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

232 Section II: Model Experiences for Teaching Music

MUSIC CONCEPT Model 43
Music
The elements of music can be identified and compared in music of differen-
Objective thistorical periods (Elements of Music)

Standard MU:Re7.2.5a “Four on the Floor” (excerpt), by Libby Larsen (United States, b. 1950); Arch-
Materials duke Piano Trio No. 7, second movement (excerpt), by Ludwig van Beethoven
(Germany, 1770–1827)

To identify aurally music from earlier times and the twentieth century and
through a comparison of the musical elements, describe the similarities and
differences between the two compositions

Demonstrate and explain how responses to music are informed by the struc-
ture, the use of the elements of music, and historical context

Large blank sheets of paper—one for each team

Musical Clues List on large paper—one for each team (see p. 234)

Two similar objects (or photos) that represent different time periods (one con-
temporary and one older), such as a digital watch and a pocket watch or
an old record and a compact disc

OPEN Step 1: Show students the two similar objects (or photos). Have students
Step 2: brainstorm what is the same, what is different, and how they knew
Key Terms: timbre, which is contemporary and which is older. List answers on board.
tempo, dynamics, beat, Step 3:
Challenge students to listen to excerpts from the two musical exam-
repetition Step 4: ples. Without revealing the titles or the composers’ names, ask stu-
Step 5: dents to decide which piece sounds like it was written just a few years ago
Cooperative Learning and which about 200 years ago. (“Four on the Floor,” 1983; Archduke Trio,
1811) After the class has shared their “educated guesses,” discuss
Indicator of Success briefly when and where Beethoven lived in comparison with Larsen,
an active contemporary composer. Note that music from different
CLOSE time periods may sound different but still have much in common.

Challenge students to figure out what was the same and what was
different musically in the two pieces. In groups of four, give teams two
large pieces of paper and ask them to write Larsen in the middle of
one and Beethoven in the middle of the other. Give each team a second
paper that includes a list of “musical clues.” Review the clues and what
they mean. As the students listen to the Larsen piece, encourage them
to consult the clues list and jot down their ideas on their corner of the
“Larsen” paper. Follow the same procedure for the Beethoven piece.
(Students may need several opportunities to listen to the two pieces.)

After listening to both excerpts, the teams should read each oth-
er’sclues and discuss their answers. Then, each team should be
given a large blank paper and be asked to divide their paper in two
columns—labeling one the same and the other different. As a team,
group members should decide which musical clues were the same for
the two pieces and which were different and then write those on their
team paper. Each team should share its conclusion with the class.

Listen to each example once again noticing those prominent similar-
ities and differences that the teams have identified. Involve students
in summarizing that music of different historical periods uses the
elements of music in similar and contrasting ways.

Photo by Ann Marsden. Level III: Fourth and Fifth Grades 233 SECTION II

ASSESS Observe if students can accurately find and describe similarities and differ-

ences in other music of contrasting historical periods.

Background Note

Libby Larsen is one of America’s most active contemporary compos-
ers. Her compositions are performed throughout the world. “Four
on the Floor” (1983) celebrates American music and was inspired by
boogie-woogie. The title refers to speed—gunning a car in high (or
fourth) gear and putting the gas pedal down to the floorboard. In fact,
Larsen says that “breakneck is the theme of the piece—an America that
is speeding up faster and faster, jazzing into eternity.”

Ludwig van Beethoven is one of the outstanding composers of all times.
He composed nine symphonies and numerous other pieces including
this trio (dedicated to his friend and piano student Archduke Rudolph of
Austria). Beethoven composed throughout his life even though he began
to lose his hearing in the early 1800s. Imagine not being able to hear the
wild applause when his famous Ninth Symphony premiered in 1824!
(The familiar “Ode to Joy” from this symphony is in Appendix B.)

Courtesy of CORBIS-NY. Adapt

Cooperative Learning 1. In reviewing the Musical Clues List, use illustrations such as photos of the
four instruments, demonstrations of fast/slow, loud/soft, and so forth,
Language Arts to help all learners (including English language learners) understand the
Visual Art terms. Review the meaning of the terms “same” and “different” too.

2. Make sure all students (including those with special needs) are active par-
ticipants in the cooperative-learning groups as the group decides what is
the same and what is different in the two pieces.

