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

182 Section II: Model Experiences for Teaching Music

CLOSE and singers alone sing the “Oh Ebeneezer what a man.” Change bar
ASSESS players and repeat as long as interest is high.

How many pitches were in the Ebeneezer song? (eight) Elicit that the
pitches moved up and down by steps, in order, and that the first
and last pitches have the same name.

As students sing songs that move up and down by step, observe how accu-
rate they are identifying and playing stepwise pitches on an instrument.

Peer-assisted Learning Adapt

1. Organize the class into peer partners to assist children who may have
difficulty 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
teaming 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. Prepare small visuals to be placed on a desk, wheelchair tray, or on a
communication device to assist those children who need extra help in
remembering the words.

Kodály Adaptation Extend
Science
3. Have students show pitch levels by touching hands to different parts
Cooperative Learning of the body: C—knees, D—thighs, E—hips, F—waist, G—chest,
A—shoulders, B—head, and C1—hands above head.

4. Sing the song using Curwen/Glover hand signs (Appendix A) for each
pitch. Use the song notation in Section III. Also, try singing sol-fa
syllables along with the Curwen/Glover hand signs.

5. Experiment filling eight bottles with water to create “Ebeneezer’s” pitches.
(Seal bottles against evaporation and spillage.) Emphasize that it is the
length of the air that determines the pitch, not the amount of water. Try
“playing” the water xylophone in steps, skips, and repeats. Even try an
octave skip (C–C1: 8 notes apart). Note that this big skip called an octave
shares the same root as other words such as octopus and octagon.

6. In small groups, have students write the letter names C through C1 ar-
ranged in order from low to high (or use music notation) and then sing
“Ebeneezer,” pointing to each letter name or note.

Other Songs (C to C) (Section III)

“Joy to the World”
“St. Paul’s Steeple”

Level II: Second and Third Grades 183

SECTION II

184 Section II: Model Experiences for Teaching Music

Level II: Second and Third Grades 185

MUSIC CONCEPT Model 28 SECTION II
Music
The rhythm of a melody includes short and long sounds (Rhythm)
Objective
“A Ram Sam Sam” (Moroccan folk song), p. 245
Standard MU:Pr4.2.3b
To identify the short and long sounds in the rhythm of the melody and to
Materials demonstrate that recognition in body movements, singing, and reading

When analyzing a song, read and perform the rhythm of the melody using
standard notation

Chart of the song’s rhythm, p. 245. Prepare chart with rhythm and
words only.

OPEN Step 1: Have students echo my clapping. Clap just the steady beat pattern
below, with the class echoing.
Key Terms: short sounds,
long sounds, rhythm of Then, chant the words with the pattern, with class echoing and,
the melody when they are successful with the chanting, sing the words. Finally,
write the notation on a board and have them read and perform the
first part of this song from Morocco. (If a globe or map is available,
have them locate Morocco.)

Step 2: Ask students to listen for the words that come right after the
“A ram sam sam” part. (Sing just the “guli, guli” part—pronounced
“goolee”). As students identify these words, ask them to decide if
the sounds are shorter or longer than the “A ram sam sam” part
(shorter). Write this part on the board and have students read and
patsch (pat thighs) these short sounds (alternating on left and right
thighs). Then, sing the song with clapping on the “A ram sam sam”
and patsching on the “guli guli” parts.

Step 3: Tell students that there is only one part left in the song. Notate this
part on the board.

186 Section II: Model Experiences for Teaching Music

Indicator of Success After they determine that “ra” is a long sound, show how to per-
CLOSE form by pushing arms out in front. Sing and perform with them.
Then, challenge students to sing the entire song with motions
Indicator of Success repeating several times.
Display the chart of the song’s rhythm. Ask students to identify
ASSESS the shortest sounds and the longest sounds.

Elicit the names of the notes and read and perform just the rhythm of the melo-
dy again. Discuss how each song has its own distinctive rhythm of the melody.

As students perform or review a different song, observe how successful they
are in reading standard notation and performing the rhythm of the melody.

Peer-assisted Learning Adapt

1. Organize the class into peer partners to assist students who may have
difficulty doing the hand motions.

2. For those who are physically unable to do the suggested motions, en-
courage any gesture(s) for demonstrating.

Kodály Adaptation Extend

Social Studies 3. Speak rhythm syllables (Appendix A) for all the notes in “A Ram Sam
Language Arts Sam.”

4. Play a game in which students have to guess familiar songs from their
rhythms alone (e.g., “This Old Man,” “Jingle Bells,” “Frère Jacques!”).
Clap or play on rhythm instruments such as tone block or tambourine.

5. Assign three students three different rhythm instruments such as drum,
tone block, and tambourine. Have students decide which instrument is
best for each part and have the performers play the rhythm of the melody.

6. Share the following books to help students learn more about life in
Morocco:

J. Hermes’s The Children of Morocco (Carolrhoda Books, 1995) and J. Stewart’s
A Family in Morocco (Lerner, 1986).

Other Songs (Section III)

“Bingo” “Los Pollitos”
“Good Morning Song” “This Old Man”
“Hanukkah”

Level II: Second and Third Grades 187

MUSIC CONCEPT Model 29 SECTION II
Music
Phases in a melody can be the same or different (Form)
Objective
“The Dragon Song” (Chinese folk melody), p. 261
Standard MU:Pr4.2.3a
Materials To identify same and different phrases in a song and to demonstrate that
recognition through singing and analysis of the number of phrases and
same/different words and melody

Demonstrate (through singing and analyzing) understanding of the struc-
ture (same and different phrases) in a Chinese folk song

Five large poster-sized strips of paper, each displaying the words for one of
the five song phrases

OPEN Step 1: Introduce the Chinese New Year’s celebration by greeting students
with “Gun Hoy Fat Choy!” (“Happy New Year!”). Use a prop such
Key Term: same/different as a dragon puppet and/or a story such as the Vaughan or Waters/
phrases Slovenz-Low books (see next page) to introduce the importance of
the dragon and lion dances. Ask them to share what they know
Cooperative Learning about the celebration.

Indicator of Success Sing or play the recording of “The Dragon Song” and invite stu-
CLOSE dents to listen and find out more about the dragon and the New Year fes-
tival. After listening, have students mention important words they
heard (e.g., 100 legs, New Year’s Day, drum, gong).

Step 2: To learn the words, divide the class into five groups and assign each
group one song phrase to learn. Distribute a phrase strip to each
group. Ask them to review the meaning of their phrase and practice
repeating the words together. As a group, listen to the song to see
where their phrase comes. Then, after they have made a decision, ask
each group to select a representative to bring their phrase strip to the
front of class and, with the teacher’s guidance and another listening
to the song, arrange the phrases in song order on the board.

Step 3: As a class, have students determine which phrases have the same
words. (4 and 5) Invite class to join in singing the last two phrases
of the song as the recording plays. Then ask which phrases have
different words, but the same melody. (2 and 3) Finally, point out
that the first phrase is different from all the rest. Review all lyrics
and, then, help them learn the entire song using the phrase strips.

Step 4: Next, have them try a dragon dance with the song. Form a line, fac-
ing front, with their hands on shoulders of students ahead of them.
The leader (preferably, the teacher initially) leads the “dragon”
SLOWLY on a winding path throughout the classroom. Encourage
slowly bending up and down, side to side, and, finally, dropping
down on the last note/word. Ask students review questions about
the Chinese New Year Celebration, the number of phrases in the
song (5), and which phrases were exactly the same in words and
melody (4 and 5). Finally invite them to say “Gun Hoy Fat Choy!”
to each other before they return to their seats.

ASSESS After students learn or review a different song, note how successfully they

identify same and different phrases.

188 Section II: Model Experiences for Teaching Music

Social Studies Background Note

The dragon represents good luck to the Chinese, and red is a lucky col-
or. Therefore, a Chinese New Year parade will have a dragon with lots
of red on it. And last year’s evil will be chased away by the writhing
dragon, loud music, and, of course, firecrackers! Between January 21
and February 20 people will gather with family, honor their ancestors,
wear new clothes, and exchange gifts. Often a gift is a red envelope
with “lucky money” tucked inside.

Peer-assisted Learning Adapt

1. Incorporate ASL signs (p. 261) for the key words at the end of each
phrase.

2. Involve a child with special needs as an active participant in the
cooperative-learning group noting that he or she may need visuals of
the words while the other group members read them. The child could be
the group representative for collecting the phrase strip for the group and
later bringing it to the front of the class.

3. Encourage a student using a wheelchair to be part of the dragon dance
by having a peer partner or a paraprofessional push him or her on the
winding path around the classroom.

Orff Adaptation Extend

LR 4. Play an ostinato along with the song. Place the bars C and C1 where all
can see and play alternately, beginning on low C. (See margin.) (Bars
Social Studies must be in tune with the recording.) Add the drum and gong parts for
Language Arts the last phrase. Or, play the rhythm of the last phrase five consecutive
times as a song accompaniment, suggesting a Chinese percussion en-
semble.

5. Learn the song “Go a Tin” (Section III), which is about the Lantern Fes-
tival that is the culmination of the Chinese New Year festivities. Plan
a Chinese New Year celebration. Prepare and eat Chinese food, wear
traditional clothing, and play Chinese music. Sing the two songs, have a
parade and dragon dance (with percussion accompaniment). Construct
a class New Year dragon to hold up as they do the dance. Members of
the Chinese community would be a great resource for more information
about the traditions as would some of these books.

Chinn, K. (1997). Sam and the Lucky Money. Lee & Low Books.

Kuo-Hang, H. and P. S. Campbell. (1996). The Lion’s Roar: Chinese Luogu
Percussion Ensembles. 2nd ed. Danbury, CT: World Music Press.

Vaughan, M. (1996). The Dancing Dragon. Mondo Publishing.

Waters, K., and M. Slovenz-Low. (1990). Lion Dancer: Ernie Wan’s Chinese
New Year. Scholastic Inc.

Other Songs (Section III)

Songs with Same/Different Phrases Chinese Folk Songs

“La piñata” “Go a Tin”

“Long-legged Sailor” “Flower Drum Song”

“Matarile”

Level II: Second and Third Grades 189 SECTION II

REVIEW OF LEVEL II

A. Identify those music concepts within melody, rhythm, form, harmony/texture, and expressive quali-
ties that children in grades 2 and 3 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 (physical, musical, cognitive) of children in
grades 2 and 3. How will these characteristics suggest appropriate musical experiences?

