GRADE K SONGSGrade K Baby Beluga, MM Button, you must wander (120 Singing Games) Clap, Clap, Clap Your Hands, WOM Fais Dodo, MM Fuzzy Fuzzy Caterpillar, MM Get on Board, MM Good Morning Hello Song, SM Hush, Little Baby If You're Happy, SM Thave a Little Echo Jim Along Josie, MM Johnny Works with One Hammer, SM Mi Cuerpo Hace Masica, MM Morning on the Farm The Muffin Man, SPM Oh, A-Hunting We Will Go, SPM The Old Gray Cat, SPM This Old Man This Little Light of Mine, Shake My Sillies Out, SPM We are Playing in the Forest, SPM Who has the penny? MCK Pages of s-m, s-m-] songsMeketne Muoic KK Baby Beluga Swimmingly = SS 3 - SSS 1,4.Ba_- by be-lu - ga in the deep blue sea. Swim so wild and vse 2.Way down yonder where the dol - phins play, Where you dive and_ 3.When it's___ dark, you're home and fed, Curl “up snug "in you * - * »—_+t Ps Fit EF i = ————— 7 <—F swim so free. Hea-ven a - bove_ and the sea be-low splash all day. Waves roll in andthe waves roll out. wa - ter bed. Moon_ is shin - ing and the stars are out. ee -__+ pn Ba = = 1 Last time to Coda ® v = =: 7 == oS > j = lit - tle white whale on the go, Ba - by be- lu - ga, oh ba - by be- water squirtin’ out of your spout. Ba - by be-lu - ga, oh ba - by be- night, little whale, goodnight. Ba - by be- lu - ga, oh ba - by be- 2 Pe ott: fe —————— Y= = = eS = = | 2 lu - ga, Is. the wa- ter warm? 's your ma-ma home with you so hap-py? lu - ga, Sing your lit - tle song; sing “for all your friends. We ike to hear you. lu - ga, With’ to- mor-row’s sun, another days be-gun. You'll soon be — wak-ing, epee £- 2 £ You're just fit = tle white whalePassing Games Button You Must Wander But - ton you must wan - der, wan = der, wan - der, But - ton you must wan - der ev = ‘ry - where, Bright eyes will find you, sharp_—eyes._ will~sfind =~ you, ‘The: child who is “it” sits'in:the center of the:circle. The rest of the children pass an object (the button) around the circle while trying to. cover thelr actions fom: the child it the centr. Wtien the:song is cover, the button stays with whoever has it at that point, and the child whois “it” must try to guess who has it. Chokoy ¢ Brean, \auo Singure Gases aDecnceo Se lreeck © Peectica Kadh (484 153 161Concept Guitar: Clap Your Hands @ intro. 4 meas, ‘Arsrcan Folk Sone = Objective A'To perform a fami rhythm pattern by moving in different @4, vcvs B To perform a familiar rhythm from notation imal uals Record 5B, Band 10; Pupil Book, p. 76; sandblocks Vocabulary steady beat, section A, sec- tion B, rhythm pattern Che, STARTING 1, Have children pat their laps in time with the steady beat as they listen to the recording. | DEVELOPING 2. As children listen again, have them keep the beat by rubbing the palms of the hands one against the other, as if playing sandblocks. Give two or three children pairs of sandblocks to play. Clap, cLosiNG A 3. All sing the song with the recording. When children can sing without the re- cording, encourage them tomake up other verses: + Shake, shake, shake your hands. + Bounce, bounce, bounce your heels. .. “wing, swing, swing your arms, bend, bend your knees. ‘As they sing each verse, they perform the ‘appropriate motion in time with the steady beat. Special Resources = clap, clap, lh b Class Mgl.’Sp. Learners 15 clap your hands, Clap your hands to - kh clap your hands, Clap your hands to - geth - a geth = er lle bok bla bb Dalcroze 14 Games 14 Language Arts Correlation When children are com- fortable creating new verses for the song by substituting di ferent body movements for clap your hands (shake your hands, bounce your heels, and so forth), encourage more am- bitious efforts, for example: + Drive, drive, drive the bus, Drive the bus together. . + Fold, fold, fold the clothes, Fold the clothes together. Knead, knead, knead the dough, 4 d'the dough together. Have children act out their new verses. 