Extend

3. Distribute copies of the Venn Diagram (p. 235). Ask students, in small
groups, to label one circle Larsen and the other Beethoven. Using the
information they discovered about the two pieces, write the special musi-
cal characteristics of each in the proper circle, but the characteristics com-
mon to both in the overlapping area.

4. Learn about Beethoven’s life through the book, CD-ROM, DVD, or video
Beethoven Lives Upstairs and H. Bauer’s Beethoven for Kids (Chicago Review
Press, 2011).

5. Discover similarities and differences in two paintings, for example, Bona-
parte Crossing the Alps (1800, Jacques-Louis David) and Summer Days
(1936, Georgia O’Keeffe). Compare subject matter, realism/abstraction,
color, line, use of space, shape/form, and repetition. Note how both the
visual arts and music use same and different elements (e.g., instruments/
color) in different historical periods (images.google.com).

Other Music

“Jesu, Joy of Man’s Desiring” (Bach, 1685–1750)
Serenade for Wind Instruments (Mozart, 1756–1791)
Toccata, third movement (Chávez, 1899–1978)
“Devil’s Dance” (Stravinsky, 1882–1971)

234 Section II: Model Experiences for Teaching Music

Musical Clues List

Big changes in louds and softs Instruments entering at different times
Little change in louds and softs Instruments playing together

Mainly fast tempo Thick texture
Mainly slow tempo Thin texture
Moderate tempo
Big changes in tempo Repetition
Little changes in tempo Accents

Steady beat Played by: piano
No steady beat violin
cello
Clashing sounds double bass
Singable melody

Composer: Level III: Fourth and Fifth Grades 235
Composer:

SECTION II

236 Section II: Model Experiences for Teaching Music

REVIEW OF LEVEL III

A. Identify those music concepts within melody, rhythm, form, harmony, and expressive qualities that children in grades
4 and 5 can perceive.

1. melody concepts

2. rhythm concepts

3. form concepts

4. harmony concepts

5. expressive qualities concepts

B. Describe at least three developmental characteristics (physical, musical, cognitive) of children in grades 4 and 5. How
will these characteristics suggest appropriate musical experiences?

C. Describe these terms and give a musical example for each:

1. jazz

2. blues

3. rondo

4. ABA form

5. call and response form

D. Name one music instrument in each category:

1. aerophone

2. chordophone

3. idiophone

4. membranophone

E. Analyze the phrases of the following songs. Circle the correct analysis. (Songs are found in Section III.)

„Clap Your Hands‰ abab aabb aaba

„Hawaiian Rainbows‰ abab aabb aaba

„Ode to Joy‰ abab aabb aaba

F. What pitches are in the following chords?

C _______ _______ _______ G7 _______ _______ _______ _______

F _______ _______ _______ F7 _______ _______ _______ _______

G _______ _______ _______

D _______ _______ _______
G. Create and notate four measures in 45 meter. Use a variety of notes and rests.

45 l l l Ó

H. Compare the Monthly Planners on pp. 238 241 with the Sequence of Songs and Listening Selections, Level III on
p. 192. For each model, make a note of which holiday, special occasion, multicultural celebration, and/or special
music focus from the Monthly Planners could be correlated with that particular model experience.

I. In small groups, discuss the musical and nonmusical reasons why music of a wide variety of cultures should be included
in the elementary classroom music curriculum. Prioritize your list of reasons and share the „Top Five‰ with the class.

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

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

Level III: Fourth and Fifth Grades 237 SECTION II

CREATING A MODEL EXPERIENCE—LEVEL III

Plan one or two original model experiences for students in grades 4/5 (Level III). Base each experience on one of
the two specified listening selections. This example 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
fourth- and fifth-grade children.

2. State the objective for the experience, making sure that how and what students will do to demonstrate their
understanding is included (see Chapter VII).

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

4. Standards. Identify the specific performance standard that is addressed in the model experience.

Plan two extension activities. One activity should be an extension to the music concept presented in the model
experience. Another activity should focus on a different subject area such as language arts, dance, or the visual arts.

Sample Model Lesson Outline

MUSIC CONCEPT 1. 2.
Sections of a composition can or Phrases in a melody can be the same
Music contrast with one another and
Objective sections can be repeated or different
Standard
Materials (Form) (Form)

OPEN “Ballet of the Unhatched Chicks” “Chinese Dance” from Nutcracker
(Mussorgsky) (Tchaikovsky)
Key Terms:
Step 1:
Step 2:

Step 3:

Indicator of Success Step 4:
CLOSE

ASSESS One activity to reinforce music concept and one related to another curricu-
Extend lar area
Music 1.