C. Make a list of music words introduced in these models that second and third graders should learn.
Write a definition or explanation for each (think putting in words that these learners will understand!).

D. Identify the four orchestral families, and name two instruments in each.

E. Name the composer of
1. The Nutcracker Suite
2. Carnival of the Animals
3. „Jesu, Joy of ManÊs Desiring,‰ from Cantata no. 147
4. „The Stars and Stripes Forever‰

F. Try internet searches to gather information and teaching ideas for the songs included in Level II
model experiences. Check YouTube for videos of teaching examples of any of the music and/or
model experiences that were introduced in Level II. Note which teaching ideas and videos would be
especially helpful in your teaching.

G. In small groups, discuss and compare the important components, including the origins, of the Kodály
and the Orff Schulwerk Approaches (Chapter 5). Find two model experiences in Level II·one that
illustrates application of the Orff Approach and another that illustrates application of the Kodály Ap-
proach. Be prepared to justify your selections.

H. Review the information in the „Music from Around the World‰ section in Chapter 4. In small groups,
discuss how the „The Dragon Song‰ Model Experience 29 meets music-learning goals for multicul-
tural music. How important is world music in elementary classroom music programs?

I. Review the listening selections in Level II Models (Use Sequence, p. 154). Identify which can be
categorized as classical music (Western Art Music). Using the historical style periods listed in the
Western Art Music Timeline in Chapter 4, place the composers of the identified selections in the
appropriate style period beginning with the Renaissance. Are the Level II selections representative of
most historical periods? Which ones are better represented and why?

J. Practice teach (with peers or children) one of the model experiences in Level II. Evaluate your presen-
tation 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).

190 Section II: Model Experiences for Teaching Music

CREATING A MODEL EXPERIENCE—LEVEL II

Plan one or two original model experiences for children in grades 2/3 (Level II). Base
each experience on one of the two specified listening selections. 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 information
about each component of the experience follows.

1. The music concept and the musical selection are specified. 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. Spec-
ify the exact part of the music that is the main focus of the experience. Identify by
rhythm, pitches, or placement in music.

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

Sample Model Lesson Outline

1. or 2.
Beats can be grouped in Pitches can be high or
MUSIC CONCEPT
Music threes (Rhythm) low (Melody)

Objective “The Elephant,” from Carnival “Kangaroos,” from Carnival of
Standard of the Animals (Saint-Saëns) the Animals (Saint-Saëns)
Materials

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

ASSESS

Extend (One activity to reinforce the music concept and one related to another cur-
Music ricular area)

1.

(other curricular area) 2.

LEVEL III 11

Fourth and Fifth Grades

Q Sequence of Songs and Listening Selections, p. 192
Q Sequence of Music Concepts, p. 193
Q Model Experiences, p. 194
Q Review of Level III, p. 236
Q Creating a Model Experience, p. 237
Q Monthly Planners, p. 238

Courtesy of Sonor Instruments

A class performing on Orff instruments

192 Section II: Model Experiences for Teaching Music

SEQUENCE OF SONGS AND LISTENING SELECTIONS
LEVEL III (GRADES 4–5)

MODEL MUSIC PAGE

30 “Pianists” from Carnival of the Animals, by Saint- p. 194
Saëns

31 “Hawaiian Rainbows” (Modern Hawaiian song) p. 196

32 Haiku sound piece p. 200

33 “Carillon” from L’Arlésienne Suite no. 1, by Bizet p. 202

34 “Viennese Musical Clock” from Háry János Suite, p. 204
by Kodály

Multicultural Unit p. 208
35 “Mango Walk” (Calypso song from Jamaica) p. 210
36 “Stomp Dance” (Cherokee Indian) (excerpt) p. 210
p. 210
“Mai Wakaringano” (Zimbabwe) (excerpt) p. 212
“Ho Jamalo” (India–Pakistan) (excerpt) p. 216
37 “Corn Grinding Song” (Navajo Indian) p. 216
38 “Wedding Music” (Tunisia) (excerpt) p. 216
“Classical Quintet Ngu Tuyet” (Vietnam) (excerpt) p. 220
“Barong Dance” (Bali) (excerpt) p. 220
39 “Wabash Cannon Ball” (Traditional)
“Orange Blossom Special,” by Rouse

Jazz Unit p. 222
40 “Lost Your Head Blues” (American blues) p. 226
41 “Piffle Rag,” by Yelvington p. 230
42 “Take Five,” by Desmond p. 232
43 “Four on the Floor,” by Larsen p. 232

Archduke Trio, second movement,
by Beethoven (excerpt)

Level III: Fourth and Fifth Grades 193

ELEMENTS OF SEQUENCE OF MUSIC CONCEPTS SECTION II
MUSIC LEVEL III (GRADES 4–5)

MELODY MUSIC CONCEPTS
FORM
TIMBRE Pitches can move by stepping up or down (Model 30, “Pianists”)
Phrases in a melody can be the same or different (Model 31,
FORM
FORM “Hawaiian Rainbows”)
Each instrument has a characteristic timbre that when
HARMONY
FORM combined with others can create a sound piece (Model 32,
Haiku sound piece)
MELODY Sections of a composition can contrast with one another and
TIMBRE sections can be repeated (ABA) (Model 33, “Carillon”)
The initial section of a composition may alternate with
HARMONY contrasting sections in rondo form (Model 34, “Viennese
FORM Musical Clock”)
FORM Chords consist of three or more pitches stacked in thirds
(Model 35, “Mango Walk”)
RHYTHM In call and response form, responses can be identical to the
ELEMENTS call, or contrasting (Model 36, “Stomp Dance,” “Mai
Wakaringano,” “Ho Jamalo”)
A melody can exhibit a distinctive contour as it moves up or
down or repeats (Model 37, “Corn Grinding Song”)
Instruments can be identified and grouped by their timbres
and materials (Model 38, “Wedding Music,” “Classical
Quintet Ngu Tuyet,” “Barong Dance”)
Chords can be performed as a song accompaniment (Model 39,
“Wabash Cannon Ball,” “Orange Blossom Special”)
Each of the three phrases in “12-bar” blues consists of four
“bars” (Model 40, “Lost Your Head Blues”)
Sections of a composition can contrast with one another
and sections can be repeated (AABBACCA) (Model 41,
“Piffle Rag”)
Beats can be grouped in fives (Model 42, “Take Five”)
The elements of music can be identified and compared in
music of different historical periods (Model 43, “Four on
the Floor” and Archduke Trio)

194 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 30
Music
Pitches can move by stepping up or down (Melody)
Objective
“Pianists,” from Carnival of the Animals, by Camille Saint-Saëns (“sa[h]
Standard MU:Pr4.2.4a saw[n]s”) (France, 1835–1921)

Materials To identify aurally and visually melodies that step up and down and to
demonstrate that recognition by playing a barred instrument and by raising
colored cards as the music is heard

Demonstrate understanding of the structure and the elements of music
(pitch direction of three melodic patterns) in a musical selection

Barred melody instrument and three mallets

Pegboard, about two feet square

24 golf tees: 9 yellow, 9 blue, and 8 white—arranged on a pegboard as visu-
alized below

Paper square cards approximately 4" x 4", enough for each student to use
one color:

yellow for one-third of the class

blue for one-third of the class

white for one-third of the class

OPEN Step 1: Today we’re going to listen to some melodies that move up and down.
First, let’s see what the melodies look like on this pegboard.
Key Terms: up, down,
step yellow tees

blue tees

white tees

Elicit from the students that: 121212121
1. the yellow row moves back and forth by step: 123454321
2. the blue row moves up and down by step: 12345678
3. the white row moves up by step:

Indicator of Success Step 2: Select a student to play the “white melody” on the barred instru-
ment. Help the player to decide whether to begin on low C or high C.
(Low C, because the melody moves up.) Have the class name each
pitch that the player will perform. Distribute white cards to one-
third of the class. Instruct students to lay cards on their desks until
asked to use them.

Continue the process above with two additional players, one for
the “yellow melody” and one for the “blue melody” using C as the
starting pitch for each. Hand out yellow and blue cards.

Step 3: Play a listening game: The three players should move to a part of
the room where they cannot be seen. Ask them to take turns play-
ing their melodies. Have the class raise their colored cards when

Level III: Fourth and Fifth Grades 195

they hear “their” melody. Verify each correct answer before going
on to the next melody.

Step 4: Tell the class These same melodies are in a piece called “Pianists.” They
move very quickly, but see if you can hear them and raise your cards
Indicator of Success when you do. Melodies occur in this order: yellow, blue, white. SECTION II
CLOSE They are repeated four times. Play at least two times with the
class raising cards to identify their melodies (no cards on coda)
and teacher pointing to pegboard notation. Finally, repeat with
students moving their cards in the direction of their melody.

Step 5: Ask the class to tell you what they have learned about the direction
of the three melodies (how they move up and down by step). What
was the name of the piece? Why did the composer title it “pianists”?

ASSESS As students become familiar with different music, note how successful they
are identifying, playing, and describing pitches stepping up and down.
Peer-assisted
Learning Adapt

Cooperative Learning 1. Touching the pegs on the board to feel the melodic direction serves as
an excellent tactile learning experience for some children—especially
for a child with a visual impairment.

2. Some children may have difficulty following the directions for raising
cards. It may be helpful to designate peer partners for these activities.

Extend

3. In pairs or small groups, have students write the pitches of one of the
three melodies in staff notation and then play. Learn syllables, pitch
names, numbers, or all three.

