The musical classroom backgrounds, models, and skills for elementary teaching

132 Section II: Model Experiences for Teaching Music

Level I: Kindergarten and First Grade 133

ITÊS ALL THE SAME TO THE CLAM SECTION II

You may leave the clam on the oceanÊs floor.
ItÊs all the same to the clam.
For a hundred thousand years or more,
ItÊs all the same to the clam.
You may bury him deep in mud and muck
Or carry him Êround to bring you luck,
Or use him for a hockey puck,
ItÊs all the same to the clam.

You may call him Jim or Frank or Nell,
ItÊs all the same to the clam.
Or make an ashtray from his shell,
ItÊs all the same to the clam.
You may take him riding on the train
Or leave him sitting in the rain.
YouÊll never hear the clam complain,
ItÊs all the same to the clam.

Yes, the world may stop or the world may spin,
ItÊs all the same to the clam.
And the sky may come a-fallinÊ in,
ItÊs all the same to the clam.
And man may sing his endless songs
Of wronging rights and righting wrongs.
The clam just sets·and gets along,
ItÊs all the same to the clam.

(Shel Silverstein)

„ItÊs All the Same to the Clam‰ from A Light in the Attic by Shel Silverstein. © 1981,
renewed 2002 Evil Eye, LLC. By permission of Edite Kroll Literary Agency Inc.

134 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 9
Music
Pitches can be high or low (Melody)
Objective
“The Elephant” and “The Aviary” from Carnival of the Animals, by Camille
Standard MU:Pr4.2.Ka Saint-Saëns (“sa[n] saw[n]s”) (France, 1835–1921)
Materials
To identify aurally pitches that are mostly high and mostly low and to demon-
strate that recognition by choosing and playing high/low sounds on a barred
instrument and by creating contrasting movements to high and low music

With guidance, explore and demonstrate (through movement) awareness of
music contrasts (high/low) in music

Large pictures of objects that illustrate high and low, for example, airplane
high in the sky and airplane on the ground

Barred melody instrument (preferably in stepladder position)
Two cards labeled high and low

OPEN Step 1: Display the pictures and ask students Which pictures show high and
which show low? As the pictures are discussed, encourage students
Key Terms: high/low to demonstrate, with their hands, high and low concepts.

Indicator of Success Step 2: Explore high and low sounds on the barred melody instrument
CLOSE (hold on end with the large bars down), associating hand move-
ments with the pitch level. Use the cards to introduce the words for
the differing pitch levels. Invite individual students to play high
and low sounds on the instrument.

Step 3: Who can show us how to use our whole body to show high and low? (Stand
tall on tiptoe with arms raised to show high and lean over close to
the ground to show low.) Explain that the students will hear two
different pieces of music and will show with body movements
whether the music is mostly high or mostly low. Listen to an excerpt
of each before trying the creative movements.

Step 4: Choose a group to try out their creative movements with the two
pieces. (Pieces can be played one at a time in their entirety, or
excerpts of each could be alternated.) Encourage contrasting move-
ments (tiptoe vs. crouching low). Compliment students on their
success showing contrasting movements for the high and low
music and ask students to show either high or low as you move quietly
back to your seats.

ASSESS As students become familiar with similar compositions, observe how accu-

rate they are in identifying and describing mostly high and mostly low music.

Adapt

1. Prepare cards for “high” and “low”—large ones for the whole class and
small ones for learners who need focus. Cards can be placed on their
desks, wheelchair tray or on a communication device. A group of chil-
dren including a child who is unable to physically move around the room

Level I: Kindergarten and First Grade 135

could show high and low with streamers or scarves or use the ASL signs
for high and low.

2. Help English language learners pronounce and associate the words for SECTION II
high and low with what they hear in the music.

Movement Extend
Cooperative Learning
Peer-assisted Learning 3. Share the title of each piece and repeat with interpretative movements for
elephants and birds.
Dramatization
Science 4. Using a variety of rhythm instruments, students in small groups should
decide which ones produce high sounds (e.g., triangle) and which ones
Visual Art low sounds (e.g., large drum). Use the instruments for an accompaniment
to a chant (see 6, below) or to accompany the movement experience with
“The Elephant” and “The Aviary.”

5. In pairs, students find objects in the room that produce high and low
sounds and share their finds with the class.

6. To experience pitch levels with speaking voices, chant a rhyme from Appen-
dix C all in high voices or all in low voices. Chant while walking the beat
(use tiptoe steps for high-voice chanting and crouching low for low-voice
chanting), or chant with body rhythms (clap hands high and low, etc.).

7. Tell or read the story of “The Three Bears,” emphasizing the pitch level
for the little wee bear (high), the mama bear (middle), and the papa bear
(low). Invite students to repeat certain lines with you. Later, develop a
“sound story” using rhythm instruments (or a synthesizer) to represent
each character (Mu:Cr1.1.1a).

8. Experiment with filling (and sealing) two identical containers (glasses, jars)
with differing amounts of water until one container sounds high and one
sounds low. (Tune as closely as possible to the musical scale.) Strike con-
tainer with a wooden or hard-rubber mallet. (Students should learn that the
length of the air column determines the pitch—not the amount of water).

9. Locate the high and low body positions in Edgar Degas’s painting
Rehearsal on Stage (images.google.com).

Other Music

“Ballet of the Unhatched Chicks” (Pictures at an Exhibition), by Mussorgsky
(high)
“Bydlo” (“Ox-Cart”) (Pictures at an Exhibition), by Mussorgsky (low)
“Dance of the Reed Pipes” (The Nutcracker Suite), by Tchaikovsky (high)
“Dance of the Sugar Plum Fairy” (The Nutcracker Suite), by Tchaikovsky (high)

136 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 10
Music
Pitches can move up (Melody)
Objective
“Five Angels” (German folk song), p. 266
Standard MU:Pr4.2.1a
To identify aurally and visually pitches moving up and to demonstrate that
Materials recognition by singing and using hand motions

With limited guidance, demonstrate (through singing and movement) knowl-
edge of the music concept (upward melodic direction) in a song

Flannelboard or Smart Board with letters: C, D, E, F, G and 5 angels,
p. 139
Resonator bars: C, D, E, F, G
Five mallets
Large picture(s) for 5 jobs, p. 138

OPEN Step 1: Distribute five resonator bars to five students and arrange in order
at the front of the room from left to right: C, D, E, F, G. Have students
Key Term: up play bars in ascending order. Did the pitches go up or down? Repeat
G several times, asking class to show with their hands the direction of
the pitches.
F
E Step 2: Display the flannelboard or Smart Board and letters. As play-
D ers identify the letter written on their bar, place the five letters in
C ascending arrangement. Point to the letters as the bar players per-
form and the class sings the letter names while moving hands in an
Indicator of Success upward motion.

CLOSE Step 3: These pitches that move up are very important in a song about some angels.
Sing the song or play the recording, asking the students to count the
number of times you hear the upward pitches. (Pointing to the board
and mapping the direction with your hand will help!)

Step 4: Note the five times the pattern is heard and the five angels. Place
the five angels on the board below the letters. Ask students to listen
again, move their hands “up” in the pattern, and discover the job of
each angel.

Step 5: As students recall the jobs and the story, display the picture(s).
Review the words and have the class create a movement to describe
each job. Then invite them to sing the song and do the “job” move-
ments as you point to the picture(s). Repeat until the song is learned.

Step 6: Our song was about trying to wake an angel (up)? Elicit from them how
the pitches, voices, and bars all moved up on the part about the
angels and their jobs. Sing once again with students doing the “up”
hand movements.

ASSESS As students sing a similar song that is familiar to them, observe how success-

ful they are in identifying and showing the upward pitches with their hands.

Level I: Kindergarten and First Grade 137 SECTION II

Adapt

1. Using numbers as well as letters to identify and play the five pitches may
be easier for some learners to understand. Using Boomwhackers® instead
of resonator bars to play the pattern might work better for students who
may have difficulty grasping a mallet.

2. The picture(s) of the five jobs will help visual learners remember the
words and their order (as will the movements for each).

3. All learners, including English language learners, will benefit from
additional illustrations of “up” with signs (arrows, stairs, etc.) and move-
ments as they learn to read (and pronounce) the word.

Dramatization Extend
Cooperative Learning
4. When students are familiar with the words, involve the class in creating
a dramatization for the song. Try one of the ideas with a small group.
Then, in groups of six, let children either act out the same dramatization
or create a new one. The groups should share their dramatizations while
the class sings.

5. Scramble the five resonator bars or tuned tubes (Boomwhacker®) and
challenge students to arrange them in sequential order by listening to the
pitches. Help them to aurally identify the lowest bar and place first in line
and then proceed in ascending order (left to right).

6. Make a 5-step tone ladder on a chart board with “C D E F G.” Use while
singing the song.

Other Songs (Section III)

“Miss Mary Mack” (C, D, E, F)
“This Old Man” (C, D, E, F, G)
“When the Saints Go Marching In” (C, E, F, G)

138 Section II: Model Experiences for Teaching Music

Level I: Kindergarten and First Grade 139

SECTION II

140 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 11
Music
Pitches can move down (Melody)
Objective
“Wishy Washy Wee” (American folk song), p. 337
Standard MU:Pr4.2.1a
To identify aurally and visually pitches moving down and to demonstrate
Materials that recognition by singing and moving arms in a downward direction at the
end of the verse and refrain

With limited guidance, demonstrate (through singing and movement) knowl-
edge of the music concept (downward melodic direction) in a song

2 sailor hats
Sailor dance directions, p. 337

OPEN Step 1: Teacher chooses a partner (both don sailor hats). Face each other
and join both hands. Ask class to listen to a song and find out who we
Key Terms: down, pitch, are. As you sing the song or play the recording, swing arms from
high to low right to left along with the music.

Indicator of Success Step 2: After they hear the song, ask Who are we? (sailors) and Where do we
come from? (o’er the sea) Briefly talk with them about sailors and the
CLOSE jobs sailors must do. Then, invite them to listen again to the song
for the part “Come along with me.” Decide how you should move your
hand to show the way the music goes on that part of the song: up or down.
(down)

Step 3: After sharing student answers, ask them to sing “Come along with
me” and move one arm in a downward motion. Incorporate the
gesture of “coming along” with moving downward (use a large arc)
as they sing the “Come along with me” phrase in the song.

Step 4: Review the words in the verse, writing key words such as come from
o’er, sea, go away, and me on the board. Have students echo you as
you repeat the words phrase by phrase, gesturing downward on the
last phrase. Sing the entire song, doing the motion on the last phrase
of the verse and the last phrase of the refrain. Note how the pitches
moved down on “Come along with me.”

