Creative Sequence: Teaching Music with Flexibility ......Music/ Dance/ Game Origin/ Composer/ Style Scale Melodic Focus Harmony Time Signature Rhythmic Focus #1 Rhythmic Focus #2 Form

Creative Sequence: Teaching Music with Flexibility & Organization Workshop Presentation by Tim Purdum

Pittsburgh Golden Triangle March 19, 2016

Additional resources at timpurdum.com/pgt2016

� Copyright © 2016 by Tim Purdum.1Permission for classroom use granted.

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Creative Sequence Elemental Music Map of Concepts

Rhythm Melody Harmony Form Timbre Expression Style







Creative Sequence Repertoire CollectionMusic/ Dance/ Game

Origin/ Composer/

StyleScale Melodic

Focus Harmony Time Signature

Rhythmic Focus #1

Rhythmic Focus #2 Form Movement

Apple Tree England Tritonic (la-so-mi)

la chord drone 4/4 eighth notes quarter note abab circle choosing game

Birch Tree, The

Russia D-la Pentachord (mi-re-do-ti-la)

ti three-part round

2/4 dotted quarter-eighth

three-measure phrases

aa’bb

Doorbell Rang, The

Pat Hutchins Bitonic (so-mi)

descending minor third

story

Great Big House in New Orleans

America F-do Pentatonic

starting on mi

broken drone (or I-V)

4/4 eighth notes quarter rest aa’ab play party (circle)

Hot Cross Buns

England Tritonic (mi-re-do)

descending scale

I-V 4/4 eighth notes quarter rest aaba

Old Joe Clark

Appalachia/Purdum

Mixolydian lowered seventh (compare to Ionian)

I-VII 4/4 dotted eighth-sixteenth

sixteenth-eighth-sixteenth (syncopation)

verse & chorus

locomotor movement game

Skin & Bones America E-la Tetratonic (mi-re-do-la)

la tonic chord drone 6/8 anacrusis three eighth notes

call & response

Sleep Baby Sleep

Germany la-so-fa-mi-do

fa passing tone

level drone, melodic ostinato

4/4 eighth rest eighth note (single)

aabbaa

Walking Song

Purdum C-do Pentatonic

stepwise motion

four-part round

4/4 steady beat quarter note ab




Creative Sequence Repertoire CollectionMusic/ Dance/ Game

Origin/ Composer/

StyleScale Melodic

Focus Harmony Time Signature

Rhythmic Focus #1

Rhythmic Focus #2 Form Movement










Creative Sequence

Yearly Map of Elemental Music ConceptsRhythm Melody Harmony Form Timbre Expression Style

Kdg

1st

2nd

3rd

4th

5th




Creative Sequence

Planning CalendarGrade

Aug. Sept. Oct. Nov. Dec. Jan. Feb. Mar. Apr. May

Events

Priority Concepts

Repertoire

Secondary

Concepts




Creative Sequence

Lesson Plan

Grade/Class

Date

Primary Elemental Objective

Secondary Elemental

Objectives

National/State

StandardRepertoire

Media

Process - Explore - Analyze

- Create

Performance Assessments




Ding-Dong!

Grade/Class Kdg-3rd Grade

Date


Melody: Identify, perform, and label a descending minor third as so-mi while singing and playing barred percussion.

Secondary Elemental

Objectives

Form: Identify and follow performance cues in a story.

National/State Standards

Core Music Standards: Mu:Cr1.1.K a. With guidance, explore and experience music concepts. b. With guidance, generate musical ideas. Mu:Cr2.1.K a. With guidance, demonstrate and choose favorite musical ideas.

21st Century Skills: • Creativity & Innovation • Critical Thinking & Problem Solving • Communication & Collaboration • Flexibility & Adaptability • Initiative & Self-Direction • Productivity & Accountability • Leadership & Responsibility

Repertoire Story: The Doorbell Rang by Pat Hutchins

Media Song Barred Percussion

Speech (storytelling)

Process - Experience

- Analyze - Create

1. Read the story The Doorbell Rang to the class. Every time it says, "then the doorbell rang," have the class make a classic so-mi doorbell sound, "ding dong," on the pitches C-A in upper register.

2. Pull out a single barred percussion instrument. Demonstrate the proper technique for removing bars (two hands, on either end, lifting straight and slowly). Remove the bar B in the center of the instrument. Demonstrate how to play the “ding-dong” pattern on C and A on either side of the space.