158 Sharing MusicVv . round; What a treat! Oh, we're go - in’ to the fair to. = day. ( Teacher Page 158 Fais dodo (Close Your Eyes) aga rt dan Sor ot gto ace Araceae Close your eyes. and sleep now my broth = er, Close your. do Tu ros duo =. Po-pa est en bas, it eyes; You'll have a sur - prise, Your fa - ther — will brew hot fait du choc’ - lat. ‘Ma - man est en. haut, choco-late for you. Your _moth-er will bake i - Matecne Meme, Ie 53{oncepé Expressive Qualities; Melody ‘Objective the exptes- discern the upward and downward direction of a mel, ody. * Materials Record 1B, Band 13, Record nd 1; Chart 8, beils, scarves sulary steps up and down, bells STARTING 1, Ask the children * How does a caterpillar move? (Wig- gles and inches along) *, How does a butterfly move? (Plies up ‘and down) Then ask the children to let their fingers awl up their arm the way a caterpillar we their arms as wings to ‘imulate a butterfly flying. DEVELOPING Have the children listen to the record. 36, using their fingers when they hesr Sout a caterpillar and their arms when vey hear about a butterfly (Band 13), Ask children to suggest movements for polliwog and a frog. ‘They might place th bands together and move them ia ‘wy motions to imitate a polliwog and ght have their fingers hop on a table to 2 frog. Display Chart 8. Have the children de- be what they:sde, Then sing the cong 4 thein as you point to the arrows on “srt for the beginning of the fret fli that they are looking a “vne melody as it moves up apd ave the children use scarves to illus- the difference between how cater. , S and butterflies move. Suggest that use slow and graceful movements searves for a caterpillar, and faster down movements for a butterfly. cial Resources see ae Don't you know that Don’t you now that Fuzzy Caterpillar @ ono. 4 meas Word tod Mie by Pat Zein ling, craving by, TY pal Wy og Sm meng by, Don't you faow that some-day you will Don't you know that some-dey you'll grow up to some-day you some-day youl gs tata scan, fa si | Wont of leune kK OAMrentrentett ta 4 HO * oa ssosenne Movement Story Activities 8 Gifted 122 DEVELO Moving 2 L&D Display Big Book, people today use d rode trains pulled k 6: Get on Board fe peo up in the train’s bo ‘Arian American Spiritual ‘Across the Curricul @D Invite the children SS == as they — + Tap, and later lit - tle chil - dren, Get on with version 1 a wd « Sing the B sec the recording Listening Guide the children play version 2 of G ASK What is happ ‘moving faster.) When does a started and as it sle When does a along the train trac AAs the children tap. picture—of the tra slowing down into board, lit Ue chil - dren, Get on AA eyyoss = a = a 2 8 pectic Hoan et SE 64 = = 4 ethagerinten te wand Pe came Soe : < Im 4 D Chose 3S SSS | Sai Zee tum = bli’ Ane through the land & @ Performance/t pr ieaeenineal a } Snovernents in tim 4 music. | ovement a) @ rege spaces, using individual body parts and their whole bodes, when diesel locomotives that Le » Lecometor Movement Point out that a train engine hes @ > Social Studies Becaus a {O be strong to pull and push the heavy cars of a train. Then from the nineteenth century. Ay Rup the cildven to imitate a train by moving through sal nd Jocomotive train, Locomotive ° States in the 1830s and cont 1. Pretend to push something heavy through thick air in both _ eS ‘mall and large spaces, using individual body parts and their them 7 - whole bodies. For photographs and simple ‘an entire train up a mountain. these trains, see Gail Gibbon ia go 2, Pretend to pull an entire train up intai ae tones Diesel Loc - 3, Pretend to move faster as the train comes down, down, down, (ihe Rourke Corporetion, I we nf theGood Morning Barb Grenoble Soprano Good mor = ning, Good mor - ning, Good mor + ning to you. Good mor - ning, Good mor = ning, I'm fine, how are you? ©1988Hello Song Woeds and Music by Shisey McRae Hel-lo, hel-o. I'm so ver-y glad to see you. a D to - day? Hel-to, hel fo, How are you Wer sz “When I want to greet you, sometimes say bello. But there are other ways io greet someone, oo.” Have children: > +Look at Big Book page | and describe sounds they might hear ifthe picture came alive jocorded Lesson (01:1 > Listen to "Many Ways to Say Hello.” and ‘echo saying hello these ways: Jambo (fam bo}—Swabil Hola (o ta)—Spanish [Buenos Dias (bwe nos 81 as)—Spanish ‘Aloha (a fo ha)—Hawaiian ‘Marhaba (mar x0 ba)—Arabie ‘Shalom (sha lon) —Hebrew Swatdi (swat 6i)—Thai Bosjour(b5 Sur)—Freach Howkola (ha ko la)—Lakota > + Identify other ways to say hello. “Asyou echoed the ways 1 say hello. you used