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

332 Section III: Songs WE GATHER TOGETHER

Holiday Netherlands Folk Song

English text by Theodore Baker

2. Beside us to guide us, our God with us joining,
Ordaining, maintaining His kingdom divine,
So from the beginning the fight we were winning;
Thou, Lord, was at our side, all glory be Thine.

3. We do all extol Thee. Thou leader triumphant,
And pray that Thou still our defender will be,
Let Thy congregation escape tribulation,
Thy name be ever praised! O Lord make us free!

WE’RE ALL TOGETHER AGAIN Songs 333

English Folk Song

Social Studies SECTION III

WE SHALL OVERCOME

Civil Rights Song

334 Section III: Songs

Holiday

WE WISH YOU A MERRY CHRISTMAS

English Folk Song

2. Please bring us some figgy pudding, please bring us some figgy pudding,
Please bring us some figgy pudding, please bring it right here.

3. We wonÊt leave until we get some, we wonÊt leave until we get some,
We wonÊt leave until we get some, please bring it right here.

Songs 335

Culture

WHEN THE SAINTS GO MARCHING IN

African American Spiritual

Note: A tie connects two identical pitches. Sing/play the first note only, and hold it through the time value of the second note. A tie is often used SECTION III
to connect notes across a bar line.

2. Oh, when the sun refuse to shine, Oh, when the sun refuse to shine;
Oh, Lord I want to be in that number, When the sun refuse to shine.

3. Oh, when I hear that trumpet blow, Oh, when I hear that trumpet blow;
Oh, Lord I want to be in that number, When I hear that trumpet blow.

4. Oh, when the stars have disappeared, Oh, when the stars have disappeared;
Oh, Lord I want to be in that number, When the stars have disappeared.

5. Oh, when the day of judgment comes, Oh, when the day of judgment comes;
Oh, Lord I want to be in that number, When the day of judgment comes.

336 Section III: Songs WILLOWBEE

Model 20 American Game Song

2. DancinÊ down the alley
3. SkatinÊ down the alley
4. SkippinÊ down the alley
5. HoppinÊ down the alley
Instrumental Accompaniment: Add mallet instruments for an instrumental accompaniment, such as soprano glocken-
spiel, also xylophone, and bass metallophone.

SG

AX

BM

WISHY WASHY WEE Songs 337

Model 11 American Folk Song

SECTION III

SAILOR DANCE

Formation: Large circle with two „sailors‰ in the center

Verse: As the „sailors‰ in the circle sing, the two „sailor‰ dancers
swing in the center, with elbows linked. On „come along
with me,‰ the two „sailors‰ drop hands and each selects one
circle member to stand in front of.

Refrain: As the class sings, the two sets of partners face each other
with arms outstretched and hands joined. Partners then shift
weight from one leg to the other and move arms back and
forth in the same direction as the feet, in a „sawing‰
motion. On the final „come along with me,‰ the four
dancers change places·the new dancers move to the
center and become the new „sailors‰ while the original
„sailors‰ take their places in the circle.

The dance continues until every „sailor‰ has had an
opportunity to dance!

338 Section III: Songs

Patriotic/Social Studies

YANKEE DOODLE

American Revolutionary War Song

Note: The song „Yankee Doodle‰ is over 200 years old. During the French and Indian War, a British army doctor, Dr. Richard Shuckburgh, created
verses poking fun at the ragtag attire of the Colonial fighters. No one knows the origin of the tune or of the term „Yankee doodle.‰ But the scruffy
„Yankees‰ were as amused by the satire as the British, and the song was adopted by the Colonials·to almost become their battle march during the
Revolutionary War.

Patriotic/Social Studies Songs 339

YANKEE DOODLE BOY George M. Cohan
(United States, 1878 1942)

SECTION III

340 Section III: Songs

Patriotic/Social Studies

YOU’RE A GRAND OLD FLAG

George M. Cohan
(United States, 1878 1942)

Culture/Social Studies Songs 341

ZUM GALI GALI Israeli Folk Melody

Note: This folk song is about the group of people who worked together to build a country where they could make a better life for themselves. The present SECTION III
day state of Israel was created in 1948 as a homeland for Jews from around the world.

PATTERNED MOVEMENT—GRAPEVINE

Formation: A circle, facing inward, with hands joined, arms up,
Four steps: moving to the right on each beat.
1. Side step with right foot
2. Cross left foot in front of right
3. Side step with right foot
4. Cross left foot behind right



IVSECTION SECTION IV

Appendices

343

A Reference Material for Music Fundamentals, pp. 345–356
B Introduction to the Autoharp®, Chromaharp®, QChord®, Soprano

Recorder, and Guitar, pp. 357–376
C A Collection of Chants, Proverbs, and Poems, pp. 377–380
D Resources for Elementary Teachers, pp. 381–386
E Resources for Children, pp. 387–390

