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 AN INTEGRATED
MUSIC PROGRAM
FOR
ELEMENTARY SCHOOL

WILLIAM YOUNG
Steven Austin State University

PRENTICE HALL
Englewood Cliffs, NJ 07632
Library of Congress Cataloging in Publication Data
YouNG, WILLIAM
An integrated music program for elementary school / William Young.
Fe iceitals
Includes bibliographical references.
ISBN 0-13-469065-6
1. School music—Instruction and study—United States. I. Title.
MT1.Y68 1990
372.87'044—dc20 89-39924
CIP
MN

Editorial/production supervision
and interior design: Margaret Lepera
Cover design: Don Martinetti
Manufacturing buyer: Ray Keating, Mike Woerner

——- © 1990 by Prentice-Hall, Inc.

A Division of Simon & Schuster
i
= Englewood Cliffs, New Jersey 07632

All rights reserved. No part of this book may be

reproduced, in any form or by any means,
without permission in writing from the publisher.

Printed in the United States of America

TO BOR SS ae/a On ae eee

ISBN. O-13-4b59055-—5

PRENTICE-HALL INTERNATIONAL (UK) Limirep, London

PRENTICE-HALL OF AUSTRALIA Pry. LIMITED, Sydney
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EpIToORA PRENTICE-HALL Do BRASIL, LTpDA., Rio de Janeiro
To Dr. Edwin Gordon, whose high standards and logical approach to
teaching and research have provided a model for my own endeavors;
and to Grace C. Nash and her husband Ralph, whose tireless efforts
have introduced thousands to better music teaching across the nation.
FOR TEACHERS

He who knows (and knows he knows) is wise.

Challenge him for he is ready for greater learnings.
He who knows (and knows not that he knows) is gifted.
Enlighten him so that he may become wise.
He who knows not (and knows he knows not) is ready to learn.
Teach him for he will learn much.
He who knows not (and knows not that he knows not) is ignorant.
Provide him with experiences that will prepare him for learning.

—Paraphrased from an ancient Arab proverb

ee CONTENTS

Preface, ix
1.1 The Benefits from Music Study, 1
Specific Language Reading Readiness Skills, 4
1.2 Music Education—The Present, 6
1.3 Music Education—The Past, 8
Pre-America Developments, 8
Spanish America, 9
Colonial America, 9
Post Independence United States, 10
1.4 Teaching Systems, 13
The Tonic Sol-Fa System, 13
La Rythmique—Eurythmics, 14
Orff-Schulwerk, 15
Kodaly Concept, 17
1.5 Responsibility for the Music Program, 19
Classroom Teacher, 19
Music Consultant, 19
Music Specialist, 20
Music Supervisor or Coordinator, 20
Combination Teacher, 20
1.6 Who Is More Effective?, 22
1.7 The Administrator’s View of the Music Teacher, 23
Graded Criteria for Assessing Teacher Applicants, 24
Activities and Study Questions for Chapter One, 26
2.1 Accompanying Instruments, 27
Suggestions for the Beginning Accompanist, 27
2.2 Fretted Instruments, 29
Guitar, 30
Baritone Ukulele, 31
vi Contents

2.3 Keyboard Instruments, 37

Piano, 37
2.4 Stringed Bass Instruments, 41
Gamba, 41
Cello-Bass, 41
2.5 Chording Instruments, 43
The Chord Zither or Autoharp, 43
The Omnichord, 44
2.6 Recorders, 45
Introducing the Recorder, 46
When and How to Start, 47
Common Teaching Problems, 52
2.7 Mallet Instruments, 53
Orff Instruments, 53
Resonator Bells, 58
Bells with Fixed Bars, 59
2.8 Rhythm Instruments, 60
Drums, 61
Wood Sounds, 61
Metal Sounds, 62
Shaken Sounds, 62
Scraped Sounds, 62
Other Rhythm Instruments, 62
2.9 Melody Syllables, 63
2.10 Hand Signs for Singing, 66
Directional, 66
The Hand Staff, 66
Hand Signals, 67
Two-hand Singing, 68
2.11 Rhythm Syllables, 69
The Ti-ti-ta System, 69
The One-ne-two System, 70
Activities and Study Questions for Chapter Two, 72
3.1 Musical Development, 73
The Speaker, 73
The Out-of-tune Singer, 73
The Directional Singer, 74
The Transposing Singer, 74
The Beginning Singer, 74
The Lower Range Singer, 74
The Middle Range Singer, 74
The Upper Range Singer, 75
Expectations, 75
3.2 Melody and Intervals, 76
Pitch Combinations in Order of Difficulty, 76
3.3. Rhythm Development, 77
Activities and Study Questions for Chapter Three, 78
4.1 Goals and Philosophy, 79
4.2 Long Range Goals and Objectives, 81
4.3. Specific Musical Goals, 82
Development of Musical Ability, 82
Development of Music Appreciation, 82
4.4 Immediate Objectives, 83
Musicianship, 83
Music Literacy, 83
 Contents Vii

4.5 Day to Day Experiences, 84

Developing a Concept, 85
Developing Skills, 85
4.6 Planning for Learning, 85
The Total Curriculum, 85
Planning for the Year, 90
Filling in the Plan, 92
4.7 Planning the Achievement Level, 93
4.8 Daily Lesson Plans, 95
Sample Lessons, 95
Activities and Study Questions for Chapter Four, 96
5.1 Basic Teaching Techniques, 102
Starting a Song, 102
Simultaneous Clapping, 103
Echo Clapping, 103
Echo Singing, 104
Body Percussion, 105
Singing Posture, 105
Teaching a Verse, 106
Teaching a Song, 106
Teaching a Game or Action Song, 106
Dictation Procedure, 107
Music Writing Techniques, 108
Introducing Pitch Notation, 109
Ostinati and Borduns, 110
Introducing Orff Instruments, 112
Cross-over Mallet Technique, 113
Inner Hearing, 114
Improvisation, 115
Composition, 116
Canon Technique, 116
Creating Orchestrations, 116
Movement, 119
Speech Ensembles, 120
Memory Devices, 120
Chalkboard Basics, 121
Activities and Study Questions for Chapter Five, 123
6.1 Achievement Levels, 124
Level One, 126
Level Two, 135
Level Three, 143
Level Four, 150
Level Five, 159
Level Six, 167
Level Seven, 175
Level Eight, 183
Level Nine, 193
Level Ten, 201
Level Eleven, 214
Level Twelve, 222
Level Thirteen, 232
Level Fourteen, 243
Level Fifteen, 254
Level Sixteen, 261
Level Seventeen, 269
Viii Contents

Level Eighteen, 281

Level Nineteen, 288
Level Twenty, 297
Level Twenty-one, 305
Level Twenty-two, 313
Level Twenty-three, 321
Level Twenty-four, 326
Level Twenty-five, 334
Level Twenty-six, 341
Level Twenty-seven, 349
Level Twenty-eight, 357
Activities and Study Questions for the Achievement Levels, 363
Appendix A. Planning Forms, 365
Lesson Planning Guide, 366
Daily Lesson Plan, 367
Appendix B. Teacher-made Visuals, 368
How to Make Flashcards, 368
How to Make Rhythm Charts, 369
How to Make Song Charts, 369
How to Make Worksheets, 370
Appendix C. Keeping Up with Developments, 372
Bibliography of Materials Cited in the Text, 376
Bibliography of Recordings Cited in the Text, 383
Bibliography of References Cited in the Text, 388
Bibliography of Research Reports and Monographs Cited in the Text, 393
Song Index (Orff Instrumental Accompaniments), 397
Text Index, 399
Glossary, 411
 PREFACE

The need for accountability, resulting from the scientific events of the 1960s and
after, has fostered a significant change in music education in the United States.
Teachers realized that singing songs and presenting occasional parent programs
were not sufficient to justify the mounting cost involved, and began to search
for better ways of teaching music in the elementary school. Teaching processes
that resulted in demonstrable learnings which could be quantified found greatest
favor. Many embraced the Kodaly Concept of teaching music literacy while
others were attracted by the Orff-Schulwerk approach to musicianship and crea-
tivity. Still others have obtained good results by combining these two with some
traditional American materials and techniques.
It is for this latter group that this book has been prepared. As the title
implies, the approach combines some of the teaching philosophies of Orff and
Kodaly with established American pedagogies. The result is a process which
can be used to teach music literacy and appreciation while at the same time
develop the innate musicianship of each child. This approach has been used
effectively for several years in actual classroom teaching situations.
The procedures recommended are neither ‘Kodaly’ nor ‘Orff’ and in no
way is this book meant to be just a mixture of the two methods. While the
approach to teaching closely resembles that of Orff and Kodaly, the techniques
are sometimes different and the materials recommended are available to all
American music teachers.
The curriculum provided in this book is organized as follows. Each achieve-
ment level in chapter six includes six types of activities:

Musicianship
Singing
Instruments
Listening
Movement
Preface

Music Literacy
Rhythm reading
Melody reading

Within each section is a step by step progression toward specific goals. For
example, the section on “Singing” culminates with the ability to sing parts.
“Instruments” leads from playing SO-MI melodies on the alto xylophone to
playing and composing for a complete Orff ensemble of instruments. “Listening”’
leads from the basic concepts of higher-lower, faster-slower, louder-softer, timbre
and texture to the aural discrimination of various instruments and voices in
combination plus experience with masterworks and music of all cultures. ““Move-
ment” starts with locomotor and non-locomotor movements and progresses
through folk dancing.
“Rhythm” leads from the feeling for the beat to reading and writing in all
meters. “Melody” begins with echoing the falling minor third (SO-MI) and
moves toward reading and writing in major, minor, and modal tonalities.
A teacher oriented toward a Kodaly program may wish to use only the
literacy sections and omit or limit the use of the musicianship activities. The
teacher desiring to emphasize Orff processes may elect to use mainly the sections
on instruments and movement, along with selected musical materials from the
literacy section. A teacher who wishes to present a “traditional’’ American pro-
gram that concentrates on music appreciation, may choose to use only the
singing, listening, and movement sections. A more complete music program
will, of course, result from using all six sections. While all sections are strongly
related to each of the others, no section is dependent upon any of the others
and may be omitted or included as the user sees fit.
Materials and bibliographic references are listed by number such as [25].
The reader should refer to the bibliography in the back of the book for the
complete citation for each reference.

WHO MAY USE THIS BOOK

1. Future teachers of elementary music. Individuals preparing to be elementary

music teachers will want to use the entire contents of the book. When one begins
to teach for the first time, it is necessary to know what to teach, to know when
to teach each concept and skill, to know how to teach them and have ready
access to the materials to use. This book will provide everything needed except
the actual materials. Although some songs and orchestrations are included (see
the Song Index at the back) the future teacher will need to locate the bulk of
the songs, verses, games, and other materials. Titles and sources for appropriate
materials are included with each achievement level but others may be substituted
if preferred.
2. Future classroom teachers. Those preparing themselves for classroom teach-
ing will also find parts of the book essential to their training. Typically, courses
carrying titles such as “Music for Classroom Teachers,” concentrate on devel-
oping the ability to present songs and accompany them along with suitable
recordings and movement activities.
Therefore, considerable time should be spent in learning to sing and ac-
company oneself on the guitar or other instrument and in developing the ability
to present lessons. These skills plus where to find suitable materials are essential
for the classroom teacher. The future classroom teacher will find useful back-
ground material in chapters 1 through 5 and appropriate concepts and skills to
work with early elementary children in Achievement levels one through eight.
 Preface xi

Since most of the music teaching done by classroom teachers is in the lower
grades, it is unlikely that the study of the total music program beyond level 8
will be necessary. Beyond level 8, focus should be centered on the singing,
listening, and movement sections of the curriculum.
3. Practicing teachers. For practicing teachers who may already have thought
out their programs, this book can serve as a valuable source of information for
sequencing of curriculum, sources of materials, and teaching suggestions.
4. All teachers. First year elementary music teachers often feel unprepared
when they begin their first assignment. This feeling of uncertainty frequently
centers around how to sequence and present the material to be taught. This
book is designed to assist the beginning teacher by providing a carefully con-
structed curriculum.
The curriculum and teaching suggestions in this book have been arranged
in sequential order, from easy to difficult. For the teacher who is developing a
curriculum, that provided by this book has been proven to be effective used
as is.
As the teacher grows in maturity and experience, different materials and
a different order of presentation may be desirable to suit individual tastes. One
of the advantages of this blended program is that it provides a solid base from
which one can depart in the process of developing an individual teaching style.
The curriculum outlined here may be retained or altered in any way the
user sees fit. Personal choice or style may require changes in its details but its
use as is will give very satisfactory results.

THE AUTHOR

Dr. BILL YOUNG is Professor of Music at Stephen F. Austin State University.

He is well known for his work in elementary music education, particularly in
the areas of child voice development, rhythm development, curriculum design,
and measurement and evaluation. He has made presentations to many groups,
including Music Teachers National Association, Music Educators National Con-
ference, Texas Society of Music Research, Organization of American Kodaly
Educators, and Southeastern Music Research Symposium.
Dr. Young has held elected and appointed offices in many state and nation-
al professional organizations, including the Texas Music Educators Association
(Vice President); Music Educators Research Council (Executive Board); American
Orff-Schulwerk Association (Executive Board); East Texas Orff-Schulwerk Asso-
ciation (President); and the Organization of American Kodaly Educators (Re-
search Chair).
In addition to university teaching, Dr. Young’s experience includes public
school teaching as a band director, an elementary music teacher, and music
supervisor.
 THE BENEFITS FROM MUSIC STUDY

There are two ways to view the music program in the elementary school. The
first is in the light of “What benefits does the student derive from the study of
music?” In other words, is music study worthwhile, or as the currently very
vocal advocates of ‘back to basics” loudly proclaim, is it something that can be
reduced, cut-back, or eliminated as an activity unessential to the students’ future
development?
The value of music for students in school has been discussed and debated
for some 150 years in this country, since it was first introduced into the public
school curriculum in 1838. The debate has generally centered on two points of
view, ‘“Music for music’s sake,” a viewpoint held by those who have themselves
studied music and experienced the benefits music has to offer, to an emphasis
on ‘What can music do to enhance learnings in the various academic areas?”
The latter view is generally, but not always, of more interest to those who have
not themselves been involved in a worthwhile music program.

The Direct Benefits of Music. The reason for these two points of view is
easy to see. The direct benefits of music study (what the student gets from the
process of music study) are largely intangible. They are not things that can be
readily measured and are, therefore, difficult to document. They deal with such
matters as esthetics and cultural development; and are reflected in attitudes,
judgments, personality, and interests, none of which easily lend themselves to
quantitative analysis.
For the individual who may never have had the experience of music study
or who may have been a part of a music program that emphasized non-musical
values rather than musical ones, these are difficult concepts to understand.
By far, the most important reason for music in the public schools is to
enhance the development of esthetic and cultural understandings. There is an-
other purpose, however, that is certainly of importance. That is, what are the
indirect benefits of music study for the student? How does the time spent in
music study help the student in other school subjects? Does the student who
2 Chap. 1.1 / The Benefits from Music Study

studies music in school perform better in science, language arts, mathematics,

or social studies than the student who does not study music? Or, is there no
difference?
Several well-controlled studies have been done in this area and the results
have always suggested that students involved in a good music program perform
better in academic subjects than those who are not so involved. Similar studies
have compared schools with good music programs to schools without, with the
same results. Where there is a good music program, students do better in other
school subjects; where there is no music, they do not do as well.

Some Indirect Benefits of Music. What are some of the ways in which a
music program can enhance learning in academic subject areas? First, a large
group of subject areas are helped by music study in the same general way. These
include social studies, nature study, the environment, language skills, and vo-
cabulary, to mention a few. The way music assists learning in these areas takes
two forms: One comes from the text, or words, of the songs used while the
other emanates from the music itself.
When a student sings songs about something, he is unconsciously learning
what the song text says about that topic. Facts and understandings can be readily
transmitted to the learner by songs dealing with an infinite variety of topics.
One has only to find the proper materials to do the job.
The other way music helps in these areas comes from the sound of the
music and/or the way in which it was originally used. For example, suppose a
teacher wishes to present a unit dealing with a particular people, ethnic group,
or country. The experience can be greatly enhanced by learning some of the
songs of the people to be studied, performing some of the folk dances that went
with these or other songs, and doing other activities that are closely associated
with the music. Such a unit dealing with the music of Polynesia might include:

* singing songs accompanied by authentic or similar sounding instruments

* performing authentic dances in costume
¢ cooking native dishes over a charcoal fire

Since music, dance, feasting, work, and religion are generally inseparable
in most cultures, this seems a logical way to approach this type of study. An
added benefit is the appeal to the students of this type of activity. Students
enjoy inviting parents and others to watch and perhaps join in, while almost
everyone enjoys sampling the food. Units of this kind also work well for parent
groups or other gatherings where a program must be presented.
Singing a song in a foreign language is another example of how music can
assist academic learning. Suppose a teacher of Spanish wishes to help the class
remember the construction of reflexive verbs. The song of the fisherman, part
of which is given below, might be taught.

Se va, Scam la laniee-emchas se Vas jocon el pes 6=) “cane GOE

As you may remember from your college educational psychology courses,

the Skinner theory of learning holds that the more connections you can build
between the learner and the subject matter, the greater the retention. Music
used in the manner of these examples provides reinforcement for learning through
strong and enduring connections with subject matter.
 The Benefits from Music Study 3

Another area that can benefit from experience in music is mathematics.

The relationship here is obvious. Music is made up of rhythm and pitch. Rhythm
notation is divided into whole, half, quarter, and other parts of a whole, all of
which makes the study of music quite relative to the study of mathematics,
especially fractions. Another coincidence which makes this particularly relevant
is the grade level in which fractions are introduced in many schools often matches
that in which the conscious learning of music notation takes place.
A third area that is affected by music study is language reading. The
problems encountered in language reading are often identical to the problems
found in the elementary music class. Because of this and because in the reading
readiness stage, music is one of the best if not the best tool for developing auditory
perception—language reading and reading readiness are among the most im-
portant areas that the music program can assist.

Language Reading. Language may be thought of as a set of signs, symbols,

and gestures which are received through listening, seeing, and reading, and are
transmitted through speaking, writing, and body language. Most children have
little trouble acquiring at least a usable skill in a spoken language. This skill is
generally developed through an active process of imitation. From his earliest
hours, the young child listens to and later copies the models provided by parents,
siblings, and those around him. The correctness of these models determines the
correctness of his learned responses. Unfortunately, the end result does not
always correspond to the word forms and sentence construction found in formal
written language.
It is generally agreed that the best way to master any language, whether
it be English, German, or music, is for the student first to be able to correctly
produce the sounds of that language. This involves listening to correct examples,
then imitating them. After the learner is able to produce the sounds, reading
and writing can follow, in that order.
For this reason, most language reading authorities divide speech into two
separate parts: conversation and spoken prose. Conversation is the language of
the home, the peer group, or the particular cultural group to which the individual
belongs. Spoken prose, on the.other hand, is like the language found in books,
in business, and in formal communication. Most teachers agree that a beginning
language reading curriculum should progress from conversation to spoken prose
before reading instruction is formally attempted.
In like manner, the mastery of the language of music should proceed from
the sound (hearing, then performing) to reading and writing. While this is the
most logical (and pedagogically correct) way to approach it, a surprisingly large
number of teachers try to teach reading before the student has learned correctly
to produce the sounds to be read.
Materials for beginning reading instruction may be classified into two types:
visual and auditory. Research completed during the past decade has revealed
that the majority of children already possess the requisite visual discrimination
skills for beginning reading. On the other hand the results indicate that children
in general do not exhibit the necessary auditory discrimination skills for begin-
ning reading. Because of this, it is generally agreed that most children need
extensive practice in auditory discrimination before they can begin reading.

Music Can Help! This is where music can be of assistance. The list on the
page following includes some of the areas of language reading readiness which
are common to music reading readiness. An integrated music program which
includes the essential elements and philosophy of the Orff, the Kodaly, and
traditional American materials and techniques will prove to be extremely effec-
tive in accelerating the development of the skills listed.
4 Chap. 1.1 / The Benefits from Music Study

The Orff Approach. Many music programs throughout the nation now
employ elements of what is known world-wide as the Orff-Schulwerk. The idea
for the Schulwerk was formulated in Germany in the 1930’s by the composer
Carl Orff and brought to this country in the 1950's. Basically, the Orff approach
to teaching emphasizes singing, rhythm, and movement, with the students
playing especially designed musical instruments and improvisation.
The melodic starting point is the falling minor third, or the “‘call’’ motive.
This natural starting point for children is gradually expanded until they are
singing accurately in the pentatonic scale.
The rhythmic development begins with spoken nursery rhymes, nonsense
speech, children’s names, and similar materials imitated by stamping, clapping,
patting, and snapping, or repeating phrases on percussion melodic instruments.
The whole process moves from the imitation of speech, rhythm, or melodic
material accompanied by physical movement to the use of this material in creative
improvisation. As the program unfolds, the overall process remains the same
but the materials become more complex. The emphasis is always on listening,
feeling (moving in response to the music), and creativity.

The Kodaly Approach. A second popular method of teaching music in

the elementary school originated in Hungary with the composer Zoltan Kodaly.
While Kodaly used some of the elements found in the Orff approach, the em-
phasis is on music literacy (learning to hear, perform, read, and write musical
notation). When we combine these two approaches with traditional American
music and teaching techniques, the result is a well rounded music program that
will develop literate, accomplished musical performers, which at the same time
enhances the language reading program.

SPECIFIC LANGUAGE READING READINESS SKILLS THAT

MAY BE TAUGHT THROUGH MUSIC

A. Listening Skills
* Attentive listening habits
* Ability to listen for specific sounds
* Increased attention span
¢ Concentration
B. Auditory Discrimination
¢ Beginning, ending, and medial sounds
* Blending these into complete words
¢ Pitch—exclamations, voice inflections, questions, pitch differences
¢ Stress—accents in words and sentences
* Beat—basic movement of words and sentences
¢ Rhythm—rhythms of words
¢ Recognition of the number of words or syllables heard
C. Sequencing
¢ Phonetic sounds within a word
* Words within a sentence
¢ Events within a story
D. Visual Discrimination
¢ Left to right orientation
* Differences in written symbols
 MUSIC EDUCATION—THE PRESENT | |

Music offerings in the public elementary and secondary schools are more nu-
merous and varied today than they have ever been. In the past three decades,
the number of performing organizations as well as the number of students served
have increased at an unprecedented rate.
Today, almost every school offers music in some form, whether it be the
school band, the orchestra, or the school choir (chorus). Many schools provide
opportunities for participation in smaller instrumental or vocal ensembles such
as stage bands, brass and woodwind choirs, madrigal singing groups, or smaller
chamber groups.
Elementary school music is also improving. Programs today have moved
away from a music appreciation approach toward one designed to develop music
literacy and musicianship. Better trained teachers, interested primarily in teach-
ing elementary music, have entered the profession. The teacher whose first
interest was not elementary music teaching has gradually been supplanted by
persons who have been trained specifically to teach elementary music.
Music programs in today’s schools generally fall into one of these broad
classifications:

1. Functional Type: Music offerings in this category make use of music as

a tool to help teach other subjects. For example, music is used as a
rhythmic aid in teaching physical education or typing; as a means of
providing a break during an intensive study period; as a source of
enrichment for social studies, geography, or language classes; as a help
in understanding fractions, and in many other ways. While these are
legitimate uses of music in school, they do not constitute a music
program, although they sometimes substitute for one.
2. Traditional, or Song Type: The song approach to teaching elementary
music was most popular during earlier decades of this century and,
although it still persists in many schools, it is gradually diminishing.
As the name implies, the song approach involves the rote teaching of
 Music Education—The Present 7.

many songs along with preparation for an occasional parent night

program. Listening to recorded or live music performances and using
rhythm activities such as folk dancing serve to round out the program
whose primary aim is to make music class an enjoyable experience.
3. Music Literacy Type: The idea that appreciation for music is best fostered
through music literacy is not new, but has regained favor, especially
since the 1950’s. Just as language literacy is a necessity for the fullest
appreciation of literature, so a growing number of music educators
believe music literacy is equally important for complete appreciation
of music literature.
The search for a better means of accomplishing this aim has led
to a widespread acceptance of the teaching principles of Zoltan Kodaly.
While the Kodaly Concept has many critics, it is nevertheless one of
the most effective methods available to the music teacher for devel-
oping music literacy in children.
4. Developing Musicianship: In this type of music program, the children
are actively involved in making music. They first learn to “feel” the
music through working with it and responding to it. Later they provide
their own accompaniments and eventually compose or improvise ac-
companiments and songs. The essence of this type of program is the
active involvement of the students’ minds and bodies in thinking,
creating, and performing music of ever increasing complexity. From
this continuous process of development emerge individuals whoare truly
musical.
The most active leadership in developing programs of this kind
has come from those who model their programs after the Orff-Schul-
werk as developed by Carl Orff. Through the use of musical instru-
ments especially designed for young children, the extensive use of
imitative techniques and movement activities, these teachers have been
able to achieve results never before realized in the areas of creative
musical expression, music imagery, and musical performance.
5. The Blended Type: Few music programs adhere strictly to one type to
the total exclusion of the others. Most are a combination of those types
which the teacher feels are best, or that are dictated by particular
requirements of the situation.
A large number of programs have obtained success through a
combination of the Orff-Schulwerk philosophy of creative musician-
ship, the Kodaly Concept of teaching music literacy, and a liberal sprin-
kling of traditional American ideas. Never has the American educational
system adopted a foreign teaching method in its entirety so it is not
surprising that a combination of Orff, Kodaly, and traditional methods
holds an appeal for music teachers in America.

References: 402, 430, 470

 MUSIC EDUCATION—THE PAST

A. PRE-AMERICA

The Ancient Greeks. ‘Music’ in Greek terminology meant everything that

trained the mind in contrast to “gymnastics,” everything that trained the body.
Specifically, the curriculum at the elementary level included grammar, gym-
nastics, music, and drawing. Music was valued mostly for its intellectual value.

Ancient Rome (200 B.C. to A.D. 600). Music was also valued as an intel-
lectual study in Rome. Cicero called it one of the seven liberal arts necessary
for the development of the cultivated man, so-called because they liberated the
human spirit.

Middle Ages (600 to 1300). Music was still one of the seven liberal arts
and was still valued most for its intellectual utility. The church operated schools
such as the schola cantorum where reading, writing and music were taught pri-
marily to young men preparing for work in the church. The nobility operated
schools that emphasized reading, writing, and courtly graces which included
music but only to a limited number of students. The common people of the time
received no formal instruction and handed musical traditions down from gen-
eration to generation.

Renaissance (1300 to 1600). By this time, music was beginning to be valued

for its beauty, expressiveness, and its intellectual utility. The church and the
nobility still operated schools in which music was a prime subject, but this period
also saw the establishment of guilds for training apprentice performing musi-
cians.
 Colonial America 9

B. SPANISH AMERICA

Hernando Cortes entered Mexico City to subdue Montezuma’s empire in 1519.

Five years later Pedro da Gante established the first music school in the new
world to train native peoples to participate in church services. They were taught
to copy music manuscript, build instruments for use in the church (lutes, guitars,
trumpets, horns, trombones, violins, cellos, flutes, etc.), and sing plainsong
chant.
The first music teacher to enter what was to become the United States may
have been Cristobal de Quinones. He came to New Mexico in 1598, erected a
church and monastery at San Felipe, installed an organ, and began to teach
music for use in the church services. In 1605 a second music teacher, Bernardo
de Marta, came to New Mexico where he taught music to the natives until his
death in 1635.
The curriculum in these and other schools in Spanish America centered
on the music of the church. The brightest students studied music, and the less
talented were taught carpentry and other skills. None were taught reading,
writing, or mathematics. While of historical interest, these early Spanish mission
schools had no influence on the development of music instruction in the United
States.

C. COLONIAL AMERICA

Seventeenth Century. Music was almost non-existent in what was to be-

come the United States during the 1600’s. Congregational singing was tolerated
with metrical versions of psalms sung to tunes like ““Old Hundred” and four or
five others. Hymns other than psalms were not known until 1740 with Wesley.
One of the first instances of music instruction in school occurred in Pennsylvania
in 1694 with the German settlers under John Kelpius, but this isolated instance
had no widespread effect on future developments.

Lining out the Tune. Congregational singing during this time was usually
accomplished by “lining out the tune.” A leader sang the tune of a line, the
congregation repeated it, and so on through the psalm. This system, which still
persists in some rural areas today, originated in England for use with people
who could not read and was brought to the colonies by the early settlers. Ag-
itation for singing by “rule of art’ or “recall of notes’ began and in 1723 some
New England churches began note reading instruction.

Singing School. Out of these conditions came the singing school move-
ment. These “schools” were actually evening classes held once or twice a week
in a convenient meeting place. They were taught by a traveling singing teacher
who was paid a modest fee by those attending. The object was to improve
congregational singing through singing instruction and note reading.
The singing school teacher was almost always a self-taught musician who
worked at a different trade for his primary source of employment. As the eigh-
teenth century progressed, many singing schools changed to singing societies,
a more socially oriented group with more emphasis on singing and less on note
reading.
The contribution of the singing school to American music education cannot
be over-emphasized. Without it, our present day system of music instruction
might not exist. In summary, the contributions were:
10 Chap. 1.3 / Music Education—The Past

It brought order to church singing

It laid the first foundations for a knowledge of singing
It sustained an interest in music throughout the 18th century
(IS It provided music teachers for the public schools in the early period
pre
of public school music

D. POST INDEPENDENCE UNITED STATES

Johann Heinrich Pestalozzi (d. 1827). A Swiss theorist and educator whose
ideas influenced early 19th American educational philosophy. In summary the
philosophy as it affected music was:

1. Teach sounds before signs—Have the child sing before he learns the written
notes or their names.
2. Learn by doing—By hearing and imitating rather than explaining, that
is, active learning as opposed to passive.
3. Teach one element at a time—Rhythm, melody, and expression are taught
one at a time before the child is asked to perform the more complex
task of combining them.
4. Master each step before proceeding—Practice until perfect.
5. Teach the principles of theory after practice. The student should be able to
do the thing before he learns the theoretical basis.
6. Analyze and practice the articulation of sounds. Practice rhythm, melody,
and tone production in order to apply them to singing.

Pestalozzi principles were applied to music by Hans Nageli and Michael

Pfeiffer in Switzerland and brought to America by such educators as E.A. Shel-
don, William Woodbridge, and Horace Mann. The application of the ideas to
music teaching in America was due to Elam Ives and Lowell Mason.

Lowell Mason (1792-1872). The most important music educator in the

19th century in the United States. Mason began his career teaching music as a
sideline in Savannah, Georgia, but soon moved to Boston where he was the
director of three church choirs in 1827. In 1832 he established the Boston Acad-
emy of Music for teacher training. In 1834 he published a handbook for singing
school teachers called “Manual for Instruction,” based on Pestalozzi principles.
During the school year 1837-8 he worked as a music teacher in the Hawes
School free of charge in order to prove the value of music instruction to the
Boston School Board. His efforts were successful and the following year he and
four assistants were contracted to teach music in the upper elementary grades.
While music instruction had sometimes been informally offered in other school
systems prior to this, the action by the Boston School Board was the first rec-
ognition of music as an official part of the school curriculum.

Pioneer Period (1838-1861). From this beginning, the idea of music as a

school subject spread to other cities. The first teachers of music in the schools
were former singing school teachers. The methods used were the same but the
difference was that all were able to study music, not just those who were willing
to pay.
Two other developments occurred which had an influence on public school
music education. In 1853, in Cleveland, Ohio, a plan was started in which the
classroom teacher taught music to her children under the supervision of a music
specialist, an idea that was to spread in the next decade.
 Post Independence United States 11

The second event took place in 1857. Through the efforts of John Aiken,
the Cincinnati, Ohio schools began music instruction in the primary grades.
Before this, only the upper elementary grades had received music instruction.
It was not until 1869 that music was offered at the high school level, in Boston.

Post Civil War (1861-1905). After the conclusion of the Civil War, music
education in the United States became more and more the responsibility of the
classroom teacher. By 1885 specialist teachers taught very little of the elementary
music. This was due to several causes but mainly the lack of specialist teachers.
The singing school movement was gone and the colleges had not yet begun
training music teachers on a large scale. The result was the creation of several
“methods” designed to help the musically untrained classroom teachers.

The Various Methods. Hosea Holt developed a method based on the major
scale. The student first learned to sing the scale, then the intervals found within
the scale. The method used a scale ladder, five finger hand signals, and much
tonal and rhythmic dictation. Julius Eichberg rejected Holt’s ideas and developed
a method based on using actual songs to learn to read music. S.A. Weaver
established a vocabulary of tonal and rhythm patterns by imitation which were
first learned by rote, then written out and read. These are but a few of the many
methods devised during this time.
The primary emphasis of the latter 19th century was on the development
of music reading ability with a minimum of rote singing. As the century closed,
however, many educators were able to see that children were unable to apply
what they had learned and so a search for a new philosophy was begun.

Early Twentieth Century (1905-1950). In the early 1900's a shift occurred

from the educational philosophies of Pestalozzi to the learning theories of John
Dewey. The “Child Study Movement,” as it was called, was reflected musically
by attempts to show that every child could be taught to sing. Demand for music
lessons increased and the “song method” became the accepted method of teach-
ing. The guidelines for music teaching were “music for all children’ and making
music an enjoyable experience.
The aims of music at the turn of the century were divided. One school of
thought held that reading was important and everything else was secondary.
The second school of thought held that the most important thing was to get the
children to sing and like it. As the century progressed these two blended together
with the major emphasis being placed on the latter position. Other important
events of the early twentieth century included:
1. The increased development of high school music
The beginnings of school orchestras (1900
+)
The beginnings of school bands (1910 +)
The custom of buying larger instruments by the schools
GS) Music appreciation began to be taught in the high schools (the first
ek
ge
Sh
such classes by Francis Clark in Ottumwa, Iowa)
6. Piano classes began in the public schools about 1931
As the shift from teacher centered (Pestalozzi) to child centered (Dewey)
methods continued, creative activities such as dancing and musical games were
introduced into most programs. This trend continued until the scientific age of
sputnik arrived followed a few years later by the ‘accountability’ pressures of
the 1960's. In the harsh light of reality, music educators began to realize that
nothing was actually being taught, at least nothing that could be seen, or mea-
sured, or used as justification for the continued funding of the music program.
12 Chap. 1.3 / Music Education—The Past

Added to this was the indisputable fact that children and the public in
general did not enjoy music any more than previous generations, and perhaps
not as much. Accordingly, teachers once more began to search for new ways
of teaching music in the elementary school. Teaching ideas of Carl Orff, Zoltan
Kodaly, and others were imported and tried. The major development of the
second half of the twentieth century may well be the completion of the process
of blending selected parts of the new systems with the best of the existing
procedures.

References: 395, 405, 430, 445, 460

 TEACHING SYSTEMS

The pedagogical thinking of American music educators is being influenced by

the philosophies of Zoltan Kodaly and Carl Orff to an increasingly greater ex-
tent. The principles set forth by Kodaly and Orff were in turn influenced by two
other educators, John Curwen and Emile Jaques-Dalcroze. From Curwen by way
of Kodaly, came the system of tonal syllables used in most schools and from
Dalcroze by way of Orff came many of the principles of movement we now use.

A. THE TONIC SOL-FA SYSTEM

The Tonic Sol-fa system was originated in 1844 by Rev. John Curwen in order
to improve the singing of his congregation. After a visit to the school operated
by Sarah Glover in Norwich, he was so impressed that he used her system as
a basis for the development of his own. He changed some of her syllables to
make them more singable, changed the ‘scale ladder” to ‘‘modulator’’ and
extended it to include all keys. He freely borrowed the ideas of others to develop
his own teaching system. In 1867 he resigned his pastorate to devote his full
energy to the new system. The use of the Tonic Sol-fa system spread rapidly
and the demand for qualified people to teach it resulted in the establishment of
the Tonic Sol-fa College in London in 1875.
Singing was a popular pastime in England and there were many systems
in use in addition to Tonic Sol-fa. One of these was originated by John Hullah.
His Lancastershire system was based on a fixed Do in contrast to Curwen’s
movable Do. Hullah stressed the use of syllables to a lesser degree than Curwen
and it was not until 1875 that he found it necessary to provide syllables for
chromatics.
The Tonic Sol-fa system came to the United States with the immigrants of
the time and in many cases was modified to fit individual or local tastes. The
system was used in its original form in Chicago in the late 19th century by
William Lawrence Tomlins, a former manager of the Tonic Sol-fa College. The

13
14 Chap. 1.4 / Teaching Systems

system also found acceptance in many eastern states where it generally replaced
the older Fasola syllables. In most cases, the entire system as conceived by John
Curwen was not adopted.

Some Features of the Tonic Sol-fa System

1. Primary purpose: To develop singing from conventional notation through

extensive ear training and the use of syllables.
2. Training should begin with aural experiences not visual (a doctrine
borrowed from Pestalozzi).
3. The method has three primary stages (Curwen 1854)

(1) Students imitate the teacher (rote) then learn to sing from the ‘“mod-
ulator.”
(2) Students are taught to sing from sol-fa notation.
(3) Students are transferred to conventional notation.

4. Techniques for teaching pitch:

(1) Qualities of the scale are made clear to the students’ ears. (Do the
home tone, Ti the leading tone, etc.)
(2) Syllables are introduced one by one and placed on the ‘“modulator.”
(3) Reading progresses from the syllable name to the use of just the
first letter. (Do to d, Re to r, etc.)
(4) Students learn to read this notation, then learn to sing using only
a neutral syllable such as “‘lu.”
(5) Each new sound is introduced by ear from the context of the song
being learned.
(6) Sounds are taught by leap, not step.
(7) Chromatics are introduced as soon as the diatonic scale is learned.
(8) Minor is treated as a mode using La as the tonic.

The importance of the Curwen system is that so many of his ideas are
sound and the validity of many have been verified by research. His ideas have
been used in this country for some time and in recent years have been re-
introduced through the Kodaly system. While the Tonic Sol-fa system has fallen
into disuse, the influence of Curwen’s ideas is still quite strong.

B. LA RYTHMIQUE/EURYTHMICS

La Rythmique, or, as it is known in English-speaking nations, Eurythmics, was

conceived by Emile Jaques, a French-Swiss educator and musician. He began
his experiments with eurythmics in 1892 as a teacher at the Geneva, Switzerland
Conservatory. He established a school at Hellerau, Germany (a suburb of Dres-
den), where among his students were the composer Ernest Bloch and the dancers
Pavlova, Nijinsky, and Mary Wigman. Later in Geneva he founded the Institut
Jaques-Dalcroze which was followed by similar schools in Europe and the United
States.

References: 390, 409, 410, 411, 412, 413, 414, 415, 416, 417, 418, 419, 420, 425, 431, 436, 438, 443,
461, 471, 482, 484, 495, 498
 Orff-Schulwerk 15

Eurythmics—The System

Eurythmics is based on the human body and music in relation to each other in
time and space. As originally conceived, it had three areas of emphasis:

1. Rhythmic gymnastics
2. Solfege singing and ear training
3. Keyboard improvisation

All of these were based on practical harmony.

The innovative part of the system was the rhythmic gymnastics and it was
this part that was introduced into the United States. It was meant to develop
self expression through rhythm and was not meant as a means of teaching
physical education, although often adapted for this.
In its simplest form, the student beats tempo with his arms and steps the
rhythm of the notes, or claps the notes and steps the beat. One of the objectives
was to be able to change the beat from arms to feet and the rhythm of the notes
from feet to hands instantly on signal.
In the advanced stages of the program, the student is expected to develop
independent muscle control and do such things as a 3/4 rhythm with his left
arm, a 4/4 rhythm with his right, a 2/4 with his head, and a 5/4 with his feet,
all simultaneously.
Later developments taught that all movement should be done in one smooth
motion and thus it began to resemble ballet. The training was always directed
toward the importance of the experience of moving to music and not to the
movement itself. As developed later Rhythmic Gymnastics had three stages:

1. Rhythm—the physical realization of the note values

2. Plastic—the smooth unbroken movement of the measure or phrase
3. Form—the combination of the previous two into an entire composition

One of the advantages of the system was that it allowed students to ex-
perience great musical works which they might otherwise be incapable of per-
forming in any other manner. In the advanced stages, the system made use of
Bach fugues and piano works of Rachmaninoff.

C. ORFF-SCHULWERK

Carl Orff was born in Munich, Germany, in 1895. He is best known in this
country as the originator of the Orff-Schulwerk for children, but is also a sig-
nificant composer of the early twentieth century. Perhaps his best known work
is ‘Carmina Burana,” a scenic cantata based on 13th century poems.

The Early Orff-Schulwerk

In the 1920’s young people were captivated by a new feeling for the body, for
sport, gymnastics, and dance. Jaques-Dalcroze had been largely instrumental in
preparing the groundwork with his Institute for Music and Rhythm at Hellerau.
Rudolph von Laban and Mary Wigman were at the height of their careers. Von

References: 399, 400, 404, 422, 429, 444, 445, 446, 447, 448, 449, 450, 451, 452, 453, 454, 465, 467,
474, 477, 480, 486
16 Chap. 1.4 / Teaching Systems

Laban was an outstanding teacher and dance choreographer and his book on
the dance was considered one of the best. Mary Wigman, a student of Dalcroze
and admirer of von Laban, was a great artist and enjoyed a wide following. It
was a time when numerous schools for dance and gymnastics were being es-
tablished, most on the Dalcroze model.
Carl Orff, along with Dorothea Guenther, established the Guenther Schule
in Munich in 1924. Its primary purpose was rhythmic education: students were
taught to move to music as was customary in dance and gymnastic schools of
the time. Unique to the school was the emphasis upon xylophones and other
mallet instruments, along with a variety of small non-tonal rhythm instruments,
to supply the music. (Dalcroze and his imitators employed the piano to provide
the music for movement.) Orff recognized very early that the piano was unsuited
for his purposes and together with Karl Haendler, a piano and harpsichord
manufacturer, designed a special family of instruments to be played by his
students. With the addition of recorders, gambas, and small kettle drums, the
“Orff ensemble” was complete.
The bass part of the ensemble was supplied by kettledrums, low xylo-
phones, bowed strings such as cellos, fidalos, and gambas; along with plucked
strings such as guitars and lutes. The melodic portion of the music was supplied
by recorders and small glockenspiels, while ostinati were played on middle range
mallet instruments.
Some music was composed using folk music as a basis, but most was
improvised. Ensemble parts were learned by imitation and played from memory.
Notated melodies were not used and music reading was seldom done. In 1930,
a series entitled ‘“Schulwerke” was begun which included a large body of music.
This series, created with the assistance of Gunild Keetman, was intended as an
anthology of musical and pedagogical ideas, not as a text for student use.
During World War II, the Guenther Schule was destroyed by bombing,
along with all of Orff’s original instruments. Not until 1948 was Orff asked to
recreate his ensembles for use by children on the Bavarian radio. With this
broadcast series, Orff-Schulwerk was reborn with one important change. Where
earlier the Guenther Schule and Schulwerk materials were intended for older
children, this time materials and instruments were made for use by small children.

Later Schulwerk

After the war, with the assistance of Klaus Becker, a former student of Haendler,
instruments were once again built for use in the ensembles. (Becker later started
his own company known as Studio 49.) In 1949 Gunild Keetman joined the staff
of the Mozarteum in Salzburg to teach courses in Schulwerk. Interest in the
system spread, and it began to find its way abroad. Doreen Hall introduced it
into Canada, Daniel Hellden to Sweden, Mina Lange to Denmark, and others-
to Europe, the United States, Latin America, Israel, and Japan. The series ‘Music
for Children,” successor to the original Schulwerk, was also translated into
numerous languages for use throughout the world.
One of the pioneers of the Orff method in the United States was Grace C.
Nash. As clinician, consultant, teacher, and author, she has probably done more
toward spreading the principles of Orff in this country than any other single
person. Her series entitled “Music with Children” consists of music, materials,
and suggestions for teaching and collectively constitutes one of the primary
sources of practical materials available to music teachers in the United States.
There have been many important leaders of the Orff movement in the U.S.
including Arnold Burkhart, Isabel Carley, Nancy Ferguson, Ruth Hamm, Konnie
Saliba, Elizabeth Nichols, Jacobeth Postl, Martha Wampler, Lillian Yaross, and
 The Kodaly Concept 17

others. Overall direction is now provided by the American Orff-Schulwerk As-

sociation (AOSA) and its publication the Orff Echo.

General Principles

The Orff-Schulwerk is a self-motivating, creative musical development process

which incorporates the active participation of students in singing, rhythm, move-
ment, and playing especially designed musical instruments. By starting at the
simplest level, the child is led gradually from natural speech rhythms to rhythmic
activities, to melodies and ostinati growing out of rhythm patterns, to simple
harmony. The melodic starting point is the falling minor third, or natural child-
hood “call” motive. This is gradually expanded until the children are singing
accurately in the pentatonic scale. Spoken nursery rhymes, nonsense speech,
children’s names, and similar materials are imitated by stamping, clapping,
patting, and snapping, and on rhythm and melodic instruments. The whole
process moves from the imitation of speech, rhythm, or melodic material ac-
companied by physical movement to the use of this material in creative im-
provisation. As the program unfolds, the material gradually increases in complexity
while the overall process remains the same. The emphasis is always on listening,
feeling (moving in response to the music), and creativity.

D. THE KODALY CONCEPT

Zoltan Kodaly was born in 1882 in Kecskemet, Hungary. He studied piano,

violin, and cello and at age 16 wrote a setting of the mass. He continued his
music study at the Academy of Music in Budapest under Hans Koessler. In 1907
he was appointed teacher of theory at the Budapest Academy and later appointed
as a teacher of composition.
His works include operas such as ‘Hary Janos’ (1926) plus orchestra, cham-
ber, church music, and mass settings. He became interested in the collection of
authentic Magyar (Hungarian) folksongs and continued this study throughout
his life. The composer Bela Bartok shared a great interest in folk music, and he
and Kodaly collaborated prior to World War II in the search for folk melodies.
As might be expected, folk music plays a central role in the Kodaly system.
During World War II, the Russian army overran Hungary, defeating the
Hungarian and German armies, and the intensive fighting caused widespread
destruction. Hungary’s post-war Communist government asked Kodaly to re-
organize the music in Hungarian schools, and the system he devised has become
widely known as the Kodaly Concept.

The System

As did Orff, Kodaly recommends teaching young children the falling minor
third (So-Mi). At first, he uses only the pentatonic scale (Do,Re,Mi,So,La), be-
lieving that half-steps are difficult to sing and should be introduced later. Ko-
daly’s system also uses handsigns for pitch indication (from Curwen), rhythm
syllables (from Cheve), unaccompanied singing, and ear-training (imitation).
Kodaly borrowed liberally from Dalcroze, Curwen, and others. The result is one
of the most carefully structured and efficient music literacy teaching systems
yet devised.

References: 171, 2, 96, 36, 135, 91, 169, 15, 10, 183, 109, 108, 136, 106, 455, 110, 117, 34, 189, 130,
163, 153, 129, 74, 139, 472
18 Chap. 1.4 / Teaching Systems

Beginning early is basic to the system. Kodaly has been quoted as saying
musical training should begin nine months before the child is born. An excellent
presentation of the philosophy of the Kodaly system may be found in The Kodaly
Context ([80]).
Like the Orff-Schulwerk, the Kodaly Concept has spread from its country
of origin to various parts of the world, and it can now be found on all continents.
Much of the credit for the initial introduction into the United States must go to
Mary Helen Richards. Her publication Threshold to Music based on the teaching
of Kodaly was the vehicle by which many were made aware of the method.
Denice Bacon, one of the first U.S. educators to go to Hungary for extended
study, founded the Kodaly Musical Training Institute in Wellesley, Mass. In the
years since, other schools have developed noteworthy training programs de-
voted entirely to teaching the Kodaly method, such as Holy Name College in
Oakland, CA, Silver Lake College in Manatowoc, Wisconsin, and the Kodaly
Center of America in Wellesley, Mass., to name a few.
Overall direction of the movement in this country is provided by the Or-
ganization of American Kodaly Educators (OAKE), currently in Thibadeaux, La.,
and its publication The Kodaly Envoy, first edited by Christine Jordanoff and Betsy
Moll.

References: 384, 143, 171, 87, 80, 81, 99, 421, 7, 187, 188, 24, 89, 94, 481, 490, 492, 129, 162
 RESPONSIBILITY FOR THE MUSIC
PROGRAM

Those who teach music bear a variety of titles of which the following five are
the most common.

A. CLASSROOM TEACHER

According to the most recent surveys, approximately 20% of all music instruction
in the elementary school is handled by the classroom teacher. The classroom
teacher, as a teacher of music, has these advantages:

1. Theclassroom teacher is more likely to know each child more intimately

than is the typical specialist teacher.
2. The classroom teacher is more familiar with the activities of the whole
school day and can fit music in at the most advantageous place in the
schedule.

The classroom teacher, as a music teacher, may also have these disadvantages:

1. Inadequate preparation in the field of music.

2. The classroom teacher may feel indifferent or inadequate and convey
these attitudes to the children.

B. MUSIC CONSULTANT

The music consultant is a helping teacher who assists the classroom teacher in
the operation of the music program. Consultants generally have these duties:

1. Demonstrate techniques of teaching for the benefit of the classroom

teachers.

19
20 Chap. 1.5 / Responsibility for the Music Program

2. Handle musical experiences which may be beyond the classroom teach-

er’s ability.
3. Suggest appropriate materials and activities.
4. Assist the classroom teacher in self improvement.

C. MUSIC SPECIALIST

Approximately 80% of the elementary music programs are handled by a music

specialist. The specialist should be a highly skilled musician. The duties of a
specialist are:

1. Teach music classes as assigned.

2. Function as a resource person for anything pertaining to music.
3. Assist with plays and programs involving music presented by the chil-
dren in the building in which the specialist works.

D. MUSIC SUPERVISOR/COORDINATOR

This person plans, coordinates, and supervises the music program in a district
or other designated area where there is more than one music teacher involved
in a single program. The duties of the supervisor vary greatly depending on the
particular school district in which he/she is employed. The music supervisor
may also perform the functions of a music specialist and/or a consultant.

E. COMBINATION TEACHER

This person is employed under a wide variety of titles and may perform the
duties of two or more of the preceding. An individual in this capacity may be
referred to as: music teacher, music supervisor, music consultant, music resource
teacher, music instructor, music specialist, director of music, coordinator of
music, or other titles.

A study by the National Education Association in the 1960’s published data

identifying who was responsible for the music programs in the United States.
Information is based on replies from 657 schools. In a 1977 study, the author
surveyed teachers and administrators in five states (Mississippi, Louisiana, Ar-
kansas, Oklahoma, and Texas) and found the following: In comparison with the
earlier NEA study, it was found that classroom teachers are responsible for less
music teaching, while music specialists are doing more. The only exception to
this trend seems to be at the kindergarten level, where a substantial portion of
the music programs are handled by classroom teachers.

References: 427, 440, 475, 489, 573

 Combination Teacher 21

NEA Study—1960 N = 657

Music Classes Taught By—

Classroom
Tchr-Music Music
Classroom Coordinator Specialist No music
Grade Level Tchr Only Combination Only Offered

Young Study—1977, N = 500

Music Classes Taught By—

Classroom Tchr- Music

Classroom Tchr Music Coordinator Specialist
Grade Level Combination Only

References: 427, 440, 475, 489, 573

 WHO IS MORE EFFECTIVE?

Opinions vary as to what organizational plan is most effective for music instruc-
tion. The available studies indicate that a typical classroom teacher who has
some ability in music, has had sufficient training in the craft of teaching music,
and is given adequate support from a supervisor or coordinator can teach music
as well as a music specialist in the lower elementary grades (K—3). With children
older than this, however, the best results are consistently obtained by music
specialists.
Studies indicate the effective teacher is one who...

1. Makes it a point to be as well acquainted with the students as the

typical classroom teacher. This involves knowing their musical strengths
and weaknesses, their personality traits, and their physical and mental
development.
2. Has the ability and training of a typical music specialist, that is, has
majored in music in college, or in lieu of this, has minored in music
and teaches under the supervision of a well-trained supervisor/coor-
dinator.

Studies also reveal that the successful teacher has more experience, is older,
married, has a long history of music activity, and had a higher grade point
average (GPA) in college. The successful teacher is also one who is determined
to improve, is able to organize and present lessons, and has a higher degree of
musicianship.

References: 523, 539, 555, 560, 563, 566

22
 THE ADMINISTRATOR’S VIEW
OF MUSIC TEACHERS

Several research studies have dealt with what characteristics superintendents

and principals look for when hiring elementary music teachers. Consistently at
the top of the list are these:

Musicianship (musical training)

Self control
Teaching skill
Ability to maintain order
ae
tae
get
AM Interest in teaching

Among the traits considered least important when hiring a music teacher, are
(1) performance ability, (2) general cultural knowledge, (3) teaching experience/
number of years of experience.
Administrators’ opinions of the most common weaknesses seen in music
teachers have also been surveyed several times. These studies show the greatest
weaknesses in these areas:

Lack of ability to maintain discipline

Lack of teacher self control
Lack of cooperation with colleagues
Lack of ability to communicate
Bers Insufficient teaching skill
ia
elle
SAO

Basically, a musical person who knows how to teach and is interested in doing
a good job will get the position while a teacher who doesn’t keep order, doesn’t
know how to teach, or has personality problems will be terminated.

Evaluating Teacher Applicants. A list of eight criteria suggested for adop-

tion in Texas for assessing teacher applications shows some similarity to the
23
24 Chap. 1.7 / The Administrator's View of Music Teachers

above but also contains some important additions. Each criterion is given a
weighting commensurate with its overall importance relative to the others. The
complete assessment form is shown on the following pages. Part One deals with
the eight criteria used to grade the personal interview of the applicant while
Part Two is for grading the written application.

GRADED EVALUATION CRITERIA FOR ASSESSING TEACHER

APPLICANTS

Part One—Personal Interview

A. EDUCATIONAL BACKGROUND 10 points

Exceptional experience, broad background/training (10)
Broad background and training (7)
Average background and training (9)
Below average training (0)
Poor education (— 10)
B. PERSONALITY Ba ea e ed . 10 points
Inspires confidence, outgoing, enthusiastic (10)
Above average (7)
Average (5)
Evidence of interpersonal difficulty (0)
Hostile, defensive, or withdrawn (— 10)
C. ABILITY TO COMMUNICATE. 8 points
Conveys ideas well, is articulate (8)
Good use of words (6)
Acceptable (4)
At a loss for words frequently, or is verbose
without being able to express an idea (2)
Limited in vocabulary and/or grammar (0)
D. VOICE, SPEECH, ARTICULATION . 6 points
Excellent inflection, volume, articulation (6)
Easily understood (4)
Average (3)
Is not easily understood (0)
Unpleasant or unacceptable voice or speech style (—6)
E. EMOTIONAL STABILITY 6 points
Secure, alert, confident (6)
Manifests good judgment (4)
Exhibits average judgment (3)
Rigid or immature attitude (0)
Insecure, moody, won’t face responsibility (—6)
F. APPEARANCE, POISE, NEATNESS, GROOMING . 4 points
Exceptional (4)
Above average (3)
Satisfactory (2)
Poor taste (0)
Appearance is a handicap (=2)
 Graded Evaluation Criteria for Assessing Teacher Applicants 25

G. GOALS AND PHILOSOPHY OF TEACHING . 4 points

Professionally minded career teacher (4)
Shows interest in students’ needs (3)
Seems well intentioned (2)
Appears questionable (0)
Shows little or no interest in teaching a)
H. COMMUNITY RELATIONS POTENTIAL 2 points
Broad interests, would participate in a variety of
community activities (2)
Shows positive interest in activities outside her
immediate circle (1)
Average (0)
Occasional interests (En)
Places minimal or no value on activities of others (—2)
Part Two—Written Application

A. APPLICATION NEATNESS/COMPLETENESS/ABILITY
TO FOLLOW DIRECTIONS . 5 points
Outstanding (5)
Above average (4)
Good (3)
Fair (2)
Poor (1)
B. EDUCATIONAL TRAINING . 10 points
M.A. or honor B.A. (10)
Prepared in major field to be taught (7)
B.A.—Average student (5)
B.A.—Prepared in unrelated field (0)
Weak student (—5)
C. EXPERIENCE atts Sumani: UA soi . 10 points
Experience in the field + student teaching (10)
Related experience and/or student teaching (7)
Non-school teaching experience (5)
Related experience (0)
Observation, association only Ca)
Dy REFERENCES: = . 25 points
Outstanding references (25)
Above average references (15)
Good references (10)
Fair or incomplete references (0)
Poor references (—50)
The highest possible score is 100 points:

Part One—The Interview +50

Part Two—The Application +50
Possible Total +100
26 Chap. 1.7 | The Administrator's View of Music Teachers

ACTIVITIES AND STUDY QUESTIONS

FOR CHAPTER ONE

iF Invent a lesson plan for a hypothetical kindergarten class that includes

songs and activities addressing as many language reading readiness
skills as possible (e.g., listening skills, auditory discrimination, se-
quencing, etc., see page 4).
Select one of the five types of music programs discussed in Section 1-
2 (Functional, Traditional or Song type, Musical Literacy, Musicianship,
Blended) that you think is superior to the others. Write a short essay
supporting your belief. Consult the reading references cited at the end
of this section for additional information that will support your posi-
tion.
Write a “journal article’ on one of the early educational philosophies
(Greek, Roman, Pestalozzi, singing school, etc.). Discuss why their
ideas and techniques were appropriate in their time and describe which
of their ideas, if any, are applicable today.
Compare any two of the teaching systems discussed in Section 1-4
(Tonic Sol-fa, Eurythmics, Orff-Schulwerk, Kodaly). In what ways are
they similar and in what ways do they seem incompatible?
Make a list of the positive and the negative aspects of employing each
of the five types of individuals discussed in Section 1-5.
Using your own background as a reference point, how many of the
music teacher categories discussed in Section 1-6 have you experi-
enced? Which was the most effective and why do you think so?
Use the graded evaluation criteria chart and rate yourself on each of
the eight areas of Part One—Personal Interview. Make a plan for im-
proving any area you ranked low.
Write a letter of application and a vita page that you will submit to a
hypothetical employer. The letter should include at least three para-
graphs:
(1) Outstanding training you have had
(2) Significant experience that will aid your teaching
(3) Personal information, organizational affiliations, or honors and
awards you have received
The vita page should include these sections:
(1) Personal information—(name, mailing address, phone numbers
where you can always be reached with best times to call)
(2) Education—(list all schools, dates of attendance, degrees and
diplomas received and pending, and major areas of study)
(3) Teaching experience—(dates, places, duties including private
teaching experience)
(4) Other work experience—(dates, places, duties. Include any part
you may have had in organizing and operating contests, con-
ferences, concerts, musicals, etc.)

The overall purpose of the application letter is to introduce yourself and

highlight the important items in your vita that sets you apart from all other
applicants. The purpose of the vita is to list every aspect of your personal,
educational, and experiences that a potential employer might wish to know.
References: 526, 532, 572
 ACCOMPANYING INSTRUMENTS

An essential skill a teacher of music must develop is the ability to accompany

oneself and the children. The value of a harmonic chordal accompaniment to
the development of tonality in children has been confirmed by Gordon, Nye,
Smith, and others. It goes without saying that the larger the number of instru-
ments the teacher can satisfactorily play and the greater variety of his or her
accompaniment styles, the more interesting the music class will be for the
children.
The ways in which chordal accompaniment assists the teacher are:

Rhythmic: Provides a steady beat and helps develop the concept of duple-
triple meter differences
Melodic: Helps children maintain pitch, assists development of in-tune sing-
ing, helps them develop melodic independence since the melody is not
provided.
Remedial: Playing background harmony for echo games assists the insecure
and the out-of-tune singers in correcting their problems.

For use with small children, an instrument should be selected which has
a soft tone quality, or timbre. The guitar and the baritone ukulele are two of the
better choices since they are easily tuned, hold their tuning well, can be easily
played, and may be carried with ease. With these instruments the teacher may
move among the children at will or hold music class outside. As the children
grow older and acquire more musical skills, they may perform more complex
songs and concerted works, for which the piano is well suited. Thus, the min-
imum skills of every music teacher should include the ability to improvise ac-
companiments and read from chord symbols on a portable instrument (guitar
or ukulele) and to improvise simple accompaniments and read from notation at
the piano.

Suggestions for the Beginning Accompanist

1. Satisfactory accompaniments can be produced for most children’s songs

by using just three chords in a given key:

I chord = containing the Ist, 3rd, and 5th tones of the scale or DO - MI -
SO.
References: 435, 470, 487

D4
28 Chap. 2.1 / Accompanying Instruments

IV chord = containing the 1st, 4th, and 6th tones of the scale or DO - FA
- LA.
V’ chord = containing the 2nd, 4th, 5th, and 7th tones of the scale or RE
- FA - SO - TI.

2. When the melody of the song is on the pitch DO, the chord to play is
either I or IV (since DO appears in only these two chords). When the melody
is on RE, the best chord to play is V’ since RE is only sounded in the V”. When
the melody is on a pitch that is found in two chords, the accompanist must
determine which chord to use on the basis of how it sounds. The beginning
accompanist should try to memorize the table below which shows the three
basic chords and the pitches that are heard in each.

Chords pitches found in each chord

I DO -- MI ~ SO - ~— DO
IV DO -- — FA ~- LA- DO
Vv’ = RE FASO = TI —

a. Start by strumming once on each beat (////). Later this can be varied by
strumming twice on each beat.
b. Finger the chords appropriate for just the pitches that fall on the beat.
Disregard those that fall between the beats.
3. The beginning accompanist should learn two major keys (D and G) and
one minor key (Em). After these are learned, C major and A minor may also be
useful. Of course, the more chords and keys you can master, the more useful
your accompanying skills will be.
Most children’s songs contain only two or three different chords. Only
occasionally will there be more. The chords you should know are shown in the
table on the next page.
The beginning accompanist may wish to obtain a capo for use in changing
keys. This device allows the player to use a few known fingerings but still play
in any key.
Practice changing from chord to chord within a single key without losing
the beat. When first learning to chord a guitar or ukulele, keep the right hand
steady. Even though the left hand may not be able to make the chord changes
on time, at first, the right hand gets you through the song with its steady beat.
The beginner must overcome a tendency to stop strumming until the left hand
is in place; nobody can sing to this irregular accompaniment, as there will always
be stoppages and hesitations. However, an accompaniment with a continuous
steady beat, can be used even if some of the chords are missing.
Here is a table of the most frequently used chords:

Key I IV IV V7

C Major G D’ (F) G’
D Major D E? G A’
G Major G A’ (S D’

E minor e sf* Am B’
A minor a Sis Dm E’

*sf = seldom found in children’s song literature.

There are three major chords, five dominant seventh chords, and two minor
chords that are most important. The F chord in the key of C major is more
difficult to play and may prove unusable for the beginner.
 FRETTED INSTRUMENTS

The fretted instruments include guitars, ukuleles, mandolins, banjos, some

members of the lute family, and several kinds of hybrid combinations of these.
The only ones suitable for continued use in the lower elementary grades are the
guitar and the baritone ukulele.
The term fret refers to both the metal strips placed along the fingerboard
that delineate the musical scale and the space between the strips. Thus, when
one speaks of placing the finger on the first fret, reference is being made to the
first space between the frets not the metal strips themselves.

Strumming Styles. There are many different strumming styles of which

these are probably the most useful for the beginner:

1. Thumb strum—Strum downward with the thumb on each beat.

Bass-chord strum—Play the root of the chord alternately with the chord.
The bass note is played with the thumb and the chord by either the
thumb or the backs of the fingers (nails).
3. Alternate bass-chord strum—Play the root and chord as above followed
by the fifth of the chord (alternate bass note) and the chord again.
4. Thumb finger pluck—Bass note played by the thumb, followed by three
strings of the chord plucked simultaneously by the first three fingers.
5. Broken chord—Strings of the chord are played one at a time in a
plucking fashion.
6. Banjo brush—Up and down strumming.
7. Blues brush—Up and down strumming in a long-short “blues” style,
similar to 6/8 meter (| h | h).

29
30 Chap. 2.2 / Fretted Instruments

A. GUITAR

The guitar as it is usually found today is a six string instrument about three feet
in length with an open sound hole and flat front and back. The classical type
generally has nylon strings, a graceful body shape, and 12 frets between the
body and the head containing the tuning pegs. The non-classical type (also
called “grand concert” or ‘country western’’) has steel strings, a pick guard, an
end pin for a guitar strap, and 14 frets between the bulbous body and the peg
head.
Both types are tuned the same, E,, A,, D,, G,, B', and E’. For use in the
elementary classroom, metal strings should be replaced with nylon for comfort
in playing.

Tuning. There are three different ways to tune the guitar:

1. Use a tuning device. This “tuner” is actually six individual pitch pipes
one for each string on the guitar.
2. By matching the strings to the corresponding notes on a piano.
3. By approximate tuning.
Step 1: Tune the 6th (lowest) string to the pitch E (or as near as you
can approximate it).
Step 2: Place a finger on the fifth fret of the sixth string and match
the sound of the 5th string to this.
Step 3: Place a finger on the 5th string at the fifth fret and match the
sound of the 4th string to this.
Step 4: Place a finger on the 4th string at the fifth fret and match the
sound of the 3rd string to this.
Step 5: Place a finger on the 3rd string at the fourth fret and match
the sound of the 2nd string to this.
Final step: Place a finger on the 2nd string at the fifth fret and match
the sound of the Ist string to this.

The guitar may be played with the fingers or with plastic or metal picks.
Picks may be the type that fit over the thumb and fingers or the flat type held
between the thumb and finger. For the player who knows only a limited number
of chord fingerings, a capotasto (also called a ‘’capo” or “cheater’’) may be attached
to the fingerboard which in effect shortens the strings and raises the pitch of
the entire instrument allowing several keys to be played using just one set of
fingerings.
Many teachers also use the guitar in Orff ensembles. When so used, it is
normally tuned to open fifths or to a major tonic chord. In this manner it need
not be fingered and can be strummed by the smallest of children.

Fingering Charts. In the following fingering charts, x indicates strings that

are not played, o indicates open strings that are sounded, and numerals indicate
which finger is placed on each string.

References: 69, 436, 479

 Baritone Ukulele 31

B. BARITONE UKULELE

The baritone ukulele is larger than the commonly seen soprano. The four gut
or nylon strings are tuned the same as the upper four strings of the guitar (Dj,
G,, B', and E’). The instrument sounds good and is one of the better choices
for the elementary music teacher. It has screws through the center of the tuning
pegs which must be kept tightened to prevent slipping out of tune. Some players
feel that substituting one or more nylon guitar strings for the usual gut results
in a better tone, especially in the case of the highest pitched string (E’).
The baritone ukulele may be tuned with a tuning pipe, matching to the
piano, or by approximate tuning as described under the guitar section.
The instrument is played with the bare fingers or with a felt pick. It has
the advantages of the guitar: good sound, portability, and is easy to keep in
tune. It is also smaller than the guitar and is more easily handled in the classroom.
It lacks the bass strings of the guitar, however, which necessitates chording on
every beat rather than using a bass-afterbeat pattern as may done with the guitar.

References: 464
32 Chap. 2.2 / Fretted Instruments

MAJOR MINOR Dominant 7 Minor 7 Major 7 Diminished 7 Augmented

x ox e) xx

A EA Chet’: A EAC Gh Arehaiche:

- FbBbDb
A» - - FBbD FH

- DbFbAbC Fb - DbF ADC EF - - Fb CH DbA - - F A DbF

 Baritone Ukulele 33

MAJOR MINOR Dominant 7 Minor 7 Major 7 Diminished 7 Augmented

x XO XO x xO xx O tO} EOun© x ©

- GbBbebGb - - - Ebpbp G - - eEbpbelbch - .

O O00

EqBeEVGEBTE
xX X xX xX x xX

' {Maal en

G8 DG BG’ G:DsGi6)'D'G -G'B DGB F Gio.F BbD'G G's DG B FR -» PBDdG Gs DIG BG

34 Chap. 2.2 / Fretted Instruments

MAJOR MINOR Dominant Minor 7 Major 7 Diminished Augmented

7 O O iO

Eb Ab cb Gb Eb Ab Ch G Eb Ab ch Gb

F AbDDF Fb Ab Db Fb F cb pb ab Fb cb Db Ab Fb chDb Ab
 Baritone Ukulele 35

Dominant Minor 7 Major 7 Diminished Augmented

G BbEbG Gbeb Bb cb
One

EXGYBWE

Fo AYCor

: = i
FRA
cH re FH at ct ef
O 000

Hh
D BDG DAGHEME F BbDG DGB Ff F BbDbG
ean
en
|
age
ggg)
OS

KEYBOARD INSTRUMENTS

Keyboard instruments may include pianos, organs, accordians, and a few others
of which usually only the piano is suitable for use in the elementary music class.

PIANO

The piano has two major disadvantages for the elementary music class. It is
generally immobile and tends to be too loud for accompanying young children.
This in turn encourages loud singing with a resulting rocus, poor quality vocal
sound. In addition, singing loudly usually causes children to sing flat, or under
the pitch, which hinders the proper development of tonality.
The piano is extremely well suited for use with upper elementary grades,
although it is poorly suited for use with young children. Almost all songs for
older children have piano accompaniments and since most schools already own
a piano, it is necessary for a teacher of music to have some facility.

Fingering Charts. The following fingering charts show the primary bass
note (P) for each chord, an alternate bass note (A), and a three note chord for
the right hand with numbers corresponding to the fingers to be used in playing
it. These chords may be used for chordal accompaniments similar to those played
on the baritone ukulele or guitar.

References: 436, 464

 eeei eu Swi Oe 22-0
3) KE 38
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Chap. 2.3 / Keyboard Instruments

5a)
2]
<tee
or
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24

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 STRINGED BASS INSTRUMENTS

There are few instruments small enough to be used by elementary children and
of sufficient size to produce a bass sound. Of those available, the gamba and
the cello-bass are probably the most suitable.

A. GAMBA

The term viola da gamba actually applies to an entire family of bowed instruments
which were extremely important to the music of the 15th through 17th centuries.
The instrument that is often called a gamba today is the bass member of
the family. It normally has six strings and is tuned D,, G,, C,, E,, A!, and D’.
Some examples have only four strings. Both types may be plucked or bowed.

B. CELLO-BASS

The cello-bass is an instrument consisting of the body of a cello fitted with the
machine-screw tuning mechanism of the larger string bass.
The traditional tuning of the cello is C,, G,, D,, and A’. It may also be
tuned as is the double bass viol E,, A,, D,, and G, (the same as the lower pitched
strings of the guitar). As with the guitar, a third tuning (D,, G,, C,, and F,)
allows the instrument to be played in the keys of G or C using all open strings.
When used in this manner, it can be successfully played as a plucked bass by
children as young as eight years old.
The tunings and pitches available in the first four finger positions on each
instrument are shown on the following finger charts.

References: 436, 464

41
42 Chap. 2.4 / Stringed Bass Instruments

FINGERINGS FOR STRINGED BASS TYPE INSTRUMENTS

GAMBA CELLO-BASS (3rd tuning)

QD

oOo
D G C E A D open D G Cc F

Eb Ab -ODb Ramp a UEb Ist Eb Ab Db Ft

Ey DAG hake aD 2nd A D G
F Bb Eb (G elkCrie 3rd F Bb E> Ab
FH 6B E Ab Db Ff 4th Ft B E A

CELLO (traditional) BASS-VIOL*

eee =
oOo
€ G D A open E A D G

Db Ab Eb Bb Ist F Bb Eb AD
D A E B 2nd Ft A
ED BP F 3rd G C F Bb
E B Ft Db 4th Ab Db FH B
*The bass-viol is notated as shown but sounds one octave lower.
A cello or cello-bass tuned like a bass-viol would sound at the notated pitch.
 0

CHORDING INSTRUMENTS |

A. CHORD ZITHER OR AUTOHARP*

The autoharp is a modern-day adaptation of the zither, an instrument which

can be traced from the time of the ancient Greeks. It consists of a number of
bars which extend over all the strings. The undersides of the bars are padded
in such a manner as to allow only certain strings to sound. Each bar is labelled
with the name of the chord which will sound when that bar is depressed. The
usual manner of playing is to hold the instrument in the crook of the player's
left arm, depressing the bars with the fingers of the left hand and strumming
with the right.
An alternate way of playing is to lay the instrument on a flat table de-
pressing the bars with the left hand and strumming with the right. Strumming
is accomplished by use of a pick of felt or plastic. In the absence of a pick, a
plastic cap from a ballpoint pen will work well. Strumming is always from the
lowest pitched strings to the highest.
The chord zither, or autoharp, is probably the easiest to play and the most
difficult to tune of any of the chording instruments. The tuning must be adjusted
frequently by means of a wrench, a task which takes considerably more time
than that needed to tune a guitar. Nevertheless the autoharp is a good instrument
to use as a change from the usual guitar sound and also because elementary
age children can be taught to play it and accompany themselves and their class.
Autoharps are made in a variety of styles, body shapes, and come with a
varying number of chord bars. Electric models and detachable pickups are also
available. The fifteen bar model is more frequently used in the classroom and
has the bars arranged as shown below.

D Gm A’ Dm E’ Am D7
E> F’ B> (&% F G’ C G

“Autoharp is a registered trademark of Oscar Schmidt International. Similar instruments made by

other companies bear other brand names.
43
44 Chap. 2.5 / Chording Instruments

Since most children’s songs use only the I, IV, and V’ chords, the player should ©
place three fingers on these chord buttons, depressing the one desired. By
keeping the fingers touching the buttons that will be used, there is no need to
look at the instrument while playing.

B. OMNICHORD*

The Omnichord is an electronic instrument that is played similarly to a chord-

zither (autoharp) but is altogether different from it. The Omnichord is possibly
the easiest of all accompaniment instruments to play and is usually very popular
with children in the music class.
The Omnichord is capable of many functions, among which are—

1. It can play chords in rhythm automatically.

It can be strummed similarly to the autoharp.
3. It has various settings for accompaniment styles (rock, country, swing,
Latin, etc.).
4. Newer models can be programmed to play a set series of chords freeing
the teacher to place more attention on the children in the class.
5. The chord keyboard can be converted to a melody keyboard for playing
melodies.

In addition to all this the Omnichord can be equipped with a foot pedal control,
can play on a.c. current or batteries, can be fitted with an external speaker for
more volume or a microphone for singing.
There are two models of Omnichord, Omnichord I and Omnichord II.
Omnichord I is simpler and more dependable to use. Omnichord II is more
sophisticated and can perform more functions. Many teachers prefer Omnichord
I. While somewhat more expensive than a guitar, it is by far easier to play and
can be considered a necessity in the modern classroom.

*Omnichord is a registered trademark of Suzuki International.

References: 93
 | RECORDERS

RECORDER

The beginning of the recorder can be traced back to the twelfth century
to the
time of the troubadours, and before. The predecessor instrument,
known as the
flagelot, was a cylindrical bore instrument of cane. The recorder as we now
know
it was perfected in the late Middle Ages and has remained basically unchang
ed
since that time. It was known as a flauto (flute) by J. S. Bach and was differ-
entiated from the flauto transverso (cross flute) on musical scores of
the time.
After 1750 the recorder fell into disfavor because of its inability to perform
loud
passages and the cross flute became the favored instrument. The latter has now
become known simply as flute and is seen today in almost all orchestras and
bands. After a period of inactivity, the recorder has been revived in the twentieth
century as a recreational instrument. It has been found to be extremely useful
as an aid in teaching elementary children to read music, and as an important
addition to the Orff classroom ensemble.
The sound is produced by air passing over a sharp edge at the top of the
instrument called a fipple. The bore is conical tapering to a small hole at the end
of the instrument. The tone is soft and mellow and care must be taken not to
overblow the instrument. When played softly, the pitch tends to flatten and as
the volume of air is increased, the pitch rises. Due to the resulting difficulty in
making dynamic changes without loss of tuning, some instruments are fitted
with an “echo” key or hole which sharpens all pitches on the instrument so
that softer playing in tune can be achieved.
The usual recorder group consists of soprano, alto, tenor, and
bass. There
is also much literature for just soprano, alto, and tenor. Many
arrangements
have sopranino parts. A separate contrabass part is rarely found in commerci
ally
published literature.
Two fingering systems (the German and the 18th century Baroque or
English)
are in common use, and while the differences are few, they are importa
nt for
tuning. Tuning problems are fewer if all the children in a single
class use in-
struments with the same fingering system.
45
46 Chap. 2.6 / Recorders

Recorders are manufactured in several sizes:

United States term British term Range Length

Deeg a eh
Octave Soprano Sopranino C3—D*® 16.5 cm.
Sopranino Octave F2-G4 25 cm.
Soprano Descant Cp 30) Cue
Alto Treble F'!_G 50 cm.
Tenor Tenor C!_D3 66 cm.
Bass Bass F!_G? 100 cm.
Contra-bass Contrabass ¢€,=bD? 122) "ems

Recorders are available in wood or plastic. The plastic instrument is more

economical and is particularly suited to use by elementary school children. It is
less subject to damage from misuse or from moisture and temperature. Care
should be taken to select the right model, however, since plastic instruments
vary in quality. The better quality, higher priced, and best sounding recorders
are made of wood, usually pearwood, rosewood, or maple.
Elementary music teachers should have recorders in two sizes for their
own use. Children learn on the soprano, and the teacher should have one for
use as a demonstration instrument. The alto may be used by the teacher to
provide musical examples for echo singing and dictation, to introduce song
melodies, to play interludes between song verses, and otherwise as a voice
substitute. The pitch of the alto most closely matches the vocal singing range
of young children.

Introducing the Recorder

Alto Recorder. The alto recorder should be introduced first as a teacher's

instrument. This may be done at any level but is perhaps best suited for Level
Seven, or sometime in the First Grade. The alto recorder is used for playing
melodies, for improvisation, for ostinati, and for echo work, and as a voice
substitute for the teacher’s voice. (Talking and singing for six hours a day strains
almost any voice.)

Soprano Recorder. The soprano may also be used as a teacher’s instrument

along with the alto. It is, however, pitched much higher than children can sing
and should be used by the teacher in ways in which the children will not need
to match the pitch.

TEACHING THE SOPRANO RECORDER

General Principles

1. Holding the recorder

Left hand: Thumb on the back hole/fingers on the top three holes.
Right hand: Thumb on the back of the instrument/fingers on the
lower four holes.
 Teaching the Soprano Recorder 47
2. Producing a tone
Blow gently and begin all sounds with the syllable “DU” (not
TU or
TEE):
3. Lip position
Open your mouth slightly—place the recorder on your lower lip—
close your mouth gently.
Keep your teeth and tongue out of contact with the instrument.

When and How to Start

Introduce the soprano recorder as a student played instrument in

the fourth
grade. Before this age, the children may not have developed adequate
coordi-
nation to use the instrument comfortably. Begin with songs that the
children
know and have already sung.
1. Start with one or more MRD songs on large class charts.

* First, sing the song(s) in G major.

Por—aG
Re =A
Mis——8
¢ Next show the fingering for B; practice playing it.
* Do the same for A and G.
* Now play the song.
* Explain “Du” style of producing the tone.
* Play the song again using correct tongue positioning.
* Orchestrate the song like this:
Introduction (mallet instruments)
Sing a verse with mallet instrumental accompaniment
Instrumental interlude (mallet instruments)
Play a verse using recorders.
Coda (mallet instruments)

Repeat this process with other MRD songs until these three pitches are
secure.
Along with learning to read music notation with the recorder, you should
perform echo playing and improvisation games using the recorders. At this
point introduce the treble clef, and G major key signature (if this has not already
been done) and begin calling the lines and spaces by their letter names.
2. After B, A, Gare secure, teach low E (La) and low D (So) and use songs
for singing and playing that contain S, L, and DRM.
3. Next teach F-sharp. This will allow you to place Do on D (to play and
sing in D major) as well as on G for G major.
4. Next introduce the fingering for F natural along with the fingerings for
third space C and fourth line D. This will allow:

* Basic pentatonic songs in D (DRMSL = DEF#AB)

* Basic pentatonic songs in F (DRMSL = FGACD)
* D-S songs in G (DRMFS = GABCD)
* La pentatonic in D minor (L, DRMS = DFGAC)
* Extended pentatonic songs in G (S,L,DRM = DEGAB)
48 Chap. 2.6 / Recorders

FINGERING CHART FOR RECORDERS IN C p. 1

(E = English) 98
(G = Germany)
(E) (G) (E) (G)

LEFT
HAND
RIGHT
HAND
f-~
;—

HAND—
RIGHT
HAND
LEFT
~~
,;—
/= Cover only half hole, or one of the double holes.
(1) Where more than one fingering is given, the normally used one is first
Where there is a difference in English & German fingerings they are designated E & G,
 Teaching the Soprano Recorder 49

FINGERING CHART FOR RECORDERS IN C p. 2

(E = English)
(G = Germany)

HAND
RIGHT
LEFT
HAND
-—
(2) Alternate fingerings should be used only if the primary fingering
(the 1st one) is not in tune.
50 Chap. 2.6 / Recorders

FINGERING CHART FOR RECORDERS IN F p. 1

HAND
RIGHT
LEFT
HAND
--
-

HAND
(-RIGHT
HAND
LEFT
5-
/= Cover only half hole or one of the small holes of a pair
(1) Where more than one fingering is given, use the one that sounds best in tune.
 Teaching the Soprano Recorder 51

FINGERING CHART FOR RECORDERS IN F p. 2

RIGHT
iP
HAND
LEFT
f~

io ie

p-
ie
RIGHT
HAND
LEFT
>
/=Cover only half hole or one of the double holes
(1) Always use he fingering that sounds best in tune,
52 Chap. 2.6 / Recorders

5. Now introduce low C. This allows playing basic pentatonic songs in C

major as well as additional songs in D minor that may require low So.

¢ Basic pentatonic songs in C (DRMSL = CDEGA)

¢ D minor pentatonic (S,L,DRMSL = CDFGACD)
¢ Extended pentatonic songs in F (S,L,DRM = CDFGA)

6. Next teach B-flat (3rd line) and play diatonic songs in F major as well
as G minor.
7. At this point you can read commercially printed songs in recorder books
and teach other fingerings as needed, but continue to stress playing echo games
and improvisation with no printed music. Always sing all songs before they are
played. If necessary, sing the songs in a vocally comfortable key then play them
on recorder at a different pitch level.
8. Some material is available that has recorder descants and countermel-
odies which may be used.