Melody 1:

Melody 2:

Melody 3:

4. Discover that “Pianists” does not end on the home tone (tonic).

Other Songs with Stepwise Melodies (Section III):

“Fre`re Jacques!” “We Shall Overcome”

Listening Selections:

Archduke Trio, by Beethoven
“Barcarolle” (Tales of Hoffmann), by Offenbach
“Jesu, Joy of Man’s Desiring” (Cantata no. 147), by Bach
“Chopin” (Carnaval), by Schumann

196 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 31
Music
Phrases in a melody can be the same or different (abab) (Form)
Objective
Standard MU:Pr4.2.4a “Hawaiian Rainbows” (Modern Hawaiian song), p. 273

Materials To identify same and different phrases in a song and to demonstrate that rec-
ognition by movements, singing, and connecting pitches and labeling phrases

Demonstrate understanding (through singing, movement, and describing)
of the structure (same and different phrases) and the elements of music
(melodic direction) in a modern Hawaiian song

Movement directions for teacher, p. 199
Two colored markers, one red, one green
Phrase Chart (Enlarged), p. 198

OPEN Step 1: After reviewing the names of different states, ask students to Listen
Step 2: to this song and decide what state is being sung about. (Hawaii) Ask
Key Terms: phrase, what words told them it was Hawaii and briefly have them share
pitches, same, different and discuss what they know about Hawaii including greeting each
other with the word Aloha (Hawaiian “Hi” or “Hello”).
Indicator of Success
Indicator of Success Let me show you the hand movements that Hawaiian singers use to go
Indicator of Success with the song. Demonstrate movements as the music plays. Stand
and face the class, but reverse your movements. Emphasize slow
CLOSE and graceful movements that match the words.

Step 3: Let’s learn the song and the hand movements. Display the chart and
review the words. Teach movements for phrase 1 (“rainbow,”
“clouds”). Call students’ attention to the pitches, and have a stu-
dent draw a line to connect the pitch names, using the red marker.
Discuss how the line leaps high (octave jump) and then descends.
Sing or play the recording of phrase 1, clarifying and repeating as
needed. Sing with movements.

Step 4: Teach phrase 2 movements (“colors,” “sky”). Have a different stu-
dent draw a line connecting phrase 2 pitches, using the green marker.
Discuss how the line moves high and low. Sing phrase 2 with
movements. Ask Are the pitches in phrase 1 and 2 the same? (no) Sing
or play the recording of phrases 1 and 2 with movements.

Step 5: Teach movements for phrase 3 (“rainbow,” “me”); have a student
connect the pitches using the red marker. Ask Are these pitches the
same as any other phrase? (yes—phrase 1) Help students understand
that the two red phrases have the same melody pitches. Are the
words the same? (only at the beginning) Sing phrase 3 or play the
recording with movements.

Step 6: Teach phrase 4 movements (“mountains,” “sea”), then have a
student connect its pitches, using the green marker. Sing or play
recording of phrase 4. Ask students Why did we use the green marker
for both phrases 2 and 4? (the pitches are the same) Help them under-
stand that identical melodies can have different words. Sing or play
the recording of phrases 3 and 4 with movements. Finally, sing the
entire song with movements.

Step 7: Briefly review the same and different phrases shown by the red
and green lines, noting same and different pitches. Ask students
to help in labeling each phrase as follows: 1—a; 2—b; 3—a; 4—b.

Level III: Fourth and Fifth Grades 197

Have a final sing-through with movements ending with saying Mahalo
“mah-hah-low” (Hawaiian “Thank you”) to each other.

ASSESS As students become familiar with different music, note how accurately they
can identify and describe same and different phrases.

Peer-assisted Learning Adapt SECTION II
Cooperative Learning
1. Show photographs of the key words in the song (rainbows, clouds, sky,
Social Studies mountain, and sea) to aid students (including English language learners)
with the order of the words and their meaning.
Science
Multicultural 2. Assign peer partners as support and “teachers” for the movement expe-
Language Arts rience. Use a model group to demonstrate the dance initially.

Extend

3. Give one barred melody instrument with two mallets to each of four
pairs of students and have them practice one assigned phrase of the
song. (Each could play half a phrase.) Perform with singers.

4. Have class discover Hawaii’s natural beauty through pictures. List fea-
tures that students notice on the board: beaches, palm trees, volcanoes,
rainbows, and so on. Divide the class into randomly assigned groups of
three or four; have them list features of their own community’s natural
beauty and then report to the entire class. On the board make a list of
their own region’s features, alongside Hawaii’s. Decide which are the
same and which are different.

5. Help students learn that rainbows develop when falling water droplets
are illuminated by a strong light source (the sun), and that the order of
rainbow colors is: ROYGBV = red, orange, yellow, green, blue, violet.

6. To construct an Uli’uli’ (feathered gourd rattle), an Hawaiian instru-
ment to play with “Hawaiian Rainbows,” visit the Musical Instrument
Museum website (www.mim.org). Click on 1. Education Overview 2.
MIM Kids 3. MIMKids Resources 4. Download “Instrument! Uli’uli’.”
See all the followups and information about Hawaiian instruments.

7. Share the following books about Hawaii with children:

Feeney, S. (1985). Hawaii is a Rainbow. (A Kolowalu Book) University of
Hawaii Press.

Jones, L. (1999). Kids Around the World Celebrate!: The Best Feasts and Festivals
from Many Lands (Kids Around the World Series). Wiley.

Other Songs (Section III)

“Battle Hymn of the Republic” (abac twice)
“Hey, Ho! Nobody Home” (abca)
“We Gather Together” (abcd)

198 Section II: Model Experiences for Teaching Music

Level III: Fourth and Fifth Grades 199

“Hawaiian Rainbows” Movement Directions

Formation:
Kneel sitting low on heels. Stretch both arms high to the left, with fingers pointing up and palms facing out. Perform each
motion slowly so it extends through two measures. Make each motion smooth and flowing, with eyes always following
the hands.

Ha - wai - ian rain - bows, White clouds roll by, SECTION II

Slowly swing arms over the head Swing arms back from right to left.
from left to right to show the shape At the same time, hold one hand over
of a rainbow. the other to show clouds.

You show your col - ors A - gainst the sky.

Swing arms from left to right. At Raise both hands high to the right
the same time, make a rippling (palms up). Move the left hand
motion with the fingers as if “across the sky” to the left side.
pointing to all the colors of the
rainbow.

Ha - wai - ian rain - bows, It seems to me,

Slowly swing arms over the head Place the right hand under the left
from left to right to show the shape elbow and point the index finger of
of a rainbow. the left hand toward the chest (“it
seems to me”).

Reach from the moun - tain Down to the sea.
Raise both hands high to the left.
Slowly lower hands toward the right
knee and continue moving them out to
the right (“down to the sea”).

200 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 32
Music
Each instrument has a characteristic timbre that when combined with others
Objective can create a sound piece (Timbre)

Standard MU:Cr2.1.5a Haiku sound piece
Materials
To create an original accompaniment to a haiku poem by choosing and play-
ing classroom instruments in combination with a haiku poem and evaluating
the resulting composition

Demonstrate selected and developed musical ideas for a sound piece to
express intent and explain connection to purpose and context

Assorted classroom instruments including sticks, claves, wood blocks,
drums, castanets, sand blocks, maracas, Autoharp(s), several rubber and
wooden mallets. (For total, see Step 4 below.) Haiku poem on board or chart
(see margin below)

OPEN Step 1: Briefly mention the origin of the haiku poem on the board (see
Background Note). Read expressively the haiku for the class, asking
These barnacled rocks, students to listen and explain what is causing the poem’s busy sounds.
just uncovered by the (barnacles) Discuss barnacles (see margin note) and the phrase
tide . . . how busy “barnacled rocks.” Have the class read the poem aloud, slowly, with
they sound! expression. Repeat several times. Explain they are going to form
small groups to create an accompaniment for the poem.
Haiku poem by James
W. Hackett Step 2: Have class as a whole decide What sounds are suggested by the poem?
(tide, barnacles, water splashing against rocks) Display assorted
Key Terms: special classroom instruments and ask for ideas about how to suggest each
sound, timbre of the sounds. (A sound for a barnacle might be rapidly alternating
rubber mallets on a wood block.) Discuss briefly how each instru-
A barnacle strains plankton ment has a unique timbre. For example, some are “dry,” some “mel-
from water during high low,” and some “ringing.”
tide; during low tide
the plates at the top of Without the poem, have several students try out their ideas using
the shell close to trap different instruments. Each sound should last for several seconds.
Evaluate. Did your instrument produce the special sound you wanted?
water and prevent drying (Remember, the sound can be only suggestive, not literal.)
out. The closing of the
Step 3: Select successful players for three contrasting sounds and have them
barnacle’s shell produces a simultaneously play while the class reads the poem. Remind them
barely audible popping. that their sounds need to be continuous, not just a single one. Mention
the instruments will overlap this time, producing yet another special sound.
Cooperative Learning
Evaluate the performances. Did they play loudly (or softly) enough?
Balance in dynamics? Last long enough? Play at an appropriate
moment? Repeat the playing, reading, and evaluating. Consider
having an instrument perform an introduction and a coda.

Step 4: Divide the class into groups of five students. Give them one or two
minutes to designate members as follows: one poem reader, three
instrumentalists, one secretary. Explain that the secretary will write
down the reasons for their choice/combination of instrumental
sounds. Have the instrumentalists in each group select an instru-
ment from the assortment in the classroom. (In addition to instrument
sounds, students could tap a chair or table, or “scrub” feet on the floor.)

Level III: Fourth and Fifth Grades 201

Indicator of Success Have groups follow the same procedure the whole class did: SECTION II
ASSESS select and try instruments, add the poem, and evaluate as they go
along. Be sure they understand that each group will later perform
their sound piece for the class and explain their choices. Estab-
lish a ten-minute time allotment and move between the groups
to assist as needed. Give a signal one minute before the dead-
line. After a final run-through, begin the group performances/
explanations.

Step 5: As students perform for each other, listen to the group’s justifica-
tions and notice the special sound of each instrument and combination.

As students become familiar with different poems, note how they choose
and use instruments expressively to create a sound piece and justify their
choices.

Background Note

Haiku is a form of Japanese nature poetry that is today composed in
many languages. Its spirit of naturalness, simplicity, and directness is
essential. Its arrangement of syllables in a 5–7–5 arrangement is often
varied, but not its three-line form.

Science Adapt

1. Locate photographs of ocean life (tides, barnacles, and water splashing
against rocks) to help all learners understand this special poem.

2. Make sure all students (including those with special needs) are active
participants in the cooperative-learning groups as the group selects their
choice/combination of instrumental sounds.

Language Arts Extend

Science 3. Have the class choose ideas from the various group compositions to
Multicultural combine into a class composition. Videorecord the class composition
Social Studies (MU:Cr2.1.4a).