APPENDIX A

Reference Material for
Music Fundamentals

RHYTHM NOTATION Rests SECTION IV

Notes whole rest

1 whole note half rest
equals
quarter rest
2 half notes
or eighth rest

4 quarter notes sixteenth rest
or
dotted
8 eighth notes whole rest
or
dotted
16 sixteenth notes half rest
dotted
1 dotted quarter rest
whole note
dotted
equals eighth rest
2 dotted
half notes dotted
sixteenth rest
or
4 dotted
quarter notes

or
12 eighth notes

or

24 sixteenth notes

345

346 Appendix A

RHYTHM DURATION AND SYLLABLE SYSTEMS

Rhythm Durations „Stick‰ Notation Kodály Rhythm Syllables Gordon Rhythm Syllables
(Chevé System) du

ta

ti - ti du - de

ti - ri - ti - ri du - ta - de - ta

ti - ta - ti du - da - de

tai - ti du de

ti - ri - ti ta du - da - de du

ti - ti - ri ta du - de - ta du

33

trip - le - ti ta du - da - di du

tim - ri / ti - rim du - ta / du - tu

ti - tai du de

ta - a (hold for 2 beats) du - u

ta - a - a (hold for 3 beats) du - u - u

ta - a - a - a (hold for 4 beats) du - u - u - u

Reference Material for Music Fundamentals 347

TIME SIGNATURES

Time or meter signatures are the two numbers, one above the other, that appear at the
beginning of a piece of music. The top number specifies the beat grouping (or meter),
and the bottom number indicates the note that receives the beat.

24 = two beats in a measure
= the quarter note ( q ) receives the beat

c 44and = four beats in a measure
= the quarter note ( q ) receives the beat

34 = three beats in a measure
= the quarter note ( q ) receives the beat

68 = six beats in a measure
= the eighth note ( e) receives the beat

C 22and = two beats in a measure
= the half note ( h ) receives the beat

Conducting Patterns

Two Three Four Six
4 6 (slow)
2 6 (fast) 3 3 4 8
48 42

23 4 6

2 5 SECTION IV
2
34
11 3
2

11

348 Appendix A

PITCH NOTATION
The Staff

Pitches are notated on a staff of five lines and four spaces. Short lines called ledger
lines can be added above or below the staff to extend the range of pitches. The stems
go up on the right on notes below the middle line of the staff and down on the left on
notes on or above the middle line.

Ledger line

Ledger line Line notes Space notes

Clefs: Treble and Bass

The seven letters A, B, C, D, E, F, and G are repeated over and over to name the
pitches. The treble clef or G clef sign is used for higher pitches and curls around the
second line, G. The bass clef or F clef is used for lower pitches and identifies the fourth
line as F.

The Treble Clef (or G Clef) E GBDF F ACE

G

The Bass Clef (or F Clef)

F GBDF A ACE G

TREBLE AND BASS CLEF NOTATION

Reference Material for Music Fundamentals 349

Accidentals

Accidentals are signs introduced before a note to change the pitch for one measure
only. They are placed in the same space or on the same line as the note head:

‫( ݡ‬sharp): raises the pitch one half step
‫(ݟ‬flat): lowers the pitch one half step
‫( ݠ‬natural): cancels a preceding sharp or flat
‫( ހ‬double sharp): raises the pitch of a sharped note an additional half step
Ð (double flat): lowers the pitch of a flatted note an additional half step

SCALES

The chromatic scale is a 12-tone scale consisting entirely of half steps.

Pitch names: C C D D E F F G G A A B C
Sol-fa syllables: do di re ri mi fa fi sol si la li ti do

C BB AA GG F E E DD C
do ti te la le sol se fa mi me re rah do

C Pentatonic A Natural Minor

C Major A Harmonic Minor

SECTION IV

350 Appendix A

CURWEN/GLOVER HAND SIGNS

Reference Material for Music Fundamentals 351

Frequently Used Major Scales (with Piano Fingerings)

C Major (1) G Major (1) D Major (1)

RH 1 2 3 1 2 3 4 5 12312345 12312345

LH 5 4 3 2 1 3 2 1 54321321 54321321
(1) (1) (1)

A Major E Major B Major F Major (1)
(1) (1) (1)

12312345 12312345 1231234 5 12341234

54321321 54321321 4321432 1 54321321
(1) (1) (1) (1)

B Major E Major A Major D Major

4123123 4 31234123 34123123 23123412

3214321 3 32143213 32143213 32143213

Frequently Used Minor Scales (with Piano Fingerings)

A Natural Minor (1) A Harmonic Minor (1) E Natural Minor (1)

RH 1 2 3 1 2 3 4 5 1 2 3 1 2 3 4 5 12312345

LH 5 4 3 2 1 3 2 1 5 4 3 2 1 3 2 1 54321321 SECTION IV
(1) (1) (1)

E Harmonic Minor (1) B Natural Minor (1) B Harmonic Minor (1)

12312345 12312345 12312345

54321321 43214321 43214321
(1) (1) (1)

D Natural Minor (1) D Harmonic Minor (1) G Natural Minor (1) G Harmonic Minor (1)

12312345 12312345 12312345 123123 45

54321321 543213 21 54321321 543213 21
(1) (1) (1) (1)

352 Appendix A

Circle of Fifths (Major and Minor Keys)

F C Major G
d a minor e

Bg bD

Ec fA

f g c
A a E

a d C
b e
D G B

C F

KEY SIGNATURES FOR MAJOR AND MINOR SCALES

Identifying Major and Minor from Key Signatures

In a key signature of sharps, the sharp farthest right is 7 (ti). The next line or space
above (one half step above) is 1 or 8 (do), the tonic for major. 6 (la) is the tonic for
minor.
In a key signature of flats, the next to the last flat is 1 or 8 (do), the tonic for major.
(You have to memorize that the key of F has one flat.) 6 (la) is the tonic for minor.
The major and minor keys paired inside the circle share the same key signature, so
they are relative keys.