Step 5: Invite students to put on their imaginary “sailor hats” and learn
a sailor dance, singing the song as they form a circle. As they
dance, students in the circle should continually show the down-
ward motion with their arms on the “Come along with me” part.
As the dance comes to an end, ask students to tell you again how
the pitches moved on the “Come along with me” phrase. (down)
Compliment the “sailors” on fine dancing and suggest that all the
“sailors” go back home (to their seats) as they sing one more time.

ASSESS As students sing a similar song that is familiar to them, observe how suc-
cessful they are in identifying and showing the downward pitches with their
hands.

Level I: Kindergarten and First Grade 141 SECTION II

Adapt

1. Present visual directions first to help children learn the sailor dance: for
example, a visual of the circle with two “sailors” in the center, another
with “sailors” swinging with arms linked, and so forth. Or use a model
group of several students to demonstrate the dance before inviting the
entire class to try. Place students who may have difficulty next to appro-
priate models.

2. All learners, including English language learners, will benefit from
additional illustrations of “down” with signs (arrows, stairs, etc.) and
movements as they learn to read (and pronounce) the word. Model the
downward gesture with exaggeration.

Science Extend

3. To help children explore their head voices, have them try downward slid-
ing sounds or glissandos (sounds sliding from high to low very quickly
with no exact pitches). Draw a visual. Have them pretend that they are
sailors on a ship and need to slide down a pole very fast—encourage
them to make the sliding down sound with their voices. Play a game hav-
ing individual children do the sliding sounds—make sure that they begin
in their head voices!

4. Arrange the C, D, E, F, and G resonator bars stepwise using a step-bar
frame. Help students decide which bar goes on the bottom (C), which
on the next step, and so forth, so they can play the descending pattern
“Come along with me” (G F E D C). Notice the size of the bars in relation
to the pitch. Encourage their playing other descending (and ascending)
patterns and showing the pitch levels with their hand.

5. Show students a defused balloon and ask “what is missing?” (“Air”)
Blow up and elicit from them how the air stretched it. Then ask children
to watch its movement when you blow it up and release it. Ask them to
discover “as the air comes out, will the balloon go upward, downward,
or both?” Discuss their discoveries.

Other Songs (Section III)

Hey, Lidee” (G, F, E, D, C)
“Looby Loo” (G, F, E, D, C)
“My Dreydl” (G, F, E, D, C)

142 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 12
Music
Pitches in a melody can stay the same (Melody)
Objective
Standard MU:Pr4.2.1a “Head-Shoulders, Baby” (African American game song), p. 274

Materials To identify aurally repeated pitches in a melody and to demonstrate that rec-
ognition through singing, hand movements, and playing a resonator bar

With limited guidance, demonstrate (through singing and playing an instru-
ment) knowledge of the music concept (pitches staying on same level) in a
song

F resonator bar, plus two others of any pitch

OPEN Step 1: Let’s play a game! I’ll say a number and you show me the number with your
fingers. After trying a variety of numbers 1–10, ask students to listen
Key Term: same pitch and decide what numbers are used in a game song we are going to learn
(“1, 2, 3”). Sing verse 1 or play the recording.

Step 2: Then, invite students to sing and hold up fingers to show the “one,
two, three” part as you sing or play the recording again. Repeat the
song, but also ask students to be ready to tell you what body parts
are in the song.

Step 3: As the class sings the song again, draw these lines on the board for
the “one, two, three” part.

(1) (2) (3)

Indicator of Success Ask the class how the singing looks like these lines (the line stays
Indicator of Success on the same level, just as the singing stays on the same pitch). Have
the class sing the song and use your hand to show the level line, just as
CLOSE if you were drawing it on the board.

Step 4: Let’s add some resonator bars during “one, two, three.” First the class
must decide whether one bar, two bars, or three bars should be cho-
sen. After students have concluded that only one bar will be used,
have students take turns playing the “one, two, three” part on the F
resonator bar.

Step 5: Conclude with the students, arranged facing a partner, standing
and singing the song, touching “head and shoulders,” and a class-
mate playing the “one, two, three” part on the bar. Ask the students
How did the pitches move on our “one, two, three” part? (they stayed the
same) Note that parts of songs often stay on the same pitch.

ASSESS As students sing a similar song that is familiar to them, observe how success-
ful they are in identifying and showing with their hands pitches that stay on
the same level.

Level I: Kindergarten and First Grade 143

Peer-assisted Learning Adapt

1. By partnering the children, those with disabilities may feel more com- SECTION II
fortable and learn the motions more successfully. The peer partner could
touch the child’s “head,” “shoulder,” etc., named in the song if the child
would have difficulty physically doing the motion. (Keep in mind that a
child with autism may not respond well to being touched by another so
performing the motion individually might be best.)

2. Prepare picture- and sight-word cards of the head, shoulder, and other
body parts to assist with the words and their sequence in the song. These
cards will especially help English language learners in associating the
word with the body part.

3. For a child with physical limits, consider changing the lyrics to differ-
ent body parts to accommodate those limitations (e.g., thumb/finger).
Involve the entire class in singing and performing the motions.

Language Arts Extend
Movement
4. Learn the other verses of the song. Have students try the motions as they
sing (p. 274). Create new verses too.

5. Sing the song using only verses that include body parts: head/shoulders,
shoulders/chest, chest/knees, knees/ankles, and then do in reverse:
ankles/knees, and so on. Children should touch the designated parts of
their body as they sing.

6. Add an F tuned tube (Boomwhacker®) on the “one, two, three” part with
students taking turns hitting the tube.

7. Play a tone-matching game to help young children develop control of
their singing voices. The teacher might sing on a single pitch:

„What did you eat for lunch?‰

Using the teacher’s same pitch, a student might answer:

„I had pizza and milk.‰

Other Songs (Section III)

“Go a Tin”
“Hop, Old Squirrel”
“John the Rabbit”
“Long-Legged Sailor”
“Sally, Go ’Round the Sun”

144 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 13
Music
Sounds are produced by vibrations (Timbre)
Objective
“Bata Drums” (Nigeria) and “Munomuno” (Samite Mulondo, Uganda)
Standard MU:Re7.2.Ka (excerpts)
Materials
To identify visually and aurally vibrating objects and instruments and to
demonstrate that recognition by pantomiming appropriate movements along
with a recording.

With guidance, demonstrate how a specific music concept (timbre: drum,
kalimba) is used in African music

2 drums, coin
Kalimba (thumb piano), see note and drawing on next page

OPEN Step 1: As you play steady beats on a drum, ask the students to come join
you in a drum circle. With students seated in a circle, hold up a
Key Terms: moving, drum and invite a student to make the drum “talk” by striking the
vibrating, drum, thumb drumhead with the palm of the hand. Move through the group, let-
ting other students have a turn.
piano
Place a coin on the drumhead and ask the students What will happen
Indicator of success to the coin when the drumhead is hit? (the coin bounces) Why does the
coin bounce? (the drumhead moves/vibrates) Select different stu-
CLOSE dents to “bounce the coin.” Elicit that when the drumhead moves/
vibrates, the coin bounces and sound is produced.

Step 2: Let’s try some drum “talk.” Teacher plays a short pattern, and stu-
dents, one at a time, take turns answering the message exactly on
their drum. Then, tell the children that drums are very important in
Africa and invite them to come to an “African village” and play with the
Nigerian drummers (pantomime) as they listen to the “Bata Drums”
recording.

Step 3: Hold up a kalimba (thumb piano) and identify it as another African
instrument from another part of Africa. Demonstrate how it is cra-
dled in two hands and the tips of the bars are plucked by alternating
thumbs. Holding a thumb piano (but with bars pointing away from
your body), move through the group so students can play the bars,
feel the vibrations, and listen to the thumb piano’s unique sound.

Step 4: Tell students that they’re going to hear a kalimba played in music
from Uganda. Play the recording of “Munomuno” and invite stu-
dents to pantomime playing a pretend thumb piano.

Step 5: Elicit from the students the names of the two instruments, how they
are played, and what vibrates in each. Then conclude by noting you
really helped those instruments move (vibrate) and make their sounds!

ASSESS As students become familiar with different African drum and kalimba music,
note how successful they are in identifying each piece’s instruments and
vibrating parts and describing a potential purpose for each.

Level I: Kindergarten and First Grade 145

Thumb “piano” Background Note SECTION II
kalimba
mbira In Africa there is an incredible variety of drums. “Bata Drums” features
sansa two-toned drums that come from the Yoruba people of Nigeria. (A photo
of the instruments of the Yoruba people is on p. 53.) The “thumb piano”
is played throughout much of Africa and has many names (kalimba, mbira,
sansa), depending on the region of Africa. Its box (or soundboard) reinforces
the sound (as does a drum’s body).

Adapt

1. Lay rubberlike “spots” in a circle to mark the place for each child to sit in
a circle.

2. Help English language learners pronounce and learn the word “drum” as
they associate the word with the instrument. “Kalimba” or thumb piano
should be a new word and instrument for all learners—ask them to give
reasons why thumb piano is a good English name for this instrument.

3. A child with a hearing loss needs to feel the vibrations that create the
sounds he or she may not hear while a child with impaired vision needs
to feel and hear what he or she cannot see. Involving them in the drum
experiment and plucking the kalimba will reinforce how sound is pro-
duced and actively engage them.

Social Studies Extend
Multicultural
4. To learn more about African drums and how to engage children in con-
Social Studies structing one:

i. visit https://mim.org/MIMkids/mimkids-resources/
ii. click on Instrument building activities and “Instruments! West Afri-

can Talking Drum” including a demo of African drums played by
African drummers.

5. Introduce the Kwanzaa festival. Based on African harvest festivals and
created in 1966 by Dr. M. Karenga, Kwanzaa—named for the Swahili
word kwanza meaning “first fruits”—lasts for seven days, beginning
December 26. It includes gift giving, music, and storytelling. Candles
are lit daily to symbolize one of the seven principles of Kwanzaa: unity,
self-determination, collective work and responsibility, cooperative eco-
nomics, purpose, creativity, and faith.

6. Share the following books with children to help them learn more about
Africa: O. Echewa’s The Magic Tree (Morrow Juniper, 1999) and Oluonye’s
Nigeria (Carolrhoda Books, 1998).

