The Singing Musician Level 1 - Unison Teacher Edition PDF

Patti DeWitt Folkerts, DMA
io n
it
nd Ed
2
Unison
A Good Start
The Singing Musician 2nd Edition
A complete and sequential program
LEVEL ONE: A Good Start!

Unison
LEVEL TWO: Growing Artistry

SA, TB, or Mixed
LEVEL THREE: The Skillful Singer

SSA, TTB, SAB, or SATB
LEVEL FOUR: The Choral Virtuoso

SSA, TBB, SAB, or SATB
Teacher's Editions for each level.
Supplemental literature for each book available

on CD Rom.
Copyright 2014. Published in the United States of America, Patti DeWitt, Inc., Cedar Creek, TX.
The publication, or parts thereof, may not be reproduced in any form by photographic, electrostatic,
mechanical, or any other method, for any use, including information storage and retrieval, without
written permission from the publisher.
FOREWORD
Greetings, fellow choral directors! Thank you for choosing The Singing Musician
series for use in your classroom. My purpose in producing this series is to give choral
instructors a textbook series that is sequential and systematic.
The series is presented in four levels:
Level One: A Good Start

Level Two: Growing Artistry
Level Three: The Skillful Singer
Level Four: The Choral Virtuoso
Level One is in unison and is designed around the needs of beginning choral students.
Level Two is in two parts and available in SA, TB, or Mixed (which includes some three-
part material--SAB--in addition to the two-part--SB). Level Two begins with with a review
of skills learned in Level One and then covers all the thirds and fourths of the I, V, and IV
chords. Level Three is in three (SSA, TTB, SAB) or four (SATB) parts and is suitable for
advanced middle school and high school choirs. Level Four (SSA, TBB, SAB, and SATB)
is suitable for high school and university choirs.
Not only does this series meet all of the"re-choir-ments" for State and National standards,
it also presents activities that will reinforce math, reading, and writing skills without
taking time away from music learning and interfering with musical principles.
I hope you will find this series to be a positive step in the quest for an ideal choral music
education program.
Musically yours,
Patti
How the Teacher's Edition pages are numbered:
At the bottom of each page, you will find a page number, for example, S-78. The
number is the the page number of the student's book (S) to which the Teacher's Edition
page (with yellow corners) corresponds. The TE has been written so that the pages may
be inserted in the student book at the corresponding places.
Welcome choral students! You are about to embark on a fantastic journey
into the wonderful world of musicianship! When you open this book, you
will discover many musical adventures. Not only will you learn to sing
and to read music, but you will also learn tools with which you can express
yourself in musical performance. And it gets even better! You will also
learn how to create your own music as well!
So open your minds and hang on! There is a wild and exciting ride
awaiting you. What you find beyond this page could change your life forever!
iii
l Acknowledgments L
There are many people who have helped me in the pursuit of the ideal choral textbook.
First of all, I would like to thank my husband, Ronald Folkerts, who has tirelessly devoted
himself to making my dreams a reality. Also my son, Joel Johnson, who has done a lot of
the "grunt work" for me. My daughter, Cecelia, spent much time making paintings, taking
photographs, and creating many of the graphics in the first edition which are being reused
in the second.
My mother, Pat Darnell, has always been there for me; even in my wildest schemes, a
co-conspirator; someone to bump ideas off of and to eagerly contribute her own talents to
my projects. My love and appreciation goes all of my family, most of whom have been
involved in my pursuits at some level--whether by choice or by (loving) coercion.
Dr. Ronald Yates has not only graciously contributed his compositional talents to this
project and others, he has inspired and believed in me from the first.
A boundless expression of appreciation goes to my choral director peers who have given
me the opportunity to pursue educational ventures such as this one, who have used my
products in their classrooms, and have made the Second Edition possible. In this edition,
it was my goal, not to reinvent the wheel, as it were, but to offer an improved version of
the books, with whatever resequencing and additional clarification and practice activities
were needed. I hope the users will find that the books will facilitate music literacy skills
and other requisite music knowledge even better than in the firstedition.
l Dedication L
I have a wonderful family. That is probably what most people would say about their
families, and that is the way things should be. But sometimes people who come into your
life who show amazing love and support for you even though they are not "bound" by
blood relationships to do so. I would like to dedicate this new series to my stepfather,
Daniel Boone Darnell, Jr., who has supported me for the past 43 years in every possible
way.
iv
Meet the Author
Patti DeWitt Folkerts is a music educator

and composer and living in the Austin, Texas
area. She has a Bachelor of Music Education
degree from Henderson State University in
Arkadelphia, Arkansas, a Master of Music
from Texas A & M University at Commerce,
and a Doctor of Musical Arts degree from
University of Houston.
Dr. DeWitt taught for 20 years at all levels of

vocal music in the public schools. Since 1991,
she has composed many choral pieces for the
Texas State University Interscholastic League
Sightreading Contest. In addition to over 100
pieces published by Southern Music Company
and Hal Leonard Corporation, Dr. DeWitt self-
publishes and markets her own music as well as
her choral sightreading series, Music Literacy for Singers.
In 2004, Dr. DeWitt wrote the first edition of The Singing Musician textbooks. Since
that time, the series has appeared on state adoption lists in Utah, South Carolina, Georgia,
Louisiana, and Texas. It is also being used in many choral classrooms in other states.
Dr. DeWitt has presented workshops and interest sessions in most of the states in this
country. She has also presented several workshops, in Germany and in Italy, for the
European Music Educators Association. In addition, she has presented many clinics
and inservices for school districts and individual classrooms.
Dr. DeWitt continues to provide support for classroom teachers and to compose
commissioned choral pieces. She also has produced many music education products for
all levels, including her Marvelous Music Carpet which is being used in music classrooms
in the United States, Mexico, and Canada. Her passion is aiding choral directors in the
classroom to empower their students to become independent successful musicians, and
thus to inspire them to become the music educators of tomorrow.
aA
v
vi
John Curwen's
SOLFEGE
HANDSIGNS
for the notes of the scale
vii
Table of Contents
Welcome . . . . . . . . . . . . . . . . . . . . iii
Acknowledgements . . . . . . . . . . . . . . iv
Meet the Writers . . . . . . . . . . . . . . . . v
John Curwen's Handsigns . . . . . . . . . . . vii
Ancillary Pages:
I: Your Voice . . . . . . . . . . . . . . . . A-3
II: Performances . . . . . . . . . . . . . . . A-10
III: Concert Etiquette (Performance) . . . . . A-12
IV: Concert Etiquette (Audience) . . . . . . A-18
V: Music Evaluation . . . . . . . . . . . . . A-21
VI: Evaluating Performances . . . . . . . . . A-23
VII: Musical Careers . . . . . . . . . . . . . A-25
VIII: Music and Other Arts . . . . . . . . . . . A-27
IX: Music and Other Subjects . . . . . . . . . A-29
Chapter 1: What Is Music? . . . . . . . . . . . . . . . . 1
Chapter 2: Feel the Beat! . . . . . . . . . . . . . . . . . 3
Chapter 3: Feel the Rhythm! . . . . . . . . . . . . . . . 6
Chapter 4: Making Melody . . . . . . . . . . . . . . . . 10
Chapter 5: La, La, La . . . . . . . . . . . . . . . . . . . 14
Chapter 6: Do, Re, Mi . . . . . . . . . . . . . . . . . . . 22
Chapter 7: Where Did Solfege Come From? . . . . . . . 29

Guido d'Arezzo
Chapter 8: Three's Company . . . . . . . . . . . . . . . 31
Chapter 9: Anacrusis . . . . . . . . . . . . . . . . . . . 41
Chapter 10: Making Arrangements . . . . . . . . . . . . 45
Chapter 11: Crazy Eighths . . . . . . . . . . . . . . . . 49
Chapter 12: So - Fa, So Good . . . . . . . . . . . . . . . 54
Chapter 13: Ludwig van Beethoven . . . . . . . . . . . 58
Chapter 14: Time for Ti . . . . . . . . . . . . . . . . . . 66
viii
Chapter 15: Down Below - La and So Below Do . . . . 70
Chapter 16: Minor Differences . . . . . . . . . . . . . 74
Chapter 17: Gustav Mahler . . . . . . . . . . . . . . . . 78
Chapter 18: Do you C? . . . . . . . . . . . . . . . . . . 82
Chapter 19: Singing in Harmony . . . . . . . . . . . . . 86
Chapter 20: Chords and Triads . . . . . . . . . . . . . . 98
Chapter 21: Half Steps and Whole Steps . . . . . . . . . 105
Chapter 22: Do - Mi . . . . . . . . . . . . . . . . . . . . 108
Chapter 23: Mi - So . . . . . . . . . . . . . . . . . . . . 118
Chapter 24: Sweet Sixteenths . . . . . . . . . . . . . . . 124
Chapter 25: Johann Sebastian Bach . . . . . . . . . . . 134
Chapter 26: Low So - Do . . . . . . . . . . . . . . . . . 146
Chapter 27: Review . . . . . . . . . . . . . . . . . . . . 152
Chapter 28: Johannes Brahms . . . . . . . . . . . . . . 166
Chapter 29: Sing in Two Parts . . . . . . . . . . . . . . 170
Chapter 30: Scat! . . . . . . . . . . . . . . . . . . . . . 182
Chapter 31: More Meters . . . . . . . . . . . . . . . . . 190
Chapter 32: Opera: Hänsel und Gretel . . . . . . . . . . 195
Chapter 33: Write Your Own Opera . . . . . . . . . . . 204
Glossary . . . . . . . . . . . . . . . . . . . 205
Orff Abbreviations . . . . . . . . . . . . . . 207
Index of Poems . . . . . . . . . . . . . . . 208
Index of Composers . . . . . . . . . . . . . 208
Index of Songs . . . . . . . . . . . . . . . . 208
IPA Chart . . . . . . . . . . . . . . . . . . . 209
Rhythm Counting Systems . . . . . . . . . 210
General Index . . . . . . . . . . . . . . . . 211
Bibliography . . . . . . . . . . . . . . . . . 213
ix
Ancillary
Pages
I: Your Voice
II: Performances
III: Concert Etiquette (Performance)
IV: Concert Etiquette (Audience)
V: Music Evaluation
VI: Performance Evaluation
VII: Musical Careers
VIII: Music and Other Arts
IX: Music and Other Subjects
A -1
A -2
SA - 2
I: Your Voice
This chapter teaches physiology of the voice. Students should become familiar with the
workings of the vocal instrument.
SA - 3
I: Your Voice
LESSON 1: ANATOMY
We sing with our voices--the same system of organs with

which we speak. In fact, singing is speech that is continuous
and at specific pitch levels. Whereas in speech, our voices are
silent for brief periods of time between the words, there are no
periods of silence in singing except for notated rests or when
the singer stops to take a breath.
Vocal sounds are made when the vocal cords in the larynx (or voicebox) are set into
vibration by the air from the lungs rushing through them.
The
Larynx
) )) Vocal sound
A. Larynx (voicebox)
B. Trachea (windpipe)
C. Tongue
D. Hard and soft palates
E. Sinus cavity
Air from the lungs
The sinuses, hard and soft palates, and tongue work together to shape the size and shape
of the mouth cavity affecting the volume and tone quality of the singing sound.
The diaphragm, a large muscle that separates the lung cavity from the abdominal cavity,
contracts drawing air into the lungs. When the diaphragm relaxes, the muscle returns to its
domed position high in the ribcage and pushes the air out of the lungs and up the trachea.
The air must pass through the larynx both breathing in and out.
A- 3
Air travels up the trachea and through the larynx. If the vocal cords in the larynx are
taut, they will vibrate and set up vibrations in the air which the human ear perceives as
sound. If the vocal cords are relaxed, then they will not vibrate. This is the reason that we
can breathe in and out through the larynx without any vocal sound. Vocal sound occurs
when we consciously tighten the vocal cords and push air through them.
To understand the perspective of the illustrations, below, imagine that you are standing
behind someone who has his head tilted back and that you are looking down his throat.
Front
Back
Relaxed vocal cords Evenly taut vocal cords
(normal breathing) (during phonation)
The timbre, or tone quality, of the vocal sound can be seriously affected if the vocal cords
do not meet completely. If the vocal cords do not meet precisely during phonation, extra air
can escape through the vocal cords, causing the sound to be breathy. There can be several
reasons that the vocal cords do not meet completely.
Swollen vocal cords Vocal nodes Bowed vocal cords
Swollen vocal cords are symptomatic of laryngitis. This can happen with allergies, colds,
flu, and other minor respiratory illnesses. Swollen vocal cords can also happen through
overuse or through misuse such as continued screaming or yelling. The vocal cords become
thickened and cannot vibrate normally. Additionally, the cords cannot fully close, so that
the resulting sound has a low, raspy timbre. If the vocal abuse continues over a long period
of time, the vocal cords may become thickened permanently.
Vocal nodes can occur with misuse of the voice. Nodes are callouses that develop when
the cords do not meet and vibrate evenly along their full length. They become thickened
and toughened in the spot where they touch most frequently.
A- 4
INTERNET:
There are many places on the Internet where a person can view a videotape of vibrating
vocal cords. You may wish to download one of these files for your students to view in
class, or you may make it an assignment for your students.
SA - 4
SA - 5
I -- YOUR VOICE YOUR VOICE -- I
Bowed vocal cords can occur when the voice is constantly misused or when there is a
structural problem. All of the vocal problems above can be diagnosed and treated only
by a doctor. If a person has a continued problem with a breathy vocal timbre, (s)he
should consult a physician.
LESSON 2: VOICE TYPES
Before adolescence, all normal human larynxes, male and female, are approximately the
same size, and thus they produce approximately the same range of pitches--in the treble
range. Children's choirs are treble choirs, usually made up of both boys and girls with the
higher and lower parts generally designated without regard to gender.
During adolescence, both boys' and girls' larynxes grow in size, but, whereas the female
larynx is very close to the size it will be as an adult, the male larynx will double in length to
reach its adult size. The enlarged male larynx is evident from the exterior and is sometimes
called an "Adam's apple." Over a period of a year or two, the male voice will drop by an
octave.
As the adolescent voices approach maturity, they begin to fall into the categories that
they will remain in in adulthood. The higher adult female voices are classified as soprano,
while the lower ones are called alto. The higher male voices are called tenor, and the
lower voices are basses. Voices that fall in the middle ranges of the adult male voice are
referred to as baritone.
Although the male voice drops considerably during adolescence, men are still able to sing
just as high as women sing using their falsetto voices. In falsetto, only the outside edges of
the vocal cords vibrate as opposed to the whole vocal cord. Because a thinner portion is
vibrating, the pitch is much higher than when the whole vocal cord vibrates. Thus men are
capable of singing very high, although the sound will be thinner than when they use their
"full voices."
Write ACROSS THE CURRICULUM:
1. Describe the processes that occur in the larynx to create vocal sound.
2. List and describe the different voice classifications.
Comprehension Check:
Written Activity 1: The Human Voice
Written Activity 2: Voices
A -5
I -- YOUR VOICE
LESSON 3: VOCAL TIMBRE
Vocal timbre is the tone quality of the human voice. One type of tone quality that was
discussed earlier in this chapter is breathiness or raspiness. What is one cause of breathiness
in the human voice?
Abnormalities or inflammation of the vocal cords can only be cared for by a physician. But
many other kinds of tone quality problems can be improved with proper instruction and practice.
Breathiness is a common trait of young voices. Here are some other common vocal timbre
problems:
Stridency--A harsh, piercing "edge" to the tone
Nasality--A "flat," out-of-tune
Dullness--A dark, "swallowed" sound
Thinness--A small, lifeless sound
Breathing, the foundation of good vocal timbre

Relaxed Diaphragm Contracted Diaphragm
Pharynx Pharynx
Tongue Tongue
Larynx
Lung Expanded
Diaphragm Contracted Lung
Diaphragm
The diagrams above show what happens when the diaphragm contracts and the lungs are
filled with air. The diagram below shows the expansion of the rib cavity and the abdomen
during inspiration:
When the diaphragm contracts, it pushes down
1. The abdomenal on all of the organs in the abdomen, causing a
muscles when the "pooching" of the lower abdomen and an expansion
diaphragm is of the back as well. When these muscles are trained
relaxed to hold the air in the lungs when singing, allowing it
to escape evenly and steadily (as opposed to pushing
2. The abdomenal the air out), the vocal cords are supported and the
muscles when the tone is steady and clear. If the abdomenal muscles
diaphragm is 1. do not hold and air is pushed out through the vocal
contracted cords, it can result in a beating together of the vocal
2. cords which will not only lead to a faulty vocal
timbre, but will eventually do damage to the vocal
cords, a damage that might become permanent.
A-6
Vocal timbre and breathing Inspiration (Breathing in)
It is important that the students realize

that when they breathe in, their lungs do
not do the "breathing." The lungs have
no muscles. Rather, the lungs are like
two balloons suspended in the chest Larynx
Trachea
cavity. When the diaphragm contracts
(at right), a vacuum is created and air
rushes into the very expandable lungs. Lung
It is the diaphragm in conjunction with
the muscles of the back and abdomen
that hold the air in the lungs. Point out Diaphragm
to them the "pooching" of the abdomen
muscles during inspiration. Then have
them place their hands on their abdomens
and experience this for themselves.
Expiration is caused when the muscles

relax, significantly the diaphragm, and
the air is pushed out of the lungs when
the diaphragm returns to its at rest
position. Expiration (Breathing out)
You may copy this page for your

students to study. Written Activity 3
has some questions for them to answer
about the organs involved in breathing.
Larynx
Trachea
Lung
Diaphragm
SA - 6
Vowel Production: Vowel production is something that cannot be overemphasized
in choral music education. It is basic not only to vocal timbre,
but also to intonation and choral blend. Students need to be
reminded constantly to sing with "tall" vowels. It is important
that students not be allowed to get by with singing any closed or
"flat" vowels. An important aspect of vocal music education is
in training good habits in the students.
SA - 7
Vowel production
The next important factor determining tone is vowel production. Vowel production
is determined by the shape of the mouth and the position of the tongue. If vowels are
produced with a closed, "smiling" mouth, the tone (or timbre) will suffer and intonation
(in-tuneness) will suffer. Closed vowels can cause a "flat" or nasal tone. Your teacher will
probably use the expression "drop your jaw," or use "tall" vowels. This means that you
should open your mouth farther than you think you should to sing each vowel. The pictures
below show approximations of the mouth and tongue positions for the five basic vowels:
(written in IPA), i, e, a, o, u.
i (ee) e (eh) a (ah) o (oh) u (oo)
i (ee)--The tongue is high behind the teeth; the lips are puckered forward; the jaw is
dropped.
L (eh)--The tongue is slightly farther back, but still high; the lips are still puckered
forward; the jaw is dropped further.
a (ah)--The tongue farther back, but still high in the back of the throat; the lips are pulled
forward; the jaw is fully dropped.
o (oh)--The tongue comes forward but is low in the mouth; the lips are very puckered,
shaped like an O; the jaw is fully dropped.
u (oo)--The tongue remains forward and low; the lips fully puckered, shaped like a small o;
the jaw is dropped as far as possible with a full pucker.
Practice singing in front of a mirror.
Beginning singers always think that their mouths are more open than they actually are.
Practicing singing these vowels in front of a mirror will help you check your mouth to
see if it is open enough and to check to see if your tongue is in the right position.
Practice singing the literature in front of a mirror so that you can check to make sure
every vowel is "tall" and "open." In this way, using tall vowels combined with good deep
breathing controlled with the abdomenal muscles, you will be able to produce the best
possible vocal timbre for your voice at this time of your training.
A -7
I -- YOUR VOICE
Remember, every time you sing to demonstrate the best possible vocal timbre you
can produce through breathing correctly and producing "tall," open vowels. This is
especially important when you are singing by yourself, because no other voices will be
covering your voice; your voice will stand on its own.
1. Describe the events that have to take place in the body for phonation to occur.
2. List the five basic vowels and describe how each one is properly sung.
LESSON 4: VOCAL HEALTH
Your voice is an organic instrument. It is a part of your body. Therefore, it must be

taken care of just like the rest of your body. A healthy voice needs:
1. Sufficient rest
Your vocal cords need a good night's sleep in order to be in the best possible
working condition. Lack of rest will tire all of your muscles, and your vocal cords
are muscles also.
Your vocal cords also need rest from usage. Overuse of your vocal cords can lead
to all kinds of vocal problems, as shown earlier in the chapter. Cheerleading, yelling,
talking for an extended period of time, oversinging, singing without breath support--
all of these things can overstress your vocal cords and damage your vocal chords,
especially with continuing abuse.
2. Good nourishment
Your whole body needs good nourishment in order to function properly. A diet
that is good for your overall health will also be good for your voice.
There are some foods that should be avoided before a major performance.
--Icy cold drinks and foods can cause the muscles of the throat and larynx
to contract making the muscles sluggish and slow to respond.
--Salty foods and spicy foods should be avoided because they can dry out
your throat.
--Caffeinated drinks and foods--such as coffee, tea, caffeinated sodas, and
chocolate--can also cause a mild drying of the larynx.
--Highly acidic foods or drinks such as lemon juice should be avoided for
the same reason. Gargling with salt water or lemon juice is not recommended.
Not only is it not effective, (It will never reach the vocal cords.) it can cause
a drying out of the vocal cords also.
3. Hydration
Drinking plenty of water is one of the best things you can do for your health and
for your voice. Your vocal cords need lots of hydration. Many choral directors have
their students carry a bottle of water with them for rehearsals.
A- 8
Written Activity 3: The Anatomy of a Song
Written Activity 4: Vocal Timbre
Written Activity 5: Vocal Health
Vocabulary:
1. Alto--The lower treble voice
2. Baritone--A low male voice, in between tenor and bass
3. Bass--The lowest adult male voice
4. Diaphragm--The large muscle that separates the abdomen from the lungs; the primary
breathing muscle
5. Falsetto--High treble voice of adult men
6. Phonation--The act of making vocal sound
7. Tenor--The highest adult male voice
8. Timbre--Tone quality of a voice or musical instrument
9. Trachea--The windpipe
10. Treble--Musical notes of the higher ranges
11. Vocal cords--The muscular folds that create a valve in the trachea which vibrate
to make vocal sounds
a LA
A -9
II: Performances
LESSON 1: LIVE PERFORMANCES
There are many kinds of musical performances. Written

Activity 5 addresses one kind of performance, the live
performance. A live performance is one that a person
observes as it is happening. Here are some examples of
live performances:
School concerts
Rock concerts
Sacred music concerts
Recitals
Football game performances
Operas
Ballets
Symphony orchestra performances
Plays
Can you identify other kinds of live performances?

Using Written Activity 6, make a list of all of the live
performances that you have attended. How many are on the
list above? How many are not?
LESSON 2: TECHNOLOGICAL RECORDINGS
Concerts that are shown on free television, at a movie theatre, or on cable or satellite
television; songs that are broadcast on the radio; CDs, mp3's--these are all examples of
recorded performances. Some of these performances may have been broadcast live, but
they are recorded for audiences that are not physically present. Today's recordings are
made digitally with many technological tools so that people may enjoy them on their
televisions, stereos, smart phones, tablets, etc.
Technology has made the recording of performances a very simple task. Recordings
can be made with a touch of the thumb. Personal individual as well as professional
performances are constantly being posted on the internet with the use of technology that
we carry in our pockets.
Thousands upon thousands of performances that have recorded with "pocket technology,"
such as smart phones and tablets and posted on entertainment websites such as Youtube.com.
It is a rare song that cannot be found on the internet and downloaded onto one's computer
or mobile device to be enjoyed at one's leisure. There is no lack of video performances,
present and past, available on the internet.
A -10
II: Performances
Ask the students to describe the following and to give examples of these different kinds
of performances:
1. Live performance
2. Recorded performance
3. Formal performance
4. Informal performance
5. Casual performance
SA - 10
SA - 11
II -- PERFORMANCES
LESSON 3: TYPES OF PERFORMANCES
There are several other categories of performances that depend upon the content of the
performance, the place of performance, the occasion for the performance, and the identity
of the performer. These performances may be formal, informal, or casual. Formal
performances usually take place in an auditorium, concert hall, or church for large
audiences, and the performers wear dress or formal clothing. Usually the audience will
wear dress clothing as well.
Informal performances take place for smaller audiences in less formal settings, such as
for luncheons or meetings. The performers may dress less formally for such an event, and
the atmosphere is more personal and more relaxed.
Casual performances may take place in settings where other activities are going on at the
same time, such as in shopping malls, for community picnics, festivals, carnivals, football
games or other casual gatherings. The audience may be invited to participate in informal
or casual performances.
1. Discuss the differences between live and recorded performances.

2. Discuss the differences between formal, informal, and casual performances.
3. Find two different performances of the same piece of music on the internet. Write a
description of each the performances, the performers, the venues, etc., comparing and
contrasting them.
Written Activity 6: Performances
Written Activity 7: Internet Performances
Written Activity 8: Formal, informal, casual
a LA
A - 11
III: Concert Etiquette
(Performance)
Concert etiquette for performers involves
how a choral singer should behave while
performing. This involves every aspect of the
performance: deportment before the concert,
while entering the stage, while standing on the
stage, while singing, during applause, while
exiting the stage, and after the concert.
LESSON 1: FORMAL PERFORMANCES

Concert etiquette for the performer varies according to the occasion. Etiquette for formal
performances differs somewhat for etiquette for informal or casual performances. It also
differs according to whether the performing group is a large ensemble with a conductor or a
small ensemble that is self-directed. Below is a list of appropriate formal concert behaviors
for performers in large ensembles.
The first thing a singer must do to prepare for a formal performance, large or small
ensemble, is to make sure that his/her uniform is clean, pressed, and completely ready for
the performance. This should be done a day or two before the day of the performance.
This includes making sure all parts of the uniform are present, including shoes, ties,
cummerbunds, vests, and the correct color socks or hose, etc.
Formal performances by large ensembles:
Entering the stage:
1. The stage should be entered as quietly as possible. There should be absolutely
no talking, not even to give directions to others.
2. If the risers are mounted from one side only, they should be mounted from the
far side. The leader should be the first person on the back row of the side
farthest from where the choir is entering the stage.
3. If the risers are mounted from both sides, then the leaders should be the center-
most singers on the back row. They should climb each step at the same time
and meet in the middle.
4. The singers should step on the risers and ascend to the step on which they will
be standing before they turn to cross to the middle instead of cutting across
the risers diagonally to reach the step on which they will be standing.
5. If the singers are using music, the music should be in black folders and carried
at their sides in the hand opposite the one that faces the audience.
6. The singers should step lightly on the risers to make as little noise as possible.
7. The singers should look around them without too much turning of the head to
make sure they are where they are supposed to be and that they are spaced
evenly. If adjustments need to be made, they should be made silently and
with as little commotion as possible.
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III: Concert Etiquette
(Performances)
Group Activity:
Before reading this chapter, divide the class into small groups of 4-6 members each.
Give the groups 5 minutes to discuss (no more) and to write out a list of behaviors that
should be expected of choral students while performing.
After they have made their lists, tell them each to prioritize their list with the most
important behavior first.
Bring the class back together and ask each group to record on the chalkboard the first
behavior on each group list. If a group offers a behavior that has already been given, ask
that group to give the next one on its list. Continue until all of the behaviors on all group
lists have been recorded in priority order. Weed out the nonessentials.
Print this list and give it to the students and parents as a contract that the students agree
to exhibit the performance behaviors that they themselves have selected. Provide a place
for the student to sign as well as for the parent, and the teacher.
You may establish consequences for breaking the rules in the same way if you wish,
reserving the right for you to have the final say.
After the you have done this little group activity exercise, have them read and discuss
the chapter and compare what the students listed with what the book presents.
Formal performances by large ensembles:

The students should go over each of the guidelines for behavior for formal performance
in large ensembles. Not only should they be able to list and describe them, they should
also be required to demonstrate them. Take time in the class schedule for students to
demonstrate the behaviors for formal large ensemble performances by setting up mock
concerts on the risers in your classroom and, if possible, on an auditorium stage. Do not
wait until just before a performance to practice the behaviors; you will need this time to
to perfect the music. If performance behaviors are learned early in the year and practiced
regularly, then immediately before a formal concert, the large ensemble needs only a
dress rehearsal to work out the specific details for that particular performance.
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III -- CONCERT ETIQUETTE (Performance)
Before the performance:

1. Stand tall, weight evenly distributed on both feet, feet shoulder-width apart,
one foot slightly ahead of the other, and hands to the side.
2. The singer may look at the audience at this time, but as soon as the conductor
enters the stage, the focus should be on him/her.
3. There is absolutely no talking or interacting or extraneous movement during
this time.
During the performance:

1. The singer does not take his/her eyes off of the conductor from the time the
conductor raises his/her hands or baton, to the time (s)he lowers it.
2. All music should be memorized unless the choir is performing a lengthy
work. In which case, music should be held up so that the singer can see
the conductor just over the top of the music.
3. The singer should remember to move his/her knees slightly from time to
time to make sure the blood keeps flowing to the brain and (s)he does not
pass out. (This is not an unusual occurrence in beginning choirs.)
After the performance:

1. The singer should stand still, face up to the audience and acknowledge the
applause.
2. They may look at the audience and take the time to breathe deeply,
wiggle their knees and squeeze their hands to stimulate blood flow, but
this should be done covertly so that it is not obvious from the audience.
3. If it is between numbers, the singers may begin preparing themselves
mentally for the next piece.
4. It is not necessary for large ensembles to bow in order to acknowledge the
applause. It is generally better for the conductor to accept the applause by
bowing for the whole group.
5. If it is at the end of the performance, the singers remain in their places
until they receive direction to leave the stage, which they should do in an
orderly manner, one row at a time, beginning with the front row.
Demonstrate the behaviors for large ensembles in formal performances, both in

the classroom and in actual performance.
Formal performances by small ensembles:

In general, most of the rules for formal large ensemble performances would apply to
formal performances by small ensembles as well.
Entering the stage:

1. The stage should be entered as quietly as possible. There should be
absolutely no talking, not even to give directions to others.
2. Risers are not generally used for small ensembles. If risers are used, they
should be mounted according to the rules for large ensembles.
3. Singers should step lightly and enter the stage with as little noise as possible.
4. Singers should look around them without too much turning of the head to
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CONCERT ETIQUETTE (Performance) -- III
make sure they are where they are supposed to be and that they are
spaced evenly. If adjustments need to be made, they should be made
silently and with as little commotion as possible.
1. Stand tall, weight evenly distributed on both feet, feet shoulder-width
apart, one foot slightly ahead of the other, and hands to the side.
2. The singers may look at the audience to acknowledge the applause at
this time, but they should then directly or indirectly focus on the leader
of the ensemble for pitches and/or the starting gesture.
1. During the performance, the members of the small ensemble should focus
their eyes on two or three different spots slightly over the heads of the
audience and change their focus every few seconds.
2. At places which have changes in tempo and as the end of the piece draws
near, ensemble members should refocus on the leader for any ritards or
other tempo changes, as well as the final cut-off.
1. The small ensemble may stand and acknowledge the applause or bow,
depending upon what has been pre-decided and practiced.
2. After the applause has been acknowledged and has faded, the members
should exit the stage in a quiet and orderly manner.
Demonstrate the behaviors for small ensembles in formal performances, both in
the classroom and in actual performance.
1. Describe the concert etiquette for large ensembles in formal performances.

2. Describe the concert etiquette for small ensembles in formal performances.
3. Discuss the differences.
Written Activity 9: Formal Large Ensemble Performances
Written Activity 10: Formal Small Ensemble Performances
LESSON 3: INFORMAL PERFORMANCES
It is appropriate to follow all of the rules for formal performances in informal settings.
But it is not appropriate to take the liberties allowed for informal performances in a formal
performance situation.
In general, the rules for performance etiquette remain much the same for informal
performances as they are for formal performances. However, in informal settings, the
singers may be a bit more relaxed in their behavior.
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Formal performances by small ensembles:
The students should discuss in class each of the guidelines for behavior for formal
performance in small ensembles. Not only should they be able to list and describe them,
they should also be required to demonstrate them. Even if they may never be involved
in a small ensemble in a formal setting, they need to demonstrate the performance skills
that are required for a such a performance so that they can practice these things on their
own if they ever find themselves such a situation. When you have class performances
of small ensembles, have the participants exhibit the same behaviors they would need
in a formal setting. Do not wait until just before a performance to practice the behaviors.
If the students have rehearsed these behaviors well from early in the year, then the small
ensemble can practice independently, and time will not be taken away from the large
group rehearsal time.
Lead a student discussion of the differences between performance behaviors for large
ensembles in a formal setting versus those for small ensembles in a formal setting.
It is up to the teacher to provide performance opportunities for the students during

the school year. All students should be involved in at least four formal large ensemble
performances with several informal performance opportunities and many occasions
for small ensembles to perform in a variety of settings. Students learn to perform by
performing. The director should seek out performance opportunities early in the year and
place them on the school's and the choir's calendar of events.
SA - 14
Informal performances by large ensembles:
The students should go over each of the guidelines for behavior for informal performance
in large ensembles. Not only should they be able to list and describe them, they should
also be required to demonstrate them. Take time in your class schedule to have the
students demonstrate the behaviors for informal large ensemble performances by having
them practice these behaviors on the risers or in whatever setting the informal performance
may take place. If these behaviors are practiced in your classroom then there will be less
adjustment necessary in the actual performance setting.
Informal performances by small ensembles:

The students should discuss in class each of the guidelines for behavior for informal
performances with small ensembles. Even if they may never be involved in a small
ensemble, they need to be prepared should the opportunity arise. Since there is little
difference between formal and informal performance skills, if the students are prepared
to perform formally in a small group, they will likewise be prepared for an informal
performance. When you have small ensembles perform for the class, have the students
exhibit the same behaviors they would need in a performance situation. Do not wait
until just before a performance to teach the behaviors. If the students have rehearsed these
behaviors well from early in the year, then the small ensemble can rehearse independently
for any performance, and class time does not have to be spent for the small ensemble to
practice performance skills.
All small ensemble music should be memorized and performed from memory.
Lead the students in a class discussion concerning the differences between performance
etiquette for formal performances and for informal performances.
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1. Because an informal performance may or may not involve the use of the
risers or entering a stage, the teacher must decide how to organize the way
the singers will stand. If possible, this should be practiced beforehand. If
not, then the singers must stand in an orderly and quiet way, waiting for
instructions from their teacher.
2. Students must follow the instructions silently. Since there is a likelihood of
more interfering noise in an informal situation, it is even more important
that the singers remain quiet so that all can hear the instructions from their
director. They should not take it upon themselves to try to tell other singers
what to do, but merely to stand quietly so that the rest of the choir can hear
the director's instructions.
1. During an informal performance is it particularly important for a large ensemble
to stay focused on its director. The chances of more motion and commotion in
the audience is greater in an informal performance, and the individual singer
must stay focused no matter what interference may occur in the audience.
2. There is a chance that the audience may choose to participate during an informal
concert by either clapping to the beat or by joining in the singing. The singers
should be prepared for this possibility so that they are not taken by surprise if it
should happen.
3. Informal performances should always be memorized. Carrying music folders is
an unnecessary inconvenience that can be avoided.
1. If the director has not given specific instructions about what to do, the singers
should remain in their places following the performance.
2. If the performance is in a public place, such as a shopping mall, the students
should remember that as long as they are in public in their school uniforms,
they represent the school and should be on their best behavior.
Demonstrate the behaviors for large ensembles in informal performances, first in
the classroom and in actual performances.
Informal performances by small ensembles:

1. The members of the small ensemble must know how to stand before they go
to place of performance. When they arrive, they should either sit or stand
quietly together and wait for their performance cue.
2. When it is time to perform, they should go straight to their places without
discussion.
1. During an informal performance is it particularly important for a small ensemble
to stay focused on its music. It is also important that singers open their mouths
and sing out with a full sound, as there may be noise interference that they will
have to compete with. Whatever happens, the singers must remain focused and
keep on performing no matter what interference may occur in the audience.
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CONCERT ETIQUETTE (Performance) -- III
2. There is a chance that the audience may choose to participate during an

informal concert by either clapping to the beat or by joining in the singing.
The singers should be prepared for this possibility so that they are not taken
by surprise if it should happen.
3. Informal performances should always be memorized. Carrying music folders
is an inconvenience that can be avoided.
4. While members of a small ensemble may look at faces in the audience and
even glance at each other during an informal performance, they should
not do anything to break their concentration in performing the music to the
best of their ability. If they wish to look directly at faces of the audience
and/or at each other, they should practice doing this before the informal
performance.
1. It should be predetermined (and practiced) what the singers should do after
the performance.
2. The ensemble may choose to bow after each number or at the end of the
performance. If they choose to bow, they should practice the bow. If they
choose not to bow, they should determine how they will acknowledge their
applause.
3. If the performance is in a public place, such as a shopping mall, the students
should remember that as long as they are in public in their school uniforms,
they are the school's representatives and should be on their best behavior.
Demonstrate the behaviors for small ensembles in informal performances, first in

the classroom and in actual performances.
LESSON 4: CASUAL PERFORMANCES

In casual performances, the singers should follow the guidelines for informal
performances. Even if their director allows them to be more relaxed in the performance,
they should stay focused on giving the best performance possible under the circumstances,
keeping in mind that people will possibly be coming and going and conversing while they
are singing. They must not allow the commotion distract them from their best performance
of the music.
Examples of casual performances include performing during the holiday season at the
mall, at sports events, for community events, or any outdoors performance.
Describe any casual performances you have been involved in and the performance
behaviors you exhibited during those performances.
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1. Describe the concert etiquette for large ensembles in informal performances.

2. Describe the concert etiquette for small ensembles in informal performances.
4. Discuss casual performances. What things might one expect during casual
performances?
Written Activity 11: Informal Large Ensemble Performances
Written Activity 12: Informal Small Ensemble Performances
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IV: Concert Etiquette
(Audience)
Choir members should not only be responsible
performers, they should also be good observers.
There are some guidelines that need to be
followed in order that the audience give proper
respect for those who are performing.
Although the guidelines may vary slightly for

formal, informal, or casual performances, the
basic respect for the performer is at the center of
all audience etiquette. Show that you understand
appropriate audience etiquette by demonstrating these guidelines in the classroom setting.
Then it will be easy for you to demonstrate them while observing live performances.
LESSON 1: FORMAL PERFORMANCES

1. Dress appropriately. The audience should wear dress clothing for formal concerts.
2. Be on time. There should be no seating after the performance begins and until the
applause after the first number.
3. Take care of personal needs before the concert. Do not expect to be able to go
to the restroom or get a drink during the concert.
4. Pick up a program before you enter the auditorium.
5. Do not sit beside those who will tempt you to talk to them.
6. Do not seat-hop. Find a seat, and keep it.
7. If you come in late, wait to enter until the first applause. Then enter quietly and
take the first available seat.

1. Absolutely no talking!
2. Do not exit the auditorium except in case of dire emergency; and in that case, exit
only during the applause.
3. You may follow along with the program if there is enough light, but do not rattle
it or use it as a fan.
4. Sit upright and give the performers your full attention. Keep your mind focused
on the performance. An actively involved listener is one who does not become bored.
5. Do not wave to the performers on stage.
6. Show your appreciation for the performance with applause.
7. Do not applaud between movements of a larger work. Wait until the conductor lowers
his hands or baton before applauding.
8. Do not whistle or yell during the applause.
9. You may stand during the applause if you think the performing group has given an
exceptional performance.
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IV: Concert Etiquette
(Audience)
Group Activity:
Before reading this chapter, divide the class into small groups of 4-6 members each.
Give the groups 5 minutes to discuss (no more) and to write out a list of behaviors that
should be expected of an educated audience.
After they have made their lists, tell them each to prioritize their list with the most
important behavior first.
Bring the class back together and begin a list on the blackboard or on a large piece
of paper, starting the first behavior on each group list. If a specified behavior has already
been given by a previous group, ask the group to give another one. Continue until all
behaviors on each group list are recorded. Weed out the non-essentials.
Print this list and give it to the students and parents as a contract that the students agree
to exhibit the performance behaviors that they themselves have selected. Provide a place
for the student to sign as well as for the parent, and the teacher.
You may develop consequences for breaking class rules in the same way if you wish,
reserving the the final decision for you, as director.
After the you have done this little group activity exercise, have them read and discuss
the chapter and compare what they listed with what the book presents.
Audience etiquette for formal performances:

Make sure the students understand the guidelines for audience behavior in formal
situations by having them demonstrate these guidelines in the classroom. If respect
for the performer(s) is practiced in the classroom, then it will come more naturally in
a formal concert setting.
It is up to the teacher to provide opportunities for the students to attend formal

performances during the school year. All students should attend at least three
formal performances, not only to practice their audience skills, but also to evaluate
the performances.
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CONCERT ETIQUETTE (Audience) -- IV
10. Do not make faces or negative comments about the performance in the concert
hall.
11. Keep your mind actively involved in the performance by concentrating on musical
elements and/or the quality of the performance.
1. Applaud as long as you would like. It is a polite gesture to reward performances
with a heart applause.
2. If you have flowers for a soloist or for the conductor, you may take them up to
the stage after the choir is finished performing.
3. Do not go up on the stage until the choir has completely exited.
4. Congratulate the conductor and the choir on a successful performance.
Demonstrate appropriate audience behaviors for formal performances, first in the

classroom when listening to recorded performances, and then in observation of live
performances.
LESSON 2: INFORMAL PERFORMANCES

1. Be on time. Even though informal performances are more relaxed, one should
still do as little as possible to disturb the performance.
2. Take care of personal needs before the concert so that you do not have to miss
part of the performance or disturb the performers by leaving early. The
might think that you walked out on their performance because you do not like
it; so make every effort to avoid this.
3. Do not seat-hop. Find a seat, and keep it.
4. If you come in late, wait to enter until the first applause.
1. Do not talk during the performance--show the performers the same respect that
you would want them to show you.
2. Do not leave the performance except in case of emergency; and in that case, exit
only during the applause.
3. Give the performers your full attention.
4. Show your appreciation for the performance with applause.
5. Do not whistle or yell during the applause.
6. You may stand during the applause if you think the performing group has given
an exceptional performance.
7. Do not make faces or negative comments about the performance in the concert hall.
1. Applaud as long as you want to. It is always polite to reward the efforts of the
performers with a hearty applause.
2. Congratulate the conductor and the choir on a successful performance.
Demonstrate appropriate audience behaviors for informal performances, first in

the classroomwhile listening to or watching recorded performances, and then in
observing live performances.
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LESSON 4: RECORDED PERFORMANCES
At times you will be asked to watch/listen to recorded performances in class or in some

other group situation. The observer should show respect for the other listeners by listening
quietly and attentively. Any talking will distract the other listeners and ruin the performance
for them.
Respond cognitively to the performance.

1. Listen for specific musical events: Form, texture, arrangement, orchestration,
if any. Be able to give an informed report on what you heard/observed.
2. Evaluate the performance by established standards (which will be discussed
in a later chapter).
3. Evaluate the music by established standards (which will be discussed in a
later chapter.)
4. Take notes, comparing the performance to like performances you have observed
previously.
1. Describe audience etiquette for formal performances.

2. Describe audience etiquette for informal performances.
4. Discuss casual performances. What are some things to remember about casual
performances?
5. Discuss ways to keep onself actively involved as a listener to a live performance.
6. Discuss some ways to respond cognitively to a recorded performance. Can you
think of ways other than what are listed above?
Written Activity 13: Audience Etiquette for Formal Performances
Written Activity 14: Audience Etiquette for Informal Performances
Written Activity 15: Etiquette for Listening to Recorded Performances in Public
Written Activity 16: Cognitive Response to Musical Performances
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SA - 20
V: Evaluating Music
Students need to evaluate music; not only the music that they will be learning and
performing in their choral classes, but also the music that they listen to on a daily basis.
If they can give musical answers for their tastes in music, hopefully it will lead them to
appreciate different types of music simply for their musical value.
Written Activity 13 provides a form for evaluating one's personal taste in music.
Written Activity 14 provides an evaluation form which the students may use to evaluate a
musical piece's quality and effectiveness based upon the musical elements in it. Written
Activity 15 leads them through the development of their own form for evaluating music.
Allow students to evaluate every piece of music that they learn for performance. In fact,
it might be educational to do a "before" and "after" evaluation of the music to see how
their perception of the piece changes after they have learned it to performance level.
Quality and effectiveness

Questions for class discussion:
What is meant by the "quality" of a musical piece?

What are some characteristics of a musical piece that help determine its quality?
What is meant by "effectiveness" of a musical piece?

What are some characteristics of a musical piece that help determine its effectiveness?
Is "quality" a subjective evaluation? Does it depend on personal taste?

Or are there some objective musical standards with which to judge the quality of music?
If so, what are some of those standards?
Is "effectiveness" a subjective evaluation? Does it depend on personal taste?

Or are there some objective musical standards with which to judge the effectiveness
of music?
If so, what are some of those standards?
Can a musical piece be high quality and not be effective? Explain.

Can it be effective and low quality? Explain.
SA - 21
V: Evaluating Music
As choral musicians, you will be singing many different types

of music. Some of the music you will like very much; some of it
you may not enjoy as much. Everyone has tastes in music; there
is nothing wrong with this. The purpose of this chapter is to lead
you into evaluating your own taste in music, to develop musical
reasons for liking or disliking a piece, to evaluate music as to what kind is best for specific
situations, and the over all artistic value of a piece of music to you.
We will start with an evaluation of your own current taste in music. Everyone has his
own personal tastes, but one of the purposes of music education is to teach the student
the elements of music and to allow him/her to learn various styles of music. This being
the case, it is probable that your taste in music will be changed by becoming musically
literate. Not that you won't like the music you enjoy now, but that you will broaden your
repertory and will learn to enjoy many kinds of music. Written Activity 17 will guide you
through an analysis of your favorite music and, hopefully, provide some musical insights
to you as to why you like it.
After you completed Written Activity 17, what did you find out about your main
reasons for liking a piece of music? Were they musical? Were they mainly nonmusical,
such as lyrics, personality of the performer, or sentiment about circumstances surrounding
the piece or your hearing it?
From this point forward in the book, you will be asked to evaluate music simply from a
musical standpoint. You will be using the criteria given in Written Activity 18 plus any
criteria you would like to add to it, to create your own form for evaluating the quality and
effectiveness of music you listen to or perform. First of all, decide how you will divide
the 100 possible points for your evaluation form between quality and effectiveness. You
may wish to divide it 50/50, but, after studying the meaning of both quality and
effectiveness, you may make your decision.
Quality: What is meant by quality in music? Look up the word in a dictionary. How does
it relate to music?
Effectiveness: What is meant by effectiveness in music? Look up the word in a dictionary.

