “Needle’s Eye”
movement CSP: A
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Practice and “Drunken Sailor”
performance of CSP: A
music skills • Ss sing song with text.
Writing • Ss writes “Drunken Sailor” in rhythm notation with solfège sylla-
bles notation and staff notation.
• T sings a short melodic pattern using the Dorian scale, and Ss
inner-hear and write the pattern on the staff.
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Unit Plans and Lesson Plans
SUM M A RY AC T I V I T I E S
Review lesson “Old Joe Clark”
outcomes CSP: E
Review the new • Ss sing song.
song
S ON G R E P E RTOI R E
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Prepare Movement Practice
Singing Known Next New Concept: ta Known
Elements Concepts: (Mixolydian) Elements:
Transforming Compound
songs from Meter 3
simple meter
to compound
meter and vice
versa (duplets
and triplets)
Lesson “Drunken “Hashivenu” “Ah, Poor “Here Comes “Old Joe “I’s the B’y” “Early to Bed”
1 Sailor” Bird” a Bluebird” Clark”
(melody)
Lesson “Raggle “Hashivenu” “Bow, Belinda” “Here Comes “Old Joe “Draw Me “Early to Bed”
2 Taggle a Bluebird” Clark” a Bucket of
Gypsy” (melody) Water”
Lesson “My “Come, Let’s “Scarborough “My “Old Joe “Drunken “Early to Bed”
3 Singing Dance” Fair” Landlord” Clark” Sailor”
Bird”
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Present Movement Present
Singing Known Next New Concept: ta Concept: ta
Elements Concepts (Mixolydian) (Mixolydian)
301
Lesson “Twinkle, “When “Rose Rose” “My “Old Joe “Roman “My Singing
4 Twinkle, I First Came Landlord” Clark” Soldiers” Bird”
Little Star” to This
(in Dorian) Land,” in
major and
transform to
minor
Lesson “Hungarian “When “Drunken “Alleluia” in “Old Joe “Roman “My Singing
5 Canon” (in I First Came Sailor” Mixolydian Clark” Soldiers” Bird”
Dorian) to This
Land,” in
major and
transform to
minor
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of ta (Mixolydian mode). Remember, in the first three lessons Ss
practice the previous musical element, in this case compound meter 3.
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Kodá ly in t he Fif t h G r a de Cl a s sro om
• T sings the song and Ss sing the chord roots of the tonic and
dominant notes with solfège syllables and hand signs.
• T may choose to sing phrases of “Joy to the World,” “Wake
Up! Canon,” “Sweet Betsy from Pike,” “Kookaburra,” or “The
Raggle Taggle Gypsies”; (art song) “The Bird in the Pine
Tree,” by Johannes Brahms (1833–1897); or other known
songs that use known that use known solfège syllables; Ss
echo-sing using with solfège syllables and hand signs both as
a class and individually.
C OR E AC T I V I T I E S
Teach a new song “Here Comes a Bluebird” (melody)
CSP: A
• Ss sing melody on a neutral syllable in simple meter with
rhythm syllables.
• Ss transform melody in compound meter with rhythm
syllables.
Develop knowledge of “Old Joe Clark”
music concepts CSP: E
Internalize music • Ss sing song.
through kinesthetic • Ss sing the last phrase of “Old Joe Clark” and point to a rep-
activities resentation of the melodic contour at the board.
• Ss sing the last phrase of “Old Joe Clark” and clap the
melodic contour.
• Ss sing the last phrase with rhythm syllables while clapping
melodic contour.
304 Creative movement “I’s the B’y”
CSP: A
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument
using the tonic and dominant chord roots.
• Ss create a new game movement.
• Ss create a new text.
Practice and perfor- “Early to Bed”
mance of music skills CSP: B
Reading • Ss sing song.
• T shows hand signs, and Ss inner-hear the song.
• Ss sing song.
• Read “Early to Bed” in traditional rhythmic notation with
rhythm syllables and numbers (for counting).
• Read “Early to Bed” from staff notation with rhythm sylla-
bles, numbers (for counting) and hand signs.
• Ss read the rhythm of the melody and listen to “Danza de
la Moza Donosa,” Op. 2, No. 2, from Danzas Argentinas for
piano, by Alberto E. Ginastera (1916–1983).