Other Music: African Songs, Section III

“Kye Kye, Kule” (Ghana)
“Obwisana” (Ghana)

146 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 14
Music
A melody can be performed alone or with an accompaniment (Harmony)
Objective
“Wake Me!” (American folk song), p. 331
Standard MU:Pr4.2.Ka
To identify melody and accompaniment and to demonstrate that recognition
Materials by singing a melody with and without accompaniment

With guidance, explore and demonstrate awareness of music contrasts (with/
without accompaniment) in a performance of a song

Resonator bars: F, A, and C
Three mallets

OPEN Step 1: Rest your head on your arms and close your eyes to listen to a “wake up”
song. Find out what we are going to do when we wake up! Either play
Key Terms: melody, the recording or establish pitch on the F resonator bar and sing the
accompaniment entire song. Then, have students “wake up” and answer questions,
such as: Where were we going to swing? (Golden Gate), Don’t let me
sleep too _____? (late)

Step 2: Teach the song phrase by phrase. Correct any mistakes and repeat
phrases sung incorrectly. Then teach two phrases at a time.

Teacher: “Wake me! Shake me!”
Students: “Wake me! Shake me!”
Teacher: “Don’t let me sleep too late.”
Students: “Don’t let me sleep too late.”
Teacher: “Gonna get up bright and early in the morning,”
Students: “Gonna get up bright and early in the morning,”
Teacher: “Gonna swing on the Golden Gate.”
Students: “Gonna swing on the Golden Gate.”

Teacher: “Wake me! Shake me!
Students: Don’t let me sleep too late.”
Teacher: “Wake me! Shake me!
Students: Don’t let me sleep too late.”
“Gonna get up bright and early in the morning,
Gonna swing on the Golden Gate.”
“Gonna get up bright and early in the morning,
Gonna swing on the Golden Gate.”

Indicator of Success Step 3: Have the students sing the entire song. Praise students by com-
menting on how well that melody was sung. Repeat, stressing that
they are singing the melody without accompaniment.

Step 4: Place the F, A, and C bars where everyone can see them. Ask How
many bars do you see? (three) Tell students to watch and listen as they
sing the song again. Play the F, A, and C bars simultaneously, as an
accompaniment to the singing; use a steady-beat rhythm. (F–A–C
are the pitches in the F Major chord.)

Level I: Kindergarten and First Grade 147

Step 5: Note how those three bars “worked together” with our voices and “dressed
up” our song. Mention other songs they’ve heard accompanied by
guitar, piano, organ, and other instruments.

Indicator of Success Step 6: Select a student to join you by playing either the F or the C bar,
CLOSE using a steady beat. Give different students an opportunity to play
the bars by singing other verses of the song and by creating new
verses.

How many bars or pitches did we play for an accompaniment? (three) What SECTION II
did we add when we played those three bars all at the same time? (accom-
paniment) and what were our voices singing? (melody)

ASSESS As students perform a song unaccompanied and then accompanied, note

how accurate they are in identifying and describing the differences in texture.

Adapt

1. For English language learners, write the song title “Wake Me!” on the
board and encourage their sounding out the words. Then, pantomiming
and dramatizing, help them understand the meaning of these words and
others in the song. Prepared visuals will help all children remember the
order of the words.

2. If a child is unable to grasp the mallet to play the resonator bar, use a strip
of Velcro® to attach the mallet to the child’s hand or use a Boomwhacker®
instead of a resonator bar.

Orff Adaptation Extend

3. Students can take turns accompanying “Wake Me!” by strumming an
F Major chord throughout on the Autoharp® or Chromaharp®. One stu-
dent can press the chord button (firmly) while another strums steady
beats. Help students understand they are playing several different
strings/pitches to create accompaniments.

4. Two players can add a steady-beat accompaniment by (a) alternating low
F and high F (octave) on a barred instrument (b) playing low F and high
C simultaneously (bordun).

Other Songs (Section III)

“Eena Deena” (C chord)
“Good Morning Song” (F chord)
“Pease Porridge Hot” (C chord)
“Sally, Go ’Round the Sun” (C chord)

148 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 15
Music
The rhythm of a melody includes long and short sounds (Rhythm)
Objective
“Matarile” (Mexican folk song), p. 297
Standard MU:Pr4.2.1a
To identify aurally the long and short sounds in the rhythm of the melody
Materials and to demonstrate that recognition by singing and clapping the melody

With limited guidance, demonstrate (through singing and clapping) knowl-
edge of the music concept (long and short durations) in a song

Three large cards—one with the word “Matarile,” one with “Jump,” another
with “What?”

OPEN Step 1: Sing or play the recording of “Matarile,” asking students to patsch
a steady beat with our song as they listen for the repeated word
Key Terms: beat, (“Matarile”). After they discover the repeated word, practice saying
long/short, rhythm Matarile and the “Ma-ta-ri-le, ri-le, ri-le (ron)” phrase (use card or
write on board), noting that these are Spanish words. (See pronunci-
of melody ation in the margin.)
Matarile
Step 2: Have students sing only the “Matarile” part when it comes in the
(“Mah-tah-ree-leh”) song. As they repeat their singing, invite them to clap the way the
rile, ron words go for that part. Note how they were clapping lots of long
and short sounds and how that is different than their steady-beat
(“ree-leh,” “rone”) patsching.

CLOSE Step 3: Introduce the “What do you want?” and the “I want to jump” parts.
Help students pronounce the words and chant/clap the long and
Indicator of Success short sounds of the words. Students should now be ready to sing all
of the song and clap the way all the words go. Use the word cards
to help students remember the order of the words. Repeat until the
clapping is secure.

Step 4: Arrange students in a circle and have them perform the song in two
different ways. First, sing the entire song while walking the steady
beat. Second, sing the song while clapping the long and short
sounds of the whole song. Help students note the differences.

Step 5: Who can clap the rhythm of the entire “Matarile” song alone? Have indi-
viduals take turns demonstrating with the class singing. Comment
on the combination of long and short sounds in the song and con-
clude by asking all students to sing the song as they walk back to
their seats.

ASSESS As students sing different songs, observe how successful they are in keeping

a steady beat as well as performing the long and short sounds in the melody.

Level I: Kindergarten and First Grade 149 SECTION II

Adapt

1. Model an exaggerated steady-beat walk around a masking-tape circle to
help with the steady beat.

2. Pantomime the action words—jump, march, run—and use the word
cards to help visual learners remember the words (large ones for the class
and small ones for children who need focus). Cards can be placed on a
desk, wheelchair tray, or on a communication device. Or use ASL signs
for the action words.

Kodály Adaptation Extend

Kodály Adaptation 3. Have students play the rhythm of the melody on rhythm sticks as they
Dramatization sing.

4. Have the students clap the rhythm of the melody while thinking
the words but not saying them aloud. This is important as an “inner-
hearing” experience.

5. When both the beat and the rhythm of the melody are secure, students
should walk the beat and clap the melody’s rhythm at the same time.

6. Students should learn the Spanish verses of “Matarile,” and dramatize
with one group asking the questions and another answering.

Other Songs (Section III)

“Al Citrón”
“It’s Raining!”
“Looby Loo”
“Los Pollitos”
“Sally, Go ’Round the Sun”

150 Section II: Model Experiences for Teaching Music

REVIEW OF LEVEL I

A. Identify those music concepts within melody, rhythm, form, harmony/texture, and
expressive qualities that children in kindergarten and grade 1 can perceive.

1. melody concepts

2. rhythm concepts

3. form concepts

4. harmony/texture concepts

5. expressive qualities concepts

B. Describe at least three developmental characteristics (e.g., physical, cognitive, musi-
cal) of children in kindergarten and grade 1. How will these characteristics suggest
appropriate musical experiences?

C. Notate four-beat rhythm patterns (q= one beat) using a variety of note durations and
rests.

D. Make a list of music words that kindergarten and first graders should know. Plan and
describe a Music Word Wall for a kindergarten and/or first-grade classroom that will
allow children to touch and manipulate the words as they become more and more
familiar with their meaning and use.

E. In small groups, review all the songs in the Level I model experiences. Circle the
lowest and the highest pitches for each. How many pitches do most of the songs span?
Also, note the lyrics for each of the songs. Do they match the interest level of kinder-
garteners and first graders? Discuss and share your findings.

F. Search the Internet for music materials and ideas for teaching kindergarten and first-
grade children. Locate and view classroom teaching videos of any of the music and/
or model experiences that were introduced in Level I. Note which sites would be espe-
cially helpful in your teaching.

G. Study the section on „Listening‰ in Chapter 3, paying particular attention to the part
on listening maps. After reviewing this information and the Picture Map on p. 128,
create a listening map of „Parade‰ (Model 3) for children to use.

H. Practice teach (with peers or children) one of the model experiences in Level I. Eval-
uate your presentation using the „Self Evaluation of Model Experience Presentation‰
form on the companion website. If peers were your students, elicit their feedback by
having them fill out the form „Peer Evaluation of Model Experience Presentation‰
(also available for download on the website).

Level I: Kindergarten and First Grade 151 SECTION II

CREATING A MODEL EXPERIENCE—LEVEL I

Plan one to three original model experiences for children in kindergarten/first grade (Level I). Base each experience
on one of the three specified concepts and songs. Each experience should be prepared in a step-by-step sequence
using a similar format to the models in The Musical Classroom (see the sample outline that follows). Specific infor-
mation about each component of the experience follows.

1. The music concept and the song are specified. (Songs are found in Section III) Plan how to present this concept and
music to children.

2. State the objective and standard for the experience, making sure that how and what students will do to demonstrate
their understanding is included.

3. Model sequence. Be sure to include key terms and age-appropriate music-making activities. Pay special attention
to the „Open‰ and „Close‰ of the experience. Specify the exact part of the music that is the main focus of the expe-
rience. Identify by lyrics, rhythm, pitches, or placement in the song.

Plan two extension activities. One activity should be an extension of the music concept presented in the model expe-
rience. Another activity should focus on a different subject area such as social studies, language arts, or science.

Sample Model Lesson Outline

MUSIC CONCEPT 1. 2. 3.

Music Pitches can move or Pitches can move down or The rhythm of a
Objective
Standard up (Melody) (Melody) melody includes long
Materials
and short sounds

(Rhythm)

“Miss Mary Mack” “Looby Loo,” “Obwisana”
p. 299 p. 293 p. 301

OPEN Step 1:
Step 2:
Key Terms: Step 3:
Step 4:
Indicators of Success
CLOSE

ASSESS (One activity to reinforce the music concept and one related to another curric-
Extend ular area)

Music 1.

(other curricular area) 2.



L E V E L II 10

Second and Third Grades

Q Sequence of Songs and Listening Selections, p. 154
Q Sequence of Music Concepts, p. 155
Q Model Experiences, p. 156
Q Review of Level II, p. 189
Q Creating a Model Experience, p. 190

Figure Courtesy of Rhythm Band Instruments, Inc.