_______________________ 2.
(other curricular area)

238 Section II: Model Experiences for Teaching Music

Monthly Planners

AUGUST/SEPTEMBER/OCTOBER

Back to School
Classical Music Month
Hispanic Heritage Month

Back to School: „Hello, There‰
(dates vary) „Good Morning Song‰

Children’s Book Week: Books for Children, Appendix E
(3rd week in August)

Bon Festival: „Haiku Sound Piece‰ (Model 32)
(mid August) Haiku poems, Appendix C

Grandparents’ Day: „Love Somebody‰

(first Sunday after Labor Day)

Classical Music Month: Bach (Model 25), Beethoven (Model 43), Bizet
(September) (Model 33), Gabrieli (Model 26), Kodály (Model 34),
Larsen (Model 43), Offenbach (Model 17), Mozart
(Model 26), Mussorgsky (Model 7), Saint-Saëns
(Models 9, 21, 30), Schubert (Model 26), Stravinsky
(Model 17), Tchaikovsky (Model 19)

Hispanic Heritage Month „Matarile‰ (Model 15), „Cielito Lindo‰ (Model 22)
„Al Citron,‰ „Duermo Pronto,‰ Los Pollitos,‰
(Sept. 15-Oct. 15) „ItÊs Raining!‰ („–Qué llueva!‰)
Mexican Independence Day:

(Sept. 21)

Columbus Day: „America‰
(Oct.12)
United Nations Day: „Make New Friends‰
(Oct. 24)
Halloween: „This is Halloween,‰ „Five Little Pumpkins‰
(Oct. 31) (chant), „Old Mother Witch‰ (chant)
„DevilÊs Dance‰ (Model 17)
Vietnamese Autumn
Moon Festival: „Classical Quintet Ngu Tuyet‰ (Model 38)

Level III: Fourth and Fifth Grades 239

Monthly Planners

NOVEMBER/DECEMBER/JANUARY SECTION II

National American Indian
Heritage Month

Alaska Native Heritage Month

National American Indian/Alaska Native Heritage Month
(November)

American Indian Heritage: „Corn Grinding Song‰ (Model 37), „Stomp Dance‰
(Model 36), „MosÊ, MosÊ!‰
Veterans Day: „America,‰ „YouÊre a Grand Old Flag,‰ „Parade‰
(Nov. 11) (Model 3), „The Stars and Stripes Forever‰ (Model 24)
Thanksgiving: „Five Fat Turkeys,‰ „Over the River and Through
(4th Thurs.) the Wood,‰ „We Gather Together‰

St. Nicholas Day: „Jolly Old Saint Nicholas‰
(Dec. 6)
„La piñata‰
Las Posadas:
(Dec. 16-24) „Candles of Hanukkah,‰ „Hanukkah,‰ „Hanukkah
Song,‰ „My Dreydl‰
Hanukkah: „Jingle Bells‰
(dates vary yearly)
„Chinese Dance‰ from Nutcracker (Model 19),
Winter Begins: „Up on the Housetop,‰ „We Wish You a Merry
(Dec. 21 or 22) Christmas‰
African drumming (Model 13)
Christmas:
(Dec. 25) Books for Children, Appendix E

Kwanzaa:
(Dec. 26-Jan. 1)

Read a New Book Month:

Martin Luther King Jr. Day: „Sing About Martin!‰ (Model 16)
(third Monday)
„Go a Tin,‰ „The Dragon Song‰ (Model 29)
Lunar New Year (China, Books for Children, Appendix E
Korea, Taiwan, Vietnam):
(dates vary in Jan./Feb.)

National Book Week:
(3rd week)

240 Section II: Model Experiences for Teaching Music

Monthly Planners

FEBRUARY/MARCH

African American History Month
Music in Our Schools Month

National Women’s History Month
Irish-American Heritage Month

African American „Sing About Martin!‰ (Model 16), „Lost Your
History Month: Head Blues,‰ (Model 40), „We Shall Overcome,‰
„HeÊs Got the Whole World,‰ „Kye Kye Kule,‰
Valentine’s Day: „Obwisana,‰ „Head, Shoulders, Baby‰ (Model 12)
(Feb. 14) and others in Section III
President’s Day:
(3rd Mon.) „A Tisket, A Tasket,‰ „Love Somebody‰
Mardi Gras:
(day before Ash Weds.) „America,‰ „America the Beautiful,‰ „Yankee
Chinese Lantern Festival: Doodle,‰ „YouÊre a Grand Old Flag‰
(dates vary yearly)
„When the Saints Go Marching In‰