Reference Material for Music Fundamentals 353

Intervals

An interval is the distance between two notes. Intervals are identified by number and
quality. To determine the number identification, count the number of steps covered by
the two notes (including steps on which both notes appear). To determine the quality of
each interval, count the exact number of half steps between the two notes.

Intervals of the C Major Scale

Intervals of seconds, thirds, sixths, and sevenths are always major; unisons, fourths,
fifths, and octaves are always perfect.

perfect major major perfect perfect major major perfect
unison 2nd 3rd 4th 5th 6th 7th octave

half steps: 0 2 4 5 7 9 11 12

Interval Quality

A minor interval is a half step smaller than a major interval.
A diminished interval is a half step smaller than a perfect interval.
An augmented interval is a half step larger than a perfect interval.

CHORDS

Triad: Three-note chord built in thirds.

F

Major triads include a major third (four half steps) and a minor third (three half steps). SECTION IV
Minor triads include a minor third and a major third.

F Fm

minor 3rd major 3rd
major 3rd minor 3rd

Seventh chord: Four-note chord built in thirds.

G7

354 Appendix A

Chords in Selected Major Keys

C Major G Major D Major

C (I) F (IV) G7 (V7) G (I) C (IV) D7 (V7) D (I) G (IV) A7 (V7)
A Major E Major

A (I) D (IV) E7 (V7) E (I) A (IV) B7 (V7)
F Major B Major E Major

F (I) B (IV) C7 (V7) B (I) E (IV) F7 (V7) E (I) A (IV) B (V7)

Chords in Selected Minor Keys

A Harmonic Minor E Harmonic Minor B Harmonic Minor

Am (i) Dm (iv) E7 (V7) Em (i) Am (iv) B7 (V7) Bm (i) Em (iv) F 7 (V7)

D Harmonic Minor G Harmonic Minor

Dm (i) Gm (iv) A7 (V7) Gm (i) Cm (iv) D7 (V7)

MUSICAL TERMS AND SIGNS Reference Material for Music Fundamentals 355

Dynamic Terms and Signs crescendo (cresc.), gradually
louder
pp pianissimo, very soft decrescendo (decresc.), gradually
p piano, soft softer
mp mezzo piano, medium soft diminuendo (dim., dimin.), gradually
softer
mf mezzo forte, medium loud
f forte, loud
ff fortissimo, very loud

Tempo Terms

accelerando (accel.), gradually a tempo, return to original tempo
increasing tempo largo, very slow
lento, slow
adagio, slowly, leisurely moderato, moderately
allegretto, moderately fast presto, very rapidly
allegro, fast, lively ritardando (rit.), gradually slower and slower
andante, moderately vivace, animated, lively
andantino, slightly faster than andante

Additional Signs and Symbols Fine D.C. al Fine

Da capo (D.C.), from the start
D.C. al Fine, from the start, ending at Fine
Dal segno (D.S.), from the sign
D.S. al Fine, from the sign, ending at Fine
Fermata (), hold
Fine, the end

Fine D.S. al Fine

time signature measure SECTION IV

key signature bar line section repeat conclusion

strike
strike
strike
strike
hold

slur: (play on a single breath tie:

or sing on one syllable)



APPENDIX B SECTION IV

Introduction to
the Autoharp®,
Chromaharp®, QChord®,
Soprano Recorder,

and Guitar

Learning to read music and understand how music „works‰ greatly increases oneÊs
enjoyment of music. This section provides introductory information about playing sev-
eral popular classroom instruments. The Autoharp® and Chromaharp® are essentially
identical zither-like instruments while QChord® is a digital song card guitar. These
instruments are primarily chordal instruments so are excellent choices for accompany-
ing singing in the elementary classroom. The soprano recorder is a very popular instru-
ment and is used to play melodies. The instructional materials on these instruments
are intended for the adult/teacher as he or she develops instrumental skills. However,
all of the instruments are often played by both teachers and students in the elementary
classroom. Using music software programs such as Music Ace and AlfredÊs Essentials
of Music Theory for individualized study and practice will significantly enrich and
enhance both music reading skills and music fundamentals study.

357

358 Appendix B

The Autoharp®, the
Chromaharp®, and

the QChord®

The Autoharp®, Chromaharp®, and QChord® are portable instruments that can pro-
duce chords to accompany singing. Because they are relatively easy instruments to learn
to play, both students and teachers can enjoy performing chordal accompaniments for
classroom songs.

THE AUTOHARP AND THE CHROMAHARP

Autoharp® and Chromaharp® are trade names for the chorded zither·a chordal,
stringed instrument that is strummed while chord bars are depressed. The chorded
zither has long been an important accompanying instrument for folksingers in the
Appalachian hill country and the Ozark Mountains.

Courtesy of Rhythm Band
Instruments, Inc.

Chromaharp®.