4. Have each student compose a haiku poem. (See more haiku in Appendix C.)
An outstanding guide for teaching children haiku is located at www.
artsedge.kennedy-center.org. Click “Educators,” then “lessons” to reach
“You Too Can Haiku” lesson.

5. Include barnacles in the study of how animals are grouped according to
their structure as invertebrate (barnacle) or vertebrate animals.

6. Create a traditional Japanese environment in the classroom. Have chil-
dren research, locate, and arrange items such as tatami (“tah-tah-mee”) or
reed beach mats for the floor, low tables, and cushions for seating. Devise
a large display niche (tokonoma “toe-koe-no-mah”) with scroll painting
and/or flower arrangement. Remove shoes, wear kimonos, have a meal
of rice and tea, and listen to Japanese music. Visit the “Kids Web Japan”
website at http://web-japan.org/kidsweb/explore/calendar for more
ideas.

Other Haiku Poems in Appendix C

202 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 33
Music
Sections of a composition can contrast with one another and sections can be
Objective repeated (ABA) (Form)

Standard MU:Re7.2.4a “Carillon,” from L’Arlésienne Suite no. 1, IV, by Georges Bizet (“bee-ZAY”)
(France, 1838–1875)
Materials
To identify the pattern heard in the A section and to demonstrate that recogni-
tion by playing the pattern, showing pitch direction with hand, and by raising
hands when it is heard in the recording

Demonstrate and explain how responses to music are informed by the struc-
ture (ABA form), the use of the elements of music (ostinato pattern), and
context
Resonator bars E, F#, G#

Notation (see below)

OPEN Step 1: (HPEloa)yladnEud,pwFt#h,hieGchE# ,bthFar#e,shaonigvdehrGesa#tnb(daGro#s)v;.eFDr#iaissgcaruiisgnshiwtnihnaicbshettebwaadereysnor.uhHnyadthvsmethaewstlioutwhdoeeunsttt
Step 2: pauses.
Key Terms: pattern,
ostinato, repeat, contrast, HtohnaevttheheroeGteh#,ebEra,rssFtu,# sdpueacnthttesarfins nEadn, Gdan#n,doFt#paaltaneydittFho#e,nGstih#x,eEdb.iofTfaherreden:nat sckomthbeimnattoiofnoscuosf

sections, ABA G EF
3 12
Kodály Adaptation
Sol-fa syllables and Curwen Step 3: Have several students play the pattern shown above; stress keeping
Step 4: a steady beat without pauses, and have the class show pitch direc-
hand signs may be used. tion with their hands.
Step 5:
A carillon consists of bells This pattern, heard over and over in a composition, is called an “ostinato.”
hung in a tower, played Write term on board and review their previous ostinato experiences.
Select one player to perform the ostinato with the recording as class does
manually or mechanically. hand motions. (Play only the first third or the A section of “Carillon.”)

Indicator of Success After students discover that this ostinato pattern is heard through-
CLOSE out the A section, explain that the composition is much longer. Find
another student or several to play the pattern and indicate that the
player should perform whenever the ostinato pattern or A section
is heard. Challenge them to discover if section A is repeated and
if there is a section different from A. Ask the class to help the per-
former by raising their hands if they hear another A section. (Play
the entire composition. The form is ABA.)

Elicit from students that the ostinato is heard in the first and last
sections and that it is not heard in the contrasting middle section.
Discuss the different melodies, rhythms, instruments, and tempos
of the two sections. Write the letters ABA on the board and ask stu-
dents Do these letters correctly label the form of “Carillon”? Why?

Level III: Fourth and Fifth Grades 203

ASSESS Observe how accurately students can identify, demonstrate, and explain the SECTION II
Peer-assisted Learning difference between sections in similar compositions in ABA form.

Adapt

1. To help students (including English language learners) understand what
a carillon is, locate a photograph. Students should be intrigued with the
size of this instrument made up of at least 23 cup-shaped bronze bells of
various sizes, operated by a large keyboard (much like an organ, but con-
siderably larger), played with the fists, and housed in a bell tower.

2. If some students have difficulty doing the hand motions or playing all
three notes of the ostinato, have them perform on the strong beat (G#)
only. And/or organize the class into peer partners to assist students with
the hand motions and playing the resonator bars.

Movement Extend

Language Arts 3. Create a movement experience for “Carillon” that expresses the repeated
Orff Adaptation and contrasting sections. Explore movements in space (sliding) and in
place (swaying). Long scarves or streamers may be used to feel the flow
in the “B” section.

4. Discuss different types of bells (carillons, sleigh bells, etc.). Create a story
about how a bell made a difference in the life of a boy or a girl.

5. Using metallophones, glockenspiels, and xylophones, compose a piece
in ABA form. Set up a pentatonic scale, such as G-A-B-D1-E1 or F# -G#-A#
C#–D#. Use the rhythm of a familiar song or poem for the A section and
improvise a contrasting B section (MU:Cr2.1.4a).

6. Using Super Duper Music Looper or GarageBand software, engage students
in composing a piece in ABA form (MU:Cr2.1.4a).

Other Music

Listening Selections:

“The Elephant” (Carnival of the Animals), by Saint-Saëns (ABA)
“Dance of the Sugar Plum Fairy” (The Nutcracker Suite), by Tchaikovsky (ABA)
“Gavotte” (Classical Symphony) by Prokofiev (ABA)
“Laideronette, Empress of the Pagodas” (Mother Goose Suite), by Ravel (ABA)

Songs (Section III):

“Hey, Lidee” (ABA)
“Looby Lou” (ABA)
“Shoo, Fly” (ABA)
“Tinga Layo” (ABA)

204 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 34
Music
The initial section of a composition may alternate with contrasting sections in
Objective rondo form (Form)

Standard MU:Re7.2.4a “Viennese Musical Clock,” from Háry János Suite, op. 15, II, by Zoltán Kodály
(“KOH-dye”) (Hungary, 1882–1967)
Materials
To identify aurally the recurrence of the first section, A, as it alternates with
contrasting sections B, C, and D to form a rondo and to demonstrate that
recognition by placing like and differing objects in the correct order

Demonstrate and explain how responses to music are informed by the struc-
ture (rondo form), the use of the elements of music (same and contrasting
melodies), and context

Objects: four wristwatches and three different clocks (e.g., alarm clock, digital
clock, pocket watch, kitchen timer, toy clock)

Two cards—one labeled “Introduction,” one labeled “Coda”

OPEN Step 1: Place the four wristwatches on a table with the three different clocks.
Notice how I am going to arrange these four watches and three different
Key Terms: section, clocks. Place in the following order, where all can see.
same, different, rondo
Watch Clock 1 Watch Clock 2 Watch Clock 3 Watch

Ask students to describe the arrangement. (four watches, alternat-
ing with three different clocks) These watches and clocks will help you
remember what you hear as we listen to music about a special clock. Men-
tion that there will be a brief introduction at the beginning and short
ending called the coda. (Display these cards.) The teacher should
break up the arrangement of watches and clocks, setting out each
piece one at a time as the music plays. Be sure to hold up the Intro-
duction and Coda cards at the appropriate times too.

“Intro” Watch Clock1 Watch Clock2 Watch Clock3 Watch Coda

(A B AC A D A)

Step 2: Ask Why did I place the watches and clocks in this particular order? Stu-
dents should be able to explain why there are four wristwatches.
(four similar sections of music) Help them explain that each different
clock represents a different section of the music. When one section
returns often and alternates with different sections, the design is called
rondo. Write Rondo on board.

Step 3: Choose nine students: four to set out the “A” section watches, three
students for the “B,” “C,” and “D” section clocks, one to hold up the
Introduction card, one to hold up the Coda card. Leave the watches
and clocks in order (not scrambled) for students to lift into full view
as needed. Ask the rest of the class to help the nine students rec-
ognize each section by tapping their make-believe wrist-watches
for the “A” section, and select other timekeeping motions for “B,”
“C,” and “D.” Play the recording again (and signal, if needed, the
beginning of each section). Repeat with different students, if there is
interest and attention.

Level III: Fourth and Fifth Grades 205

Indicator of Success Step 4: Ask students what kind of a clock they thought the music was
CLOSE depicting. Then, tell them Kodály’s title and the story about this
Viennese musical clock.

Step 5: Finally, ask What is the musical design called in which one section keeps
returning and alternates with different sections? (Rondo) Then write the
following letter pattern on the board and ask how it is the same as
rondo form: “A B A C A D A.” (Each letter represents a different
section; A alternates with different letters.)

ASSESS Observe how accurately students can identify, demonstrate, and explain the SECTION II

difference between sections in similar compositions in rondo form.

Adapt

1. If clocks and watches are not readily available, use the accompanying set
of a paper version. Provide each student with a set—students can cut out
the nine examples and arrange on their desks in order as the music is
performed.

2. Describe each of the displayed clocks, and so forth before listening to the
music the first time to assist a student with limited vision. This will help
him or her (and the rest of the class) be better prepared to figure out how
the music matches the same and different clocks and watches. A student
with a visual impairment can also set out a clock or wrist-watch in sub-
sequent listening experiences.

Movement Extend
Cooperative Learning
3. Engage students in listening to the music and following the accompany-
ing Listening Guide for “Viennese Musical Clock.” Review the orchestral
instruments featured.

4. Form four groups (for the A, B, C, and D sections of the music) and have
students create appropriate movements for different clocks. For example,
group A might portray a grandfather clock, and group B, a cuckoo clock.
Members of the group should integrate their movements so that each per-
son depicts one part of a clock. Have groups perform their movements
individually and then again with the music.

5. Chant and/or clap an eight-beat phrase, the rhythm of a familiar melody,
a short rhyme/chant, or a proverb (see Appendix C) as the A theme of
a rondo. Improvise contrasting B, C, and D sections of the same length.
Transfer the rhythms to four different barred instruments (MU:Cr1.1.4a).

Other Music

“Fossils” (Carnival of the Animals), by Saint-Saëns (ABACA)
“The March of the Siamese Children” (The King and I), by Rodgers and Ham-

merstein (ABACABA)
“Romanze” (Eine kleine Nachtmusik), by Mozart (ABACA)

206 Section II: Model Experiences for Teaching Music

Level III: Fourth and Fifth Grades 207 SECTION II

Listening Guide
for

“Viennese Musical Clock”

1. Introduction: The chimes play a four-note ostinato.

2. Section A: The main melody or theme is introduced and repeated four times. It is played
by the French horns and woodwinds and sounds like a chiming clock.