“Let’s make music with Boomwhackers®!”
153

154 Section II: Model Experiences for Teaching Music

MODEL SEQUENCE OF SONGS AND LISTENING SELECTIONS PAGE
LEVEL II (GRADES 2–3)
16 p. 156
17 MUSIC p. 158
p. 158
18 “Sing about Martin!” by “Miss Jackie” Weissman p. 160
19 “Barcarolle,” from Tales of Hoffmann, by Offenbach (excerpt) p. 162
20 “Devil’s Dance,” from The Soldier’s Tale, by Stravinsky p. 164
21 “Shoo, Fly” (American folk song) p. 166
22 “Chinese Dance,” from The Nutcracker Suite, by Tchaikovsky p. 168
23 “Willowbee” (American game song) p. 171
24 “Kangaroos,” from Carnival of the Animals, by Saint-Saëns p. 173
25 “Cielito Lindo” (Mexico) p. 175
26 “Chatter with the Angels” (African American song) p. 177
“The Stars and Stripes Forever,” by Sousa p. 177
27 “Jesu, Joy of Man’s Desiring,” from Cantata no. 147, by Bach p. 177
28 Canzona, by Gabrieli
29 Trout Quintet, fourth movement, by Schubert (excerpt) p. 177
Serenade for Wind Instruments, Theme and Variations (K. 361), p. 181
p. 185
by Mozart p. 187
Toccata, third movement, by Chávez
“Ebeneezer Sneezer,” by Olson
“A Ram Sam Sam” (Moroccan folk song)
“The Dragon Song” (Chinese folk melody)

Level II: Second and Third Grades 155

ELEMENTS SEQUENCE OF MUSIC CONCEPTS
OF MUSIC LEVEL II (GRADES 2–3)

FORM MUSIC CONCEPTS

In call and response form, responses can be identical to the call (Model 16,
“Sing About Martin!”)

EXPRESSIVE Music can be performed legato and/or staccato (Model 17, “Barcarolle” and SECTION II

QUALITIES Devil’s Dance”)

FORM Melodies are divided into smaller parts called phrases (Model 18, Shoo, Fly”)

MELODY Pitches can be high or low (Model 19, “Chinese Dance”)

MELODY Pitches in a melody can move by step (Model 20, “Willowbee”)

RHYTHM The rhythm of a melody includes long and short sounds (Model 21,
“Kangaroos”)

TIMBRE String and brass instruments have their own special sounds (Model 22,
“Cielito Lindo”)

HARMONY Borduns and ostinatos can add harmony to a melody (Model 23, “Chatter
with the Angels”)

RHYTHM Beats can be grouped in twos (Model 24, “The Stars and Stripes Forever”)

RHYTHM Beats can be grouped in threes (Model 25, “Jesu, Joy of Man’s Desiring”)

TIMBRE Instruments are grouped into families (Model 26, Canzona, Trout Quintet,
Serenade for Wind Instruments, Toccata)

MELODY Pitches in a melody can move up and down by step (Model 27, “Ebeneezer
Sneezer”)

RHYTHM The rhythm of a melody includes short and long sounds (Model 28,
“A Ram Sam Sam”)

FORM Phrases in a melody can be the same or different (Model 29, “The Dragon
Song”)

156 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 16
Music
In call and response form, responses can be identical to the call (Form)
Objective
“Sing about Martin!” by “Miss Jackie” Weissman, p. 318
Standard MU:Pr4.2.3a
To identify aurally the responses that are identical to the call and to demon-
Materials strate that awareness through singing and signing

Demonstrate (through singing and signing) understanding of the structure
(call-and-response form) in a song

ASL signs for key words, p. 318, see explanations and video for ASL signs at
http://commtechlab.msu.edu/sites/aslweb/browser.htm

Photograph of Dr. Martin Luther King Jr.

OPEN Step 1: I’m thinking of an important person—can you guess who it is? Here are
some clues. (Mention African American, January birthday a nation-
Key Terms: echo, al holiday, worked for peace and nonviolence, “I Have a Dream”
call/response speech, etc.) After students have guessed Dr. Martin Luther King
Jr., show his picture and together talk briefly about his achieve-
Indicator of Success ments.

Step 2: We’re going to learn a song about Dr. King. Play the recording, ask-
ing students to discover what the words tell us about Dr. King. Write
the key words on the board as students recall them and arrange in
order: Martin, caring/loving, peace, and world. Elicit from them
how these words sing about Martin, sing about caring, and so forth
are echoed throughout, making it easy for them to learn the words.
Have them echo or respond as you speak each “call.” Then, sing or
play the recording again, asking the children to join in on each echo
(response) while you point to the words on the board.

Step 3: Let’s learn some signs for the special words in “Sing about Martin.” In-
troduce the “M” sign for Martin by asking students to see if they
can form a letter “M” with their fingers. With the “M” finger po-
sition, move hand a half circle to the right. (Students might even
sign “M” close to their heart to show how Dr. King was a caring
person.) Then ask students How could you show caring or loving in
signs—no words? Discuss their choices and show the crossed fists
on heart sign. Sing the entire song with the class, but now engage
the children in signing Martin, caring, and loving on the echo part
(response).

Step 4: Next introduce signs for peace and all around the world. For peace,
point out that this is a soft and gentle sign made by touching hands
together and then slowly and smoothly moving hands downward
in front of the body showing a quieting effect. Repeat the song
singing and signing Martin, caring/loving, and peace.

Can you make a “W” with your fingers? Hold up three fingers in both
hands to create the “W” for world and then ask them to draw all
around the world by circling their right hand “W” around in front
of their left hand. Repeat singing the song and signing all the key
words several times.

Level II: Second and Third Grades 157

CLOSE Step 5: Ask students to tell you what was special about the calls and re-
sponses (they were identical!). Close by noting how each of us is a
special person—as Dr. King was—and compliment them on how
well they learned to do the signs and sing the echo responses for
“Sing about Martin!” Ask them to give themselves applause the
“signing way” (shake both hands in the air overhead, with an ex-
cited, happy face).

ASSESS As students sing other call and response songs, note how successfully SECTION II

they identify and sing the calls and responses at the right time.

Background Note

Awarded the Nobel Peace Prize in 1964, Dr. Martin Luther King Jr.
(1929–1968) was an African American Baptist minister and civil rights
leader who worked for equality for African Americans. A federal
holiday commemorates his birthday, January 15. February is African
American History month.

Adapt

1. For English language learners, encourage their sounding out the key
words—caring/loving, peace, and world—and with the help of the ASL
signs, understand the meaning of the words.

2. Visual learners may need their own individual cards for the key words.

Social Studies Extend

3. Using books that follow and other resources, help students learn more
about Dr. King. Record their findings on a class KWL chart—which is
found on the companion website.

Marzalo, J. (1993). Happy Birthday, Martin Luther King. Scholastic.
Rappaport, D. and B. Collier, illustr. (2007). Martin’s Big Words: The

Life of Dr. Martin Luther King. Jump Sun Press.

4. Divide the class into two groups and have one group sing the calls and
the other group the responses. Be sure to include the signing so students
can see and hear the identical calls and responses.

Other Songs (Section III)

“Charlie Over the Ocean” (call and response song)
“Down by the Bay” (call and response song)
“Hello, There!” (call and response song)
“Kye Kye Kule” (call and response song)
“Good Morning Song” (call and response song, signing)
“Kum Ba Yah” (signing)

158 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 17
Music
Music can be performed legato and/or staccato (Expressive Qualities:
Objective articulation)
Standard MU:Re8.1.3a
“Barcarolle,” from Tales of Hoffmann (excerpt), by Jacques Offenbach (“AWE-
Materials fuhn-bahk”) (Germany, 1819–1880) (The legato part follows the intro.)

“Devil’s Dance,” from The Soldier’s Tale, by Igor Stravinsky (“strah-VIHN-
skee”) (Russia, 1882–1971)

To identify compositions that use mostly legato and mostly staccato melodies
and to demonstrate that recognition by drawing abstract figures on paper
while listening to music

Demonstrate and describe how the legato (smooth and connected) and
staccato (short and separated) melodies are used to reflect the composers’
expressive intent

Two different-colored sheets of construction paper for each student: one a
light, bright color and one a darker color, and two crayons of contrasting
color for each

OPEN Step 1: When I call out a word, use one hand to show what the word suggests. For
example, if I say “popcorn popping,” what kind of line will you draw in the
Key Terms: legato, air? Show me. Continue with several examples: airplane taking off,
staccato jackhammer, typing, waterfall, and so on. Discuss with students
that some of those movements were smooth and connected, and some were
Barcarolle short and separated. Music can be like that, too. In music, we call melo-
A boat song of Venetian dies that are smooth and connected—legato and those that are short and
gondoliers; always in 6/8 separated—staccato.

or 12/8 meter, and a Step 2: Tell students that they will listen to two pieces of music (keep
moderate tempo. titles a secret!) and draw something that will match each piece.
Distribute paper, two different colors to each student. Play part
Indicator of Success of each composition, and after they have heard both, ask them to
choose the color they want to use for each. (There is no right or
CLOSE wrong answer!)

Step 3: Distribute crayons, two colors to each student. Caution class
to avoid drawing pictures of recognizable objects. Encourage
them to draw the same things they drew in the air. Make your
drawing look either legato or staccato. Play each composition for the
drawing experience. Move through the group to observe students
as they draw.

Step 4: Let’s have an art gallery showing. Ask one half of the class to hold up
their drawings for “Barcarolle” for all to see. Ask how they look the
same and why. (smooth, connected lines) Use the same process with
the other half of the class for “Devil’s Dance.” Note the drawings
that contain many separate dots or marks that look like the staccato
melodies in the music.

Elicit from students how the two musical selections (and
the drawings) were contrasting. Ask them to describe how the

Level II: Second and Third Grades 159

staccato music conveyed a devil dancing and the legato music sug-
gested music used for rowing a boat. (A barcarolle is a boating
song sung by gondoliers.)

ASSESS Observe how successful students are in identifying legato and staccato in

other pieces of music.

Adapt SECTION II

1. For students who may have difficulty drawing with the music,
encourage movements such as swaying for the legato selection and head
bobbing for the staccato one or any gestures/expressions that are com-
fortable for them.

2. Make sure that English language learners understand that legato and
staccato are Italian terms for English words such as smooth and con-
nected, short and separated. Encourage them to share what those words
would be in their native language.