How does it relate to music?
Questions for discussion:

How do quality and effectiveness in music relate to each other?
Can quality music be noneffective?
Can effective music lack in quality?
To what degree is the quality and effectiveness of a piece of music dependent upon the
performance of it?
A -21
V -- EVALUATING MUSIC
Which musical qualities (modality, melodic line, tempo, rhythmic interest, harmonic
interest, dynamic changes, etc.) contribute the most to the quality of a piece of music?
Which musical qualities (modality, melodic line, tempo, rhythmic interest, harmonic
interest, dynamic changes, etc.) contribute most to the effectiveness of a piece of music?
Incorporating the musical qualities you defined in Written Activity 18, use Written
Activity 19 to create your own form for evaluating the quality and the effectiveness of a
piece of music. You will be using this form to evaluate the choral music you learn in this
book, in the literature that accompanies this book, and other choral music.
Here are the terms you will be using on your form. Discuss in class the relationship
between each of these terms and the quality and the effectiveness of a piece of music:
Melodic line
Modality (Major/Minor)
Meter/beat
Tempo
Dynamic levels/contrasts
Style
Rhythmic interest
Harmonic interest
Accompaniment/Instrumentation
Lyrics
Set up a ranking scale for the total score for a piece of music. For example if the total
score falls between 95-100 and is evenly divided for quality and effectiveness, you may
wish to label that category, High quality/Very effective. Or for an evenly divided score
between 85 and 95, Good quality/Effective, etc. Be creative!
Additionally, at the bottom of each form, make a place to write in the type of
performance setting in which the piece would best fit, such as formal concert, informal
concert, pop show, small ensemble, etc.
Type your form up on a computer so that you can make copies of it to use throughout
the year. If at any point, you become dissatisfied with your form, talk to your teacher
about how you think you could improve it.
Written Activity 17: My Taste in Music
Written Activity 18: Quality and Effectiveness
Written Activity 19: Create an Evaluation Form.
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VI: Evaluating Performances
Students should be able to recognize good performances and verbalize what qualities
make them good. In order to do this, they must be equipped with the tools with which to
make these decisions. An understanding of the performance concepts, below, will help
them to make and verbalize their decisions:
1. Technical Accuracy--How accurately the notes and rhythms are reproduced

2. Intonation--How well the singers are in tune with each other and with the
written pitches
3. Balance--How equally the voices and the voice parts are projected
4. Blend--How even the sound is--no individual voices sticking out.
5. Dynamics--How loud or soft the music is performed
6. Tone--The quality of the sound: full, thin, weak, breathy, harsh, etc.
7. Phrasing--How musically the melodic line is performed
8. Tempo--The speed at which the music is performed
9. Interpretation--How a choir presents the mood of the music
10. Diction--How words are pronounced--vowels and consonants
Introduce and discuss these terms and concepts in class. Written Activity 16 may be
used as a reinforcer or as an evaluation to ascertain that the students understand the
concepts. They will be using these as a basis for the evaluation forms that they will create.
Quality and effectiveness

Questions for class discussion:
What is meant by the "quality" of a musical performance?

Which of the characteristics above determine the quality of a performance?
What is meant by "effectiveness" of a musical piece?

Which of the characteristics above determine the effectiveness of a performance?
Can a musical piece be high quality and not be effective? Explain.

Can it be effective and low quality? Explain.
After the students have developed their evaluation forms, keep a copy of each of them
in a protected place so that you can make a copy of it for them if they lose their original
copy. Make sure the students have the opportunity to evaluate at least three formal
performances during the school year in addition to small ensembles and solos in the
classroom.
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VI: Evaluating Performances
A. Write an essay in your own words on what makes a good choir performance.
B. Discuss your conclusions in class.
1. Discuss the following terms in class. A short discussion of each word is given to start
off the discussion. What can you add to each definition? Determine the relevance of
each of these to a quality and effective choral performance.
1. Technical Accuracy--How accurately the notes and rhythms are reproduced
2. Intonation--How well the singers are in tune with each other and with the
written pitches
3. Balance--How equally the voices and the voice parts are projected
4. Blend--How even the sound is--no individual voices sticking out.
5. Dynamics--How loud or soft the music is performed
6. Tone--The quality of the sound: full, thin, weak, breathy, harsh, etc.
7. Phrasing--How musically the melodic line is performed
8. Tempo--The speed at which the music is performed
9. Interpretation--How a choir presents the mood of the music
10. Diction--How words are pronounced--vowels and consonants
2. Discuss each of the terms, above, in terms of its significance to:
A. The quality of the choral performance, and,
B. The effectiveness of the choral performance.
3. What is the difference between the quality of a choral performance and the
effectiveness of one?
4. Can you have quality without effectiveness?
5. Can there be effectiveness without quality?
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VI -- EVALUATING PERFORMANCES
6. Evaluate:
A. Which of the traits on the preceding page are the most important in a choral
performance? In teams of 4, rank the traits from 1 to 10 with 1 being the most
important.
B. In your team, assign points to each trait according to the rank order that your team
establishes. Make sure the points add up to 100.
C. Create a form with Written Activity 20 for evaluating choirs.
D. Observe and evaluate at least 3 different choir performances using the form you
created. You may also use them in the classroom for large or small group
or solo evaluations.
Not only is it important for choral musicians to be able to evaluate the performance of
choirs, (s)he must be able to evaluate the quality and effectiveness of his/her own
performance also. The form on Written Activity 22 allows the individual student to
evaluate his or her own solo or small ensemble performance. This form may be used
whenever a student is called upon to perform solo or in a small ensemble, in the classroom
as well as in a formal or informal concert or recital.
Record yourself while performing. Before you listen to or watch the recording, fill out
the self-evaluation form of Written Activity 22. Then watch or listen to your
performance, and fill out a second self-evaluation form without consulting the first.
Compare the two evaluation forms. Were they alike? Or were there some significant
differences?
When filling out the form, after totaling your score for each of the characteristics listed
on the form, give yourself a rating for overall quality and effectiveness. (A low total score
should not result in high quality and effectiveness scores, nor should a high total score
result in low quality and effectiveness scores.) Also make some notes for improvement
for your next performance.
Turn in these evaluations to your teacher for safe-keeping so that you may review them
all at the end of the year to gauge your progress.
Written Activity 20: Performance Evaluation
Written Activity 21: Create a Critique Form
Written Activity 22: Self-Evaluation
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Self-evaluation (Written Activity 18) is very important in student development.
Offer many opportunities for your students to perform solo as well as in large and small
ensembles. Then let them evaluate themselves and be evaluated by the class.
One very effective self-evaluation is to have them perform and record their performance.
Ask them to do two evaluations: one before listening to the recorded performance and one
after. Then compare the results.
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Class discussion:
Ask the students to brainstorm for different musical careers.
Vocation vs. Avocation:

Sometimes people are very much involved with music just for the love of music. They
are involved with musical activities as a hobby, or an avocation, meaning that they do not
make their livings by their musical activities. Such activities may include taking music
lessons, performing in a community chorus, or building a musical library.
Can you name some other musical avocations?
What is the difference between a vocation and an avocation?
SA - 25
There are many ways to make a living with music.
A person can teach music in the public or private schools,
like your teacher does. Or write materials to use in the
classroom, such as this textbook. Besides your teacher
do you know other people who make their livings by
doing something related to music?
LESSON 1: MUSICAL VOCATIONS

Assignment 1: Using the internet search engines, find as many different jobs in the music
business as you can find. Compare your list to your classmates' lists.
Who found the most careers?
Who found the most unusual careers?
Assignment 2: Prepare a report on the life and work of a current popular or historical
figure in the music field. Include a biography with pictures, if possible, a detailed
description of what the person does, and what preparation was necessary to equip the
person for their job. Present your report to the class either orally with audio and/or visual
exhibits such as videos, a computer slide show presentation, or with posters/drawings.
Written Activity 23 can help you with this report.
Assignment 3: Interview a person with a musical career outside of education. You may
conduct your interview either by letter, by email, by phone, or in person. (Never contact
any person without your parents' knowledge, permission, and supervision.) Written
Activity 24 contains some standard questions to ask the person you interview. Add questions
specific to the musician you are interviewing and/or your own questions to the list. If you
are doing an oral interview with the person, ask the interviewee if you may record the
conversation so that you can accurately report their answers. Type up your interview, and
share it with the class.
LESSON 2: MUSICAL AVOCATIONS

Sometimes people are very much involved with music just for the love of music. They
are involved with musical activities as a hobby, or an avocation, meaning that they do not
receive compensation (payment) for their musical activities. Such activities may include
taking music lessons, performing in a community chorus, or building a musical library.
Can you name some other musical avocations?
What kind of music avocations are you involved with (on your own time, after the
sdhool day? Are your parents involved in some kind of music avocation? What people
do you know that have a musical hobby that it very important to them?
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VII -- MUSICAL CAREERS
Describe the differences between a vocation and an avocation.
Written Activity 23: Famous Musician
Written Activity 24: Interviewing a Musician
Written Activity 25: Vocation or Avocation?
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VIII: Music and Other Arts
Define, discuss, and differentiate between concept, content, and process, as it has to do
with fine arts education. If the students do not understand these differences, they will not be
able to do the assignments of comparing and contrasting music with the other fine arts.
Concept: A concept is an abstract or general idea that is important to a particular subject.
Content: Content consists of all the individual components of a subject.
Process: Process is the particular course of action taken to achieve a results.
Help your students understand each of these words and distinguish between them.
Class discussion:
What concepts are involved in music education?
What concepts are involved in the other fine arts (dance, theatre, visual art, literature)?
What content is a part in music education?

What content is a part of the other fine arts (dance, theatre, visual art, literature)?
What processes are used in music education?

What processes are used in the other fine arts (dance, theatre, visual art, literature)?
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VIII: Music
and Other Arts
The "fine arts" are often set aside from
other disciplines. They are referred to as
expressive, creative, or "right brain" subjects,
and often set apart from the other "academic"
subjects.
The arts have an important part to play in

our society, and so it would follow that they
are important to the education of every child
that lives in this society. Additionally, the arts
give us not only the ability to express ourselves
in creative and imaginative ways, but they also
encourage us to seek creative ways to solve
problems in all areas of our lives.
Traditionally, the "fine arts" include music, visual art, theatre, and dance. Some include
literature with the fine arts also.
CONCEPTS:
There are two aspects of the fine arts that we will be discussing. First of all, are the
concepts involved in the different fine arts disciplines. One example is time. Music,
dance, and theatre are arts that exist in time. Space would be another concept. Visual art,
dance, and theatre are arts that exist in space. These are two fundamental concepts which
have many subdivisions. One subdivision of the concept of time would be tempo, or speed.
Another would be duration. One subdivision of space would be height. Another would
be breadth.
Small group discussion:

In small teams, work together to identify concepts of the various arts. Use the partial list
in Written Activity 27 to start you off. Add concepts to the list, and then identify the fine
arts that incorporate that particular concept.
CONTENT:
Content refers to the actual subject matter that is taught in a course of study. Examples
of content for music would be note values, pitch notation, music reading, etc. Content for
theatre would include acting, set design, lighting, etc. Discuss the different areas of content
for the different arts and how they compare or differ from those of music.

In small teams, work together to identify major points of content of the various arts. Use
Written Activity 28. List the content and show how the content of one art relates to that
of the other arts.
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MUSIC AND OTHER ARTS -- VIII
PROCESS:
Process is the way in which content is delivered. Process involves the sequence in
which content is presented or skills are learned, the manner in which it is presented, and
the activities that are used to convey the content.

In small teams, identify some key process elements in each of the arts presented.
Written Activity 29 will help you identify process elements for each of the fine arts
and to compare them to each other and to music.
1. Write a short paragraph discussing the difference between the concepts, the
content, and the processes of courses of study.
2. Write a brief essay describing how concepts of other fine arts are similar to those
of music and how they are different.
3. Write a brief essay describing how content of other fine arts are similar to those
4. Write a brief essay describing how processes of other fine arts are similar to those
Written Activity 26: Concept, Content, Process
Written Activity 27: "Concept" in the Fine Arts
Written Activity 28: "Content" in the Fine Arts
Written Activity 29: "Process" in the Fine Arts
Written Activity 30: Music vs. other Fine Arts
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Class discussion

What concepts are involved in the other subjects (math, English, foreign language,
science, history, PE)?
How are they alike or different from the concepts involved in music education?
What content is a part of music education?

What content is a part of the other subjects (math, English, foreign language,
How is their content alike or different from the concepts involved in music education?

What processes are involved in the other subjects (math, English, foreign language,
SA - 29
CONCEPTS:
As pointed out in the previous chapter, music is an art that exists in time. A subdivision
of the concept of time would be tempo, or speed. Another would be duration. Other
concepts that are characteristic of music include rhythm, dynamics, and timbre. These, of
course, may be divided further into more sub-groups. When the subgroups become very
specific, they make up the content of the subject.
Music concepts relate to the concepts of other subjects in many ways. For example,
the concept of reading music relates directly to reading words (English), and notes and
rhythms become the phonetics of music literacy. Music performance is dependent upon
training muscles through practice as is physical education. Music production depends
upon the physical laws of acoustics (science), and music learning is cumulative as is the
study of math.

In small teams, work together to identify concepts of the various subjects. Use the
partial list in Written Activity 31 to start you off. Add concepts to the list, and then
identify the concepts of the various subjects as they relate to music (and each other).
CONTENT:
Content involves specific learning that reinforce the concepts. It refers to the actual
subject matter that is taught in a course of study. Examples of content for math would be
fractions, addition, and quadratic equations. Content for French would include diction and
conjugating verbs. Discuss various areas of content for different subjects and how they
compare to or differ from those of music.

In small teams, work together to identify major points of content of various subjects.
List the content and show how the content of one art relates to that of other subjects as
well as to that of music.
PROCESS:
Process is the way in which content is delivered. Process involves the sequence in
which content is presented or skills are learned, the manner in which it is presented, and
the activities that are used to convey the content. Music has processes in common with
most other subjects. For example, music is cumulative, as is math--one skill is built upon
another, increasingly more complex--and unlike history. Music involves the skills of both
reading and writing, as English does.

In small teams, identify some key process elements in each of the subjects presented.
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IX -- MUSIC AND OTHER ARTS
Written Activity 33 will help you identify process elements for each of the subjects
and to compare and contrast them to music.
1. Write a brief essay describing how concepts of other subjects are similar to those
2. Write a brief essay describing how content of other subjects is similar to those
3. Write a brief essay describing how processes of other subjects are similar to those
Written Activity 31: Music and Other Subjects (Concepts)
Written Activity 32: Music and Other Subjects (Content)
Written Activity 33: Music and Other Subjects (Process)
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X: Music and Language Skills
Class discussion

What concepts are involved in the other subjects (math, English, foreign language,
What content is a part of music education?

What content is a part of the other subjects (math, English, foreign language,
How is their content alike or different from the concepts involved in music education?

What processes are involved in the other subjects (math, English, foreign language,
SA - 30
Chapter 1:
What is Music?
Where to begin:
NM Posture: Post these rules on the wall of your classroom. You will have to
remind your students of them constantly.
Sitting: Backs straight, edge of chair, feet flat on the floor, eyes up,
music up.
Standing: Stand tall, shoulders relaxed but not drooped, feet shoulder-
width apart, eyes up, music up, (if not holding music) arms
dropped straight down at sides
Remind them that by standing this way, they are also practicing for large group performances,
as well as small ensemble and solo performance.
q Breathing 1. Have the students (or a volunteer) lie flat on the floor and place a
book on their abdomens (beltlines). Instruct them to take a deep breath.
Their chests and shoulders cannot move; the only place that can move
is their abdomen, making the book rise. They will probably start
giggling at this exercise. This is good because the more they laugh
the more the book will move. Also have them cough and notice what
happens to the book. These are the proper breathing muscles. These
are the muscles that a baby uses naturally. "Chest" breathing or the
raising of the chest and shoulders when breathing are a result of
mislearning.
2. Tell the students to use the same muscles when sitting or standing.
Sit or stand tall with hands on abdomen. Tell the students to feel the
v
expansion very low, to fill their lungs all the way down.
Vowels Vowel training begins before the students sing a note. Have the
students place two fingers of each hand on their cheeks so that they
can feel their open jaw beneath them. This pushes their jaw lower
and their lips forward. All vowels need to be sung in this position.
For "closed" vowels such as u and o, their lips should come together
their open jaw. For i (ee), the lips should be puckered. Be very
swift to correct any flat or strident vowel. Always teach them the
words the way you want them pronounced instead of allowing them
merely to read and sing them on their own. You will spend much
less time "fixing" things if you teach it to them the correct way from
the beginning.
Be especially attentive to the vowels that tend to go flat; for

example, have them prounce Re as "reh" instead of "ray."
Students need to know that vowel production is the most important

determiner of intonation and tone quality.
S-1
1:
Music is an extremely important part of our modern lives, but how many times have you
tried to describe exactly what music is? See if you can put it into words.

Write a short paragraph describing what you perceive music to be.
Music could be defined as "Sound patterns organized in time." Music is not like the
visual arts; you cannot perceive music all at one time, as with a painting. Music must be
apprehended in time. Thus we have two elements necessary for making music:
Sounds and time, or, in musical terms, pitch and rhythm.
Pitch is the highness or lowness of a sound. High pitches have a high frequency (a
large number of vibrations per second), and low pitches have a lower frequency.
Musical notes (pitches) are indicated on a set of 5 lines, called a staff. The higher a
pitch is (the larger number of vibrations per second) the higher it is placed on the staff.
Look at the pairs of notes, below on the staff. Tell which note is higher, the first or the
second:
w w
w w w w w w w
w w w w w w w
Rhythm is how the pitches are organized in time. It has to do with the duration of each
pitch (how long a pitch lasts in time).
An important part of rhythm is the underlying pulse, or beat, that is a foundation of most
of our music today. It is this pulse that makes you want to tap your foot, clap, march, or
dance to various kinds of music.
The beat can then be divided into smaller units of time, so that you can have one single
note for every beat or many notes for every beat. You can even have notes that last for
several beats. It is how the beats and the subdivisions of the beat are put together that
determines the rhythm of the piece.
1
1 -- WHAT IS MUSIC?
Music is all around us in the world today. Music serves many purposes and is used in
many important ways in our society. Music is not only used for personal entertainment
and enjoyment, it also serves a social function. Music is used to inspire people to worship
in church. It is used to excite and energize crowds and teams at athletic events and parades.
It is used to comfort people at funerals and to heighten the celebration at birthday parties,
weddings, and anniversaries.
Music is used to evoke feelings of patriotism and loyalty to one's country; to unite people
in common political causes. It has been used to recall and remember events that are
important to that society. For example, what would a Fourth of July parade be without a
band playing a Sousa march? Or a Cinco de Mayo celebration without a mariachi band?
Or a Martin Luther King Day remembrance without the singing of, "Lift Ev'ry Voice and
Sing"?
Music is used for occupying the listener when their phone calls are placed on hold. It is
used in doctor's waiting rooms, hotel lobbies, and elevators.
Music also has a great commercial value. Researchers have discovered that soft
background music can make people linger longer in restaurants and stores, creating the
possibility that they will spend more money while they are there. Retail stores use holiday
music to pump up sales during the Christmas season. Commercials on radio and television
use music to sell everything from baby aspirin to mobile homes. Television shows (even
cartoons) and movies are accompanied by music.
These are a few ways in which music plays a major role in our society. In Activity Sheets
1 and 2, you are asked to examine the ways in which music makes an impact on your own
personal world. Complete the Activity Sheets, and be prepared to discuss your findings
with the class.
Pencil Time: Activity Sheet 1: Music Around Me

Activity Sheet 2: Music Diary
\
V CABULARY
1. Duration--The length of time (in beats) that a note is played
2. Frequency--Number of vibrations per second of a particular pitch
3. Pitch--The highness or lowness of a musical sound; determined by its frequency
4. Pulse--The underlying steady beat of music
5. Rhythm--The way that notes of various durations are combined in a piece of music
2
e
The It is the philosophy of the writer that students should begin singing as
Major soon as possible. Begin by introducing them to the scale--the whole major
Scale. scale on solfege and with handsigns. The more they sing and hear the scale,
the more quickly they will:
1. Hear and internalize the sequence of the solfege, both
ascending and and descending.
2. By looking at the notes on the staff while singing the
scale the students will begin to understand the line to space
## w w w w w w w
movement of the notes.
& w w w w
w w w w
I like the key of D for unchanged voices. It falls within most of their
ranges, but, at the same time, forces them to use their upper registration
without forcing them too high.
The students should use solfege and handsigns from the very
beginning. Make sure both the solfege syllables and the handsigns are
posted in plain sight in the room. If the students are insecure about
beginning with all the handsigns at once, have them start out with only
Do, adding a handsign each day, until they are comfortable with them all
+
` It is vital that students understand that scalewise movement is from line to space,
as beginning music readers often mistakenly try to read scalewise from line to
line or space to space.
+ Emphasize that when one is reading down the scale, solfege syllables are sung in
reverse order.
v
Vocal Sing and handsign the scale for the students, up and down.
Warm-up Students follow and sing as the teacher points to different notes of
the scale (scalewise only).
D "Follow Me" Handsign a few notes up and down the scale. Ask the students to
Game follow your handsigns. (Do not sing with them. Let them work for it.)
"Memory" Your students will love this game! Handsign a note, and have them
Game sing it back to you. Then handsign that note again followed by another
note (scalewise movement only at first). The students then sing that
sequence. Then add another note and have the students sing the new
sequence. Continue adding notes to the sequence, one at a time, until
either you or the students are unable to reproduce the sequence. If the
students "win," give them some kind of musically significant reward--
such as working one of the Pencil Time puzzles.
S-2
Chapter Two:
Feel the Beat
Begin this chapter with the breathing and warm-up activities from the last chapter.
This book is largely based on Orff philosophy that rhythm learning should stem from
natural speech patterns and from poetry. Improvisation and creativity are also at the
heart of Orff philosophy and the teacher is encouraged to allow the students to express
themselves as often as possible through composition, arranging, accompanying,
improvisation, and poetry writing. As long as the parameters are specifically stated and
within the students. ability, the students should be quite successful in their creative
efforts. And their motivation and self-image as a musician will sky-rocket!
Although music is considered a creative art, there is very little true creativity that is
encouraged in the most present-day music classrooms because we are a performance-
driven society. This book is concerned with the development of the child as a complete
musician. While performance remains an integral and important part of the curriculum,
the students will be given many opportunities to create. The teacher should consider the
growth of the student's individual musicianship rather than merely pacing him/herself
from one performance to the next.
The teacher should also look upon this as an opportunity to explore his or her own
creative teaching skills. In other words, the teacher can feel the freedom to be creative also.
Teaching is not so much a matter of being a good teacher or a bad one, but of ever seeking
to find more effective ways to reach your goals. The way to do this is to experiment and
allow yourself the same creativity that you allow your students. Expand your boundaries.
Suppress your own inhibitions and explore the possibilities. And always remember:
Kids have no idea what their limitations are. We teachers are the ones who set limitations
on them by limiting what we teach them to what we THINK they can learn. If we don't
think they can learn something, we won't try and teach it to them. Is it just possible that
our expectations fall far short of what children can actually achieve?
æ Movement: Movement is a very important part of music education, a fact

recognized by Dalcroze as well as by Orff and Kodaly. The beat is
not "heard" by musicians; it is felt. Music is a physical activity and
stifling movement to music is stifling the musical experience as a
whole. That is not to say that we should allow the students to dance
all during class, but it is to say that they need to feel the beat in their
bodies in a kinesthetic way. This can be accomplished in several ways.
The activities given on the preceding page offer young choral students
some options for feeling the beat. Another way to feel the beat is to
pulsate the handsigns for every beat. Later in the book they will be
conducting to the beat.
S-3
2:
As discussed in Chapter One, music consists of two basic elements: pitch and
rhythm. Rhythm has to do with how long sounds are heard and in what order and pattern.
We will deal more with specific rhythmic elements in the coming chapters. Underlying
rhythmic patterns is what is known as the beat.
Like a heartbeat, the musical beat underlies the melodic and rhythmic line. Unlike
rhythm, which can vary often to create musical interest, the beat is steady, fluctuating only
for tempo changes. In fact, the musical beat is often referred to as a pulse.
The musical beat is what makes people want to dance, tap their feet, clap their hands,
march, or otherwise move to the sound of the music.
The underlying beat is silent. Although it may be emphasized by rhythmic elements, it

remains in the background. Like your heartbeat, it is felt, not heard.
"Feel the beat":
1. Sit in a comfortable position and find your pulse. Close your eyes, and
count your pulse for 32 beats.
2. Move some part of your body silently in sync with your pulse for 32
beats. For example, nod your head, wave your hands, sway gently.
3. Sit in a comfortable position and close your eyes. Think of your favorite
piece of music. "Listen" to the music in your head, moving some part of your
body silently with its beat. Synchronize the music in your head with your heart-
beat.
4. Close your eyes and listen to the music that your teacher plays. Silently
move a part of your body with the beat.
5. Read the following poem in your head to the beat while silently keeping a
pulse with your body.
6. Read the following poem out loud to the beat while silently keeping a pulse
with your body.
3
2--FEEL THE BEAT!
Traditional
Pease porridge hot,

Pease porridge cold.
Pease porridge in the pot
Nine days old.
Some like it hot,

Some like it cold.
Some like it in the pot
Nine days old.
I like it hot,
I like it cold.
I like it in the pot
Nine days old.
7. Say the words of the poem while tapping out the rhythm of the words
with your fingers in your palm. Keep a steady beat with another part of your
body.
8. Think the words of the poem while tapping out the rhythm of the
words and keeping a steady beat with another part of your body.
9. Tap out the rhythm of the words using audible body percussion, keep-
ing a steady beat with another part of your body.
Suggestions for body percussion: Snap, clap, patsch (pat thighs), cluck your
tongue, pat your head, make a kissing sound, etc.
10. Use a different body percussion for each line of the poem. For example:
(Clap) Pease porridge hot,

(Snap) Pease porridge cold.
(Patsch) Pease porridge in the pot
(Stomp) Nine days old.
11. Sit in a circle with your classmates. Start and keep a steady beat lightly
tapping your fingertips on your thighs. The first person will say the first line,
with body percussion. The second person will say the second line with a
different body percusion. The third person, the third line, and so on. Those
who are not speaking will keep the steady beat. Continue around the circle.
If the poem is finished before everyone gets a turn, begin again.
4
C
Body There are many ways to add percussive effects with body
percussion sounds. The ones suggested in the two exercises at the left are
clapping, snapping, and patsching (clapping hands on thighs).
At any point you may allow the students to be creative and come
up with their own percussive sounds, such as clicking the tongue,
thumping their cheeks with their mouths open, rubbing their
hands together, tapping their feet, etc.
Performing Use a system of your choice for counting rhythms. Use one
Rhythms: system, and use it consistently. It is not a good idea to switch back
and forth from one system to another with novice musicians; it will
only confuse them. There will be time to introduce other systems at
a later point when they are reading confidently.
S-4
Write across the You may be able to get help from the English teachers for
Curriculum: these writing assignments. Since traditional poetry is based on
specific meter and rhyme, the study of music and poetry
compliment each other. Don't allow the students to take
liberties with the rhythm at this point, and encourage them to
find truly rhyming words, not merely ones with similar vowel
sounds. They can find a rhyming dictionary online at:
www.rhymezone.com
Vocabulary Be sure to use the vocabulary in class. Hearing the words

used constantly will reinforce them and allow the students to
assimilate them into their own repertoire of words.
S-5
FEEL THE BEAT!--2
11. Repeat Activity #10, except this time, only think the words--do not
say them out loud--while performing them with body percussion.
12. Repeat Activity #11. This time the first person continues the poem
while the second person starts at the beginning. The second person continues
while the third person starts at the beginning, and so forth around the circle.
When each player comes to the end of the poem, (s)he stops. This is called
performing in canon.
13. Repeat Activity #12 experimenting with loud and soft. For example,
begin relatively softly and get louder until the "Nine days old!" part is very
loud.
14. Transfer the rhythm of the words of the poem to real (or invented)
percussion instruments.
Suggestions for invented percussion instruments: Thumping a book,

hitting pencils together, knocking on desk or piano, shakingkeys, etc.
V CABULARY
1. Audible--Capable of being heard
2. Beat--A regularly repeating pulsation in music
3. Body percussion--Making noises of indefinite pitch with various body parts;

for example, clapping, snapping, stomping
4. Canon--Performance of a single line of music by 2 or more voices beginning at

different times
5. Percussion--Musical instruments that are played by hitting, scraping, or shaking
1. Describe how a musical beat is like your heartbeat.

2. What is the difference between pulse and an audible beat?
3. Identify 3 percussion instruments.
4. Describe 5 ways to make body percussion.
5
3:
Rhythm results from combining musical notes of various durations. The quarter note
is the most basic note in that it receives one beat in common meter. Four quarter notes in
a row would correspond to 4 steady beats.
A half note sounds for twice as long as a quarter note. It is held for two steady beats.
œ ˙
is a Quarter note. is a Half note.
receives 1 beat in common meter. receives 2 beats in common meter.
READ the following quarter/half note exercise in the following ways:

A. On rhythm syllables, 4 times through
B. With words
C. With the accent on different beats. Repeat 5 times, placing the accent
on the first note the first time, second note the second time, etc. The last
time accent all notes heavily.
D. In canon (half the 4. class starting 4 or 8 beats later than the rest)
E. In harmony (two lines performed at the same time).
F. In retrograde (backwards)
.. œ œ œ œ ..
1. What did she say?
.. œ œ ˙ .. Repeat Sign
2. I don't know.
.. ˙ œ œ ..
3. Go ask her.
.. ˙ ˙ ..
4. Not now.
6
FEEL THE RHYTHM!--3
The Name Game

Sit in a circle with your classmates.
Patsch (pat thighs) twice, clap twice.
Keeping a steady beat, say your first name in rhythm (on
the snaps), taking turns in order around the circle.
If you lose the beat on your turn, you will be banished to the
"mushpot," the center of the circle, and must remain there until someone else misses.
Variation 1: Instead of saying your own name, say the name of the person seated
next to you; continue around the circle.
Variation 2: Instead of saying your own name, say the name of any other student.
That person must then say another name on the beat without breaking the rhythm,
or he is in the mushpot.
Competitive: When a player misses, (s)he is out of the game. Play until there is
one person remaining.
READ the following poems in your head while tapping the steady beat
silently in the palm of your hand. Read themout loud placing a primary
(heavier) accent on the first beat and a secondary (lighter) accent on the
third. Add body percussion accompaniment by alternately patsching and
clapping or snapping
44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
1.
Post-man, post-man, at my door What is it you're wait-ing for?
œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
You've a par - cel, nice and thick, Give it to me, please, and quick!
44 œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙
2.
Flow-ers red, flow - ers white, Flow-ers co - lor - ful and bright,
œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙
Flow-ers here, flow - ers there: Flow-ers, flow - ers ev - ery-where!
Movement: "Step out"each of the above exercises in the same way as you performed them
verbally above. Perform while stepping without words and then with words.
Instruments: Perform each line on a different percussion instrument (traditional or

invented) or on different kinds of body percussion.
7
3--FEEL THE RHYTHM!
Variation: Substitute new words for each line, observing the note values given.
PERFORM each of the following exercises in the following ways:

A. With rhythmic syllables or numbers while tapping the steady
beat silently in the palm of your hand
B. With percussion instruments (or body percussion), and
C. One line at a time
D. In canon (half the class starting 4 or 8 beats later than the rest)
E. In harmony (two lines performed at the same time).
F. In retrograde (backwards)
G. Multiple lines without stopping at the double barlines.
H. Other combinations of your choice.
1. œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙
2. œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙
3. ˙ œ œ ˙ œ œ œ œ œ œ œ œ ˙
4. ˙ œ œ œ œ œ œ œ œ ˙ œ œ ˙
Write a rhyming poem to fit the following rhythm pattern.

Perform the poem with the class:
Pencil Time: Activity Sheet 3: Notable Names

Activity Sheet 4: Musical Math Game #1
8
FEEL THE RHYTHM!--3
V CABULARY
1. Barline--A line through the five lines of the staff that divides music into
measures. A double barline denotes the end of the piece or the section.
2. Beat--A regularly repeating pulsation in music
3. Canon--Performance of a single line of music by 2 or more voices beginning

at different times
4. Common meter--Pattern of grouping music with 4 beats to each measure.
5. Half note--A musical tone that sounds for 2 beats in common meter
6. Harmony--Performance of 2 or more different lines of music at the same time
7. Patsch--Body percussion sound made by slapping hands on one's thighs
8. Percussion--Instruments that make sound by hitting, scraping, or shaking.
9. Quarter note--A musical tone that sounds for a duration of 1 beat in common meter
10. Repeat sign--A sign that tells the performer to repeat the previous measures, or the
measures between repeat signs
11. Retrograde--Performance of a musical passage in reverse order of what is written;

from right to left instead of left to right
12. Staff--The set of 5 lines upon which music is written
9
4:
HANDSIGNS: Every note of the scale has its own handsign.

Here are the handsigns for the notes, So and Mi.
So-Mi is the first singing sound that a child makes.

These notes are sung when a child teases another child with by singing, "Nyah, nyah.".
˙ ˙
Nyah, nyah.
So Mi
Always remember: If So is on a line, Mi is on next the line below it

If So is in a space, Mi is in the next space below it.
˙ ˙
READ the following exercises with handsigns. Read them singly, 2 or

more at a time, in canon, in harmony, and in retrograde..
1. œ œ ˙ ˙ ˙ œ œ ˙ œ œ œ œ
2. œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ
3. ˙ ˙ œ œ ˙ œ œ œ œ ˙ ˙
4. œ œ ˙ ˙ ˙ œ œ ˙ œ œ œ œ
10
q Exercises
Breathing 1. Have the students hold their arms high over their heads, open their
mouths relax their throats and take a slow deep breath. Tell them to be
aware of the muscles that they use. (You will have to remind them
to keep their arms high; they will begin to sag immediately.) Have
them take one deep breath, hold it in with their stomach muscles for
a count of four, and then hiss it out for a count of 16, keeping their
stomach muscles taut.
2. Have the students bend over from the waist, breathe in deeply and
feel the expansion, and repeat the exercise several times. Then have
the students sing a sustained note for a count of 16 instead of hissing.
3. Have them repeat the exercises in both the sitting and standing
positions, encouraging them to maintain the expansion of the same
sets of muscles.
v Vowels Keep reminding the students to produce "tall vowels." In order to

check of their jaws are dropped enough, have them measure the
opening with three of their fingers held vertically in front of their
mouths. This may be a little too wide, but many have to overdo the
mouth opening until it becomes a habit.
Instruments Students are often highly motivated by the use of instruments. For
variety and to heighten interest, after the students have mastered them
vocally allow students to play the exercises on recorders, Orff
instruments, the piano, or electronic keyboards. The students will be
learning keyboard skills throughout this series, so give them, a couple
at a time, opportunity to play the piano.
D "Follow Me"
Game
Handsign the notes So and Mi in various orders. Ask the students
to follow your handsigns. (Do not sing with them. Let them work for
it.) Ask for a student volunteer to lead the activity.
OAudiate: Using So and Mi only, Handsign a short series of notes. (Start out
with 2 or 3, then add more to the series). Have the students watch and
"listen" in their heads, and then sing the series for you.
S - 10
r
Rests It is important that the students realize that a rest is not a stop or a
cessation of the music, but merely a time of measured silence. They
need to realize (and feel) that the beat continues; it is merely a silent
beat.
Give the students a handsign for a rest. The book suggests the
open hand, palm up. Use that suggestion, or be creative and come up
with your own hand signal for a rest (or let the students come up with
one). One teacher I observed had her students tap the sides of their
heads with a forefinger for the number of beats in the rest.
S - 11
MAKING MELODY -- 4
RESTS:
A rest is a moment of silence in music. Rests have beat values just as notes do.
A quarter rest Œ receives one musical beat in common meter.
It has the same beat value as the quarter note: œ
A half rest Ó receives two musical beats in common meter.
It has the same beat value as the half note: ˙
READ the following exercises in the same ways as the previous exercises
(singly, in canon, in harmony, etc.). When you come to a rest, hold your hand out to the
side, palm up (like you are catching rain in your hand), and pulse it for the number of
beats it should receive.
œ œ œ Œ œ œ Ó Œ œ œ œ Ó ˙
1.
œ Œ œ Œ œ Œ ˙ œ Œ œ œ ˙ Ó
2.
Ó œ œ ˙ Ó œ Œ œ œ Œ œ ˙
3.
4. œ Œ œ œ Ó ˙ œ œ Œ œ ˙ Œ œ
A measure is the distance between 2 barlines.
__________
44wThe top number tells you how many beats are in each measure.
Measure
Time signature:
wThe lower number tells you what kind of note gets one beat.
4
There are four beats in each measure in 4 time.
The quarter note receives one musical beat.
44
time is also known as common meter.
How many beats would the following measures have in them?
46 42 45
12
4 41 48 49 43
11
4 -- MAKING MELODY
V CABULARY
4
1. Common meter-- 4 time. Four beats in each measure, the quarter note
receives 1 beat
2. Measure--The distance between 2 barlines of music
3. Melody--A tune; the predominant line in a musical composition
4. Half rest--A two-beat period of silence in music
5. Quarter rest--A single beat of silence in music
6. Rest--A period of silence in music
7. Time signature--The sign that indicates how many beats will be in each
measure, and what kind of note will receive one beat

Write a musical story that uses each of the vocabulary words in its proper context.
LISTEN as your teacher plays the following measures, one at a time. Determine
which measure your teacher is playing:
œ œ ˙ Œ œ
1. 2. 3.
˙ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
4. 5. 6.
œ Œ œ œ œ œ
7. 8. 9.
˙ Œ œ ˙
˙ ˙ œ œ œ œ œ œ ˙
10. 11. 12.
12
Write across the Allow the students some creative license in this assignment.
Curriculum: You may want to allow them to work in small groups of three
or four. This makes a nice creative diversion for those long
block schedule classes. It will also provide some peer support
for any students who are working on English proficiency.
Students are more likely to respond to and use basic expressions
heard in a small group setting. Additionally most students would
be less intimidated to practice language skills in a small group
setting as opposed to responding before the whole class.
O Listen It is recommended that the listening and dictation exercises

be played on a recorder or electronic keyboard which will
clearly delineate the rests. Or you may wish to sing them,
but you must be careful not to fall back into your habit of
solfeging or signing while you are performing them.
S - 12
Conducting As the students learn to conduct, it is important that they realize
patterns that keeping the beat is more important than conductinge the pattern
perfectly. In other words, if they have problems remembering the
patterns at first, tell them to keep the beat going.
The patterns are drawn the way they are so that the students
will know to put a point, or an ictus, on each beat. The ictus is
the exact point where the beat falls. Drawing it will also aid
in comprehension for those English may be limited.
S - 13
MAKING MELODY -- 4
CONDUCTING PATTERNS:
The director of a musical ensemble keeps the performers together on the same beat by
using a conducting pattern. The pattern outlines the beats of each measure, and tells
the performers on what beat they should be.
4
The pattern below is for common meter, 4 time. Trace the patterns with your index
fingers. Read the exercises on pages 6 and 7, conducting the pattern while you sing.
Left hand Right hand
13
5:
NEW NOTE: La
La is one note higher than So. It is always found on the line or space directly above So.
If So is on a line, La is in a space, and vice versa.
w w
w w
w w
So La So La So La
READ the following exercises. All of them start on So.

1. Think the notes (audiate) while handsigning.
2. Chant (don't sing) the exercise with solfege syllables, using handsigns. Pulsate the
handsigns on the second beat of the half notes. Use an open-hand gesture for rests.
3. Sing the solfege syllables using handsigns.
4. Sing the exercises in retrograde.
44 œ œ œ œ
1. œ œ ˙ œ œ œ œ œ œ ˙
44 œ œ ˙ œ œ ˙ œ Œ œ œ ˙ Ó
2.
44
3. œ Œ œ œ œ Œ ˙ Œ œ ˙ ˙ ˙
44 Ó ˙ œ œ ˙ Œ œ œ œ ˙ Œ œ
4.
44 ˙ œ œ œ œ ˙ ˙ Ó Œ œ ˙
5.
44 œ ˙ œ œ œ ˙ Œ œ œ œ ˙ Ó
6.
14
Chapter Four:
La, La, La
qExercises
Breathing 1. Have the students sit in their chairs, place their fists on their chins
and then rest their elbows on their thighs. Tell them to take a slow
and deep breath and to pay particular attention to which muscles work
when they breathe. (This will be their abdominal and back muscles.
Their chests and shoulders cannot move when they are in this position.)
2. In the same position, have them breathe in quickly to feel the

expansion, hold the breath for four seconds, then release it in a steady
stream, hissing for 8 counts. Repeat and release for 12 counts, then 16.
sets of muscles
e Warm-ups Have the students sing the melodic pattern below on solfege
syllables and with handsigns. Repeat the exercise up and/or down by
half steps. If desired, after the exercise has been repeated a few times
on solfege syllables, replace the solfege syllables with various vowels.
4 ú
&4 ú ú ú
So La So Mi
D "Follow Me"
Game
Handsign the notes So, Mi and La in various orders. Ask the
students to follow your handsigns. (Do not sing with them. Let them
work for it.) Ask for a student volunteer to lead the activity.
OAudiate: Using So, Mi and La only, handsign a short series of notes. (Start
out with 2 or 3, then add more to the series). Have the students watch
and "listen" in their heads and then sing the series for you.
v Vowels Remind the students to produce "tall vowels" so that they will sing
the songs in this chapter with a strong and clear vocal timbre whether
singing solo or with the whole group.
S - 14
D Handsigns: Remind the students always to use handsigns.
Instruments After the students have mastered them vocally allow students to
play the exercises on recorders, Orff instruments, the piano, or
electronic keyboards.
& Clefs Students will be taught both treble and bass clefs in this book.
S -15
LA, LA, LA -- 5
w
Whole notes. The whole note ( ) receives 4 full beats in common meter.
Chant solfege syllables (La, So, and Mi) in the following exercises, using handsigns and
pulsing them for 4 full beats. Then sing the exercises individually, in canon (second voice
beginning after 2 measures), in retrograde, and in harmony. The starting pitches are given.
44 w w w w
So
44 w w w
w
Mi
-
Whole rests: Whole rests ( __ ) are different from other rests in that the number of beats
they receive depends upon the time signature. Whole rests have no specific value; they
receive a whole measure's worth of beats in any meter. Whole rests resemble half
-
rests ( __ ), except upside down. The half rest sits on the line. Think of whole rests as
"heavier" because they usually have a larger beat value, which makes them hang down
from the line.
IDENTIFY the following rests as either half rests or whole rests:
CLEF SIGNS:
Ó Ó ∑ Ó ∑ ∑ Ó ∑ Ó ∑ Ó Ó ∑ ∑ Ó
There are two primary clef signs used in choral music: The treble clef and the bass clef. The
treble clef is used for the higher voices; the bass (pronounced "base") clef for the lower voices.
In this book, you will learn to read both clefs, although this book was written mainly for treble
voices.
The Treble Clef:

The treble clef is also known as the "G" clef, because it developed from an ornate way to
indicate the note "G." Notice how it curls around the second line of the staff, the line on
which the note "G" is found:
& w
G
The Bass Clef:
The bass clef is also known as the "F" clef, because it developed from an ornate way to
indicate the note "F." Notice how the dots surround the second line of the staff, the
? w
line on which the note "F" is found:
15
5 -- LA, LA, LA
READ the following exercises using the three notes So, Mi, and La. Before
you read each exercise decide which clef is used for each and what note is
the starting note.
1. Read each exercise silently (audiate) using handsigns.
2. Chant each exercise using handsigns.
3. Sing each as written and in retrograde.
4. Sing 2 or more exercises without stopping, in unison and in canon.
5. Sing exercises in harmony in any combination.
1. & 44 œ œ œ œ œ œ ˙ ˙ ˙ œ œ ˙
2. & 44 ˙ ˙ œ œ ˙ œ œ ˙ œ œ ˙
3. & 44 œ Œ œ Œ œ œ ˙ œ Œ œ Œ œ œ ˙
? 44 œ œ œ Œ Ó œ œ œ œ œ œ Œ œ œ œ
4.
5. & 44 œ œ œ œ ˙ ˙ œ œ ˙ œ œ ˙
? 44 Œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ
6.
7. & 44 œ Œ œ œ œ œ œ œ œ œ œ œ Œ œ ˙
8. & 44 Œ œ ˙ œ Œ œ œ w œ œ ˙
9. & 44 œ œ œ Œ w ˙ œ œ œ œ Œ œ
? 44 œ œ Œ œ œ œ œ œ ˙ ˙ œ œ œ
Œ
10.
Pencil Time: Activity Sheet 5: So, Mi, La

Activity Sheet 6: Notes of the Scale
16
## Key Key signatures are missing until they have been taught. For
signatures the time being, simply point out to the students that So, Mi, and
La can fall on any note (line or space). Have them identify the
first note in each exercise before singing.
S - 16
"Yo, Ho, Mexico!" Before you teach a new song, give the students a chance
to study and analyze it for themselves
1. Form It is never too early to start talking about form. The better
and quicker a student can recognize repetition and structure,
the more quickly (s)he will be able to learn a new song.
2. Sections Learn the music by sections; in this case, first the A

section, then the B section, not both in one setting. They will
lose their attention less quickly if the tasks are simple and
immediately attainable.
3. Accompaniment Notice the accompaniment consists of ostinato patterns.