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Unit Plans and Lesson Plans
SUM M A RY AC T I V I T I E S
Review lesson “Here Comes a Bluebird” (melody)
outcomes CSP: A
Review the new song • Sing melody in simple meter with rhythm syllables.
• Sing melody in compound meter with rhythm
syllables.
309
Unit 10, Mixolydian Mode (ta), Lesson 4
Chapter 6
The purpose of assessment in the classroom is to evaluate the work of both students and teacher.
The chapter contains examples of assessments for evaluating each musical concept and element
taught in fifth grade. By assessing a student’s skill development and the teacher’s classroom teach-
ing we can develop strategies to improve music 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 fifth grade classroom:
Grade 5 Assessments
Assessments for high ti
high ti tuneful singing assessment is for a student’s singing of “Alleluia” (Table 6.1).
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Assessment and Evaluation
Reading assessment is for a student’s reading of an eight-beat rhythm pattern that includes 315
high ti and is based on the major scale (Table 6.2).
Table 6.2 (continued)
Table 6.5 (continued)
In reading assessment, a student reads an eight-beat pattern that includes an eighth note
followed by a dotted quarter (Table 6.6).
Table 6.6 (continued)
In writing assessment, a student writes an eight-beat pattern that includes an eighth note
followed by a dotted quarter (Table 6.7).
Table 6.9 (continued)
In reading assessment, a student reads an eight-beat melodic motif with solfège that is
based on the natural minor scale (Table 6.10).
In writing assessment, a student writes an eight-beat melodic motif with solfège that is
based on the natural minor scale (Table 6.11).
Table 6.12 (continued)
In reading assessment, a student reads a two-beat pattern that includes rhythms found in
“Row, Row, Row Your Boat” (Table 6.14).
In writing assessment, a student writes a two-beat pattern that includes rhythms found in
“Row, Row, Row Your Boat” (Table 6.15).
Table 6.15 (continued)
In reading assessment, a student reads an eight-beat melodic motif with solfège that is
based on the harmonic minor scale (Table 6.18).
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Assessment and Evaluation
In writing assessment, a student writes an eight-beat melodic motif with solfège that is
based on the harmonic minor scale (Table 6.19).
(Continued)
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Kodá ly in t he Fif t h G r a de Cl a s sro om
Table 6.19 (continued)
In reading assessment, a student reads a two-beat pattern that includes rhythms found in
“Morning Is Come” (Table 6.22).
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Kodá ly in t he Fif t h G r a de Cl a s sro om
In writing assessment, a student writes a two-beat pattern that includes rhythms found in
“Morning Is Come” (Table 6.23).
Table 6.23 (continued)
In reading assessment, a student reads an eight-beat melodic motif with solfège that is
based on the Dorian mode (Table 6.26).
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Assessment and Evaluation
In writing assessment, a student writes an eight-beat melodic motif with solfège that is
based on the Dorian mode (Table 6.27). 333
Table 6.27 (continued)
In reading assessment, a student reads a two-beat pattern that includes rhythms found in
“Early to Bed” (Table 6.30).
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Kodá ly in t he Fif t h G r a de Cl a s sro om
In writing assessment, a student writes a two-beat pattern that includes rhythms found in
“Early to Bed” (Table 6.31).
Table 6.31 (continued)
In reading assessment, a student reads an eight-beat melodic motif with solfège that is
based on the Mixolydian mode (Table 6.34).
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Assessment and Evaluation
In writing assessment, a student writes an eight-beat melodic motif with solfège that is
based on the Mixolydian mode (Table 6.35).
Table 6.35 (continued)
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
Chapter 1
1. Pink, Daniel H. A Whole New Mind: Why Right Brainers Will Rule the Future.
New York: River Head Trade, 2006.
2. Trevarthen, Colwyn, and Stephen Malloch. “Musicality and Musical Culture: Sharing
Narratives of Sound from Early Childhood.” The Oxford Handbook of Music Education,
vol. 1, ed. Gary E. McPherson and Graham F. Welch, chap. 2.3, p. 254. New York: Oxford
University Press, 2012.
Chapter 2
1. David J. Elliott. Praxial Music Education: Reflections and Dialogues. New York: Oxford
University Press, 2005, p. 258.