3. Send the class to the barred percussion, and have them carefully remove the B bar. Practice playing the C-A pattern, then perform the story, using barred percussion for the doorbell.

4. Give students time to explore and create their own, slightly more interesting doorbell patterns. Repeat the story one more time, with each student getting a chance to play a new pattern.

5. After putting the barred percussion back together, show the class the C-A pattern on a staff. Label and discuss staff, treble clef, and noteheads. Identify up and down on the staff. Label the upper note as so and the lower note as mi. Introduce hand/body signs to reinforce pitches.

6. Apply so-mi reading skills to sight-reading flash cards or other simple melodies.

Assessment Performance Assessment: check for accuracy of original pattern on barred percussion. Notation: have students notate an original two-note doorbell pattern using noteheads and staves.




Apple Tree

Grade/Class 1st-3rd Grade

Date


Harmony: Identify and perform a chord drone with simple rhythm.

Secondary Elemental

Objectives

Melody: Identify, sing, and play a melody with la (mi-so-la Tritonic). Rhythm: Review, read, and perform rhythms using eighth notes and quarter notes.


Core Music Standards: Mu:Pr.4.2.1 a. With limited guidance, demonstrate knowledge of music concepts in music from a variety of cultures selected for performance. b. When analyzing selected music, read and perform rhythmic patterns using iconic or standard notation.

21st Century Skills: • Critical Thinking & Problem Solving • Communication & Collaboration • Flexibility & Adaptability • Initiative & Self-Direction • Productivity & Accountability • Leadership & Responsibility

Repertoire

Media Singing Movement

Barred Percussion





- Analyze - Create

1. Seat class in a circle on the floor. Using an apple prop (cutout, fake, real), tap each student on the head lightly to the beat as you walk around the circle and sing the song. On the word "out," stop and give the apple to that student.

2. As the first student walks around the room tapping the beat, move to the bass xylophone (or other low instrument), remove E and B bars, and keep the beat on a chord drone (F & C). Sing the song for the class again.

3. When the first student passes on the apple to the student he or she stops on, have the first student join you on low barred percussion, keeping the beat.

4. If you have two low instruments, you can alternate placements to allow each child to have two turns before returning to the circle.

5. Play the game until all students have had a turn. Gradually ask the class to join in and take over the singing of the song. Use words on the board to assist memory.

6. Show the song with notation on the board. Practice reading rhythms using syllables, then reading melody using so and mi. If la is new, the class will probably continue singing so at that point. Ask them to identify where the notes go higher, and introduce the la syllable and hand signs.

7. Once the class can sing the song using three-note solfege, review the words and sing. 8. Pull out a barred instrument to show the class. Remove E and B bars. Review how to play so-

mi patterns on C and A. Ask the class to guess which bar will be played for la. Try out guesses until the right note is discovered.

9. Move class to the barred percussion, and ask them to remove E and B bars (Eggs and Bacon). Use echoing, notation on the board, and a combination of letter names and solfege cues to teach the melody. Give students time to freely practice, and encourage them to help each other as you move around to assist.

10. Perform the melody as a whole class. Have small groups (2-4) play to assess. 11. Explore other tree fruit words, and categorize by rhythm. Create a rhythmic ostinato with two

fruit names (“pear, cherry”). 12. Have the class practice patting this rhythm, while the teacher sings the song. Next, have half

the class sing and the other half pat the rhythm. Introduce and label a repeated pattern as an ostinato.

13. Transfer the ostinato rhythm to the F-C chord drone on barred percussion. 14. Create a final performance with drone in the bass and melody above.

Performance Assessment

Check for rhythmic independence between melody and drone ostinato.

Apple Tree




Hot Cross Buns

Grade/Class 2nd-4th Grade

Date


Melody: Identify, read, sing, play, and improvise a melody using re in a mi-re-do pattern.

Secondary Elemental

Objectives

Style: Learn to sing a traditional English song,, speak a traditional English poem, and identify the meanings of the words.


Core Music Standards: Mu:Cr.1.1.2 a. Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.