Movement Extend
Language Arts
3. Try movements to each piece. “Barcarolle” may inspire smooth
ice-skating or sliding while “Devil’s Dance” will likely suggest jumpy
or hoppy abstract movements. Or have students use streamers to il-
lustrate the smooth versus jumpy flow and add visual interest to the
movements.

4. Using flashlights covered with different colored cellophane, create a
“light show” (room lights off) for “Barcarolle” and “Devil’s Dance.”
Some ideas might include “dancing” the flashlights on the ceiling and
walls in smooth, long movements for “Barcarolle” and in contrasting
short, jumpy movements for “Devil’s Dance.” Students can pass flash
lights around so everyone can have a turn!

5. Create a “sound story” using a variety of classroom instruments along
with a story having two contrasting sections, such as Where the Wild
Things Are by Sendak (MU:Cr1.1.2a).

Other Music

“Ballet of the Unhatched Chicks,” by Mussorgsky (staccato)
“The Swan” (Carnival of the Animals), by Saint-Saëns (legato)
“Kangaroos” (Carnival of the Animals), by Saint-Saëns (legato and staccato)
“Dance Macabre” by Saint-Saëns (legato and staccato)
“Star Wars” theme (legato and staccato)

160 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 18
Music
Melodies are divided into smaller parts called phrases (Form)
Objective “Shoo, Fly” (American folk song), p. 315
To identify aurally a musical phrase and to demonstrate that recognition by
Standard MU:Pr4.2.3a singing and by changing movement directions on each phrase
Demonstrate (through singing and moving) understanding of the structure
Materials (phrases) in a song
Tambourine
Room-sized Beat Chart (margin below)

OPEN Step 1: Introduce the tambourine and demonstrate hitting and shaking.
Shake to signal students to stand and play steady beats as students
Key Term: phrase move to a space in the room where they can do movements. After
students are in place, tell them that the tambourine will tell us when to
Beat Chart move and when to stop. When you hear the tambourine, walk. But when
the tambourine stops, you stop, too.

1. Play 4 steady beats while students take 4 steps forward. (Before
striking the tambourine, give the preparatory count—one, two,
ready, walk.)

2. Play 4 steady beats while students take 4 steps backward.

3. Challenge them to take 4 steps forward, followed by 4 steps
backward without stopping in between. (Tap the tambourine for
forward steps and shake the tambourine for backward steps.)

Step 2: Let’s see how that four-beat stepping fits the “Shoo, Fly” song. Play the
recording or sing the refrain and play the tambourine as students
repeat their stepping. Review the song’s words and the forward/
backward stepping by introducing the chart (in margin). Show stu-
dents how “Shoo, Fly” has four phrases, with each phrase four beats
(steps) long: forward four beats, backward four beats, forward four
beats, backward four beats. Repeat singing and stepping until stu-
dents are secure with words and stepping.

Help students discover the phrases in the “Shoo, Fly” part really helped
decide when to change direction. Remind them that they probably took
a breath to sing each phrase, too!

Step 3: Have the class try a folk dance for both the “Shoo, Fly” (refrain) and
“I feel, I feel . . .” (verse).

Formation: Circle, facing center, hands joined.

Refrain: Four steps in toward center (arms raised), four steps
back (arms lowered). Repeat.

Verse: Slide sideway counter clockwise, facing center with
hands joined for first half of verse and slide sideways
clockwise for second half of verse. On “so” face center

again and repeat refrain directions.

Level II: Second and Third Grades 161

Indicator of Success Ask How many phrases are there in the “Shoo, Fly” part of our song? (four) Have
CLOSE them demonstrate their understanding by singing just the “Shoo, Fly” part
and holding up fingers for each phrase (1, 2, 3, 4) as they sing. Then, have
them sing the song while you play steady beats on the tambourine until all
students have moved back to their seats.

ASSESS As students sing a familiar but different song, note how accurate they are

identifying and demonstrating phrases.

Peer-assisted Adapt SECTION II
Learning
1. To help all children be successful with the folk dance, use a model group
Language Arts of four students to demonstrate the dance, followed by a second model
Science group, and then with the entire class. Place students who may have dif-
ficulty next to good models.

2. Students who are unable to do locomotor movements can “step” with
their fingers, move their wheelchair back and forth, or use any gesture
that is comfortable to show forward and backward stepping.

3. Write “shoo, fly” on the board and help English language learners un-
derstand that a fly is a flying insect and shoo is a sound for scaring away
the fly. Help children learn more about insects. Share V. Wilkinson’s
book Flies are Fascinating (Children’s Press, 1994).

Phrase/Beat Chart Extend

4. Use the Phrase/Beat Chart (with quarter notes and curved line to show
phrases) while singing “Shoo, Fly.” Students or teacher can point to each
steady beat. This will fit both the song’s refrain and verse.

5. Try a more challenging dance for the song’s verses. See directions on
p. 315

Other Songs (Section III)

“Bow, Belinda”
“Jim-Along, Josie”
“Looby Loo”
“Old Brass Wagon”
“Sally, Go ’Round the Sun”
“Skip to My Lou”

162 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 19
Music
Pitches can be high or low (Melody)
Objective
“Chinese Dance,” from The Nutcracker Suite, by Pyotr Ilyich Tchaikovsky
Standard MU:Re8.1.2a (“chy-KAWF-skee”) (Russia, 1840–1893)
Materials
To identify aurally the high-pitched and low-pitched phrases that recur
and to demonstrate that recognition by raising hands and cards during the
phrases

Demonstrate (by raising hands/cards) understanding of the music concept
(high-pitched and low-pitched phrases) in an instrumental music selection

Paper square card (4" ϫ 4") for each student; one color for half the class and
a different color for the other half

Two paper squares (4" ϫ 4"); one labeled “Introduction” and the other “Coda”

OPEN Step 1: Initiate a conversation (pick any topic!) with a student—ask ques-
Key Terms: high, low tions and take turns talking. After the demonstration, elicit from
the class what you were doing.
Indicator of Success
Step 2: We are going to listen to a composition that is like a musical
Indicator of Success conversation—one short phrase is answered by another. Divide the class
into two groups. Assign one group to raise hands when the first
CLOSE phrase (Question) is heard and assign the second for raising hands
when the second (Answer) is heard. Play the entire piece and, af-
ter the introduction, help groups to raise hands at the appropriate
time, signaling students not to raise hands during the ending (coda).
(After the introduction, these paired phrases alternate six times, fol-
lowed by the coda: Introduction QAQAQAQAQAQA Coda.)

Step 3: Distribute cards of one color to the first-phrase group and the other
color to the second. Ask students to raise and bounce their cards as
they listen to the music again and to notice whether their phrase
is mostly high or mostly low. Review meaning of high/low pitch
levels. Which instruments played high? (flute, piccolo) Which instru-
ments played low? (violin, cello)

Step 4: After listening, help students to verbalize that the first phrase in each
pair was high-pitched and the second was low-pitched. Then, tell stu-
dents that the class is going to count how many high-pitched and
how many low-pitched phrases are heard. Choose several “count-
ers” in each phrase group to count silently as the groups listen and
raise cards. Choose two students to hold up the Introduction and
Coda cards at the appropriate time.

Step 5: After groups have determined that each counted six phrases, select
one student from each to collect six cards from his or her group
to place on the board tray as the class listens one more time. (The
two students should place the cards—one at a time—on the board
tray as the music is heard.) Place the “Introduction” card and the
“Coda” card at the beginning and end of the board tray.

Using the card display as a visual cue, review with students how
one phrase is answered by another throughout the piece. Ask them

Level II: Second and Third Grades 163

to tell you which phrases have high pitches, which have low, and
how many phrases there are of each.

ASSESS Observe how successful students are in demonstrating and describing the

differences between high and low phrases in similar compositions.

Background Note SECTION II

The Nutcracker ballet has become a Christmas favorite in many coun-
tries, and an abbreviated version of the music (The Nutcracker Suite) is
one of the most recorded compositions in classical music. (Go to www.
nutcrackerballet.net and click on “Music” to listen.)

The Nutcracker story is about a little girl (Clara) who receives a nut-
cracker doll on Christmas Eve. Clara falls asleep under the tree with
the Nutcracker in her arms, and dreams he has turned into a handsome
prince who takes her on a series of fantastic adventures. They travel to
the Land of Sweets and are entertained by Chinese and Russian danc-
ers, flowers performing a waltz, and a Sugar Plum Fairy dancing.

Peer-assisted Learning Adapt
Language Arts
1. Some children may have difficulty following the directions for raising
hands and cards and being “counters.” It may be helpful to designate
peer partners for these activities.

2. English language learners (and other children as well) may not be famil-
iar with the word “conversation” or its meaning. Take time to explain
and write the word on the board encouraging correct pronunciation.

Extend

3. Use high and low rhythm instruments—for example, triangle and large
drum—with the two melodies in the music. Students in each group
could play as their group’s melody is heard.

4. Help students learn about the Nutcracker ballet and Tchaikovsky through
stories, software and CDs.

Hautzig, D. (2006). Story of the Nutcracker Ballet.
Tchaikovsky’s Nutcracker: The Music Game. (CD-ROM – Windows)
Tchaikovsky Discovers America. Classical Kid Series. Book and CD.

Other Music

“Kangaroos” (Carnival of the Animals), by Saint-Saëns (high and low)
“The Elephant” (Carnival of the Animals), by Saint-Saëns (mostly low)
“The Aviary” (Carnival of the Animals), by Saint-Saëns (mostly high)

164 Section II: Model Experiences for Teaching Music

Model 20

MUSIC CONCEPT Pitches in a melody can move by step (Melody)
Music
“Willowbee” (American game song), p. 336
Objective
To identify aurally three pitches stepping down and to demonstrate that
Standard MU:Pr4.2.2a recognition by singing, playing, and doing hand motions when the pattern
Materials is heard

Demonstrate (through singing and hand motions) understanding of the mu-
sic concept (stepwise pattern) in a song

Resonator bars C to C1, a mallet, and a resonator-bar stepladder frame
(if available)

Step 1: Draw stairs on the board (see margin). Elicit from students that one
can go up/down on each step or skip. Display a set of resonator
OPEN bars arranged on a step frame. Play a series of pitches skipping at
least two bars at a time and ask students Are the pitches skipping or
Key Terms: skip, step, stepping from one to another? Invite several students to demonstrate
up/down stepwise movement on the bars and note that stepping means that
pitches are close together.