„Go a Tin‰

National Anthem Day: „The Star-Spangled Banner‰
(Mar. 3)

National Women’s Larsen (Model 43), Yelvington (Model 41)
History Month/
International Women’s Day:

(Mar. 8)

Music in our Schools Month: „Sing, Sing Together,‰ „Over My Head,‰
„Viva la Musica‰

National Reading Month: Books for Children, Appendix E

Irish-American Heritage „Michael Finnegan‰
Month/St. Patrick’s Day:

(Mar. 17)

Spring Begins: „ItÊs Raining!‰ („–Qué llueva!‰) „Ebeneezer
(Mar. 20) Sneezer‰ (Model 27), „Eency, Weency Spider‰

Level III: Fourth and Fifth Grades 241

Monthly Planners

APRIL/MAY/ JUNE/JULY SECTION II

Jazz Appreciation Month
National Poetry Month
Asian and Pacific American Heritage Month
Caribbean American Heritage Month

Jazz Appreciation Month: „Boogie-Woogie Walk‰ (Model 5), „Lost Your Head
Blues‰ (Model 40), „Piffle Rag‰ (Model 41), „Take
National Poetry Month: Five‰ (Model 42)
Passover: „Haiku Sound Piece‰ (Model 32), Poems, Appendix C
(April dates vary) „Dayenu‰
Easter:
(April Sun. dates vary yearly) „Ballet of the Unhatched Chicks‰ (Model 7), „John
Earth Day (USA): the Rabbit (Model 8), „Los pollitos‰
(April 22) „America the Beautiful,‰ „I Love the Mountains,‰
„Sally, Go „Round the Sun,‰ „Hawaiian Rainbows‰
(Model 31)

Asian and Pacific American „Aririang‰ (Korea), „Barong Dance‰ (Bali) and
Heritage Month: „Classical Quintet Ngu Tuyet‰ (Vietnam) (Model 38),
„Sakura‰ (Japan), „The Dragon Song‰ (China) (Model
Lei Day- Hawaii: 29), „Flower Drum Song‰ (China), „Go A Tin‰ (Taiwan)
„Hawaiian Rainbows‰ (Model 31)

Cinco de Mayo: „Matarile‰ (Model 15), „Cielito Lindo‰ (Model 22)
(May 5) „Al Citron,‰ „Duermo Pronto,‰ Los Pollitos,‰
„ItÊs Raining!‰ („–Qué llueva!‰)
Mother’s Day: „Love Somebody,‰ „If YouÊre Happy‰
(May, 2nd Sun.)

Memorial Day: „Parade‰ (Model 3), „The Stars and Stripes
(May, last Mon.) Forever‰ (Model 24), „America,‰ „America the Beau-
tiful,‰ „YouÊre a Grand Old Flag‰

Caribbean American „Mango Walk‰ (Jamaica) (Model 35), „Tinga
Heritage Month: Layo‰ (Dominican Republic)

Father’s Day: „Love Somebody,‰ „If YouÊre Happy‰
(June, 3rd Sun.)
Flag Day (USA): „YouÊre a Grand Old Flag,‰ „The Stars and Stripes
(June 14) Forever‰ (Model 24), „The Star-Spangled Banner‰
Independence Day: „Miss Mary Mack,‰ „YouÊre a Grand Old Flag,‰
(July 4) „Parade‰ (Model 3), „The Stars and Stripes Forever‰
(Model 24)



IIISECTION

Songs

243

244 Section III: Songs

This collection of Section III songs represents a variety of styles and cultures and
some are suitable for many special occasions. All songs from the model experiences
are included, plus additional ones that can substitute for songs used in the models. In
the upper left hand corner of many songs, a curricular theme, integrative area, or hol-
iday that may be appropriate for its use is identified. Chord symbols are provided so
that accompaniments can be performed on Autoharp®/Chromaharp®, QChord®, guitar,
or keyboard. Many songs can be used for recorder and keyboard study. Some feature
American Sign Language signs, movement/singing game directions, or barred or mal-
let instrument accompaniments while others provide a note about the song.

GUIDE TO ON-PAGE SYMBOLS IN SONGS

Chord symbols (e.g., C, G7) appear above the melody indicating appropriate chords
to be used to accompany the melody. Parentheses around a chord symbol indicate
that the chord is optional.

