Kodály in The Fifth Grade Classroom

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Kodály in the Fifth Grade Classroom
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Kodály Today Handbook Series
Micheál Houlahan and Philip Tacka

Kodály Today: A Cognitive Approach to Elementary Music Education, second edition
Kodály in the Kindergarten Classroom: Developing the Creative Brain in the 21st Century
Kodály in the First Grade Classroom: Developing the Creative Brain in the 21st Century
Kodály in the Second Grade Classroom: Developing the Creative Brain in the 21st Century
Kodály in the Third Grade Classroom: Developing the Creative Brain in the 21st Century
Kodály in the Fourth Grade Classroom: Developing the Creative Brain in the 21st Century
Kodály in the Fifth Grade Classroom: Developing the Creative Brain in the 21st Century
Kodály in the Fifth

Grade Classroom
Developing the Creative Brain
in the 21st Century
Micheál Houlahan
Philip Tacka
1
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Library of Congress Cataloging-in-Publication Data

Houlahan, Micheál.
Kodály in the fifth grade classroom / by Micheál Houlahan and Philip Tacka.
pages cm. — (Kodály today handbook series)
Includes bibliographical references and index.
ISBN 978–0–19–023582–6 (alk. paper); 978–0–19–024852–9 (hardback)
1. School music—Instruction and study. 2. Kodály, Zoltán, 1882–1967. 3. Fifth grade (Education)—
Curricula—United States. I. Tacka, Philip. II. Title.
MT1.H834 2015
372.87′049—dc23
2014033392
9 8 7 6 5 4 3 2 1
Printed in the United States of America
on acid-free paper
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We are the music-makers,

And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams;
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.
Ode, by Arthur O’Shaughnessy
[…] eratque tam turpe Musicam nescire quam litteras

from De Musica, by Isidoris Hispalensis
“Legyen A Zene Mindenkié” [Music should belong to everyone]

Zoltán Kodály
Contents vii
Acknowledgments • ix
Introduction • xi
1 Framing a Curriculum Based on the Kodály Concept • 1

The Kodály Concept • 1
Multiple Dimensions of Music • 2
Grade 5 Music Curriculum • 4
Prompt Questions for Constructing a Music Curriculum • 9
Lesson Planning • 10
Key Components of Lesson Plan Design • 11
2 Developing a Music Repertoire: Students as Stewards of Their
Cultural and Musical Heritage • 17
Selecting Repertoire • 17
Grade 5 Song Lists • 18
3 Teaching Strategies • 47
high ti (Major Scale) • 47
Eighth Note Followed by a Dotted Quarter Note • 55
Natural Minor Scale • 60
Compound Meter (Part 1: 6*Simple Division) • 67
si (Harmonic Minor) • 73
Compound Meter (Part 2: 6*Even Microbeat Subdivision 2) • 81
fi (Dorian Mode) • 87
Compound Meter (Part 3: 6*Uneven Microbeat Subdivision) • 94
ta (Mixolydian Mode) • 100
Developing a Lesson Plan Design Based on the Teaching Strategies • 107
4 Students as Performers: Developing Music Skills and
Creative Expression • 123
Tuneful Singing Skills • 123
Reading Skills • 127
Inner-Hearing Skills • 133
Writing Skills • 134
Improvisation Skills • 137
Musical Memory • 140
Understanding Form • 142
Part-Work Skills • 144
Contents
Creative Movement Skills • 159

Listening Examples for Grade 5 Concepts and Elements • 163
viii 5 Unit Plans and Lesson Plans • 173
Transitions in Lesson Plans • 174
General Points for Planning Lessons • 183
Evaluating a Lesson • 184
Unit 1: Grade 4 Review • 185
Unit 2: high ti • 199
Unit 3: Eighth Note Followed by Dotted Quarter Note • 212
Unit 4: Natural Minor Scale • 225
Unit 5: Compound Meter (Part 1) • 237
Unit 6: Harmonic Minor (si) • 250
Unit 7: Compound Meter (Part 2: Subdivision of the Beat) • 263
Unit 8: Dorian Mode (fi) • 276
Unit 9: Compound Meter (Part 3: Dotted Rhythms) • 288
Unit 10: Mixolydian Mode (ta) • 301
6 Assessment and Evaluation • 314
Grade 5 Assessments • 314
Notes • 341
Index • 343
Acknowledgments ix
We owe a debt of gratitude to the many individuals who inspired, encouraged, and helped
us along the way. Both of us were fortunate enough to study at the Franz Liszt Academy/
Kodály Pedagogical Institute in Hungary and at the Kodály Center of America with
world-renowned Kodály experts, many of whom were Kodály’s pupils and colleagues, who
shared their knowledge with us over many years. Among them were Erzsébet Hegyi, Ildikó
Herboly-Kocsár, Lilla Gabór, Katalin Komlós, Katalin Forrai, Mihály Ittzés, Klára Kokas,
Klára Nemes, Eva Vendrai, Helga Szabó, Laszlo Eősze, Peter Erdei, and Katalin Kiss. We are
especially indebted to Katalin Forrai for her support and encouragement for the research
contained in this publication. Our research is grounded in their many valuable insights and
research.
Special thanks are due to these individuals for critically reading portions of the man-
uscript, field-testing lesson plans, and insightful suggestions regarding this approach to
instruction and learning: Nick Holland, lower school music teacher at St. Paul’s School in
Baltimore, Maryland; Lauren Bain, elementary music specialist in the Northeast School
District of San Antonio, Texas; Georgia Katsourides, music specialist in the Lancaster City
School District, Pennsylvania; and Vivian Ferchill, retired music specialist from Round
Rock, Texas.
Special acknowledgment must be made to Patty Moreno, director of the Kodály
Certification Program at Texas State University, San Marcos, for her support and continued
encouragement of this project. We would also like to thank Holly Kofod and Lisa Roebuck
for their comments, which helped us bring this book to completion.
Many of our students in Kodály Certification Programs at Texas State University;
Belmont University in Nashville, Tennessee; and the Eastman School of Music in Rochester,
New York, have all helped us shape our approach to instruction and learning presented
herein. Kristopher Brown, José Pelaez, Rebecca Morgan, Loren Tarnow, and Meredith Riggs
deserve special mention. Gratitude is due Rebecca Seekatz for her work on the game direc-
tions and for her work on the accompanying glossary of terms. Our many years working
together have not only contributed to the information we present but also served as a con-
tinuing source of inspiration in working with the pedagogical processes we have shaped.
Regarding practical matters, we would like to thank our students at Millersville University
of Pennsylvania for helping us with initial drafts of the manuscript. Special thanks are due
Jamie Duca, for her technical and hands-on assistance.
This book would not be so complete in terms of pedagogy and educational content were
it not for readings and comments from Blaithín Burns, Kodály instructor at the Blue Coat
School. She provided invaluable assistance in the initial design of Kodály in the Fifth Grade
Classroom and field-tested many teaching strategies. Richard Schellhas deserves thanks for
his personal patience and understanding as well as words of encouragement and advice
throughout the writing of this manuscript.
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Acknowledgments
Research for this publication was supported by a grant from Millersville University,
the State System for Higher Education in Pennsylvania. The university’s library assistance,
technical, administrative, and financial support, and overall encouragement for this project
allowed us to bring this volume to completion. We would like to express our gratitude to
x Gabriella Montoya-Stier and Faith Knowles for their permission to include songs from their
collections El Patio de Mi Casa: 42 Traditional Rhymes, Chants, and Folk Songs from Mexico
and Vamos a Cantar. We are very grateful to Katalin Forrai’s children, András Vikár, Tamás
Vikár, and Katalin van Vooren Vikár, for permission to use materials from their mother’s
book, Music in Preschool, edited and translated by Jean Sinor, Budapest, Hungary: Kultura,
1995 (original publication 1988).
We wish to thank Suzanne Ryan, editor-in-chief of humanities and executive editor of
music at Oxford University Press, for her encouragement and critical guidance. We thank
Lisbeth Redfield, assistant editor at Oxford University Press, and Molly Morrison, who over-
saw editing and production. Very special thanks are due our copy editor, Thomas Finnegan,
for his impeccable scrutiny and thoughtful editorial assistance with our manuscript.
Introduction xi
Purpose of Book
The primary purpose of this handbook is to give music teachers a practical guide to teach-
ing fifth grade music that is aligned with information contained in Kodály Today and with
national standards in music that promote twenty-first-century music learning. The foun-
dational aspects of this book are a detailed guide for teaching children to sing, move, play
instruments, develop music literacy skills, enhance music listening, and promote creativ-
ity skills. The hallmark of this teaching pedagogy is that it integrates the development of
problem-solving, critical-thinking skills, and collaborative skills into music instruction and
learning. The importance of this approach is identified in the National Research Council’s
July 2012 report, wherein the authors cite these as “21st century skills” or “deeper learning.”i
Our hope is that every teacher will absorb the process of teaching as it is detailed in this
publication and blend it with personal creativity, which will ultimately result in a lively and
valuable musical experience for students.
We have tried to give elementary music instructors a reference with information and
materials about adopting a teaching approach inspired by the Kodály philosophy of music
education. This fifth grade handbook should not be considered a substitute for reading
Kodály Today: A Cognitive Approach to Elementary Music Education; that volume is a prac-
tical and detailed guide for teaching a music curriculum to children in the fifth grade music
classroom that is aligned with national and state content standards for music education.
Together, Kodály Today and this handbook for fifth grade offer teachers a step-by-step
roadmap for developing students’ love of music, musical understandings, and metacogni-
tion skills.
Focus discussions and surveys with music teachers reveal their concern regarding the
lack of specificity relating to teaching music. Although many teachers have acquired a num-
ber of techniques for use in music activities, many are concerned about developing a more
holistic approach to teaching music, one that moves beyond activities and toward develop-
mental skill building. Teachers are looking for more direction on how to create an organic
curriculum. They are looking for more guidance on how to:
• Select music materials for teaching

• Enhance skills in singing and movement skills that are cognitively and
developmentally appropriate
• Build the foundations of music literacy skills
• Promote creativity skills
• Develop improvisation skills
• Implement evaluation and assessment tools
Introduction
This text addresses these concerns. The ideas reflected here have been field-tested and
shaped over a more than a decade of collaborative work with music specialists. The innova-
tive approach of this book, like the collaboration of music teachers with a group of research-
ers to design the contents of this publication, is truly pioneering.
xii We spell out teaching procedures that are outlined in Kodály Today and demonstrate
how they can be used within lesson plans, in considerable detail. In this handbook, we refer
to chapters in Kodály Today that explain in greater detail the relevant techniques adopted
in lesson plans. The suggestions given should be used as a point of departure for a teacher’s
own creativity and personality and need not be taken entirely literally. It is expected that
teachers will apply these suggestions in a way that is responsive to the needs, backgrounds,
and interests of their own students. The lesson plans and sample curriculums are not meant
to be comprehensive, although they are quite detailed. We expect that music instructors
will infuse these ideas with their own national, state, regional, and local benchmarks for
teaching. We appreciate that teachers must develop their own philosophy for teaching
music and their own repertoire of songs, procedures, and processes for teaching musical
skills, as well as consider such factors as the frequency of music instruction, the size of the
class, the length of the class, and current music abilities of students.
Chapter Summaries
Here are summaries of the chapters in this Grade Five Handbook.
Introduction
Summarizes the fifth grade handbook with a brief outline of all chapters.
Chapter 1: Framing a Curriculum Based on the Kodály Concept