2. Margaret. S. Barrett. “Commentary: Music Learning and Teaching in Infancy and Early
Childhood.” In The Oxford Handbook of Music Education, vol. 1, ed. Gary E. McPherson
and Graham F. Welch, chap. 2.1, p. 228. New York: Oxford University Press, 2012.
3. Lily Chen-Hafteck and Esther Mang. “Music and Language in Early Childhood
Development and Learning.” In The Oxford Handbook of Music Education, vol. 1,
ed. Gary E. McPherson and Graham F. Welch, chap. 2.4, p. 274. New York: Oxford
University Press, 2012.
4. Ruth C. Seeger. American Folk Songs for Children. Garden City, NY: Doubleday, 1948.
(Released in 2002.) 341
5. Neryl Jeanneret and George M. Degraffenreid. “Music Education in the Generalist
Classroom.” In The Oxford Handbook of Music Education, ed. Gary E. McPherson and
Graham F. Welch, vol. 1, chap. 3.6, p. 404. New York: Oxford University Press, 2012.
6. Susan Young and Beatriz Ilari. “Musical Participation from Birth to Three: Toward
a Global Perspective.” In The Oxford Handbook of Music Education, vol. 1, ed. Gary
E. McPherson and Graham F. Welch, vol. 1, chap. 2.5, p. 281. New York: Oxford
University Press, 2012.
Chapter 5
1. Kodály, ”Children’s Choirs,” Selected Writings, pp. 121–122.
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Index
“Above the Plain,” 186t, 187t, 195t in high ti unit plan, 199t, 200t, 202t, 204t, 207t,
“Ah, Poor Bird” 209t, 211t
in compound meter (part 1) unit plan, 237t, 241t, in lesson review unit plan, 185t
242t, 243t in low ti and dotted eighth and sixteenth notes
in compound meter (part 2) unit plan, 263t, 264t, review unit plan, 189t, 190t
267t, 269t, 271t in major scale lesson plan, 116t
in Dorian mode unit plan, 276t, 280t, 283t in Mixolydian mode unit plan, 301t, 312t
in harmonic minor lessons, 168t, 171t in natural minor scale assessments, 320–22t
in harmonic minor scale assessment, 326–28t in natural minor scale unit plan, 225t, 226t, 228t,
in harmonic minor unit plan, 250t, 251t, 253t, 230t, 232t, 234t, 236t
255t, 258t, 260t, 262t in sample preparation/practice lesson plan, 39t
in lesson review unit plan, 185t and teaching high ti, 48–51, 52, 53
in low ti and dotted eighth and sixteenth notes and teaching natural minor scale, 61–63
review unit plan, 191t, 192t “All Night, All Day”
in Mixolydian mode unit plan, 301t, 303t in compound meter (part 1) unit plan, 237t, 240t,
and teaching si (harmonic minor), 74, 75, 76, 242t, 244t, 247t, 249t
77, 78, 79 in compound meter (part 2) unit plan, 263t, 270t
“Alabama, Mississippi” in eighth note followed by dotted quarter note unit
in Dorian mode unit plan, 276t, 278t, 286t plan, 212t, 213t, 219t, 222t
in high ti unit plan, 200t, 201t, 211t in high ti unit plan, 200t, 209t, 210t
in natural minor scale unit plan, 225t, 226t, 232t in natural minor scale unit plan, 225t, 231t
“Alabama Gal” in sample preparation/practice lesson plan, 38t,
in compound meter (part 1) unit plan, 245t, 246t 42t, 45t
in compound meter (part 3) unit plan, 289t, 300t and teaching eighth note followed by dotted
in low ti and dotted eighth and sixteenth notes quarter note, 55t, 57, 58, 59
review unit plan, 197t “All Through the Night” (Jones), 54
Album for the Young, Op. 39, Nos. 23 and 24 “Alphabet Song”
(Tchaikovsky), 252t, 254t, 257t in high ti lesson plan, 179t, 181t
“Alcitron,” 23t in high ti unit plan, 199t, 204t
“Alfonso Doce” in natural minor scale unit plan, 225t, 227t
in high ti lesson plan, 181t alternate ending, and developing improvisation skills,
in high ti unit plan, 202t, 204t, 206t, 209t, 211t 137, 139
“All Around the Brickyard,” 149, 178 “Amasee” (I Must See), 24t
“Alleluia” antiphonal singing, 144
in compound meter (part 1) unit plan, 237t, 238t, “Aquaqua Del A Omar”
241t, 243t, 245t in compound meter (part 1) unit plan, 237t,