Common Problems

1. Overblowing. Overblowing causes the instrument to play sharp and produces

a poor sound. Extreme overblowing causes the instrument to sound in the upper
harmonics with a shrill unpleasant tone. Always remind the students to blow
gently!
2. Playing out of turn. Develop the habit immediately of resting the instru-
ment on your chin when not playing. This will prevent most “accidental” sounds.
3. Poor hole covering. Improperly covered holes cause most of the shrill
“squeaks.’’ Emphasize that the holes must be covered by the fleshy or fat portion
of the finger called the pad.

* Practice feeling the hole with the pad.

* Practice playing simple tunes by “popping” the finger pads on the holes.
* Find the pad by snapping the fingers: where the thumb presses the finger
before the snap is the pad.

4. Unsteady holding. Sometimes the instrument ‘‘wobbles” if the child is

not sufficiently coordinated.

* At first, let the child hold the instrument in his right hand by grasping
the instrument around seventh hole or bell section. (This can be done
while learning to play BAG.)

Recorder Method Books: 43, 164, 52, 126, 147, 145, 144, 146, 31.
References: 385, 387, 436
 MALLET INSTRUMENTS

A. ORFF INSTRUMENTS

The term “Orff Instruments” or as they are often called, “the instruments,”
refers to a group of small mallet instruments used in classroom ensembles,
especially in programs using the Orff-Schulwerk approach. These are usually
augmented by a set of small timpani or timp-toms plus a few stringed instru-
ments (guitar, cello-bass, or lute) and assorted hand percussion. The entire
collection comprises an instrumentarium.
Instruments are made in diatonic models (corresponding to the white keys
of the piano) but chromatic add-on units may be purchased which make any
instrument fully chromatic. Models vary considerably: most use a box resonator
system, but some manufacturers supply models with tube resonators. A char-
acteristic feature of Orff instruments is that all bars are removable so that only
those pitches to be played need be left on the instrument. This procedure elim-
inates incorrect sounds.
Instruments are available in three basic varieties according to the material
used for the tone bars. Each is available in several sizes:

1. Glockenspiels. Usually available in two sizes, soprano and alto. They

are provided with tempered steel bars and are struck with mallets made of
rubber, wood, or plastic depending upon the quality of tone desired. As part
of the total ensemble, they play ostinato and glissandi figures, and play melodies
in choirs of metal instruments. The alto and soprano are often doubled in octaves
for more depth of sound.

2. Metallophones. These instruments have bars of aluminum alloy and

are available in the following sizes: soprano, alto, and bass. Some manufacturers
supply combination soprano-tenor and alto-tenor models as well as contra-bass bars
sold singly. They are usually played with mallets of rubber or felt. The aluminum
bars produce a darker sound than the glockenspiels and resonate longer than

53
54 Chap. 2.7 / Mallet Instruments

any of the other mallet instruments. For the latter reason, they are usually
assigned slow moving or sustained parts. They are often used for providing
sustained chordal type backgrounds and for doubling the xylophones in slow-
moving ostinato figures, where more sounding length is desired.

3. Xylophones. These instruments are available in three basic sizes; so-

prano, alto, and bass. Some companies also make a smaller sopranino size plus
soprano-tenor, alto-tenor, and contra-bass bars. The bars are usually made of fi-
berglass or rosewood but some companies supply bars made of other hard-
woods. Because of the short resonating time of the bars, xylophones are usually
given moving ostinato parts. Where more duration of tone length is desired,
the addition of a metallophone of the same size is customary. Normally one
metallophone combined with two xylophones of the same size produces a sat-
isfactory balance of sound. When used alone, xylophones can provide a happy,
exciting type of accompaniment.

Order of Acquisition for Orff Instruments. Due to the cost of instruments,

it is not always possible to purchase an entire set at one time, although the total
cost of a basic instrumentarium is the same as a good quality piano.
The first instrument to buy is an alto xylophone. This is the easiest sound
for children to hear in pitch matching and is in the same general range as most
children’s voices.
The second instrument purchased should be one of contrasting timbre.
Usually this is a metal instrument, alto glockenspiel or alto metallophone.
The third instrument should be something to provide a bass sound. The
best choice is a bass xylophone although some prefer a set of timpani for their
third choice. Small children sometimes lack the muscular control necessary for
playing the timpani and often play too loudly. For this reason most teachers
prefer a bass xylophone.
After these three have been acquired, it is simply a process of filling in the
extra voices. A basic instrumentarium consists of these:

1 soprano glockenspiel
1 alto glockenspiel Meta! group
1 alto metallophone

1 soprano xylophone
1 alto xylophone Wood group
1 bass xylophone

1 set of timpani
hand percussion (cymbal, hand drums, triangle, tambourine, wood block)

After the basic instrumentarium has been assembled, additional instru-

ments might be added to increase the tonal range and provide more possibilities
for varying the sound. A more complete instrumentarium might consist of the
following:

Xylophones
Sopranino Xylophone (for special effects) —1
Soprano Xylophone —2
Alto Xylophone —2
Bass Xylophone —2
Contrabass single bars (C, D, F, G, A)
 Ranges and Sizes of Orff Mallet Instruments 55

Metallophones
Soprano Metallophone —1
Alto Metallophone —1
Bass Metallophone —2
Contrabass single bars (C, D, F, G, A)
Glockenspiels
Soprano Glockenspiel —2
Alto Glockenspiel —2
Percussion
Set of four timpani
hand percussion (bass drum, timbales, hand drums,
snare drum, log drum, temple blocks, wood blocks,
suspended cymbals, crash cymbals, finger cymbals,
triangles of 2-3 sizes, tambourines of 2-3 sizes, bell
spray, castanets, shakers, and rhythm sticks)
Stringed Instruments
Guitar EES)
Cello-bass or Gamba —1

RANGES AND SIZES OF ORFF MALLET INSTRUMENTS

Note: All of the mallet instruments are written in the same range. If written in
the treble clef, the lowest note is always middle C (C’). If written in the bass
clef, the lowest note is always second space C (C,). The usual ranges are shown
on the staves below. The upper limit may vary with some models.*

cise Bass
Clef

Instrument Written Range Sounds

Glockenspiels (tempered steel bars)

Soprano C!-A3 treble clef Two octaves higher
Alto C!—-A$ treble clef One octave higher
Metallophones (aluminum alloy bars)
Soprano C!—A$ treble clef One octave higher
Alto C!-A$ treble clef As written
Soprano-Tenor * C_-At treble clef As written
Alto-Tenor * C!-C3 treble clef As written
Bass C,-A? bass clef As written
Contra-bass (single bars) F,-B! bass clef One octave lower
Xylophones (wooden bars) (occasionally fiberglass or composition)
Sopranino C'-A? treble clef Two octaves higher
Soprano C!-A3 treble clef One octave higher
Alto CAS treble clef As written
Soprano-Tenor * C!-A‘ treble clef As written
Alto-Tenor * C'-C3 treble clef As written
Bass C,-A? bass clef As written
Contra-Bass (single bars) F,-B! bass clef One octave lower
56 Chap. 2.7 / Mallet Instruments

Placement of the Players

Method 1. Position the players so that they face the rest of the class. This
allows the teacher to function between the instrument ensemble and the rest of
the class. This plan allows the teacher to be in the best position for class control
but also allows the opportunity for the non-playing class members to distract
the players.

Instrumentarium

Remainder of the class

 Ranges and Sizes of Orff Mallet Instruments 57

Method 2. Position the players so they face away from the rest of the
class. This eliminates the possibility of distraction but necessitates the instru-
mental ensemble being located between the teacher and the class, which might
have a negative effect on class control.

Teacher

ios. Instrumentarium

RX xXx XX
58 Chap. 2.7 / Mallet Instruments

Arrangement of the Instruments

1. Group by families: (1) wood, (2) metal, (3) timpani, (4) other. (Ifa com-
plete family of metallophones is used, these should also be kept as a
group.)
2. Put the lower pitched instruments in each family on the teacher's left
(similar to a piano keyboard).
3. Place the timpani near the teacher with the larger drum on the left.
This is because the sound of the timpani is a dominant voice and should
be played by the teacher, when necessary, to hold the ensemble to-
gether.
4. Position the players so the lowest pitched bars, or the lowest pitched
drums, are on their left.

Cello-Bass
Bass Drum
Temple Blocks
08
°

Strummed Guitar

Wg AM
Timpani sq

Teacher

B. RESONATOR BELLS

Resonator bells are distinguished by the fact that each bar is individually mounted
on its own resonator block. In this manner one bell can be given to each child
or any number of bells arranged for playing. In this respect they have the same
advantages as the removable bar feature of all Orff mallet instruments.
Resonator bells are usually supplied in chromatic sets of 1% or 2 octaves.
Range of the smaller set usually begins with middle C while the larger set extends
upward from G below middle C. Most companies paint the tempered steel bars
like a piano, that is, the diatonic notes are white and the chromatic are black.
 Bells with Fixed Bars 59

C. BELLS WITH FIXED BARS

1. Song Bells: Sometimes called melody bells, these instruments have tem-
pered steel bars mounted on a framework which may be carried from
place to place somewhat similar to bell lyra. The bars are nonremovable
and for this reason are less suitable for small children than either
resonator bells or Orff mallet instruments. The best use of these in-
struments is for the teacher to play counter melodies or melodies.
2. Step Bells: A particular type of fixed bar bell set. Usually made in one
octave, each bell is mounted on a stair framework so that each step of
the scale is one step on the framework up or down from the tone next
to it. This instrument is especially well suited for teaching pitch direc-
tion to non-directional singers (see page 106); research has shown it
to be one of the better and more efficacious ways of doing this. (At
least one company sells a stair shaped wooden framework upon which
you can place resonator bells for teaching the same concept.)

References: 11, 70, 125

 RHYTHM INSTRUMENTS

Rhythm instruments may be classified into two basic groups: those from which
you can obtain a musical sound and those from which you cannot. Many com-
panies sell rhythm instruments in sets at a lower price but these are sometimes
of an inferior quality. Where a choice must be made, it is better to have a few
instruments of superior quality than many of inferior quality.
The chart following shows examples of the instruments and number rec-
ommended that a well equipped music room should possess.

References: 289, 466, 501

60
 Rhythm Instruments 61

Bass drum Bongo Drums

20" or 24" w/stand

1 pair

Conga Drum
w/strap Hand Drums
10" & 12"
adjustable heads
a dozen

Indian Drums Timpani

from Taos N.M. rotary tuning

one large set of three

Snare Drum
14" head, 3" shell
w/stand

one

Castenets
symphonic type

1 set

Log Drum Rhythm Sticks

‘Blocks’ type 1/2" hardwood ZEEE

1 pair for each student

Temple Blocks Tone Block

Wood Block
62 Chap. 2.8 / Rhythm Instruments

C. Metal Sounds

Cow Bell Finger Cymbals

various sizes

three one pair

Crash Cymbals Suspended Cymbal

12" w/straps 24"

1 pair

Gong Triangles
at least 24" ribbed
various sizes

three

Cabaca
(Cabeza or Axatse

Maracas

2 pair , 2-3 different types SZ

Tambourine ) Wrist Bells 49)

Se) TO 4 ys (Bell Spray) 7 oD.
ve
t bells

Coconut Shells
from real coconut

one pair (2 halves)

Tuned Glasses

ean

eight tumblers a ay Lzd

 MELODY SYLLABLES _ |

The idea of using syllables to designate pitch dates from the ancient Chinese
and ancient Greeks. Our modern day syllable system, however, descends di-
rectly from that of Guido d’Arezzo (990-1050). He derived his syllables from
the text of a hymn to St. John, in which each line begins one tone higher on
the scale than the preceding one and the first word of each line begins with the
syllable used to designate that tone. The syllables derived in this manner were:

WtanRe esMirskasSom [a

Near the end of the sixteenth century, the French added a syllable (Si) to
the original Guido system making a seven tone diatonic scale.

Uta Res Migehas So. (Lay «Si

This system is still in use today in France. It is a “fixed DO” system in which
Ut is always C, Re is always D, and so on. For example, a ‘Concerto in Ut”
would be a Concerto in C.
Also near the end of the 16th century in Switzerland, a system originated
which used three pitches from the Guido scale plus Mi for the leading tone.

ipey Sie, ibe, Vey Sra) [hey Mii

This system found its way to America where it became known as the Fa-So-La
system. In 1802 William Little added shape notes to this system.

63
64 Chap. 2.9 / Melody Syllables

The Fa-So-La system and shape notes are still used extensively in the southern
United States by rural singing societies and those who call themselves sacred
harp singers.

FIXED AND MOVABLE DO

These terms refer to the way in which the syllables are employed. With the fixed
Do system, Do always refers to the pitch C. As in the French system, Re is D,
Mi is E, and so on. Every key has a different syllable name for its tonic note.
In the movable Do system, the tonic is always called Do, the second note
in the scale Re, and so on. Each has advantages but the movable system is by
far the most widely used.

Present-day Systems. Several varieties are found in use today but one of
the more practical and the one used throughout this book is as follows:

Flats Diatonic scale Sharps

Do (doh)

mens TI (tee)
Te (Tay) “is cn Li (lee)

Le (lay) ee a Si (see)

Se (say) a ae Fi (fee)

Fe (fay) 7; ae Ma (mah)

Me (may) caine Ri (ree)

Ra = (rah) Di (dee)
DO (doh)
Those chromatics marked with (*) are the most frequently needed.

Italian phonetic spellings are almost universally employed throughout the

western world and are shown in capital letters with the English phonetic pro-
nunciations following.

Writing Syllables. When the pitch is within the range Do to La, write
just the initial letter (D R M F S L) but when it goes above this range, use a
superscript (T’ D! R! M'). When pitches below Do are written, a subscript is
added. (T, L, S)).

Tonalities. Major songs use Do as a tonic, minor songs use La. Modal
melodies (Dorian, Phrygian, Lydian, Mixolydian) are best presented as major
or minor melodies with altered pitches. For example, the Dorian mode should
be presented as a minor with a raised sixth (Fi) instead of Fa. In like manner,
the Lydian mode becomes a major scale with a raised fourth. This method of
presentation is easier for elementary students to comprehend.
The table below shows the major-minor system. The scales are shown as
either major or minor with the pitches appearing in each. Pitches that are altered
from the basic scale are italicized.
 Fixed and Movable Do 65

Major Tonalities

Major DO RE MI FA SO LA TI DO
Lydian DO RE MI FI SO LA TI DO
Mixolydian DO RE MI FA SO LA ne DO

Minor Tonalities

Natural LA TI DO RE MI FA SO LA
Harmonic LA TI DO RE MI FA SI LA
Melodic LA TI DO RE MI eh SI LA
(ascending, descending is the same as the Natural Minor scale)
Dorian LA TI DO RE MI FE SO LA
Phrygian LA ie DO RE MI FA SO LA
References: 385, 436, 461
 HAND SIGNS FOR SINGING

Three methods for indicating pitch with the hand are in general use: (1) Directional,
(2) the Hand staff, and (3) the modified Curwen hand signals for specific pitches.

A. Directional. This procedure involves merely moving the hand up when

the pitch or melody rises and down when it descends. The distance the hand
is moved generally represents the size of the interval desired. This method is
useful when only the melodic direction is needed without reference to a specific
tonal syllable.

B. The Hand Staff. This procedure is an adaptation of the Guidonian

Hand (manus musicalis) and consists of letting the fingers represent the lines of
a music staff. The other hand is used for pointing to the desired pitch.

This method is useful for prereading experiences. Give the children the pitch
for Do while pointing to the little finger. After they are secure on this pitch,
point to another, back to Do, then another, and so on. Since all of the positions

66
 Handsigns for Indicating Melodic Pitch 67

are continuously represented, the interval relationships are readily seen and
remembered.

C. The Hand Signals. In the 19th century, John Curwen (see p. 13), along
with several others, employed a system of hand signs each of which indicated
a specific tonal syllable. The original Curwen signals have been modified and
added to through the decades but remain basically similar to the originals. In
general, the hand signs indicate not only a specific pitch but the harmonic
tendency of that pitch. For example, the closed fist (for Do) indicates a firm
feeling, the tonic. The sign for Re is an incline indicating the tendency for the
second degree of the scale to move upward. Similarly, the fourth degree tends
to move downward to the third, thus the down turned position of the hand.
In actual practice, the handsigns shown are all that are likely to be needed.
These will be sufficient to sign all major, minor, and modal melodies if the
major-minor system shown in Section 2-9 is used.
Handsigns are extremely useful for developing pitch names, melodic di-
rection, and interval relationships. They also provide a means of seeing as well

HANDSIGNS FOR INDICATING MELODIC PITCH AS THEY ARE

GENERALLY USED

Even with your :

forehead NG
&

Even with your eyes TI Ort. CTI)

CC

LA
Even with your throat

ice

Even with your chest =. “Te

FA
a
(Fa upside down)
Midway between throat
and waist Ml

RE
Even with your waist
68 Chap. 2.10 / Hand Signs for Singing

as hearing what the children are doing. They also provide the child with a
physical means of expressing the sounds he hears and sings. They should be
used from the very beginning so that they become second nature for the children.

D. Two Hand Singing. Divide the class into halves. The group to your
right follows the signs given by your right hand, the group to your left follows
your left hand. The groups sustain the pitch for as long as you hold a given
sign, breathing as necessary. Begin with both groups singing the same pitch.
Move only one group at a time; if they become insecure, bring them back to the
pitch being sustained by the other group. Two hand singing should be intro-
duced as soon as the children know three pitches (MI - SO - LA).

or

The purpose of this activity is to accustom the children to the sound of two parts.
This helps them with their vocal independence and prepares them for harmony
and other part singing activities later on.
 RHYTHM SYLLABLES

There are many syllable systems in use designed to reproduce a rhythmical

sequence. Because consonant sounds are more easily articulated and can be
pronounced with greater precision than can vowels, each syllable should begin
with a consonant.
Two rhythm systems appear to be superior for use with elementary school
children. Although each has been proven effective for use with elementary
children, since they are based on contradictory teaching philosophies the teacher
should select only one.

A. TA-TI-TI System. This is a slightly modified version of the system

employed by Kodaly, which in turn was derived from an earlier French system.
It is based on the written quarter note (TA) which is regarded as the fundamental
beat note. All syllables used in the system apply to specific written rhythm
notations. The system has both advantages and disadvantages.

Advantages:

1. It is easily understood by both teachers and students.

2. Several commercially available publications employ this system.
3. Many teachers find it comfortable to use.

Disadvantages:

1. Meter signatures that use notes other than quarter notes as a base are
difficult to “speak” (6/8, 9/8, 2/2, C, etc.).
2. Accents must be verbally stressed since there is no reference point for
accents.
3. The system, based on visual representation (how the notes look) rather
than aural (how they sound).
69
70 Chap. 2.11 / Rhythm Syllables

4. Special words must be learned to speak triplets and syncopation.

One of the better explanations of the TA-TI-TI system may be found in The
Kodaly Method by Lois Choksy.
The principal sounds used in the system, the notation, and the grade level
usually suggested for its introduction are illustrated in the following table.

Syllables Grade Level Notation Syllables Grade Level

Ta Ist Ti ta-i 4th

Ti - ti is eZ
pan — Ta-i ti is
Ta-a 2nd Ti-ti-ti (6/8) #
Ti-ri-ti-ri 3rd Ta-a-i (6/8) Y
Ti-ri-ti i Tim-ri 5th
Ti-ti-ri i Tir-rim
Syncopa Tri-o-la
TO, "
| tt now
MS
SM
NI "

heat
tL
ote
Tt
eet
TP
(The Ta-a-a

B. ONE-NE TWO System. This system (sometimes called Tometics) was

originated by an American music educator, Dr. Edwin Gordon, and is based on
the sound of the rhythm rather than the way in which it is notated. A fundamental
premise of the system is that music moves in pairs of beats which are heard as
being divided into two’s or three’s. Also basic to the system is the idea that
syllables should not be permanently associated with a particular note value.
Advantages:

ib, All beats begin on a number which provides an accented reference

point.
pak Duple division and triple division have separate syllables which make
it easier to aurally perceive rhythms.
3: No special syllables or words are needed for triplets or syncopation.
4. 5/8, 5/4 and other mixed meters are easily spoken.

tne, 2) na ni

5. The system can be easily transferred from elementary school to high

school.

Disadvantages:

L There are more syllables to learn at the beginning.

2. Teachers who learned to read rhythm by a visually oriented system
do not always feel comfortable with this system.

The principal sounds used in the system are shown in the following table.
A comprehensive explanation of this system may be found in The Psychology of
Music Teaching by Edwin Gordon.
 Rhythm Syllables 71

TABLE OF TOMETICS RHYTHM NOTATION

Meter Signatures: Lhe © ESBce

The Beat Note (1,2) 4 d doi a
The Divided Beat (1 ne 2 ne) = a [se Slee
Common Patterns:
d
(1 - (2)-) PPh A lata toe
(1
(1
ta ne ta, 2 ta ne ta)
ne ta, 2 ne ta)
igs is mie alta
(1 ta ta, 2 ta ta)
ayer bi ddl»
(1 ta ne, 2 ta ne) mah tae
(1 - ta, 2 - ta) Sale aes ae eam
(1 ne - ne) i» )
(1 - - ne) h
(1 ta -, 2 ta -) inl

Meter Signatures: Vee

The Beat Note (1,2) ai .
Divided Beat: (1 na ni, 2 na ni)
Common Patterns: ea
(1 - ni, 2 - ni) Dei
(1 ta -, 2 ta -)
(1 - - [2] - - ) (silent 2)
(1 ta ni, 2 ta ni)
(1 na ta ni ta, 2 na ta ni ta)
(1 na - ta, 2 na - ta)

Rhythm as Used in This Book

The rhythm curriculum presented in this book is based on the Gordon One-Ne
Two system, for, unlike any other rhythm system, there are practically no rhythm
patterns that cannot be spoken using this system.

References: 403, 435, 517, 574

72 Chap. 2.11 / Rhythm Syllables

ACTIVITIES AND STUDY QUESTIONS

FOR CHAPTER TWO

Tr Select five songs suitable for children. Using Roman numerals (I — IV —

V’, etc.), mark the points at which a chord change should occur. Then
write in the specific chords you would play if the song were to be played
in C major and G major. Use E minor and A minor, if the song is in minor
tonality.
Select a strumming style that you feel is appropriate for each of the songs
you have selected.
Select one song and learn to accompany yourself on the guitar using the
strumming style you have chosen for it. Sing the melody with words as
you accompany yourself.
Choosing a different song, do the same with the baritone ukulele.
Use the piano to accompany your singing for a third song.
Suppose you wish to add a bass instrument (cello-bass, cello, or gamba)
to your ensemble performing a song in C major. Which tuning would be
the easiest for young children to play and why?
Use the autoharp to accompany yourself on a song of your choice.
eS Use the omnichord to accompany a different song.
Teach someone how to play the soprano recorder on a simple song. Check
for improper playing habits that you detect. Use the teaching problems list
given in Section 2-6.
10. Using the “General Principles” paragraph as a guide, demonstrate correct
tone production, playing position, and bar removal for three different mal-
let instruments (xylophone, metallophone, glockenspiel).
i Produce an acceptable tone from each of the rhythm instruments described
in this section.
12 Locate a copy of “Sweet Betsy from Pike.” Write out the melody as it would
appear in all major, minor, and modal forms on a sheet of music staff
paper. Start each form on the note C. Use a key signature for C-major for
the three major sounding tonalities and a three flats signature for the minor
ones (see Section 2-9).
Ale Using a hand staff, lead the class in singing a song of your choice.
14. Using Kodaly hand signs, lead the class in sustained singing
153 Using handsigns, lead the class in two hand singing using handsigns.
16. Refer to the song “Old Brass Wagon” shown in Level 13 and ‘Tum Bal-
alaika” in Level 14. Speak the rhythms of both of these songs using the
Ta-Ti-Ti (Kodaly) syllables then the One-Ne-Two (Gordon) syllables.
17; Write out the rhythm of these two songs using the half note as the beat
note for “Old Brass Wagon” and the dotted half as the beat note for “Tum
Balalaika.”
Pee |
MUSICAL DEVELOPMENT |

Most children can produce a wide range of vocal pitches. The range within
which accurate singing takes place, however, is more restricted. Since the de-
velopment of melodic perception and the accurate reproduction of musical pitch
generally occur simultaneously, it is important that songs used with young
children conform to the limitations of their voices.
Research has indicated that most children will pass through some or all of
the following stages in the process of developing vocal accuracy.

A. The Speaker. This child tries to use his speaking voice rather than his
singing voice. His range is usually no more than two or three adjacent pitches
and the quality is often an unpleasant drone sound.
The problem is that the child does not know how it feels to use his singing
voice. The remedy is to show him how it feels. Encourage him to yell yoo-hoo
or high-ho or some other open vowel sound. The louder he yells the higher his
voice goes. This should raise his voice into a singing range. With young children,
the pitches produced will almost always be a falling minor third (So-Mi). The
next step is to get him to soften the yell without dropping the pitch. When this
is accomplished, have him elongate the call and then change it to other words
such as the days of the week, names of flowers, birds, etc. He will now know
how to use his singing voice but will probably be an Out-of-tune singer or a
Directional singer.

B. Out-of-tune Singer. This type of singer uses his singing voice but has
not yet learned to perceive melodic direction. If the melody ascends he may or
may not sing higher; if it descends he may sing higher or he may sing lower.
The result is largely chance.
The problem is his underdeveloped aural perception. The remedy is to
provide practice on pitch matching with visual aids to help him understand the
relationship of high and low as seen or felt, and high and low as heard. Echo
singing is by far the best answer. Along with echo singing, use hand signs and
body motions to physically demonstrate pitch direction.
73
74 Chap. 3.1 / Musical Development

For children with greater problems, have them get on the floor on their
hands and knees. Put his hands on the floor and call it Mi, call the wall So and
La the roof of an imaginary house. Other gross motor devices like this will often
help. Singing with step bells also works well.

C. Directional Singer. As the name implies this is a child who sings the
correct melodic direction but does not produce the correct intervals. For example,
this melody—

Sa will often be sung as == |

The problem is similar to the out-of-tune singer but not as acute. The child
does not hear the correct sounds but does hear the direction. The remedy is to
provide practice in imitation. Again, echo singing is the best answer.

D. Transposing Singer. This type of singer is able to perceive intervals

with a high degree of accuracy but is unable or unwilling to sing at the desired
pitch level. He will habitually transpose the melody to a more comfortable pitch
level where he will be able to sing with a reasonable degree of accuracy. The
transposition will usually be to a lower pitch level a fifth or an octave below.
The problem is probably physical. The child is not comfortable when sing-
ing at the desired pitch level. The remedy is to sing songs and echo games in
his pitch range and gradually work him up to the desired pitch. Make the whole
process into a game and praise him when he gets it correct even if the vocal
quality is less than you would like.

E. Beginning Singer. Children in this category will sing one to three pitches
with consistent accuracy while all others may or may not be correct. Accuracy
begins for most children around the pitch D above middle C. Ideally songs of
three note range such as “Hot Cross Buns,” “Hop Old Squirrel,” or ““Deedle
Deedle Dumpling” are best.

F. Lower Range Singer. At this stage of development, the child can sing
four to six notes consistently in tune within a range of B or C up to G or A. At
this stage songs of no more than six note range are appropriate. Of these 50—
75% should be pentatonic. “Old Brass Wagon,” ‘Hush Little Baby,” “Button
You Must Wander,” “Whistle Mary Whistle,” ““Lonesome Dove,” “Lavender’s
Blue,” “Oh How Lovely is the Evening,” and ‘Mickey Mouse March” are a few
examples of songs that stay within a six note range.

G. Middle Range Singer. At this stage children can now sing with ac-
curacy to B-flat above middle C and have a total pitch accuracy of 7 to 9 notes.
Along with this development, however, children encounter the ‘‘voice break,”
a region of insecure pitch or loss of control. This “break’’ occurs on A or B above
middle C for most students.
Any 6-note range song is appropriate for these students, plus certain octave
range songs. While the voice break persists, it is wise to use songs that avoid
the break by leaping over it, or moving down through it. Songs such as “I’m a
Little Teapot,” ““Heigh-ho” (from Snow White), “Five Goldfish,” “Riding in the
Buggy with Mary Jane,” and “See Saw Margery Daw” are appropriate.
 Musical Development 75

H. Upper Range Singer. At this stage, most students sing from A below
middle C to D above middle C, or higher. For some, the lower range extends
down to G below middle C. After the child develops his upper range he will
be able to sing the majority of songs recommended for elementary school. The
upper range is sometimes referred to as Full Voice.

Expectations

While every situation will differ, research has shown that children may be ex-
pected to progress as shown in the following chart when enrolled in a school
music program that emphasizes ear-training and music literacy. These data were
compiled from 1500 individual singing tests conducted with elementary school
children. The chart assumes a “typical’’ class of thirty. By the end of the kin-
dergarten year, slightly more than a fourth of the students can be expected to
be in one of the non-singing categories (Speaker, Out-of-tune singer, Directional
singer, or Transposing singer). As they progress through school, all gradually
move toward the upper range or full voice stage.

Grade Non-singers, Beginning Lower Middle Upper

e Out-of-tune, Singers Range Range Range

K 8 5 7 ») 5
1 0 4 8 7 11
2 0 2 7 6 15
3 0 2 3 6 19
4 0 0 1 6 23
5 0 0 0 3 27
*Calculated for a hypothetical class of 30 children.

References: 566, 568, 511, 509, 510, 506

 MELODY AND INTERVALS

It is very important, when teaching music to children, to present a problem that

is easy to solve. All children must have a chance to succeed. Choose a song or
an interval that the greatest number of children in the group are capable of
singing. A child who succeeds will try to do so again, but successive failures
lead to frustration, which can cause discipline problems.
Orff and Kodaly have both maintained that the earliest singing instruction
should begin with the falling minor third (So-Mi), and research has shown this
to be true with few exceptions. The natural call of young children is a descending
minor third. As children grow older, however, this call enlarges to a major third
(Mi-Do) and with adults sometimes becomes a descending perfect fourth (Do-
So,). The accompanying chart is a compilation of several studies dealing with
which intervals are easiest to sing at various ages. Note that descending intervals
are often easier to sing than the same pitches in ascending order.

THIRTEEN PITCH COMBINATIONS IN ORDER OF DIFFICULTY*

Kindergarten Ist grade 2nd grade 3rd grade 4th grade

S M—66% SMLS 69% SMLS 80% SMLS 74% SMLS 85%

SMLS—52 S M—67 SMD 74 SM D—72 SM D—84
M R D—41 D R M—61 S M—70 M R D—72 D LS—82
D T,L,—33 M R D—59 D T,L,—66 D T,L,—71 D T,L,—80
SM D—32 SM D—54 L,D M—64 DMS—71 L,D M—78
D S—32 D S—54 DL S—64 L,D M—70 DM S—78
D R M—30 L,T,D—53 M D L,—64 M DL,—69 D R M—76
M D L,—26 D T,L,—53 D S—63 L,T,D—67 M D L,—76
L,T,D—26 L,D M—53 D R M—62 D R M—66 D S—76
D L S—24 D L S—48 L,T,D—62 D S—65 S M—72
DM S—17 M D L,—46 D M S—60 D L S—65 M R D—72
L,D M—14 DM S—41 M R D—60 S M—64 D—D'—72
D—D’'—8 D—D'—32 D—D'—54 D—D'—57 L,T,D—69
*(Figures following each pattern indicate the percentage of the total group able to echo that pattern sung by a teacher.) Data were collected in the
spring semester in each case.

References: 509, 528, 529, 557, 560, 566, 567, 588

76
SO
RHYTHM DEVELOPMENT

There is less research into how children learn rhythm than there is about how
they learn melody, but certain facts seem to emerge.
First, in the case of young children, the number of sounds in a pattern seems
to be more important than the configuration of the pattern. The more sounds
in a given pattern of four beats, the more difficult it seems to be for young
children. It matters a lot less whether the pattern is in duple or triple.
Second, it has been fairly well established that words added to music help
younger children learn. Therefore the use of rhythm syllables to speak patterns
and the addition of poetry, verse, and prose to music as recommended by the
Orff-Schulwerk are decidedly appropriate. This is confirmed by recent research
(see Bernadette Colley, “A Comparison of Syllabic Methods for Improving Rhythm
Literacy,’”’ in Journal of Research in Music Education, Winter, 1987).
Finally, children prefer patterns that end on a strong beat rather than a
weak beat (afterbeat); they are easier for young children to hear and imitate.
The following chart shows the rhythms in four beat phrases that kinder-
garten, first, and second grade children were able to perceive and repeat. It can
be seen that first grade children appear capable of learning to read duple and
triple rhythms.

77.
78 Chap. 3.3 / Rhythm Development
EEE EEE’
Percentage of Correct Responses of Kindergarten,
First, and Second Grade Students on
Twelve Single Beat Rhythms

Kindergarten
Duple Pan AR nel Gaal cma Filemal
84% 81% 74% 54% 51% 49%

Triple (rap fli gh FARA

79% 59% 45% 38% 35% 27%
First Grade
Duple ea nmi 7 ylaaest Fi ail
94% 80% 80% 71% 68% 62%
Triple fa Le p arn Pan Magy AT 1
89% 59% 48% 42% 39% 38%
Second Grade
Duple toa Fr PA Filia as im
95% 95% 85% 79% 79% 77%
Triple rae em) FT A Fla TA
90% 77% 54% 52% 26% 26%

N = 335

ACTIVITIES AND STUDY QUESTIONS

FOR CHAPTER THREE

1. Analyze any children’s song on the basis of pitch range and text subject
only; determine which grade level would be most appropriate for its use;
and explain your reasons.
2. Consult the chart in Section 3-2 titled ‘Thirteen Pitch Combinations in Order
of Difficulty.” Decide which interval in the song you selected for number 1
above would be sung accurately by the least number of students in the class.
3. Examine the first ten songs in any basal series or book of children’s songs
on the basis of rhythm only. Identify one song from the ten that would be
easiest for children to learn to read. Defend your choice.

References: 552, 560, 574

 GOALS AND PHILOSOPHY

Every sensible program of instruction has certain goals and objectives. The
desired outcomes of the instructional effort group themselves into strata, each
relating directly to the time span involved.

Day to Day Goals

First, there are the day to day activities which have short range specific objec-
tives. Each daily lesson may contain one or more desired outcomes that should
result from having completed the various activities. For example, the goal for a
single day may be to learn a new song, learn to read a new rhythm, learn to
play a xylophone, and so on. The goal is immediate and is achieved on the day
the lesson is presented.

Immediate Objectives

As the days and weeks pass, singing, movement, playing instruments, and
listening activities all contribute toward the development of musicianship (feeling,
hearing, making music) and music literacy (reading, writing, and creating).

Specific Goals

As the program unfolds over the months and years, the various experiences
with music lead toward music appreciation (knowledge about music and the un-
derstanding of the various elements of music) and musical ability (the developed
ability to do work with and manipulate the sounds and symbols of music).

Long Range Goals

These in turn lead to the most far reaching goals of the music program: aesthetic
development (the emotional response), cultural understanding (of our and other
79
80 Chap. 4.2 / Long Range Goals and Objectives

nations’ ethnic, patriotic, and historical musical sources) and in a very few cases
the beginnings of vocational (or avocational) preparation.
The chart below illustrates these various musical goals.

GOALS AND OBJECTIVES IN MUSIC

Day to Day Activities and Experiences

With music the With music the With music the

Children can learn children can perform children can only
to read and but cannot read experience but can
write nor write neither perform, read
nor write

Immediate Objectives

MUSICIANSHIP MUSIC LITERACY

Feeling, Hearing, Reading, Writing &

Making music Composiing

Specific Goals

MUSIC APPRECIATION MUSICAL ABILITY

Understanding Ability to employ the

Knowledge elements of music

Long Range Goals

AESTHETIC CULTURAL VOCATIONAL ABILITY

DEVELOPMENT UNDERSTANDING (AVOCATIONAL)
 LONG RANGE GOALS AND OBJECTIVES

A. LONG RANGE GOALS OF THE MUSIC PROGRAM

1. Aesthetic Development: The development of the child’s aesthetic potential is

one of the more important goals of the music program. Aesthetic development
results from experiencing that which is beautiful, artistic, or emotion-provoking
in music. The degree of aesthetic response to music is often in direct ratio to
one’s knowledge of and exposure to music.
2. Cultural Understanding: The development of the student's cultural un-
derstanding involves experiences with the following:

¢ Music of the past which has influenced that of the present

* Music of the present
* Music of other countries and traditions

3. Vocational (Avocational) Skill Development: The development of musical

knowledge and skills that will prepare a student for a career in music or related
fields. For some, music will be a second, or part-time, career (or avocation), and
approximately ten percent of music students will ultimately follow a profession
or avocation in which music is a necessary ingredient.
It should be noted that these goals are not exclusive of each other but are
firmly interrelated.

81
 SPECIFIC MUSICAL GOALS

A. DEVELOPMENT OF MUSICAL ABILITY

1. Perception: Aural discrimination of basic musical elements. During this

stage, the student learns to hear, feel, and do. It is not necessary that he knows
the name of that which he is learning or even be aware he is learning. This
period of familiarization is sometimes called “unconscious learning.”
2. Realization: The transfer of a perceptual understanding to a specific sit-
uation. At this point the student is made aware of that with which he has already
become familiar. This is sometimes called “conscious learning.”
3. Theoretical Development: Working with the technical constructs of the
concept. In the case of music learning, this development proceeds from reading
to copying printed examples to writing from aural dictation.
4. Creativity: The ability to employ a concept to create new or original
combinations of musical sounds. This may either be written (composition) or
vocally or instrumentally improvised.

B. DEVELOPMENT OF MUSIC APPRECIATION

1. Listening, performing, and literacy (reading, writing) experiences

broaden the student’s knowledge of music through exposure to new
types of music.
2. These experiences provide insights into music with which the student
may already be familiar.
3. Knowledge and understanding provides the basis for the students’
ability to form judgments of specific performances.

82
Ce
IMMEDIATE OBJECTIVES el

A. MUSICIANSHIP

Musicianship may be defined as the ability to think musically, to feel and hear
the rhythm, melody, harmony, mood, texture, and timbre of music, and to make
music by singing and by playing instruments. These abilities are developed
through day to day experiences with singing, playing instruments, listening,
and moving to music.
This is the basis of the Orff-Schulwerk philosophy of teaching music ([Sing-
ing, Playing, Movement, Improvisation]).

B. MUSIC LITERACY

Music literacy consists of hearing (perception), reading, writing, and creating

music (composition). Literacy, like musicianship, is developed from the very
first day of music class through the acquisition of skills and the development
of musical concepts and their understanding.
Music literacy and “beautiful singing” form the basis for the Kodaly teach-
ing method.

83
 DAY TO DAY EXPERIENCES

A. DEVELOPING A CONCEPT

Step One—Preparation [Experiencing the Concept]. During this period

of time, songs, games, verses and recordings are employed to provide many
experiences with using the concept. This period of familiarization may be ac-
complished in a single day or it may take a period of several weeks.

Step Two—Presentation [Introducing the Concept by Name]. The child

is already familiar with the sound but now attention is called to it, it is shown
visually, and referred to by name.

Step Three—Practice [Reinforcing the Concept]. After a period of rein-

forcement (repetition) the concept should become a part of the student's think-
ing, and may then serve as a step toward learning more advanced concepts.

B. DEVELOPING SKILLS

Skills, unlike concepts, do not normally need a period of preparation. They are
usually introduced at the point where they are needed and then practiced sub-
sequently. The majority of skills taught in the elementary music class are physical
and manipulative. The student is shown how to do something and works to
develop the ability to do it (as in the case of learning to play an ostinato on a
xylophone). Concepts, on the other hand, involve a deeper understanding and
often call upon other, previously learned skills to achieve complete mastery.

84
 PLANNING FOR LEARNING

Planning is probably the most important skill a teacher must possess. A metic-
ulous plan by a teacher of average ability can result in exceptionally successful
learning on the part of the students. On the other hand, poor planning by a
teacher with exceptional teaching ability usually results in average or less than
average learning.
A teacher must engage in five levels of planning. The five levels are:

Long-range total curriculum planning

Planning for the year
Planning the achievement level
Teaching units
Daily lesson plans

At the beginning, it will be necessary to write all plans out in detail. However,
after months and years of experience, it will not always be necessary to write
them down.

A. THE TOTAL CURRICULUM

If you are a teacher of Grades 1-6, K-5, or some other spectrum of the elementary
music program, you must first determine what you wish to teach over the total
span of time you will have the students. As each student passes from Kg to Ist,
2nd, 3rd, 4th, 5th, and 6th grades, the musical materials and concepts should
be different through the grades. Obviously an older student should work on
more difficult or complex concepts.
This means that a long range plan of instruction must be devised to cover the
years a student will be in your charge. Such a long range curriculum is provided
for you on the following pages. It is divided into twenty-eight Achievement

85
86 Chap. 4.6 / Planning for Learning

Levels, each one building upon the previous ones. A typical music program
should cover three or four of these achievement levels in a school year. Some
schools will cover more or less than this. At the rate of four levels per year, the
curriculum provided will be sufficient for kindergarten to sixth grade. At the
rate of three per year, it will be enough for kindergarten through eighth grade.
Whether you use this curriculum or devise one of your own, decide what
it is that you want your students to know, or be able to do, and what kind of
musical experiences you want them to have in the five, six, or eight years that
you will be in charge of their musical education. In short, what will the students
be able to do when they leave you that they did not know when they came
to you?

MUSIC CURRICULUM—PART ONE: MUSICIANSHIP

Concept Level Approx. Grade

Singing—(Part-singing)
1. Singing songs with teacher-played accompaniments on guitar, 1 Kg. Fall
autoharp, baritone ukulele, or omnichord
2. Tuning sounds 5 First Fall
3. Two-hand singing 6 First Fall
4. Melodic canons (pentatonic) 9 Second Fall
5. Chants (sung ostinati) 10 Second Fall
6. Diatonic rounds 12 Second Spring
7. Partner songs 14 Third ‘Fall
8. Echo chains 16 Third Spring
9. Chord root singing 17 Fourth Fall
10. Countermelodies and descants 18 Fourth Fall
11. Two-part songs 19 Fourth Spring
12. Piano accompaniments 20 Fourth Spring
13. Singing chordal accompaniments 22 Fifth Fall
14. Three-part songs 23 Fifth Spring
15. Four-part songs 27 Sixth Spring
Singing—(cultural awareness)
1. Pioneer/historical songs AZ Fourth — Fall
2. Cowboy and Western songs 18 Fourth Fall
3. Patriotic and national songs 19 Fourth Spring
4. Mexican and Latin-American songs 21 Fifth Fall
5. Western and Northern European songs 21 Fifth Fall
6. Black-American songs 22 Fifth Fall
7. Hawaiian and Polynesian songs 22 Fifth Fall
8. Jewish and Near Eastern songs 23, Fifth Spring
9. Eastern European songs 24 Fifth Spring
10. American Indian songs 24 Fifth Spring
11. Early American songs (1800—present) 25 Sixth Fall
12. Far Eastern songs 26 Sixth Fall
13. American songs of the twentieth century Mf Sixth Spring
14. Currently popular and recently published 27 Sixth Spring

Concept Level Approx. Grade

Instruments—Order of introduction
1. Guitar, baritone ukulele, omnichord, and autoharp played by 1 Kg. Fall
the teacher as accompaniments for songs used in class.
2. Alto xylophone Z Kg. Fall
3. Alto metallophone 4 Kg. Spring
4. Soprano xylophone 6 First Fall
5. Alto recorder, played by teacher 7 First Spring
6. Bass xylophone 7 First Spring
7. Soprano glockenspiel and alto glockenspiel 8 First Spring
8. Timpani, classroom size 10 Second Fall
9. Guitar, strummed 11 Second Spring
 The Total Curriculum 87

Concept Level Approx. Grade

Instruments—Order of introduction
10. Soprano recorder played by students 17 Fourth Fall
11. Chromatic conversion units 21 Fifth Fall
12. Cello-bass 703) Fifth Spring
13. Alto recorder for children to play 7283} Fifth Spring
14. Tenor recorder for children to play 24 Fifth Spring
Instruments—Classroom ensemble playing techniques
1. Borduns played by the teacher on AX 2 Kg. Fall
2. So-Mi melodies played by “ear” by the students on the AX 2 Kg. Fall
3. Alternating borduns played by the students on AX 3 Kg. Spring
(Teacher may play Timpani)
4. AX and AM in unison 4 Kg. Spring
5. The ostinato: (AM = bordun, AX = ost.) 4 Kg. Spring
6. Student improvisation on AX or AM on “’B” sections of songs 5 First Fall
7. (SX + AX = unison ostinato, AM = bordun or 2nd ostinato) 6 First Spring
8. (BX = bordun, AM = bordun or ostinato, 7 First Spring
SX + AX = unison ostinato)
9. The basic bordun 8 First Spring
10. Cross-over mallet playing 8 First Spring
11. (SG + AG = ostinato — 1, SX + AX = ostinato — 2, 8 First Spring
AM = ostinato — 3, BX = bordun)
12. 5-part orchestrations (bordun + 4 ost.) 10 Second Fall
13. Melodic rondos for improvisation 10 Second Fall
14. Reading ostinati of 4 beats length 11 Second Spring
15. Reading ostinati of 8 beats length 12 Second Spring
16. Reading ostinati w/chord changes 13 Third Fall
17. Chord changing ostinati in minor iS Third Spring
18. Reading BX parts in bass clef WZ, Fourth Fall
19. Play and read non-ostinato parts 21 Fifth Fall

Concept Level Approx. Grade

Listening
1. Learning to listen with increased attention span 1 Kg. Fall
2. Louder-softer concept 1 Kg. Fall
3. Higher-lower concept 2 Kg. Fall
4. Faster-slower concept 2 Kg. Fall
5. Dynamics (through speech) 2 Kg. Fall
6. Inner hearing CG Kg. Spring
7. Recognizing songs from their rhythm only 3 Kg. Spring
8. Recognizing songs from their melodies only or from 4 Kg. Spring
handsigns
9. Timbre 5 First Fall
10. Musical texture 6 First Fall
11. The violin Ht First Spring
12. The flute 7 First Spring
13. The clarinet 8 First Spring
14. The drum 8 First Spring
15. The trumpet 9 Second Fall
16. ABA form 9 Second Fall
17. The trombone 10 Second Fall
18. The tuba 10 Second Fall
19. Rondo form 10 Second Fall
20. The saxophones 11 Second Spring
21. The cello 11 Second Spring
22. The French horn 12 Second Spring
23. Brass instrument family 13 Third Fall
24. Woodwind family 14 Third ‘Fall
25. String family 15 Third Spring
26. Country-western string family 15 Third Spring
27. Percussion family 16 Third Spring
28. Concert band/symphony orchestra sounds 17 Fourth Fall
88 Chap. 4.6 / Planning for Learning

Concept Level Approx. Grade

ATES es rer a ee se Sl ee Boe ae a a
Listening
29. Masterworks for critical listening 18 Fourth Fall
30. Accordian and guitar 20 Fourth Spring
31. Folk singing groups 20 Fourth Spring
32. String quartet PAI Fifth Fall
33. Brass quintet 21 Fifth Fall
34. Woodwind quintet 22 Fifth Fall
35. Percussion ensemble 22 Fifth Fall
36. Voice types (SATB) 23 Fifth Spring
37. Choral sound 24 Fifth Spring
38. American jazz 25 Sixth Fall
39. Far East Music 26 Sixth Fall
40. Voice types (coloratura, lyric, basso profundo) 26 Sixth Fall
41. In-depth study of two famous composers (such as Haydn & 27 Sixth Spring
Beethoven)
42. Opera aff Sixth Spring
43. Broadway musicals 28 Sixth Spring
44. Experimental music 28 Sixth Spring
45. In-depth study of a third composer (such as Stravinsky) 28 Sixth Spring
46. Cantata 28 Sixth Spring

Concept Level Approx. Grade

Movement
1. Locomotor and non-locomotor movement activities 1 Kg. Fall
2. Movement on phrases 2 Kg. Fall
3. Indian dances 17 Fourth Fall
4. American folk dances 18 Fourth Fall
5. Afro-American games and dances 19 Fourth Spring
6. Bleking type folk dances 20 Fourth Spring
7. Mexican and Polynesian dances 22 Fifth Fall
8. Northern European dances 22 Fifth Fall
9. Jewish dances 23 Fifth Spring
10. East European dances 24 Fifth Spring
11. Polka 25 Sixth Fall
12. Square dance 26 Sixth Fall
13. American folk dances 27 Sixth Spring
14. Contemporary American dance 28 Sixth Spring

MUSIC CURRICULUM—PART TWO: MUSIC LITERACY

Concept Level Approx. Grade

Melody—Vocal Reading
1. Stress singing in tune with a good voice quality 1 Kg. Fall
2. Attention to problem singers: Speaker and Transposing singer 1 Kg. Fall
3. Echo technique for melody pe Kg. Fall
4. So, Mi (hand signs & syllables) 2 Kg. Fall
5. La (hand signs and syllables) 3 Kg. Spring
6. Attention to problems singers: Non-directional 3 Kg. Spring
and Out-of-tune directional
7. Do (hand signs & syllables) 4 Kg Spring
8. Re (hand signs and syllables) 4 Kg. Spring
9. So and Mi with two-line staff 5 First Fall
10. Combine rhythm and pitch notation for reading 5 First Fall
11. Dictation procedure for melody 5 First Fall
12. La (two-line staff) 6 First Fall
13. Do (five-line staff) key prong 7 First Spring
 The Total Curriculum 89

Concept Level Approx. Grade

Melody—Vocal Reading
14. Re (five-line staff & key prong from here on) 8 First Spring
15. La pentatonic 10 Second Fall
16. Low So 11 Second Spring
17. High Do 12 Second Spring
18. Octave range pentatonic songs 12 Second Spring
19a 13 Third ‘Fall
20. Low Ti 14 Third Fall
21. High Ti 15 Third Spring
22. Octave range songs within the range S, - D’ 16 Third Spring
23. Key signatures F, G, C and Treble Clef sign 17 Fourth Fall
24. Key signature D (introduce others as encountered) 18 Fourth Fall
25. High Re and High Mi 20 Fourth Spring
2659.91 22 Fifth Fall
27. Natural and Harmonic minor modes 22 Fifth Fall
28. Fi (melodic minor) 23 Fifth Spring
29. Dorian mode 25 Sixth Fall
30. Mixolydian mode 26 Sixth Fall
31. Bass clef for boys 27 Sixth Spring
32. Phrygian mode 27 Sixth Spring
33. Lydian mode 28 Sixth Spring
Melody—Recorder playing and reading
Teepe ATG 17 Fourth Fall
2. Low E, low D 7, Fourth Fall
3. F-sharp 18 Fourth Fall
4. F-natural 19 Fourth Spring
Seen G.andsL): 19 Fourth Spring
6. LowC 20 Fourth Spring
7. B-flat 20 Fourth Spring
8. High E 21 Fifth Fall
9. C-sharp 22 Fifth Fall
10. A-flat, high and low E-flat 23 Fifth Spring
11. Alto recorder for children to play 23 Fifth Spring
12. Tenor recorder for children to play 24 Fifth Spring
13. D-flat 24 Fifth Spring
14. High F 25 Sixth Fall
15. High F-sharp, high G 26 Sixth Fall

Concept Level Approx. Grade

Rhythm—Except notation
1. The beat (developing a feeling for beat) 1 Kg. Fall
2. Sim-clap (simultaneous clapping) 1 Kg. Fall
3. Clapping the beat 1 Kg. Fall
4. Stepping the beat 1 Kg. Fall
5. Feeling for phrases 2 Kg. Fall
6. Patschen 2 Kg. Fall
7. Difference in the sound of duple & triple (difference between 2 Kg. Fall
music that moves in two’s and that which moves in three’s)
8. Changing known duple verses to triple 2 Kg. Fall
9. Changing known triple verses to duple 3 Kg. Spring
10. Rhythm sticks for echo work 3 Kg. Spring
11. Echo clapping specific rhythms (4-beat groups) 3 Kg. Spring
12. Speech enhancement (miscellaneous hand percussion) 3} Kg. Spring
13. Stamping 5 First Fall
14. Snapping 6 First Fall
15. Rhythm canons 9 Second Fall
16. Rhythm echo patterns of 8 beats 10 Second Fall
17. Rhythm rondos 10 Second Fall
18. Conducting in two 7, Fourth Fall
19. Conducting in three 17 Fourth Fall
90 Chap. 4.6 / Planning for Learning

Concept Level Approx. Grade

Rhythm—Notation
1. Rhythm syllables & stem notation: | [7]? 4 Kg Spring
2. Dictation and writing of above 4 Kg Spring
3. Bar lines and double bar lines 4 Kg Spring
4. Underlining beats 4 Kg Spring
5. Reading rhythms from class charts 4 Kg Spring
6. Triple rhythm: ame: 6 First Fall
7. Duple and triple meter signatures - 3 6 First Fall
8. Triple rhythm: 1 OW 7 First Spring
9. Triple rhythm: WN 8 First Spring
10. Duple rhythm: 4 8 First Spring
11. Duple rhythm: Ane 9 Second Fall
12. Duple rhythm: A 10 Second Fall
13. Triple rhythm: Pel 11 Second Spring
14. Duple rhythm: Pins 11 Second Spring
15. Duple upbeats (pickups) » 11 Second Spring
16. Eighth rests (both meters) 1 11 Second Spring
17. Triple rhythm: AR 12 Second Spring
18. Triple upbeats (pickups) Dy 12 Second Spring
19. Duple rhythm: im 12 Second Spring
20. 2/4 meter to replace 13 Third Fall
21. Duple rhythm: fa 13 Third Fall
22. 4/4 meter (2/4 + 2/4) 13 Third Fall
23. Whole note in 4/4 ° 1g} Third Fall
24. Half rest - 13 Third Fall
25. First & second endings TR 13 Third ‘Fall
26. C for 4/4 14 Third Fall
27. 6/8 meter to replace 14 Third Fall
28. Triple rhythm: mes 14 Third Fall
29. 3/8 meter (6/8 with added barline) 14 Third Fall
30. 6/4 meter (same sound as 6/8) 15 Third Spring
31. 3/4 in one (6/4 w/added barline, sounds same as 3/8) 16 Third Spring
32. Duple rhythms: I DDID 16 Third Spring
33. Duple rhythm: Fy. 18 Fourth Fall
34. Extended rests: ee 20 Fourth Spring
35. Alla breve (cut-time) and 2/2 meters 21 Fifth Fall
36. 3/4 meter counted in 3 to a bar 24 Fifth Spring
37. 9/8 meter counted 3 to a bar 24 Fifth Spring
38. The triplet lel 26 Sixth Fall
39. 5/8 meter 27 Sixth Spring
40. 7/8 meter 28 Sixth Spring
41. 12/8 meter 28 Sixth Spring

B. PLANNING FOR THE YEAR

The next consideration after the total curriculum plan is to make a plan for the
school year. Such a yearly plan should be made for each music class. Before
undertaking a plan for the year, you should know the following:

1. What does your principal or supervisor expect from you?

a. Will there be programs at Christmas or at the end of the academic
year?
b. Will there be programs to do for special days?
c. Do the music classes perform for the Parent Teacher Organization
meetings?
91

Movement

UAT LAVALLE
Planning for the Year

Level

PATROL ATLL
Grade

Musicianship

LE ATLL
Rhythm
PATTER
PLLA TURAL
Literacy
PLANNING CHART

Melody
mI NT oO ololnrnfjfolanalolteIl AT nis _ ess

Year
NT OTe FP Oy oT NY] oO es! wolhs
mI
92 Chap. 4.6 / Planning for Learning

d. Is there a school-wide testing program that will occupy days that

would otherwise be used for teaching?
e. Are there any other events that will require preparation time or
occupy teaching days?
2. Obtain or make a form similar to the one on the following page. The
Appendix section contains blank copies of this form which may be
duplicated. You will need one for each music class you teach.
The example form on the next page is filled out with the following
information assumed:
a. A school year of 36 weeks (exclusive of holidays)
b. A second grade class with these obligations
¢ Christmas program
¢ Parent-Teacher program
c. The class is ready to begin Achievement Level 9.

Filling in the Plan

1. Allow four weeks preparation time for the Christmas program (Weeks
13-16). The program will be presented the end of week 16.
2. Allow two weeks to prepare the program for the parents (Weeks 28-—
29),
3. Allow one week at the beginning of the year to get acquainted and set
the tone for the classroom routine you wish to use.
4. The first week can also be used for evaluating the students’ past ex-
periences and reviewing previously learned materials; the remaining
29 weeks may be used for teaching.

If you plan to complete four achievement levels in this year, this will require
six weeks to teach the skills and concepts in each level plus allow a week for
review and evaluation. At seven weeks per level, this amounts to 28 weeks.
Use the extra week as reserve time for unforeseen events, such as unscheduled
assemblies, school dismissal due to weather or equipment breakdown, illness,
etc.
Should you opt to complete three achievement levels in a year, this will allow
eight weeks to teach each level plus one week for evaluation. This total of 27
weeks, allows a two week cushion for unforeseen events.
Using this information, the yearly plan will appear as the above. It should
be emphasized that this is a hypothetical plan for a hypothetical class. Your
group may take longer to prepare programs, it may take you longer to establish
rapport with the students, and so on. Keep in mind that as the year progresses,
this plan will need to be adjusted: some things go faster than planned, others
take more time than you allowed. The determining factor is always whether or
not the students have learned and are ready to progress to another achievement
level.
 PLANNING THE ACHIEVEMENT LEVEL

After a rough plan for the year is drafted for each grade and class, analyze the
first achievement level. This consists of dividing the concepts and skills into
convenient teaching groups or units. Although the procedure is relatively sim-
ple, considerable thought should be given to forming compatible concept groups
and insuring sufficient review time.
The Achievement Level should be planned in two steps, using a form
similar to that on the following page, which has been filled in for a hypothetical
second grade class (Level Nine). (A blank form of this type is included for your
use in the appendix and may be duplicated.)

Step one: plan the core activities. These consist of four types of activities as
follows:

1. Song reading. A song containing only concepts known to the students

to this point, plus any new concepts to be introduced. These songs
may be taught in a variety of ways and may or may not be preceded
by a period of preparation or warm-up. A standard format for pre-
senting a reading song is
a. Read the rhythm of the song using rhythm syllables.
b. Read the words of the song in rhythm.
c. Read the pitches of the song in rhythm using melodic syllables.
d. Read the complete song.
2. Orchestration. When the reading song has been learned, add an or-
chestration to it. You will need to plan
a. Instrumentation
b. Performance order (introduction, verse 1, 2, 3, etc. & coda)
3. Movement. Appropriate movement may now be added to the song and
orchestration. The result will be the song with movement accompanied

93
94 Chap. 4.7 / Planning the Achievement Level

LESSON PLANNING GUIDE

Bee paeee sans Pape wot Sve4 Grade ___2 __ Date

MUSICIANSHIP TEACHING UNIT MUSIC LITERACY

Melodic canons Duple rhythm:
Trumpet Rhythm canons
ABA form

Rote song: “‘Circle”’ Reading song: “Tideo”’ Inner hearing

2-hand singing Verse: ‘Sing a song of Sixpence” Rhythm dictation

Rote song: “Circle” Add instruments to ‘’Tideo’’ Inner hearing

BX—AX—SX—AM—T.BIk. Rhythm dictation | [|| |
Tambourine Echo sing basic pentaton

Rote song: ‘‘Circle’’ Add movement to ‘’Tideo’’ Introduce: Rhythm canons

Seasonal song: ‘Ghost of Tom’’ Echo clap/say rhythm patterns

Seasonal song: “Signs of Fall’’ Writing: | worksheet Rhythm canons

Review reading song: ‘‘Fais Do Do”
Speech enhancement: ‘Ride a Cocked Horse
to Banbury X”’

Introduce melodic canons: ‘Brother John’ Reading song: ‘Tree Branch” Review sound of clarinet, drum, flute,
violin
Echo sing basic pentaton

Introduce the trumpet Add instruments to ‘Tree Branch’’ BX, Rhythm canons
Canon: “Brother John’’ AX, AM, Rhythm dictation |[| |
Echo sing basic pentaton

Canon: ‘Down by the Station’’ Add movement to ‘Tree Branch’ Review reading song: ‘‘Rocky Mountain
High”
Speech enhancement: ‘Peter Peter’

Introduce: A-B-A form ‘Hungarian Writing: DRMSL Rhythm canons

Dance #5” Review reading song: ‘Lucy Locket”

Review A-B-A form: “Symphony in Instrumental improvisation ‘Solos here for Review: |Recording: “Ttalian
Miniature” every one” Street
Game: “‘Hambone”’ Song”
Echo rhythm patterns

by instruments. A new performance order may need to be outlined to

include the movement.
4. Writing Practice. This part may consist of writing the concepts intro-
duced or reviewed in the reading song on worksheets or the chalk-
board.

The core activities should be entered into the level plan form in the middle
column as shown along with the specific songs to be used.
Step two: note under the title Musicianship any new skills or concepts to be
introduced in this level. Do the same under Music Literacy. In the smaller spaces
in the outer columns insert any skills or concepts from the teaching outline that
are marked “continue.” These are skills that have been previously presented
and that need to be kept current.
 DAILY LESSON PLANS

The daily lesson plan should consist of the following parts:

Opening: An activity, song, or verse designed to capture attention and

interest (1-2 minutes).
Development: This section may include one or more of these:
1. Rhythmic development: Usually some type of echo practice on an
aspect of rhythm which is being prepared or which needs more re-
inforcement (1-3 minutes).
2. Melodic development: Pitch matching, imitation, or echo singing of
a melodic concept being prepared or practiced (1-3 minutes).
3. New Material: A new song or verse that will be used later for concept
development, or a recreational or seasonal song (2-4 minutes).
4. Review material: Previously learned songs or verses that need to be
revived in the students’ memories.
Main Focus of the Lesson: A large portion of time devoted to establishing
one important skill. For example, the Reading part of the core activities
may be used as the focus. The next day use the instrument portion, then,
respectively, the movement, and writing portions (10-12 minutes).
Closing: End the lesson on a high point of satisfaction. This can be a separate
activity that the students enjoy, or it may be the climax of an orchestration
performance. Always have an upbeat end to the class (1-5 minutes).

SAMPLE LESSONS

On the following pages are sample lessons that were taken from the Achievement
Level Plan form. It should be emphasized that daily lesson plans should not be
made very far ahead. Each class you teach is different, and conditions vary from

95
96 Chap. 4.8 / Daily Lesson Plans

class to class, so that each lesson must be structured to fit a particular group of
students.
These sample lessons are written out in detail in order to show the value
of a step-by-step presentation. After you are experienced with the steps to be
followed, the lessons need not be spelled out in such detail. However, a sub-
stitute teacher will be grateful for the detail.

Additional Suggestions for Daily Lessons

1. Alternate periods of concentration and relaxation.

Include songs and activities that provide variety, interest, and enjoy-
ment, as well as fulfill the requirements for learning.
3. Plan the lesson for maximum continuity, with no breaks or “dead”
spots.
Time each segment carefully, and change activities frequently.
Keep all the students actively and physically involved.
Limit periods of sitting still.
rp
eeeHave a backup ‘sure-fire’ activity in mind in case what you have
planned doesn’t work or your lesson is completed sooner than planned.
8. Ifa planned activity is not working, abandon it and go on to another.
9. If you have 30-minute class periods, plan for 25 minutes of teaching.
The extra time will be used when your activities run overtime or in-
struments or students must be moved about.

ACTIVITIES AND STUDY QUESTIONS

FOR CHAPTER FOUR

L It is generally accepted that no more than 5-10% of students in any musical

organization will make use of music in their chosen vocation or as an av-
ocational activity. What relationship do you see between using a song that
the children can learn to read and write and the aesthetic/cultural goals as
they apply to the other 90-95% of the students. Does this activity have any
value for them?
Cite specific songs that match the three classifications given under ‘Cultural
Understanding.”
Give an example of an activity for each of the four points listed under
“Developing Musical Ability’” (perception, realization, theoretical develop-
ment, creativity).
Consult the references given for Section 4-4 (455, 81). What similarities can
you find in the authors’ descriptions of the approach to singing taken by
the Orff-Schulwerk and the Kodaly methods? What differences?
Study a teaching outline from any Achievement Level. Which musical ele-
ments introduced at this level might be classified as concepts? Which are
skills?
Use the yearly plan chart in the Appendix to make a plan for a kindergarten
class. Assume that your Principal asks the class to appear on one parent
program in October and another in April. How many achievement levels
can you cover during the school year?
 Activities and Study Questions for Chapter Four V7,

DAILY LESSON PLAN*

DATE
GRADE OR ROOM
SAMPLE LESSON # 1—LEVEL NINE

Planning

Lesson Focus: Materials Needed: Equipment Needed:

Reading: Pri Rote song: “Circle” Guitar
Reading song: ‘“Tideo” Writing slates
Duple Rhythm Charts
Rote song “A Boy Named So”
(from Level 8)
Verse: “Sing a song of Sixpence”

Process

OPENING—?2-hand singing of DRMSL

DEVELOPMENT—Inner hearing with rote song “A Boy Named So” (Level 8)
Rhythm dictation using writing slates
FOCUS—Have the class echo some 4-beat rhythm patterns based on | [|2
Echo some additional patterns using the sound of
Teach the verse “Sing a song of sixpence’’—point out the new sound.
Sing a song of sixpence, nam z= am
Pocket full of rye. |
Four and twenty blackbirds,
Baked in a pie. ame fest | || |
When the pie was opened the
birds began to sing.
Wasn’t that a dainty dish to || | | | || || | |
set before the king?
Display Rhythm Chart One. PPA Pra Fin |

aaeelual duminliaal
7 OFRIM | ssstanallaaal
AAO Al OAR
| oo |FRI m2 |FA
*INCLUDE MOVEMENT IN ALL ACTIVITY SEGMENTS WHENEVER POSSIBLE
98 Chap. 4.8 / Daily Lesson Plans

DAILY LESSON PLAN*

DATE
GRADE OR ROOM
SAMPLE LESSON # 1—CONTINUED

Time Process

5 Read line one using rhythm syllables as you point to each beat.
Ask the class to read line one with you as you point.
Follow the same procedure for lines 2 and 3.
Point to the sixteenth note group in line one and ask a student
to say the pattern using rhythm syllables.
Do the same for the sixteenth note groups in lines 2 and 3.
Ask the class to read all four lines of Chart # 1.
Continue with Chart # 2 one line at a time.
8 Display the song chart of “Tideo.”

TIDEO

= SS Pass one win - dow Ty =des= so

ee ee ee
Pass one win - dow Tie adeno

Se ee ee ee
Pass one win - dow Ti - de - o Jin-gle at the win- dow Ty = de: =o

Have the class read the rhythm of the song with syllables.
Have them read the words in rhythm.
Have them sing the melody using handsigns and tonal syllables.
Have the class sing the entire song with words and melody.
2 CLOSING
Close with a previously learned song of the group’s choice.

*INCLUDE MOVEMENT IN ALL ACTIVITY SEGMENTS WHENEVER POSSIBLE

 Activities and Study Questions for Chapter Four 99

DAILY LESSON PLAN*

DATE
GRADE OR ROOM
SAMPLE LESSON # 2—LEVEL NINE

Planning

Lesson Focus: Materials Needed: Equipment Needed:

Playing instruments Rote song: “Circle” Guitar
Reading song: “’Tideo”’ Writing slates
BX, Bass xylophone
AX, Alto xylophone
SX, Soprano xylophone
AM, Alto metallophone
Tamb., Tambourine
T.blk., Temple Blocks

OPENING—Recreational song ‘Circle’

DEVELOPMENT—Inner hearing using song “Circle”
Rhythm dictation: | [| 14
Echo sing basic pentaton pitches with handsigns & syllables.
New Seasonal song: “Ghost of Tom’’
FOCUS OF THE‘LESSON
1. Review reading song ‘’Tideo”
2. Orchestration:

ton gin gl Fs 15
BX AX SX T. BLK.

3. Performance:
Introduction: Add instruments at 2 measure intervals.
Verse 1: Sing with orchestration.
Interlude: Teacher improvises on alto recorder with orchestration.
Verse 1: Repeat voices with orchestration.
Coda: Cut off one instrument at a time to end.
CLOSING—Rotate players and end with a selected group.

*INCLUDE MOVEMENT IN ALL ACTIVITY SEGMENTS WHENEVER POSSIBLE

100 Chap. 4.8 / Daily Lesson Plans

DAILY LESSON PLAN*

DATE
GRADE OR ROOM
SAMPLE LESSON # 3—LEVEL NINE

Planning

Lesson Focus: Materials Needed: Equipment Needed:

Movement to “Tideo” Rote songs: “Circle” Omnichord
Rhythm canons and “Ghost of Tom’ BX, AX, SX, AM, T.Blk.,
Reading song: ‘’Tideo” Tambourine

Process

OPENING—“Ghost of Tom” with omnichord accompaniment

DEVELOPMENT—Introduce rhythm canons.
Echo rhythm patterns with syllables:
FOCUS—Read ‘’Tideo” using rhythm syllables.
Read ‘’Tideo” using melody syllables.
Read ‘’Tideo” using words and melody.
Use players previously selected, perform ‘’Tideo” w/ class ensemble accompaniment.
Use remaining students not in the orchestra to form a circle.
Make windows.
Select a student to be “It.” 5a
Start the orchestra one instrument at a time. IN y\ U\\ §
As the class sings, “It” goes in and out the windows. _--* See ss--
On the interlude “It’” performs any 4-beat rhythm pattern
he chooses by clapping or patschen Ex: ( [|[ |)
On Verse 2, another “‘It’’ goes in and out the windows.
Continue as long as time permits.
Cut off instruments one at a time.
CLOSING
Sing the rote song ‘’Circle’” with omnichord accompaniment.

*INCLUDE MOVEMENT IN ALL ACTIVITY SEGMENTS WHENEVER POSSIBLE

 Activities and Study Questions for Chapter Four 101

DAILY LESSON PLAN*

DATE
GRADE OR ROOM
SAMPLE LESSON # 4—LEVEL NINE

Planning

Lesson Focus: Materials Needed: Equipment Needed:

Writing: hai | Rote song: ‘Signs of Fall” Instruments for verse
Reading song: “Fais Do Do” enhancement
Verse: ‘Ride a Cocked Horse Coconut shells
to Banbury Cross” Jingle bells
Finger cymbals
Baritone ukelele

OPENING—"’Ghost of Tom”
DEVELOPMENT—Review the reading song ‘’Fais Do Do.”
Read the rhythm using rhythm syllables.
Read the words in rhythm.
Read the melody in rhythm using tonal syllables and handsigns.
Read the entire song with words and melody.
Introduce the new song ‘Signs of Fall.”
Perform some rhythm canons using: [| |
FOCUS
. Pass out the worksheets.
. Have the class read line one using rhythm syllables.
. Ask the class to copy line one onto line two.
. Ask the class to underline the beats in line three.
. Give the following dictation example to write on line 4.

. Check the work.

. Give the following example for line 5.

. Check the work.

9. Ask the class to complete line 6 using rhythms they know.
10. Check the work.
CLOSE—Speech enhancement using “Ride a Cocked Horse to Banbury Cross.”

*INCLUDE MOVEMENT IN ALL ACTIVITY SEGMENTS WHENEVER POSSIBLE

7. Duplicate lesson planning guides from the blank form shown in the appen-
dix. Make a series of lesson outline plans for Achievement Level One.
8. Duplicate the lesson plan form from the appendix. Write out a lesson plan
for the first day of school for a kindergarten class. Select activities and songs
that you feel will interest and motivate the students.
 BASIC TEACHING TECHNIQUES

Certain basic teaching techniques or routines are necessary and may be used at
any level. Those cited here are only a few of those that should be in a teacher's
repertory.
1. Starting a Song. The purpose of this routine is to show the children

a. the tempo of the song

b. its pitch or tonality
c. when to begin

Only after the children know you and are thoroughly familiar with your
technique, should this procedure be shortened or abbreviated.
Procedure:

a. Strum 4 beats on your guitar or baritone ukulele

b. Sing (on the tonic) 1—2—ready—sing—

Examples:
Strumming the beat (duple)

Strumming the beat (triple)

102
 Basic Teaching Techniques 103

Eye contact, facial expression, and body motions will also help the children
know when to begin singing. (If there are pickup notes to the song so that it is
impossible to sing “ready sing’ and still leave time to sing the pickups, omit
the word “ready” and just sing “1, 2, sing . . .”)
If you are not using the guitar or another chordal accompaniment instru-
ment, the beat can be established by finger snapping, conducting motions, or
counting which is then followed by the “1, 2, ready, sing” routine.

2. Simultaneous Clapping (also known as Tempodynamic Clapping or Sim-

Clap)

a. Hold one hand stationary in front of you, palm up. Use the other as
a “beater” and clap by striking the upturned palm of the stationary
hand. Use a light, free, relaxed style of clapping letting the beating
hand “bounce” away. (This same style is used in playing mallet and
percussion instruments.)
b. The first few times you may need to say something like this:
“Everybody hold up their left hand. Now put it out in front of you
like this. This is your drum. Now hold your right hand up. Now
can you do this with me?’
After a time or two, something like this will suffice.
“Can you do this with me?” or “Let me see you do this.”

After the children grow accustomed to the procedure you will be able to
start without saying anything.

c. After all are clapping with you, vary the speed (tempo) and/or the
loudness (dynamics) while reminding them what is being changed.
d. Sim-clap is used to focus the children’s attention on the teacher and
to develop the habit of watching and listening. Begin the class fre-
quently with sim-clap. A one minute segment is sufficient.

3. Echo Clapping. A clapping routine similar to sim-clap with this differ-

ence—in echo clapping, the teacher provides the example while the children
listen. Then the children copy the teacher’s example. (In Sim-clap, both the
teacher and children clap at the same time.)

a. The first few times this routine is used, you will need to emphasize
that I’ (the teacher) “have a turn, then you have a turn—be sure to
wait for your turn.”
b. As soon as possible, get the children to respond to a four beat pattern
on the next four beats so that a continuous series is produced by the
teacher (4 beats) children (4 beats) teacher (4 beats) and so on.

Teacher: lea Ol |

me . | | l
Children: |walk

c. Generally, kindergarten and first grade should do no more than four

beats per pattern. Second and third may be able to do up to eight
while older children can sometimes do more than this.
104 Chap. 5.1 / Basic Teaching Techniques

d. This routine is excellent for—

* preparing rhythm patterns that are to be presented later.
* teaching a rhythm pattern that is in a song or verse you wish to
use and which might otherwise cause difficulty.
* reviewing patterns you wish to keep “alive” in the children’s mem-
ories for later use.
e. Echo clap can be used to follow Sim-clap without a break in continuity.
f. Two to three minutes of echo practice is sufficient in any one lesson.

Variations of Echo-clapping

a. Finger tapping—Use only the first two fingers on each hand rather than
the palms. This reduces the volume so that the children can hear what
you have to say while tapping.

b. Rhythm Sticks—The example and/or the children’s responses may be

done with rhythm sticks in place of clapping.
c. Cross mode response—Teacher claps the example, children respond with
syllables; or teacher gives the example in rhythm syllables, students
answer on rhythm sticks; or teacher gives the example on hand drums,
children answer by stamping.
d. Mallet instruments—Teacher provides the example by playing on sticks
or saying rhythm syllables, students answer by playing the rhythm
on mallet instruments using random pitches.
e. Student example. Select a capable student to be the “teacher’’ and give
the examples which the rest of class respond to.
f. Step the beat—Step or walk the beat while doing the echo. This is
especially good for children with underdeveloped sense of beat.

4. Echo Singing. This involves the same procedure as echo clapping. The
teacher provides the example and the children respond by imitation. Again the
emphasis is on listening and imitation of what is heard.

a. Use patterns for echo singing that

* you want to familiarize for later use
* are particularly difficult segments of a song you wish to use
* you wish to practice and perfect
b. Use echo singing to identify and help the out-of-tune singer and the
directional singer.

Variations of Echo-singing

a. Sing the names of the children instead of syllables.

b. Sing the names of flowers, vegetables, animals, birds, etc.
 Basic Teaching Techniques 105

c. Sing the syllables with hand signs.

d. Cross-mode response—Play the pattern on recorder, melodica, or alto
xylophone—children respond by singing syllables and using hand
signs.
e. Teacher sings a neutral syllable, children respond with tonal syllables
and hand signs.
f. Teacher gives the hand signs but does not sing, children respond with
syllables.

5. Body Percussion. Body percussion consists of four basic movements.

Stamping (feet), Patschen (patting the legs above the knees), Clapping (hands),
and Snapping (fingers). Remember the easiest order is to stamp, pat, clap, and
snap (from the floor up), the next easiest is the reverse (from the ceiling down).
Skipping or alternating is much more difficult (stamp, clap, pat, snap).

Variations of Body Percussion

a. Simultaneous body percussion—Teacher repeats one pattern until all can

do it, then changes the pattern.
b. Echo Body Percussion—Similar to echo-clap. Teacher does a pattern, then
children repeat it, keeping the beat continuous.
c. Canon—Teacher gives 4 beats, children do the same pattern four beats
later. While they are performing the first pattern, the teacher presents
a second which they then do on the next four beats.

Examples:

loos
(teacher) (children)

7
(teacher) (children)

:
Echo:

snap ah
clap ; :
|WeideStiall He 8
stamp

Canon: (Teacher)

me EE a ee
= = iH
(Children) pas

ane ee oe). ‘pial

rt es
with
Note: When using canon body percussion, be sure to alternate very simple patterns
more difficult ones. This allows them to concentrate on the difficult one. Use body
percussion with older children as a change from clapping.

6. Singing Posture. Children must be frequently reminded about good vocal

quality. By all means avoid loud raucous sounds and encourage a rounded light
quality. An integral part of producing good sounds is proper posture.
Basically, a good singing posture consists of—
106 Chap. 5.1 | Basic Teaching Techniques

a. the top of the head level with the floor (keeps the chin down and
throat relaxed)
Db: back straight (allows the maximum space for breathing)
@ shoulders slightly concave (greater freedom in breathing)
d. feet flat on the floor (reduces tension in body muscles)

If chairs are used, try to have enough sizes so that all children can sit
comfortably and still reach the floor with their heels. While singing, they should
sit without touching the back of the chair. The chair backs are used for resting.
Many teachers prefer backless chairs or benches.

7. Teaching a Verse

a.Establish the beat by conducting or finger tapping and by saying “feel

this beat’’ or “here is the beat.”
Have children tap the beat.
Say the whole verse while they tap and listen.
Say one line at a time and have them repeat each.
coos
Have children repeat the whole verse with you (drop out and let them
continue if they are able to do this).

Simple verses may be taught without repeating each line (step 4). Rhythmic
ostinati may be used in place of finger tapping. Be sure to perform these softly
so children can hear the verse.

8. Teaching a Song
Whole song method:

a. Sing the whole song for the children using good quality and in a key
which is comfortable for you.
b. Discuss the song briefly, if desired, and sing again in the key you want
them to use.
Have them sing along with you a third time.
Children sing alone, with you joining in only when they need help.
Practice briefly any portions they did incorrectly.
moan
Sing a final time, teacher joining in only when needed.

Phrase method:

Sing the whole song in a comfortable key for you in your best vocal
style.
Sing the first phrase to them; they echo it. Use a key that is comfortable
for them.
Continue one phrase at a time until song is completed. Be sure to
repeat phrases or portions of phrases that were rhythmically or me-
lodically incorrect.
Sing the whole song all the way through together.
Practice portions that are still incorrect.
Sing together again, teacher dropping out and letting children continue
independently.
 Basic Teaching Techniques 107

Both methods may be used with or without instrumental accompaniment

and with or without using hand signs.

9. Teaching a Game or Action Song

Method One—Actions First

a. If the actions are more involved than the song, form the children in
position for the game.
b. Go through the actions until learned.
c. Add the song one phrase at a time performing the actions
d. Play the game, the teacher joining in only when needed.

Method Two—Melody first

a. If the melody is more difficult than the actions, teach the song first
using either the whole or part-song method.
b. Add the actions after the song is learned.
c. Perform the song with actions, the teacher joining in only when needed.

10. Dictation Procedure

Teacher presents the example.*

Children repeat the example exactly as given by the teacher.
Children repeat the example again using syllables.
Children write the example on their slates.*
Children hold up their slates for evaluation.
gs
moan
Slates are erased for the next example.

Dictation Examples (These are only a few; there are dozens of

variations.)

a. Teacher presents rhythm by clapping.

Children repeat rhythm by clapping.
Children repeat by saying syllables.
Children write the example.
b. Teacher plays the example on a hand drum.
Children repeat the example using rhythm sticks.
Children repeat the example using rhythm syllables.
Children write...
c. Teacher says a verse line while pat-clapping.
Children repeat the example while pat-clapping.
Children say syllables while pat-clapping.
Children write. . .
d. Teacher sings an example using a neutral syllable.
Children repeat using neutral syllable.

*Rhythm examples should always be preceded by a short period in which the beat is established (four
to eight beats will suffice). The examples may be presented by clapping, body percussion, rhythm
sticks, hand drum, or other instruments. Melodic examples may be given by voice (using words,
neutral syllables, or melody syllables) with hand signs or without, or on recorder or other melodic
instrument.
108 Chap. 5.1 / Basic Teaching Techniques

Children repeat using tonal syllables.

Children write...
Teacher plays the example on a recorder (after establishing DO).
Children repeat the example using neutral syllable.
Children repeat the example using tonal syllables.
Children write...

Note on making slates

Two-sided slates (one blank for writing rhythms and one with a five-line staff
for writing melody) may be made in a number of ways. Here are two:

a. Best way. Cut white poster board into 10” x 7” rectangles. Draw a
staff on one side using a dark magic marker (black, red, or green).
Cover both sides with clear contact paper. Write on the slates with a
soft wax crayon and wipe clean with a cloth. (Do not use wax pencils,
they are difficult to erase.)
Also good. Get a sheet of pressboard from your local lumber yard and
cut into 10” x 7” rectangles. Paint both sides with blackboard paint
(your school custodian should have some of this) and paint white
5-line staves on one side of each rectangle. Write on the slates with
ordinary blackboard chalk, and erase with a cloth or short 4” strips of
felt weather stripping also available from your local lumber yard. The
chalk dust makes this method slightly messier than the first method.