This chapter presents a sample curriculum summary statement as well as curriculum goals
for fifth grade. The information in this chapter is aligned with Chapter 1 of Kodály Today
and the accompanying website.
Chapter 2: Developing a Music Repertoire: Students as Stewards

of Their Cultural and Musical Heritage
This chapter has a selection of music repertoire for teaching music performance, music
literacy skills, improvisation, and composition as well as listening skills. There is also a
detailed review summary of how to teach games and dances to children. The content in this
chapter is aligned with Chapter 2 of Kodály Today and the accompanying website.
Chapter Three: Teaching Strategies

This chapter presents teaching strategies for teaching all music concepts and elements,
based on the model of learning presented in Chapter 6 of Kodály Today for grade five.
More information related to Chapter 3 can be found on a new accompanying website for
the second edition of Kodály Today. Information in this chapter is aligned with Chapter 6
in Kodály Today.
Introduction
Chapter 4: Students as Performers: Developing Music

Skills and Creative Expression
This chapter offers music teachers with guidance on how to develop skill areas in fifth
grade. There are lists of music techniques for teaching the music skills of tuneful singing, xiii
reading, writing, improvisation, musical memory, understanding of form, part-work activi-
ties, instrument performance, inner hearing, creative movement activities linked to games,
and music listening, The content in this chapter is aligned with Chapters 3 and 4 of Kodály
Today and the accompanying website.
Chapter 5: Unit Plans and Lesson Plans

The music curriculum for this grade is divided into units. Each unit focuses on the prepa-
ration and presentation for teaching a new concept and element, and practice of a known
element. Each unit plan has three sections: the first furnishes a list of repertoire for teaching
five music lessons, the second includes a summary of music skill activities to practice, and
the third presents five sample lesson plans for teaching the music concepts and skills, and
practice of a known concept or element for each unit. Worksheets to accompany unit plans
are posted on the accompanying website in Chapter 6, teaching strategies.
More information related to this chapter can be found on a new accompanying website
for the second edition of Kodály Today. The website will include more than twenty work-
sheets to be used for practicing reading, writing, and improvisation for music elements
related to the handbook for the fifth grade. Information in this chapter is aligned with
Chapter 10 in Kodály Today.
Chapter 6: Assessment and Evaluation

This chapter includes detailed assessment rubrics to assess singing, reading, writing, and
improvisation for this grade. These rubrics can form the foundation of any kind of assess-
ment that takes place in the music classroom.
Outstanding Features
Timely Publication
In July 2012 the National Research Council challenged teachers to cultivate approaches to
teaching that develop “deeper learning.” This fifth grade handbook supplies to music teach-
ers with a model that promotes “twenty-first century skills.”
Transcending All Methods of Teaching Music

The researchers have used the Kodály philosophy as a pedagogical compass for this hand-
book. The foundation for the approach in this fifth grade handbook is focused on devel-
oping children’s knowledge of repertoire, performance skills (singing, moving, playing
instruments), reading and writing of music, listening, and improvisation and composition
skills—key components of any music curriculum. Teachers certified in Kodály, Orff, and
Dalcroze training piloted this handbook. Any teacher, regardless of personal philosophy
and particular pedagogy, can use this handbook.
Introduction
Writing Style
The writing style of this handbook is accessible; it instantly engages the reader. The text is
filled with examples of activities as well as detailed lesson plans that translate a theoretical
xiv model for learning and instruction into a practical handbook for teaching music in the fifth
grade music classroom.
Organic Pedagogy
The authors use an organic approach to teaching music that begins with careful selection
of repertoire. This repertoire is then used to build students’ skills in singing, movement,
playing instruments, reading and writing, listening, and improvisation skills. This is accom-
plished through an “immersion” approach to teaching.
Sequential Pedagogy
The researcher outlines the process for presenting musical concepts and developing music
skills. Although several works describing Kodály-based techniques and curriculums exist,
few spell out in detail teaching procedures for presenting musical concepts and integrat-
ing them with musical skill development. Some educators familiar with Kodály-inspired
teaching may already know the teaching ideas presented in this text. However, we have
combined these ideas with current research findings in the field of music perception and
cognition to develop a model of music instruction and learning that offers teachers a map
to follow that will develop their students’ musical understandings and metacognition skills.
We have worked to present a clear picture of how one develops a fifth grade music curric-
ulum based on the philosophy of Kodály, the teaching and learning processes needed to
execute this curriculum, and assessment tools.
Vertical Alignment of Music Classes

Because of the pedagogy used in this publication, it offers a compelling example of how to
achieve vertical alignment in the elementary music curriculum. Like all other subject areas
in the elementary curriculum, this handbook develops routines and procedures that are
common to music lessons regardless of grade level and teaching philosophy. In this teach-
ing handbook, we delineate the teaching process by including thirty-five lesson plans for
fifth grade for teaching music according to the Kodály philosophy and based on the Kodály
Today text. This handbook presents a clear picture of how the teaching and learning pro-
cesses go hand in hand during the music lesson.
New Cognitive Model for Teaching Music

The series presents detailed instructions on how to present music concepts based on a
model of learning developed in Kodály Today. This model builds on the accepted pro-
cess of teaching music: prepare, make conscious, reinforce, and assess. The researcher has
adopted these phases of learning, but each phase is further broken down into stages that
allow sequential teaching of music concepts and elements as well as the means for their
Introduction
assessment. This model of learning inspires the music curriculum, lesson plans, and assess-
ment rubrics for all the handbooks.
Who Should Read This Book? xv

This book will appeal to methods instructors, pre-service music teachers, beginning music
teachers, and practicing or veteran music teachers, for a number of reasons. This is a book
with a solid methodological foundation that focuses on creatively enhancing the learn-
ing environment of students. Therefore, it appeals to methods instructors who will use the
handbooks over the course of a semester to show the necessary elements of a comprehen-
sive music education. Effective methods instruction includes what to teach, how to teach,
and why to teach, and this book addresses all of these areas. Second, pre-service music
teachers will gravitate toward the sequencing and lesson planning included in the book, as
well as specific resources (songs, books), when practice-teaching during methods courses,
field experiences, and student teaching. Third, beginning teachers are often most concerned
with long-term planning for each grade level: unit and lesson plans contained in the hand-
books will appeal to these teachers. Finally, this book will appeal to practicing and vet-
eran music teachers because it can be used to refresh knowledge of teaching music. The
book updates traditional ideas and teaching practices associated with the Kodály concept of
music education and makes them accessible, practical, and relevant for today’s classrooms.
Kodály in the Fifth Grade Classroom

Chapter 1
1
Framing a Curriculum Based

on the Kodály Concept
This chapter gives teachers an overview of the Kodály concept as it relates to curriculum devel-
opment, and it includes a sample of a grade five curriculum. Also included is a lesson plan design
that is used throughout this book to create sample lessons reflecting the content of each chapter.
Chapter 1 of Kodály Today offers teachers a biographical overview of Kodály’s life as well an
introduction to the Kodály concept of music education.
The Kodály Concept

Zoltán Kodály’s philosophy of music education inspired development of the Kodály method or
the Kodály concept of music education. The Kodály method was actually developed by his stu-
dents and colleagues. Simply stated, the method is a comprehensive approach to teaching music
skills. The composer stressed the need for all music teachers to be excellent musicians and con-
ductors, and to have a knowledge of music repertoire to successfully develop a music program.
This section identifies the essential hallmarks of the Kodály method as shaped by Kodály’s phi-
losophy of music education.
Singing
Singing is the essence of the Kodály concept, and tuneful singing is the foundation for developing
music skills. Generally speaking, singing should be taught before formal instrumental lessons.
Singing permits quickly internalizing music and allows students to develop the skill of audiation.
Chapter 3 of this handbook offers a comprehensive overview for developing the singing voice in
the fifth grade curriculum.
Repertoire
Everyone needs to know and celebrate his or her cultural heritage. A key component of this
cultural heritage is folk music, which includes children’s songs and games. These songs and
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Kodá ly in t he Fif t h G r a de Cl a s sro om
games include the basic rhythmic and melodic building blocks of music that can be used
to make connections to all styles of music. A music curriculum should include these
materials:
Folk songs and games of the American culture

Traditional children’s songs and games
Folk songs of other cultures
Art music (music of the masters)
2 Pedagogical exercises written by composers
Recently composed music written by excellent composers
In Chapter 2 of the handbook we lay out a more comprehensive overview of the repertoire
that is used in the elementary music curriculum.
Reading and Writing

Musical reading and writing is another essential component of the Kodály method.
Practitioners of this method use a variety of musical tools to develop a student’s fluency
in reading and writing music. These tools are discussed in more detail in Chapter 4 of this
book. The teaching tools used include relative solmization, moveable do (where the tonic
note is do in major and la in minor), hand signs, and rhythm syllables.
Sequencing
Another vital component of the Kodály concept is the ability for teachers to sequence
materials along with presenting concepts and elements to students that are derived pri-
marily from singing repertoire musically. This is an experience-based approach to learning.
We present a thorough approach to curricular sequencing for grade five in Chapter 5 of
this book.
Multiple Dimensions of Music

Music education, to quote the author Daniel H. Pink, is “fundamental, not ornamental.”1
Learning music gives students many opportunities to perform music, become stewards of
their cultural heritage, develop critical-thinking skills (reading and writing music), be cre-
ative human beings, and be informed listeners and audience members. Through these mul-
tiple dimensions of their music education, students develop skills that not only will make
them more accomplished musicians but will also prepare them for life as citizens of the
twenty-first century.
When designing a curriculum based on the Kodály philosophy of music education, we
need to develop our students’:
• Performance skills through singing, playing an instrument, and movement

• Knowledge of music repertoire
• Critical-thinking skills about music through reading and writing
• Ability to improvise music
• Ability to listen to music with understanding
Framing a Curriculum Based on the Kodály Concept
Students as Stewards of Their Cultural Heritage

Students will perform a repertoire of music that includes folk music, art music, patriotic
music, and recently composed music. They will explore music from cultures such as the
southern Appalachians, African American, Mexican, American frontier, British Isles, and
Eastern Europe. This exposure deepens students’ understanding of the various styles of
music, giving them tools to compare musical styles as well as the cultures they come from.
Fifth grade students will be able to connect music to the subject areas of reading, writing,
language, and math.
3
Students as Performers
For a music education to be complete, it must begin with singing and experiencing the pro-
duction of sound daily. In fifth grade, students will improve part-singing skills and extend
their vocal range by using canons and two- and three-part song arrangements of various
cultural origins. They will also learn songs in preparation for sixth grade concepts. They
will add double circle games, basic square dancing, and conducting complicated meters to
their movement skills. They will demonstrate melodic and rhythmic concepts on recorders
as well as other classroom instruments.
Students as Critical Thinkers