Small numbers above or beside notes indicate fingering for keyboard.

Circled numbers above the staff are included for songs that can be sung as a round.
The circled numbers indicate when different groups enter.

Both large and small noteheads occur in some songs. The large ones are usually the
melody and the small ones the harmony.

Ensemble accompaniments specify with abbreviations which mallet and percussion
instruments may be appropriate for each part. The following abbreviations are used:

SG = soprano glockenspiel (sounds two octaves higher than written)
AG = auto glockenspiel (sounds one octave higher than written)
AM = alto metallophone (sounds as written)
AX = alto xylophone (sounds as written)
BM = bass metallophone (sounds one octave lower than written)
BX = bass xylophone (sounds one octave lower than written)
HD = hand drum

Culture/Social Studies A RAM SAM SAM Songs 245
Model 28
Moroccan Folk Song

A TISKET, A TASKET SECTION III

Traditional

246 Section III: Songs

Culture/Social Studies

AL CITRÓN

Latin American Song

Note: The lyrics are a combination of Spanish and nonsense words.
Instrumental Accompaniment: Add mallet instruments for an accompaniment such as soprano metallophone and
alto xylophone to play block and alternating borduns.

SM

AX

Culture/Social Studies

ALA DA’LONA

Arabic Folk Song

Culture/Social Studies AMAZING GRACE Songs 247

John Newton Early American Melody
(England, 1725 1807)

3. Through many dangers, toils and snares, SECTION III
I have already come;
ÊTis grace has brought me safe thus far,
And grace will lead me home.

4. The Lord has promised good to me,
His word my hope secures;
He will my shield and portion be
As long as life endures.

Note: Newton was an English seaman who, at one point in his life, was captain of a ship used in the slave trade. When he renounced slavery, he became
a Christian minister and expressed his feelings through the many hymns he wrote. His words for „Amazing Grace‰ were used with this early American
melody.

248 Section III: Songs AMERICA

Patriotic/Social Studies

Samuel F. Smith
(United States, 1808 1895)

Traditional Melody

2. My native country, thee, land of the noble free, thy name I love;
I love thy rocks and rills, thy woods and templed hills,
My heart with rapture thrills, like that above.

3. Let music swell the breeze. And ring from all the trees. Sweet freedomÊs song;
Let mortal tongues awake. Let all that breathe partake,
Let rocks their silence break. The sound prolong.

4. Our fatherÊs God, to Thee author of liberty. To Thee we sing;
Long may our land be bright, with freedomÊs holy light.
Protect us by thy might, Great God, our King!

Note: A childrenÊs choir performed „America‰ (then called „My Country ÊTis of Thee‰) for the first time on July 4, 1831 in Boston. Samuel Smith wrote
these patriotic American words to the same melody as Great BritainÊs national anthem „God Save the Queen.‰

Patriotic/Social Studies AMERICA THE BEAUTIFUL Songs 249

Katharine Lee Bates Samuel A. Ward
(United States, 1859 1929) (United States, 1847 1903)

SECTION III

2. O beautiful for pilgrim feet. Whose stern impassioned stress.
A thoroughfare of freedom beat, across the wilderness.
America! America! God mend thine evÊry flaw.
Confirm thy soul with self control, thy liberty in law.

3. O beautiful for heroes proved in liberating strife;
Who more than self their country loved and mercy more than life.
America! America! May God thy gold refine.
Till all success be nobleness, and evÊry gain divine.

4. O beautiful for patriot dream that sees beyond the years.
Thine alabaster cities gleam, undimmed by human tears.
America! America! God shed His grace on thee.
And crown thy good with brotherhood, From sea to shining sea!

Note: Inspired by a visit to the big country of the American West, Katharine Lee Bates wrote the poem that would later be set to an existing hymn tune,
written by Samual A. Ward. The song was first published in 1910. B. YoungerÊs book Purple Mountain Majesties: The Story of Katharine Lee Bates and
„America the Beautiful‰ (New York: Dutton, 1998) beautifully shares paintings, poems, and a history of the song.

250 Section III: Songs ARIRANG

Culture/Social Studies Korean Folk Song

English version by P. Hackett

English version:

Arirang, Arirang, Ahrariyo,
Arirang hills are calling to me.
All my trials I know can be overcome.
Daily I go to cross Arirang hills.