Pat-clapping. A body percussion technique consisting of patting the knees

on 1 or 2 and clapping the hands on “ne” or clapping twice on “na ni.”’ This is
an excellent device for developing precision in counting rhythms.

Examples:

Notation - | | | |
Count ] ne 2 1 ey A
Pat-clap - pat clap pat clap pat clap pat clap

Notation - | | | | E
Count Ee dale na ni D, na Ni nas taeeni a
Pat-clap - pat clap clap pat clap clap pat clap clap pat clap clap

11. Music Writing Techniques

In addition to using slates, there are the following possibilities for music
writing. Use these and other similar devices for variety.

Chalkboard: Only a limited number can be accommodated at one time.

Paper & pencil: Difficult to read from a distance and the paper must be
disposed of.
Magic-slates: Obtain from the local toy store. Visible marks may be made
with any pointed object (pencil, stick, fingernail) and read from a distance.
The writing is removed by lifting the clear plastic cover sheet.
 Basic Teaching Techniques 109

Slates & discs: Use the slates made for writing with colored discs, which
can be moved around on the slates to write melodies.
Rhythm sticks: Use rhythm sticks to write simple rhythm patterns on the
floor.
Flannelboard: Use felt strips about 4” long and 2" wide to write rhythmic
patterns on the flannelboard in the same manner as you used rhythm sticks
to write on the floor. Flannelboards should be made with a blank side (for
writing rhythms) and a side with staves (for writing melodies using colored
felt discs).
Masking tape staves: Lay a 2, 3, or 5-line staff on the floor using ten foot
strips of 2” masking tape. Make the lines 12” apart so that hand drums may
be used for note heads. If you do not have enough hand drums, use large
paper discs or paper picnic plates. Children may also stand on the staff
and move to change the melody.
Children: Children may also be used to visually depict written rhythms.

fey Te
12. Introducing Pitch Notation
An easy way to begin reading is to introduce SO & MI on a 2-line staff.
The object is to show visually what the children already know, that is, SO is
higher than MI. They should also be made aware that when MI is on a line, SO
is on a line, or, when MI is on a space, SO is on a space.

a. Sing a S-M song using hand signs.

foe
b. Write the pitches on the board as they sing.

Ss S55 5s

M M

c. Draw a “picture” of the tune as they sing.

S a

Fee u's
d. Note that all the SO’s are at the tops of the mountains and the MI’s
are in the ‘‘valleys.”
e. Draw a straight line through all the SO’s as you point this out (and
through the MI’s).

iS} Ss

EO
ae
110 Chap. 5.1 / Basic Teaching Techniques

fe Sing the song again and as they sing draw balls around the letter
notation.

© © © © © ©
FENaGse
Then erase the mountains and the valleys, leaving only the staff and
note heads.

O OO
O O
The next step is to place S-M at the beginning and use unfilled note
heads.

Ou @ O
Ox®

if Rearrange them for practice.

This process will lead to understanding of the two line staff. As more
pitches are added a third line will be needed. Also on other occasions, the SO
& MI should be on lines rather than spaces. When the time comes to introduce
DO then you should also introduce the 5-line staff and the key prong or movable
clef sign to indicate the position of DO. From this time on, the key prong should
always be used until the time arrives when key signatures are introduced. At
that time, sharps, flats, and the clef sign will replace the key prong.

13. Ostinati & Borduns

Rhythm Ostinati:

a. First develop a feeling for beat, stepping the beat as verses or songs
are performed. (At first, use songs or verses that have one word per
each beat as in “Bears Walking.’’)
Then use verses and songs that have one or two notes per step as in
“Pease Porridge Hot.”
* Step the beat and say the verse.
* Step the beat, say the verse, clap the words.
Separate the group into two: one group performs one phrase of the
verse repeatedly (such as “Pease Porridge in the Pot’’) while the second
group performs the verse as in b. It is best to form two circles, one for
each group, so they won’t confuse each other.
Older children will be able to clap an ostinato while saying the verse.
When rhythmic ostinati are developed, transfer them to rhythm in-
struments.
After the children are secure performing rhythmic ostinati in unison,
have two groups perform separate ostinato patterns. Use complimen-
 Basic Teaching Techniques 111

tary patterns at first (when the moving portion of one pattern occurs
on the static portion of the other—see example).

Example:

pattern | pattern 2

Biabslnaly stives| Meal Tale

Melodic Ostinati:

a. Extract word segments from the tune to be accompanied.

b. At first use one word per beat (see examples below).
c. One group sings the ostinato while the second sings the song. It helps
to have everyone step the beat. Form two circles, one for the ostinato,
one for the song.
d. Melodic ostinati may then be transferred to the Orff instruments. (Re-
move all the bars except those used in the ostinato.)

Examples:

Song Simple Ostinato Later Ostinato

S M S Ss M M S S M
Rain Rain 3| | |
Rain rain Piteemcetpate-ter 1fO a - way

S M Ss Swe Vee Miao eS. M

Margery Daw ; |A |. | \ |: |:
See Saw Jack shall have a new mas - ter

Creating Ostinati

Each ostinato should have a rhythmic and/or melodic relationship to the song
with which it is to be used.
Rhythmic:

a. It can use the same rhythm as a portion of the song.

b. It can use a portion of a song rhythm backwards (retrograde).
c. Itcan use the same rhythm in note values twice as long as the original
(augmentation).
d. It can use the same rhythm in note values half as long as the original
(diminution).
It can use the rhythm backwards and longer (retrograde-augmentation).
f. It can use the rhythm backwards and shorter (retrograde-diminution).

Melodic:

a. It can use the same melody as part of the song tune.

b. It can use the same melody turned upside down (inversion).
c. It can use the same melody backwards (retrograde).
d. It can use the same melody backwards and upside down (retrograde-
inversion).
112 Chap. 5.1 / Basic Teaching Techniques

e. It can use the same melodic direction but different pitches.

f. It can use the opposite melodic direction with different pitches.

Naturally, all of these would not be used at once, but would be selected
for compatibility and a balance between similarity and contrast.
Example: Using the song ““Hot Cross Buns” as an example, the following
ostinati might be an appropriate group to use. Recall that ‘Hot Cross Buns” has
two rhythms #1=[—] | & #2= FRR FRRiand one basic melodic pattern
= MI RE DO.

Rhythmic Ostinati:
iS opie mama Same as rhythm #2 of the song
phe rial Retrograde of rhythm #1 of the song
Melodic Ostinati:
i | ee Retrograde of rhythm #1; same tune as the
song, but begun on third beat
pa cp eel) Part of rhythms #1 and #2; melody moves in
opposite direction to that of the song
CME Cay pes Part of #2 and #1 rhythms (reverse of above);
Same tune as the song

Borduns:
Borduns are the basic accompaniment patterns used with Orff-Schulwerk. A
bordun consists of a root and a fifth played together. Bordun examples are given
below in order of difficulty encountered by children in playing them.

1. Alternating bordun

SS ae
2. Basic bordun

——
3. Embellished bordun (Alberti bass)

SSS
The difference between embellished borduns and ostinati is slight. Gen-
erally, if the root and fifth are present, it can be called a bordun, if one or the
other is absent it is an ostinato.

14. Introducing Orff Instruments

The best way to introduce an instrument is for the teacher first to dem-
onstrate its use. The first time, call attention to the instrument's size, pitch range,
proper use of the mallets, etc.
 Basic Teaching Techniques 113

Using the Instruments for Playing Melodies

a. Introduce the alto xylophone first. Use it as soon as the class can sing
a S-M song. (“Rain Rain,” “Little Snail,” “Spring is Here,” ‘/Tinker
tailor,”’ etc.)
b. Play the melody of the song while the children sing. (Remove all the
bars except the two you wish to use.)
c. Then let a few children have turns at playing while the others sing
the song.
d. When all the children have had a turn and understand the procedure,
you may introduce the idea of the ostinato.

Selecting the Player

a. First Method. The teacher plays the ostinato pattern while the children
sing the song and watch. The teacher then selects one child to be the
player. (Note that the teacher plays from the wrong side of the instru-
ment while the child is positioned on the correct side of the instrument,
with the lower pitched bars on the child’s left. The teacher thus be-
comes a mirror of the proper movement.)

b. Second Method. Use a patschen pattern which will become the motion
needed to play the ostinato.
L. hand = R. thigh : i i

L. hand = L. thigh
(Ostinato notated) (Patschen motion)

Sing the song while the class does the patschen motion. Select several students
and play this pattern on the instruments. The remainder of the class pats their
legs and sings the song. While they play the instruments and sing the song,
select another group of students to repeat the process until everyone has had
an opportunity to play the instruments. Repeat the process for other patterns.

15. Cross-over mallet technique

Because of its complexity, this style of playing should not be attempted
until the students have become accustomed to the instruments and are physically
coordinated enough to cross mallets while they play. Until they are, use simple
ostinati. Examples 1 and 2, below show ostinati in which only one of the player's
hands has to change notes. Example 3 is an ostinati in which both hands must
change and example 4 shows a cross-over ostinato in which the student's left
hand crosses over the right to play the pattern.

ee
a
ee
ea
ee
Se
114 Chap. 5.1 / Basic Teaching Techniques

Example1 pita 2 Example 3 Example 4

Bee Thy pV 1b wee R =e Reale eR

Using Orff Instruments as Rhythm Instruments

In addition to playing melodies and ostinati, the Orff instruments may be used
only as non-tonal rhythm instruments in the same manner as unpitched rhythm
instruments (such as tambourine, wood block, hand drum, and similar instru-
ments). Used in this fashion, any bar may be struck by the children to play
beats or rhythm patterns without regard to the pitch. The bars may be removed,
if desired, so that only a pentatonic scale may be played, thus rendering the
sound more harmonically compatible, especially if more than one Orff instru-
ment is being used at the same time.

16. Inner Hearing (Pitch and/or rhythmic imagery)

Inner hearing is introduced in Level Three and can be taught in the fol-
lowing way. Using a radio or television as an example, explain that when the
radio is on you can hear the sound but when it is off you do not hear the sound.
The sound, however, is still being produced at the radio station. ‘‘When I turn
the radio on I can hear you singing, but when I turn it off I can’t hear you
singing but the song goes on inside my head.” Then play the radio game by
turning on and off an imaginary radio. At first, turn it off at the beginning of
one phrase and on at the beginning of another. Later, when the children get
used to the game, you can turn your “radio” on and off in the middle of phrases.

Inner Hearing Variations

a. Step the beat and sing one line of a song. Continue stepping but think
the next line; sing the third line aloud; then think the fourth.
b. Sing the first word of a song and the last word, but think all the rest.
Use this idea with a physical beat (such as stepping or tapping) before
you try it without a beat. If all can sing the last word together without
the help of an audible beat, their inner hearing is well developed as
is their sense of steady beat.
c. Sing a song like “Foo Foo Rabbit” or “Around and Round the Vinegar
Jug”’ to test inner hearing skills. Have the children sing the song silently
(with their eyes closed). If all clap their hands at the end of a phrase
in these songs, the concept of beat is well developed.
d. Props for inner hearing. To maintain flagging interest in the radio game
before the children have mastered the inner hearing concept, use props
such as those shown below.
(1) Puppets—Use a stocking puppet who sings aloud when his mouth
is open and thinks the song when it is closed.

( 7
Ce)
S
 Basic Teaching Techniques 115

(2) Faces—Use two sides of a poster board face in the same fashion
as the puppet. On one side draw a face with an open mouth,
on the reverse side a face with the mouth closed. Or as a vari-
ation, draw a smiling face on one side (when the music can be
heard) and a frowning face on the reverse (when the music can’t
be heard).

BISIOe
(3) Turtles & snails—Make a poster board snail or turtle with a
retractable head. A paper fastener will hold the head firmly but
allow it to swing in and out of its shell. When the head is out,
it can hear the singing, when it is in it cannot hear. A dog in a
doghouse is yet another illustration.

17. Improvisation. This term refers to playing or singing without reference

to written notation. It is music that is made up or played by ear. Begin to develop
improvisation skills by singing melodies (or saying verses) from memory. By
varying the rhythm, length, or melodic contour, a new song or verse can be
created, and gradually, new, original melodies or rhythms may be created.
Improvisation must always use previously learned material, for it is de-
veloped within the framework of known melodies, rhythms, and harmonies.
Random playing of sounds is creativity of a sort but is not improvisation. Here
are some situations in which improvisation may be encouraged.

a. Students make up patterns to echo sing.

b. Students make up interludes on Orff instruments for songs that are
sung in class.
a Students make up ostinati to accompany songs.
Dialogue singing. Like echo singing, except that the student sings an
answer to the teacher’s pattern, not an echo. This technique may be
used with voices or recorders.
Example:

teacher student

DEROS MaaM S IE; Sou S Mi Reas sD)

Students may improvise ‘B’ sections of rhythmic or melodic rondos,

with voice, body percussion, rhythm instruments, recorders, or Orff
instruments.
116 Chap. 5.1 / Basic Teaching Techniques

Improvisation builds freedom of expression in music and helps to develop

a child’s rhythmic and melodic understanding, which helps them think and feel
music.

18. Composition. Composition may be started as soon as the children know

two or more notes (S-M or S-M-L).

a. Send children to the chalk- or feltboard to “compose” three or four

note melodies for the class to sing.
b. Some children may compose four beat rhythm patterns for the others
to perform.
c. Other children may create new melodies for songs used in class or a
new verse may be written for a known tune.
d. Children may compose and notate ostinati for use by other children
in accompanying songs.

These activities should be continued through all levels. As the children’s

repertoire of melodic and rhythmic patterns expands, the quality of their com-
positions will also grow.
Composition develops and refines improvisational techniques, combining
melodic and rhythmic imagery (thinking) with writing (notation).

19. Canon Technique

The imitative technique of canon might be taught as follows. The teacher
presents a four beat pattern, and the class imitates it during the next four beats.
While the children perform four beats, they watch and listen to the teacher
present the next four. In this manner, they do what the teacher did on the
previous four beats while watching and listening to what they will do on the
next four beats.
Example:

Teacher jo.snl pela alge | | | | Mey al | | i

Pee z Meteo c. tae

It is important to alternate very easy measures with more difficult ones.
Two difficult measures in succession are likely to confuse the students. Body
percussion is an especially appropriate method to teach canon. Both rhythmic
and melodic canons may be initiated at Level C.
Almost any pentatonic song will produce a satisfactory canon, but make
sure the difficulty of the canon is within the limits of the children’s ability. Two
excellent sources of canons are Grace C. Nash’s ‘Music with Children” series
(117) and the original Orff-Schulwerk volumes of “Music for Children’ (109).

Note: The second voice of a melodic canon does not necessarily have to be
an exact imitation of the first voice. It may start at a different pitch or it
may have augmented or diminished note values. A round, on the other
hand, always has a second voice which is exactly like the first. By this
definition, a round is a type of canon but a canon is not necessarily a round.

20. Creating Orchestrations. An orchestration is an accompaniment, by two

or more instruments, of a song which is either sung or played. A basic voicing
 Basic Teaching Techniques 117

(instruments chosen for their sound) for an Orff instrumentarium that would
enhance any pentatonic song might be:

Bass Voices:
Bass Xylophone
(alternating bordun)
Timpani
(alternating bordun)
Ostinati:
Soprano Xylophone
(moving part)
Alto Xylophone
(moving part)
Alto Metallophone
(sustained part)
Alto Glockenspiel
(countermelody)
Soprano Glockenspiel
(countermelody alternating
with the alto glockenspiel)

ee
IFS EEE

When orchestrating, consider the importance of

a. Coordinating the playing techniques with the children’s abilities.

b. Simplifying orchestrations for a successful result.
c. Providing a steady beat with the timpani. The teacher should play this
instrument to hold the ensemble together.
118 Chap. 5.1 / Basic Teaching Techniques

d. Giving sustained parts to resonating (metal) instruments. As a rule of

thumb, give moving parts to the xylophones and other instruments
made of wood and/or fiberglass.
Limiting instruments. A simple xylophone accompaniment can be very
interesting. Some songs lend themselves to sparse accompaniments,
sounding overly textured if too many instruments are used to accom-
pany them.
Using two different sizes of the same instrument. It can result in a
greater depth of sound if two instruments play an octave apart.
Varying instruments playing the same pitch to supply an interesting
sound; e.g., alto xylophone and alto metallophone or bass xylophone
and bass metallophone.

Decide ahead of time what form the orchestration should take. One pos-
sibility might be as follows:

INTRODUCTION

Begin the orchestration one instrument at a time. Add successive in-

struments only after the last one added is secure.
After all instruments are playing, play your recorder on a prepared or
improvised segment.

Note from the instrument list that the bass xylophone plays an alternating
bordun (the simplest type to perform) while the timpani plays the same alter-
nating bordun with slight added rhythmic interest.
The two xylophones play ostinati moving in opposite melodic direction.
The alto metallophone is the best choice for a sustained part in whole notes
because of its longer resonating time.
The two glockenspiels are given identical parts (which will sound an octave
apart) with alternating moving parts.

(Gs Added Instruments

Rhythm instruments may be added to enhance the rhythm as
follows:
Hand Drum:
(to compliment the rhythm of the timpani)
Triangle:
(to punctuate the countermelody line played by the alto glockenspiel)
Log Drum:
(to punctuate the countermelody line of the soprano glockenspiel)

pg een eae ea,

chased eee aac

any pitch
 Introduction 119

Stringed instruments might also lend an added flavor:

Guitar:
(tuned in fifths: C&G)
Cello-bass:
(alternating bordun on open strings)

rt H
strum all strings

——————
VERSE ONE: Cue singers to perform one verse with instrumen-
tation accompaniment.
INTERLUDE: Let the instrumentarium play while the teacher im-
provises on the recorder (usually the same number of measures
as are in the song).
VERSE TWO: Cue singers to perform the second verse.
CODA: Repeat introduction.
d. Cut-off one instrument each time or every other time the ostinato
repeats until only one is playing.
e. Make a ritardando and cut off last instrument.

Starting and stopping all instrumentalists at the same time can be difficult
with all but the most experienced groups. Bring in one player at a time for
greater security and better musical results. It is also advisable to give younger
players a few measures of ostinati between each section.
For good arrangements, explore the series ‘“Music with Children,” by Grace
C. Nash, Frazee & Steen, Konnie Saliba, and Young & Edmunds publications.
More advanced arrangements are contained in the Orff-Schulwerk books and
in several publications issued by Leduc, Schott, and others.

21. Movement
Movement can be the most important way of helping a child develop a
feeling for music. Movement should be incorporated into every activity where
possible. The process of movement can assume several forms, some of which are:

a. Rhythmic Movement: Stepping, clapping, patschen, the beat, meter,

or melodic rhythm. Walking to the teacher’s drumbeat is an excellent
way to begin.
b. Movement based on the text: Non-locomotor songs using movement
which tell the story of the words (such as “‘Itsy-bitsy Spider’ or “I’m
a little teapot’). Movement based on verses or stories such as “Going
on a Bear Hunt” or “Ake Take Unga.” Mini-dramatizations of songs
or verses in which one or more actors are selected to act out all or a
part of the song or verse. ‘Canoe Song” (paddling the canoe) or “Dr.
Foster” (the doctor) are examples.
c. Movement based on the mood of the music or text: Moving happily,
sadly, heavily (as an elephant) or using scarves to dramatize the flight
of birds.
d. Song games and dances: “’Tideo” or ‘’Little Bird” are examples of circle
120 Chap. 5.1 / Basic Teaching Techniques

games that may be used with young children. Folk dances are appro-
priate for older children.
e. Improvised Movement: Movement initiated by the children themselves
as a ‘B’ section of an ABA song, as ‘B,’ ‘C’ or ‘D”’ sections of rondos,
or as interludes to songs.

Movements may be used simultaneously with the words or may be added

to the total ensemble after the song is learned and the orchestration is assembled.

22. Speech Ensembles

Speech ensembles are an effective method of furthering rhythm develop-
ment. In composing speech ensembles, make the parts rhythmically related to
the verse and complimentary to each other. Note in the example that the parts
do not overlap and can be heard distinctly.

JACK BE NIMBLE

ae ET
ble, Jack be quick, Jack jump o-ver the can - dle -

Jumping Jack

d
Nim - ble Nim - ble

After the speech ensemble is learned and the children can perform it well,
the vocal parts may become body percussion or be played by rhythm instru-
ments.
The Grace Nash series, Music with Children, contains several speech en-
sembles which may be used as models for composing your own.

23. Memory Devices. Memory devices assist the student in developing tonal
and rhythmic memory.

a. Write line one on the chalkboard.

b. Ask the class to read it as you point to the beats.
c. Write the other lines, one at a time, asking the class to read each one
after it is written.
 Introduction 121

d. Have the class read all four lines without stopping.

e. Ask the class to take another look at line one, then erase it.
f. Have the class read all four lines again, saying line one from memory.
g. Ask them to look again at line two and erase it.
h. Have them read all four lines again, this time saying line one and two
from memory.
i. Repeat this procedure until all the lines have been erased and the class
is saying all four from memory.
j. Select a student to re-write line one. Have the class recite all four lines,
two, three, and four by memory.
k. Repeat this procedure until all four lines have been re-written.

24. Chalkboard Basics

a. Staff: A complete staff consists of five horizontal lines. Each line and
space is numbered from the bottom.

— Ee
saSecond space
Ee
Third line
irst space prcne dine

Sometimes a partial staff is used when introducing note reading to young

children, as in the following example:

Rain, rain, gO a - way

A partial staff may have 1, 2, 3, or 4 lines, depending upon the range

of notes to be placed upon it. The two line partial staff is the only one
normally used.
b. Clef: There is usually a clef sign at the beginning of each staff. The most
commonly used clef in children’s song literature is the treble clef or
G-clef. The purpose of this clef is to identify the note G, hence the name
G-clef. The loop of the G-clef wraps around the G line.
There are four steps in drawing a G-clef:

(1) (2) (3) (4)

Another frequently used clef is the bass clef or F-clef. As the name
implies, the two dots of the F-clef straddle the F line.
There are three steps in drawing an F-clef:

ee
(i) (2) (3)
122 Chap. 5.1 / Basic Teaching Techniques

When the G-clef and the F-clef are placed together, the result is called
a Grand Staff.

The note on the extra leger line between the staves is middle C. To help
children remember the names of the lines and spaces in the two clefs,
help them memorize these verses.
(1) The treble clef spaces spell F AC E.
(2) The lines of the treble clef can be recalled with this verse: Every
Good Boy Does Fine.
(3) For the bass clef lines: Good Boys Do Fine Always.
(4) For the bass clef spaces: All Cows Eat Grass.
c. Notation:
(1) Noteheads should be oval in shape.
(2) Note stems should extend over three lines or spaces.
(3) If the notehead is above the third line of the staff, the stem should
extend downward from the left side of the oval notehead. If it is
below the middle line, the stem should extend upward from the
right side of the oval. If the notehead is on the third line, it may
extend in either direction but should conform to the direction of
the note(s) that precede it.
(4) When writing beamed notes, the beam is angled to follow the
general pitch direction of the noteheads.
(5) The nearest notehead to the beam always uses a stem that extends
over three lines or three spaces. The other note stems in the set
may have to be longer.

25. Finding DO
Teach the students to find DO by remembering Flat/Four and Sharp/Seven.
When finding DO in a flat key, call the last flat to the right one (1) and count
down on every line and space to four. The position of four is DO. When using
sharps, call the last sharp to the right one (1) and count every line and space
down to seven (7). The position of seven is DO. If there are no flats or sharps
in the key signature one must remember that middle C is DO (the added line
below the treble staff). If working with a bass clef, DO is on the second space.
They should also learn that the key prong or the key signature always
shows the position of DO, even in a minor song. With a minor song, one first
locates DO then counts down to LA, the “home tone.”
 Activities and Study Questions for Chapter Five 123

ACTIVITIES AND STUDY QUESTIONS

FOR CHAPTER FIVE

ig Start a class singing a song while using an accompanying instrument.

Lead a class in simultaneous clapping. Include changes in tempo and dy-
namics.
Lead the class in echo clapping activities using duple then triple rhythm
patterns of four beats length.
Lead the class in singing echo patterns of four beats using any form of the
minor scale.
Do the same using the major diatonic scale.
Lead the class in a body percussion echo activity.
Lead the class in a rhythm canon using body percussion.
Demonstrate and describe good singing posture.
Teach a nursery rhyme to the class.
Teach a song to the class using the phrase method.
Teach a game or action song to the class.
Give pitch dictation using the proper procedure.
Give rhythm dictation to the class.
Describe pitch notation to the class as if this was their first time.
Lead the class in developing a rhythm ostinato.
Develop an orchestration consisting of four mallet players and two rhythm
instruments showing the proper selection of players.
Lead the class in rhythm echoes using mallet instruments for the student
responses.
Show and explain inner hearing to a class that has never done it before.
Use any of the methods suggested, or make up your own.
Lead the class in dialogue singing.
Lay out a floor staff using masking tape. Direct four students from your
class to stand on the staff. Have the class sing the melody that is created.
Ask other students to ‘“compose” new four note melodies by redirecting
the four to other places on the staff.
Write out a simple orchestration for a basic pentatonic song (D-R-M-S-L).
Perform your orchestration.
Demonstrate one type of movement that may be used in a music class.
Create a speech ensemble using any nursery rhyme.
Lead the class ina memory activity as described in paragraph twenty-three.
Show the proper steps in teaching children to write a treble clef, and a
series of quarter notes on the pitches A, D and F.
 ACHIEVEMENT LEVELS

The following pages contain Achievement Levels one through twenty-eight.

Together they constitute a workable music program for the elementary school
that contains elements of Orff, Kodaly, and traditional American teaching phi-
losophies.
Achievement Level designations have been used rather than grade levels.
This is because rates of progress vary from situation to situation. Each Achieve-
ment Level contains goals and behaviors which should be reached before going
on without regard to age or grade level.
It is assumed that the first four Achievement Levels will be covered in the
Kindergarten year. If this is the case, instruction in first grade should begin with
level five. If, however, there has been no exposure to music in the Kindergarten,
then first grade instruction should start with Achievement Level one.
A typical elementary school situation will cover three or four levels a year.
In places where teaching time is limited, one each semester or two per year may
be expected.

ORGANIZATION OF ACHIEVEMENT LEVELS

A. Introduction
The introduction to each level provides a brief overview of what should
be accomplished in each.
B. Achievement level teaching outline
Each level is divided into two major areas: Musicianship and Music Lit-
eracy. Together they contain the following subdivisions.

Musicianship:
Singing
Instruments

124
 Level One 125

Listening
Movement
Music Literacy:
Rhythm
Melody

In each subdivision you will find a list entitled ‘‘Continue.” The concepts
and skills listed here will have been presented in previous levels but need to
have continued use for practice and reinforcement.
Beneath the activities to be continued are new activities to be introduced
at this level. Their presentation will be described below in the paragraphs titled
“Suggestions for teaching level ___ concepts and skills.”
A list of materials and sources follows. These are normally needed to teach
the new concepts and skills, although the teacher may wish to use other, more
readily accessible materials.
C. Suggestions for Teaching the New Concepts and Skills
This section contains several paragraphs on how to prepare, present, prac-
tice and teach the new concepts and skills to be introduced at this level. The
paragraphs are in the order in which the concepts and skills might normally be
introduced.
D. Checklist
Use this checklist to monitor your students learning progress. Write the
names of the students in the spaces provided. Duplicate the form for additional
space as required. As suggested, assign a letter rating to indicate the student’s
mastery of each subject area.

HOW TO USE THE ACHIEVEMENT LEVELS

1. Read the Achievement Level teaching outline and introduction to de-

termine what concepts and skills should be continued from previous
levels and which new ones will be presented at this level.
2. Read the teaching suggestions if you are in doubt as to how to present
the concepts.
3. Locate the materials you will need to teach.
4. Review the section on planning then make a level planning chart. Write
out your Core Teaching Units as suggested in the planning section if
you need this amount of detail.
5. Make daily lesson plans from your level planning chart.

LEVEL ONE

Level One may be the student's first exposure to an organized music program.
Generally, Level One will be started in the Kindergarten, although it may be
started at any grade level. Used with older children, the mastery of concepts
will proceed more rapidly and some suggested materials may need to be sub-
stituted with more advanced texts.
The Kindergarten year may be looked upon as a year of reading readiness,
one in which the children are being prepared to learn to read music, as well as
words.
Sing as much as possible in Level One. Stress singing in tune with a light
126 Chap. 6.1 / Achievement Levels

(not high) voice quality. Address the problem singers: the speaker and the trans-
poser.
Provide many musical experiences and stress the joy of moving to music
and feeling the beat. Use a variety of portable accompanying instruments to
maintain interest.

LEVEL ONE TEACHING OUTLINE

Musicianship

Singing
Introduce: * Singing with teacher played accompaniments (guitar, bar-
itone ukulele, omnichord, autoharp)
Materials: * Recreational songs
“Doughnut Holes” [15]
“Over in the Meadow” [15]
* Seasonal songs
“Autumn Song” [171]
“Falling Leaves” [15]
“Seven Little Witches” [15]
“Halloween is Coming” [14]

Instruments
Introduce: ¢ Guitar, baritone ukulele, autoharp, and omnichord, played
by the teacher to accompany student singing.
Materials: ¢ Use recreational songs and seasonal songs from the Sing-
ing section.

Listening
Introduce: * Learning to listen with increased attention span.
¢ Louder/softer (than normal)
Materials: ¢ Story recordings
“Bambi” [202]
“E] Torrito” [208]
* Activity recordings
“The Moving Game” [204]
“Colors” [211]
“Soft and Loud” [209]

Movement
Introduce: ¢ Locomotor and non-locomotor activities
Materials: * Games and/or recordings
“Jim-a-long Josie”’ [167]
“Tideo” [187]
“Today” [117-2]
“The Farmer in the Dell’ [72]
“Bridge of Avignon” [72]
* Action songs
“Ipsy wipsy spider” #7 [15]
“Helicopter” #4 [15]
“Little Thumbs” #13 [15]
“London Bridge” [151]
 Suggestions on Teaching Level One Concepts and Skills 127

Music Literacy

Rhythm
Introduce: + Beat concept (developing a feeling for the beat)
* Simultaneous clapping (Sim-clap)
* Clapping the beat (tapping)
* Stepping the beat
Materials: * Speech verses
‘Pease Porridge Hot,’’ p. 15 [187]
“Two Little Dickey Birds,” p. 147 [131]
“Misty Moisty was the Morn,” p. 314 [131]
“Doctor Foster went to Gloster,” p. 43 [104]

Melody
Introduce: ¢ Stress singing in tune with a light voice quality
* Attention to problem singers: Speaker and Transposer
Materials: * Name game activities
“Name game” (see Suggestions)
“Hickety Pickety’’ (see Suggestions)
¢ Pitch matching games
“Button and the Key,” p. 35 [94-2]
“Roll the ball” (see Suggestions)
* So-Mi songs for pitch matching
“Little Snail,” p. 5 [171]
“Tinker Tailor,” p. 3 [108] v. 1
* So-Mi-La songs for pitch matching
“Captain Bobby Shafto,’” #10 [15]
“Wee Willie Winkie’ #11 [15]

SUGGESTIONS ON TEACHING LEVEL ONE

CONCEPTS AND SKILLS

Introduce on the first class day

1. THE SOUND OF SO-MI: The falling minor third (So-Mi) is the easiest
interval for young children to hear and imitate, and it is with this interval that
work on melodic perception should begin. It should be noted that specific hand-
in-
signs and melodic syllables are not used yet. In Level One, working with
familiarization
tervals involves only the preparation stage, in other words, the
with the sound of the interval. Prepare this interval by using it in listening
activities, singing, and playing.
NAME GAMES: Begin with the introduction of the So-Mi sound in a Name
Game:

ions) ue)
Teacher:
SEE
oeprot ee
Hi-cket- y pi-cket-y
2
- ble bee,
bum can yousing your name to me?

Child
Responds:
128 Chap. 6.1 / Achievement Levels

As you sing these with various children, establish eye contact with them.
Use your hand in an up-down motion to indicate the pitch direction. This
technique not only helps the children develop a sense of pitch but assists the
teacher in learning the names of the children at the beginning of the year.

Name Game:

Taine sy, ise Missa can you sing me your name?

2. SINGING WITH CHORDAL ACCOMPANIMENT: Many children find

a steady diet of pentatonic song material somewhat dull. For this reason it is
desirable to sing a variety of limited range diatonic songs. These may be cultural
and recreational songs or seasonal and holiday songs appropriate for the time
of year. They should be accompanied by rhythm chords played on a guitar or
baritone ukulele. If the teacher is unable to play either of these, an autoharp
may be used, but not a piano. Chordal accompaniments:

a. help with the development of pitch

b. help with the development of harmonic understanding
c. add interest to the song

3. SIM-CLAP TECHNIQUE (Simultaneous clapping or clapping together):

Begin by saying “Can you do this with me?” Clap your hands using a relaxed
arm and wrist movement with a bounce-away motion. When the children can
stay together, vary the tempo (speed) and/or dynamics (loudness). Have the
children use one hand as a “drum” (hold it stationary) and use the other as a
“beater.” This activity may be used to begin the class: it focuses the children’s
attention on the teacher and helps them listen and concentrate. In addition, the
clapping motion is the same movement required later to play the mallet instru-
ments.

4. CLAPPING (TAPPING) THE BEAT: Proceed without stopping by saying

as you clap: ‘Can you do this with me?” Begin tapping using two fingers of
each hand. After a steady beat is being tapped by all teach this verse:

“Tick tock, tick tock,

Up in the tower so high.”
“Tick tock, tick tock,
The castle clock am I.”

5. ACTIVITY RECORDS: These are ‘Used to develop listening skills. Choose

a record which contains instructions incorporated into the music to which the
child must listen in order to satisfactorily participate in the activity. From this
simple beginning, the child is led to listening for obvious specific musical ele-
ments (dynamics, tempo, timbre, texture, etc.) and finally to more subtle dis-
criminations. Some of the more suitable recordings for the beginning listener
are these, marketed by Hap Palmer.

Creative Movement and Rhythmic Expression [204]

Learning Basic Skills Through Music I & II [211-212]
The Feel of Music [209]
 Suggestions on Teaching Level One Concepts and Skills 129

These recordings contain complete instructions on how to use them.

Complete Level 1 in this order:

6. STEPPING THE BEAT: Establish a steady beat by tapping. When all the
class is tapping together, teach the song “Jim Along Josie.”” When the class is
able to sing the song, walk the beat while the class sings. On the second verse
take one child’s hand and the two of you walk the beat. On the next verse both
get new partners. This process continues until all children are on the floor.
When all the children are on the floor, change the words of the song to ‘March
Along” then to ‘Tip Toe Tip Toe Josie” & “Walk Along.”

7. LOUDER-SOFTER: Of all the listening concepts, this is probably the

easiest to comprehend so it is introduced first. The objective is to develop the
understanding that music and speech may be louder or softer than normal.
Several recordings are available that may be used for this purpose (Hap Palmer’s
“Feel of Music’ and others). If you don’t have this recording, use the following
speech activity (Teacher say one line at a time—children echo):

(Normal Voice)
“This is my normal voice
I use this voice when I’m inside the house
I use this voice to talk on the phone
And I use this voice when I speak in school”
(Stage Whisper)
“Sometimes I use my softest voice
I use this voice late at night
I use this voice for telling secrets to my friends
And when I play hiding games”
(Shouting Voice)
“Sometimes I have to shout!
I shout to my friends across the street!
I shout “ouch!” when I stick my finger!
This is my outside voice!”
(Normal Voice)
“So I have three voices
A normal voice for inside
A softer voice for secrets
A loud voice for outside
Outside!
Inside
And—secrets”

8. PITCH MATCHING GAMES FOR DEVELOPING SO-MI SOUND

Game: “Roll the Ball’

Seat the children in a large circle on the floor. Start the game by singing

TE a Roll the ball to - chard

130 Chap. 6.1 / Achievement Levels

After you sing this tune roll the ball across the floor to the child named.
He then sings:

Aamamaewms 1 *Soe
Roll the ball to deach) s-23)e

This routine is repeated until all have had a turn. This procedure allows
the teacher to sing each time to a different child.

Variations for use on subsequent days:

a. Instead of rolling the ball back to the teacher, each child may roll to
another child. This variation should not be used until the teacher is
sure all children can maintain the pitch.
Bounce the ball rather than roll it. (This variation is not suitable for
carpeted floors, as the weave of the rug usually deflects the ball.)
Throw the ball rather than roll. More suitable for older children. Younger
children may have difficulty catching and holding the ball.

9. SINGING SO-MI SONGS TO DEVELOP THE SOUND OF THE FALL-

ING MINOR THIRD (SO-MI): Use songs such as—

“Rain Rain Go Away,” Songs to Read, p. 5 [171]

“Tinker Tailor,” Music for Children, V.I, p. 3 [110]
“Starlight, Star Bright,”” Kodaly Method, p. 147 [81]
“Spring is Here,’”” Music for Children, p. 3 [108]
“Quaker, Quaker,”’ Kodaly Method, p. 147 [81]
“One Two Sky Blue,” Music for Children, v. 2, p. 8 [111]

Sing these songs accompanied by a guitar or baritone ukulele, or they may be

performed unaccompanied. Use just the C major chord.

10. STEPPING THE BEAT, SAYING THE WORDS, CLAPPING THE

RHYTHM OF THE WORDS:

Select a verse, such as “Taffy was a Welshman.”

Form a circle and step a steady beat, i.e. ¢ = 80.
When the children know the verse, ask them to clap the words as they
say them.

This is the children’s first experience with melodic rhythm (the rhythm of the
melody, or words) and is a little more complex since now they must do two
rhythms at the same time (the beat & the melodic rhythm).

11. STORY RECORDS: These differ from Activity Records (#5) in that there
are generally no physical movements necessary. Story records are of two general
types:

a. Those that tell a story punctuated or highlighted by incidental back-

ground music (example: ‘Bambi’).
 Suggestions on Teaching Level One Concepts and Skills 131

b. Those containing music so integral that without it the story would not
be complete (example: ‘Peter & the Wolf’).

Begin with records of the first type; progress toward those with more music
and less narration. Soon the child will be able to perceive moods in music without
a narrative.
At first, the child’s attention span will be short, so if the story record you
select is lengthy, break it into three to five minute segments to be heard over a
period of several classes.
Over the long term, the progression should be from

stories with incidental music: ‘‘Bambi’’ [202] or “El Torrito’’ [208] to

stories with integral music: ‘“Tailor and the Bear’ [218] to
program music without narrative: ‘Till Eulenspiegel’’ [311] to
op
ao Absolute music: Mozart’s Symphony K. 135 “Linz” [296]

12. PREPARING THE SOUND OF LA: When the sound of So-Mi is firmly
understood, add La.

a. Name Games that include So-Mi-La.

(Teacher)
ais jo porns
name is Can you sing me your name?

(Student)

name is

b. Pitch Matching Games (response games)—Children form a circle with

their hands cupped behind them and their eyes closed. As the verse
is sung, one child who is the “messenger” circles the outside of the
group and drops the button and the key in two different students’
hands. (See Richards, “Songs in Motion,” [187] for the complete song.)
After the group finishes the verse portion of the song, the teacher sings
the question using SML and the child answers such as this:

(Teacher) Pais nen af | (Student) SH earl ite 38 ’

Who has the but - ton? I have the but - ton.

(Teacher) ae , f tf = | (Student) tae foaik fr ;

Who has the key? have the key

This game requires two students to sing alone and can be used
for interval practice or individual evaluation by the teacher.
c. Singing S-M-L songs with and without guitar accompaniment (or use
baritone ukulele).
“My Pony Macaroni,” Music for Children, v. 2, p. 18 [111]
“T am a Gold Lock,’”” Music for Children, v. 2, p. 12 [111]
“Deedle Deedle,”” Music for Children, v. 1, p. 8 [108]
“Lucy Locket,” Music for Children, v. 1, p. 9 [108]
132 Chap. 6.1 / Achievement Levels

d. Playing games that use primarily S-M-L pitches.

“Jack Be Nimble,’” Mary Helen Richards Teaches, v. 2 [94]
“Juba,” Listen, Look & Sing, p. 36 [89]

13. BEGIN TO WORK WITH SPEAKERS: As soon as you know the names
of the children, and have listened to them individually a sufficient number of
times to know the capabilities of each, begin to work individually with those
children you would classify as speakers. This can be done during the regular
class period.

a. Have the speaker “‘yell’’ yoo-hoo louder and louder until he raises his
voice to a singing pitch level out of the speaking range.
b. Next have him elongate this yell. With young children the yell will
almost always approximate a minor third but don’t be concerned if he
yells a different interval. Work with whatever he produces—the ob-
jective is to lead the child towards a singing pitch level.

‘o\
S—o- |~ al
M
Yoo Hoo

c. Change the words to names of birds, flowers, etc.

OTE Blue :
ETEbird

d. Now try to have him sing softer without dropping the pitch. Work
toward a singing quality.

Spend one or two minutes with your speakers during each class period
until you are satisfied that each is using his singing voice.

14. BEGIN TO WORK WITH TRANSPOSING SINGERS: Work with the

transposing singers may be started before the speaker problem is completely
eliminated since often they are not the same children. Spend 2-3 minutes each
day working with these children. Work with transposing singers should not
follow directly your work with the speakers. Put a song, game, or activity
between for relaxation. Remedial work such as this should not take more than
four or five minutes in any one class period.

15. STEP THE BEAT, TAP THE BEAT, SAY THE VERSE, THINK THE
WORDS: This is a further extension of the activity described in #10.

Step a steady beat.

Tap & step the steady beat.
Teach a 4-line verse while continuing to step & tap the beat.
op
ao When the verse is learned, ask the class to say the first line aloud,
think the second silently, and say the third and fourth aloud.
 Checklist for Level One 133

This activity helps develop a feeling for the beat and melodic rhythm, and
is preparatory to exercises for phrase feeling and inner hearing presented later.
Variations of this activity might include:
a. Say lines 1 & 4, think lines 2 & 3.
b. Say only the first and last words—think all the rest (always tap and
step the beat while you do this).
c. Advanced groups can sit with their eyes closed and feel the beat, as
they say the first and last words of the verse and think the rest.

16. INTRODUCE MASTERWORKS FOR STEPPING AND TAPPING BEATS:

From this point on, use masterworks to introduce beat activities. For example
play a portion of “The March of the Smugglers” from Carmen. Ask the children
to step lightly to the beat of the music. Turn off the recording after a minute or
so and continue stepping the beat for work with a verse.
Alternately, have the children tap the beat while seated until all have the
correct tempo. Then stop tapping and listen silently to the music for a moment.
Caution: play the recording for no longer than one or two minutes at first. As
the children’s attention span increases, excerpts of three or four minutes may
be used.
Advantages:

a. A recording has an unvarying steady beat.

b. The use of masterworks acquaints the children with the sound of the
symphony orchestra without consciously bringing it to their attention.
c. Through repeated use it familiarizes the children with specific com-
positions that you may wish to employ for other purposes in the upper
elementary grades.
134 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL ONE

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Finds pleasure and enjoyment in music activities

Singing:
Sings with a light voice quality—
1. With the Group
Zen tone e ie
Instrumental Skills:
3. Sings in tune with a teacher-played accom-
paniment
Movement:
4. Participates in movement with games &
songs
5. Performs simultaneous clapping correctly Tense
Listening:
6. Listens to story records with increased at-
tention span
7. Listens and responds correctly
record
to activity eee ae
ings
Rhythm Reading Readiness:
Finger taps or claps a steady beat—
8. While listening to verses & songs
9. While performing verses or songs Ras
Steps a steady beat— Pee
10. While listening to songs or verses
11. While performing songs or verses Be
Melodic Reading Readiness:
Sings in tune—
12. On So-Mi songs
13. On So-Mi-La songs BERK

LEVEL ONE COMPLETED (date)

LEVEL TWO

Level Two continues to provide many musical experiences for the students.
Improvisation may now be started as well as the understanding of dynamics
and phrase feeling.
 Level Two Teaching Outline 135

The difference between the sound of music and verse that moves in two’s
and that which moves in three’s should be taught as well as the specific syllable
names, and hand signs for SO and MI.

LEVEL TWO TEACHING OUTLINE

Musicianship

Singing
Continue: + Teacher played song accompaniments on guitar, autoharp,
omnichord, or baritone ukulele
Introduce: »* No new concepts
Materials: + Recreational songs
“Hop Old Squirrel” [188]
“I’m Gonna Pat My Lil’ Old Head” [200]
* Seasonal songs
“The Sun is Shining” [163]
“Up on the Housetop” [89]
“Star of Peace’ [102]

Instruments
Continue: Teacher played accompaniments as above
Introduce: * Borduns played by the teacher on the alto xylophone
* Children play SO-MI melodies by ear on the alto xylo-
phone
Materials: * Pentatonic songs used in class from singing and melody
sections

Listening
Continue: * Teaching listening skills (with increased attention span)
¢ Louder-softer concept
Introduce: ¢ Higher-lower concept
¢ Faster-slower concept
* Dynamics (through speech activities)
Materials: * Story recordings
“The Zinniga Zanniga Tree”’ [226]
“El Torrito” [208]
¢ Activity recordings
“Fast & Slow March” [204]
“High & Low” [213]
* Masterworks recordings for stepping the beat (1)
“March of the Smugglers’ (Carmen) [269]
* Use verses from rhythm literacy section for dynamics

Movement
Continue: »* Locomotor and non-locomotor activities (beat feeling)
Introduce: »* Phrases (see rhythm literacy)
Materials: * Games for beat feeling
“Green Gravel,” #16 [15]
“Ring around the Rosey” [188]
136 Chap. 6.1 / Achievement Levels

Music Literacy

Rhythm
Continue: * Developing feeling for the beat
¢ Sim-clap
* Clapping the beat
¢ Stepping the beat
Introduce: ¢ Feeling for phrases
* Patschen
* Duple-triple difference (point out the difference in the sound
of music & verse that moves in 2’s and that which moves
in 3’s)
* Changing duple verses into triple
Materials: * Speech verses
“Twinkle Twinkle” [151]
“Breakfast Time” [117]
“Little Jack Horner’ [104]
* Body percussion activities using patschen

Melody
Continue: * Emphasizing singing in tune with a good voice quality
Introduce: * Echo technique for melody
¢ Hand signs and syllables for So & Mi
Materials: * So-Mi songs
“Starlight Star Bright’ [81]
“Hey, Hey, Look at Me” [81]
* So-Mi-La songs to prepare the sound of La
“Hop, Hop (171)
“Bernie Bee” [108]

SUGGESTIONS FOR TEACHING LEVEL TWO

SKILLS AND CONCEPTS

1. ECHO TECHNIQUE & HAND SIGNS & SYLLABLES FOR SO-MI:

a. “Have you heard a parrot talk?”

“How do these birds learn to talk?”
“Yes, they repeat what people say to them.”
“This is called an echo. When I sing something, I want you to repeat
exactly what I do—you can be my echo.”
b. Echo names of birds or flowers:

le
Rob - in, Robr= ink Blue - ce Blue - bird. - ra -keet, —

Use the So-Mi hand signs and encourage the children to follow your
example.
 Suggestions for Teaching Level Two Skills and Concepts 137

c. Change from birds to tonal syllables without stopping and continue

echoing.

ecm Cnmmmnee
te eee |
From this point on, do a short period of melody echoes (S-M) each class
period. At first have the class echo as a group; later play individual echo games
so you can check each child’s progress.

2. PHRASE FEELING: This activity is a further extension of that described

in Unit One #10. Its purpose is to teach the feeling for phrases in speech.

a. Step a steady beat in a circle.

b. Step the beat & say the verse.
c. Step the beat, say the verse, & clap the words.
d. Step the beat, say the words, clap the words, & turn the phrase.

Turning the phrase means to change directions at the end of the phrase and
step around the circle in the opposite direction. Turn at the end of each phrase.

= SO,Oe.
Phase 1 Phase 2 Phase 3 Phase 4

Variations:

a. Step the beat, clap the words, turn the phrase (omit saying the verse).
b. Step the beat, turn the phrases (think the words).
cu otep the beat, turn the phrases, say the words with your eyes closed.
Form a straight line for this activity. Each person steps forward, turning
at the end of the phrase and heading back to his original position. This
reduces the chance of bumping into another student.

O ore
ee te
. BeLi Sal
O eRerl
O 2
alae

3. HIGHER AND LOWER: The objective is for the children to understand

the meaning of higher and lower than normal. Introduce the terms higher and
lower by telling the story of “Goldilocks and the Three Bears.” (Use a different
pitch level for the voices of the three bears.)
Continue to use the terms higher and lower in echo games and songs used
138 Chap. 6.1 / Achievement Levels

in class. Some recordings are available for helping teach the concept of higher
and lower: Hap Palmer, “Learning Basic Skills through Music—Vocabulary.”
[213] See also ‘Pitch Exploration” in Richards, The Child in Depth. [94]
Say a verse (children echoing) using up-down hand motions and wide
fluctuations in pitch level:

Pe (oo eee —
& ee Gloster in a shower of = rain. He Stcppedemmclce

4. FASTER-SLOWER: The goal here is to understand the difference between

faster and slower than normal tempo. This concept is not difficult but you may
find some children confuse loud-soft with fast-slow. Take care that the concept
is properly presented for correct understanding.
Suggested materials:

a. ‘Going on a Bear Hunt” traditional speech/action activity.

b. “Fast & Slow March,” Hap Palmer recording Creative Movement & Rhythmic
Expression AR 533.
c. Train songs such as “‘Little Red Caboose” or “Engine Engine Number
Nine” (Begin these slowly, as if leaving the station; get faster, and then
slower to ‘come back” to the station.

5. PATSCHEN:

“Today we are going to step the beat with our hands instead of our feet.”
As you say this, “Walk” your hands on your thighs alternately. When all
the children are doing this, say
“Now can we walk both hands together?” Pat both hands at the same
time. ‘This is called patschen. Patschen is a German word that means ‘knee
slap.’ ”
“Now do this with me.” Begin to pat & clap alternately. Continue to pat-
clap as you teach a verse to this ostinato.

6. PREPARING ECHO CLAPPING TECHNIQUE: Here the teacher says a

line and claps the words as they are spoken. The class echoes the line and claps
the words in imitation of the teacher.

a.

“Lets kop-y_ kat. kop-y kop-y kop-y_ kat. kat kat kop- y_ kat.

| Se TTB aesDET dead «|calicrgones ae]

Continue in this manner creating other rhythm patterns with
these words. Use only | and [ |rhythm combinations.

ol drive an eighteen wheeler’ “Down the highway everyday”’

Wise tiePata doll ctu ae Garand as

 Suggestions for Teaching Level Two Skills and Concepts 139

Mine BOnmtast, I go slow” “Here comesa_ stop sign”

FE ig a jsoe
ae aa
Continue in this manner. Be sure the phrases each contain four
beats and only | or [ |rhythm combinations. Always use phrases that
begin on the beat. Don’t use pickups or upbeats.

7. DUPLE/TRIPLE DIFFERENCE:

Preparation:
a. Teach several duple meter verses.
b. Teach several triple meter verses.

Presentation:
a. Create a pat-clap (duple) ostinato pattern.
b. Repeat a known verse to this ostinato.

clap: $e 1 aa fo ye
Pat: |
(ae ea leaeepr a| nee | ae
”
Verse: “Geor - gy Pord - gy, - ding and
pud pie, Kasse dantcer

c. Change to a pat-clap-clap (triple) ostinato.

d. Say a known verse to this ostinato.

Sees oem Sosa ae

Verse; “Lit - tle Boy Blue come blow your horn, the Shee psiered

e. Explain that the first verse was a duple meter verse because it moved
in two’s (pat-clap) and the second verse was a triple meter verse be-
cause it moved in three’s (pat-clap-clap).
f. “Now let’s do the duple meter verse again.’” (Repeat verse with os-
tinato.)
g. “Now change to the triple pattern, and I'll say the verse in triple meter

SS) ae
to show how it sounds.”

h
Pord - gy pud-ding and pie Kissed thes ea
Verse: “Geor - gy

h. “Did you hear how different it sounded in triple meter?” “Now let’s
go back to the duple meter, and Ill show you how Little Boy Blue
sounds in duple meter.”
140 Chap. 6.1 / Achievement Levels

a
Weiss Ene
anes
——+d|
We. 1sxohy Blue
Se come blow your horn, the SOSEOS oa

Practice:
Continue changing known verses and songs from the original meter to its
duple or triple counterpart. Use the terms triple & duple frequently so that they
become part of the children’s vocabulary.

Caution: Always have the children do the verse or song in the original
meter as they first learned it. The teacher should change the meter and
perform the song in the opposite meter while the children perform the
ostinato and listen for the difference. Only after duple-triple meters are
clearly understood should you attempt to have the class change a verse or
song to the contrasting meter.

8. INTRODUCING THE ALTO XYLOPHONE: Before class begins, remove

all the bars except the lowest F and D. Tell the children the two bars on the
instrument are So (play F) and Mi (play D). Ask them to tell you which sounds
higher, and show them that the higher sound is a shorter bar. Show them how
to hold the mallets and how the sound is produced. Sing a known So-Mi song
(for example, “Tinker Tailor” or ‘Rain Rain Go Away”) and play a simple So-
Mi alternating ostinato as accompaniment. Use the instrument frequently as an
accompanying instrument after this. For a time the teacher should play the
instrument until the children grow accustomed to the sound and have watched
the correct way to play it.

9. PLAYING SO-MI MELODIES BY EAR (CHILDREN):

a. Seat the children in front of you (not in a circle).

b. Play two or three rhythm patterns on your legs and have them echo
them. Be sure they mirror your actions as in the following example.

Example:

(teacher) ne L foal | — (children) sl i al ee

R ie Ree Rees aesa Re

c. Sing two or three echo patterns using So-Mi syllables while patting
the left leg for So and the right for Mi. (When the children echo you
they will pat right for So, left for Mi).

Example:

(teacher is
S
opted Sta (childrea) oe ee
IRR Ub, |e TS NS

d. Sing a known song still using this same patting action.

 Suggestions for Teaching Level Two Skills and Concepts 141

es Ee a ‘ = m = ' ,

ermine Ut Cram-n njack aryOllme.see: With my ax Tl cut down trees.

e. Place the alto xylophone in front of you with the lowest pitched bar
on your right (this is backwards for you but correct for the child playing
the instrument from the other side). Remove all the bars except the
lowest F and D.
f. Play the tune on these two bars while you and the class sing the song.
Have the children mirror your playing motion with their patschen ac-
tion.
g. Select a child who did the patschen well to play the instrument. Have
him face you on the opposite side of the instrument (with the lower
pitched bar on his left).
h. Repeat (with other children and other So-Mi songs on this and sub-
sequent days) until all have had a turn and are able to do it satisfactorily.
Always have the class “play” the tune on their legs for practice along
with the child who is actually playing the instrument. This provides
them practice and allows you to select the next child. Always pick a
child who is doing well to play the instrument.
i. A rule of thumb in playing instruments is that all children, including
those playing the instruments, should sing the song. Tell the children
at the outset that those who do not sing as they play the instruments
will not be selected to play in the future.

10. CHANGING DUPLE METER TO TRIPLE (CHILDREN):

Set up a duple ostinato (pat-clap).

Have the class say a familiar duple verse.
Now change to a triple ostinato (pat-clap-clap).
The teacher repeats the duple verse in triple meter.
oooAsk the children to say the verse in triple meter (you may wish to
of
echo one line at a time before asking them to do the whole verse).
a Repeat the verse in duple meter to emphasize the difference between
the two meters.

Repeat the same process to change verses in triple meter into duple meter.
Your aim is for the children to be able to recognize the difference between duple
and triple meters.

Variations:
a. Do the above with a song. Change the guitar accompaniment from
duple to triple.

ome elim
| Fl. dt dt Nagle Bap

11. ACCOMPANYING BORDUNS PLAYED BY THE TEACHER: At this

point begin accompanying pentatonic songs using alternating borduns in place
of the guitar.
142 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL TWO

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
Sings with a light voice quality
1. With the Group
2. Alone
Instrumental Skills:
3. Sings in tune with a teacher-played accom-
paniment
Movement:
4. Performs rhythm echoes correctly
Performs patschen activities—
5. Duple: Alternating pat-clap
6. Triple: Pat-clap-clap
Listening:
7. Listens to story records with increased at-
tention span
8. Listens and responds correctly to activity
records
9. Understands concept of higher & lower
10. Understands concept of faster & slower
Rhythm Reading Readiness:
11. Understands and performs a steady beat
12. Understands differences in the sound of
music that moves in twos and that which
moves in threes
13. Understands and responds to phrases
Melodic Reading Readiness:
14. Performs melodic echoes in tune (SM & SML)
15. Knows hand signs and syllables for So and
Mi
16. Can play simple So-Mi tunes by ear on Alto
Xylo
17. Sings simple SM and SML songs in tune
with a teacher-played bordun accompani-
ment

LEVEL COMPLETED (date)

 Level Three Teaching Outline 143

LEVEL THREE

The emphasis in Level Three is still to provide the students with a variety of
musical experiences (through singing, movement, and participation).
A new listening skill (inner hearing) will be introduced. The objective of
inner hearing activities is to encourage rhythm and tonal imagery; in other
words, hearing the music inside one’s head. To help develop this skill, various
games are suggested, and other activities should be used to encourage the
recognition of songs from their rhythm alone.
Rhythmic development will include speech enhancement, changing triple
verses to duple and clapping specific rhythm patterns. In addition, the handsign
and syllable name for La will be introduced.

LEVEL THREE TEACHING OUTLINE

Musicianship

Singing
Continue: «+ Singing songs with teacher-played accompaniments
Introduce: »* No new concepts
Materials: ¢ Recreational songs
“Down by the Station” [72]
“T have a little Shadow” [139]
* Seasonal songs
“It Rained” [153]
“Valentine” [89]

Instruments
Continue: ¢ Playing melodies by ear on the alto xylophone.
Introduce: + Alternating borduns played by the children (alto xylo-
phone).
Materials: + Play songs from the melody section by ear.
* Sing songs from singing or melody sections that have bor-
dun accompaniments played by children.

Listening
Continue: + Reviewing the basic concepts of higher/lower, louder/sof-
ter, faster/slower.
Introduce: ¢ Inner hearing
* Song recognition from its rhythm only
Materials: + Activity recordings
“High & Low” [213]
“Slow & Fast’ [209]
* Story recordings
“Bambi’’ [202]
* Use songs from this or previous levels to work with inner
hearing and rhythm recognition.

Movement
Continue: + Playing song games with emphasis on beat feeling
Introduce: * No new concepts
144 Chap. 6.1 / Achievement Levels

Materials: * Song games

“Little Bird’’ [161] p. 78, Bk 1
“Donald Duck,” Bk 1, p. 23 [162]

Music Literacy

Rhythm
Continue: «* Clapping and stepping the beat
* Body percussion activities (clapping & patschen)
¢ Sim-clap
* Duple-triple differences
Introduce: « Changing verses from triple to duple
¢ Rhythm sticks for echo work
¢ Echo-clap specific rhythms
* Speech enhancement
Materials: * Verses to enhance
“Five Little Squirrels” [193]
“Bell Horses” [132]

Melody
Continue: * Echo games
¢ Stress singing with a good voice quality.
Introduce: * Handsign and syllable name for La ;
¢ Attention to non-directional and directional-out-of-tune
problem singers
Materials: * SML songs
“Engine Engine Number Nine” [129]
“Lucy Locket” [81]
* SML+D songs
“Ring around the Rosey” [81]
“Little Drops of Water” [139]

SUGGESTIONS FOR TEACHING LEVEL THREE

SKILLS AND CONCEPTS

1. HAND SIGN AND SYLLABLE FOR LA:

a. Begin with some So-Mi echoes using hand signs.

b. Insert some patterns containing La (using hand signs).

The children are already familiar with the sound of La, and this should be
sufficient for introducing the sign and the tonal syllable for the sound.

Caution: Avoid using the perfect fourth progression (Mi-La) in your pat-
terns at first.

2. ECHO CLAPPING TECHNIQUE: Use the same hand action you used
in clapping the beat. (Use one hand as a drum and the other as a beater with
a ““bounce-away” motion.)

a. Begin with Kopy Kat (always use 4 beat patterns, children echo each
other):
 Suggestions for Teaching Level Three Skills and Concepts 145

Sele
Let’s play
LS
op-y Kat
alc
Kop.-y Kop-y Kop-y Kat Kop-y Kat Kop-y_ Kat

AC Aig Caieah
5 1 (ea oe
b. Now present some echoes without words

Note: End your patterns with a strong beat (quarter note) rather than a
weak one (two eighth notes); it will be easier for the children.

3. RHYTHM STICKS: When echo clapping is secure, vary the routine with
rhythm sticks. Have the children hold one stick stationary as a drum and hit it
with the other.

a. Sit with the children in a circle on the floor.

b. Puta pair of rhythm sticks on the floor in front of each child.
c. Present a few four beat echo clapping patterns.
d. Have them pick up the sticks and repeat this and other patterns using
the sticks.

Variation:
Echo the pattern by hitting both sticks on the floor (as in playing a basic
bordun pattern).

Caution: Children will naturally want to hit the sticks together. To avoid
confusion, ask them to leave the sticks on the floor until time to play them,
and, when they are finished, to put them on the floor and take their hands
away. If possible move the class to another location for the next activity.
Retrieve the sticks after class, or appoint a child to do it while you go on
with the next activity.

4. BORDUNS PLAYED BY THE CHILDREN: Remove all but the lowest C

and G bars from the alto xylophone and select a So-Mi-La song to use before
class starts.

a. Seat the children in front of you (not in a circle).

b. Start a pattern of alternating patschen beginning with your right hand.
Have the children mirror this pattern, beginning with their left hand.
c. Teach the words from the song as a verse.
d. Select a child to play the alternating pattern on the alto xylophone.
The remainder of the group should continue to patschen.
e. Add the melody of the song to the words with this accompaniment.

(Call attention to the fact that the bordun follows the beat, not the tune.
Remind the children they have previously been introduced to alternating patschen
and have sung songs with a teacher-played bordun accompaniment.

5. INNER HEARING: Begin the discussion of inner hearing by saying, ‘If

someone is singing a song at the radio station and | turn my radio on, can I
hear him? Sure I can, and if I turn my radio off does he stop singing down at
the radio station or does he continue? That's right, he continues singing his
146 Chap. 6.1 / Achievement Levels

song but I can’t hear him because I have my radio turned off. When I turn my
radio back on I can hear the part of the song he is singing at that moment.”
“Today we are going to play a radio game. You are the radio. When I turn
you on I can hear you sing, and when I turn you off you must keep on singing
but silently so I can’t hear you. When I turn you back on again then sing the
song out loud.”
Play this game and its variations frequently until all children are able to
think a song clear through. The ability to conceptualize melody and rhythm
internally is extremely important to the children’s musical development.

6. BEGIN WORK WITH NON-DIRECTIONAL SINGERS: Non-directional

singers know how to use their singing voices but are unable to distinguish pitch
direction. Usually brief episodes of daily melodic echo work will take care of
the problem. However, some children will need extra help. Identify these chil-
dren as you play echo, name, and response games and sing S-M or S-M-L songs.
When you have identified the children needing assistance, play echo games
with them more often than with the others, involving them physically, where
possible, by moving their bodies in the direction of the melody. In addition to
pitch imitation (echo) activities, the following techniques may help the Non-
directional singer:

a. Have the child join you on the floor on hands and knees. With your
hands flat on the floor, you are in the Mi position. Raise yourself on
your knees and hold your hands parallel to the floor for the So position.
Make a “roof” with the hands for the La position. Singing with these
gross motor movements often makes the melodic direction clearer for
these students.

b. Play a set of step bells as you sing. Seeing higher pitched tones up the
stairway and lower pitches down it can help clarify pitch direction. Let
the child play and sing or, alternatively, play examples for the class
to sing.

7. SPEECH ENHANCEMENT: This is an elementary creative activity that

“dramatizes” or “depicts” the meaning of the words through orchestration of
the song with unpitched rhythm instruments.

a. Begin by teaching the verse to be enhanced.

b. Let several children pick the instruments they feel should be used for
each line of the verse (or each verse).
c. As they perform the verse with instruments, they should duplicate the
rhythms of their line.
 Suggestions for Teaching Level Three Skills and Concepts 147

Example:

z. | » | b | ie dv: | (Rhythm Sticks)

TRAE Sh GAY on a stick

| ) | ) |k v | (Scrapper)
Makes me kind of sick

| Dad aD Pe | (Timpani)
Makes my tum my growl & groan

| Die sit Dens 2: |(Slide Whistle)

Think iil on home

To further enhance a verse, the child can improvise anything he wishes,

either by playing a rhythmic pattern or simply making sounds appropriate to
the verse.
Other songs that may be used:

“Bell Horses Bell Horses,” Mother Goose Treasury, p. 173

“Five Little Squirrels,” (traditional) (Appendix)
“Mr. Woodpecker,” Nash: Music With Children II, p. 20

8. BEGIN WORK WITH DIRECTIONAL OR OUT-OF-TUNE SINGERS:

These are the children who can perceive correct melodic direction but not pitch
or intervals. As with the non-directional singer, emphasize pitch matching and
melodic imitation exercises. Identify these children during daily periods of echo
singing and call on them more frequently than the others. Repeat an echo pattern
three or four times if necessary until they can respond correctly, after which the
class can alternate the pattern with the individual. Achieve success with one
pattern before moving to another.
Although work with speakers, transposers, non-directional singers, and
directional singers should be continued for as long as the problems persist, limit
remedial activities to four or five minutes in any one class period.

9. BODY PERCUSSION: Until now, the children know only two body
percussion techniques, clapping and patting. As you did with Sim-clap, establish
a pattern until everyone is doing it, then change to a different pattern.

_ yoo So.
Lo Sr ee tole
Chaser)
| CHR eR)

Use body percussion for rhythm echo work.

148 Chap. 6.1 / Achievement Levels

Example:

a é
2260 ve
|
clap

:
clap
i |

Teacher bs i te = i
Esonr
Teacher tap
ie |
Echo Echo

Always do body percussion standing up. Begin by stepping the beat lightly,
and continue stepping the beat in place throughout the activity.

10. RECOGNIZING FAMILIAR SONGS FROM THE RHYTHM ONLY:

Identification of a song from its rhythm develops a further aspect of inner
hearing, i.e., rhythm memory. Make a game in which you play the rhythm of
a known song on an un-pitched instrument like a drum, woodblock, or tam-
bourine. Ask the children to name the song.

a. The class may respond as a group

b. Selected individuals may respond
c. The class may be divided into two teams to see which team can identify
the most songs

Repeat with other songs.

Be sure the songs used have distinctive or identifiable rhythms. Avoid
songs with identical rhythms.
 Checklist for Level Three 149

CHECKLIST FOR LEVEL THREE

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
Sings with a light voice quality—
1. With the Group
2. Alone NEBR ee
Instrumental Skills:
3. Sings in tune with a teacher-played accom-
paniment and plays alternating bordun
patterns
a. While group sings
b. While singing with the group
Movement:
4. Moves freely to songs used in class
Listening:
5. Listens to story records with increased at-
tention span
6. Listens and responds correctly to activity
recordings
7. Performs inner hearing activities correctly
8. Recognizes known songs from rhythm only
Rhythm Reading Readiness:
9. Performs echo games of 4 beats length
10. Can change duple meter verses to triple
meter
11. Can change triple meter verses to duple
meter
Melodic Reading Readiness:
12. Knows and uses hand sign and syllable
for La
13. Sings DMSL songs in tune

LEVEL COMPLETED (date)

150 Chap. 6.1 / Achievement Levels

LEVEL FOUR

Level Four will see the first introduction of note reading. Reading of rhythms
using stem notation will be started with the quarter note (|), the quarter note
rest (2), and eighth note ([}). Listening will teach recognition of songs from
their melodies only. A classroom instrument ensemble will begin to form with
the addition (to the alto xylophone) of the alto metallophone, which at first the
teacher will play as a student plays the alto xylophone. Later students can play
both instruments.
Along with reading duple rhythms, the students will learn to use bar lines
and double bar lines. As soon as these have been introduced, writing from
dictation should follow.

LEVEL FOUR TEACHING OUTLINE

Musicianship

Singing
Continue: ¢ Emphasizing good voice quality and singing in-tune
¢ Singing songs with teacher-played accompaniments
Introduce: ¢ No new skills or concepts
Materials: »* Seasonal songs
“Rain, Rain’ [136]
“Sandy Land” [77]
“Paw Paw Patch” [68]
* Recreational songs
“The Muffin Man” [170]

Instruments
Continue: ¢ Playing melodies by ear on the alto xylophone
¢ Alternating borduns played by children on alto xylophone
Introduce: * Alto metallophone (in unison with alto xylophone, at first,
played by the teacher, later by a student)
Materials: * Use songs from the Melody and Singing sections.

Listening
Continue: Ȣ Inner hearing
Introduce: * Song recognition from its melodies only (or from hand-
signs)
Materials: ¢ Activity recordings
“One Shape, Two Shapes” [212]
“Moving Game, Part Two” [204]
* Story recordings
“Snow White” [221]

Movement
Continue: ¢ Beat games and phrase feeling
* Using movement on all songs when possible
Introduce: * No new concepts
Materials: »* Beat game
“Teddy Bear’ [162]
 Suggestions for Teaching Level Four Skills and Concepts 151

Music Literacy

Rhythm
Continue: * Clapping and stepping the beat
* Body percussion (clapping & patschen)
¢ Sim-clap
* Duple-triple differences
* Echo clapping
¢ Speech enhancement
Introduce: * Syllables and stem notation for ke []- 2
* Bar lines and double bar lines
* Dictation (writing and copying of above)
* Beat underlining
* Reading rhythms from flashcards
* Reading rhythms from rhythm charts
Materials: ¢ Chart of duple rhythms for reading
¢ Flashcards of duple rhythms
* Verses
“Hey Mr. Woodpecker’ [117]

Melody
Continue: * Stressing good voice quality
* Echo games
Introduce: ¢ Hand sign and syllable for DO
* Hand sign and syllable for RE
Materials: * DMSL songs
“Ring around the Rosey” [151]
“Little Drops of Water’ [139]
° DRM songs
“Hop Ole Squirrel” [171]
“Hot Cross Buns” [151]
* DRMSL songs
“Tommy’s Fallen in the Pond” [110]
“Old Blue” [81]
“Button You Must Wander” [77]

SUGGESTIONS FOR TEACHING LEVEL FOUR

SKILLS AND CONCEPTS

1. INTRODUCE THE HAND SIGN AND SYLLABLE NAME FOR DO:

a. Present three or four S-M-L melodic patterns with hand signs for the
children to imitate.
b. Add some patterns with hand signs that end on Do.

Example: Begin with these—

mee ici) oo
M S) MiNi oso So S) MesM oS
152 Chap. 6.1 / Achievement Levels

Continue with some like these—

S | S M M D D S Ma Mie)
Wie ea \ trae
GS = i)

Bef |
When the children feel confident with the syllable and hand sign for Do,
it may be used at the beginning or middle of the pattern.

Caution: It’s easy to sing the major third (Mi-Do) out of tune. Be sure your
pitch is accurate. Play it on the alto xylophone first if you need to.

2. INTRODUCE THE ALTO METALLOPHONE: To this point, the children

have played alternating borduns and partial pentatonic melodies (SM, SML, &
SMLD songs) on the alto xylophone. When most of the children are able to keep
a steady beat while playing the instrument, a second instrument may be intro-
duced.
With the alto metallophone next to the alto xylophone, discuss briefly how
their looks and sounds compare (same size, same pitch range, bars of metal,
different sound quality, sound lasts longer than on the xylophone, etc.).
The alto metallophone can be used as follows. Follow the order given, and
do not go on to the next use activity until the one you are working on is secure.

a. Use the alto metallophone in place of the alto xylophone for teacher-
played bordun accompaniments.
b. Have the children play SM, SML, & SMLD melodies by ear.
c. Use a teacher-played alto metallophone in unison with a student-played
alto xylophone to play alternating borduns or pentatonic melodies.
d. When the children become accustomed to the sound of the two in-
struments together, let them play both in unison.
e. Invite a child to play a bordun while you play the melody of a song
for the class to sing.
f. Introduce the basic bordun to be played by a child on the alto metal-
lophone together with an alternating bordun played by a second child
on the alto xylophone.
g. Let one child play a bordun on the alto metallophone while a second
plays the melody by ear on the alto xylophone.

Note: After the introduction of the alto metallophone, teach the children
who are to play the instruments to set them up (i.e., remove the bars that
will not be played) and replace the bars on the instrument when finished.
Call the bars by the letter names (C, G, etc.) and point out which is Do,
Mi, So, or La, so the children will learn their names.

The keyboard visualizer is a useful teaching aid which may be employed

from this point on. In its simplest form, it consists of the letter names of the
bars printed on 5” x 10” cards and placed at the front of the room where all
can see. When instruments are to be played, the teacher removes all but the
letter names of the bars to be left on the instruments. The children can then
refer to the cards when setting up their instruments.
 Suggestions for Teaching Level Four Skills and Concepts 153

Cards for
bordun in c G
CG

Other visualizers are available, or may be made by the teacher, that are
made of wood or fiberboard and are finished to look like an oversized xylophone.
The visualizer is mounted on the wall in the front of the room, and the bars
removed and replaced as needed to demonstrate how the instrument is to be
set up.

3. RECOGNIZING FAMILIAR SONGS FROM THEIR MELODIES: From

this point on, play or sing familiar melodies for the children to identify. “Mystery
tune’’ games such as this further extend inner hearing development, and can
be presented in the following ways:

a. Play the melody on the alto xylophone or alto metallophone.

Sing the melody using a neutral syllable such as ‘Lu.’
c. Sing the melody using tonal syllables and hand signs. (Be sure to use
only the four they know to this point D-M-S-L.)
d. Sign the melody using hand signs only, without sound.

4. INTRODUCE HAND SIGN AND SYLLABLE FOR RE:

a. Present melodic echo patterns with hand signs and syllables, using D-
M-S-L.
b. Insert some using Re (with hand signs), always putting Re between
or adjacent to Do or Mi.

Example:

ie Pee
he | eek |
Rai ReeD NEE Diem aR s ) Sion SS Man cR

Caution: Avoid ending a pattern with Re since this suggests the Dorian
Mode. Do or So are the better final pitches. Also for a while avoid the
perfect fourth interval Re-So.

To help reinforce hand signs and syllables for the pentatonic scale, intro-
duce the song “A Boy Named So” at this time. [15]

5. INTRODUCE THE OSTINATO:

a. Seat the children on the floor in front of you.

b. Play this pattern on your knees (patschen)

Oe
154 Chap. 6.1 / Achievement Levels

c. Teach the song ‘’Rub-a-dub-dub” as the class mirrors your ostinato

pattern.

RUB
- A - DUB
- DUB

ee Se
RUB-A-DUB DUB. Three men in and who do you think . be? A

butcher a) baker ©2 can -dle-stick ma - ker. All float-ed out to sea!

d. Select a student to play the ostinato pattern on the alto xylophone

using the lowest E and G bars.
e. Have the rest of the class imitate the ostinato with a pat-clap-clap.
f. Have the class sing the song with this accompaniment.
g. Now select a child to do a bordun on the alto metallophone using the
C & G bars.
h. When the ostinato and bordun players are secure, form a circle with
the rest of the group and step the beat, singing the song again.
i. Select three children to be the characters in the song and pretend to
be at sea in the middle of the circle.

Note: Use the term ostinato frequently so that it will become a part of the
children’s vocabulary. Point out that a bordun always uses Do + So but an
ostinato may contain any combination of pitches.

6. INTRODUCE RHYTHM SYLLABLES FOR | - []-2

a. Step a steady beat in place.

b. Echo clap patterns such as these—

Example:

cman imi i
c. Now say the patterns after each and have the class echo.

Example:

(teacher) Beale
sie : matt ah!

= fa | gs Nek OEM ee alia iy 7) |

(class)
clap speak

(teacher) ie ie || | oh om inGe ate © ep)

(class) meee ‘eee n

ac)oO rat)=
= N =| & Ss. tO
2s
 Suggestions for Teaching Level Four Skills and Concepts 155

d. By association these syllables will be learned rapidly.

Variations:

a. Another time, set up a pat-clap ostinato to echo the rhythm syllables

using all four of the possible patterns.

Ree.
Ons 2 Drs
Palme ae el
me 2 ne Oe meee
| at fane

Always give patterns in groups of four beats. For a while, always make
the second measure two quarter notes (1-2) changing only the first
measure.

fy ih ime oe i) 1

When they are able to do this, then give two identical measures.

2 1 2 ne 1 2 ne

The teacher says the pattern with syllables, the class echoes the pattern
with rhythm sticks.
The teacher plays the pattern on a hand drum, the class responds with
the syllables.

When the rhythm syllables become familiar, introduce the word rest to
indicate a silent beat. Some teachers prefer to use an Shh sound, but the word
“rest” is more easily articulated and precise. Along with the word introduce the
sign for a rest to be used when clapping rhythms.

Clapping

7. STEM NOTATION: When syllables become familiar, introduce stem

notation at the chalkboard. Practice reading all eight combinations of rhythms:

(1)
eee
1 2
eee,
(2)
1 aine 2 ne
(3)
et, Poounes 2
(4)
SL
1 CS €

(5) , (6) On aes Oe femehs

1 rest 1 ne rest rest )) rest zu ne
156 Chap. 6.1 / Achievement Levels

8. READING STEM NOTATION FROM CLASS CHARTS: Practice reading

stem notation from commercially available class charts or you may make your
own in the manner of those below. Use large artist tablets or poster board
approximately 2’ x 2%’ and write no more than 4 beats per line, three or four
lines per page using a magic marker. Although the edges of the page may be
decorated with colored pictures and the stems drawn in various dark colors, it
is best not to clutter the notation with pictures, thereby distracting the children.

If commercial charts are used, be sure to draw barlines down the middle of the
pages to make all measures two beats. Don’t use charts that have more than four
beats in each line, which is all children can manage at this time.
Among the commercial charts that are available:

Mary Helen Richards, Threshold to Music I (original edition), Charts 1, 2, 3,

AVAS} (6), Vf
Aden Lewis, Listen, Look & Sing I Charts 3, 4, 5, 6, 8, 9
Eleanor Kidd, Threshold to Music I (Second edition), Charts 3, 11, 17
William Young, Pitch & Rhythm Charts, Charts 1, 2, 3, 4, 5, 6

9. DICTATION: Dictation may be introduced at the same time that stem

notation and reading rhythms are taught or it may be delayed until later.

a. Be sure each child has a slate, crayon, & wiping cloth.

b. Put some examples on the chalkboard for the children to copy on to
their slates.
c. Now introduce dictation.
* Teacher presents an example using rhythm syllables.
* Children echo the example using rhythm syllables.
 Suggestions for Teaching Level Four Skills and Concepts 157

¢ Children think the example in their heads.

* Children write the examples on their slates.
¢ Children hold up their slates to be checked.
¢ Slates are erased for the next example.

10. UNDERLINING BEATS: After the children have learned dictation pro-
cedure and have copied some examples successfully, put a four beat rhythm
segment on the chalkboard and show them how to underline beats. Have them
underline the copied examples on their slates.

a ea
Underlining the beat is quite important at this stage for the children to learn
where the beat lies. Underline all written rhythm examples at least through
Achievement Levels 1 to 10.

11. BAR LINES AND DOUBLE BAR LINES: This concept may be intro-
duced at the same time as underlining beats or may be delayed. Explain that
single lines, called bar lines, are used to group beats into pairs and that the
space between barlines is called a measure. Then explain that a double line
means the song or rhythm has come to the end.
Put the following example on the board for them to copy. After you have
checked to see that each child has copied the barlines correctly, have them
underline the beats. The result should be:

Teermots .
he thoes See aia
Le aE rea aes |
esa |~
—
Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL FOUR

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Sings with a light voice quality with the
group
2. Sings with a light voice quality alone
Instrumental Skills:
3. Sings in tune with a teacher-played accom-
paniment
4. Plays a mallet instrument satisfactorily—
a. With the teacher playing a different part
b. With another student playing a differ-
ent part
Movement:
5. Moves freely to songs used in class
Listening:
6. Listens with increased attention span
7. Listens and responds to activity recordings
8. Recognizes songs from neutral pitches
9. Recognizes songs from hand signs only
10. Performs inner hearing activities correctly
Rhythm Reading:
11. Knows syllable names for lee []-2
12. Reads | - [ |- 2 from notation
132 .Copies ie [ ]- Zcorrectly from written ex-
amples
14. Writes | - | |- Zcorrectly from dictation
Melodic Reading:
15. Knows hand sign and syllable for Do
16. Knows hand sign and syllable for Re
17. Sings DRM songs in tune
18. Sings DRMSL songs in tune
19. Plays alto xylophone or alto metallophone
“by ear’ on known songs that contain SML
and/or DRM

LEVEL COMPLETED (date)

 Level Five Teaching Outline 159

LEVEL FIVE

There are two primary concepts, or understandings, to be introduced in Level

Five: improvisation to develop musicianship, melodic reading to develop music
literacy.
Improvisation on the mallet instruments will be used to play short interludes
between song verses or expand “B” sections of orchestrations. The alto xylo-
phone and the alto metallophone will continue to constitute orchestrations for
song accompaniments.
Melodic reading will be started with the introduction of So-Mi on a two-line
staff. Reading and writing of So-Mi will be combined with the reading and
writing of the three basic duple rhythms begun in Level Four, so that complete
songs may be read at this stage.
Two new aural skills, the singing of tuning sounds before each seasonal and
recreational song, and the recognition of timbre, will be introduced at this level,
along with the extension of body percussion to include stamping.