As critical thinkers, students use the scientific method to analyze music. Music teaches
them to become problem solvers and self-motivated, lifelong learners. In fifth grade, the
students will analyze rhythmic and melodic elements. Rhythmic elements include dotted
eighth and sixteenth note combinations, eighth note followed by dotted quarter note, and
various subdivisions of compound meter including triplets. Melodic elements include high
ti, si, fi, ta, major, minor, and modal scales. They learn to sight-read and write simple minor,
major, or modal melody exercises on the staff and various key signatures, as well as com-
pose a rhythmic accompaniment or an ostinato to accompany it. Students will write known
songs using rhythmic and staff notation using C-do, F-do, G-do, D-do, B-flat-do, E-flat-do,
A-la, D-la, E-la, B-la, G-la, C-la, and F-sharp-la and apply absolute letters names to simple
major, minor, and modal melodic exercises on the staff in selected key areas. Students will
also understand how to identify intervals both aurally and visually. They will be able to rec-
ognize simple harmonic functions in both major and minor scales.
Students as Creative Human Beings

When students learn how to express themselves through improvisation and form, and
melodic and rhythmic composition, they learn more about who they are and what they are
capable of accomplishing. They will compose and improvise rhythmic canons and two-part
melodic pieces, as well as compose endings for given melodies and rhythmic patterns. They
will be able to sing simple major melody in minor tonality.
Students as Informed Listeners

Students in the twenty-first century are surrounded every day by music from a variety of
mixed media sources. The fifth grade musical concepts will be reinforced through an
expanded listening repertoire that includes local artists, classical compositions, popular styles,
and peer performances. Along with the melodic and rhythmic concepts, they will recognize
musical features that include pentatonic scale, triple meter, and simple compound meter.
They will recognize forms in classroom song repertoire, folk song, and masterworks, includ-
ing compound binary, compound ternary, rondo, and sonata allegro. They develop an aware-
ness of dynamics, tempo, and timbre through masterworks of various historical periods.
Grade 5 Music Curriculum

4
Here we present a sample grade five curriculum that is shaped by our understanding of
the Zoltán Kodály philosophy of music education. All the sections of the curriculum will
be discussed in greater detail in subsequent chapters. Of course we offer only a shell of a
music curriculum; the demands placed on music teachers differ from one school district to
the next. We present a sample grade five curriculum as a starting point for creating engag-
ing music lessons. It is important to remember that, as we read in the Oxford Handbook of
Music Education, “although disciplined practice is part of the task, a young aspiring musi-
cian’s spirit can be deadened in the face of a curriculum of tasks to be done and discrimi-
nations to be learned in a standardized way, however ‘age appropriate’ its methods strive to
be.”2 It is likely that the specific music skills in the sample will need to be modified accord-
ing to the frequency of instruction. The goal of this curriculum is to make available a model
for constructing your own curriculum based on the Kodály philosophy of music education.
Once you have an understanding of this philosophy, you will be able to make modifications
to suit your own particular teaching situations. Our goal is to show how the major tenets of
the Kodály philosophy, and current practices in teaching music using techniques associated
with the Kodály method, can shape a music curriculum.
Students as Stewards of Their Cultural

and Musical Heritage: Repertoire
1. We hope to expand song repertoire to add to students’ knowledge of children’s
songs and games, folk music of a variety of cultures, art music, recently composed
music, popular music and seasonal music.
A. The student will be able to relate music to history, to society, and to culture
through playing games and singing songs from diverse cultures:
Southern Appalachians
American frontier
Native American
African American
Latino
British Isles
Western Europe
Eastern Europe
Mediterranean
B. The students will be able to understand the stylistic elements of a variety of
music repertoire.
C. The students will be able to connect music to the subject areas of reading,
writing, language, and math.
The curriculum will broaden performance skills:
1. Singing tunefully
A. Students will sing songs independently and tunefully.
B. They will sing individually and in groups in call and response, verse and
refrain, and game songs.
C. They will learn twenty to twenty-five new songs, canons, and two- and
three-part song arrangements of various cultural origins.
5
D. They will sing ten to fifteen songs with solfège and rhythm names that include
high ti, eighth note followed by dotted quarter note, the natural minor scale,
the harmonic minor scales (si), compound meter, and the Dorian (fi) and
Mixolydian (ta) modes.
E. They will learn ten to fifteen songs by sight singing that include high ti, eighth
note followed by dotted quarter note, the natural minor scale, the harmonic
minor scales, compound meter, and the Dorian and Mixolydian modes.
F. They will learn five to seven two- and three-part song arrangements of various
cultural origins.
G. They will use known music symbols and terminology referring to rhythm,
melody, timbre, form, tempo (including accelerando and ritardando),
dynamics, articulation, and meter (including simple and compound) to
perform and explain musical sounds presented aurally.
2. Movement
A. Students perform double circle games.
B. They perform double line games.
C. They perform basic square games.
D. They perform basic square dance.
E. They perform games and dances from various cultures.
F. They explore games, activities, and movement in personal space or general space.
G. They move alone and with others to a varied repertoire of music using
gross-motor, fine-motor, locomotor, and nonlocomotor skills and integrated
movement such as hands and feet moving together.
3. Instruments
A. Students demonstrate fifth grade melodic and rhythmic concepts that include
high ti, natural minor, harmonic minor, Dorian and Mixolydian scales,
compound meter, and an eighth note followed by a dotted quarter note.
B. They play on classroom instruments such as xylophones, glockenspiels,
rhythm instruments, and recorder.
C. They accompany classroom singing on classroom instruments using
patterns that include high ti, natural minor, harmonic minor, Dorian and
Mixolydian scales, compound meter, and an eighth note followed by a
dotted quarter note.
4. Part work
A. Students do call-and-response singing with rhythmic accompaniment.
B. They sing from hand signs.
C. They practice intervals simultaneously with hand signs.
. They accompany a song with rhythmic and melodic ostinati.

D
E. They perform do pentatonic, la pentatonic, do pentachord, la pentachord,
major, minor, harmonic minor, and Dorian and Mixolydian modes in canon.
F. They perform partner songs.
G. They perform aural rhythmic canons.
H. They perform visual rhythmic canons.
I. They sing pentatonic melodies as canons.
J. They sing simple melodic canons.
6 K. They sing pentatonic folk songs in three parts.
L. They sing two- and three-part folk-song arrangements.
5 . Conducting
A. Students conduct repertoire in duple simple, triple meter, compound meter
(in two), and quadruple meter.
Children as Critical Thinkers and Problem Solvers: Music Literacy

1. Reading and writing of rhythmic elements
A. Students know names and written symbols for eighth noted followed by
dotted quarter, compound meter patterns (no subdivision), compound meter
patterns with subdivision of the beat, and compound meter patterns that
include dotted rhythms. (They need to sing repertoire fluently with rhythm
syllables before learning the technical names of notes.)
B. They read with rhythm syllables as well as counting with numbers.
C. They read well-known rhythmic patterns with stick notation and traditional
rhythmic notation.
D. They read a two-part rhythmic exercise.
E. They expand reading of rhythmic patterns from four to eight to
sixteen beats.
F. They write well-known rhythmic patterns with stick notation and traditional
rhythmic notation.
G. They write rhythmic patterns from memory or when dictated by the teacher in
stick notation and traditional rhythmic notation.
H. They expand writing of rhythmic patterns from four to eight to sixteen beats.
2. Reading and writing of melodic elements
A. Students know the names and written syllables for all solfège notes of natural
minor, harmonic minor, and Dorian and Mixolydian modes.
B. They read or write well-known melodic patterns with traditional rhythmic
notation and solfège syllables as well as on staff notation.
C. They read a two-part melodic exercise from notation in exercises of up to
thirty-two beats.
D. They read well-known melodic patterns with traditional rhythmic notation
and solfège syllables as well as on staff notation.
E. They write well-known melodic patterns with traditional rhythmic notation
and solfège syllables as well as on staff notation.
F. They write melodic patterns found in focus songs from memory or when
dictated by the teacher using stick and solfège syllables, traditional notation
and solfège syllables, or staff notation.
G. They write known songs using traditional rhythmic and staff notation, in the
major keys of C-do, F-do, G-do, D-do, B-flat-do, and E-flat-do; and in the
minor keys of A-la, D-la, E-la, B-la, G-la, C-la, and F-sharp-la.
H. They read melodic exercises on the staff with letter names C-do, F-do, G-do,
D-do, B-flat-do, E-flat-do, A-la, D-la, E-la, B-la, G-la, C-la, and F-sharp-la.
3. Inner Hearing
A. Students silently sing melodic motifs or melody from the teacher’s hand signs.
B. They silently sing known songs with rhythmic syllables.
C. They silently sing known songs with solfège syllables. 7
D. They silently read known and unknown rhythms or melodies written in
traditional notation with solfège syllable or staff notation.
E. They sing back short known melodic or rhythmic motives from memory using
text (if the student recognizes the song it is abstracted from), rhythm syllables,
or solfège syllables.
4 . Form
A. Students continue recognition of phrase forms using question-and-answer,
ABAC, and other.
B. They identify rhythmic and melodic motifs.
C. They identify and label small and large musical forms such as AB and ABA,
rondo, and theme and variations presented aurally in simple songs and
larger works.
D. They study the form of folk songs aurally and visually.
E. They identify period structure.
F. They identify cadences.
G. They identify binary form.
H. They identify ternary form.
I. They identify rondo form.
5 . Musical memory
A. Students memorize by reading hand signs that include eighth note followed
by dotted quarter, and rhythmic patterns that include even subdivisions of
the beat as well as uneven subdivisions of the beat of 6*meter in major, minor,
harmonic minor, and Dorian and Mixolydian modes.
B. They memorize from rhythmic notation.
C. They memorize from rhythmic notation with solfège.
D. They memorize from staff notation.
E. They memorize unison and two-part exercises aurally and visually.
Students as Creative Human Beings: Improvisation

and Composition
We hope to expand skills in improvisation and composition to include singing, playing
instruments, and moving at the fifth grade level.
1. Rhythmic improvisation (based on the rhythmic building blocks of sung

repertoire)
A. Students improvise rhythm patterns of four or eight beats by clapping and
saying rhythm syllables.
B. They improvise a rhythmic chain, beginning each phrase with the last syllable
of a previous student.
C. They improvise rhythm patterns of four or eight beats using rhythm
instruments.
D. They improvise a new rhythm to a phrase of a well-known song written in
traditional notation.
E. They improvise question-and-answer motives using known rhythm patterns.
F. They improvise to a given form.
8 2. Melodic improvisation (based on the melodic building blocks of sung
repertoire)
A. Students improvise melodic patterns of four or eight beats by singing with
solfège and hand signs.
B. They improvise a melodic chain, beginning each phrase with the last syllable
of a previous student.
C. They improvise question-and-answer motives using known melodic patterns.
D. They improvise melodic patterns of four or eight beats using barred
instruments.
E. They improvise short musical motives using known scales.
F. They improvise major, minor, and modal melodies to simple four- or
eight-beat rhythms using the voice or a barred instrument.
G. They improvise a two-part melody using hand signs.
Students as Informed Audience Members: Listening