These patterns are simple and can be easily learned by the
students. Notice also that the accompaniments are based upon
the form of the song. This is important for the students to
observe because they will be writing their own accompaniments,
and if they are aware of the form of the song, it will help them
write an appropriate accompaniment.
4. Learning 1. Have the students learn each section on solfege individually.

the song 2. Have them audiate the notes silently as they handsign them
to a common beat.
3. Have them chant the solfege syllables out loud while signing.
4. Then have them sing each section on solfege.
5. Then the entire song on solfege
6. Teach them the proper singing pronunciations for the
words.
7. Sing the whole song with words a cappella.
8. Add melodic accompaniment.
9. Add percussion.
10. Allow the students to improvise* an interlude on the
instruments before singing the song a second time.
If you do not have Orff instruments, allow the students to

play the accompaniment parts on the piano, 3 or 4 students
at a time.
Use these same techniques for the preparation and performance of "Popinjay" on page 15.
* Improvised, but not disorganized. Give them a few minutes to experiment with their
instruments and come up with an ostinato pattern that they like before having them
improvise before the class.
S - 17
LA, LA, LA -- 5
Brightly Patti DeWitt

F
& 44 œ œ œ œ œ œ ˙ œ Œ œ Œ œ œ ˙
1. How I'd real - ly like to go, Yo, ho, Mex - i - co
2. Take me where poin - set - tias grow, Yo, ho, Mex - i - co,
p
& œ œ œ œ ˙ œ Œ œ Œ œ œ ˙ ..
œ œ
Down where life is rich and slow, Yo, ho, Mex - i - co.
Far a - way from ice and snow, Yo, ho, Mex - i - co.
f
& œ œ œ œ ˙ ˙ œ œ œ œ w
Bring your sen - or - it - a, Grab your old ban - jo.
& œ œ œ œ ˙ ˙ œ œ œ œ w
We'll have a fi - es - ta Down in Mex - i - co.
4
A Section (measures 1-8)
& 4 .. Ó ..
Orff
Accompaniment:
SM ˙˙ Ó ˙˙
4
AM
& 4 .. Ó ˙˙ Ó ˙˙ ..
& 44 .. œ œ ˙ ˙ ..
BM œ œ
4 œ
FC
Claves
& 4 .. Ó œœœœ Ó Œ ..
B Section:
SM & 44 .. Œ œœ Œ œœ Œ œœœ .
œ .
4
BX & 4 .. œ œ œ œ œ œ
˙ ..
4 .. (shake) Œ œ Œ œ ..
Maracas 4 w
17
5 -- LA, LA, LA
1. What is the form of the song?

2. How many beats per measure?
3. What clef is used?
4. What is the starting note?
PERFORM:
1. Chant the rhythm.

2. Chant the words in rhythm.
3. Chant the solfege syllables with handsigns.
4. Chant with designated dynamics changes
5. Sing a cappella with solfege syllables and handsigns.
6. Sing expressively from the notation, reading the notes and singing the appropriate
dynamics.
7. Add words when solfege is mastered, still using handsigns
8. When song is mastered a cappella, add Orff (or piano) accompaniment.
9. Perform a cappella or accompanied
From the Literature: "Tingalayo"

Tingalayo is a folk song from the West Indies, islands of the Caribbean Sea. Tingalayo
is an example of calypso music, a happy, rhythmic type of music that originated on the
Caribbean islands. One characteristic of calypso music is syncopation, placing the beat
on normally unaccented beats.
Tingalayo also emphasizes the note "La." Even more interesting, is that the note "La"
falls on the syllable "la" in the word, Tin-go-la-yo!
Learn Tingalayo and perform it for memory for an informal or formal concert.
Remember every time you perform that you must demonstrate appropriate concert
etiquette. Sing Tingalayo expressively, reflecting by articulation the lightness and joy of
calypso and the expressive markings in the score.
RECORDER:
1. Learn the notes on recorders.
2. Perform the song with accompaniment in this form: ABC
A--Sing
B--Recorders
C--Sing with recorders
3. Play 4 measures of the Section A accompaniment before the piece and
between each part.
18
"Tingalayo" is in the Literature on CD ROM. "Tingalayo" is a calypso song.
To introduce your students to calypso, find a CD or .mpg recording of calypso music to
play for them. They should listen for:
Syncopation, especially the e q e ("syn-co-pa") pattern

Steel drums
Many different kinds of percussion instruments
Recommended calypso music: Album: Irving Burgie--"Island in the Sun"

Single songs: "Jamaica Farewell"
"Day-O" (The Banana Boat Song)
"Yellow Bird"
Any album of Caribbean steel drum music.
Allow them to listen to several pieces, and them have them describe the musical
elements that they hear, the elements that give Calypso its distinctively Caribbean
flavor
Ask them to identify the genre (folk), the style (calypso) and the culture that it
represents (West Indies; Caribbean islands).
After they have become familiar with calypso, play "Chocolate Banana" for them
either on the piano or from a .mid file and ask them to describe what they hear and
identify the style of music and the culture that it represents.
S - 18
S - 19
LA, LA, LA -- 5
Yak yak
\
Loquaciously
Popinjay Patti DeWitt
P
& 44 œ œ œ œ œ œ ˙ œ œ œ œ œ Œ Ó
1. Chit - ter, chat - ter Pop - in - jay Don't you ev - er rest?
2. Chit - ter, chat - ter Pop - in - jay Friends are far and few
& œ œ œ œ œ œ ˙ œ œ œ œ w
How you prat - tle all the day Act - ing quite the pest!
When you have no time to hear Some-one el - se's view.
&˙ ˙ œ œ ˙ œ œ œ œ ˙ ˙
Yak, yak, Pop - in - jay, All day long you blab - ber!
Yak, yak, Pop - in - jay, Look at what your mis' - in'
& ˙ ˙ œ œ ˙ œ œ œ œ ˙ ˙
Yak, yak, Pop - in - jay, What an art - ful gab - ber!
Yak, yak, Pop - in - jay, Take some time to lis - ten.
˙˙ ˙˙
Orff A Section
& 44 .. Ó Ó ..
Accompaniment:
SM
ƒ
4
AX & 4 .. œ œ œ œ
œ œ œœ œ Œ ..
4
BX & 4 .. œ œ œ œ
œ œ œ œ ..
ƒ
4 .. Œ ..
CB
Claves
4 œ œ Œ œ œ Œ œ œ Œ Œ
œ œ œœœ
œ œ
& 44 .. Œ ..
B Section
AX Œ Ó
4
& 4 .. œœ Œ œœ œ œ ..
BX œ œ
4 .. Œ Ó ˙ ..
VS
Claves
4 œ œ œ œ
19
5 -- LA, LA, LA

Write a brief analysis of "Popinjay." Write one analytical paragraph
including details such as clef, time signature, form, length of phrases,
notes used in the song. Follow this by one short paragraph discussing things you like or do
not like about the song. Use musical reasons for your decisions.
V CABULARY
1. A cappella--Sung without instrumental accompaniment
2. Audiate*--To read music silently; to hear the notes in one's head
3. Bass clef--A sign that indicates that the notes presented are in the lower
range in pitch
3. Dynamics--Loudness and softness in a piece of music
4. Form--The pattern of repeated sections in a piece of music
f
5. Forte**--Loud; symbol--
6. Mezzo-forte--Medium loud. Literally "half-loud"symbol-- F
7. Mezzo-piano--Medium soft. Literally "half-soft"symbol-- P
8 Piano--Soft; symbol-- p
9. Treble clef--A sign that indicates that the notes presented are in the upper range in
pitch
10. Whole note--A musical note with the duration of 4 beats in common meter
11. Whole rest--One whole measure's rest
* What does the word "audiate" remind you of? Where have you heard other words that
remind you of "audiate"? Where have you heard words that remind you of the other
vocabulary words?
** Many words in music are from the Italian language. Even if a student is proficient in
English (s)he will have to learn words in another language.
Pencil Time: Activity Sheet 7: Clefs

Activity Sheets 8 & 9: Vocabulary Word Search #1
Activity Sheet 10: Rhyme Tyme!
Activity Sheet 11: Analyze this!
Activity Sheet 12: Dictation #1
20
LA, LA, LA -- 5
HISTORICAL SHORTS: The Pianoforte

The piano (or, pianoforte, as it was originally called) was the
result of the need for musicians to express musical phrases with
varying degrees of loudness. The harpsichord, which was the
father of the piano, made musical sound by quills which
plucked the strings of the instrument. Because of this,
harpsichordists could make very little variation in dynamics in
their playing, and, thus, lacked great expressiveness.
Bartolomeo Cristofori, an Italian harpsichord maker, is credited with having built the
first piano in the early 1700s. He called his new instrument:
"gravicembalo col piano e forte"
which is an Italian phrase meaning "a harpsichord with soft and loud." The new
instrument looked like a harpsichord, but instead of making sound by plucking the strings,
it produced sound with small hammers that struck the strings. Thus, the harder a musician
hit the keys of the pianoforte, the harder the hammers hit the strings and the louder the
sound.
One of 2 surviving Cristofori pianofortes. This one was built in 1722.

Drawing by Cecelia Johnson
21
6: Do-Re-Mi
As Easy As
Do, Re, and Mi are the first three notes of the major scale.
Here are the handsigns for Do and Re. The handsign for Mi is shown in Chapter 2.
If Do is on a line, Re is in the next space above it.

If Do is in a space, Re is on the next line above it.
w
The F Major Scale
bw w w w w
&O w w
Do Re Mi
w
Fa
w
So
w
La
w
Ti
w
Do
?bw w w
O
b
The Key of F Major has one flat ( ) in the key signature.
The sharp sign tells you which note is "Fa."
(The last sharp in the key signature is always Fa.)
# w w w w
O
& w w w w
Do Re Mi Fa
w w
So
w
La
w
Ti
w
Do
#w
?O w w
#
The Key of G Major has one sharp ( ) in the key signature.
The sharp sign tells you which note is "Ti."
(The last sharp in the key signature is always Ti.)
22
Chapter 6:
Do - Re - Mi
Breathing Repeat the breathing exercises from previous chapters.
Exercises
Warm-ups Have the students sing the melodic pattern below on solfege
syllables and with handsigns.
Repeat the exercise up and/or down by half steps.
If desired, after the exercise has been repeated a few times on
solfege syllables, replace the solfege syllables with various
vowels.
b 4
& 4ú ú ú ú w
Do Re Mi Re Do
D "Follow Me" Handsign the notes Do, Re, and Mi in various orders. Ask the
Game students to follow your handsigns. (Do not sing with them. Let them
work for it.) Ask for a student volunteer to lead the activity.
O Audiate: Using So, Mi and La only, handsign a short series of notes. (Start
out with 2 or 3, then add more to the series). Have the students watch
and "listen" in their heads, and then sing the series for you.
Key This is very important:

Signatures Be sure your students understand how to find Do using the key
signature. Post this formula in a prominent place in the room so
that they can use it until they have memorized it:
The last flat (the one furthest from the clef sign) is always Fa.
The last sharp is always Ti.
S - 22
Individual Singing
Individual performance greatly enhances the progress of a student. Since singing is

such an personal act, most people have natural fears of singing in front of others. Teenage
students are especially inhibited about this; that is why it is important to start allowing a
child to sing individually as early as possible.
Unfortunately we receive students who are receiving their first music training even
in the high school when they are likely to be the most inhibited about performing in front
of other students. The teacher needs to do pull out every trick in the bag to encourage this.
The best place to start is with the young beginner. In order create a "safe" environment
for individual singing the teacher must prepare for it.
1. Make sure every student understands that the penalty will be severe for
any student who laughs at another one who is performing.
2. Give the students tasks that are as nonthreatening as possible. For example,
the teacher might ask an extremely shy child, the teacher might ask merely to
chant the rhythm or solfege in order to urge them to perform vocally. It is not
as threatening to chant or speak as it is to sing.
4. Give the individual performer a small task. If the student is limited in English
take steps to ascertain understanding of the task, such as questioning him/her
about to prior learning and/or tasks that have been performed in the past.
5. Reward the effort even if the results were not what you wanted.
6. Give the student a chance to self-assess and to repeat the task in order to correct
specific problems.
7. The rest of the class should handsign as they read the exercise the soloist is
singing and listen for mistakes. This keeps all students in the class actively engaged.
8. After the soloist has had a chance to self-evaluate, ask the class to evaluate. Teach
them that it is acceptable to say negative comments as long as:
-- only the performance is addressed, not the performer.
-- the performance is addressed with musical terms.
Suggestions for performing sightreading exercises and encouraging students to perform

individually:
1. Audiate each exercise silently with handsigns on a common beat.
2. Have the class chant the solfege (without singing) in rhythm.
3. Ask for a volunteer to chant the exercise.
4. Have the class sing the exercise together on solfege with handsigns.
5. Ask for volunteers. To raise the incentive, offer rewards for those who
volunteer to perform, such as a chocolate kiss, a restroom pass, a tardy pass, etc.
6. Verbally reward any sincere attempt to sing the exercise correctly.
S - 23
D0-RE-MI -- 6
Do can be anywhere on the staff, which is why it is often referred to as "Movable Do."
In the key of F, it is in the 1st space in the treble clef, and on the 4th line in the bass clef.
In the key of G, it is on the 2nd line in the treble clef, and in the 4th space in the bass clef.
Key of F Major:
# Key of G Major:
w
&bw w w w w
?bw w w #w w w
FI ND the Dos on the following staves. Be aware of clef and key changes.
(Note: Do may occur in more than one place on the staff.
# j œ
& œ ˙ ˙ œ œ œ ˙ w ˙ w
w ˙ œ œ œœw œ ˙ ˙ w
˙ œœ œ ˙ w
?#˙ œ œœ˙ w ˙ œ œœw w w ˙ œ˙
˙ œ
?bœ œœœ ˙ w w w œ ˙ œw
œœ˙ ˙ œœ˙ œ Jœ œ w w
œ œœ
&b˙ œ w œœ˙ ˙ w œw œ œ œœ˙ w ˙ ˙ w œ w
READ the following exercises:

1. Tell what key and clef each exercise is in.
2. Count the rhythms without pitches.
3. Read each exercises silently (audiate) with handsigns.
3. Chant the solfege syllables in rhythm and with handsigns.
4. Sing each exercise.
#4
& 4œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
1.
#4
& 4œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
2.
#
3. & 44 œ œ œ œ w œ œ œ œ w
23
6 -- D0-RE-MI
? # 44 œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙
4.
? # 44 ˙ ˙ ˙ ˙ ˙
5.
Ó Ó Ó
? # 44 ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙
6.
7.
& b 44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
8. & b 44 œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙
9. & b 44 œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙
? b 44 œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙
10.
? b 44 ˙ œ œ ˙ ˙ ˙ œ œ œ œ ˙
11.
? b 44 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
12.
YOUR BRAIN:
#4 Œ
13. & 4œ œ Œ œ œ œ Œ œ Œ œ œ œ œ œ Œ
? # 44 ˙ œ œ œ Œ ˙ œ Œ œ œ œ œ ˙
14.
15. & b 44 œ Œ œ œ w œ œ ˙ Œ œ ˙
16. & b 44 ˙ œ œ ˙ Œ œ ˙ œ œ Œ œ ˙
24
D0-RE-MI -- 6
LEARNING THE SONG:

1. Give a quick analysis of the song, "Japan":
What key is it in? What is the starting pitch? How many beats per measure?
What is the form of the song?
3. Audiate one section at a time.
5. Sing one section at a time on solfege, a cappella, with handsigns.
7. Add words after song has been mastered on solfege.
8. Memorize the song.
9. Perform the song expressively, as the dynamics and tempo markings indicate.
10. Demonstrate proper vocal timbre while performing the song with the choir.
Always remember to sing with good breath support and tall vowels.
11. Add accompaniment after song has been mastered a cappella.
Pencil Time: Activity Sheet 13: Write a Song!

Activity Sheet 14: Line Notes
Activity Sheet 15: Space Notes
Activity Sheet 16 & 17: Note Names
V CABULARY:
1. Crescendo--cresc. or --Become gradually louder
2. Decrescendo--decresc. or --Become gradually softer
3. F Major--The major key that has one flat ( b ) in the key signature
b --A note that has been lowered by one-half step

4. Flat--
5. G Major--The major key that has one sharp ( # ) in the key signature
the piece is in--indicates the number of sharped ( b ) or flatted ( # ) notes, if any.

6. Key Signature--The sign at the beginning of a line of music that identifies the key
7. Major Scale--A series of eight notes that progress in order (either up or down) from
one pitch to the next pitch of the same letter name
8. Ritardando--rit...--Become gradually slower
9. Sharp-- # --A note that has been raised by one-half step
10. Tempo--The speed at which the music is to be performed
25
6 -- D0-RE-MI
Japan Patti DeWitt
& b 44 œ œ ˙
Andante
œ œ ˙ œ œ œ œ œ œ ˙
P
Ja - pan, Ja - pan, Love - ly land of ris - ing sun.
? 4 œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙
b4
˙˙ ˙˙ ˙˙ ˙˙
& b 44 Ó Ó Ó Ó
? 44 ww w ww w
Piano
w w
° ° sempre
& bœ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ
F
When my sun lights up the sky, Your day's al - rea - dy done; When my sun lights
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ
b
˙˙ ˙˙ ˙˙ ˙˙ ˙˙
&b Ó Ó Ó Ó Ó
? ww ww ww ww ww
What does this mean? U

&bœ
rit. . . . . .
œ œ œ œ œ œ œ ˙ ˙
U̇
up the sky, Your day's al - rea - dy done.
?bœ œ œ œ œ œ œ œ ˙
U
˙˙ ˙˙ ggg ˙˙
&bÓ Ó Ó g˙
w
? ww w w
rit. . . . . .
w
u
* What do these mean? How do they affect the performance of the song?
26
"Japan":
The song "Japan" is the student's first exposure to music of a different modality.
Based upon an oriental mode, "Japan" provides an experience for the students into
music of the Japanese culture.
After the students have learned the song a cappella, play the whole piece for them
and ask them to listen to it. Ask them to listen for and determine the form of the whole
piece including the accompaniment. Ask them how the notes "sound" to them.
Explain to them that it is written in an oriental "mode" which is why it sounds different
to our ears.
The students must also be taught to perform each piece in a way that reflects the
expressiveness written into the song.
For further listening, play "Kimagayo" (from the Literature) for them on the piano
or from a .mid file. Ask them to describe the musical elements that they hear and to
identify possible cultural source. Explain to them that it is also based on an oriental mode,
Japanese in this case. In fact it is the Japanese National Anthem. Ask them to identify the
form, then teach them the song on solfege. Have them perform the piece from either from
notation, informally in class for a visitor or administrator, or memorized for a formal concert.
Either way, direct them to sing the song expressively, according to the dynamics and tempo
markings in the piece.
An informal performance in the classroom gives the students the opportunity to

demonstrate appropriate etiquette in the classroom. It is a good idea to demonstrate
this often in the classroom before leading them into a formal performance situation.
Make sure your students have the opportunity to demonstrate their concert
etiquette at least four times during the school year in formal concerts. You can set
up many informal performances in the classroom.
Furthermore, if you will allow small groups of students to perform a piece as

as a small ensemble once it is memorized, they will be able to demonstrate the
proper etiquette in an informal setting. As they practice these things in the classroom,
they will prepare themselves for performing in a small ensemble in a formal situation--
either on a concert or before a judge for a contest.
S - 26
S - 27
D0-RE-MI -- 6
The Parlor Clock

#4
Patti DeWitt
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
1. Tick - ing, tick - ing, soft - ly click - ing goes the par - lor clock,
2. Tick - ing, tick - ing, gent - ly click - ing from the par - lor wall,
# œ œ œ œ œ
& œ œ œ œ œ œ œ œ Œ Ó
Num - ber - ing the sec - onds of our lives with ev' - ry tock.
Pa - tient - ly it counts our mo-ments, win - ter, spring, and fall.
# œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ ˙
All the day and all the night.
Tick, tock, tick, tock, Tick, tock, tick, tock,
Faith - ful - ly with no de - lays.
#
& œ œ œ œ œ œ œ œ œ œ œ œ w
Tick, tick, tock, un - tir - ing clock, in dark - ness and in light.
Tick, tick, tock, sweet lit - tle clock, and bring us hap - py days.
Orff accompaniment:
A Section:
#
AM & 44 .. ˙˙
˙
˙
˙˙ ˙
˙
..
? 4 .. œ œ œ œ œ ..
BX 4 œ œ œ
44 .. œ œ œ œ œ œ œ œ ..
WB
B Section:
& 44 .. œ œ œ œ
œ œ ..
SX œ œ
4 .. œ œ œ œ ..
WB 4 œ œ œ œ
27
6 -- D0-RE-MI
FORM: What is the form of "The Parlor Clock"?

(Note: Phrases do not have to be 100% identical to be called by the same letters.)
Be able to justify your answer.
LEARNING THE SONG:

2. Chant the words in rhythm.
3. Chant the solfege syllables with handsigns.
4. Audiate the notes (silently read them) with handsigns.
5. Sing the song on solfege, a cappella.
6. Add words after song has been mastered on solfege.
7. Add accompaniment after song has been mastered a cappella.
PERFORMANCE:
Learn the melody on recorder and on xylophone.
Perform ABC:
Introduction: 4 measures of A Section accompaniment
A: First verse with accompaniment
4 measure interlude of A Section accompaniment
B: Recorders play the A Section, xylophones on the B Section, with accompaniment
4 measure interlude of A Section accompaniment
C: Second verse with recorders and xylophones and accompaniment
AUDIATE! (Exercises for developing inner hearing)
1. Solfege charades--Using handsigns only (no singing or verbal

communication), perform a familiar song with handsigns and see
who in the class will be the first to guess it.
2. Solfege charades relay--Divide the class into two (or more) teams. Titles of songs that
have been learned are written on small strips of paper in paper bags and given to each team.
The first student begins the relay by performing the song (s)he takes out of the bag using
only handsigns (totally nonverbal). When a team player guesses the name of the song, that
player then becomes the performer, and draws the next song from the bag and performs it
for his/her team using only handsigns. If a performer does not know the song it goes back
in the bag, and a new player selected by that performer draws another song.
Play continues until one team has correctly named all of the songs.
If any member of any team sings audibly, that team is disqualified.
28
7: Where did Solfege come from?
Guido D'Arezzo (c991 AD-c1050 AD)
Guido, a Benedictine monk, was one of the first music
educators on record in music history. He was Choirmaster for
the Cathedral of Arezzo and was very concerned about educating
his choir to read music so as to raise the quality of the music in
the church service. He developed a system of sight-reading based
upon syllables of words which represented different pitches. He
used the hymn, "Ut queant laxis," the "Hymn to St. John the
Baptist," which used successively higher pitches at the beginning
œ œ œ œ
of each line, as a foundation for his system.
_œ œ œ
œ œ œ œ œ œ œ
San - cte - Jo - an - nes.
La - bi - i - re a - tum
œ œ œ œ œ œ œ œ
Sol
- ve - pol - lu - ti
Fa - mu - li - tu - o - rum
œ œ œ œ œ œ _œ œ
Mi - ra - ge - sto - rum
œ œ _œ œ œ œ
Re - so - na - re fi - bris
Ut queant laxis--
_œ œ œ œ œ œ "Hymn to St. John"
Ut que - ant lax - is
Notice that each successive line starts one note higher than the previous one.
SOLFEGE the "Hymn to St. John," above, beginning with the lower left measure,
"Ut queant laxis."
Guido also developed a four-line staff on which to place the notes. Using just the first
syllable of each phrase, Guido taught his students to read notes with these syllables
according to their position on the staff and their relationship to each other. This system
of solfege, so named for the fifth and fourth notes of the scale, Sol and fa, is still used
29
7 -- WHERE DID SOLFEGE COME FROM?
today. Later theorists replaced "Ut" with the syllable "Do," which matches the rest of the
syllables--beginning with a single consonant, ending with a pure vowel. Also a seventh
tone was added to complete the octave scale--"Si" or as it is sometimes called, "Ti." Also,
some chose to drop the "l" from "Sol" so that it matches the rest of the syllables.
The
Guidonian
Hand
Guido also developed his own system of hand
signals. Each part of the hand represented a
different pitch. The Choirmaster would point
to each line or joint of the hand to indicate
which pitch was to be sung.
The picture at the left was taken from a wood

engraving made in 1488.
The Guidonian hand was used in all

music theory books of the Middle
Ages. The painting on the right
was included in a musical treatise
written by Elias Salomo in 1274.
Pencil Time:
Activity Sheet 18:
Invent Your Own Solfege
30
Pencil Time:
Activity Sheet 18: Invent Your Own Solfege.
This an be a great activity to leave with a substitute teacher if you have to be

gone for a day or two:
Teach the lesson.

Have them read Guido's story, then solfege the "Hymn to St. John."
Talk about the Guidonian hand and ask how that is similar to the system of
handsigns we use.
Hand out Activity Sheet 18, and explain to them what they are going to do.
Then have them complete the assignment the next day when you are gone.
You may want them to work in teams or pairs--that is up to you. It should be

very interesting what the students come up with.
S - 30
Chapter 8:
Three's Company
3
After you have introduced the time signature of 4 , tell the students that you want
them to march around the room counting, "1, 2, 3," and emphasizing every first beat. They
will soon find that they cannot truly "march" around the room. If they emphasize every
first beat, they will find themselves swaying back and forth as if they were waltzing.
Have them to assess what is happening and why.
1. Have the students sit in their chairs, place their fists on their chins
q Breathing
Exercises and then rest their elbows on their thighs. Tell them to take a slow
and deep breath and to pay particular attention to which muscles work
when they breathe. (This will be their abdominal and back muscles.
Their chests and shoulders cannot move when they are in this position.)
2. In the same position, have them breathe in quickly to feel the

expansion, hold the breath for four seconds, then release it in a steady
stream, hissing for 8 counts. Repeat and release for 12 counts, then 16.
sets of muscles
e Warm- up 3
The warm-up exercise below will not only warm up the voice and
warm up the brain (solfege), it will also reinforce 4 meter.
#3
& 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï ú.
Repeat the exercise in upper or lower keys, as desired.
Don't forget to remind them of:
Posture
Tall vowels
S - 31
8:
drei
trois
drie
tres
RHYTHM: Three-four meter. ( 4 )
3
Music can be grouped in units of 3 as well as in units of 4.
Three-four meter (also known as "waltz time") has three beats in each measure, with
the first beat (the downbeat) receiving an extra emphasis.
3
The conducting pattern for 4 is shown below. Trace the patterns with your index fingers
as you count the beats (three).
Left hand Right hand
READ the following rhythm exercises while conducting:

34 Œ
1. œ œ œ ˙ œ œ œ œ œ ˙
3 Œ Œ
2. 4 œ œ œ œ œ œ œ œ œ œ œ œ
34 Œ
3. œ œ œ Œ œ œ œ œ œ Œ Œ ˙
31
8 -- THREE'S COMPANY
PERFORM the poem below in these ways:

1. With rhythmic syllables, with a slight emphasis on the first
beat.
2. With body percussion: clap on the first note of each measure;
patsch on all other notes.
3. Read the words, emphasizing the
first syllable in each measure,
while conducting.
4. Perform in canon in 2-4 parts at
2 measures and/or 4 measures.
Miss T.
by Walter De La Mare
edited by Patti DeWitt
34 Œ
œ œ œ œ œ ˙ œ œ œ œ œ œ œ
It's a ve - ry odd thing, As odd as can be, That what -
œ œ œ œ œ œ œ œ œ ˙ Œ
ev - er Miss T. eats Turns in - to Miss T.;
œ œ œ œ œ œ œ œ œ œ ˙
Por - ridge and ap - ples, Mince, muf - fins and mut - ton,
Jam, jun - ket, juice - Not a rap, not a but - ton It
œ œ œ œ œ œ œ œ œ ˙ œ
mat - ters. The mo - ment They're out of her plate, Though
shared by Miss Butch - er And sour Mis - ter Bate.
œ œ œ œ œ œ œ œ œ ˙ œ
Ti - ny and cheer - ful And neat as can be, What -
ev - er Miss T. eats Turns in - to Miss T!
32
S - 32
THREEs AND FOURs: These limericks will have to begin with an anacrusis.
I have written the first one out for you.
3 Î Ï Ï
4 Ï Ï Ï Ï Ï Ï Ï Ï ú
There once was a mai - den named Ju - lie Whose in -
Ï Ï Ï Ï Ï Ï Ï ú ú Ï
ten - ded was Les - ter O' - Doo - ley. He
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
wist - ful - ly said, "I can't wait 'till we're wed, And you're
Ï Ï Ï Ï Ï Ï Ï ú ú
Ju - lie O' - Doo - ley quite tru - ly."
44
Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï
There once was a mai - den named Ju - lie Whose in -
Ï Ï Ï Ï Ï Ï Ï ú Ï
ten - ded was Les - ter O' - Doo - ley. He
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
wist - ful - ly said, "I can't wait 'till we're wed, And you're
Ï Ï Ï Ï Ï Ï Ï ú Î
Ju - lie O' - Doo - ley quite tru - ly."
Pencil Time:
Activity Sheet 19: Seeing Dots You may wish to see if the math teachers
will help the students with this Pencil Time
Activity. Especially if you do not have time
to do it in class.
S - 33
THREE'S COMPANY -- 8
4
THREEs AND FOURs: Perform each of the limericks below in the following ways:
1. In 4 meter with the following body percussion accompaniment:
Clap or snap 44 œ œ œ œ œ œ œ œ ..
Patsch
2. In
34 meter with the following body percussion accompaniment:
34 œ œ œ œ œ ..
Clap or snap
Patsch œ
3. In canon, in each meter.
Two Limericks
1. There once was a maiden named Julie 2. There once was a widow from Dover
Whose intended was Lester O'Dooley. Who tattooed herself over and over,
He wistfully said, With each kind of rose
"I can't wait till we're wed, From her head to her toes--
And you're Julie O'Dooley quite truly." At which her late husband turned over.
--Patti DeWitt
3 44
NOTATE the rhythms of the limericks in both 4 and meters.

Write your own limerick for the class to perform in three and in four.
RHYTHM: Dotted-half notes.

Adding a dot to a note increases the beat value of that note by 1/2 of its original value.
˙ ˙.
2 beats + .
1 beat = 3 beats
(1/2 of 2 beats)
Pencil Time: Activity Sheet 19: Musical Math #2: Seeing Dots
33
3
READ the following 4 rhythmic exercises singly, in canon, in
retrograde, and in harmony. Conduct as you read.
34
1. œ œ œ ˙ œ œ œ œ ˙.
34 Œ
2. ˙ œ œ œ œ ˙ œ ˙
34 Œ Œ Œ
3. œ œ œ ˙ œ œ ˙
34 Œ Œ Œ
4. œ œ ˙ ˙. œ œ
SING the following melodic exercises. Chant them first with solfege and
handsigns:
1.
& b 34 œ œ œ œ œ œ œ œ œ ˙.
? b 34 ˙ œ ˙ œ œ œ œ ˙.
2.
3.
& b 34 ˙ œ œ œ œ œ œ œ ˙.
œ œ ˙ œ œ ˙
? b 34 œ œ œ Œ
4.
# 3
& 4 ˙ œ ˙ œ œ œ œ ˙.
5.
? # 34 œ œ œ œ œ œ œ œ œ œ ˙
6.
# 3 œ ˙ œ œ œ
& 4 œ œ œ ˙.
7.
œ œ œ œ œ œ ˙ œ ˙
? # 34 Œ
8.
34
The Waltzing Giraffe

Patti DeWitt
# 3 ∑ ∑ ∑ ∑
& 4
# 3 Œ
Piano
& 4 œœ œœ Œ œœœ œœœ Œ œ œ Œ œœœ œœœ

œ œ œœ œœ
P
?# 3
4 ˙. ˙.
˙. ˙.
# .P œ ˙. ˙ œ
& . ˙ œ œ œ œ œ œ
Ev' - ry night the cir - cus is packed Just to
# . Œ Œ œœœ
& . œœ œœ œœœ Œ œ œ
œœ œœ
Œ œœœ œœœ Œ œ œ
œœ œœ
œ œ
? # ..
˙. ˙. ˙. ˙. ˙.
# ˙ œ œ œ œ
& ˙. ˙ œ œ œ œ
see the cen - ter ring act. Chil - dren cheer and
# Œ œ œ Œ Œ œ œ Œ Œ œœœ œœœ
& œœ œœ œœ œœ œœ œœ
œ œ œœ œœ œ œ
?#
˙. ˙. ˙. ˙. ˙.
# ˙.
F
˙ œ ˙ œ
& œ œ œ œ œ œ
par - ents laugh When they see the waltz - ing gir -
# Œ
& œœ œœ Œ œœœ œœœ Œ œœ œœ Œ œœœ œœœ Œ œœ œœ
œ œ œ œ œ œ
F
?#
˙. ˙. ˙. ˙. ˙.
35
p
# ˙ ˙.
& ˙. ˙ œ ˙ œ œ
affe. Grace - ful - ly he moves his feet
#
& Œ œœ œœ Œ œœ œœ Œ œœœ œœœ Œ œœ œœ Œ œœœ œœœ
œ œ œ œ œ œ
p
?# ˙. ˙.
˙. ˙. ˙.
P F
# œ œ œ
& ˙ œ œ œ œ ˙. ˙ œ
To the gen - tle 1 - 2 - 3 beat Watch him
#
& Œ œœ œœ Œ œœœ œœœ Œ œœ œœ Œ œœœ œœœ Œ œœ œœ
œ œ œ œ œ œ
P F
?# ˙. ˙.
˙. ˙. ˙.
#
& ˙ œ ˙ œ ˙. ˙ œ ˙ œ
twirl a - round the floor Glid - ing, sway - ing,
#
& Œ œœ œœ Œ œœ œœ Œ œœœ œœœ Œ œœ œœ Œ œœœ œœœ
œ œ œ œ œ œ
? # ˙. ˙. ˙.
˙. ˙.
# P
& œ œ œ ˙. ˙ œ œ œ œ
twirl - ing some more When his act ap -
#
& Œ œœ œœ Œ œœœ œœœ Œ œœ œœ Œ œœœ œœœ
œ œ œ œ
P
? # ˙. ˙. ˙. ˙.
36
# ˙ œ ˙ ˙
& œ œ œ ˙ œ œ œ
proach - es its close, The lights grow dim, the mu - sic
#
& Œ œœ œœ Œ œœœ œœœ Œ œœ œœ Œ œœœ œœœ Œ œœ œœ
œ œ œ œ œ œ
?#
˙. ˙. ˙. ˙. ˙.
#
Meno mosso
& ˙. ˙ œ œ œ œ œ œ œ ˙.
slows With the wal - tz's fi - nal sound,
# Œ Œ Œ œœœ
& œœ œœ œœ œœ œœœ Œ œœ œœ Œ œœœ œœœ
œ œ œ œ œ œ
?#
˙. ˙. ˙. ˙. ˙.
# U
œ
& ˙ ˙
rit. . . . . . . . . . .
œ œ œ œ ˙.
Bow - ing low, he touch - es the ground.
# U
& Œ œœ œœ Œ œœœ œœœ Œ œœ œœ Œ ˙˙
œ œ œ œ ˙
?#
rit. . . . . . . . . . .
˙. ˙. ˙. .
u̇
37
LEARNING THE SONG:

1. Read the words in rhythm.
2. Chant the solfege of the A Section with handsigns.
3. Sing the A Section solfege with handsigns, a cappella.
4. Repeat with the B Section.
5. Sing the words with handsigns, a cappella. Repeat steps 3 and 4 until all pitches are
mastered.
6. Add accompaniment.
After you have learned "The Waltzing Giraffe," perform it as a solo for the class. Record
your performance. Self-evaluate the performance for quality and effectiveness after you
get through singing. Then re-evaluate your performance after you listen to the recording.
"The Waltzing Giraffe."
Write the answers to the following questions on paper. Answer with complete sentences.
1. What key is the song in?

2. What time signature is used?
3. What notes of the scale are used in the piece?
4. How long are the phrases? (Hint: Rhyming words often mark the end of the phrase.)
5. Are the phrases all equal in length?
6. What is the form?

3
Write a paragraph describing the differences between 4 and
44 meter.
Be sure to discuss which beats are accented in each meter.
EVALUATION:
After you have learned "The Waltzing Giraffe," evaluate it for quality and effectiveness
by filling out a Music Evaluation form. Compare your evaluation to those of other
classmates.
38
S - 38
Question The concept of "question and answer" is actually an introduction
and to cadences. What the students need to feel and hear at this level is
Answer: that some musical phrases have a sense of finality (answer phrases).
Other phrases sound and feel like the song must continue (question
phrases). At this point in the students' musical training, it is sufficient
merely to define "answer" phrases as those who end on Do while
"question" phrases end on any other note. This gives the beginning
student simple and clear parameters for their own compositions.
S - 39
"QUESTION" and "ANSWER"
Musical phrases tend to fall into the category of "question" and "answer."
"Question" refers to phrases who end with the feeling that there is more to come.
"Answer" refers to those phrases that end with the feeling of rest or finality.
Generally speaking, "answer" phrases end on Do, and "question" phrases end on any
note other than Do. Look back at "The Waltzing Giraffe." Tell if each of these
phrases is a "question" phrase or an "answer" phrase. Record your answers on paper:
A Section:
1. First phrase (measures 5-8)
2. Second phrase (measures 9-12)
3. Third phrase (measures 13-16)
4. Fourth phrase (measures 17-20)
B Section:
1. First phrase (measures 21-24)
2. Second phrase (measures 25-28)
3. Third phrase (measures 29-32)
4. Fourth phrase (measures 33-36)
Finish analyzing the rest of the phrases of the song.

On what kind of phrase does the song end--a "question" phrase or an "answer" phrase?
COMPOSE YOURSELF!
Sing following "question" phrases and play them on a recorder, piano, or xylophone.
Then, on a piece of staff paper, write "answer" phrases for each.
Play the "question" phrase and your corresponding "answer" phrase in sequence.
Teach the new "answer" phrases to the class using handsigns only.
Decide which "answer" you like best and why.
# 3 œ œ œ œ œ
1. & 4 œ œ œ œ ˙.
# 3 ˙ œ ˙.
2.
& 4 œ œ œ œ œ œ
# 3 ˙
3.
& 4 œ œ œ œ œ œ œ ˙.
# 3
4.
& 4 œ œ œ œ œ œ œœœ œ ˙.
39
COMPOSE a melody to go with the following rhyme using the notes, Do, Re, Mi, So, and La.
(Jot the notes down on plain paper and write the rhythms above them). Make the first
3
3 phrases "question" phrases, and the last phrase an "answer" phrase. Write your melody
in 4 meter.
Walking through forests in faraway lands;
Roaming through cities or warm desert sands;
Splashing in waves and the sea-driven foam.
Holding your hand, I am always at home.
-- Patti DeWitt
V CABULARY
1. Three-four meter--Time signature in which there are 3 beats in a measure and the
quarter note receives one beat
2. Waltz time--Another name for 34 meter
40
9: Anacrusis
When a piece of music begins with a partial measure, it is called an anacrusis, or
a pick-up note if it is a single note.
Partial measure:
Ana Crusis
34
Patti DeWitt
œ œ œ œ œ œ œ œ ˙
This mu - sic book now in - tro - duc - es
Only one beat.
Ó œ œ œ œ œ œ œ œ ˙
The love - ly and sweet A - na Cru - sis.
Her mea - sures are ne - ver quite load - ed
And though some may find her out - mod - ed
Ó œ œ œ œ œ œ œ ˙ Œ
She's up - beat and rhyth - mic' - ly blest
Ó œ œ œ œ œ œ œ ˙ Œ
And al - ways a - head of the rest.
And if you will pick - up her mea - sure
You'll find she is al - ways a plea - sure.
And now that you've met An - a Cru - sis
Ó œ œ œ œ œ œ œ œ œ
You sim - ply have no more ex - cus - es!
Partial measure:
The last measure contains
the beats that the anacrusis
measure is missing.
3
READ the poem while conducting the 4 pattern, then with body
percussion accompaniment.
41
9 -- ANACRUSIS
READ the following rhythmic exercises 1, 2, 3, and 4 in a row. Read each meter in canon
and in harmony while conducting.
(Notice the anacrusis and the shortened measures at the end.)
34 Œ Œ
1. œ ˙ œ œ œ ˙ œ œ
34 Œ
2. œ ˙. œ œ œ œ œ ˙
34 Œ Œ Œ
3. œ œ œ œ œ œ œ ˙
34 Œ Ó
4. œ œ œ œ ˙ œ ˙
44
5. œ ˙ œ œ ˙ ˙ œ Œ ˙ Œ œ œ
44 Œ œ ˙
6. œ œ œ ˙ œ ˙ œ ˙ œ
44
7. œ œ Œ œ œ Œ ˙. Œ œ ˙ Ó œ
44
8. œ œ œ Œ œ ˙. œ Œ œ œ œ ˙.
READ the following melodic exercises. Chant the rhythm first, while
conducting, then read with solfege with handsigns. After each is mastered try
singing two or more of each meter at the same time (in harmony).
# 3
& 4 œ ˙ œ ˙ Œ ˙ œ ˙
1.
# 3 œ œ ˙ œ ˙ œ œ œ ˙
2. & 4
# 3 œ œ œ Œ
3.
& 4 œ œ ˙ œ œ ˙
# 3 œ œ œ
& 4 œ œ œ œ œ œ œ ˙
4.
42
ANACRUSIS -- 9
5. & b 44 œ ˙ œ œ ˙ ˙ Œ œ œ œ ˙.
6. & b 44 œ œ œ Œ œ œ œ ˙ œ œ œ œ ˙.
7. & b 44 œ Œ œ œ œ ˙ Œ œ ˙. œ ˙.
8. & b 44 œ ˙ Œ œ œ œ ˙
œ œ œ Œ ˙.

The lyrics of the song, "Gooseberry, Spruceberry," use nonsense
words. Write a new set of lyrics that fits the notes and rhythm of the song using your
own nonsense words.
LEARNING THE SONG:

1. What is the form of the song?
2. Point out the anacrusis.
3. Chant the words while conducting.
4. Chant the words.
5. Chant the solfege.
6. Sing the solfege syllables.
7. Sing the words.
8. Add accompaniment.
V CABULARY
1. Anacrusis--A partial measure at the beginnining of a piece of music
2. Pick-up note--A single note anacrusis
3. Upbeat--The last beat of a measure. A pick-up note is on the upbeat.
43
9 -- ANACRUSIS
Gooseberry, Spruceberry
& b 34 œ
Patti DeWitt
œ œ œ œ œ œ œ œ œ œ Œ œ
1. Goose - ber - ry, spruce - ber - ry, choke - cher - ry and rye, I
2. "I've trif - fles of nes - tor and wig - wags of dace All
3. Goose - ber - ry, spruce - ber - ry, choke - cher - ry and brass. "Oh,
&b œ œ œ œ œ œ œ œ Œ
5
œ œ œ
met a bold ped - dler on Rak - ing - ton High. "Oh,
dop - pled with whorls of I - vor - i - an glace, And
Rak - ing - ton ped - dler," said I with - out sass, "Though
&b œ œ œ œ œ œ œ œ œ Œ œ
9
œ
what are you sell - ing this morn - ing?" said I. And
ples - ses of cres - ses and lump - ets of frace Which
trif - fles and cres - ses sound love - ly, a - las! Though
&b œ œ œ œ œ œ œ œ
13
œ ˙
here's what he said with a wink of his eye:
sure - ly will put a big smile on your face."
sore - ly I'm temp - ted, I sad - ly must pass."
Orff Accompaniment: A Section:
Play the following AX & b .. Œ œœ œœ Œ œœ œœ Œ œœ œœ Œ œœ Œ ..

percussion instruments
& b .. œ Œ œ Œ œ œ Œ œ œ Œ Œ ..
on the given words:
"triffles"--tambourine
BX
œ
.. œ œ œ œ œ œ œ œ Œ ..
"nestor"--ratchet
"wigwags"--slide whistle
"dace"--cymbal
TB
œ œ œ
"Ivorian glace"--rain stick
"plesses"--tympani roll B Section:
"cresses"--guiro
"lumpets"--tick-tock AG & b 34 œ œ œ œ œœœ œ œœœ œ œœœ œ
woodblocks
"frace"--vibraslap
AM & b 34 ˙ . ˙˙ .
.
˙. ˙˙ .
.
˙. ˙.
& b 34 Œ œœ œœ Œ œœ œœ Œ œœ œ Œ œœ Œ
Be creative!
Make your own
percussive sounds:
AX
œ
3 Œ
&b 4 œ Œ œ Œ œ Œ œ
Example:
œ œ œ œ
tearing paper BX
slamming books shut
vibrating the teeth
of a comb
44
second
Gooseberry, The lyrics to this song have a lot of nonsense words. To

Spruceberry extend this activity, have the students write a short essay
defining each of the nonsense words and, thus, telling us the
real meaning of the story.
The students may then make up their own nonsense words.

In this way there can be no excuse for not having perfect meter
and perfect rhymes!
This lessons provides an excellent opportunity for students for whom English is a
second language. They can practice employing basic rules of grammar while using
words that they have invented that mimick the sound and inflections of the English
language.
Be Creative! Allow the students to explore other percussive sounds.

Crinkling or tearing paper, squeaking chairs, stomping feet, etc.
The teacher and students should feel free to experiment with
inventing their own sounds.
After these innovated percussion instruments have been

designated, replace each of the nonsense words in the song with
one of the new percussion sounds. Enjoy!
S - 44
Chapter 10:
Making Arrangements
This chapter is fairly self-explanatory.
Try to offer the students some time to experiment with borduns on Orff instruments or
on the piano. Perhaps you could have keyboard day on special Fridays when all students
may bring their electronic keyboards to class.
S - 45
10: Making Arrangements
A musical arrangement involves taking an existing melody and putting it in a new
setting. Techniques that can be used to arrange melodies are presented in this chapter:
I. CREATING A NEW ACCOMPANIMENT

Simple accompaniments can be created by the use of ostinato patterns.
An ostinato is a continously repeated passage of music.
Orff accompaniments often employ ostinato patterns. And the ostinato pattern in
the bass voice is often based upon the fifth--Do and So played together--called a
bordun (pronounced bor-doon') See below:
Simple bordun: Or: Or:
& b 44 ww ww ˙˙ ˙˙ ˙˙ ˙˙ œœ œœ œœ œœ œœ œœ œœ œœ
Or a combination of the above: Or:
& b 44 ˙˙ ˙˙ œœ œœ œœ œœ ˙˙ œœ œœ ˙˙ œœ œœ
ARRANGEMENT 1:
Using xylophone, piano, or keyboard, create a simple bordun accompaniment in the key
of F Major to Twinkle, Twinkle, Little Star. Write out your accompaniment on staff
paper, making sure to use the correct time and key signatures.
Here is where to find Do (F) and So (C) in the key of F Major on a piano or keyboard:
&b œ œ
F C
Do So
45
10 -- MAKING ARRANGEMENTS
Here is where to find Do (G) and So (D) in the key of G Major on a piano or keyboard:
# œ
& œ
G D
ARRANGEMENT 2:
Do So
Variation. Modify your accompaniment to include one of the borduns, below, in the
B section.
# 4
1. Octave echo: Or: Or:
∑ ww Ó ˙˙ Ó ˙˙ Ó œœ œœ Ó œœ œœ
& 4
# 4 w ∑ ˙˙ Ó ˙˙ Ó ˙˙ Ó ˙˙ Ó
& 4 w
# 4
2. Broken bordun Or: Or:
& 4 ˙ ˙ ˙ ˙ œ œ œ œ œœœœ ˙ ˙ œœœœ
3. Combination simple and broken:

# 4 w
Or:
& 4 w œ œ œ œ ˙˙ ˙˙ œ œ ˙˙
4. What other possible bordun variations can you think of? Write out at least 2 more on staff paper.
II. ADDING A COUNTER-MELODY:

A counter-melody is a second melodic line that embellishes the original melody. A
simple method of creating counter-melodies is to combine compatible rounds, or canons.
For example, half of the class sings "Row, Row, Row Your Boat," while the other half
sings "Are You Sleeping?"
46
MAKING ARRANGEMENTS -- 10
ARRANGEMENT 3:
Write a counter-melody for "Twinkle, Twinkle" using the notes So, Mi, and La. Sing your
new melody while a friend sings "Twinkle, Twinkle." Teach it to the class, one phrase
at a time, without singing it to them, using handsigns only.
ARRANGEMENT 4:
Play or sing your counter-melody as an obbligato--with a high voice or instrument such as
a recorder or glockenspiel or in a high range on the piano. Write the whole arrangement
on staff paper with the obbligato on the first staff and your accompaniment on the
second staff (and third, if needed).
PERFORM your new arrangement.