your ovn special instrument, your voice, Get ready to use your voice again. VELOP ‘Tntroduce “Hello Song” €01:2. Echo: speak with inflection. Have children + Listen to the song and patthe beat, folow- ingyou. + Shake hands with a neighbor and say Hello, Listen tote song again end shake hands everytime they hear the word Hell. fonmtenvi 1 Informal Assessment > +Echo-tpeak the words from the song with voice infection, then echo-sing shor phrases. > Sing the song, then sing wt hands with a partner. shaking BUILDING SELF-ESTEEM: Responding Independently Sometimes children ar italy reluctant to play ogame ‘where they have respond alone, Try these ideas to build confidence: 1. Use a puppet io talk with c puppet the answerto the name game in a complete sentence. ‘The puppet can “help” ifnecessary. 2. Use a microphone (ora prop such as a mallet) and have children introduce themselves a if they were on TV. 3. Use two play telephones. You keep one and have children ‘ass the other atound Have a conversation with each child asking his or ber ame. Idren, Have them tel the ENRICHMENT: Greetings Greetings are apart of every culture. Help children to realize that there are many different ways to greet others. Have chit deen work in small groups fo make a “Greetings” banner that ‘canbe displayed in the classroom or school hallway. ‘Children can decorate the banner with any words, signs. or ‘symbols that they use whea greeting their friends or family. Unitt oFFTOScHOG. TT sm KHush, Little Baby Collected by Jean Ritchie Folk Song from the Southern United States ‘ 2b SSF SF a, Hush, it~ de baby, dont saya word, 2 TT” that tock = ing - bird wont Sing 3 tht mend ring tras es, $e tk — Thg gle 5 tht : < wont pull, So dat eat and all tim one 1 if that dog named Rover wont bark, Bot tat toe “and cat fal down (a smock ing - bird ps gonna buy you 8 i frsgonsna buy you a d= mond ing Pr goncna buy you + lok ing gs. Bo pds gmcne by Jen 2 BLD ga Pa fas goncm buy Jou a cat and bull Be perce by Jou a diy named Ror ¢ < pre gon-ae buy Jou @ hoe and cat Youd Se the weet Zot oven tom. W7USIC LIBRARY SONG ANTHOLOGY If You’re Happy Singing Game mf F © SSS If You're Happy Le 1. Introduce the song C06, Have children: *Listen othe song following directions. ‘you're hap-py and you know it, clap your hands. c F + Sing one line ta time, comparing the lines to determine whether the words are the same oF > diferent. (Lines t,2, and 4 are the same, line 3 SS = hhap-py and you know it, clap your hands. IF you're stasis the same, but changes.) ing the scing, adding the motions. 4 Be 2. Create new verses, Have children: z SS ‘+ Think of other motions they could do to show they are happy. tf you're hap - py and you know it, + Sing, substituting these descriptions to create new verses, F + Create additional verses by changing happy to sad, silly, oF angry. Reinforcement same/different, page 791 Then your face will” sure = ty show it ; . c F Hoki Hoki 1. Introduce the song £06:39. Have children: G ‘Liste co the song, keeping the beat W you're hap-py and you know it, clap your hands. rdod Lesson C05:40 Listen to “Pronunciation for ‘Hoki Hoki." 2. Iyou're happy and you know it, tap your foot. ‘Sing the song, keeping the beat. 3, Ifyou're happy and you know it, nod your haad. 4, Ifyou're happy and you know it, do all three, LANGUAGE ARTS CONNECTION: Reading PRONUNCIATION: “Holi Hoki* Because of its predictable and repetitive structure, “If You're father e chgotic i bee 0 gbey Happy” isan excellent text to put on sentence strips and use uv moon + flipped r ina pocket chart. (Optional: Use Resource Master SA *4.) ‘As children sing, point tothe words from left to right and top tobortom. PLAYING INSTRUMENTS: Unpitched Substitute play the drums, play the metals play the scrapers and play the woods for clap your hondsin “If You're Happy” to provide opportunities for children to play unpitched instruments, MULTICULTURAL PERSPECTIVES: Poi Bolls/ Poi Dances ‘The poi dance isa graceful dance uéing a small ball, ands tunique to the Maori people. is used as a ceremonial dance to welcome strangers. Pois today ae made from dry raupo ot comeob leaves, and attached to a 12" cord, To make your ‘own poi balls, make a tight ball of