1. Students attend live performances by teachers, other students, and invited guest
musicians featuring known and unknown folk songs.
2. They distinguish among a variety of musical timbres, including those of
children’s voices and soprano, alto, tenor, and bass adult voices.
3. They distinguish among a variety of musical timbres, including those of
woodwind, brass, string, percussion, keyboard, and electronic instruments, and
instruments of various cultures.
4. They use known music symbols and terminology referring to rhythm, melody,
timbre, form, tempo (including accelerando and ritardando), dynamics,
articulation, and meter (including simple and compound) to explain musical
sounds presented aurally.
5. They recognize musical features in recorded music of folk songs, folk music,
and masterworks that include major, minor, harmonic minor, Dorian and
Mixolydian modes, and compound meter.
6. They complete listening examples using a simplified or whole score.
7. They develop awareness of expressive controls, that is, dynamics, tempo,
timbre, and their distinctive characteristics in masterworks of various
historical periods.
8. They recognize phrase forms in classroom song repertoire, folk music, and
masterworks.
9. They recognize tonic, dominant, and subdominant functions.
10. They justify personal preferences for specific music works and styles using music
vocabulary.
Prompt Questions for Constructing a Music Curriculum

These questions will help you tailor the sample curriculum to your own specific needs. It is
important that your curriculum reflect your own teaching philosophy and personality, as
well as your own content knowledge or expertise. Remember also to reinforce the vision
and mission of the school with your music programs, and to review your state standards for
music education.
Questions on Where You Are Coming From

9
1. What is your philosophy of music education?
2. What role does the Kodály concept of music play in the development of your
curriculum?
3. What is the mission and vision of your school?
4. How do you reinforce the mission of your school in your music curriculum?
5. How do you and your music students become advocates for music?
6. How do you develop the teaching of music in your school so that music is treated
as a core subject area?
Questions on Repertoire in the Classroom

1. How do you select music repertoire for your curriculum?
2. Do you use this repertoire to develop all the students’ music skills in performance,
playing instruments, literacy, improvisation, and composition as well as prepare
them to become critical consumers of music?
3. How will you encourage students to use the known rhythmic and melodic
building blocks to create and build musical compositions, bolstering
critical-thinking skills and creativity?
4. How will music benefit a student’s overall academic achievement in the fifth grade?
5. How does your classroom reinforce the core curriculum and the vision of the
campus?
6. How do you assess student growth in musicianship skills and music literacy
throughout the year?
7. How does your classroom embrace cultural diversity though songs?
8. What is the role of foreign folk, art, and popular music being brought in by
students of various cultures, and how do you use it to draw parallels with other
genres in your class?
Questions on Music Skills and Content in Grade Five

1. How will you find a balance among the skills of singing, creative movement,
playing instruments, reading and writing music, composing and improvising, and
listening to music?
2. How do you create music lesson plans that will develop all of a student’s music skills?
3. What rhythmic and melodic elements will your students master in grade five?
Questions on Tailoring Your Teaching to Student Populations

1. What are some ways in which you meet the various needs of bilingual and
transitioning students to strengthen their primary language and promote
acquisition of the English language through repertoire?
2. How do you use a broad range of music genres and styles to reach various
populations of your campus and promote a lasting love and respect for
all music?
3. How do you use a broad range of learning styles to reach various populations of
your campus?
4. What is the place of technology in the music classroom?
5. How do you ensure a safe environment that encourages learning?
10 Questions on Keeping Your Teaching Relevant

1. How do you incorporate modern styles and genres of music in the music
classroom?
2. How do you incorporate popular and jazz music in the music classroom?
Questions on Embracing Music Learning at Your Campus

1. How do you help children embrace all creative experience and musical
production outlets?
2. How do you encourage your faculty, staff, and administration to support your
music program?
3. What steps will you take to ensure your philosophy of music learning is supported
by your campus?
Lesson Planning
We address all of these goals in detail throughout the book. Here we begin the process of
lesson planning. A primary task for music teachers is to teach basic rhythmic elements. To
accomplish this successfully, students need to be guided through a variety of experiential
activities (preparation activities) before learning how to identify sounds and label them
with rhythmic or melodic syllables or learning the notation of these sounds (practice activi-
ties). Once learned, this information (practice) can be applied to expand their musical skills
through reading, writing, and improvisation.
Lesson planning and acquiring music literacy skills are closely intertwined. Teaching a
musical element involves eight steps.
Preparation
1. Prepare the learning through kinesthetic activities.
2. Prepare the learning through aural activities.
3. Prepare the learning through visual activities.
Presentation
4. Present the solfège syllable or rhythm label for the new sound.
5. Present the notation for the new sound.
Practice
6. Incorporate the new element (now identified as a familiar element) into the
practices of reading.
practices of writing.
practices of improvisation and composition.
This is accomplished throughout a series of lessons.

To undertake these steps, there are two basic lesson plan designs: preparation/practice
lessons and presentation lessons.
In a preparation/practice lesson, we prepare one musical element and practice another.
For example, when preparing a new element B (steps 1, 2, and 3) we also practice a famil-
iar element A (steps 6, 7, and 8). Once we have taught steps 1, 2, and 3, for element B 11
in a preparation/practice lesson, we address steps 4 and 5 for element B in presentation
lessons.
Key Components of Lesson Plan Design

Table 1.1 is the basic preparation/practice lesson plan design we use throughout the book.
In each chapter, we will add to this basic lesson plan design to incorporate and reflect the
information in the chapter. We use a lesson plan structure that divides all lessons into
three sections: introduction, core activities, and closure. This design can be modified to
accommodate the learning objectives for developing students’ skills as performers, criti-
cal thinkers, improvisers, composers, listeners, and stewards of their cultural and musical
heritage.
Table 1.1 Components of the Basic Preparation/Practice Lesson

Plan Design
I N T ROD U C T I ON
Performance and demonstration of
known musical concepts and elements
C OR E AC T I V I T I E S
Acquisition of repertoire:
Preparation of a rhythmic or melodic Element B: This section of the lesson is used for
element steps 1–3 of preparing a new element
Creative movement
Practice and performance of musical Element A: This section of the lesson is used for
skills steps 6–8
C L O SU R E
Review and summation
Table 1.2 explains the segments of a basic preparation/practice lesson plan design.
www.ebook777.com
Table 1.2 Explanation of the Preparation/Practice Lesson Plan
L E S S ON SE C T I ON 1 : I N T ROD U C T I ON
Demonstration This segment of the lesson includes vocal warm-up exercises,
of known musical singing known songs, developing tuneful singing, and singing
concepts and known songs with rhythmic or melodic syllables. During this
elements section of the lesson, we address music learning outlined in
the music curriculum under the title of “Students as Stewards
12 of Their Cultural Heritage: Repertoire” and “Students as
Performers: Performance.”
L E S S ON SE C T I ON 2 : C OR E AC T I V I T I E S
This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of Teaching a new song serves two purposes. First, it expands
repertoire students’ repertoire, and second, the new song should also include
rhythmic or melodic concepts or elements that will be addressed in
upcoming lessons.
We present new repertoire for a variety of reasons. Sometimes we
wish to teach a song simply to develop students’ singing ability.
Sometimes a song may be taught because we need to provide
a musical context for teaching future musical concepts. The
teacher may need to teach repertoire for a future performance or
concert.
During this section of the lesson, we address music learning
outlined in the music curriculum under the title “Students as
Stewards of Their Cultural Heritage: Repertoire.”
Preparation of a new Here activities focus on leading students to discover the attributes
concept or element of a new musical concept or element. The instruction focuses on
guiding students through kinaesthetic (step 1), aural (step 2), and
visual learning (step 3) activities.
During this section of the lesson, we address music learning
outlined in the music curriculum under the title “Students as
Critical Thinkers.” Critical thinking is associated with literacy.
Through discovery-based learning children acquire music
literacy skills. In this section of the lesson, students are guided to
understand the basic rhythmic or melodic building blocks of the
song material as well as the formal music structures.
This first period of concentration is followed by a period of relaxation.
Creative movement Students learn singing games and folk songs. Activities focus on
the sequential development of age-appropriate movement skills
through songs and folk games.
A sequence for age-appropriate movement skill development is
provided in Chapter 3 of Kodály Today.
(Continued)
Table 1.2 (continued)
This period of relaxation is followed by a second period of concentration.

Practice and musical In this section, the teacher practices the music skills outlined in the
skill development music curriculum under the title “Students as Critical Thinkers.”
This section reinforces known musical elements while focusing on
a particular music skill such as reading (step 6), writing (step 7), or
improvisation and composition (step 8). (Of course we use these
skills as anchors for practicing all other music skills, such as inner 13
hearing, form, memory, part work, and listening.)
L E S S ON SE C T I ON 3 : C L O SU R E
Review and Review the lesson outcomes
summation Review the new song
Review the lesson content. Review the new song. Students may
review known songs or play a game. The teacher may also perform
the next new song that will be taught in a subsequent lesson.
The next four tables elaborate on the basic presentation lesson plan designs we use
throughout the book; we use Tables 1.3 (components) and 1.4 (explanation) to label
sounds with syllables, and Tables 1.5 (components) and 1.6 (explanation) to present the
notation.
Table 1.3 Components of the Basic Presentation Lesson Plan Design

for Labeling Sounds with Syllables
Performance and demonstration of known
musical concepts and elements
Acquisition of repertoire:
Presentation of a new concept or element Element B
This segment of the lesson is used for step 4
Creative movement
This segment of the lesson is used for step 4.
C L O SU R E
Table 1.4 Explanation of Presentation Lesson Plan for Labeling

Sounds with Syllables
Demonstration of known
musical concepts and
elements
L E S S ON SE C T I ON T WO : C OR E AC T I V I T I E S
14 This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of repertoire
Presentation of a new Using a known song, the teacher presents the label for the new
concept or element sound with either rhythmic or melodic syllables.
Here the teacher will be presenting concepts that are outlined
in the music curriculum under the title “Students as Critical
Thinkers.” Students are guided to first label the sound of the
new musical element and second to learn the notation of the
musical element. They label the sound of the basic rhythmic or
melodic building blocks of the song material and subsequently
learn the notation.
Movement development
Creative movement
Presentation of a new Using another known song, the teacher presents the label for
concept or element the new sound with either rhythmic or melodic syllables.
Thinkers.” They label the sound of the basic rhythmic or
melodic building blocks of the song material.
Review and summation Review the lesson outcomes
Review the new song
Review the lesson content. Review the new song. Students
may review known songs or play a game. The teacher may also
perform the next new song that will be taught in a subsequent
lesson.
Table 1.5 Components of the Basic Presentation Lesson Plan Design

for Notating a New Element
Performance and demonstration of known
musical concepts and elements
Acquisition of repertoire: 15
Creative movement
C L O SU R E
Table 1.6 Explanation of the Presentation Lesson Plan Design

for Notating New Element
Demonstration of known
musical concepts and
elements
L E S S ON SE C T I ON 2 : C OR E AC T I V I T I E S
This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of repertoire
Presentation of a new Element B
concept or element Using a known song, the teacher presents the notation for the
new element.
Thinkers.”
Movement development
Creative movement
(Continued)
Presentation of a new Element B

concept or element Using another known song, the teacher presents notation for
the new element.
Thinkers.”
16
Review and summation Review the lesson outcomes
Review the new song
Review the lesson content. Review the new song. Students
may review known songs or play a game. The teacher may also
perform the next new song that will be taught in a subsequent
lesson.
Note that in this process once we have presented the label and the notation for an element,
it becomes a known element. As we practice a known element, we will also be incorporat-
ing knowledge of all other known elements in practice activities.
Chapter 2
Developing a Music Repertoire