Twinkle, Twinkle, Little Star
# 4 œ œ ˙
& 4 œ œ œ œ œ œ œ œ œ œ ˙
#
Twin-kle, twin - kle lit - tle star, How I won - der what you are.
& œ œ œ œ
œ œ œ œ
5
œ œ ˙ œ œ ˙
#
Up a - bove the world so high Like a dia - mond in the sky.
œ œ ˙
9
& œ œ ˙
Twin - kle, twin - kle, lit - tle star, How I won - der what you are.
Bordun accompaniments in 4 time:

3
Simple: Broken:
& b 34 ˙˙ .. ˙˙ .
. œ œ œ œ œ œ
Octave Or:
& b 34 ∑ ˙˙ .
. ∑ ˙˙ .
. Ó œœ Ó œœ
˙. ˙˙ .. ˙˙ .. ˙˙ ..
? b 34 ˙ . ∑ ∑
PRACTICE each of these bordun accompaniments with various melodies.

Suggestions: "Oh, Susannah"
"Camptown Races"
"Yankee Doodle"
"Mary Had a Little Lamb"
47
10 -- MAKING ARRANGEMENTS
V CABULARY
1. Accompaniment--Music that supports the melodic line
2. Arrangement--A new setting of an existing melody
3. Bordun--"Open" fifth accompaniment
4. Broken bordun--An open fifth accompaniment in which Do and So are played

consecutively.
5. Counter-melody--A melody written to accompany the original melody
6. Octave bordun--A bordun accompaniment that echoes the fifth in a higher octave
7. Obbligato--A counter-melody in a high voice
8. Ostinato--A short and continously repeating accompaniment pattern
9. Simple bordun--An open fifth accompaniment in which Do and So are played

at the same time
Pencil Time: Activity Sheet 20 & 21: Vocabulary Word Search #2

Activity Sheet 22: Improvise!
48
S - 48
Chapter 10:
Crazy Eighths
The Moon--Variations:
1. After reading the poem as written while conducting, have the students conduct and
read the poem, leaving out the words that fall on the first beat of every measure.
Then have them chant the poem and omit the words that fall on the fourth beat. Then the
third, then the second etc.
2. After reading the poem out loud all the way through, have the students continue reading,
leaving out the word on the second beat on the first repetition, leaving out the words on the
second and fourth beats on the second repetion, leaving out the words on the first, second
and fourth beats on the third repetition.
3. Have the students conduct and read the poem silently, speaking only the words on the
third beat of each measure out loud.
Then only the words on the first beat, fourth beat, and second beat.
S - 49
11: crAZy Eighths 3 4
EIGHTH NOTES--Eighth notes have the duration of 1/2 of one beat in 4 or 4 meter. It
j
takes 2 eighth notes to fill one beat of music in common meter.
œ œ œ
Eighth note Beamed eighth notes
1/2 beat in common meter Combined, 1 beat in common meter.
The following pictures illustrate the relationship between note values:
4 beats 4 beats 4 beats 4 beats

œœ fill the same time space as œ
READ the poem as you conduct, then with body percussion accompaniment. Note the
placement of the eighth notes. Read in canon at 2 measure intervals in 2, 3, or 4 parts.
Perform on percussion instruments or with body percussion sounds.
What is this?
The Moon
by Robert Louis Stephenson
44
edited by Patti DeWitt
œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
The moon has a face like the clock in the hall, She shines on cats on the gar-den wall, On
5
œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ
streets and fields and on har - bor quays, And bird-ies a-sleep in the fork of the trees. The
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
9
squal-ling cat and the squeak-ing mouse, The howl-ing dog by the door of the house, The
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
13
bat that lies in his bed at noon All love to be out in the light of the moon. But
17
œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œœ œ œ œ œ œ
all of the things that be - long to the day Cud - dle to sleep to be out of her way, And
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
21
flowers and chil-dren close their eyes Till up in the morn - ing the sun shall a-rise.
49
11 -- CRAZY EIGHTHS
READ the following exercise. It contains all of the note durations that
you have learned to this point. Read it backwards and forward conducting
and using rhythmic syllables. Read it in canon and with different
groups reading it simultaneously backward and forward.
44
w ˙ ˙ œ œ œ œ œœœœœœœœ
READ the following rhythmic exercises singly, in canon, in retrograde, and in harmony:
44
1. œ œ œœœ œœœ œœœ ˙ œ œ œœœ ˙
44
2. œœœœœ œ œ œ ˙. œ œœœœœ œ œœœ œ
44
3. œ œœ˙ w œœœ Œ œ œœœœœœœ
44 Ó Œ œ œœœœ œœŒ œœœ
4. œœœ œœœœœœœ
44 Œ
5. œ Œ œ œ œ œ ˙. œ œœŒ œœ Œ œœœœœ
44
6. œœœ Œ œœ œ œ œœœœ Œ œœœœœ Œ œ ˙
7. 43 œ œ œ œ œ œ œ ˙ œ œ œ œ œ
8. 43 œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ
9. 43 ˙ . Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ
10. 43 œ Œ œ œ œ œ ˙ Œ œ œ œ ˙.
11. 43 œ œ Ó œ œ Œ œ ˙ œ œ œ œ œ œ œ
12. 43 Œ œ œ Œ ˙ œ œ œ œ œ œ œ œ œ Œ œ œ
50
Remember to ask for volunteers to perform individually.
And remind the students constantly:
Sit/Stand tall.
Tall vowels.
Eyes up.
Use handsigns.
Limited English--Be sure to check periodically for understanding by questioning students

and asking them to demonstrate understanding of learning by performing musical tasks.
S - 46
If time permits, allow students to play some of the exercises on the piano, xylophone,
or recorder.
S - 47
CRAZY EIGHTHS -- 11
READ the following exercises.

2. Chant the solfege in rhythm and with handsigns.
3. Audiate the exercise (read silently while handsigning).
4. Sing with handsigns.
1. & b 44 œ œ œ œ œ œ œ ˙ œ œœœ œ œ œœ˙
2.
& b 44 œ œ œ œ œ œ œ œœ˙ œœœ œœœ œœœœ˙
o œ
& b 44 œ œ œ œ œ œ œ œ ˙
Ana who?
3.
œ œœœ œ œ œ œ œ
œœœ œœ œœœ œœ
? b 44 œ œœœœœ œ œ œœœœœ œ
4.
5. & b 44 œ œ œ œ œ œ œ œ œ œ œœœ œœœ œ œœ˙

# 4
6. & 4 œ œœœ œ œœœœœ œ œ œœœ œ œœœœ˙
œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
? # 43
7.
? # 43 œ œ ˙ œ œ ˙ œ œ œ œ ˙.
8.
# 4
9. & 4 œœœœœœœ œœœœ˙ œœœœœœœ œœœœ˙
#
10. & 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
LEARNING THE SONG: "Din, Don, Dan"

1. Read the rhythm on rhythmic syllables.
2. Chant the piece on solfege with handsigns.
3. Read the words in rhythm.
4. Sing the words with handsigns.
51
11 -- CRAZY EIGHTHS
Din, Don, Dan