LEVEL FIVE TEACHING OUTLINE

Musicianship

Singing
Continue: ¢ Singing songs of six-note range or those based on the basic
pentatonic scale (DRMSL)
Introduce: * Tuning sounds
* Major and minor tonalities as they appear in songs used
in class
Materials: + Recreational songs
“See the Little Ducklings,” Bk 1, p. 91. [90]
“Fiddle Dee Dee,” Bk 1, p. 73. [181]
* Seasonal songs
“Seven Little Witches,” #6 [15]
“Old Black Witch,” p. 9. [183]
“Five Fat Turkeys,” Bk 1, p. 55. [90]
¢ Minor tonality song
“Ghosts & Goblins,” #14 [15]

Instruments
Continue: »* Chordal accompaniments played by the teacher using gui-
tar, Omnichord, baritone ukulele, or Autoharp
¢ Using two mallet instruments to accompany pentatonic
songs (alto xylophone = ostinato, alto metallophone =
basic bordun)
Introduce: »* Improvisation of interludes and ““B” sections of songs.
Materials: * Songs from Singing section for chordal accompaniments
¢ Songs from Melody section for orchestrations

Listening
Continue: ¢ Inner hearing activities
Introduce: + Timbre
Materials: + Activity recording
“Scales” [209]
160 Chap. 6.1 / Achievement Levels

¢ Timbre activities
“Blindfold game” [7c, this section]
“Junk orchestra’”’ [7b, this section]

Movement
Continue: ¢ Use movement with every song where possible
¢ Emphasis on feeling the beat
Introduce: * No new concepts
Materials: ¢ Rhythm games or beat emphasis
“Hey Betty Martin,” p. 198 [68]

Music Literacy

Rhythm
Continue: * Changing duple verses to triple meter and triple to duple
¢ Emphasis on feeling the beat
* Speech enhancement
* Echo clapping rhythm patterns (melodic rhythm)
* Rhythm dictation for: | - []-2
* Rhythm syllable for: | - []-2
Introduce: ¢ Stamping (body percussion now includes stamping, patschen,
and clapping)
Materials: ¢ Verses (2)
“Misty Moisty was the Morn” p. 341 [131]
‘John Tommy Monday” p. 40 [102]

Melody
Continue: * Echo singing tonal patterns based on DRMSL
¢ Handsigns and syllables for DRMSL
Introduce: * So and Mi on a two-line staff
* Combine pitch and rhythmic notation for reading
¢ Dictation for pitch
Materials: * Class charts for reading songs
Teacher made charts
Commercially available charts [89, 139, 187, 188]
¢ SM songs for reading
“Hey, Hey, Look at me,” Vol. 1 [162]
“Rain, Rain Go away”’ [139]
“Starlight, Starbright,” p. 147 [81]
“Cobbler, Cobbler’ [139]
* DRMSL songs for singing
“Built my lady a fine brick house” [8]
“Rise Sally Rise’ [81]

SUGGESTIONS FOR TEACHING LEVEL FIVE CONCEPTS

Before beginning Level Five, review the concepts and skills learned in Levels
One through Four. The various skills and concepts to be introduced in Level
Five are discussed below.
 Suggestions for Teaching Level Five Concepts 161

1. TUNING SOUNDS: A teaching technique designed to further develop

the child’s sense of tonality. Establish the habit of singing tuning sounds before
each diatonic major or minor song used from this point on. Combine tuning sounds
with the procedure for starting a song as follows.

Guitar / Omnichord sturm in C Major:

a eeni | em emma em Ydte of kf

f
Do MiSoMi Do_______ One -Two - Ready-Sing- beginsong...

For minor songs, strum on a minor chord and change the tuning sounds
to La-Do-Mi-Do-La and follow the same procedure. The use of tuning sounds
has several benefits:

a. It helps to establish the sense of tonality.

b. It reinforces the pitch of the song.
c. It clarifies the later understanding of key signatures. (All the tuning
sounds will always be on lines or on spaces.)
It helps teach the distinction between major and minor tonalities.
e. It prepares the student to learn about harmonic changes.

2. BODY PERCUSSION—STAMPING: The best action for stamping is one

in which the knee bends, the foot is drawn up and back, and the ball of the
foot strikes the ground firmly, much like the action of a horse stamping his foot.

a. Practice stamping a few times to check each child.

b. Sing the following song as a further practice in stamping.

Clap, clap, clap your hands. Clap your hands to - geth - = er

tert
eee

Clap, clap, clap your hands, Clapia- your. hands® (tora geth: =~ )-er

2nd verse: Patsch, Patsch, Patsch your hands . . . etc.

3rd verse: Stamp, stamp, stamp your feet . . . etc.
c. Use stamping for echo work with rhythms or intermingled with patschen
and clapping for warm-ups like you have used Sim-clap.

i We es |
na RH OE 4
os ae mo
Ie We IE

eee
es
6
EP
ee
ee
Oe
ee
i
162 Chap. 6.1 / Achievement Levels

Caution: The simplest body percussion is one which starts on the floor
and moves up (stamp, pat, clap) while the next easiest is that which moves
down (clap, pat, stamp). Don’t mix them until the children are secure at
the easier forms. (Avoid pat, clap, stamp & pat, stamp, clap.)

3. INTRODUCE SO-MI ON A TWO LINE STAFF:

Preparation: The sound of So-Mi may be prepared by—

a. Sing echo games that use So-Mi.

b. Sing So-Mi songs with and without chordal accompaniment.
¢ “Rain Rain Go Away” Bachmann, Songs to Read, p. 5
* “Quaker, Quaker’ Choksy, The Kodaly Method
¢ “Little Snail,” Bachmann, Songs to Read, p. 5
Use the So-Mi bars (either E & G or F & D) on the alto xylophone for
So-Mi songs by ear and playing ostinati.
Playing games that contain all or mostly So-Mi pitches.
* “Hey Hey Look at Me,” Kodaly Method, p. 148
* “Pop Up Toaster,” Orff-Schulwerk American, ed. 2: p. 8
* “One Two Sky Blue,”” Orff-Schulwerk American ed. 2: p. 8

Evaluation: The So-Mi concept is ready to be presented visually when most

of the children are consistently able to sing this combination of sounds in imi-
tation.

Presentation:*

a. Review a So-Mi song known to the children using hand signs.

b. Place colored discs on a two line staff representing all or a portion of
this song and have the class sing as you point to the notes. (A two
line floor staff of masking tape and 10” colored discs works well.)
c. Rearrange the discs to form a different melody and ask the class to
read it.
d. Select a few children to compose melodies which the class can then
read from the floor staff.
e. Point out that So could be on either a line or a space, but if So is on
a space, Mi must be on the next space below. Also, if So is on a line,
Mi must be on the next line below.
f. Compose more melodies on the floor staff using first lines, then spaces.

Practice:

a. Read So-Mi melodic segments from the floor staff, felt board, chalk-
board, or other two line staves.
b. Create new So-Mi melodies using these.
c. Copy So-Mi melodies on slates using two line staves.
d. Write S-M melodies from dictation.
e. Read S-M segments from flashcards.

*An alternate method of presenting So-Mi notation may be found in Section 12, Chapter 5-1.
 Suggestions for Teaching Level Five Concepts 163

4. COMBINING PITCH WITH RHYTHM NOTATION:

Review the familiar song ‘Starlight Starbright’ using its words.

Say to the children, “Today we are going to learn to write the tune to
this song.”
Place a two line staff on the chalkboard and label the top space So and
the next space Mi.
Sing the first line of the song again, first with words, then with melody
syllables using the hand signs.
Write this melody on the staff.
Sing the first line again, then say it in rhythm syllables.
Write the rhythm by the notes.
Oo
> Repeat the steps outlined in d, e, f, and g for each of the lines in the
sa9
song. When finished, you will have the following:

et
aS
zn rene Coenen |
a
nN

Display chart #18 from Kidd, Threshold to Music Bk 1, 2nd ed., [188],
or one of your own construction and read as a class. (If you make your
own, place the note heads on the lines.)
Point out again that So can be ona line or a space. But Mi must always
be the same as So, both on spaces or both on lines.

Practice: Reading and writing pitch & rhythm combined—

a. Reading classroom charts:

Richards, Threshold to Music Charts, Charts 17 and 18 [187]
Kidd, Threshold to Music, First Book, Chart 18 [188]
Lewis, Listen Look & Sing, Book 1: Charts 13, 14, 15, ie 174, We}, 2),
& 20 [89]
Young, Pitch & Rhythm Charts, Charts 5, 7, 8 [139]
Reading SM songs from teacher-made class charts.
Copying SM melodies.
Writing from dictated examples.
eo
foo
Composing segments for the class to read.
164 Chap. 6.1 / Achievement Levels

5. READING RHYTHMS FROM CLASSROOM FLIP CHARTS AS AC-

COMPANIMENTS TO VERSES: Published flip charts may be used as ostinati
to read and perform while saying verses.

as At first select just one line from the chart to be read repeatedly through
the whole verse as an ostinato.
b. When the children become more proficient at reading, they may use
two or four lines of a chart as a rhythmic accompaniment to a verse,
performed as clapping, patschen, or played on rhythm sticks, etc.*

Suitable charts for this purpose:

Lewis, Listen Look & Sing, Book 1, Charts 3 and 4 [89]

Richards, Threshold to Music, Book 1 (1st Ed), Charts 2, 3, 6 [187]
Kidd, Threshold to Music, Book 1 (2nd Ed), Chart 10 [188]
Young, Pitch & Rhythm Charts, Charts 1, 2, 3, 4 [139]

6. PITCH DICTATION:

Read a known SM song from the feltboard as a class.

Have each child copy a segment of the song on slates.
Check each slate for accuracy.
Sing the segment using hand signs and syllables.
aeTell the children you are now going to sing a different tune (example:
SE
Or
Sing So-Mi-Mi-So using hand signs).
Have the children sing the same tune with hand signs.
Now let them write it on their slates.
When they are finished, teacher writes it on the chalkboard.
ns Check the slates for accuracy; compare with example on board.
mpase
Have each child correct any mistakes, then erase their slates.
nie Repeat the dictation procedure with a different segment.

7. TIMBRE: The understanding of timbre, an awareness of differences in

the sound quality produced by various instruments and objects, is needed for
later activities in orchestration.

Take a sound walk around the room or outside. Consider how different
sounds can be obtained by striking, shaking, rubbing various objects
and materials. Discuss the characteristics of each sound, whether it is
long or short, grating or smooth, piercing or dull, etc.
Ask each child to bring something to school they think makes an
interesting sound. “Junk” or discarded objects often make the most
interesting sounds. (See Susan Kennedy: ‘Building Musical Instru-
ments with Children,” Orff-Schulwerk, Book 2, Amer Ed p. 213 [111])
Blindfold Game
* The object is to guide the blindfolded child through the seated
students to the other side of the room. The near misses make this
game exciting.
¢ Blindfold one child.

“If this is too difficult, divide the class into two groups, one to say the verse, one to perform the
chart.
 Suggestions for Teaching Level Five Concepts 165

* Seat the remainder randomly about the room on the floor.

¢ Select four instruments producing contrasting sounds, such as tem-
ple block, metallophone, cymbal, triangle.
¢ Assign a step to each instrument, as follows:
(1) Temple block = move one step to the left
(2) Metallophone = move one step to the right
(3) Cymbal = move one step forward
(4) Triangle = move one step backward
¢ Have a student play each instrument and the teacher or a student
direct.
¢ As the children become more experienced in the game, use in-
struments that are more alike: (metallophones & glockenspiels in
different sizes, xylophones in different octaves, different kinds of
drums, woodblock, tone block, temple block combinations).

8. IMPROVISATION: This is an on-going activity that was actually begun

in Level A by playing simple pentatonic songs by ear on the mallet instruments.
It may be further developed by

a. performing a simple song with alto xylophone ostinato and alto me-
tallophone bordun, then inserting an improvised B section or interlude
played on the alto xylophone. At first the teacher should play an
improvisation to demonstrate the idea; later, the students can do the
improvisations. (Use only a few bars on the xylophone at first.)
b. removing all but two or three bars from the alto xylophone and en-
couraging a child to create his own ostinato. The teacher can play the
alto metallophone bordun at first to keep the rhythm steady. Later,
the children can do both the bordun and the ostinato.

As the children improve in their ability to create melodies and ostinati,

additional bars may be placed on the instrument until the full keyboard is
employed.

9. PREPARING LA: The preparation of La was begun in Level One and

continued to this point by

a. playing echo games that use So-Mi-La;

b. singing S-M-L games with and without guitar accompaniment;
* “Lucy Locket,” Orff-Schulwerk, V.I (Hall) #9
* “Bobby Shafto,” Orff-Schulwerk, V. I (Murray), p. 5
¢ “A Tisket a Tasket,” Erdei, 150 American Folk Songs, p. 4 [7]
c. using M-S-L [E-G-A] bars on the alto xylophone for improvisation and
ostinati.
d. playing singing games that are primarily S-M-L melodies
* “The Mill Wheel,” Choksy: The Kodaly Method, p. 149, #8 [403]
* “Wind up the Apple Tree,” Orff-Schulwerk II, American edition,
page 12.
- “Lucy Locket,” Choksy: The Kodaly Method, p. 149, #10 [403]
e. Playing So-Mi-La songs by ear on the alto xylophone.

Evaluation: The So-Mi-La concept is ready to be presented visually when

most of the children are able to consistently sing the SML combination of
sounds.
166 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL FIVE

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
Sings with a light voice quality—
1. With the Group
2. Alone
3. Sings tuning sounds correctly
4. Recognizes major and minor tonalities
Instrumental Skills:
5. Improvises’’B” sections of songs using mallet
instruments
Listening:
6. Listens and responds correctly to activity
records
7. Recognizes large differences in timbre
Movement:
8. Responds freely with movement to musical
elements, such as rhythm, mood, dynam-
1€3), CC:
Rhythmic Literacy:
9. Knows rhythm syllable names for | [|Z
10. Reads | [ |2 from notation
11. Copies | [ | 2 correctly from written ex-
amples
12. Writes | [ |Z correctly from dictation
13. Performs rhythmic body percussion
Melodic Literacy:
14. Knows hand signs and syllables for So &
Mi
15. Sings So-Mi patterns and songs in tune
16. Reads So-Mi from notation
17. Copies So-Mi correctly from written ex-
amples

LEVEL COMPLETED (date)

 Level Six Teaching Outline 167

LEVEL SIX

Probably the most important new concept to be introduced in Level Six is the
reading of three basic triple rhythms and the use of a simplified time signature
for duple and triple meters. The following written symbols will be used.

Melodic reading will include reading La on the two-line staff. The concept
of texture will be introduced. Classroom ensembles will be enlarged to include
the soprano xylophone played in unison with the alto xylophone (sounding an
octave higher). These two xylophones, along with the alto metallophone, will
constitute the classroom ensemble at this level.
Other devices and skills introduced in Level Six are two-hand singing and
finger snapping. With the introduction of snapping, body percussion routines
can now include stamping, patschen, clapping, and snapping.

LEVEL SIX TEACHING OUTLINE

Musicianship

Singing
Continue: + Singing basic pentatonic and diatonic recreational or sea-
sonal songs, mostly within a 6-note range.
* Singing tuning sounds before each recreational and sea-
sonal song.
Introduce: +* Two-hand singing
Materials: + Recreational songs
eScotty;, #0 [15]
“This Old Man,” p. 69 [107]
* Seasonal songs
“Thanksgiving Dinner,” p. 15 [136]
“Hanukkah Latka,” p. 57 [90]
“Away in the Manger,” p. 155 [72]
“Song of the Shepherd,” p. 48 [136]
“Wind through the Olive Tree,” p. 154 [72]

Instruments
Continue: «+ Improvisation
¢ Chordal accompaniments by teacher
* Two part orchestrations (bordun on alto metallophone;
ostinato on alto xylophone)
Introduce: »* Soprano xylophone in unison with alto xylophone
Orchestration: alto metallophone plays bordun,
soprano and alto xylophones play ostinato
#1
Materials: +» Use songs from melody section for orchestrations
168 Chap. 6.1 / Achievement Levels

Listening
Continue: ¢ Timbre activities
¢ Inner hearing
Introduce: ¢ Texture
Materials: ¢ Recordings for teaching texture
“La Mer,” by Debussy [277]
“Prelude to the Afternoon of a Fawn,”’ by Debussy [278]
“Five Pieces for Orchestra,’ by Schoenberg [307]
* Activity recording
“Shake Something” [210]

Movement
Continue: « Using movement on all songs wherever possible
Introduce: * No new concepts
Materials: ¢ Rhythm game
“Cookie Jar,” p. 56 [27]
* Recordings for beat/meter feeling (1)
“The Carpenter,” Grd 2, Record 1 [92]

Music Literacy

Rhythm
Continue: * Body percussion (stamp, patsch, clap)
* Changing triple meter to duple, duple to triple
* Speech enhancement
¢ Rhythmic dictation
¢ Rhythm syllables for reading:
Introduce: ¢ New triple rhythm: °.Age |. - Z.
* Use these simplified duple and triple meter signatures from
here on: 3 - 3
* Snapping (the fourth form of body percussion)
Materials: ¢ Triple rhythm chart (see Appendix)
* Songs to read in triple meter (2. Pil ealeears.5
“Hey Diddle Diddle” [139]
“Little Boy Blue” [139]
“Charlie over the Ocean,” p. 223 [80]
* Verses to say, read, and enhance in triple meter
“Hector Protector,” p. 200 [132]
“Rub-a-dub-dub,” p. 376 [131]

Melody
Continue: ¢ Echo-singing DRMSL with hand signs & syllables.
* Reading all So-Mi songs used in class.
Introduce: ¢ La on a two-line staff
Materials: * DRMSL songs for singing (not reading)
“Rocky Mountain High,” p. 24 [77]
“Tommy’s Fallen in the Pond,” p. 14 [110]
* SML songs for reading
“Captain Bobby Shafto”’ [139]
“Hey Diddle Diddle” [139]
“Lucy Locket,”” p. 149 [81]
 Suggestions for Teaching Level Six Concepts 169

SUGGESTIONS FOR TEACHING LEVEL SIX CONCEPTS

1. PRESENTATION OF LA: Begin by echo-singing So-Mi patterns. Follow

with echo-singing of SML patterns using hand signs.

a. Read a SML segment from the chalkboard.

Example:

5 —e—— 2 _—e-— OO
M -~o-

b. Rearrange to place La in a different position and read.

(oOo pune engee |

M ~<2—

c. Now move So to the space between the lines. Show that when La is
ona line, So and Mi are on spaces, but when La is on a space, So and
Mi are on lines.
d. Using a floor staff with paper plates or hand drums for note heads,
write patterns for group reading. Have the children arrange, or ““com-
pose,” the melodies to be read.

Practice

a. Read SML melodies and segments on two-line staff.

b. Copy SML melodies and segments for writing practice.
c. Write SML segments from dictation.
d. Read SML notation from classroom charts:
* Richards, Threshold to Music, I—Charts 23 and 24 [187]
¢ Kidd, Threshold to Music, 2nd ed, Book 1, Chart 23 [188]
* Lewis, Listen Look and Sing, Book 1, Charts 23, 24, 25, 27, 29, 30 [89]
* Marsh, et al., Spectrum of Music, Charts 11, 12, 13 [172]
e. Read SML songs from teacher-made class song charts.
f. Complete worksheets made by the teacher, or as found in Bachmann,
Reading and Writing Music, [143] and Young: Pitch and Rhythm Manual
[139].

2. INTRODUCE TWO-HAND SINGING: After La has been presented, two-

hand singing may be employed. Divide the class into two equal groups: the
group on your left should follow the signs given by your left hand, the group
on the right those given by your right hand, as follows:

Each group sustains their sound continuously, breathing when needed.

Begin both groups on the same pitch.
Change hand signs for only one group at a time to give pitch security.
pre Always end on a unison pitch.
oCe
Le
Nee
170 Chap. 6.1 / Achievement Levels

Example:

| | |

[ A Group ] oS es ! So |
(right) l W . :
|
|

[ B Group ] =
(left) —
|

Two-hand singing should be included frequently in warm-ups to accustom

the children to hearing two sounds at once. This technique teaches children to
sing in tune and prepares for future part singing.

3. INTRODUCE THE SOPRANO XYLOPHONE: Lay the soprano xylo-

phone out beside the alto xylophone and alto metallophone. Differentiate be-
tween the soprano and alto instruments (size, sound, etc.). Play a familiar melody
on the alto xylophone, then repeat it on the soprano.
At first, play the alto and soprano instruments in octave unison on the
same ostinato pattern. The addition of the soprano xylophone to the ensemble
will permit more children to play, but only two parts will sound.

Example:

MMMM Oe Oo.
CMM MMM Ok Jo
4. TRIPLE NOTATION AND SYLLABLES FOR |. - |] |- z.
Preparation. The sound of the triple beat (|.) and meter (| |}) may be
prepared by

a. saying verses in triple meter such as

¢ “Little Jack Horner” [132]
° “Little Boy Blue” [132]
* “Hickory Dickory Dock” [132]
b. Playing games that move in triple meter
* “Mulberry Bush” [103]
* “Sally Go Round the Moon” [8]
c. Singing songs that move in triple meter with and without guitar
> “Bye-O,” Nash, Music with Children, Series I, p. 22 [117]
* “See Saw Marjory Daw,” Kidd, Threshold to Music, 2nd ed, pet
[187]
° “Softly,”” Orff-Schulwerk Amer Ed Bk 2 #56 [111]
d. Echo clapping and tapping in triple meter
e. Body percussion in triple meter
f. Playing ostinati for triple meter songs
 Suggestions for Teaching Level Six Concepts 171

Presentation

a. Begin by slowly tapping the beat.

b. Say each line of the verse ‘Kitty,’ children echoing.
c. Repeat the complete verse with the children.
d. Change from tapping to body percussion (pat clapping):

I: lI
Pm Omen
eRirc. C
e. Say one line, children echo; then repeat the line in rhythm syllables,
children echo the syllables.
f. Illustrate on the chalkboard the three rhythms:

= ] nani (or 2 na ni)

|. = 1 (or 2)

re =aTeSt

g. Show the class chart of the verse and read the poem with the pat-clap-
clap ostinato.
h. Now read the syllables:

1 na ni 2 na ni 1 rest

Fid - dle e Fid - dle - e Dee 2

1 na ni 2 na ni | rest

Kit = ty is up in a tree i

1 na ni 2 1 na ni

Kit - ty come down! You'll wake the town!

1 na ni 2 na ni 1 rest
2:

You're up too high can’t you see

i. Use flashcards (two cards each for each of the three rhythms) to form
other rhythm combinations.

Practice

a. Read combinations of the three triple rhythms from chalkboard, flash-

cards, and feltboard.
b. Write all the possible combinations from dictation:
172 Chap. 6.1 / Achievement Levels

(1)
aaa (2). i Cen r: (4) Hae 2:

EBRabek (6) Malt ON Mes reena (8) Fae

c. Read songs in triple meter from class charts you have made.
Read published flip charts. See Kidd, Threshold to Music, Book 3, Level
2, Chart 22 [188]
e. Supplement the limited number of suitable flip charts with your own
examples. Using a large artist tablet 2' x 2%’ and a magic marker,
place four beats on each line and four lines on each page. Retain two
beat measures until the children grow accustomed to this notation,
and try to keep the beats lined up vertically down the page to make
reading easier.

Examples:

ela

5. DUPLE AND TRIPLE METER SIGNATURES: As soon as the stem no-

tation for triple meter has been introduced, the following meter signatures should
be introduced:

Duple
p 2
r
Triple 2
r.

Explain to the children that the number two indicates that there are two
beats in each measure. The note below the two indicates what kind of beat note
we are using. Unless the subject arises it is unnecessary at this time to explain
that there are meters with more than two beats in each measure and different
notes used as the beat.
 Suggestions for Teaching Level Six Concepts 173

6. TEXTURE: The subject of texture is introduced at this time to teach that

music can be flowing, choppy, rough, smooth, etc. Expand on this idea as
follows:

a. Visual: To demonstrate flow, obtain a tall clear bottle (a soft drink bottle,
for example), fill it half full with colored water, add mineral oil to the
top, and cap tightly, making sure there are no air bubbles in the bottle.
The oil and water mixture will not mix and lasts for several months,
after which you will need to make a new mixture.
Play the recording of Debussy’s “La Mer,” or a similar master-
work having a flowing motion, and as the music is playing, let the
children observe the ‘“ocean” in the bottle move as the music is moving.
b. Smooth or Rough: Obtain two 9" x 12” sheets of poster board or a similar
material. Glue a large wad of crumpled aluminum foil to one and a
large ball of cotton to the other. Play recordings such as Schoenberg's
“Seven Pieces for Orchestra” and Debussy’s “Prelude to the Afternoon
of a Fawn,” and pass the cards around the circle asking the children
to feel the materials and decide which one the music resembles. Make
other cards with materials that depict other kinds of musical textures.

7. INTRODUCE SNAPPING: Demonstrate how to snap your fingers. Some

children may not be able to make a sound, but encourage them to learn the
correct action: The sound will develop later.
Next, tell them you are going to do some body percussion that will include
snapping. Remember that the easier combinations are those that move from the
floor up (stamp-pat-clap-snap) or from the head down (snap-clap-pat stamp).
Start with simultaneous body percussion, then move to four beat echo patterns
using body percussion.
174 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL SIX

(Names)
Ratings:,
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
Sings with a light voice quality
1. With the Group
25) alone
3. Sings two part harmonies (two hand
singing)
Instrumental Skills:
4. Plays assigned parts correctly in an ensem-
ble of up to three instruments ae
5. Improvises short sections of songs using
mallet instruments
Listening:
6. Recognizes differences in musical textures
(smooth, rough, flowing, etc.)
7. Responds appropriately to activity a
recordings
Movement:
8. Moves freely to music in either duple or
triple meter
Rhythm Literacy: a7
9. Knows syllable names for i - Ae = Le
10. Reads le - Z. from notation a
11. Copies |. - Z. from written examples al
12. Writes |. - Z. from dictation i
13. Reads [| |from notation
14. Copies []|from written examples al
15. Writes from dictation ee ei
16. Recognizes & knows meaning of .& >. Ee)
17. Performs body percussion using four (ag
gestures
Melodic Literacy:
18. Knows hand sign and syllable for La
19. Reads SML from notation wie
20. Copies SML from written examples ae
LEVEL COMPLETED (date)
 Level Seven Teaching Outline 175

LEVEL SEVEN

Level Seven emphasizes the introduction of written Do on a five-line staff, along

with the movable clef, or key prong. Once this is accomplished, the use of the
two-line staff will be abandoned. Henceforth, only the five-line staff and key
prong will be used for reading and writing.
One additional mallet instrument (bass xylophone) will be added to the
classroom ensemble, making a total of four: bass, alto, soprano xylophones and
alto metallophone.
The alto recorder will be introduced as a teacher played instrument to play
interludes, improvisations, and melodic echoes, and on occasions to substitute
for the teacher’s voice.

LEVEL SEVEN TEACHING OUTLINE

Musicianship

Singing
Continue: + Two-hand singing
* Tuning sounds
Introduce: +* No new concepts
Materials: * Seasonal songs
“Raining again today,” p. 25 [136]
“St. Patrick’s Day,’’ Book 1, p. 27 [40]
¢ Recreational songs
“The Tambourine,” Book 2, p. 22 [172]
“Sur le pont,” Book 1, p. 140 [90]

Instruments
Continue: ¢ Improvisation
* Orchestrations: (alto metallophone plays bordun, soprano
and alto xylophones play ostinato #1)
Introduce: + Alto recorder, played by the teacher
* Bass xylophone
(Orchestrations may now consist of bass xylophone
playing bordun, alto metallophone playing bordun
or ostinato #1, soprano and alto xylophone playing
ostinato #2)
Materials: * Use songs from Melody section to create orchestrations

Listening
Continue: «¢ Inner hearing
¢ Texture & timbre activities
Introduce: ¢ Violin
¢ Flute
Materials: + Recordings featuring the violin
“Meet the Instruments” [355]
“Child’s Introduction to the Orchestra” [205]
* Recordings featuring the flute
“Meet the Instruments” [355]
“Child’s Introduction to the Orchestra’ [205]
176 Chap. 6.1 / Achievement Levels

Movement
Continue: « Use movement for all songs where possible
Introduce: +* No new concepts
Materials: * Rhythm games for beat and meter reinforcement
“London Bridge,” p. 66 [32]
“Little Sally Water,’”” p. 220 [80]
¢ Recordings for beat and meter reinforcement
“Dagger Dance,” Set 3, Vol 1 [377]

Music Literacy

Rhythm
Continue: * Body percussion
¢ Speech enhancement
* Changing duple songs and verses to triple
¢ Changing triple songs and verses to duple
* Reading rhythms:

z1-1-2 2.L-TT-1 b-®

* Rhythm syllables
¢ Rhythmic dictation
Introduce: Ȣ New triple rhythm: | b
Materials: + Verses for changing to opposite meter
“Humpty Dumpty,” p. 25 [132]
“If all the world were paper,” p. 135 [132]
¢ Verses to enhance
“Farmyard song,” p. 182 [132]
* Songs or verses to read using )
“Early to bed,” p. 127 [131]

Melody
Continue: ¢ Echo basic pentatonic patterns with syllables and hand
signs
* Read all SM and SML songs used in class and review those
used in previous levels
Introduce: * Do ona five-line staff
* Key prong (simultaneously with the five-line staff)
Materials: * DRMSL songs for singing
“Here comes a Bluebird,” p. 161 [81]
“Cookie,” p. 196 [161]
* DMSL songs for reading
“Ding Dong Dell” [139]
“Little Drops of Water” [139]
 Suggestions for Teaching Level Seven Concepts Ve

SUGGESTIONS FOR TEACHING LEVEL SEVEN CONCEPTS

1. INTRODUCE DO, THE FIVE LINE STAFF, KEY PRONG

Preparation
The preparation for the visual presentation of Do is begun in the previous
levels and may consist of some of the following:

a. Singing melody echoes that include Do.

b. Singing S-M-L-D songs with or without chordal accompaniments.
¢ “Ring Around the Rosey,”” 150 American Folk Songs, p. 12 [7]
° “Rise Sally Rise,” The Kodaly Method, p. 151
* “Tideo,” The Kodaly Method, p. 154 [81]
¢ “Strawberry Jam and Cream of Tartum,”’ Songs to Read, p. 23 [171]
c. Playing games that have D-M-S-L tunes
sc hideow
¢ “Ring Around the Rosey”
. Play S-M-L-D melodies on mallet instruments by ear.
e. Play ostinati & borduns that include Do.
f. Use major tuning sounds for all diatonic major songs (Do-Mi-S-Mi-
Do).

Evaluation: The Do concept is ready for visual presentation when the chil-
dren have learned to read and write S-M-L and are able to sing D-M-S-L melodies
in tune, with hand signs and syllables.
Presentation: Present Do, the five-line staff and the key prong in the same
lesson.

a. Step a steady beat, lightly, and in place.

b. Echo four beat melody patterns, using syllables and hand signs:

Examples:

Peery ea
S M M D D D M S M

cea oe Nae
S DOLL eS 45a) S LS Bees) M

aaa lls
M D M S od Bea) D D

c. Place the following on the chalkboard and sing

ae
d. Make it longer by adding D-M-D-rest, and sing

a
178 Chap. 6.1 / Achievement Levels

e. Point out that since we now have five lines in our staff we need a
better way of finding our pitch. Place the key prong on the staff and
erase the D M S letters. Explain that the key prong indicates where
Do is located. (When Do is on a line, So and Mi are on lines; when
Do is ona space, So and Mi are on spaces. Or, all of the tuning sounds
are always on spaces or lines—all three always the same.)

The children should learn that

a. the key prong locates Do;

b. the key prong is movable;
c. when Do is on a line, the other tuning sounds are on lines—when Do
is on a space, the other tuning sounds are on spaces (this will still
apply when minor song reading is introduced).

Practice

a. Read melodies containing S M L + D on five-line staves with key

prong
b. Copy SMLD segments after reading from chalkboard
c. Write SMLD dictation examples
d. Complete worksheets such as those found on pp. 25-30 in Katinka
Daniel's Kodaly Approach [79]
e. Read published flip charts of melodies containing SMLD
Kidd, Threshold to Music, Level 2, Chart 8 [188]
Kidd, Threshold to Music, Level 1, Chart 38 [188]
Lewis, Listen Look & Sing, Charts 55, 58, 59 [89]
Richards, Threshold to Music II, Charts 38, 39 [187]
f. Read SMLD songs from teacher-made class charts.

As you introduce the key prong, have the children ‘set up” their instru-
ments in C-pentatonic or whatever scale is appropriate. Use the key names
(C-pentatonic, D-pentatonic, etc.) so they will learn which pitches are in each.

2. INTRODUCE DO INTO TWO-HAND SINGING: From this point on,

two-hand singing may include four pitches So-Mi-La and Do.

Ex: Group 1 = So Mi Do Mi :
etc.
Group 2 = So Mi Do Mi So La So

Continue these basic rules:

* Start on a unison pitch with both groups.

* Change one group at a time, using the second group as a secure “base”
to which to come back if the group attempting to change loses the pitch.

3. READ LETTER NOTATION IN TWO PARTS USING DO: Occasionally

write the pitch names on the board and read the two-hand singing parts.
 Suggestions for Teaching Level Seven Concepts 179

(for the left hand) (for the right hand)

D M SS MM DD D DD MM SS D
SS ~~

(stand to the left & use left index finger and a pointer to indicate)

4. INTRODUCE THE VIOLIN: Bring in a violinist to play for the children

and show the instrument. If this is not possible, use the materials available from
the Bowmar [355] or RCA companies [351]. (Filmstrip, recordings, large colored
poster photos of the instruments, small cut-outs of the instruments, etc.)
In addition to those published by RCA and Bowmar, the recordings of
instruments produced by Mitch Miller [205] are especially appealing to younger
children.
After the violin has been introduced, point out when it is heard in any of
the recordings used in class.

5. INTRODUCE THE TRIPLE RHYTHM Ih

Preparation:

Tap or step the beat and repeat triple verses that include lh
“Hickory Dickory Dock,” “Georgie Porgie,”” “Jack Be Nimble,” ‘Pussy
Cat, Pussy Cat, Where Have You Been?’
* Play triple meter games that employ this rhythm.
* Sing songs that move in triple meter
“Up in a Swing,” Nash, Music With Children, Series II, p. 4 [117]
“Oats Peas Beans & Barley Grow,” Fireside Book of Children’s Songs, p.
181 [51]
“Itsy Bitsy Spider,’” Boy Named So [15]
Echo clap and echo tap in triple meter.
Body percussion in triple meter.
¢ Play ostinati for triple meter songs.

Evaluation: The 1 ni (2 ni) rhythm is ready for visual presentation when

most of the children can hear and echo it back by clapping, tapping, body
percussion, or playing instruments.
Presentation:

a. Establish a steady ostinato using body percussion (pat-clap-clap)

b. Doa short period of echo work with syllables:

Teacher: i te, ohh ine Tht (eee is eat

Class: ii ae ath ne aa etc.

Chap. 6.1 / Achievement Levels

c. Echo this triple verse (from Mother Goose):

|°

Dick-er - y Dick -er = y Dare...

| ) | I i
There’s fe ak NO, aE

That man in
|
brown
aaa
will soon bring him down

Fu Le ae b
Dike = 37 ~BexcGr o4y Denes...

d. Repeat the second line and write in notation on the chalkboard. Un-
derline the beats; then have the class read it.

(Verse) Wee's fore ia, file air A het

(Notation) : | ) || »:

(Rhy. Syl.) One ni Two na_ ni One Rest

e. Change the notation, underline the beats, and read with syllables
again. Put three different examples under the original example, each
time putting the new rhythm on a different beat. You will have this
when you are finished.

(original line) |
Df |.
(1st change) | b |.

(2nd change) 2d:

(3rd change) |. a DU
Read all four lines without stopping for review. ‘Now look once more
at the first line and try to remember it.’” Erase the original line and
have the class say all four again.
g. Repeat this process each time erasing the next line. At the conclusion
of this activity, all four lines must be said from memory.
h. Ask a child to come and rewrite the first line. Repeat all four lines
again. Continue this process until all four lines are back on the chalk-
board.

Practice:

a. Read teacher-made class song charts and verses notated in triple rhythm.
b. Read published flip charts:
* Richards, Threshold to Music, Charts 61, 62, 63 [187]
¢ Kidd, Threshold to Music Level 2, Charts 20, 21, 23 [188]
 Suggestions for Teaching Level Seven Concepts 181

c. Use all 7 possible combinations of triple rhythm in dictation

E ewe wn. Beal ia)

mai) rot apeoe
x Kea) Lape
d. Encourage the class to compose short rhythmic ostinati and notate
them for use with verses and songs.
e. Again, there are few published flip charts using these rhythms. The
teacher will need to make some additional for reading purposes. In-
clude some examples of each of the seven new rhythm combinations
cited above (c).

6. INTRODUCE THE ALTO RECORDER: Use this instrument as a teacher-

played instrument. Employ it as a voice substitute for teaching melodies, im-
provisation, and in echo work.
Show the recorder, tell the class its name and do the following:

a. Ask the class to listen to you play some improvised melodies in duple
and triple meters. When the students think they know the meter, have
them play a body percussion ostinato (pat-clap or pat-clap-clap) along
with you. Emphasize the beat to make it easier for them.
b. Play middle C, identify it as DO and sing it.

CN

=
oD Yoyes

Have the children respond to easy four beat patterns starting on Do

by singing them back using syllables and hand signs.

Se Dein) Seis Ml |BEN rersst irssiion Wiig Bases

SS
Die tai ou Mb)

7. INTRODUCE THE BASS XYLOPHONE: Examine the bass xylophone

and compare to the others, briefly discussing its differences (it is larger and
lower pitched and has bigger bars and different mallets, etc.). Point out that
this is the bass instrument of the xylophone family and a good instrument to
play borduns. From here on, your orchestrations can combine four parts (two
will be in unison):

Bass xylophone = Alternating bordun

Alto xylophone = Moving ostinato
Soprano xylophone = Unison (will sound in octaves) with alto xylophone
Alto metallophone = Sustained ostinato or basic bordun

NOTE ON READING OSTINATI AND BORDUNS: As soon as possible

after the introduction of the bass xylophone, begin letting the children read
182 Chap. 6.1 / Achievement Levels

simple ostinati and borduns in C-pentatonic. You will need to introduce

the repeat sign at this time.

e .
e «

Recall that in Level Four on page 150, the children were introduced to
“setting up” the instruments in the pentatonic keys of C, D, F, & G. If this
procedure has been followed since that time, the children should be familiar
with the letter names of the pitches in each of these scales.
Begin now to let them read some (not all) of the easier ostinati and borduns
in C-pentatonic. Use the 5-line staff, the key prong, the correct notation for the
pitches used, and label the pentatonic scale to be used on each part. Place each
part on a card to give to the players or you may use large staff paper for the
purpose. (Available in tablet form from Musik Innovations, Box 1, Allison Park,

Ss
C pent.

As the children become more proficient, introduce reading ostinati in pen-

tatonic scales on F and G. Choose ostinati that use only the pitches in the scale
at first, with no passing tones. When you introduce the pentatonic scale on D,
notate the F sharp with an accidental as shown. Explain that this sharp sign
tells us to use the F-sharp bar instead of the F bar. They have already been using
the F-sharp bar to set up their instruments in D-pentatonic, so this should cause
no confusion. Do not attempt to explain the theory of accidentals at this time.

ee
D pent.

As the children gain experience, ask them to read passing tone ostinati
such as this one (notate the B-flat as shown if needed).

eee: ——
Caution: Always use rhythms with which they are completely familiar.

8. INTRODUCE THE FLUTE:

a. Bring into the classroom a professional flutist or student who plays

the flute to demonstrate how they hold and play the instrument.
b. Use Bowmar [355] or RCA [351] poster photos of the instrument along
with Child’s Introduction to the Orchestra by Mitch Miller [205].
c. After the instrument has been introduced, keep the poster photos
displayed and call attention to the sound of the flute in any recordings
subsequently played in class. [Many of the Silver-Burdett recordings
feature the flute in their accompaniments.] [379]
 Level Eight 183

CHECKLIST FOR LEVEL SEVEN

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Sings two-part harmonies in tune (two-hand
singing)
Instrumental Skills:
2. Plays an independent part in a four-part
orch.
Listening: ee a
3. Recognizes the violin by sight
4. Recognizes the violin by sound IOS pO
5. Recognizes the flute by sight
6. Recognizes the flute by sound aerate pea aha
Movement: Pee
7. Responds freely to elements heard in music
Rhythmic Literacy: ee
8. Reads p. 2. \ from notation
9. Copies f.| } from notation HH :ae
10. Writes - \ from dictation
Melodic Literacy: PE
11. Understands use of the five-line staff
12. Reads Do on a five-line staff (DMSL) ee ee
13. Copies Do from written examples oaks
14. Can find Do by use of the key prong Cae Res

LEVEL COMPLETED (date)

LEVEL EIGHT

At this level, Re will be presented visually, completing the pentatonic scale

(DRMSL). Since there are more songs based on the complete than the partial
scale, more interesting musical materials will be available.
Music literacy will also be extended by the introduction of melodic dictation
ark the duple half note [d] the triple half note [J.] and a new triple rhythm
[hl].
The introduction of two instruments, the soprano and alto glockenspiels
to the classroom ensemble aims to develop musicianship further. Additionally,
the children will be exposed to cross over mallet playing technique, and the
basic bordun will be introduced by name.
184 Chap. 6.1 / Achievement Levels

LEVEL EIGHT TEACHING OUTLINE

Musicianship

Singing
Continue: ¢ Two-hand singing
¢ Tuning sounds
Introduce: + No new concepts
Materials: ¢ Recreational songs
“Lions” [19]
“A Boy Named So” [15]
* Seasonal songs
“Arbor Day” [136]
“Lots of Worms” [19]
“Easter Riddle” [136]

Instruments
Continue: ¢ Improvisation
¢ Orchestrations for the classroom ensemble:
Bass xylophone = alternating bordun; alto metallo-
phone = ostinato #1; soprano and alto xylophones
= ostinato #2
Introduce: ¢ Basic bordun by name
* Cross over mallet technique
¢ Soprano and alto glockenspiels (ostinato #3)
Materials: * Orchestrate songs from melody section

Listening
Continue: «¢Inner hearing
Introduce: ¢ Clarinet
¢ Drum
Materials: * Recordings featuring the clarinet
“First Chair’’ [344]
“Meet the Instruments” [355]
* Recordings featuring the drum
“Peter Percussion” [205]
“Meet the Instruments” [355]

Movement
Continue: * Use movement with all songs if possible
Introduce: ¢ No new concepts
Materials: * Song games for beat and meter reinforcement
“Nanny Goat” [111]
“Draw a Bucket of Water” [111]
* Recordings for beat and meter reinforcement
“Circus Music,” Set III, v. 1, Copland [377]
“March Past of the Kitchen Utensils,” Set III, v. 1 [377]
 Suggestions for Teaching Level Eight Concepts 185

Music Literacy

Rhythm
Continue: ¢ Body percussion
* Speech enhancement
¢ Rhythmic dictation
* Reading these duple rhythms: Se []-2
* Reading these triple rhythms: ¢ - feelers rth kh
Introduce: * New duple rhythm d
¢ New triple rhythms ae h|
Materials: ° Verses
“Tf All the World were Paper’ [132]
“Hector Protector’ [132]
¢ Songs or verses for reading d
“Who’s that Tapping at the Window?” [81]
- Songs or verses for reading . - h|
“Apple Tree” [see Level 8, paragraph 7c]

Melody
Continue: ¢ Echo singing of four-beat melodic patterns
* Melodic syllables & hand signs
* Read SM, SML, DMSL songs
Introduce: ¢ Re ona five-line staff
* Melodic dictation
Materials: *« SM songs to read
“Pease Porridge Hot’ [139]
“Blue Bells” [80]
“Lemonade’”’ [80]
“Georgie Porgie” [87]
* DRM songs to read
“Clarinet Lesson” [171]
“Tom, Tom the Piper’s Son” [87]
“Mother May I Go Out To Swim?” [87]
¢ DRMSL songs to read
“Tree Branch” [171]
“Mocking Bird” [12]
* S,L,DRM songs to sing
“Brass Wagon” [77]
* MSLD’ songs to read
“Lucy Locket” [139]

SUGGESTIONS FOR TEACHING LEVEL EIGHT CONCEPTS

1. INTRODUCE RE:
Preparation:

a. Sing echoes using the sound of Re

b. Sing songs with and without chordal accompaniment that include Re.
* MRD songs such as ‘Hot Cross Buns” or “Hop Old Squirrel’’ [172]
* DRMSL songs such as “Tommy’s Fallen In the Pond” [108] or “A
Boy Named So” [15]
186 Chap. 6.1 / Achievement Levels

c. Use games that have tunes that include Re such as “The Button and
the Key” [187-3].
d. Play known melodies on the alto xylophone that include Re.
e: Play ostinati that include the sound of Re.

Evaluation: The Re concept is prepared and ready to be presented visually

when most of the children can sing pentatonic songs in tune (DRMSL).

Presentation:

a. Echo some pentatonic patterns of four beats using hand signs and
syllables. Include some that use Re.
b. Include the tune outline of “Hot Cross Buns” in your echoes.
c. Place the first phrase on the feltboard, or chalkboard, for the class to
read.

SSS
Ge Se
d. Place the second phrase on the feltboard or chalkboard for the class
to read.

gee
e. Display a teacher-made class song chart notated like this.

f. Read the rhythm, using rhythm syllables. Accompany with a pat-clap

ostinato.
g. Read the pitch using tonal syllables, still accompanied by the pat-clap
ostinato.
h. Read the song using the text. Accompany on a chordal instrument,
using the chords inserted above the music as in the example.

Practice:

a. Read other class song charts.

b. Write dictation examples.
c. Read flashcards.
d. Compose different melodic segments using feltboard, chalk board,
floor staff, flashcards, or slates.
e. Complete worksheets such as those in Daniel, Kodaly Approach, Book
2, pp. 32-43.
 Suggestions for Teaching Level Eight Concepts 187

f. Read teacher-made flip charts using a large artist’s tablet (no more than
four beats per line, four lines per page).

2. INTRODUCE THE CLARINET: As before, bring in a clarinetist to play

for the children and demonstrate use of the instrument. Should this not be
possible, or as a supplement, use the following materials:

¢ Mitch Miller, Child’s Introduction to the Orchestra (recording) [205]

* Bowmar Company: Meet the Instruments (filmstrip with accompanying
record) [355]
* Bowmar Co. or RCA: large 2’ x 1%’ photo poster of the clarinet
* Bowmar Co.: Cut-out pictures of the clarinet for use in notebooks or
bulletin board displays [355]

Once the clarinet is introduced, display the poster photo and call attention
to the sound of the clarinet in recordings used in class. Many masterworks
feature the clarinet as do most of the recordings that accompany the basal series.
Many of these have small ensemble accompaniments featuring the clarinet for
their recorded songs.

3. INTRODUCE THE DUPLE RHYTHM J in #: When the half note is

introduced, refer to it by name, but present it as a halfnote that is sung or held
for two duple beats, rather than as “two half notes make a whole, etc.” This is
sufficient explanation, unless your purpose is to teach the fractional relationship
of parts to a whole.
Preparation:

a. Perform verses, songs, or games that feature a sustained sound over

two beats.
b. Song examples:
¢ Richards, ‘Whistling Girls & Crowing Hens,” Songs in Motion, p.
6 [187]
* Disney, “Mickey Mouse March,” Walt Disney Song Book, p. 92 [197]
¢ Bachmann, “Button You Must Wander,” Songs to Read, p. 25 [171]
c. Melody echoes employing half notes
d. Ostinati on instruments with the half note sound

Presentation:

a. Teach a song that uses half notes such as “Who's That Tapping at the
Window?” Kodaly Method, p. 160 [81]
b. Tap the beat as you learn this song.
c. Repeat the song one line at a time, children echoing, stepping the beat
and singing melody syllables with hand signs.
d. Notate this song on the chalkboard, one line at a time. Point out that
the two-beat sounds are notated with open notes (i.e., notes that are
not filled in).
e. Read each line with rhythm, then melody, syllables as you write it on
the board.
Rao M M

a
|ara stare ou
nN
-Q 1 ne De ANS 7
—@
188 Chap. 6.1 / Achievement Levels

1 emer n

S R R M M R D

bee Peles oy he's a

1 1 new ne 1 2

S R R M MM D

be A aa ee area ee !
ey)
OE 1 1 ie 2 ne 1 -

Half notes are spoken One---, sustaining the vowel over both
beats. As with all other rhythms, only the initial sound is spoken then
sustained for the length of the note. If you are using the Ti-ti-ta system,
half notes are spoken as Taaa, again sustaining the sound over both
beats.
Echo-sing phrases from other songs that use the half note sound (or
use original melodies); ask the children to notate these on their slates.

Practice:

Read rhythms from chalkboard, feltboard, flashcards, etc. both as rhythm

syllables and clapping. When clapping a half note, clap the hands
together on 1, hold them together on 2 with a slight downward con-
ducting beat to indicate the beat.
Read teacher-made song charts & flip charts.
Dictate examples.
Use child-composed rhythmic ostinati for use with songs and verses.
A's: Read published flip charts:
eo.
* Lewis, Listen Look & Sing, V. 1, Chart 56; V. 2, Charts 18, 21, 31,
39, 36, 50. [89]
¢ Kidd, Threshold to Music 2nd ed. Level 2 Charts 6, 10 [88]
Since many of these charts have some lines with too many beats and
some measures with more than two beats, necessitating the insertion
of additional bar lines before using, the teacher would be advised to
make some more suitable examples in an artist’s tablet.

4. INTRODUCING THE TRIPLE RHYTHM 4. in ?.: Although this is a

dotted half note, refer to it as a three beat half note. As with the half note in
duple meter, avoid discussing the mathematical relationships between the notes.
It is sufficient to call it a half note and place a dot beside it to indicate a triple
meter as you did with the quarter note.
Preparation:

a. Perform verses, games, and songs that employ the sustained two-beat
sound in triple meter. (Don’t forget that the triple sound is contained
in most materials using meter signatures of 6/8, 3/4, 6/4, 12/8, etc. Since
the children are not yet required to read these meters they can be used
for aural preparatory work.)
Echo melodies containing half note rhythms.
Echo rhythms using dotted half rhythms.
 Suggestions for Teaching Level Eight Concepts 189

Presentation

a. Tap the beat and teach the poem below.

b. When the poem is learned, notate it a line at a time on the chalkboard.
Have the children pat-clap-clap and read the rhythm syllables. After
you have finished, the notation will be on the board (keep the beats
in line vertically for ease in reading).

a mame | |
Rid - ing the fer - ry _ boat cross-ing the lake

Fal f | d. : |
©) Ss Wer Tie AWeo tee sO blue :

rahe gta tay iia I. |

toss - ing some bread to the birds o - ver head

Lona ee yom |
it’s such a fun thing to do :

c. Repeat the poem with mirrored actions until you have the following
orchestration playing:

BX oe eS —

a fp
HaG pene i | Trel. + rows (pecs

d. While the orchestra continues to ae teach the melody to the song.

SSS
Rid-ing the fer- ry boat cross-ing the lake
SS- ver the wa-ter so bluceee ret ee

= SS oss — ee,
toss-ing some bread to the birds o -ver head it’s such a_ fun thing to

Form a circle with the remainder of the class each holding hands. Step
the beat to the right (step right close left) moving the hands up and
down in a wave motion.
f. Distribute a colored scarf to each moving child and have them release
hands and move freely about the area to the beat and moving their
scarf to represent the wave motion. Improvise on the alto recorder.
190 Chap. 6.1 / Achievement Levels

Practice

a. Read triple rhythms from flashcards, chalkboard, feltboard, etc., which

include the dotted half.
b. Read teacher-made song charts and flip charts.
@ Dictate examples for writing on slates.
d. Child-composed melodic ostinati to accompany songs on instruments.

on . INTRODUCE THE SOPRANO AND ALTO GLOCKENSPIELS:

a. Place both instruments with the others.

b. Discuss briefly the differences in sound and size of the glockenspiels
in relation to each other and the other ensemble instruments.
c. Using a familiar pentatonic song, create an orchestration using four
parts:
(1) Bass xylophone = alternating bordun
(2) Alto and soprano glockenspiels = moving ostinato (will sound
in octaves)
(3) Alto metallophone = sustained ostinato
(4) Soprano and alto glockenspiels = a second moving ostinato (will
sound in octaves)

Until the ensemble is secure play the alto and soprano xylophones in
octaves and the soprano and alto glockenspiels in octaves. But keep in mind
that all of the instruments do not have to be used for every orchestration. For
example, choose the three wood instruments for a pleasant sound or the me-
tallophone (as a bordun) and glockenspiels (on separate parts) to make an in-
teresting sound.

6. INTRODUCE THE BASIC BORDUN: Up to this point, the alternating

bordun is the only form that has been used. The basic bordun may have been
used as a sustained ostinato on the alto metallophone with an alternating bordun
on the bass xylophone, but now the term should be introduced and the basic
bordun used as a compositional technique by the class.

Common alternating bordun patterns:

pS
eee ee ee
Common basic borduns:

ee i |
se
7. INTRODUCE THE TRIPLE RHYTHM }| in 3.: The syllable sound for
this rhythm is 1 na or 2 na, depending on which beat it appears.
Preparation

* Tap the beat and say verses that include the triple rhythm patterns that
have been introduced up to this point.
“Hector Protector,” Briggs, Mother Goose Treasury, p. 11 [104]
 Suggestions for Teaching Level Eight Concepts 191

“Hey Diddle Diddle,” Briggs, Mother Goose Treasury, p. 83 [104]

“The Swing,” by Robert Louis Stevenson, A Child’s Garden of Verses
[23]
+ Sing songs that move in triple meter and contain the rhythm
“Break the Pinata,’” Bachmann, Songs to Read, p. 50 [171]
“The Apple Tree,” Young, A Boy Named So [15]
* Echo-clap and echo-tap this rhythm in triple meter.
* Body percussion in triple meter that includes this rhythm.
+ Playing ostinati in triple meter that use this rhythm.

Evaluation: The 1 na - (2 na -) rhythm is ready for visual presentation when

most of the children can hear and echo it back by clapping, tapping, body
percussion, or playing instruments.
Presentation

a. Establish a steady ostinato using body percussion in triple meter (pat-

clap-clap).
b. Follow with a short period of syllable echo work.

Teacher: linanit 25-1 =—=-——---—---—— 1 na - 2 na - ---------------

Children: --------------- BET IE DA eo ees 1 na 2 na etc.

c. Teach ‘The Apple Tree”

THE APPLE TREE

== up in_ the api s-aweple tree, fo) ap - ples

As I climbed

= SS
Bake Aa CODD Ier, brownas can be. Give it to John-ny,
on me.

=== — = ——" f====——

Nan-cy and me!
AG&SG

Sy oF
ask for
d. Pat-clap-clap the ostinato; say each line, with children echoing;
them on the board
volunteers to repeat each line using syllables; notate
as they say the rhythm.
-) rhythm.
e. Point out the measures (*) that have the 1 na - (2 na
read in un-
f. Display some flashcards with assorted triple rhythms and
compos e new rhythm s for the class using the
ison. Have the students
flashcards.
192 Chap. 6.1 / Achievement Levels

Practice

* Read song charts and verse charts notated with this rhythm.
¢ Use this rhythm for rhythm dictation in combination with those already
learned (there are nine possible combinations):

etree dh Pater Uaeeshe

Bia laren Sia | De
Bead m P| cease Valea
¢ Encourage the children to compose rhythmic ostinati and notate them
for use with verses or songs to be performed by the class.
* Read teacher-made flip charts of the nine possible combinations of triple
rhythms cited above, plus others learned earlier.

8. INTRODUCE THE DRUM: If possible bring in a professional percus-

sionist or student to demonstrate the drums. If this is not possible, use the
materials available through RCA, Bowmar, or one of the larger drum companies
such as Ludwig, Rogers, etc. Most of the larger drum distributors also have
good recordings of drum solos and percussion ensembles that can be used.
Begin with the snare drum. It is probably the most familiar of the drums
and will be readily identified by the students. The bass drum and hand drum
may also be discussed at this time, but leave the specialty drums (tom-tom,
bongos, conga, etc.) until later. The tuned drums (timpani) should also be de-
layed.

9. CROSS-OVER MALLET TECHNIQUE:* Until now, only alternating bor-

duns and ostinati have been employed:

See Lot
Re Rie Re Reg pie beam ook

Coordination should be sufficiently developed to allow the introduction of cross-

over technique. The mirror action may be rehearsed by the class as a rhythmic
ostinato for verses and later transferred to the instruments. Use the following
four points: the outside of the right and left legs, and the top of each leg. An
example is shown:
| * u Riek

IL, R Ie R =

“left hand on outside of right leg.

 Level Nine 193

CHECKLIST FOR LEVEL EIGHT

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Sings two-part harmoniesin tune (two-hand
singing)
2. Sings tuning sounds (major-minor) aes:
Instrumental Skills: Roe.
3. Plays a basic bordun with a steady beat fe
4. Plays a cross-over mallet part
Listening: ee ah
5. Recognizes the clarinet by sight
6. Recognizes the clarinet by sound TeEREwe
7. Recognizes a snare drum by sight cd ee
8. Recognizes a snare drum by sound Aces ae
Movement: Aa
9. Responds freely to elements heard in music
Rhythmic Literacy: Cea
10. Reads Jin duple meter
11. Copies J from written examples Ht
12. Writes J from dictation |_| i. |
13. Reads Al in triple meter te a ele
14. Copies dg. from written examples Shee
15. Writes a from dictation Hf
16. Reads } | in triple meter - a gi
17. Copies | | from written examples aS as
18. Writes } | from dictation eae
Melodic Literacy: TTT
19. Reads Re on a five-line staff
20. Copies DRMSL from written examples Ee eae
21. Writes DRMSL from dictation Bea ae ee

LEVEL COMPLETED (date)

LEVEL NINE
intro-
The emphasis will be to continue developing all the concepts and skills
Musician ship skills will include the introduc tion of melodic
duced previously.
ion of
and rhythm canons. Listening skills will be extended to include recognit
the simple ABA song form.
194 Chap. 6.1 / Achievement Levels

In Level Nine the sixteenth note is introduced in its various figurations,

beginning with subdivision of the beat into four parts [heretalt:

LEVEL NINE TEACHING OUTLINE

Musicianship

Singing
Continue: * Chordal accompaniments using the guitar, baritone uku-
lele, autoharp, and omnichord
¢ Tuning sounds
* Two-hand singing on the basic pentaton
Introduce: »*Melodic canons
Materials: + Recreational songs
“Circle’” [160]
* Seasonal songs
“Ghost of Tom” [183]
“Signs of Fall’ [136]
¢ Canons
“Brother John,”’ Book 2, p. 80 [121]
“Down by the Station” [72]

Instruments
Continue: ¢ Orchestrations using up to six instruments and four sep-
arate parts
Introduce: »* No new concepts
Materials: * Orchestrate songs from Singing & Melody sections

Listening
Continue: «¢ Inner hearing activities
* Review the sound and appearance of the flute, violin, clar-
inet, and drum
Introduce: ¢ Trumpet
ABA form
Materials: Recordings featuring the trumpet
“Meet the Instruments” [355]
“Child’s Introduction to the Orchestra’”’ [205]
Recordings featuring ABA form
“Symphony in Miniature’ [222]
“Hungarian Dance Number Five’ [273]
Poster charts of instruments (Bowmar, RCA, or other)

Movement
Continue: »° Use movement on all songs where possible
Introduce: * No new concepts
Materials: * Song games for beat and meter reinforcement
“Hambone” [27]
 Suggestions for Teaching Level Nine Concepts 195

Music Literacy

Rhythm
Continue: * Speech Enhancement
* Reading duple rhythms an
* Reading triple rhythms ?-Letina del bia mi
* Echo rhythmic patterns in four-beat groups
¢ Rhythmic dictation
Introduce: » New duple rhythm FFF
¢ Rhythm canons
Materials: * Verses to enhance
“Peter, Peter’ [131]
“Ride a Cocked Horse” [131]
* Songs or verses for reading
“Sing a Song of Sixpence” [139]
* Recordings for reinforcement of the sound of Fre
“Italian Street Song’ [287]

Melody
Continue: + Singing and reading basic pentatonic songs (DRMSL)
Echo-sing using handsigns and syllables
Echo four beat melodic segments
* Melodic dictation
Introduce: * No new concepts
Materials: * Basic pentatonic songs for reading
“Fais Do Do” [139]
“My Shadow” [139]
“Rocky Mountain High” [139]
« MSLD’ songs for singing
“Lucy Locket” [139]
« S,L, DRM songs for singing
“Sing a Song of Sixpence” [139]

SUGGESTIONS FOR TEACHING LEVEL NINE CONCEPTS

1. RHYTHM CANONS: Rhythm canon technique continues the process

started with
to repeat si-
° Sim-clap (simultaneous-clapping): The children are asked
hear the teacher do. Each pattern is
multaneously what they see and
continued until all children are perfor ming it correct ly.
are asked to repeat
* Echo clapping (and other echo activities): The children
after the teacher finishes
what they see and hear the teacher do, but only
the pattern or sequence.
s the latter
The former is primarily a physical-motor activity wherea
involves rhythmic memory as well.

concentration since the

Rhythm canons involve an even greater degree of
us patter n but must listen to a new
student must not only remember the previo
us exampl e.
one while he is performing the previo
196 Chap. 6.1 / Achievement Levels

Just as sim-clap is a prerequisite for echo clapping, the ability to echo clap
is preparatory to rhythm canon.

a. Give the students a brief period of echo body percussion.

b. “Now this time, I’m going to give you the next example at the same
time you are doing the first one. You will have to remember the first
one but listen to the next one while you are doing the first. You'll have
to do two things at once, so listen closely and concentrate.”
c. Give two examples at a time until the technique is understood.

d
Tchr: clap
ee
stamp TR

snap

Child: a = ae ae Pieris
stamp LR

When the technique is understood by the children, extend the sequence to four,
six, or eight four-beat groups. Always make the even numbered group extremely
simple. This allows all children to concentrate on listening for the more difficult
groups and helps prevent confusion and “getting lost.”
When the exercise is finished, tell them this is called a rhythm canon. Use
the term from this time on to refer to this activity. (You may need to distinguish
between canon and cannon.)
Variations:

a. Clap the rhythm of songs or verses in canon.

b. Say verses in canon.
c. Read and clap (or play rhythm sticks) in canon from a row of rhythm
flashcards, flip charts, or a rhythm line written on the chalkboard.

2. MELODIC CANONS: Melodic canon technique is an extension of me-

lodic echo technique in the same manner that rhythm canon was an extension
of echo clapping. It is, at the same time, a preparation for part singing which
is introduced later.

a. Select a familiar pentatonic song to use as a canon:

* “Tommy’s Fallen in the Pond,” Book 1 [110]
¢ “Cowboy Song,” Book 3 [117]
* “Bells of Easter Morn,” Book 3 [117]
b. Divide the class into two groups. Tell them that, on your first signal,
the Group One will start singing the song. Then on your second signal,
Group Two will start at the beginning and sing the song through.
c. When the song is finished, identify the result as a song canon and
compare it to a rhythm canon.
 Suggestions for Teaching Level Nine Concepts 197

Select short well known pentatonic songs to begin this activity. If songs
are very short, they can be repeated over and over. Any true pentatonic song*
will make a satisfactory canon and, moreover, it can be made into a canon at
any place in the song. For example, the second group may begin on the second
beat, in the second measure, or later in the song.

3. INTRODUCE THE TRUMPET: If a professional performer or student

trumpet player is not available for a live musical demonstration, make use of
any of the following to introduce the trumpet:

* RCA photo-poster cards of the instrument; [351]

¢ Bowmar Records, Inc., “Meet the Instruments’ records [355], filmstrips,
photo-poster cards, cut-out instrument prints;
¢ Mitch Miller, “Childs Introduction to the Instruments.’’ [205]

After the trumpet is introduced, point out when it is heard in any of the
recordings used in class.

4. INTRODUCE THE DUPLE RHYTHM [7F}; The syllable sound for this
rhythm is 1 ta ne ta or 2 ta ne ta depending upon which beat the pattern begins.
Prepare

* Step the beat and say verses containing this rhythm:

“Sing a Song of Sixpence” [104]
“Peter Peter Pumpkin Eater” [104]
“Little Robin Red Breast’’ [103]
¢ Play games that employ this rhythm:
“Tideo” [129]
“Who’s That Tapping at the Window,” p. 63 [118]
* Sing songs containing this rhythm:
“Paw Paw Patch” [68]
“Brass Wagon’ [68]

Evaluation: The 1 ta ne ta (2 ta ne ta) rhythm is ready for visual presentation

when most of the children can hear and echo it back by clapping, tapping, body
percussion, or playing instruments.
Presentation:

a. Establish a steady rhythm using body percussion in duple meter (pat-

clap).
b. Echo syllable ae using rhythms that have been introduced pre-
viously ({| [| aa | Z| | |).

*A true pentatonic song is one which has no strong feeling of harmonic (chordal) change. Many
pentatonic songs contain just the pitches of the pentatonic scale (DRMSL) but still convey a strong
feeling of harmonic change, usually tonic to dominant, and for this reason cannot be considered
truly pentatonic. On the other hand, some songs contain unaccented fourth and seventh scale
degrees (FA & TI) but still convey no feeling of tonal center, thereby sounding truly pentatonic.
strong
Most American folk songs are pentatonic in that they use just the DRMSL pitches but have a
in
feeling of I - V’ harmony. If you use one of these for a canon, be sure to start the second voice
.a
~
>)
Rtas
OE
i
Oe
PO
hee
Pia
BP
SE
5 a place that will not result in harmonic discord.

_—"
198 Chap. 6.1 / Achievement Levels

c. Echo the patterns shown below.

d. Repeat pattern one (below) and write on the chalkboard then read with
the class.
e. Repeat the process with the other patterns until you have the following
on the chalkboard.

Feige hae
eee mmm.
a Gee mee
ae ene
f. Read all four lines through in one continuous reading.
g. “Now look once more at the first line then I’m going to erase it’”’ (erase).
“Now let’s say all four lines again. You'll have to remember how the
first line looked.”
h. Repeat this process with each line until the class is saying all four lines
from memory. Help them along if memory lapses occur.
i. Now ask for a volunteer to rewrite line one on the chalkboard (with
the assistance of the class if needed).
j. Reread the written line one and follow it with the three lines from
memory.
k. Repeat this process until you again have all four lines on the board
and have read all four continuously.

Practice

¢ Dictation
¢ Use teacher-made flip charts such as the following.
 Suggestions for Teaching Level Nine Concepts 199

* Read published flip charts:

Lewis, Listen Look & Sing, V. 3, Chart 40 [89]
Richards, Threshold to Music, 1st ed., Chart 72 [187]
* Compose rhythmic ostinati using flashcards and perform with songs and
verses used in class.

oe
5. PREPARE DUPLE UPBEATS: Begin to use duple upbeats in order to
familiarize the sound to the children. The actual visual presentation will not be
made until Level 11. Upbeats (pickup notes) may be prepared by

a. Syllable echo practice: Start with the easier forms and gradually work
toward the more difficult. Always accompany with rhythmic ostinati
(pat-clap). Three examples in order of difficulty are shown:
(1)

a. et aa peel ap
ne 1 ne 2 ne 1 ne 2

(2)

Rene aldal |
2 ne ] ne y ne i

(3)

Sa le Ah |5
ta ne ta 1 » ne

b. Echo clapping

c. Sing songs containing duple upbeats:

I, p. 12 [117]
“Good Morning,” Nash, Music with Children, Series
vale pace
“The Spider & the Fly,” Hall, Orff-Schulwerk
p. 176
“Indian Lullaby,” Orff-Schulwerk American ed. v. 2,

c. Using verses with duple upbeats:

of Verses [23]
“The Rain,” Robert Louis Stevenson, A Child’s Garden
Goose Treasur y, p. 12 [104]
“There was a crooked man,” Mother

d. Games employing duple upbeats:

“Pass the Shoe,” Fireside Book of Children’s Songs, p. 173 [49]
200 Chap. 6.1 / Achievement Levels

“The Farmer in the Dell,’”” Robbins Mammoth Collection of Children’s

Songs, p. 50 [151]

6. INTRODUCE ABA FORM: The objective is for the children to be able

to recognize the return of a familiar melody. ABA form may be introduced by
means of a recording.
Play a military band recording of the ‘“Marines Hymn’’ for the class. Explain
that this song has two main melodies, an ‘A’ melody and a ‘B’ melody, and that
after the ‘B’ melody is heard, the ‘A’ melody will be heard again.
Repeat the record again, and this time draw a large A on the chalkboard
as the ‘A’ tune is played. When the ‘B’ tune is played, draw a large B and a
second A when the final ‘A’ tune appears.
Select as many children as the chalkboard will accommodate and let them
draw A B A as the song is played. Encourage them to draw continuously over
the letters all the time they hear the tunes.

Variations of this routine

a. Have the children draw the ABA design on their slates.

b. Have selected children point to flashcards A, B, and A, as the tune is
played.
c. Give cards that have an A on one side, a B on the other to all children
seated in a circle. All show the A side when part A is heard, then flip
the cards to show the B side as the B tune is heard.
d. Do the same with the children’s eyes closed. (They cannot watch each
other with their eyes closed.)
e. Finger tap the beat of the tune while the A part is played. Change to
patschen while the B tune plays. Then revert to tapping for the A tune.
f. Use any of the above ideas with songs sung in class in ABA form:
¢ “Twinkle Twinkle Little Star’ [151]
° “Lightly Row” [68]
* “Goodbye Old Paint’ [68]
g. Masterworks for listening to ABA form
* “Symphony in Miniature” [343]
This work contains songs with ABA phrases as well as larger move-
ments in ABA form
* “En Bateau,” Debussy [378]
° “Hungarian Dance #5” [377]
 Level Ten 201

CHECKLIST FOR LEVEL NINE

(Names)

Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Sings melodic canons correctly
Instrumental Skills:
2. Is able to maintain an independent ostinato
part in an instrumental ensemble
Listening:
3. Can identify the trumpet from its sound
4. Can visually identify the trumpet
5. Understands the three part form ABA
Movement:
6. Moves freely in response to music
Rhythmic Literacy:
7. Knows rhythm syllables for FT7]
8. Reads FFT] from notation
9. Writes FT] from dictation
Melodic Literacy:
10. Can sing and read songs in basic pentatonic
scale
11. Can write from dictation patterns based
on the basic pentaton (DRMSL)

LEVEL COMPLETED (date)

LEVEL TEN

will
In Level Ten, the basic pentaton will be expanded to include low La. This
introduct ion of La pentatoni c (minor pentatoni c) as well as major songs
allow the
e-Mi-
that contain low La. The ability to read minor pentatonic songs (La-Do-R
rather than Do-So as has been
So) will also call for a minor bordun of La-Mi
La-pen-
used to this point. Minor ostinati will also need to be employed with
is where the tuning sounds that were introduc ed
tatonic song materials. Here
are the basis of
in Level Five will assist. The minor tuning sounds (La-Do-Mi)
the bordun and ostinati used with La-pentatonic.
size timpani.
The orchestra will also be enlarged to include the classroom
with the use of chants, while
Part singing preparation will be continued
of the rondo form. Rondos will also be
listening skills will see the introduction
sation (melodic
of much aid in developing rhythm (rhythm rondos) and improvi
rondos).
202 Chap. 6.1 / Achievement Levels

LEVEL TEN TEACHING OUTLINE

Musicianship

Singing
Continue: * Chordal accompaniments for songs using guitar, ukulele,
omnichord, or autoharp
* Tuning sounds
* Two-hand singing
¢ Melodic canons
Introduce: ¢ Chants (sung ostinati)
Materials: +* Songs with chants
“Ten Little Indians” [129]
“Frére Jacques” [181]
* Seasonal songs
“Over the River and Through the Woods” [66]
* Recreational songs
“Old King Cole” [172]
¢ Minor canons
“Hey Ho” Book 4 [161]

Instruments
Continue: ¢ Orchestrations using up to six instruments on four parts
Introduce: ¢ Five part orchestrations (bordun + four ostinati)
¢ Timpani in the Orff ensemble
¢ Melodic rondos for improvisation
Materials: * Melodic rondos
“Let us Play and Let us Sing,” Book 1 [108]
“Play Now” (see Level 10, Par. 7)
“Solos Here for Everyone,’”’ Book 1 [108]
* Orchestrate songs from Melody and Singing sections

Listening
Continue: «¢ Inner hearing activities
* Review the sound and appearance of: flute, clarinet, trum-
pet, violin, and drum
Introduce: * Trombone
¢ Tuba
* Rondo form
Materials: ° Recordings featuring trombones
“Bolero,” Ravel [302]
“Them Bones” [370]
* Recordings featuring tubas
“Effie,” Roger Bobo [331]
“A Child’s Introduction to the Orchestra” [205]
* Recordings illustrating rondo form
“Symphony in Miniature” [222]
 Suggestions for Teaching Level Ten Concepts 203

Movement
Continue: ¢ Use movement with all songs when possible
Introduce: * No new concepts
Materials: * Songs for beat reinforcement
“Hallelo,”” Book 2 [172]

Music Literacy

Rhythm
Continue: ¢ Speech enhancement
¢ Reading duple rhythms: ; Rabies ia
¢ Reading triple rhythms: z- evel! Yo la Nr ih
* Echo rhythm patterns in four beat groups
¢ Rhythmic dictation
¢ Rhythm canons
Introduce: ¢ Rhythm echo patterns in eight beat groupings
¢ Rhythm rondos
* New duple rhythm: ("Fi
Materials: ¢ Verses for beat and meter reinforcement
“Who has seen the wind?” Book 1 [47]
¢ Verses or songs for reading [FA
“Yonder She Comes” [8]

Melody
Continue: Singing/reading basic pentatonic songs
¢ Use hand signs and syllables for DRMSL
* Echo melodic patterns of four beats length
Melodic dictation
Introduce: * La pentatonic
Low La (L,)
Materials: e L,DRMS songs to read
“New York and Boston” [129]
“Phoebe” [171]
“Skin and Bones” [111]
¢ S,L,DRM songs to sing
“Humpty Dumpty” [87]
* MSLD’ songs to sing
“Cuckoo” [153]
“Wagon Wheels” [154]

SUGGESTIONS FOR TEACHING LEVEL TEN CONCEPTS

1. INTRODUCE THE DUPLE RHYTHM [F (1 ne ta or 2 ne ta):

Prepare

- Tap or step the beat and say verses using the ["FAirhythm.
204 Chap. 6.1 / Achievement Levels

¢ “‘Deedle Deedle Dumpling” [104]

¢ “Little Tommy Tucker’ [131]
¢ Sing songs containing this rhythm.
¢ “Kookaburra” [115]
¢ “Skip to My Lou” [114]
* Echo clap patterns that include this rhythm.
* Do body percussion routines that include [FA
* Use [Fin ostinati to accompany verses and songs.

Presentation

a. Set up a duple pat-clap ostinato pattern.

b. Echo syllable patterns that include | —-[] —} —FFF with this ostinato.

lia 1 SO INS 1 ta ne ta 2
hensGe. ica
ltaneta2 ne 1 tane
ta 2
|
c. Add A to the examples—

oe eam omental |
Pyne stas le ene ltaneta 2 Ptaneta2ene.tamenlane pare

d. Being sure to underline the beats, write a rhythmic segment on the

chalkboard such as

ema: ene ieee

1 2 1 2

e. Point to the notation as the class reads in unison. Then erase the first
beat and substitute 1 ne ta (Ph, then read again.

Awl leacloo ligrcl acl ie |

1 2 1 Z

f. Insert additional [A patterns and read again.

eee inca iaeedinac Veale) |

1 2 1 2)

g. Set up a steady beat by having the class tap, then teach the verse ‘Bell
Peppers.”
 Suggestions for Teaching Level Ten Concepts 205

Torben sna aao

Bell Pep-pers Bell Pep-pers What is the price?

Media ietaimtas
ie bl
Two for a quar - ter and all ver- y_ nice!

h. Point out that ‘Bell Peppers” has the rhythm of 1 ne ta. Ask for a
volunteer to write the first line of the rhythm or, if you feel none of
the children are ready for this, write the line yourself with the class
helping.
i. Read the rhythm of the verse when completely notated.
j. Arrange a series of flashcards and read.

(hoo) ately ee ae
k. Select students to rearrange the cards for the class to read.

Practice

+ Dictation using rhythm sticks on a floor staff or slates.

* Read teacher-made flip charts.
¢ Read flashcard patterns.
* Compose and read rhythm ostinati for use with verses and songs.
« Read teacher-made ostinati for use with songs and verses.

2. INTRODUCE LOW LA:

Prepare

¢ Use low La in echo games

¢ Sing songs that contain low La
“New York & Boston” [129]
“Canoe Song” [115]
* Play ostinati on the instruments containing low La

Evaluation: The low La concept is ready to be presented visually when most

La.
of the children can sing songs and melodic echoes in tune that contain low
Presentation

a. Echo 4-beat pentatonic patterns containing DRMSL.

b. Present a pattern with hand signs containing low La.

=e ==
206 Chap. 6.1 / Achievement Levels

c. Notate this pattern on the chalkboard.

.d. Point out that when Do is on a space, low La is also on a space and
when Do is on a line, low La is also on the line below.
e. Present some flashcards for reading low La.

Ss aS | |Ses | | GaSe
f. Read a class chart of “Ragged Rascal.”’ Read first with rhythm syllables,
then with tonal syllables and finally with words.

Pasi eae 5 ae |
Round and round the rug - ged rock the - ged ras

How man- y_ R’s are there in that? Tell me you

g. Add the orchestration after the song is learned.

h. Add movement appropriate to the text after the orchestration is in
place.

Practice

¢ Dictation practice with slates

* Flashcard reading of tonal patterns
* Read class charts of songs containing low La.
“Phoebe in her Petticoat’’ [171]
“Old Mr. Rabbit’ [171]
* Echo melodic patterns using hand signs.
* Read melodic segments from chalkboard, feltboard, floor staff.

3. INTRODUCE CHANTS: Chants are vocal ostinati and may be derived

from the original song in the same manner as instrumental ostinati. A sample
procedure for introducing chant is as follows:
 Suggestions for Teaching Level Ten Concepts 207

a. Teach the song “Little Red Caboose” by rote and with guitar accom-
paniment.
b. Teach this chant to the entire class (by rote).

| | | l
S S IL, 1 S S IL,
Chug- gin’ chug- gin’ down the track

4. INTRODUCE LA PENTATONIC: The La pentatonic concept may be

introduced simultaneously with the introduction of the pitch low La, or may be
introduced at this time. The term La pentatonic refers to songs that use La as
the final or “tonic” rather than Do. The pitches in the La pentatonic scale are
the same as those for the Do pentatonic, that is La, Do, Re, Mi, So. The bordun
for La pentatonic will be La and Mi. When “setting up” the instruments, continue
using the terms C-pentatonic, F-pentatonic, etc. The F-pentatonic set-up is used
for the La-pentatonic scale beginning on D: La (D), Do (F), Re (G), Mi (A), So (C).

THE GARDEN
;Verse

Plant-ed all my gar - den way last Spring, corn & po-ta-toes & some

tur -nip greens. Watchedit grow and now that it’s Fall, Lainie ZOU
Patter

crop all! Me Squir- rel came - long and dug up my corn

Go-phercamea- long and took all my ’ta-ters and a rab -bit came Je long an

my greens, no good or it seems to eae GS

Presentation

Read the rhythm of each two-measure phrase using syllables.

Locate Do with the key prong & La.
Sing the tuning sounds (La-Do-Mi).
oD
ao Sing slowly in rhythm using melody syllables. Then moderate with
words.
e. Add the following orchestration.
208 Chap. 6.1 / Achievement Levels

S.G (Introduction and coda only)

itt ee
SG (Introduction and coda only)

ne cee Nae —— ae

eeee
a ee ee
Geer erewes oe ae
ghee = # iF : tap |
Performance
Introduction (8 measures): all instr./ Verse: Sing with instrumental accom-
paniment (except glocks.)/ Interlude (8 measures): One glock improvise/ Patter:
Sing while clapping afterbeats, tambourine only accompaniment/ Verse: Sing
with instruments/ Coda (8 measures): All instruments.

5. EXPAND RHYTHM ECHOES TO EIGHT-BEAT GROUPS: At this point

in their development, the children will probably be able to echo eight beats of
rhythmic or melodic patterns. Begin with simple patterns of only eight beats or
rests (see example a.) and increase the complexity as the children become more
proficient. Try to retain a two phrase structure (question answer) such as in the
examples below.

epee ees alaLet a ee

a p - =
on aw — ~
Tero a

]
~———F

6. INTRODUCE RHYTHM RONDOS: Introduce rhythm rondos at this time

using rondos with words. Words assist greatly in developing rhythmic memory
(See Chapter 3.6 C). An excellent example of a beginning rhythmic rondo, ‘The
First Rondo,” may be found in Nash, Music with Children, Series I, p. 20 [117].
Rondos are a good means of encouraging improvisation with children and should
be employed frequently. An example of a rhythm rondo with words is given:
 Suggestions for Teaching Level Ten Concepts 209

HOW MANY DAYS IN A MONTH? (A-B-A-C-A)

“A” Thirty days hath September fae pat te.

section April, June, and November als hn 0 ee ae
All the rest have thirty-one, Ex- el ae a.
cept February early as

February, February i Oeeee ae

yes Has but twenty-eight mui Q
section Clap your hands for February ee a
Then to Section A rary ,

Leap year, leap year via |

uc” Four years at a time ake til ;
oes Give old ‘Feb’ an extra day a eee |
Makes him twenty-nine ray ami ,
[Perform the sections in rondo order = A-B-A-C-A)

7. INTRODUCE MELODIC RONDOS: Melodic rondos may be introduced

as soon as the children understand the rondo form. The use of melodic rondos
provides opportunity for improvisation practice on the instruments as well as
allowing the teacher to listen to and evaluate each child’s progress in this area.
A good example of a melodic rondo with text may be found in Hall edition,
Music for Children, Vol. I, p. 62 [109]. A melodic rondo in La pentatonic is shown:

Part A
(All)

Play no play tor =) geth) )-

play now play now list - en to our sound figs

| 2S
Part B (Teacher)

ee
Now we’ve come __ to Sor - lo) time, is Mar - gie’s turn
(Class echoes)
Student improvises eight measures (Part A) - Then all
repeat A + B for another improvisation
it is Mar - gie’s turn

Insert as many solo sections between each repetition of the A section as desired.
Just before the solo, the teacher sings the name of the student to perform the
solo. Include solos on mallet and rhythm instruments in the same performance.
The orchestration for the A section and accompaniments for the solo sec-
tions can be:
ONG ‘B’ Ne BY

eS = zi oe =
Chap. 6.1 / Achievement Levels

Performance:

a. Introduction: Bring in one player at a time (in the order BX, AX, SX,
AM, AG, SG) until ensemble is secure.
b. Section A: use ‘A’ accompaniment.
c. Section B: 1st solo player uses ‘B’ accompaniment.
d. Section A: use ‘A’ accompaniment.
e. Section C: 2nd solo player uses ‘B’ accompaniment.
f. Section A: use ‘A’ accompaniment.
g. Coda: Cut off one player at a time in reverse order given in a.