in eighth note and dotted quarter note lesson plan, 238t, 240t
121t, 122t in compound meter (part 3) unit plan, 290t
343
in eighth note followed by dotted quarter note unit directions for playing, 24t
plan, 212t, 213t, 216t, 218t, 220t, 224t, 225t in Dorian mode unit plan, 278t
in harmonic minor presentation lesson, 171t in eighth note followed by dotted quarter note unit
in harmonic minor unit plan, 251t, 260t, 262t plan, 212t, 214t, 215t
in high ti assessment, 314–16t in harmonic minor unit plan, 252t
in high ti lesson plan, 110t, 112t, 114–15t, 118t, in natural minor scale unit plan, 225t, 236t
179t, 182t “Are You Sleeping?,” 197t
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Index
Bizet, Georges, “Les Toreadors,” Carmen, 201t, 203t, “Charlie over the Ocean”
206t, 208t in compound meter (part 2) unit plan, 266t, 268t,
Bock, Jerry, “Sunrise, Sunset,” Fiddler on the Roof, 81 270t, 272t, 275t
body canon, 146 and teaching compound meter (6/8, simple
“Boots of Shining Leather” division), 67t
in compound meter (part 3) unit plan, 290t “Charlotte Town”
directions for playing, 24t in compound meter (part 1) unit plan, 237t, 249t
in Dorian mode unit plan, 276t, 278t, 279t, 282t in eighth note followed by dotted quarter note
in harmonic minor preparation/practice assessments, 317–19t
lesson, 168t in eighth note followed by dotted quarter note unit
in harmonic minor unit plan, 250t, 253t plan, 212t, 213t, 215t, 217t, 220t, 222t, 224t
in natural minor scale unit plan, 225t, 234t in high ti lesson plan, 179t, 181t
“Bounce High, Bounce Low,” 149, 177 in high ti unit plan, 199t, 202t, 203t, 204t, 210t
“Bow, Belinda” in lesson review unit plan, 185t
in compound meter (part 2) unit plan, 263t, 265t, in natural minor scale unit plan, 225t, 226t, 228t,
266t, 267t, 269t, 271t 230t, 232t
in compound meter (part 3) unit plan, 290t in sample preparation/practice lesson plan, 45t
directions for playing, 25t and teaching eighth note followed by dotted
in Dorian mode unit plan, 276t, 278t, 283t quarter note, 55, 56–57, 58, 59
in eighth note followed by dotted quarter note unit “Cherry Tree Carol, The”
plan, 213t, 214t, 224t in compound meter (part 3) unit plan, 289t, 291t,
in Mixolydian mode unit plan, 301t, 306t 293t, 296t, 297t, 298t, 300t
and teaching fi (Dorian mode), 87t in harmonic minor unit plan, 251t, 255t, 256t, 257t
“Bow Wow Wow,” 146 and teaching compound meter (6/8, even
Brahms, Johannes microbeat subdivision), 81t
“The Bird in the Pine Tree,” 48t, 304t, 306t, 308t, chord inversions, 155
310t, 312t “Circle Round the Zero”
“Heidenröslein,” 52 directions for playing, 25t
“How Can I Enter Your House,” 74t in eighth note followed by dotted quarter note unit
Symphony no. 1, IV. Adagio-Allegro non troppo plan, 213t, 215t, 217t, 219t, 221t, 224t
ma con brio, 54 in lesson review unit plan, 185t
Variations on a Theme, St. Anthony’s Chorale by in low ti and dotted eighth and sixteenth notes
Haydn, 55, 203t review unit plan, 192t, 194t
breathing, 124–25, 126 “Coffee Canon”
“Buttermilk Hill,” 241t in compound meter (part 2) unit plan, 263t, 266t
in high ti lesson plan, 181t
call-and-response singing, 144 in high ti unit plan, 200t, 202t, 204t, 206t,
“Camptown Races” 209t, 211t
in eighth note followed by dotted quarter note unit cognitive phase
plan, 212t, 213t, 215t based on teaching strategies, 107–8
in high ti lesson plan, 179t, 180t, 182t, 183t for compound meter (6/8, even microbeat
in high ti unit plan, 199t, 204t, 205t, 206t subdivision), 81–82
“Canoe Song,” 186t, 198t for compound meter (6/8, simple
Canon (Tallis), 55 division), 68–69
canon(s) for compound meter (6/8, uneven microbeat
and developing instrument skills, 157 subdivision), 95–96
and developing part-work skills, 146–47, 148–50 for eighth note followed by dotted quarter