Words from an Ecuadorian children's song
Patti DeWitt
& b 44 œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
œ œ œ œ
Din, don, dan, Re - pi-can las cam-pa-ñas; Din, don, dan, A - leg-ran la ma-ña-na.
Orff accompaniment:
4
&b 4 ∑ Œ œœœœœœ ∑ Œ œ œ œ œ œ .. Ó œ œ
~~~~
SG
SM & b 44 Ó ˙˙ ∑ Ó ˙˙ ∑ .. ww
4 .. ww
AM & b 4 Œ ˙˙ .. ∑ Œ ˙˙ .. ∑
4 œ œ œ
BM & b 4 ˙˙ .. œ œ œ œœ ˙˙ .
. œ œœ œ œ œ .. ww
English version: Ding, dong, ding,

The bells are gaily ringing;
Ding, dong, ding,
Their happy voices singing.
PERFORM:
1. Introduction--4 measures of accompaniment.

2. Sing the song twice through.
3. Interlude--4 measures of accompaniment.
4. Sing in canon--2, 3, or 4 parts.
5. Repeat 3 times.
6. Coda--4 measures of accompaniment with final chord and glissando.
52
CRAZY EIGHTHS -- 11
I THINK THAT CAN BE ARRANGED:

1. Create your own accompaniment on Orff instruments for Din, Don, Dan.
A. Remove the notes F and B from the keyboard instruments, and create a suitable
accompaniment. You may use ostinato (continuously repeated) patterns.
B. Create a new melody (counter-melody) that goes well with the song.
2. Using the black notes on the piano keyboard (black notes only), pick out the melody
to Din, Don, Dan using C# for So. Using black notes only, create your own
accompaniment for this song. Again, using black notes only, create a counter-melody
that works well with the song.
Pencil Time: Activity Sheet 23: W'Eighths

Activity Sheet 24: Musical Math #3: Reading Problems
Activity Sheet 25: Legato, Marcato, Staccato
ARTICULATION:
Articulation is how notes are performed. There are several ways that notes may be sung:
Legato--Smoothly and connected; "flowing." Sometimes legato is indicated by
slurs. A slur connects notes that are sung for a single syllable of lyric.
& b 44 .. œ œ œ œ œ œ œ ..
Le - - - - ga - to
Staccato--Short and detached; lightly accented
& b 44 .. ‰ j
œ. œ. œ. œ. œ. ..
Sta - ca - ca - cat - to.
Marcato--Longer, yet detached; heavily accented.
& b 44 .. œ ‰
j j ‰ ..
œ œ œ œ flœ
fl fl fl fl fl
Marc, marc, marc, mar - ca - to
53
12: So Good!
The note below So, is Fa. Fa is between So and Mi. If So is in a space, Fa is on the line
below it. If So is on a line, then Fa is in the space below it.
Here is the handsign for the note Fa.
In the Key of F, the flat sign indicates the location of Fa.
& b 44 œ œ œ œ
o w œ œ œ œ
w
Locate Fa in the key of G, bass clef, keeping in mind that the sharp sign ( # ) indicates Ti.
w œ œ œ œ
? # 44 œ œ œ œ w w
Sing both of the exercises, above, with handsigns.
READ the following exercises:

1. Tell what key and clef each exercise uses.
2. Read the rhythms while conducting.
3. Chant the solfege while using handsigns.
4. Sing the solfege syllables while using handsigns.
1.
& b 44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
2.
& b 44 œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙
3.
& b 44 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
54
SO-FA, SO GOOD -- 12
? 3 œ œ œ œ œ œ œ œ œ œ œ œ
4. b 4
? b 43 ˙ œ œ œ œ ˙ œ œ œ œ
5.
? b 44 œ œ œ ˙ œ œ ˙ œ œ ˙ œ œ œ
6.
# 4
& 4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
7.
#
8. & 43 ˙ œ ˙ œ œ œ œ ˙.
# 3 ˙ œ ˙.
& 4 œ œ œ œ œ œ
œ œ œ œ
9.
? # 44 œ œ œ œ œ ˙ œ œ ˙
Œ
10.
œ œ œ œ œ ˙ œ œ œ œ ˙
? # 44 Œ Œ Œ
˙ œ œ
11.
˙ œ œ ˙ ˙
? # 44 Ó Ó
12.
#
YOUR BRAIN:
13. & 44 œ œ œ ˙ œœœ ˙ œ Œ œ œ œœœ œ œ
? # 44 œ œ œ œ œ œ œœ˙ œ œœœ œ œ œœ˙

14.
#
15. & 43 œ œ œ œ œ œ œ œœœ œœ œœœ œ Œ œ
& b 44 ˙ .
œœ œ œ ˙ Œ œ œ œ œœœ œ œ
16.
Pencil Time: Activity Sheet 26: Name the Notes

55
12 -- SO-FA, SO GOOD
Circus Clown
Patti DeWitt
& b 44
Brightly
∑ ∑
œ. nœ bœ. œ œ œ œ œ
4
& b 4 œ. nœ bœ. œ œ œ œ ˙
Piano
J œ
J ˙
j
? j œ œ œ œ nœ œ
b 44 œ . œ œ.
œ œ œ œ nœ œ œ
œ. œ œ. œ
F
&b œ œ œ œ Œ œ
3
When the cir - cus comes to town We all love the
j j j j j ‰ œœœ œœœ œœœ œœœ ‰ œj ‰ j ‰ œj ‰ œj

& b ‰ œœ ‰ œjœ ‰ œœ ‰ œœ ‰ œœ ‰ œœœ
œ œ œ œ œ œœ œœœ œœ œœ
?
b œ œ œ
œ œ œ œ œ œ œ œ œ
&b œ œ œ
6
˙ œ œ œ œ œ œ ˙
cir - cus clown Turn - ing cart - wheels, rid - ing mules
j
& b ‰ œœœ ‰ œœj ‰ œœœœœœ œœœ œœœ œ œœ œ œœ œ œœ œ œœ œ
œœ œ œœ œ œœ ‰ œœ
J
œ
?b
œ œ œ œ
56
SO-FA, SO GOOD -- 12
f
œ ˙
9
&b œ œ œ œ œ œ œ œ œ
Act - ing like buf - foons and fools - Gai - ly break - ing
œ œœ œœ œœ œœ œ œœ œ œœ ‰ œœ œ
b
& œ œ œ œ
œ œ J œ œ œ œœ œ œœ œ œœ
? œ
b œ œ œ œ œ œ œ
œ œ œ œ
P
"
12
&b œ œ ˙ œ œ œ œ œ œ œ œ Œ
all the rules. Why do we love clowns at play?
"
& b œ œœ œœ œ œœ œ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œœœ œœœ œœœ œœœ
œ œœ œœ œœ œœ œœ œœ
?b
œ œ ˙ œ œ œ œ œ œ œ œ
15 Meno mosso
&b œ œ œ œ œ ˙ ˙
We wish we could be - have that
&b ∑ ∑
?b Œ Œ Œ Œ
œ œ œ œ
&b w ∑
17
œœ œœ .. œœ
way.
j j j j
Moderato
& b ‰ ‰ ‰ ‰
œœ œœœ œœ œœ œ œ . œ Ó
œ œ œ
F f
? œ œ. œ
Moderato
b œ Ó
œ œ œ œ œ. œ
57
13:
Ludwig van Beethoven was born in the

German town of Bonn on the 16th of
December, 1770. His grandfather, also
named Ludwig, and his father, Johann,
were both musicians. His father was his
first music teacher. He wanted his son to
become the next Mozart who was
performing all over Europe before he was
six years old.
Beethoven first performed publicly at age

eight, although his father announced that he
was only six. In fact, for years Beethoven
thought that he was two years younger than
he actually was. When, as an adult, he
found the birth certificate of his brother
two years younger than he who had died
in childhood, he mistook it as his own.
Although Ludwig did not show Mozart's Beethoven in 1820

amazing prodigiousness, he showed a great Painted by Cecelia Johnson after a
talent for music, learning piano, organ and portrait by Joseph Karl Stieler
violin while very young. At age eleven,
Beethoven began studying with court organist C. G. Neefe. Young Ludwig played well
enough that he sometimes substituted for Neefe. At 14, he was proficient enough to
take a professional organist position of his own. When he was twelve years old he had his
first music published.
Ludwig's father was an alcoholic, and Ludwig's childhood was full of chaos and abuse.
His mother died suddenly when Beethoven was 17, and his family situation only became
worse. It was his family situation, along with an offer of support from famed composer
Franz Joseph Haydn, that convinced him to leave home in 1790 and move to Vienna to
study composition. After arriving in Vienna, he studied composition and counterpoint
with Haydn and other prominent composers of his day. Beethoven soon mastered the
"high Classical style" of music composition that Mozart had perfected, and he began to
look for a more individualistic way in which to express himself musically.
It was during this period of style transition that he began to notice that something was
seriously wrong with his hearing. The problem grew progressively worse with time, and
drove Beethoven to such despair that he even considered ending his own life. The hearing
disorder also affected his social life to a great extent. He became extremely irritable and
58
LUDWIG van BEETHOVEN -- 13
easily provoked, bursting out in sudden fits of anger for no apparent reason. It is believed
by some historians that his father's abusive treatment of him and frequent severe beatings
on the head may have been responsible for Beethoven's hearing loss, as well as his
difficulty in getting along with others.
As Beethoven began to experience lapses in his hearing, he began to pound out the
notes harder and harder until he finally wore out the piano. Even after losing all of his
hearing, he continued to compose, hearing each of the parts in his head although he
was never able to hear any of his late works performed. He continued to conduct the
orchestra, especially for any premiere performance of a new work. His deafness was so
profound that he could not hear the applause after the performances. As his hearing
became worse, Beethoven isolated himself even from his friends. Eventually, he was left
completely deaf. He communicated with visitors and trusted friends only by writing. In
spite of his deafness, he continued to compose. In his last period of musical composition,
his music became less dramatic and more introspective.
Beethoven did not compose in the same way as Mozart worked. Whereas Mozart--to
whom Beethoven was frequently compared--would compose complete works in his head
and write them down with very few errors or corrections, Beethoven sweated and toiled
over each composition, writing and rewriting parts many times. For this reason, he
produced considerably less music than his famous predecessor. But the music he did
produce was profound and moving and has been recognized for many generations as
being among the greatest music ever written.
Beethoven was a deeply emotional man. He was almost always in love, and it
always turned out badly. He proposed to many women, but never married because he
had an often violent temper, and it scared them off. Beethoven, however, was able to
convert his disappointments into music. The story goes that after Countess Giulietta
turned down his proposal of marriage, Beethoven sat at his piano one evening with the
moonlight shining through the windows, rejected and depressed. His fingers began to
move over the keys, and he "played out" his heartbreak on the piano. The result was
his famous "Moonlight Sonata."
Another story is told of a baroness who lost her children in a terrible tragedy. She was
inconsolable. For days, consumed by grief, she merely sat, her eyes fixed on the floor.
Beethoven was her close friend, but he was grieving so severely himself that he did not
see how he could be of any comfort to her. So he stayed away. Because the baroness
showed no healing of her grief, Beethoven finally asked the baroness to come to his
home. The Baroness surprisingly accepted the invitation. Beethoven invited her into
his study, and without a word, went to the piano and played for over an hour without
stopping. What he could not say in words, he expressed in his music. For the first time
since her loss, the Baroness was able to let go of her grief. Years later, as she recounted
the incident to friends, she said, "He told me everything with his music and at last brought
me comfort."
59
13 -- LUDWIG van BEETHOVEN
Beethoven became chilled in an overnight stay without heat and soon developed a
fever from the exposure. He grew steadily worse and slipped into a coma on March 24,
1827. He died two days later at the age of 56. Legend has it that Beethoven died during
a hailstorm and that his death was accompanied by a simultaneous loud clap of thunder.
Beethoven, Symphony Number Nine in D Minor (Choral), Fourth Movement
Beethoven's last symphony, the Ninth, was written after Beethoven was totally deaf.
It is a large work, lasting over an hour in its entirety. This symphony is famous for
several reasons. First of all, as previously stated, it is Beethoven's last symphony and a
work of monumental proportions. Secondly, Beethoven incorporated a choir and soloists
in the last movement. This is the first symphony to employ vocal music.
Beethoven had long been attracted to the poems of Friedrich Schiller, especially one
poem, "An die Freude," or "Ode to Joy," which celebrates the triumph of joy and brotherly
love over all of the dark things of the world. Some of the poem's words are found among
the outlines for his Seventh and Eighth Symphonies, along with plans for a four-movement
symphony using the Schiller poem for the finale. This was at last realized in the finale of
ast (and some say, greatest) symphony.
The symphony was premiered in Vienna on May 7, 1824, and though the performance
was far from perfect, having had only two rehearsals, the audience loved it. There were
spontaneous outbursts of applause during the movements as well as in between them.
Perhaps the moment of greatest drama, however, came at the end of the performance.
Beethoven continued to conduct, unaware that the orchestra had finished and that the
audience was offering thunderous applause for his masterpiece. Finally, the contralto
soloist, Fraulein Ungher, turned him around to face the people. Two things happened at
this time: First of all, Beethoven realized how much the audience liked his new work.
Secondly, the public realized for the first time that Beethoven's hearing was gone. It
brought tears to the eyes of many present to realize that the creator of such a magnificent
work would never be able to hear it performed.
The Ninth Symphony is a symphony of four movements. The first movement is dark,
troubled sounding, ending in what seems to be a funeral march. The second movement
takes on a lighter attitude, moving quickly and with purpose as if to some predetermined,
yet indistinguishable end. The third movement is pastoral ("outdoorsy") and quietly sober
in nature. The fourth movement startles the listener out of his quietude with fortissimo,
almost furious-sounding sixteenth note patterns in the string basses. The basses then repeat,
and seem to reject the themes of the previous three movements, followed by a tentative
statement of the "Ode to Joy" theme. This theme is picked up by the upper strings and the
bassoon, and ultimately is given words in the baritone solo, which proclaims: "Oh, friends,
not these sad sounds! Rather let us strike up more pleasing and joyful ones!" Immediately
the bass soloist bursts forth into the singing of "Ode to Joy," to be joined by the other three
soloists and then by the entire chorus.
60
S - 60
O LISTENING: After you have taught the song, An die Freude, find a
good recording (CD or .mpg) of the last movement of
Beethoven's Choral Symphony and of Haydn's Surprise
Symphony. (They will study this symphony in the second
book of this series: Growing Artistry.)
Listen first to the "Choral Symphony." Tell the

students to listen for repetition and jot down some notes
about the form of the piece.
Then play the Haydn for them and ask them to

compare the two. A few weeks later, let them listen to
different movements of the symphonies and ask them to
tell which belongs to which symphony and how they came
to that conclusion.
The students must also be able to classify this music

by its genre, in this case Classical. To be more specific,
Classical music from the Classical and Romantic Eras
of music history.
S - 61
Theme from Beethoven's Symphony No. 9, (Choral), "An die freude."
# 4 MÏ Ï Ï Ï j
What does this mean?
& 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï ú
Freu - de, schö- ner Göt - ter - fun - ken, Toch-ter aus E - ly - si - um,
# Ï Ï Ï Ï Ï Ï Ï Ï j
5
& Ï Ï Ï Ï Ï. Ï ú
Wir be - tre - ten feu - er - trun-ken, Himm - li - sche, dein Hei - lig-tum;
#
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
9
& Ï Ï Ï Ï Ï Ï Ï Ï
Dei - ne Zau-ber bin - den wie - der, Was die Mo - de streng ge - teilt; Al -
#
Ï Ï Ï Ï Ï Ï Ï Ï Ï . Ïj ú
13
& Ï Ï Ï Ï
- le Men-schen wer - den Brü - der, Wo dein sanf - ter Flü - gel weilt.
WRITE out the solfege for "An die Freude" in Activity Sheet 28, and learn the song on
solfege.
LISTEN to a recording of the Fourth Movement of Beethoven's Choral Symphony.
Sing the song, above, with the recording. After listening, evaluate the quality and
effectiveness of the piece by filling out a music evaluation form. Compare your
evaluation to those of your classmates.
Schiller's poem (in German) is presented below with an English translation on the next
page:
IPA* Pronunciation:
An Die Freude an di fr•I-d«
Christoph Friedrich von Schiller
1
fr•I-d« S¿ n-« gœ t -t «-fuNk-«n
1
Freude, schöner Götterfunken,
2
Tochter aus Elysium, toch -t « aUs E-li-zi-um
Wir betreten feuertrunken, vir b «-trE-t « n f‹i-«-truNk- «n
Himmlische dein Heiligtum. hIm-lI-S« daI n haI-lik-tum
Deine Zauber binden wieder, daI n-« zaU-b« bI nd-In vi-d «
Was die Mode streng geteilt; vas di mo-d « StriN g«-taI lt.
3
Alle Menschen werden Brueder, al-« mEn-S«n vE«-d«n brü-d «
vo daIn zanf-t« flü - g«l vaIlt
3
Wo dein sanfter Flügel weilt.
____________________
* See IPA Chart on page 209.
1. Say "e" while the lips and mouth are in the position to say an "o."
2. Say "i" while the lips and mouth are in the position to say "u."
3. A soft "clearing" sound with the back of the tongue.
61
English translation of the first verse:
Joy, most beautiful and divine flame,

Daughter of Elysium,*
We enter, drunk with fire,
Into your heavenly and holy shrine.
Your magic powers bind together
What fashion strictly divided;
All people become brothers
Where your downy wings are spread.
Pencil Time:
Activity Sheet 28: Beethoven
Activity Sheet 29: "Ode to Joy"
Activity Sheet 30: Introduction to the IPA
Art in the Classical and Romantic Era
In his musical innovations, Beethoven almost single-handedly spanned the gap between
the Classical Era of music history, loosely defined as the time span between the death of
Bach (1750) and the death of Beethoven (1827), and the Romantic Era (1820 - 1900).
Franz Josef Haydn and Wolfgang Amadeus Mozart are the two best-known Classical Era
composers.
The Classical Era is characterized by elegance and tasteful restraint. The Classical
composers were fond of composing in specific set forms which had been clearly defined.
The painting of this era, in the same manner, was characterized by an idealized world,
rather than harsh realities.
On the following page, you can see two representative examples of late eighteenth
century art: The Blue Boy, painted by English painter Thomas Gainsborough in 1770 and
Self-Portrait Hesitating Between the Arts of Music and Painting, painted by Swiss
painter Angelica Kauffman in 1791.
_____________________
* Elysium is mythological word referring to Paradise.
62
The painting at the left is The Blue Boy,

painted in 1770, and is one of Thomas
Gainsborough's most famous works.
Gainsborough was England's most
acclaimed painter in the eighteenth century.
Below is Self-Portrait Hesitating

Between the Arts of Music and Painting,
painted by the Swiss painter Angelica
Kauffman in 1791. She produced many
fine works in Switzerland and in England
in spite of the fact that, because she was a
woman, she was never allowed to seek a
formal education in art.
63
In the early Romantic period, we begin to see a transition from the restraint and
idealization of the Classicists (or Neo-classicists as the visual artists were called) to more
stark and harsher realities of the real world. The music of Beethoven exemplified that
transition in music.
Beethoven's life (1787-1827) paralleled very closely the life of Napoleon Bonaparte of
France (1769-1821). In his early rule, Napoleon was Beethoven's hero, and he, in fact,
titled his Third Symphony "Eroica" ("Heroic") and wrote a dedication to Napoleon on the
title page. But when Napoleon crowned himself emperor of France in 1804, Beethoven
was disgusted and scratched out his dedication with such vehemence that he broke his pen.
Because Napoleon tried to conquer all of Europe, he was the focus of much of western
Europe during Beethoven's lifetime and was thus the subject of much of the art of this time.
Below is the painting commissioned by Napoleon to depict his coronation on December 2,
1804. It was painted by French artist Jacque-Louis David and completed in 1807.
Consecration of the Emperor Napoleon I and Coronation of the Empress Josephine in

the Cathedral of Notre-Dame de Paris, Jacque-Louis David, 1807
The painting is even bigger than its title. It is about 20 feet tall and 32 feet wide.
And instead of showing the act of Napoleon crowning himself, the arrogant act that
infuriated much of Western Europe, David portrayed Napoleon crowning Josephine.
64
S - 64
Art in the Classical and Romantic Era
The difference between the Classical and Romantic Eras are quite visible in these paintings.
Ask the students to compare the last two paintings of Napoleon, one of them being a
Classical and one being a Romantic version of the same subject matter.
Some differences to start with:
The Classical painting is idealized.

The Romantic painting is humanized and more realistic.
The Classical painting shows Napoleon boastfully pointing upward with colorful royal attire,
staring proud and triumphantly at the viewer on a rearing white stallion.
The Romantic painting shows Napoleon slouching, scowling at the viewer, on a creeping,
dark and lowly, down trodden mule with his tail between his legs. His attire is plainer
and more common than the royal attire of the Classical painting.
The Classical painting shows Napoleon crossing the Alps with rays of sunshine leaking
through the blue clouds in a clear daytime sky.
The Romantic painting shows Napoleon crossing the Alps on a day with a darker, snowy,
more unpleasant mood.
In the Classical painting, Napoleon is the only human in the painting, giving him the focus.
In the Romantic painting, Napoleon is more realistically accompanied by a similarly

downtrodden entourage. The group seem stifled and troubled by the voyage.
In the Classical painting, Napoleon appears to be unstifled without obstacles.
The same differences can be seen in music of the Classical and Romantic eras.
Classical: Refined, restrained, exquisite, perfection of form

Romantic: Emotional, expressive, form varied to fit the expressiveness of the music
S - 65
On this page are two paintings that illustrate the transition between the Neo-classicists
and the Romantics in art, both of them with the subject matter: Napoleon Crossing the
Alps, but with two very different results.
The painting at the left was painted

in 1801 by Jacque-Louis David, the
same artist that painted the coronation
scene on the preceding page. Notice
the majestic and heroic poise of the
general as well as of the horse. This
was a "fantasy" painting and took
great liberties with historical fact.
The truth is that Napoleon did not
cross the Alps on a horse, but on a
mule, because mules are lower to the
ground and have better traction for
climbing in the mountains. It would
not have been very flattering, however,
to portray the great emperor riding on
a mule!
The realism is immediately apparent

in the painting at the right which was
created by Paul De la Roche in 1850.
It presents quite a different picture of
the same subject. The harshness and
coldness of the situation is evident in
the attitude of the mule (including the
tail being between its legs) and the
bent of the man walking beside the
horse. Napoleon is not giving us the
look of a courageous warrier, but of
an impatient nobleman, insulted for
having to be subjected to such harsh
conditions.
65
Ti is the note below Do. (Notice how Ti points up to Do).
In the key of G, the sharp sign is Ti.
# o
& 44 w w w
? # 44 w w w
Do Ti Do
SING the exercise above and the one below with handsigns.
& b 44 œ œ œ œ œ œ œ œ œ œ œ œ w
? b 44 œ œ œ œ œ œ œ œ œ œ œ œ w
Do Ti Do
READ the following exercises. Identify key, clef, meter, and starting pitch.
Chant the rhythm while conducting. Chant the solfege in rhythm with
#
handsigns. Sing with handsigns.
1. & 44 ˙ ˙ ˙ ˙ ˙ ˙ w
#
2.
& 44 œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ Œ
#4
3.
& 4 œ œ œ œ ˙ ˙ œ œ œ œ w
? # 44 œ œ œ œ œ œ ˙ œ œ œœœ ˙ ˙
4.
? # 44 œ œ œ œ œ œ œ ˙ œ œ œœœ œ œ ˙
5.
66
Chapter 14:
Time for Ti
1. Have the students hold their arms high over their heads, open their
qExercises
Breathing
mouths relax their throats and take a slow deep breath. Tell them to be
aware of the muscles that they use. (You will have to remind them
to keep their arms high; they will begin to sag immediately.) Have
them take one deep breath, hold it in with their stomach muscles for
a count of four, and then hiss it out for a count of 16, keeping their
stomach muscles taut.
2. Have the students bend over from the waist, breathe in deeply and
feel the expansion, and repeat the exercise several times. Then have
the students sing a sustained note for a count of 16 instead of hissing.
sets of muscles.
e Warm-ups Have the students sing the melodic pattern below on

solfege syllables and with handsigns.
vowels.
& b 44 ú ú ú ú ú ú w
D "Follow Me"
Game
Handsign Ti, Do, Re, Mi, Fa, and So up or down scalewise.
Ask the students to follow your handsigns. (Do not sing with them.
Let them work for it.) Ask for a student volunteer to lead the activity.
OAudiate: Using Ti, Do, Re, Mi, Fa, and So only, handsign a short series of
notes (scalewise only). (Start out with 2 or 3, then add more to the
series). Have the students watch and "listen" in their heads, and then
sing the series for you.
S - 66
Write a song Activity Sheet 31 requires the students to write a song.
1. Make sure that they establish:
Meter first,
Then form,
Then the rhythm,
Then the melody,
Then dynamics and expressive markings.
2. Remind them to notate time and key signatures. And when

they have completed their melodies, to add dynamics or other
performance details to the songs.
3. They may wish to add or improvise an accompaniment for the

song.
4. They should perform their own solos. In this way, they can see
the importance of writing music within a certain range. Also, it
will give them the chance to demonstrate proper vocal timbre.
5. This also gives them the opportunity to demostrate expressive

performance, to demonstrate their understanding of the dynamics
that they have written into score. It also gives the rest of the class
the opportunity to exhibit and practice appropriate audience skills.
6. After the students have performed their songs, have the class,
including the composer/performer, evaluate both the music and
performance for quality and effectiveness.
S - 67
TIME FOR TI -- 14
? # 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
6.
7. & b 43 œ œ œ œ œ œ œ œ œ œœ œ
œ œ œ
8. & b 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
9. & b 44 œ œ œ œ œ œ œ ˙ œœœ œœœ œœœ ˙

? b 43 œ œ œ œ œ œ œ œ œ œ
œ
œ œ œ œ œ œ œ œ œ œ
10.
? b 43 œ œ œ œ œ œ œ œ œ œœœ œ ˙
11.
? b 44 œ œ œ œ œ œ œ œœœœœœœ œœœœœœœœ œœœœœ œ

12.
YOUR BRAIN:
#
13. & 44 œ œ œ Œ œ œœœœœ œ œ œœ Œ œ œœœœœœœ
? b 44 œ œ œ œ œ œ œ œ œœœœŒ œ œœœœœ œ œœ œ œ
14.
15. & b 44 œ œ œ œœœœ œ œ ˙ Œ œœœ

œ œœ œœ œ
? b 44 œ œ œ œ œ œ œ œ œ œ œ Œ œ œœœ œ œœ œ ˙ # œœœ ˙
16.
Pencil Time: Activity Sheet 31: Write Another Song!

Activity Sheet 32: Crossword Puzzle #1
67
14 -- TIME FOR TI
The Kangaroo
Patti DeWitt
#4
Moderato
& 4 œ œ œ œ œ œ œ œ œ œ
Far off in the land down un - der
#4 œ. œ. œ.
& 4 Œ Œ œ œ œ œ
r r r
#œ œ #œ
œ
j œ.
œ œ œ
? # 4 œœ œœ œ œ œ œ œ
4
# f
œ œ
& œ œ œ œ œ œ œ œ œ œ
3
œ œ
Lives an an - i - mal of won - der; Lions and leo - pards
œ œ œ œ
# œ. œ. œ. n œ ? œ œ œ œ
& Œ Œ œ
j j j
#œ œ #œ
#œ
j œ. œ œ
œ œœ œ œ
?# œ œœ œ œ œ œœ œœ œœ
œ
#
œ œ œ œœ œ œ œ Œ
6
& œœœ œ œ œ œ œœœ

œ w
love to pounce, But kan - ga - roos were born to bounce. Moth - ers have a
? # ˙˙ œ Œ Œ œ. Œ œ. œ. w
œ Œ
j j j
#œ œ #œ j
& œ. œ
œœ œ œ œœ œ œœ
?# ˙ œ Œ œœ Œ œ œ
˙ œ œ & œ
# œ
œœœ œ
10
& œ œ œ œ œ œ œœœ œ œ œ œœ
w w w w
nif - ty fea - ture: Pouch - es for the wee roo crea - ture So that Jo - ey
# w w w w
&
# Œ œ Œ Œ œ Œ œ.
& œ œ œ œ œ œ œ
œ
j
#œ
j œ. j œ
#œ .
68
TIME FOR TI -- 14
#
14 rit. . . . . . . . . . .
& œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
w w w
won't fall out While Moth - er boun - ces all a - bout.
# w w w
&
#
Œ œ. Œ j œ. œ. Œ j œ. œ.
& #œ
j
œ
j œ. j œ.
œ #œ
j
j œ.
#œ
#œ
j
j œ.
#œ #œ #œ
A Tempo
# Fœ œ œ
17
& œ œ œ œ œ œ œ œ œ œ œ
So while Mom is on her quest, Lit - tle Roo can
# Œ œ. Œ œ. œ. œ. œ.
œ œ œ œ Œ Œ
j j j j j
& #œ œ #œ
œ
j œ. #œ œ
œ œ œ œ œ
? # œœ œœ œ œ œ œ œ
œ œœ
# œ œ
œ œ œ œ œ œ
20
& œ œ œ œ œ ˙
safe - ly rest; Yet this is most hard to do:
# œ. œ. œ. œ.
œ œ œ nœ Œ Œ œ œ œ œ
j j j j
& #œ
#œ
j œ. #œ œ #œ
œ
j œ.
œ œœ œ œ œ
? # œœ œ œ œœ œ œ œ œ œ
# œ œ œ œ Œ œ Œ
23
& œ œ œ ˙. Œ
Jo - ey must bounce with Moth - er Roo.
# œ. œ. . . j œ œ.
Œ Œ # œj œ Œ œj œ œ. Œ
j j œ j
& œ #œ œ #œ
œ
j
? # œœ
œ
œœ
œ œœ. œ. œœ. œ. œœ.
Œ œ Œ
œ.
69
15: Down Below--
La and So below Do
SING the notes on the staves below with handsigns:
#
& w w w w w w w w
?# w w
Do Ti La So So La Ti Do
w w w w w w
&b w w w w w w
w w
So La Ti Do Do Ti La So
?b w w w w w w w w
READ: After determining the form (identifying repetition) and reading the
rhythm of each of the exercises below while conducting, chant them in rhythm
with solfege, and then sing them. Don't forget to use handsigns.
CAREFUL! There is something is different about these exercises!
#4
1. & 4 œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙
# œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ ˙
#4 œ
2. & 4 œ œ ˙ œ œ ˙ œ œ œœ œ œ ˙
#
& œ œ ˙ œ œ ˙ œ œ œ œœ œ œ ˙
?# œ œ œ œ œ
œ œœ˙ œ œœœ œ œ ˙
3.
?# œ œ œ œ œ
œ œœ˙ œ œœœ œ œ ˙
70
DOWN BELOW -- 15
4
4. &b4 œ œœœ œ œ œœœ œ œ œ œœœ ˙ Œ œ
&b œ œœœ œ œ œœœ œ œœœ œœœ ˙ œ Œ
5. & b 44 œ œ œ œ œ œ œ ˙ œ œœœ œ
œœœ ˙
& b 44 œ œ œ œ œ œœ œ œœ˙
œ œ ˙ œ œœœ
? b 43 œ œ œ œ œ œ Œ œ œ œ œ ˙ œ
6.
œ
?b œ œ œ œ œ œ œ œ œ œ œ œ ˙
? # 44 œ œ œ œ œ œ œ ˙ œ œ ˙ œ œ œœœ
7.
?# œ œœœ œ œ œ ˙ œ œ œ œœ œœœœ˙
? b 44 œ œ œ œ œ œ œ ˙ œœœ œ œ œ œ ˙
8.
?b œ œœœ œ œ œ ˙ œ œœœ
œœ œ œœ˙
& b 43 œ œ œ œ œ œœ œ œ
œ œ Œ œœ œ œ œ
9. ˙
&b œ œ œ œ œ œ ˙ œœ œ œ œ ˙ œœ œ œ
œ
&b ˙ œœ œ œ œ œ œ œ œ œ ˙
œ
71
15 -- DOWN BELOW
10. & b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ Œ
&b œœœœœ œ œ œœœ œ

œœœ œ œ œ œ œ Œ
&b œœœœœ œ œ œœœ œ œœœ œ œ œ œ œ œ œ
Pencil Time: Activity Sheet 33: Leger Lines

Activity Sheet 34: Dictation #3--Low La and So
Activity Sheet 35: Finding Do in Different Keys
Sea Jubilee
#3 f
Merrily; in one Patti DeWitt
& 4 ˙. ˙. œ œ œ ˙.
#
Down, down, down in the sea,
& 43 œ œ œ œ œœ œœ œ œ œ œ
œ œ œ
f
? # 43 ˙ . ˙. ˙.
˙.
simile
#
& œ œ œ œ œ œ œ œ œ ˙ Œ ˙. ˙.
#
Star -fish and stur - geons and lam - preys and more. Dance, dance,
& œ̇ . œ˙ . œ œ œ̇ . œ œ œ œ œ œ
œ œ œ̇ . œ œ œ œ
? # ˙. ˙. ˙. ˙. ˙. ˙.
72
DOWN BELOW -- 15
#
& œ œ œ ˙. œ œ œ œ œ œ ˙ œ
#
danc - ing with glee. Par - ty - ing down on the o - cean
& œœ œœ œœ œ œ œ œ̇ . œ œ œœ œ œœ œ̇ œ œœ
œ
? # ˙. ˙. ˙. ˙. ˙.
p
# Œ œ œ
& ˙ ˙. ˙. œ ˙.
floor. All the sea crea - tures play.
#
& œ œ œ
p
? # ˙. ˙. ˙. ˙. ˙.
#
œ œ œ Œ
A tempo
& ˙. ˙. ˙ ˙. ˙.
rit. . . . . . . . . . .
#
On this fish ho - li - day. How I
? # ˙. ˙. ˙. ˙ œ ˙. ˙.
rit. . . . . . . . . . .
#
& œ œ œ ˙. œ œ œ œ œ œ œ œ œ ˙.
#
wish I could be Just a wee fish at the sea jub - i - lee.
& œœ œœ œ œœ
œ œ œ œ œ̇ . œ œ œ̇ . œ œ œ̇ œ œœ œ œ
? # ˙. ˙. ˙. ˙. ˙. ˙
œ
73
16:
The Major Scale is based upon Do. It covers the octave between 2 Dos. Sing the major
œ œ œ œ
scale in F Major and G Major:
œ œ œ œ
& b 44 œ œ œ œ œ œ ˙
? b 44 œ œ œ œ œ œ œ œ œ œ œ œ
Do Re Mi Fa SoLa Ti Do Ti La So Fa Mi Re Do
œ œ ˙
# œ œ œ œ œ œ œ œ
& 44 œ œ œ œ œ œ ˙
œ œ œ œ œ Laœ Soœ Faœ

? # 44 œ œ œ œ œ œ ˙
Do Re Mi Fa SoLa Ti Do Ti Mi Re Do
The Minor Scale is based upon La. It covers the octave between 2 Las. Minor scales
are named for the note upon which they are built. They are relative to the major scale
because they share a common key signature.
SING the following minor scales with handsigns.
Musical Relatives:
4
o
œ œ œ œ
D minor scale--relative minor of F Major
&b 4 œ œ œ œ œ œ œ œ œ œ ˙
o
La Ti Do Re Mi Fa So La So Fa Mi Re Do Ti La
? b 44 œ œ œ œ œ œ ˙
o
# 4
o
œ œ œ œ
E minor scale--relative minor of G Major
œ œ œ œ
& 4 œ œ œ œ œ œ ˙
o
La Ti Do Re Mi Fa So La So Fa Mi Re Do Ti La
? # 44 œ œ œ œ œ œ ˙
o
74
Chapter 16:
Minor Differences
e Warm-ups Have the students sing the melodic pattern below on

solfege syllables and with handsigns.
vowels.
4
&b 4 Ï Ï Ï Ï Ï Ï Ï Ï
ú ú w
La Ti Do Re Mi Re Do Ti La So La
S - 74
S - 75
MINOR DIFFERENCES -- 16
The following exercises are written in a minor key. Identify the minor key, chant the
solfege with handsigns, and sing the exercise with handsigns.
4
1. &b 4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ Œ
&b œ œ œ œ œ œ ˙ œ œ œ œ œ œ
œ œ
Œ
# 4 œ œ œœœ œ œ œ œ œ
2. & 4 œ œ œ œ œ œ ˙
# œ œ œœœ
& œ œ œ œ œ œ ˙ œ œœ˙
# 4
œ œ ˙ œ œ ˙
3. & 4 œ œ œ œ œ ˙ œœœœ
#
& œ œœœœœ œ œ œ œœ œ œœœœœ œœœœœ œ
# 3
4. & 4 œœ œ œ œ œ œ œ œ œ œœœ œœ œœœœœœ
# œ œ
& œ œ œ œ œ œ œ œ œ œ œ ˙
Stretch YOUR BRAIN:
œ œ œ œ œ œœœ œœ
? # 44 œ œ œ œ œ œœ œ
5.
?# œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œœœ œœ
?# œ œœœ œœ œ œ œ œ œ œ œ œ œ What
œ œ œ œ ˙.
is this note?
o
? b 44 œ œ œ œ œ œ œ ˙ œ œ œ œ œ œœ˙ œ œ œ œ
6.
?b œ œœ˙ œ œœœœ œ œœ˙ ˙ œ œ w

œ
75
16 -- MINOR DIFFERENCES
Patti DeWitt
# 4 P
Hauntingly
& 4 œ œ œ œ œ œ œ œ œ œ œ ˙
Lis - ten to the au - tumn wind Oo
#
3
œ œ œ ˙
Thru' the trees and 'round the bend Whis - tl - ing low.
# π
5 F
& œ œ œ œ œ œ œ œ œ ˙
Wist - ful - ly whis-p'ring or Fright - ful - ly bold,
#
7
Grave - ly fore - tell - ing Win - ter's cold.
# p
& œ œ œ œ œ œ
9
œ œ œ œ œ ˙
Lis - ten to the au - tumn wind Oo
#
& œ œ œ œ œ œ
11
œ œ œ œ ˙
Ve - ry soon it will bring Win - ter snow.
π F
#
13
Oo
15
# U
Oo
ARTICULATION: Does this song require legato, staccato, or marcato singing?

Is it mainly syllabic or melismatic?
76
"Listen to the Autumn Wind": This song provides a great opportunity for students
to demonstrate appropriate articulation (specifically slurs
and legato singing). This also makes for a nice piece for
the fall concert--it is short (although you could perform it
2 or 3 times through, varying the accompaniment each
time to make it more interesting) and lyrical and seasonal.
Make sure your students are prepared for their first (fall)
formal concert by practicing the etiquette that they will
need to exhibit in the concert. Practice small ensemble
concert etiquette as well as large group etiquette, so that
students who wish to perform in a small ensemble may
be prepared to practice these skills on their own.
"Listen to the Autumn Wind" also makes a good solo.

Invite your students to perform individually it for the class
from notation, so that they may focus on the expressive
elements.
S - 76
S - 77
MINOR DIFFERENCES -- 16
Orff accompaniment:
# 4 .
SG & 4 .œ Œ Œ œœ œ Ó œ œ ..
# 4 . ˙˙ ˙˙ ..
SM & 4 .Ó Ó
# 4 . ..
AM & 4 . Œ ˙˙ .. Œ ˙˙ ..
FORM:
# 4
& 4 .. ww ww ..
What is the form of
"Listen to the Autumn BM
Wind"?
# 4
When new music B Section:
is attached to the end
AG & 4 Œ œœœœœ Œ œœ˙
of a piece of music,
it is called a coda.
# 4 Ó ˙ Ó ˙
SM & 4 ˙ ˙
# 4 Œ ˙˙ .. Œ ˙˙ ..
AM & 4
# 4
BM & 4 w w
PERFORM: Learn as written. For variation, play coda on

recorder and/or xylophones. For further extension, learn the entire
piece on keyboard instruments and/or recorder.
Perform A B C: A--Sing, B--play, C--Sing and play. Insert 4 measures of A Section
accompaniment as introduction and in between sections as interlude.
Pencil Time: Activity Sheet 36: Minor Adjustments

Activity Sheet 37: Dictation #4 -- Minor
V CABULARY
1. Coda--New musical material added to the end of a piece of music
2. Minor scale--A sequential series of eight notes, beginning and ending on La
3. Relative Minor--A minor key with the same key signature as a specified
major key
77
17:
Gustav Mahler was born July 7, 1860 in

Kalischt, Bohemia (which is now called the
Czech Republic). Gustav was the second
child of a Jewish innkeeper whose wife gave
birth to fourteen children, many of whom
died in childhood. Mahler's parents moved
to Jihlava, Moravia, before his first birthday,
and that is where Gustav was raised, studying
music with local teachers.
As a child, Mahler was exposed to many

kinds of music. In addition to folk music,
he also experienced the music of the local
musicians that would play in his father's
tavern. Despite being Jewish, he was a
chorister in a Catholic Church and took
piano lessons from the choirmaster. He was
a good student and won prizes as a pianist,
thereby obtaining a place in the Vienna
Conservatory.
Painting by Cecelia Johnson
after an 1892 photograph From 1875 to 1878 he studied piano at
the Vienna Conservatory. After finishing his
studies at the conservatory, he took a series of positions as conductor for orchestras
throughout Central and Eastern Europe. Eventually, he was offered a position in Vienna,
conducting the orchestra of the Vienna Opera. Because he had to work full time, he
only had time to compose in the summertime when the opera was not in session. Mahler's
first love was composing. Not only did he love to compose, he also supported unknown
composers by premiering many of their new works.
Mahler married Alma Schindler in 1901, the nineteen-year-old daughter of Viennese

painter Emil Schindler. Alma was a composer in her own right and agreed to give up
composing upon marrying Mahler. The Mahlers had two daughters, Anna and Maria.
The Mahlers emigrated to the United States where he accepted the position of conductor
for the Metropolitan Opera and, later, for the New York Philharmonic.
. Mahler's health suffered greatly after the death of his daughter, Maria, at the age of four.
He was diagnosed with congestive heart failure, and died in 1911 at the age of fifty.
78
Chapter 17: Mahler
"Frere
` Jacques" Just as Mahler used "Frere Jacques" as the theme of the third
movement of his first symphony, so your students can improvise
on this French folk song to make their own personal piece to
perform for a formal or informal concert. They should memorize
the round. Then they can vary it in any number of ways:
1. Sing it as a round.
2. Harmonize it.
3. Combine it with other rounds, like "Row, Row, Row, Your
Boat," or "Three Blind Mice."
4. Add an original countermelody.
5. Improvise an accompaniment.
OLISTEN: Find a CD or .mpg file with a recording of Mahler's Symphony

No. 1 in C minor, third movement. After teaching "Freres Jacques,"
play the Mahler for the class. Have them take notes on repetition
and determine the form in the piece. As them to describe the
differences they hear between this piece and Beethoven's Choral
Symphony, (Symphony No. 9) Fourth Movement.
Play a different movement from each of these:

Beethoven's Choral Symphony
Mahler's Symphony No. 1
Haydn's Surprise Symphony.
Ask the students to identify each and to give a reason for their
decisions.
After studying some important differences between Classical

and Romantic music, select a few other symphonies of the
Classical Era (Haydn and Mozart) and of the Romantic Era
(Brahms, Mendelssohn, etc.) Ask the students to identify each
as Classical or Romantic and give a reason for their decisions.
S - 78
S - 79
GUSTAV MAHLER -- 17
Mahler, Symphony No. 1 in C minor, Third Movement, "Adagio"
The third movement of Mahler's First Sympony was inspired by an etching entitled
“The Huntsman’s Funeral." The Huntsman's Funeral is a fairy tale that is well known to
the children of Central and Eastern Europe. It is the story of the death of a hunter, and of
his funeral procession that is attended by the animals of the forest. The procession is led
by a band of cat musicians. Deer follow the cats carrying the coffin, and birds, weasels
and foxes finish out the procession.
In the program notes of the first performance of this symphony, Mahler had written that
the Third Movement was a funeral march which was inspired by the artwork of Jacques
Callot, a seventeenth-century French artist whose etchings often provided parodies of
human nature. Below is Callot's etchings that is said to have inspired Mahler in his :
composition of the Third Movement of his first symphony.
The Huntsman's Funeral

Etching by Jacques Callot, c. 1620
The "Third Movement" of Mahler's First Symphony is a parody itself, based upon the
children's round, "Frère Jacques," which is presented on the next page. This round is in a
major key, but Mahler refashions it in a minor key, which makes the movement seem
dark and disturbing.
This theme is first played by a solo double bass accompanied by muffled drumbeats.
Oboes and trumpets enter, seeming to make fun of the whole spectacle. In the middle of
the movement, Mahler interjects an interlude played by muted violins which quotes
one of his art songs melodies. After the short interlude, the march returns, and suddenly
begins to speed up the procession of the huntsman to his grave.
79
17 -- GUSTAV MAHLER
SOLFEGE and learn the round, Frère Jacques
4
Frère Jacques (Are You Sleeping?)-- F Major French folk song
&b 4 œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙
Frè - re Jac - ques, Frè - re Jac - ques, Dor - mez- vous? Dor - mez- vous?
Are you sleep - ing? Are you sleep - ing? Bro - ther John? Bro - ther John?
&bœ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙
Son - nez les ma - ti - nes. Son - nez les ma - ti - nes. Din, dan, don. Din, dan, don.
Morn-ing bells are ring - ing. Morn-ing bells are ring - ing. Ding, ding, dong. Ding, ding, dong.
French: Frè-re Jac-ques IPA: frE - r« Zak-«

Dor-mez-vous? do« -mE vu
Son-nez les ma-ti-nes. s•-nE lE ma-ti-n«
Din, dan, don. dæ* da* do*
* nasalized vowels
SOLFEGE the following:
The theme from Mahler's Symphony, No. 1, Third Movement--D minor
& b 44 œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙
& b œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ
œ œ ˙ œ œ ˙
How are the two selections alike?
How are they different?
LISTEN to the entire movement, then write a short essay discussing each section:
A-- Funeral march based upon "Frer ` e Jacques." Identify the entrance of each
instrument that presents the theme.
B-- Interlude based upon melody from Mahler's Lieder (German word meaning
"songs."). Which instruments have the melodic line?
A-- Return of the funeral march, sped up toward the end.
After listening, evaluate the movement for quality and effectiveness using the form you
created for evaluating music. Compare your findings with those of your classmates.
Pencil Time: Activity Sheet 38: Gustav Mahler

Activity Sheet 39: Major or minor?
80
GUSTAV MAHLER -- 17
The Arts in the Late Romantic Period (1850-1900)

The nineteenth century, beginning with a turn from the restraint of classicism, moved
steadily toward realism and emotionalism. Whereas the Classical artist labored for the
ideal and for perfection, the Romantic artist strove to depict deep emotion.
Alfred Lord Tennyson (1809-1892) was one of the great poets in English history. How
is his poem, below, written in language that would evoke deep emotion? What event in the
speaker's life may have caused such deep emotion?
And ask ye why these sad tears stream?

And ask ye why these sad tears stream?
Why these wan eyes are dim with weeping?
I had a dream–a lovely dream,
Of her that in the grave is sleeping.
I saw her as ’twas yesterday,

The bloom upon her cheek still glowing;
And round her play’d a golden ray,
And on her brows were gay flowers blowing.
With angel-hand she swept a lyre,

A garland red with roses bound it;
Its strings were wreath’d with lambent fire
And amaranth was woven round it.
I saw her mid the realms of light,

In everlasting radiance gleaming;
Co-equal with the seraphs bright,
Mid thousand thousand angels beaming.
I strove to reach her, when, behold,

Those fairy forms of bliss Elysian,
And all that rich scene wrapt in gold,
Faded in air–a lovely vision!
And I awoke, but oh! to me

That waking hour was doubly weary;
And yet I could not envy thee,
Although so blest, and I so dreary.
YOUR BRAIN:
COMPOSE a melody for the first verse of this poem. Use either 34 or 44 meter.
81
18: Do you ?
(Key of C Major)
The key of C Major has no sharps or flats in the key signature.
You "C" nothing in the key signature in the key of C Major.
& 44 œ œ œ œ
o œ œ œ œ œ œ œ œ œ œ ˙
? 44 œ œ œ œ œ œ œ œ œ Laœ Soœ Faœ

Do Re Mi Fa So La Ti Do Ti Mi Re Do
œ œ ˙
o
How to find Do in the key of C Major:
In the keys that have sharps and flats, the last (or only) sharp is always Ti, and the last
(or only) flat is always Fa. Since the key of C has no sharps or flats, then some other way
must be used to find Do or the starting pitch. Here are some ways to remember:
1. Look for "Middle C." Middle C can be found on a single leger line below the treble
clef staff or above the bass clef staff.
& w
w
Do
?
2. The second space from the top of the treble clef staff and second space from the
&w
bottom of bass clef staff are both Do.
?w
Do
3. The line around which the treble clef (G-clef) circles (G) is So. Count up or down
to find Do or the starting note.
&˙ ˙ ˙ ˙ w
So Fa Mi Re Do
4. The line (F) surrounded by the dots of the bass clef (F-clef) is Fa. Count up or
˙ w
down to find Do or the starting note.
?˙ ˙ ˙
Fa So La Ti Do
82
DO YOU C? -- 18
1. & 44 œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ œ ˙
2.& 44 œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ ˙
&œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ ˙
& 43 œ œ œ œ œ œœ Œ ˙. œ œ œ œ
3. œ œ œ œ
&œ œ œ Œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ Œ
&œœœ œ ˙. œœœ œ œœœ Œ œœœ œ ˙.
4. & 44 œ œ œ œ œ œ œ œœ˙ œ œœœœœ œ œœœ œ

œ
&œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙
? 44 ˙ œ œœ œ œ œœœ œ œœœ
œ œœœœœ œ
œ
˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
5.
œ œ œœ œ
? 43 œ Œ œ œ œ œœ œ
Œ œ œ œœ
œ
6.
?œ œ œ œ œ œ œ œ œ œ
œ œ œ Œ Œ œ
?œ œ œœ œ Œ œ œ œœœ œ œ œ œ œ œ ˙
83
18 -- DO YOU C?
Andante Patti DeWitt

p
& 44 œ œ œ œ œ ˙ œ œ œ œ
œ
Ro - sy is the east - ern sky, Still - ness fills the
4 œœ œœ
&4 œ œœ œœ œœ œœ œ ˙˙ œœ œœ
œ œ
p
œ œœ œœ œœ œ
? 4 œœ œœ œœ œœ œœ ˙˙ œ
4 œ
&œ
3
œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ
sleep - ing earth. Birds with wel - come car - ols wait to
& œœ œœ œœ ˙œ
œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ
œ œœ œ˙ œ œ œ œœ œ œ
? œ œ œ œ œ œœ œœ œ̇ œ œ œ
&œ œ œ œ œ œ œ œ œ œ œ
˙
√
glad - ly greet the new day's birth. As the sun peeps
œ
& œœ œœ œœ Œ
œœ œ œœ œœ ˙˙
œ œ
œœ ww
? œœ œœ œœ œœ œœ œ̇ œ œ w
84
DO YOU C? -- 18
œ œ œ ˙
9
&œ œ ˙ œ œ œ œ œ œ œ œ œ
o'er the hill, Birds their love - ly voi - ces raise Join - ing all of
(√) œ œ œ
& Œ œ œ Œ œ œ Œ œ œ œœ œœ œœ œ œ
œ
˙˙
? www wẇ ˙ ˙˙
˙ ˙ œ œ œ œ
œ œ œ œ
13 p
&œ œ œ œœ œ œ œ œ œ œ ˙ Œ
˙ ˙.
Na - ture sing - ing to sweet Dawn joy - ful songs of praise
& œ œ œ œ œ œœ œœ œœ œœ œœ œ ˙œ œ ˙ œ
œ œ œ œ œ wœ œ ˙
p
? œœ œœ œ̇ œ œ œ œœ œ œœ œœ ˙˙ ˙ œ̇ œ ˙
œ
˙ ˙