There are several models of the Autoharp® and Chromaharp®. The 12-chord and
the 15-chord models are the ones generally used in elementary classrooms. Five-, 21-,
and 27-chord models are also available, as is an electric model that includes a micro-
phone pickup for use with an amplifier. A diagram of the bar arrangements of the
12-chord and 15-chord instruments follows:

12-chord-bar model

D Gm A7 Dm E7 Am D7

E F B C F G C Gb Maj
Min b Sev Min Sev Min Sev

7 7 7

Maj Sev Maj Sev Maj Sev Maj Maj

15-chord-bar model

Courtesy of Suzuki Introduction to the Autoharp®, Chromaharp®, QChord®, Soprano Recorder, and Guitar 359 SECTION IV
Corporation.
PLAYING POSITION

There are several ways to hold and play the Autoharp® and Chromaharp®. The tradi-
tional Appalachian playing position requires holding the instrument upright (in a slightly
diagonal position) with the left hand pressing the chord bars and the right hand crossing
over the left to strum the strings (see photo, p. 32). The easier playing position and the
one most used for children is placing the instrument on a table, oneÊs lap, or on the floor.

Place the instrument on your lap or on a table in front of you, with the longest side
near you.
Rest your left hand on the chord buttons. By pressing a button on a chord bar, you
damp (silence) certain strings. Those strings that sound are the pitches of the chord
indicated on the chord bar.
Use your right hand to strum across the strings with the fingernail of your index finger.
(Or use a plastic or felt pick.) Strumming is usually to the left of the chord bars in a cross-
over fashion, but beginners may more comfortably strum to the right of the chord bars.
Strum from near your body, and swing your hand outward across the strings (lower
to higher).
See strumming patterns and special effects that can be created on the companion website.

TUNING AN AUTOHARP® OR A CHROMAHARP®

An Autoharp® or a Chromaharp® must be kept in tune. Because frequency of use and
the weather affect the instrument, occasional tunings are necessary. The instrument can
be tuned quickly and accurately with an electronic chromatic tuner.

THE QCHORD®

The QChord®, a digital song card guitar, is an electionic instrument that is used in
similar ways to the Autoharp® and Chromaharp® mostly to accompany singing. The
instrument is totally self-contained with a built-in amplifier. It is both small and porta-
ble, weighing only 4 pounds. Shaped to suggest an electric guitar, the QChord®, can be
played on a tabletop, or in guitar position when a guitar strap is added. It will simulta-
neously produce chords in a choice of rhythms and style.

QChord®.

Preprogrammed Chords and Preset Rhythms

The QChord® comes with 84 preprogrammed chords and can be programmed to play a
repeating series of chords for the song of your choice. With just the touch of a button,
the QChord® can provide an automatic bass line for a song, or program an introduction
and ending, or add a „drum fill.‰ When a player strums the plate, ten different timbres
are readily available: guitar, banjo, piano, organ, flute, chimes, brass, synthesizer, and

360 Appendix B

vibes. (Players have to be careful to release each chord completely before moving to a
different one.) Rather than strum, the player can choose from ten preset rhythms, such
as waltz, march, rock, and country. Controls for volume and tempo are available for
both chords and rhythms.

Obviously, the instrument offers a multitude of ways for teachers to accompany
songs. Older children are fascinated with learning how to play the QChord® to accom-
pany singing.

SELECTED SONGS FOR AUTOHARP®, CHROMAHARP®,
OR QCHORD® ACCOMPANIMENT

The following songs use one, two, and three chords and are found in Section III or in
the Recorder section in this Appendix.

One-Chord Songs Chord

„Sally, Go ÊRound the Sun‰ C
„Down Came a Lady‰ G
„Suo Gan‰ G
„Frère Jacques!‰ F
„Good Morning Song‰ F
„Wake Me!‰ F
„Candles of Hanukkah‰ Dm
„Shalom, Chaverim‰ Dm
„Zum Gali Gali‰ Dm

Two-Chord Songs Chords

„Riding in the Buggy‰ C, G7
„Do as IÊm Doing‰ C, G7
„Tideo‰ C, G7
„Hey, Lidee‰ C, G7
„Jim-Along, Josie‰ C, G7
„Looby Loo‰ C, G7
„Wishy Washy Wee‰ C, G7
„Lovely Evening‰ C, F
„Bow, Belinda‰ D, A7
„Matarile‰ D, A7
„Shoo, Fly‰ D, A7
„Long-Legged Sailor‰ F, C7
„Sandy Land‰ F, C7
„Eency, Weency Spider‰ F, C7
„Hush Little Baby‰ F, C7
„Circle Right‰ G, D7
„Down in the Valley‰ G, D7
„Three Sailors‰ G, D7
„This is Halloween‰ Gm, D7

Introduction to the Autoharp®, Chromaharp®, QChord®, Soprano Recorder, and Guitar 361

Three-Chord Songs Chords

„Ebeneezer Sneezer‰ C, F, G7
„Sarasponda‰ C, F, G7
„Kum Ba Yah‰ C, F, G7
„This Old Man‰ C, F, G7
„Over the River and Through the Wood‰ C, F, G7
„America‰ C, F, G7
„Get on Board‰ F, B‫ݟ‬, C7
„Yankee Doodle‰ F, B‫ݟ‬, C7
„Oh, Susanna‰ F, B‫ݟ‬, C7
„Amazing Grace‰ G, C, D7
„Bingo‰ G, C, D7
„Wabash Cannon Ball‰ G, C, D7
„Old Brass Wagon‰ G, C, D7
„Hanukkah Song‰ Dm, Gm, A7

SECTION IV

362 Appendix B

The Soprano Recorder

The recorder is a flute originally made of wood and played in a vertical position.
Widely used during the Renaissance, the recorder is a popular instrument in elemen-
tary classrooms around the world. It is relatively easy to play for both teachers and
students.