and developing reading skills, 129 note, 55–56
345
pentatonic scales in, 150, 156 for fi (Dorian mode), 88–89
transitions and, 178 for high ti, 48–49
“Cantate Domino,” 87t for natural minor scale, 61–62
“Carrion Crow,” 276t, 279t preparation/practice lesson plan
“Cedar Swamp,” 25t framework for, 109–15t
Ce fut en May (d’Arras), 54 for si (harmonic minor), 74–75
“Chair to Mend,” 186t, 195t for ta (Mixolydian mode), 101
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in Dorian mode unit plan, 276t, 285t, 287t “Ecce Gratum,” Carmina Burana (Orff), 188t, 190t,
in harmonic minor unit plan, 251t, 257t 193t, 195t, 197t
in sample preparation/practice lesson plan, 45t, 46t eighth note followed by dotted quarter note. See also
and teaching si (harmonic minor), 74t dotted eighth and sixteenth note
dotted eighth and sixteenth note assessments for, 317–20t
review unit plan for, 188–99t lesson plan for, 119–20t, 122t
transitions lesson plan for, 178–83t listening examples for, 163–64
dotted quarter note songs for teaching, 33t
assessments for eighth note followed by, 317–20t teaching strategies for, 55–60
lesson plan for eighth note and, 119–20t, 122t unit plan for, 212–25t
listening examples for eighth note followed “Erie Canal, The”
by, 163–64 in compound meter (part 1) unit plan, 240t, 242t,
songs for teaching eighth note followed by, 33–34t 244t, 247t, 249t
teaching strategies for eighth note followed in eighth note followed by dotted quarter note unit
by, 55–60 plan, 222t
unit plan for eighth note followed by, 212–25t in sample preparation/practice lesson plan, 38t, 42t, 45t
“Draw Me a Bucket of Water” and teaching eighth note followed by dotted
in compound meter (part 1) unit plan, 240t, 243t quarter note, 55t
in harmonic minor unit plan, 251t, 258t, 261t error identification, and developing reading skills,
in Mixolydian mode unit plan, 301t, 302t, 307t 128, 132
“Drill, Ye Tarriers” evaluations. See assessment(s)
in harmonic minor lessons, 168t, 171t “Evening in the Village, An,” Hungarian Sketches
in harmonic minor unit plan, 253t, 260t, 262t (Bartók), 60
in natural minor scale unit plan, 227t, 229t, 231t,
233t, 235t Fantasia in D, second movement (Telemann), 87, 280t
and teaching high ti, 48t “Feierlich und Gemessen,” Symphony No. 1
and teaching natural minor scale, 61t (Mahler), 194t
drones, 147, 148 fi (Dorian mode). See Dorian mode
“Drunken Sailor” Fifteen Two-Part Exercises, no. 7 (Kodály), 94
in compound meter (part 2) unit plan, 263t, 265t, fill in the blank
268t, 269t and developing improvisation skills, 138
in compound meter (part 3) unit plan, 288t, 289t, and developing writing skills, 134, 136
290t, 292t, 294t, 297t final note, and developing part-work skills, 145
in Dorian mode assessments, 332–34t finger staff, 130
in Dorian mode unit plan, 276t, 277t, 278t, 279t, flash cards
280t, 281t, 282t, 283t, 284t, 285–86t, 287t and developing inner-hearing skills, 133
in Mixolydian mode unit plan, 301t, 302t, 303t, and developing reading skills, 130
309t, 312t folk songs and music
and teaching fi (Dorian mode), 87t, 88, 89, 92, 94 in Kodály concept, 1–2, 3
Dvorak, Antonin, “Gigue,” Six Piano Pieces, Op. 52, pentatonic, in three parts, 150
291t, 293t, 295t, 297t, 299t in repertoire, 17
“Dying Cowboy, The,” 101t rhythm canons based on, 147
dynamic markings, 126 teaching second part to, 174
in thirds and sixths, 154
ear, memorizing by, 142 and understanding form, 143
“Early to Bed” For Children (Bartók), 54, 193t
in compound meter (part 3) assessments, 335–37t form
in compound meter (part 3) unit plan, 288t, 289t, and developing creative movement skills, 159
347
290t, 292t, 294t, 296t, 298t, 300t and developing improvisation skills, 138, 139
in Dorian mode unit plan, 276t, 280t, 281t, 283t and developing reading skills, 127, 131