newspaper (1 big sheet ‘Wrap a5’ piece of thin yar several times around the bal, 282 Musiclinary SONG ANTHOLOGY Sikrh a De WR an Sooes, a oo A Va Gl | eeeee ai d Jim Along, Josie > Including Everyone ‘opportunities to practice coor the music. The song “Jim Along, vehicle with which to reinforce this skill, Some of the children in your lass may have difficulty controlling oret body movements, so draw on those upper body move vowet ipat are most easily performed by Kindergarteness, nck ing those with physical disabilities. ‘Also, invite the children to be "i hd dancers,” using their hands to walk, jump, ‘and tiptoe away. inating thelr movements in time to “Josie” provides an excellent ‘Folk Song from OKlahoma > ¢ SS5 = 1. Hey, fim a= Jong, 3 ae fim 3 + tong, 2, ———— = = = o hey, jm 8-09, jm a beng fe fm 2 = tong, iS teng 3. Hop, - 7. Crawl along, 4 fun swing song 5. ump, -- 9, oll ong, « 6. Tiptoe slong, 2 Deveto Moving Display Big Book, story told by Glenr > sculpture on the Bi: 5 2 Help the children n : move at different Ie ; they try to keep up children do the mo again, using differe ging sing verse 1 of “Jim for the children to j verse until all of the Help the children + Move asthe vs along) * Discover that t # Continue mov the appropriat (hop, run, jum '* Do steady-bea’ tating nev ly Playing Asyoutepat @ perform locomotor barred instruments. fren are success movements that yo! the lyrics of the son 5 4 “| @ Performance/Oi p Literature Reed aloud He Keremis (State House Press, 1 and prance with the country fe Noah’s Square Dance by Rici 1995). It reveals how the anit Ark. ‘Alter you have read aloud eith the children to join the square of what they saw and experiet dance. Ask, “What moverner1. Can Make Music Lesson AT. ° have a lit tle have a iit- tle e@ - Yoo Yoo hoo (Yoo hoo). Yoo hoo (Yoo hoo). Keep the Beat! Jon and Jacque Negus 2 ‘Dl cho hoo (Yoo hoo). | Yoo hoo (Yoo hoo). Who - ev-er can it be? e - cho who al- ways sings to me. 1 AT D who sings so. mer- ri - Wy. AT ° can hear you sing- ing. AT D * Take your puppet from the music box and ‘repeat the song inviting the puppet to be your echo. + Ask individual children to be your echo as you repeat the song. Continue until all children who wish have had a turn ‘+ Ask the children to watch and “keep the beat” with you. + Begin by tapping your head with both hands eight times. Pause and move your hands to your shoulders. Hold this position for a moment until the children have discovered the new position, + Continue tapping different body parts until the children can follow comfortably * Invite the children to stand and play the game with the recorded music. The piccolo will signal when to change body parts.Johnny Works with One Hammer arms American Singing continued from previous page John = ny works with one ham = mer, 2. John = ny — works with two. ham - mers, PPLY 3. John - ny — works with three ham - mers, c7 F introduce “Johnny Works with One p. Hammer” CD1:14, Use singing voice. Have a = = children: eo } —— > + Listen to the song and move their body parts one ham - mer, one ham - mer, using the following sequence: one hammer— two ham + mers, two ham - mers, ‘one fist, then two fists, then one foot, then two three hain + mers, three ham - mers, feet, and finally, their heads. (Encourage chil- dren to move with the beat.) oF eBsrcrivE 2 Informal Assessment b+ Sing the first verse with the hand motion, ae Ident the sng a8 one peformed by singing jenn ony Wors wth one ham - men John - ny works with two ham - mers, - works with three ham - mers, John Then Then Then 4, Johnny works with four hammers, 5. Johnny works with five hammers, ny he works with two. he works with three, he works with four. “Then he works with five. “Then he works no more. MEETING | INDIVIDUAL NEEDS ALTERNATE TEACHING STRATEGY ossecrive 2 If children seem unsure ofthe difference be- tweena singing voice and a speaking voice, sing a familiar song such es “Old MacDonald” or “This Olé Man,” singing .. One phrase and speaking the next. Continue alternating be- tween speaking and singing. Children should raise their hands only when they hear a singing voice. S EXTRA HELP: Giving Directions ‘Many teachers use their singing voices when