THE SOPRANO RECORDER
(FRONT AND BACK VIEWS)

Fipple
Lip

Mouthpiece Window

Thumb hole 1
(Back hole) 2 Left hand
3
(Left thumb)
1

2 Right hand
3

4

Hand Position

Hold the recorder at a forty-five degree angle away from the body, with arms relaxed,
elbows positioned comfortably away from the body, and fingers curved.
Use the left hand (LH) to cover the thumb hole on back and top three holes on the
recorder. The right hand (RH) covers the lower holes. Be sure to cover the holes
completely with the pads of the fingers, not the fingertips (see photo, p. 30).

Breathing

Close lips firmly around the mouthpiece (slightly in front of your teeth), opening
them slightly to take a breath.
Blow a light, steady stream of air into the recorder·the control of the breath is
important for producing a musical tone.

Tonguing

Form the syllable „doo‰ with the tongue on the roof of the mouth behind the upper
front teeth.
Articulate each note separately·but keep in mind the goal of a steady stream of air,
briefly interrupted by the consonant d in „doo.‰

Introduction to the Autoharp®, Chromaharp®, QChord®, Soprano Recorder, and Guitar 363

PLAYING THE RECORDER

What follows is a sequence of songs to play on the soprano recorder. The melodies
begin with just three-notes and gradually increase to several notes. The fingerings are
displayed for the melodies and a complete fingering chart is found at the conclusion of
this instructional sequence.

All of the melodies can be accompanied by the Autoharp®, Chromaharp®, or
QChord® (see chord symbols above the staff). Interesting strums can be created to
fit a particular song. In addition, accompaniments can also be created using mallet
instruments. See the instrumental accompaniment for „Hot Cross Buns‰ in Section III.

RECORDER SONGS (B, A, G PITCHES)

Hot Cross Buns

English Folk Song

Suo Gan

Welsh Lullaby

Au clair de la lune (In the Moonlight) SECTION IV

French Folk Song

364 Appendix B

Who’s that Yonder?

African American Song

Grandma Grunts

Traditional

Frog in the Millpond

Traditional

Introduction to the Autoharp®, Chromaharp®, QChord®, Soprano Recorder, and Guitar 365

Hop, Old Squirrel

Traditional

RECORDER SONGS (B, A, G, C, D)

SECTION IV

366 Appendix B

A Paris

French Folk Song

Juba

African American Play Song

Down Came a Lady

Traditional

G

Down came a la dy, Down came two.

G

Down came old Dan iel’s wife and she was dressed in blue.

Introduction to the Autoharp®, Chromaharp®, QChord®, Soprano Recorder, and Guitar 367

Mary Had a Little Lamb

Traditional

3. It followed her to school one day . . . that was against the rule.
4. It made the children laugh and play . . . to see a lamb at school.

Let Us Chase the Squirrel

American Folk Song

The Old Oak Tree SECTION IV

English Folk Song

*c d

* This melody can be performed as a two-part round.

368 Appendix B

Go Tell Aunt Rhody

American Folk Song

Lightly Row

German Folk Song

RECORDER SONGS (NEW PITCHES: LOW E AND LOW D)

Rain, Rain

Traditional

C

Rain, rain, go a way, Come a gain some oth er day.

Lucy Locket Traditional

Introduction to the Autoharp®, Chromaharp®, QChord®, Soprano Recorder, and Guitar 369

Starlight, Starbright

Traditional

Candles of Hanukkah

Hebrew Folk Song

2. Eight little candles in a row, Hanukkah is here.
Eight little candles in a row, Burn so bright and clear.

3. Dance, little candles, dance, dance, dance, Hanukkah is here.
Dance, little candles, dance, dance, dance, Hanukkah is here.

Ode to Joy

(from Symphony No. 9, fourth movement)

Friedrich Schiller Ludwig van Beethoven

(Germany, 1759 1805) (Germany 1770 1827)

SECTION IV

370 Appendix B

Fingering Chart for Soprano Recorder*

Baroque (English) Fingering

C C D D DE E F FG G GA A

Left Thumb
Hand
Finger 1
Finger 2
Finger 3

Right Finger 1
Hand Finger 2
Finger 3
Finger 4

AB B C C D D DE E F FG

G GA A AB B C CD D DE

open hole closed hole slightly opened thumb hole

Note: The soprano recorder sounds one octave higher than written.

Introduction to the Autoharp®, Chromaharp®, QChord®, Soprano Recorder, and Guitar 371

SELECTED MELODIES FOR SOPRANO RECORDER

Melodies are presented according to a sequence of specific pitches as shown. Melodies
arc found in Section III.