Note: Arirang is one of KoreaÊs oldest and most famous folk songs. It refers to chasing an imaginary hill.

Songs 251

Social Studies BATTLE HYMN OF THE REPUBLIC

Julia Ward Howe William Steffe
(United States, 1819 1910) (United States, 1830 c. 1890)

SECTION III

Note: The words for this famous Civil War song were written by Julia Ward Howe after she witnessed a battle at an army camp near Washington, DC.
These new words replaced those of a popular marching song of Civil War soldiers, „John BrownÊs Body.‰ Published in 1862, „The Battle Hymn of the
Republic‰ quickly became a favorite with the Union army.

252 Section III: Songs

Animals: Farm

BINGO

American Folk Song

BOBBY SHAFTOE

Traditional

BOW, BELINDA Songs 253

American Folk Song

2. Right hand Êround, Belinda SECTION III
3. Left hand Êround, Belinda
4. Both hands Êround, Belinda
5. Back to back, Belinda
6. Skip, O skip, Belinda
7. Shake your foot, Belinda
8. Circle, all, Belinda

Note: Children can play a singing game with this song because the actions match the words. Form two lines with partners facing each other and perform
the songÊs actions concluding with the last verse and everyone joining hands in a circle.

BYE, BABY BUNTING

Traditional

254 Section III: Songs

CHARLIE OVER THE OCEAN

Traditional

Singing Game:
Formation: Circle with children seated.

1. Child chosen as „It‰ walks around the outside of circle while the class sings the song (half of class can sing the
leader part and the other half the echo).

2. On „CanÊt catch me,‰ the child walking around the circle taps the shoulder of a seated child. The seated child jumps
up and chases the first child around the circle.

3. The first child sits down in the vacated spot of the new „It.‰

Culture CHATTER WITH THE ANGELS Songs 255
Model 23
African American Song

2. March with the angels 6. Spin with the angels SECTION III
3. Walk with the angels 7. Shake with the angels
4. Dance with the angels 8. Drum with the angels
5. Skip with the angels

Instrumental Accompaniment: Add mallet instruments for a song accompaniment such as alto xylophone, alto metal-
lophone, and bass metallophone. Perform two measures as an introduction and coda.

Arr. By W. Hanna

AX

AM
BM

256 Section III: Songs

CIRCLE RIGHT

American Play-Party Song

2. Circle left, do, oh, do, oh! (Sing 3 times) Shake them Êsimmons down.
3. Boys to the center, do, oh, do, oh! (Sing 3 times) Shake them Êsimmons down.
4. Girls to the center, do, oh, do, oh! (Sing 3 times) Shake them Êsimmons down.
5. ÂRound your partner, do, oh, do, oh! (Sing 3 times) Shake them Êsimmons down.
6. Promenade your corner, do, oh, do, oh! (Sing 3 times) Shake them Êsimmons down.

CLAP YOUR HANDS

American Folk Song

Culture/Holiday Songs 257

DAYENU Hebrew Passover Song

SECTION III

Note: Dayenu is a Hebrew phrase meaning „It would have been enough.‰

2. He has given us the Sabbath, given us the holy Sabbath,
He has given us the Sabbath, dayenu. Refrain

3. He has given us the Torah, given us the blessed Torah,
He has given us the Torah, dayenu. Refrain

DO AS I’M DOING

Traditional

258 Section III: Songs DON GATO

Culture/Social Studies Mexican Folk Song (adapted)

English words by
Margaret Marks

© Silver Burdett Ginn. Used by permission.
Note: Don Gato (DOHN GAH-toe) means „Mister Cat‰ and is a ballad.

3. Oh, Don Gato jumped so happily, 4. Then the doctors all came on the run
He fell off the roof and broke his knee, Just to see if something could be done,
Broke his ribs and all his whiskers, meow, meow, meow, And they held a consultation, meow, meow, meow,
And his little solar plexus, meow, meow, meow. About how to save their patient, meow, meow, meow,
„–Ay carramba!‰ cried Don Gato! How to save Señor Don Gato!

5. But in spite of evÊrything they tried, Songs 259
Poor Señor Gato up and died,
Oh, it wasnÊt very merry, meow, meow, meow, Sing verse 6 slowly
Going to the cemetery, meow, meow, meow. 6. When the funeral passed the market square,
For the ending of Don Gato!
Such a smell of fish was in the air,
Though his burial was slated, meow, meow, meow,
He became reanimated! meow, meow, meow.
He came back to life, Don Gato!