giving direc- tions throughout the day. There is something ealming and quieting about this use of the voice, and you may find chil- dren listening to directions carefully and communicating with one another by singing, following your model. You wi _ also be protecting your own voice. Have children sing their ‘greetings. FINE ART: Builder Te : S0Disolay this painting by Jacob Lawrence from page T322 &: Veveung, jAwore creer Mi cuerpo hace miisi¢a (There’s Music in Me) reese we mt — VP pr FE Mi cuer - po, smi cuer = po hace mié-si - ca Mi ‘There’s mu - sic, there's mu - sic right in- side of me. ‘There's _W a “TP EFF EF cuer = po,— = mi cuer - po__ ha-ce mi-si - co. Mi bo - ca ha- ce mu - sic, there's mu - sic__ right in - side of me. My mouth can go la, Vv Ia, lo, I. Mis ma- mos ha - cen (dap, clap, clap). Mis pies ha - cen And — both my hands can My — feet, they go 5 Fr Vv to, ta, ta. Mi dn-tu - raha - ce Cha, cha, cha, Cha, cha, cha. Mi cin tap, tap, tap. And my hips can dance the ‘And my Vv tu = raha - ce cha, cha,cha. Cha, cho, cha. Mi cin- tu - raha - ce cha, cha, hips. can dance the ‘And my hips can dance the 37Johnny Works with One Hammer American Singing G ‘continued from previous page PPLY ham - mer, ham - mers, ham - mers, ‘introduce “Johnny Works with One Hammer” CD1:14, Use singing voice. Have children; + Listen to the song and move their body parts ham = mer, one ham - mer, using the following sequence: one hammer— ham - mers, two ham - mers, one fist, then two fists, then one foot, then two ham - mers, three ham - mers, feet, and finally, their heads. (Encourage chil- dren to move with the beat.) . oBsecTivE 2 Informal Assessment e = ———————— > + Sing the first verse with the hand motion, = we — Deldetify the song as one performed by singing a NG wors wth one ham — mer John - works with two ham - mers, John - n\ works with three ham ~ mers, o F : es za = = o Then he \works with two. Then he ~— orks. with = three. Then he rks with four. Shak 4, Johnny works with four halymers, 5, Johnny works with five ha ‘Then he works with five. r5,. .. Then he works no more, arenes ae age EP MEETING INDIVIDUAL NEEDS ALTERNATE TEACHING STRATEGY opsterive 2 Ifchildren seem unsure of the difference be- tween singing voice and a speaking voice, sing # familiar song such as "Old MacDonald” or “This Old Man,” singing cone phrase and speaking the next. Continue alternating be- tween speaking and singing, Children should raise their ‘hands only when they hear a singing voice. _FINE ART: Builders: EXTRA HELP: Giving Directions Many teachers use their singing voices when giving direc- tions throughout the day. There is something calming and quieting about this use of the voice, and you may find chil- dren listening to directions carefully and communicating with one another by singing, following your model, You wi also be protecting your own voice. Have children sing their greetings. ‘Display this dainting by Jacob Lawrence from page T322 a:~ @ . J (OOSANA) ayy zuesg “ Tory ea rt pel er om EE wey cay 1a E SS z x Temoqoey prepa ‘sayoiays puojpoogy = aes Ko yey sy ge z wouy wureg paworec y,, sonuNaUstT caLyau meng rvreh Premyy dereyap| eAtp pooo,, ¢ Rous ways saxo prom woHl gouRsd 0 si19q 949 uo 20d BAB nok ue ‘naneow wosewe> Lg pabuoury ea HrO1 Ag PeDe4e) Bog hat ONIHOLVIN-INOL UD ay] UO Furor = . a en C - ‘oThe Muffin Man shit drm (Old English Rhyme 1.0h, do you know =the muf - fin man, ZOn, yes know — the = muf - fin man, om c 7 the mu - fin man, the = muf - fin man? the muf - fin man, the muf - Oh, do you know =— thes muf - fin man Oh, yes, "1 know =the = muf = fin man SPK KK, Ties 195Oh, A-Hunting We Will Go drmf English Folk Son; Additional Verses by John Langstat — Ob, a= hunt - ing we will go, © : #z = = = = 7 1.We'll catch =a fox E and then well = let. him go! 2. Welll catch a lamb and put hi 3. We'll catch a goat and put " 4. We'l catch a Bear and put him in underwear... 5. We'll catch a whale and put him in 2 pail. 6: Weill catch a smake and put him in a Cake.” J Welt earch 3 mouse and pc him ina hou 8. Well catch a pig and putin in a wi % Srunk sd Bink 1 in apram,... a boai We'll each a Skunk eid put him ina 0. We'll catch ar armadillo and pul him ina pillow. 