E Step 2: Place the E, D, and C bars where all can see them, and play this
D descending pattern several times. Also show the visual of E, D, and
C helping students see the stepping-down pattern. Then, ask stu-
C dents to listen to a song that has these three pitches stepping down. Raise
your hand whenever you hear the pattern. (end of song) Sing or play
all day long the recording. Repeat the song several times, allowing students to
take turns playing the pattern while other class members sing and
demonstrate with hand motions the “all day long” part. Review all
of the words and encourage students to sing the entire song.

Step 3: Perform a folk dance with the song.

Formation: Two lines, facing each other

Refrain: Partners stand in place, swinging crossed hands
(joined) from side to side but stopping on the pattern.

Verse: Partners raise their joined hands, forming an arch un-
der which the lead couple moves down the “alley”/
line. The lead couple stops at the end of the line, on the
pattern.

Repeat the dance with other verses and differing movements (danc-
ing, skating etc.) as each couple moves “down the alley.”

Step 4: Conclude with students singing as much of the song as they can,
playing bars and doing hand motions. How did the pitches move in
Indicator of Success our pattern—by step or skip? (step) In what direction—up or down?
CLOSE (down)

ASSESS As students sing other songs with stepwise patterns, note how successful

they are in showing the melodic movement and direction.

Level II: Second and Third Grades 165

Peer-assisted Learning Adapt

1. Organize the class into pairs to assist children who may have difficulty SECTION II
doing the hand motions and playing the resonator bars. A peer partner
can help with the hand motions by guiding the partner’s hand or team-
ing with the partner to play the resonator bars. If a child is unable to
grasp the mallet to play the resonator bars, attach a mallet to the child’s
hand with a strip of Velcro® or use a modified mallet.

2. Use a model group to demonstrate the folk dance initially. Then, place
students who may have difficulty next to appropriate models as the en-
tire class enjoys the dance.

Kodály Adaptation Extend
Orff Adaptation
3. Incorporate Curwen/Glover hand signs (Appendix A) for “all day long”
(mi-re-do) and use music notation too.

4. Perform an accompaniment to the song, using xylophones, metallo-
phones, and/or glockenspiels. See ensemble on p. 336.

Other Songs (Section III)

“Duerme Pronto” (“sin llorar” and “va a cantar”)
“Long-Legged Sailor” (“long-legged wife”)
“My Dreydl” (“dreydl I shall play”)
“Shoo, Fly” (“I belong to somebody”)
“This Old Man” (“rolling home”)

166 Section II: Model Experiences for Teaching Music

Model 21

MUSIC CONCEPT The rhythm of a melody includes long and short sounds (Rhythm)
Music
“Kangaroos,” from Carnival of the Animals, by Camille Saint-Saëns (“sa[n]
Objective saw[n]s”) (France, 1835–1921)
Standard MU:Re7.2.2a
To identify aurally the long and short durations in the rhythm of a melody
Materials and to demonstrate that recognition by manipulating puppets appropriately

Describe how the music concept (long and short sounds) is used to support
a specific purpose in the music

A small branch of a tree (with leaves), about two feet tall
Two puppets:

1. a sock puppet resembling a cat
2. a small, artificial bird on a stiff wire or stick (wire/stick about

15 inches long)
Puppet show screen, if available

OPEN Step 1: Pretend you are cats looking around for a bird. Show what type of move-
ment you might make. Select a few students to describe or act out
Key Terms: short sounds, their ideas, which might include crouching and stalking.
long sounds
Continue with bird movements, selecting a different group to act
Indicator of Success out the short, quick movements of a tiny bird.

Indicator of Success Step 2: Play the music and ask the class to listen, especially to hear if a bird and
CLOSE cat seem to move at the same time. (no) Ask When the short sounds are
heard, which creature is moving? (Most students will say: bird) During
the longer sounds, which creature moves? (cat) Students could imagine
short movements being like a bird’s “tweet” and long movements
like a cat’s lengthy “mee-ow.”

Step 3: Have students depict the bird with one arm, the cat with the other,
while they hear the music again. Ask them to think of a plot to go
with the actions. (Observe students who are successful and who
might be the first puppeteers.)

Discuss students’ ideas for a plot or story. (These ideas should re-
flect the two musical ideas alternating throughout, concluding with
a high-pitched chord.)

Step 4: Let’s have a puppet show to tell our story. Display the puppets and
choose two students to act out the cat and bird story. Place puppe-
teers on either side of a third student holding the tree branch. Have
them fit their story to the music. Repeat with several groups of stu-
dents.

Elicit from students what they learned about the music and con-
clude that the long and short sounds (and the high and low pitches) made
that very good music for our puppet show.

ASSESS Observe how accurate students are in identifying and describing long and

short sounds in other pieces of music.

Level II: Second and Third Grades 167

Background Note

Saint-Saëns described Carnival of the Animals as “a zoological fanta-
sy” and included many realistic and witty effects—such as including
pianists in his musical zoo! (See model experience, p. 194.) Carnival,
composed in 1866, is a suite of 14 pieces with titles such as “Fossils,”
“Aquarium,” and so forth.

Adapt SECTION II

1. Some students may have coordination difficulties depicting both the
bird and cat (Step 3) with their hands. Adapt by having one half of the
class do the bird movements and the other half the cat.

2. Associate the names for cat and bird with puppets and movements to
assist English language learners. Encourage the sharing of the names for
each animal in other languages.

Dramatization Extend
Visual Art
3. Create a movement dramatization similar to the puppetry action. Make
simple costumes such as bird wings, whiskers, and so on.

4. Construct a long–short collage using materials such as yarn cut into two
different lengths. Notice how the differing colors, placement, and so
forth are unified by the similar lengths and texture.

5. Engage students in learning about the entire composition Carnival of the
Animals by using some of the many materials listed below.

Saint-Saëns. Carnival of the Animals. DVD, 30 min., ages 3 up. www.music
motion.com.

Carnival of the Animals Listening Guide and Coloring Book by M. A. Stewart.
www.musicmotion.com.

Lithgow, J. (2004). Carnival of the Animals. Simon & Schuster. Book with
accompanying CD.

Other Music

“Ballet of the Unhatched Chicks” (Pictures at an Exhibition), by Mussorgsky
“Long-Eared Persons” and “Hens and Roosters” (Carnival of the Animals), by

Saint-Saëns
“Tuileries” (Pictures at an Exhibition), by Mussorgsky

168 Section II: Model Experiences for Teaching Music

Model 22

MUSIC CONCEPT String and brass instruments have their own special sounds (Timbre)
Music
“Cielito Lindo” (Mexico)
Objective
To identify visually and/or aurally string and brass instruments in mariachi
Standard MU:Re8.1.3a music and to demonstrate that recognition by naming and describing the
Materials instruments and the role of mariachi musicians in Mexican culture

Demonstrate and describe how timbre is used in mariachi music for expres-
sive purposes

Pictures of Mariachi (www.images.google.com)
Mariachi Activity Worksheet, p. 170

OPEN Step 1: Watch and listen. Show pictures of the Mariachi ensemble, as
you play an excerpt of “Cielito Lindo.” Then, ask students what
Key Terms: mariachi, is this group called? (Mariachi) Who has heard/seen a Mariachi group
trumpet, violin, guitars and where? (answers might include: fairs, festivals, Mexican restau-
rants, etc.) Share that this is a very popular song and is often played
trompeta (and sung) by a Mariachi ensemble.
(“trome-PAY-tah”)
Step 2: Distribute the Mariachi Activity Worksheet to each student. Then,
Indicator of Success using the worksheet, have students discover the special hats, out-
fits, and instruments. Note that the outfits are very colorful and
guitarra suggest that later they will create colorful outfits on their activi-
(“gee-TAR-rah”) ty sheet. Help the class identify the trumpet, violin, and Mexican
guitars, and pronounce the instruments’ names in Spanish and En-
Indicator of Success glish. Keep your eyes on the worksheet as you listen for the trumpets.
Point to the trumpets every time you hear them.
CLOSE
After listening, direct their attention to how the trumpet makes it
sound (blow through the mouthpiece – vibrating column of air), what
it is made of (brass), and how it plays different pitches (push down
valves). Review its Spanish name.

Step 3: Ask students what’s different about how the violin and the Spanish
guitars make their sound (made out of wood, have vibrating strings,
played with bow or strummed). Now listen again for the strings.
If you hear the violin, point to it on your worksheet. If you hear the others,
do the same.

Step 4: Let’s join the mariachi band. Challenge students to a final listening
game. Explain that they will hear the instruments again. When
they hear the trumpet and the strings, have them “join” the
mariachi band and pantomime the playing position of each to
show recognition.

Conclude by briefly eliciting from students information about the
mariachi and Mexican American music. Then, direct students to
the Mariachi Activity Worksheet and suggest they color the cos-

tumes of the mariachi performers.

Level II: Second and Third Grades 169

ASSESS As students listen to other music featuring string and brass instruments, note
Social Studies how successful they are in identifying the instrument family and describing
any specific instruments they hear.
SECTION II
Background Note

The mariachi, a strolling folk orchestra, combines vibrant music with a
vivid visual presentation created by the Charro costumes the perform-
ers wear. The sounds of the mariachi are as colorful as their costumes!
Instruments heard in the mariachi include violins, trumpets, guitars
and guitar variants, and sometimes a Mexican harp. Mariachi music
began in the rural areas of Mexico, but today the mariachi tradition
is enjoyed around the world. Mariachi groups perform at weddings,
birthdays, saints’ days, masses, and other celebrations, dressed in orna-
mented and fitted jacket, pants, and riding boots. A symbol of Mexican
culture and nationalism, mariachi ensembles are popular throughout
the United States and more and more secondary schools and universi-
ties are offering students the opportunity to play in a mariachi group.
Visit folkways.si.edu/flash/mariachi.html for more information about
mariachis.

Adapt

1. For a child who may have difficulty focusing on the worksheet or
who is visually impaired, describe the mariachi outfits and instru-
ments as the class identifies them. These verbal descriptions will ben-
efit all learners.

2. Ask volunteers to read and pronounce the names of the trumpet, vio-
lin, and guitars out loud as they are introduced to assist English lan-
guage learners.