8. INTRODUCE THE TROMBONE: Invite a professional trombonist or an

older student from your school system to visit the classroom and demonstrate
the instrument. If this is not possible, introduce the trombone by means of the
materials supplied by the Bowmar Company.
Recordings of trombone solos:

Mitch Miller, A Child’s Introduction to the Orchestra [205]

Urbie Green, Twenty-one Trombones [375]
Tutti’s Trombones [373]

After the trombone has been introduced, recognize its appearance in any
of the recordings used in class.

9. INTRODUCE MINOR MELODIC CANONS: Select the song ‘““The Ghost

of John” [49].

al. Teach the song with guitar or baritone ukulele accompaniment.

b. Add a body percussion ostinato.
Cc. Divide the class into two groups and tell them you would like to hear
them sing the song as a canon.
d. Perform the song as a two-part canon with body percussion ostinato
accompaniment.

10. INTRODUCE FIVE PART ORCHESTRATIONS (four ostinati & a bor-

dun): Orchestrations using only four parts have been used until now as follows.

a. Bass xylophone plays bordun (usually alternating form).

b. Alto metallophone plays basic bordun or sustained ostinato.
Cc. Alto xylophone & Soprano xylophone play together (in octaves) on an
ostinato.
d. Alto glockenspiel & Soprano glockenspiel play together (in octaves)
on a second ostinato.

Five separate parts may be used by giving the xylophones independent

parts.

a. Begin with a patschen pattern

 Suggestions for Teaching Level Ten Concepts 211

Bae oe |
Jy R Ib, R

b. Teach the following verse:

| |
R
Slow down you do - gies quit rov - ing a - round. You

M D D L, S: L, D D Li St
wan - der and _ tram - ple all Qu | Nae the ground.

a)
ae ee a a
M M M R
Graze a - long do - gies and feed kind of _ slow, and

M D D Li S: Lr D L, D
dont you" for = ev = er be on the £0.

c. Select a child to play the patschen pattern on the bass xylophone as a

bordun.

|==

d. When the bordun has been established, have the class mirror the
following patschen pattern and repeat the verse using this pattern plus
the bordun as an accompaniment.

e. Add each of the following to the orchestration after mirroring. Allow

enough time for the students to become comfortable with each part
before adding a new one. Teach the tune.
212 Chap. 6.1 / Achievement Levels

f. Forma circle with the remainder of the class. Step the beat and as they
sing move their arms in the direction indicated by the words of the
song.
g. Play an interlude on the alto recorder as the class continues to step
the beat and move with the words.
h. Repeat the song.
i. As you cut off each instrument of the ensemble, the class continues
to move to the words without singing (must use inner hearing).

11. INTRODUCE THE TIMPANI AS PART OF THE ENSEMBLE: The tim-

pani (singular timpanum) were used as a teacher-played drums beginning in
Level B, so the children should be familiar with their sound and how to play
them.
Introduce the timpani now as a student-played addition to the instrumen-
tarium. The part assigned to the timpani should be a bordun type. Timpani
produce a dominant sound so they should play the root and fifth of the key.
Select a good player for the timpani since the instrument tends to control the
tempo.
 Checklist for Level Ten 213

CHECKLIST FOR LEVEL TEN

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Performs chants to songs being sung
Instrumental Skills:
2. Can play an independent instrument part
in a five-part ensemble
3. Plays a timpani part with a steady beat
4. Can improvise on a melodic rondo using a
mallet instrument
Listening:
5. Recognizes the trombone by sight
6. Recognizes the trombone by sound
7. Recognizes the tuba by sight
8. Recognizes the tuba by sound
9. Recognizes the rondo form
Movement:
10. Responds freely to elements heard in music
Rhythm Literacy:
11. Performs rhythm echoes in eight-beat
groupings
12. Performs rhythm rondos
13. Improvises “B” sections of rhythm rondos
14. Reads | F] from notation
15. Writes | F]from dictation
Melodic Literacy:
16. Recognizes the sound of La pentatonic
(minor)
17. Can set up instruments correctly in La pen-
tatonic
18. Sings and reads melodies containing low
La
19. Writes melodies containing low La from
dictation

LEVEL COMPLETED (date)

214 Chap. 6.1 / Achievement Levels

LEVEL ELEVEN

The primary aim of Achievement Level Eleven is to expand gradually the music
reading abilities of the students.
Introduce low So to add to melodic reading ability. This permits the use
of songs that have a range of S,L,DRM. There are many songs of this type the
most commonly known being “Old MacDonald had a Farm.”” A good key for
songs of this range is F major. By using F major, the songs are pitched in the
center of the best singing range for most children.
Rhythmic reading is expanded to include one more duple rhythm using
sixteenth notes and one additional triple rhythm (the ‘Silent Night” rhythm).
Also begun at this level is reading of four-beat ostinati for playing on mallet
instruments. Begin with simple written ostinati and progress to more complex
examples as the abilities of the class grow. These ostinati may be written on
ostinagraphy paper or the teacher may make staves on poster board.
The classroom orchestra may also be augmented by a strum guitar. Tune
all the strings to one of the pitches of the tonic chord (DMS) for major or (LDM)
for minor, so that the student need only strum the open strings on the beat.

LEVEL ELEVEN TEACHING OUTLINE

Musicianship

Singing
Continue: »° Chordal accompaniments for songs using guitar, baritone
ukulele, autoharp, or omnichord
* Tuning sounds
¢ Two-hand singing on DRMSL
* Melodic canons
¢ Chants
Introduce: « No new concepts
Materials: * Seasonal songs
“Winter is Over,” Book 2 [66]
* Recreational songs
“Safari” [153]
¢ Chants
“Clock song,’”” Book 3 [66]
“Old Texas,” Book 3 [181]
* Canons
“Ding Dong Digi,” Book 1 [108]
“No Sky” [176]

Instruments
Continue: ¢ Orchestrations using up to six instruments and five parts
* Melodic rondos for improvisation
Introduce: ¢ Reading ostinati of four beats in length in both triple and
duple meter
- Add strum guitar to the Orff ensemble
Materials: * Melodic rondos for improvisation
“Melodic rondo,”’ Book 2 [111]
“Riding in the Buggy” [130]
 Level Eleven Teaching Outline 215

* Use published orchestrations or orchestrate other songs

for class use

Listening
Continue: ¢ Inner hearing activities
* Review the sound and appearance of: flute, violin, clarinet,
drum, trumpet, trombone, tuba
¢ Identify rondo form as it occurs
Introduce: * Saxophone
* Cello
Materials: ¢ Recording of the saxophone
“Meet the Instruments” [355]
¢ Recording of Cellos
“A Child’s Introduction to the Orchestra” [205]

Movement
Continue: ¢ Use movement with songs whenever possible
Introduce: ¢ No new concepts
Materials: ¢ Songs for beat and meter reinforcement
“Birthday game” [102]

Music Literacy

Rhythm
Continue: ¢ Speech enhancement of verses
¢ Reading duple rhythms: 7 |-™ -23-J-FR-TA
¢ Reading triple rhythms: #.|.-[T]-?-d.-| b-}|
* Echo rhythm patterns in four- or eight-beat groups
¢ Rhythm rondos
Introduce: ¢ New triple rhythm: [71
¢ New duple rhythm: fT
¢Duple upbeats
¢Eighth rest 7
Materials: ¢Verses
“An Apple a Day” [150]
¢ Songs or verses for reading [71
“The Cowboy,” (see Level 11, Paragraph 5)
* Songs or verses for reading fT
“Mary and Martha”

Melody
Continue: * Singing and reading songs in the basic pentatonic scale
(DRMSL) and La-pentatonic (LDRMS)
* Hand signs and syllables for the above
¢ Melodic dictation
Introduce: ¢ Low So
Materials: * S,L,DRM songs to read
“Daddy Shot a Bear’ [171]
“Chatter with the Angels’ [81]
216 Chap. 6.1 / Achievement Levels

SUGGESTIONS FOR TEACHING LEVEL ELEVEN CONCEPTS

1. PRESENT THE DUPLE RHYTHM fT4 = (1 ta ta, or 2 ta ta)

Prepare

a. Tap the beat while saying duple meter verses containing this rhythm.
“Sing Sing What Shall I Sing?” [131]
“Here’s Sulky Sue” [104]
b. Sing cultural, recreational, & seasonal songs containing this rhythm,
Ce,
“New River Train” [171]
“Mister Banjo,” Kidd [188]
“Syncopated Action Song” [117]
c. Echo-clap rhythm patterns containing this rhythm:

Diener, sie easel ol

d. Use this rhythm when creating rhythmic and melodic ostinati.
e. Use this rhythm when doing body percussion.

Presentation

a. Begin by echoing syllable patterns that include fT4

b. Arrange flashcards to form eight-beat patterns and point to each beat
(card) as the class reads in unison.

Moron a Ciewo|
a Die itaenewats ayy ita ta 2 ne)

sme
gre ier) eae. | =)
Chieta ta Sy ta ta ne 2)

c. Rearrange the cards so that rT appears on both beats 1 and 2 in

various positions in the line. Be sure to retain the feeling of four-beat
phrases.
d. Follow this with a short period of dictation using four-beat patterns.
(Space on the writing slates may not accommodate eight-beat groups.)

Practice

a. Read teacher-made flip charts.

b. Dictation frequently using all combinations of familiar duple patterns:
c. Reading rhythmic segments from flashcards, feltboard, chalkboard,
floor staff, etc.
d. Encourage children to compose rhythmic segments for use as ostinati
with verses and songs.
 Suggestions for Teaching Level Eleven Concepts 217

e. Sing new songs from large class charts that employ the new rhythm
pattern.

Example:

MARY AND MARTHA

Ma-ry and Mar-tha’s just gone a-long Ma-ry andMar-tha’s just gone a-long

Ma-ry — and Mar - tha’s just gone a- long To ring those charm - ing bells

CHANT =

Way o - ver Jor-dan Lord to ring those bells.

2. READING OSTINATI OF UP TO FOUR BEATS IN DUPLE AND TRIPLE:

Prepare cards that may be given to the instrument players on which is placed
one ostinato to be read. Make one card for each instrument. Use poster board
of about 10” x 20” with a five-line staff and key prong. Write all the parts in
the treble staff (with key prong, not treble clef). Several companies market pads
of large staff paper which may be used in place of cards. A typical card might
look like this—

= =e
3. INTRODUCE LOW SO: The hand sign and syllable name for low So is
the same as for So in the basic pentaton. When writing the letter name, however,
it is customary to place a subscript after all pitches lower than Do in the basic
pentaton (S, L, DRMSL).
Prepare

a. Use melodic echo patterns that contain low So (with hand signs)

Example:

ealD L, S; L, Me Ry
DERE dD
2
ser] elle oRes Dar ch; S, D Raped
|
Min

b. Sing songs using low So

“Chatter with the Angels’ [403]
“Hoptoads” [117]
c. Playing known songs with low So on mallet instruments by ear.
d. Playing ostinati containing low So.
218 Chap. 6.1 / Achievement Levels

Presentation

a. Teach a song such as “Daddy Shot a Bear’’ (S,L,D) (See Level Sev-
enteen, Paragraph Eight for a copy of this song).
b. Sing the song using hand signs and melody syllables.
c. Place the melody of the song on the feltboard using note head discs.
Point out that when Do is on a space, low La is also on a space but
low So is on a line. Similarly, when Do and low La are on lines, low
So will be on a space. Read the melody using syllables and hand signs.

E 5. 8 (9) ———— es o =|

- Praaeael « iamaeundiamed+uae eereoe’ oS rare .Seeee a

d. Read the song “Old MacDonald” from a teacher-made class chart, first
with syllables and hand signs, then with text.

D D D S, Li L Si M M R R D

e. This may be followed with reading ‘Little Train,” Nash, Music with
Children, Series II, p. 11 [117]. Use a similar procedure, first with syl-
lables and hand signs, then with text.

Practice

a. Writing dictation examples that include low So.

b. Reading large song charts in class.
c. Reading melodic segments from flashcards, feltboard, chalkboard, floor
staff, etc.
d. Composing melodic segments for the class to read.
e. Compose ostinati using low So for verses & songs.

4. INTRODUCE THE SAXOPHONE: As with instruments introduced pre-

viously, try to secure a professional player or a student musician to demonstrate
the instrument. Or you may use the Bowmar materials or other recordings. The
Mitch Miller recording (Golden Records) [205] is especially good as an intro-
duction. Recordings by some of the current jazz artists should also be used.
Listen to recordings that feature the saxophone.

5. INTRODUCE THE TRIPLE RHYTHM [-] | (1 ta ni, or 2 ta ni): This is

the familiar rhythm of ‘Silent Night.”
Prepare

* Tap or step the beat while saying verses using the [T rhythm.
“Ride a Cock Horse to Banbury Cross” [131]
* Sing songs containing this rhythm, for example:
“Music alone shall live” [see Song Index ]
 Suggestions for Teaching Level Eleven Concepts 219

“Silent Night,’” Book four [66]

“Blow the Man Down” [56]
* Echo clap patterns that contain this rhythm.
* Use body percussion routines that employ this pattern.
* Use [.]|in ostinati to accompany songs & verses.
Presentation

a. Clap echo patterns containing triple rhythms.

b. Include some that contain fav:
c. Echo clap, then say with syllables, each of the lines below. Notate each
line after it is echoed. After you finish, you will have four lines as
follows on the chalkboard.

eae Pee weDae | |

eh hon
am ee eas clad |
ei ea a
Read all four lines using syllables.
e. Present the following song on a class chart. Read the rhythm using
rhythm syllables.
f. Read the song using melody syllables.
g. Read the song again using the text.

Note: Some prefer to teach dotted rhythms through the use of the tie. It was
not suggested in this case since the One-ta-ni rhythm (7) would have had
to be derived from the One-na-ta-ni (TT) rhythm. The latter is an uncommon
sound in children’s song literature so the tie was not used.
THE COWBOY

SS SSSS SS
Mov- in’ the cat- tle a long the old trail.
Yi - py-ti-yay, Yi - pi- ti- yo.

= Yi - py-ti - yay, Yi - pi-ti- yo. Rid’ -dingmy po- ny a - long.

BX & SX
AX

eo ae
Timpani F + C

=|
AM

etc q BSS
Coconut shells Autoharp (felt pick) F chord

om Jy Be
(strum)
220 Chap. 6.1 / Achievement Levels

Practice

Sing songs from teacher-made class charts.

Read rhythms from flashcards, chalkboard & floor staff.
Read from teacher-made flip charts.
Compose ostinati to use with verses & songs.

6. INTRODUCE THE GUITAR INTO THE INSTRUMENTARIUM: Present

the guitar at first as an open string instrument, played by strumming. (See
“Thumb Strum,” chapter 2-2.) The instrument should be tuned either in open
fifths (for example: C - G - C - G - C - G) or may be tuned to the pitches of the
tonic chord (C- G- E- G- C- E). The guitar may be used in this manner as
an effective addition to the mallet instruments for accompanying pentatonic
songs.
In addition to strumming on the beat, the guitar may be played one string
at a time in arpeggio fashion or two guitars may be used alternately tuned to
different chords.

a Pe ee
ees oe
Ss
Examples of the use of guitar in the instrumentarium may be found in
Nash, Music with Children [117] or Orff-Schulwerk volumes [108][110][111].

7. READING DUPLE UPBEATS: The preparation work for duple upbeats

was begun in Level 10. The visual presentation may be done as follows:

a. Begin by echo clapping upbeat patterns.

b. Notate one of the patterns, such as:

Dy imide eras (aye

Point out that the last measure is lacking the same number of beats or
parts of beats that are contained in the upbeat.
c. Teach the verse “Rain,” by Robert Louis Stevenson.
Say each line, then repeat using syllables.
e. Select a student to notate the rhythm of each line after it is said with
syllables.
f. Re-read the entire verse from the syllable notation on the chalkboard.

Das pee b

RE
OE
ee
LES
1. |~e
 Checklist for Level Eleven 221

8. INTRODUCE THE EIGHTH REST (7): The eighth rest may be introduced
at the same time as the visual presentation of duple upbeats. As may be seen
from the example above, it is necessary in many cases where upbeat rhythms
occur. Explain it simply as a substitute for the eighth note where silence is
needed.

9. INTRODUCE THE CELLO: With the Bowmar charts, filmstrip, and

records, introduce the cello. If available, a professional or student player should
be invited to discuss the instrument.
After the cello is introduced, listen for its use in recordings used in class.

CHECKLIST FOR LEVEL ELEVEN

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom

es ET
(E) Almost Never

1. Performs chants, canons, & unison songs

Instrumental Skills:
2. Can play ostinati of four beats in duple and
triple from notation
3. Plays a steady strum beat on guitar in an | i
instrumental ensemble |
Listening: i
4. Recognizes the saxophone at sight =
5. Recognizes the saxophone by sound oi
6. Recognizes the cello at sight De
7. Recognizes the cello by sound a
Movement: eee:
8. Responds freely to elements heard in music
Rhythmic Literacy: A i
9. Reads ead from notation
10. Writes a from dictation i BS
11. Reads Fl from notation | a
12. Writes FT from dictation i] ing
1B. Understands and reads duple upbeats Ee aes
14. Understands and reads eighth rest (7) 4 ||
Melodic Literacy:
15. Sings and reads melodies containing low
So
16. Writes melodies containing low So, from eagle
dictation |
ise

LEVEL COMPLETED (date)

222 Chap. 6.1 / Achievement Levels

LEVEL TWELVE

The development of music reading abilities is the focus of Achievement Level

Twelve. When high Do is introduced use songs with a limited range, like ““Lucy
Locket” (Young, Pitch and Rhythm Charts [139]) or others that use only MSLD’.
Later, songs with a complete octave range may be read. The voice range of most
of the students should have developed to the point where they can sing in tune
throughout an entire octave.
Rhythm reading development will be expanded to include the reading of
triple upbeats plus one new duple rhythm and one new triple rhythm. With
these additions, the rhythm repertory of the students should now include the
following:

etme 3 2a) ha = be iret

B.1.-T-e-d.-1 bbl
- 7-0
Preparation for part singing will also include diatonic rounds in addition
to two-hand singing, canons, chants, and tuning sounds. No new instruments
will be added to the instrumentarium, but ostinati to be read may be of either
four or eight beat lengths.

LEVEL TWELVE TEACHING OUTLINE

Musicianship

Singing
Continue: *¢ Chordal accompaniments using guitar, baritone ukulele,
omnichord or autoharp
* Tuning sounds
* Two hand singing
* Melodic canons
* Chants
Introduce: ¢ Diatonic rounds
Materials: * Canors
“Scotland’s Burning,”” Book 2 [47]
¢ Rounds
“Kookaburra,” Book 3 [112]
“Amen,” Book 3 [172]
* Chants
“Frere Jaques,” Book 3 [181]
* Seasonal songs
“Yellow Sun,” Book 2 [172]
* Recreational songs
“A Spoonful of Sugar,”” Book 2 [172]

Instruments
Continue: ¢ Orchestrations using up to six instruments on five parts
* Melodic rondos for improvisation
* Reading ostinati of four-beats length
 Level Twelve Teaching Outline 223

Introduce: * Reading eight-beat ostinati

Materials: * Rondos for improvisation
“Let it Rain,” Book 3 [111]
* Use songs from Singing and Melody sections to orchestrate

Listening
Continue: °¢ Inner hearing activities
¢ Review the prominent sound of orchestral instruments in
recordings: violin, flute, clarinet, drum, trumpet, trom-
bone, tuba, cello, saxophone.
Introduce: * Horn (or French Horn)
Materials: ° Recordings featuring horns
“A Child’s Introduction to the Orchestra’ [205]

Movement
Continue: +» Use movement with songs whenever possible.
Introduce: * No new concepts
Materials: * Song games for rhythm reinforcement
“Samurai Warriors” [136]

Music Literacy

Rhythm
Continue: * Speech enhancement
* Reading duple rhythms: |- 17 -?-¢-FRA-TR-f4-7
¢ Reading triple rhythms: |.-[T]-¥-4.-l b-bl-f 1-7
¢ Rhythm rondos
Introduce: ¢ Triple upbeats
¢ New triple rhythm: Raa
* New duple rhythm: FA
Materials: «* Verses
“Puddles to Jump” [102]
¢ Verses or songs containing
“This Old Man” [7]
* Verses or songs containing
“Biya papie ya,’”” Book 2 [40]
* Recordings for rhythm reinforcement
“Jenny Lind Polka,” Wallenstein (7) (321]
“Tomorrow you will take her home,” Grieg ( )
[289]

Melody
Continue: * Singing and reading songs within these ranges:
S,L,DRM-DRMSL-L,DRMS
* Use hand signs and syllables
¢ Melodic dictation in the above ranges
Introduce: * High Do
* Octave range pentatonic songs (DRMSLD’)
Materials: »* MSLD’ songs for singing and reading
“Up ina Swing,” Book 2 [117]
“Higelety Pigglety Pop,” Book 2 [108]
“Lucy Locket’’ [139]
224 Chap. 6.1 / Achievement Levels

¢ S,L,DRM songs for singing and reading

“Hush Little Baby” [81]
* DRMSL songs for singing and reading
“Great Big House in New Orleans” [80]
* DRMSLD’ songs for singing and reading
“Don’t Let the Wind’’ [80]
“I Love Sixpence,”” Book 1 [110]

SUGGESTIONS FOR TEACHING LEVEL TWELVE CONCEPTS

1. TRIPLE UPBEATS:
Preparation:
Begin to use triple upbeat (pickups) patterns in order to familiarize the
children with the sound.

a. Syllable echo practice: Start with upbeats of one eighth note value and
work toward the more complex forms of upbeats. Always accompany
with rhythmic ostinati of body percussion (pat-clap-clap).

Example:

a. PURPA REDSat) Pome SPR NECA Mae Po

Me Re ec ESB ETS Ara.
eR Ge ie ig GROTen mae ih
b. Echo clapping: Include patterns such as these without syllables, always
accompanying with some sort of beat (such as stepping).
c. Sing songs that contain triple upbeats:
¢ “Bought Me a Rooster” [49]
¢ “IT Saw Three Ships” [68]
* “The Streets of Laredo” [68]
d. Use verses with triple upbeats:
e “A Jolly Old Pig” [103]
¢ “To Market To Market” [104]
e. Use games that contain triple upbeats:
¢ “The Noble Duke of York” [131]

Presentation
When most of the children can perform triple upbeats, present the notation
as follows.

Teach the song “Rig-a-jig-jig’”’ using guitar as accompaniment.

Set the guitar aside, and begin an ostinato (pat-clap-clap).
Have the children join in the ostinato.
Say the first line, children echo, repeat together the rhythm syllables.
Notate this line on the chalkboard.
ES
ag
Slo
iOS
Ft Do the same for the other lines (you will have the following).
 ee cae oe
Sli) tll ge ees
Migme te bh IE
eter ea eae
foo ee ee
g. Read together all four lines from the chalkboard.
h. Ona subsequent day, read the song from a chart.
i. Add the orchestration.
j. Play the game as follows:
¢ Hold hands to form a circle.
* Drop hands; inside partner faces clockwise.
* Outside partner faces counterclockwise.
¢ As children sing the verse, each circle moves in opposite direction.
* On the two-line refrain, all join hands with the person nearest.
Both circles move clockwise.
will
¢ Repeat. (Each time the refrain is sung, new pairs of partners
be formed.)

RIG-A-JIG-JIG

(oS SS SS
SS
— SS LLL)

=oSS Se Se ee (cial

Bass Xylophone

SS _———
—— SS ee ee
Castanets (on refrain only)

a FTE ie dd. z heey 7

226 Chap. 6.1 / Achievement Levels

Alto Metasllop hone

Alto Glockenspiel

Se ee ee ee Se
Soprano Glockenspiel

spac ee
O

Cow Bell & Tambourine (on refrain only)

2. INTRODUCE THE TRIPLE RHYTHM |[TT] (2 na ta ni ta, or 2 na ta

ni ta): This rhythm is well known as the sixth line of “America” —‘’From every
mountain side.”
Prepare

a. Echo clap patterns that contain agtal

b. Use body percussion routines that employ laiatetal:
c. Use| [TT in ostinati to accompany verses and songs.

Presentation

a. Establish a pat-clap-clap ostinato; echo triple rhythms using rhythm

syllables:

TT EAT ET TET DEUSst coe lI Fes

b. Continue, using patterns containing | |:

BRP Gear eeeante) oman |e Maal

c. Illustrate the appearance of the rhythm on the chalkboard:

Minna inaa
d. Arrange four flashcards in a rhythm and read.

[Tel te ape tl
e. Continue using other combinations of flashcards.
f. Tap a steady beat, and teach the words to a verse of ‘Lavender Blue.”
 Suggestions for Teaching Level Twelve Concepts 227.

g. When the words are known, repeat the verse a line at a time and notate
each line.

A il’ Ponape
gets. |.
h. Sing the song from a class chart (sing the pitches first, then rhythm
and pitch combined).
i. Select a child to play [T] [FFA on the log drum.
j. Continue the rhythm and add an alternating bordun in D-pent. for the
bass xylophone and a basic bordun pattern (D+A) for the alto metal-
lophone.
k. Add a beat using a guiro.
1. Form a circle of remaining children, giving each a scarf. Make move-
ments as suggested by the song.

Practice

* Dictation
* Notate verses such as ‘The Eighteen Wheeler’:

Jo ince1 na ta ni ta 2
ae
na ta ni ta
e mI

PoP errs my ae
a na ni By na ta ni ta |q na ni f |

Peiacnwc) .. |
1 na ni yy na ta ni ta 1 na ta ni ta

Minmaniiimnuaaico | |.
1 na ta ni ta >. na ta ni ta M na ni ; |

‘The Eighteen Wheeler’

Go eighteen wheeler, drive eighteen wheeler,
Right down the road.
Don’t waste your time eighteen wheeler,
Think of your load.
Peaches and strawberries and some
Cold watermelons too.
Go eighteen wheeler, drive eighteen wheeler,
Take your load through!

* Read rhythm segments from flashcards & chalkboard.

* Read teacher-made flip charts.
* Read song charts of melodies containing (elit tal.
228 Chap. 6.1 / Achievement Levels

¢ Encourage the children to compose four-beat rhythm ostinati to accom-

panying verses and songs.
¢ Employ melodic ostinati for the mallet instruments using (alstatat

3. INTRODUCE HIGH DO:

Prepare

* Sing echo patterns using sound of high Do.

* Sing songs with guitar or baritone ukulele accompaniments using the
sound of high Do.
“Stunt Riding,” Nash [117]
“The Echo” [14]
¢ Play melodies on mallet instruments by ear that use D’.
¢ Play ostinati that use D’.

Presentation

a. Echo patterns from the basic pentaton with hand signs (examples:
DRMSLSM/SLSMSMD).
b. Include some examples containing high Do with hand signs (exam-
ples: 09. LS. D*S LS MS: Bio: Del Ss).
c. Notate the last segment on the chalkboard and read (use note heads
only, no rhythm is necessary).
d. Let children copy this segment on slates. Check for correct placement
of key prong & high Do.
e. Give two or three examples of dictation to the children.
f. Read ‘Up in a Swing” [117]
g. Add the orchestration as provided in the book.
h. Add movement using colored scarves in ways suggested by the text
of the song.

Practice

a. Read class song charts of songs using high Do.

b. Dictation
c. Flashcard reading
d. Let chlidren compose melodic segments at the feltboard, chalkboard,
floor staff, with flashcards, or on their slates.
e. Read from teacher made flip charts.
f. Read from published flip charts.
“Chattanooga Choo Choo Train,” Lewis [89].

4. BEGIN READING OCTAVE RANGE PENTATONIC SONGS (Do to Do’):

By this point, the vocal range development of most of the children should be
such that they can sing DRMSLD’ in tune. If so, begin using octave songs in
pentatonic (Do to Do’) for class reading from song charts.

Examples:
“Smile” [163]
“Samurai Warriors” [136]
 Suggestions for Teaching Level Twelve Concepts 229

5. INTRODUCE DIATONIC ROUNDS: You may wish to explain that a

round is a kind of canon (circular canon). Until this point the children have been
singing only pentatonic canons. Diatonic canons or rounds may now be intro-
duced.

Examples:
“Frére Jacques” (use in English, French, and/or Spanish) [15]
“Canon,” Tallis [115]
“Blow the Winds Southerly” [68]
“Sing Together” [115]

6. INTRODUCE FT | (1 ta ne or 2 ta ne):
Prepare

a. Echo patterns that contain rain

b. Use F1 Jin rhythmic ostinati to accompany verses or songs.
c. Sing songs that employ this rhythm.
“Frog Went A Courtin” [68]
“Skip to My Lou” [68]
d. Teach verses that employ this rhythm.
“Bow Wow Wow Whose Dog are Thou” [103]
“Old King Cole” [131]
“Pat a Cake” [131]
“Two Little Dickey Birds” [131]

Presentation

a. Begin with echo patterns that include mick

b. Use this as your last pattern to echo

fay eee eat

c. Notate it on the chalkboard, point to the beats as the class reads it.
d. Follow the same procedures with each of the following until you have

3 aloe ees t,,| |(1 tane 2ne, 1 ne ta 2)

Pe oke kare. | | (ne 2 tane, 1 ne ta 2)

|_| |(1ne 2 ne ta, 1 tane 2)

imine
mein aerate", | FT] |(ine 2ne ta, 1 2 ta ne)

e. Read all four lines as a complete unit. Then ask the children to look
once more at line 1 and remember it because you are going to erase
it. Erase line 1.
f. Say all four lines again, remembering line 1 and reading lines 2, 3, and
4.
230 Chap. 6.1 / Achievement Levels

g. Follow the same procedure until the class is saying all four lines without
reading them.
h. Ask for a volunteer to rewrite line 1 in its place on the chalkboard. Do
the same for the other lines until all four are once more on the board.
i. Ifa volunteer has trouble remembering exactly how the line was writ-
ten, ask the class to help. This involves all children in the thinking
process.

Practice

Dictation using all known duple patterns.

Read songs (sing) from teacher-made class charts.
Read verse rhythms from charts and chalkboard.
Read flashcards, feltboard, floor staff rhythmic segments.
2
& Compose
oon rhythmic segments for ostinati and to be read.

7. INTRODUCE THE HORN: If possible, try to secure the services of a

hornist to demonstrate the instrument, for it is best if the children can see and
touch the instrument. Supplement the live performance with recorded materials.
As they do for other instruments, Bowmar, RCA, and Golden Records all have
recordings specifically intended to present the sound of the horn. In addition,
both RCA and Bowmar have large photo posters of the instrument that can be
purchased for use in class. Bowmar sells a film strip with record of the instrument
families and also small cut-out photos of the instruments for use in notebooks.

8. INTRODUCE READING OF EIGHT BEAT INSTRUMENTAL OSTI-

NATI: In Level Two the children began identifying the bars on the mallet in-
struments by letter name as well as by sound of the tonal syllables (So and Mi).
In Level Four, with the introduction of the alto metallophone, they began to
“set up” the instruments in the pentatonic key appropriate for the song (C,D,F,
or G). After attaining familiarity with the key prong and the pitches of the
pentatonic scales, they were introduced to reading notation of four-beat ostinati
on cards or ostinography paper.
Now they should be ready to read and play patterns of eight beats in
length. When using eight-beat ostinati, all of the instruments need not play
patterns this long. For example, the sample orchestration shown below contains
only one eight-beat ostinato. Other examples may be found in Nash, Music with
Children Series [117].

“ROCK
Y MOUNTAIN HIGH” (Arrangement in C pentatonic)

SG
AG SSS
C pent.
Sd * eas C pent.

+SEE C pent.
«gal C pent. pent.

Caution: While it is desirable to use the mallet instruments as another

means of practicing note reading, they are primarily used to provide op-
portunities for improvisation, thereby encouraging the development of
musical creativity. Henceforth, the children should be encouraged to create
(sometimes with the teacher’s help) the majority of ostinati used in class.
 Checklist for Level Twelve 231

9. BEGIN USING SIX SEPARATE MALLET PARTS IN THE ENSEMBLE:

that each
Mallet technique and independence should be developed to the point
now consist of bass
player can perform a part of his own. The ensemble may
xylophon e, alto glockensp iel, so-
xylophone (bordun), alto xylophone, soprano
ostinati) and alto metallop hone (sustaine d
prano glockenspiel (all with separate
a drone guitar and timpani may be added along
bordun or ostinato). In addition,
with selected hand percussion.
many.
While six parts are a possibility, it is not always desirable to use this
Try to structure the orchestration to suit the mood of the song.

CHECKLIST FOR LEVEL TWELVE

(Names)

Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
| |
1. Maintains an independent part in a two-
part round a
Instrumental Skills:
|
2. Reads from notation & plays an eight-beat
ostinato
:
Listening:
3. Recognizes the French horn at sight
4. Recognizes the French horn by sound
Movement:
5. Responds freely to the elements heard in
music
Rhythmic Literacy: TEE
aa
6. Understands and reads triple upbeats
7. Reads ana from notation
eae
8. Writes sae from dictation
aeeeees
9. Reads A from notation
i sl
10. Writes A from dictation
Melodic Literacy:
11. Sings and reads melodies containing high
Do
12. Writes melodies containing high Do, from
dictation
13. Reads and sings octave range pentatonic
songs within the range of low So to high
Do

LEVEL COMPLETED (date)

232 Chap. 6.1 | Achievement Levels

LEVEL THIRTEEN

There are three significant new areas of learning to be addressed in Level Thir-
teen. The first involves playing the classroom mallet instruments. Up to this
time, the students have performed simple ostinati of up to eight beats to ac-
company pentatonic songs. They have both read and improvised these ostinati.
Beginning with Level Thirteen, the students will now read and improvise ostinati
that, although they still repeat a particular melodic pattern, will, in combination
with the other instruments in the ensemble, result in harmonic chord changes
(known as implied chord changes). The students do not consciously play different
harmonies but the ostinati are structured so that chord changes result. Songs
to use with this kind of accompaniment should be symmetrical, in that the
harmonic changes are always in the same order and for the same number of
beats throughout the song. An example of this type of song is ‘“Go Tell Aunt
Rhodie.”
When this type of accompaniment becomes familiar, the students can pro-
gress to reading accompaniments that are not ostinato-type but are varied in
texture and harmonic content to fit the song being accompanied.
A second significant learning to be introduced is that of meter signatures. To
this point, the only meter signatures that have been used were ¢ for duple songs
and *#. for triple songs. With Level Thirteen, the duple signatures of 2/4 and 4/4
will be introduced and the use of ifwill be discontinued. The triple signature
p- will continue to be used.
The third significant learning will be the introduction of FA, the first of the
two half steps in the diatonic scale. Previously, the students have read pentatonic
songs but only sung diatonic songs. With the introduction of FA, the beginnings
of diatonic music reading will be started.

LEVEL THIRTEEN TEACHING OUTLINE

Musicianship

Singing
Continue: » Chordal accompaniments using guitar, baritone ukulele,
omnichord and/or autoharp
* Tuning sounds
* Two-hand singing
¢ Singing canons, rounds, chants
Introduce: +« No new concepts
Materials: * Seasonal songs
“Groovy Ghoulies” [136]
“Autumn” [127]
* Recreational songs
“Jing Jang” [111]
“Alouette” [130]
* Canons
“T got a Letter” [111]
* Rounds
“Canoe Song” [47]
¢ Chants
“Halloween” [47]
 Level Thirteen Teaching Outline 233

Instruments
Continue: + Improvisation on pitched and non-pitched instruments
* Reading and improvising ostinati
+ Orchestrations using separate parts for each instrument
Introduce: * Ostinati with implied chord changes
¢ Chord changing ostinati
Materials: + Songs with symmetrical chord changes
“One of These Things’ [160]
- Songs with non-symmetrical chord changes
““Fideree Fidera” [172]

Listening
Continue: ¢ Inner hearing activities
¢ Point out these solo instruments when heard: clarinet,
flute, violin, drum, cello, trumpet, trombone, tuba, sax-
ophone, and horn
Introduce: ¢ Brass instrument family
Materials: * Recordings of brass family
“Life Divine,” (brass band) [359]

Movement
Continue: « Use movement with all songs, verses, and games wher-
ever possible
Introduce: e No new concepts
Materials: ° Song games for rhythm reinforcement
“Hokey Pokey” [46]
“Under the Spreading Chestnut Tree” [46]
* Recordings for rhythm reinforcement
“The Bunny Hop” [232]

Music Literacy

Rhythm
Continue: ¢ Speech enhancement
triple
* Echo four- and eight-beat patterns in duple and
meter
¢ Rhythmic dictation
* Reading duple rhythms: | - - 2-2 -fR-TR- avalos ah
¢ Reading triple rhythm s: |.-M o&-d.-| > -b! -—) - OA
Introduce: 2/4 meter signature to replace °
¢ New duple rhythm: 5
¢ 4/4 meter signature
¢ Whole note in 4/4 ©
¢ Half rest —
¢ First and second endings i ie |
Materials: ¢ Songs with 2/4 meter signature for reading
“Sourwood Mountain,” Book 5 [172]
* Songs with 4/4 meter signature for reading
“Alouette” [130]
234 Chap. 6.1 / Achievement Levels

¢ Songs with first and second endings

“Skin and Bones,” Book 1 [130]
¢ Verses for rhythm reinforcement
“Tom, Tom the Piper’s Son” [132]
“Proverb” [150]
¢ Songs or verses for reading rs
“Stamping Land” [32]
“T Love the Mountains” [107]
* Songs containing half rests
“Wind the Bobbin” [80]
¢ Songs using a whole note in 4/4 meter
“Good News” [81]

Melody
Continue: +¢ Reading and singing songs containing these pitches:
MSLD’-S,L, DRM—DRMSL-L,DRMS (minor)
¢ Use hand signs and syllables for all pitches
¢ Echo four- and eight-beat melodic patterns
* Melodic dictation
Introduce: ¢ Fa
Materials: »* Songs using Fa as a passing tone
“How Many Miles’ [80]
¢ Songs using Fa as an accented tone
“This Old Man’ [81]
* Songs using Fa in any manner
“Tt Rained a Mist’ [81]

SUGGESTIONS FOR TEACHING LEVEL THIRTEEN CONCEPTS

1. INTRODUCE FA:
Prepare

¢ Sing songs with accompaniments that employ Fa as a passing tone such

as ‘Five Goldfish” [171].
* Echo tonal patterns using Fa on the afterbeat.
¢ Play ostinati that use Fa.

Presentation

a. Have the class tap a beat “I = 60)

b. When the beat is secure and steady, ask them to stop tapping and
‘feel’ the beat.
c. Echo melody patterns with hand signs in triple meter to the beat they
are feeling (place emphasis on beat).

eee Rae ay oe | Tao

|
 Suggestions for Teaching Level Thirteen Concepts 235

d. Notate the last segment on the chalkboard first by note head only.
Then add the rhythm stems.

= ee
e. Display the “Green Grow” song on a class chart. Read the rhythm,
then the words, then the tonal syllables, and finally the complete song.
f. Add the instruments one at a time. Wait until each is secure before
adding the next.
g. When the ensemble is secure, perform the song once again.
h. Make a circle, hands joined, of the students not playing in the ensem-
ble. Perform the following dance while singing. (Ask the instrument
players to sing too!)
(1) Step-close on each beat to the left (4 beats).
(2) Step-close to the center hands raised (4 beats).
(3) Step back on each meter beat (12 small beats).
(4) Step-close to the center arms raised (4 beats).
(5) Step back on meter beat to the end of the song (7 beats or steps).

Practice

a. Write dictation examples that include Fa passing tones.

b. Read melodic segments in class from flashcards, floor staff, feltboard
with note discs, and chalkboard.
c. Encourage the children to compose and write melodic ostinati using
Fa passing tones that can be used as soprano and alto glockenspiel
parts in the following song.

GRINGO SONG**

Sa =
all spark-ling with dew, I’m lone-ly my dar- lin’
>
since
Green growthe li - lacs

3S: = ae ie
ur next mee- ting
V1
hope to be _ true and
tin’ >
with you,

Se
change the green li- lacs to red white and blue, and
5 change the greenli-lacs for you.
=e

It is said that because

*This song (in a slightly different version) was a favorite of Texas cowboys.
the first line “Green Grows” so many times, the Mexicans called them “gringo.”
cowboys repeated
236 Chap. 6.1 / Achievement Levels

=? ] Xs Se

gee eee
SS |
* Read songs with passing tone Fa from large song charts:

POPCORN

Se he fire is
er
crack-lin’ bun- ning so bright, The now

a day turns to night,

= aS == FEE
The smell of the pop-corm and white,

= SS aes + ee
win - ter and nice by the fine nat Ge)

EX AX AM

SSS Ses a
SX AG Guitar mares

seecse ess | Eee Se

=
SG FC === (open Sths F & C)

== saeecet |) 25 E z
(finger cymbals)

When the hand sign and syllable for Fa are known and when the children
can sing Fa in tune as a passing tone, introduce echoes and songs that use Fa
as an accented pitch.

“This Old Man” [113].

“New River Train” [68]
“Sleep Baby Sleep” [68].

“Introduce the slur mark as a line that connects two pitches that are sung on the same word or
syllable.
 Suggestions for Teaching Level Thirteen Concepts 2a

2. OSTINATI WITH IMPLIED CHORD CHANGES: With the addition of

the half step Fa, and the half step Ti soon to be introduced, accompaniments
with harmonic changes must be used. Begin with songs that have an identical
pattern of chords for all phrases. An example is “Go Tell Aunt Rhodie.” An
orchestration using ostinati with chord changes might look like this:

GO TELL AUNT RHODIE

(Chords)I

ae = = a Jae
tell Aunt = Ge tell Aunt Rho -

= = ns <i == as :
tell Aunt = Che the old grey goose is dead.

=e = eee
= ee ee
ee
SSS SS SS SSS SS SSS
Sal Sees
Other harmonically symmetrical songs are ‘‘Who’s that tapping at the window,”
“The Itsy Bitsy Spider,” “Riding in the Buggy with Mary Jane” (verse part).

3. CHORD CHANGING OSTINATI WITH FIRST AND SECOND END-

INGS: Most songs that contain chord changing harmony are not symmetrical,
and therefore do not lend themselves to simple ostinati. However, there are
many that can be accompanied by ostinato patterns if first and second endings
are introduced. ‘’Tideo,” “Sandy Land,” “Skip to my Lou,” and ‘Down by the
Station” are examples of this type.

**Use measure repeat signs (7) from this point on for identical measures. This not only saves labor,
but has the visual advantage of allowing the player to easily locate the next measure that contains
a change.
238 Chap. 6.1 / Achievement Levels

“TIDEO” (Chord structure)

I I I I I I vi vi
1st phrase ame | ~-{--—--— | —

I I I I I v7 I
2nd phrase f H — gull =!

The chord structure of ““Tideo’”’ is nearly symmetrical. A bass xylophone

part for this song might be written like this:

SS
Ve

Instrumental parts like this may be written on cards or on ostinagraphy

paper and read by the player.

4. INTRODUCE ? METER SIGNATURE AS A REPLACEMENT FOR ?:

Place a familiar song on a class chart in front of the students. Ask if they notice
anything unusual about the way the song is written. If an answer is not im-
mediately forthcoming, point to the new meter signature with an expectant look.
When the class has discovered the new signature, tell them we are now going
to start writing 4 in place of 2 as our duple meter sign. The 2 still means there
are two beats in a measure but the 4 represents the quarter note, or beat note.
This is the first official use of the term quarter note.
After this introduction, provide frequent opportunities for the class to read
and write the new meter signature. Abandon the use of from here on, all new
materials presented should use i.

5. DUPLE RHYTHM ||
Prepare

a. Echo-clap patterns containing ey

b. Echo these patterns with syllables & pat-clap ostinato.
c. Use body percussion routines that use 1.
d. Employ [| as an ostinato figure to accompany verses.
e. Sing songs and song games that use the 1 rhythm:
“Old Brass Wagon” [68]
“Mickey Mouse March’ [197]
“Sourwood Mountain” [68]

Presentation

a. Begin by stepping a beat.

b. Put this beat in your heads and think it.
Echo some four beat duple patterns by finger tapping followed by
syllables (teacher taps, class echoes, teacher syllables, class echoes):

Example:

Coen es olerh
 Suggestions for Teaching Level Thirteen Concepts 239

d. Include some with [.] rhythm (follow the same echo procedure):

Examples:

/¢lai ee Pema
eye |
e. Notate these examples on the chalkboard and ask the class to read
each after you write it:

meng. Srl. |
ese a Ra |
Finish Bae ee ae
f. Show them an example with the new rhythm and read it aloud to the
class. Have the students read it after you:

Aon iia dee |

g. Explain that this rhythm is like 1 ta ne ta only with the first three
sounds combined. Draw the example below and tell them if you fie
the first three together, you get the same sound as the new rhythm
(first use of the term fie).

1. (te ne) ta ote! Mae te

eee

h. Reinforce the sound and the sight of this rhythm by reading flashcards
such as these. Select children to rearrange the cards to compose new
rhythms to read.

oo pe
i. Display the song “Old Brass Wagon” on a class chart, and read the
rhythm using syllables.
to
Read the words in rhythm.
k. Sing the song:
OLD BRASS WAGON

SS SS wa- gon Cir-cle to the left the old brass wa- gon

SSS SS
Cir-cle to the left the abrass

|
Cir- cle to the left the old brass - won't you be my
240 Chap. 6.1 / Achievement Levels

1. Add an orchestration as follows, or use one you or the children have

created. Always add one instrument at a time and sing along with
this player before adding the next player. Develop the parts from parts
of the verse.

on ESS] « SSS] «
lin’) (old brass wa- gon) (Cir-cle to the left)

m. Form a circle with the remainder of the class. Hold hands and move
as the words suggest:
(a) ‘Circle to the left.”
(b) “Circle to the right.”
(c) “Move to the middle” (take four steps toward the center on the
first phrase, four steps back on the second, repeat).
(d) “Clap your hands.” (stand still)
(e) “Turn around.”
(f) “Stamp your feet.”
(g) “Circle to the left.”

Practice

a. Dictation using all known duple patterns.

b. Sing and read songs from teacher-made class charts.
c. Read verse rhythms from charts and chalkboard.
d. Read segments from floor staff, feltboard, and flashcards.

6. INTRODUCE THE METER SIGNATURE :: Present the 4/4 signature as

two measures of 2/4 with the barline between them removed.

Balad ae ddveal alipceemee

ee Oe eter
At first, you may wish to count 4/4 measures as 1,2,1,2; or you may wish to
count it as 1,2,3,4. Practice writing rhythmic segments in 2/4 and 4/4. Help the
children discover that the notation looks the same, but there are fewer barlines.

Gomebbeoe (Aran o-o . era aia

ae |
From this point on, provide songs in both meters for reading practice.

7. INTRODUCE THE WHOLE NOTE IN #: Soon after the introduction of

4/4, it will be necessary to introduce the whole note notation. Do so when it
appears in a song you wish to use, and use it frequently thereafter to reinforce
the concept.

8. INTRODUCE THE HALF REST («): As with the whole note, introduce
the half rest (=) when you need it to read songs in 4/4 that you wish to use.
Don’t introduce either the whole note or the half rest until you have need for
them.
 Suggestions for Teaching Level Thirteen Concepts 241

9. BRASS INSTRUMENT FAMILY: In previous listening units, individual

members of the brass instrument family were introduced: trumpet, horn, trom-
bone, and tuba. When these instruments are presented as a family, you may
wish to use the Bowmar, Inc.’s photo-poster of the brass family. A film strip,
with recording, of the brass family is also available from Bowmar. In addition,
the following recordings may be helpful:

“Music for Brass 1500-1970,” American Brass quintet [358]

“In Concert,’” New York Brass Quintet [350]
“Renaissance Music for Brass” [361]

If a professional brass quartet or other brass group is available to come to

the school to provide a brief live performance of brass family music, this would
make a greater educational impact than listening to recordings.
242 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL THIRTEEN

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Performs preliminary part singing activities
(two-hand singing, canons, rounds, chants)
Instrumental Skills:
2. Plays a chord changing part in an instru-
mental ensemble iFE
Listening:
3. Recognizes the brass family of instruments
a. by their sound
b. by their appearance Pael
Movement: Peale
4. Responds freely to music using movement
Rhythmic Literacy:
5. Understands the meaning of 2/4 meter sig-
nature
6. Reads and writes the a rhythm
7. Understands the meaning of 4/4 meter sig-
nature
8. Reads the whole note @ in 4/4 meter
9. Reads the half rest « correctly
10. Understands the meaning of first and sec-
ond endings
Melodic Literacy:
11. Knows the hand signs and syllable name
for Fa
12. Reads Fa correctly and in tune in songs Ree BEE
13. Writes Fa correctly from dictation pe |alll Sao Oe

LEVEL COMPLETED (date)

 Level Thirteen Teaching Outline 243

LEVEL FOURTEEN

Level Fourteen continues the development of meter signature use and under-
standing. The duple signature C (for common time) is introduced as an alternate
for 4/4. Two triple signatures are also introduced: § to replace @. and 3. The §
signature should be introduced first as a replacement for #. after which the
latter can be abandoned. When the § signature is familiar, § is introduced as
simply a measure of § with an extra barline. The sound will be the same in both
meters and the method of counting similar.
The second half step (low Ti) will also be introduced in this level. Begin
by using songs that employ low Ti as a passing tone (unaccented) and follow
with some that use it as an accented tone.
A further part singing preparatory technique, that of singing partner songs
will also be introduced in Level Fourteen.

LEVEL FOURTEEN TEACHING OUTLINE

Musicianship

Singing
Continue: »° Chordal accompaniments using guitar, baritone ukulele,
autoharp, or omnichord
¢ Tuning sounds
* Two-hand singing
* Singing canons, rounds, chants
Introduce: Ȣ Partner songs
Materials: * Partner songs
“Happy Birthday Songs” [183]
“T Like To Dream,’’ Book 3 [117]
* Seasonal songs
“Long Ago,” Book 1 [90]
“Twelve Days of Christmas,’”’ Book 5 [90]
* Recreational songs
“Ballet of the Wind,” Book 3 [117]
“When the Saints go Marching In,” Book 4 [161]
¢ Rounds and canons
“Music Alone Shall Live,’” Book 3 [117]
“Viva La Musica,” Book 2 [130]
¢ Chants
“Bells,”” Book 4 [172]

Instruments
Continue: ¢ Improvisation
¢ Reading and improvising ostinati
¢ Chord changing ostinati
* Separate parts for each instrument used
Introduce: * No new concepts or skills
Materials: »* Use songs from melody section to orchestrate
* Use published orchestrations
244 Chap. 6.1 / Achievement Levels

Listening
Continue: ~¢Inner hearing activities
¢ Point out brass family when heard
Introduce: »*Woodwind family of orchestral instruments
Materials: »°Recordings of brass family for review
“Christmas with the Chicago Brass” [338]
* Recordings of woodwind family
“Child’s Introduction to the Orchestra” [205]

Movement
Continue: »* Use movement with all songs, verses, and games when-
ever possible
Introduce: +« No new concepts
Materials: +» Song games for rhythm reinforcement
“Circle Round the Zero” [27]
“Punchinello” [27]

Music Literacy

Rhythm
Continue: Ȣ Speech enhancement
¢ Echo four- and eight-beat rhythm patterns
¢ Rhythmic dictation
* Reading duple rhythms: | - 1) ai =o) =i al) sae
¢ Reading triple rhythms: ee ET keSyn a ea a
Introduce: + C for { meter signature
- $ for 2
* New triple rhythm: 7
* § meter signature
Materials: * Songs or verses for reading 7
“Tumbalalaika” (See Level 14, Paragraph 6)
“Autumn” [127]
¢ Songs in 6/8 meter
“Old Man of Blackheath” [127]
“Silent Night,” Book 4 [172]
* Songs in common time
“The Fiddler’ [166]
‘“Yacob’s Ladder” [12]
¢ Songs in 3/8 meter for reading
“We Three Kings’ [68]
‘Jeanette Isabella” [68]

Melody
Continue: «* Read songs in these ranges: MSLD’—S,L, DRM-—DRMSL-
L,DRMS-DRMFSL
* Use hand signs and syllables with all pitches read
¢ Echo four- and eight-beat melodic patterns
* Melodic dictation
Introduce: * Low Ti
 Suggestions for Teaching Level Fourteen Concepts 245

Materials: * Songs containing low Ti as a passing tone

“Minor tunes” [171]
“Clair de Lune” [78]
* Songs using low Ti as an accented tone
“Mi Burro,” Book 3 [172]
* Octave range songs containing low Ti
“Bella Bimba,’”’ Book 3 [172]
“Streets of Laredo” [68]
“Blow the Winds Southerly” (round) [68]

SUGGESTIONS FOR TEACHING LEVEL FOURTEEN CONCEPTS

1. INTRODUCE PARTNER SONGS: Partner songs are another preliminary

part singing activity. Partner songs are simply two songs that may be sung
together, that is, they have the same phrasing and chord structure. Because the
melodies are different and they must both be started at the same time, partner
songs are slightly more difficult for students to sing than canons and rounds.
Procedure:

a. Teach each song separately to the entire class.

b. Divide the class and have one half sing Song 1 while the other half
listens.
c. Group One then repeats Song 1 while Group Two starts singing
Song 2.

Partner songs may be found in many song books including Beckman, Partner
Songs [133] and More Partner Songs [99]. The following songs also combine to
form partner songs:

“Brother John” and “The Farmer in the Dell”

“Three Blind Mice” and ““Row Row Row Your Boat”’
“Three Blind Mice’ and “Brother John’
“Farmer in the Dell’’ and ‘Three Blind Mice”
“Skip to my Lou” and “Three Little Witches”
“Goodnight Ladies” and ‘When the Saints Go Marching In”
“Funny Puppy” and “Baker Man”

Some basal series as well as other music publications list partner songs in their
indices. Other series do not index this type of music, but nevertheless contain
songs that may be combined as partners. When songs are discovered that form
partners, note their location in your materials file.

2. INTRODUCE C METER SIGNATURE AS A SUBSTITUTE FOR . Pre-

sent C as an alternate to use in place of 4/4. After you show it to the class use
it frequently and interchangeably with 4/4. Provide opportunities for copying,
writing from dictation, worksheets, etc. to give the students experience with
this meter signature. Brief and frequent drill with flashcards is an efficient way
of reinforcing this learning.

3. THE WOODWIND FAMILY OF INSTRUMENTS: In previous listening

sessions, the children have been introduced to the flute, the clarinet, and the

ene
pee
oe
a
lee
en
OL,
Se
a
ne
Se
a
246 Chap. 6.1 / Achievement Levels

saxophone. The sound of the woodwind family may now be introduced. Two
instruments will need to be emphasized which the children have not yet learned
(the oboe and the bassoon). Supplementary materials are the filmstrip & re-
cording published by Bowmar and Benjamin Britten’s ‘Young Person’s Guide
to the Orchestra.’” Other materials may be found by consulting:

“Film Guide for Music Educators,” MENC publication [424]

“Schwann Record & Tape Guide,” [483]

4. §METER SIGNATURE AS A SUBSTITUTE FOR *:In all previous levels

the children have been taught that triple meter music moves in three’s and is
grouped into pairs of beats. In Level 13, the 2/4 signature was introduced as a
substitute for ¢ in duple meter. Now it is time to introduce 6/8 as a substitute
for ¢. in triple meter.
Although the written signature will be different, the counting should remain
the same (1 na ni 2 na nt). It will also be necessary to explain that 6 now represents
the number of meter beats in each measure and the 8 represents the eighth note,
the beat note, but only the appearance of the meter signature is changed, not
its counting, which will remain as it has been until Level 24 when 6/8 meter will
be introduced counted in 6 beats to a measure.
After the 6/8 signature is introduced, the 5. signature should be aban-
doned and all new materials should be written in 6/8.

5. INTRODUCE LOW TI: Ti is the remaining half step of the scale to be

introduced and should be treated as was Fa. Introduce it first as a passing tone
in a descending melody line. (Recall that children have already sung this pitch
as a passing tone in pentatonic music, but this will be their first experience at
reading it.)
Prepare

a. Sing songs with accompaniments that employ Ti as a passing tone.

“Autumn Leaves” [171]
“Hear the Wind” [171]
b. Echo tonal patterns that employ low Ti as a passing tone.
c. Play ostinati that include low Ti.

Presentation
a. Begin with melody echoes in triple meter:

Rewer a ray ia pa
b. Include some with low Ti as a passing tone:

iO) ee ane ; Uastieacelterallna inal

) Pe alee Le ae Ee vel, |
Glee ae ull 23 Sy GaN
saat Ae
 Suggestions for Teaching Level Fourteen Concepts 247

Notate the final example on the chalkboard as follows:

== 2
Have the students copy this segment on their writing slates, which
you check for correct notation.
Dictation examples, such as the following, using hand signs and tonal
syllables:

m d Sy LA tae fl

z) dee atve
|
al Si. hae ts
Hosier
d ie
4@ |
Display the song ‘“Music Alone Shall Live” on a large class chart. Have
the students
(a) read the rhythm with syllables as you point to each beat;
(b) read the words of the text in rhythm as you point;
(c) read the pitch, using tonal syllables, as you point;
(d) read the whole song with words, pitches, rhythm.
Add the orchestration by mirroring the movement of the mallets of
the first instrument. Select a child to play the instrument and as the
instrument plays, sing the song while the class mirrors the motion of
the next instrument. Select a second player, and continue until you
have added all the instruments. Remember to sing the song each time
a new player is added to the ensemble.
While the ensemble is still playing, form a circle with the remaining
students and join hands.
Sing the song with the ensemble as you step to the beat (step-close-
wait, step-close-wait, etc.).
Break the big circle at two points to form two circles by closing the
halves. Have one circle start singing, and start the second circle when
the first finishes the first phrase, thus performing a round.
Stop the orchestration one instrument at a time and have the children
seat themselves on the floor in front of you.
Divide into 3 groups and sing the song slowly as a three part round,
while you conduct. Each group should sing the song twice, repeating
the last phrase until all are in unison. Make a ritard on the last phrase
the final time.

=e
ee
eee
ee
ee
ee
ee
eee
i
248 Chap. 6.1 / Achievement Levels

MUSIC ALONE SHALL LIVE

ca Se Hop eS
sic a - lone shall live ne toni die, - lone. shall live,
3

eee a= = Se |
Mu - sic a- lone _ shall live, Mu - sic a lone _ shall live nev - er to die.

BX <

Sse ie =
SX

AG Timpani

eee <==
(alternate each measure)

OF ao
0) Oo

ie} fe)
A . Cro G20
(oy als KX) Oy2 ©
@) : Fer S050 O50

0 1g/0 Round

Unison

Practice

a. Read melodic segments as a class from flashcards, chalkboard, floor

staff, feltboard, etc.
b. Dictate examples using Ti passing tones.
c. Encourage the children to compose and notate melodic segments.
d. Encourage the children to compose and notate melodic segments using
Ti passing tones.
e. Read songs with Ti passing tone from large song charts:
“Halloween” [96]
“Autumn Leaves” [171]
“Halloween is Coming” [14] (read only the 1st two lines of the above
song)

When the hand sign, and syllable for Ti are known and when the class
can sing Ti in tune as a passing tone, introduce echoes and songs that use Ti
as an accented pitch. Follow this with reading Ti as an accented pitch.

“La Raspa’’ (you will need to renotate this) [113]

“Streets of Laredo” [68]
 Suggestions for Teaching Level Fourteen Concepts 249

“Wake Up” [163]

“There was a Pig” [183]

6. INTRODUCE THE TRIPLE RHYTHM ||.1; (1 na -ta or 2 na -ta)

Prepare

Echo clap rhythm patterns including ba

Echo syllable patterns including [1.1.
Use body percussion routines including RG:
Employ [|. as an ostinato figure.
SG
2
oo Sing songs that contain this rhythm (by rote):
“Sweet Betsy from Pike’ [68]
“So Long It’s Been Good To Know You” [66]

Presentation

a. Establish a pat-clap-clap ostinato.

b. Echo patterns using syllables such as the following:

PG Aiea
CeSyE
c. Echo patterns (teacher plays them on the drum, children echo with
syllables).
d. Echo the patterns below. Notate each on the chalkboard as you do it
until you have the following on the board.

meinelertl
Be) Wight ids|
er
ay
e. Read all four lines separately then in one continuous reading.
f. Display the tune to ‘Tum Balalaika.’

oaSSSse ts aaeeee =
la. tum ba- la-lai - ka tum ba - la tum ba - la tum ba-la- i = he
Tum ba - la-tum ba -

ih Sel tr li

tum ba - lai kamemMumeba-ola-iain = Ka tum ba- la- lai - ka tum ba- la - lai.

* Read the rhythm of the first phrase and help the class to identify
which line on the chalkboard has the same rhythm.
* Read the second phrase of the song and recognize that it is the
same as the first.
250 Chap. 6.1 / Achievement Levels

¢ Discover that the third phrase is like the second on the board, and
the last is like the last line on the board.
g. Read the pitches by syllables in rhythm as you point to the beats.
h. Read the complete song in rhythm as you point to the beats.
i. Repeat the song, while accompanying with tambourine.

j. Pass the tambourine to one of the children and organize the following
orchestration using changing ostinato.

AX + SX*

Y a
el, ie
AM Ef a fe

*The tremolo is best accomplished by grasping both mallets in one hand. Place the mallet heads so
that one is above the protruding part of the bar and the other is below. Agitate the mallets up and
down to produce the tremolo. The tremolo can also be produced by rapidly alternating the mallets
on the top of the bar.
 Suggestions for Teaching Level Fourteen Concepts 251

k. Form the remaining students into one or two long lines, hands on
shoulders. Perform the dance below.

Phrase 1: Step-close to the left (4 beats)

Phrase 2: Step-close to the right (4 beats)
Phrase 3: Four steps forward, stamp two times
Four steps back, stamp two times
Phrase 4: Four steps back, stamp two times
Four steps forward, stamp two times
(Finish in original position)

Practice

a. Dictation using the new rhythm

b. Read teacher made flip charts such as these:

aaa era oT) et |

feclanel (: agate mara

malt Eee (See

c. Read and compose rhythmic segments using flashcards.

ic) ah |
d. Read the pattern as it appears in songs used in class.
e. Read the pattern from ostinati cards for use with mallet instruments.

7. BEGIN SINGING AND READING OCTAVE RANGE PENTATONIC

AND DIATONIC SONGS SO, TO SO (S,L,T, DRMFS): Range development and
notational reading ability will now allow the children to sing and read songs of
an octave range such as the following:

¢ “Scotland’s Burning” (S,DRM) See Level 22, par. 1

¢ “Four in a Boat’ (S,L, DRMFSL) [117]
252 Chap. 6.1 / Achievement Levels

¢ “Lone Star Trail’ (S,L,DRMFSL) [68]

¢ “Bingo” (S,L,T, DRMF) [68]
¢ “Don’t Take My Hoss Away” (S,DRMEFS) [66]

Be sure the visual representation of these and other songs used in class
conforms to the notational development of the children. Often the meter, me-
lodic or rhythmic notation will have to be altered to coincide with that which
the children have been taught to read so far.

8. INTRODUCE é METER: The easiest triple meter to introduce after 6/8 is

3/8. It can be readily understood by children when presented as 6/8 with an
extra barline in each measure.

Sai se Aree ie
After the introduction of 3/8, songs on class charts and flip charts can be pre-
sented for reading practice. When preparing 3/8 materials, use beamed notation
as it has been taught, rather than a series of unconnected eighth notes. A good
procedure is to reintroduce in 3/8 many songs previously learned in 6/8. This
helps the students to see that the sound is the same, only the notation is different.
3/8 is best counted one beat per measure. Since 6/8 is counted 2 beats per
measure, it is logical that 3/8 should be counted one beat in a measure.
 Checklist for Level Fourteen 253

CHECKLIST FOR LEVEL FOURTEEN

(Names)

Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Maintains an independent part in a partner
song
Instrumental Skills:
2. Read ostinati and play parts learned by rote
3. Improvises an ostinato for simple songs
4. Improvises interludes and introductions
Listening:
5. Recognizes members of the woodwind
family by sight
6. Recognizes members of the woodwind
family by sound
Movement:
7. Responds freely to elements heard in music
Rhythmic Literacy:
8. Understands the meaning of C meter sig-
nature
9. Understands the meaning of 6/8 meter sig-
nature
10. Reads (y from notation
11. Writes (ere from dictation
12. Understands the meaning of 3/8 meter sig-
nature
Melodic Literacy:
13. Sings and reads melodies containing low Ti
14. Writes melodies containing low Ti, from
dictation

LEVEL COMPLETED (date)

Ne
see
a
sR
re
Mere
NR
een
an
reat
Raa
i
aS
ST
a
pe
ee
Sa
Ri
eee
|
eae
a
iSe
ee
ee
ee
oe
Pe
Me

ee
254 Chap. 6.1 / Achievement Levels

LEVEL FIFTEEN

The most significant new topic presented in Level Fifteen is 6/4 meter, important
because it involves reading music in a different way. Heretofore, triple songs
were read with either a 6/8 or a 3/8 meter signature. The beat note was the
dotted quarter and the divided beat was written as three eighth notes beamed
together.
Reading 6/4 requires a beat note that is a dotted half note while the divided
beat is written as three quarter notes. A complete equivalency chart is shown
in the Rhythm portion of the Level Fifteen Teaching Outline which follows.
While this shift from one notational form to another may appear difficult, it is
actually understood quite rapidly by most students.
The only difference is the way the music is notated. In { the dotted half
note becomes the beat note. The sound and the syllables used for counting the
sound remain the same.
Other new subjects at this level are chord changing accompaniments in
minor for the mallet instruments and reading and writing high Ti.

LEVEL FIFTEEN TEACHING OUTLINE

Musicianship

Singing
Continue: « Chordal accompaniments using guitar, baritone ukulele,
autoharp, or omnichord.
* Tuning sounds
* Two-hand singing
* Singing rounds, canons, chants and partner songs
Introduce: +¢ No new concepts
Materials: Ȣ Recreational songs
“Chim Chim Cheree” [172]
“Hootchy Kootchy Dance” [127]
* Seasonal songs
“St. Patrick’s Day Jig,’” Book 2 [172]
¢ Canons
“The Folk Who Live in Backward Town” [111]
¢ Partner songs
“Husha Bye” and “Cradle Hymn’’ [106]
¢ Rounds
“Shalom Chaverim,”’ Book 4 [161]
¢ Chants
“Leavin’ Ole Texas,” Book 3 [181]

Instruments
Continue: ¢ Improvisation
* Playing orchestrations in separate parts (not doubled)
* Reading and improvising ostinati
* Chord changing ostinati
Introduce: * Chord changing ostinati accompaniments in minor
Materials: * Chord changing ostinati accompaniments in minor
 Level Fifteen Teaching Outline 255

“When the Train Comes Along” [67]

“Michael Row the Boat Ashore’ Book 1 [130]
* Songs from other concept areas to orchestrate

Listening
Continue: ~« Inner hearing activities
¢ Practice identification of brass and woodwind families
Introduce: Ȣ String family (violin, viola, cello, bass)
* Country-western string family (banjo, guitar, mandolin,
steel guitar, electric bass)
Materials: ° Recordings featuring orchestral strings
“Songs of Inspiration” [363]
“American Encores”’ [325]
¢ Recordings featuring country-western strings
“Great Country Hits” [347]

Movement
Continue: * Use movement for all songs wherever possible
Introduce: * No new concepts
Materials: * Games for rhythm reinforcement
“Old King Cole” [27]
“Punchinello” [27]

Music Literacy

Rhythm
Continue: * Speech enhancement
* Echo four- and eight-beat rhythm patterns
¢ Rhythmic dictation
* Reading duple rhythms: 8! Viet he
¢ Reading triple rhythms: {%2 | | | EN iek Sc}

Introduce: * 6/4 meter signature (since the sound is the same as 6/8,
the same rhythm syllables may be used; see chart below).

ae

TABLE OF NOTATIONS THAT SOUND THE SAME

Meter Signature: 8 H
The Beat Note: (1, 2) | | eh J
Meter Division: (1 na ni, 2 na ni) naan imei =" | |
(1 - ni, 2 - ni) eae lie aaa ie
(1 na -, 2 na -) bd | b | See Bard
(1- - [2] - - ) (silent 2) p), rs Aaec:
(1 ta ni, 2 ta nt) A ae tk ee |e
(1 na ta ni ta, 2 na ta ni ta) Tosanl(Paaee= l ae ae
(1 na - ta, 2 na - ta) (enle oauljnicaen = kL Ih Ie
__.
I —————————————————— ————

Materials: +» Songs using 6/4 notation. (In addition to these, many songs
printed in 3/4 meter may be renotated in 6/4 and sound
equally appropriate that way.)

er
te
SO
END
PN

Ne
256 Chap. 6.1 / Achievement Levels

“Black is the Color’ [67]

“Come to the Sea,”” Book 3 [107]
“Brethren in peace together,”” Book 5 [107]
¢ Verses for rhythm reinforcement & enhancement
“Rhythm canon,” [111]
“Hailstones & Halibut Bones,” Book 3 [47]
“Grand Old Duke of York,’”” Book 2 [47]

Melody
Continue: ¢ Read, write, and sing songs using $,L,T, DRMFSL-D’
* Use hand signs and syllables for above pitches.
¢ Echo four- and eight-beat melodic patterns.
* Melodic dictation
Introduce: ¢ High Ti
Materials: + Songs for singing that include high Ti
“One potato, two potato,” Book 1 [90]
“The Little Prince,’”” Book 3 [107]
¢ Songs to read that include high Ti & Fa
“Sweet Betsy from Pike’ [68]
“Lullaby Round,” Book 4 [107]

SUGGESTIONS FOR TEACHING LEVEL FIFTEEN CONCEPTS

1. INTRODUCE HIGH TI: High Ti should be introduced in the context of

a MSLT'D song or an octave D-D' song. The hand sign and syllable used are
the same as those used for low Ti. Examples of songs that may be sung and
read to experience high Ti are these:

“The Elevator” [113]

“Over the River and Through the Woods” [119]
“The Echo,”” Book 2 [14]
“Its a Brand New Day” [153]
“Do-Re-Mi” [119]

Prepare, present and practice high Ti with the same techniques used for low Ti
(see Level 14).

2. INTRODUCE THE STRINGED FAMILY OF ORCHESTRAL INSTRU-

MENTS: In previous listening units, the students have been introduced to the
violin and the cello. Now it is necessary to present to the students the viola and
the string bass. Use the photo charts available from Bowmar Inc. and/or the
filmstrip-recording from the same company. Recordings by the London Strings,
Jackie Gleason Orchestra, Montivanni, or the Living Strings may be useful in
presenting the sound of the complete string family.

3. INTRODUCE § METER: Material originally written in 6/4 is less common

in children’s song literature than in some other meters. To supplement songs
available to you, it may be necessary to write some songs on class charts, and
this can be done by transposing any suitable song written in 6/8, 3/8, or 3/4 to
6/4.
 Suggestions for Teaching Level Fifteen Concepts 257

6/4 meter is the most logical transition to 3/4, and for this reason it should
be introduced at this time. The usual progression is as follows:

Begin with 3. (Two dotted quarter notes to a measure)

Convert #. to§ (Counted the same as above)
Convert § to § (Count the same as above)
Convert § to $ (Different notation but counted the same)
oP
caoConvert ? to § (Counted the same as 6/4, 1 beat per measure)

Later, 3/4 may be introduced, counted as three beats to a measure.

Begin by showing that there are still two beats in each measure as before.
The beat note now is the a while the meter note is d. The 6 in the signature
indicates there are six meter beats in each measure (as it does with 6/8) while
the 4 in the signature shows that the quarter note 4 is the meter note (just as
the 8 shows that the eighth note is the meter note in 6/8).
Use flip charts of your making along with triple meter songs notated in
6/4 (most of which the class should already have read in 6/8).
Presentation

Start with a pat-clap-clap ostinato.

Echo some triple rhythm patterns (using rhythm syllables).
Echo the first line of “Lazy Mary Will You Get Up?”
etey Ask several children to go to the chalkboard and write the line using
{=
dor
a 6/8 meter signature.
e. Tell the class you are going to show them another way to write this
rhythm. Write under one of the examples as follows.

emma. |
eee le. |
f. Let the children read the new rhythm as you point.
g. Rearrange the rhythm and read it.
ee
et)
nF
SS
Se
NO
|
BL
OE
Le
a
LR
PO,
eT
aig
rE
ei
A
ae
EE,
a
a
a h. Read a familiar song in 6/4 meter.

THE NIGHTHERD

Slow down you dog-ies quit rov- a round. You wan-der and tram- ple all

bere, BE E “s 5 ———
ver the ground Graze a- long dog- and feed kind of slow, and
AN
ne
nas
i
are
Nae
ee
pe
NF

a ——————e — 1
don’t you for e - ver

NSE
NS
SEA

7
258 Chap. 6.1 / Achievement Levels

i. Perform the song with the orchestration shown in Level 10.

Practice

a. Read the new meter on flashcards.

b. Read the new meter in teacher made flip charts.
c. Notate known triple verses in the new meter.
d. Dictation examples in 6/4.
e. Read familiar and new songs in 6/4.

Note: Progressively introduce a new notation until all of the following have
been introduced.

= | eer Cu Ra irae sah ee |

Pe arene aa) URI Tapa I ali WAL
eres ee Oo Pon! aa Il fallTales ea aa
ieee, gee 2 Seedy,
4. BEGIN READING OCTAVE RANGE DO TO DO’ DIATONIC SONGS:
Present for sight reading several songs from this point on that include some or
all of the pitches DRMFSLT’'D’. Examples:

“Supercalifragilisticexpialidocious” [197]
“Crocodile Song,’”” Book 3 [66]
“Buffalo Gals” [68]
“Smile” [163]
“Jingle at the Windows” [118]

Caution: Many songs will need to be revised so that their notation corre-
sponds to that with which the children are familiar.

5. INTRODUCE THE COUNTRY-WESTERN STRING FAMILY: Country

bands vary in instrumentation, but most contain a bass, a rhythm guitar, a steel
guitar, and a violin, mandolin, or banjo. Of these, the bass, violin, and guitar
are already familiar. The steel guitar, mandolin, etc. will need an introduction.
Country records are plentiful, but perhaps these might prove useful:

Country Hits of the ‘40s, Country Hits of the ’50’s, Country Hits of the ’60’s, all
from Capitol Records [339, 340, 341]
Any of the many recordings by Chet Atkins, Johnny Cash, Eddy Arnold,
Porter Wagoner, Roy Clark, Buck Owens or others.
“Great Country Hits” [347]

6. CHORD CHANGING OSTINATI IN MINOR TONALITY: Ostinati with

chord changes in minor tonality may be introduced in the same manner as were
major chord changing ostinati earlier.
Begin with harmonically symmetrical songs such as “Round the Hen-
 Suggestions for Teaching Level Fifteen Concepts 259

house” (a harmonically symmetrical song uses the same pattern of chords

throughout).

ROUND THE HEN HOUSE (Game Song) American (adapted)

(“It”)
===:
(All

a doo-dle doo. Round the henhouse cock a doo-dledoo can you

Round the hen house cock

“_
ee
—
ntl
a ee

cock a doo-dle,we can you. do like that! cock a doo-dle doo.

do like this?

SSS Ge
SSS)
Sy Ga BSS
A Timpani

First teach the song, then teach the game actions that go with it. Add the
instruments one at a time until the orchestration is secure. Note that each of
till
ati
—
tll
_——
_—
“—
—
~~”
the ostinati was derived from a rhythm in the song. Another time this game
could be used as a speech verse with speech ostinati using the following:

“Round the Henhouse” (BX part)

“Can you, can you, do like this?” (AG part)
“Cockadoodle doo” (AG part)
“Cocky doodle doodle” (SX part)

The Game: Begin with an “It” in the middle of a circle (hands joined).
Everyone sings the first line as circle moves around “It.” “It’’ sings the question
as he or she does a motion or action of his choice. The circle should release
hands and watch. All sing the answer as they do the same motion. The song
is repeated as many times as desired. During the first line, the “It’’ chooses a
new “It” who takes the middle place in time to sing the question.
Note the chordal harmony of this song is in two measure phrases:

LO G min (i) C min (iv) Gmin (i)

G min (i)

The chord changing pattern is repeated four times to complete the song. Since
Ss
PE
Ne
Ne
NE
oe
Nn
ee
NS
no E-flat bar is included with most diatonic instruments, it was omitted from
the arrangement and a seventh was added to the IV chord in its place. If a third
is desired in the IV chord, the whole arrangement would need to be raised a
step to A minor.

NS
‘

Det
Nf
260 Chap. 6.1 / Achievement Levels

An example of a song that needs a first and second ending is “Rose, Rose,
and up she Rises” in Fireside Book of Children’s Songs, p. 14 [49]. The chord pattern
in this song is as follows:

Phrase 1 feL
min
|
- pL
yf Jt _1L_ C maj

Phrase eel L H a 41 | clat —_

D min F A D min

A bass xylophone part for this song might look like this:

ee ee ee
eer euenn aes eee rae ee ee ee |

Other parts may be added as desired.

 Level Sixteen Teaching Outline 261

CHECKLIST FOR LEVEL FIFTEEN

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Maintains a separate part in pre-part sing-
ing songs (rounds, canons, partner songs)
Instrumental Skills:
2. Plays chord changing ostinato in minor
Listening:
3. Recognizes orchestral strings by sight
4. Recognizes orchestral strings by sound
5. Recognizes country-western strings by
sound
6. Recognizes country-western strings by sight
Movement:
7. Responds freely to elements heard in music
Rhythmic Literacy:
8. Understands and uses 6/4 meter signature
and notation
Melodic Literacy:
9. Sings and reads songs containing high Ti
10. Writes melodies containing high Ti from
dictation

LEVEL COMPLETED (date)

LEVEL SIXTEEN

Level Sixteen reinforces and stabilizes the achievements of previous levels. Prep-
aration for part singing has begun; knowledge of meter signatures is nearly
complete; and most of the commonly encountered rhythm patterns (read and
written) have been introduced.
One new meter signature form (3/4 meter counted one beat per measure)
will be introduced in this level. (3/4 counted three beats per measure will be
introduced later). Two new duple rhythms ( } \ and i \) will be learned, both
of which extend over two beats. To this point, all previously learned rhythm
patterns have been complete on one beat.
Echo chains, another pre-part singing device, will be employed and the
percussion family will be added to the listening repertory.
262 Chap. 6.1 / Achievement Levels

LEVEL SIXTEEN TEACHING OUTLINE

Musicianship

Singing
Continue: ¢ Chordal accompaniments for songs using guitar, baritone
ukulele, autoharp, or omnichord
¢ Tuning sounds
* Two-hand singing
* Rounds, canons, chants and partner songs
Introduce: ¢ Echo chains
Materials: * Echo chain singing materials
“Echo Chain Singing Games” [42]
* Recreational songs
“Let There be Peace on Earth” [172]
“Magic Pony,” Book 3 [178]
* Seasonal songs
“The Summer’s Near” [127]
“May Day Carol,” Book 5 [172]
* Canons, rounds, chants, partner songs
“Band of Angels,” ‘“All Night All Day” (partner song)
[106]
“Tumba” (round), Book 5 [90]

Instruments
Continue: * Improvisation
* Orchestrations using separate parts
* Reading & improvising ostinati accompaniments
* Playing chord changing ostinati in major & minor
Introduce: ¢ No new concepts
Materials: ¢ Published orchestrations to read
“Who built the Ark,” Book 1 [130]
“Frankie and Johnnie” [67]
“Swing Low”’ [106]
* Use songs from other areas to improvise accompaniments

Listening
Continue: * Inner hearing activities
* Identify brass, strings, woodwind families
Introduce: * The percussion family of instruments
Materials: * Recordings featuring percussion
“A Child’s Introduction to the Orchestra” [205]
e Visual materials
Bowmar instrument charts

Movement
Continue: * Use movement on all songs where possible
Introduce: * No new concepts or skills
Materials: ¢ Games for rhythm reinforcement
“Little Sally Water’ [155]
“Down, Down Baby” [27]
*

Suggestions for Teaching Level Sixteen Concepts 263

Music Literacy

Rhythm
Continue: * Speech enhancement
* Echo four- and eight-beat rhythm patterns
¢ Rhythmic dictation
* Reading duple rhythms:

21-7 red lS) ce ee ie

* Reading triple rhythms:

eg a. be Ge tam
eee ee |) bh bal bl =) At
Introduce: * 3/4 meter counted one beat per measure
* Duple rhythms } | \ and (3 h
Materials: - Songs containing } |
“Shoo Fly” Bk 3 [172]
* Songs containing ie h
“Sarasponda,”’ Book 3 [107]
* Verses for rhythm reinforcement & enhancement
Oe
NS
a
a
NO
NN
nN
uy
5arr
ter
eet
oh
id
ea
ee
“Building a Car,” Book 3 [107]
“The Jungle,”” Book 3 [107]
=—S
“To the Corner Krinklestein,’”” Book 3 [107]

Melody
Continue: * Read, write, and sing songs in the range S, to D’
* Hand signs and syllables for all pitches (S,-D’)
* Echo four- and eight-beat melody patterns
* Melodic dictation
Introduce: * Octave range songs within the range S, to D’
Materials: * Octave range songs
“Tumba,” Book 5 [90]
“Who Built the Ark,” Book 1 [130]
“T’ve been to Harlem” [81]
“Streets of Laredo” [68]

SUGGESTIONS FOR TEACHING LEVEL SIXTEEN CONCEPTS

1. INTRODUCE ¢ METER: Once ¢ meter has been learned, the presentation

of ¢ is easily accomplished. Present it as a measure of 6/4 with a barline in the
middle. For the time being count 3/4 the same as you did for 3/8, that is, one
beat per measure (1 na ni). Slow 3/4 meter (with three beats per measure) will
be presented later. Refer to Chapter Two, Section 2-12 for a comparative chart
of triple rhythms as heard and spoken.
Always keep in mind that rhythms are spoken as they are heard. The child
learns by hearing the rhythm, speaking the rhythm, and seeing the rhythm as
it is written (Pestalozzi, Chapter One, Sec. 1-2). Some students are taught to
264 Chap. 6.1 / Achievement Levels

look at the rhythm, perform it, and lastly to listen to how it sounds, but this is
backwards. Don’t work in this order with your students.