11. Well eaten a fish and put him in a dish, ~42:Welleatch a brontosqurus and put himin a chorus... 13. Well ust pretend and in the end, well always let them go! SPM IK ea 199The Old Gray Cat G major Tw dm ‘acitional American Song a S ee a : Ga —— od ¥ Lthe old ony at sleep i 2The Tt. We’ mice are Geep > Inge 3ithe lit 2 le mee are “n= bln, 4The fit > le mice are, sleep ”- ing? S'the old gray Cat comes’ creep > Inge 7 6 creep creep = ing, The tt - Ue’ mice are ra tite Be ye mee = === ] e t the he 6, The litle mice all samper...through the house. SPA K BATES 227This Old Man \._ This old man, he played one, he played rick ack on my thumb. * With a_nick rack pad-dy wack, Give a dog ay bone. “this old man came _voll- ing home. Z. two — on my Shoe <3. three - on my knee, 4.four- on my door 5, five. on my hive 6. Six on my Sticks 8. eight = on my gate G. nine, On _my ine 10. Tten- all over againTunes and Grooves for Music Education 385, THIS LITTLE LIGHT OF MINE U.S. Aftican American This lit = le light of mine, Im gon-na let it ine, Oh, c ® s DG this litte fight of min, Tm gonna let it shine, This. ‘it tle light of mine, s Em 6 Doc oD Ss Ym gonna let it shine, let it shine let it shine, let it shine ‘The Tune During the American Civil Rights movement, “This Little Light of Mine” became one of the banner songs sung at protest marches and gatherings across the south, in the northem industrial cities, and all the way to Washington DC. The Music Culture From 1954 to 1968, a series of events and reform movements in the United States were simed at abolishing racial discrimination against African Americans. Collectively known as the American Civil Rights Movement, it began with the case of Brown v. Board of Education in Topeka, Kansas, when the education of black children in separate public schools from their white counterparts was declared unconstitutional. The arrest of Rosa Parks in Mont. ‘gomery, Alabama, for her refusal to give up her bus seat to white passengers fueled the fire, and led to an era of boycotts, sit-ins, and other means of protest across the Deep South. The campaign to desegregate schools, buss, restaurants, and various other public places was on, as was the drive by the early 1960s to register African Ameri, cans to vote. By the time ofthe March on Washington for Jobs and Freedom, in 1963, a collaborative of major civil Fights organizations and the progressive wing ofthe labor movement raised their voices on the passage and enforce- ment of civil rights laws, More than 200,000 demonstrators gathered in front of the Lincoln Memorial, where Mar tin Luther King J. delivered his famous “I Have a Dream” speech. There was music, principally protest songs, at this and various other demonstrations, among them “We Shall Overcome," “Oh Freedom,” "I Shall Not Be Moved," and “This Lite Light of Mine.” This last isan old spiritual tune that brings attention tothe importance of unity, of standing up alone or together with strength in the knowledge that striving for justice and freedom is always “the right thing to do.” 231mje Shake My Sillies Out Music by Rafi Words by Bet and Bonnie Simpson drmfst py 6 D 1. Got-ta shake, shake, Ay : D shake my sil - lies out, Shake, shake, shake my sil - lies out, G Shake, shake, shake my sil - lies out and D wig- gle my wag-gles a - way. 2... clap my crazies out... 4. .<. yawn my sleepies out, . 3. jump my gles out, 5. ... shake my sili out, 217We Are Playing in the Forest — Three-tone after Unit 4, Lesson 4, p. 1137. se i ™ Traitional Children s Song conic representation of the quarter note D. 5. Seo eco! i rnsrumetal _ Pocice 1412 14:13 We are playing inthe for - est seks (Sounds on a Beat) NAL STANDARDS din rhythm. « pattems on classroom instruments. ers” to melodic phrases, siklore for the wolf is far a way. Who knows what will hap = pen tous D if he finds us at our_— play? "Russ ren: “We Are Playing in the Forest” s you draw beat bars on the board. es with four beat bars each) the song again and pat with the le you point to the beat bars on aL SPM ,K T2348 Se RENT TSE ‘en: ) each line of the song. clap the rhythm of the song as 1 to the beat bars on the board. there are either one or two sounds eat. jong as they