Language Arts Extend

Multicultural 3. Music (and mariachi) are often part of Mexican American celebra-
Social Studies tions. Read Hello Amigos (Scholastic, 1986) and learn how friends and
family celebrate the birth day of Frankie Valdez. Is music a part of
Science Frankie’s party? What “happy birthday” songs do they sing?
Cooperative Learning
4. Plan a Mexican celebration of songs and dances for Hispanic Heritage
Month (September 15–October 15), Las Posadas (December 14–24), or
Cinco de Mayo (May 5). Involve members of the school and commu-
nity. See monthly planners, p. 238

5. Form small groups and give each group one thin and one thick rub-
ber band. Have them discover several things that cause the two rub-
ber bands to sound different (thickness, length, and tension). They
might pull and listen to it vibrate or pinch off about the same length
from two different thicknesses. They can pull gently, then hard, to
discover various playing techniques. Then have them help you list on
the board all the things that cause the rubber bands to sound differ-
ent. Look at a guitar, violin or other stringed instrument to discover
how strings sound different because of varying thickness, tension,
and length.

170 Section II: Model Experiences for Teaching Music

Level II: Second and Third Grades 171

MUSIC CONCEPT Model 23 SECTION II
Music
Borduns and ostinatos can add harmony to a melody (Harmony)
Objective “Chatter with the Angels” (African American song), p. 255
To identify a bordun and an ostinato as repetitive accompaniment patterns
Standard MU:Pr4.2.2a and to demonstrate by playing a bordun and ostinato to accompany a song
Demonstrate (through singing and playing instruments) understanding of
Materials the music concept (borduns/ostinato) in a song selected for performance
Alto metallophone or resonator bars F and C
Xylophone or resonator bar F

OPEN Step 1: Sing or play recording of song, asking students to discover what
the angels are doing. (chattering) Discuss and review all the words.
Key Terms: bordun,
ostinato, accompaniment Repeat, with students patsching in a slow, steady rhythm. (hh)

Bordun: Encourage students to join in singing as soon as possible.
R
Step 2: When words are secure, review what an accompaniment is. Let’s
L add an accompaniment to “Chatter with the Angels.”

Hold up a set of resonator bars or place an alto metallophone in full
view. Point to F and ask students to decide what pitch is five notes
higher. (C) Ask a student to play those two pitches simultaneously

in a slow, steady rhythm. (hh) Write the letter names or the notation

on the board.

Step 3: These two pitches played together are called a bordun. Write word on
board next to pitch names. Have the bordun player begin, and
when the part is secure, the class should join in singing and patsch-
ing. Repeat with different bordun players.

Step 4: Next, have students add an ostinato as an accompaniment to their
singing. Using the F resonator bar or the F on a xylophone, have
a student play the rhythm of the words “Chatter with the angels”
over and over. Then, have the class join in singing while the stu-
dent plays the ostinato accompaniment. When a melody pattern like
this is repeated over and over as an accompaniment, it is called an osti-
nato. (Write the word on the board.) Repeat with different ostinato
players.

Indicator of Success Step 5: Finally, combine the bordun and ostinato for an accompaniment.
CLOSE Have a bordun player begin alone, followed by an ostinato player
(this could serve as an introduction), then have the singers join the
instruments, followed by the bordun and ostinato performers ex-
tending their playing at the end for a coda.

Review these accompaniment patterns by eliciting from students
what was the same and what was different about the bordun and

172 Section II: Model Experiences for Teaching Music

ostinato. Conclude with one final performance with the introduc-
tion and coda.

ASSESS As students select and perform bordun and ostinato accompaniments for
other songs, note how successful they are in demonstrating and describing
their understandings.

Adapt

1. To assist children with learning the words, discuss what “chattering”
means versus regular talking. The ASL signs below for “chatter” (and
“angels”) may help children (including English language learners) un-
derstand the word meaning.

Peer-assisted Learning 2. Create visuals for the lyrics to aid students with the order of the words.

3. For those who may need assistance in playing the instrumental accom-
paniment, organize the class into peer partners. Peer partners can play
the instrument as a twosome and if a child is unable to grasp the mallet
to play the bars, use a modified mallet.

Orff Adaptation Extend
Kodály Adaptation
4. Try other borduns and ostinatos to accompany the song. See ideas on
Language Arts p. 255

5. Sing tonic sol-fa syllables for “all day long” (A-G-F). Use Curwen/Glover
hand signs too (Appendix A).

6. Sing the additional verses and create some new verses of your own.

Other Songs (Section III)

“Good Morning Song” (F–C bordun)
“Scotland’s Burning” (F–C bordun)
“Long-Legged Sailor” (F–C bordun)
“Charlie Over the Ocean” (G–D bordun)
“Circle Right” (G–D bordun)

Level II: Second and Third Grades 173

MUSIC CONCEPT Model 24 SECTION II
Music
Beats can be grouped in twos (Rhythm)
Objective
Standard MU:Pr4.2.2a “The Stars and Stripes Forever” by John Philip Sousa (United States,
1854–1932)
Materials
To visually and aurally identify beat groupings in two and to demonstrate
that recognition through body rhythms and in a stick game

Demonstrate (through body rhythms and stick game) understanding of the
music concept (beat groupings in two) in a march

Rhythm sticks
Notation on board or chart (see below)

OPEN Step 1: Point to the two examples of beat groupings and ask Which example,
number 1 or number 2, shows beats grouped into sets of two? (number 1)
Key Terms: beat,
downbeat, groups of twos 1.

2.

Indicator of Success Step 2: Direct students’ attention to the visual difference in the two ex-
Step 3: amples. Demonstrate that difference by having the class perform
Indicator of Success steady beats in groups of two (lap, clap) and in groups of three (lap,
CLOSE clap, clap). Continue until students are comfortable with the twos
and threes. Then have the class try the twos motions (lap, clap) fac-
ing a partner (without clapping the partner’s hands). Write 1 and 2

beneath the notes.(q1 q2)

These groups of two will fit nicely with march music. On the signal, you
and your partner begin lap, clap. After the eight-beat introduction in the
recording, the teacher should indicate the downbeat (beat 1) in the
music and say aloud “one, two.” Observe and help students having
difficulty. (You might want students to feel the twos with marching

before trying the stick game in Step 3.) Point to: q1 q2 on the board.

Try a stick game with the music. Choose two students to sit cross-
legged on the floor, facing each other. Give each pair two rhythm
sticks to hold vertically. The pattern for the game is

Beat 1: hit own sticks on floor
Beat 2: hit own sticks together

Try the motions without the music, and then with the music. Signal
the downbeat as before. Have other pairs of students try the stick
game.

Stick games are a good way to show beats grouped in twos. Elicit from stu-
dents that the first beat in the grouping is called the downbeat. Note
that this music is a march and give its title and composer. Marches are

usually in twos—great for keeping steady beats and marching “left, right.”

ASSESS Observe how successful students are in aurally identifying and demonstrat-

ing beat groupings in two in different compositions.

174 Section II: Model Experiences for Teaching Music

Background Note

John Philip Sousa, known as “The March King,” wrote almost
l50 marches that are striking in their rhythmic and instrumental ef-
fects. “The Stars and Stripes Forever” (1896) is one of his most famous
and is the official march of the United States (designated by Congress
in 1987). Sousa led the United States Marine (Corps) Band for 12 years
before forming his own band that toured worldwide.

Peer-assisted Learning Adapt

1. Performing the twos on a drum rather than rhythm sticks would be an
excellent choice for a child who has a hearing loss. With the drum, he or
she will be able to feel the vibrations.

2. Some children may not have the coordination skills to do the lap/clap
pattern or the stick game. In that case, pair the entire class with peer part-
ners and modify the movements to using just one hand, only clapping or
tapping with the sticks.

Cooperative Learning Extend
Peer-assisted Learning
3. In small groups, discover other ways to show groups of twos in body
Social Studies movements: for example, clap/pat-a-cake, step-clap. Transfer these body
rhythms to classroom instruments or paper plates (hold like cymbals).

4. Sing familiar songs in twos, and use body rhythms or instruments to
show twos. (See “Jingle Bells” and “Clap Your Hands” in Section III.)

5. In pairs, have students notate example 1 in Step 1 and then perform us-
ing body rhythms. Students could take turns pointing to quarter notes
and performing lap, clap, lap, clap, and so on.

6. Conduct beats in twos with this march. (For conducting patterns, see
Appendix A.)

7. Look at and discuss pictures of a band, such as a marching band led by a
drum major or a concert band led by a director/conductor. Identify family
members who are in bands (or other musical groups). How do these mu-
sical groups influence students’ lives and make them better? What would
our lives be like without music? Learn how a band is a group, with roles as
in other groups (e.g., leaders, followers, innovators, isolates).

Other Music (in twos)

“Parade” (Divertissement), by lbert
“Piffle Rag,” by Yelvington
“Viennese Musical Clock” (Háry János Suite), by Kodály
“Hoedown” (Rodeo), by Copland
“Hotter Than That,” by Louis Armstrong
“Orange Blossom Special,” by Rouse
“Russian Dance” (The Nutcracker Suite), by Tchaikovsky
“The Washington Post March,” by Sousa

Level II: Second and Third Grades 175

MUSIC CONCEPT Model 25 SECTION II
Music
Beats can be grouped in threes (Rhythm)
Objective
“Jesu, Joy of Man’s Desiring,” from Cantata no. 147, by Johann Sebastian
Standard MU:Pr4.2.2a Bach (Germany, 1685–1750)
Materials
To identify aurally beat groupings in three and to demonstrate that recogni-
tion using the conducting pattern for triple meter along with the music

Demonstrate by conducting understanding of the music concept (beat
groupings in three) in a composition by Bach

Not needed

OPEN Step 1: I know a musician who shows steady beats to other musicians. Ask stu-
dents if they can guess who I am and what I’m doing. (Teacher posi-
Key Terms: beat, tions self at front of room and begins conducting while recording
downbeat, threes plays.) After students have discovered you are a conductor, briefly
discuss conductor’s location in front of a group and the use of arms
“up” to keep the steady beat.
3
Step 2: Engage students in steady-beat clapping (to get ready to be conduc-
2 “right” Step 3: tors) and then show beats grouped in threes (e.g., lap, clap, clap).
Draw three quarter notes on the board and have a student point to
1 the notes as the class performs steady beats in threes. Speak “1, 2, 3”
“down” aloud and have students join you in saying “1, 2, 3” as they do the
body movements. Then have students try the lap, clap, clap (1, 2, 3)
Each student should use with an excerpt from the music “Jesu, Joy of Man’s Desiring.”
the dominant hand and
q1 q2 q3
arm for conducting.
Next, tell students they are now going to become conductors, so
Indicator of Success they will need to learn the conductor’s pattern for steady beats in
CLOSE threes. Draw the conducting diagram on the board (see margin),
omitting numbers and verbal clues.

Demonstrate the pattern for the class, reversing your movements
or standing with your back to the class. Ask them Which movement
is the first (or downbeat) in the pattern? (the downward motion) Label
each movement in the pattern: “1, 2, 3.”