Social Studies

DOWN BY THE BAY

American Folk Song

SECTION III

* One group of singers can echo each phrase.

Note: For information about bays, share the books Down by the Bay adapted by Raffi (Crown Book, 1988) and I Went to the Bay by R. Miller (Kids
Can Press, 1999).

260 Section III: Songs

DOWN IN THE VALLEY

American Folk Song

3. Roses love sunshine, violets love dew.
Angels in heaven, know I love you.

4. Know I love you, dear, know I love you.
Angels in heaven, know I love you.

5. If you donÊt love me, love whom you please.
Throw your arms Êround me, give my heart ease.

6. Give my heart ease, dear, give my heart ease.
Throw your arms Êround me, give my heart ease.

7. Build me a castle forty feet high.
So I can see her, as she goes by.

8. As she rides by, love, as she rides by.
So I can see her, as she goes by.

Culture THE DRAGON SONG Songs 261

Model 29 Chinese Folk Melody
Adapted by P. Hackett

SECTION III

262 Section III: Songs

Culture/Social Studies

DUERME PRONTO

(Go to Sleep)

Hispanic Folk Song

EBENEEZER SNEEZER

Model 27

Lynn Freeman Olson
(United States, 1938 1987)

© 2001. Belwin Mills Publishing Corp. All Rights Assigned to and
Controlled by Alfred Publishing Co., Inc. All Rights Reserved. Used by permission.

EENA, DEENA Songs 263

English Chant

Science: Insects

EENCY, WEENCY SPIDER SECTION III

(Itsy, Bitsy Spider)

Traditional American Finger Play

264 Section III: Songs

Social Studies

ERIE CANAL

American Folk Song

Songs 265

2. Git up there, Sal, we passed that lock, Fifteen miles on the Erie Canal!
And weÊll make Rome by six oÊclock, Fifteen miles on the Erie Canal!
Just one more trip and back weÊll go, Through the rain and sleet and snow,
ÊCause we know every inch of the way, From Albany to Buffalo. Refrain

Note: The Erie Canal connects Lake Erie to the Atlantic Ocean via New York State’s
Hudson River. It was a main route for transporting goods during the period of westward
expansion. Completed in 1825, the Erie Canal is 363 miles long, 150 feet wide, and 12 feet
deep. Flatbottomed barges used on the canal were hauled by canalers: men who drove
mules on the towpaths along the banks. “Erie Canal” is the most famous of many cana-
lers’ songs.

Culture

FAIS DODO

French Folk Melody

SECTION III

French text:

Fais dodo, colas mon pÊtite frère,
Fais dodo, tÊauras du lo lo.
Maman est en haut, Qui fait du gâteau.
Papa est en bas, qui fait du chocolat,
Fais dodo, colas mon pÊtite frère,
Fais dodo, tÊauras du lo lo.

266 Section III: Songs FIVE ANGELS

Model 10 German Folk Song

Holiday

FIVE FAT TURKEYS

Traditional

Culture/Social Studies Songs 267

FLOWER DRUM SONG Chinese Folk Song

(Feng Yang Hwa Gu)

SECTION III

* Drrr and Pyao are words imitating the drum and gong sounds.

Note: This folk song is about street vendors selling their wares and singing as they walk and sell. It probably comes from the Feng Yang area in China.
Join the vendors in singing and adding a drum and gong accompaniment

268 Section III: Songs

Culture/Social Studies

FRÈRE JACQUES!

(Are You Sleeping?)

French Folk Song

English version Christmas text

Are you sleeping? Are you sleeping? Like a choir of angels singing
Brother John? Brother John? OÊer the dells, oÊer the dells.
Morning bells are ringing, morning bells are ringing. Comes the sound of ringing, comes the sound of ringing.
Ding, ding, dong! Ding, ding, dong! Christmas bells! Christmas bells!

Culture/Social Studies

GALWAY PIPER

Irish Folk Song

Culture Songs 269

GET ON BOARD African American Spiritual

2. I hear the train a-cominÊ, SheÊs cominÊ Âround the curve, SECTION III
SheÊs loosened all her steambrakes, And straininÊ evÊry nerve. Refrain

Culture/Holiday GO A TIN
English version by MMH
Lantern Song

Taiwanese Folk Song

From Spotlight on Music, Grade 1, © 2005, Macmillan/McGraw-Hill.
Used by permission of McGraw-Hill Education.