21st Century Skills: • Creativity & Innovation • Critical Thinking & Problem-Solving • Communication & Collaboration • Flexibility & Adaptability • Initiative & Self-Direction • Social & Cross-Cultural Skills • Production & Accountability • Leadership & Responsibility

Repertoire

Media Singing Barred Percussion

Song: Hot Cross Buns

�

Poem: Piping Hot (English Traditional)

Piping hot, smoking hot, What I’ve got, you have not. Hot grey pease, hot, hot, hot, Hot grey pease, hot!





- Analyze - Create

1. Ask the class if any of them have been to a farmers market, or seen street vendors selling food or items in the city. Point out that this style of direct selling by farmers, fishermen, bakers, etc., has been around for centuries, long before the supermarkets. Ask the class to mention other places where someone might directly sell you an item or service.

2. Explain how vendors sometimes traditionally would shout or call out to get the attention of passing customers. These calls would often be sung or chanted. Some vendors at ball games still use this technique to attract business.

3. Show the class the song Hot Cross Buns on the board, including text and staff notation. If the class is already familiar with the tune, sing together first. Point out the meaning of the words. Hot cross buns are sweet rolls with a cross painted on the top with frosting. “One a penny, two a penny” is haggling, offering a bargain.

4. As a class, review the rhythms of the song, the form (aaba) and look at the melodic contour of stepping down, repeated notes, and stepping up. Assist the class in labeling mi and do, and discovering the new transition note re. Sing the song using solfege and hand/body signs.

5. Move to the barred percussion and set up in F-do Pentatonic (remove Es and Bs). Ask the class to identify where re sits on the instruments (G). Echo-play each phrase of the song, and then have the class practice playing the whole song independently and together.

6. Return to the board and show the class Piping Hot. Ask them to read silently to themselves, and raise their hands when they reach the end of the poem. Speak the poem together as a class, settling on a rhythm.

7. While repeating the poem, ask the class to pat the steady beat. Mark the beats with vertical lines above the words (note stems). Next, ask the class to clap the rhythm of the words. Have them identify and choose the needed rhythm to notate.( )

8. Move to the barred percussion, and have the class practice the rhythm of Piping Hot all on the long F bar (low do). Next, play the poem on G (re), and on A (mi). Ask the students to choose their favorite pitch to play.

9. Encourage the students to explore and invent new patterns using all three notes. Share some examples with the class. Discuss the use of repetition and variation to make the songs interesting, and compare to how Hot Cross Buns uses repetition.

10. Create a final rondo performance, where the entire class plays Hot Cross Buns as the A section, and each student plays a solo on Piping Hot as the changing sections.

11. Have the class give positive and constructive feedback to soloists to improve their improvisations. Use guiding questions to lead discussion towards specific ideas.

12. As an extension, create an ABA or rondo movement piece (dance, body percussion) for a separate class or half the class to perform over the barred percussion arrangement of Hot Cross Buns/Piping Hot.


Check individual improvisations for rhythmic accuracy, utilizing the three-pitch set (mi-re-do), and use of repetition.

Hot Cross Buns





Grade/Class 2nd-5th

Date


Melody: Perform a traditional song in F-do Pentatonic. Transpose to C-do Pentatonic.

Secondary Elemental

Objectives

Style: Perform a traditional American Play Party, and learn about the history of play parties. Form: Identify and discuss ambiguous phrase form repetition. Improvise in aaab phrase form. Harmony: Perform a broken drone to accompany a melody.


Core Music Standards: MU:Pr4.2.2 a. Demonstrate knowledge of music concepts (such as tonality and meter) in music from a variety of cultures selected for performance. b. When analyzing selected music, read and perform rhythmic and melodic patterns using iconic or standard notation. MU:Cr1.1.2 a. Improvise rhythmic and melodic patterns and musical ideas for a specific purpose. b. Generate musical patterns and ideas within the context of a given tonality (such as major and minor) and meter (such as duple and triple).

21st Century Skills: • Creativity & Innovation • Critical Thinking & Problem Solving • Communication & Collaboration • Flexibility & Adaptability • Initiative & Self-Direction • Social & Cross-Cultural Skills • Production & Accountability • Leadership & Responsibility

Repertoire





Barred Percussion


- Analyze - Create

1. Have the class stand in a circle, holding hands. Number off by twos around the circle (1, 2, 1, 2, etc.)

2. While you sing the first verse, everyone walks to the left (counterclockwise) around the circle.

3. On the “went down to the old millstream,” have all the 1s take one step into the center and hold hands, creating a smaller circle. On “fetch a pail of water,” the 2s also step in and reach between and in front of the 1s to hold hands. On “put one arm around my wife,” the 2s bring their arms over the heads of the 1s and behind their backs. On “the other round my daughter,” 1s bring arms over the heads of 2s and behind their backs. This should create interlocking arms.