look at Big Book p.55 Movement tto the rhythm. (Repeat the Patterned Movement: “We Are Playing in the Forest” FOOTLIGHTS ‘© page for the second half In pairs, one child stands in place clapping the rhythm of the 9) song. The other child circles his or her partner, stepping to the Create a four-beat pattern using beat. On your signal, the two change roles, Master Re5.Who Has the Penny? (tsand Musi by Angela Die and Kat Steams Pape D Chore Solo 1 SE Who has the pen - my? T SOUNDS MY VOICE C Socuk gocus ASSESSMENT LANs wy OBJECTIVE Identify voices by their tor Who has the key? 1 hy, Chorus Who fas the thim = ble? 1 have the By Chorse o » a see. Please let use Please let us om » PRE-SCHOOL MUSIC BOOK y Aes and Kae Senn age. Copyih 0,188 yO Serr, ne, wt hy PE m enue Help the children to discover that the question and answer in “Who Has the Penny?” both have the same melody. Let one child hum the question while another hums the answer. ‘Then ask the children to decide whether each question and answer has the same or a different melody. (Same) This experience will help the children develop their tonal memories. PIER a Invite the children to sit on the floor in a circle with their eyes closed and hands cupped in front of them. Place a penny in the hands of one child, @ key in the hands of another, and a thimble in the hands of another. Then tell all the children to close their hands tightly together and open their eyes. Ask the children to sing the questions with you; the child who has pach obiert should sing the solo answer for his or her object. As each learn to sing by ourselves Vv "Who Has the Penny?” (PiekaTrack, cD 4-3 START 1 Ask the children to listen for diff they listen to the recording of "W ny?" Help them to identify who s (Penny—child; key—man; thimbl: DEVELOP 2 While you play the recording aga dren listen to the questions and the answers, or solo parts, on th: When they are familiar with the : sing the questions, encouraging ren to take turns singing the ar whether each child is able to fine pitch as he or she sings. CLOSE 3 Play the games below Playing a “Guess Who?” After you have distributed the pe thimble, ask the children to keep while singing the song. Adjust the soloist’s task according to the chi abilities. In lines 1 and 3, the sole the pitch that ends the question, matching easier. Let children guess who is singing Note on each child's record card F in distinguishing between various Mek13. Doggie Doggie Some - one stole it ftom your home. Dog - gle dog - gic where's your bone? solo? Who has my bone? have your, bo =e Directions: Doggie doggie is also a guessing game. I have the children sit in a circle with the “doggie” in the middle of the circle hiding his eyes. I place a rawhide dog bone behind the “doggie”. Choose one of the children in the circle to sneak up on the dog and steal his bone. The doggie sings, “Who has my bone?” The thief answers, “I have your bone.” All children then hide their hands behind their backs, and the “doggie” guesses who has the bone. 13. Doggie Doggie saint ———— — _ _ eS a SS . bone? Some - one stole it’ from = your home. Dog - pie dog = Bie where's your Game 2: Another way to play Doggie Doggie is similar to Closet Key. Choose two children - one to hide the bone and one to find it. The finder must leave the room. The hider is given 30 seconds to hide the bone. It must be visible with the naked eye. When the bone is hidden the finder is allowed back in the room. ‘The class sings the song, singing softly when the finder is far away from the bone. ‘As the finder gets closer the singing becomes louder. It is very important that the teacher stresses that aU ALL dynamic levels, the tone quality should be beautiful. Children are naturally enthusiastic inthis game and will get carried away and shout if they aren't reminded about tone quality. If the children fre really shouting, you can have them clap the rhythm of the song using loud and soft dynamics. This ‘way, they won't hurt their voice and the game can continue. Page 8Belk Horses (EmaL] z3 1) | m\m mi cs mm]sS mm Bell horse, bell her-Ses, what} tee Te mi jn} , ssm ils ry + One 0! check !teo o clerk te $e Sy. 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