Note: On the fifteenth day of the Chinese New Year celebration there is a Lantern Festival, in which people carry lanterns into the street to join the
great parade.

270 Section III: Songs

GOOD MORNING SONG

Traditional

HA, HA, THIS-A-WAY

American Folk Song

Culture/Holiday Songs 271

HANUKKAH Hebrew Folk Song

SECTION III

272 Section III: Songs

Culture/Holiday

HANUKKAH SONG

Yiddish Folk Song

Note: The eight-day celebration of Hanukkah occurs in December. During this Festival of Lights, the menorah, a candelabra, is lighted. The menorah
holds eight candles, plus a larger one from which the others are lighted. On the first night, the candle on the far right is lighted, followed on the second
night with that candle and the one beside it lighted. This continues until, on the eighth night, all are burning. These candles are lighted as a reminder
of the miracle that occurred in the rededication of the temple in Jerusalem in 165 bc. When the holy lamp was lighted, there was enough oil for only
one day, but the lamp kept burning for eight days.

Culture/Social Studies HAWAIIAN RAINBOWS Songs 273
Model 31
Modern Hawaiian Song

SECTION III

DANCE

Formation: Dancers kneel and sit low on their heels. To begin, they stretch both arms high to the
left, with fingers pointing up and palms facing out. Each motion is smooth and flowing
and is performed slowly, so it extends through two measures. Eyes should follow the
hands.

274 Section III: Songs HEAD-SHOULDERS, BABY

Culture African American Game Song

Model 12

2. Knees, ankles,
3. Milk the cow,
4. Bounce the ball,
5. ThatÊs all, Baby.

SINGING GAME

Formation: Partners stand across from each other.
Verses 1 5:
Partners do the motions suggested by the words and together do the pat-a-cake
clapping on the „one,‰ „two,‰ „three‰ part.

„one‰ „two‰ „three‰
clap pat
pat clap pat own hands both hands

right hands own hands left hands

Science: echoes Songs 275

HELLO, THERE! Traditional

Culture SECTION III

HE’S GOT THE WHOLE WORLD

African American Spiritual

2. HeÊs got the wind and rain in His hands. (Sing 3 times) 3. HeÊs got both you and me in His hands. (Sing 3 times)
HeÊs got the whole world in His hands. HeÊs got the whole world in His hands.

276 Section III: Songs

HEY, HO! NOBODY HOME

English Round

Instrumental Accompaniment: Add mallet instruments for a song accompaniment such as soprano glockenspiel, alto
metallophone, and bass xylophone. Create an introduction and coda for the performance.

SG

AM

BX

HEY, LIDEE Songs 277

American Song

HICKORY, DICKORY, DOCK SECTION III

Words from Mother Goose J.W. Eliot

278 Section III: Songs

Social Studies

HOP UP, MY LADIES

American Folk Song

2. Does your horse carry double, Uncle Joe, Uncle Joe?
Does your horse carry double, Uncle Joe?
Does your horse carry double, Uncle Joe, Uncle Joe?
DonÊt mind the weather if the wind donÊt blow. Refrain.

3. Is your horse a single-footer, Uncle Joe, Uncle Joe?
Is your horse a single-footer, Uncle Joe?
Is your horse a single-footer, Uncle Joe, Uncle Joe?
DonÊt mind the weather if the wind donÊt blow. Refrain.

HOT CROSS BUNS Songs 279

English Folk Song

HOT CROSS BUNS

(Instrumental Ensemble)

English Folk Song
Arr. by W. Hanna

SG SECTION III
AX
BM

280 Section III: Songs

HUSH LITTLE BABY

Traditional American Lullaby

3. If that diamond ring turns brass, 6. If that cart and bull turn over,
MamaÊs gonna buy you a looking glass. MamaÊs gonna buy you a dog named Rover.

4. If that looking glass gets broke, 7. If that dog named Rover donÊt bark,
MamaÊs gonna buy you a billy goat. MamaÊs gonna buy you a pony cart.

5. If that billy goat donÊt pull, 8. If that pony cart falls down,
MamaÊs gonna buy you a cart and bull. YouÊll be the saddest little (boy/girl) in town.

Science

I LOVE THE MOUNTAINS

Traditional

IF YOU’RE HAPPY Songs 281

Traditional

SECTION III

2. tap your toe, (tap, tap)
3. nod your head, (nod, nod)
4. do all three, (at once)

IN AND OUT

American Folk Song