4. For the last verse, all step with right foot behind left, while bending knees, then step out with the left while standing up. Continue in this fashion to the left for the whole verse. A simpler version is to do a side-step (step, together, step, together).

5. Label the game a “play party,” and discuss how these games were used by kids to play together at a time when “dancing” was officially forbidden in their communities. The fact that the kids did the singing themselves made it different than a traditional folk dance, where there would have been a band playing the music.

6. Show the song notation as four separate measures on staff cards, out of order. Sight-read rhythms and solfege pitches, and ask the class to put them in the right order. If you can make copies, this works even better in small groups, with each group responsible for putting the cards in order.

7. Identify the phrase form of song as aa’ab or abac. Discuss how it is possible to interpret things in multiple ways, and explore why each answer could be “right.”

8. Move to the barred percussion and set up in F-do Pentatonic (remove Es and Bs). Practice and learn to play the melody through echoing, peer teaching, reading, and independent practice time.

9. Perform the melody as a class and in small groups to assess. 10. Show the class transposition of the melody to C-do Pentatonic. Play again on barred

percussion in the new key. 11. Introduce and add the broken drone. Perform both parts together. 12. Use the simplified phrase form aaab as the basis for melodic improvisation.

a. First, ask the class to create a simple four-beat improvisation. Give them several chances to explore different ideas. Keep the beat with a drum or other instrument.

b. Next, have the students repeat their ideas, first twice in a row, then three times in a row, without stopping. When they can do this successfully, ask them to be the “a” phrase, playing three times, while you finish the melody with a “b” phrase once.

c. Switch roles with the class. Now the teacher plays “a” three times, and the class plays one “b” phrase. Point out that the b phrase can be more difficult, since it does not need to be repeated. Also, introduce the concept of ending the improvisation on do (C).

d. Give students free practice time to try putting together two separate ideas into an aaab form. Find one or two clear models to share with the class while they practice, so that it is clear to everyone what the performance should sound like.

13. Create a final performance with the improvised melodies, original song melody, and broken drone. A good model that works is a rondo with four solo improvisations between each repeat of the song. It is OK to add four-beat introduction counts between performances if necessary (i.e., “Jeff’s turn, here he goes!”)






1. Organize the melodic phrases into the correct order. 2. Play the melody of the song with accurate rhythm and pitch. 3. Demonstrate understanding of repeated phrases through improvisation.


Walking Song

Grade/Class 2nd-6th Grade

Date


Melody: Perform a melodic line on barred percussion with alternating hand technique.

Secondary Elemental

Objectives

Harmony: Perform a four-part melodic round on barred percussion.


Core Music Standards: MU:Pr4.2.3 a. Demonstrate understanding of the structure in music selected for performance. b. When analyzing selected music, read and perform rhythmic patterns and melodic phrases using iconic and standard notation.

21st Century Skills: • Critical Thinking & Problem Solving • Communication & Collaboration • Flexibility & Adaptability • Initiative & Self-Direction • Production & Accountability • Leadership & Responsibility

Repertoire

Media Barred Percussion





- Analyze - Create

1. On the barred percussion, set up in C-do Pentatonic (remove Fs and Bs). Review proper mallet grip and playing technique while warming up on echoes.

2. Play the first four notes of Walking Song with one hand, and have the class echo you. Repeat with the other hand. Ask for suggestions on the best way to play the pattern using two hands. Discover that starting with the left hand and alternating requires you to cross hands only once. (Even then, crossing is not exactly true. When you move the left hand, the right hand also moves over, so that the mallets don’t run into each other.) Work with all students so that they can accurately play these four notes with left-right-left-right.

3. Ask the class to use the same sticking pattern but now start on D (D-E-G-A). Repeat starting on E (E-G-A-C) and G (G-A-C-D). Next, have the class practice playing the four patterns in a row (“C four notes up, D four notes up, E four notes up, G four notes up.”) Check for accuracy and understanding before teaching the second half.