3. Section B: Featured in this section are the trumpets and piccolo as they play a bugle-call
tune.

4. Section A: The main theme returns but is accompanied by the four-note ostinato presented
in the introduction. The oboe and the celeste are the instrumental “stars” in this section.

5. Section C: A new melody is played by the French horns with the trumpets and woodwinds
answering.

6. Section A: The main theme returns sounding very much like a music box, with the flutes
serving as the featured instrument.

7. Section D: The flutes are joined by the oboes and trumpets in this contrasting section.

8. Section A: Again, the main theme returns, played by the flute, piccolo, and trumpet. The
music is noticeably louder.

9. Coda: Fragments of the main theme are heard in this brief closing section.

Background Note
“Viennese Musical Clock,” written in 1926, is a musical description of the large
clock in front of the Imperial Palace in Vienna, Austria. The story goes that Háry
János, a beloved old soldier in Hungarian folklore, visited the Imperial Palace
and was captivated by its sights and sounds, especially the famous musical clock.
When the hour is struck, toy soldiers in bright uniforms march stiffly and jerkily
around on a circular track to the dashing little march-like tune.

208 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 35
Music
Chords consist of three or more pitches stacked in thirds (Harmony)
Objective
Standard MU:Pr4.2.5a “Mango Walk” (Calypso song from Jamaica), p. 296

Materials To identify pitches in two chords (F, C7) and to demonstrate that recognition
by playing F-A-C and C-E-G-Bb as a song accompaniment
Multicultural Unit
Demonstrate (through performance and identification of chord tones) under-
standing of how chords are built (harmony) and used as an accompaniment
to a calypso song

Song notation for each student, p. 296
Resonator bars F-A-C, C-E-G-Bb and seven mallets

Sketch of steel drum (see margin) on board and another on chart board about
24 inches in diameter

This model experience can be part of a multicultural unit. See the three models
that follow.

OPEN Step 1: On a map, have students locate the Caribbean Sea and the island of
Jamaica. Share that calypso music originated in Jamaica. Listen to
Key Terms: chord, “Mango Walk,” a calypso song from Jamaica, to discover its special sounds and
chord/root see what you can discover about the words. Have students note anything
special they hear in the music and identify some of the words. Explain
Chord numerals can also be that they may have no particular meaning and may even be invented.
used: I V7
Step 2: Distribute the song notation and have students review the words.
F C7 Ask them to follow the music as they listen again to the song. Then,
have them sing the song.
Indicator of Success
Step 3: Tell students that we’re going to create an accompaniment for “Mango
high Walk.” Ask them to locate the F and C7 chord symbols in the music.
BD
GF As students identify the chord symbols, write the order on the
board:
D
EA ] C7 F C7 F }

CC Point to each chord symbol in your music as you sing while teacher points
high to symbols on the board, using the one-chord-per-measure rhythm.

Step 4: Select one student to play the F bar for the F chord, another student
to play the C bar for the C7 chord—playing on the first beat of each
measure. Practice bar playing with teacher pointing to symbols on
the board. (Use the song’s tempo.) Repeat with singing, pointing,
and bar players. Note that F and C are the most important pitches (and
are the chord roots) in each chord.

Step 5: Since Jamaicans might accompany their singing with steel pans or
drums, let’s try something similar. Display the steel-drum dia-
gram and place the chart on a table. Ask two different students
to put the F and C resonator bars in the correct place on the steel
drum chart. Then, have them try accompanying the class singing
“Mango Walk.”

Step 6: Chords usually include three or more pitches. Let’s add the other pitches
in each chord to create a more interesting accompaniment. Explain the
every-other-pitch idea and help students to identify F-A-C for the
F chord and C-E-G-Bb for the C7 chord (note that the 7 indicates

Level III: Fourth and Fifth Grades 209

Indicator of Success four notes in the chord instead of three and the Bb is required in SECTION II
CLOSE “Mango Walk”). Have one student place the F, A, and C resonator
bars on the chart, and with two mallets first play just two of the
pitches simultaneously and then, all three. Do the same with another
student and the C, E, G, and Bb bars (two mallets in each hand will
be needed).

Step 7: Bar players should perform with teacher pointing to chord symbols.
When secure, repeat with other students playing bars, and the rest
of the class singing and pointing to the song notation. Change bar
players and repeat as long as interest remains high.

Conclude by reviewing how chords include three or four pitches. Elicit
from students which pitches are in the F chord and C7 chord and
how the chords are formed by using every other pitch.

ASSESS As students become familiar with different songs, note that they identify cor-

rect pitches in the chords and play them as a song accompaniment.

Social Studies Background Note

Steel drums (“pans”) were invented in Trinidad after World War II,
using discarded 55 gallon oil drums left behind by the military. “Pans”
come in sets with each having a different number of pitches and produc-
ing a variety of pitch levels. Steel drums were used for calypso music
and even though calypso has been succeeded in popularity by reggae
and rap, it still remains in the repertoire of many steel bands.

Adapt

1. Help students (especially English language learners) understand the
meaning of the word “root.” Note that it can mean the underground part
of a plant, or the part from which other things develop—as in this case,
where the root pitch of a chord is the pitch on which the chord is built.

2. To simplify the chord playing, two students can perform each of the
chords. For example, for the F chord, one student can play F and the other
A and C. Color-code the chords in two different colors in the song nota-
tion and on the steel-drum chart.

Cooperative Learning Extend
Language Arts
3. Create a more interesting accompaniment by performing the pitches in
the chord one after another instead of simultaneously. Encourage stu-
dents to evaluate their performance (MU:Cr6.1.5b).

4. In small groups, create a new set of words for “Mango Walk.” (Calypso
lyrics were often improvised.) Share with the class.

5. Suggest students search the internet for calypso songs, especially those
performed on steel drums, and pick an example to share (on their elec-
tronic device).

Other Songs (Section III) Two-Chord Songs
“Hey, Ho! Nobody Home” (Dm, Am)
One-Chord Songs “Hey, Lidee” (C, G7)
“Fre`re Jacques!” (D)
“Zum Gali Gali” (Dm)

210 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 36
Music
In call and response form, responses can be identical to the call, or contrasting
Objective (Form)
Standard MU:Re7.2.4a
“Stomp Dance” (Cherokee Indian) (excerpt)
Materials “Mai Wakaringano” (Zimbabwe) (excerpt)
Multicultural Unit “Ho Jamalo” (India–Pakistan) (excerpt)

To identify aurally and visually the responses that are identical to or contrast
with the call and to demonstrate that awareness through body movements,
singing, and by visually identifying shapes on a chart

Demonstrate and explain how responses to music are informed by the struc-
ture (call-and-response form), the use of the elements of music, and cultural
context

Large chart (see margin below)

World map

This model experience can be part of a multicultural unit. See the model that
precedes and the two that follow.

OPEN Step 1: If I ask you to answer my clapping, what will you do? (Teacher claps:

Key Terms: call, ôô n ô and class probably claps an identical response.) Tell stu-
response, same, different
dents to clap a clear echo to a series of calls (at least 8) that you will
AB clap. Establish an underlying framework of four beats. Listen, and
then clap an exact response to my call.
Mai Wakaringano
(“my wah-kah-ring-gone-oh”) Step 2: Have students look at the two sets of shapes on the chart. Ask Which
one looks like the clapping we just did? (“A”) Discuss why.
Indicator of Success
Step 3: Explain that they will hear a “Stomp Dance” song of the Cherokee
Indians and the song will follow the “A” design. Ask if they have
seen Indian dancing and to guess what movements might be used
in a “stomp” dance. (stomping) Now watch “A” as you listen and see
if you can hear the singers echo the leader exactly. Play the recording of
“Stomp Dance.”

After listening, discuss the identical call/response. Replay, pointing to
the shapes. (The words are syllables or vocables with no exact mean-
ing, and the “Stomp Dance” is part of an old ceremony that praises
the Creator where dancers stomp in a circle around a nighttime fire.)

Step 4: Mention that music from around the world can use call and response
form. Introduce “Mai Wakaringano” as a call and response from the
southern part of Africa (Zimbabwe). Explain that the story is about
a mother who keeps her beautiful daughter (Karingano) safely in a
cave until she is ready to be married.

Focus attention on “B” and ask how it is different from “A.” (the
responses are different from the calls) Invite students to listen
for the response that repeats while you point to “B.” (mai wakarin-
gano) Practice pronouncing “Mai Wakaringano” (means “mother
of Karingano”), and repeat singing the responses. Review that
the response was always the same but the calls were different.

Level III: Fourth and Fifth Grades 211

Ho Jamalo Step 5: Challenge students, as they hear “Ho Jamalo” from India, to Listen
(“ho jah-mah-low”) to the call and decide if the responses are the same as the call, or differ-
ent. Is it design “A” or “B”? (responses are different from the call; SECTION II
Indicator of Success sometimes a call is repeated) Have them write either “A” or “B”
on a paper. (Answer is “B.”) Move quickly throughout the class
CLOSE to check answers. Announce the correct answer. Explain that “Ho
Jamalo” means “let us be together again.” Villagers sing this to
welcome loved ones returning from fishing or trading. Replay the
music while pointing to the chart, and invite students to sing the
“Ho Jamalo” response.

Step 6: Conclude by reviewing the two kinds of call and response form.
(identical call and response, or response remains the same and the call
changes) Briefly elicit from students what they learned about the
three songs and the cultures that created them (Cherokee, Africa,
India). On a world map, help students locate the United States, Zim-
babwe, and India.

ASSESS As students sing a familiar call and response song (see “Other Music”), note
that they correctly identify calls and responses that are identical and those
that are contrasting.

Adapt

1. Prepare individual copies of the A and B chart to be placed on a desk,
wheelchair tray, or on a communication device to assist those students
who may have difficulty focusing on a classroom-sized chart. Make sure
all learners (especially English language learners) understand the key
terms—same, different, call, response.

2. Students who are physically unable to clap should be encouraged to use
any mobility they can to demonstrate steady beats (nodding head, tap-
ping, etc.).

Orff Adaptation Extend

Cooperative Learning 3. Play a clapping game in which students repeat the same response—for
Peer-assisted Learning
example, ô ô n ô —to contrasting four-beat calls by the teacher.