2. INTRODUCE THE DUPLE RHYTHM } | } (1 ne - ne):

This is the first example of a rhythm that extends over more than a single beat.
Prepare

a. Echo clap patterns containing 1 ne - ne h h.

b. Echo with syllables with pat-clap ostinati.
c. Use body percussion routines that include 1 ne - ne h | h.
d. Employ } | \ as an ostinato figure.
e. Sing songs that include this rhythm:
“T Have a Little Cupboard” [96]
“Medicine Man Song” [113]
“La Raspa’”’ [10]

Be careful to choose songs that have the sound of | > not the sound of []1.
Many songs written in 4/4 that contain the notation a h actually sound in 2/2.
The children actually perceive these rhythms as that is, all on one beat.
Here are three songs written in 4/4 with | } rhythms but actually sounding in
2/2. While these songs are excellent for some purposes, they should not be used
for presenting the sound of } | h.

“Canoe Song,”” Growing with Music, Book III, p. 75 [66]

“Syncopated Action Song,” Music with Children, Series II, p. 44 [117]
“I Want to Rise,” Baker’s Dozen, p. 13 [10]

Presentation

a. Begin by tapping a steady beat.

b. Echo patterns using syllables in duple meter.

agian Rem
eRaadiets Chim. iolemlemy «|
c. Include some patterns with } h.

memameinere
men he ah) imemaint |
d. Echo the following then notate. Have the class read each after it is
notated.

Cok Eee ees aeeeaia 1 ERpaeiome Sah ||

 Suggestions for Teaching Level Sixteen Concepts 265

e. Tell them to look closely at the first line because they must remember
it. Erase the first line and have the class read all four again (remem-
bering the first).
f. Follow the same procedure for each line until they are all erased.
g. Lay out flashcards as follows and read.

TER ee Se Rs
h. Rearrange these or use additional cards to create new combinations to
read (note that these cards contain two beat combinations).
i. Present some examples for dictation.

Practice

Dictate examples using all known duple patterns.

Sing and read songs using this rhythm.
Read and notate verses using this rhythm.
Read segments from flashcards, chalkboard.
Create new rhythm combinations using chalkboard or flashcards.
mean
op Read teacher made flip charts.

3. INTRODUCE THE DUPLE RHYTHM |.} (1 - - ne):

This is a second example of a rhythm that extends over two beats.
Prepare

a. Echo clap the pattern with other known patterns.

b. Echo the pattern using syllables.
c. Sing songs that use this rhythm:
“San Sereni”’ [113]
“Sleep Baby Sleep” [49]
“Dakota Indian Hymn” [171]
“Sarasponda’”’ [115]

Present

a. Write the following on the chalkboard and ask the class to read it.

PL Wg Ne Se Sh ace ee a |
b. Now draw the tie as follows and read it for the class. Have them read
it after you as you point.

emer| bli. ee Se 2 |
c. Renotate as follows as you tell them that this is the way it is usually
written.
266 Chap. 6.1 / Achievement Levels

5:[lik heap Dial De beet

d. Display the song ‘Whistle Mary Whistle.”

Sees ae eS erga ae =
Whist - le Mar - y whist - le and you shall have a cow I
Whist - le Mar -y whist - le and you shall have man Oh

SS : =e SS = =!
can - not whist - le moth - er - cause Se yee how.
yes I'll _ whist - le moth - er i just ee out I can.

e. Read the rhythm of the song first. (Note this song has the h \ rhythm
plus the new one |. fy .)
f. Read the tune using tonal syllables.
g. Read the complete song with words.
h. Let the class make up new verses or use others that you know or have
created.
i. Add the following orchestration (note this is a symmetrical chord
changing song):

HOUe Oe Ll
j. Form a double circle of partners facing each other. Clap the following
patterns on line one.
Beat 1: Clap your own hands
Beat 2: Clap your partner’s right hand
Beat 3: Clap your own hands
Beat 4: Clap your partner’s left hand
Beat 5: Clap your own hands
Beat 6: Clap both your partner’s hands with yours
Beat 7: Clap your own hands
Beat 8: Slap both hips
On line two, do a do-si-do movement ending up in front of the partner
of the person on your right. Continue as desired.

4. INTRODUCE THE PERCUSSION FAMILY: If possible, bring percus-

sionists to class to demonstrate their instruments. If that is not possible, see if
 Suggestions for Teaching Level Sixteen Concepts 267

you can arrange for the class to visit the nearest high school so that band students
can demonstrate their instruments. As for previously introduced instruments,
photo-posters and filmstrip materials are available from Bowmar.

5. BEGIN SINGING & READING OCTAVE RANGE SONGS LA-LA: As

much as possible, within the limits of the children’s voice range, sing octave
range songs D-D’, S,-S, and L,-L in various positions on the staff in order to
accustom the children to finding Do (with the key prong) in differing positions.
La to La songs appropriate for this purpose are:

“Land of the Silver Birch” [77]

“Rose Rose & Up She Rises” [49]
“Lots of Worms” [19]

—=_—
eage
7
Oi
ieee
See
—
i
ben
—
ee
268 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL SIXTEEN

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Sings in tune with a chordal accompani-
ment
2. Uses and understands tuning sounds Ree
3. Performs previously learned pre-part sing-
ing devices (two-hand singing, canons,
chants, partner songs)
4. Performs echo chains EI
Instrumental Skills:
5. Improvises short sections on mallet instru-
ments
6. Plays separate parts in an ensemble i
= Reads and plays written ostinati ie
8. Plays chord changing ostinati in major &
minor
Listening: i
9. Recognizes percussion family by sight
10. Recognizes percussion family by sound ie
Movement:
11. Responds freely to elements heard in music
Rhythmic Literacy:
12. Understands and uses 3/4 meter signature
(in one)
13. Reads } \ from notation is
14. Writes | \ from dictation ie
15. Reads |. \ from notation ie
16. Writes |. \ from dictation ie
Melodic Literacy:
17. Reads octave range songs within range
eyed Bi
18. Writes melodic segments from dictation in
this range

LEVEL COMPLETED (date)

 Level Seventeen Teaching Outline 269

USN
SF
SZ
LEVEL SEVENTEEN

Level Seventeen will see the introduction of four new learning areas: (1) the use
of key signatures, (2) playing the recorder, (3) the use of the bass clef sign for reading
ostinati for the bass xylophone and bass metallophone, and (4) the introduction
of units to study a particular type of music (historical, ethnic, or stylistic).
Under Musicianship-singing, preliminary part singing devices such as chants,
rounds, canons, echo chains, two-hand singing, and partner songs will be con-
tinued; chord root singing, another preliminary part singing device, will be
added. The cultural study unit for this level will focus on Pioneer music and
music of Early United States.
Accompaniments will continue to be used for songs sung in class either
accompanied by the teacher or by the Orff ensemble. Bass clef notation for bass
xylophone and bass metallophone will be introduced and used.
Listening lessons will concentrate on large ensembles, particularly concert
bands and symphony orchestras. Indian dancing will be studied in the move-
ment section.
Music literacy skills will cover recorder playing, how to read notes by letter
name, and how to use and understand key signatures.

LEVEL SEVENTEEN TEACHING OUTLINE

Musicianship

Singing
Continue: * Chordal accompaniments using guitar, baritone ukulele,
autoharp and omnichord
* Two-hand singing
¢ Echo chains
* Pre-part singing devices: rounds, canons, chants, partner
songs
Introduce: * Chord root singing
* Pioneer-historical song culture
Materials: «° Partner songs
“Leavin’ Old Texas” and “Lonestar Trail’’ [106]
* Rounds
“Viva La Musica,”” Book 5 [66]
“Sing, Sing Together,” Book 6 [172]
* Songs for chord root singing
“Polly Wolly Doodle,” Book 3 [172]
“New York City Blues,” Book 6 [172]
“Mama don’t “Low no Music Played ‘Round Here,” Book
5 [161]
* Pioneer-historical songs
“Yankee Doodle,’”’ Book 3 [14]
“Ridin’ in the Buggy,” Book 3 [92]
* Seasonal songs
“Tm not scared,”” Book 4 [172]
“Ballet of the Wind,” Book 3 [117]
270 Chap. 6.1 / Achievement Levels

Instruments
Continue: ¢ Improvisation
¢ Reading and playing chord changing ostinati parts
¢ Orchestrations for a complete instrumentarium
Introduce: * Bass clef for bass xylophone parts to be read
Materials: * Orchestrate songs from melody section
¢ Use published orchestrations

Listening
Continue: ¢ Review brass, woodwind, orchestra strings, country-west-
ern strings, percussion when heard
Introduce: ¢ Concert band and symphony orchestra
Materials: ¢ Concert band recordings
“The Military Band” [356]
“Chicago Symphonic Band” [337]
“British Band Classics” [333]
¢ Symphony orchestra recordings
“Bowmar Orchestra Series” (36 recordings) [378]

Movement
Continue: * Movement with all songs wherever possible
Introduce: ¢ Indian dances (USA)
Materials: * Recorded and/or printed Indian dances
“Dance Down the Rain, Sing up the Corn” [36]
“Sagebrush Sagas” [154]

Music Literacy

Rhythm
Continue: ¢ Echo rhythm patterns of four or eight beats
¢ Rhythmic dictation
¢ Read duple rhythms in 2/4 - 4/4 - C meters

}-T1-J-2-
FPR-FTR-TA-F-4- 1 D-D) b-a-
* Read triple rhythms in 6/8 - 3/8

J.-M -d.- 2-1 D-bI--0 - RR -?

* Read triple rhythms in 6/4 - 3/4

eee ee i yey ii
Introduce: ¢ Conducting in two
* Conducting in three
Materials: * Songs for conducting and rhythm reading review
2/4 “Band of Angels” [106]
4/4 “Do Lord,” Book 4 [172]
 Suggestions for Teaching Level Seventeen Concepts 271

6/8 “One Potato,” Book 1 [90]

3/8 “Derry Ding Dong Dason,” Book 3 [107]
6/4 “Brethren in Peace Together,” Book 5 [107]
3/4 “Let there be peace on earth,” Book 5 [172]

Melody
Continue: + Reading-singing songs within the range S, to D’
* Hand signs and syllables for all pitches
* Melodic dictation
Introduce: * Recorder study: B- A-G
* Key signatures: F - G - C major
* Recorder study: E, - D,
Materials: + Songs in C,F, & G major for singing
“Ballet of the wind,” (C major) Book 3 [117]
en
Se
ae
ee
ta
Se
ae
tS
ee
er
a
ee
gt
i
SN
“Polly Wolly Doodle,” Book 3 [172]
“New York City Blues,’”” Book 6 [172]
* Songs using B-A-G for recorder playing
“Hot Cross Buns,” Book 1 [31]
“Rowing,” Book 1 [164]
* Songs that use a recorder part of B-A-G
“Sandy Land,” Book 1 [31]
“My Allowance,” Book 1 [31]
“Fais Do Do,” Book 1 [31]
* Songs that include the notes B-A-G + E, & D,
“Old MacDonald” [83]
“Tom Dooley” [140]
“Old Brass Wagon,” Book 1 [31]
“Can't Catch Me” [145]
* Songs that have a recorder part using E, & D,
“Ice Cream Soda” [145]

SUGGESTIONS FOR TEACHING LEVEL SEVENTEEN CONCEPTS

1. RECORDER STUDY (Treble clef, one-sharp key signature, B-A-G by

letter name for improvisation and ensemble reading):
Prepare

* Use the alto recorder as a teaching instrument starting in Level 7 for:

(1) playing echoes
(2) teaching melodies
(3) playing interludes

Presentation (Soprano Recorder)

a. Review Section 2-6 then:

(a) show how to hold the instrument in chin position
(b) demonstrate starting a tone with ‘du’
(c) let children try, then back to chin position
b. Show fingering for ‘B’ and play rhythm echoes on this pitch (check
tongue and tone production).
272 Chap. 6.1 / Achievement Levels

Show fingering for ‘A,’ and play rhythm echoes on this pitch.
Play echoes using both B and A.
Show fingering for ‘G’ and play rhythm echoes on this pitch.
Play echoes using G and B.
Play echoes using all three notes, BAG.
AO
mo
so Select some children to play examples for echoes.
Using the key prong, place B,A,&G on a staff to show their position.
Display a song chart of “Hot Cross Buns” in the key of G major using
a treble clef sign, one-sharp key signature and a key prong. Explain
about the treble sign.
Explain how to find DO using the sharp.
Sing the song with melody syllables in rhythm. (Use a lower key if
this pitch range is too high for the children.)
Now play the song using recorders.
Orchestrate the song with mallet instruments.
Perform as follows:
(a) Introduction, beginning one instrument at a time.
(b) After the ensemble is secure, play the tune once.
(c) Interlude of instruments and teacher improvisation.
(d) Sing the song.
(e) Interlude of instruments, with student improvisation on a mallet
instrument.
(f) Play the song on recorders.
(g) Coda, cutting off one instrument at a time.

Practice

Play echoes using BAG.

Use flashcards or chalkboard to create melodic segments using BAG
to play.
Play three-note melodies for interludes (children) used with other or-
chestrated songs.
Read printed material:
Nash, Recorder for Beginners, pp. 6-13 [145]
Wheeler, Comprehensive Recorder Method, Book One [31]
Newman, Recorder Playing in the Elementary School, p. 12 [146]
Read teacher-made class charts of songs.
Lenay Read teacher-made flip charts.

2. CHORD ROOT SINGING: Chord root singing is another pre-part singing

experience and is designed to further develop the child’s sense of harmonic
change. It is essentially an aural development. Display the following song on a
class chart.
 Suggestions for Teaching Level Seventeen Concepts 273

2 Shoo | fly
ae asp = =
don’t both - er me shoo fly don’t both - er

= ==
Shoo | fly don’t both - er me be - long to some- bod - y.

Read the rhythm using a patschen ostinato.

Read the song using melodic syllables.
Sing the complete song.
ty
low
eve)Play the letter notation on as many mallet instruments as you have.
Sing the song with this accompaniment.
e. Give all children a turn at playing.
f. Sing the second part of the song (not shown). Complete song is in
Dallin, Heritage Songster, p. 266 [68].
8- Copy the letter notation for the chord roots on the chalkboard. Help
the class work out letter notation for the chord root for the second two
lines of the song. Write these on the board. When finished, you should
have the following:

/
/
C
heal
SS
SSS ee
Ss eS
eS
ee (a)ee
ape ee ae
py F |
tc
veo
and

h. Divide the class into two groups. Have one group sing the letter no-
tation using the words ‘Shoo fly don’t bother me” in each measure.
i. Reverse the groups. This time instead of the words, sing DO for F and
SO for C with hand signs.

For practice, sing other two chord songs with chord roots. Lead the class
to the point where they can hear the correct root without having to see it written.

Examples:
“One Peseta,’’ Book V [66]
“Suzie Little Suzie” [68]
“Did you ever see a Lassie?” [49]

When they become proficient at singing chord roots for two chord songs
let them sing with three chord songs (I-IV-V).

Examples:
“Michael Row the Boat Ashore” [77]
“Alouette” [51]
“Yankee Doodle” [68]
“The Mulberry Bush” [49]
“Sarasponda” [114]

3. PIONEER-HISTORICAL SONGS: Beginning with this unit, increased

emphasis should be placed on learning about the musical cultures of various
274 Chap. 6.1 / Achievement Levels

peoples. This can be done effectively by singing the songs of the people. The
Pioneer-Historical unit should include songs of and about the people who settled
our nation during the Pioneer Period. Generally, this includes the musical culture
of the late 1700’s and early 1800's in the area east of the Mississippi River.
When a particular song is studied (either sung in class, heard in live per-
formance or on recording) be sure to comment about the historical, geographical,
or cultural background surrounding its use. This not only makes the music more
meaningful, but helps the children to perceive and remember stylistic differ-
ences.
A bulletin board should be displayed at the start of the unit to focus
attention on the subject matter and to provide motivation.
Examples of songs from this period are Shenandoah, Johnny has Gone for
a Soldier, Yankee Doodle, I Am a Poor Wayfaring Stranger, Black is the Color
of My True Love’s Hair, and The Twelve Days of Christmas.
For these and other songs appropriate to this unit, consult Alan Lomax,
The Folk Songs of North America [58], Fireside Book of Folk Songs [51], Heritage Songster
[68], and Erdei, 150 American Folk Songs [7].

4. KEY SIGNATURES: One sharp, one flat, no sharps/flats

Songs in the keys of C-major, F-major, and G-major should be presented
visually for singing and reading. At first, analyze examples with both the key
signature and the key prong. Teach the students to find DO (See Chapter 5,
Number 25). When the students have learned how to find DO using the flat
and the sharp in the signature, and have memorized the position of DO in the
key of C, stop using the key prong for songs in these keys. It will still be needed
for songs in other positions on the staff.

5. INDIAN DANCES: Beginning with this unit the movement part of the
music program will include ethnic and folk dancing. The advantages from these
activities are twofold: They provide an additional means to develop a feeling
for beat and meter; and they teach the student about the music of the people
who live in our nation; those whose musical culture has influenced our music
today.
Choreographed Indian dances suitable for use in the elementary classroom
are few, but the following examples may be used to begin developing a unit on
Indian dance.
a. Rain Dance (boys & girls)

1. Teach the song ‘Navajo Melody” [36]

2. Add an ‘orchestra’ consisting of two or three players seated around
a bass drum placed on its side.
Player 1 plays the beat, players 2 and 3 play the meter.

eae
FILL
I t1
3. Bellspray, maracas, or shakers may be added to the orchestra if desired.
4. Teach one or more of the following foot patterns:
(a) The Rabbit (step-hop)
 Suggestions for Teaching Level Seventeen Concepts 275

Execute a low hop slightly ahead of where the step was

made.

as ae |
L.step L.hop R.step R.hop

(b) The Pony (heel-toe)

Place the point of the toe on the ground followed by the
heel.

amet
L.toe L.heel R.toe R.heel

(c) The Buffalo (tap-tap-tap-step)

“Draw”’ a small half moon shape with the toe of each foot.

The dancer may move forward, sideways, backwards, or rotate while doing
any of these steps. Dancing is easier if done in a partially crouched position.

PROPS: Each dancer should wear leg bells and hold rattles or shakers, all
of which may be made and decorated in the classroom.

1. Leg bells: use leather shoe lacing and small jingle bells found at most
dry goods or fabric shops.
2. Shakers: Make out of match boxes, or small cans filled with beans at-
tached to sticks with leather shoe lacing. Paint with tempera paint.
3. Notched scraper: Cut grooves into a stick, scrape with a second stick.
276 Chap. 6.1 / Achievement Levels

b. Hunter’s Dance (boys only)

1: Teach the song ‘Buffalo Hunt,” Joiner, Sagebrush Sagas, p. 1 [154].

om Use the same “orchestra” as the Rain Dance.
3: Use the same dance steps.

PROPS: Each dancer should have leg bells and one or more ‘‘weapons”
made in class or at home.

Battle Ax: Carve the head from some soft lumber and paint gray to
resemble stone. Attach to a stick with leather shoe laces.
Spear: Carve the head from soft lumber and paint gray. Attach to a
shaft with leather shoe laces. Paint and decorate the shaft with colored
ribbon.
Shield: Cut out of cardboard. Attach two loops for the arm on the back
side. Decorate the front with Indian designs.
Bows & Arrows: Attach bow string to stick and paint with tempera paint.
Arrows may be made in the same manner as the spear only ona smaller
scale.

c. Harvest Dance (girls only)

This dance is done around a “‘fire’’ or may be done around the drummers.
Four dancers, each holding a basket containing about half a cup of dried corn
or beans, stand on one of the points of the compass and face the fire.

if Teach the song “Cheyenne Melody,” Burnett, Dance Down the Rain,
Sing up the Corn [36]
Use the same “orchestra” as Rain Dance.
The Dance: Dancers should step the rhythm of the beat while flipping
the corn (as if tossing it to separate the chaff) to the rhythm of the
drums. Use an upward forward movement of the hand. The object is
to lose as little of the grain as possible. After one chorus, during an
eight-beat interlude, each dancer moves to the position held by the
dancer to her left. Repeat until each dancer has winnowed her grain
at each of the four locations, thus signifying that, when finished, each
basket will have been tossed into the wind from four different positions
and should be free of chaff.
 Suggestions for Teaching Level Seventeen Concepts 277

Sp hele LM tre
Cie
aR zi) LO
PDERATES pf ED

PROPS: Use baskets such as those used to serve warm bread, and fill with
¥% cup or so of dried corn or beans. For authenticity, Indian corn may be
used.

Music for Indian dancing can alternately be provided by recordings such

as ‘‘War Whoops and Medicine Songs,” Ethnic Folkways Library [255].
Try to secure a dancer to come to your classroom to present dances in
costume. Your local Boy Scout representative may have information about per-
sons interested in Indian dancing. If you live near an Indian reservation or
settlement, you might arrange a field trip to see some dancing demonstrations.
Consult these sources for additional ideas:

Ballard, L.W., Oklahoma Indian Chants for the Classroom (a learning album
of six tribal chants) [249]
Curtiss, Natalie, The Indian’s Book [71]
Burnett, Dance Down the Rain and Sing Up the Corn [36]
Joiner, Sagebrush Sagas [154]

6. THE SOUND OF THE CONCERT-MILITARY BAND AND THE SYM-

PHONY ORCHESTRA: The purpose of this listening activity is to develop an
understanding of the difference in texture and timbre between these two per-
forming groups. Your students will already be acquainted with band and or-
chestra instruments from previous levels. As always, visit live performances
when possible, and supplement these visits with listening periods of recorded
music, such as

The Chicago Symphonic Band [337]

American Concert Band Masterpieces [324]
The Military Band [356]
British Band Classics [333]
Bowman Orchestra Series (36 records) [378]

Note: You may have used selections from these recordings at earlier levels
for rhythmic activities, marching, listening for certain rhythms or instruments,
etc., and this prior use will have produced an unconscious familiarization which
can only reinforce their presentation in this unit.

7. CONDUCTING IN TWO (Students): Let the children conduct the en-

semble arrangements created or used in class as a means of
278 Chap. 6.1 / Achievement Levels

further developing the feeling for beat and meter;

helping develop a feeling for the aesthetics in the music;
developing listening skill;
cern providing the teacher freedom to more closely observe the other mem-
ae
bers of the class, and
e. developing musical independence.

At first, let the group practice conducting to a recording or have everyone

conduct the motions as they sing a known song. When they become familiar
with the duple conducting motions, let them take turns conducting the group.

8. RECORDER STUDY (E and D): The class should be familiar with the
notes B, A, and G. They should now be ready to learn the E and D below.

Se
a. Echo patterns using BAG.
b. Show the fingering for E and practice briefly.
c. Echo simple patterns using BAG + E.

SS
Se eee
d. Show the fingering for D and practice playing it.
e. Echo simple patterns using BAGE + D.

(eae See
f. Display the song ‘‘Daddy Shot a Bear.”

eee SS Se
Dad- dy shot a bear, Dad- dy shot a bear.

Shot him through the key - hole and nev - er touched a hair.

g. Sing the song using text.

h. Play the melody on the recorder.
i. Add the following orchestration:

eeeees
Sx Guitar
(5
Sa
 Suggestions for Teaching Level Seventeen Concepts 279

BX :! AM : SM

j. Perform the tune in this order:

(1) Introduction: bring in one instrument at a time until all are secure.
(2) Play the song with recorders.
(3) Interlude improvised by the teacher.
(4) Sing the song.
(5) Interlude (one child on mallet instrument improvises).
(6) Play the tune on recorders again.
(7) Coda: cut off one mallet instrument every two measures until
there is only one left playing. Cut off last instrument.

Practice

a. Play echoes using BAGED.

b. Use flashcards, flannelboard, chalkboard, floor staff to create melodic
segments for the class to play.
c. Let children compose tunes to play using the above.
d. Let children play interludes on recorder for other songs sung in class
with mallet instruments.
e. Read printed material:
Nash, Recorder for Beginners, pp. 14-19 [145]
Wheeler, Comprehensive Recorder Method, Book 2, pp. 20—24 [31]
Newman, Recorder Playing in the Elementary School, pp. 13-14 [146]
f. Read & play from song charts.

9 INTRODUCE THE BASS CLEF FOR PLAYING THE BASS XYLO-

PHONE: By this time, the children will be familiar with the treble clef sign.
Introduce the bass clef now to notate bass xylophone and tympani parts.

Practice making bass clef signs.

Practice finding DO in the key of G major.
Practice finding DO in F major.
Practice finding DO in C major.
oD
onoUse the bass clef for notating all bass xylophone and tympani parts
from now on.
Eh Practice naming letter names of notes.

Knowledge of the bass clef will be important very soon for boys whose
voices will be changing. As this occurs, they should already have become familiar
with the bass clef symbol and bass clef notation.

10. CONDUCTING IN THREE (Students): Conducting in triple meter by

the children may be started as soon as they are familiar with the process of
conducting in two’s. The advantages are the same as those cited in Section 7.
Opportunities to use child conductors are plentiful
280 Chap. 6.1 / Achievement Levels

* to conduct rhythm rondos with improvisatory sections;

* to conduct speech verses;
* to conduct orchestrations for the ensemble after they have been learned;
* to conduct recreational and seasonal songs sung in class even though the
songs are accompanied by the teacher.

CHECKLIST FOR LEVEL SEVENTEEN

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Shows an understanding of harmonic pro-
gression by singing chord roots correctly
2. Understands song culture of early U.S. ise
Instrumental Skills: ny
3. Reads and uses bass clef for playing bass
xylophone
Listening:
4. Recognizes differences in the sound of a
concert band and a symphony orchestra
Movement:
5. Performs Indian dances with rhythmic
feeling
Rhythmic Literacy: Fant
6. Correctly conducts in two while singing
7. Correctly conducts in three while singing le
Melodic Literacy:
Plays B,A,G on the recorder
8. from echo examples
9. from notation ee
10. Improvises patterns and melodies contain- ne
ing BAG
11. Understands and uses key signatures F,G,C be
major
Plays E,D on recorder ca
12. from echo examples
13. from notation tela
14. improvising patterns & melodies contain- ae
ing BAGED

LEVEL COMPLETED (date)

 Level Eighteen Teaching Outline 281

LEVEL EIGHTEEN

Preparation for part-singing continues in Level Eighteen with the introduction

of countermelodies and descants. Generally, countermelodies refer to melodies
that are voiced below the primary tune and descants to melodies voiced above
the primary tune.
The cultural awareness unit will feature cowboy-western songs, a broad
category that includes any songs used west of the Mississippi River before the
middle of the twentieth century.
Masterworks will be used from now on for critical listening during short
periods (2-3 minutes). Some particular musical feature should be emphasized
each time so the students know what to listen for. This can be an instrument,
a theme, or in the case of program music, an idea.
Movement will emphasize American folk dances while Literacy will intro-
duce the rhythms dd. in duple time and low F-sharp for the recorder.

LEVEL EIGHTEEN TEACHING OUTLINE

Musicianship

Singing
Continue: »* Chordal accompaniments using guitar, omnichord, auto-
harp, and baritone ukulele
¢ Echo chains
¢ Rounds, canons, chants, partner songs
¢ Chord root singing
Introduce: * Countermelodies and descants
* Cowboy-western song culture
Materials: * Songs with countermelodies or descants
“Amen” [172]
“Little David Play on Your Harp,” Book 6 [172]
“Winter Now Is Over,” Book 5 [172]
* Seasonal songs
“Sing Halleluia’’ [106]
“Carol of the Three Kings,” Book 5 [190]
“Over the River” [68]
¢ Cowboy-western songs
“Home on the Range,” Book 6 [14]
“Streets of Laredo’ [68]
“Chisholm Trail,”” Book 2 [121]

Instruments
Continue: ¢ Improvisation
* Orchestrations using up to six different mallet parts, plus
strummed guitar, timpani, and hand percussion
* Reading and playing ostinati on the instruments
Introduce: * No new concepts
Materials: * Use songs from melody section to orchestrate
* Use published orchestrations
“Old Brass Wagon’ [106]
“Goodbye Old Paint’ [130]
“Old Texas” [67]
282 Chap. 6.1 / Achievement Levels

Listening
Continue: Review instrumental families when heard
Introduce: Masterworks for critical listening
Materials: Recordings of masterworks
Tchaikovsky, Nutcracker Suite [378], especially ‘Dance of
Sugar Plum Fairies”
Bizet, Carmen Suite [381]
Borodin, Polovetsian Dances [378]
Berlioz, ““Rakoczy March,” in Bowmar Orchestral Library
[378]

Movement
Continue: Movement on all songs where possible
Introduce: American folk dances
Materials: American folk dance recordings
“Old Brass Wagon’ [235]
“Old Susanna” [227]

Music Literacy

Rhythm
Continue: Echo rhythm patterns of four or eight beats length
Dictation
Reading triple rhythms in 2/4, 4/4, and C meter
Reading triple rhythms in 6/8 and 3/8
Reading triple rhythms in 6/4 and 3/4
Conducting activities
Introduce: Duple rhythm
Materials: Songs, verses or other materials for reading
“Old Dan Tucker,”” Book 5 [172]
“Three Blue Pigeons” [73]
Materials for reading rhythms in various meters
(2/4) “‘Come and Dance,” Book 5 [172]
(4/4) ‘“Hey Ho Anybody Home?,” Book 5 [172]
(6/8) ““Auprés de ma Blonde,” Book 5 [172]
(3/8) ““O Go to Sleep Nene,” Book 3 [47]
(6/4) “Brethren in Peace Together,” Book 5 [107]
(3/4) ‘““Handschi Bombardschi,”’ Book 5 [172]
(C) “At the Gate of Heaven,” Book 5 [172]

Melody
Continue: Reading and singing songs in a range, low So to high Do
Hand signs and syllable for all pitches in range S,—D’
Melodic dictation
Introduce: Key signature for D major
Recorder study—F-sharp
Materials: Songs in D major
“Kookaburra,” Book 4 [107]
“When I Am Ten Years Old,”” Book 4 [107]
Songs for recorder playing containing F-sharp
 Suggestions for Teaching Level Eighteen Concepts 283

“Bohemian Folk Song’ [145]

“Au Clair de la Lune” [43]
“When the Saints Go Marching In” [72]

SUGGESTIONS FOR TEACHING LEVEL EIGHTEEN CONCEPTS

1. RECORDER STUDY (F-sharp): With the addition of F#, songs in D major

will be possible as well as partial diatonic songs in G major.

oi = =
a. D major—DRMFSL songs
[D E F# GA B]
b. G major—SLTDRM songs
[D E F# GA B]

Presentation

a. Play echo patterns using BAGED pitches for review.

b. Show the fingering for F-sharp.
c. Echo simple patterns that include BAG-F#-ED.

Examples

——— S| SSS
ata SS =
Display the song ‘Twinkle Twinkle Little Star” in D major.
e. Discuss the new two-sharp key signature and review locating DO
using this signature.
f. Point to the beats and have the class play the tune.
g. Display the song “Autumn Winds” on a large class chart.

AUTUMN WINDS

SSTrees
Eee Ee
are stand- in wood with leaves gold.

(===
See the leaves come
eee
- ing down winds
ae
be - gin blow.
ry
284 Chap. 6.1 / Achievement Levels

ae) AX+AM

———— = =
a ———— = by === ea
h. Read the melody with tonal syllables & hand signs.
i. Sing the melody using note letter names.
j. Play the melody on recorders.
k. Add the orchestration one instrument at a time until the entire en-
semble is playing.
l. Performance:
(1) Introduction: all recorders play the melody unaccompanied.
(2) Add accompanying instruments one at a time.
(3) Play the tune on recorders with accompaniment.
(4) One person (teacher or student) improvises an interlude.
(5) Repeat as a canon at one measure intervals (2 parts).
(6) Sing the melody with words.
(7) Play again in unison.
Cut off ensemble one at a time.
m. Movement: Let a few children be “trees” and give them five or six
colored leaves made of construction paper to hold.
° Let the remainder of the class be the wind that moves around the
trees in a circle (as they play their recorders).
* Play one verse, then sing one verse. On the words ‘falling down”
the “trees” drop their leaves one at a time.

Practice

a. Play echo patterns using D-E-F#-G-A-B with DO on G. For variety,

echo using DO on D (D major) LA on E (E minor).
b. Let the children compose segments to play using chalkboard, floor
staff, or feltboard.
c. Improvise introductions and interludes in G &,D major or E minor.
d. Play other songs that contain F-sharp.
“Oh How Lovely Is The Evening” [117]
“Lavender’s Blue” [30]
“Rocky Mountain High” [77]
“Tommy Jones,”” Book II [117]

2. INTRODUCE TWO-SHARP KEY SIGNATURE. When the class knows

F-sharp on the recorder, reading and playing in D major will be introduced.
As with previous key signatures, when a new key signature is introduced,
abandon the use of the key prong with that key. All songs in D major for singing,
playing on recorder, or notated parts for the mallet instruments should be written
using the conventional key signature.
 Suggestions for Teaching Level Eighteen Concepts 285

3. DUPLE RHYTHM f/]. (1 ta - or 2 ta)

Prepare

a. Echo clap patterns containing le

b. Use body percussion routines employing fal
c. Echo with syllables to a pat-clap ostinato.
d. Employ F]. as an ostinato figure to accompany verses and songs.
e. Sing songs using this rhythm to acquaint the children with the sound:
“Ballet of the Wind” [117]
“Old Dan Tucker” [129]
“Three Blue Pigeons” [68]

Presentation

a. Begin by stepping a beat.

b. Hear this beat in your head (stop stepping). Tell the children to “use
your inner hearing.”
c. Echo some duple patterns using patterns previously learned.
* Finger tap the pattern.
* The class echoes by finger tapping.
* Teacher & class say the rhythm using syllables.

Examples:

1a eee mae cea lel ett ||

d. Include some patterns that include the new rhythm:
¢ Finger tap the pattern.
* Class echoes by finger tapping.
* Teacher says the pattern using syllables.
* Class echoes.

Examples:

Papeete. (el ly 1
e. Notate these examples on the chalkboard and ask the class to read
after you write each:

ia ee iat.
Rien mye
materi |).
Paes adele 112
286 Chap. 6.1 / Achievement Levels

1 ne ta 2 ne, 1 ta ne ta 2
1 ta ta 2 ta ne ta, 1 ne2
1-ta 2-ta, 1 ta ne 2 ne
1 ta- 2 ta-, 1 rest
f. Point out the new rhythm in the last example. Explain that it is the
same as 1 ta ne ta with the last three notes tied to make one sound.

Fra age al
g. Take out slates and crayons, and have the children copy the new
rhythm figure. Review slates to see they have notated it correctly.
h. Select children to go to the chalkboard to write four-beat dictation
examples. If correction is needed, let the class offer assistance. Correct
the examples on the slates if written incorrectly.

Practice

a. Dictation
b. Read songs for singing and playing recorder using Ae)
c. Read and notate verses using this rhythm.
d. Compose rhythm segments using flashcards.
e. Read teacher made flip charts such as these:

4. INTRODUCE MASTERWORKS FOR CRITICAL LISTENING: Listening

activities suggested for previous levels have: a. dealt with the sound of specific
instruments or groups of instruments (trumpet, violin, woodwind family, coun-
try-western strings, etc.); b. provided inner hearing and improvisation activities
designed to develop imagery for rhythm, melody or harmony; and c. provided
music for other purposes: stepping the beat, listening to meter, specific rhythms
and melodic direction; and identifying the sound of instruments.
With this unit, the student is taught to listen to music to discover the
qualities in music that make it expressive. In doing so, perception and discrim-
ination are enhanced. A good set of materials is available upon which teachers
can base much of the recorded listening program at this level. The series, Learning
to Listen to Music, is published by Silver-Burdett [379]. The set contains over
forty planned listening lessons, recordings, and a teacher manual. From these,
choose a selection of music which, along with masterworks of your own choos-
ing, can be used to develop an understanding of texture, timbre, rhythm, melodic
contour, and orchestration.

5. INTRODUCE FOLK DANCING: The purpose of this unit is to accustom

children to dancing in groups, and with partners. Use a variety of simple circle
dances, partner dances, and non-partner dances. These dances are useful:
 Suggestions for Teaching Level Eighteen Concepts 287

“O Susanna” and “Chestnut Tree’ (schottische), and “Pop Goes the Wea-
sel’ (3 person groups), Michael Herman, All Purpose Folk Dances [227]
“Ten Pretty Girls,” Michael Herman, Folk Dances for Fun [238]
“Old Brass Wagon,” Dances for Little People [235]

Additional dances and recordings may be found in the book entitled Step
Right In by Aldeson & LeCompte [175]

6. COUNTERMELODIES AND DESCANTS: These are the last pre-part

singing experiences to be introduced before actual two-part music. In general,
countermelodies are secondary tunes added below the primary tune, while
descants are tunes added above the original one. These definitions do not always
apply however.
Generally, it is wise to teach the countermelody first without telling the
class with what tune it will be sung. Then when the countermelody is known
by everyone, add the tune. Begin with countermelodies for tunes they already
know, with experience, it will be possible to add a new countermelody to an
unfamiliar melody.
Since all basal series index countermelodies and descants in their book sets,
you should have no difficulty finding many examples, although some will be
too difficult for the class at this level.

7, COWBOY-WESTERN SONGS: During this unit, study the song culture

of the early nineteenth century West and Mid-west. As before, these units aim
to develop an understanding of the sound and style of this music. Supplement
music study with bulletin board displays.
The guitar lends itself to accompanying these songs, many sound well
accompanied by mallets.

Songs for this unit are

“Goodbye Old Paint,” “Whoopie Ti-yi-yo,” “Dogie Song,” “Casey Jones,” “Streets of
Laredo,” “Old Blue,” ‘““Sweet Betsy from Pike,” ‘The Colorado Trail,” ‘“Drill Ye Terriers
Drill,” ‘““The Kickin’ Mule,” ““Lonesome Valley,” ‘Bought Me a Cat”

And consult these references for further ideas:

Alan Lomax, The Folk Songs of North America [58]; Fireside Book of Folk Songs
[51]; Heritage Songster [68]; Erdei, 150 American Folk Songs [7]; Kersey, Just
Five [77]
288 Chap. 6.1 | Achievement Levels

CHECKLIST FOR LEVEL EIGHTEEN

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Sings countermelodies and descants
2. Understands Cowboy-Western Song Cul-
ture
Instrumental Skills:
3. Reads ostinati, plays and improvises on
mallet instruments, timpani, and guitar in
classroom Orff ensembles
Listening:
4. Listens and identifies specific elements in
masterworks recordings
Movement:
5. Understands the background of and partici-
pates in American folk dance activities
Rhythmic Literacy:
6. Reads [
|. from notation
7. Writes FI]. from dictation
Melodic Literacy:
8. Understands and uses two-sharps key sig-
nature
9. Plays F-sharp on the recorder—
—from echo examples
—from notation
10. improvises patterns and melodies containing
BAGRFED

LEVEL COMPLETED (date)

LEVEL NINETEEN

Level Nineteen marks the beginning of using real two-part music. In previous
levels, various preliminary part singing devices have been employed, such as
two-hand singing, rounds, canons, chants, and so on to accustom the students
to hearing other parts than their own. In introducing two-part music, use songs
at first with a fair amount of unison with some parts, then proceed to songs
that have separate parts throughout.
Cultural awareness will emphasize patriotic and national songs that have
become traditional in the United States.
 Level Nineteen Teaching Outline 289

Movement will stress use of African or Black American songs and dances.
Recorder playing will progress to include F-natural, high C and high D.

LEVEL NINETEEN TEACHING OUTLINE

Musicianship

Singing
Continue: ¢ Two-hand singing
¢ Echo chains
¢ Rounds, canons, chants, partner songs
* Chord root singing, countermelodies, descants
* Chordal accompaniments to songs using guitar, baritone
ukulele, autoharp, or omnichord
Introduce: * Two-part music
¢ Patriotic-national song culture
Materials: * Two-part songs (partially unison)
“Follow Me,” Book 4 [107]
“At the Gate of Heaven,” Book 5 [172]
“It’s a Small World,”” Book 5 [172]
* Two-part songs with independent parts
“The Caravan,”’ Book 4 [107]
“Jingle Jangle Jingle,” Book 4 [107]
¢ Patriotic-national songs
“Battle Hymn of the Republic,” Book 4 [172]
“America the Beautiful,’” Book 4 [107]
“You're a Grand Old Flag,” Book 5 [107]
¢ Recreational songs
“Ym Looking over a Four Leaf Clover,” Book 4 [172]
“59th St. Bridge,” Book 4 [107]
“Waltzing Matilda,”” Book 4 [107]
¢ Seasonal songs
“Wearin’ of the Green,” Book 6 [172]
“Sunshine on My Shoulder,” Book 5 [172]
“Sing,” Book 5 [107]

Instruments
Continue: ¢ Improvisation
* Orchestrations using up to six mallet instruments, tim-
pani, and strummed ostinato guitar
Introduce: ¢ No new concepts
Materials: * Orchestrate songs used for other concepts
¢ Employ suitable printed orchestrations

Listening
Continue: * Review instruments and their families
* Masterworks for critical listening
Introduce: * No new concepts
Materials: * Orchestrate songs used for other concepts
* Employ suitable printed orchestrations
290 Chap. 6.1 / Achievement Levels

Listening
Continue: Review instruments and families
Introduce: No new concepts
Materials: Masterwork recordings
Handel, Water Music Suite [382]
Holst, Hammersmith, Prelude & Scherzo [333]
Ippolitov-Ivanov, Procession of the Sardar [288]
Latham, Court Festival [292]
Tchaikovsky, 1812 Overture [312]

Movement
Continue: Movement on all songs when possible
Introduce: Afro-American games and dances
Materials: Afro-American games and dances (3-4)
“Goin’ down to Cairo” [142]
“Shake Dem ‘Simmons Down” [142]
“Sugar Bowl” [142]

Music Literacy

Rhythm
Continue: Echo rhythm patterns of four or eight beats
Rhythm dictation
Reading triple rhythms in 6/8, 3/8
Reading triple rhythms in 6/4, 3/4
Reading duple rhythms in 2/4, 4/4, C
Introduce: No new concepts
Materials: Songs for review of meter signature.
2/4 “Who Did?” [116]
4/4 “Shalom Chevarim,” Book 5 [172]
3/4 “La Cucaracha,” Book 4 [172]
6/4 “The Waits Carol,” Book 6 [121]
6/8 ‘The Man Who Has Plenty of Peanuts,” Book 5 [172]
3/8 “Come Join in the Game” [116]
C “I’m Gonna Sing,” Book 5 [181]

Melody
Continue: Sight read and sing songs in a range, S| to D’
Hand signs and syllables for all pitches, S| to D’
Melodic dictation
Introduce: Recorder study (F-natural)
Recorder study (C’ and D’)
Materials: Songs for recorder using F-natural
“Old Mr. Rabbit’ [81]
“Fais Do Do” [81]
“Cowboy Song,” Book 3 [117]

SUGGESTIONS FOR TEACHING LEVEL NINETEEN CONCEPTS

1. RECORDER STUDY (F-natural): With the addition of F-natural, limited

range songs in the keys of D minor and F major will be possible. F-natural is
 Suggestions for Teaching Level Nineteen Concepts 291

an uncomfortable fingering for most children, and tempos should be kept lei-
surely at first.

é = x o et fom 4

Presentation

a. Echo patterns using pitches already known (BAGF#ED).

b. Show the fingering for F-natural and practice playing it.
c. Echo slow simple patterns using F-natural.

= ee
d. Write the well-known song ‘Hot Cross Buns” on the chalk board in
the key of F.
Play the tune as you point to the beats.
ea) Display the song “Fais Do Do.”
g. Read again, using the note letter names. Have the class finger the
instruments as they sing.
h. Repeat using the note letter names. Have the class finger the instru-
ments as they sing.
i. Play the tune on recorders.

7S Sa
SaaS SSS
SSS a
Se = fp
_—— ES ee
2. INTRODUCE TWO-PART SONGS:
Prepare
The preparation for two-part singing was begun in Level 6 with two-hand
singing and has been continued to Level 9 through the use of canons and rounds,
292. Chap. 6.1 / Achievement Levels

chants, partner songs, echo chains, chord root singing, countermelodies, and
descants. When two-part music is first introduced, select examples that are
mostly in unison with some short two-part sections. (For example, ‘‘Sara-
sponda,” Book 3 [47] or Book 5 [181].) Later, assign songs with more two parts
writing.
Presentation

a. Display the song ‘Pecos Bill,’”” Book 5 [66].

b. Read the second part using tonal syllables in rhythm.
Read the melody that goes with the portion of the song which has two
parts, using tonal syllables in rhythm.
d. Divide the class into two groups and sing the two-part section using
the text. Repeat. Alternate the parts so that all children have the op-
portunity to sing both parts.
e. Sing the entire song with accompaniment.
Other two-part songs that may be useful are ‘““Thumbalina,’”” Book 5
[90]; “Bella Bimba,’”” Book 5 [90]; ““America the Beautiful,’”” Book 5 [90];
“Ging Gong Gooli,” Book 4 [161].

3. AFRICAN-AMERICAN GAMES AND DANCES:

In this unit, emphasis should be placed on movement activities that have their
origin with the people of Black Africa or the American Negro. Many of these
activities are traditionally performed either unaccompanied or accompanied by
simple body percussion or unpitched instruments. Two examples follow:

Example One: ‘Bombera” (African)

Bina has
be -ra_ yat si

pees aSNya nya ny

2a ya nya
eenya Bon

a. Form a circle of children, shoulder to shoulder, on hands and knees.

b. On the first line of the song, pound the beat on the floor with both
hands.
c. On the second line, lean on your left hand and pass an imaginary
stone from left to right with your right hand. (Slap beat 1 to your left,
beat 2 to your right, which is where the person on your right will slap
beat 1.)
d. One person in the circle (or more if the group is large) actually has a
stone. The stone is kept hidden as much as possible during the game.
The holder of the stone may leave it on his left or on his right or
“palm’’ it. When he passes it, he must do so on the beat as his hand
travels in that direction.
e. The object is to not be caught with the stone in front of you when the
song returns to line one.
 Suggestions for Teaching Level Nineteen Concepts 293

Example Two: “Shake Dem ’Simmons Down” (American)

Cir
- cle to the left du - du - 0 Cir-cle to the left Ghuk =) ©) du - o

Saas Sa
Cir-cle to the left ) Shake dem ’sim-mons down

Other verses:
“Circle to the right” .. .
“Step and clap” . . . (take 3 steps forward on the beat, clap on beat 4 / repeat back /
repeat forward)
“Stomp your foot” . . . (clap the beat on all beats, stomp your left then right foot on beat
in even-numbered measures)
The motions of the song fit the words. On the fourth line, “Shake dem ‘simmons down,”
shake your hands above your head and turn around in place.

Some sources for Afro-American Black games and dance songs are

Seeger, American Folk Songs for Children [8]; Erdei, 150 American Folk Songs
[7]; and Jones, Step It Down [174]

4. RECORDER STUDY (C’ and D’): With the addition of third space C and
fourth line D, the following songs are now playable:

ee
S,L,DRM in G
DRMSL in D and F
MSLD’ in D, C and a
LDRM in d and e

a. Echo patterns using BAG.

b. Show the fingering for C and practice playing it.
c. Echo some simple patterns using BAG + C’.

FF
d. Show the fingering for D’ and practice it.
e. Echo simple patterns using BAG + C’ and D’.
294 Chap. 6.1 / Achievement Levels

= SS
f. Display the song “The Man on the Flying Trapeze” (chorus only) [53].
(1) Read the rhythm of the song using syllables. Note the new
rhythms:
(a) 1na-ta | |.h
(b)1-nita Jf]
(2) Sing the song using the text.
(3) Play the song on recorders.
(4) Add the following orchestration (metal mallet instruments only):

ee
Hand Drum: z4 yah 2 H Tambourine: 4 a i : Hf

(5) Perform the tune as follows:

(a) Introduction: add metal mallet instruments one at a time;
follow with hand drum (with soft beater) and tambourine.
(b) Play the song with recorders.
(c) Teacher plays recorder interlude and improvisation.
(d) Sing the song.
(e) Add swinging movement appropriate to trapeze as you
sing.
(f) Play interlude with a student improvising on alto xylo-
phone.
(g) Play the tune on recorders.
(h) At the coda, cut off instruments one at a time.

Practice

a. Play echoes using C’ and D’.

b. Use flash cards, felt board, chalkboard, etc., to create melodies for the
class to play.
c. Let the children compose and notate tunes using C’ and D’.
d. Improvise on recorders for interludes, introductions, etc.
e. Sightread and play printed materials:
Nash, Recorder for Beginners [145]
Wheeler, Comprehensive Record Method, Book 2 to p. 38 [31]
Newman, Recorder Playing in the Elementary School (to p. 22) [146]
f. Read and play from song charts.

Note: In the printed material suggested above, the following new rhythms
in triple meter will be introduced:

ih, SL inal
We) iui | fs |
 Suggestions for Teaching Level Nineteen Concepts 25

272 ana nivta Z| | hay

3. two measure tie

a. Ap aie

5. PATRIOTIC-NATIONAL SONGS: In this unit, the national and patriotic

songs of our nation should be experienced. Some (*) may be memorized. Along
with historical songs of our nation’s beginning, historical anecdotes should be
introduced. These songs may be learned from films, filmstrips, and live concerts
or they may be taught in the classroom. Guitar accompaniment is best, but
although piano accompaniment is not recommended at this level, the use of a
piano to accompany some of these songs would be appropriate.
An excellent source for early American songs is the Burl Ives Songbook [17].
From this, the following songs are suggested:

*“Star Spangled Banner,” the Air Force song, *’“America,” ‘Hail to the
Chief,’”” *’’America the Beautiful,” “Battle Hymn of the Republic,” “God
Bless America,” “Chester,” the Army song, “Yankee Doodle,” ““Marines
Hymn,” “When Johnny Comes Marching Home,” “Anchors Aweigh,’”’ and
“Smile, Smile, Smile’

6. PREPARE HIGH RE AND HIGH MI:

Prepare
Sing tonal echoes that include high Re and high Mi.
Sing songs that include high Re and Mi.
Examples:

a. “Hey Ho Anybody Home” [81]

b. “An Old Christmas Greeting,’”” Book 3 [117]
c. “It’s a Small World” [197]
d. “Little Brown Jug” [56]
e. “Goober Peas” [53]
f. “Green Grow the Rushes—O” [51]
296 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL NINETEEN

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Maintains a separate part in two-part songs
2. Understands patriotic-national song cul-
ture
Instrumental Skills:
3. Reads and plays ostinati on mallet instru-
ments
4. Improvises on mallet instruments oe
5. Is familiar with playing techniques for tim- a
pani
6. Is familiar with playing techniques for os- i
tinato guitar
Listening:
7. Listens and recognizes specific elements
heard in masterworks recordings
Movement:
8. Understands background of and _ partici-
pates in Afro-American games and dances
Rhythmic Literacy:
9. Reads from notation and writes from
dictation—
—duple rhythms in 2/4, 4/4, C meters
—triple rhythms in 3/8 & 6/8 meters
—triple rhythms in 6/4 & 3/4 meters
Melodic Literacy:
10. Plays F-natural on recorder
—from echo examples
—from notation :
11. Improvises patterns and melodies using
B,A,G,F,F natural,E & D on soprano re-
corder
12. Plays high C and high D on the recorder
—from echo examples
—from notation

LEVEL COMPLETED (date)

 Level Twenty Teaching Outline 297

LEVEL TWENTY

The emphasis in Achievement Level Twenty will be on developing and ex-

panding existent skills. In the area of Singing, use of preliminary part singing
devices, such as countermelodies, descants, echo chains, rounds, canons, and
partner songs will be continued, as will actual two-part songs. At this level,
piano accompaniments may be introduced.
Orchestrations as before, will employ full mallet sets plus timpani, strummed
guitar, and hand percussion as needed.
Listening activity will be extended to folk guitar and accordion sounds.
Movement will see the addition of bleking dances. (See Level 20, par. 7.)
Literacy will teach extended rests of two or more measures, low C and
middle B-flat on the soprano recorder, and high Re and high Mi in melodic
reading.

LEVEL TWENTY TEACHING OUTLINE

Musicianship

Singing
Continue: »* Chordal accompaniments for songs using guitar, baritone
ukulele, autoharp, or omnichord
* Two-hand singing
Echo chains, chord root singing, countermelodies, rounds,
canons, partner songs
Introduce: * Piano accompaniments
Materials: Seasonal songs
“Sun Magic,” Book 4, p. 160 [107]
“The William Tree,” Book 4, p. 204 [172]
Recreational songs
“Never Argue with a Bee,” Book 5 [172]
“Limbo Like Me,” Book 4 [161]

Instruments
Continue: °¢ Improvisation
¢ Reading and playing ostinati
* Orchestrations using six mallet instruments plus timpani,
and strummed guitar
Introduce: * No new concepts
Materials: * Use songs from other concepts areas to orchestrate
¢ Use available published orchestrations
“Rain,” Book 2 [111]
“Scarecrow,” Book 2 [111]

Listening
Continue: ° Identify instrument families in listening assignments
* Masterworks for critical listening
Introduce: »* Accordion and guitar
* Folk singing groups
Materials: » Recordings of folk singing groups
298 Chap. 6.1 / Achievement Levels

“Bed of Roses,” Statler Brothers [327]

“Best of Statler Brothers’’ [330]
* Recordings of guitar
Segovia, Intimate guitar [352]
Chet Atkins picks best [336]
* Recordings of accordion
Myron Florin, “Polka King’ [360]
* Recordings of masterworks for critical listening
“Cloud Song,” #8 [379] for texture
Susato: “Suite,” #12 [379] for timbre

Movement
Continue: * Movement with all songs wherever possible
Introduce: ¢ Bleking steps in folk dances
Materials: + Recordings of bleking dances
“La Raspa’”’ [227]

Music Literacy

Rhythm
Continue: + Reading duple rhythms in 2/4 & 4/4
* Reading triple rhythms in 6/8 & 3/8
* Reading triple rhythms in 6/4 & 3/4
* Echo rhythm patterns of four and eight beats
¢ Rhythmic dictation
Introduce: + Extended rests of two or more measures
Materials: +» Songs containing extended rests
“Skiing song,”” Book 3, p. 32 [117]
“Go down Moses,” p. 7 [106]

Melody
Continue: ¢ Sightreading and singing songs within a range of S, —D’
* Hand signs & syllables for diatonic pitches S, to D’
* Melodic dictation
Introduce: Ȣ High Re and high Mi
* Recorder study (low C & middle B-flat)
* Songs containing high Re and high Mi
“Pauper sum ego” [81]
* Songs containing low C, for recorder
“Cotton needs pickin” [31]
“Amazing Grace,” Book 4 [161]
eRamy ee oo tii
¢ Songs with recorder parts using low C
“Rocky Mountain,” Book 4 [31]
* Songs containing middle B-flat, for recorder
“An American Angel,” #150 [111]
“Sun Magic,”” Book 4 [107]
* Songs with recorder parts using middle B-flat
* “Boatman’s Chantey,” Book 2 [172]
 Suggestions for Teaching Level Twenty Concepts 299

SUGGESTIONS FOR TEACHING LEVEL TWENTY CONCEPTS

1. PRESENT HIGH RE AND HIGH MI: The hand signs and syllables for
these pitches are the same as for the lower Re and Mi, presented in Levels Two
and Four.
Presentation

a. Chord the beat on your guitar, autoharp, or baritone ukulele using the
I-V7-IV chords.
b. Sing melody echoes using syllable patterns that include high Re and
Mi, using the chording as a harmonic reinforcing background.

! :I S v7 I

S) IE S D' Ree

ae ae
1D eS M S BMT As aera BH

c. Place R’ and M’ on the chalkboard staff as follows and read.

(SS SS
Erase this melody and write a second one such as—

a
d. Point to the notes in the examples as the class sings using hand signs.
Point randomly to various notes in the examples until you are satisfied
they understand the relationship in the sound of high Re and Mi and
the lower Re and Mi.
Display the song “The Thing,” p. 62 [56].
(1) Locate the places where high Re and Mi appear.
(2) Read the melody using tonal syllables without rhythm.
(3) Read the rhythm using rhythm syllables.
(4) Read the words in rhythm as they tap beats.
(5) Read the song complete with teacher-played guitar accompani-
ment.
Teach other verses by rote and let children decide what sounds to
make in place of stamping feet.

Practice

a. Write dictation examples using R’ and M’.

b. Read melodic segments from chalkboard, feltboard, floor staff, and
flashcards for practice.
300 Chap. 6.1 / Achievement Levels

c. Encourage the children to compose segments using R’ and Mi’.

d. Read additional songs using high Re and Mi.

2. RECORDER STUDY (low C): With the addition of low C, songs pitched
in C major (D-D’), F major (S,—S), and G major (S’,—D’) can be played in diatonic
form.

a
a. Demonstrate the fingering for low C and let the children practice it.
Take time to check each child’s finger position, especially the third and
fourth fingers on the right hand.
b. Display the F major song “Hill & Gully Rider,” in Comprehensive Recorder
Method, Book 4, p. 21 [31].
(1) Read the rhythm of the song using rhythm syllables.
(2) Read the words in rhythm.
(3) Play the tune in rhythm on recorders.
(4) Add the orchestration suggested in the book or create your own.
(5) Perform the piece as follows:
* Introduction: bring instruments in one at a time.
* 1st verse: play on recorders.
* 2nd verse: improvised interlude on xylophone by a selected
student.
* 3rd verse: sing the song.
¢ 4th verse: improvisation on mallets by a second student.
¢ Sth verse: all play the recorder part printed in the book.
° 6th verse: Half the group plays the recorder part, as the other
half sings (then switch parts).
* Coda: Cut off instruments one at a time.

Practice

a. Play echoes using low C.

b. Create melodies for playing practice at the chalkboard, feltboard and
floor staff.
c. Improvise introductions and interludes for other songs used in class.
Play musical examples of recorder music from published materials:
Nash, Recorder for Beginners (to page 32; omit 28 & 29) [145]
Wheeler, Comprehensive Recorder Method, Book 3 (to page 33) [31]
Newman, Recorder Playing for the Elementary School (to p. 24) [146]
e. Play songs from teacher-made class charts

3. RECORDER STUDY (B-flat): With the addition of B-flat, the following

keys are now available:
 Suggestions for Teaching Level Twenty Concepts 301

Do-Do' = C (diatonic) Do-Do’ pent. = C,D

DRMSL = C,D,F So-So’ diatonic = F,G
DRMESES=(@ DE MSED' =D, CB!
S,L,DRM = F,G,B> La pentatonic = E,D,G
a= aces

Presentation

a. Show the fingering for B-flat and practice playing it.

Play ‘Twinkle Twinkle Little Star’ from memory in F to practice the
fingering.
Display the song ‘Tum Balalaika,’’ Level 14, Section 6.
Review reading and singing with teacher-played guitar accompani-
ment.
Play through song with recorders, accompanied by teacher on guitar.
Add the orchestration shown in Level Fourteen.
Perform:
(1) Introduction: add instruments one at a time.
(2) Play recorders on verse 1.
(3) Interlude improvise with xylophone (student).
(4) Sing the tune.
(5) Improvise interlude on recorder (student).
(6) Repeat tune on recorders.
(7) Interlude, ensemble parts only (increase tempo).
(8) Play recorders on the new tempo.
(9) Cut off everybody at the conclusion of the song.

Practice

Play echoes using B-flat.

Improvise using B-flat.
Read melodic segments for practice from flashcards, floor staff, chalk-
board, feltboard.
Play songs using B-flat.
“Blue Tail Fly’ [53]
“O Hanukkah” [68]
“God Rest Ye Merry Gentlemen” [51]
“Come Little Leaves” [66]
“Hush My Babe” [40]

4. INTRODUCE EXTENDED RESTS: Rests of more than one measure should

be introduced at this time. Extended rests, written ina single part, usually appear
like this:

me
When written in score form (one part under another) extended rests are usually
indicated by whole rests. Examples of this writing may be seen in Safari by
302 Chap. 6.1 / Achievement Levels

Konnie Saliba [153]. Extended rests written similarly may be found in the Music
with Children Series by Grace Nash [117].
The symbol for extended rests is not difficult for children, but allow for
sufficient practice of the concept.
Ostinati that include extended rests permit the teacher to vary the texture
of the arrangement. By altering voicings in a single arrangement, a greater variety
of textures is produced, and therefore a more interesting arrangement is the
result.

5. INTRODUCE THE GUITAR & ACCORDION: The children will already

be familiar with the guitar as the teacher’s primary accompaniment instrument
at earlier levels. But both guitar and accordion are in their own right solo in-
struments and the recordings of many fine artists are available.

Andres Segovia, Intimate Guitar [352]

Chet Atkins Picks Best [336]
Myron Floren, Polka King [360]

Use photos, posters, live performances and good recordings to present these
instruments and point them out when they are heard again in any recordings.
(Most basal series recordings list on the record jacket the instruments that are
playing.)

6. INTRODUCE PIANO ACCOMPANIMENTS: It is recommended that

piano accompaniments be used sparingly, if at all, with small children. By this
time, however, the piano can be used advantageously, especially where it is
used with songs showing harmonic development. Almost all basal series provide
written piano accompaniments, as do most publishers of music suitable for
fourth to sixth graders.
Nonetheless, it is well if the teacher is capable of making up or improvising
satisfactory accompaniments as well as playing those that are written. For general
classroom use, improvisation is as good as, or in some cases better than, reading
an accompaniment. On the other hand, in the context of a program, the written
accompaniment would certainly be better.

7. FOLK DANCING (BLEKING STEPS): As a continuation of folk dancing

introduced earlier, dances that include the bleking step may be introduced. The
bleking step, said to have originated in Sweden (in Blekinge County), consists
of the following Slow-slow-quick-quick-slow pattern.

Count 1 Hop on the right foot, left foot forward, toe up

Count 2. Spring to the left foot, right foot forward, toe up
Count 1 Spring right, left forward, toe up
ne Repeat count 2
Count 2. Repeat count 1
ne Hold

All the following dances may be found in Michael Herman [227]

Noriu Miego (Lithuania)

Ace of Diamonds (Denmark)
 Suggestions for Teaching Level Twenty Concepts 303

Bleking (Sweden)
Herr Schmidt (Germany)
La Raspa (Mexico)

8. FOLK SINGING GROUPS: The folk music of America (United States

and Canada) may be introduced via recordings at this level. If there are per-
formers in your area that could come to the class with a live demonstration, by
all means secure these. Folk music recordings are plentiful: consult the Schwann-2
guide or write to Folkways Records, 41 W. 61st St., New York, NY 10023 fora
current listing.
304 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL TWENTY

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Sings in-tune on two-part songs with piano
accompaniment
Instrumental Skills:
2. Reads and plays ostinati on mallet instru-
ments in classroom ensembles
3. Improvises interludes or other short sec-
tions on classroom instruments
Listening:
4. Is familiar with the sound and the appear-
ance of the piano and accordion
5. Is familiar with the sound and the appear-
ance of the classical guitar
6. Is acquainted with the sound and style of
North American folk singing
Movement:
7. Participates in bleking style folk dance
Rhythmic Literacy:
8. Interprets extended rests correctly
Melodic Literacy:
9. Sings and uses hand signs for high Re
& Mi
10. Plays low C on soprano recorder
—from echo examples
—from notation
11. Plays middle B-flat on soprano recorder
—from echo examples
—from notation
12. Improvises patterns and melodies contain-
ing any of these pitches: B,B.A,G,FLE,D,C

LEVEL COMPLETED (date)

 Level Twenty-One Teaching Outline 305

LEVEL TWENTY-ONE

There are two rather difficult and important concepts to be introduced in Level
Twenty-one.
The first of these is alla’breve or cut time, signified by the meter signature
({). Cut time may also be written as 2/2. Both of these meter signatures employ
the half note as the beat note. To this point, all music has been read using the
quarter note as the beat note in duple time. Now the beat note divided into two
will yield two quarter notes, the beat note divided into four will yield four eighth
notes, and so on. Since the sound of a half note followed by two quarters in 2/2
or { is the same as the sound of a quarter followed by two eighths in 2/4 or
4/4 meter, the syllables used to speak this sound will be the same (1, 2 ne).
The second new idea at this level is the use of chromatic conversion units for
the diatonic mallet instruments. If you cannot obtain chromatic units, this may
be disregarded. But whether or not you have conversion units available, your
students will need to start reading and playing non-ostinato mallet parts (that
is, parts that do not repeat themselves over and over).
Recorder study will add high E, the first of several pitches to employ the
half-hole fingering technique. The focus of listening activities should be the
sound of the standard chamber ensembles for strings and brass, the string quartet
and the brass quintet.
Cultural study units will emphasize Mexican/Latin American songs and
Northern European songs. Northern Europe is considered to include what is
generally known as Western Europe: Britain, Scandinavia, Germany, the Low
Countries, France, Italy, Spain, and Portugal.

LEVEL TWENTY-ONE TEACHING OUTLINE

Musicianship

Singing
Continue: * Chordal accompaniments using guitar, baritone ukulele,
autoharp and omnichord
¢ Piano accompaniments
* Two-hand singing
Introduce: * Mexican/Latin American song culture
¢ European song culture
Materials: * Seasonal songs
“Halloween” [96]
“Hanukkah,” Book 4 [40]
* Recreational songs
“Supercalifragilisticexpialadotious” [197]
“T Don’t Mind,” Book 4 [161]
“Original Talking Blues,” Book 6 (172]
¢ Mexican/Latin American songs
“El rancho grande,’”’ Book 4 [172]
“Mary Ann,” Book 4 [31]
¢ Northern European songs
“Molly Malone,” Book 4 [172]
“Scarborough Fair,” Book 4 [161]
306 Chap. 6.1 / Achievement Levels

Instruments
Continue: * Improvisation
* Orchestrations using all instruments
* Reading ostinati
Introduce: * Chromatic conversion units for mallet instruments
¢ Play non-ostinato parts
Materials: * Songs with non-ostinato parts for reading
“‘He’s Got The Whole World in His Hands” [106]
“Hoedown” [179]
“Hill and Gully Rider,” Book 4 [31]
“Sandy Land,” Book 1 [130]

Listening
Continue: * Listening to instruments of the orchestra
¢ Listening for texture, timbre, expressive qualities
Introduce: ¢ Sound of the string quartet
* Sound of the brass quintet
Materials: * Recordings of string quartet
“Mozart & Haydn Quartets” [357]
“Beethoven Quartets” [329]
* Recordings of brass quintet
“Music for Brass’’ [358]
“German & English Brass Music” [345]

Movement
Continue: ¢ Use movement with all songs wherever possible
Introduce: * No new concepts
Materials: ¢ No materials specifically for movement

Music Literacy

TABLE OF DUPLE RHYTHMS THAT SOUND THE SAME

Meter signature 2/4 & 4/4 C & 2/2

Beat note (1, 2) é é d J
Division of meter (1 ne, 2 ne) (inal) peal ie 4
(Qe) if i
(1 ta ne ta, 2 ta ne ta) Sapa teat (Tiga neta
(1 ne ta, 2 ne ta) (Sabaliiamets SeiSia
(1 ta ta, 2 ta ta) Fine eeast bal SN ag
(1 ta ne, 2 ta ne) aa Ame meta ||
(1 - ta, 2 - ta) (craic (ames » |.
(1 ne - ne) ea: lee ae
(i -ne) | p i |
(1 ta -, 2 ta -) aa bho

Rhythm
Continue: Rhythm dictation
Reading duple rhythms in 2/4, C, 4/4
Reading triple rhythms in 6/8, 3/8
Reading triple rhythms in 3/4, 6/4
 Suggestions for Teaching Level Twenty-One Concepts 307

Introduce: «° alla breve (cut time) and 2/2 meter signatures

Materials: »* Songs notated in extended duple notation
“Hoedown” (2/2) [179]
“Lil Liza Jane” (2/2) [68]
“Jingle Jangle’’ (¢), Book 4 [107]
“The Tree in the Wood (() [122]

Melody
Continue: Ȣ Singing octave range pentatonic & diatonic songs
* Vocal reading in keys of C,F,D,G major and a, e, d minor
¢ Playing recorder on the pitches C,D,E,F,F#,G,A, B-flat,
BAG and
* Hand signs and syllables for all pitches inside the range
low So to high Mi
Introduce: + Recorder study (high E)
Materials: * Songs for recorder using high E
“White Coral Bells,’” Book 3 [117]
“Linstead Market,” Book 4 [31]
“Paw Paw Patch” [7]

SUGGESTIONS FOR TEACHING LEVEL TWENTY-ONE

CONCEPTS

1. RECORDER STUDY (high E): The addition of high E allows songs with
a range of D-M’ (in C major), octave range in e minor pentatonic, and basic
pentatonic in G major to be played.

PS jootoo2
Presentation

a. Show the fingering for high E and practice producing it.

b. Start a bordun in C on bass xylophone (alternating) and alto metal-
lophone (basic).
c. Improvise four-beat patterns for the class to echo using E’.
d. Take turns around the class letting students play examples for the class
to echo.
e. Display the song ‘Wait for the Wagon” [16]
(1) Read the rhythm using rhythm syllables.
(2) Read the melody using tonal syllables.
(3) Read the complete song with text.
(4) Play the melody on recorders.

Practice

a. Improvise interludes & melodies.

b. Read melodic segments for practice from flashcards, chalkboard, felt-
board.
308 Chap. 6.1 | Achievement Levels

c. Read other songs that use fourth space E.

“White Coral Bells’’ [117]
“Who Killed Cock Robin?” [117]
“Paw Paw Patch” [7]
“Dona Nobis Pacem” [118]
d. Consult these recorder books:
Nash, Recorder for Beginners, pp. 38—40 [145]
Newman, Recorder Playing in the Elementary School, p. 26 [146]
Wheeler, Comprehensive Recorder Method, pp. 16—18/29-34 [31]

2. INTRODUCE CHROMATIC CONVERSION UNITS AND FULL SIZE

TIMPANI: At this point, chromatic mallet instruments may be introduced. Most
mallet instrument companies have available conversion units which, when added
to the diatonic instrument, make it fully chromatic throughout its range. An
increasing number of songs will be used containing chromatic pitches in addition
to those in the diatonic scale. Even more will have harmonic changes that will
require chromatic notes in the ensemble parts.
Melodies with chromatic changes in melody and harmony include:

“Give a Little Whistle” from Pinocchio (Disney)

“Twelve Days of Christmas”
“The Little White Duck”

3. PLAY NON-OSTINATO ENSEMBLE PARTS: The children began play-

ing, then reading, simple short ostinati. Later, these were lengthened from a
maximum of four beats to eight, and finally, ostinati incorporating chord changes
were introduced. Now students should experience playing mallet parts that do
not repeat over and over as an ostinato. At first, use simple parts since it is not
very easy to follow notation while playing mallet instruments.
Examples of non-ostinato mallet parts are

“sur Le Pont,’ -p; 36-[110]

“Wake Me, Shake Me,” p. 139 [111]
“Mama Bake the Johnny Cake, Christmas Comin,” p. 31 [183]

4. INTRODUCE THE BRASS QUINTET: The brass quintet is a recognized

chamber music ensemble with two trumpets, one horn, one trombone, one tuba
as its standard instrumentation. It has a unique sound and may be introduced
at this time. Fine brass quintet recordings are readily available and can be found
listed in Schwann Artist Issue. Some examples are

Music for Brass, American Brass Quintet [358]

In Concert, New York Brass Quintet [350]
German & English Brass Music of the Late Renaissance, Eastman Brass Quintet
[345]

5. PREPARE SI: Si is the sharped alteration of So (the fifth of the major

scale) and is needed to sing songs in harmonic minor and in melodic minor
(after Fi is introduced). Ref: Chapter 2, Section 2-10.
 Suggestions for Teaching Level Twenty-One Concepts 309

* Echo tonal patterns using Si with syllables & hand signs

* Sing songs in harmonic minor to accustom the children to the sound of
Si such as “Caravan,” p. 52 [136]

6. MEXICAN/LATIN-AMERICAN SONGS: This unit may include any mu-

sic in the Latin-American style. It should consist mostly of folk material from
Mexico and the Southwestern United States, but may also include songs of
historical importance from the Southwest. Its purpose is to acquaint the students
with the sound of the Latin style. Study Mexican-Latin music, especially the
sound of the mariachi band. Examples of Latin songs are found in almost every
book of folk song, but some are

“Angelina” [161]
“Cielito Lindo” [68]
“Carmen, Carmela” [66]
“Chiapanecas” [113]
“La Jesucita’” [51]

7. INTRODUCE THE STRING QUARTET: The String Quartet is a popular

chamber music ensemble with a standard instrumentation of 2 violins, 1 viola,
and 1 cello. Hundreds of string quartets have been written since the late 1700's
when it was one of the basic instrumental ensembles employed. Outstanding
examples of the string quartet literature are listed below. For additional listings,
consult Schwann-1 and 2.

Beethoven Quartets, Juilliard String Quartet [329]

Haydn Quartets, Fine Arts Quartet [349]
Schoenberg Quartets, Kohon Quartet [362]
Mozart and Haydn Quartets, Salzburg Mozartium Quartet [357]

8. NORTHERN EUROPEAN SONG CULTURE: This unit should include

folk songs and other songs from Northern and Western Europe, especially those
brought by immigrants to the United States. Try to listen to as much music as
possible from the various regions to develop an understanding of its style and
purpose. Perform the music as authentically as possible; always add information
relating to the geographical, historical, or cultural aspects of the song and its
originators. Create bulletin boards about the unit to focus the children’s attention
and create interest. By country of origin, the songs are identified below:

Ireland: ‘‘Cockles & Mussels,” “Moreen,” “Londonderry Air’

Scotland: ‘‘Loch Lomond,” “Auld Lang Syne,” “Annie Laurie’
France: “Pat-a-pan,” “Alouette,” ‘“Frére Jacques,” “Sur le pont d’Avignon’’
Italy: ‘Viva la Musica,” “Santa Lucia’
Germany: “Music Alone Shall Live,” “Hark the Herald Angels Sing’
Australia: “Waltzing Matilda’”’
England: “Here we come a Wassailing,”’ ‘Masters in the Hall,” “God Rest
Ye Merry Gentlemen’”’
Wales: “Deck the Halls,” “All Through the Night,” ’“Ash Grove”

9. INTRODUCTION OF ALLA BREVE METER SIGNATURES (2 + €): The

alla breve signatures require reading familiar notation but counting it in a new
way. The transformation is as follows:
310 Chap. 6.1 / Achievement Levels

Learning this transformation is very similar to that involved in learning to read

6/4 notation from 6/8.
Presentation

a. Begin by singing a known song with guitar accompaniment, such as

“Goober Peas,” p. 127 [56].
b. Lay the guitar aside and have the class finger tap a beat with you J
= 110.
c. Echo speak the words of the first phrase.
“Peas, Peas, Peas, Peas, Eating goober peas”
d. Follow with echo of the rhythm syllables.

fa 2 1 2 |.eirta 2c lia (rest) |

e. Notate this piurase on the chalkboard (or select a student to do it).

CR ay e tbaka aaeee
f. | Echo speak the words to phrase two; echo the rhythm syllables and
notate as before.
g. Tell the class you are going to show them a different way of writing
this rhythm.
h. Show the alla breve { signature and explain it means “cut time”
which refers to the fact that all the note values are “cut’’ in half.
(Present the 2/2 time signature another time.)
i. Notate the rhythm of the song in cut time directly under the 2/4
notation so you have the following on the board. (*)

een pemran ees heed shat

eR ala ame eee}
Goda atu dlic eee teen eeee cee ae
(el 2 ta 2 ia il rest)

Re ee ee |

(*) Rhythm syllables are given for reference only; do not write on the board.
 Suggestions for Teaching Level Twenty-One Concepts 311

.
—- Read with rhythm syllables as you point to the beats.
k. Erase the 2/4 notation and read once more.
1. Display the song “Luau,” p. 122 [66].
* Read the rhythm using rhythm syllables.
* Read the melody with tonal syllables (the lower part).
* Sing the complete song.
m. Sightread the second harmony part (upper part on the staff) with the
entire class.
n. Divide the class and sing both parts.
o. Add the following orchestration to the song and perform again. If
Hawaiian instruments are not available, substitute those shown in
parentheses.

Uli-Uli ; ¢
(Maracas) :
Ipu F -¢ | | |
(Tom-tom) ;
Pu Niu _¢ \ | b b | b
(Coconut shells)
Kalaau -¢ oI b : uf b
(Claves)
Baritone Uke -¢ falosde eaten mimes Snes
(Teacher-played)

Performance:

Introduction: start with tom-tom and add each instrument.

Verse is sung in unison, chorus in parts.
Improvise interlude on temple block by a student.
Repeat the song as before.
58
onoCoda: Repeat the chorus (last 8 measures) softly, followed by eight
more measures of rhythm instruments which gradually fade away to
the end.
312 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL TWENTY-ONE

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Understands background and musical style
of Latin American song culture
2. Understands background and musical style
of North European song culture
Instrumental Skills:
3. Reads and plays non-ostinato mallet instru-
ment parts
4. Plays chromatic notes on mallet instru-
ments
—from notation
—by improvising
Listening:
5. Knows the instrumentation of a string quar-
tet and its repertory
6. Knows the instrumentation of a brass quin-
tet and has listened to some of its repertory
Movement:
7. Participates in folk dance and other move-
ment activities
Rhythmic Literacy:
8. Reads using correct rhythm syllables from
music written in 2/2 and alla breve
9. Understands the relationship between
rhythms written in 2/4 & 4/4 and 2/2& €
Melodic Literacy:
10. Plays high E on recorder
—from echo examples
—from notation

11. Improvises melodies containing high E

LEVEL COMPLETED (date)

 Level Twenty-Two Teaching Outline 313

LEVEL TWENTY-TWO

Another ear-training/preliminary part singing device, called chordal accompa-

niment singing, will be introduced in this level. This consists of dividing the
class into four groups, three of which sing or hum the pitches of the accom-
panying chord while the fourth sings the melody.
Cultural awareness will be expanded to include the song culture of two
groups of Americans, Black Americans and Hawaiians. Movement will feature
Polynesian dances. Mexican and Latin American dances will also be introduced.
(Mexican/Latin song culture was introduced in Level Twenty-One.)
Listening activities will include the sound of the woodwind quintet, a
standard and the percussion ensemble. The percussion ensemble has no stan-
dard instrumentation and might consist of any number of players performing
on an unlimited number of percussion instruments.
Literacy will feature two important new subjects: the syllable and hand
sign for SI (the raised fifth—SO) and C-sharp for the recorder. SI is needed to
sing harmonic minor songs, and C-sharp will be necessary to play A major.
Level Twenty-Two is also the time when the differences in the sound of
the various minor keys should be emphasized. The three forms of the minor
are shown below.

Natural minor
cami) On Re meVilna soon ela’
Harmonic minor
(Eau DoweRewe Vile baa oles lea
Melodic minor*
eam ieDom hese Miler oh lha

LEVEL TWENTY-TWO TEACHING OUTLINE

Musicianship

Singing
Continue: »° Chordal accompaniments on songs using guitar, piano,
baritone ukulele, autoharp, or omnichord.
* Two-hand singing
Introduce: * Chordal accompaniment singing
* Black-American song culture
¢ Hawaiian song culture
Materials: * Black-American songs
“I’m Gonna Sing,” Book 2 [121]
“All Around the Mountain,’’ Book 6 [124]
¢ Hawaiian songs
“Aloha Oe,”’ Book 5 [172]
“Luau,” Book 5 [66]
¢ Seasonal songs
‘Judean Shepherds” [106]
“Jeanette Isabella” [68]

*The ascending melodic minor scale is as shown; descending, it is the same as the descending natural
minor scale.
314 Chap. 6.1 / Achievement Levels

* Recreational songs
“The Thing’ [56]

Instruments
Continue: »° Improvisation
¢ Orchestration
* Sightreading and playing ostinati and non-ostinati accom-
paniments
Introduce: »* No new concepts
Materials: +» Use other songs to create orchestrations
* Use published orchestrations
“Caravan” [136]

Listening
Continue: ¢ Listen to expressive elements in music
* Identify orchestral instruments
Introduce: »* Woodwind quintet (Flute, Oboe, Clarinet, Bassoon, Horn)
¢ Percussion ensemble
Materials: * Woodwind quintet recording
Bach, Art of the Fugue [257]
¢ Percussion ensemble recording
Chavez, “Toccata for Percussion”’ [274]

Movement
Continue: »* Use movement with all songs whenever possible
Introduce: »* Mexican dances
* Polynesian dances
Materials: * Mexican dance recording
“La Raspa”’ [227]
* Polynesian (Hawaiian) dance recording
“Tinikling,’”” Book 6 [92]
* North European dance recording
“Around the Village” (English) [231]

Music Literacy

Rhythm
Continue: ¢ Reading duple rhythms in 2/4, 4/4, and C
* Reading duple rhythms in 2/2 and alla breve
* Reading triple rhythms in 3/8 and 6/8
* Reading triple rhythms in 3/4 and 6/4
Introduce: * No new concepts
Materials: * Songs for rhythm review
(2/4) ‘Sandy Land” [130]
(4/4) “Every Night’ [31]
(C) ‘Four in a Boat’ [84]
(2/2) “Hush Little Baby’’ [130]
(C) “French Cathedrals” [116]
(3/8) “We Three Kings” [68]
(6/8) ‘’Sh Ta-ra-dah-day”’ [130]
 Scotland’s Bunning 315

(3/4) “Dona Nobis Pacem,” Book 5 [172]

(6/4) “Auld Lang Syne” [122]

Melody
Continue: Ȣ Singing and reading songs in octave range
¢ Vocal reading in keys of C, D, F, G major and a, e, d minor
¢ Hand signs and syllables for S,-M’ range
¢ Dictation
Introduce: ¢ Recorder study (C-sharp)
¢ SIl—syllable and hand sign
¢ Minor mode differences (natural, harmonic, melodic)
Materials: ° Natural minor song
“Poor Wayfaring Stranger’ [116]
¢ Harmonic minor song
“Wade in the Water” [62]
¢ Melodic minor song
“To See Swainson,” Book 4 [172]
* Songs containing middle C-sharp for recorder
“Raisins and Almonds,” Book 5 [90]
“Chester,” Book 5 [107]
“Ash Grove” [116]
* Song with recorder parts containing middle C-sharp
“Scotland’s Burning” (see below)

SUGGESTIONS FOR TEACHING LEVEL TWENTY-TWO

CONCEPTS

1. RECORDER STUDY (High C-sharp): The addition of CH makes possible

songs in A major as well as chromatic alterations in other keys.