4. Point out that if we keep going up, we will run out of notes on the instrument. Starting on high C, teach “C four notes down,” starting with the right hand. Repeat and teach each descending measure. On the last measure, since we run out of bars, simply repeat the C twice (you can add the octave Cs later as a challenge).

5. Give ample opportunity for students to practice both the descending patterns and the song as a whole. Continue to monitor and expect alternating mallets.

6. Perform the melody as a whole class and in small groups. Perform as a 2, 3, or 4 part round. 7. As an added challenge, ask the class to “double” each note, playing two eighth notes with

the same mallet on each bar.


Check for consistent alternating of mallets. It is not essential that the mallet pattern necessarily starts with the “correct” hand, just that the two hands switch regularly between each bar.

Walking Song

Two-Note Songs and Name Game

Grade/Class 3rd/4th

Date 3rd Grade: January 4th Grade: September


Melody: Play and improvise using the notes G and E on Soprano Recorder with correct posture, hand position, and tonguing.

Secondary Elemental

Objectives

Rhythm: Perform familiar word rhythms on recorder, and improvise original rhythms. Form: Improvise in aaab phrase form, and experience a rondo.


NAfME Standards: • MU:Cr1.1.3 - Imagine • MU:Cr2.1.3 - Plan & Make • MU:Pr4.2.3 - Analyze • MU:Pr5.1.3 - Rehearse, Evaluate, & Refine • MU:Pr6.1.3 - Present





Repertoire le

Media Soprano Recorders Singing

Speech






- Analyze - Create

1. Review proper finger placement, posture, tonguing, and the note G. If students are still struggling, continue echoes and other games with one note before proceeding.

2. Review the RH position, and place all fingers on the holes. While keeping the first two RH fingers on holes 4 and 5, lift the last two fingers from holes 6 and 7. Fingers are now in position for low E. Practice lifting and dropping the fingers (the "bunny ears") on holes 4 and 5 while maintaining G fingering in the right hand. Students may be able to hear a "pop" when the fingers drop to the E fingering. Lead echo patterns on E, then on patterns using both G and E.

3. Teach or review simple two-note songs such as Tinker, Tailor, and Eenie-Meenie Minie-Mo using text and echo patterns. Transfer these to the recorder. Show the students what whole notes on G and E look like on the treble clef staff. Ask the students to play the correct pitch as you point to each note. Introduce the poem Deedle Deedle Dumpling to the class. Once they can speak and clap this rhythm accurately, ask the students to play the rhythm of Deedle Deedle Dumpling, all on G, then all on E. Next, have the class play the poem again using the pitches you indicate. Give students a chance to be the “conductor,” coming up and pointing/selecting notes for the class.

4. As a class, choose one way to play Deedle Deedle Dumpling on G and E on the recorder. Show the class the rhythmic notation, and have them help place it on the correct staff lines. Practice playing together.

5. On a different day, introduce a name game: While you keep the beat with a hand drum, each student finds an interesting way to say his or her name—using the first and last name (and middle, nicknames, etc.)—making a 4-beat pattern. Remind students to speak their names normally and not to distort the rhythm. (For instance, names with an anacrusis—like ”Michelle” should be with spoken with the accent on the second syllable.) Reinforce rhythm and word selections by asking the class to echo each name pattern. Ask students to transfer to playing their name rhythms on G; then on E; and finally with both pitches. Extend the activity above by using a name pattern three times, followed by a phrase that tells the class something about the person named: “Mary Ann Smith, Mary Ann Smith, Mary Ann Smith, I like chocolate!” (aaab form). Practice as a class (first time words only, second time words and fingerings on recorder, third time play on recorder); then have volunteers repeat as solos. To simplify: Speak the name patterns, and play only the last phrase. This activity can be repeated each time students learn a new note. As a final performance or assessment piece, create a rondo form with Deedle Deedle Dumpling as the A section and individual name solos as B, C, D, etc.


Evaluate students as they play individually on the name game.





Skin & Bones

Grade/Class 3rd/4th

Date


Melody: Play a folk song and improvise in compound meter.

Secondary Elemental

Objectives

Rhythm: Experience compound meter. Form: Play and sing a call-and-response song.