in lesson review unit plan, 185t in grade five curriculum, 7
in Mixolydian mode unit plan, 301t, 302t, 304t, in lesson review unit plan, 187t
307t, 309t transitions and, 176, 178
and teaching compound meter, 94t, 95, understanding, 142–43
96–97, 98, 99 “Four White Horses,” 26t
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preparation/practice lesson plan for, 110t, 112–13t, and teaching compound meter (6/8, simple
114–15t division), 71, 72
presentation lesson plan for, 118–19t and teaching compound meter (6/8, uneven
songs for teaching, 33t microbeat subdivision), 98, 99
teaching strategies for, 47–55 and teaching eighth note followed by dotted
transitions lesson plan for, 178–83t quarter note, 58, 59
unit plan for, 199–212t and teaching fi (Dorian mode), 91, 92–93
“Hill and Gully Rider,” 26–27t, 185t, 193t and teaching high ti, 51, 53
“Hogs in the Cornfield,” 27t and teaching natural minor scale, 64, 65–66
Holst, Gustav, “Jupiter,” The Planets, Op. 32, 55 and teaching si (harmonic minor), 77, 78, 79
Horn Concerto No. 4 in E-flat major, K. 495 (Mozart) and teaching ta (Mixolydian mode), 104, 105–6
in compound meter (part 1) unit plan, 239t, 241t “In Church,” Album for the Young, Op. 68, No. 23
in compound meter (part 2) unit plan, 272t, 274t (Schumann), 81
in Dorian mode unit plan, 278t “Inez”
“Hornpipe Rigadoon” (Purcell), 55 in compound meter (part 1) unit plan, 237t,
“Hot Cross Buns,” 150 247t, 248t
“How Can I Enter Your House” (Brahms), 74t in compound meter (part 2) unit plan, 274t
“Hungarian Canon” in Dorian mode unit plan, 276t, 277t,
in compound meter (part 1) unit plan, 245t 280t, 287t
in harmonic minor unit plan, 251t, 255t, 261t in harmonic minor presentation lesson, 170t
in lesson review unit plan, 185t in harmonic minor unit plan, 251t, 259t, 262t
in low ti and dotted eighth and sixteenth notes in sample preparation/practice lesson plan, 42t,
review unit plan, 193t 43t, 44t
in Mixolydian mode unit plan, 301t, 312t inner hearing
“Hungarian Rondo” (Kodály), 60 developing, 133–34
“Hushabye,” 219t, 220t, 221t, 222t, 223t and developing memory skills, 141
and developing reading skills, 127–28, 131
“I’m Going Home on a Cloud,” 101t, 107 in grade five curriculum, 7
improvisation in lesson review unit plan, 187t
compound meter I assessment, 325t and teaching compound meter (6/8, even
compound meter II assessment, 331t microbeat subdivision), 85, 86
compound meter III assessment, 337t and teaching compound meter (6/8, simple
in compound meter III unit plan, 290t division), 71, 72
in compound meter II unit plan, 265t and teaching compound meter (6/8, uneven
in compound meter I unit plan, 238t microbeat subdivision), 98, 99
developing, 137–40 and teaching eighth note followed by dotted
Dorian mode assessment, 334t quarter note, 58, 59
in Dorian mode unit plan, 277t and teaching fi (Dorian mode), 91, 93
eighth note followed by dotted quarter note and teaching high ti, 53–54
assessment, 319–20t and teaching natural minor scale, 64, 66
in eighth note followed by dotted quarter note unit and teaching si (harmonic minor), 77, 80
plan, 214t and teaching ta (Mixolydian mode), 105, 106
in grade five curriculum, 7–8 inner smile, 125, 126
harmonic minor scale assessment, 328t instruments
in harmonic minor unit plan, 252t appropriate, 156
high ti assessment, 317t and developing creative movement skills, 159
in high ti unit plan, 201t developing skills, 156–58
in Kodály concept, 3 in grade five curriculum, 5
349
in lesson review unit plan, 186t in lesson review unit plan, 187t
lesson segment for practicing, 121–22t teaching progression, 156–57
Mixolydian mode assessment, 340t intervals
in Mixolydian mode unit plan, 302t and teaching fi (Dorian mode), 91, 92
natural minor scale assessment, 322–23t and teaching high ti, 51, 52