(22
Presentation

a. Sing the round “Scotland’s Burning” in the key of F, starting on the

pitch C. Next sing it with tonal syllables starting on SO.

SCOTLAND’S BURNING* [in A major]

a
Scot-land’s burn - ing
SS
Scot- land’s burn - ing
A SeS==
en - gines call the en- gines

FIRE! FIRE! FIRE! FIRE! Pour wa - ter pour wa - ter

*This song is a musical joke and originates from the color of the Scottish highlands when the heather
is in full bloom.
316 Chap. 6.1 / Achievement Levels

Play the song in the key of F on recorders.

Now ask the class to play the song starting one note higher (in the
key of G, starting note D).
Show the fingering for Cf and practice producing it.
Write some melody segments on the chalkboard and read first with
tonal syllables and then with recorder.

= ; ma Ee a: SSS
SFiSaeNlre (2) Bara eB Le Toa)

f. Play “Scotland’s Burning” in the key of A-major while the class watches
and listens.
g. Ask them to play the song in this key (start on E).
h. Display the song “Sweet Betsy from Pike,” Burl Ives Song Book, p. 234
(Key of D) [17]
i. | Review the rhythms below as needed.

lines hcamicek
aes onstage aea
j. Play through with recorders.
k. Sing the song with words.
1. Sing the chord roots.
m. Combine the chord roots and the melody (divide the class).
n. Play the chord roots and the melody (divide the class).
o. Reverse the parts to give every child experience on both.

Practice

a. Play introductions, interludes, and improvisations using C4.

b. Read other songs in A major, D major, D minor, and other keys that
include third space Cf notation.
c. Echo patterns with Gi.

2. BLACK-AMERICAN SONGS: This unit should consist mostly of folk

and other music of Black Americans, but can also include songs from Black
Africa, especially those which appear to have some relationship to the African-
American song culture. Since much of this music was performed with rhythmic
accompaniment only, or none at all, retain this style to the extent possible.
Many of the songs are more expressive and meaningful if sung in the
dialect in which they were originally conceived. It will enrich the music tre-
mendously if the teacher is able to do this effectively.
References: [1] [201] [388]

3. SINGING CHORDAL ACCOMPANIMENTS: This technique is a con-

tinuation of the process begun with chord root singing, leading toward the
further understanding of traditional chordal harmony. The process is as follows:

a. Write the following on the chalkboard

 Scotland’s Bunning 317

D
S
M te,
fos"
eal ese
Pe

Practice each part (across) by pointing to the letter to be sung.

c. Divide the class into three groups and sing all three at the same time.
(Hold each chord until it is in tune—indicate the changes needed with
your eyes and other hand.)
d. Add a fourth group singing chord roots

el S
(EV) Ve)
e. Teach this rhythm with a stamp-clap ostinato (by rote)

Ree
reeros eo
pee ese SDier) 12 Ree 12 ee) | !
Tut Ta Du - da Du - da Day
) (Eig =) CVi4 jas) (1)

f. Point to the chords as the children sing this rhythm in three or four
part harmony.
g. Form still another group to sing ‘“Camptown Races” along with this
rhythmic chordal accompaniment.

Use chordal accompaniments with other songs for practice and the expe-
rience of hearing harmony. Most can be sustained chords and need not be
rhythmical as was the above example. Be sure to point out what chords are
being sung so the children will develop an understanding of the pitches to be
found in each chord (I-IV-V’).
4. MEXICAN AND POLYNESIAN FOLK DANCES: As a continuation of
the study of folk dance, introduce selected Mexican and Polynesian dances.
Non-partner group dances are especially effective at this level.

Examples:
“Tinikling,’”” Making Music Your Own, VI (music & recording) [92]
“La Raspa,” Step Right In (instructions & music only; record sources listed) [175]
“Mexican Hat Dance’”’ (also called Mexican Waltz), Step Right In (instructions & music,
with reference list for records) [175]
“Ba-O,’" Making Music Your Own, VI (music & recording) [92]

5. INTRODUCE THE WOODWIND QUINTET: Another standard chamber

music ensemble with the instrumentation of: 1 flute, 1 oboe, 1 clarinet, 1 bassoon,
and 1 horn. While the horn is not a woodwind instrument it is traditionally a
member of the woodwind quintet. If possible secure the services of a live per-
forming group from your area or from your high school. Supplement these with
selected recordings.

Villa-Lobos Quintet, Woodwind Arts Quintet [319]

Zaninelli Dance Variations, American Woodwind Quintet [322]
Bach's Art of the Fugue, New York Woodwind Quintet [257]
318 Chap. 6.1 / Achievement Levels

6. HAWAIIAN SONGS: The songs from the state of Hawaii and Polynesia
may be presented in this unit. At the time the unit is started, prepare a bulletin
board to display related material. Present some brief bits of information about
the origin, use, and cultural background of the songs selected. Perform the
songs as authentically as your resources and knowledge allow. Since dance and
music are nearly inseparable in Polynesia, some group dances of the region will
probably be included.

Examples:
“Aloha Oe” [92]
“Hawaiian Rainbows” [115]
“Feasting by the Ocean” [115]
“Hawaiian Song” [60]
“Boat Song” [16]

7. INTRODUCE SI: The tonal syllable Si (raised 5th of the major scale—
or sharped So) may be introduced at this time. Some songs will be encountered
that employ chromatic alterations in the melody for which this syllable will be
useful. It is also a necessary pitch in the harmonic minor scale as well as the
ascending form of the melodic minor scale.
Presentation

a. Begin melodic echoes with syllables and hand signs, some of which
include Si.
b. Show Si on the staff at the chalkboard in several keys.
c. Let the children copy Si on their slates and check.
d. Give three or four melodic echo patterns in dictation to write on their
slates, and check them.
e. Display the song “Go Down Moses.”

vi i

ere lee
Is - rael was in E - gypt land, Let my _ peo-ple £0, Op-

pee
i=
vi i

pressed so hard they could not stand, Let my _ peo- ple g0,

= Mo - ses
ia
Way
=
down - gypt land

Pha - roah Let emmy, peo - ple go

 Scotland's Bunning 319

f. Before reading:
* Find Do
* Locate Si in the song
* Review the intervals M—D’ at the beginning and the MMSiSiL
passage over “’Let my people go.”
g. Read the rhythm using syllables.
h. All sight-sing the melody.
i. All sing the harmony part.
—.
Divide the class for the two-part section.
k. Perform with guitar accompaniment.

Practice

a. Sing other songs using Si.

b. Provide examples for dictation using Si.
c. Read examples from flashcards, chalkboard.
d. Let the children compose examples using Si for the class to sing.

8. DEFINE DIFFERENCES IN NATURAL, HARMONIC, & MELODIC

MINORS: At this point, you may wish to define the differences in the three
commonly used forms of minor. Demonstrate the difference by reading through
the three scales using hand signs and syllables. Later, identify all minor songs
as either natural, harmonic, or melodic minor.

9. INTRODUCE THE PERCUSSION ENSEMBLE: The percussion ensemble

is a commonly encountered ensemble but unlike the string, woodwind, and
brass quintets has no standard instrumentation. Any number of players may be
included as well as a variety of instrument types. These are some examples of
available recordings:

Kraft, Momentum for 8 Percussionists, Los Angeles Philharmonic Percussion

Ensemble [291]
Carlos Chavez, Toccata for Percussion, L.A. Percussion Ensemble [274]
Benson, Three Pieces for Percussion [266]

10. PREPARE FI: Fi is the sharped fourth degree of the major scale and is
needed to sing songs in melodic minor tonalities and those that use altered
fourth degree pitches. REF: Chapter Two, Sections 2-5 and 2-10.

* Echo tonal patterns using hand signs and tonal syllables

* Sing songs that use Fi:
“Now Thank We All Our God” [68]
“Santa Lucia’ [51]
Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL TWENTY-TWO

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Understands Black-American song culture
2. Understands Hawaiian song culture
Instrumental Skills:
3. Improvises interludes using both diatonic
and chromatic mallet instruments
4. Reads and plays non-ostinato parts on dia-
tonic and chromatic instruments
Listening:
5. Knows the composition of a woodwind
quintet and has listened to some of its rep-
ertory
6. Knows the composition of a percussion en-
semble and has listened to some of its rep-
ertory
Movement:
7. Participates in Mexican folk dances
8. Participates in Polynesian folk dances
Rhythmic Literacy:
9. Reads duple rhythms in 2/4,4/4,& C meters
10. Reads duple rhythms in 2/2 & { meters
11. Reads triple rhythms in 3/8 & 6/8 meters
12. Reads triple rhythms in 3/4 & 6/4 meters
Melodic Literacy:
13. Plays C-sharp on soprano recorde
—from echo examples
—from notation

14. Knows syllable and hand sign for Si

15. Understands differences in natural, me-

lodic, and harmonic minor modes

LEVEL COMPLETED (date)

 Level Twenty-Three Teaching Outline 321

LEVEL TWENTY-THREE

The study of the various song cultures that have come to this country from
around the world continues with the introduction of Jewish and Middle Eastern
songs and dances. While Jewish songs are generally readily available in books
and basal series, the teacher should make an effort to locate songs that represent
other Middle Eastern nations such as Lebanon, Turkey, Iran, and’ the many
Arab nations of the area.
At this level the cello-bass will be introduced into the classroom ensemble.
This instrument may be tuned so that no fingering is required; the child merely
plays the open strings.
Literacy introduces FI (the sharp FA), its syllable, and hand sign. In ad-
dition to its use as chromatic alteration in some songs, FI is necessary to perform
(sing) melodic minor.

LEVEL TWENTY-THREE TEACHING OUTLINE

Musicianship

Singing
Continue: ¢ Two-hand singing
* Chordal accompaniments for songs using piano, guitar,
baritone ukulele, autoharp, and/or omnichord
Introduce: » Jewish folk song culture
¢ Song culture of Middle Eastern nations
¢ Three-part music
Materials: »* Jewish songs
“Shalom Aiken” [47]
“Hannukah” [31]
¢ Middle Eastern songs
“Caravan” (Syrian), Book 4 [107]
¢ Seasonal songs
“Singing in the Rain’ [70]
¢ Recreational songs
“59th Street Bridge Song,’’ Book 4 [107]
“On the Road Again” [70]

Instruments
Continue: °¢ Improvisation
¢ Orchestrations using all instruments
* Reading and improvising ostinati
Introduce: »° Cello-bass for the classroom ensemble
Materials: *¢ Orchestrations
“Wayfaring Stranger” [67]
“Long John” [130]

Listening
Continue: + Expressive elements and orchestral instruments
Introduce: » Four vocal types (S A T B)
Materials: * Recorded examples of each voice type
S22 Chap. 6.1 / Achievement Levels

(Soprano) ‘Jewel Song” from Faust [280]

(Alto) ‘““Habanera”’ from Carmen [268]
(Tenor) Excerpts from La fille du Régiment [279]
(Bass) ‘Toreador Song” from Carmen [271]

Movement
Continue: Use movement at every opportunity with songs
Introduce: Jewish and Middle Eastern folk dance
Materials: Recordings of Jewish and Middle Eastern dances
Kraus, ‘Dancing around the World” [234]
Glass, “Around the World in Dance” [231]

Music Literacy

Rhythm
Continue: Reading duple rhythms in 2/4, 4/4, and C
Reading duple rhythms in 2/2 and alla breve
* Reading triple rhythms in 3/8 and 6/8
* Reading triple rhythms in 3/4 and 6/4
Introduce: ¢ No new concepts
Materials: ¢ Review songs in various meters
(2/4) ‘’Supercalifragilisticexpialidotious” [198]
(4/4) ‘““My Lord What a Morning” [121]
(C) “Old Brass Wagon” [91]
(C) ‘Marines Hymn” [91]
(2/2) “When the Saints go Marchin’ In,” Book 4 [161]
(6/8) “Sally Go Round the Sun” [91]
(3/8) “Sing Gemutlichkeit,”” Book 5 [66]
(3/4) “Judean Shepherds” [106]
(6/4) “Lullaby,” Book 3 [172]

Melody
Continue: Singing and reading octave range songs
Vocal reading in C, F, G, D major and a, e, d minor
Recorder playing in the above keys
Melodic dictation
Introduce: FI (hand sign and syllable)
¢ Recorder study (A-flat, E-flat, E-flat’)
¢ Alto recorder to children
Materials: ¢ Melodic minor songs that use FI
“Gypsy Dance,” Book 6 [40]
“Autumn Roundelay” [44]
* Song or recorder parts containing E-flat
“Some Day’”’ [160]
* Song or recorder parts containing A-flat
“Charlie Is My Darlin’ ”’ [82]
* Songs that use both alto and soprano recorder in ensemble
“Goodbye Old Paint,” Book 5 [161]
“Marching to Pretoria,” Book 5 [161]
 Suggestions for Teaching Level Twenty-Three Concepts 323

SUGGESTIONS FOR TEACHING LEVEL TWENTY-THREE

CONCEPTS

1. PRESENT FI:
Presentation

a. Begin with melodic echoes using syllables and hand signs including
Bic

SSS “Ease Pr: =

b. Show Fi on the staff in the key of C major.
c. Write a melodic segment on the chalkboard to read.

oo
Change the pitches around to form different melodies for reading
practice.
e. Display the song ‘Let There Be Peace On Earth” [115]
f. Before reading, locate the Fi’s in the song.
g. Read with syllables (tonal) as you point.
h. Read with words.
i. Add a piano accompaniment and sing the song once more.

Practice

a. Read other songs that contain Fi.

b. Provide examples for dictation of segments including Fi.
c. Read examples from chalkboard in various keys for practice.

2. RECORDER STUDY (A? and E): The addition of A-flat and E-flat will
allow songs in the keys of B-flat and E-flat to be played.

——————
Presentation

Show the fingering for A-flat and practice producing the sound.
Show the fingering for high E-flat and practice the sound.
Show the fingering for low E-flat and practice the sound.
soa
ele Play echoes using these pitches.

fae Ss ce ee
 BU099HHH22 Ud-U6-67 15-12-44
e-Hall: AN INTEGRATED MUSIC

324 Chap. 6.1 / Achievement Levels

e. Display the “Lullaby” by Johannes Brahms in E-flat. For this song, see
[118]
f. Find Do (this is the first time playing in a key with three flats).
g. Read the rhythm using rhythm syllables as they finger.
h. Using the chin position, sing the melody saying the tongueing syllable
edu.
i. The teacher should add a piano accompaniment as the students play
the melody on recorders. Note: This piece would also sound well with
a mallet instrument ensemble accompaniment.

Practice

a. Echo melodic patterns using these pitches.

b. Read other songs in Bb and E? that make use of these pitches.

3. JEWISH SONG CULTURE: Hebrew-lIsraeli music has a unique flavor

compared with the music of other people who have migrated to the United
States. It is, however, typical of most of the music of the Middle East region
and the teacher may wish to include some songs and recordings from the Syrian,
Arab, Persian, Turkish, North African, etc. song literature. Create a bulletin
board for display during the presentation of this unit. Dancing and movement
are often integral parts of this music and should be included in order to better
understand its style and purpose.

Examples:
“Shalom Chaverim” (round) [66]
“Toembai” (round) [92]
“Praise Our Creator” (Arab folk tune) (the above tune is an example of harmonic minor
mode) [66]
“Hanukkah Song” [51]

4. INTRODUCE THREE PART SINGING: As the children gain in vocal

independence, they can now explore singing in three parts. The sound of three
parts is not new (since chordal harmony singing was introduced in the previous
unit). What is new will be reading three parts from a score.
If difficulty is anticipated, have the class sing through the second and third
parts together before adding the melody. Always rotate the parts so that all the
children experience singing all the parts.
Three-part music is commonly found in most basal series in the Fifth and
Sixth grade books.

5. JEWISH FOLK DANCES: In this unit, Jewish folk dances may be intro-
duced simultaneously with Jewish song, since many songs are dance songs.
Although the most well known Jewish dance is the Hora, there are others that
are equally enjoyable. The following recordings offer both music and instructions
for the dance steps:

Michael Herman, All-Purpose Folk Dances [227]

Glass, Hallum & Capon, Around the World in Dance [231]
Dick Kraus, Dancing Around the World [234]

6. INTRODUCE THE ALTO RECORDER TO THE CHILDREN: The alto

recorder combines well with two soprano recorders to produce three-part music.
FOR ELEMENTARY SCHOOL/Young

Suggestions for Teaching Level Twenty-Three Concepts 325

Once it is introduced, use it thus as a means to extend and vary the ensemble
used in class.
Since there are rarely enough alto recorders in the typical classroom to
teach everyone at once to play, it may serve your purpose to teach the instrument
on soprano recorders.
For example, the fingering for fourth space E on the alto is the same as
the fingering for third line B on the soprano. Let the children “pretend” they
have altos, but use sopranos. Read alto music with the correct fingerings but
play on the soprano instruments. When the fingerings are known to all, let one
child play the alto.
One of the better volumes for introducing alto recorder is Nash, Recorder
Ensembles [44].

7. WRITING AND DICTATION IN THREE MINOR TONALITIES: To this

point, the children have heard the differences in sound of the various minor
modes but have not written them. Now they may begin working with writing
examples and taking dictation. Always give dictation according to the method
outlined in Chapter 5, Section 5-1 using syllables and hand signs. It will be
necessary to work on writing and dictation frequently for the class to develop
their aural discrimination of the three forms.

8. INTRODUCE THE CELLO-BASS INTO THE ENSEMBLE: The cello-bass

may be introduced at this level as an addition to the bass instruments of the
ensemble or as a substitute for them to produce a different tone color.
At first, let the children play open strings without fingerings. The four
strings can be tuned so that the root of the I, II, IV, and V chords are available.
When the children become adept at handling the instrument, teach them the
elementary hand position for fingering the instrument. Work with the bow may
also be started at this time. See the Orff-Schulwerk volumes (Hall and Murray
editions) for examples of writing for cello-bass (gamba) [108] and [110].

9. INTRODUCE THE SOUND OF THE FOUR BASIC VOICE TYPES (So-

prano, Alto, Tenor, and Bass): As with the instruments of the orchestra and
band, try to obtain the services of a professional singer or advanced high school
student to come to your class to provide a live performance. Supplement this
visit with recordings from your library. The following may prove useful:

Soprano “Jewel Song” from Faust by Gounod [280]

Alto ‘“Habanera” from Carmen by Bizet [268]
Tenor “Song of India’ from Sadko by Rimsky-Korsakoff [303]
Bass “Toreador Song” from Carmen by Bizet [271]
326 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL TWENTY-THREE

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Understands the Jewish song culture
2. Understands the song culture of the Middle
Eastern area
3. Maintains own part in three-part music
Instrumental Skills:
4. Plays cello-bass adequately in classroom in-
strumental ensembles
Listening:
5. Recognizes differences in soprano, alto,
tenor, and bass solo voice types
Movement:
6. Understands the background and partici-
pates in Jewish and Middle Eastern folk
dance
Rhythmic Literacy:
7. Reads duple notation in all meters
8. Reads triple notation in all meters
Melodic Literacy:
9. Knows syllable and hand sign for FI
10. Plays alto recorder parts in ensembles
11. Plays A-flat, low E-flat, & high E-flat on the
soprano recorder—
—from notation
—from echo examples

LEVEL COMPLETED (date)

LEVEL TWENTY-FOUR

The study of various musical cultures will continue in Level Twenty-Four with
the introduction of Eastern European songs and American Indian songs. Eastern
European dances will also be emphasized.
Listening activities will stress the choral sound of choir groups (traditional,
gospel, boy’s choirs, and women’s and men’s choirs, popular choirs). Listening
to the four basic solo voice types—soprano, alto, tenor, and bass—will continue.
Music literacy exercises will be expanded to include work with three-beat
measures as found in 3/4 and 9/8 meters. Ensembles will continue as before with
the addition of the tenor recorder played by students.
 Level Twenty-Four Teaching Outline 327

LEVEL TWENTY-FOUR TEACHING OUTLINE

Musicianship

Singing
Continue: »* Two-hand singing
* Chordal accompaniments for songs using piano, guitar,
baritone ukulele, autoharp, or omnichord.
Introduce: ¢ Eastern European song culture
¢ American Indian songs
Materials: * Seasonal songs
“Summer's Near,” Book 2 [127]
¢ Recreational songs
“Cotton Eyed Joe’”’ (American) [111]
“Four Leaf Clover,” Book 4 [107]
¢ Eastern European songs
“Come and Dance” (Slovakian), Book 5 [172]
“Vesper Hymn” (Russian) [122]
¢ American Indian songs
“Moon Dance Lullaby’ [154]
“Sioux Indian Lullaby” [10]
“Rain Dance” [10]

Instruments
Continue: Ȣ Improvisation
¢ Orchestrations using all instruments
* Reading and improvising ostinati
Introduce: * No new concepts
Materials: ° Orchestrations for reading ostinati
“Goodbye Old Paint’ [67]
“Indian Medley” [67]

Listening
Continue: ° Listening for expressive elements in music
* Four basic voice types (S A T B)
Introduce: * Choral sound
Materials: »* Recordings of choral groups
“Rockin’ Jerusalem” [379]
“Beulah Land” [379]
“America the Beautiful” [323]
“Stephen Foster Favorites” [366]
¢ Recordings of each voice type
(Soprano) Verdi, Excerpts from Aida [216]
(Alto) Handel, Julius Caesar [282]
(Tenor) “World’s Favorite Tenor Arias” [299]
(Bass) Wagner, Meistersinger [320]

Movement
Continue: »* Use movement with songs at every opportunity
Introduce: +* Eastern European dances
328 Chap. 6.1 | Achievement Levels

Music Literacy

Rhythm
Continue: ¢ Reading duple and triple rhythms
¢ Dictation in all meters
Introduce: Ȣ 3/4 meter signature counted in 3
¢ 9/8 meter signature counted in 3
* 6/8 meter signature counted in 6
Materials: * Songs in 3/4 that contain duple patterns
“Goodbye Old Paint’ [67]
“When Jesus Wept,” Book 6 [66]
¢ Songs in 9/8 that contain triple patterns
“Down in the Valley” [68]
“Canadian,” Book 5 [66]

Melody
Continue: «¢ Singing and reading octave-range songs
* Keys of C, D, G, F, B-flat major and a, e, d, g Minor
Introduce: + Tenor recorder for children to play in ensembles
¢ Recorder study (D-flat)
Materials: »* Songs or recorder parts containing D-flat
“Rain,”” Book 4 [161]
“Rain,” Book 5 [121]
¢ Songs using soprano, alto, and tenor recorders
“Mixolydian Dance” [148]
“Praise of Thanksgiving” [144]
* Recordings of Eastern European dances
“Croatians They Dance” [233]
* Published chart materials usable at this level
“Listen, Look, and Sing Chart’ [89]

SUGGESTIONS FOR TEACHING LEVEL TWENTY-FOUR

CONCEPTS

1. INTRODUCE THE CHORAL SOUND: The sound of the four basic voice
types (soprano, alto, tenor, bass) were introduced to the students in Level
Twenty-three. Recordings that feature these voices should be played for the
class so they may identify these voice types with facility.
The sound of choral singing may now be introduced. Here too, recorded
examples of a variety of choral sounds are available, and the music educator is
advised to select the best examples to play for the children.
The traditional choral sound is exemplified by two choirs:

a. Robert Shaw Chorale, America the Beautiful [366]

b. Mormon Tabernacle Choir, Songs of the North and South [364] and This
Land is Your Land [372]

After the traditional sound of choir groups has been studied, introduce
some of the specialized group sounds such as
 Suggestions for Teaching Level Twenty-Four Concepts 329

a. Gospel sound
¢ “Beulah Land,” The Howard Roberts Chorale, Record No. 1 from
Learning to Listen series [379]
¢ “Rockin’ Jerusalem,’”” Record Number 5, Learning to Listen series
[379]
b. Popular Choir Sound
* Ray Conniff, Charlotte’s Web [335] and Harmony [348]
* Columbus Boychoir, Bernstein, Symphony No. 3 “‘Kaddish’’ [267]
¢ Vienna Boy Choir, Austria Revisited [326]
c. Men’s Chorus
* USSR Male Chorus, Shostakovich Symphony Number 13 [309]
* Moravian Teachers Choir, Janacek, Music for Male Chorus [289]
d. Women’s Chorus
* BBC Women’s Chorus, Debussy Nocturnes [342]
* Schola Cantorum Women’s Chorus, Mahler Symphony Number 3
[293]

Keep all listening periods brief (1-2 minutes at the most). It is usually not
advisable to try to hear an entire performance of a work unless it falls within
two minutes. The purpose of these listening episodes is to develop an under-
standing of style and sound, and this can be taught most effectively in several
short listening segments. If your classroom has a listening corner, recordings
may be placed there for use by children who wish to listen longer.

2. EASTERN EUROPEAN FOLK DANCE: The folk dances of Eastern Eu-

rope differ somewhat from those of Northern and Western Europe and may be
introduced separately at this time. Some dances that may be appropriate for the
classroom are—

Troika (Russian)
Cshebogar (Hungarian)
Szhetnya (Croatian)
Djurdjevka (Serbian)
Kleskovatz (Croatian)
Ciocarlanul (Rumanian)
Dubcez (Croatian)

Recordings that may be useful:

Croatians, They Dance They Dance, Tamburitzans [233]

World of Folk Dance series, Michael Herman [256]
Dances of the World’s Peoples, Vol. 1, ‘Balkans & Near East’’ [263]

Two sources for folk dance recordings: Schwann-2, Folk Music Section [483] and
Lyons Teachers Guide (Lyons, 530 Riverview, Elkhart, Ind. 46514).

3. EASTERN EUROPEAN SONG CULTURE: Most music from Eastern

Europe is that of the slavic peoples (Polish, Czech, Croatian, Slovenian, Slo-
vakian, Serbian, Bulgarian, Ruthenian, Ukrainian, and Russian) but some may
be Rumanian, Hungarian, Greek and Albanian. As is the case with much of the
330 Chap. 6.1 / Achievement Levels

world’s folk music, dance is integral to it and should be taught with the songs,
where possible.
Stringed accompaniments are authentic for much of this music, however,
many Eastern European songs lend themselves to accompaniments by Orff
ensembles.
As with previous units, create a bulletin board to supplement study material
and focus interest.

Examples of songs from Eastern Europe:

“Falling Snow” (Slavonic) [66]
¢ “Come to the Land” (Rumanian) [47]
“Katiusha” (Russian) [90]
“Lullaby” (Polish) [161]
“Meadowlands” (Russian) [51]
“Tachanka’”’ (Russian) [51]
“Minka’’ (Russian) [92]
“God Ever Glorious” (Russian) [122]

4. RECORDER STUDY (D-flat): The pitch D-flat (C#) is useful primarily

as a chromatic alteration for use in keys employing only a few flats but may
occasionally be useful if songs with four or more flats are employed.

a
Presentation

a. Show the note D-flat and remind the class that the fingering is the
same as for C-sharp (introduced in Level 22).
b. Play tonal patterns for the class to echo.

(2 ae ee eee
eo Display the song “Volga Boatmen.””
d. Let the entire class play the melody in unison.
e. Divide the class into two groups and play as a canon as marked on
the example below.

Volga Boatmans Song (Russian)

Bee ee See rs2

|in
f. Read the rhythm using rhythm syllables of ’“A Hunting We Will Go.”
Play it on recorders.

A Hunting We Will Go
 Suggestions for Teaching Level Twenty-Four Concepts 331

a ee ee oe
5. INTRODUCE THE TENOR RECORDER: Introduce the tenor recorder
at this time as a teaching instrument. Discuss the instrument briefly, the simi-
larity in finger with the soprano recorder, the longer length, lower pitch, etc.
compared to the soprano and alto sizes.
Use the tenor recorder in trio recorder groups and as an additional voice
in orchestrations.
One example of how the instrument might be used as a member of a three
part recorder group is

a. Obtain the song ‘Praise and Thanksgiving” in the key of F for recorder
trio (p. 19) and in the key of G for voices (p. 90) [144 & 90]
b. Introduction: Cue in instruments one at a time at eight measure in-
tervals in this order: Bass xylopnone, alto metallophone, soprano me-
tallophone.
c. Play the recorder trio as a round.
d. Play four measures of instrumental accompaniment as written.
e. Play four measures of the same accompaniment one step higher (in
G). Use an alto glockenspiel in place of the soprano metallophone when
playing in G. You will need an F# when playing in G.
Teacher plays the melody in G major, on the tenor recorder.
Students sing two part arrangement as written in Magic of Music.
=ogInstrumental interlude of 8 measures.
he Sing as a round, using one soprano recorder with each part. The alto
and tenor may play the following ostinati during the round.

ee
ALTO
ee TENOR
ee
j. Coda: Play the introduction in G as it appears in the Nash book. (The
Nash arrangement is in F, you may need to write out the introduction
in G for the children, or teach by rote.)

After its introduction, use the tenor recorder periodically for tone color
variation in class orchestrations.

6. AMERICAN INDIAN SONGS: The authentic sound and style of Amer-

ican Indian music is difficult to reproduce in the elementary music classroom.
Much of the music that has been notated from authentic Indian performances,
such as the Natalie Curtis book, is unsingable by elementary school children
due to wide pitch range of the songs, although there are some of more limited
range that can be used along with “composed” Indian songs, to provide suf-
ficient material. A characteristic of authentic Indian songs is they begin high
and gradually descend to the end of the song. In addition, they are often free
of meter restrictions and tonality limitations as is most “Western” music. Through
the use of available songs and authentic recordings, however, an understanding
of the purpose and general style of the music can be developed.
American Indian songs occasionally are included in the basal series but are
332 Chap. 6.1 / Achievement Levels

seldom indexed and often have trite words that detract from the beauty of the
melodies. Examine the following sources for authentic song materials:

¢ The Indians Book [71]

¢ Dance Down the Rain and Sing Up the Corn [36]
¢ American Indian Songs [9]

7. INTRODUCE TRIPLE METER ? COUNTED IN THREE: Up to this point

all triple meters have been counted as pairs of beats divided into three meter
beats each.

mee ee rar na ni
ory |na ni

|—
|
wm na ni

Some triple meters, especially some 3/4 songs sound in three beats per
measure rather than one. This is because individual rhythms that are charac-
teristic of duple meters are included in the 3/4 measures which serves to destroy
the triple feeling of the measure. Songs such as these could often be considered
as duple sounding songs with beats in groups of three. Examples of songs that
might be counted in 3/4 using three beats per measure are—

¢ “When Jesus Wept,” Book 4 [66]

¢ “Far Across the Rivers Waters,” Book 6 [66]
* “The First Nowell” [51]
“Majurka” (Polish folk tune), Book 6 [92]

8. INTRODUCE TRIPLE METER § COUNTED IN SIX: As with some 3/4

meter songs, a few songs are encountered in 6/8 that feel as if they should be
counted as six beats to a measure rather than two. When a song such as this is
used, explain that “we will count one beat for each eighth note.” 6/8 songs that
might be beat in six are (Count 1 ne 2 ne 3 ne 4 ne 5 ne 6 ne)

* “Moon Dance Lullaby,” Sagebrush Sagas, p. 3 (if this song is to be read

by the children, it should be re-notated so the beats are clearer [154]
* “Drink to me Only with Thine Eyes,” Fireside Book of Folksongs, p. 90 [51]
* “What Child is This?” Fireside Book of Folksongs, p. 238 [51]
 Checklist for Level Twenty-Five 333

CHECKLIST FOR LEVEL TWENTY-FOUR

(Names)
Ratings:
(A) Almost Always
aa
eee
ee.
ee
Nr
ee (B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Understands East European song culture
2. Understands American Indian song culture
Instruments:
3. Maintains an assigned part in classroom in-
strumental ensembles
Listening:
4. Recognizes different choral sounds
Movement:
5. Understands backgrounds of and partici-
pates in East European dances 1
Rhythmic Literacy:
6. Reads, using correct syllables, songs in 3/4
meter counted three beats per measure |
7. Reads, using correct syllables, songs in 9/8
meter counted three beats per measure
8. Reads, using correct syllables, songs in 6/8 i: |
meter counted six beats per measure
Melodic Literacy:
9. Plays tenor recorder parts in classroom en- |
sembles
10. Plays D-flat on soprano recorder— |
—from echo examples = ++-
—from notation

LEVEL COMPLETED (date)

334 Chap. 6.1 / Achievement Levels

LEVEL TWENTY-FIVE

The emphasis in Level Twenty-Five will be on American music. Singing will

include many early American songs. Listening will include the introduction of
American Jazz, while Movement will include the polka dance, an early dance
form still popular in many areas.
The Dorian mode will be studied as a Literacy activity. Recorder playing
will add high F-natural.
Songs will be sung in two or three parts less unison. Rhythm dictation and
reading of various meters will be continued, as will reading/sight-reading and
-singing songs within the compass of low SO (S._) to high MI (M’).

LEVEL TWENTY-FIVE TEACHING OUTLINE

Musicianship

Singing
Continue: »* Chordal accompaniments for songs using piano, guitar,
baritone ukulele, autoharp, or omnichord
¢ Singing two- and three-part songs
Materials: * Early American songs
“Casey Jones,”’ Book 3 [14]
“Shortnin’ Bread” [68]
“Hammer Song” [161]
¢ Seasonal songs
“Cotton Needs Pickin’ ’” [106]
“The Witches Brew,” Book 6 [172]
¢ Recreational songs
“Barnacle Bill,’” Book 6 [14]
“Weavily Wheat,”” Book 6 [124]
“Brazos River,’”’ Book 6 [14]

Instruments
Continue: Ȣ Improvisation
¢ Orchestrations using all instruments
¢ Reading non-ostinato mallet parts
¢ Using chromatic mallet instruments
Introduce: »* No new concepts
Materials: ¢ Orchestrations
“Cotton Needs Pickin’ ”’ [106]
“Crawdad Hole,” Book 1 [130]
* Orchestrations with non-ostinato mallet parts
“Bear Dance,” Book 2 [110]
“Turkey in the Straw’’ [67]

Listening
Continue: ¢ Listening to masterworks
Introduce: »* American Jazz
Materials: »* American Jazz recordings
“Ted Heath Big Band’’ [369]
 Level Twenty-Five Teaching Outline 335

“Mancini: Brass on Ivory” [332]

“Woody Herman Big Band” [376]
“Fountain/Hirt Superjazz’’ [368]
* Masterworks recordings
Mlada, “Procession of the Nobles” [294]
Copland, “Red Pony” [379]

Movement
Continue: * Use movement wherever possible
et
ey
Ra
le
al
seca
Dh
EE”
iP
a)
eet
Pent
Ns
Pt Introduce: ¢ Polka dances
Materials: Polka dance recordings
“Weavily Wheat” [234]

Music Literacy

Rhythm
Continue: ¢ Dictation
* Triple and duple metric patterns
* Reading songs in 2/4, 4/4, C, 2/2, alla breve, 6/8, 3/8, 6/4,
3/4, and 9/8
Introduce: * No new concepts
Materials: * Songs for practice reading of meter signatures
(2/4) “Shoo fly,” Book 3 [14]
(4/4) ‘’Black Is the Color,’ Book 6 [172]
(C) “The Crawdad Hole,” Book 1 [130]
(2/2) “Cotton Needs Pickin’ ” [106]
(C) “Shalom A’leychem,” Book 3 [66]
(6/8) ‘The Brazos River,’”” Book 6 [14]
(3/8) “The Willow Tree,” Book 4 [66]
(6/4) ‘Scarborough Fair,” Book 4 [40]
(3/4) ‘““Arirang” (Korean), Book 6 [14]
(9/8) ‘Down in the Valley,” Book 4 [66]

Melody
Continue: * Recorder ensembles SSA or SAT
* Vocal reading in all major and minor keys
* Accompaniments on piano
* Chordal accompaniments on guitar, baritone ukulele, or
omnichord
* Vocal reading on pitches S, up to M’
Introduce: ¢ Dorian mode
* Recorder study (high F-natural)
Materials: * Pentatonic songs
“Music in China,” Book 6 [14]
“Noah’s Ark” [78]
“Arirang,”” Book 6 [14]
* Diatonic major songs
“Old Folks at Home,” Book 3 [14]
“Ring Ring the Banjo” [68]
“Star Spangled Banner,” Book 6 [14]
* Songs or recorder parts containing high F
336 Chap. 6.1 / Achievement Levels

“Bell Buoy,” Book 6 [14]

“Black Is the Color,” Book 6 [172]
¢ Dorian mode songs
“Dorian Canon” [10]
“Wonderous Love” [116]
¢ Published chart materials usable at this level
“Threshold to Music’ [187]

SUGGESTIONS FOR TEACHING LEVEL TWENTY-FIVE

CONCEPTS

1. RECORDER STUDY (high F): The addition of high F will allow the
playing of octave range (D—D’) songs in F major and F minor as well as increased
range in other keys.

Presentation

a. Show the fingering for high F and practice producing the tone.
b. Play echoes using high F.

ee ee
c. Display the song ‘’Rufty Tufty” (2-part recorder piece w/alto xylophone
accompaniment) Murray, Music for Children, III, p. 98 [110].
d. Review the rhythms of measures 3, 8, 12 & 20.

(3) (8) (12) (20)

ge) ae Judie ti eee ee ee
1 eee aero al 1 - ne ta 1 2 ne ta 1 Nee 2 inerta

e. Add the mallet accompaniment using two alto xylophones.

f. Repeat the song with parts reversed so that each child gets the op-
portunity to play both parts.
g. Review as needed.

2. LATIN AMERICAN SONGS (2-3 parts): Many Latin songs can be har-
monized in thirds or sixths and lend themselves well for use in the elementary
classroom. Some examples of these songs are—

“T’ve Traveled Many a Mile” (Chile), Book 4 [92]

“Rio Rio” (Chile), Book 6 [92]
“Laredo” (Mexico), Book 6 [92]
“Palomita’” (Mexico), Book 6 [92]
“A la Nanita Nana” (Spain), Book 5 [66]
“To Bethlehem” (Latin-American carol), Book 5 [66]
“Carmen, Carmela’ [115]
 Suggestions for Teaching Level Twenty-Five Concepts 337

Most of these songs can be effectively accompanied by the guitar along

with a few non-pitched Latin-American instruments, although mallet instru-
ments of the instrumentarium also work well. Note: the first two examples are
written in a single part only but can easily be made into two parts. Some songs
used in Level 21’s unit on Mexican-Latin American songs may be harmonized
and used in this unit.
=
antl
—
——
_
=
oe

3. INTRODUCE DORIAN MODE: The sound of the Dorian scale may be

heard by playing the white keys of the piano from D to D’. In tonal syllables
this is Re to Re. While the mode may be taught as a Re to Re scale, a more
comprehensible method is to teach it as a minor scale (La to La) with an altered
tone (Fi). Whichever way you select to present it, always be consistent and be
sure your visual examples show the correct key signature.
Presentation

a. Place the tonal syllables of the natural minor scale on the chalkboard:
JNe UdSRABCT eeSs Gy ecoray©
b. Have the class sing the scale as you point.
c. Point to pitches that result in broken chords (L-D-M or R-F-L).
d. Change F (Fa) to Fi on the chalkboard.
e. Sing the M-Fi-S-L portion of the scale until comfortable.
f. Again point to various pitches (include R-Fi-L).
g. Display the song ‘Dorian Canon’ [10], changing the key signature so
that the first pitch is La.
h. Sing the melody using tonal syllables.
i. Sing the song with words, then as a canon.
j. Add the orchestration provided in the book.

Dorian songs are sometimes written as minor songs with raised sixths. In
other sources they may be written using the scale R-M-F-S-L-T-D-R. Moreover,
Dorian songs are seldom indexed as such in song books. Many publications
present them as minor songs and the teacher must look at each individual song
to determine whether a dorian or one of the minor forms is being used. The
four volume Nichols Worth series clearly identifies the tonality of all its songs
[127].

5. POLKA DANCES: The polka and its related dance, the schottische, may
be introduced at this time. Both are common to several countries with recordings
and books describing them readily available. The following sources may be
helpful in finding materials.

Step Right In (dance instructions) [175]

Dance in Elementary Education [460]
Recordings:
Jolly Lumberjacks [242]
Dancing Around the World [234]

6. INTRODUCE AMERICAN JAZZ: This unit will of course include re-

corded examples, but should performers be available, either invite them to the
classroom to demonstrate, or if possible take the class to a live performance.
Include the study of ragtime, blues, dixieland, swing, and big bands in this unit.
338 Chap. 6.1 / Achievement Levels

While recordings for this unit are plentiful, arrangements to be played on

Orff instruments in class are rare. For this reason the teacher may wish to write
some examples for class use, like the arrangement of a ragtime piece for five
xylophones shown on the following page.

RAGTIME FOR FIVE MALLET INSTRUMENTS

f) ae
eee snes

Sx [it
f)
BY By SS

AX I fae

AX Hs a= =

BX |E% ae

3. Fine
)
)
)
a
Suggestions for Teaching Level Twenty-Five Concepts 339

)
)

)
)

|
|
|
)
}
|
Play (A) twice, then) twice, D.C. to play ) twice again
the second time through take ending number 3.

|
|
)
)
)
)
340 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL TWENTY-FIVE

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Understands background and style of early
American songs
2. Maintains a part in two & three part songs bia ay
Instruments:
3. Correctly plays assigned parts in classroom
ensembles
Listening:
4. Understands background and style of the
sound of American jazz
Movement:
5. Freely participates in polka dances
Rhythmic Literacy:
6. Reads duple rhythms correctly in all meters |
7. Reads triple rhythms correctly in all meters
Melodic Literacy:
8. Recognizes the sound of the Dorian mode
9. ReadsDorianmode songs using correct hand deh olal
signs and syllables
10. Plays high F-natural on the soprano re-
corder
—from echo examples re
—from notation

LEVEL COMPLETED (date)

 Level Twenty-Six Teaching Outline 341

LEVEL TWENTY-SIX

In Level Twenty-Six, the cultural emphasis will be on music of the Far East. As
used in this outline, the Far East includes the Orient (Japan, Korea, China,
Philippines, Indo-China, and Thailand) plus India, Pakistan, and Indonesia.
In addition to the music of the Far East, the listening portion will be directed
toward the introduction of four new vocal qualities. Movement will see the
introduction of square dancing, an early American dance form.
Reading will introduce the triplet in various notations and the mixolydian
mode (a major sounding mode with a flat seventh). Recorder reading and playing
will include high F-sharp and high G.

LEVEL TWENTY-SIX TEACHING OUTLINE

Musicianship

Singing
Continue: ¢ Chordal accompaniments for songs using piano, guitar,
baritone ukulele, or omnichord.
Introduce: ¢ Far Eastern song culture
Materials: + Far Eastern songs
“Sakura,” Book 4 [90]
“Counting Song” [22]
* Seasonal songs
“Caribbean Carol’ [106]
“I Heard the Bells,” Book 6 [14]
“While Shepherds Watched” [199]
“Sing We Now of Christmas,’’ Book 6 [14]
* Recreational songs
“Dashing through the Slush” [37]
IG
I
I
Se
De
Nene
Instruments
——
Continue: + Improvisation
* Orchestrations using all instruments
* Using chromatic mallet instruments
Introduce: »* No new concepts
Materials: »* Orchestrations using all instruments
“Frog in the Bog” [10]
“Nobody Knows the Trouble,” Book 3 [31]

Listening
Continue: Ȣ American Jazz
¢ Masterworks
Introduce: + Far Eastern song culture
* Three voice types (coloratura, lyric, basso profundo)
Materials: * American Jazz recording
“Tutti’s Trumpets” [374]
* Masterworks recordings
Hary Janos (Napoleon’s defeat) [290]
* Voice recordings
342 Chap. 6.1 | Achievement Levels

(coloratura) Mozart, “Queen of the Night” from The Magic

Flute [295]
(lyric) Villa-Lobos, Bachiana Brasilieras, no. 5 [317]
(baritone) Rossini, ‘Largo al Factotum” from Barber of
Seville [304]
(basso profundo) Shostakovich, Song of the Forests [308]

Movement
Continue: * Use movement with songs wherever possible
Introduce: »* Square dancing
Materials: * Square dance recordings
“Let’s Square Dance” [243]
“Texas Star’ [253]
“Sakura” (a musical play), Book 4 [90]

Music Literacy

Rhythm
Continue: ¢ Reading duple and triple rhythms in 2/4, 4/4, C, 2/2, 6/8,
3/8, 6/4, 3/4, and 9/8
Introduce: °¢ The triplet
Materials: »* Songs containing triplets
“Frog in a Bog” [10]
“Once to Every Man and Nation,” Book 6 [172]
“Nine Hundred Miles” [116]

Melody
Continue: Ȣ Recorder playing in ensembles
* Singing and reading two- and three-part songs
Introduce: » Recorder study (high F-sharp and high G)
¢ Mixolydian mode
Materials: »* Songs in mixolydian mode
“Mixolydian Piece” [111]
“Three Limericks,’”” Book 2 [127]
¢ Two-part songs for voices
“Land of the Silver Birch,” Book 6 [14]
“By the Waters of Babylon,” Book 6 [161]
* Three-part songs for voices
“Joy to the World” [75]
“All for One World” [3]
“Battle Hymn of the Republic,” Book 6 [66]
“Earthsounds,” Book 6 [173]
¢ Ensembles containing recorders
“Waits” [61]
“A Toy” [426]
“Dance Song,”’ Book 3 [110]
“Nobody Knows,” Book 3 [31]
* Orchestrations using recorders on F-sharp’ and G’
“Mary Had a Baby”’ [26]
“La Volta’’ [426]
* Published chart materials usable at this level
“Threshold to Music,’”” Book 2 [189]
 Suggestions for Teaching Level Twenty-Six Concepts 343

SUGGESTIONS FOR TEACHING LEVEL TWENTY-SIX CONCEPTS

1. RECORDER STUDY (high FR and high G): In previous levels, most of

the usable or practical pitches have been introduced for the recorder and the
students may now be able to improvise and read melodies using any of the
following notes.

|
= SS SS ee eee

The following keys are possible:

Modality Do to Do range So to So range

Major C-D-F [Eb- E] G - A [Ab - Bb]

Natural minor C-D-E- F [Eb] G - A [Ab - Bb]
Harmonic minor C-D-F [E - Eb] A [G - Ab - Bb]
Melodic minor C-D-F [E - Eb] A [G - Ab - Bb]
Dorian C-D-E-F [Eb] G - A [Ab - Bb]
Mixolydian C-D [Eb - E - F] G - A [Ab - Bb]
Phrygian E [D - Eb - F] A [G - Ab - Bb]
Lydian C-F[D- Eb- E] G [Ab - A - Bb]
Note: Keys in brackets are available but difficult to finger.

With the addition of high F-sharp and high G, songs with an octave range of
DO to DO will be playable in G-major as well as extensions to the ranges of
other keys.
Presentation

a. Show the fingering for F-sharp and practice producing the sound.
b. Show the fingering for high G and practice this sound.
c. Present some echo patterns that include F-sharp and G:

Examples:

== a ee ee ee
d. Display the song “Du, Du, Liegst Mir Im Herzen”
 344 Chap. 6.1 / Achievement Levels

The following keys are possible:

DU DU LIEGST MIR IM HERZEN

Du, liegst

os ee liegst mir im
= machst mir viel

e. Play the song with recorders.

f. Add the following orA stration:

po ee a eee
Sa

ee
eam
een yp et ee re

ee
ee 2 ——
AM
[La oS

ee
= Se

nN ee ee
=
 Suggestions for Teaching Level Twenty-Six Concepts 345

g. Play the song with recorders to this accompaniment.

(1) Play the song through with recorders.
(2) One person improvises on the alto glockenspiel.
(3) Play again with recorders.

2. FAR EASTERN SONGS: The music of the Orient may be introduced at

this time. Accompaniments for many oriental songs are sparse so for the closest
approximation of an authentic sound, use only a few instruments.

SAKURA

ee Cher - ry bloom.
ae Ss sO

Se = 5:
Sweet-ly frag- rant in these! air.

ss ==
MiStw- Ve DIeeZ es SCCMMLOM says
ieee
ne Za
a
Come and _— see
|

ee nl yu

woodblock: gong or suspended cymbal: strummed guitar a and e tuning

Acie gael WS ad epee Pye ey

autoharp (pluck A & E strings-hold down Am bar)

aS Se
Other Oriental songs: ““Ahrirang” (Korea) [31]; “Spring in China” [171]; “Feng
Yang” (China), Book VI [92]; “Purple Bamboo” (China) [77].
A suitable bulletin board to help focus attention and provide motivation
should be displayed. When possible add interesting facts you may know about
the origin, use, historical or cultural background of the songs.

3. INTRODUCING THE TRIPLET:

The syllable to use for speaking TM and |!! are 1 nani or 2 na ni, the
same as used for the triple subdivision of the beat. Examples of counting triplets
are shown.
346 Chap. 6.1 / Achievement Levels

Presentation

a. Establish a steady beat by finger tapping.

b. Speak some duple patterns in syllables, class echoes.
c. Speak some triple patterns to the same beat using syllables letting the
class echo.
d. Speak some duple patterns with triplets:

et eee BS pS =
| az eerie) Sal
ne i sna iD 1 ne Dae nial saa ney il | 4

Teach the words to the song: ‘‘Bibbidi-Bobbidi-Boo” [197]

f. When the words are familiar, repeat them one line at a time, and notate
each line after it is said.
g. When finished, you should have the following on the chalkboard.

1a) Gal Gain em ae le

HAAR ems oneal |
rl ea ae
(aokeaieniiesrelan |
TT fs fetal etal a at | | Or
Pur
DEE

fpseaa eal mek or ven

Heptaibo ak
h. Have the class tap a beat and read the lines.
i. Teach the tune and perform the song with guitar or piano accompa-
niment.

Other songs that may be used for practice in reading triplet rhythms are:

“Carolina Moon,” Book 6 [66]

“The Cherry Tree Carol,” Book 3 [117]

4. INTRODUCE DIFFERENCES IN VOICE TYPES (Coloratura Soprano;

Lyric Soprano; Baritone; Basso Profundo): Previously, the students have been
introduced to the basic voice types (SATB). They may now be ready for finer
discrimination in vocal sound. Use recordings to listen and compare voice types
with those they already know.

(Coloratura Soprano) ‘Queen of the Night” from The Magic Flute (Mozart)
[295]
 Suggestions for Teaching Level Twenty-Six Concepts 347

(Lyric Soprano) ‘’Bachiana Brasilieras No. 5” (Villa-Lobos) [317]

(Baritone) ‘Largo al factotum” from Barber of Seville (Rossini) [304]
(Basso profundo) ‘Song of the Forests’’ (Shostakovich) [308]

5. MIXOLYDIAN MODE: The Mixolydian scale extends from So, to So.

Some teachers, however, prefer to teach mixolydian as a major scale with a
lowered seventh tone (te), and it is often written this way in published anthol-
ogies. Select your own approach and do not deviate from it once it is introduced.
If you elect to introduce the mixolydian as a scale starting on So, be certain the
key signature is correct. For example,ifa mixolydian song is presented as a major
with a flatted seventh, it might be written in F-major (one flat). The same song
using the same notation but introduced as a S, -S song would require a signature
of B> major (two flats).
Presentation

a. Echo patterns such as the following using hand signs and tonal syl-
lables:
domese mreWine com ly Tie) eke
by MS vie Ra DS" aTEeD
Ome eel eS. IM Dakar ecb
oF Display the song: ‘Old Joe Clark” as it appears in Heritage Songster, p.
229. (The key signature is correct) [68]
Say the rhythm using syllables while tapping the beat.
Sing the pitches without rhythm as the teacher points to each.
Sing the complete song with text, correct rhythm & pitch.
0=
3o Add a guitar & cello-bass accompaniment.

Other mixolydian songs may be found in Choksy, The Kodaly Method and
Nichols, A Nichols Worth (Four volumes). Other publications contain mixolydian
songs but these two label them so they can be located easily [81] & [127].

6. INTRODUCE SQUARE DANCING: American square dances may be

introduced at this time. Some texts refer to the steps of the square dance as
quadrilles.
As with other group dances, the students are physically and socially ready
for this activity. While it is an enjoyable activity, the musical benefits in the area
of rhythm, beat, and movement, are the primary reason for incorporating danc-
ing into the music period.
References:

Step Right In (text and dance instructions) [175]

Dance in Elementary Education (text) [460]
“Let’s Square Dance” (record) [243]
“Texas Star” (record) [253]

7. FAR EASTERN MUSIC CULTURE: The purpose of this unit is to provide

experiences with the typical sound of the music of the Orient. The students have
already, by this time, sung some oriental songs and now it is time to select
recorded examples. Music of India, Indochina, and Indonesia should be included
with examples from China, Japan, and the Philippines. Make use of as much
visual material as you have to accompany the recorded selections. A bulletin
board will assist you here.
348 Chap. 6.1 / Achievement Levels

Suggested recordings:

Music of Thailand [247]

Folk Songs from Lhasa (Tibet) [239]
Music of Viet-Nam [248]
Music of Southeast Asia [246]
Music of India and Pakistan [248]
Sounds of Japan [252]

CHECKLIST FOR LEVEL TWENTY-SIX

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Understands the song culture of the Far East
nations p=

Instruments:
2. Plays correctly any assigned part in a class-
room ensemble
Listening:
3. Recognizes the sound and style of Far East-
ern music
4. Recognizes the differences in quality of color-
atura, lyric, baritone and basso profundo
voice types when compared to typical SATB
Movement: y
5. Participates in square dance activities
Rhythmic Literacy:
6. Reads and understands the triplet figure
Melodic Literacy:
7. Recognizes the sound of the mixolydian
mode
8. Sings mixolydian mode songs using correct
hand signs and syllables
9. Plays high F-sharp and high G on recorder
—from echo examples
—from notation

LEVEL COMPLETED (date)

References: [201]
 Level Twenty-Seven Teaching Outline 349

LEVEL TWENTY-SEVEN

The emphasis in Level Twenty-seven will be on American music: songs of the

twentieth century, currently popular songs, and American folk dance.
Singing with chordal accompaniment, improvising on Orff mallet instru-
ments, performing orchestrations to accompany songs, and playing with chro-
matic mallet instruments will continue from previous levels.
Listening will introduce the opera form and continue with American jazz
and masterworks. Two major composers selected by the teacher will be studied
in depth. (Two are suggested in the teaching outline but others may be substi-
tuted instead.)
Literacy will see the introduction of 5/8 meter for reading and the phrygian
mode. Bass clef for boys will also be introduced if there are boys in the class
that are ready to sing in this range.

LEVEL TWENTY-SEVEN TEACHING OUTLINE

Musicianship

Singing
Continue: * Chordal accompaniments using piano, guitar, etc.
* Part songs
Introduce: »* American songs of the twentieth century
¢ Currently popular songs
Materials: * Seasonal songs
“The Ash Grove,” Book 6 [14]
* Recreational songs
“Buy Me Chocolate,” Book 6 [172]
“Michael Row the Boat Ashore” [53]
¢ Twentieth Century American Songs
“Bibbity Bobbity Boo” [197]
“Fiddler on the Roof,’’ Book 2 [121]
“Catch a Falling Star,’” Book 6 [172]

Instruments
Continue: °¢ Improvisation
* Orchestrations using all types of Orff instruments
* Using chromatic mallet instruments
Introduce: * No new concepts
Materials: »° Improvise orchestrations for melody section songs
¢ Published orchestrations using mallet instruments, per-
cussion, strings, recorders, and voices
“Allegro #38,” Book 1 [110]
“Rondo Rock” [67]

Listening
Continue: »* American jazz
* Masterworks
Introduce: + In-depth study of two significant composers (such as Haydn
and Beethoven)
Opera
350 Chap. 6.1 | Achievement Levels

Materials: »* Recordings of American jazz

“Peter Gunn” [359]
¢ Masterworks recordings
“In the Hall of the Mountain King,” #59 [378]
¢ Opera recordings
Rossini, “William Tell’ [306]
Verdi, ‘“Aida” [316]
Strauss, “Don Quixote” [310]
Mozart, “Marriage of Figaro” [297]
* Recordings of composer #1 (Beethoven)
“Overtures” [328]
“Sth—9th Symphonies” [259]
* Recordings for composer #2 (Haydn)
“Symphony 104” [286]
“Concerto for trumpet & orchestra’’ [284]

Movement
Continue: »* Use movement with all songs wherever possible
Introduce: »* American folk dance
Materials: »* American folk dance recordings
“Virginia Reel” [227]

Music Literacy

Rhythm
Continue: ¢ Read duple & triple rhythms in all meters
Introduce: »* 5/8 meter signature
Materials: » Recordings of 5/8 meter
“Unsquare dance” #24 [379]
¢ 5/8 songs to read and sing
“Chug-a-lug Choo-Choo” [127]
“Searching for Lambs,” Book 4 [161]
* Songs for rhythm reading review
2/4 “Old Joe Clark” [116]
4/4 “Nobody Knows,” Book 3 [31]
{ “When the sun gets in,” Book 2 [130]
2/2 “‘Cotton needs pickin’ ’” [106]
3/4 “Jesu Joy of Man’s Desiring,” Book 5 [90]
6/8 ““Noah’s Ark” [78]
3/8 “The Willow Tree’’ [66]
6/4 “Scarborough Fair,’”” Book 4 [40]

Melody
Continue: «¢ Recorder playing in ensembles
* Part songs
Introduce: Ȣ Bass clef for boys to sing
¢ Phrygian mode
Materials: * Recorder ensembles
“Festive Procession,” Book 3 [110]
“Hill & Gully Rider,” Book 4 [31]
¢ Songs containing parts for recorders
 Suggestions for Teaching Level Twenty-Seven Concepts 351

“Fields of our land,” Book 4 [31]

“Linstead Market,” Book 4 [31]
“Mary Ann,” Book 4 [31]
¢ Songs with a bass clef part
“Good News” [65]
“Send out thy light’’ [159]
Schubert, ‘Mass in F” [157]
* Phrygian mode songs
“Hear my prayer,” Book 4 [110]

SUGGESTIONS FOR TEACHING LEVEL TWENTY-SEVEN

CONCEPTS

1. INTRODUCE BASS CLEF FOR BOYS: The use of the bass clef was begun
in previous levels for reading bass xylophone and timpani parts. It, therefore,
should be familiar to the students. It may now be introduced as a clef for boys
to sing who are experiencing changing voices. Part music that includes bass clef
parts for boys is included in most basal series and other books of music published
for use in middle elementary grades. Individually published songs are available
for SAB groups that may work well at this time. The Cambiata Press of Conway,
Arkansas, also publishes an entire catalogue of materials specifically written for
the changing voice.
When first introducing the bass clef for singing, have the entire class sing
the bass clef part in octaves. Every student should be familiar with the clef even
though they may not make use of it for singing.
A word of caution: Do not introduce the bass clef until there are boys’
voices in the class that need it. This may occur earlier or later than Level Twenty-
seven. [See the section on vocal development for additional information and
references on the changing voice.]

2. INTRODUCE FOUR-PART SONGS: Along with the introduction of the

bass clef, four part music may be used. Begin by singing some three part songs,
then move to four part songs. In addition to that available in the basal series,
the following selected examples illustrate what is available in single copy music.
(All are available through Cambiata Press, Conway, Arkansas.)

The Adolescent Reading Singer—The Kodaly-Cooper-Collins Sight Reading

Method. (Graded by difficulty)
¢ “Three Proverbial Loves,” Collins—SC(B)* [186]
¢ “All for One World,” Collins—SC(B) [3]
¢ “There is a Ladye,’”’ Collins—SC(B) [180]
¢ “Come All Ye Fair and Tender Ladies,” Collins—SC(B) [29]
* “Teacher Help Me,’’ Spencer—SSCB [180]
¢ Spiritual ‘“All My Trials,’” Collins—SCB [4]
¢ “Familiar Christmas Carols,’”’ Hardin—SA/C(b) [180]
“Schubert's Mass in F,” Kicklighter—SSCB [157]
“Cast Thy Burden Upon the Lord” from Elijah, Mendelssohn/Farrell SSCB
[18]

*[S = soprano / C = cambiata (changing voice) / B = baritone changed voice]

352 Chap. 6.1 / Achievement Levels

For boys alone

¢ “America the Beautiful,’” Ward/Siltman CBB [6]
¢ “Spiritual Trilogy,” Siltman—CBB [173]
¢ “Vive l'amour,” College song/Siltman—CBB [194]

3. AMERICAN SONGS OF THE TWENTIETH CENTURY: This unit may

consist of any twentieth century song. Songs from movies, radio, television,
musicals, or popular “standards” of this century may be used to acquaint the
students with American music in general.
Musicals such as “South Pacific,” “Carousel,” “Oklahoma,” “The King &
I,” “The Music Man,” etc. are suitable sources for American songs, as are songs
by composers such as Irving Berlin and Cole Porter. Songs from the Disney
movies are usually very good.

4, AMERICAN FOLK DANCE: This unit may include any type of folk
dance common to the United States. The following recorded examples may be
useful:

¢ America Dances [229]

* World of Folk Dance [256]

5. IN-DEPTH STUDY OF ONE LEGITIMATE COMPOSER: Select a sig-

nificant composer to study in depth. Franz Joseph Haydn is an appropriate
example since some of his music has already been used in earlier levels for
rhythm and may be familiar to the children.
Help the students prepare a scrapbook of Haydn, his life, and works.
Bowmar Inc. provides cut-out portraits of the composers which may be used
along with pictures the children obtain from magazines that depict the historical
setting or actual reproductions of the time.
The teacher will want to tell interesting facts of Haydn’s life and supply
some easy reading material concerning his life and works. Structure several short
listening sessions in which typical examples of his music may be featured.
Always tell something of the circumstances in which this music might have been
played. Never play more than one or two minutes at a time.
Consult Schwann-1 for a listing of available recordings of Haydn’s music.

6. CURRENTLY POPULAR MUSIC: Since most children have daily op-

portunities to hear the “hit’’ tunes of the
the music class. However, the form of the
groups, and the relationship and common
serious music should be developed.
References include:
day, they need not be emphasized in
music, composition of the performing
characteristics of popular music with

¢ The World of Popular Music—“Rock” [201]

¢ The World of Popular Music—“Folk & Country” [201]
* Pipeline [380]

7. INTRODUCE THE PHRYGIAN MODE: The sound of the Phrygian scale

is that of the white keys of the piano played from E to E’ or in tonal syllables
Mi to Mi. Introduce it to the students as a natural minor scale with a lowered
second degree (Te). Experience has shown that this is a clearer explanation
method for the students. If, however, you elect to present the Phrygian mode
as a MI to MI’ scale, make certain the key signature of the examples used are
 Suggestions for Teaching Level Twenty-Seven Concepts 353

correct. For instance, a Phrygian song ending on E will use a key signature of
C major, one ending on D will use B-flat major (2 flats) etc.
Presentation

a. Echo patterns such as the following using hand signs and tonal syl-
lables:
ane ie Bee aeRucci Aas,
Dasa Mie Re DS TEM
Cp Dewol hana conan braM
b. Display the song ‘’Fog,” Book 6 [89]
c. Read the words in rhythm while tapping the beat.
d. Play the melody on recorders.
e. Sing the melody with words.
f. Add a simple orchestration such as the following:

(fing. cym.)
BM |— AM SM on

g. Perform: (a) Introduction adding instruments one at a time; (b) sing

(c) tenor recorder-teacher (d) sing again (e) cut-off together

8. INTRODUCE & METER: This meter may be introduced as a measure

containing one duple beat (1 ne or 2 ne) and one triple beat (1 na ni or 2 na ni).
When first presenting 5/8 meter, use songs that contain a consistent pattern of
duple followed by triple in each measure or triple followed by duple. Reserve
those that switch back and forth until later.
For example, these patterns are good to start with:

lca eyes doo ee

Ea
ea
A song that contained this sort of rhythm arrangement would be more
difficult:

AL feel | a a
Presentation

a. Place the following on the chalkboard and underline the beats.

ee eel Ta |
3 3

Remmi c | ||
3
354 Chap. 6.1 / Achievement Levels

Eton |
Read the four lines as written using duple syllables and tapping the
beat.
Now ask the class to read the meter evenly and tap the beat. Give an
example of the first line: ‘““1-2-3-4—-5” “1 ne 2 na ni”
Read again while patsching the beat. Explain that the beat is uneven
when the meter is steady and that the meter is uneven when the beat
is steady.
Explain that when a triplet is inserted into a duple song, we write it
as § but whena composer wants to write even meter and uneven beats,
he/she uses 5/8 meter.
Renotate the example as follows, change the meter signature, erase
the triplet threes and change the beat notes to 1. as shown.

g. Display the following canon in 5/8:

of
SS S
Se SS SS a
herentit _ SS
ee
a a See i
Read the rhythm using syllables (duple on first beat, triple on second
beat).
Play the song in unison using soprano recorders.
Add each instrument of the ensemble by having all the class mirror
the motion of the mallets and selecting a student to go to the instru-
ment.
 Suggestions for Teaching Level Twenty-Seven Concepts 355

k. When the ensemble is secure, play the melody in unison.

1. Perform: (1) introduction, adding instruments one at a time; (2) play
in unison on recorder; (3) stomp dance; (4) play as a canon on recorder.

Stomp Dance: Stomp on alternate feet with emphasis on the accented notes.
Perform: Stomp (w/the heel) on the accented notes, stamp lighter on the un-
accented. For a ‘B’ section, clap the rhythm.

eee eee
JE) Re) Dp PREY a le Ib IK Re DL RK

Orchestration:
(alternate playing this=

io
We

9. INTRODUCE THE OPERA STYLE: The sound, form, style, and purpose
of the opera should be introduced at this time. Select one or two operas to use
as examples, and tell the story of the opera and describe the main characters.
Provide brief examples of the important arias and choruses, trying as you do to
convey the purpose of the overture and the intent of the arias and the ensembles,
along with the characteristic sound for each opera experienced.
Begin with those operas that contain music with which the students may
already be familiar, such as Carmen by Bizet and William Tell by Rossini. While
this will be difficult with opera, especially, keep listening sessions brief (1-2
minutes). The purpose is to acquaint the students with opera style, not listen
to the entire work.

10. IN-DEPTH STUDY OF A SECOND COMPOSER: Introduce Ludwig

van Beethoven to the class. Have them make a scrapbook of his life and major
works, or alternatively work up a bulletin board display about his life and works.
A portrait of him is available from Bowmar Inc. along with cut-out size photos
for mounting in scrapbooks, and these can be augmented by pictures the stu-
dents collect that depict surroundings that were familiar to Beethoven.
Relate interesting facts about Beethoven’s life and play his music for the
class. Before playing each selection, talk about something of the background of
the work or the conditions under which it was written.
An exhaustive list of Beethoven’s works available on recordings is con-
tained in Schwann-1.
356 Chap. 6.1 / Achievement Levels

CHECKLIST FOR LEVEL TWENTY-SEVEN

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Is familiar with songs of twentieth century
in America
2. Understands forms of current popular
music
Instruments:
3. Improvisesand performs orchestrations with
facility and accuracy on mallet instruments
Listening:
4. Knows at least two compositions by a lead-
ing composer
5. Is familiar with the life and times of the
composer being studied
6. Is familiar with at least two compositions :
of a second leading composer
7. Is familiar with the life and times of this
composer
8. Is aware of the form, style, and types of
operas
9. Is familiar with at least one main song from
an opera studied
Movement:
10. Participates in American folk dance
Rhythm:
11. Reads and sings songs in 5/8 meter
Melody:
12. Understands and uses bass clef
13. Understands and sings songs in the Phry-
gian mode

LEVEL COMPLETED (date)

 Level Twenty-Eight Teaching Outline 357

LEVEL TWENTY-EIGHT

At this level, continued emphasis will be placed on songs of twentieth-century

America, as well as listening to selected masterworks. Students will continue to
play in recorder ensembles and Orff instrument ensembles. Improvisation con-
tinues to be stressed and is extended to the chromatic use of mallet instruments.
Level Twenty-eight will also see the increased use of a cappella singing in
order to refine intonation and expressive singing. This Level will also see the
introduction of the cantata, Broadway musical, experimental music, and con-
temporary American dance to the students’ repertoire.
Literacy development will introduce 7/8 and 12/8 meters as well as the
Lydian mode. Lydian mode will be introduced as a major mode with a raised
fourth step (Fi).

LEVEL TWENTY-EIGHT TEACHING OUTLINE

Musicianship

Singing
Continue: »° Chordal accompaniments using piano and guitar
* Part songs
¢ American songs of the Twentieth Century
Introduce: Ȣ Increased a cappella singing
Materials: * Seasonal songs
“Summer Is” [127]
“Summer is a comin’ In” [40]
¢ Recreational songs
“Original Talking Blues,’” Book 6 [172]
“Earth Sounds,” Book 6 [172]
¢ American songs from the Twentieth Century
“Moon River’ [97]
“Three Little Fishes” [185]
“Almost Like Being In Love” [6]

Instruments
Continue: ¢ Chromatic mallet instruments
¢ Orchestrations using all instruments
* Improvisation
Introduce: * No new concepts
Materials: * Orchestrations using mallets, voices, recorders
“Winter Snow,” Book 6 [107]
“Hill & Gully Rider” [31]

Listening
Continue: »* Masterworks for critical listening
Introduce: »* The cantata musical form
* Broadway musicals
* Experimental music
* In-depth study of a third composer (Stravinsky)
Materials: * Recordings of Stravinsky
358 Chap. 6.1 / Achievement Levels

“Firebird Suite” #69 [378]

“Sacrificial Dance” #69 [378]
“Petroushka” #80 [378]
Recordings of Experimental Music
“The Web,” Book 6 [172]
“Bach-cantata 29,” #89 [379]
“General Speech” [279]
Recordings of cantatas
“Haydn’s Birthday Cantata” [283]
Bach, ‘“‘Wachet auf” [258]
Recordings of Broadway musicals
“The King and I” [353]
“South Pacific’ [365]
“Cabaret” [334]

Movement
Continue: Use movement with all songs wherever possible
Introduce: Contemporary American dance
Materials: Recordings of contemporary popular dances (will change
with current popularity)

Music Literacy

Rhythm
Continue: Reading duple & triple rhythms in all meters
Introduce: 7/8 meter
12/8 meter
Materials: Recordings of 7/8 meter
“Sweet Georgia Brown” [367]
e
7/8 meter songs
“Verakima,” Book 4 [367]
“The Shepherd Boy,”” Book 6 [40]
12/8 meter songs
“Song of the Open Air,” Book 6 [172]

Melody
Continue: * Recorder playing in ensembles
Singing and reading part songs
Introduce: Lydian mode
Materials: * Lydian mode songs
“Sam, Sam the Butcher Man” [127]
* Recorder ensembles
“Greek dance in 7/8” [148]
“Dance” [148]
“Dance in G” [148]
“Fool's Dance,”” Book 1 [110]
* Pentatonic songs
“Hill & Gully Rider” [31]
¢ Major songs
“Surrey Apple Howler’s Song” [118]
“Alleluia,” Book 6 [172]
 Suggestions for Teaching Level Twenty-Eight Concepts Siele,

¢ Minor songs
“Hanukkah” [31]

SUGGESTIONS FOR TEACHING LEVEL TWENTY-EIGHT

CONCEPTS

1. GENERAL AMERICAN SONG CULTURE: During this unit, currently

published music should be used. This may be new releases for elementary choirs,
new or old songs for children, or other current American song literature. The
teacher should consult publisher’s catalogues and dealer displays for interesting
and enjoyable music. New issues appear continually which render any listing
obsolete. Most of the selections should be chosen at an appropriate level of
difficulty. If the music is too hard for them to read, and must be taught by rote,
it would be better to find other material.

2. INCREASED USE OF A CAPELLA SINGING: As the children develop

in musical independence and ability, it is time to concentrate on unaccompanied
singing to refine intonation and expression.

3. INTRODUCE CONTEMPORARY AMERICAN DANCES: Current pop-

ular dances may be introduced at this time. “Fad” dances change often over
the years and the teacher should try to stay abreast of these changes. Always
use the music that is appropriate for the dance being used.
Contemporary dance recordings may be obtained from these sources.

¢ Educational Activities Inc., Freeport, L.I., N.Y. 11520

¢ Merrback Record Service, 323 W. 14th St., Decatur, Georgia 30031
* Educational Record Center, 155 Sycamore St., Decatur, Georgia 30031

4. INTRODUCE THE CANTATA: The cantata is a musical form based on

a narrative text and consisting of arias, duets, and choruses but without scenery
or dramatic action. With the exception of the latter, the cantata resembles the
opera and oratorio although usually less grand and more casual than the other
forms.
The cantata may be introduced both through recordings and actual per-
formances. Several cantatas exist that are suitable for elementary grades and the
teacher can consult publishers catalogues or dealer displays to locate suitable
material.
Probably the best known of the composers of cantatas is Johann Sebastian
Bach. Others since have written in this form. Listings of those available may be
found in Schwann-1. As suggested with opera, keep listening sessions brief.

5. INTRODUCE LYDIAN MODE: The sound of the Lydian mode may be

heard by playing F to F’ on the white keys of the piano. In tonal syllables this
is FA to FA’. It is the least often encountered of the four modes (Dorian, Mix-
olydian, Phrygian). One other mode, the Locrian is almost never used. The
Lydian mode should be taught as a major scale with a raised fourth tone (FI).
If you elect to teach it as a scale extending from FA to FA’, make certain the
key signatures for the visual examples are correct. A Lydian song on any given
pitch will always use the signature for the major key two and one-half steps
lower. For example a Lydian song ending on F will be written in the key of
C-major, if it ends on G the key used will be 2 sharps (D major).
360 Chap. 6.1 / Achievement Levels

a. Echo patterns such as the following using hand signs and tonal syl-
lables:
ao) HOS RS NSE Le mar leery
be iD SMe Sie soon aay
GoM SF WEEE SSP
Display the song: “Funny Shape” [127]
Say the rhythm syllables as the beat is tapped.
Sing the pitches without rhythm.
Sing the complete song with text and rhythm.
-o:
66.0
0 Add the following orchestration:

g. When the orchestration is secure, sight-sing countermelody number

one.
h. Next read countermelody number two.
i. Divide the class into three sections, one for each countermelody and
one to sing the tune.
j. Perform with the ensemble:
(1) Introduction: add instruments one at a time.
(2) All sing the tune.
(3) First group sing the melody.
(4) Repeat melody with first countermelody.
(5) Repeat melody with second countermelody.
(6) Recorder interlude (improvised) (student)

6. IN-DEPTH STUDY OF A THIRD COMPOSER (Stravinsky): Introduce

Stravinsky to the students by telling of his life and works. Illustrate your dis-
cussion with brief musical excerpts. Let the students add pictures and infor-
mation to their scrap books. For each selection played in class, tell something
of the circumstances surrounding the writing of the work. An appropriate bul-
letin board should be displayed to help focus attention and provide motivation.
Students at this level usually enjoy the music of his earlier period such as
“Firebird,” ‘Rite of Spring” and ‘’Petroushka.”

7. INTRODUCE 2 METER: Introduce 7/8 meter as a measure of three beats,

one of which is triple and two of which are duple. Show on the chalkboard how
7/8 is similar to 5/8.
 Suggestions for Teaching Level Twenty-Eight Concepts 361

tiaeent

Carl ea |
Na iia ie: So: one

Presentation

a. Display the “Albanian Wedding Song” [92]

b. Establish the rhythm—1 na ni, 2 ne, 3 ne—by stamping the beat and
clapping the after beats.
c. Say the words to the song with this rhythmic ostinato (slowly at first).
Sing the tune with syllables using the same rhythm ostinato.
e. Transfer the rhythm to two or three hand drum players. Let the
remainder of the class clap the beats ( hw hy hy) along with the first
rhythm that is now in the hand drums.
f. |When these two rhythms are secure, repeat the song.
g. Add as many tambourines as you have, up to four or five, playing
the second rhythm (on the beat). ( hn hy hy)
h. Add two to four metal instruments (glockenspiels or metallophones)
on the note E (any octave) using the rhythm being played by the
tambourines.
i. Perform the song:
(1) Introduction: add instruments one at a time until the ensemble
is secure.
(2) Sing the song (those not playing instruments clap the beat).
(3) Interlude of recorder improvisation by student.
(4) Sing again; recorder plays the written countermelody.
(5) Coda of rhythm—three measures ending on first beat of the
fourth measure.

Songs using 7/8 meter signature are not plentiful but a sufficient number
for use in class will be easy to locate. Other examples are:

“Yerakima” (A complete arrangement including mallet instruments, voices,

and recorder) [31]
“The Shepherd Boy” (Song melody with recorder countermelody) [40]

8. EXPERIMENTAL MUSIC: This unit will include samples of music that

has not been heard before. While strictly speaking, these are no longer regarded
as experimental, they may be introduced as such in this unit: Serial music,
Aleatoric (chance) music, Electronic music, Atonal and Non-traditional har-
monies, Musique Concréte.
As with other listening units, explain something about how the music is
created as well as why it was written, what purpose it may have, and why it is
interesting. Children of this level will also enjoy playing or performing music
written in non-conventional notation.
After experiencing some of the experimental types of music, the class may
wish to create some “new” music of their own. The teacher, at this point, may
want to review the article by Susan Kennedy entitled ‘‘Building Musical Instru-
ments with Children” contained in the American Edition of Music for Children,
Book 2 [111].
362 Chap. 6.1 / Achievement Levels

9. 9/8 AND 12/8 METER SIGNATURES: Introduce these two triple meter
signatures at this time.
Introduce 9/8 as a measure of three triple beats (1 na ni, 2 na ni, 3 na nt).
Introduce 12/8 as two measures of 6/8 with the barline removed. A measure of
twelve-eight meter may be counted 1 na n1, 2 na ni, 3 na ni, 4 na ni.

CHECKLIST FOR LEVEL TWENTY-EIGHT

(Names)
Ratings:
(A) Almost Always
(B) Most of the Time
(C) Sometimes
(D) Seldom
(E) Almost Never

Singing:
1. Maintains pitch and rhythm in unaccom-
panied songs
2. Maintains pitch and rhythm in part songs
Instruments:
3. Plays mallet instruments with facility and
accuracy
Listening:
4. Recognizes the characteristics of a cantata
5. Recognizes by name songs from at least two
Broadway musicals
6. Has heard “experimental” music
7. Knows at least two compositions of a lead-
ing composer
8. Is familiar with the life and times of the
composer being studied
Movement:
9. Moves freely with feeling to all music
10. Performs contemporary dance
Rhythm:
11. Recognizes 7/8 meter when heard
12. Is able to understand and sing songs in
7/8 meter
13. Is able to understand and sing songs in
12/8 meter
Melody:
14. Understands and is able to sing songs in
the Lydian mode.

LEVEL COMPLETED (date)

 Activities and Study Questions for the Achievement Levels 363

ACTIVITIES AND STUDY QUESTIONS FOR THE

ACHIEVEMENT LEVELS

AV Make a lesson plan guide for each Achievement Level (1 through 28).
(Duplicate the form from the appendix.)
Write out four detailed lesson plans like those shown in 4-8. Each should
focus on a single literacy concept, with the first built around a song, the
second, playing instruments with the song, the third adding movement to
the song and the fourth with writing the song. Do this for each Achievement
Level from 5 to 28.
Write out a sample daily lesson for each of the first four achievement levels.
Include a balanced schedule of singing, moving, listening, instrument play-
ing and reading readiness preparation.
Locate all of the songs and materials suggested in each Achievement Level,
or find compatible ones.
Present one of the lessons you have made to the class.
Visit a music class with the checklist for the grade level you are observing.
After the class, estimate on the list the approximate percentages of students
able to do the listed tasks.
Make a set of duple and a set of triple rhythm reading charts for Levels
4-8.
Make a set of songs for reading in Levels 5 to 8.
Make a set of flashcards and writing slates.
Examine published classroom charts and assign each one as to its appro-
priate Achievement Level.
Write original orchestrations for a basic pentatonic song, a symmetrical
chord changing song and a non-symmetrical chord changing song.
12: Review one or more of the research studies listed in the bibliography.
13: Review a more recent research report on the same topic.
 APPENDIX A
PLANNING FORMS |
(May be duplicated for your use)

Lesson Planning Guide

Daily Lesson Plan

365
LESSON PLANNING GUIDE

eve] ee
= ee Pa eee Cie DAC

MUSICIANSHIP TEACHING UNIT MUSIC LITERACY

(Continue) (and new concepts) (Continue)
DAILY LESSON PLAN*
eee

Date
(Grade orsRooyt a
—a=_0e@qaey}—weonoaea=q#qsnaeoanaeleleo—sSs=~—oeeeeeeeeoOoOoOQoaoumumm
ee >=O
PLANNING

LESSON FOCUS: MATERIALS NEEDED: EQUIPMENT NEEDED:

eee
*INCLUDE MOVEMENT IN ALL ACTIVITY SEGMENTS WHENEVER POSSIBLE
 APPENDIX B
TEACHER-MADE VISUALS

How To Make Flashcards

How To Make Rhythm Charts
How To Make Song Charts
How To Make Worksheets
How To Make Writing Slates

HOW TO MAKE FLASHCARDS

Flashcards may be made in a variety of sizes and formats. One useful type is
made as follows:

Obtain 5 x 7 blank file cards.

2. Place one beat of rhythm on each card.
3. Place the beginning of each beat in the same position on each card so
that they line up vertically.
4. Make a set of cards using the quarter note as the beat.
(4 of these) | - []-2
(2 of these) Fe Ale ane a:
5. Make a set of cards using the half note as the beat.
(2 ofeach) ¢-|| -_-[]-If-Pl-4l b
6. Make a set of cards using the dotted quarter as the beat.
(4 of these) ie - Rae \- Z
(2 of these) [7]-[11-TFTA-TA1- AAT1-1 TA
7. ake a set of cards using the dotted half note as the beat.
(ofeach): «|| (ich [eeey eeih teel
a
8. Make one card for each meter signature needed.
Duple Meters: ? % 343 (for counting 3 to a bar) C ¢
Triple Meters: Da ie (for lito. a bat)si8
Mixed Meters: DA PO
BN mesFAH
eae

Sample Card format:

368
 How to Make Song Charts 369

Pee|] irr |
HOW TO MAKE RHYTHM CHARTS

Rhythm charts are used to introduce visually each new rhythm pattern. Follow
these steps:

Obtain an artists tablet about 24” x 18”.