NAfME Standards: • MU:Cr1.1.4 - Imagine • MU:Cr2.1.4 - Plan & Make • MU:Pr4.2.4 - Analyze • MU:Pr5.1.4 - Rehearse, Evaluate, & Refine • MU:Pr6.1.4 - Present


Repertoire

Media Soprano Recorders Singing

Barred Percussion Speech





- Analyze - Create

1. Review all pitches learned on the recorder so far. Show students the pitch ladder of these notes (solfege terms are optional):

B mi A re G do

E la D so

2. Have students play (and sing) pitches as you point to them. Review the nursery rhyme Humpty Dumpty, and then ask the class to play the pitch you indicate while tonguing the rhythm of the poem; remember to use a lot of repeated notes. Have students create their own tunes using the same rhyme and pitch set.

Humpty Dumpty sat on a wall Humpty Dumpty had a great fall All the king’s horses and all the king’s men Couldn’t put Humpty together again

3. Sing Skin and Bones for the class. Many students will join in on the response ("oo-oo-oo-oo") after a few verses. Let them enjoy the "scare" at the end. Point out that they are performing a call-and-response song. Below are more verses:

There was an old woman all skin and bones, oo-oo-oo-oo She lived down by the old church yard, One night she wanted to take a walk, She walked down by the old church yard, She saw some bones a-layin’ around, She went to the closet to get a broom, She opened the closet and BOO!

4. Using the pitch ladder, teach the response on the recorder, first with an even rhythm (one pitch per beat); then with the rhythm of the song.

5. Sing the song again. During the verses, students stand still. The students should move in a smooth, mysterious manner (like the wind or a ghost) while playing the response.

6. Add orchestration, if desired. Xylophone parts can be easily learned by using the words indicated.

7. Generate a list of bone names that the students know. Arrange into phrases that have an interesting compound rhythm (for example: "Tibia, fibula, ulna, radius; Tibia, fibula, ulna, rib"). Have students speak the words; then convert to tonguing syllables (“doodledy doodledy, doo-dle, doo—“). Practice playing on E only, then G or A or B. Play with two or three notes, then all four notes from the song (B A G E). Hear small groups of students improvise simultaneously. Hear individual student volunteers.

8. Select a student-generated idea for the class to use as an interlude between verses of Skin and Bones, or use volunteer improvisations.


Assess playing skills and creativity during small-group and individual improvisations.

Skin & Bones




The Birch Tree

Grade/Class 3rd-6th Grade

Date


Melody: Sing, play, and identify a song using the la Pentachord (la-ti-do-re-mi).

Secondary Elemental

Objectives

Style: Learn about how folk music is incorporated into orchestral pieces. Style: Learn a traditional Russian folk song. Form: Identify, sing, play, and create using aabb phrase form. Expression: Choreograph an original dance to accompany a folk song.


NAfME Standards: 1. Singing 2. Playing 3. Improvising 4. Composing & Arranging 5. Reading & Notating 6. Listening, Analyzing, & Describing 7. Evaluating 8. Connecting to other Disciplines 9. History & Culture


Repertoire


Barred Percussion





- Analyze - Create

1. Play the melody of Lovely Birch on the soprano recorder for the class, softly. Ask the class to describe the melody (e.g., falling, sad, etc.), and show the melodic line through motion as you play it again.

2. Show the staff notation and label the first pitch as mi. Sight-sing the melody with solfege as a class, identifying and adding ti to the solfege vocabulary. Explain how ti-do is another half step, and show how the hand sign points up. Identify the scale as a la Pentachord.

3. Identify the phrase form as aa’bb. 4. Reveal the text and add to performance. Explain that the song is a Russian folk song, and was

originally all in Russian. The second line is nonsense syllables (“lyuli”) and “stayala,” which means “there it stood” (the tree).

5. In small groups, ask the class to create an aabb choreography to accompany the song. Have them use the concepts of falling leaves, but attempt to make it more abstract than simply following the melodic line.

6. After sharing dance ideas, have the class move to the barred percussion and remove the B bars. Identify the starting pattern of the song, and let the students practice learning the entire melody.

7. Have one group return to their dance, and share it for the class. Ask another small group, or the rest of the class, to create improvised, non-metered music to accompany the dance (based on watching the movements). Improvisations should all end on D. Have a bass xylophone tremolo on D for accompaniment. Rotate so that all students have a chance to both dance and improvise.