17
Students as Stewards of Their Cultural
and Musical Heritage
This chapter provides teachers with an overview of basic repertoire to be used for developing
singing, playing instruments, creative movement, improvisation, and listening. Included in this
section is an alphabetized list of songs with sources, as well a pedagogical list of songs for teach-
ing rhythmic and melodic elements. This section also includes sequenced directions for teaching
singing games and movement activities.
Selecting Repertoire
A child’s music education should begin with the folk music and rhymes of her own culture:
It is through the indigenous musics of their cultures that children receive the stories of their
people, those that ancestors pass down from generation to generation and others that are
contemporary and reflect new customs. Folk music is the treasure trove of children’s values,
beliefs, cultures, knowledge, games and stores. The music of children’s own cultures must
be given respect and status in the classroom, indirectly giving children a sense of their own
values and status. Receptivity toward the music of other cultures can be developed from
this point of reference, thereby fostering cultural awareness, tolerance and respect.1
We use folk music because it belongs to the oral tradition and it “draws on the power of repeti-
tion and the human urge to generate and create.”2 In the best folk songs there is a unity between
the rhythm and melody; word and musical accents fall together logically.
The Kodály approach uses games songs that are highly repetitive and melodically simple
to help build “inner hearing” (aural) skills and accurate singing (oral) skills. Those music
activities could be valuable to the development of social skills and self-confidence in
children, including those children with special needs, whereby language experience,
aural sensitivity and discrimination, and motor skills are cultivated in enjoyable and
purposeful music game settings.3
Take time to familiarize yourself with the primary sources for folk music referenced in
chapter 2 of Kodály Today. The selection of age appropriate repertoire for each grade is
important. Learning to sing this repertoire from memory will help students “own” this
music repertoire. The songs are easy to learn and they will engage students in the singing
process if they are sung with enjoyment and artistry. Sometimes teachers find it difficult to
believe that they can keep the imagination of a student engaged by singing simple unac-
companied folk songs. When performed in an aesthetic pleasing manner the suggested
songs will capture the imagination of students. Of course these songs may also be accompa-
nied using tasteful piano accompaniments. Ruth Crawford Seeger’s collection of American
18 folk songs for children is a wonderful example of these kinds of simple and tasteful piano
accompaniments.4
The repertoire selected for classroom use should be of high quality and include not
only songs that incorporate musical concepts for teaching but also songs to develop the
joy found in seasonal songs and multicultural songs. Sometimes music teachers choose
song material to help students remember classroom rules; or they can be used as an aid in
developing literacy skills or numeracy skills. Although these songs are useful for developing
students’ social skills, they should not be the primary singing material of the elementary
music program. We need to find ways to connect what we are doing in the classroom with
the community at large, as well as acknowledge students’ own music interests. The Oxford
Handbook of Music Education proposes that “When children’s preferences and tastes in
music are acknowledged and incorporated into the music curriculum, they can be helped
to understand a wider range of music through active involvement in listening.”5 Asking
students to perform a song or a movement they have developed or piece of music they
have learned from the web, television, or their parents is important. Finding ways to con-
nect this repertoire to music activities in the classroom can be powerful. Inviting musicians
into the classroom to perform live music for students is also a great way to make a musical
connection with the community. In so doing, we come to understand “music as an activity
to be engaged in and made between people, rather than as a ‘thing’ to be learned, or set of
uniform skills to be imparted, and, moreover, to see how music and musical practices are
ever-changing.”6
We present in this chapter, for the fifth grade:
• An alphabetical list of repertoire and sources for these songs

• Singing games and directions for playing these games
• A pedagogical list of songs suitable for teaching rhythmic and melodic elements
Grade 5 Song Lists
Alphabetized Song List
Table 2.1 is a core list of game songs for use in the fifth grade music class.
Table 2.1 Grade Five Alphabetical Song List
“Alabama, Mississippi” Circle Round The Zero

“All Night, All Day” Heritage Songster
“All ’Round the Brick Yard” Step it Down
“Alphabet Song” An American Methodology
“Amasee” Sail Away: 155 American Folk Songs to Sing
“Aquaqua Del-a Omar” Klinger, Rita 1987 OAKE Conference
“Au Clair de la Lune” Heritage Songster
“Aviso al Publico” El Patio de Mi Casa
“Bile Dem Cabbage Down” Folk Songs North America Sings
19
“Boots of Shining Leather” Edward Bolkavac and Judith Johnson
“Boston Beans” Celebration of Life
“Bow, Belinda” Folk Songs North America Sings
“Bump up Tomato” Learned from Leigh Ann Mock Garner, TMEA, 2007
“Los Caballitos” El Patio de Mi Casa
“Campanita De Oro” El Patio de Mi Casa
“El Casamiento Del Piojo The Spanish Folksongs in the Southwest, Vol. 4
y la liendre”
“Chairs to Mend” 150 Rounds For Singing and Teaching
“Charlotte Town” My Singing Bird: 150 Folk Songs
“Chicka Hanka” Echoes of Africa in Folk Songs of the Americas, 2nd ed.
“A la Claire Fontaine” Pentatonic Song Book
“Coffee Canon” 150 Rounds For Singing and Teaching
“Daughter, Will You Marry?” Sail Away: 155 American Folk Songs to Sing
“Delgadina” Estudio y Clasificación de La Música Tradicional
Hispanica de Nuevo México
“Los Diez Perritos” El Patio de Mi Casa
“Don Gato” El Patio de mi Casa, p. 56
“Down in the Valley, Two My Singing Bird: 150 Folk Songs
by Two”
‘Draw Me a Bucket of Water” Step It Down
“Erie Canal” Heritage Songster
“Go Tell Aunt Rhody” The 111 Best American Ballads FolkSong USA
“Golden Ring” Folk Songs of the Southern Appalachians as Sung
by Jean Ritchie
“Hashivenu” (Alleluia) Edward Bolkavac and Judith Johnson
(Continued)
“Hi! Ho! The Rattlin’ Bog” Hi! Ho! The Rattlin’ Bog & Other Folk Songs
for Group Singing
“Las Horas” El Patio de Mi Casa
“I Wonder Where Maria’s Sail Away
Gone”
“If You Trust” 150 Rounds for Singing and Teaching
“Johnny Has Gone for a Folk Songster
Soldier”
“Little Johnny Brown” Step It Down
20 “Las Mananitas” A Fiesta of Folk Songs from Spain and Latin America
“Mister Frog Went Sail Away
a-Courting”
“Morning Is Come” Edward Bolkavac and Judith Johnson
“My Landlord” 120 Singing Games and Dances for Elementary School
“Needle’s Eye” Handy Play Party Book
“Noble Duke of York” Handy Play Party Book (“Alabama Gal” CD track 6_
“Oh, No, John” Collection of English Folk Songs, Vol. 1, No. 182 Version A
“The Old Chisholm Trail” Cowboy Songs and Other Frontier Ballads
“Old Joe Clark” The 111 Best American Ballads Folk Song USA (no. 25)
“(On Top of ) Old Smoky” The 111 Best American Ballads Folk Song USA (no. 18)
“El Pajaro” A Fiesta of Folk Songs from Spain and Latin America
“The Pebble Song” An American Methodology, 2nd ed.
“Praise and Thanksgiving” Psalter Hymnal no. 631
“Rabbit and the Possum” Step It Down
“Rise Up, Oh Flame” 150 Rounds for Singing and Teaching
“Sally Go ’Round de Sun” Sail Away
“Sandy Land” Handy Play Party Book
“Scarborough Fair” Heritage Songster
“Shady Grove” Folk Songs of the Southern Appalachians as Sung
by Jean Ritchie
“Shoo, Fly” Handy Play Party Book
“Short’nin’ Brad” Heritage Songster
“Skating Away” Sail Away
“Skip to My Lou” Ozark Folksong Vol. III, Humorous and Play-Party Songs
“Snake Baked a Hoecake” My Little Rooster and Other Folk Songs, Singing Games, &
Play Parties
(Continued)
“Somebody’s Knockin’ at Your American Negro Song and Spirituals

Door”
“Sweet Betsy from Pike” The 111 Best American Ballads FolkSong USA
“Swing Low, Sweet Chariot” Heritage Songster
“To Work Upon the Railway” Folk Song North America Sings
“Wake Up Canon” 150 Rounds For Singing and Teaching
“Weldon” Swing and Turn. Texas Play Party Games
“Wishy Washy” My Little Rooster and Other Folk Songs, Singing Games, &
Play parties
“Zudio” Step It Down 21
References for Table 2.1
“Beatriz E Aguilar (vocalist).” De Tin Marin, Mi Canto, Mis Raices. 2013
Bolkovac, Edward, and Judith Johnson. 150 Rounds for Singing and Teaching.
New York: Boosey & Hawkes, 1996.
Botkin, Benjamin Albert. The American Play-Party Song. Lincoln, NE, 1937.
Botsford, Florence Hudson. Botsford Collection of Folk Sings, Vol. 2.
New York: Schirmer, 1929.
Brown, Frank C. Collection of North Carolina Folklore, Vol. V. Durham, NC: Duke
University Press, 1962.
Dallin, Leon, and Lynn Dallin. Folk Songster. Dubuque, IA: Wm. C. Brown, 1967.
Dallin, Leon, and Lynn Dallin. Heritage Songster. Dubuque, IA: Wm. C. Brown, 1966.
Eisen, Ann, and Lamar Robertson. An American Methodology, 2nd ed. Lake Charles,
LA: Sneaky Snake, 2010.
Erdei, Peter (ed.), and Katalin Komlós. 150 American Folk Songs. New York: Boosey &
Hawkes, 1974 (7th printing), 1985.
Fowke, Edith F., and Richard Johnston. Folk Songs of Canada. Waterloo, Ont.,
Can.: Waterloo Music, 1954.
Hackett, Patricia. The Melody Book: 300 Selections from the World of Music for Piano,
Guitar, Autoharp, Recorder and Voice. Englewood Cliffs, NJ: Prentice-Hall, 1997.
Haywood, Charles. Folk Songs of the World. New York: John Day, 1966.
Hernandez, Antonio Avitia. Cancionero infantile mexicano. Col Del Valle, Mexico,
D.F., 1996.
Johnson, James Weldon, and J. Rosamund. The Book of American Negro Spirituals.
New York: Viking Press, 1969.
Johnston, Richard. Folk Songs North America Sings. (Toronto: Caveat Music Publishers,
Ltd. 1984).
Kenney, Maureen (collected). Circle Round the Zero: Play Chants and Singing Games of
City Children. St. Louis: Magnamusic-Baton, 1974/1975.
Kim, Don Hwan. Korean Folk Songs. Eumag Chun Choo Sha Ed., 1988.
Knowles, Faith (ed.). Vamos a Cantar: 230 Latino and Hispanic Folk Songs to Sing, Read,
and Play. Columbus, OH: Kodály Institute at Capital University, n.d.
Locke, Eleanor G. Sail Away: 155 American Folk Songs. New York: Boosey &
Hawkes, 1988.
Lomax, John A., and Alan Lomax. Folk Song U.S.A. New York: Plume, 1947.
Mendoza, Vicente T. and Virginia R.R. de Mendoza: Estudio y Clasificación de La Música
Tradicional Hispanica de Nuevo México. (México: Universidad Nacional Autónoma de
México.) 1986.
Michael, Concha. Mexico in sus cantares. Av. Mexico-Coyoacan, Mexico, D.F.: Fonda
Nacional para la Cultura y las Artes, 1997.
Montoya-Stier, Gabriela. El Patio de Mi Casa 42 Traditional Rhymes, Chants, Folk Songs
from Mexico. Chicago: GIA, 2008.
Ritchie, Jean. Folk Songs of the Southern Appalachians as sung by Jean Ritchie.
22 New York: OAK/Embassy Music, 1965.
Salgado, Antonio. Canciones Infantiles. Mier y Pesado 128, Col. Del Valle, 03100 Mexico
D.F. D.R. 1990 Selector, S.A. de C.V.
Stark, Richard B. Juegos Infantiles Cantados en Nuevo México. Santa Fe: Museum of New
Mexico Press, 1973.
Grade 5 Singing Games and Sequenced Directions for Playing