Have students stand and try the pattern until most seem secure,
giving verbal cues such as “down, right, up” as needed. (Use a tem-
po similar to that of “Jesu, Joy of Man’s Desiring.”) Move through-
out the class to help students.

Step 4: As soon as the class is secure, have students stand and conduct
with the music pretending that they are standing in front of an or-
chestra. Be sure to help with the downbeat. After the conducting,
review keeping a steady beat, locating the downbeat, and conduct-
ing music in beat groupings of three.

176 Section II: Model Experiences for Teaching Music

ASSESS Observe how successful students are in aurally identifying and demonstrat-
ing beat groupings in three in different compositions.

Adapt

1. Some students may need assistance in hearing the three-beat groupings
in the music and learning the conducting pattern. First, have them listen
for the downbeat and pat their “lap” on beat one only. Gradually add the
“clap, clap” on beats two and three. Second, do the same with the con-
ducting pattern, e.g., perform the downbeat stroke only, then gradually
add the other motions. Draw a large example of the conducting pattern
on the board and have different students take turns tracing the pattern.

2. Encourage children who may have limited range of movement to use
any mobility they have to demonstrate the beat and beat groupings
(swaying, nodding, etc.). Invite them to be part of the pretend orchestra
keeping the beat as they follow their conductors.

Peer-assisted Learning Extend
Language Arts
3. Initiate a discussion with the children about attending a concert and
what happens when the conductor (maestro) enters the stage. Talk about
when it is appropriate to clap, what the conductor does to indicate that
the concert is starting, and what happens with the lights to cue the audi-
ence about the concert’s beginning and ending. What is the appropriate
behavior or audience etiquette for such a concert?

4. In pairs, have students create hand games in beat groupings of twos or
threes. Perform, and have the class decide whether the example is in two
or three.

5. Engage students in learning more about J. S. Bach through the DVD or
CD Mr. Bach Comes to Call (Classical Kids Series). Challenge students to
signal when they hear the excerpt of “Jesu, Joy of Man’s Desiring” in the
story. Or invite students to read about this famous composer in one of
the books listed below or the Discover Bach CD-Rom/DVD software.

Ketcham, S. J. (1999). Bach’s Big Adventure. Orchard Books.
Winter, J. (1999). Sebastian: A Book about Bach. Harcourt.

Other Music (in threes)

“Carillon,” from L’Arlésienne Suite no. 1, by Bizet
“The Elephant” from Carnival of the Animals, by Saint-Saëns
“Waltz of the Flowers” (The Nutcracker Suite), by Tchaikovsky

Level II: Second and Third Grades 177

MUSIC CONCEPT Model 26 SECTION II
Music
Instruments are grouped into families (Timbre)
Objective
Standard MU:Re8.1.2a Canzona per Sonaire, No. 28 by Giovanni Gabrieli (Italy, 1557–1612) BRASS
family
Materials
Toccata for Percussion, III. by Carlos Chávez (Mexico, 1899–1978)
PERCUSSION family

Serenade, No. 10 (K. 361), VI. Theme and Variations by Wolfgang Mozart
(Austria, 1756–1791) WOODWIND family

Trout Quintet in A Major, Op. 114, D. 667, IV. by Franz Schubert (Austria,
1797–1828) STRING family

To identify aurally that instruments are grouped into families and to demon-
strate that recognition by circling the appropriate family on a worksheet

Demonstrate and describe knowledge of music concept (the timbre of instru-
mental families) in Western Art Music

Room-sized pictures of selected instruments (see samples, p. 179)
Instrument Families Listening Worksheet for each student, p. 179

OPEN Step 1: I’m thinking of a special word that describes brother, sister, mother, and
others. What is it? (family/families) Discuss what makes these people
Key Terms: woodwind, a family—related names, looks, etc.
strings, brass, percussion
Step 2: Mention that instruments in the orchestra come in families too, and
Write key terms on board are related in looks and sounds. Display pictures of brass instru-
as they are introduced. ments and have students hold pictures for all to see. Point to famil-
iar ones such as trumpet and trombone and ask students to name.
Then decide What do they have in common that makes them brass family
members? (brass material, cup-shaped mouthpieces, long cylinders
that are wound up and end in flaring bells) Ask How do brass instru-
ments produce their sounds? (by blowing into the mouthpieces) Play
the excerpt of Canzona and ask students to listen for the instruments
in the brass family.

Step 3: Play the excerpt of the Trout Quintet and ask students to identify the
instruments in a different family. (strings) As they identify stringed
instruments, display the pictures—violin, double bass, and so on
and identify their similarities. (strings that are bowed or plucked, wooden
bodies of similar shape but different sizes) Ask students about the differ-
ences between the strings and brass in terms of sounds and looks.

Step 4: Show photos of familiar woodwind instruments such as clarinet
and flute. Because of the materials and construction, woodwinds will
sound different from strings. Discuss the similarities and differenc-
es of woodwind instruments. (wood or metal bodies, single-reed or
double-reed mouthpieces—except the flute’s open hole the player blows
across.) Play the excerpt of Serenade for students to listen for the
woodwind instruments.

Step 5: Play the excerpt of Toccata, and have students identify the orches-
tral family. (percussion) Display pictures of percussion instruments
and discuss how percussion are all played by striking or shaking. Identi-
fy some that are struck (drums, cymbals), and some that are shaken
(maracas, sleigh bells).

178 Section II: Model Experiences for Teaching Music

Indicator of Success Step 6: Distribute the worksheet to each student and review the directions
CLOSE for listening to the four selections, and marking the worksheet.

Listen to number one, and decide what you hear: woodwind, strings, brass,
or percussion. Play excerpts from the four compositions; scramble
the order. Correct answers immediately after hearing each compo-
sition and name the composer and title of each.

Finally ask Which family includes the trumpet and trombone?
(brass) Which includes the violin and cello? (strings) Which the drums?
(percussion) and Which the clarinet and flute? (woodwinds). Help stu-
dents conclude that orchestral instruments are grouped into families
and each has its own special sound and look.

ASSESS Observe how successful students are in aurally identifying and correctly nam-

ing instrumental families (and their instruments) in different compositions.

Peer-assisted Learning Adapt

1. Encourage English language learners to read the instrumental family
names aloud as they associate the instruments with the name.

2. Some children may have difficulty following the directions for the
worksheet—designate peer partners for this activity.

Cooperative Learning Extend
Language Arts
3. Explore “Instruments of the Orchestra” on SFS Kids “Fun with Mu-
sic” on the San Francisco Symphony website www.sfskids.org. Play
the “Music Match Instruments” game on the New York Philharmonic
Kidzone website www.nyphilkids.org. From the home page, click on
the Game Room link and select “Music Match Instruments.”

4. Have students work in small groups to complete an orchestra seat-
ing chart. Enlarge to room size the Orchestra Seating Chart on
p. 180, and with the chart posted on a bulletin board, have them put
pictures of instruments in the appropriate sections. They could look
for pictures in magazines or catalogs, make their own drawings, or
draw the entire chart and instruments.

5. Have students discuss the different audience behaviors that are ap-
propriate for different musical events, for example, orchestral concert,
parade, rock concert.

6. Share the following books with students to help them learn more
about the orchestra.

Hayes, A. (1991). Meet the Orchestra. Harcourt Brace.

Kuskin, K. (1986). The Philharmonic Gets Dressed. HarperTrophy.

Koscielniak, B. (2003). The Story of the Incredible Orchestra. Houghton Mifflin.

Sloan, C. (2015). Welome to the Symphony. Workman Pub. Co.

Other Music

Young Person’s Guide to the Orchestra, by Britten (all instruments)

Level II: Second and Third Grades 179

Instrument Families Listening Worksheet

You will hear four pieces of music. Decide which family you hear for the first piece and
write 1 in the box by its picture. For the second piece, write 2 by its picture. Do the same
for pieces 3 and 4.

Brass Photo by John Bacchus, Pearson Education Corporate Courtesy of Silver Burdett Ginn Needham. SECTION II
Strings Digital Archive.
Percussion

3drenderings/Shutterstock.com

Woodwinds LHF Graphics/Shutterstock

D180 Section II: Model Experiences for Teaching Music
Cellos
Orchestra Seating Chart
Percussion
Brasses ouble Basses

Woodwinds 2nd Violins
Violas 1st Violins

Conductor

Violins

Level II: Second and Third Grades 181

MUSIC CONCEPT Model 27 SECTION II
Music
Pitches in a melody can move up and down by step (Melody)
Objective
“Ebeneezer Sneezer,” by Lynn Freeman Olson, p. 262
Standard MU:Pr4.2.3b
To identify aurally pitches stepping up or down and to demonstrate that
Materials recognition by singing and by playing resonator bars

When analyzing a song, read and perform a melodic phrase that moves by
step using standard notation

Resonator bars C, D, E, F, G, A, B, C1 and their stepladder frame (if available)
8 large room-size visuals—see pp. 183–184

OPEN Step 1: Hide the resonator bars (on a step frame) from view and have stu-
dents close their eyes; then play the sequence C-D-E-F-G-A-B-C1.
Key Terms: steps, Ask you can’t see, but did the pitches move up or down? (up) Play
stepping, pitches moving again and ask did they move by step or by skip? (step) Replay with
bars in full view and discuss how the pitches move up in order, by
up, down steps.

As a student names the bars, write the letter names on the board
arranged from low to high, or use music notation, noting that the
first and last pitches are the same. (C)

Indicator of Success Repeat the playing, and have students show with your hands how the
pitches step up. Then select pairs of students, one to play the step
bars while the other points to letter names (or notation) on board.
The class can use hand motions, too. Write the pitches on the board
moving from low to high, and similarly have students play bars
and point to notation for the downward pitches.

Step 2: Explain they are going to hear a silly song, using those pitches, and
ask them to discover how the pitches in the song move: up or down? (up,
until it goes quickly down at the end) Introduce “Ebeneezer” while
you play the bars: sing or play the recording. (Recording must be in
tune with the bars.)

Write the name “Ebeneezer Sneezer” on the board and practice say-
ing it. Sing/play the song again and ask students to tell what kind
of a man Ebeneezer is. (topsy-turvy)

Step 3: Focus on learning the words by using the large visuals. (Visuals
should be coordinated with the 8 pitches: C = Ebeneezer, D = topsy,
E = elbows, and so on.) Repeat singing (with teacher playing bars,

if needed) until students are secure.

Step 4: Select eight bar players who will play the C = Ebeneezer, D = topsy,
etc. While class sings, eight players perform each ascending pitch