New Pitch Song Pitches
high C „Jingle Bells‰ G, A, B, C, D
low E „Eena, Deena‰ E, G
low E „Bobby Shaftoe‰ E, G, A
low E „Oliver Twist‰ E, G, A
low E „Bye, Baby Bunting‰ E, G, A
low F „A Tisket, A Tasket‰ E, G, A

Middle C „Pease Porridge Hot‰ C, E, G
Middle C „ItÊs Raining!‰ C, E, G, A

low D „Al Citrón‰ D, G, A, B
low D „Amazing Grace‰ D, E, G, A, B, D
low F „Long-Legged Sailor‰ F, G, A
low F „When the Saints Go Marching In‰ C, D, E, F, G
low F „St. PaulÊs Steeple‰ C, D, E, F, G, A, B, C

FK „Matarile‰ D, E, FK A
FK „London Bridge‰ D, E, FK, G, A, B

BL „This is Halloween‰ D, FK, G, A, BL, C, D

SECTION IV

372 Appendix B

The Guitar

THE GUITAR PARTS

Tuning keys
Open peg box

Frets

Fingerboard

Sound hole
Waist

Bridge base

Classical guitar.

PLAYING POSITION

Hold the guitar with the neck at a slight upward angle, and keep the face of the instru-
ment in an almost vertical position in relation to your body. The guitarÊs body can rest
on your thigh.
Position your right-hand thumb and fingers near the sound hole.
Support the guitarÊs neck using the thumb of the left hand (rather than the palm of the
hand). This position allows the fingers to move freely on the strings.
Arch the left-hand fingers in a nearly vertical position while playing.

PLAYING TECHNIQUES

There are two ways to play the guitar strumming and plucking. Chords can be played
by strumming the strings and melodies can be played by plucking the strings.

To strum, position your right-hand thumb and four fingers near the soundhole and
use the side of the thumb to sweep downward across all strings.
To pluck, use the side of your thumb, but pluck away from your body each string
individually.

Introduction to the Autoharp®, Chromaharp®, QChord®, Soprano Recorder, and Guitar 373

LOCATION OF GUITAR PITCHES GB E

E AD

Written

string 6
string 5
string 4
string 3
string 2
string 1

Sounds

E A D GB Middle C E

String Names E AD G BE

String Numbers 6 5 4 3 2 1

Chord diagrams for guitar playing look like the fingerboard of the guitar. They
show the strings and the frets; numbers (sometimes circled) show where to place the
fingers to play chords.

D G SECTION IV
A B
E E

Guitar 654 32 1
fingerboard E AD GB E
Nut

1st fret 2
2nd fret 3

etc.

Chord diagram
with left-hand fingering

374 Appendix B

FREQUENTLY USED CHORDS FREQUENTLY USED CHORDS
FOR GUITAR FOR BARITONE UKULELE

When strumming the thumb stroke, play
the string labeled R (chord root), or alter-
nate between playing R and 5 (fifth of
chord). The third finger of the left hand
sometimes changes strings to play the
fifth; this is indicated by a circled 3 on the
chord diagram.

Major Keys I IV V7 Major Keys I IV V7

Key of C Major C F G7 Key of C Major

332 1 33211 32 1 C F G7
5R 5R R5
21 3211 1
D G A7
Key of D Major Key of D Major G A7
Key of E Major
Key of E Major 132 32 4 12 D 3 12
5R R5 5R
132 A B7
E A B7
E 123 12 3
231 123 213 4
R5 5R R 21 B C7

Key of F Major F B C7 Key of F Major F 2341 241

Key of G Major 33211 2341 33241 Key of G Major 3211 C D7
5R 5R 5R
G 21 213
G C D7
D E7
Key of A Major 32 4 332 1 213 Key of A Major 4
R5 5R 5R 132 1
A
A D E7

123 132 21 123
5R 5R R5

Selected additional chords: Selected additional chords:

Am Dm Em Am Dm Em

231 231 23 231 231 3
5R 5R
Cm Gm
Am7 Bm
111
2314 321 1 24
5R
Em7 easier G
Gm

111 12 4 21 3
5 R5 R5

Introduction to the Autoharp®, Chromaharp®, QChord®, Soprano Recorder, and Guitar 375

SELECTED SONGS FOR GUITAR (AND BARITONE UKULELE)
ACCOMPANIMENT

The following list includes songs that use one, two, three, and four chords. Songs are
found in Section III or in the Recorder section of this Appendix.

D Major Chords
„Bow, Belinda‰ D, A7
„Galway Piper‰ D, A7
„London Bridge‰ D, A7
„Matarile‰ D, A7
„Shoo, Fly‰ D, A7
„Skip to My Lou‰ D, A7
„HeÊs Got the Whole World‰ D, A7
„Over My Head‰ D, A
„Tinga Layo‰ D, G, A7
„Up on the Housetop‰ D, G, A7

D Minor Dm
„Shalom, Chaverim‰ Dm
„Zum Gali Gali‰

E Major E, B7
„Old Texas‰

G Major G SECTION IV
„Charlie Over the Ocean‰ G
„WhoÊs That Yonder‰ G, D (play D for D7)
„Circle Right‰ G, D (play D for D7)
„Down in the Valley‰ G, D (play D for D7)
„Hot Cross Buns‰ G, D (play D for D7)
„Mary Had a Little Lamb‰ G, C, D7
„Bingo‰ G, C, D7
„Amazing Grace‰ G, C, D7
„Old Brass Wagon‰ G, C, D7
„Wabash Cannon Ball‰

A Major A, D, E7
„Silent Night‰ A, D, E7, B7
„America the Beautiful‰

See the companion website for information on „Tuning the Guitar‰ and „Chart of
Strums for Guitar.‰



APPENDIX C

A Collection of Chants,
Proverbs, and Poems

CHANTS Bubble Gum SECTION IV

Engine, Engine Bubble gum, bubble gum,
Chew and blow;
Engine, engine, number nine, Bubble gum, bubble gum,
Going down the Chicago line, Scrape your toe.
If the train comes off the track, Bubble gum, bubble gum,
Do you want your money back? Tastes so sweet;
Get that bubble gum
Pease Porridge Hot off your feet!