Table 2.2 is a list of songs and game directions for teaching fifth grade music concepts and
elements. We also recognize that teachers may have better ideas and more creative ways to
teach musical games. These game directions are intended to offer helpful guidance.
Table 2.2 Grade 5
G A M E DI R E C T I ON S
The following terms often appear in dance and game directions. We thank our student
Rebecca Seekatz for contributing this glossary of terms.
G L O S S A RY OF M OV E M E N T G A M E A N D DA N C E T E R M S
Allemande: Partners match right hands, touching from hands to elbow. Elbow is bent and
hands are up. Partners turn around once to the right so that they return to their original
position. The turn may also be done with left hands in the air, turning to the left.
Arch: Partners join hands and raise arms to let other students through.
Bottom of the Line: In a line or double line, the position furthest away from the head
couple, music source, or caller.
Cast Off: In a double line, partners turn away from each other and walk toward the bottom
on the outside of the line. Other couples may follow.
Circle: Students stand side by side in a circle, facing in toward the middle.
Circle Left: Students move clockwise, with hands joined if desired.
Circle Right: Students move counterclockwise, with hands joined if desired.
Corner: The person next to you who is not your partner.
(Continued)
Do-Si-Do: Two students face each other, slightly offset. They walk forward, passing right
shoulders and go around each other to move back to their original place. The students
should be facing the same direction during the entire movement.
Down: Students move toward the bottom of the line, furthest away from the caller or music
source.
Double Line: Students form two parallel lines, with each student facing opposite their
partner. See Longways Set.
Elbow Turn: Students link arms at the elbow with each other and turn around once. This
may be done to the right, linking right arms; or to the left, linking left arms.
Grand Right and Left: Partners face each other, take right hands and walk forward passing
23
right shoulders. Take left hands with the next person you meet and pass left shoulders. Right
to the next, left to the next, and so on. Take two steps forward for each change of hands.
Head Couple: In a line dance, the couple closest to the head of the line, the caller, or the
music.
Left Hand Cross: Partners face each other, take left hands and walk forward passing left
shoulders so they have switched places.
Longways Set: Students form two parallel lines, with each student facing their partner in
the opposite line. See Double Line.
Promenade: Partners walk forward side by side, holding each other’s hands: right in right and left
in left. Teachers should get students in position by saying, “shake right, shake left, turn forward.”
Right Hand Cross: Partners face each other, take right hands and walk forward passing
right shoulders so they have switched places.
Sashay: Partners hold hands and gallop or skip sideways.
Strip the Willow: In a line dance, the head couple does a right elbow turn once and a half
around so that they are facing the opposite line from which they started. They then each do
a left elbow turn once around with the next person in the line (from the line opposite their
original line). The head couple meets in the middle for a right elbow turn once around, and
then each turn the next person in the opposite line with a left elbow turn; and so on down
the line until they reach the bottom. May also be done by holding hands with your partner
and pulling inward rather than an elbow turn.
Wring the Dishrag: Partners face each other, holding hands. With hands held, partners
swing their hands forward, up and over their heads as they turn underneath. Partners
should be in their original position, hands still held, at the end of the motion.
G A M E DI R E C T I ON S
“A L C I T RON ”
Classroom use—game: Circle
Game directions: pass an object around the circle to the steady beat. Pick up on upbeat,
pass on downbeat. On “triki” tap in the direction you’re passing but do not let go, next
“triki” tap in the opposite direction but do not let go, then on “tron” continue passing in the
regular direction. Start slowly, by tapping beat, isolating “triki triki tron,” then passing small
object like a pencil before moving up to a shoe.
(Continued)
“A M ASE E” ( I M U ST SE E )
Classroom use—game: Double line (reel), Follows “Come Thru ’Na Hurry”
Game directions:
1. Head couple walks down. Turn hands like toasting around your partner’s arm,
with elbows and hands still touching but intertwined. When walking down, let
your backbone slide.
2. “Amasee, Amasee”: Lean in to “bump” hips, then sway hips and step away.
3. “You swing yours”: Swing your partner with right arm at elbow halfway so you
are facing the opposite line (opposite from the line in which you started?).
4. “And I’ll swing mine”: Then swing with lowest person on opposite side with
24 your other (left) arm.
5. “Amasee, Amasee”: Circle all the way around with your first partner and end up
on the opposite line from the one you started in, at the bottom. All others step
to bottom of line-together, then to top of line—together with a big step (sort of
hop too) so all move up. Could do step-together the whole time.
“AQ UAQ UA DE L A OM A R”
Game directions: Players form a circle with their palms up. Place the right hand (palm up)
in the left palm of the player to the right. An appointed leader begins the song by tapping
the palm of the player on the left with the leader’s right hand. The tapping goes to a steady
beat. Whomever receives the tap on the fermata decides how long to hold the note. The
fermata person then taps the next hand to finish the song. If a player’s hand is tapped on the
number 5, they are out. If the player is able to move their hand away in time, the tapper is
out. Continue the game until there is one player left.
“B I G FAT B I S C U I T ”
Classroom use—game: Circle, passing game
Game directions: All students sing the song. Selected students line up side by side, three to
six and a time, and do a flat-foot broad jump at the end of the song. The winner stays and
plays with the next group.
“B O OT S OF SH I N I N G L E AT H E R”
Classroom use: Single, Double or Triple Circle: Song to be performed as a round with
complementary dance
Game directions:
1. Circle left (eight counts)
2. Circle right (eight counts)
3. In four steps (slowly) (eight counts)
4. Out four steps (slowly) (eight counts)
5. In two quick steps, out two quick steps (or do these in place) (four counts)
6. Circle left (eight counts)
7. End on “Ah!” with arms up and hands in the air.
8. This can be made into a double or triple circle, each part beginning the dance
when they begin singing the canon.
(Continued)
“B OW, B E L I N DA”
Classroom use—game: Double line (men’s line on the right hand of the caller, traditionally)
Game directions:
1. “Bow Belinda”: first man and last lady step in and bow to each other (verses 1–5
involve the 1st man and last lady doing actions only)
2. “Right hand around”: allemande right
3. “Left hand around”: allemande left
4. “Both hands around”: hold both hands and turn in circle
5. “Back to back”: do-si-do around each other
6. “Promenade around”: face your partner across the line. Meet in the center,
shake hands, promenade position (left hands on top, right hands on bottom),
whole line follows the head couple, walks toward the top of the set (toward the
25
caller) and around in a counterclockwise circle, back to their own spots.
7. “Through the tunnel” head couple holds hands, all other couples make an arch
and the head couple walk through to the end of the line.
8. Repeat with the new head couple.
“C E DA R S WA M P ”
Classroom use—Game: Longways, (double line) couples facing each other. Boys on left.
Girls on the right.
Game directions:
1. Head couple holds hands and sashays to the bottom of the set and back between
the couples
2. Head couple strips the willow to the bottom.
“C I RC L E RO U N D T H E Z E RO”
Game directions: Teach by example with a few students before making the large circle.
1. Students stand in a circle while one student walks around the outside.
2. “Back back Zero”: Student stops and chooses someone and stands back-to-back with
the person chosen. The student bumps behinds with that person during this phrase.
3. “Side side Zero”: The same happens with the two students as they turn sideways
and bump hips together.
4. “Front front Zero”: The two students face each other and pat hands.
5. “Tap you lovin’ Zero”: They tap each other’s shoulders.
6. The student who is It then changes places with the other student, and the game continues.
7. The game may also be played with more than one student as It at one time, or as a
cumulative game in which the first student never goes back into the circle and more
students are added to the outer circle with each repetition until all are chosen.
“C OM E T H RU ’ NA H U R RY ” ( A L A BA M A G A L )
Classroom use—game: Double line
Game directions:
1. Students stand in a double line across from their partner.
2. Verse 1: The “head couple” sashays down the middle and back.
3. Verse 2: Couples right hand pass, then left hand pass
(Continued)
4. Verse 3: Cast off both lines from the head (“peel the banana”).
5. Verse 4: Head couple makes an arch at the foot, couples hurry through and
return to their spots, creating a new head couple.
“C OT TON E Y E JOE “
Classroom use—game: Line or Circle
Setup: First teach students the motions in one line. After they have mastered the steps,
arrange them in a Texas Star: lines of four in a circle like a spoke in a wheel. Arms can be
over shoulders, or around the waists of their neighbors.
Game directions: Start teaching it by going forward first. In typical performance practice
the star moves with steps backwards.
26
A Section
1. Beats 1 and 2: Cross right heel over left ankle, then kick right foot forward
2. Beats 3 and 4: Triple step back—right, left, right
3. Beats 5 and 6: Cross left heel over right ankle, then kick left foot forward
4. Beats 7 and 8: Triple step back—left, right, left
5. Repeat
B Section
1. Beats 1 and 2: Shuffle forward—right, left, right
2. Beats 3 and 4: Shuffle forward—left, right, left
3. Beats 5 and 6: Shuffle forward—right, left right
4. Beats 7 and 8: Shuffle forward—left, right, left
5. Repeat
“F OU R W H I T E H OR SE S”
Classroom use—game: Square Game
Game directions:
Beginning motions:
Clap, clap partner’s hands (lead couple clap up, other couple clap lower), clap, clap
neighbor’s hands out to the side.
This can be done in a square or in circle (for younger kids)
Harder version:
Instead of clapping out second time each time, clap high once and low once. Other couple
do low first and then high.
Hardest version:
Clap up, clap side, clap down, clap side—opposite for other couple
“H I L L A N D G U L LY R I DE R”
Classroom use—game: Line dance
Setup: Arrange the class standing in rows of four to six students depending on class size; as
in a line dance.
Game directions:
1. Sing the song and clap the rhythm on the words “Hill and Gully.
2. “Hill and Gully Rider”: Walk four steps forward; “Hill and Gully” clap the rhythm.
(Continued)
3. “Hill and Gully Rider”: Walk four steps backward; “Hill and Gully” clap the rhythm.
4. “Took my horse and come down”: Quarter turn to the right then clap “Hill
and Gully”5. “But my horse done come down”: Quarter turn to the right again
then clap “Hill and Gully”
6. “And the Night time come a tumblin’ down”: Quarter turn to the right again
then clap “Hill and Gully” (you should now be a quarter turn away from
original position)
7. Repeat for each verse.
“H O G S I N T H E C OR N F I E L D”
Classroom use—game: Partner
Game Directions Version 1: Partners decide who will be number one and who will be 27
number two. One or more pairs come to a line marked on the floor. The pairs grab right
hands and put their toes against the line. The class sings the song once. When the song is
over, each student tries to pull his/her partner over the line. Whoever wins takes his/her
partner over to his/her team. When everyone has had a turn, each team is counted, including
the losers who have come from the other team. The team with the most students wins.
Game Directions Version 2: Partners are back to back in the middle of the classroom.
Partners walk away from each other to six beats. On beats 7 and 8 they do rock, paper,
scissors to the eighth note rhythm.
“I ’ S T H E B Y ”
Classroom use—game: Circle.
Game directions:
1. Circle left eight steps
2. Circle right eight steps
3. “Boy” bumps hip of partner for four counts
4. “Boy” bumps hip of corner for four counts
5. “Boy” swings partner around for eight counts (one and a half times around)
ending up facing his corner.
6. Boy’s corner becomes his new partner.
“I ’ V E L O S T T H E FA R M E R’ S DA I RY K E Y ”
Game directions: Students stand in a circle holding hands, one student stands in the
middle. The class sings the song; on the words “do, do” the student in the middle tries to
break through the circle but can only do so without using his or her hands.
“JOH N KA NA KA”
Classroom use—game: Double Circle, single circle. Traditionally, girls stand in the inside
circle facing the outside circle and their partner.
Game directions:
1. On “I heard, I heard the old man say”: Students do-si-do with their partner.
2. On the refrain “John Kanaka-naka too-la-ay”: Students perform the following
motions:
“John Ka - na - ka - na - ka too - la - ay”
Stomp right foot, pat (legs), pat, pat, pat, pat, clap, clap, pat (partners hands)
(Continued)
3. On “Today, today is a holiday”: Students do-si-do with their partner