4. Notate the teacher’s clapped patterns that use only quarter and eighth
notes. Students should first draw the stems and later add the note heads.

Try patterns such as ô ô n ô, n ôn ô, and n n ôô.

5. In pairs or small groups, students should share one new fact they
learned about each of the three songs. Encourage discussion about their
discoveries.

Other Music (Section III) Contrasting response songs
“Michael, Row the Boat Ashore”
Identical call and response songs
“Kye Kye Kule”
“Sing about Martin!”

212 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 37
Music
A melody can exhibit a distinctive contour as it moves up or down or
Objective repeats (Melody)
Standard MU:Re7.2.4a
“Corn Grinding Song” (Navajo Indian)
Materials
To identify aurally the repeated pitches and the pitches that move up and
Multicultural Unit down in a melody and to demonstrate that recognition by tracing the contour
of the melody as it is heard

Demonstrate and explain how responses to music are informed by the
structure, the use of the elements of music (melodic contour), and cultural/
historical context

Worksheet for each student of the melodic contour p. 215
Optional: Poster-sized version of the melodic contour drawing, p. 215
Drawing of Indian woman grinding corn, p. 214
Optional: ear of corn and cornmeal
Draw “practice contour” on board (see margin)

This model experience can be part of a multicultural unit. See models that
precede and follow.

OPEN Step 1: With students seated in a circle, begin a discussion about how import-
ant corn is to Native Americans, and how before machines could
Key Terms: up, down, grind corn for cooking, Navajos would grind corn for corn-meal
repeated pitches themselves. Either show the drawing of a Navajo woman kneel-
ing on the ground in front of a stone with corn on it and rubbing a
(“Practice contour”) smaller stone back and forth over the corn to crush it or describe the
corn-grinding process to them. (Show an ear of corn and cornmeal
("Practice contour") if available.) Have students share ideas about how easy or difficult
the task of grinding corn might be. Then, invite them to listen to this
Navajo corn-grinding song and try the rubbing and crushing motion as a
Navajo woman sings.

Play the recording and encourage two-handed grinding in the same
direction.

Step 2: Invite students to listen again, but this time to be ready to tell how
the song’s melody moves—Does it move up and down? Does it repeat at
all by staying on the same pitch? Play the recording, and after listen-
ing and discussing the up/down/repeating pitches, note how the
singer sometimes moved quickly from low to high.

Step 3: Have students look at the practice contour on the board and decide
how the line resembles the corn-grinding melody. (It moves up and
down, as well as staying level) Call attention to the dotted line that
represents the singer’s quick vocal jump from low to high. Have
students move their arms from low to high, to show the ups, downs,
and jump of the line while you trace the contour.

Level III: Fourth and Fifth Grades 213

Indicator of Success Step 4: Play the first 22 beats of the song and ask the class to move your arms SECTION II
Indicator of Success Step 5: from low to high along with the singer’s voice. Practice until students
demonstrate that they understand.
CLOSE Step 6:
Distribute the worksheet (p. 215) and have the students trace the up,
down, and repeated pitches as they hear them. Play the entire piece.
Teachers must move throughout the class to observe the degree of
student success, occasionally referring to the large contour chart to
help those who may get lost.

If some students finished too soon, discover why. (Perhaps they
drew too quickly, not really listening for the high and low tones.)
Play and trace the melody several times, perhaps using a different
color crayon for each hearing. Encourage students to hum or sing
the melody as they trace it.

Look at the contour (shape) of the entire melody and discover how
often it leaps to its highest point. (four times) The rest of the time, the
melody stays on the same repeated tone. Some students will notice
the two sections where the contour leaps to a “midpoint.” Conclude
by briefly eliciting information about Native Americans, Navajos,
corn, and corn-grinding songs discussed in Step 1 and mention that
November is National American Indian Heritage Month.

ASSESS When students trace the melodic contour of familiar songs as they sing, observe
how accurately they identify when the melody goes up or down, or repeats.
Peer-assisted Learning
Social Studies Background Note
Language Arts
The Navajo “Corn Grinding Song” is sung by a woman, accompanied
by a steady drum beat. It was not unusual, however, for a Navajo man
to sing grinding songs for the women as they worked. Navajo melodies
often display a high-to-low “pendulum-like” movement as exhibited in
this corn-grinding song. Navajo vocal style is strongly nasal, with pul-
sations on held tones. In the “Corn Grinding Song” there are both words
and vocables. The meaning of the words is not known, and the vocables
are syllables without exact meaning.

Adapt

1. Some children may need assistance in tracing the melody and would ben-
efit from an enlarged version of the line drawing while others may need
hand-over-hand assistance (place your hand over the student’s hand to
guide the tracing). Glue yarn to an enlarged version of the line drawing to
enable a student with a visual impairment to feel and trace the melody’s
contour as he or she listens to the music.

2. Designate peer partners if some students might benefit from support in
tracing the melody on the worksheet.

Extend

3. Keep time with the singer’s voice by singing “Hay, yea, yea, yea” on a
repeated pitch for four beats. Push the breath on each “yea”.

4. Encourage students to read and report on one of the listed books on the
next page to learn more about Native Americans, and one of their basic
foods—corn.

214 Section II: Model Experiences for Teaching Music

Aliki. (1986). Corn Is Maize: The Gift of the Indians. HarperTrophy.
Cameron, A. (1997). How Raven Freed the Moon. Harbour Publishing. North-

west Indian legend recounts raven’s magic tricks.
McDermott, G. (1977). Arrow to the Sun. Viking Press. A Pueblo Indian boy,

created by an unexplained spark of life, searches for his father (the sun).
Miles, M. (1972). Annie and the Old One. Little, Brown & Co. A Navajo girl

attempts to delay her beloved grandmother’s death.
Odell, S. (1990). Island of the Blue Dolphins. Houghton Mifflin. Based on the

true story of a California Indian who refused relocation from her tribal
island.
Odell, S. (1999). Sing Down the Moon. Econo-Clad Books.

Indian woman grinding corn.

Level III: Fourth and Fifth Grades 215

“Corn Grinding Song” Worksheet

SECTION II

("Practice contour")

Begin
here

216 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 38
Music
Instruments can be identified and grouped by their timbres and materials
Objective (Timbre)
Standard MU:Re7.2.6a
“Wedding Music” (Tunisia) (excerpt)
Materials “Classical Quintet Ngu Tuyet” (Vietnam) (excerpt)
“Barong Dance” (Bali) (excerpt)
Multicultural Unit
To identify aurally four contrasting instrumental groups and to demonstrate
that recognition by circling the appropriate word on a worksheet and locating
the country of origin on a map
Demonstrate and explain how instruments of the world are classified and
grouped by their timbres and materials in response to the music of three dif-
ferent cultures
Drum or drumhead with drumstick or mallet
Several grains of rice or popcorn
Listening Worksheet for each student p. 218 (Answer sheet for teacher, p. 219)
An instrument from each classification, or photos of instruments
This model experience can be part of a multicultural unit. See the three pre-
ceding models.

OPEN Step 1: Let’s do an experiment. Position the drum or drumhead at the front of
Step 2: the room where all can see, and put several grains of rice on the head
Key Terms: timbre, mem- of the drum. Discuss what will happen when the drumhead is struck. (the
branophone, chordophone, rice will move) Have a student play the drum to demonstrate. Chal-
lenge the class to explain why the rice moves. (the drumhead is vibrat-
aerophone, idiophone ing) Help the class decide that the vibration of the skin or membrane
creates the drum’s special timbre.
(“mehm-BRAN-uh-fone”
“KORD-uh-fone” Challenge the students to name some other materials that can pro-
“AIR-uh-fone” duce a musical sound, such as wood, metal, strings (of gut or wire),
seeds, and fiber. Explain that instruments of the world are classi-
“IH-dee-uh-fone”) fied and grouped by anthropologists and organologists according
to their material and sound, and there are special terms for these
groupings.

Review What vibrates in a drum? (the skin head or membrane) This is
why the drum can be called a membranophone. Write the word on the
board and discuss the stem -phone (Greek phonos, “sound”). Have stu-
dents think of other words using the phonos stem, such as phonograph
and microphone. (Draw a visual and add categories when introduced.)

membrano aero

phone

chordo idio

Level III: Fourth and Fifth Grades 217

Using instruments or photos, introduce the other classifications
and add to visual: chordophone (Greek: chordos, “string”)—strings
vibrating on instruments such as guitars, zithers, violins; aerophone
(a cylinder of air vibrating)—instruments such as flutes, recorders
oboes; idiophone—solid instruments (the body of the instrument
vibrates) that produce sound when struck, shaken, or scraped, such
as sticks, xylophones, and gongs.

Cooperative Learning Step 3: Divide the class into pairs. Distribute the worksheet (p. 218) to
“Think–Pair–Share” each student and explain that students should circle the appropri-
Indicator of Success ate instrument category (or categories) as they hear each selection. SECTION II
Listen to the first piece, and then give students one or two min-
CLOSE utes to think and make a choice. Share and compare answers with
their partners and then share with the class giving reasons for their
choice. Identify the correct instrument classification and country.
Have students locate the country of origin and write its name on the
worksheet. Replay the selection. Continue similarly for each piece.
Answers are found on p. 219.

Step 4: Ask students What determines the timbres of each instrument? (the
material that vibrates) Elicit from them the various groupings and
instrument examples in each category.

ASSESS As students hear music of different cultures, observe how accurately they
identify the instrumental timbre and correctly group instruments according
to the classifications.

Peer-assisted Learning Adapt

1. In pairing students for the worksheet activity, consider kind partners for
those students with special needs.

2. Encourage all students to read the instrumental categories aloud as they
associate the instruments with the names.

Multicultural Extend
Social Studies
3. Continue with instrumental timbre and classifications study by exploring
Language Arts electrophones—electronic instruments whose vibrations pass through a
loud speaker before being heard as sound. Examples would be electronic
keyboards and guitars, QChords®, and others. Students could also share
and demonstrate the different sound effects possible on their electronic
devices.

4. Have a World Music Week featuring cultures in the local community. Each
grade level in a school could contribute a song or dance from a different
culture. Begin with music from this text, and music listed in the Curricu-
lum materials (Appendix D). Learn how the particular song or dance fits
into the culture and also study about the culture’s families, work, food,
and so forth.