8. Create a final performance with improvisation, choreography, and the folk song in a round. 9. Play a recording of the Finale from Tchaikovsky’s Symphony No. 4. Point out how the

composer used this folk material to construct a much larger work, just as the class is doing!


Check for understanding of aabb phrase form through movement and improvisation.

The Birch Tree




Responding Strand - Fourth Grade

Grade/Class Fourth Grade

Date Full Year


Style: Identify and discuss specific styles of music, such as symphonies and jazz music. Demonstrate personal preferences for specific pieces of music. Evaluate performances for quality and content.

Secondary Elemental

Objectives

Melody, Rhythm, & Harmony: Isolate specific patterns, scales, and/or harmonies, and use them as the basis for performance and improvisation.


Core Music Standards: MU:Re7.1.4

Demonstrate and explain how selected music connects to and is influenced by specific interests, experiences, purposes, or contexts.

MU:Re7.2.4 Demonstrate and explain how responses to music are informed by the structure, the use of the elements of music, and context (such as social and cultural).

MU:Re8.1.4 Demonstrate and explain how the expressive qualities (such as dynamics, tempo, and timbre) are used in performers’ and personal interpretations to reflect expressive intent.

MU:Re9.1.4 Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context.


Repertoire “Finale” from Symphony #4 by P.I. Tchaikovsky “Allegro” from Symphony #5 by L.V. Beethoven “Duke’s Place” by Duke Ellington Student-selected repertoire

Media Singing Barred Percussion or Recorder

Movement Drama





- Analyze - Create

Prior Knowledge & Skills • Identify multiple musical elements in recorded music. • Be able to describe and discuss musical elements and personal preferences when listening to

recorded music. Analyze & Interpret 1. Continue to play a variety of recordings of high-quality music for the class. Choose specific

styles, cultures, ensembles, or time periods, and connect these choices with the rest of your curriculum.

2. Introduce the concept of the symphony, and play several examples, such as Symphony #4 by P.I. Tchaikovsky. Play the “Finale” movement, and point out the folk song melody that is being used. If possible, reinforce the listening with reading and singing the tune. (see the folk song “Lovely Birch” in Xylophone & Other Barred Percussion).

3. Another expressive symphonic example is the "Allegro" from Ludwig van Beethoven's Symphony #5. Discuss how the composer uses a simple, short repeated rhythmic pattern to create an entire movement. Identify dramatic elements such as dynamics and tempo, and discuss the resulting emotional impact of the work. Contrast with the second, slower "Andante" movement.

4. Diagram and discuss symphonic forms, using pieces such as those above. Identify the allegro, theme & variations, and scherzo & trio forms.

5. Continue using drama and/or dance to interpret recordings. 6. Introduce recordings of Jazz music, such as “Duke's Place” by Duke Ellington. Select specific

elements such as the 12-bar blues form or the short melodic riff to teach and perform as a class. Use this melodic and harmonic material as the foundation for scat singing or instrumental improvisation.

7. Use worksheets such as those included to assess student understanding of musical elements in the recordings.

Select & Evaluate 8. While presenting various recordings throughout the year, lead discussions about the different

events and settings that feature live music, such as operas, musicals, recitals, and concerts. Discuss how the setting of each performance influences the type of music performed. Specifically compare and contrast a jazz band concert with a symphony concert, and discuss how the audience expectations differ.

9. After listening and responding to several contrasting musical selections, give students a worksheet on which to select their favorite recordings. Lead a discussion about what their favorite pieces are and why they were chosen.

10. Continuing the discussion about personal preference, play two contrasting recordings of the same piece of music. A good example is “Duke's Place,” which is available in a wide variety of both instrumental and vocal arrangements. Discuss how the instrumental or vocal interpretation changes the music.

11. Give students the Listening Proposal worksheet included, and ask them to research a recording that they would like to share with the class. Allow time in class to visit a computer lab, or assign this as homework. This can be done as individuals or with partners. Once the worksheets are filled out, and recordings are previewed by you (to check for improper lyrics, for example), have each student or pair present the recording to the class, based on the information they gathered. Lead a class discussion about each piece and students’ like i.e. dislike of the music. Guide students to give specific, musical reasons for their preferences.


Assess understanding of analyzed concepts through transferral to performance or improvisation. Assess ability to express personal preference and understanding of music through the included proposal worksheets and class presentations.