4. Refrain
5. On “Too la-ay, oh, too la-ay”: Students perform the following motions:
6. “Too - la - ay, oh too - la - ay.”
Clap, clap, pat, raise hands and shake, clap, clap, pat.
7. On the “Oh” of the phrase, students should step to the right. The inner circle
will move clockwise and the outside circle will move counter clockwise. This
places everyone in front of a new partner.
8. Refrain: Perform with the new partner.
Note: It is important for the teacher to model this with one student first.
28 “L ON G ROA D OF I RON ”
Game directions: (Like Alcitron)
Pass an object around the circle to the steady beat. Pick up on upbeat, pass on downbeat.
On “chicky” tap in the direction you’re passing but do not let go, next “chicky” tap in
the opposite direction but do not let go, then on “chay” continue passing in the regular
direction. Start slowly, by tapping beat, isolating “chicky chicky chay,” then passing small
object like a pencil before moving up to a bean bag or shoe.
“M A M A L A M A”
Game directions:
1. Students stand in circle, alternating clapping their own hands and neighbors
hands on each side to beat.
2. During “Anie Manie” one student dances to the middle of the circle and back to
their seat.
3. On the repeat, other students copy the movement and dance to the middle and
back.
“ T H E N OB L E D U K E OF YOR K ”
Classroom use—game: Double line, contra dance formation
Game directions:
Verse 1: The head couple slides or sashays to the end of the set and back.
Verse 2: Head couple cross hands and spin around to the foot of the set and stay,
making an arch.
Verse 3: The two lines, face the front and cast off, going through the arch, back to
place, with a new head couple. The song begins again.
Note: If everyone is not through the arch, it is clever for the teacher to name a different
animal, and the players must name a rhyming word at the proper time in the music.
“OBW I S A N NA”
Classroom use—game: Circle, rock passing
Meaning of words: “Oh Grandmother I have hurt my little finger on a rock.”
Game directions:
1. Students sit in a circle, knee to knee.
2. Hands should be held out on knees
(Continued)
3. Each person begins with a small smooth rock in their left hand.

4. On beat 1 pick up the rock in the left hand with the right hand (on the word
“Obwi---”).
5. On the next beat move the rock to the person’s left hand sitting to your right (on
the word “sana”).
6. On the next beat move your hand back to your left hand and retrieve the new
rock that has been placed there (on the word “sa–” ).
7. On the following beat move this rock to the hand of the person to your right
(on the word “sana”).
8. Continue this pattern.
“OL D B E T T Y L A R K I N ” 29
Classroom use—game: square dance, grapevine twist (circling each couple in a square
dance set)
Game directions:
1. “Hop around, skip around, old Betty Larkin”: Circle left halfway, circle right halfway
2. “Needle in a haystack”: Girl 1 is the leader of a grapevine twist.
3. “Steal, steal”: Grand right and left, promenade home.
4. “You take mine and I’ll take another”: Boy 1 is the leader of a grapevine twist,
passing his partner, and getting a new partner one to the right.
5. Entire song may repeat, with girl 3, boy 3, girl 2, boy 2, girl 4, boy 4 getting a
turn to lead the grapevine twist.
“OV E R T H E R I V E R”
Classroom use: Double Line
Game directions:
1. Students stand in a double line across from their partner.
2. Take four steps towards partner, four steps back.
3. Right hand pass with your partner.
4. Take four steps towards partner, four steps back.
5. Right hand pass with your partner.
6. Head couple goes down the alley to bottom by improvising movement, ending
at the bottom and creating a new head couple.
“ T H E P E B B L E S ON G”
Game directions:
Students stand in a circle, close together, and one student is chosen to be It, standing in the
middle of the circle. The circle may hold a string through which runs through a large bead,
or they may simply pass a rock. As the sing the song, they must pass the bead or rock past
as many students as possible without the person in the center seeing it. At the end of two
repetitions of singing, the person who is It must try to guess who has the bead or rock. They
get three guesses. Whether they guess correctly or not, the person with the bead exchanges
places with the person in the middle, and the game begins again.
(Continued)
“R A B B I T A N D T H E P O S SU M”
Classroom use—game: Circle game
Game directions: Players sit in a circle on the floor. One person is chosen to be the Rabbit and
is blindfolded. Then another student is selected to be the Possum. Everyone sings the song. At
the conclusion, the Rabbit says (or sings) his or her name. The Possum answers with his name
and the Rabbit tries to catch him based on where the sound is coming from. The Rabbit may
say his name as often as he likes and the Possum must always answer immediately.
(This can also be played with the Rabbit calling out, “Possum, where are you?” The Possum
must respond with “Here I am.”)
“ROM A N S OL DI E R S”
30
Classroom use: Double line
Setup: Students face each other like two armies ready for battle. One side is designated the
English side and one side is designated the Roman side.
Game directions:
1. Verse 1: The Romans advance toward the English line in a belligerent manner
for eight counts. They then retreat backwards for eight counts.
2. Verse 2: The English advance cocky and confident for eight counts. They then
retreat backwards for eight counts.
3. Verse 3: The Romans hold out a hand as though holding a wine goblet and advance
on the English for eight counts. They then retreat backwards for eight counts.
4. Verse 4: The English advance wagging an admonishing finger for eight counts.
They then retreat backwards for eight counts.
5. Verse 5: The Romans advance pointing accusingly for eight counts. They then
retreat backwards for eight counts.
6. Verse 6: The English retaliate with a variety of disrespectful gestures to support
their feeling of scorn for the Roman threat for eight counts. They then retreat
backwards for eight counts.
7. Verse 7: The Romans realizing that their policy has failed walk forward eight
counts with open arms ready for reconciliation (but they do not touch the
others). They then retreat backwards for eight counts.
8. Verse 8: The English respond warmly with gestures of friendship towards the
Romans (i.e., shaking hands, slapping backs, etc.) and sing the final phrase in
the Roman camp.
“ T I DE O”
Classroom use—game: Double circle, partner
Setup:
Double circle: make one circle, ask every other student to step in
Inside circle faces out
Game directions: Outside circle face someone in inside circle. The following motions are
done each time the word is sung
1. “Tideo” clap pattern instruction: Lap, clap, straight
(patty-cake-two-hands-out clap
2. “Pass”: Outside circle move one partner to the right.
(Continued)
3. On “jingle”: Students hold two hands and wiggle.

4. Variation: inside circle moves to the right instead of the outside circle.
“ T U R N T H E G L AS SE S OV E R” ( I ’ V E B E E N TO HA A R L E M ) ”
Classroom use—game: Double circle, partner, stealing
Game directions:
1. Teacher partners students, then students form a double line. They should be
standing side by side their partner with elbows linked.
2. Circle Right, kicking feet out on the upbeats.
3. On “Drink what you have to drink”: Partners face each other and hold hands.
4. On “Turn the glasses over”: Partners wring the dishrag
5. On “Sailing east …” Outside circle walks counter clockwise, inside circle 31
walks clockwise.
6. On “Ocean”: Students should be in front of a new partner.
Game variation: If playing the “stealing” version, begin the game with one student in the
middle of the circle. On the phrase “Sailing east …” the middle person joins the inner
circle. When the song stops on “Ocean” one person in the inner circle will be left without a
partner. This student is now It and begins the next repetition in the middle.
“W E E V I LY W H E AT ”
Classroom use—game: Square dance
Setup:
Person in front of caller is lead with his or her back to caller.
Person facing lead is number 2, sometimes called second lead.
Person to lead’s right is number 3.
Person to lead’s left is number 4.
Game directions:
1. “Don’t want your weevily wheat, don’t want your barley”: Students take hands
and circle left.
2. “Take some flour in half an hours and bake a cake for Charlie: Circle right.
3. “Five times five is twenty-five, five times six is thirty, five times seven is
thirty-five, five times eighth is forty”: Lead puts right hand in the middle, the
others follow suit and put their right hands on top of the pile one by one. When
all right hands are in, then put left hands on pile in order one by one. When all
hands are in, then pull bottom hand and put on top.
TEACHER TIP: Explain that you can’t pull your hand out from the middle, only from the
bottom.
4. “Don’t want your weevily wheat”: Students circle left and right just as in
beginning but keep hands in the stacked position in the middle. Do this part
faster to grind the flower extra fine.
TEACHER TIP: Can add other multiplication numbers.
(Continued)
“W E L D ON ”
Classroom use—game: Double line
Suggestion: Instead of “Weldon” substitute the name of your school, town or place
to personalize the text of the song for the students. For example, “Let’s go down to
Austin …”
Verse 1: “Let’s go down to Weldon …”
• Four steps toward partner in other line (clap partner’s hands on beat 4)
• Four steps back to your own line (clap on beat 4)
• Four steps and partner-clap again
• Four steps back and clap again
32 CHORUS “Rally, rally, rally …” (Same for all choruses)
Elbow swing with partner, eight beats
Elbow swing opposite direction and return to your line order, eight beats
Verse 2: “My girl lives in Weldon …”
• Line 2 follows Line 1’s leader all the way around Line 1 and back into place
(sixteen beats)
CHORUS “Rally, rally, rally …” (Same for all choruses)
Verse 3: “Once and a half in Weldon…”
• Four steps toward partner-hand-shake, turn right (four beats)
• Four steps into hand shake, turn right (four beats)
• Four steps into hand shake, turn right (four beats)
• Four steps into hand shake, turn right back into line order (four beats)
Verse 4: “Let’s promenade in Weldon…”
• Head couple wicks off to the left, next pair to the right, etc. (sixteen beats)
• All promenading couples walk/skip around to back of line while singing this verse,
zip back into line order
Verse 5: “Fare thee well in Weldon …”
• Head of Line 1 makes a motion down the alley to the back of the opposite line
(eight beats)
• Head of Line 2 imitates partner’s improvised motion, takes a new spot at back of
partner’s line (eight beats)
• Meanwhile, all other partners in Lines 1 and 2 are clapping on the beat and
sidestepping toward the front of the line to fill space left by those who moved and
create space for them at the back.
CHORUS “Rally, rally, rally …” (same for all choruses)
(Continued)
“W I SH Y WASH Y ”
Classroom use—game: Circle, partner, acting out, choosing
Game directions:
1. On “Oh, we are two sailors”: The teacher (or leader/sailor/sailors) walks around outside
of circle.
2. Person walking around the circle comes into the circle and faces a partner: On “Wishy
Washy”: Both partners extend their arms and hold each other’s shoulders. Partners
simultaneously jump, with their feet swaying out sideways, mirroring each other.
3. Extension: Have more sailors go around the circle at the same time and more partners.
Notes: Sea shanty
33
Grade 5 Pedagogical Song List for Teaching Rhythmic