Pease porridge hot, Oliver Twist
Pease porridge cold,
Pease porridge in the pot Oliver Twist canÊt do this,
Nine days old. Touch his knees, touch his toes,
Clap his hands and over he goes.
Some like it hot,
Some like it cold, Eena, Deena
Some like it in the pot
Nine days old. Eena, deena, dina, duss.
Katla, weena, wina, wuss.
Old Mother Witch Spit, spot, must be done.
Twiddlum, twaddlum, twenty-one.
Old mother witch,
Fell in a ditch, Raindrops
Picked up a penny,
Thought she was rich. Pitter, patter, raindrops,
Splitter, splatter, raindrops,
Teddy Bear Windshield wipers, windshield wipers,
Swish, swish, swish
Teddy bear, Teddy bear,
Turn around. Five Little Monkeys
Teddy bear, Teddy bear,
Touch the ground. Five little monkeys, jumping on the bed,
Teddy bear, Teddy bear, One fell off and bumped his head.
Show your shoe. Mama called the doctor and the doctor said:
Teddy bear, Teddy bear, „No more monkeys jumping on the bed!‰
That will do.
377

378 Appendix C Up Jack got and home he did trot
As fast as he could caper.
Doctor Foster He went to bed to mend his head
In vinegar and brown paper.
Doctor Foster went to Gloucester
In a shower of rain. (Mother Goose)
He stepped in a puddle right up to his middle,
And he never went there again. Bumblebee

Five Little Pumpkins Bee, bee, bumblebee,
Stung a man upon his knee,
Five little pumpkins sitting on a gate. Stung a pig upon his snout,
The first one said, „Oh, my, itÊs getting late!‰ Goodness gracious, you are out!
The second one said, „There are witches in the air!‰
The third one said, „But I donÊt care!‰ Rima de Chocolate
The fourth one said, „LetÊs go and have some fun!‰
The fifth one said, „LetÊs run, run, run, run, run!‰ Uno, dos, tres, CHO-
Then „Oooo‰ went the wind, and out went the light, (cuente con los dedos de la mano)
And the five little pumpkins rolled out of sight.
Uno, dos, tres, -CO-
Wee Willie Winkie Uno, dos, tres, -LA-
Uno, dos, tres, -TE
Wee Willie Winkie runs through the town, Bate, bate chocolate.
Upstairs and downstairs, in his nightgown;
Rapping at the window, crying through the lock, (frote las manos como se usa un molinillo
„Are the children in their beds? en una chocolatera)
Now itÊs eight oÊclock.‰
Chocolate Rhyme
(Mother Goose) (Rima de Chocolate)

Ice Cream Soda One, two, three, CHO-
(count with fingers)
Ice cream soda,
Delaware punch. One, two, three, -CO-
Tell me the name of your One, two, three, -LA-
Honeybunch. One, two, three, -TE
Stir, stir the chocolate.
Acka Backa
(rub hands together as if
Acka backa soda cracker, using a chocolate beater)
Acka backa boo.
Acka backa soda cracker, Tumbling Jack
Out goes you.
Tumbling Jack goes clickety-clack,
The Elephant Down the ladder and then comes back.
Clickety-clackety, rattle and hop,
The elephant carries a great big trunk, Over and down again, flippety-flop!
He never packs it with clothes.
It has no lock and it has no key, Jack-in-the-Box
But he takes it wherever he goes.
Jack-in-the-Box
Jack and Jill Sit so still,
WonÊt you come out?
Jack and Jill went up the hill Yes, I will!
To fetch a pail of water.
Jack fell down and broke his crown Mother, Mother, I Am Sick
And Jill came tumbling after.
Mother, mother, I am sick,
Send for the doctor, quick, quick, quick;

Send for the doctor, send for the nurse, A Collection of Chants, Proverbs, and Poems 379 SECTION IV
Send for the lady with the alligator purse.
Busy as a bee.
In came the doctor, in came the nurse.
In came the lady with the alligator purse; Great oaks from little acorns grow.
Out went the doctor, out went the nurse,
Out went the lady with the alligator purse. Haste makes waste.

The Family Honesty is the best policy.

This is the father short and stout, Hungry bellies have no ears.
This is the mother with children about.
This is the brother, tall you see, Liars should have good memories.
This is the sister with doll on her knee.
This is the baby sure to grow, Little strokes fell great oaks.
This is the family all in a row.
Many hands make light work.
FINGER PLAYS
Many things are lost for want of asking.
Two Little Blackbirds
No pain, no gain.
Two little blackbirds sitting on a wall;
(sit, bounce fists on knees with thumbs up) HAIKU POEMS*

One named Peter, one named Paul. Searching on the wind,
(hold up one thumb, hold up other thumb) the hawkÊs cry . . .
is the shape of its beak.
Fly away, Peter! Fly away. Paul!
(put one hand behind back, put other hand behind A leaf on the stream
back) sinks slowly through the current
to the deepest pool.
Come back, Peter! Come back, Paul!
(bring one thumb back, bring other thumb back) Crow pecks into the sand,
swallows what he finds, then
I’m a Little Teapot shudders all over.