5. Engage students in reading and reporting on one of the listed books
below.

Listening Worksheet

Names ___________________________________________________________________________________Date _____________________________________
1. Listen to the three musical selections.
2. Circle the instrument classification(s) you hear for each (you may hear more than one).
3. Write the name of the country in the box for each piece.

From www.nationalgeographic.com/resources/ngo/education/xpeditions/atlas

Level III: Fourth and Fifth Grades 219 SECTION II

Kilborne, S. S. and M. Sweet, illus. (1999). Leaving Vietnam: The Journey of
Tuan Ngo, a Boat Boy. Simon & Schuster.

Krasno, R. and I. C. Lee, illus. (1997). Kneeling Carabao and Dancing Giants:
Celebrating Filipino Festivals. Pacific View Press.

Levinson, R. (1995). Watch the Stars Come Out. Puffin.
Masters, E. and S. Alshams, illus. (1998). The Thief in Chinatown (Adven-

tures in Hawaii Series). Island Heritage Publishing.

Other Music

“Bata Drums,” excerpt (membranophones)
“Munomuno,” excerpt by Mulondo, (idiophone)
“Serenade for Wind Instruments,” excerpt, by Mozart (aerophones)
“Spring” (The Four Seasons), by Vivaldi (chordophones)

Answers for Student Listening Worksheet

1. “Wedding music” from Tunisia
Answers:
aerophones
membranophone

2. “Classical Quintet Ngu Tuyet” from Vietnam
Answers:
chordophone (moon-shaped lute)

3. “Barong Dance” from Bali, a small Indonesian island east of Java. The
dance is accompanied by the gamelan, a Balinese orchestra composed
primarily of bronze instruments played with mallets. This dance drama
depicts the triumph of good over evil and features the Barong, a mytho-
logical figure with a fantastic dragon-lion head and a body covered with
feathers. Three dancers are needed for the Barong’s head and body.
Answers:
membranophone (a barrel-shaped drum with two heads)
idiophones (several xylophone-like bronze instruments of various sizes,
played with mallets)
idiophones (tuned gongs)
aerophone (bamboo flute)

220 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 39
Music
Chords can be performed as a song accompaniment (Harmony)
Objective “Wabash Cannon Ball” (Traditional), pp. 330–331
Standard MU:Pr4.2.5a “Orange Blossom Special,” Ervin T. Rouse (United States)
To identify the three chords of G, C, D7 and their chord tones in a song, and to
Materials perform the three chords as an accompaniment
Demonstrate (through performance and identification of chord tones) under-
standing of how chords are built (harmony) and used as a song accompaniment
Map of the United States and Canada
Song notation for each student, pp. 330–331
Autoharp®, QChord®, or any available harmonic instrument
Pictures of “Orange Blossom Special” at images.google.com

OPEN Step 1: Display a map of the United States and Canada and explain how
transcontinental railroads made a huge difference in travel and trade,
Key Terms: chord, not to mention the development of the United States. Ask them to
chord/root listen to “Wabash Cannon Ball,” a song about a mythical train, and discover
all the places the train traveled. After listening, list on the board the
Chord numerals can places (sequentially as they occur in the song, if possible) and repeat
also be used: listening as needed. Locate some or all of the places on the map.

I IV V7 Step 2: Using the song notation, invite students to read the words aloud
G C D7 in rhythm before singing along with the recording. As they become
G = G, B, D comfortable with the melody and the lyrics, encourage them to
C = C, E, G patsch on the strong beat (first) of each measure.
D7 = D, F#, A, C
Step 3: Find the letter names for the chords above the melody. As students dis-
Indicator of Success cover the three chords of G, C, and D7, write the symbols on the
board in the order as they occur. Help students discover that the
chord sequence is the same throughout the song.

]G G G C
D7 D7 D7 G }

As they sing the song again, ask them to point to the chord symbol
in the music notation.

Step 4: Let’s add an accompaniment to the song using these three chords. Review
with students which note in each chord is the chord root and what
other pitches are in each chord using the every-other-pitch idea.
Then, with students working in pairs, have them take turns per-
forming the chord accompaniment while the class sings the lyrics.
Use an Autoharp or Qchord for the chords and remind students to
strum the chord on the first beat of each measure. (Pointing to the
chord symbols on the board will help the performers stay on track.)
Change instrument players and repeat as long as interest remains
high.

Step 5: Listen to another song about a train, but this train was a real one called the
“Orange Blossom Special.” Invite students to discover where the train
travels in the song and how the music imitates the sounds of the train.

Level III: Fourth and Fifth Grades 221

After listening, have students share their discoveries and provide
additional information about this famous train and its bluegrass
style (see Background Note). As they listen again, have them note
and describe some of the differences between the two songs.

CLOSE Step 6: Conclude by reviewing how “Wabash Cannon Ball” and “Orange
Blossom Special” are two songs about trains (one mythical and one
real). Elicit what chords were used in “Wabash Cannon Ball” and SECTION II
the pitches in each. Note that “Orange Blossom Special” also fea-
tures three chords and that in subsequent listenings they will dis-
cover them.

ASSESS Observe when students become familiar with different songs how effective

and accurate they are in identifying and playing pitches in the chords.

Social Studies Background Note

The “Orange Blossom Special” was a train in operation from 1925
through 1953 that traveled from New York (with stops in Philadelphia,
Baltimore, and Washington) to the east and west coasts of Florida. The
bluegrass song was written in 1938 and became one of the most famous
songs ever written about a train.

Peer-assisted Learning Adapt

1. In pairing students for the chord-playing activity, consider appropriate
partners for students with special needs.

2. To help with the chord playing, color-code the chords in three different
colors in the song notation and on the instrument(s).

Cooperative Learning Extend

3. Working in groups of four, students should learn to play Autoharp or
QChord accompaniments for the songs listed in “Other Music.” In addi-
tion to singing and playing, group members might be assigned special
tasks such as one checking to see that correct chords are played while
another helps when mistakes are made. Encourage students to evaluate
their performance and make suggestions for improvement.

4. Engage students in additional listenings to “Orange Blossom Special.”
Have them discover the pattern of the lyrics (aab) and the progression of
the three chords.

5. Suggest students search the Internet for other bluegrass songs. Ask them
to choose an example to share (on their electronic device).

Other Music (Section III)

“Kum Ba Yah” (C, F, G7 chords)
“Michael, Row the Boat Ashore” (C, F, G7 chords)
“Oh, Susanna” (F, Bb, C7 chords)
“Old Brass Wagon” (G, C, D7 chords)

222 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 40
Music
Each of the three phrases in “12-bar” blues consists of four “bars” (measures)
Objective (Form)
Standard MU:Pr4.2.5a
“Lost Your Head Blues” (American blues, sung by Bessie Smith)
Materials
To identify aurally and visually the song phrases and to demonstrate this rec-
Jazz Unit ognition through singing and body movements

Demonstrate understanding of the structure (12-bar blues) and the elements
of music (rhythm, form: phrases) in a blues song

Woodblock and tambourine

Phrase Chart (Enlarged), verse 1 lyrics, p. 224

This model experience can be part of a jazz unit. See the two model experi-
ences that follow.

OPEN Step 1: Who has ever felt “blue”? Discuss feelings of sad and “down.” Ask
students questions such as—what might a blues song sound like?
Key Terms: phrase, beat, Would it be a fast, lively kind of song? What might the words be
“twelve-bar” blues about? Then, invite students to Listen to an old blues song and decide
who is singing the blues and why? Have students snap steady beats as
Indicator of Success you play the first verse of the recording.

Indicator of Success Step 2: After students share what they discovered about “Lost Your Head
Blues,” review the words and ask Which line of words is the same, and
bar = measure which line is different? (lines 1 and 2 are the same; line 3 is different—
but related) Have class repeat the words, and then try singing with
the recording as they snap the steady beats.

Step 3: Now direct their attention to the Phrase Chart and notice that there
are three lines of beats to go with the three lines of words. Each vertical
mark, straight or wavy, represents one steady beat. Ask students
to count the number of steady beats in each phrase. (16) (Each half, as
indicated by straight and wavy lines, consists of eight beats.) Have
students tap steady beats with pencils as they sing. Start tapping
after the introduction. The teacher should point to steady beats on
the chart during the singing.

Step 4: Divide the class into three groups: one group (“The Tappers”) for
tapping the beats (as in Step 3), a second group (“The Clappers”) to
clap the first eight beats, and a third group (“The Snappers”) to snap
fingers on the last eight beats of each phrase. Rehearse the three
groups without singing.

As soon as the class is able, sing with body rhythms and add instru-
ments. Group 2 can include one woodblock player, and group 3 a
tambourine player.

Step 5: Focusing on the Phrase Chart again, draw a box around each set
of four beats and ask students to count how many boxes there are
total. (12) Tell them that in jazz each of these measures is called
a bar, so “Lost Your Head Blues” is a 12-bar blues song. As the

CLOSE Level III: Fourth and Fifth Grades 223

recording plays again, have students count aloud (1–2–3–4, 2–2–3–4,
3–2–3–4, 4–2–3–4, etc.) as you point to the chart.
Briefly review (through questions posed to the students) the three
phrases, the length of each phrase (4 bars), the words of phrases
1 and 2 being the same, and the 12-bar total. Conclude with the stu-
dents singing “Lost Your Head Blues” again, adding body rhythms
and instruments.

ASSESS Observe when students become familiar with other blues songs how effective SECTION II
and accurate they are in identifying and describing the form and text of 12-bar
blues.

Background Note

Often melancholy and slow in tempo, blues is music of African Ameri-
cans and was developed in the early twentieth century. It has a definite
(but flexible) form of phrases and text and a specific harmonic pattern.
Blues had a profound influence on the development of jazz. Bessie
Smith (1894–1937) was known as the “Empress of the Blues.”

Language Arts Adapt
Cooperative Learning
1. Make sure that English language learners understand the musical mean-
ing of the word blues, since it is a color and in many cultures may not be
associated with feeling sad.

2. Prepare individual copies of the Phrase Chart to be placed on a desk,
wheelchair tray, or on a communication device to assist those students
who may have difficulty focusing on a classroom-sized chart.

Extend

3. Using the Chord Chart that follows, sing “Joe Turner Blues” p. 284 and play
chord roots or chords on a barred instrument, resonator bars, Autoharp,
Qchord, or a keyboard/synthesizer. Perform in a steady-beat rhythm.