Responding Strand - Fourth Grade




Listening Evaluation Sheet

Fourth Grade

Name: __________________________ Date: ________________

Class: ______________________

Write the name of the music being performed: _______________________________

Who was the composer? _________________________

Who is the performer or group? _______________________

What type of ensemble or group performed this piece? _____________________

Is this piece part of a larger work? _________ If yes, what is the larger work called?

______________________________________________

If you heard instruments, what type of ensemble (band, orchestra, choir, jazz band,

etc.) did you hear? _____________________________

What was the main tempo (speed) of the performance? _______________________

What was the main dynamic (volume level) of the performance? ________________

What was the mood of the performance? ___________________________________

What is the form of this piece? __________________________________

(worksheet continued on next page) � Copyright © 2016 by Tim Purdum.30

Permission for classroom use granted.For other uses, please contact [email protected]


(4th Grade Listening Evaluation Sheet, p. 2)

What did the performers do well in the recording? Listen for balance, tuning,

dynamics, etc.

________________________________________________________________________ ________________________________________________________________________

________________________________________________________________________________________________________________________________________________

What did not go well in the performance?

________________________________________________________________________ ________________________________________________________________________________________________________________________________________________

________________________________________________________________________

What was your favorite part of this recording?

________________________________________________________________________

________________________________________________________________________________________________________________________________________________________________________________________________________________________

What was your least favorite part of this recording?

________________________________________________________________________ ________________________________________________________________________________________________________________________________________________

________________________________________________________________________




Old Joe Clark

Grade/Class Kdg (song, game), 5th-6th (barred percussion)

Date


Melody: Perform and identify a song in Mixolydian mode.

Secondary Elemental

Objectives

Expression: Explore types of locomotor movement and frozen statue poses. Rhythm: Explore steady beat through body percussion. Harmony: Perform and identify parallel thirds in harmony. Form: Compose original poetry with a rhyme.


NAfME Standards: 1. Singing 2. Playing 4. Composing & Arranging 5. Reading & Notating 6. Listening, Analyzing, & Describing 7. Evaluating 8. Connecting to other Disciplines 9. History & Culture





Repertoire

Media Movement Singing

Body Percussion Barred Percussion

Old Joe Clark





- Analyze - Create

Game/Song (Kdg) 1. Ask the class to demonstrate how to walk freely through space, without bumping into each

other. Give a cue for stopping (e.g., finger cymbals), and have them create an interesting “statue” shape each time they stop.

2. Sing Old Joe Clark for the class. On the verses, ask them to remain frozen as a statue. On the chorus, have them move around, following the cue word (sneak, gallop, stomp, etc.) from the song.

3. On the last chorus, they can wave to each other as they walk (“Fare thee well”). Have the class then practice singing this final chorus, while demonstrating the beat in various ways, such as patting, clapping, tapping shoulders, etc.

Arrangement (5th-6th Grade) 4. Review the song Old Joe Clark from lower elementary. Introduce some new verses from text:

Old Joe Clark he had a house, fifteen stories high. Every story in that house was full of chicken pie. Fare thee well...

Don’t ever eat with Old Joe Clark, I’ll tell you the reason why. He blows his nose in old cornbread and calls it pumpkin pie! Fare thee well...

5. Ask the class to break into small groups and come up with their own rhyming verse about Old Joe Clark. Share verses with the class.

6. Show the class a simplified version of the melody on staff notation (the alto xylophone part in the score). Sight-read using solfege, and identify the scale as Mixolydian, ending on so.

7. Set up the barred percussion with F♯s. Transfer the melody to barred percussion through

reading, echoing, and free practice. 8. After the melody is learned, as the class to start the verse on F♯ instead of A. Show the

notation for the soprano xylophone part, and make adjustments. Perform with half the class playing melody, and the other half playing harmony. Label this harmony parallel thirds.

9. Introduce the bass line as a crossover drone, but show how it shifts to a new chord (VII) in a few places in the song.

10. Create a final arrangement for Old Joe Clark. Use the upper grades as instrumentalists to accompany a lower-grade performance.


Check for ability to play in parallel thirds.

Old Joe Clark




Documents

Creative Sequence: Teaching Music with Flexibility ......Music/ Dance/ Game Origin/ Composer/ Style Scale Melodic Focus Harmony Time Signature Rhythmic Focus #1 Rhythmic Focus #2 Form