Pencil Time: Activity Sheet 40: Key of C
V CABULARY
1. C Major--The major key that has no sharps or flats
2. F Clef--Another name for the bass clef
3. G Clef--Another name for the treble clef

4. Leger line--Short line that is used to write notes above or below the staff
5. Middle C--The note that is on a single leger line between the treble and bass staffs.
85
19: Singing in
Sing the C Major scale (below) in canon with the second voice starting at the beginning
when the first voice reaches the third note (Mi). Sing very slowly and tune carefully.
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
When two or more voices are singing different notes at the same time, it is called
harmony. When those two voices have different notes and move from note to note at the
same time, it is called homophony. These exercises are mainly homophonic, as opposed
to performing the scale, above, in canon, which had both voices singing the same melodic
line at different times.
When two treble voices are singing in harmony, the upper part is generally known as
the soprano line. The lower part is called alto.
Soprano
line & 44 w w w w
Alto
line
& 44 w w w w
Audiate your part in rhythm using handsigns. Sing in harmony with the other part.
For variety, after singing each exercise, play one (or both) parts on the recorder.
1. & b 44 ˙ ˙ ˙ ˙ ˙ ˙ w
4
&b 4 ˙ ˙ ˙ ˙ ˙ ˙ w
2. & b 44 ˙ ˙ ˙ ˙ ˙ ˙ w
& b 44 ˙ ˙ ˙ ˙ ˙ ˙ w
3. & b 44 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
& b 44 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
86
Chapter 19:
Singing in Harmony
This chapter provides an excellent opportunity for small ensemble performance, first
in the classroom, later on concerts. Small ensembles can be practiced on a daily basis
simply by asking 2-6 students (1 to 3 on each part) to sing the exercise after the whole
class has sung it. This prepares them to sing longer and more difficult music in small
ensembles.
When these small ensembles sing for the class, it is a great opportunity for the ensemble
to practice appropriate informal and formal performance etiquette skills as well as for the
rest of the students to practice informal audience etiquette. Although it is impossible to
recreate the full formality of a formal concert in the classroom, you can instruct the students
that they are to behave as if they were in a formal setting. It also gives the class practice
in exhibiting appropriate audience etiquette.
Students can also use informal classroom settings as an opportunity to evaluate both
the performances of others and their own performances for quality and effectiveness.
Small ensembles may be evaluated by both listeners and performers. Members of small
ensembles can self-evaluate for the quality and effectiveness of their contributions to
the group performance. When small ensembles are evaluated both by listeners and
performers, compare the evaluations for similarities and differences, if any. If there are
differences, discuss possible reasons for the discrepancies.
S - 86
S - 87
SINGING IN HARMONY -- 19
# 4 ˙
4. & 4 ˙ œ œ ˙ ˙ œ œ w
# 4
& 4 ˙ œ œ ˙ ˙ ˙ œ œ w
# 4
5. & 4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
# 4
& 4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
# 3 œ ˙ œ œ
6. & 4 œ œ œ œ ˙.
# 3
& 4 œ œ œ ˙ œ œ œ œ ˙.
7. & 44 ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙
& 44 ˙ œ œ œ œ œ œ œ
˙
o˙
What is this note?
œ ˙
8. & 44 ˙ œ œ œ œ ˙ œ œ œ œ œ œ ˙
4
&4 ˙ ˙ œ œ ˙ œ œ ˙ œ œ ˙
9. & 34 œ œ œ œ œ œ œ œ œ œ œ ˙.
& 34 œ œ œ œ œ œ œ œ œ œ ˙.
87
19 -- SINGING IN HARMONY
4 œ œ ˙
10. &4 ˙ œ œ œ œ œ œ œ ˙ ˙
& 44 œ œ œ œ œ
œ œ ˙ œ œ ˙ œ œ ˙
& 44 ˙
11.
œ œ œ œ œ œ ˙ ˙ œ œ œ ˙ ˙
& 44 ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
12. & 44 ˙ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
& 44 œ œ œ œ œ œ œ œ ˙ œ œ ˙ œ œ ˙
& b 44 ˙
13. œ œ œ œ ˙ œ œ œ œ ˙ ˙
& b 44 ˙ œ œ œ œ ˙ œ œ œ œ œ œ ˙
14. & b 44 œ œ ˙ œ œ œ ˙ œ œ œ œ œ œ œ ˙
& b 44 œ œ ˙ œ œ œ ˙ œ œ œ œ œ œ ˙
15. & b 44 ˙ œ œ ˙ ˙ œ œ œ œ œ œ œ ˙
& b 44 ˙ œ œ œ œ ˙ œ œ œ œ
œ œ œ ˙
88
16. & b 34 œ œ œ œ œ œ œ œ œ œ œ ˙.
& b 34 œ œ œ œ œ œ œ œ œ œ œ ˙.
17. & b 44 ˙ œ œ ˙ œ œ œ œ œ œ œ œ ˙ ˙
& b 44 ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
18. & b 44 œ œ œ œ œ œ œ ˙ œ œœœœœ œ œ ˙
& b 44 œ œ œ œ œ œ œ œœœ œ œ œœœ œ œ ˙
# 3 œ œ ˙ œ
19. & 4 œ œ œ œ œ œ ˙.
# 3
& 4 œ œ œ œ œ œ ˙ œ œ œ œ œ ˙
#
& œœœ œ œ œ ˙ œ œ œ ˙.
#
& œ œœ œ œ œ œ œ œ œ œ ˙.
# 4 ˙
20. & 4 ˙ œ œ ˙ œ œ œ œ ˙ ˙
# 4
& 4 œ œ ˙ ˙ ˙ œ œ œ œ ˙ ˙
# ˙
& ˙ œ œ ˙ œ œ œ œ ˙ ˙
#
& œ œ ˙ ˙ ˙ ˙ œ œ œ œ ˙
89
# 4 ˙ œ œ œ œœ˙ œ œ œœœ œ
21. & 4 ˙ œ
# 4 œ
& 4 œ œ œ œœœ œ œ œ œ œ œ œ œ œœœ
# ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ ˙
# œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
& 34 ˙ œ œ œ ˙ œ ˙
Œ
œ
22.
& 34 œ
Œ
˙ œ œ œ ˙ œ ˙
&œ œ œ œ œ œ œ œ ˙ Œ
œ
& Œ
œ œ œ œ œ œ œ œ œ ˙
& 44 œ œ ˙ œ œ œ œ ˙ ˙
œ œ œ œ
23.
& 44 œ œ ˙ œ œ ˙ w ˙ ˙
&˙ œ œ œ œ ˙ œ œ
˙ w
&œ œ ˙ ˙ w
˙ ˙ ˙
90
4 œ œ œ œ ˙ ˙
24. &4 œ œ œ œ ˙ ˙
4
&4 œ œ ˙ ˙ œ œ œ ˙
œ œ œ œ œ
&œ œ ˙ œ œ ˙ ˙ œ œ ˙ ˙
&œ œ ˙ œ œ œ œ
˙ ˙ œ œ ˙
25. & 24 œ œ œ ˙ œ œ œ ˙ œ œ œ
& 24 œ œ œ ˙ œ œ œ ˙ œ œ
&œ œ œ œ œ ˙ œ œ œ ˙
œ
&œ œ œ œ œ œ œ œ œ œ ˙
&œ œ œ ˙ œ œ œ œ œ œ ˙
œ
&œ œ œ ˙ œ œ œ ˙
œ œ œ œ œ
26. & b 44 ˙ œ œ ˙ œ œ œ œ ˙ œ œ ˙
& b 44 ˙ œ œ ˙ œ œ œ œ œ œ œ œ ˙
&b ˙ œ œ ˙ œ œ œ œ œ œ œ œ ˙
&b ˙ œ œ ˙ œ œ œ œ œ œ œ œ ˙
91
27. & b 34 ˙ œ œ œ œ œ œ œ ˙.
3
&b 4 œ œ œ œ œ œ œ œ œ ˙.
&b ˙ œ œ œ œ œ œ œ ˙.
&b œ œ œ œ œ œ œ œ œ ˙.
œ ˙.
28. & b 44 œ œ œ œ œ œœ˙ œœœ œ œ œ œœ ˙
& b 44 œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œœ
&b œ œ œ œ œ œœ ˙ œ œ œ œœ œœœ ˙
&b œ œ œœ œ œ œ ˙ œ œ œ œœ œ œ ˙
92
3 œ
29. &4 ˙ œ œ œ œ œ œ œ œ œ œ œ
& 34 ˙ œ œ œ œ œ œ œ œ œ
œ
&˙ œ œ œ œ œ œ œ œ ˙.
&˙ œ œ œ œ œ œ ˙.
œ
&œ œ œ œ œ œ œ œ œ œ œ ˙.
&
œ œ œ œ œ œ œ œ œ œ œ ˙.
&œ œ œ œ œ œ œ œ œ œ œ œ ˙.
&
œ œ œ œ œ œ œ œ œ œ ˙.
30. & b 44 œ œ œ œ œ œ œ œ ˙ œ œ ˙ œ œ ˙
& b 44 œ œ œ œ œ œ ˙ œ œ ˙ œ œ ˙
&b œ œ œ œ œ œ œ ˙ œœœ œ œœ œ œ ˙
&b œ œ œ œ œ œ œ ˙ œœœ œ œ œ œ ˙
93
YOUR BRAIN:
What key is this in? Think carefully before answering.

# 4 w
31. & 4 ˙ œ œ œ œ œ œ ˙ œ œ
# 4
& 4 ˙ ˙ œ œ ˙ ˙ ˙ w
# ˙ œ
& œ œ œ œ œ ˙ ˙ w
#
& ˙ ˙ œ œ ˙ ˙ ˙ w
32. & b 34 œ œ œ œ œ œ œ œ œ ˙
Œ
3
&b 4 œ œ œ ˙ œ œ œ œ ˙
Œ
&b ˙ œ œ œ œ œ ˙ ˙.
&b ˙ œ ˙ œ ˙ ˙.
œ
&b ˙ œ œ œ œ œ œ œ ˙ Œ
&b ˙ œ ˙. œ œ œ œ œ œ
&b ˙ œ œ œ œ œ ˙ ˙.
&b œ œ œ œ œ œ ˙.
œ ˙
94
S - 94
"Little Snowflake": This makes a nice a cappella concert piece either for a large group
(Page 96) or for a small ensemble. Since the parts move only by step, it is very
accessible. Since it has many expressive markings, it gives the
potential for showing a great deal of musicianship.
Have the students practice their formal performance skills as

well as their informal performance skills in the classroom. These
can be demonstrated every time there is a performance in the
classroom. Of course, the classroom performances are informal,
but to put more pressure on the students, invite a visitor or an
administrator to come in for a mini-performance. You might also
ask your visitor or administrator to judge the class on their large
group performance skills that they demonstrate for him/her in this
informal situation.
After a small ensemble has performed this song for the class, ask
them to self-evaluate for their contribution to the overall quality and
effectiveness of the performance. The remaining choir members
may evaluate the performance also with the evaluation forms they
created.
S - 95
b
33. & b b 34 ˙ œ œ œ œ ˙ œ ˙ Œ ˙ œ
b
& b b 34 ˙ œ œ œ œ ˙ œ ˙
Œ
˙ œ
b ˙ œ
&b b œ œ œ ˙ œ ˙ Œ œ œ œ
b
&b b ˙ œ ˙
Œ
˙ œ œ œ œ
œ œ œ
b
&b b ˙ œ ˙ œ ˙ œ œ œ œ œ œ œ ˙.
b
&b b œ œ œ ˙ œ ˙ œ œ œ œ œ œ œ ˙.
Pencil Time: Activity Sheet 41: Writing Harmony

Activity Sheet 42: Dynamics
LEARNING THE SONG--"Little Snowflake"

1. Determine the form. (What should we call the last 4 measures of this piece?)
2. Read the rhythm in parts (at the same time) on rhythmic syllables while conducting.
3. Chant the solfege of the B Section (both parts together) with handsigns.
4. Sing the B Section with solfege and handsigns. If there are problems, repeat step 3.
5. Audiate the Coda, then chant it.
6. Sing the Coda with solfege and handsigns. If there are problems, repeat step 5.
7. Audiate the A Section, then chant it (both parts together) with handsigns.
8. Sing the A Section with solfege and handsigns a cappella. If there are problems,
repeat step 7.
9. Sing the entire piece on solfege a cappella with handsigns. Repeat until completely
mastered.
10. Demonstrate proper vocal timbre by using "tall" vowels and supported breathing.
11. Chant the words in rhythm, paying close attention to dynamics and tempo markings.
12. Repeat step 9, with words instead of solfege syllables.
13. Add words one section at a time.
14. Sing the whole song, a cappella, with dynamic and tempo changes.
15. Perform a cappella.
16. Perform as a small ensemble with 2 or 3 friends. Remember to use proper informal
performance skills for a classroom performance, or proper formal performance skills
if your ensemble performs in a formal concert.
95
Little Snowflake
Patti DeWitt
Gently P F
S & b 34 œ œ œ œ œ œ œ œ œ œ œ œ œ
Lit - tle snow - flake, care-free snow - flake, As you dance in the
P F
A & b 34 œ œ œ œ œ œ œ œ œ œ œ œ œ
Lit - tle snow - flake, care-free snow - flake, As you dance in the
p
&b ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ
air. Tell me, snow - flake, hap-py snow - flake, Where did you leave your
p
&b ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ
air. Tell me, snow - flake, hap-py snow - flake, Where did you leave your
P
œ œ œ œ œ œ œ œ œ œ œ
&b ˙ œ œ œ œ
care? Did you leave it far be - hind you In the clouds up on
P
&b ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
care? Did you leave it far be - hind you In the clouds up on
What does
F
this mean? rit.
&b ˙ œ œ œ œ œ œ
high? Did you leave it in the rain - drops of June or Ju -
F
&b ˙
rit.
œ œ œ œ œ œ œ œ œ œ œ œ œ
high? Did you leave it in rain - drops of June or Ju -
96
What do these symbols mean?
U "
p P
&b ˙ œ œ œ œ œ œ œ œ œ œ
ly? Lit - tle snow - flake, love - ly snow - flake, With your
U p P
"
&b ˙ œ œ œ œ œ œ œ œ œ œ
ly? Lit - tle snow - flake, love - ly snow - flake, With your
&b œ œ œ ˙ œ œ œ œ œ œ
ra - diance and glee. Tell me, snow - flake, mer - ry
&b œ œ œ ˙ œ œ œ œ œ œ
ra - diance and glee. Tell me, snow - flake, mer - ry
poco rit. π
&b œ œ œ œ œ œ œ ˙ œ œ
snow - flake, Won't you share some with me? Lit - tle
π
&b œ œ œ œ œ œ œ ˙ œ œ
snow - flake, Won't you share some with me? Lit - tle

U U̇
œ œ œ œ œ
Meno mosso
&b œ œ œ œ œ œ œ
snow - flake, mer - ry snow - flake, Won't you share some with me?
U U
&b œ œ œ œ œ œ œ œ œ œ œ œ ˙
snow - flake, mer - ry snow - flake, Won't you share some with me?
97
A chord is formed when two or more notes are sounded
simultaneously.
All of the examples below are chords:
ww w ww ww w
? ww w w ww
w
ww
A triad is a chord consisting of three notes.
ww
& www w ww w www w
w ww
oww
Key of ?
& o
w r
m
1. Divide the class into three parts.
2. Identify the individual notes (right).
3. Each group sings its own assigned note individually.
4. Sing the triads below (all three notes together):
& www ww ww ww ww ww ww ww ww
w w w w w w w w www
Major triads are built in thirds.
The interval of a third indicates the third note in sequence; there is one note of the scale in
between thirds.
Third Third
&w w %w w
%w
Do Re Mi Fa So
The I (one) Chord is built on Do. It is a triad consisting of Do, Mi, and So. The I Chord
is a major chord, and is called by the name of the note upon which is built. For example,
the I Chord in the key of D major is the D major chord. What would each of the
following I chords be called?
www # w
& www b ww
www w
? www # ww
b
98
CHORDS AND TRIADS -- 20
The order of the notes in the I Chord is not important. As long as all three notes, Do, Mi,
and So (and no others) are sounded together, the resulting chord is a I Chord. For
# w w w
example, all of the triads below are I Chords in the key of G:
ww
& ww ww w ww
w w w w ww
FIND the I Chords in the key of F, below:
w ww w w www www ww
& b ww ww
w ww
w ww ww w ww www w
w w w w
? www ww
w
ww
w
ww w
ww ww
w ww
w ww ww w
ww
w
ww
ww
w
b w w w
FIND the I Chords in the key of C, below:
ww ww ww ww w w ww
& www ww ww w w w w ww
w w ww w w ww ww w
www ww ww w w ww ww
? www ww w w ww ww ww w w w w
w w w w w w
The I Chord (also known as the tonic chord) may also be presented horizontally. When
all three notes of the chord are presented consecutively, it is called a broken chord.
The Star-Spangled Banner begins with a broken I chord. Identify the key and sing the
w ˙ œ œ œ œ w
following exercises containing broken I Chords:
? b 44 ˙ ˙ ˙ w
1.
2. & b 44 ˙ ˙ ˙ ˙ œ œ œ œ œœœœœœœœ w
3. & 44 ˙ œ œ ˙ ˙ œ œ ˙ œ œ ˙ œ œ œ œ w
? 44 œ œ œ ˙ œ œœ˙ œœœœœ œ œ œœ˙
4.
5. & b 43 ˙ œ ˙. œœœ œ œœœ œ ˙ œ ˙. ˙.

? b 43 ˙ œ ˙ œ œ œ œ œ ˙ Œ ˙ œ ˙ œ œ œ œ œ ˙.
6.
99
20 --CHORDS AND TRIADS
Because they have no keys, bugles can play only the notes of the I Chord. Thus, all bugle
calls are composed only of Do, Mi, and So. Here are 3 of the best-known bugle calls.
Try playing them on the piano or recorder after singing them on solfege.
Reveille*
Reveille is played at dawn to awaken the troops for morning roll call.
It is also used to accompany the raising of the flag.
# Brightly
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ
# ? Fine
& œ œœœ œ œ œœœ œ œ œœœ œ ˙ Œ œ
# ˙
& œ œ œ œ œ œ œ œ œ œ ˙ œ œ
# ˙
?
& œ œ œ œ œ œ œ œ Œ
DC al Fine
œ œ ˙
? WHAT IS THIS?
DC al Fine is an abbreviation for Da capo al fine, which is an Italian phrase meaning
"Go to the beginning (capo--literally meaning 'head') and stop at the end (fine--
pronounced 'fi-ne'--IPA)
To perform this piece, read it all the way through, go back to the beginning and repeat
the first section and stop when you reach the "Fine" sign.
* Reveille is a derived the French word réveillez, meaning "Wake up!"
Mess Call
Time to eat!
# 4
& 4 œ œ œ œ œ œœœ œ
Hungrily
˙ ˙ w
#
& œ œ œ œ ˙ ˙ œ œœœ œ w
#
& œ œ œ œ ˙ ˙ œ œœœ œ w
100
TAPS
Lights out!
Taps is the last bugle call of the day.
Taps is also played at the end of a military funeral.
4
Slowly, stately with rubato
&b 4 œ œ ˙. œ œ
˙.
œ œ
1. Day is done, Gone the sun, From the
2. Fad - ing light, Dims the sight, And a
3.Thanks and praise, For our days, 'Neath the
&b œ œ ˙. œ œ
œ œ œ œ
lakes from the hills from the sky, All is
star gems the sky gleam - ing bright, From a -
sun 'neath the stars 'neath the sky, As we
& b ˙. œ œ
˙. œ œ ˙.
well, Safe - ly rest, God is nigh.
far, Draw- ing near, Falls the night.
go, This we know, God is nigh.
HISTORICAL SHORTS:
The Writing of "Taps"
"
"Taps" was written during the Civil War. It was first played by
brigadier bugler Oliver W. Norton in 1862. In 1898, he wrote in a letter describing the
writing and first playing of this famous bugle call:
"One day, soon after the seven days battles on the

Peninsula, when the Army of the Potomac was lying
in camp at Harrison's Landing, General Daniel
Butterfield, then commanding our Brigade, sent for
me, and showing me some notes on a staff written in
pencil on the back of an envelope, asked me to sound
them on my bugle. I did this several times, playing
the music as written. He changed it somewhat,
lengthening some notes and shortening others, but
retaining the melody as he first gave it to me. After
getting it to his satisfaction, he directed me to sound
that call for Taps thereafter in place of the regulation
call. The music was beautiful on that still summer
night, and was heard far beyond the limits of our
Brigade. The next day I was visited by several buglers
from neighboring Brigades, asking for copies of the
music which I gladly furnished." Oliver W. Norton
101
Do you know some other bugle calls?

Write them out on paper, and sing them for the class.
YOUR BRAIN:
Using the notes Do, Mi, and So, write your own bugle call. Sing it for the class or play
it for them on the piano or recorder, and tell for what purpose it would be used.
The Texas folk song, "Old Texas," outlines the I Chord several times in its melody. Can
you find the places in which the I Chord is spelled out in the melody?
"Old Texas" is an antiphonal song. An antiphonal song is one in which part of the
chorus sings a line of music followed by the rest of the chorus responding with the same or
a similar line of music. "Old Texas" may also be used as a call and response song, in which
a soloist sings the first part, and the whole choir responds with the second part.
Old Texas Texas folk song
& b 44 Œ œ w œ œ œ œ
Part I:
œ œ œ
I'm goin' to leave old Tex - as
They've plowed and fenced my cat - tle
I'll take my horse, I'll take my
Say, "A - di - os" to the Al - a -
4 w
&b 4 ∑ Œ œ
Part II:
œ œ
I'm goin' to leave
They've plowed and fenced
I'll take my horse,
Say, "A - di - os"
&b w œ
œ œ œ
œ w
now; They've got no use
range, And the peo - ple there
rope, And hit the trail
mo, And turn my head
&b œ œ œ œ w œ œ
œ œ œ œ
old Tex - as now; They've got no
my cat - tle range, And the peo - ple
I'll take my rope, And hit the
to the Al - a - mo, And turn my
102
&b œ œ œ œ ∑ ..
œ w
for the long - horn cow.
are all so strange.
up - on a lope.
toward Mex - i - co.
&b w œ œ œ œ ..
œ w
use for the long - horn cow.
there are all so strange.
trail up - on a lope.
head toward Mex - i - co.
Repeat signs:
What do they mean?
4 œ œ œ œ
& b 4 ‰ Jœ œ ‰ Jœ œ ‰ œJ œ ‰ œJ œ ..
Orff accompaniment:
AX
? 4 ˙ ˙ ˙ ˙ ..
BX b 4
high 44 ¿ ¿ ¿ ¿ ¿ ¿ ..
WB: med
low
¿ ¿
Memorize "Old Texas" and be able to perform it for the class from memory so that you
will be able to sing while playing the accompaniment.
If Orff instruments are not available, figure out the written accompaniment on the piano.
Two or more people can play the piano at the same time. The woodblocks can be replaced
with tapping on different parts of the piano. Test the piano and find three different places
that give three different pitches when tapped. Find the places that provide the richest tone.
IMPROVISE:
1. Improvise a new accompaniment for "Old Texas."
2. Improvise a counter-melody to be used in the place of the echoed part.
Dynamics: "Old Texas" has been written without dynamic markings. Using the copy of
"Old Texas" that your teacher will provide for you, write in your own dynamic markings.
Be prepared to defend your decisions.
103
Pencil Time: Activity Sheet 43: I Chord Game

Activity Sheet 44: More Dynamics!
Activity Sheet 45: Write a Song!
V CABULARY
1. I Chord--A triad consisting of the notes Do, Mi, and So
2. Antiphonal--A type of choral singing in which part of the choir sings

a phrase and is answered by the rest of the choir
3. Broken chord--A triad in which the notes are sounded consecutively instead of
simultaneously
4. Call and response--A type of choral singing in which a soloist sings a phrase of
music and the choir answers
5. DC al Fine--Go back to the beginning and end at "Fine."
6. Fine--The end (Italian)
7. Interval--The distance between two musical tones
8. Rubato--Varying the tempo of a piece of music as a tool for expressiveness
9. Third--The distance between two notes in the scale with one note between them
10. Tonic chord--The I Chord
11. Triad--A chord of three notes
104
21: Half Steps and Whole Steps
HALF STEPS
A half step is the distance between a note and its closest neighbor, either above or
below. All of the brackets below represent half steps on the keyboard.
C Major Scale:
&œ œ œ œ œ œ œ œ
C D E F G A B C
Do Re Mi Fa So La Ti Do
Answer the following questions with the help of the keyboard above:
What is the half step down from C?
What is the half step down from F?
Point out the half step up from C. Remember to use the black notes also.
Point out the half step up from G. F#
G Major Scale: t
t
?# œ œ œ œ
œ œ œ œ
G A B C D E F# G
Notice the half steps of the major scale are always Mi-Fa and Ti-Do.
105
21 - HALF STEPS AND WHOLE STEPS
F Major Scale: Bb
t
t
F G A Bb C D E F
2 half steps = 1 whole step
The "formula" for the Major Scale:

2 whole steps, 1 half step, 3 whole steps, 1 half step:
2 whole steps--Do - Re, Re - Mi
1 half step--Mi - Fa
3 whole steps--Fa - So, So - La, La - Ti
1 half step--Ti - Do
This formula creates a major scale no matter what note you choose to begin on.
IDENTIFY the key of each line below, and then the pairs of notes, below, as whole steps
or half steps.
1. 2. 3. 4. 5. 6. 7. 8.
œ œ
1. 2. 3. 4. 5. 6. 7. 8.
&œ œ œ œ œ œ
# œ œ
1. 2.
œ œ
3. 4. 5.
œ œ 6. 7.
œ œ
8.
& œ œ œ œ œ œ œ œ
106
HALF STEPS AND WHOLE STEPS -- 21
KEYBOARD
SKILLS
1. Play the C, F, and G Major Scales on a piano or keyboard.

2. Use the "formula" to make other Major scales on the keyboard, such as D, A, E, B.
Pencil Time: Activity Sheet 46: Build-a-Scale, Major

Activity Sheet 47: Build-a-Scale, Minor
V CABULARY
1. Half step -- The distance between a note and its closest neighbor, either
above or below.
2. Whole step -- Two half steps
107
22: Do-Mi
Major Third
The interval Do-Mi is the first interval of the I Chord.
It is the interval of a major third.
The major third is equal to 4 half steps (or 2 whole steps.) All of the brackets, below,
indicate major thirds:
# œ
& œ œ
œ
C E G B
Do Mi Do Mi
Key of C Key of G
Do-Mi is always a major third, no matter what key.

The first notes of the song, "Soldier, Soldier" are Do and Mi.
Soldier, Soldier Traditional
Girls: & b 44 œ œ œ œ œ œ œ œ œ œ œ
"Sol - dier, sol - dier, will you mar - ry me, With your
&b œ œ œ œ ˙.
mus - ket, fife, and drum?"
& b 44 œ œ œ œ œ œ œ œ œ œ œ œ
Boys:
œ œ œ
"Oh, how could I mar - ry such a pret - ty girl as you, When I
&b œ œ œ œ ˙.
œ
have no shirt to put on?"
108
Chapter 22:
Do - Mi
solfege syllables, replace the solfege syllables with various vowels.
4
&4 Ï Ï ú Ï Ï ú
D "Follow Me"
Game
Handsign the notes learned thus far, but emphasize the interval
Do - Mi. Ask the students to follow your handsigns.
Ask for a student volunteer to lead the activity.
O Audiate: Handsign a short series of notes, making certain to include the

interval Do - Mi, keeping the rest of the notes scalewise. (Start out
with 3 or 4 notes, then add more to the series). Have the students
watch and "listen" in their heads, sign the passage without singing,
and then sing the series for you.
FORM: Play "Soldier, Soldier" for the students before you begin to work on it. Tell
them to determine the form of the song by listening to it.
& b 44 ä Ïj Ï Ï ú ä Ïj Ï Ï ú ä Ïj Ï Ï Ï Ï Ï Ï
&ú ä Ïj Ï Ï Ï . Ïj Ï Ï Ï ÏJ Ï . Î Ï Ï Ï Ï Ï Ï ú
Write out the melody, above, on the board. Ask the students if they can identify it by
audiation (also in the student book on page 107). Identify its source (American folk).
Find a recording (CD or .mid or .mpg) of a Dixieland jazz band playing "When the Saints
Go Marching In," and allow the students to listen to it. The students should:
1. Identify the form of the arrangement.
2. Describe the genre of music under which it would fall. (jazz)
2. Describe the cultural source. (African-American spiritual/folk)
3. Identify the style. (Dixieland)
S - 108
ARRANGE: The textbook asks the students to arrange a new Orff
accompaniment for "Soldier, Soldier." If Orff instruments are
not available, they may arrange the accompaniment for several
hands on the piano.
For those of your students who have a computer and internet

access, Finale has a free program called "Notepad" that may
be downloaded from:
http://www.makemusic.com/notation_software.asp
This is a great little program that will allow them to print

music and to play it back and listen to it.
S - 109
DO-MI -- 22
4
&b 4 œ œ œ œ œ œ œ œ œ
œ œ œ
All:
So off she ran To the tail - or's shop, As
&b œ œ œ œ ˙. œ œ œ œ œ
œ
fast as she could run, And bought him a coat, The
&b œ œ œ œ œ œ œ w
œ œ œ œ œ
best that she could buy, And the sol - dier put it on.
2. "Soldier, soldier, will you marry me, With your musket, fife and drum?"
"Oh, how could I marry such a pretty girl as you
When I have no boots to put on?"
So off she ran to the cob-bler's shop, As fast as she could run,
And she bought him some shoes, The best that she could buy,
And the soldier put them on.
"Oh, how can I marry such a pretty girl as you,
When I have no hat to put on?"
So off she ran to the haberdasher's shop, As fast as she could run,
And she bought him a hat, the best that she could buy,
And the soldier put it on.
"Oh, how could I marry such a pretty girl as you,
When I've got no gloves to put on?"
So she ran away to the glovemaker's shop, As fast as she could run,
And she bought him some gloves, oh, the best that she could buy,
And the soldier put them on.
"Well, how can I marry such a pretty girl as you,
When I have a wife of my own?"
IMPROVISE: 1. An accompaniment for "Soldier, Soldier."

2. A counter-melody for "Soldier, Soldier," using So, La, and Mi
ARRANGE: Write an Orff accompaniment for "Soldier, Soldier" on staff paper.
PERFORM: 1. Memorize the song, and all of its words. Divide the dialog to be
sung as solos. Remember when you sing one of these solos to
demonstrate proper vocal timbre by using tall vowels and supported
breath.
2. Add a few props and a bit of acting, and perform the song for an
informal concert, demonstrating appropriate concert etiquette.
109
22 -- DO-MI
INTERVAL PRACTICE:
# 4
1. & 4 œ œ œ œ œ œ ˙ ˙ ˙ w
2.
& b 44 œ œ ˙ ˙ ˙ œ œ œ œ w
? 44 ˙ œ œ w ˙ ˙ w
3.
? b 44 œ œ œ œ œ œ ˙ œ œ œ œ w
4.
READ the following exercises, rhythm only first while conducting, then chanting
the solfege, then singing the solfege. Don't forget to use handsigns.
1. & b 44 œ œ œ œ œ œ ˙ œ œ œ œ
œ œ ˙
&b œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
2. & b 44 œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
3. & b 44 œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
&b œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
#
4. & 44 œ œ œ œ œ œ ˙ œ œ œ œœ œ œ œœœ
# œ œ œ œ
& œ œ œ œ œ œ ˙ œ œ œ œ ˙
110
DO-MI -- 22
# 3 œ œ ˙
& 4 œ œ œ ˙ œ œ Œ
5.
#
& œ œ œ œ œ œ œ œ œ œ œ œ
# œ œ ˙
& œ œ œ ˙ œ œ Œ
# œ œ œ œ .
& œ œ œ œ œ œ œ ˙
#
6.
& 44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
# œ œ œ œ œ œ œ œ œ
7. & 44 œ œ œ œ œœ œœ˙ œ œ œ œ œœ œœœœœ œ
& ˙ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
8. & 44 œ œ œ œ œ œ œœœ ˙ œœœœœ œ

œœœœ
˙
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
9. & 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
111
22 -- DO-MI
YOUR BRAIN:
?# 3 œ œ œ œ œ œ ˙ œ œ œ œ ˙.
10. 4
?# œ œ œ œ œ œ ˙ œ œ œ œ ˙ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?# œ
œ œ
?# œ œ œ œ œ œ œ œ œ ˙.
? b 44 œ Œ œ œ œ œ ˙ œ
Œ œ œ œ œ ˙
11.
œ œ œ œ
?b œ Œ œ œ œ œ œ œ œ œ ˙
? 43 œ ˙ œ ˙ œ œ œ œ ˙ Œ ˙ œ
12.
?œ œ œ œ œ œ
œ ˙ œ ˙ œ ˙ œ
?˙ œ ˙ œ œ œ œ ˙ œ ˙ œ ˙.
# 4
13.
& 4 œ œœœ œ œ œœœ œ œ œ œ œ œ œœ˙
# œ œ
& œ œ œ œ œ œ œ ˙ œ œ œ œ
œ œ œ œ ˙
112
DO-MI -- 22
14. & b 43 ˙ œ œ œ œ œ œ œ ˙ œ œ ˙ œ
&b œ œ œ ˙ œ ˙
Œ
˙ œ œ œ œ œ œ œ
&b ˙ œ œ ˙ œ œ œ œ œ œ œ ˙
Œ
First, locate the last flat ( b ) or sharp ( # ) (The "last" is the farthest from the clef sign.)
The following exercises are in new keys. It is very simple to read in any key.
Remember the last flat is always Fa, the last sharp is always Ti.
Count up or down from the last flat or sharp to find your starting pitch.
Chant the rhythm while conducting, and solfege before singing.
#
& # 44 ˙ œ œ œ œ œ œ ˙
15. œ œœœ
œ œ œœœ œ
##
& ˙ œ œ œ œ œ œ ˙ œ œ œ œ
œ œ œ ˙
b
& b b 43 œ œ œ œ œ œ œ œ œ œ ˙.
16.
œ
b œ œ œ œ œ
&bb œ œ œ œ œ œ ˙ œ
b ˙.
&bb œ œ œ œ œ œ œ œ œ œ œ
b
&bb œ œ œ œ œ œ œ œ œ œ ˙.
AUDIATE:
Read the following melody in your head while handsigning it in rhythm.
(Do not sing it out loud.) Can you identify it?
& b 44 œj œ œ ˙ ‰ œj œ œ ˙ ‰ œj œ œ œ œ œ œ
j
b
& ˙ ‰ œ œ œ œ . œj œ œ œ œ ˙ œ œ œ œ œ œ ˙ ‰
113
22 -- DO-MI
Sea of My Dreams
Patti DeWitt
# 3P
Peacefully; Legato
Rec. & 4 œ œ œ œ œ œ œ œ œ
# 3
AM & 4 Œ œ œ Œ œ œ Œ œ œ
P
? # 3 ˙. ˙. ˙.
4 ˙.
˙. ˙.
BM
# P
∑ œ œ œ œ œ œ œ œ ˙ Œ
4
& œ
Peace-ful - ly float - ing past mount - tains and streams,
# Œ ˙. ˙. œ œ
& ˙ œ œ œ œ
# œ œ œ
& Œ œ œ Œ œ Œ œ Œ œ Œ œ œ
? # ˙. ˙˙ .. ˙. ˙˙ .. ˙.
˙. ˙. ˙.
# œ p
9
& œ ˙.
p
Safe - ly a - drift in the sea of my dreams. Gen - tle winds
# ˙. ˙. œ
& œ œ ˙ Œ œ œ œ
# Œ œ œ
& œ Œ œ Œ œ œ Œ œ œ ∑
˙.
? # ˙. ˙. ˙. ˙˙ ..
˙. ˙. ˙.
114
DO-MI -- 22
# P
& œ œ œ œ ˙. œ œ œ
14
œ œ
#
guid - ing me soft - ly a - long, Birds fill the
œ œ œ œ œ ˙. œ
& œ œ œ
# œ œ œ œ œ œ œœ œœ œ œ
& ∑ ∑ ∑
˙. ˙. ˙ P
?# Œ ˙.
# œ F
18
& œ œ
air with e - ther - e - al song. I
# œ œ œ
& œ œ œ œ ˙
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ
? # ˙. ˙. ˙ Œ
# P
& œ œ œ œ œ œ œ œ ˙ œ œ œ œ
21
œ
wish I could stay on my fan - ta - sy lake, But soon - er than
# ˙. ˙. œ ˙.
& œ œ œ œ œ
# œ œ œ
& œ œ Œ œ Œ œ Œ œ œ Œ œ œ
F P
? # ˙. ˙. ˙˙ .. ˙. ˙˙ ..
˙. ˙. ˙.
115
22 -- DO-MI
p F
# œ œ œ œ œ œ œ
œ œ Œ œ Œ Œ
26
& ˙ œ
soon, it is time to a - wake. A - wake! A - wake!
# ˙. œ œœ œ œ Œ œ œ Œ œ
& œ œ Œ
# Œ œ œ œ œ œ œ
& œ Œ œ Œ œ œ Œ Œ
p F
? # ˙. ˙. ˙ .. ˙ œ ˙ Œ
˙. ˙. ˙
# œ œ œ œ œ
œ œ œ œ œ Œ ∑
31
& ˙
Plen - ty too soon, it is time to a - wake.
# ˙. œ œ œ œ
& œ œ ˙ Œ ∑
# Œ œ œ Œ œ œ Œ œ œ œ œ ˙˙˙˙ Œ
& œ
? # ˙. ˙. ˙. ˙ .. ˙˙ Œ
˙. ˙. ˙. ˙ ˙
LEARNING THE PIECE: "Sea of My Dreams"

1. Determine the form of the piece.
2. Learn the notes on solfege.
3. Perform the expressive elements as written.
4. Pronounce the words with tall vowels and support the tone with abdomenal breath
support so that the vocal timbre will be clear and full.
5. Learn the recorder part on solfege, then on note names and play on recorder(s).
6. Memorize and perform from memory for an informal concert of a large ensemble.
7. Describe and demonstrate appropriate concert etiquette.
116
DO-MI -- 22
FROM THE LITERATURE: Sing the African-American spiritual, "Dry Bones," in

the supplemental literature. It uses the interval "Mi-Do" every time the lyrics say, "Dry
bones."
Pencil Time: Activity Sheet 48: Intervals

Activity Sheet 49: Legato, Marcato, Staccato
V CABULARY
1. Major third--The distance between Do and Mi; 4 half steps
117
23: Mi-So
Minor Third
The interval Mi-So is the second interval of the I Chord.
It is the interval of a minor third.
The minor third is equal to 3 half steps (or 1 whole step and 1 half step.) All of the
brackets, below, indicate minor thirds:
# œ
&œ œ œ
E G B D
Mi So Mi So
Key of C Key of G
Mi-So is always a minor third, no matter what key.
The first notes of "As the Caissons Go Rolling Along" are So and Mi.
As the Caissons Go Rolling Along Brigadier General Edmund L. Gruber, 1908
& 44 œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ
O - ver hill, o - ver dale, we have hit the dus - ty trail, and those
j j œj œ
3
&œ œ j œ œ œ œ œ œ œ
œ œ ˙. œ
cais - sons go roll - ing a - long. "Coun - ter march! Round a - bout!" hear those
j j œj œ
6
& œ. œ œ œ œ œ œ œ œ j
œ œ
8 wa - gon sol - diers shout, While the cais - sons go roll - ing a -
& ˙. œ œ œ œ œ œ œ œ. œ œ œ ˙
long Then it's hi! hi! hee! in the field ar - til - ler - y!
118
Chapter 23:
Mi - So
4
&4 Ï Ï Ï Ï ú Ï Ï ú
D "Follow Me"
Game
Mi - So. Ask the students to follow your handsigns.

interval Mi - So, keeping the rest of the notes scalewise. (Start out
Don't forget.
Remind them: Sit tall
Tall vowels
Eyes up!
Use handsigns.
FORM: Play "As the Caissons Go Rolling Along" for the class before you start
working on it. Have the students determine the form of the song aurally.
S - 118
In the Literature: "Waltzing Matilda" is a bright and lively song. It is the
Australian national song. "Waltzing Matilda" uses many
intervals of the I chord, specifically So - Mi on the words
"Waltzing Matilda," and the spelling out the whole
chord for an octave in the phrase, "I'll come a-waltzing
Matilda with you."
Have the students listen to the melody as you play it.

Ask them to determine the form of the song.
1. Teach the notes of the song on solfege.

2. Ask them to audiate individual phrases of the song.
3. Let them sing it on solfege.
4. Tell them to read the expressive markings from the
notation at the same time as they are reading the song.
5. Memorize and perform on a concert, if desired.
Ask them what is strange about song "Waltzing Matilda," (besides the Aussie
colloquialisms), specifically the meter.
(Answer: It is called "Waltzing Matilda," but it is in duple meter.)
S - 119
MI-SO -- 23
& œJ œ œ œ œ œ œ ˙ Œ œ œ ˙
11
J œ œ
Call off your num - bers loud and strong three!) And wher - e'er we go,
œ œ j j œj œ
14
& œ. œ œ œ œ œ œ j Œ
œ œ ˙.
You will al - ways know that those cais -sons go roll - ing a - long.
In the Literature:
"As the Caissons Go Rolling Along" is a march. Marches are always in duple (divisible
by 2) meters. The song "Marching to Pretoria," a South African folksong in the Literature,
is also a march. Memorize "Marching to Pretoria" and sing it expressively with appropriate
articulation and the dynamics and tempo markings written in the score.
Why are marches always in duple meters?
ARTICULATION:
What kind of articulation is most appropriate for "As the Caissons Go Rolling Along"?
Staccato? Legato? Marcato? What does each of these terms mean?
Interval practice:
1. & b 44 œ œ œ œ œ ˙ œ œ ˙ œ œ ˙ Œ
? 44 œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ Œ
2.
READ the following exercises, rhythm only first while conducting, then
chanting the solfege, then singing the solfege. Don't forget handsigns.
#
1. & 44 œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ
# œ
& œ œ œ
œ œ œ œ œ œ œ œ œ ˙ œ œ
# 4 œ
2. & 4 œœœ œ œ œ ˙ œœ œœœ œ œœ œœ˙ œœ
# œ œ œ ˙ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ ˙ Œ
119
23 -- MI-SO
4
3. & 4 œ œ œ œ œ œ ˙. œœ œ œ œœœ ˙. œœ
& œ œ œ œ œ ˙. œ œ œ œ œ œ œ ˙.
4. & 43 œ œ œ œ ˙ œ œ œœ œ
œ ˙ Œ œ œ œ œ
&œ Œ œ œ œ œ ˙
œ œ œ œ œ œ ˙ œ œ
&œ œ œ ˙ œ œ œ œœ œ œ œ
œ œ œ ˙.
5. & b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ œœ
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
& b 44 œ œ œ œ œ œ
œœœ œœœ œœœœœ œ œœœœœ Œ
6.
œœœ œœœ
&b œ œ œ œ œ œ œœœœœ œ œœœ œ Œ
? # 43 œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
7.
œ
?# œ œ œ ˙
?# ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
? 44 œ œ œ œ œ œ œ œ œ œ ˙ œ
œ œœœ œœ œœœœ˙
8.
?œ œ œ œ œ œ œ œ œ œ ˙ œ
120
MI-SO -- 23
œœœœœ Œ
YOUR BRAIN:
4 œ œœœ œ ˙
9. &b 4 œœœœœœœ œœœœ
&b œ œ œ œ œ œœœœœ Œ œœœœœ œ

œ œ œ œ˙
# 4
10. & 4 œœ œ œ œ œ
œœ ˙ œœ œ œ œ œ œ ˙
#
œ œ ˙ œ œ œ œ
First, locate the last flat ( b ) or sharp ( # ) (The last flat or sharp is the one farthest from
When reading the following exercises, remember these rules:
the clef.)
Remember the last flat is always Fa, the last sharp is always Ti.
Count up or down from the last flat or sharp to find your starting pitch.
Chant the rhythm while conducting, and solfege before singing.
b
11. & b 44 œ œ œ œ œ œœ˙ œ œœœ œ œœœ ˙
b
&b œ œ œ œ œ œ œ ˙ œ œ œ œ œ
œ œ œ ˙
#### 3
12. & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
####
& ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
AUDIATE:
Read the following melody in your head while handsigning it in
rhythm. (Do not sing it out loud.) Can you name it?
& 44 œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œœ
&œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
121
23 -- MI-SO
She Shall Have Music

F Patti DeWitt
& 43 ∑ ∑
Moderato
Voice œ œ œ ˙ œ
Ÿ̇ ~~~~~~~~ Ride a stick horse To
3 . œ
Rec. &4 Œ Œ ˙. œ œ œ
F
˙ ˙
3 Œ Œ œœ Œ ˙ œ
Œ Œ œ Œ ˙
SM &4
?3 œ ˙ œ œ ˙ œ œ
BM 4 œ œ œ
&œ œ œ Œ
˙ œ œ œ œ œ œ œ œ œ œ ˙
Ban - bu - ry Cross, To see a fine la - dy up - on a white horse.
& ˙. œ œ œ œ œ œ œ œ œ œ œ œ ˙
Œ
œœ ˙ œ ˙ œœ ˙
& Œ Œ Œ ˙ Œ Œ œ Œ ˙ Œ Œ Œ ˙
?œ ˙ œ œ ˙ œ œ ˙ œ œ
œ œ œ œ œ
&œ œ œ œ œ œ œ œ œ Œ œ œ œ
˙
Rings on her fing - ers and bells on her toes, She shall have
& ˙. œ œ œ ˙. œ œ œ œ œ œ
œœ ˙˙ œœ ˙˙ œœ
&Œ Œ Œ Œ Œ Œ Œ Œ
?œ ˙ œ œ œ œ ˙ œ œ
œ œ œ œ
122
MI-SO -- 23
P
&œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
mu - sic wher - e - ver she goes . Rings on her fing - ers and
&œ œ œ œ œ œ ˙. ∑ ∑
˙˙ œœ ˙˙ Ÿ̇. ~~~~~~~~~~~~~~
&Œ Œ Œ Œ ∑
p
?œ ˙ œ œ ˙ ˙ ˙
œ œ Œ Œ
f ,
& œ œ œ Œ œ œ œ
Meno mosso
˙ œ œ œ œ œ ˙.
bells on her toes, She shall have - - e - ver she goes.
, œ œ œ
& ∑ ∑ œ œ œ œ œ œ ˙.
œœœ œœœ œ œœ ˙˙ , œœ œ
&Œ Œ œ Œ Ó Œ Ó Œ œ Œ
œ œ f
, œ
? œ ∑ œ œ ˙ œ œ
œ œ œ œ Œ
EVALUATION:
Learn "She Shall Have Music"using the same sequence as you did "Sea of My Dreams."
After learning it, evaluate it for quality and effectiveness using the form you developed in
the appendix chapter, "Evaluating Music." Compare your findings with those of your
classmates.
Pencil Time: Activity Sheet 50: Arrange This!

Activity Sheet 51: Arrange This!
V CABULARY
1. Minor third--The distance between Mi and So; 3 half steps
123
24:
When a quarter note (one beat

in common meter) is divided
into 4 equal parts, the result is
four sixteenth notes.
`
Kodaly: Ta Ti - ti Tip - py - tip - py
Numbers: 1 1 & 1 e & a
"Down-ups"*: Down Down - up Down - y - up - pa
1 beat = 1 beat = 1 beat
READ the following poem using body percussion. On which words do the sixteenth notes
occur? (Hint: The poem begins with sixteenths.) Write the rhythm on a piece of paper.
Mississippi Mudcake
by Patti DeWitt
Pennsylvania choc'late, Colorado cake

Give me such a belly ache.
Mississippi mudcake, Lou'siana pie
I could eat them till I die!
Count the following rhythmic exercises on each of the counting systems above.
44
1. œ œ œ œœœœœ œ œ œ œœœœœ œœœœœ œœœœœ œ œ œ œœœœœ
44
2. œ œ œ œœœœœ œ œ œ œœœœœ œœœœœ œ ˙ œœœœœ œ ˙
44
3. œ œœœœœ œ œ œœœœœ œ Œ œ œœœœœ œ œ œœœœ œ œ œœœœœ œ
44
4. œœœœœœœœœ Œ œ œ œ œœœœœ Œ œ œ œœœœœ œ œ œ œ œ œœœœœ
3
5. 4 œ œ œ œ œœœœœœœœŒ œ œ œ œœœœ œœœœŒ œ œ
34 Œ
6. œ œœœœ œ œ œœœœ œœœœœ œ œ Œ œœœœœ
* Move hands in an up-and-down motion while counting.
124
SWEET SIXTEENTHS -- 24
3 Œ Œ
7. 4 ˙ œ œ œœœœœœœœœ œ œ œ œ œœœœœ
3
8.
4 œœœœ˙ œ œ œœœœŒ Œ œœœœœ œ œ œœœœœ
Since one eighth note has the same time value as 2 sixteenths, one eighth note can take
œ œ œ œ œ œ
the place of 2 sixteenths in rhythmic patterns.
`
Kodaly: Ti tip - py Tip - py ti
Numbers: 1 & a 1 e &
"Down-ups": Down up - pa Down - y up
4
The following poem uses "Ti tippy" when read in 4 meter. Where is this rhythmic
pattern found? (Hint: The poem begins on a quarter note anacrusis.)
Write out the rhythm for the poem.
The Newt and the Firefly

by Patti DeWitt
A newt and a firefly newly wed
When it was dark they went to bed.
"Oh, woe is me!" said the newt with a yawn.
"I cannot sleep when the light is on."
4
The following poem uses "Tippy-ti" when read in 4 meter. Where is this rhythmic
pattern found? Write out the rhythm for the whole poem.
Cursory Rhyme
by Patti DeWitt
Little Miss Muffet eating fondue
Fell in love with Little Boy Blue.
When they got married Saturday morn
Little Jack Horner blew his horn.
COMPOSE a melody for one of the three poems presented in this chapter. Use 4 meter
4
and sixteenth note patterns. Add a simple accompaniment to your melody.
READ the following rhythmic exercises using each of the rhythmic

systems above. Conduct as you read:
44
1. œ œ œ œœœ œ œ œ œ œœœ œ œœœ œ œœœ œ œ œ œ œœœ œ
44
2. œ œœœœœ œœœ œ œœœœœ œœœ œ œœœ œ œœœ œ œœœœœ œœœ
44
3. œ œ œ œœœ œ œœœœœ œ ˙ œœœ œ œ œ œ œœœœœ œ Œ œ
125
24 -- SWEET SIXTEENTHS
4
4. 4 œ œ œ œœœ œ œ œœœœœ œœŒ œ œ œœœ œ œœœœœ œ Œ œ œœœ œœœ
34
5. œ œ œœœ œ œ œœœœœ œœ Œ œ œ œœ œ œ œœœœœ œ
3 Œ
6. 4 œ œœœ œœ œ œ œ œ œœ œ œ œ œœœœ œ œœŒ œ
34
7. œ œœœ œ œœœœ œ œ Œ œ œœ œ œœœ œ œ œ œœœ œ œ
34
8. œœœœœ œœŒ œ œ œœœ œ œœœœœ œ Œ œ œœœ œœœ
Pencil Time: Activity Sheet 52: Sweet Sixteenths
WRITE OUT the rhythm to children's counting song, "Ten Little Indians."
SING the following exercises. Read the rhythm first while conducting. Chant with
solfege. Sing with solfege. Don't forget to use handsigns.
1. & b 44 œ œ œ œ œ œ œ œ œ œ œ œ ˙
&b œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
2. & b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
? b 34 œ œ œ œ œ œ œ œ œ œ œ
œ
3.
?b œ œ œ œ œ œ œ œ œ œ œ
4.
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
126
S - 126
"The Bumblebee," These measures of the accompaniment may seem to
measures 42 - 44: be unapproachable by young students, but if the teacher
will divide the 32nds into groups of four (two sets of
repeated notes) and let 3 or 4 different students play them
in sequence, then they will be quite accessible. The same
would apply if the accompaniment is being played on the
piano. Divide the parts up among 4-5 students and allow
them to accompany the choir together.
In the Literature: The African-America spiritual, "Dry Bones," is included

in the literature provided on CD-ROM. This piece is a
wonderful piece for a formal concert or contest. It allows
the students to sing expressively, as there are many
variations in not only in dynamics, but in tempo and
style as well.
Have your students sing this one, like all concert music,
from memory. This is important because they need to
remain focused on your directing them through the many
expressive changes in the piece.
Remind your students: Even though this piece uses

some colloquialisms, they should still sing with tall vowels
and supported breath so that they will have clear timbres
and so that their timbre will blend with others.
These pieces were both written for large ensemble

performance. Both of them make excellent concert pieces.
Make sure that your students can demonstrate appropriate

large ensemble performance skills in the classroom before
placing them in a formal setting. That way, when they do
get on stage in front of the audience, they will know exactly
what to do.
Informal performance skills may be practiced by your

large group in the classroom. Invite visitors or
administrators to come to your class to observe. Ask them
not only to listen to the performance but to judge the class's
informal large ensemble skills as well.
After they perform this piece, ask your students to fill

out a music evaluation form.
If you have multiple choirs, have the choirs evaluate

each other for the quality and effectiveness of their
performances.
S - 127
5. & 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
6.
? 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
# 3 œ œ œ œ œ œ
7. & 4 œ œ œ œ œ œ œ
# œ
# 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
8. & 4
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
YOUR BRAIN:
# 4
9. & 4 œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10. & b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
127
The
James Whitcomb Riley Patti DeWitt

Lively q = 66
# 2
& 4 ∑ œ œœœ œ œœ œ œ œ œœ
œœœ œœœœœ
P œ
You betternotfool witha bumblebee! Efyou
P
œœœœœ œœœœœ
?# 2 Œ Œ Œ
SM 4 &
4 hands
# P
& 24 ∑ Œ ‰ œ œœ ‰ œ œœ
(or more)
œ œ
AM
on piano,
or: AX JP J
?# 2 ∑ Œ ˙ ˙
BM* 4
# œ
don't think they can sting you'll see! They're
# œ œ œ œ œ œœœœœ
& Œ Œ
# ‰ œœ ‰ œœ
& œœ œœ
J J
?# ˙ ˙
#
& œ œ œ œ œ œ œ œ œ œ
œ
la - zy to look at, an' kind - a' go Buz - zin',
# œ œ œ œ œ œ œ œ œ œ
& Œ Œ
# ‰ œœ ‰ œœ
& œœ œœ
J J
?# ˙ ˙
128
F
# œ œ œ œ œ
buz - zin', buz - zin', buz - zin', buz - zin', buz - zin', buz - zin', buz - zin', buz - zin',
F
& Œ Œ
F
# œœ œœ
& ‰ œœ
‰
œœ
J J
F
?# ˙ ˙
f
#
& œ œ œ œ œ œ œ œ œ œ œ ‰ œj
buz - zin', an' bum - min' a - roun' so slow, An'
p
# œ œ œ œ œ œœœœœ
& Œ Œ ∑
#
& ‰ œœ ‰ œœ ‰ œœ
œœ œœ œœ
J J J
?# ˙ ˙ ˙
f
# œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ
ac' so slouch - y an' all fagged* out, Dang - lin' their legs as they
f
# œœ œ
& Œ ‰ J Œ ‰ œJ Œ ‰ œœ
J
f
# œ œ œ
& ‰ œ œ ‰ œ œ ‰ œ œ
f
?# ˙ ˙ ˙
* Tired
129
Moderato Allegro
# 3 U "
P
j 24 œ
decresc. e rit. . .
& 4 œ œ œ ‰ œ œ œ œ œ
œ œ œ œ
drone a - bout The hol - ly - hawks* 'at they can't climb in 'Ith -
P
# U " œœœœœ œœœœœ
& 34 ∑ 24 Œ Œ
decresc. e rit. . .
U P
# 3 decresc. e rit.œ. . " 24 ‰
& 4 ‰ œœ ‰ œœ ‰ œœ
œœ œœ
J J
? # 34 œ U "P 24 ˙
œ ‰ ˙
decresc. e rit. . .
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
out ist a - tumb - lin out a - gin! Wunst I watched one
# œœœœœ œ œ œ œ œ
& Œ ∑ Œ
#
& ‰ œœ ‰ œœ ‰ œœ
œœ œœ œœ
J J J
?# ˙ ˙ ˙
#
climb clean 'way In a jim' - son - blos-som, yes, I did, one day,
# œœœœœ œœœœœ œœœœœ

& Œ Œ Œ
#
& ‰ œœ ‰ œœ ‰ œœ
œœ œœ œœ
J J J
?# ˙ ˙ ˙
* "The hollyhocks that they can't climb in without just tumbling out again!"
130
secco
F
#
& œ ‰ œ œ œ œ ‰ ‰ œ œ œ œ œ
J
An' I grabbed it an' nen I let go
#
& ∑ ∑ ∑
# ‰ r
& œœ ‰ œœ ≈ ‰ œ Œ
œœ œœ
J J
?# ˙ œ
˙ Œ
f ƒ
# Œ ‰ j œ œ œ œ
& œ
An' "Oh, ooh!
f ƒ
# œ œ œ œ œ œ œ œ œ œ j
& œ œ œ œ œ œ œ œ œ œ œ ‰
œ
œ œ œ
f ƒ
# j j
& ˙ ‰ œœ ‰ œœ
f ƒ
?# ˙ œœ œœ
# œ œ
& œ ‰ œJ œ ˙
Hon-ey! I tole ye so!"
# œœ
& J ‰ ∑ ∑
# œ
& ‰ œœ ‰ œ Œ ˙
?# Œ œœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
131
P
# 3 Œ U 24
& 4 ˙ œ œ œ œ œ œ
œ œ œ œ œ
You bet - ter not fool with a bum - ble - bee! Buz-zin',
P
# œœœœœ œœœœœ
& 34 ∑ 24 Œ Œ
U̇. P
#
& 34
24 ‰ œœ ‰ œœ
œœ œœ
J J
U̇. P
? # 34 24 ˙ ˙
F
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
buz - zin', buz - zin', buz - zin', buz - zin', buz - zin', buz - zin', buz - zin', Buz - zin',
# œ œ œ œ œ F
œ œ œ œ œ
& Œ Œ
F
# œœ œœ
& ‰ œœ
‰
œœ
J J
F
?# ˙ ˙
# f
œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ
buz - zin', buz - zin', buz - zin', buz - zin', buz - zin', buz - zin', buz - zin', an'
f
& Œ Œ
f
#
& ‰ œœ ‰ œœ
œœ œœ
J J
f
?# ˙ ˙
132
p
#
& œ œ œ œ œ œ ˙ ˙
œp œ œ œ œ œ
bum - min' a - roun' so slow.
# œ œ
& ∑ ∑ ∑ Œ
p
# ‰ œœ
& œœ ‰ œœ ‰ œœ ‰
œœ
œœ œœ œœ
J J J J
p
?# ˙ ˙ ˙ ˙
# U
& ˙ ∑ Œ
œœ Uœ
# œ
& œœ œœ œœ œœ œœœ œ œœ œ
œ œ
U
#
& ‰ œœ œœ œœ
œœ œ
J
U
?# ˙ œœ œœ
œ
PERFORM:
1. Memorize "The Bumblebee" for performance in a formal
concert. Remember to demonstrate appropriate formal large
group concert etiquette in every formal concert.
2. Perform the song expressively. There are many expressive
elements in "The Bumblebee." Perform them as expertly as
possible.
3. Perform "The Bumblebee" with tall vowels and a nice open timbre that will blend
with the rest of the singers in the choir.
133
25:
Johann Sebastian Bach is known as one

of the most important composers in music
history in spite of the fact that he received