4. In small groups, create new lyrics for “Lost Your Head Blues.” Consider
topics such as the environment, historical or legendary figures, or school
activities. Follow the three-line format and use body movements. Share
with the entire class.

5. Invite students to search the Internet for other blues songs (see below)
checking for the 12 bars and similar phrase structure. Ask them to share
their findings and bring an example on their electronic device.

Other Music

“Joe Turner Blues,” Section III
“Good Morning Blues” (Leadbelly) (vocal)
“West End Blues” (Louis Armstrong) (instrumental)
“Blues Will Never Die” in Jazz for Young People, by Wynton Marsalis. This jazz

curriculum includes a teacher’s guide, student guides, and nine CDs

224 Section II: Model Experiences for Teaching Music

Phrase Chart

„Lost Your Head Blues‰ (American blues)·sung by Bessie Smith (called the
„Empress of the Blues‰)
Verse 1
“I was with you, baby, when you did not have a dime.
I was with you, baby, when you did not have a dime.
Now since you got plenty . . . money, you have throwed your good gal down.”

Level III: Fourth and Fifth Grades 225

Chord Chart

SECTION II

226 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 41
Music
Sections of a composition can contrast with one another and sections can be
Objective repeated (AABBACCA) (Form)

Standard MU:Re7.2.5a “Piffle Rag,” by Gladys Yelvington (United States, 1891–1957)

Materials To identify aurally the repeating and contrasting sections in a composition
Jazz Unit and to demonstrate that recognition by raising hands for the A sections and
completing a listening worksheet

Demonstrate and explain how responses to music are informed by the struc-
ture (same and contrasting sections), the use of the elements of music (mel-
ody), and context

Call Chart Worksheet 1 for each student (p. 228)

This model experience can be part of a jazz unit. See model that precedes and
one that follows.

OPEN Step 1: Music comes in all kinds of styles—country and western, rock, classical.
Step 2: Ask students to name some other styles and then invite them to listen
Key Terms: sections, Step 3: and name the instrument, and the style of music heard. Tap a steady beat as
repeating/contrasting, you listen. (piano, ragtime) Play the opening of “Piffle Rag.” After the
ragtime Step 4: listening and sharing of answers, note that ragtime was popular in
Step 5: the early 1900s and mention one or two of its special characteristics.
Indicator of Success Step 6:
CLOSE Tell the class that they are going to determine the form of this piece.
Write “A” on the board and ask students to begin tapping the steady
beats (after the introduction) and through the initial A section.
(Teacher should stop the recording after the first 40 beats.)

Distribute the Call Chart Worksheet 1 and note that “Piffle Rag” has
an introduction, eight sections, and “A” is heard more than once.
Listen for the “A” section and raise your hand each time it begins. Play the
recording, identifying the sections by number (either hold up fingers
or write numbers on board) and encouraging students to write an
“A” in the appropriate box. (Form is: “Intro” A A B B A C C A.)

1 2345678

Challenge the students to fill in the rest of the worksheet as they
listen to the entire piece again. Note that contrasting sections should
be labeled “B” and “C” and that contrasting sections might repeat as
“A” did. (Again, the teacher should identify the sections by number
as students listen.)

After reviewing their answers, mention that the contrasting and
repeating sections are characteristic of a “rag” format. Repeat the
listening to confirm the form. Students could stand and clap or tap
for “A,” snap fingers from side to side for “B,” and sway for “C.”

Ask questions about which section was especially distinctive (“C”)
and what made it different from A and B. Review the form of three
contrasting sections, repetition of sections, and what they learned
about ragtime.

ASSESS After listening to several other ragtime selections, note if students can cor-

rectly identify the sectional form for each.

Level III: Fourth and Fifth Grades 227

Background Note SECTION II

American ragtime during its golden age spanned a period of roughly
25 years, from the late 1890s to the early 1920s. The music originated with
African Americans. Piano “rags” featured a syncopated melody against
a steady “oompah” bass and were divided into three or four sections,
each symmetrical in length. Although Scott Joplin is the undisputed
“King of Ragtime,” many other men and women composed fine rags.
In fact, over 150 women are known to have composed and published
piano rags at the beginning of this century. The women ragtime compos-
ers were mainly white, whereas ragtime in general was a black, male-
dominated field. Most of the women composed during their twenties
and thirties and then, once they married, apparently gave up their com-
posing. Gladys Yelvington, who hailed from Indianapolis, wrote “Piffle
Rag” at the age of 20. Yelvington also played the piano for silent movies.

Peer-assisted Learning Adapt
Visual Art
1. To enable a student with a visual impairment to participate fully in this
activity, call out the numbers as the music is heard and print out the Call
Chart Worksheet 1 in raised ink or enhance the worksheet with fabric or
paper. Also, remember that students with limited fine motor skills may
need more time to fill in the worksheet.

2. Students who are physically unable to clap should be encouraged to use
any mobility they can to demonstrate steady beats (nodding head, tap-
ping, etc.).

Extend

3. Using Call Chart Worksheet 2, pairs of students should fill in the letter
names for each section and then listen to “Piffle Rag” jotting down the
distinctive musical characteristics that they can identify in each section.
Encourage students to use musical terms such as tempo, steady beat,
accent, and dynamics in their analyses. Pairs should listen independently,
then discuss with their partner and, finally, as a team, share their answers
with the class.

4. Create a hand jive with clapping, patsching, tapping, and so on for the
32 beats of the “A” section and make up different hand motions for “B”
and “C.”

5. Study a painting such as Composition with the Word “Vie” by Auguste
Herbin. Discover how the forms and colors repeat and contrast. Note sim-
ilarities and differences in the use of contrast and repetition in the visual
arts and music (images.google.com).

Other Rags

“Maple Leaf Rag” by Scott Joplin
“Novelty Rag” by May Aufderheide
“Red Rambler Rag” by Julia Lee Niebergall
“That Tired Rag” by Charlotte Blake
“Pineapple Rag” by Scott Joplin

228 Section II: Model Experiences for Teaching Music

Call Chart Worksheet 1 “Piffle Rag”

Level III: Fourth and Fifth Grades 229

Call Chart Worksheet 2 “Piffle Rag”

SECTION II

230 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 42
Music
Beats can be grouped in fives (Rhythm)
Objective
“Take Five” (excerpt) by Paul Desmond (United States, 1924–1977)
Standard MU:Re7.2.5a
To identify aurally the five-beat grouping and to demonstrate that recognition
Materials in body movements
Jazz Unit
Demonstrate and explain how responses to music are informed by the struc-
ture, the use of the elements of music (rhythm: beat groupings of five), and
context

None needed

This model experience can be part of a jazz unit. See models that precede.
Explore the jazz resources in Chapter 4 and at http://americanhistory.si.edu/
smithsonian-jazz/education.

OPEN Step 1: Share with the students that jazz comes in all kinds of styles such as
Dixieland, swing, bebop, and modern jazz. Tell them that one style
Key Terms: beats, of modern jazz is called “cool jazz” and ask them to listen to this
accent, beat groupings of very famous “cool jazz” piece. Clap or tap the fast beats as you listen
and together we are going to figure out why the piece is called “Take Five.”
fives Encourage students to keep the beat as the recording plays.

> = accent Step 2: After listening, mention that “Take Five” was a piece made famous
by the Dave Brubeck Quartet in the 1950s and is still very popular
Indicator of Success today. “Take Five” has something to do with beat groupings. Review with
CLOSE the class the familiar beat groupings of twos and threes—write: 1 2
and 1 2 3 on the board and have students do body rhythms as you
point to each (lap, clap for 2s; lap, clap, clap for 3s). Then ask How
many beats would we have if we combined a group of threes and a group of
twos? (five)

Step 3: Write: 1 2 3 4 5 on the board. Ask students to clap again with “Take
Five” and to watch as you point to the five beats. See if beat groupings
in five seem to match with the title “Take Five.” Encourage students to
watch the board as they clap and listen.

Step 4: Introduce the accent mark (>) and place an accent under the num-
bers 1 and 4.

12345
>>

Note that now beats 1 and 4 should be accented or stressed and this
creates a combination of beat groupings of three and two to equal
five. Have students try body rhythms to show this by standing and
pushing arms forward (away from body) on 1 and clapping on 4—
class should speak the 1 2 3 4 5 aloud as they try the movements.
When the movements are secure, try these movements with the
music.

Step 5: Repeat the movements with the music as long as interest is there.
Then, ask questions to review what they learned about beat group-
ings of two, three, and five. Beat groupings of five makes “Take Five” a
special jazz piece!

Level III: Fourth and Fifth Grades 231

ASSESS Observe if students accurately demonstrate beats grouped in fives through
body rhythms and in notation (see “Extend #3” below).

Background Note SECTION II

“Take Five” is an example of “cool jazz,” a lighter, more romantic style
of jazz that developed in the 1950s by groups such as the Dave Brubeck
Quartet. “Take Five,” composed by Paul Desmond, a member of the Dave
Brubeck Quartet, became Brubeck’s signature tune and was the first jazz
album to sell one million copies. Dave Brubeck (1920–2012) was one of
the twentieth century’s most important jazz composers and performers.

Adapt

1. If some students are having difficulty doing the hand motions on both
beats 1 and 4, have them do the “push forward” motion on the strong
beat (beat 1) only. For those who are physically unable to do the sug-
gested motions, encourage any gesture(s) for demonstrating the strong
beat(s).

2. To help with the concept of beat groupings of five, have students tap
with the index finger of one hand each finger of the other hand (thumb is
beat 1) both with the music and without the music.

Peer-assisted Learning Extend

3. In pairs, students should create other body rhythms to show the 45
grouping. For example, partners could strike hands together (patty-cake
nstoytlaet)eofnoubreamtse1asaunrdes4iann45dmcleatperthuesiontghearvbaeraietst.yPoafirnsoctoeus ladnadlsroesctrse.ate and

4. Encourage students to learn about other jazz styles and performers.
(See books below and check out internet resources.) Suggest that they
prepare a “Jazz Talk Show” where important jazz performers could be
interviewed.

Kallen, S.A. (2003). The History of Jazz. Lucent Books.
McCurdy, R. (2004). Meet the Great Jazz Legends. Alfred Publishing Company.