IÊm a little teapot, short and stout, With every gust of sun,
(while extending arms, bend knees) a halo of golden down
surrounds the hawk.
Here is my handle, here is my spout.
(put one hand on hip, extend other hand out to Wind sounds through the trees . . .
side) while here, gnats play in the calm
of wooded sunlight.
When I start to steam up, then I shout,
(sway head from side to side) On this silent snow,
each crunching step echoes dryly
Tip me over and pour me out. into my teeth.
(keep one hand on hip and the other extended,
bend down to side) A cloud of bugs
busy going nowhere
PROVERBS in a ray of sun.
(© 1983 James W. Hackett)
A bird in the hand is worth two in the bush.
POEMS
A penny saved is a penny earned.
Maggie
A rolling stone gathers no moss.
There was a small maiden named Maggie,
A quiet tongue makes a wise head. Whose dog was enormous and shaggy;
The front end of him
Looked vicious and grim·
But the tail end was friendly and waggy.

(Anonymous)

* 1983 by J.W. Hackett from The Zen Haiku and Other Zen Poems of J.W. Hackett (Tokyo: Japan Publications).

380 Appendix C He hasnÊt got a notion of how children ought to play,
And can only make a fool of me in every sort of way.
Rain He stays so close beside me, heÊs a coward you can see;
IÊd think shame to stick to nursie as that shadow sticks
The rain is raining all around, to me!
It falls on field and tree,
It rains on the umbrellas here, One morning, very early, before the sun was up,
And on the ships at sea. I rose and found the shining dew on every buttercup;
But my lazy little shadow, like an arrant sleepyhead.
(Robert Louis Stevenson) Had stayed at home behind me and was fast asleep in
bed.
The Grasshopper and the Elephant
(Robert Louis Stevenson)
Way down south where bananas grow,
A grasshopper stepped on an elephantÊs toe. Travel
The elephant said, with tears in his eyes,
„Pick on somebody your own size.‰ The railroad track is miles away,
And the day is loud with voices speaking,
(Anonymous)
Yet there isnÊt a train goes by all day
My Shadow But I hear its whistle shrieking.

I have a little shadow that goes in and out with me, All night there isnÊt a train goes by,
And what can be the use of him is more than I can see. Though the night is still for sleep and dreaming,
He is very, very like me from the heels up to the head;
And I see him jump before me, when I jump into my But I see its cinders red on the sky,
bed. And hear its engine steaming.

The funniest thing about him is the way he likes to My heart is warm with friends I make,
grow· And better friends IÊll not be knowing;
Not at all like proper children, which is always very slow;
For he sometimes shoots up taller like an India-rubber Yet there isnÊt a train IÊd rather take,
ball, No matter where itÊs going.
And he sometimes gets so little that thereÊs none of (Edna St. Vincent Millay)
him at all.

APPENDIX D SECTION IV

Resources for Elementary
Teachers

CURRICULUM MATERIALS FOR CLASSROOM MUSIC

The following offer a music curriculum for kindergarten through grade 6, with some
beginning in prekindergarten and extending through grade 8. Each has a particular
organization, selection of music, and choice of music-making materials. Most offer
both online and print materials and some online only. Teachers need to visit their
respective websites to learn precisely what is offered and how.

Interactive Music Powered by Silver Burdett with Alfred, General Music (PreK-8).
(2016). Pearson Education, Inc. www.pearsonschool.com/music

Jump Right In: The General Music Series (K-4). (2004 2009). Music Play: The Early
Childhood Music Curriculum. (2004). Music Play 2 (2018). GIA Publications, Inc.
www.giamusic.com

Music Expressions (K-8) in Expressions Music Curriculum K-12. (2008). Alfred Pub.
Co., Inc. www.music-expressions.com

MusicFirst Junior. (2016). http://musicfírstjr.com/
Music Studio: Spotlight on Music, General Music (Prek-8). (2016). McGraw Hill

Education. www.mheducation.com/prek-12/explore/music-studio/spotlight.on-music.html
QuaverÊs General Music Curriculum (Grades K-8). (2011). QuaverMusic.com, LLC.

www.QuaverMusic.com

REFERENCES FOR CURRICULAR APPROACHES

Dalcroze

Anderson, W.T. (2012). „The Dalcroze Approach to Music Education: Theory and Application.‰
General Music Today, 26(1), 27 33.

Bachmann, M.L. (1993). Dalcroze Today: An Education through and into Music. New York: Oxford
University Press.

Landis, B., and P. Carder. (1990). The Eclectic Curriculum in American Music Education: Contri-
butions of Dalcroze, Kodály, and Orff. 2nd ed., Polly Carder, ed. Reston, VA: Music Educators
National Conference.

Mead, V.H. (1994). Dalcroze Eurhythmics in TodayÊs Music Classroom. New York: Schott.
Sadler, M.E. (2007). The Eurhythmics of Jacques-Dalcroze. New York: Bibliolife.
Schnebley-Black, J., and S. Moore. (2003). The Rhythm Inside: Connecting Body, Mind and Spirit

Through Music. Van Nuys, CA: Alfred Publishing Co.
Dalcroze Society of America·www.dalcrozeusa.org
Institut Jacques-Dalcroze·www.dalcroze.ch/

381