little recognition for his work during his
lifetime. It was about 100 years after his
death that his musical genius was finally
recognized.
Johann Sebastian was born in Eisenach,

Germany, the youngest son of Johann
Ambrosius Bach. At age ten, Johann
Sebastian was orphaned and went to live
with his older brother, Johann Christoph,
who was a church organist. His brother
taught young Johann to play keyboard
instruments, including the organ.
In 1702 at age 17, Johann was turned

down for the position of organist in
Sangerhausen. He served as violinist
in the royal court in Weimar, and then as
Oil painting by Cecelia Johnson organist for the Neukirk ("New Church")
after a portrait by Elias Gottlieb Haussmann in Arnstadt.
In 1707, Johann Sebastian married his cousin, Maria Barbara Bach, with whom he had
seven children including future composer Carl Philipp Emanuel Bach. In 1708, he was
appointed organist and court musician for the Duke of Saxe-Weimar. In his nine years in
this position, he composed many of his best organ works. Bach was offered the position
of Kapellmeister at Köthen, but the Duke would not allow him to leave, even going so far
as to hold him prisoner for almost a month.
He was ultimately released by the Duke and moved to Köthen, where he directed the
court orchestra of Prince Leopold. It was while he was employed by the Prince that he
wrote most of his orchestral and chamber music, as well as many keyboard works.
In 1720 Maria Barbara died. The next year, Bach married Anna Magdalena Wilcke.
A week later Prince Leopold also married. As his bride had little interest in the arts, the
Prince's support for them waned accordingly. So in 1722 Bach applied for another post
with more prestige, Cantor of St. Thomas's in Leipzig. There were two other candidates,
for the position, Telemann and Graupner, both of them more prominent and respected
than Bach was at the time. Bach was offered the position after both composers withdrew.
This is the position he would hold for the rest of his life.
134
JOHANN SEBASTIAN BACH -- 25
Bach's duties in Leipzig included providing music for two churches for every Sunday
and religious holiday service. Bach produced considerable quantities of church music while
at his Leipzig post, including his famous St. John and St. Matthew Passions, from which
the example that is presented in this textbook is taken: "Jesu, Joy of Man's Desiring." It
was also in Leipzig that he had his first music published.
Bach was also known for his teaching skills, and much of his music was written for
pedagogical (teaching) purposes. This was the purpose of his two volumes of the
Well-Tempered Clavier, both of which contain a series of 24 paired sets of preludes
and fugues in every major and minor key. This is one of Bach's great contributions to
music history: he standardized the frequency of pitches (vibrations per second) and
the intervals between the notes of the scale. He established "even temperament"--so
that like intervals sound the same in different keys. For example, a major third in the
key of C major would sound the same (only higher or lower) as a major third in the key
of G major. In this way, musical pieces could be transposed higher or lower as needed
without changing the melody.
Bach's instrumental music reflects his love for counterpoint--that is, each part
of the work having an equal individual melodic line. Canons (rounds) are an example
of counterpoint. The fugue is probably the form of composition for which Bach is best
known. The fugue is based upon canon-like restatement of various themes in each
voice. A four-part fugue would have four different voices presenting the same themes
at different times on higher or lower pitches. Bach mastered the fugue like no other
composer in history.
Bach wrote more than 1000 choral and instrumental works. He was also prolific in
his family life; he and Anna Magdalena had thirteen more children, for a total of twenty.
His eyesight began to deteriorate in 1750 and twice he underwent eye surgery. It is
speculated that these surgeries may have contributed to his death that same year.
Jesus, bleibet Meine Freude (Jesu, Joy of Man's Desiring)

Bach wrote many chorales for use in the services of the churches for which he worked.
These works often employed hymn tunes that were already in existence. Bach would take
these tunes and arrange them for choir and instruments, often the organ. The instruments
played an equal musical role with the voices.
The chorale presented in this book, "Jesus, bleibet Meine Freude," is perhaps Bach's
most popular work. It is the final chorale from his Cantata No. 147, "Herz und Mund und
Tat und Leben" ("Heart and Mouth and Deed and Life"). A cantata is a lengthy religious
piece for choir and instruments based generally on a single subject.
Bach's responsibilitites as church music director required him to produce a cantata every
week to be performed the following Sunday. The composing had to begin on Monday, as
it generally took Bach four days to finish writing and copying all of the parts. The first
rehearsal was on Friday, with dress rehearsals on Saturday and the performances on Sunday
morning.
135
25 -- JOHANN SEBASTIAN BACH
Bach wrote four complete cycles of 52 cantatas (one a week for a year), possibly more.
Although he occasionally borrowed thematic material from himself, his cantatas still
represent an astounding amount of work and are attractive to serious musicians even to
this day.
A little more than 200 of Bach's cantatas survive today, and these cantatas represent less
than one-fifth (20%) of Bach's works that have been located and classified. Additionally,
it is thought that the thousand or so surviving works are only a small part of what Bach
actually wrote.
The main instrumental (accompaniment) theme of "Jesus, bleibet meine Freude" is written
with triplets. When the beat divides into 3 equal parts instead of two, triplets are the result:
# 3 ‰ 3 œ 3œ œ œ œ3 œ œ œ œ œ œ œ œ
& 4 œ œ œ œ œ œœ œ œœœ œ œ
# œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ
& 4
œ
œ œ # œ œ œ œ œ
& œ 7 œ œ œ œ œ œ œ œ œ œ œ Œ Œ
Choral theme of "Jesus, bleibet meine Freude":
# 3 A˙ œ ˙ œ ˙ œ œ ˙
B
& 4
Je - sus, blei - bet mei - ne Freu - de.
Je - sus weh - ret al - lem lei - de
# ˙ œ ˙ œ œœœ ..
5
œ œ ˙.
C
&
Mei - nes Her - zens Trost und Saft
Er ist mei - nens Le - bens Kraft
#
œ œœœ
9
& ˙ œ ˙ œ œ œ ˙
B D
Mei - ner Au - gen Lust und Son - ne
# œ ˙ œ œ œ œ nœ œ
& ˙ œ ˙
13 D
Mei - ner See - le Schatz und Won - ne
A. In the Bach arrangement, the accompaniment plays for 8 measures before the voices enter.
B. In the Bach arrangement, the accompaniment plays for 1 measure while the voices rest.
C. In the Bach arrangement, the accompaniment plays for 6 measures while the voices rest.
D. In the Bach arrangement, the accompaniment plays for 2 measures while the voices rest.
E. In the Bach arrangement, the accompaniment plays for 11 measures while the voices rest.
136
O LISTEN: Find a CD or .mpg recording of a choir singing "Jesu, Joy of
Man's Desiring." After teaching the song allow the students to
listen and describe what they hear as far as accompaniment and
orchestration is concerned. Hopefully they will mention the
perpetually moving accompaniment pattern which is one style
characteristic of classical music of the Baroque era. Help them
to identify and describe characteristics that define the Baroque
style.
Have the students sing along with the recording. Have them
write down the form of the piece as they listen to it.
Play the recording of Beethoven's Fourth movement of his

Choral Symphony again so that the students can describe the
characteristics of the German Romantic style and compare it
to a work of Baroque style.
Choose a Bach Brandenburg Concerto and play it for the students,

followed by one of the movements of Mahler's First Symphony and
ask the students to identify which is Baroque style, which is Romantic.
Have the students listen to and compare a Bach Brandenburg

Concerto with one of the movements from Haydn's Surprise Symphony.
Have them describe what they hear and determine which is Baroque
style and which is Classical based upon the characteristics of each.
S - 136
S - 137
# œ ˙ œ œ
& ˙
17
˙ ˙.
B
Da - rum lass' ich Je - sum nicht
# œ ˙
& ˙ œ œ œœœ
21
œ ˙.
E
Aus dem Her - zen und Ge - sicht.
WRITE the solfege into the chorale theme of "Jesus, bleibet meine Freude" on a copy
that your teacher will provide for you of this page and the previous one .
Learn the piece on solfege.
Listen to an instrumental recording and determine and describe the form of the piece.
Sing with the recording using solfege.
Sing the German words.
If desired, sing the English translation.
German pronunciation (IPA*):
Jesus, bleibet meine Freude. iE-zus blaI-b I t maI-n« fr‹i-d «

Meines Herzens Trost und Saft maI-n«s hE «t-sIns trost unt zaft
Jesus wehret allem leide iE-zus vE-r I t al-«m laI-d «
Er ist meinens Lebens Kraft Er Ist maI-nI nz lE-bIns kraft
Meiner Augen Lust und Sonne maI-n«r aU-g«n lust unt z‹-n «
Meiner Seele Schatz und Wonne maI-n«r ze-l « S ats unt vo-n« +
Darum lass' ich Jesum nicht da-rum las Ich+ iE-zum nich+t
Aus dem Herzen und Gesicht. aUs dem hErt-sIn unt g «-zich t
English translation:
Jesu, joy of man's desiring Word of God, our flesh that fashioned
Holy wisdom, love most bright With the fire of life impassioned
Drawn by Thee, our souls aspiring Striving still to truth unknown
Soar to uncreated light Soaring, dying round Thy throne
Pencil Time:Activity Sheet 53: Johann Sebastian

Activity Sheet 54: Write Your Own Test!
* See IPA chart on page 201.

+ A gentle clearing of the throat sound
137
24 -- JOHANN SEBASTIAN BACH
The Baroque Era

Bach is known as the quintessential composer of the Baroque era (1675-1750). In fact,
musicologists established the date of his death as the end of the Baroque period in music.
The Baroque period got its name for the new style of architecture that began to appear
in the early 17th century, florid, showy, full of arches, domes and columns. The word
"baroque" really meant "grotesque" or "ugly," and this is what people labeled the new
style when it appeared. As time passed, however, the word "baroque" lost its negative
meanings and has been used for centuries to refer to all of the arts that came out of the
17th and early 18th centuries.
Venice, Italy, is a city that is known for its amazing Baroque architecture. Below are
some examples of Venetian architecture.
Above: Venice from the Lagoon,

showing various types of architecture.
The bell tower, Campanile San Marco,
overlooks the Procuratie Nuove ("New
Law Courts") which show Baroque
influence, and the Doge's (governor of
former republic of Venice) Palace on
the right. Note the domes of Basilica
San Marco behind the palace.
Basilica Santa Maria della Salute

(right) is an excellent example of
Venetian Baroque architecture.
Photos by Cecelia Johnson
138
St. Paul's Cathedral in London (architect, Christopher Wren, 1710) is another example
of Baroque archetecture, depicted below in a Baroque painting (Antonio Canaletto, artist,
1754).
139
26: Low So-Do
Perfect Fourth
The interval So-Do is the largest interval of adjacent notes in the I Chord.
It is the interval of a perfect fourth.
The perfect fourth is equal to 5 half steps (or 2 whole steps and 1 half step.) All of the
brackets, below, indicate perfect fourths:
&b œ œ œ
œ
C F G C
So Do So Do
Key of F Major Key of C Major
Low So-Do is always a perfect fourth, no matter what key.
The first notes of the traditional American folk song,"Old MacDonald" are Do-Do-Do-So.
Old MacDonald
& b 44 œ
Traditional
œ œ œ œ œ œ
œ œ œ ˙
Old Mac - Don - ald had a farm. E - I - E - I -
4
&b˙ Œ œ œ œ œ
Fine
œ œ œ œ œ œ œ ˙
O. And on that farm he had some ducks. E - I - E - I -
&b˙ Œ
8
œ œ œ œ œ œ œ œ œ ˙
- - With a "quack - quack" here And a "quack - quack" there.
11
&bœ
DC al Fine
Here a "quack," there a "quack," ev' - ry where a "quack - quack".
146
Chapter 26:
Low So - Do
4
&b 4 Ï ÏÏÏ ÏÏ Ï Ï ú
D "Follow Me"
Game
So - Do. Ask the students to follow your handsigns.

interval So - Do, keeping the rest of the notes scalewise. (Start out
FORM: Play "Old MacDonald" for the class on the piano before they
sing it. Have them determine the form of the song aurally.
VOCAL TIMBRE: Remind the students to demonstrate proper vocal technique by

using "tall" vowels and proper breath support whenever they sing,
whether singing in a group or singing a solo.
S - 140
S - 141
LOW SO-DO -- 25
Interval practice:
2. #
b 4 w
˙. œ ˙. œ œ œ œ œ
1.
& 4 œœœœ ˙ ˙ œœœœ œ œ˙
? b 44 ˙ œ œ ˙ ˙ ˙ œ œ w œ œ œ œ œ œ ˙
3.
READ the following exercises, rhythm only first while conducting, then
chanting the solfege, then singing the solfege. Don't forget handsigns.
1.& b 44 œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
&bœ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ ˙
2.
& b 44 œ
œ œ œ œ œœœœœ œ œœœ œœœ œ œ œœœ
&bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#
3. & 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
# œ
# œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ ˙
# œ
#
4. & 44 œ œ œ œ œœœœœ œ œ œ œ œ œ œ œ œœœœœ œ œ œ
#
& œ œ œ œ œœœ œœœœœœœ œ œ œ œ œœœœœ œ ˙
147
25 -- LOW SO-DO
& 43 œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ Œ
5.
œ œ œ œ œ œ œœœ ˙ œ
&œ œ œ
&œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ
œ œ œ œœœœ
&œ œ œ œ œ œ œ ˙ Œ
& 44 œ œœœœœ œ œœœ œ œ œ œœœœœ ˙ Œ œ

6.
œ œ
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? b 44 œ œ œ œ œ œœœœ˙ œ œ œ œ œ œ œ œœœ œ Œ
7.
œ
?bœ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙
œ œ œœœ œ
? 43 œ œ œ œ œ œ œ œ ˙ œœœœœ œ œ
8.
œ œ œ œ œ œ œ œ œ œœ œ
?œ œ œ œœ ˙
? # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ ˙
9.
?#œ œ œ œ œœœœœ œ œœœœœ œ œœœ œ œœœœœ œ œ
148
LOW SO-DO -- 25
YOUR BRAIN:
#4
10. & 4 œ œ œ œ œ œ œ ˙ œ œœœ œ œ œ œ˙
#
& œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
& b 44 œ œ œ œ œ œ œ œ ˙
11. œœœœœ
œ ˙ œœœœ
&bœ œ œ œ œ œ œ œ ˙ œ
### 4
12. & 4 œ œœœ œ œ œ œ Œ œœœœœœœ œœœ ˙
###
& œ œœœ œ œœœœœ Œ œ œœœ œ œœœœ˙
œ
? # # # 44 œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ Œ
œœ œ œœœ œ
13.
œ œ œ
? ## # œ œ œ œ œ œ œœœœ˙
? ### œ œ œ œ œ œ œ œ œ œ ˙ œœœœœœœœ œœœœœ

Œ
Pencil Time: Activity Sheet 55: I'll Have Fourths!
AUDIATE! Without singing out loud, can you name this melody?
j
& b 44 ‰ œj œ œ œ œ œ ‰ œ œ œ œ œ ˙ œ œœœœ œ œœœœ
œ ˙
149
25 -- LOW SO-DO
Jump Up!
Words and music by
Joyfully
#4 f
Patti DeWitt
.. œ œ œ œ œ œ œ
& 4 œ œ œ œ
Jump up! Jump up! And clap your hands, and
# Rec
4 .. ˙ ˙ œ œ œ ˙
& 4 Œ
f
# AM
& 44 Œ .. Œ
œ
œ
œ
Œ
œ
œ
œ
f
˙ ˙
? # BM
4 Œ
4 .. ˙ Ó ˙ Ó
# Œ œ œ œ œ œ œ
& œ œ œ œ œ ˙ œ œ œ œ œ
greet this great new day! Jump up! Jump up! with bound - less joy, and
# ˙ œ œ œ ˙
& ˙ ˙ ˙ Ó ˙
# œ œ œ œ
& Œ Œ Œ Œ
˙ ˙ ˙ ˙
?# ˙ Ó ˙ Ó ˙ Ó ˙ Ó
#
& œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ
#
throw your cares a - way. Jump up, and take your neigh - bor's hand, And
& œ œ œ œ œ œ ˙ Ó ∑ ∑
# Œ œ Œ œ Œ œ œœ œ œ œœ œ
& œœ œœ
œ œ œ
˙ ˙ ˙ ˙
?# ˙ Ó ˙ Ó ˙ ˙
150
LOW SO-DO -- 25
# ˙ œ œ
& œ œœ œ œ Œ œ œ œ œ œ œ œ
œ
lift your voi - ces high! And let your songs of free - dom re -
# œ œœ œ œœ œ œœ Œ Œ œ Œ œ
& œœ œ œ œ œ
˙ ˙ ˙ ˙
?#˙ ˙ Ó ˙ Ó
˙
# œ œ
& œ œ œ œœ œ ˙ Œ ..* ˙ Œ œ ˙ Œ œ œ œ
œ
#
sound up to the sky! Jump up! Jump up! And let your songs of
& ∑ ∑ .. Œ œ œ Œ Œ œ œ Œ œ œ œ œ
# ∑ Œ œ .. Œ œ Œ Œ œ Œ Œ œ
& œ œ œ œ œ œ
˙ ˙ ˙ ˙ ˙ ˙ ˙
?# ˙ ˙ ˙ Ó .. ˙ Ó ˙ Ó
# ¿ ¿
& œ œ œ œ œ œ œ ˙ œ œ ˙ w œ Œ
# œ œ œ
free - dom re - sound up to the sky! Jumpup!
& œ œœ ˙ ˙ ˙ œ œ ˙ ˙
˙ Œ
# œ
& Œ œ Œ œ œ œ Œ œ œ œ Œ œ Œ œ Œ
œ œ œ œ
˙ w w ˙ ˙
?# ˙ Ó ˙ Ó œ Œ
* Repeat is optional. If repeat is used, play recorder second time only.
MEMORIZE "Jump Up!" and perform it as a solo. Record your performance.

Evaluate your performance for quality and effectiveness both before and after you listen
to the recording. Was there a difference in your evaluation? If so, what do you think is
the reason for the difference?
151
27: REVIEW
This review lesson will cover all of the intervals of the I Chord that have been presented
in this book as well as all rhythmic elements.
RHYTHM REVIEW:
READ the following rhythm exercises while conducting the beat pattern.
4 Œ œ Ó
1. 4 œ œ œ œ œ œ œ œ œ œ Œ œ Ó œ œ œ
44 Œ
2. œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ Œ œ Œ
44 Œ Œ œ
3. œ œ œ Œ œ œ Œ œ œ œ œ œ œ œ Ó œ
4 Œ œœœœœ œ œ
4. 4 œ œ œ œœœœœ œ œ œœœœœ œ œœœœœœœœœ œ œ
44 Œ
5. œœœ œ œ œ œ œ œ œœŒ œ œ œ Œ Œ œœœœ œ œ œ œ Œ œ
44
6. ˙. œœœ œ œœœ œ Œ œ œœœ œœœ Œ œ œœœœœœœ œ œœœ
34 Œ
7. œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ
34 Œ Œ
8. œ œ œ œ œ œ œ œ œ œ œ œ ˙
34 Œ
9. œ œ œ œœœœ œ œ œ œœœœœ œ œ Œ œœœœœ
34
10. œ œ œœœœœœ œ œ œ œœœ œ œœŒ œ œ œœœœœ œœœ œ
34 Œ
11. œ œœœœ œ œ œ ˙ œœœœœœœœœœœ œ œœœœœœœ
34
12. œœœ œœœ œ œœ œ œ Œ œœœœ œ œœœ œ œ œ œœœœœ œ
152
REVIEW -- 27
INTERVAL REVIEW: Do-Mi, Mi-So, So-Do:

4 # 3 œ
&b 4 œ œ œ œ œ œ ˙ 4 œ œ œ œ œ œ œ œ ˙.
& 34 œ œ œ ˙ . œ œ œ œ œ œ œ œ
œ ˙. œ œ œ œ ˙
READ the following exercises.

1. Scan the exercise for repetition.
2. Chant them through first on rhythmic syllables while conducting.
3. Chant the solfege with handsigns.
4. Sing the exercise on solfege syllables with handsigns.
& 44 œ œ ˙ œ œ œ œ œ
1. œ œ œ œ œ œ ˙.
&œ œ œ œ œ œ ˙ œ œ œ œ œ œ
œ ˙
2. & 43 œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ
œ œ
&œ œ œ œ ˙ œ œ œ œ œ œ œ
&œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙
3. & 44 œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙
&œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ ˙
4. & 44 œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
&œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
153
27 -- REVIEW
3 œ œ œ
5. &4 œ œ œ œ œœœ œ ˙ œ œ œ œ œ œ
&œ œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ œ
&œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
6. & 44 œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
œ
&œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ
œ œ œ œ ˙
& 44 œ œ œ œ œ œ
œ œ œ ˙ œ œ œ œ
7. œ œ œ œ œ œ
&œ œ œ œ œ œ
œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ
# 4 œ œ œ œ œ ˙
8. & 4 œ œ œ œ œ œ œ œ œ œ ˙
# œ
& œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
# 3
9. & 4 œ œ œœœœ œœœœœ œ œœœ ˙ œ œ œœœœ
# œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ ˙ œ
# œ œ œœœ œœœ œ
& œ œ ˙ œ œœœ
œ ˙
154
REVIEW -- 27
# 4 œ œ œ
10. & 4 œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
# œ œ œ œ
& œ œ œ ˙ œ œ œ œ œ œ ˙ ˙
# œ œ œ œ
& œ œ œ œ œ œ ˙ œ œ œ ˙
# œ œ œ œ
& œ œ œ ˙ œ œ œ œ œ œ ˙ ˙
# 3 ˙. œ œ œ œ
11. & 4 œ œ œ œ œ ˙ œ œ œ œ
# œ œ œ œ œ ˙
& œœœ œ ˙. œœœ œœœ œ
# ˙. œ œ
& œ œ œ ˙ œ œ œ œ œ ˙.
# 4
12. & 4 œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ ˙
# ˙
& œ œ œ œ œ œ œ œ œ œ ˙ Œ œ
œ
# œ
# ˙
& œ œ œ œ œ œ œ œ œ œ œ ˙ œ Œ
# 4 œ œ œ
13. & 4 œ œ œ œ œ œœœœ œ œ œœœ
œ œ ˙
#
155
27 -- REVIEW
# 3 œ
14. & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ
# œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ ˙ œ œ
œ œ
#
œ
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
15. & b 34 œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ
&b ˙ œ œ œ œ œ ˙ œ œ œ œ ˙ œ œ
&b œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙
16. & b 44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
œ ˙ œ œ œ œ
&b œ œ œ œ œ œ œ œ ˙
17. & b 44 œ œ œ œ œ œ œ ˙ œ œ œ œ
œ œ œ ˙
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Fine
œ œ œ ˙
&b œ œ œ œ œ œ œ œ œ ..
DC al Fine
œ œ œ ˙ œ œ ˙
156
REVIEW -- 27
18. & b 44 œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
&b œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙
& b 44 œ œ œœœœœ œ œ œœœ œ œ œ œœœœœ œ

19. œ œ
&b œ œ œ œ œ œ œ œ œœœœœ œ œ œ œœœ

œ
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
20. & b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
œ œ œ œœ
&b œœœœœ œ œ œ œ œ œ œ œœœ œ œ œ œ
&b œ œœœ œ œœœœœ œ œ œ œ œœœ œ

œœœœœ œ œ œ
21. & b 34 .. œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ
Fine
DC al Fine
œ œœ œ œ œ œ œ œ œ œ
157
27 -- REVIEW
4
22. &b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œœœœœ œ œ œœœœœ œ œ

˙ œ œ œ œ œ œ
&b œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œœœ œ œ œ œ œ œ œœœ œ œ œ œ œ œ Œ
? # 44 œ œ œ œ œ œœœ œ œ œ œœœœ œ œ œœœ œ œ

23.
œ œ œ œœœœ œ œ
?# œ œ œ œ œ œœœ œœ œ œœœ œ œ
? b 44 œ Œ œ œ œ œ œ œ ˙ œ Œ œ œœœ œ ˙. œ
24.
?b œ Œ œ œ œ œ œ œ ˙ œ œœœœœ œ ˙ œ Œ
œ œ ˙
? 34 œ œ œ œœœ œ œ ˙ œ
25.
œ œ œ ˙
?œ œ œœœœœ œ œ
Fine
˙.
œ œœœ œ œœ œ œ œ œ DC
?œ œœœ œ œ œœ˙ œ œal Fine
158
REVIEW -- 27
YOUR BRAIN:
œ œ œ œ œ
o
? b 24 œ œ œ œ œ œ œ œ œ œ œ
26.
œ œ œ œ œ
?b œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œœœ œœœ œ œ œ œ œ œ œ œ œ œ
?b
& 44 œ œ œ œ œ œ œ ˙ œœœœœ œ œ œ œ Œ œ œ œœœ

What key is this?
27.
&œœœœœ œ œ Œ œ œ œ œœœ œ œ œ œ œ ˙
## 3
& 4 œ œ œ œ œ œ œ œ
28. œ œ œ œ œ œœœ œ œ œ
#
& # œ œ œ œ œ
œ œ œ œœœœœ œ œ œ
Œ œ
##
& œ œœœ œ œ œ œ œ œ œ œœœ œ œ œ Œ
œ œ
##
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
b
29. & b 34 œ œ œ œ œ œ œœœœœ œœœ œ œ œ˙ œ œœœ œ
b œ œ œ œ œ œœœœ˙ œ œœ œ
& b œ œœ˙ œ œ œœœœœ
b œ œ œ œ œ œ œ œ ˙.
&b œœœ œ œœ ˙ œ œœœ œ œ œ ˙
159
27 -- REVIEW
#### 4
& 4 œ œœœ œ
30.
œ œ œ œ œ œ œ œ œœœœ ˙ œ œ œ œ
####
œ œ œ ˙ œ œ œ œ œ
####
& œœœœœ œ œ œ
œ œœœ œ œœœœ œ œ ˙ œ œœœœœ
####
& œ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ
œ
? bb œ Œ œ œ œ Œ œœœ œ œ œ Œ œ œ œœœœœ Œ œ
31.
? bb œ Œ œ œ œ œ œ Œ œ œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ
? bb œ Œ œ œ œ Œ œœœ œ œ œ Œ œ œ œœœœœ Œ œ
Pencil Time: Activity Sheet 56 & 57: Word Search #3

Activity Sheet 58: Crossword #2, Musical Terms
LEARNING THE SONG: "When the Robbers Came to Rob Him"

1. What key is the song in? What solfege syllable is the tonic?
2 What is the starting pitch for the voice part?
3. What is the form of the song (the voice part)?
4 What is the form of the accompaniment?
5. Learn the song on solfege, a cappella.
6. Add accompaniment after song is learned on solfege.
160
REVIEW -- 27
When the Robbers Came to Rob Him

James Whitcomb Riley Patti DeWitt
h
# 4
With life; in two = 82
œœ œœ œœ œœ œœ œœ
SM & 4 Œ Œ Œ Œ Œ Œ
Piano, or: f
?# 4 œ Œ Œ œ Œ Œ œ Œ Œ
BX 4 œ œ œ
#
& Ó Œ œ œ œ œ œ
Oh, the night was dark and the night was late, And the
# Œ œœ œœ œœ œœ œœ œœ
& Œ Œ Œ Œ Œ
p
?# œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
P
#
& œ œ œ œ œ ˙ œ œ œ œ œ œ œ
rob - bers came to rob him; And they picked the locks of his
# œœ œœ œœ œœ œœ œœ
& Œ Œ Œ Œ Œ Œ
?# œ Œ Œ œ Œ œ Œ œ Œ œ Œ
œ
F
# œ œ œ œ œ œ œ œ œ œ Œ œ
& œ
pal - ace gate, The rob - bers that came to rob him They
& Œ Œ Œ Œ Œ
?# œ Œ Œ œ Œ Œ œ Œ Œ
œ œ œ
161
27 -- REVIEW
# œ œ œ œ œ œ œ
picked the locks of his pal - ace gate, And seized his jew - els and
# œœ œœ œœ œœ œœ œœ
& Œ Œ Œ Œ Œ Œ
œ œ œ
#
œ
gems of state, His cof - fers of gold and his price - less plate The
& Œ Œ Œ Œ Œ
œ œ œ
#
& œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ
rob - bers that came to rob him The rob - bers that came to
# Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ
&
?# œ Œ Œ œ Œ œ Œ œ Œ œ Œ
œ
p P
# Œ ∑ ∑ Ó Œ œ œ
& œ ˙
rob him But
p F P
#
& Œ œœ Œ œœ Œ œœ Œ œœ ‰ œ œ œ Œ œœ ‰ œ œ œ Œ œœ
SM J J
F
?# œ œ œ œ
AX ∑ ∑ Œ Œ Œ Œ
F P
?# œ Œ œ Œ œ Œ œ œ
BX œ Œ Œ œ Œ Œ œ Œ
162
REVIEW -- 27
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
loud laughed he in the morn - ing red! For of what had the rob - bers
# ‰ œ œ œ Œ œœ ‰ œ œ œ Œ œœ j
‰ œ œ œ Œ œœ
& J J
?# Œ œ œ œ œ œ œ
Œ Œ Œ Œ Œ
œ œ œ
# F
œ œ œ œ œ œ
& œ ˙ œ œ œ œ œ
robbed him? Ho! hid - den safe, as he slept in bed, When the
F
# ‰ œ œ œ Œ œœ ‰ œ œ œ Œ œœ ‰ œ œ œ Œ œœ
& J J J
F
Œ Œ Œ Œ Œ
F
?# œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
f
# œ œ œ
& œ œ œ œ œ œ œ Œ œ œ œ
rob - bers came to rob him, They robbed him not of a
f
#
& ‰ œj œ œ Œ œœ ‰ œ œ œ Œ œœ ‰ œ œ œ Œ œœ
J J
f
Œ Œ Œ Œ Œ
f
œ œ œ
163
27 -- REVIEW
Meno mosso
U F
rit. . . . . . .
# œ œ "
& œ œ œ œ œ œ œ œ œ œ œ œ œ
gol - den shred Of the plea - sant dreams in his wise old head - "And they're
# j j œ U F
& ‰ œ œ œ Œ œœ ‰ œ œ œ Œ œœ ‰ œ œ Œ " œœ
J
F
?# Œ œ œ œ œ œ U "œ
Œ Œ Œ Œ Œ
rit. . . . . . . F
?# œ Œ Œ œ Œ Œ œ Œ œ Œ
œ œ u
# U " A Tempo
wel - come to all things else," he said, When the rob - bers came to
# U
& ‰ œJ
œ œ Œ œœ ‰ œ œ œ Ó ‰ œj œ œ Œ œœ
J
U
?# Œ œ Œ
œ
Œ
œ
Ó Œ
œ
Œ
œ
U
?# œ Œ Œ œ Œ "
œ œ Œ œ Œ œ Œ
P p
# œ
& ˙ œ œ œ œ Œ
œ œ œ œ ˙
rob him. When the rob - bers came to rob him.
P p
#
& ‰ œ œ œ Œ œœ ‰ œ œ œ Œ œœ ‰ œ œ œ Œ œœ
J J J
P p
Œ Œ Œ Œ Œ
P p
œ œ œ
164
REVIEW -- 27
f
# œœ œœ ˙˙ ..
& Ó Œ œ œ œ œ œœ
When the rob - bers came to rob him.
F f
#
& ‰ œ œ œ Œ œœ ‰ œ œ œ Œ œœ ‰ œ œ œ Œ œœ
J J J
f
Œ Œ Œ Œ Œ
F f
œ œ œ
#
& ∑ ∑
#
& ‰ œ œ œ Œ œœ Œ œœ Œ œœ œœ Œ œ
J >
?# Œ œ œ >œ
Œ ∑ Œ Œ
?# œ Œ Œ œ Œ Œ œ Œ
œ œ œ
>
EVALUATION:
After learning "When the Robbers Came to Rob Him," evaluate it for quality and
effectiveness using the form you developed. Compare your findings with those of your
classmates.
165
28:
One of the most beloved composers in

the history of music was Johannes
Brahms. He was undoubtedly the
greatest symphonist to follow Beethoven.
Brahms composed in every musical
form except opera. His music is known
for its lyrical beauty and lush harmonies.
Brahms was born May 7, 1833 in

Hamburg, Germany. His father played
the double bass. Johannes began
playing the piano at an early age,
and soon played well enough to make
a bit of money playing in clubs
and bars around Hamburg.
By the time he was twenty, he had

begun to try his hand at composing,
experimenting with composition. At
age twenty, he also embarked on a tour
of Germany as piano accompanist to
violinist Eduard Remenyi. It was on Painting by Cecelia Johnson
one such tour that he was introduced after an 1892 photograph
to violin virtuoso Joseph Joachim.
Joachim was impressed by Brahms and introduced him to great composers of the time,
Franz Liszt and Robert Schumann. Both Liszt and Schumann were likewise impressed
by the talented young man. Schumann was so taken by his meeting with Brahms that he
wrote an article in his music journal, Neue Zeitschrift für Musik ("New Magazine for
Music"), about him:
"He has come, a young leaf, on whose cradle the graces and heroes stood
guard. His name is Johannes Brahms, he came from Hamburg where he had
been working in dark silence, ... sitting at the piano, he began to uncover
wonderful spheres. We were drawn into increasingly magical circles. In
addition, he plays with a touch of genius."
Brahms became fast friends with Franz Schumann and his wife Clara. After Schumann
became mentally ill, Brahms provided a great deal of support for Clara. Brahms actually
fell in love with her, but she refused to let the relationship go beyond friendship as long
as her husband was alive. After Schumann's death, Brahms and Clara Schumann remained
close friends, but would never be romantically involved. Brahms never married.
166
S - 166
Activity Sheet 59: The students are instructed to write their own lullaby. Keep check
on their progress and make sure they are including expressive markings, including
dynamics, tempo, and articulation (especially slurs). They should perform their lullaby
for the class, demonstrating proper vowel production and breath support, proper tone
quality, and the expressive markings they wrote into the score. They may use their scores
so that they can concentrate on performing the expressive markings just like they wrote
them.
Brahms's "Lullaby" is a wonderful piece to use as a solo. Have your students learn it
and ask for volunteers to perform it for the class. Solo work is a wonderful way to check
the students' tone quality and their expressiveness.
After the students have completed Activity Sheet 61, which instructs them to add
expressive markings to Brahms's "Lullaby," have them perform the lullaby for the class
demonstrating a proper vocal timbre and the expressive markings that they have added to
the score. Allow the students to perform it from notation so that they may concentrate on
the expressive markings as written. Tell the rest of the class to write down the dynamics
and tempo markings according to how each student actually performs them. After each
student finishes singing, ask him and the class to compare the expressive markings that
the observing students recorded with the expressive markings that the student intended
and notated in his or her score. The following questions may be discussed:
Is there a difference between the expressions that were performed and those that were
performed and perceived?
Does the difference reflect a failure of the soloist to perform the expressions clearly?
Or was there a problem in perception?
S - 167
JOHANNES BRAHMS -- 28
As Brahms became known

as a performer and composer
throughout Europe, he was
offered honorary degrees from
several universities. He
accepted one from the University
of Breslau for which he wrote
one of his most famous pieces--
the Academic Festival Overture.
When Brahms began composing

symphonies, he was constantly
compared to Beethoven. His
critics called his first symphony
"The Tenth" because, they claimed,
it sounded so much like Beethoven's
nine symphonies.
Brahms at the Piano .
Drawing by Willy von Beckerath But Brahms was not discouraged;
he continued to create music of such
beauty that he was regarded as a musical genius by his fellow musicians as well as by the
general public. While he wrote mainly in classical forms, his blending of enchanting
melody, exquisite harmonies, and meticulous detail created music of the utmost beauty
and expressiveness.
Brahms achieved such a reputation in his lifetime that he won a place in music history
among the best composers of all time. In fact, he has been immortalized as one of the
"three B's" of music history--Bach, Beethoven, and Brahms. Although he was modest
concerning his own achievements, he was indisputedly one of of the greatest lights of
Romantic Era.
Brahms's Lullaby
Although Johannes Brahms is best remembered today for his symphonies, during his
life his most popular pieces were German folk songs or his works based upon them. As a
young man, when he gave concerts, he would include works of Bach and Beethoven, but
the true crowd-pleasers were his renditions of folk songs and the folk-like songs that he
created.
Brahms's most famous piece, even to this day, is his lullaby, "Guten Abend, Gut' Nacht."
Pencil Time:Activity Sheet 59: Johannes Brahms

Activity Sheet 60: Write Your Own Lullaby.
Activity Sheet 61: Write Your Own Test.
Activity Sheet 62: Expressiveness
167
28 -- JOHANNES BRAHMS
Guten Abend, Gut' Nacht

"Lullaby" English words by
Ruby Miles Pine
Johannes Brahms
#
Arr. Patti DeWitt
& # 43 œ œ .. œ . j
œ œ œ Œ œ œ
œ œ. œ
J
Gu - ten A - bend, gut' Nacht, Mit Ro - sen be -
by and good night Pur-ple shades of the
# 3 œ œ œ œ œ œ œ œ œ
SM & # 4 Œ .. Œ Œ Œ
˙ œ ˙ œ ˙
BM
? # # 43 Œ .. œ œ œ œ
## œ
4
& œ œ œ œ œ œ œ ˙ œ œ
dacht, Mit Näg - lein be - steckt, Schlupf
twi - light Set - tle soft - ly o'er the lea Slum - ber
## œ œ œ œ œ œ œ œ œ
& Œ Œ Œ
? ## œ œ ˙ œ œ
˙
œ œ
˙
# ˙ ˙
& # œ œ œ œ
7
œ œ
œ œ
un - ter die Deck' Mor- gen früh, wenn Gott
time has come for thee So to bed, lit - tle
# œ œ œ œ œ
& # Œ œ Œ Œ œ œ œ
? ## œ œ ˙ œ œ
˙
œ
œ ˙
168
JOHANNES BRAHMS -- 28
# j
& # ˙ œ
10
œ œ œ œ œ œ. œ œ
will, Wirst du wie - der ge - weckt. Mor- gen
one For thy day's play is done. So to
## œ œ œ œ œ œ œ œ œ
& Œ Œ Œ
? ## œ œ ˙ œ
œ ˙
œ
œ ˙
## ˙
œ œ ˙
13
& œ œ œ œœ œ œ
früh, wenn Gott will, Wirst du wie - der ge -
#
bed, lit - tle one For thy day's play is
& # Œ œ œ œ Œ œ œ œ Œ œ œ œ
? ## œ œ ˙ œ œ
˙
œ œ
˙
##
Ó œ œ .. ˙ . Ó
16 1 2
& ˙.
weckt. Lul-la done.
#
& # Œ œ œœ Œ œ œœ .. Œ œ œ œ ˙˙
˙
˙ ˙ ˙ ˙˙˙
? ## œœ œœ .. œ œ
German Pronunciation (IPA*):

1
Gu-ten A-bend, gut' Nacht, gu-t«n a-bInt gut nach t
1
Mit Ro-sen be-dacht, mI t ro-z I n b «-dach t
Mit Näg-lein be-steckt, mI t neg-laI n b«-StEkt
Schlupf un-ter die Deck' Slupf un-t« di dEk
2
Mor-gen früh, wenn Gott will, mo«-g«n frü vIn gat vIl
Wirst du wie-der ge-weckt. virst du vi-d« g«-vEkt
* See IPA Chart on Page 201.
1. A gentle clearing in the back of the throat.
2. Shape mouth for "i" but say "u"
169
29: Sing in
READ the following homophonic exercises:
1. Chant the rhythm in harmony (both parts at the same time) while conducting.
2. Audiate.
3. Sing a cappella with solfege and handsigns.
4. For variety, play one or both parts on the recorder.
#
1. & 44 œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
#4
& 4œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
#
& œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
#
# 4
2. & 4œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
#
& 44 œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
# œ œ œ œ œ
& œ œ œ œ œ œ œ œ ˙ œ œ ˙
#
& œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
170
SING IN TWO PARTS -- 29
# 3
3. & 4œ œ œ ˙ œ œ œ œ ˙.
# 3
& 4œ œ œ ˙ œ œ œ œ ˙.
# œ œ œ œ
& œ œ ˙ œ ˙ Œ
# Œ
& œ œ œ ˙ œ ˙ œ ˙
#
& œ œ œ ˙ œ œ œ œ ˙.
#
& œ œ œ ˙ œ œ œ œ ˙.
# œ œ
& œ œ œ œ œ œ œ ˙.
#
& œ œ œ œ œ œ œ œ œ ˙.
#4
4. & 4œ œ œ œ œ œœœ œ œ œ œœœ œ œ ˙
#
& 44 œ œ œ œ œ œœœ œ œ œ œ œ œ œ ˙
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
171
29 -- SING IN TWO PARTS
#4
5. & 4œ œ œ œ œ œœœ œ œ œ œ œ œ œœ˙
#
& 44 œ œ œ œ œ œœœ œ œ œ œ œ œ œœ˙
#
#
6. & b 44 œ œ œ œ œ œœœ œ œ œ œ œ œ œœœ Œ
& b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
&bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
&bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
7. & b 44 œ œ œ œ œ œœœ œ œ œ œ œ œœ œ ˙
& b 44 œ œ œ œ œ œ œ œ œ œ œ œ œœ œ ˙
&bœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ ˙
&bœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ ˙
172
8. & b 44 ˙ œ œœ œ œ ˙ ˙ œ œ œ œ ˙
& b 44 œ œ œ œ œ œ œ ˙ œœœ œ œ œ œ ˙
&b˙ œ œ œ œ œ ˙ ˙ œ œ œ œ ˙
&bœ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
9. & b 43 ˙ œ œ œ œ œ œ œ ˙ Œ ˙ œ
& b 43 ˙ œ œ œ œ œ œ œ œ œ Œ œ œ œ
&b œ œ œ ˙ œ ˙ Œ ˙ œ œ œ œ œ œ œ
&b œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ
&b˙ Œ ˙ œ œ œ œ œ œ œ ˙.
&bœ œ
Œ
œ œ œ œ œ œ ˙ œ ˙.
10. & b 44 œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ
& b 44 œ œ œ œ œ œ œ œ ˙ œ œ œ œ
œ œœœ œ œ œ
&bœ œœœ Œ œ œ œœœ œ œ ˙ œ
&bœ œ œœœ œ œ œœœ œ œ ˙ œ œ œ œ œ œ œ
173
& 44 œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
˙
11.
& 44 ˙ œ œ œ œ œ œ œ
œ œ ˙ ˙ œ œ
& œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
˙
&˙ œ œ œ œ ˙ œ œ œ œ ˙
œ œ œ
12. & 44 œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
& 44 œ œ œ ˙ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
&œ œ œ œ œ œ ˙ œ œ œ œ œ
œ œ œ œ ˙
&œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ ˙
œ œ
13. & 43 œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ
& 43 œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ
&˙ œ œ œ
Fine
œ œ œ œ œ ˙. ˙ œ œ œ œ
&˙ œ œœœ œ ˙. œ œ œ ˙ œ œ œ œ
œ œ œ
DC al Fine
&œ ˙ ˙ œ ˙ œ œ œ œ
&œ ˙ ˙ œ ˙ œ ˙ œ ˙ œ
174
14. & 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
& 43 œ œ œ œ œ œ
œ œ œ œ œ
15.
œ œ œ œ œ
& 43 ˙ œ œ œ œ œ œ œ œ œ œ œ œ
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ
œ œ œ œ œ œ ˙ œ œ œ œ ˙
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&˙ œ œ œ œ œ œ œ œ œ œ œ œ
&œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ
œ
& Œ
œ œ œ œ œ œ ˙ œ œ œ œ ˙
175
YOUR BRAIN:
#4 œ œ œœ ˙
16. & 4œ œ œ œ œœ œ ˙ œ œ œ
#
& 44 ˙ œœœ œœ œ ˙ œ œ œ œ œ œœ ˙
#
& œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
#
#
17. & 43 œ œ œ ˙ œ œ œ œ ˙ œ
# 3 Œ
& 4˙ œ œ œ œ œ œ œ ˙
# œ ˙ œ ˙. œ œ œ œ œ
& œ œ
# ˙
& œ œ œ œ œ œ œ ˙ œ œ
#
& œ œ œ ˙ œ œ œ œ œ
˙
# Œ
& ˙ œ œ œ œ œ œ œ ˙
# œ
& œ œ ˙ œ œ œ œ ˙.
#
& œ œ œ œ ˙ œ œ œ œ ˙.
176
4
18. &b 4˙ œ œ œ œœ˙ œ œ œœœ ˙ œ Œ
& b 44 ˙ œ œ ˙ ˙ œ œ œœ
œ œ œœœ Œ
&bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
&b˙ œ œ ˙ ˙ œ œ œ œ œ œ œ ˙
& b 43 œ œ œ
˙
19. œ œ ˙ œ œ œ œ Œ
& b 43 œ œ œ œ ˙ œ œ œ ˙ Œ
œ œ
&bœ œ œ ˙ œ œ œ œ œ ˙ œ
&bœ œ œ œ œ ˙ œ œ œ œ œ ˙
Œ
&bœ œ œ œ œ ˙ œ œ œ ˙
œ œ œ
&bœ œ œ œ œ œ ˙ œ œ œ œ ˙
Œ
&bœ œ œ œ œ ˙ œ œ œ œ œ ˙
Œ
&bœ œ œ œ ˙ œ œ œ œ œ ˙
Œ
177
bb œ
20. & b b 44 œ œ œ œ œ œ œ œ œ œ œœ œœœ œœœ
œœ Œ
b
& b b b 44 œ œ œ œ œ œ ˙ œ œœ œ œ œ
œœ œ
Œ
b œœ œœœ œ
& b bb œ œ œ œ œœ œ œœœ œ œœ ˙
b
& b bb œ œ œ œ œ œœœ œ œœ œ œ œ œ œ œ ˙
#### 4 ˙ ˙ œœœœ
21. & 4 œ œ œ œ œ œ œ œ ˙
#### 4
& 4˙ œ œ ˙ ˙ œ œ œ œ œ œ ˙
#### ˙ œ œ ˙ Œ
& œ œ œ œ œ œ œ ˙.
#### Œ
& œ œ œ œ ˙ ˙ œ œ œ œ œ ˙.
b
22. & b b b b b b 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . œ œœœ
bb
& b b b b b 43 œ œ œ œ œ œ œ œ œ œ ˙ œ œ œœœ
b œ œ œ œ œ ˙.
& b bbbbb œ œ œ œ œœœœœ œœœœœ
b
& b bbbbb œ œ œ œ œ œ œ œ œ œ œœœ œ
œ œ œ
b œ œ œ œ ˙.
& b bbbbb œ œ œ œ ˙ . œ œœœ œ œœœ
b
& b bbbbb œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
178
S - 178
In the Literature: Hava Nagila is a Hebrew folk song. It is colorful
piece of changing colors written in a minor key. This
arrangement has been written in unison. Have the students:
1. Listen as you play the song and classify it according

to its cultural origin.
2. Study the score and determine the form.
3. Chant their parts slowly on solfege, working only
one phrase at a time.
4. Audiate their parts using handsigns.
5. Sing one phrase at a time at the same time as the
other part.
After they have learned the song on solfege:
1. Teach them the word pronunciations.

2. Allow them to perform it informally in class from
the notation so that they can perform the expressive
details precisely as written.
3. If this is to be performed a formal concert, it should
be performed from memory, but only after the students
have thoroughly learned the expressions that the
arranger wrote in the score.
S - 179
b œ œ œ œ
23. & b b b b 44 ˙ œ œ ˙ ˙ w
b
& b b b b 44 ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙
b
& b bbb ˙ œ œ œ œ œ œ œ ˙ œ œ ˙ ˙
b
& b bbb œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ œ
b œ
& b bbb ˙ œ œ ˙ ˙ œ œ œ w
b
& b bbb ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙
b
& b bbb ˙ œ œ œ œ œ œ œ ˙ ˙ ˙.
Œ
b
& b bbb œ œ ˙ ˙ ˙ ˙ ˙.
Œ
œ œ
What key is this? Think carefully!
### 4 œ œœ œ Œ œœ
24. & 4œœœ œ œœ œœœ œ œ œ œ œœ
### 4
& 4œœœ œ œ œœœ œ œ œ œ œ œœ œ œ ˙
###
& œ œ œ
œ œ œ œ œ œ
###
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
Pencil Time: Activity Sheet 63: Write in Two Parts
179
The Rose’s Cup

Frank Dempster Sherman Patti DeWitt
#4 P œ
S & 4 œ œ œ œ œ œ ˙ œ œ
Down in a gar - den old - en, Just
This was the drink of wa - ter The
#4 P
& 4 œ œ œ œ œ
œ œ ˙ œ
A
Down in a gar - den old - en, Just
This was the drink of wa - ter The
#
3
& œ œ œ œ ˙. œ œ œ œ œ œ
where, I do not know, A but - ter - cup all
#
rose had ev' - ry day; But no one yet has
& œ œ œ œ ˙. œ œ œ œ
œ œ
where, I do not know, A but - ter - cup all
rose had ev' - ry day; But no one yet has
# œ
6
& ˙ œ œ œ œ œ œ ˙. œ
gold - en Chanced near a rose to grow; And
#
caught her While drink - ing in this way. Sure -
& œ œ œ œ œ ˙. œ
˙ œ
gold - en Chanced near a rose to grow; And
caught her While drink - ing in this way. Sure -
#
œ œ œ ˙ œ œ œ œ ˙. œ
9
& œ œ œ œ œ
ev' - ry morn - ing ear - ly, Be - fore the birds were up, A
ly, it is no trea - son To say she drinks so yet,
#
For
& œ œ œ œ ˙ œ œ œ œ œ ˙. œ
œ
ev' - ry morn - ing ear - ly, Be - fore the birds were up, A
ly, it is no trea - son To say she drinks so yet, For
180
# œ œ ..
13 last time rit. . . .
& œ œ œ ˙ œ œ œ œ œ œ œ ˙.
ti - ny dew - drop pearl - y Fell in this lit - tle cup.
that may be the rea - son Her lips with dew are wet.
# ..
& œ œ œ
last time rit. . . .
œ œ ˙ œ œ œ œ œ œ ˙.
ti - ny dew - drop pearl - y Fell in this lit - tle cup.
that may be the rea - son Her lips with dew are wet.
Whenever a Little Child is Born

SA a cappella
Agnes Carter Mason Patti DeWitt
P
Peacefully; rubato
& b 44 œ .. œ œ
poco cresc. . . .
S œ œ œ œ œ œ œ œ œ œ œ
When - ev - er a lit - tle child is born, All night a soft wind
more shy rose - bud will un - fold, One grass- blade more push
P
& b 44 œ ..
poco cresc. . . .
A œ œ œ œ œ œ œ œ œ œ œ œ œ
When - ev - er a lit - tle child is born, All night a soft wind
more shy rose - bud will un - fold, One grass- blade more push
U̇ P
A tempo
&b œ œ œ
4
œ œ œ œ œ œ œ œ œ œ œœ
rocks the corn; One more but - ter-cup wakes to the morn,
through the mold, One more bird - song the air will hold,
U P
&b œ
molto rit.
œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
rocks the corn; One more but - ter-cup wakes to the morn,
through the mold, One more bird - song the air will hold,
p U P
A tempo 2
U
œ .. œ
7
& b œ œ ˙.
molto rit.
œ ˙
1
˙ ˙. œ
Some - where, some- where. some- where, some - where.
Some - where, some- where. One some- where, some - where.
p U P U
&b Ó ..
molto rit.
œ œ œ œ ˙ œ œ ˙. ˙ œ
Some - where, some- where. some - where, some - where.
Some - where, some- where. One some - where, some - where.
181
Chapter 30:
Jazz is spontaneous music--music that is not composed;
music that is improvised.
Vocal jazz uses nonsense syllables for improvisation.

This is called scat singing.
44 Œ ..
Chant each of these scat exercises, repeating 4 times.
1. œ œ œ
44 ..
Scat ma tat
œ œ Œ œ
2.
44 Œ
Be bop ba
Œ ..
3. œ œ œ
44
Dit di da
Œ Œ ..
4. œ œ œ
44 ..
Razz ma tazz
œ œ Œ œ Œ
5.
Doo - by dop
44 Œ Œ ..
6. œ œ œ
44 œ
Doot doo - by
Œ œ œ Œ ..
7.
44 ..
Zat zoo wop
œ œ œ Œ œ
8.
Shoo - by shop zop
PERFORM the scat examples, above, in each of the following ways:
1. Divide the class into 8 sections. Each section is assigned one of the
ostinato patterns, above.
A. The sections chant their assigned examples one at a time in order, repeating their
assigned examples 4 times before the next section begins.
Do the exercise again using 2 repetitions of each pattern, then a single repetition.
B. The first section performs its assigned example repeatedly, with the second section
joining them after 4 (or 2 or 1) repetitions. And then the third section joins in, and the
fourth, and the fifth, etc. After performing all parts together for 4 or 8 measures, then
the first part stops, then the second, third, etc, until one part is left. The exercise stops
when the last part finishes.
182
SCAT! -- 29
2. Stand in a circle. The first person begins "scatting" with the first pattern.
After 4 (or 2 or 1) repetitions the next person chants the second scat pattern.
After the same length of time the third person chants the third pattern, and
so on, around the circle. When all eight patterns are in use, begin with
the first pattern again, until everyone is scatting one of the 8 patterns.
A. Perform the exercise a cappella.
B. Add body percussion (or percussion instruments) to keep a steady beat.
C. Perform the exercise with the jazz warm-up recording.
D. Perform the patterns on various percussion instruments with the jazz
warm-up recording.
E. Combine any of the above to create your own composition.
COMBINE the above patterns in sets of four as in the example below.

Chant the example below with the recorded jazz warm-up:
44 Œ Œ
Scat ma tat Shoo-by shop zop
Œ Œ ..
œ œ œ œ œ œ Œ Œ
Doot doo - by Razz ma tazz
SING the previous example in these ways.

1. Sing the first two measures on the note "So,"
the second two measures on the note, "Mi."
Then replace the syllables with the scat words and sing.
2. Sing the first and third measure on the note "So,"

the second and fourth on the note "Mi."
3. Sing any notes on the first and fourth beat of the measure on "So."
Sing any notes on the second beat of the measure on "Mi."
Sing any notes on the third beat of the measure on "La."
(You may need to write this out on paper.)
4. Develop your own system for assigning solfege syllables to the example.
Sing.
WRITE: On a piece of staff paper, choose any 4 of the examples, and write out a
new 4-measure scat exercise. Perform it in the same ways as above.
183
29 -- SCAT!
There are more scat practice exercises in Pencil Time Activity Sheet 64.
Pencil Time: Activity Sheet 64: Scat!
ARTICULATION:
What articulations are appropriate for scatting?
Is scat syllabic (one syllable to a note) or melismatic (more than one note per syllable)?
Is jazz improvisation usually performed legato? Staccato? Marcato? Something else?
I LOVE JAZZ!
LEARNING THE SONG:
This piece was written for improvisational practice.

1. Look through the piece and find the places that call for improvisation.
2. Choose from the scat pattern examples on the previous page to fill in the measures
that call for improvisation.
3. Write these out on staff paper so you will not forget them.
4. Use only the solfege syllables called for in the piece; sing the solfege syllables as
you practice the "improv" exercises.
5. Create your own scat syllables for the given examples.
6. Sing scat instead of solfege while "improv-ing" in the piece.
7. Write your own 1-measure rhythmic patterns with your own scat syllables and use
them in the piece.
184
SCAT! -- 29
I Love Jazz!
Medium Swing = 104 Words and music by
Ron Yates ASCAP
¿ ¿
(finger snaps throughout song)
4
&4 Œ Œ ∑ ∑
(snap) (snap)
& 44 ∑ ∑ ∑
Piano ƒ
?4 œ bœ œ. œ bœ œ.
4 bœ bœ œ.
œ œ bœ œ œ œ
A F
∑ .. Ó j œ. j
& œ ‰ Œ œ ˙
I Love Jazz!
>œ œœ .. œœ œ œœ .. œœ œœ œœ .. œœ
œ œ. œ Œ .. b œœ ‰ Œ œ. œ Œ
& b œJ ‰ Œ J
œ. œ Œ bœ ‰ Œ
J
F
? bœ bœ .. œ bœ bœ
œ. œ œ. œ bœ œ. œ
bœ œ bœ
œ. j
& Ó œ ‰ œ ‰ œ ˙ Ó œ ‰ œ ‰
Hot and cool Jazz. Just as
œœ œœ .. œœ œ œœ .. œœ œœ œœ .. œœ
& b œJ ‰ Œ œ. œ Œ b œœ ‰ Œ œ. œ Œ bœ ‰ Œ œ. œ Œ
J J
? œ bœ bœ œ bœ
œ. œ bœ œ. œ. œ
œ bœ œ œ
© 2004, Ronald Yates. Used with permission.
185
29 -- SCAT!
j
& œ. œ ˙ Ó œ ‰ œ ‰ œ. œ œ. œ ˙
much as All that razz - a-ma-tazz
œœ œœ .. œœ œ œ. œ œœ œœ .. œœ
& b œJ ‰ Œ œ. œ Œ b œœ ‰ Œ œœ .. œœ Œ bœ ‰ Œ
J
œ. œ Œ
J
? bœ œ bœ bœ
bœ œ. œ œ œ. bœ œ. œ
bœ œ bœ
B Improv on Mi & So
(see note at end)
œ. œ Œ
∑
& œ œ œ œ œ. œ Œ
Cool bag, boo - gie. Cool bag, boo - gie.
œœ œœ .. œœ œ œœ .. œœ œ œœ .. œœ
& œ ‰ Œ
b œ. œ Œ b œœ ‰ Œ œ. œ Œ b œœ ‰ Œ œ. œ Œ
J J J
? œ bœ œ bœ bœ bœ
œ. œ. œ.
œ bœ œ œ bœ bœ
∑ œ œ. œ Œ ∑