Place four lines of four beats on each page.
Place the new rhythm on beat one on the first line.
Place the new rhythm on beat two on the second line.
Place the new rhythm on both beats 1 and 2 on the third line.
ee
COE
he Mix the new rhythm with those already known on the fourth line and
on the four lines of the following page.

Sample format:

Page 1 Page 2

Make a two page set for every duple rhythm pattern to be taught. Obtain
a second artists tablet and make a two page set for every triple rhythm to be
taught.

ip Make beams twice as thick as stems.

a Keep the first part of each beat in line vertically.

HOW TO MAKE SONG CHARTS

Song charts are used by smaller children to learn to read pitch. When making
song charts do the following:

its Obtain two artists tablets each 24” x 18” (or larger).
Use masking tape to join each page of the two charts so as to make
one page 36” x 24”. (Put the tape on the back of each page, not the front.)
Use a yardstick to draw staff lines.
a If at all possible, make all the measures symmetrical (the same length).
Sketch out how the chart is to look on a piece of scratch paper before
placing it on the chart.
Print all words in capital letters for use with young children.
Place only the rhythms and the pitches that have been taught up to
the point the particular chart is to be used.
370 Appendix B / Teacher-Made Visuals

Sample chart:

DANAAAARAAAANRANRA
AAA AA OAAO

CAPTAIN BOBBY

ereripreeeeecrs==
CAPTAIN BOBBY'S GONE TO ae SILVER BUCKLES ON WIS KNEES.

WE'LL COME BACK MARRY ME. CAPTAIN: BOBBY SHAFTO.

HOW TO MAKE WORKSHEETS

Worksheets are a form of written drill. They provide opportunities for the student
to copy, write what is heard, identify what is seen, and to create melodic and
rhythmic material that is original. A few suggestions about worksheets.

1. Make the worksheet uncluttered, simple, and clear.

Focus on one subject at a time.
3. Keep the exercises short, and eliminate all facets that might confuse
the students or detract from the main focus of the worksheet.
4. For small children, provide leading answers in the form of dotted
outlines to get them started.
5. Have a specific goal in mind for each worksheet. They are not meant
to be busy work. They should have a definite and understandable (to
the student) purpose.

Sample worksheet follows:

 Desired Responses 371

WORKSHEET FOR LOW SO AND LOW LA

NAME ROOM

1. Write the names of the notes in this song.

ssa
2. Write the song with a new key prong.

== aot
=F

—— —
Ssi+
i

3. Write the song the teacher sings.

— | =f
DESIRED RESPONSES

1. Student reads low So and low La in printed songs

2. Student writes low So and low La from dictation
 APPENDIX C
|“KEEPING
KEEPING UP
UP WITH
WITH DEVELOPMENTS
DEVELOPMENTS _:

One of the important tasks for the practicing teacher of elementary music is that
of staying current of new developments and techniques. Generally, there are
three ways of doing this:

(1) Join the organizations that address the area of elementary music ed-
ucation.
(2) Subscribe to privately published periodicals.
(3) Read current research reports.

Organizations

International Society for Music Education. An international music edu-

cation organization. Hosts a biennial conference, each time ina different country.
Address: Department of Music, The University of Western Australia, Nedlands,
Western Australia 6009
Phone: (29) 380-2052
Publications: International Journal of Music Education, Sir Frank Gallaway, editor.
International Music Education (ISME Yearbook)

Music Educators National Conference. The largest national organization

for music teachers. Hosts a national biennial conference with regional confer-
ences in intermediate years.
Address: 1902 Association Drive, Reston, Virginia 22091
Phone: (703) 860-4000
Publications: Music Educators Journal, Journal of Research in Music Education

American Orff-Schulwerk Association. A national organization serving a

large membership of mostly Orff teachers. Hosts an annual conference. Many

372
 Appendix C/Keeping Up With Developments 373

regional chapters offer short workshops and some issue newsletters.

Address: Cindy Wolbig, Executive Secretary, P.O. Box 391089, Cleveland, Ohio
44139
Phone: (216) 543-5366
Publication: The Orff Echo

Organization of American Kodaly Educators. A national organization

serving a membership of Kodaly-oriented teachers. Hosts an annual conference.
Several state subgroups offer workshops.
Address: James Fields, Executive Secretary, c/o Music Department, Nichols State
University, Thibodaux, Louisiana 70310.
Phone: (504) 448-4602
Publication: The Kodaly Envoy

Texas Music Educators Association. By far the largest state music orga-
nization. Hosts an annual conference with two to three times the attendance of
any of the preceding organizations.
Address: Bill Cormack, Executive Secretary, P.O. Box 49469, Austin, Texas 78765-
9469
Publication: Southwestern Musician/Texas Music Educator

Other State Organizations. With the exception of Texas, all other state
music associations are affiliated with Music Educators National Conference and
in order to join one, you must join the other. Most host a state conference and
issue a publication which varies from state to state.

Privately Published Periodicals

Keeping Up with Music Education. An independently published journal

established and operated by Arnold Burkhart, the first president of the American
Orff-Schulwerk Association.
Address: 1220 Ridge Road, Muncie, Indiana 47304

Current Research

Journal of Research in Music Education. Published by the Music Educa-

tors National Conference, 1902 Association Drive, Reston, Virginia 22091. Con-
tains research reports written by the researchers themselves.

Bulletin of the Council for Research in Music Education. Address: Richard

Colwell, editor, c/o School of Music, University of Illinois at Urbana, Urbana,
Illinois 61801. Contains feature articles plus critiques of doctoral dissertations
by outside reviewers.

Music Researchers Exchange. Contains notices of scheduled conferences

of interest to music teachers, notices of new books, research reports, etc. Provides
means of communication between interested researchers. Edited by Hal Ables,
Teachers College, Columbia University, New York, New York.
Your local library should also have copies of the following publications and
index periodicals containing research abstracts and articles:

Music Index. Detroit Information Service.

374 Appendix C / Keeping Up With Developments

Dissertation Abstracts. Ann Arbor, Michigan.

Research in Music Education. An index to the Educational Resources In-

formation Center (ERIC).

RILM. Abstracts of music literature.

The following addresses may also prove useful to the teacher of elementary
music:

Choristers Guild. P.O. Box 38188, Dallas, Texas 75238. An organization

dealing with several facets of choral music, especially that having to do with
church music.

Cambiata Press. Conway, Arkansas. A firm dealing exclusively in music

especially designed for boys’ changing voices.

Dalcroze International School of Music. 161 East 73rd Street, New York,
New York. A school for Dalcroze teachers.

Dalcroze Society of America. P.O. Box 6804, Pittsburgh, Pennsylvania

15212. The official national Dalcroze organization in the U.S.

Kodaly Center of America. 1326 Washington, West Newton, Massachu-

setts 02165. Phone: (617) 332-2680. A privately operated school for Kodaly teach-
ers that issues many publications.

Kodaly Musical Training Institute. P.O. Box 81, West Hartford, Con-
necticut 06107. National known school for Kodaly teachers.

Magnamusic-Baton, Inc. 10370 Page Industrial Blvd., St. Louis, Missouri

63132. Phone: (314) 427-5660. This company issues an annual free listing of Orff
workshops and short courses.

Currently Published Basal Series

The Music Book. Holt Rinehart & Winston, New York, NY

Music and You. MacMillan Publishing Company, New York, NY

The World of Music. Silver-Burdett Publishing Company, Morristown, NJ

HOW TO MAKE WRITING SLATES

Writing slates are a quick method of writing and checking dictation. Slates may
be made in two ways, both of which seem to work satisfactorily.

(1) Laminated type

* Cut pieces of light colored poster board in rectangles approxi-
mately 7” x 11”.
* Place five lines on one side about one inch apart.
* Place two lines on the reverse side about two inches apart and at
the top of the card. The blank space below these lines will be used
for writing rhythms.
 How to Make Writing States 375

* Laminate or cover with clear contact paper.

* Write on the slates with wax crayon and erase with a cloth.
(2) Chalkboard type
* Cut rectangles of brown pressboard 7” x 11”.
* Paint with chalkboard paint (black or green).
* Line the slate as described above.
* Write with chalk and erase with short lengths of felt weather
stripping or athletic socks rolled into a ball.

Dictation procedure.

Teacher presents the example (clap a rhythm pattern).

Children repeat the example as the teacher presented it (clap).
Children repeat the example, using syllables.
Children think the example in their heads.
Children write the example on their slates.
ee
aDE
a Children hold their slates in front of them for the teacher to check.
 BIBLIOGRAPHY OF MATERIALS
(CITED IN THE TEXT)

AFRO ENSEMBLE. Lynne Jessup. Fort Worth, Texas: Harris Music Company.
ALIKE AND DIFFERENT. Carol Bitcon. Santa Ana, CA: Rosha Press.
ALL FOR ONE WORLD. Collins. Conway, Arkansas: Cambiata Press.
ALL MY TRIALS. Collins. Conway, Arkansas: Cambiata Press.
ALMOST LIKE BEING IN LOVE. F. Loewe. New York: Sam Fox.
AMERICA THE BEAUTIFUL. Ward/Siltman. Conway, Arkansas: Cambiata Press.
150 AMERICAN FOLK SONGS. Peter Erdei. Oceanside, N.Y.: Boosey & Hawkes.
eS
Si
Nis
es AMERICAN FOLK SONGS FOR CHILDREN. Ruth Crawford Seeger. Garden City,
N.Y.: Doubleday Inc.
9. AMERICAN INDIAN SONGS. Murial Dawley and Roberta McLaughlin. Holly-
wood, California: Highland Music Company.
10. A BAKER’S DOZEN. Jane Frazee and Arvida Steen. Minneapolis, MN: Schmidt
Publications.
11. BELLS, BELLS, BELLS. Nelson. Fort Worth, TX: Rhythm Band Inc.
12. BICINIA AMERICANA. Arnold Burkhart. Muncie, IN: Keeping Up With Music
Education.
13. THE BIG BOOK OF FAVORITE SONGS FOR CHILDREN. Dorothy Cummins.
N.Y.: Grosset & Dunlap.
14. BIRCHARD MUSIC SERIES. Karl Ernst, et al. Evanston, IL: Summy Birchard Com-
pany.
15. A BOY NAMED SO. William Young and Sheila Donahue. Fort Worth, TX: Rhythm
Band Inc.
16. BRINGING MUSIC TO CHILDREN. Lloyd Slind & D. Evan Davis. N.Y.: Harper
and Row.
17. BURL IVES SONGBOOK. Burl Ives. N.Y.: Ballantine Books, Inc.
18. CAST THY BURDEN UPON THE LORD. Mendelssohn/Farrell. Conway, AR: Cam-
biata Press.
19. CASTLE IN MY CITY. Patty Zeitlin. San Carlos, CA: Golden Gate Jr. Books.
20. THE CAT IN THE HAT SONG BOOK. Dr. Suess. N.Y.: Random House.

376
 Bibliography of Materials 377

CHAMBER MUSIC FOR TONEBAR INSTRUMENTS. Grace C. Nash. Scottsdale,

AZ: Swartout Enterprises.
CHILDRENS SONGS FROM JAPAN. Cochran. N.Y.: Marks Music.
A CHILDS GARDEN OF VERSES. Robert Louis Stevenson. N.Y.: Platt & Munk.
CHORAL METHOD. Zoltan Kodaly. Oceanside, N.Y.: Boosey & Hawkes.
CHORD CUE-CARDS. Ken Muckleroy. Fort Worth, TX: Harris Music Co.
CHRISTMAS SPIRITUAL COLLECTION. David S. Walker. Concordia Press.
CIRCLE ROUND THE ZERO. Maureen Kenny. St. Louis: Magnamusic-Baton.
COCK-A-DOODLE TUNES. Konnie Saliba. Memphis,TN: Blocks.
COME ALL YE FAIR AND TENDER LADIES. Collins. Conway, AR: Cambiata
Press.
COMPLETE NURSERY SONG BOOK. Inez Bertail. N.Y.: Lathrop, Lee and She-
pard.
COMPREHENSIVE RECORDER METHOD. Lawrence Wheeler and Elizabeth
Wheeler. Melville, N.Y.: Belwin-Mills.
CONCISE INTRODUCTION TO SCHOOL MUSIC. William O. Hughes. Belmont,
CA: Wadsworth.
CREATING MUSIC WITH THE PIANICA. Balkin. Fort Worth, TX: Rhythm Band
Inc.
CREATIVE APPROACHES TO CHILD DEVELOPMENT WITH MUSIC, LAN-
GUAGE, AND MOVEMENT. Grace C. Nash. Alfred Publishing Co.
CREATIVE MOVEMENT FOR THE DEVELOPING CHILD. Clare Cherry. Belmont,
CA: Fearon Publishing Co.
DANCE DOWN THE RAIN, SING UP THE CORN. Millie Burnett. Palo Alto, CA:
R & E Research Associates.
DASHING THROUGH THE SLUSH. Phillip Hagemann. N.Y.: McAfee Music.
DAVID CARR GLOVER PIANO LIBRARY. David C. Glover. Melville, N.Y.: Bel-
win-Mills.
DISCOVERING MUSIC. Charles Leonhard et al. Chicago: Follett Publishing.
DISCOVERING MUSIC TOGETHER. Charles Leonhard and Robert Smith. Chi-
cago: Follett Publishing.
DO IT MY WAY. Grace C. Nash. Scottsdale, AZ: Swartout Enterprises.
ECHO CHAIN SINGING GAMES. Grace C. Nash. Scottsdale, AZ: Swartout En-
terprises.
ELEMENTARY METHOD FOR SOPRANO RECORDER. Gerald Burakoff. N.Y.:
Hargail Press.
ELEMENTS AND STYLE. Charles Leonhard and others. Chicago: Follett Publish-
ing.
ENGLISH FOLKSONGS FROM THE SOUTHERN APPALACHIANS. Cecil Sharp.
London: Oxford University Press.
EXPERIENCES IN MUSIC. R. Phyllis Gelineau. N.Y.: McGraw-Hill Book Co.
EXPLORING MUSIC. Eunice Boardman. N.Y.: Holt Rinehart & Winston.
FAVORITE SONGS FOR THE PIANICA. Harris. Fort Worth, TX: Harris Music.
FIRESIDE BOOK OF CHILDREN’S SONGS. Marie Winn. N.Y.: Simon & Schuster.
FIRESIDE BOOK OF FAVORITE AMERICAN SONGS. Margaret B. Boni. N.Y.:
Simon & Schuster.
FIRESIDE BOOK OF FOLK SONGS. M.B. Boni. N.Y.: Simon & Schuster.
FIRST RECORDER BOOK. Marguerite Dubbe. St. Louis, MO: Magnamusic-Baton.
FOLK SONGSTER. Leon Dallin. Dubuque, IA: William C. Brown.
THE FOLK SONG SOURCEBOOK. Larry Sandberg and Dick Wessman. N.Y.:
Alfred Knopf Publishing Co.
FOLKSONGS AMERICA SINGS. Richard Johnston. Toronto: E.C. Kerby.
378 Bibliographies

56. FOLKSONGS FOR FUN. Oscar Brand. N.Y.: Berkley Publishers.

Die FOLK SONGS OF AFRICA. Roberta McLaughlin. Hollywood, CA: Highland Music
Company.
THE FOLKSONGS OF NORTH AMERICA. Alan Lomax. Garden City, N.Y.: Dou-
bleday and Company.
FOLK SONGS OF THE AMERICAS. Beatrice Landeck. N.Y.: Frank Music Corp.
FOLK SONGS OF THE SOUTH. John H. Cox. N.Y.: Dover Publications.
FOUR CHRISTMAS CAROLS. Murray. Mainz: Schott & Co. Ltd.
FUNDAMENTALS OF MUSIC. Wink. Boston: Houghton Mifflin Company.
FRANCIS CLARK LIBRARY FOR PIANO STUDENTS. Francis Clark. Evanston,
IL: Summy Birchard Co.
THE GOLDEN SONGBOOK. Katherine Wessells. N.Y.: Golden Press.
GOOD NEWS. Davis. Conway, Ark.: Cambiata Press.
GROWING WITH MUSIC. Harry Wilson et al. Englewood Cliffs, N.J.: Prentice-
Hall.
HEARING AMERICA. Memphis City School Teachers, Becky Pinnel, Chairman.
Memphis: Memphis Musicraft Publications.
HERITAGE SONGSTER. Leon Dallin. Dubuque: Wm. C. Brown.
HOW TO PLAY THE GUITAR. Jerry Silverman. Garden City, N.Y.: Doubleday &
Co.
HOW TO USE THE RESONATOR BELLS. Bryon-Douglas Publishers. (Available
through Rhythm Band Inc., Fort Worth.)
THE INDIANS BOOK. Natalie Curtiss. N.Y.: Dover Publications.
IT’S TONETTE TIME. d’Auberge. Sherman Oaks, CA: Alfred Music Co.
THE JOY OF MUSIC. Roberta McLaughlin & Patti Schlestett. Evanston, IL: Summy
Birchard Co.
JOY: PLAY SING AND DANCE. Joseph Wuytock and Tossi Aaron. Paris: Leduc.
JOY TO THE WORLD. Collins. Conway, Ark.: Cambiata Press.
JUNIOR CHOIR WITH ORFF INSTRUMENTS. Grace C. Nash. Scottsdale, AZ:
Swartout Enterprises.
JUST FIVE. Robert E. Kersey. Melville, NY: Belwin-Mills.
JUST FIVE PLUS TWO. Robert E. Kersey. Melville, NY: Belwin-Mills.
THE KODALY APPROACH. Katinka Daniel. Belmont, CA: Lear Seigler Inc/Fearon
Publ.
KODALY CONTEXT. Lois Choksy. Englewood Cliffs, NJ: Prentice-Hall Inc.
THE KODALY METHOD. Lois Choksy. Englewood Cliffs, NJ: Prentice-Hall Inc.
LEARNING FUNDAMENTAL CONCEPTS OF MUSIC. Virginia Austin. Dubuque:
William C. Brown.
LEARNING MUSIC WITH RECORDERS. Johnstone and Nye. Englewood Cliffs,
NJ: Prentice-Hall Inc.
LET’S MAKE MUSIC. Maurene Timmerman. Evanston, IL: Summy Birchard Co.
LET’S PLAY 5-STRING BANJO. Harry Reser. N.Y.: Remick Music.
LET’S PLAY THE MANDOLIN. Harry Reser. N.Y.: Remick Music.
LET’S SING TOGETHER. Denise Bacon. Oceanside, NY: Boosey & Hawkes.
LISTEN AND PLAY. John Kendell. Evanston, IL: Summy Birchard.
LISTEN, LOOK AND SING. Aden Lewis. Morristown, NJ: Silver-Burdett Co.
THE MAGIC OF MUSIC. Lorain Watters et al. Boston: Ginn & Company.
MAKING MUSIC IN THE ELEMENTARY SCHOOL. Gerald Burakoff and Law-
rence Wheeler. New York: Hargail Press.
MAKING MUSIC YOUR OWN. Beatrice Landeck. Morristown, NJ: Silver-Burdett.
THE MANY WAYS TO PLAY THE AUTOHARP. Meg Peterson. Union, NJ: Oscar
Schmidt International Inc.
 Bibliography of Materials 379

94. MARY HELEN RICHARDS TEACHES. Mary Helen Richards. Vol 1: FROM FOLK-
SONG TO MASTERWORK, Vol. 2: THE CHILD IN DEPTH. Portola, CA: Published
by the author.
95: MELODY FUN FOR THE TONETTE. Forrest Buchtel. San Diego, CA: Neil Kjos
Co.
96. MELODY LANGUAGE AND MOVEMENT. Mille Burnett. Palo Alto, CA: R& E
Research Associates.
97. MOON RIVER. Henry Mancini. NY: Famous Music.
98. MORE BURL IVES SONGS. Burl Ives. Melville, NY: Belwin-Mills.
W), MORE PARTNER SONGS. Frederick Beckman. Boston, MA: Ginn & Co.
100. MORE ROUNDS AND CANONS. Christopher LeFleming. Melville, NY: Belwin-
Mills.
101. MORE SONGS TO GROW ON. Beatrice Landeck. NY: Marks Music Inc.
102. MORE VERSES AND MOVEMENT. Grace C. Nash. Scottsdale, AZ: Swartout
Enterprises.
103. MOTHER GOOSE RHYMES. NY: Platt & Munk
104. MOTHER GOOSE TREASURY. Raymond Briggs. NY: Coward McCann Inc.
105. MOVEMENT GAMES FOR CHILDREN. Esther Nelson. NY: Sterling Publishing
Co.
106. MUSIC AMERICANA. Dwight Joiner. Fort Worth: Rhythm Band Inc.
107. THE MUSIC BOOK. Eunice Boardman and Barbara Andress. New York: Holt
Rinehart and Winston.
108. MUSIC FOR CHILDREN. Volumes 1-5. Doreen Hall and Arnold Walter. Mainz:
Schott and Co. (Canadian edition)
109. MUSIC FOR CHILDREN, TEACHERS MANUAL. Doreen Hall. Mainz: Schott.
110. MUSIC FOR CHILDREN. Volumes 1-5. Margaret Murray. Mainz: Schott. (British
edition.)
i MUSIC FOR CHILDREN. Volumes 2-3. (others in preparation) Herman Regner
editor. Mainz: Schott. (U.S. edition)
112: MUSIC FOR EARLY CHILDHOOD. Osbourne McConathy et al. Morristown, NJ:
Silver-Burdett Co.
113. MUSIC FOR EXCEPTIONAL CHILDREN. Jack Coleman and others. Evanston, IL:
Summy Birchard Co.
114. MUSIC IN THE CHILD’S EDUCATION. Robert Smith. NY: Ronald Press.
115. MUSIC IN TODAY’S CLASSROOM. Lois R. Land & Mary Ann Vaughn. NY:
Harcourt Brace & Jovanovich.
116. MUSIC SKILLS FOR THE CLASSROOM TEACHER. Leon Dallin. Dubuque: W.
C. Brown.
We MUSIC WITH CHILDREN. Grace C. Nash.
1. Beginners to Advanced.
2. Kindergarten through 4th grade
3. Intermediate to Advanced
4. Music in the Middle School
5. Teachers Manual
Scottsdale, AZ: Swartout Enterprises.
118. MUSICAL GROWTH IN THE ELEMENTARY SCHOOL. Bjornar Bergathon and
Eunice Boardman. NY: Holt Rinehart and Winston.
LOE THE MUSICAL CLASSROOM. P. Hackett & C. Lindeman. Englewood Cliffs, NJ:
Prentice-Hall Inc.
120. NEW APPROACHES TO TEACHING MUSIC IN THE ELEMENTARY SCHOOL.
Lois Raebeck and Lawrence Wheeler. Dubuque: Wm. C. Brown.
1A. NEW DIMENSIONS IN MUSIC. Robert Choate and others. NY: American Book
Company.
380 Bibliographies

122% NEW ELEMENTARY MUSIC. Charles A. Fullerton. Chicago: Follett Publishing.

123% NEW GOLDEN SONG BOOK. Norman Lloyd. NY: Golden Press.
124. NEW MUSIC HORIZONS. Osbourne McConathy et al. Morristown, NJ: Silver-
Burdett.
125% NEW INTRODUCTION TO MUSIC. Howard Doolin. Fort Worth, TX: Rhythm
Band.
126. NEW RECORDER TUTOR. Stephen Goodyear. Melville, NY: Belwin-Mills.
127. A NICHOL’S WORTH. Doug Nichols. Vols. 1-4. Buffalo, NY: Tometics Associates.
128. OLD AND NEW ROUNDS AND CANONS. Harry Wilson. Delaware Water Gap,
PA: Harold Flammer Inc.
129% ORFF AND KODALY ADOPTED FOR THE ELEMENTARY SCHOOL. Lawrence
Wheeler and Lois Raebeck. Dubuque, IA: Wm. C. Brown.
130. ORFF INSTRUMENT SOURCEBOOK. Vols 1-2. Elizabeth Nichols. Morristown,
NJ: Silver-Burdett.
iil. THE OXFORD DICTIONARY OF NURSERY RHYMES. Iona Opie and Peter Opie.
Oxford, England: Oxford University Press.
S28 THE OXFORD NURSERY RHYME BOOK. Iona Opie and Peter Opie. Oxford,
England: Oxford University Press.
iNGH8), PARTNER SONGS. Frederick Beckman. Boston, MA: Ginn & Co.
134. PENGUIN BOOK OF AMERICAN FOLKSONGS. Alan Lomax. Baltimore, MD:
Penguin Books.
ilsey PENTATONIC SONG BOOK. Brian Brocklehurst. Mainz: Schott.
136. A PENTATONIC TRAVELOGUE THROUGH HOLIDAYS, MOODS, AND SEA-
SONS. Dwight Joiner. Published by the author. Available through Rhythm Band
Inc., Fort Worth, TX.
1S7e PERSONALIZING MUSIC EDUCATION. Joan Fyfe. Sherman Oaks, CA: Alfred
Publ.
138. PIPELINE. Morristown, NJ: Silver-Burdett. (Records & worksheets on popular
music of the day—monthly)
139% PITCH AND RHYTHM CHARTS AND MANUAL. William Young. (Literacy pro-
gram for first grade, to accompany Spectrum of Music series.) New York: Macmillan
Publishing Co.
140. PLAYING SOCIAL AND RECREATIONAL INSTRUMENTS. Robert John & Charles
Douglas. Englewood Cliffs, NJ: Prentice-Hall, Inc.
141. PRIMARY, PRE PRIMARY SONGS AND VERSES. Grace C. Nash. Scottsdale, AZ:
Swartout Enterprises.
142. PUNCHINELLO 47. Tossi Aaron. St. Louis, MO: Magnamusic-Baton.
143. READING AND WRITING MUSIC. Tibor Bachmann. Elizabethtown, PA: Conti-
nental Press.
144. RECORDER ENSEMBLES. Grace C. Nash. Scottsdale, AZ: Swartout Enterprises.
145. RECORDER FOR BEGINNERS. Grace C. Nash. Scottsdale, AZ: Swartout Enter-
prises.
146. RECORDER PLAYING IN THE ELEMENTARY SCHOOL. Harold Newman. NY:
Hargail Press.
147. RECORDER ROUTES. Carol King. Memphis, TN: Memphis Musicraft Publications.
148. RECORDERS PLUS. Isabel Carley. New York: Belwin-Mills.
149. RESOURCES FOR CREATIVE TEACHING IN EARLY CHILDHOOD EDUCA-
TION. Ronnie Mack Flemming and Darlene S. Hamilton, NY: Harcourt Brace &
Jovanovich.
150. RHYTHMIC SPEECH ENSEMBLES. Grace C. Nash. Scottsdale, AZ: Swartout Publ.
15t ROBBINS MAMMOTH COLLECTION OF CHILDRENS SONGS. Hugo Frey. NY:
Robbins Music Corporation.
152. ROUNDS AND CANONS. Christopher LeFleming. Melville, NY: Belwin-Mills.
153; SAFARI. Konnie Saliba. Melville, NY: Belwin-Mills.
 Bibliography of Materials 381

154. SAGEBRUSH SAGAS. Dwight Joiner. Publ. by the author. Available through Rhythm
Band Inc., Ft. Worth, TX.
isisy SALLY GO ROUND THE SUN. Edith Fowke. Garden City, NY: Doubleday Inc.
156. JOHN W. SCHWAM PIANO COURSE. Melville, NY: Belwin-Mills.
SW SCHUBERT MASS IN F. Kicklighter. Conway, Ark.: Cambiata Press.
158. SECOND PENTATONIC SONG BOOK. Brian Brocklehurst. Mainz: Schott.
159. SEND OUT THY LIGHT. Farrell. Conway, Ark.: Cambiata Press.
160. SESAME STREET SONGBOOK. Joe Raposo and Jeffrey Moss. NY: Simon & Schus-
ten:
161. SILVER-BURDETT MUSIC. Neva Aubin et al. Morristown, NJ: Silver-Burdett Music
Co.
162. SIMPLE GIFTS. Helen Wyzga. Two volumes, published by the author. Available
through Musik Innovations, Allison Park, PA.
163. SING ABOUT SUNSHINE. Konnie Saliba. Melville, NY: Belwin-Mills.
164. SING, CLAP AND PLAY RECORDER. Heather Cox and Richard Garth. St. Louis,
MO: Magnamusic-Baton.
165. SING IT YOURSELF. Louise Bradford. Sherman Oaks, CA: Alfred Publishing Co.
166. SINGING GAMES. Arnold Burkhart. Muncie, IN: Keeping Up with Music Edu-
cation.
167. SONGS IN MOTION. Mary Helen Richards. Belmont, CA: Fearon Publishing.
168. SONGS OF THE GREAT AMERICAN WEST. Irwin Silber. NY: Macmillan Publ
Co.
169. SONG PRIMER. Isabel Carley. Brasstown, NC: Brasstown Press.
170. SONGS TO GROW ON. Beatrice Landeck. NY: Edward B. Marks Music Inc.
Wl SONGS TO READ. Tibor Bachmann. Elizabethtown, PA: Continental Press.
WO. SPECTRUM OF MUSIC. Mary Val Marsh and others. NY: Macmillan Publishing
Go;
73s SPIRITUAL TRILOGY. Siltman. Conway, Ark.: Cambiata Press.
174. STEP IT DOWN. Bessie Jones and Bess Lomax Hawes. NY: Harper and Row.
WS» STEP RIGHT IN. Mary Aldeson and Mary LeCompte. Dubuque, IA: Wm. C.
Brown.
176. STRAWBERRY FAIR. Jane Frazee. Minneapolis, MN: Schmidt Music Centers.
Wf, TEACHING MOVEMENT AND DANCE. Phyllis Weikert. Ypsilanti, MI: High/
Scope Press.
178. TEACHING MUSIC IN THE TWENTIETH CENTURY. Lois Choksy and others.
Englewood Cliffs, NJ: Prentice-Hall.
W793 TEXAS TALES AND TUNES. Mille Burnett & Mary Ann Cummins. St. Louis, MO:
Magnamusic-Baton.
180. THERE IS A LADYE. Collins. Conway, Ark.: Cambiata Press.
181. THIS IS MUSIC. William Sur and others. Boston: Allyn & Bacon.
182. THIS IS MUSIC FOR TODAY. William Sur and others. Boston: Allyn & Bacon.
183. THIS IS THE DAY. Jane Frazee and Arvida Steen. Minneapolis, MN: Schmidt.
184. JOHN THOMPSON MODERN COURSE FOR THE PIANO. Cincinatti, Ohio: Willis
Music Co.
185. THREE LITTLE FISHES. Saxie Dowell. NY: Sautley-Joy.
186. THREE PROVERBIAL LOVES. Collins. Conway, Ark.: Cambiata Press.
187. THRESHOLD TO MUSIC. Original edition. Mary Helen Richards.
1. Classroom charts
2. Teachers manual
3. Songs in Motion
4. Musical Sketchbook 1 & 2
5. Handsigns and Other Techniques
Belmont, CA: Fearon Publishing Co.
TO MUSIC. 2nd edition. Eleanor Kidd. Belmont, CA: Fearon.
188. THRESHOLD
382 Bibliographies

189. TODAY WITH MUSIC. Grace C. Nash. Sherman Oaks, CA: Alfred Publishing.
190. TOLD UNDER THE GREEN UMBRELLA. International Kindergarten Union. NY:
Macmillan Publishing Co.
yk. A TREASURY OF CHRISTMAS SONGS AND CAROLS. Henry W. Simon. Boston:
Houghton Mifflin Company.
i TREASURY OF SONGS. Tom Glazer. Melville, NY: Belwin-Mills.
19S: VERSES AND MOVEMENT. Grace C. Nash. Scottsdale, AZ: Swartout Enterprises.
194. VIVE L’AMOUR. Siltman. Conway, Ark.: Cambiata Press.
ey: ADULT PIANO COURSE. Bernard Wagness. Chicago, IL: Rubank Inc.
196. WAKE UP AND SING. Beatrice Landeck and Elizabeth Crook. NY: Edward B.
Marks.
197. WALT DISNEY SONG BOOK. NY: Golden Press.
198. WAR WHOOPS AND MEDICINE SONGS. Charles Hofman. Boston: Boston Music
Company.
199 WHILE SHEPHERDS WATCHED. Collins. Conway, Ark.: Cambiata Press.
200. WHO AM I? Louis Raebeck. Chicago, IL: Follett Publishing Company.
201. THE WORLD OF POPULAR MUSIC. Sidney Fox.
1. Rock
2. Jazz
3. Folk and Country
Chicago: Follett Publishing Company.
 BIBLIOGRAPHY OF RECORDINGS
(CITED IN THE TEXT)

Recordings for Younger Children

202. BAMBI. RCA Y-395.
203. BROTHER JOHN AND THE VILLAGE ORCHESTRA. Bowmar 299.
204. CREATIVE MOVEMENT AND RHYTHMIC EXPRESSION. Hap Palmer #533.
Freeport, NY: Educational Activities.
205. A CHILD’S INTRODUCTION TO THE ORCHESTRA. Mitch Miller and others.
Golden Records. GLP-1.
206. DANCE, SING AND LISTEN. Miss Nelson and Bruce. Bronx, NY: Dimension 5.
207. DISCOVERING MUSIC TOGETHER—EARLY CHILDHOOD MUSIC FOR LIS-
TENING. L001. Follett Publishing Company.
208. EL TORRITO. Capital 32133.
209. THE FEEL OF MUSIC. Hap Palmer #556. Freeport, NY: Educational Activities.
210. GETTING TO KNOW MYSELF. Hap Palmer #543. Freeport, NY: Educational
Activities.
21" LEARNING BASIC SKILLS THROUGH MUSIC. Vol. 1 Hap Palmer #514. Freeport,
NY: Educational Activities.
21 LEARNING BASIC SKILLS THROUGH MUSIC. Vol. 2. Hap Palmer #522. Free-
port, NY: Educational Activities.
213: LEARNING BASIC SKILLS THROUGH MUSIC. VOCABULARY. Hap Palmer #521.
Freeport, NY: Educational Activities.
214. MAKING MUSIC YOUR OWN II. Record # 1 “The Carpenter.’”” Morristown, NJ:
Silver-Burdett Co.
21: MARCHES FOR CHILDREN. FCS 50.007. First Component series. New York:
Audio-Fidelity.
216. THE OLD KING AND HIS FIDDLERS FOUR. Bowmar 399.
PAW. THE SMALL DANCER. Lucille Wood. Glendale, CA: Bowmar.
218. THE SMALL LISTENER. Lucille Wood. Glendale, CA: Bowmar.
DAO THE SMALL PLAYER. Lucille Wood. Glendale, CA: Bowmar.
220. THE SMALL SINGER. Volumes 1 & 2. Lucille Wood. Glendale, CA: Bowmar.

383
384 Bibliographies

2218 SNOW WHITE. Tale Spinners for Children, UA 11003.

De SYMPHONY IN MINIATURE. Edward Jurey. On DESIGN IN MUSIC. Glendale,
CA: Bowmar.
2233 THE TAILOR AND THE BEAR. On the SMALL LISTENER. Glendale, CA: Bow-
mar.
224. TOM THE PIPER. Glendale, CA: Bowmar #397.
225% YOU'LL SING A SONG AND I'LL SING A SONG. Ella Jenkins. Folkways FC 7664.
226. THE ZINNIGA ZANNIGA TREE. Dr. Seuss. RCA CAL-1063.

Ethnic, Folk Songs, and Folk Dance Recordings

227 ALL PURPOSE FOLK DANCES. Michael Herman RCA LPM-1623.
228. AFRICAN SOUNDS. Guy Warren. Fiesta 1646.
229. AMERICAN DANCES. Hallum & Glass. AR-57 or Lyons LB-9455-R.
230. AROUND THE VILLAGE. RCA LPN 1625.
23ile AROUND THE WORLD IN DANCE. Glass, Hallum, and Capon. Lyons LB-7876.
Done BUNNY HOP. La Crone LRC-33.
233: CROATIANS THEY DANCE, THEY DANCE. Tambouritzans: Dyno Records.
234. DANCING AROUND THE WORLD. Dick Kraus. FD-2.
235. DANCES FOR LITTLE PEOPLE. William Janick. KIM-0860.
236. DANCES OF THE WORLD'S PEOPLES. Vol. One: Balkans and Near East. Folk-
ways 6501.
237. FOLK AND CLASSICAL MUSIC OF KOREA. Folkways 4424.
238. FOLK DANCE FOR FUN. Michael Herman. RCA LPM-1624.
239% FOLK SONGS FROM LHASA, TIBET. Lyrichord 7286.
240. FOLK SONGS FROM JAPAN. Folkways 4129.
241. FLOWER DRUM SONG AND OTHER FOLK SONGS. Monitor 420.
242. JOLLY LUMBERJACKS. Soma MG-1215.
243. LET’S SQUARE DANCE. Michael Herman. Lyons LB-7663.
244. MARIACHI MUSIC. Miguel Diaz. Audio-Fidelity 5957.
245. MUSIC OF INDIA AND PAKISTAN. CMS-637.
246. MUSIC OF SOUTHEAST ASIA. Folkways 4423.
247. MUSIC OF THAILAND. Folkways 4462.
248. MUSIC OF VIET-NAM. Folkways 4362.
249. OKLAHOMA INDIAN CHANTS FOR THE CLASSROOM. Louis W. Ballard. Sante
Fe, NM: Southwest Music Company.
250. SONGS AND DANCES OF THE PHILIPPINES. Monitor 428.
Dole SONGS AND SOUNDS OF THE ORIENT. Japan Airlines Custom Recording.
DIZ SOUNDS OF JAPAN. Elekira 7297.
2533) TEXAS STAR. Folkcraft 1256.
254. TINIKLING. Making Music Your Own. Grade VI. Morristown, NJ: Silver-Burdett
Publishing.
2553 WAR WHOOPS AND MEDICINE SONGS. Folkways FE-4381.
256. WORLD OF FOLK DANCE. Michael Herman. RCA LMP 1621.

Individual Listening Selections

DOT: BACH, J.S. ART OF THE FUGUE. NY Woodwind Quintet. Everest 3335.
258. BACH: WACHET AUF. Vanguard HM 201.
masse). BEETHOVEN: SYMPHONIES NUMBER 5 AND 9. Columbia 31634.
260. BEETHOVEN: LEONORA OVERTURE. RCA LM 6005.
261. BEETHOVEN: MISSA SOLEMNIS. RCA LM 6013.
 Bibliography of Recordings 385
262. BEETHOVEN: SERENADE. Discovery S-284.
263. BEETHOVEN: STRING QUARTETS. Columbia MS S-606.
264. BEETHOVEN: SYMPHONY NUMBER 5. RCA 1648E.
265. BEETHOVEN: SYMPHONY NUMBER 9. 2 DG 2707073.
266. BENSON: THREE PIECES FOR PERCUSSION. Ithaca Percussion Ensemble. Golden
Crest Records S-4016.
267. BERNSTEIN: SYMPHONY NUMBER 3 “KADDISH.” Columbus Boy Choir. Co-
lumbia KS-6605.
268. BIZET: “HABANERA” from CARMEN. Angel S-3650.
269. BIZET: “MARCH OF THE SMUGGLERS” from CARMEN. RCA LSC-2944
.
270. BIZET: “MARCH” from PETITE SUITE. Disneyland ST 3985.
27 BIZET: ‘“‘TOREADOR SONG” from CARMEN. Angel S-3650.
PY BRAHMS: HUNGARIAN DANCE NUMBER 5. Bowmar Orchestr
a Library #55.
PR BRAHMS: HUNGARIAN DANCE NUMBER 5. RCA Deutsch Gramoph
one 138080.
274. CHAVEZ, CARLOS: TOCCATA FOR PERCUSSION. Los Angeles Percussion En-
semble. Columbia AMS-6447.
Paps. COPELAND: RED PONY. Learning to Listen Series. SB #30. Silver-Bu
rdett Publ.
Co.
276. DEBUSSY: “EN BATEAU” from PETITE SUITE. RCA Readers
Digest: Festival of
Light Classical Music—Record #6.
Pali DEBUSSY: LA MER. Columbia MS-6754.
278. DEBUSSY: PRELUDE TO THE AFTERNOON OF A FAWN. Columbia
MS 7523.
PES). DONIZETTI: LA FILLE DU REGIMENT. London 26204.
280. GONOUD: “JEWEL SONG” from FAUST. RCA ERL 4-2493.
281. GRIEG: “Kirsten Flagstad sings songs from Norway.” RCA 81-48.
282. HANDEL: JULIUS CAESAR. London 25876.
283. HAYDN: BIRTHDAY CANTATA. Mammouth 2124.
284. HAYDN: CONCERTO FOR TRUMPET AND ORCHESTRA. Angel
S-36148.
285. HAYDN: SYMPHONY 101 IN D. Vanguard SRV-187SD.
286. HAYDN: SYMPHONY 104. Vanguard S-166.
287. HERBERT, VICTOR: “ITALIAN STREET SONG” from NAUGHTY
MARIETTA.
CSP P-13878.
288. IPPOLITOV-IVANOV: PROCESSION OF THE SARDAR. Plymouth P-12-89.
289. JANACEK: MUSIC FOR MALE CHORUS. Moravian Teachers Choir. Nonesuch
71288.
290. KODALY: HARY JANOS. SBL-L-30. Learning to Listen Series. Silver-Burdett.
2918 KRAFT, WILLIAM: MOMENTUM FOR EIGHT PERCUSSIONISTS. Los Angeles
Philharmonic Percussion Ensemble. Crystal Records $-104.
DoD LATHAM, WILLIAM: COURT FESTIVAL. Oklahoma City University Symphonic
Band. Evanston, IL: Summy Birchard, #S-3.
293° MAHLER: SYMPHONY #3. Schola Cantorum Women’s Chorus. Columbia M2S-
675.
294. MLADA: PROCESSION OF THE NOBLES. Silver-Burdett Learning to Listen Series
Record #10.
Doo: MOZART: EXCERPTS from THE MAGIC FLUTE. Angel S-36315.
296. MOZART: SYMPHONY K435 (“LINZ”). Columbia M-30444.
EM. MOZART: MARRIAGE OF FIGARO. Angel S-35640.
298. MOZART: “QUEEN OF THE NIGHT” from THE MAGIC FLUTE. London 1397.
USE). PAVAROTTI, LUCIANO: WORLD’S FAVORITE TENOR ARIAS. London 26384.
300. PIERNE: MARCH OF THE LITTLE LEAD SOLDIERS. FCS 50.007 Audio-Fidelity.
301. PROKOFIEV: “MARCH” from THE LOVE OF THREE ORANGES. Angel S-4109.
302. RAVEL: BOLERO. Columbia MS 6011.
386 Bibliographies

303. RIMSKY-KORSAKOV: “SONG OF INDIA” from SADKO.

304. ROSSINI: BARBER OF SEVILLE. RCA LSC 6143.
305. ROSSINI: BARBER OF SEVILLE. RCA LSC 6143.
306. ROSSINI: OVERTURE TO WILLIAM TELL. Angel S-37123.
307. SCHOENBERG: FIVE PIECES FOR ORCHESTRA. Nonesuch 71192.
308. SHOSTAKOVICH: SONG OF THE FORESTS. Mel/Angel S-40214.
309. SHOSTAKOVICH: SYMPHONY NUMBER 13. USSR Male Chorus. Angel S-40212.
310. STRAUSS: DON QUIXOTE. RCA ARL 1-2287.
311. STRAUSS: TILL EULENSPIEGEL. RCA Readers Digest—Music of the World’s
Great Composers. #10.
312? TCHAIKOWSKY: 1812 OVERTURE. Design DLP-81.
31S: TCHAIKOWSKY: SLEEPING BEAUTY. Columbia M-31838.
314. VAUGHN-WILLIAMS: “MARCH” from KITCHEN UTENSILS.
Sikay VERDI: AIDA. Angel S-37228.
316. VERDI: EXCERPTS FROM AIDA. RCA LSC-B275. Leontyne Price, soprano.
317. VILLA-LOBOS: BACHIANAS BRASILIERAS 35. Angel 35547.
318. VILLA-LOBOS: BACHIANAS BRASILIERAS #5. Columbia MS 6514.
319. VILLA-LOBOS: QUINTET. Woodwind Arts Quintet. Orion 73123.
320. WAGNER: DIE MEISTERSINGER. Angel S-3776.
3218 WALLENSTEIN: JENNY LIND POLKA. MCA 2-4104.
S22 ZANINELLI: DANCE VARIATIONS. American Woodwind QUINTET. Golden Crest
S-4075.

Collections

O20. AMERICA THE BEAUTIFUL. RCA LSC 2662. Robert Shaw Chorale.
324. AMERICAN CONCERT BAND MASTERPIECES. Olympian MG-50079.
325. AMERICAN ENCORES. London 915. Montovani.
326. AUSTRIA REVISITED. Vienna Boys Choir. Capitol DT10217.
326a. BACH: ART OF THE FUGUE. N.Y. Woodwind Quintet. Everest 3335.
S278 BED OF ROSES. Statler Brothers. Mercury ML 8005.
328. BEETHOVEN OVERTURES. Columbia M8X 35191.
329. BEETHOVEN QUARTETS. Julliard String Quartet. Columbia MS-30084.
330. BEST OF STATLER BROTHERS. Mercury ML-5024.
Oo1F ROGER BOBO: TUBA. Crystal S-125.
ol BRASS ON IVORY. Mancini and Severinson. RCA LSP 4269.
333. BRITISH BAND CLASSICS. Mercury 50197.
334. CABARET. ABC Records D-752.
339: CHARLOTTE’S WEB. Ray Coniff. Columbia C 32413.
336. CHET ATKINS PICKS BEST. RCA LSP 2887-E
O37e CHICAGO SYMPHONIC BAND. #S-1 Evanston, IL: Summy Birchard Co.
338. CHRISTMAS WITH THE CHICAGO CHAMBER BRASS. Crystal S-430.
032) COUNTRY HITS OF THE 40’S. Capitol SM-884.
340. COUNTRY HITS OF THE 50’S. Capitol SM-885.
341. COUNTRY HITS OF THE 60’S. Capitol SM-886.
342. DEBUSSY NOCTURNES. BBC Women’s Chorus. Seraphim S-60104.
343. DESIGN IN MUSIC. Bowmar Recording.
344. FIRST CHAIR. Columbia ML-4629.
345. GERMAN AND ENGLISH BRASS MUSIC OF THE LATE RENAISSANCE. East-
man Brass Quintet. Candide 31004.
346. GOD’S TROMBONES. Fred Waring. MCA 207-E.
347. GREAT COUNTRY HITS. Nashville Strings. Columbia CS-9830.
 Bibliography of Recordings 387
348. HARMONY. Ray Coniff. Columbia KC-32553.
349. HAYDN QUARTETS. Fine Arts String Quartet. Vox SVBX-595.
350. IN CONCERT. NY Brass Quintet. Crest S-4023.
Solr INSTRUMENTS OF THE ORCHESTRA. RCA E-304.
SEY, INTIMATE GUITAR. Vols. 1 & 2. Andres Segovia. RCA ARL-1
0864 and 1323.
S83) THE KING AND I. Reminstrong R-199-112.
354. LIFE DIVINE. (Brass Band) Chandes BBRD-1030.
359. MEET THE INSTRUMENTS. Bowmar # 122 B 1715.
356. THE MILITARY BAND. Capitol W 1056.
357. MOZART AND HAYDN QUARTETS. Salzburg Mozartium
Quartet. Onyx-8.
358. MUSIC FOR BRASS 1500-1970. American Brass Quintet. Desto
64747.
SS), PETER GUNN. RCA LPM-1956.
360. POLKA KING. Myron Floren. Ranwood 8065.
361. RENAISSANCE MUSIC FOR BRASS. Nonesuch 71111.
362. SCHOENBERG QUARTETS. Kohen Quartet. Vox SVBX-590.
363. SONGS OF INSPIRATION. The Living Strings. Cambden-2183.
364. SONGS OF THE NORTH AND SOUTH. Mormon Tabernacle Choir. Columbia
MS-6259.
365. SOUTH PACIFIC. Remington R-199-115.
366. STEPHEN FOSTER FAVORITES. RCA LSC-2295.
367. SUNSHINE ROCK. Louis Bellison.
368. SUPER JAZZ. Pete Fountain/Al Hirt. Just Is P2G-33485.
369. TED HEATH BIG BAND. Everest FS-251.
370. THEM BONES. Dallas, TX: Inner City Records.
S¥Al. THIS IS MY COUNTRY. Fred Waring. MCA-193.
O72: THIS LAND IS MY LAND. Mormon Tabernacle Choir. Columbia MS-7149.
373: TUTTI’S TROMBONES. Buena 4048.
374. TUTTI’S TRUMPETS. Buena 4047.
S/o: TWENTY-ONE TROMBONES. Urbie Green Project 3, # 5024.
376. WOODY HERMAN BIG BAND. Columbia CL-2491.

Multiple Volume Sets

S77 ADVENTURES IN MUSIC. 12 albums. RCA LP-7664.
378. BOWMAR ORCHESTRA LIBRARY. 36 albums. Glendale, CA.
O72: LEARNING TO LISTEN. 7 albums. Morristown, NJ: Silver-Burdett Publ.
380. PIPELINE. Periodic issue on popular music of the day. Morristown, NJ: Silver-
Burdett Publ.
381. READERS DIGEST SERIES: FESTIVAL OF LIGHT CLASSICAL MUSIC. 12 albums.
RCA.
382. READERS DIGEST SERIES: MUSIC OF THE WORLD’S GREAT COMPOSERS.
12
albums. RCA.
383. SWING ERA. (Music of the 30’s and 40’s) Time-Life Books Inc.
 BIBLIOGRAPHY OF REFERENCES
(CITED IN THE TEXT)

384. Adam, Jeno. GROWING IN MUSIC WITH MOVABLE DO. NY: Panonius Central
Services Inc.
385. Apel, Willi. HARVARD DICTIONARY OF MUSIC. Cambridge, MA: Belknap Press
of the Harvard University Press.
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 SONG INDEX |

Achievement Achievement
Level Level

Apple Tree --O-- The Nightherd (in 6/4) --O-- 15

Autumn Winds --O-- Old Brass Wagon --O-- ils)
Bombera Play Now --O-- 10
The Cowboy --O-- Popcorn --O-- 13
Canon in 5.8 time --O-- The Ragged Rascal --O-- 10
Daddy Shot a Bear --O-- Ragtime for Five Xylos. --O-- 25
Doughnut Holes Rig-a-jig Jig --O-- 12
Du du liegst mir im herzen -O- Rocky Mt. High --O-- acc. only 12
Fais Do Do --O-- Round the Henhouse --O-- 15
Ferry Boat --O-- Rub-a-dub-dub
The Fog --O-- acc. only Sakura --O--
Funny Shape --O-- acc. only Scotland’s Burning
The Garden --O-- Shake dem ‘simmons down
Go Down Moses Shoo fly
Go Tell Aunt Rhodie Tideo --O--
Gringo Song --O-- Tum Balalaika --O--
Music Alone Shall Live --O-- Whistle Mary Whistle --O--
The Nightherd (in 6/8) --O--

--O-- indicates song has one or more Orff instrument parts

Numerals indicate achievement level location of the song

397
LOMEEING Gay SES AD

SERIE St SIU AS.tage WeatpenHel

38Use SD ey ee
a cappella. See “‘a cappella’ under “Singing”
ABA song form 198
Accompaniment
piano 297
suggestions for beginners 29
Accordian 296
Achievement levels. See also ‘Level One, Level Two,” etc.
how to use 93
organization of 124, 125
Activity recordings 128
alla breve 303
Alto glockenspiel. See “alto’’ under ““Glockenspiel’’
Alto metallophone. See ‘‘alto” under ““Metallophone’”
Alto recorder. See ‘‘alto’” under ‘Recorder’
Alto xylophone. See “alto” under “Xylophone”
American Orff-Schulwerk Association (AOSA), 17, 366
Autoharp 43
Bar. See “bar line”
Baritone ukulele 35
finger chart 36
tuning 35
Bar line 156
double bar line 156
Bass clef. See ‘“bass’”’ under “clef”
Bass metallophone. See ‘‘bass’’ under ‘‘metallophone”
Bass viol fingering 42
Bass xylophone. See “bass’’ under “xylophone”’

399
400 Index

Basso profundo. See “voice types” under “Listening to”

Beat
clapping 128
stepping 129
underlining 155
Beginning singer 74
Bells
fixed bars 59
step bells 59
Body percussion (sound gestures) 105
See also “Clapping” “‘Patschen” “Snapping wea
Stamping’
,

Bordun 112, 141, 145, 180, 188

Brass family of instruments 239
Bulletin of the Council for Research in Music Education 367
Cabeza 61
Cambiata Press 368
Canon technique 116
melodic canons 105, 194
rhythmic canons 193, 208
Cantata. See “‘cantata’’ under “‘Listening to”
Castanets 61
Cello 42, 218
fingering 42
tuning 42
Cello-bass 41, 318
fingering 42
Chants 204
Charts. See “Song charts”
Checklist. See “checklist” under “Level One” “Level Two” etc.
Choral sound 322
Choristers Guild 368
Chromatic conversion units 302
Clapping 127
echo 102, 138
simultaneous (sim-clap) 103, 127
Clarinet 185
Classroom teacher 19
Claves 61
Clef
bass 121, 274, 343
treble 121
Coconut shells 62
Coloratura. See under “Listening to”
Combination teacher 20
Composers
Beethoven 348
Haydn 344
Stravinsky 353
Composition 116
Concepts
 Index 401

developing 84
See also “suggestions for teaching . . .” under “Level 1” etc
Conducting 272, 274
Country-western string family 254
Countermelodies 282
Cow bell 62
Cross mode response 104, 105
Cross over mallet technique 113, 190
Curriculum 85
Curwen, John 13
Cymbals 62
crash 62
finger 62
suspended 62
d’Arezzo, Guido. See “Guido d’ Arezzo”
Daily lessons 95
Dalcroze International School of Music 368
Dalcroze Society of America 368
Dances
American folk 344
Black American 344
bleking 297
contemporary American 351
Folk 282
Eastern European 322
Indian (American) 269
Jewish 318
Mexican/Latin American 311
polka 330
Polynesian 311
square 340
Descants 282
Dictation
melodic 162
procedure 107
rhythmic 155
Directional singer 74, 147
Dom 227 1501/3176
high Do 226
Dorian mode. See “Dorian” under “Mode”
Double bar lines. See “double” under ‘Bar line”
Drums 61, 190
Duple meter. See ‘‘duple” under “Meter”
Echo clapping 138, 144
Echo singing 104, 136
Eurythmics 14
Dalcroze 14
Fa 232
Faster-slower 137
Fi 313, 316
402 Index

Finger tapping 104

Five line staff. See ‘five-line’” under ‘Staff’
Fixed Do system 64
Flashcards, how to make 362
Flute 180
Fretted instruments 31
strumming styles 31
See also “Guitar,” ‘Baritone ukulele”
Gamba 41
fingering 42
Glockenspiel 53
alto 188
soprano 188
Glover, Sarah 12
Goals and philosophy 79
day-to-day 79, 84
immediate 79, 83
long range 79, 81
specific 79, 82
Gong 62
Greece, ancient 8
Guido d’Arezzo 63
Guiro (fish) 62
Guitar 32, 296
in Orff ensembles 217
tuning 32
Half note
duple 185
triple 186
Hand signs 67
directional 66
hand signals 67
hand staff 66
two-hand singing 67
Higher-lower 137
Horn (French horn) 228
Improvisation 115, 163
Inner hearing 114, 145
International Society for Music education (ISME) 366
Jingle sticks 62
Journal of Research in Music Education 367
Keeping Up With Music Education 367
Key Prong 175
Key signatures 122, 269, 279
Kodaly Concept 17
La 136, 144, 164, 167
La pentatonic 205
Low La_ 203
Language reading readiness 3, 4
Lesson planning 95-101
Level 1 (preparing to read music) 125
 Index 403

checklist for 133

suggestions for teaching concepts and skills 127
teaching outline for 126
Level 2 (improvisation, dynamics, phrasing, duple and triple meter, So and Mi syllables) 134
checklist 141
suggestions for teaching concepts and skills 136
teaching outline for 134
Level 3 (singing, movement, inner hearing, rhythm development, clapping, La syllable) 142
checklist for 148
suggestions for teaching and skills 144
teaching outline for 143
Level 4 (bar lines, underlining beats, Do syllable, Re syllable, alto metallophone, stem notation,
rhythm dicta-
tion) 148
checklist for 156
suggestions for teaching concepts and skills 150
teaching outline for 149
Level 5 (improvisation on mallet instruments, melodic reading So-Mi syllables, two-line staff, singing tuning sounds,
timbre recognition, stamping) 157
checklist for 164
suggestions for teaching concepts and skills 159
teaching outline for 157
Level 6 (basic triple rhythms, simplified duple and triple meter signatures, melody reading with SML on a 2-line
staff, introduce soprano xylophone, two-hand singing, and snapping) 165
checklist for 172
suggestions for teaching concepts and skills 167
teaching outline for 166
Level 7 (Reading Do on a 5-line staff, movable clef, bass xylophone, alto recorder played by the teacher) 173
checklist for 181
suggestions for teaching concepts and skills 175
teaching outline for 173
Level 8 (Re syllable, melodic dictation, half note in duple meter, dotted half note in triple meter, new triple rhythm
(eighth-note + quarter note, soprano and alto glockenspiel, basic bordun, cross-over mallet playing) 181
checklist for 191
suggestions for teaching concepts and skills 183
teaching outline for 182
Level 9 (melodic and rhythmic canons, ABA song form, sixteenth note group — beat subdivided into four sounds) 191
checklist for 199
suggestions for teaching concepts and skills 193
teaching outline for 192
Level 10 (La-pentatonic, low La, minor borduns & ostinati, classroom size timpani, chants, rhythm & melodic
rondos) 199
checklist for 210
suggestions for teaching concepts and skills 201
teaching outline for 200
Level 11 (Low So, four-beat ostinati, strummed guitar) 211
checklist for 219
suggestions for teaching concepts and skills 213
teaching outline for 211
Level 12 (High Do, triple upbeats, eight beat ostinati) 219
checklist for 229
suggestions for teaching concepts and skills 222
404 Index

Level 12(Cont.)
teaching outline for 220
Level 13 (Harmonic chord changes, 2/4 & 4/4 meter signatures, Fa) 230
checklist for 239
suggestions for teaching concepts and skills 232
teaching outline for 230
Level 14 (C common time, 6/8 & 3/8 meter signatures, low Ti, partner songs) 240
checklist for 249
suggestions for teaching concepts and skills 242
teaching outline for 242
Level 15 (6/4 meter signature, chord changing accompaniments for mallet instruments, high Ti) 250
checklist for 256
suggestions for teaching concepts and skills 252
teaching outline for 250
Level 16 (3/4 meter signature counted one beat per measure, echo chains, listening to percussion family) 257
checklist for 263
suggestions for teaching concepts and skills 266
teaching outline for 264
Level 17 [use of key signature, playing the recorder, use of bass clef sign for reading ostinati for bass xylophone
and bass metallophone, historical and ethnic music, chord root singing, Pioneer and early American music, listening
to concert bands and symphony orchestras, Indian dancing]
checklist for 275
music literacy [goals and materials]264
musicianship [goals and materials] 265
suggestions for teaching concepts and skills 266
teaching outline for 264
Level 18 (countermelodies & descants, cowboy-western songs, critical listening to masterworks, American folk
dances, dotted eighth & sixteenth note rhythms in duple time, low F-sharp for recorder) 276
checklist for 283
suggestions for teaching concepts and skills 278
teaching outline for 276
Level 19 (2-part music, patriotic/national songs, Black songs and dances, F-natural, high C, high D for recorder) 283
checklist for 290
suggestions for teaching concepts and skills 285
teaching outline for 283
Level 20 (piano accompaniments, listening to folk guitar and accordian, bleking dances, extended rests, low C &
middle B-flat for recorder, reading high Re and high Mi) 291
checklist for 298
suggestions for teaching concepts and skills 293
teaching outline for 292
Level 21 (alla breve or cut time (C) meter signature, 2/2 meter signature, chromatic conversion units for Orff
instruments, non-ostinato mallet parts, high E for recorder, listening to string quartet and brass quintet, Mexican/
Latin American songs, Northern European songs) 299
checklist for 305
suggestions for teaching concepts and skills 301
teaching outline for 299
Level 22 (singing chordal accompaniments, Black American songs, Hawaiian, Polynesian, Mexican, Latin American
dances, wood wind, quintet & percussion ensemble, Si syllable, C-sharp for recorder, minors—natural, harmonic
& melodic) 306
checklist for 313
 Index 405

suggestions for teaching concepts and skills 309

teaching outline for 307
Level 23 (Jewish & Middle Eastern songs & dances, cello-bass in classroom ensemble, Fi syllable, melodic minor,
alto recorder) 314
checklist for 319
suggestions for teaching concepts and skills 316
teaching outline for 314
Level 24 (East European songs & dances, American Indian songs, listening to vocal ensembles, 3/4 meter signature
counted three to a bar, 9/8 meter signature counted three to a bar and tenor recorder) 320
checklist for 326
suggestions for teaching concepts and skills 322
teaching outline for 320
Level 25 (Early American songs (1800-present), listening to American jazz, polka dances, Dorian mode, high F for
recorder) 327
checklist for 332
suggestions for teaching concepts and skills 329
teaching outline for 327
Level 26 (Far Eastern songs, listening to music of the Far East, listening to basso profundo, coloratura and lyric
soprano performances, square dances, Mixolydian mode, high F-sharp & high G for recorder, triplets in duple
time) 333
checklist for 340
suggestions for teaching concepts and skills 335
teaching outline for 333
Level 27 (American songs of the twentieth century, in-depth study of two famous composers, American folk dances,
bass clef for boys, Phrygian mode, 5/8 meter signature) 341
checklist for 348
suggestions for teaching concepts and skills 343
teaching outline for 341
Level 28 (7/8 and 12/8 meter signatures, Lydian mode, contemporary American dances, in-depth study of a third
major composer, listening to cantata form) 349
checklist for 354
suggestions for teaching concepts and skills 351
teaching outline for 349
Lining out the tune 9
Listening curriculum 87
Listening to
American jazz 330
cantata 351
experimental music 354
Far Eastern music 340
Folk singing groups 297
masterworks 133, 281
opera 348
symphony orchestra 272
vocal ensembles 324
voice types 339
louder/softer 129
Lower range singer 74
Lydian mode. See “Lydian” under “Mode”
Lyric soprano. See “voice types” under ‘Listening to”
406 Index

Magnamusic-Baton, Inc. 368

Maracas 62
Mason, Lowell 10
Melodic dictation. See “melodic’’ under ‘’Dictation”’
Melodic reading. See “melodic” under “Reading’’
Melody syllables
systems 63
see also “Fixed Do” and names of syllabes Do, Re, Mi, Fa, So, La Ti, Fi, Si, Te
Memory devices 120
Metallophone 53, 151
Meter 171
duple-triple difference 138
Meter signatures
duple 236, 238, 242, 303
mixed 345, 353, 354
triple 243, 249, 253, 259, 325, 326, 354
MI 290, 293
Middle ages 8
Middle range singer 74
Minor 318
harmonic 313
melodic 313
natural 313
Minor bordun. See “minor” under ‘’Bordun”
Mixolydian mode. See “Mixolydian” under “Mode”
Mode 65
Dorian 65, 330
Lydian 65, 352
Mixolydian 65, 339
Phrygian 65, 345
Movable clef. See “movable” under “‘clef’”’
Movable DO
See also ‘“Curwen, John” and ‘Present day systems”
Movement 88, 119
Music education
Colonial America 9
Post-independence United States 9
Pre-America developments 9
Spanish America 9
Music Educators Nationai Conference 366
Music literacy 88
See also ‘“music literacy” under “Level One,” “Level 2” etc.
Music programs
blended 7
developing musicianship 7
functional 6
responsibility for 19
traditional or song approach to 6
Music Researchers Exchange 367
Music specialist 20
 Index 407

Music study, benefits 1

Music supervisor or coordinator 20
Music writing techniques 108
Musicianship 86
See “musicianship under ‘‘Level 1,” “Level 2,” etc.
Non-directional singer or out-of-tune singer 145
Omnichord 64
One ne two rhythm system 71
Opera. See “opera” under “Listening to”
Orchestation 69, 208, 229
creating 116
Orff instruments 53
arrangement of the instruments 58
basic instrumentation 54
introducing 86, 112
order of acquisition 54
placement of players 56
ranges and sizes 55
See also “instruments” under “Level 1,” “Level 2,” etc.
Orff-Schulwerk 15
general principles 17
Organization of American Kodaly Educators (OAKE) 367
Organizations 366
Ostinati 152, 180, 235
creating 111
eight-beat 208
four-beat 214
melodic 111
minor 255
rhythm 110, 111
Out-of-tune singers 73, 145
Partner songs. See “partner” under “songs”
Pat-clapping 108
Patschen 105, 414
Percussion family 263
Periodicals 366, 367
Pestalozzi, Johann Heinrich 10
Phrasing 136
Phrygian mode. See ‘Phrygian’’ under “Mode”
Piano
chords for 39
Pitch notation, introducing 109
Planning 85
achievement level 93
curriculum 86
daily lesson 95-101
for the year 91
teaching units 93
Present day system for solfege 64
Rattles 62
408 Index

REM lo 25 183;) 2907293

Reading
language reading relationship to music 3
melodic reading 88
note reading 109
stem notation 154
See also ‘Music Literacy” under “Level 1,” “Level 2,” etc.
Recorder 45
alto 179, 318
common teaching problems 48
fingerings 49
introducing 46
soprano 46
study of 266, 270, 278, 288, 294, 295, 301, 309, 317, 323, 329, 335
tenor 324
when and how to start 47
Recordings
activity 128
story 130
Renaissance 8
Repeat sign 180, 236
Resonator bells 58
Rests
dotted quarter for triple time 167
extended 296
eighth rest, introduction of 218
half rest, introduction of 238
quarter rest, introduction of 154
signs for 154
Rhythm charts, how to make 363
Rhythm curriculum 90
Rhythm instruments 60
drums 61
metal 62
scraped 62
shaken 62
wooden 61
Rhythm notation 77, 296, 338
duple 227, 236, 259, 261, 280
triple 224, 246
Rhythm sticks 61, 144
Rhythm syllables
Kodaly 69
Gordon 70
See also ‘One ne two system” and “Ta-ti-ti system”
Rome, ancient 8
Rondo
melodic 209
rhythmic 206
Rounds 227
 Index 409

Sand blocks 62
Saxophone 216
Scraped sounds. See “Rhythm instruments” and names of specific instruments
Shaken sounds. See “Rhythm instruments” and names of specific instruments
SI 64, 302, 312
Singing 86, 105
a cappella 351
chord root singing 267
chordal accommpaniment singing 310
two hand singing 67, 168
See also “Singing’”’ under “Level 1,” “Level 2,” etc.
Singing School 9
Slates, writing. See ‘Writing slates”
Snapping 172
SO 64
low So 215
So-Mi sound 127
reading So-Mi 160
Song bells 59
Song charts, how to make 363
Songs
African-American 310
American 344, 351
American Indian 325
cowboy-western 282
Eastern European 323
Far Eastern 337
Four-part 344
Hawaiian 311
Jewish 317
Latin American 303, 329
Mexican 303
Middle Eastern 317
North European 303
partner songs 242
patriotic/national 290
pioneer-historical 268
three-part 318
two-part 282
Soprano glockenspiel. See “soprano” under “Glockenspiel’’
Speaker 73, 132
Speech ensembles 120
Speech enhancement 146
Staff 121, 122
five-line 175
two-line 160
Stamping 160
Step bells 59
Stepping the beat 104
Story records 130
410 Index

String quartet 303

Stringed instrument family 253
Syllable systems. See ‘Melody syllable systems”
Tambourine 62
Teaching a game or action song 107
Teaching asong 106
Teaching a verse 106
Teaching techniques, basic 102
Temple blocks 61
Tenor recorder. See “tenor” under ‘Recorder’
Texas Music Educators Association 367
Texture 171
TI 243, 252
Timbales 61
Timbre 163
Timpani 61, 210
Tone blocks 61
Tonic Sol-Fa 13
principles 14
Transposing singer 74, 132
Triangle 62
Triple rhythm. See “triple” under ‘Rhythm notation”
Triplet notation, introduction of 338
Trombone 208
Trumpet 195
Tuned glasses 62
Tuning sounds 159
Two-hand singing. See ‘“two-hand” under ‘‘Singing’”’
Ukulele. See “Baritone ukulele”
Upbeats 197, 218, 222
Upper range singer 75
Vibraslap 62
Violin 177
Vocal development 62
expectations 75
Voice types 319, 338
Whip 62
Wood blocks 61
Woodwind instrument family 243
Woodwind quintet 311
Worksheets, how to make 364
Wrist bells 62
Writing practice 121
Writing slates, how to make 108
Xylophone 54
alto 139
bass 179
soprano 168
sopranino 54
Zither, chord. See “Autoharp”
 GLOSSARY | i]

AB A musical form consisting of two contrasting sections, A and B.

ABA _A musical form of three sections A, By and A. Section B is a contrasting section
to the two A sections, which are similar, if not identical.
AG _A widely used abbreviation for the alto glockenspiel.
AM A widely used abbreviation for the alto metallophone.
anacrusis See pickup.
arrangement The adaptation of a composition or its parts, to allow for performance by
voices or instruments other than those for which it was originally intended.
Autoharp A registered trademark of Oscar Schmidt International. The name is used to
designate all chord zithers.
AR_ A widely used abbreviation for the alto recorder.
AX A widely used abbreviation for the alto xylophone.
bar line A line drawn from the top of a staff to the bottom. The space enclosed by two
bar lines is called a measure.
basic pentatonic The five tones of the pentatonic scale Do, Re, Mi, So, La. Notes above
or below this basic scale are designated as an extended pentatonic scale.
basic set A term used to designate a specific collection of Orff mallet instruments:
soprano glockenspiel, alto glockenspiel, alto metallophone, sorpano xylophone, alto xy-
lophone, and bass xylophone.
bass clef The symbol % used to identify the staff below middle C. Sometimes called the
F clef, its dots straddle the F line of the staff.
beam A line connecting stems of notes into rhythmic groupings of one beat or less.
beat The fundamental pulse present in most music. Dancers dance to a beat; a marching
band marches to a beat.
beat division Beats may be divided into two or three sounds. Duple beats are divided
into 5 = [| ord = Je triple beats i, = or SI =
beat subdivision Divides beat division into two parts. For example, an eighth note (a
division of the quarter note) may be subdivided further into two sixteenth notes.
BM A widely used abbreviation for bass metallophone.

411
412 Glossary

body percussion The use of the human body as a percussion instrument. Four sounds
are generally used: the stamping of feet, patting of thighs, clapping of hands, and snap-
ping of fingers.
bordun An ostinato which consists of, or includes along with other pitches, the tonic
and dominant pitches (Do, So).
BR_ An abbreviation for bass recorder.
brass quintet A standard brass chamber group, which consists of two trumpets, a horn,
trombone, and tuba. Occasionally, a bass trombone may be substituted for the tuba.
BX An abbreviation used to designate the bass xylophone.
canon A composition in which all parts have the same melody, but begin at differing
times. A round is one type of canon.
cantata A multimovement vocal work based on a continuous narrative text. A cantata
includes solos and choruses, but has no dramatic content.
capo An abbreviation for capostato, a clamp-like device attached to fretted instruments,
thereby shortening the strings and allowing the player to perform in various keys by
using only one set of fingerings.
CB. An abbreviation for contra-bass. When used with xylophone, the mark indicates an
instrument sounding an octave below the bass xylophone.
chant A sung ostinato. Usually a short rhythmic melodic segment of a particular song.
Cheve A nineteenth century French theoretician generally credited with devising a
syllable system for singing all the chromatic alterations of the musical scale.
chord A group of three or more tones sounded simultaneously.
chord root The pitch upon which a chord is constructed, sometimes called the funda-
mental or bass note. Chord root singing uses the bass notes as the lowest harmony part.
clapping One of the four sounds associated with body percussion.
clef A symbol placed on a staff which identifies the position of a specific pitch from all
other pitches.
concept An understanding resulting from the learning of facts, or the acquisition of
skills.
countermelody A melody which runs contrapuntally to the main tune.
Curwin, John A nineteenth century British pedagogue who devised a system of syllable
singing called the Tonic Sol-Fa system.
Dalcroze Asystem of movement to music originated by the Swiss musician Emil Jaques-
Dalcroze. The system is referred to as either La Rythmique (French), or Eurythmics (English).
descant A type of countermelody usually sung or played above the principal tune.
diatonic A scale of seven tones. The arrangement of the whole steps and half steps
determines whether the scale is major or minor.
Do One of the melody syllables used to sing the musical scale. Do is the fundamental
pitch of the major scale. (Do, Re, Mi, Fa, So, La, Ti, Do.)
duple A term used to designate music or verses that moves in “‘twos,’”” as opposed to
“threes” (triple) (that which moves in threes).
dynamics The words, abbreviations, or symbols used to indicate the degree of volume
in music.
echo clapping A form of rhythmic imitation performed by clapping, in which the group
imitates, or echoes, a leader.
echo singing A form of vocal imitation in which an individual or group imitates or
echoes a leader.
Eurythmics The English language name for a system of moving to music originated by
Jaques-Dalcroze.
fixed Do A system of syllable singing in which Do remains fixed at C.
folk song Songs transmitted aurally through successive generations, and subject to
much modification in the process. These songs represent the musical tradition of com-
munities and cultures, whose composers are rarely known.
 Glossary 413

glissando A rapid movement up or down the scale. A glissando on a xylophone is

achieved by rubbing the mallet up and/or down the keyboard.
hand signs. A set of hand positions used to designate the various pitches in the musical
scale.
harmonic scale A minor scale easily identified by the step and a half interval between
the 6th and 7th tones.
Hullah, John A nineteenth century English pedagogue, a contemporary of John Cur-
wen, who devised a fixed Do system of syllable singing based on the older Lanca’shire
system.
improvisation The act of performing music extemporaneously.
inner hearing The process of thinking or hearing the music in one’s head.
instrumentarium A term used to describe the entire collection of classroom instruments,
which consists of glockenspiels, xylophones, metallophones, timpani, unpitched per-
cussion and stringed instruments.
interlude a brief section of music inserted between stanzas or sections of a larger work.
Jaques-Dalcroze Surname adopted by Emil Jaques, the originator of Eurythmics. Since
Jaques was a common name, the musician added the name of his hometown to it so that
it could be distinguished from the others.
key A term used to describe the main note, tonal center, or tonality of any musical
selection. (See key signature.)
key prong A name for the movable clef sign used in teaching young children to read
music, prior to the introduction of key signatures. The key prong always designates the
position of Do on the staff.
key signature A set of symbols (sharps or flats) placed on the staff at the beginning of
a song or section to indicate the tonality in which the composition is written.
La Rythmique The French name for Eurythmics, the music teaching system originated
by Jaques-Dalcroze.
leger lines Short lines above or below the staff on which higher or lower notes may be
written. (Also ledger)
major scale A diatonic scale that uses Do as the fundamental pitch. A major scale
includes Do, Re, Mi, Fa, So, La and Ti.
melodic rhythm The rhythm of words or melody in a musical composition.
meter Traditionally, the grouping of beats in music. Increasingly used by teachers to
designate music that moves in twos (duple meter) and threes (triple meter).
meterbeat A term sometimes used to identify the sounds in duple or triple beat division.
middle C_ The note written on an added leger line between the treble and bass clefs.
minor scale A minor scale begins on the sixth degree of any major scale. A distinguishing
feature of the minor scale is the interval of the minor third between the first and third
notes of the scale. There are three forms of the minor scale: natural minor, which has the
same notes as a major scale; harmonic minor, which has a raised seventh tone; and melodic
minor, which has a raised sixth and seventh tones on ascent but follows the natural minor
progression on descent.
mirroring A process whereby the teacher or leader performs a motion (such as the
movement used in playing a bordun) while the students copy it as if seeing it in a mirror.
When viewed in this manner, the leader’s left hand would be perceived as the students’
right hand.
modal scale In the widest sense of the term, modal can mean any arrangement of
pitches that form a scale; i.e. pentatonic, major, minor, etc. The more common usage
refers to the church modes: dorian, phrygian, lydian, mixolydian, and locrian. Dorian
mode is a natural minor with a raised 6th degree; phrygian is a natural minor with a
lowered second degree; lydian is a major scale with a raised fourth degree; and mixolydian
is a major scale with a lowered seventh degree. The Locrian mode is seldom used.
movable clef A device used in elementary music teaching which can be moved or placed
anywhere on the staff to indicate the location of the tonic pitch Do.
414 Glossary

movement A term used to describe a physical response to the mood, tempo, text,
rhythm, or melody of music.
Norwich Town in England where Sarah Glover originated her system of syllable read-
ing, which is sometimes referred to as the Norwich Sol-Fa system.
octave The interval between two pitches of the same name, such as C-C’ or Do-Do’.
Omnichord An electronic instrument marketed by Suzuki International. Features in-
clude automatic rhythm; major, minor, and dominant seventh chords; programmable
memory. It is played much like an Autoharp.
Orff, Carl German composer who devised the teaching system known as the Orff-
Schulwerk.
Orff instruments Name given to the classroom size xylophones, glockenspiels, and
metallophones which form the basis of the Orff ensemble, or instrumentarium.
ostinato Any repeated rhythmic or melodic pattern. Commonly used to refer to the
repeated instrumental parts played on Orff instruments.
partner songs Two songs that have the same harmonic structure, which allows them
to be sung simultaneously.
partial staff A musical staff of less than five lines. The most common is the two line
staff, but three or four line staves are frequently seen.
patschen (patting) Rhythmic slapping of the thigh. Pronounced PAH-chen.
pentatonic Literally, five-tone. Pentatonic, as used in elementary music, is usually
Do,Re,Mi,So,La. Minor pentatonic is La,Do,Re,Mi,So. Other combinations are possible
but rarely used.
Pestalozzi, Johann Swiss pedagogue of the early nineteenth century. His teaching prin-
ciples greatly inflenced Lowell Mason and other early American music teachers.
phrase A musical segment with a clear beginning and a clear ending, similar to a
sentence in speech.
pickup A term commonly used for anacrusis, also called an upbeat. Consists of one or
more unaccented notes performed before the first main accented beat. (For instance, the
first two pitches of the Star Spangled Banner are pickup notes.)
pre-part singing A term used to describe activities used to accustom students to the
sound of part music. They are used prior to the introduction of actual part music, and
include two-hand singing, canons, rounds, partner songs, etc.
ragtime An early twentieth century American music type featuring a strict bass and
afterbeat accompaniment, over which a syncopated melody is played or sung.
recorder A member of the whistle flute group of instruments in which sound is produced
by the players breath moving across a sharp edge or fipple. Commonly used in elementary
school, the recorder assists students in acquiring note reading skills.
retrograde Backwards; i.e., beginning with the last note of a melody and ending with
the first.
rondo A musical form consisting of a principal melody (A) which is performed in
alteration with other melodies. The form is AB ACA. There is no limit to the number
of contrasting melodies that may be used. Rondos are often used to teach improvisation.
rote A way of learning in which an example is listened to and imitated until learned.
Rote learning is aural then, in this context.
round A type of canon, in which a melody is performed by two or more groups entering
at various intervals. A round is harmonically based so that the places where voices can
enter are limited.
SG A commonly used abbreviation for soprano glockenspiel.
sim-clap An abbreviation for simultaneous clapping, in which the students clap a rhythm
pattern in time with their teacher. It is sometimes called tempo-dynamic clapping.
SM A commonly used abbreviation for soprano metallophone.
snapping One of the four body percussion sounds. (Snapping of the fingers.)
sound gestures A term sometimes used in place of body percussion.
SR_ An abbreviation for soprano recorder.
 Glossary 415

stamping One of the four body percussion sounds, sometimes called stepping.
string quartet A standard chamber music ensemble consisting of two violins, a viola,
and cello.
SX A commonly used abbreviation for soprano xylophone.
syncopation Placement of accents on weak beats or parts of beats.
tempo-dynamic clapping An alternate term for sim-clap.
texture Used to describe the characteristics of the sound of a group of instruments or
voices. Descriptive terms used are rough, smooth, flowing, jerky, thick, thin, etc.
timbre Pronounced TAM-bur. Quality or color of a tone, due to the format or strengths
and weaknesses of the harmonics that make up the tone.
tonality The relationship of the tones in a scale to the tonic: ie. major tonality, minor
tonality.
Tonic Sol-Fa The name given to a system of reading music with syllables developed
by John Curwen. His system used Do for the major tonic and La for minor tonic.
treble clef. A symbol é placed at the beginnning of the staff which identifies the location
of the note G. Sometimes called the G clef.
triple A term used to describe music or verse that moves in threes (triple), in contrast
to that which moves in twos (duple).
tuning sounds The process of singing the tonic chord prior to singing a song. For major
songs, the tuning sounds would be sung Do,Mi,So,Mi,Do. For minor songs the tuning
sounds would be La,Do,Mi,Do,La. The use of tuning sounds helps develop a sense of
tonality in younger children.
upbeat An alternate term for pickup note.
verse Short poems or sayings used to help develop a sense of rhythm and a feeling for
phrases in younger children. Verse is an integral part of the Orff-Schulwerk process.
woodwind quintet A standard chamber music ensemble consisting of flute, oboe, clar-
inet, horn, and bassoon.
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AN INTEGRATED
MUSIC PROGRAM
FOR
ELEMENTARY SCHOOL
William Young

This new book combines two of today’s most popular approaches to

music education—Kodaly and Orff-Schulwerk—making both systems more
accessible for American teachers.

Much more than a simple mixture of Kodaly and Orff-Schulwerk, William

Young’s guide is filled with fresh techniques for the practical application of
these effective approaches. The integrated music program presented
helps teachers more easily inspire their students’ music literacy and
appreciation while developing their innate musicianship.

From rhythm, melody, and singing. . .to instruments, listening, and

movement—the guide progresses step-by-step through promoting music
learning. Whether you’re currently oriented-toward a Kodaly-type
approach or Orff-Schulwerk techniques for all-around musicianship, you'll
find scores of tips to help improve your methods program.

Also for elementary school music teachers: Discover an anthology of

more than 300 carefully selected songs in The Melody Book: 300
Selections from the World of Music for Autoharp, Guitar, Piano,
Recorder, and Voice by Patricia Hackett. Including both melody and
chord symbols, this comprehensive volume is a ready source of festive
music for all occasions and ages.

Prentice Hall
Englewood Cliffs, N.J. 07632