in natural minor scale unit plan, 226t and teaching natural minor scale, 63–64, 65
and teaching compound meter (6/8, even and teaching si (harmonic minor), 77, 78–79
microbeat subdivision), 85, 86 and teaching ta (Mixolydian mode), 104, 105
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and teaching compound meter (6/8, uneven lesson plan design for notating, 43–46t
microbeat subdivision), 100 and literacy in grade five curriculum, 6–7
and teaching fi (Dorian mode), 94 songs for teaching, 33–35t
and teaching natural minor scale, 67 transitions and, 176
literacy. See reading; writing melodic ostinato
Little Fugue in G minor (Bach), 81 and developing improvisation skills, 139
“Little Johnny Brown” and developing part-work skills, 148
in compound meter (part 1) unit plan, 237t, 242t reinforcing, with instruments, 157
in eighth note followed by dotted quarter note unit transitions and, 176
plan, 213t, 222t, 224t melody
in sample preparation/practice lesson plan, 38t, accompanying, with chord inversions, 155
42t, 45t and developing improvisation skills, 139–40
and teaching eighth note followed by dotted and developing inner-hearing skills, 134
quarter note, 55t and developing instrument skills, 158
“Liza Jane” and improvisation in grade five curriculum, 8
and developing part-work skills, 149 introducing songs using melodic focus, 36
in lesson review unit plan, 186t reading, 129–33
in low ti and dotted eighth and sixteenth notes transitions and, 177–78
review unit plan, 197t writing, 135–37
transitions and, 177 memory. See musical memory
“London Bridge Is Falling Down,” 201t Mendelssohn, Felix
“Longing for Spring” (Mozart) Symphony no. 4, movement 1, Allegro vivace, 73
in compound meter (part 2) unit plan, 266t, 268t, Symphony no. 4, movement 2, Andante con
270t, 272t, 275t moto, 239t
and teaching compound meter (6/8, simple meter
division), 67t and developing improvisation skills, 139, 140
“Long Road of Iron” transitions and, 176
directions for playing, 28t “Michael, Row the Boat Ashore,” 213t, 223t
in lesson review unit plan, 186t Mikrokosmos (Bartók)
in low ti and dotted eighth and sixteenth notes in compound meter (part 3) unit plan, 292t
review unit plan, 195t in Dorian mode unit plan, 278t, 280t, 282t,
in natural minor scale unit plan, 225t, 226t, 284t, 286t
228t, 230t in Mixolydian mode unit plan, 303t, 305t, 307t,
low ti, unit plan for reviewing, 188–99t 309t, 311t
“Lucy Locket,” 177 in natural minor scale unit plan, 226t
and teaching eighth note followed by dotted
Mahler, Gustav, “Feierlich und Gemessen,” quarter note, 60
Symphony No. 1, 194t and teaching fi (Dorian mode), 94
major scale and teaching high ti, 55
in canon, 156 and teaching ta (Mixolydian mode), 107
and developing writing skills, 136 minor hexachord melodies, 91–92
lesson plan for, 116–17t minor scale. See also natural minor scale
and teaching high ti, 49, 50 in canon, 156
“Mamalama” and developing writing skills, 136
in compound meter (part 2) unit plan, 265t and teaching natural minor scale, 63
directions for playing, 28t and teaching si (harmonic minor), 76
in high ti unit plan, 199t, 200t, 201t, 207t, 209t Minuet in G, The Notebook of Anna Magdalena
in lesson review unit plan, 185t (Bach), 55
351
in low ti and dotted eighth and sixteenth notes Mixolydian mode
review unit plan, 189t, 192t, 194t assessments for, 338–40t
manipulatives, and developing writing skills, 134, 135 listening examples for, 166
matching, and developing reading skills, 128, 132 teaching strategies for, 100–107
melodic concepts and elements unit plan for, 301–13t
and critical thinking, 3 Mixolydian scale, 102
and developing creative movement skills, 159 modal scale, in canon, 156
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Index