Improv on Mi & So Improv on So & Do
& œ
Cool bag, boo - gie.
œœ œœ .. œœ œœ œœ .. œœ œ œœ .. œœ
& b œJ ‰ Œ œ. œ Œ bœ ‰ Œ
J
œ. œ Œ b œœ ‰ Œ œ. œ Œ
J
? bœ bœ œ bœ œ bœ
œ. œ œ œ. œ.
bœ bœ œ œ
186
SCAT! -- 29
Smoothly - build and build

C p
& œ œ œ. œ Œ ∑ ..
w
Cool bag, boo - gie. Lis - - - -
& b œJ ‰ Œ œ. œ Œ bœ ‰ Œ œ. œ Œ .. b œœ ‰ Œ œ. œ Œ
J J
p
? bœ bœ bœ bœ ..
bœ œ. œ. œ œ œ bœ nœ
bœ bœ
P
& ˙ ˙ w ˙ ˙
_________ ten to the
œœ œœ .. œœ œ œœ .. œœ
& œJ ‰ Œ
b œ. œ Œ b œœ ‰ Œ œ. œ Œ www
J
?
œ œ œ œ œ œ bœ bœ œ
œ œ bœ
F f
&˙ ˙ ˙ ˙ w ˙. Œ
sound of our band!
˙ ˙˙˙
&˙
˙˙
˙˙
˙ b www
bw
˙˙
˙˙ b ˙˙˙
b˙ b b ˙˙˙ ˙
?
œ œ bœ bœ œ bœ bœ œ œ œ œ. œ œ œ. œ
œ œ œ
187
29 -- SCAT!
D Improv Do Mi So
j j
& œj ‰ Œ
stop improv at repeat sign
œ. œ Œ œ ‰ Œ œ. œ Œ Ó œ ‰ Œ
Bop - Zah - bop! Dap Da - zap! I
& ˙˙˙ ˙ www ˙˙˙ .. Œ

˙ b b ˙˙ w ˙ ..
? œ bœ bœ bœ œ bœ
œ œ. œ œ. œ œ œ. œ
bœ
ƒ
j œ ‰ Œ œ. œ Œ œ. œ Œ
& œ. œ ˙ J œ ‰ Œ
J
love Jazz! Bop! Zah-bop! Dap Da - sap!
œœ œœ .. œœ œ œœ .. œœ œœ œœ .. œœ
& b œJ ‰ Œ œ. œ Œ b œœ ‰ Œ œ. œ Œ bœ ‰ Œ
J
œ. œ Œ
J
? bœ œ bœ bœ bœ
bœ œ. œ. œ œ.
bœ œ œ bœ œ
œ ‰ Œ Ó .. œ . j
& Ó œ ‰ œ ‰
2
J œ ˙
Cool and Hot! Hot Jazz.
œœ œœ .. œœ œ œœ .. œœ œ œœ .. œœ
& bœ ‰ Œ œ. œ Œ b œœ ‰ Œ œ. œ Œ .. b œœ ‰ Œ œ. œ Œ
J J J
P
? œ bœ ..
œ. œ bœ bœ œ bœ bœ œ.
œ bœ bœ œ
188
SCAT! -- 29
ƒ
œ. j .. Ó
& Ó œ ‰ œ ‰ œ ˙ œ ‰ œ ‰
Hot and cool Jazz. Cool and
œœ œœ .. œœ œœ œœ .. œœ
& œJ ‰ Œ
b œ. œ Œ bœ ‰ Œ Ó .. b œœœ ‰ Œ œ. œ Œ
J J
? œ bœ bœ .. œ bœ
œ. œ bœ œ. œ œ. œ
œ bœ œ
j
& œ. œ ˙ œ ‰ Œ
J
Ó ∑
hot Jazz. Bop!
& œJ ‰ Œ
b œ. œ Œ bœ ‰ Œ œ. œ Œ b œœ ‰ Œ œ. œ Œ
J J
? bœ j‰ Œ Ó ∑
bœ œ. œ
bœ œ
œœ œœ .. œœ œœ
& œJ ‰ Œ
b œ. œ Œ bœ ‰ Œ
J
Ó
? ∑ ∑
Improvisation note:
B to C: 1 measure "fills"; each fill may be sung by the same singer or by different singers.
D to Endings: This can be continuous improv or broken into 1, 2, or 4 measure sections

with the written part as a background. Again, each break may be the same or by
different singers.
189
31:
There can be any number of beats in a measure, and the time signature will always
indicate how many. How many beats will be in each measure for the following time
signatures?
1.
24 2.
74 3.
23
4.
64 5.
58 98
6.
Left Right
Hand Hand
2
READ the exercises below
in 4 meter while conducting.
The pattern for conducting
music in two is at the right:
b
1. & b 24 œ œ œ œ œ œ œœ œœ
œ œœœœœ œ œ œ œ
b œ œ œ œ œ
&b œ œ œ œ œ œ œ œ œ œ
Fine
œ œœœœœ
bb œ
DC al fine
& œ œœœœœ œ œ œ œ œ œ œœœœœ œ œ œ œ
## 2
& 4 œ œ œ œ œ œ œœœ œ œ œ œ
2. œœœœ
## œ œ œ œ
& œ œœœ œ œ œœœ œ œ œ œ œ œ
##
œ œ œœœ œ
& œ œ œœœœœ œ œ œ œ
# œ œ œ
& # œ œœœ œ œ œœœ œ œœœœœ œ
190
30 -- MORE METERS
COMPOSE: 2
Write a melody for this poem. Write it in 4 meter. Use music notation software if possible:
GHOSTS
Out in the misty moonlight
The first snowflakes I see,
As they frolic among the leafless
Limbs of the apple-tree.
Faintly they seem to whisper,

As round the boughs they wing:
“We are the ghosts of the blossoms
That died in the early spring.” -- Richard Kendall Munkittrick
COMPOUND METER:
23 4
Meters such as 4, 4, and 4, are called simple meters. They are called "simple" because
they have few beats per measure and are easily read. Meters with larger numbers of beats
are generally read and recognized in subdivisions of the measure. This system of organizing
beats so that they are more easily apprehended is called compound meter. Meters which
have five or more beats in the measure are generally read as compound meters.
6
4 is usually read as a compound meter. Instead of reading it as six individual beats in a
measure, it is usually read as two groups of three beats each. Like this:
#
& # 64 œ œ œ ˙ . œ œ œ ˙. œ œ œ œ œ œ œ œ œ ˙.
64
is referred to as a symmetrical compound meter, because it is an even number and
divides into two equal groups of three beats. It is often conducted in two also, with three
beats on the down beat and three on the upbeat.
45 is also a compound meter, but since it is has an odd number of beats in each measure,
5it cannot subdivide symmetrically, and so it is called an asymmetrical compound meter.
4 may divide into a pattern of a group of two beats followed by a group of three beats:
#
& # 45 œ œ œ ˙ œ œ œœ˙ œ œ œœ˙ œ œ œœ˙.
Or, it may divide into a pattern of a group of three beats followed by a group of two beats.
# 5
& # 4 œœœœœ œ œ œœœœœœœ œ œ œ œ œ œ œ œ œœœœœ
œ˙
191
MORE METERS -- 30
READ the following exercises written in compound meter. Before you read
each of them, determine how the subgroups are divided.
b
1. & b b 64 œ œ œ œ œ ˙ œœœ œ ˙.
œ
œœœ œ œ œ œœœ œ ˙.
b
& b b œœœ œ œ ˙ œ œ œ œ ˙.
Fine
œœœ œ œ ˙ œ œ œ œ ˙.
b
& b b œœœ œ œ œ œ œ œ œ ˙. œœœ œœœœ
˙ œœœ œ
œ ˙.
˙
bbb œœœ œœœ ˙

DC al fine
& œœœ œ œ ˙ œ
œ œ œ œ œ ˙.
œ œ œ œ œ ˙.
œ
#
2. & # 64 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
##
& œ œœœœœ œ œ œœœ œ ˙ œ œ œœœœœ œ œ
#
& # œ œœœœ˙ œ œ œœœœœ œ œ œœœ œ ˙ œ
##
& œ œœœœœ œ œ œ œœœœ˙ œ œ œœœœœ œ œ
## œ œ œœœœ˙
& œœ œ ˙ œ œ œœœœœ œ œ œ
##
& œ œ œ œ œ œ œ œ œ œ œ œ ˙
b
3. & b 64 œ œ œ œ œ œ œ œ œ œ ˙
œ œ. J Œ œœœœœœœ œ œ
b œœœ œ œœ˙ œœœ œ œ ˙

&b œœœ œ ˙ Œ
b œœœœœœœ œ œœ œœœœœœœ œ œ
& b œœœ œ œœ˙
b œ˙ œœœœœœœ œ œ œ ˙
& b œ œ. J Œ œ œœ Œ
192
30 -- MORE METERS
? 5 .. œ œ ˙ œ œ œœ˙ œ œ œœ˙ œ œ œœ˙ ..

Fine
4. b4 ˙
?b œœ˙ œ œ œœœœœœœ œ œœ˙ œ œ œœœ œ

˙
?b œœ˙ œ œ œœ˙ œ œ œœ˙ œ œ œœ˙ ˙
?b œœœ œ œ œ œœœ œ œ œ œœœ œ ˙

DC al fine
œœœ œ œœœ
### 5 œ œ œ œ œ œœœ œ œ œ œœœ ˙

5. & 4 œ œ œ œœœ ˙
### œ œ œœœ œ œ œ œ œœ ˙
& œ œ œ œ œ œ œ œ œ œ œ œœ ˙
### œ œ œœœ œ ˙
& œ œ œ œ œ œ œœœ œ ˙ œœœ œ
### œ œ œ
& œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
#### 6
6. & 4 œ œœœ œ œ œ œœœ
œ ˙ Œ œ œœœ œ œ œ
#### œ œ œ œ ˙ Œ œ œœ˙
& œœœ œœœ œ œ ˙ Œ
#### œ œ
& œ œœœ œ œœœ
œ œ ˙ œœœ œ œ œœ˙
#### œ ˙
& œœœ œœœœœœœ Œ
œœœ œ œœ˙ œœœ
#### œ
& œ œœœ œ œ œ œœœ œ ˙ Œ œ œœœ œ œ œœœ œ œ ˙
193
MORE METERS -- 30
#5 œ œ œœœœœ œ œ œ œ
7. & 4 œ œ œ œ ˙ ˙ œ œ œ œ œ
# œ œœœœœ œ ˙
& œœœœœ œ œ œ œœœœœ ˙
#
& œœœœœ œ œ œ œ œ œœœœœ œ œ œ ˙
COMPOSE: 6
1. A 12-measure ABA melody in 4 meter using simple rhythmic patterns (quarter notes,
half notes, dotted-half notes, eighth notes and their rests.)
5
2. A 12-measure ABA melody in 4 meter using simple rhythmic patterns (quarter notes,
half notes, dotted-half notes, eighth notes and their rests.)
Pencil Time: Activity Sheet 65: Compound Meters

Activity Sheet 66: Compound Meters -- 2
Activity Sheet 68: Write in 6/4 Time
Activity Sheet 69: Write in 5/4 Time
194
32: Opera: Hänsel und Gretel
German composer Engelbert

Humperdinck was born on September 1,
1854, and wrote his first music when
he was only seven. His first attempts
at composing for the stage were two
Singspiels (musical plays) he wrote when
he was thirteen. Engelbert was obviously
talented, but his parents did not want him
to become a musician. In spite of their
wishes that he study architecture, he
enrolled in music classes at the Cologne
Conservatory.
Receiving the Frankfurt Mozart Prize in

1876 helped Humperdinck to be accepted
in Munich when he moved there to study
music. In Munich, he found many
opportunities to perform and to compose.
Over the next ten years he met many
important composers and became familiar
with their works. He eventually became Oil painting by Cecelia Johnson
one of opera genius Richard Wagner's from an 1888 photograph
brightest students and his trusted assistant,
even serving as tutor to Wagner's own son, Siegfried. Humperdinck subsequently held
several prestigious teaching positions and began a long and fruitful collaboration in theatre
with Max Reinhardt, renowned playwright and director. He was commissioned to write
incidental music for a number of Shakespearean productions in Berlin. In 1890 while in
Berlin, Humperdinck was asked by his sister to write music for a play she wrote for her
children. This play was based on a fairy tale by Ludwig Grim and was conceived first as a
Singspiel with 16 songs and piano. Later this Singspiel would grow into his most famous
work, the opera Hänsel und Gretel. He presented the Singspiel to his fiancée Hedwig Taxer
as an engagement present.
Quickly realizing the work's potential, Humperdinck decided to turn the Singspiel into
a full-scale opera, and in January of 1891 he began working on a complete orchestrated
score for the work. Nearly three years later, Richard Strauss (who called it "a masterpiece
of the highest quality… all of it original, new, and so authentically German") conducted
its premiere performance. Humperdinck had used techniques borrowed from Wagner set
in the style of the traditional German folk songs. Hänsel und Gretel was an instant success
with the public. In1923 from Covent Garden in London, it became the first opera ever to be
.
195
31 -- HÄNSEL UND GRETEL
broadcast on radio in its entirety. Eight years later it became the first to be broadcast live,
this time from the Metropolitan Opera in New York
It was at about the same time that Hänsel und Gretel was premiered that Humperdinck
lost part of his hearing, and he remained partially deaf for the rest of his life. On January 5,
1912, Humperdinck suffered a severe stroke. He recovered everything but the use of his
left hand. During the summer of 1915, he began writing what would be his final work for
the stage, Gaudeamus, and his opera director son, Wolfram, helped him finish it in 1918.
On September 26, 1921, Humperdinck attended the debut performance of Wolfram's first
production. During the performance he had a heart attack. This attack was not fatal, but
sadly, the heart attack that he had the next day was. A special performance of Hänsel und
Gretel was given several weeks later by the Berlin State Opera. The opera remains a
favorite throughout the world.*
Operatically Speaking
Singspiel: A German play using musical numbers in addition to spoken dialog
Opera: A play that is sung; plural of the word "opus," meaning "a work"
Libretto: The text of the opera; the story
Act: The major division of an opera. Operas are often divided into 3 acts.
Scene: A subdivision of an act of an opera. Often the scene changes when there is
a change in setting.
Setting: Where the specific scene takes place
Overture: A musical work presented before the first act of an opera--Often the
overture contains statements of musical themes from throughout the
opera.
Interlude: A musical piece between the acts of an opera; also called intermezzo
and entr'acte
Recitative: Dialog in an opera, often sung in free rhythm
Aria: Solo song in an opera
________________________
* NOTE: Translations of the libretto differ from one source to another. Therefore, the
words given in this book may be different from those you may hear from another source.
196
HÄNSEL UND GRETEL -- 31
Hänsel und Gretel

ACT I
Scene 1:
At the edge of the forest lived a very poor broommaker, his wife, and their two children,
Hänsel and Gretel. The scene opens in the broommaker's home. The broommaker and his
wife have gone to town, leaving Hänsel and Gretel by themselves with no food left in
the house. Gretel tries to distract the two of them from their hunger by singing a nursery
rhyme, and Hänsel interrupts her song.
Suzy, Little Suzy
& b 43 œ .
œ œ œ œ œ œ ˙.
Gretel:
J œ œ œ
Su - zy, lit - tle Su - zy, now what is the news?
œ. œ
J œ œ
5
&b œ Œ œ œ œ œ œ œ œ
The geese are go - ing bare - foot be - cause they've no
9
& b ˙. œ Œ œ œ œ œ œ œ œ
shoes. The cob - bler has plen - ty of
˙. œ. œ
J œ
13
&b œ œ œ œ œ œ œ
leath - er to spare, Why then won't he make the poor
17
&b œ œ œ ∑ ∑
geese a new
&b Ó œ œ œ œ œ œ Œ
Hänsel:
œ
Then they'll have to go bare - foot
œ. œ œ œ
& b ˙. ∑ ∑
20
Hänsel:
J
pair. Goo - sey, goos - ey
&b œ Œ
24
œ œ œ œ œ ˙. œ œ
gan - der, now what's to be done? No
197
œ œ œ
& b œ.
28
J œ œ œ œ œ œ ˙.
mon - ey for some sug - ar, and bread there is none.
32
&b œ Œ œ œ œ œ œ œ œ œ œ œ
I'll go back to bed and I'll stay there all
& b ˙. ˙ œ. œ œ œ
36
Œ J œ œ œ
day. No - thing here to eat, so there's
Gretel:
&b Ó œ œ Œ ∑
40
œ œ œ œ
œ
Then we'll have to go hun - gry!
&b œ œ œ ∑ ∑ ˙.
no - thing to pay.
Gretel playfully chases her brother and chides him for complaining about being hungry.
She teases him with a pitcher of milk that was hidden, but will not let him drink it. To keep
him distracted, she invites him to dance with her.
Brother, Come and Dance with Me
& b 42 .. œ . œ œ
Gretel:
œ œ œ œ
Bro - ther, come and dance with me,
œ
3
& b œ. œ œ œ œ œ
œ œ
œ
Both my hands I of - fer thee. Left foot first,
œ œ. œ œ ..
6
&b œ œ œ œ œ œ
right foot then, 'Round a - bout and back a - gain.
&b œ œ
9 Hänsel:
I would dance, but don't know how, when to turn or when to bow.
198
œ œ œ œ œ œ
& b œ nœ œ nœ œ nœ œ
13
œ
Show me what I ought to do So that I can dance with you.
œ œ œ œ œ œ
17 Gretel:
&b œ œ œ
œ œ œ œ œ
With your foot you tap, tap, tap; with your hands you clap, clap, clap.
&b œ
œ œ œ œ œ. œ œ œ
21
œ œ œ œ
Right foot first, left foot then, 'Round a-bout and back a - gain.
&b œ œ œ œ œ œ œ œ œ œ
25 Hänsel:
œ œ œ
œ
With my foot I tap, tap, tap; with my hands I clap, clap, clap.
&b œ œ
œ œ œ œ œ. œ œ œ ..
29
œ œ œ
Right foot first, left foot then, 'Round a-bout and back a - gain.
Scene 2:
Their mother, Gertrude, arrives home and finds them playing roughly around the house.
She scolds them for playing carelessly. Gretel is punished, and Hänsel laughs out loud.
His mother then chases him around the room, and in the scurry, the pitcher of milk falls and
smashes on the floor. In anger, Gertrude shoos them both out of the house, telling them to go
into the woods and pick wild strawberries for supper. She drops her head to the table in
exhaustion just as she hears her husband Peter coming, his voice approaching from a distance.
He is jovial, in a wonderful mood, having sold all of his brooms for a great price and bringing
food and presents with him. The two parents celebrate together by offering a toast to
broommakers everywhere. Then the father asks where the children are. Gertrude tells him
that they are out in the woods picking strawberries, Peter is terrified. He tells her that there
is a wicked Witch who lives in the woods who eats children. The two run off in a frenzy
to find their children.
ACT II:
In a clearing in the forest, Gretel picks wild flowers, making a tiara of them, while
Hänsel picks the last of the wild strawberries.
Little Man in the Woods

j j
& b 44 œj œ œ œ œ œ ‰
œ œ œ œ ‰
There stands a lit - tle man in the deep, dark,
199
œ œ j j
3
&b œ ‰ j
œ œ œ œ œ œ œ ‰ œ ‰
wood. He wears a vel - vet cloak and a dark, black
œ. œ œ. œ
5
&b œ Œ œ œ œ œ œ œ œ
hood. Do you see him stand - ing there, Si - lent ly, with -
œ œ œ j j
7
&b œ œ œ œ œ œ œ œ œ ‰ œ ‰
out a care In his vel - vet cape and his dark black
œ œ j j
9
&b œ ‰ j
œ œ œ
œ œ œ œ ‰ œ ‰
hood? His hair is gold - den blond and his cheeks are
œ œ j j
&b œ ‰ j œ œ œ œ œ œ ‰ œ ‰
11
œ
red. He has a lit - tle black hood up - on his
&b œ Œ œ. œ œ œ œ œ. œ œ œ
13
œ œ
head. Tell me, who this man could be, Stand - ing there so
œ œ œ j j ‰
&b œ œ œ œ œ ‰ ‰
15
œ œ œ œ œ œ
si - lent - ly. With a lit - tle black hood up - on his head.
When Hänsel finishes picking strawberries, he offers some to Gretel, who does not have
to be asked twice. They decide it is time to head toward home, and as they start to go back,
they hear a cuckoo. The children echo the cuckoo's call. In the meantime they are helping
themselves to the strawberries. Before they know it, they have eaten all the strawberries
that they have collected. Dusk falls, they become uneasy. It is too late to refill the basket,
and they realize that they do not remember the way home. As the night grows steadily
darker, they become more and more frightened by strange noises and shadows in the
woods. They imagine all kinds of spooky things. The Sandman comes and soothes them
down, making them ready for sleep. Before they sleep, they dutifully kneel and sing their
evening prayers:
200
Children's Prayer
p
Reverently
& 44 œ œ œ œ œ œ ˙ œ œ œ œ
When at night I go to sleep, four - teen an - gels
4
&œ œ œ ˙ œ œ œ œ ˙ ˙
watch do keep; Two my head are guard - ing;
P
j
7
&œ œ œ œ œ œ bœ œ œ. œ
˙
Two my feet are guid - ing. Two are at my
F
& b˙ Œ œ œ œ. œ ˙ œ Œ
10
œ J
right hand; Two are at my left hand.
P F
œ ˙ bœ œ œ
13
&œ œ œ ˙ œ
Two who close - ly co - ver; Two who 'round me
œ œ
&˙ œ œ œ œ
16
˙ œ #œ
ho - ver. Two who take me when I rise And
f
œ œ ˙ œ. œ w
19
&œ œ J
lead my steps to Par - - - a dise.
ACT III
As the sun comes up, the Dewfairy awakens Gretel, and she, in turn, pokes Hänsel until
he wakes up. The children are enthralled as they wake to behold a magnificent house made
entirely out of candy. The children, lost and hungry, cannot resist nibbling at the candy
house--just a little at first, but soon they are feasting on the candy. A small voice in the
distance eerily sings that someone is nibbling on her house. The children pause to listen
to the voice, but decide it was just the wind, and so they return to feeding themselves on
the candy house. All of a sudden an old woman appears in the doorway and invites them
into the house. The children refuse to follow her into the house, so she uses a magic spell
201
that paralyzes them. The old woman, who is really the forest Witch, throws Hänsel into
a cage and forces Gretel to set the table for her. In anticipation of her delicious meal--
Hänsel, that is--the Witch warms up the oven and checks Hänsel to see if he is plump
enough for her to eat.
Gretel overhears the Witch's plan to cook and eat Hänsel, and comes up with a plan
to free Hänsel from the cage. Feigning ignorance, she then asks the Witch how to use the
oven. When the Witch opens the oven door, Gretel pushes her into the oven and slams
the door and lets Hänsel out of his cage. Hänsel finds out how to reverse the Witch's spell,
and all of the other children the Witch has captured are freed.
Just then, Peter and Gertrude arrive on the scene and are overjoyed to see that their
children are safe. Led by Peter, all the characters, Hänsel and Gretel and all of the freed
children, sing of God's great kindness in watching over all who are in need.

Write a new ending for the story of Hänsel and Gretel.
COMPOSE a new finale song to go with your new ending.

1. Write a poem that fits your ending.
2. Determine the form of your poem--the form in which you wish to write your song.
3. Compose your melody in the form you established.
YOUR BRAIN:
4. Harmonize your melody with a second voice.

5. Add an Orff or other accompaniment.
202
Pencil Time: Activity Sheet 70: Engelbert Humperdinck

Activity Sheet 71: Matters Operatic
V CABULARY
1. Act-- The major division of an opera. Operas are often divided into three
acts.
2. Aria--A solo piece in an opera
3. Interlude-- A musical piece between the acts of an opera; also called

intermezzo and entr'acte
4. Libretto-- The lyrics of the opera; the story
5. Opera-- A play that is sung; plural of the word "opus," meaning "a work"
6. Recitative--Dialog in an opera, often sung in free rhythm
7. Singspiel-- A German play using musical numbers in addition to spoken dialog
8. Scene--A subdivision of an act of an opera. Often the scene changes when

there is a change in setting.
9. Set--The stage decor for an opera or play
10. Setting--The location where specific scene takes place
203
33: Write Your Own Opera:
1. First things first: The Libretto
The libretto is the text that is set to music. When writing an opera, the composer must
have a libretto. Most composers historically have used texts from other playwrights and
librettists as the basis of their operas. Some, however, like Richard Wagner, composer of
the famous "Ring Cycle" of operas, write their own librettos.
So the first decision that must be made in writing an opera is where the text is going to
come from. Are you going to use an existing play? Or are you going to write the libretto
yourself? Remember, if you use an existing play, you may have to omit some of the text or
add to the text to make it work well with music. If you have a chance to read the book,
Alice in Wonderland, you can see how dialog and the poem have been modified from the
original to fit well with music in this operatic example.
2. Aria and Recitative

DIALOG may be written either with a specific form or freely composed. Here are some
techniques to consider:
1. Freely composed with many repeated notes (recitative)

2. Antiphonally--with one person (or group) echoing another
3. Question-answer--Similar musical phrases with different endings
4. Different styles, ranges, or rhythmic elements for different characters.
Study the dialog examples which follow. They are based on a chapter of Lewis Carroll's
book, Alice in Wonderland.
# 4 ˙. ˙.
Caterpillar: & 4 œ Œ ∑
# 4 œ œ œ œ ‰ œj œ œ
Who are you?
& 4 Œ ˙ ‰œ
Alice:
J
I - I hard - ly know, sir, at least not
Notice the caterpillar speaks with notes of long duration, dotted halves and quarters.
#
Alice interrupts him and speaks rapidly with mostly eighth notes. (Technique 4, above)
& ∑ ∑
# Œ ‰ j
right this mo - ment; I know who I was when I
Notice the recitative in Alice's part--no specific form, many repeated notes.
(Technique 1, above)
204
WRITE YOUR OWN OPERA -- 32
#
& ∑ ∑ ∑
# j
& œ œ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
got up this morn-ing, but I think I must have changed sev' - ral times since then.
# ˙ œ ˙ ˙ ˙. ˙.
& œ œ œ
#
What do you mean by that? Ex - plain your -
& ∑ ∑ ∑ ∑
Alice imitates the Caterpillar's notes in answer

(Technique 2):
#
& w ∑ ∑
# ˙.
Ó ‰ œ œ œ
self!
J
I can't ex - plain my - self, I'm a - fraid to tell you,
And again:
#
& ∑ ∑ ∑
# Œ ˙.
œ
sir, be - cause I am not my - self, you see.
Here is an example of the Technique 3, question and answer.

# ˙
& Ó Œ œ œ œ œ œ ˙. ∑ ∑
So you think you're changed, do you?
# Ó ∑ Ó Œ œ œ œ œ ˙ ˙ Ó
& ˙
me. I'm a - fraid I am, sir,
205
32 -- WRITE YOUR OWN OPERA
ARIA:
Once a libretto has been found or written, the composer must then decide where to place
the arias in the opera. Most of the dialog will be recitative, freely composed without a
specific form, but the beauty of opera is in its use of aria, solos with poetic lyrics in a
specific form. A very common form for operatic arias is ABA with coda. Often
composers have used pre-existing melodies as a foundation for their arias. Folk music
and children's songs can provide some usable material for composing arias. When
composing your arias, use the four arias from Hänsel und Gretel presented as
examples in the previous chapter as examples.
Study your libretto and decide where arias would best fit in the play. Consider these
possibilities:
1. Arias at the beginning of the opera or act that set the mood for that particular act or
scene
2. Narrative arias that inform the audience of the progression of the plot
3. Arias are often used to convey deep emotion
4. Poems in the libretto are usually presented as aria. Below is an example of this:
Alice: Stanza 1 You Are Old, Father William
# 4
Moderato
& 4 œ œ œ œ œ œ œ ‰ Jœ œ œ œ œ œ
"You Are Old, Fa - ther Will - iam." the young man said, And your
# œ œ œ œ œ œ œ œ œ œ œ œ
& ˙. œ œ
hair has be - come ve - ry white; And yet you in - ces - sant - ly
#
& œ œ œ œ œ œ œ œ œ œ œ œ ˙.
stand on your head; Do you think, at your age, it is right?
This poem could be presented in several forms. Alice could sing the whole aria, or
in antiphonal style, Alice singing the boy's part, and the Caterpillar (or chorus) responding
by singing the man's part.
Moderato, you will recall, means to sing at a moderate tempo--not fast, not slow.
206
WRITE YOUR OWN OPERA -- 32
3. Ensemble and Chorus
Operas usually also include pieces for a small ensemble of singers (duets, trios, quartets,
sextets, for example) or for the full cast (chorus).
In this setting, the chorus answers Alice's statement. Notice the short vocal interlude
between the two A sections:
Interlude
# Ad4lib œ "
& 4 œœ œ œ œœœœ œ œ œ œ œ œ œ œ œ œ ‰ œ
S J
Oh
# 4
"In my youth," Fa - ther Wil - liam re -
& 4 Œ œ œ " œ œ œ œ ‰ œj
A ˙ œ œ œ œ œ œ
Oh "In my youth," Fa - ther Wil - liam re -
# œ œ œ
& œ œ œ œ œ œ œ œ œ
plied to his son, "I feared it might in - jure the
#
& œ œ œ œ œ œ œ œ œ œ œ œ
plied to his son, "I feared that it might
# œ œ œ
& ˙. œ œ œ œ œ
#
brain; But, now that I'm per - fect - ly
& œ œ œ Œ œ œ œ œ œ
œ œ œ œ
in - jure the brain now that I'm per - fect - ly
# œ œ œ
& œ œ œ œ œ œ œ œ œ ˙.
sure I have none, Why, I do it a - gain and a - gain."
#
œ
sure I have none, Why, I do it a - gain and a - gain and a - gain."
207
32 -- WRITE YOUR OWN OPERA
Here is the "B" Section of the Aria:

# 4 œ œ œ œ
& 4 œ œ œ œ œ œ œ œ œ œ
"You are old," said the youth, "and your jaws are too weak For
# œ œ œ œ œ œ œ œ œ œ œ
& œ œ ˙ œ œ
an - y - thing tough - er than su - et; Yet you fin - ished the goose, with the
# œ œ œ œ œ œ
& œ œ œ œ œ œ ˙
bones and the beak; Pray how did you man - age to do it?"
The "B" section is then followed by a repetition of the "A" Section and a Coda.
4. Instrumental music
A. Accompaniment
Instrumental accompaniments are often provided for the recitatives, arias and
ensembles.
B. Overture
The overture is an instrumental piece that comes at the beginning of the opera, before
the opening curtain. Often it consists of quotations of the arias and ensembles from the
opera itself.
C. Interludes
Composers often add instrumental interludes in between scenes and acts to fill in gaps
in the action. Interludes may provide a preview of the music that is to come, a
restatement of the music that has already been presented, or new material altogether.
D. Finale
The finale provides music for the curtain call, a chance for the characters to take a bow.
Often the finale is an abbreviated restatement of the overture.
The Pencil Time Worksheets will guide you through the creation of your own opera.
Pencil Time: Activity Sheet 72: The Libretto

Activity Sheets 73-76: Write Your Own Opera
208
l Glossary L
A cappella--Sung without instrumental accompaniment

Accelerando--(accel.)--Get gradually faster
Accompaniment--Music that supports the melodic line
Act--The major division of an opera. Operas are often divided into 3 acts.
Antiphonal--Music sung by two groups who respond in turn to answer each other
Aria--Solo song in an opera
Arrangement--A new setting of an existing melody
A tempo--Resume the music at the previous tempo; often used after a ritard or a fermata
Audiate--To read music silently; to hear the notes in one's head
Barline--A line through the five lines of the staff that divides music into measures. A
double barline denotes the end of the piece or the section.
Bass clef--A sign that indicates that the notes presented are in the lower range in pitch
Beat--A regularly repeating pulsation in music
Bordun--"Open" fifth accompaniment
Broken bordun--An open fifth accompaniment in which Do and So are played
consecutively
Broken chord--A triad in which the notes are sounded consecutively instead of
simultaneously
Call and response--A soloist presents a phrase of music and the choir responds.
Canon--Performance of a single melody by 2 or more voices beginning at different times
Chorus--An ensemble of many voices
4
Coda--New musical material added to the end of a piece of music
Common meter-- 4 time. Four beats in each measure, the quarter note receives 1 beat.
Counter-melody--A melody written to accompany the original melody
Counterpoint--Literally "point against point"--a style of musical composition in which
two or more independent lines of music interact with each other
Crescendo--Get gradually louder
DC al Fine--Go back to the beginning and end at "Fine."
Decrescendo--Get gradually softer
Duration--The length of time (in beats) that a note is played
Dynamics--Loudness and softness in a piece of music
Ensemble--Two or more people performing together; a French word meaning "together"
Fifth--The interval of five; the distance between the first and fifth notes of a scale (Do and
So) the second and sixth (Re and La), third and seventh (Mi and Ti), etc.
Finale--The last musical scene in an opera before the final curtain
Flat-- b --A note that has been lowered by one-half step

Fine--The end (Italian)
F Major--The major key that has one flat ( b ) in the key signature.
Form--The pattern of repeated sections in a piece of music.
Forte--Loud; symbol- f
Fortissimo--Very loud; symbol- Ä
G Major--The major key that has one sharp ( # ) in the key signature
Frequency--Number of vibrations per second of a particular pitch
Grand pause--A complete break in the music for as long as the director wishes; symbol--
Half note--A musical tone that sounds for 2 beats in common meter
209
GLOSSARY
Half rest--A two-beat period of silence in music

Half step--The distance between a note and its closest neighbor, either above or below
Harmony--Performance of 2 or more different lines of music at the same time
I Chord--A triad consisting of the notes Do, Mi, and So
Improvisation--The spontaneous creation and performance of music
Interlude--A musical piece between the acts of an opera. Also called intermezzo and
entr'acte.
Interval--The distance between two musical tones
the key the piece is in--indicates how many notes in the scale are sharped ( # )
Key Signature--The indicator at the beginning of a line of music that identifies
or flatted ( b )
Libretto--The text of the opera; the story
Major Scale--A series of eight notes that progress in order (either up or down) from
one pitch to the next pitch of the same name, using the sharps or flats, in any, that
are indicated in the key signature for the key that corresponds to the pitch name
Major third--The distance between Do and Mi; 4 half steps
Measure--The distance between 2 barlines of music.
Melody--A tune; the predominant line in a musical composition
Meno mosso--Slower; literally "less motion"
Mezzo-forte--Medium loud. Literally "half-loud"symbol-- F
Mezzo-piano--Medium soft. Literally "half-soft"symbol-- P
Minor scale--A sequential series of eight notes, beginning and ending on La
Minor third--The distance between Mi and So; 3 half steps
"Movable" Do--A sightsinging system that uses solfege syllables to identify the
pitches of the scale. It is called "movable" because Do "moves" from key to key
depending upon which line or space the tonic pitch is found.
Octave bordun--A bordun accompaniment that echoes the fifth in a higher octave
Obbligato--A counter-melody in a high voice
Opera--A play that is sung; plural of the Italian word "opus," meaning "a work"
Ostinato--A short and continously repeating accompaniment pattern
Overture--A musical work presented before the first act of an opera. Often the overture
contains statements of musical themes from throughout the opera.
Patsch--Body percussion sound made by slapping hands on one's thighs
Pedagogy--The science of teaching
Percussion--Musical instruments played by striking, scraping, or shaking
Pianissimo--Very soft; symbol -- ¹

Perfect fourth--The distance between Do and Fa; 5 half steps
Piano--Soft; symbol-- p
Pitch--The highnesss or lowness of a musical sound; determined by its frequency
Piu mosso--Faster; literally "more motion"
Pulse--The underlying steady beat of music
Quarter note--A musical tone that sounds for a duration of 1 beat in common meter.
Quarter rest--A single beat of silence in music
Recitative--Dialog in an opera, often sung in free rhythm
Relative Minor--A minor key with the same key signature as a specified major key
Repeat sign--A sign that tells the performer to repeat the previous measures, or to the
beginning of the piece
210
GLOSSARY
Rest--A period of silence in music

Retrograde--Performance of a musical passage in reverse order of what it is written;
from right to left instead of left to right.
Rhythm--The way that notes of various durations are combined in a piece of music
Ritardando--(ritard, rit.) Get gradually slower
Rubato--Varying the tempo of a piece of music as a tool for expressiveness
Scat--Jazz singing using nonsense syllables to improvise
Scene--A subdivision of an act of an opera. Often the scene changes when there is a
change in setting
Sharp-- # --A note that has been raised by one-half step

Setting--Where the specific scene in an opera takes place
Simple bordun--An open fifth accompaniment in which Do and So are played

at the same time
Singspiel--A German musical play
Sixteenth notes--Notes that receive ¼ of one beat in common time. Four sixteenth notes
fill up one beat of music in common time.
Staff--The set of five lines upon which music is written
Tempo--Speed; how fast or slow a piece of music is
Third--The distance between two notes in the scale with one note between them
Three-four meter--Time signature in which there are 3 beats in a measure and the
quarter note receives one beat
Time signature--The sign that indicates how many beats will be in each measure, and
what kind of note will receive one beat
Tonic chord--The I Chord
Treble clef--A sign that indicates that the notes presented are in the upper range in pitch
Triad--A chord of three notes
Variation--A melody that has been altered but is still recognizable
Waltz time--Another name for three-four meter
Whole note--A musical tone that sounds for 4 beats in common meter.
Whole rest--One whole measure's rest
Whole step--Two half steps
l Orff Abbreviations L
AM--Alto metallophone AX--Alto xylophone

BM--Bass metallophone BX--Bass xylophone
SM--Soprano metallophone SX--Soprano xylophone
AG--Alto glockenspiel Rec--Recorder
SG--Soprano glockenspiel FC--Finger cymbals
Cym--Cymbals Rat--Ratchet
Whis--Slide whistle VS--Vibraslap
TB--Temple blocks WB--Woodblock
211
l Index of Poems L
Ana Crusis, 41 Mississippi Mudcake, 124

And Ask Ye Why These Miss T, 32
Sad Tears Stream?, 81 The Moon, 49
Always at Home, 40 The Newt and the Firefly, 125
Cursory Rhyme, 125 Two Limericks, 33
l Index of Composers L
Bach, Johann Sebastian, 134-139 Gruber, Edmund L., Brigadier General, 118
Beethoven, Ludwig van, 58-65 Humperdinck, Engelbert, 195, 196
Brahms, Johannes, 166-169 Mahler, Gustav, 78-79
DeWitt, Patti, v Yates, Ronald, 185
l Index of Songs L
An die Freude (Ode to Joy), 61 Old MacDonald, 146

Bumblebee, 128 Old Texas, 102
Circus Clown, 56 Parlor Clock, The, 29
Dawn, 84 Popinjay, 19
Frere Jacques, 80 Rose's Cup, The, 180
Gooseberry, Spruceberry, 44 Sea Jubilee, 72
Guten Abend, Gut' Nacht, 168 Sea of My Dreams, 114
Hänsel und Gretel: She Shall Have Music, 122
Suzy, Little Suzy, 197 Soldier, Soldier, Will You Marry Me?, 108
Brother, Come and Dance with Me, 198 Taps, 101
Little Man in the Woods, 199 Twinkle, Twinkle, Little Star, 47
Children's Prayer, 201 Ut queant laxis (Hymn to St. John), 29
I Love Jazz!, 185 Waltzing Giraffe, The, 35
Japan, 26 Whenever a Little Child is Born, 181
Jump Up!, 150 When the Robbers Came to Rob Him, 161
Jesus, bleibet meine Freude, 136 Yo, Ho, Mexico!, 17
Kangaroo, The, 68
Listen to the Autumn Wind, 77
Little Snowflake, 96
212
l IPA * Chart L
Common English Vowels

IPA English IPA
Symbol Word Spelling
i as in meet ( mit )
e as in ate ( et )
a as in lock ( lak)
o as in home ( hom)
u as in food ( fud )
I as in sit (s It )
E as in red ( rE d )
æ as in hat ( hæ t )
« as in alone ( « lon )
Ã as in cup ( kÃp )
U as in should ( SUd)
‹ as in draw ( dr• )
Dipthongs (double vowel sounds)
aI as in sign ( saIn )
ei as in play ( pl ei )
•I as in voice ( v •I s )
aU as in mouth ( maUT )
I« as in hear ( hI« )
E« as in where ( hwE« )
•« as in for ( f •« )
U« as in sure ( S U« )
Tripthongs (triple vowel sounds)

aI« as in fire ( f aI« )
aU« as in hour ( aU« )
* The International Phonetic Alphabet, developed by the International Phonetic Association

Department of Theoretical and Applied Linguistics, Aristotle University of Thessaloniki, Greece.
213
l Rhythm Counting Systems L
The textbook refers to three different rhythm reading systems. Below are examples of
44
some common rhythmic patterns and how they read with each system. 1
Ï Ï Ï Ï ú ú
Kodàly: ta ta ta ta ta 2 - ah ta - ah
3
"Down-ups": down down down down down (slide) down (slide)
(2) 4
44
Numbers: 1 2 3 4 1 3 (4)
ú. Ï w
Kodàly: ta - ah - ah ta ta 5 - ah - ah - ah
"Down-ups": down (slide) (slide) down down (slide) (slide) (slide)
44 j
Numbers: 1 (2) (3) 4 1 (2) (3) (4)
Ï Ï Ï Ï Ï Ï Ï. Ï Ï Ï
Kodàly: ti - ti ta ti - ti ta ta (ee) ti ta ta
"Down-ups": down up down down up down down (slide) up down down
Numbers: 1 & 2 3 & 4 1 (2) & 3 4
44
Ï ÏÏÏ Ï Ï Î Ï Ï Ï Ï Ï Ï ÏÏ Ï
Kodàly: tip-py-tip-py ti - ti (rest) ta ti tip-py ta tip-py-ti ta
"Down-ups": down-y up-pa down up (rest) down down up-pa down down-y up down
34 j
Numbers: 1 e & a 2 & (rest) 4 1 & a 2 3 e & 4
î Ï Ï Ï Ï Ï Ï ä Ï
Kodàly: (rest) 6 (rest) ti - ti ti -pop - pa ta (rest) ti
"Down-ups": (rest) (rest) down - up down-y a down (rest) up
Numbers: (rest) 7
44 j j
(rest) 3 & 1 e (&) a 2 (rest) &
3
Ï Ï Ï ú Ï. ÏÏ Ï Ï Ï Ï
Kodàly: syn - co - pa ta - ah ti - pa ta tip - ple - dy 8 ta
"Down-ups": down up up down (slide) down - a down trip - a - let down
Numbers: 1 & (2) & 3 (4) 1 a 2 3 trip - let 4
__________________________
1. Suggested techniques only; there are many variations of each.
2. Some directors use "tay-ah."
3. "Down" is a downward motion of the hand; "slide" means the hand moves horizontally away
from the body.
4. The number in parentheses is usually not read out loud.
5. Or, "toh"
6. Some hand gesture should be used for the rest. Often an open hand, palm up, is used.
7. Rests may be counted using the beat number--in this case 1, 2--or silently. Generally, rests are
not audibly counted.
8. The author's invention. Not "official" Kodàly pedagogy.
214
INDEX
l General Index L
Half step, 25, 105-108, 118, 123, 146

A cappella, 20 Hänsel und Gretel, 195-203, 206
Accompaniment, 45-48, 136, 202 Harmony, 6, 9, 15, 86
Alto,A-5, 86 Improvise, 103, 109, 182
Anacrusis, 41-44 Interlude, 28, 52, 72, 196, 202, 203, 207
Antiphonal, 102, 104, 204 Intervals, 135, 152
Aria, 196, 203-206 IPA, 61, 80, 100, 137, 169, 207
Arrangements, 45-48 Jazz, 182-189
Barline 9 Key Signature, 22, 25, 74, 77, 82
Double 8, 9 Key of C Major, 82, 85
Borduns, 46 Key of D minor, 60, 80
Canon 5, 9, 86, 135 Key of E minor, 74
Chords, 98 Key of F Major, 22, 23, 25, 146
I Chord , 98-100, 102, 104 Key of G Major, 22, 23, 46, 135
Clefs Leger line, 82, 85
Bass, 15, 20 Libretto, 196, 202, 203, 204, 206
Treble, 15, 20 Major scale, 22, 25, 74, 105, 106
Coda, 52,77, 206 C Major scale, 86, 105
Common meter, 6, 9, 11, 12, 15, 20, 49 F Major scale, 22, 106
Composition, 12, 58, 59, 166 G Major scale, 105
Conducting patterns, 13 Thirds, 98, 108
4/4 meter (Common Meter), 11, 12 Major third, 108, 117, 135
3/4 meter, 31 Minor third, 118, 123
Counter-melody, 46-48, 53, 103 Measure 9, 11, 12, 13, 18, 25, 28, 29, 31,
Cristofori, Bartolommeo, 21 32, 40, 41, 43, 49, 136, 183, 189, 190,
DC al fine, 100, 104 191
Dynamics, A-23, A-29, 18, 20, 21, 103, 119 Melody, 12, 45, 46, 47, 48, 101, 102,
Eighth notes, 49, 204 135, 167
Ensemble, A-12, A-13, 13, 207 Minor keys, 75, 77, 79, 135
Finale, 60, 202 Minor scale, 74, 77
Flat, A-6, A-7, 22, 25, 54, 82, 85, 113, 121 "Movable" Do, 23
Form, 18, 20, 28, 70, 77, 135, 166, 167, 206 Obbligato, 47, 48
Gruber, Edmund L., Brigadier General, 118 Opera, 78, 166, 195, 196, 203, 202, 204,
Guido D'Arezzo, 29 206
Half notes, 14, 33, 194 Orff accompaniment, 17, 19, 27, 44, 52,
Handsigns, vii, 10, 15, 22, 28, 75, 86 77, 103
Do, 22, 23, 30, 39, 45, 46, 48, 66, 70, 74, Ostinato, 45, 48, 53, 182
82, 98, 99, 104, 108, 117, 146, 186 Overture, 167, 196, 202
Re, 22, 29, 74, 82, 98, 105, 106, 108 Patsch, 4, 7, 9, 33
Mi, 10, 15, 22, 29, 54, 74, 82, 86, 98, 99, Perfect fourth, 146
100, 105, 106, 108, 117, 118, 123 Pianoforte, 21
Fa, 22, 29, 54, 74, 82, 98, 105, 106, 113 Pick-up note, 41 , 43
So, 10, 14, 15, 22, 29, 45, 48, 54, 70, 74, Quarter notes, 6
82, 98-100, 104-106, 118, 123, 146, 183 "Question" and "Answer," 39
La, 14, 15, 18, 22, 29, 70, 72, 74, 77, 82, Recitative, 196, 203, 204, 206
105, 106, 183 Recorder, 18, 39, 47, 86, 100, 102
Ti, 22, 30, 54, 66, 70, 74, 82, 105, 106,
211 Relative minor, 74, 77
113, 121 Repeat Sign, 6, 9, 188
INDEX
Rests, A-3, 11, 15

Retrograde 6, 8, 9, 15
Rubato, 101, 104, 181
Scat, 182-184
Sharp, 22, 25, 54, 66, 82, 113, 121
Sixteenth notes, 124
Solfege, vii, 15, 28, 29, 75, 80, 100, 113, 121
Soprano, A-5, 86
Staff, 1, 9, 15, 23, 29, 82, 85, 101
Stevenson, Robert Louis, 49
Time Signature, 11, 12, 15, 40, 190
Triads, 98, 99
Wagner, Richard, 195, 204
Waltz time, 31, 40
Whole notes, 15
Whole rests, 20
Whole step, 106, 107, 118
212
l Bibliography L
Blume, Friedrich; Norton, M. D. and Norton, Herter, trans. Classic and Romantic Music;
A Comprehensive Survey. New York: W. W. Norton & Co., 1970.
Bukofzer, Manfred F. Music in the Baroque Era, from Monteverdi to Bach. New York:
W.W. Norton & Company, 1947.
Butt, John, ed. The Cambridge Companion to Bach. Cambridge: Cambridge University
Press, 1997.
Humperdinck, Engelbert. Haensel und Gretel. Vocal score. London: 1893.
Cooper, Barry, ed. The Beethoven Compendium. London: Thames and Hudson, 1991.
David, Hans T, ed. The Bach Reader. New York: W. W. Norton & Company, 1945
Einstein, Alfred. Music in the Romantic Era. New York: W. W. Norton & Co., 1947.
Fisher, Burton D. "Hansel and Gretel : Hänsel Und Gretel" from Opera Journeys Mini
Guide Series. Coral Gables, Fla,: Opera Journeys Publishing, 2000.
Frisch, Walter, ed. Brahms and His World. Princeton: Princeton University Press, 1990.
Geiringer, Karl. Brahms: His Life and Work. 3rd edition. New York: Da Capo Press, 1982.
Kennedy, Michael. The Oxford Dictionary of Music, 2nd Edition. Oxford: Oxford
University Press, 1997.
May, Florence. The Life of Johannes Brahms. London: Edward Arnold, 1905.
Reese, Gustave. Music in the Middle Ages: With an Introduction on the Music of Ancient
Times. New York: W.W. Norton & Co., 1940.
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York:
W. W. Norton & Co., 1997.
Sadie, Stanley and Tyrrell, John, ed. The New Grove Dictionary of Music and Musicians,
Groves Dictionaries, Inc., 2001
Seay, Albert. Music in the Medieval World, 2nd Edition. Waveland Press,
Long Grove, IL, 1991.
Slonimsky, Nicolas and Kuhn, Laura, ed., Baker's Biographical Dictionary of Musicians,
Farmington Hills, MI: Gale Group, 2000.
213
Villanueva, Jari. Twenty-Four Notes That Tap Deep Emotions: The story of America's
most famous bugle call. http://www.tapsbugler.com/24NotesExcerpt/Page1.html
Wollf, Christoph; Helm, Eugene; and Warburton, Ernest. The New Grove Bach Family.
New York: W. W. Norton & Co., 1997.
Zobeley, Fritz. Portrait of Beethoven: An Illustrated Biography. New York: Herder and
Herder, 1972.
214

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Patti DeWitt Folkerts, DMA

LEVEL ONE: A Good Start!

LEVEL TWO: Growing Artistry

LEVEL THREE: The Skillful Singer

LEVEL FOUR: The Choral Virtuoso

Teacher's Editions for each level.

Supplemental literature for each book available

instructors a textbook series that is sequential and systematic.

The series is presented in four levels:

Level One: A Good Start

is suitable for high school and university choirs.

learn how to create your own music as well!

Patti DeWitt Folkerts is a music educator

Dr. DeWitt taught for 20 years at all levels of

Chapter 1: What Is Music? . . . . . . . . . . . . . . . . 1

Chapter 2: Feel the Beat! . . . . . . . . . . . . . . . . . 3

Chapter 3: Feel the Rhythm! . . . . . . . . . . . . . . . 6

Chapter 4: Making Melody . . . . . . . . . . . . . . . . 10

Chapter 5: La, La, La . . . . . . . . . . . . . . . . . . . 14

Chapter 6: Do, Re, Mi . . . . . . . . . . . . . . . . . . . 22

Chapter 7: Where Did Solfege Come From? . . . . . . . 29

Chapter 10: Making Arrangements . . . . . . . . . . . . 45

Chapter 11: Crazy Eighths . . . . . . . . . . . . . . . . 49

Chapter 12: So - Fa, So Good . . . . . . . . . . . . . . . 54

Chapter 13: Ludwig van Beethoven . . . . . . . . . . . 58

Chapter 14: Time for Ti . . . . . . . . . . . . . . . . . . 66

Chapter 16: Minor Differences . . . . . . . . . . . . . 74

Chapter 17: Gustav Mahler . . . . . . . . . . . . . . . . 78

Chapter 18: Do you C? . . . . . . . . . . . . . . . . . . 82

Chapter 19: Singing in Harmony . . . . . . . . . . . . . 86

Chapter 20: Chords and Triads . . . . . . . . . . . . . . 98

Chapter 21: Half Steps and Whole Steps . . . . . . . . . 105

Chapter 22: Do - Mi . . . . . . . . . . . . . . . . . . . . 108

Chapter 23: Mi - So . . . . . . . . . . . . . . . . . . . . 118

Chapter 24: Sweet Sixteenths . . . . . . . . . . . . . . . 124

Chapter 25: Johann Sebastian Bach . . . . . . . . . . . 134

Chapter 26: Low So - Do . . . . . . . . . . . . . . . . . 146

Chapter 27: Review . . . . . . . . . . . . . . . . . . . . 152

Chapter 28: Johannes Brahms . . . . . . . . . . . . . . 166

Chapter 29: Sing in Two Parts . . . . . . . . . . . . . . 170

Chapter 30: Scat! . . . . . . . . . . . . . . . . . . . . . 182

Chapter 31: More Meters . . . . . . . . . . . . . . . . . 190

Chapter 32: Opera: Hänsel und Gretel . . . . . . . . . . 195

Chapter 33: Write Your Own Opera . . . . . . . . . . . 204

We sing with our voices--the same system of organs with

Air from the lungs

Swollen vocal cords Vocal nodes Bowed vocal cords

LESSON 2: VOICE TYPES

Write ACROSS THE CURRICULUM:

2. List and describe the different voice classifications.

LESSON 3: VOCAL TIMBRE

Breathing, the foundation of good vocal timbre

It is important that the students realize

Expiration is caused when the muscles

You may copy this page for your

i (ee) e (eh) a (ah) o (oh) u (oo)

Practice singing in front of a mirror.

Write ACROSS THE CURRICULUM:

LESSON 4: VOCAL HEALTH

Your voice is an organic instrument. It is a part of your body. Therefore, it must be

2. Baritone--A low male voice, in between tenor and bass

3. Bass--The lowest adult male voice

5. Falsetto--High treble voice of adult men