and Melodic Concepts and Elements
In Table 2.3, we present a list of songs for teaching core rhythmic and melodic concepts and
elements for grade five. Note that each element is taught in a basic four-beat pattern. We
suggest teaching a variety of patterns that contain any new element.
Table 2.3 Grade 5 Pedagogical List of Song Titles
High ti
“Alleluia”*
“Alphabet song I”
“Alphabet song II”
“Campanito de Oro”
“Los Diez Perritos”
“Johnny Has Gone for a Soldier”
“Joy to the World”
“Sweet Betsy from Pike”
“Wake up Cannon”
Eighth note followed by a dotted quarter
ar
“All Night, All Day”
“Billy Boy”
“Charlotte Town”*
“Delgadina”
“The Erie Canal”
(Continued)
“Go Down Moses”

“Great Big Dog”
“Little Johnny Brown”
“Walk Along John”
Natural Minor Scale
“Alleluia” (in minor)*
“Come to the Land”
“Dona, Dona, Dona”
“Drill Ye Tarriers”
34
“Ghost of Tom”
“Hashivenu”
“Mi Gallina”
“Sweet William”
“To work upon the Railway”
“Tumbalalaika”
Compound Meter I
“El Casamiento del Piojo”
“Row, Row, Row Your Boat”*
“Wishy Washy”
Si
“Ah Poor Bird”*
“Delgadina”
“Go Down Moses”
“El Pajaro”
“Vine and Fig Tree”
Compound meter II
“The Cherry Tree Carol (II)”
“Come Let’s Dance”
“Morning is Come”*
“Wee Cock Sparra”
fi
“Drunken Sailor”*
“Ground Hog”
“Scarborough Fair”
(Continued)
Compound Meter III

“Early to Bed”*
“Hashivenu”
Ta
“As I Roved Out”
“The Avondale Mine Disaster”
“The Dying Cowboy”
“I’m Going Home on a Cloud”
35
“Git Along Lil Dogies”
“Good Morning my Pretty Little Miss”
“The Jam on Jerry’s Rocks”
“Old Joe Clark”*
*Focus Song
Introducing Songs Within a Lesson

Here are suggestions for introducing songs.
Movement
Associate a motion or game with a known song. Perform one motion or action associated
with the song; students join in singing when they recognize the song. Once the students
recognize the song, sing the starting pitch so all students can join.
Visuals
Create pictures or assemble visuals associated with a particular song; students sing the song
once they recognize the visual clue.
Introducing Songs to Students Using a Rhythmic Focus

• Teacher asks students to sing a song.
• Students recognize the song from rhythmic clapping.
• Students read the rhythm of a song written on the board; as soon as they
recognize it, they may begins to sing it with text as they clap the rhythm.
• Students write the rhythm of a song, but mix up the order of the phrases. Students
read the phrases and try to identify the song.
• Students recognize a song, hearing it performed on a percussion instrument.
• Students sing a song on a neutral syllable, as teacher performs a rhythm ostinato
on a percussion instrument.
• Students recognize a song by hearing an internal phrase (not the first phrase)
clapped by the teacher.
• Teacher claps the rhythm of a song and students perform in canon, after
two beats.
Introducing Songs to Students Using a Melodic Focus

• Teacher asks students to sing a song
• Students recognize song by hearing the teacher sing using a neutral syllable.
• Students read from hand signs with solfège syllables once they recognize the song.
• Students read an internal phrase of music from teacher’s hand signs with solfège
syllables to recognize a song.
• Students read the teacher’s hand signs using inner hearing, and recognize a song.
36 • Students read an internal phrase of song from the teacher’s or another student’s
hand signs using inner hearing, and recognize a song.
• Students read in canon from teacher’s hand signs and recognize a song.
• Read from the tone ladder using solfège syllables and hand signs, and recognize
a song.
• Read an internal phrase of the song from the tone ladder using solfège syllables
and hand signs, and recognize a song.
• Read from the tone ladder, using solfège syllables and hand signs, and recognize
a song.
• Read an internal phrase of the song from the tone ladder, using inner hearing
with solfège syllables and hand signs, and recognize a song.
• Read from traditional rhythmic notation with solfège syllables beneath, using
solfège syllables and hand signs to recognize a song.
• Read an internal phrase from a song written in traditional rhythmic notation
with solfège syllables beneath, using solfège syllables and hand signs to recognize
a song.
• Read from traditional notation with solfège syllables beneath, using inner hearing
to recognize a song.
Lesson Planning
In the accompanying handbooks for all grades we have included an alphabetized repertoire
list of examples of materials that can be used for teaching singing, music literacy, music
skills, and listening. The lesson plans in this chapter and subsequent chapters emphasize the
sections of the lesson plan that can be expanded as a result of information presented in the
chapter. Our purpose here is to emphasize that everything we do in a music lesson is always
related to song material sung by students.
Creating a Preparation/Practice Lesson Plan

Before we label any element in a music lesson, we give students practical experiences that
guide them to make a connection with the new element through kinesthetic, aural, and
visual activities. This is always done in the context of performance. We call these preparation
activities. Once we label an element, we practice it. In other words, we are developing les-
sons that focus on preparing a new concept as well as practicing known concepts. Generally
speaking, we try to address both rhythmic and melodic skills in each lesson. Whenever we
are preparing a rhythmic element in the first part of a lesson, we practice a melodic element
in the second part of a lesson. Conversely, if we prepare a melodic element in the first part of
a lesson, we practice a rhythmic element in the second part of a lesson.
Table 2.4 is a sample basic lesson plan template using repertoire from the alphabetized list.
Table 2.4 Basic Preparation/Practice Lesson Plan Template Using

Repertoire from the Alphabetized List
Performance and Ss demonstrate their prior knowledge of repertoire and
demonstration of known musical elements through performance of known songs
musical concepts and elements selected from the alphabetized repertoire list. 37
Acquisition of repertoire New song selected from the alphabetized repertoire list
that expands students’ repertoire and prepares for the
learning of a music rhythmic or melodic concept or
element. Instructional context: when we are preparing
a rhythmic element, the new song should be selected to
prepare the next melodic element; when we are preparing
a melodic element, the new song should be selected to
prepare the new rhythmic element.
Preparation of a rhythmic or Learning activities in which Ss are taught a new musical
melodic element concept through known songs found in the alphabetized
repertoire list. When preparing a rhythmic element, the
second part of the lesson practices a melodic element, and
when preparing a melodic element, the second part of the
lesson practices a rhythmic element.
Movement development Known song or game found in the alphabetized repertoire
list or singing game list.
Creative movement Focus on the sequential development of age-appropriate
movement skills through songs and folks games.
Practice and performance Ss reinforce their knowledge of musical elements working
of musical skills on the skill areas of form, memory, inner hearing,
ensemble work, improvisation and composition, and
listening through known songs found in the alphabetized
repertoire list. When practicing a rhythmic element, the
first part of the lesson prepares a melodic element; when
practicing a melodic element, the first part of the lesson
prepares a rhythmic element.
C L O SU R E
Review and summation Review of lesson content; T may perform the next new
Review the lesson outcomes song to be learned in a subsequent lesson found in the
Review the new song alphabetized repertoire list.
Table 2.5 is a sample preparation/ presentation lesson plan using repertoire appropriate
for grade five. Note that in the template lesson, we used the wording “Performance and
Demonstration of Known Musical Concepts and Elements” as generic terminology for all
activities in the introduction. We will continue to use this wording in lesson plan templates
so that the reader can focus on the core activities of the lesson.
Table 2.5 Grade 5: Unit 5, Lesson 3
Outcome Preparation: creating a visual of repertoire that contains basic rhythm

patterns in compound meter
Practice: improvise melodies in the natural minor scale
I N T RODU C TORY AC T I V I T I E S
38 Warm-up T selects a contemporary piece of music for movement.
• Body warm-up
• Beat activity
• Breathing: Ss practice breathing exercises.
• Resonance: imitate the sound of a siren with the voice. Challenge the
Ss to make soft and loud, high and low, long and short sirens, and
sirens that just go up, just come down, or do both.
• Posture: remind Ss about the correct posture to sing sitting and or
standing.
Sing known songs “All Night, All Day”
CSP: E
• S song in with text.
• S song in two parts
Develop tuneful “To Work Upon the Railway”
singing CSP: A
Tone production • Sing song.
Diction • Ss practice singing a phrase of a song and repeating it a minor
Expression second higher. Use a pure vowel sound. Each time you repeat you
can sing another on a new vowel sound.
• Practice singing diphthongs.
Kodály Choral Library, Let Us Sing Correctly, no. 82
Review known “Go Down Moses”
songs and elements CSP: D
• Ss sing song and conduct.
• Ss sing song with rhythm syllables and conduct.
• T hums phrases on “loo” and Ss repeat.
• T may choose to sing phrases of “All Night, All Day,” “The Erie
Canal,” “Billy Boy,” “Great Big Dog,” “Walk Along John,” “Little
Johnny Brown,” or other known songs that use known rhythms; Ss
echo-sing using rhythm syllables.
(Continued)
Teach a new song “Rose Rose”
CSP: G
• T sings song.
• T sings song on “loo” and Ss follow in canon.
• T sings with text and Ss conduct.
Develop knowledge “Row Your Boat”
of music literacy CSP: D
concepts • Ss sing song.
Create a visual • T assess kinesthetic and aural awareness by allowing the class to
representation of perform several of the kinesthetic and aural awareness activities.
what you hear • T hums the target phrase with a neutral syllable and asks Ss to 39
create a visual representation for the rhythm of the song.
• T: “Pick up what you need to recreate what you heard” or “Draw
what you heard.” T assesses Ss’ level of understanding.
• Ss share their representations with each other.
• T invites one S to the board to share a representation with the
class. If necessary, corrections to the representation can be made by
reviewing the aural awareness questions. Identify solfège syllables
for representation and sing.
• Ss sing “Row, Row, Row Your Boat” with a neutral syllable and
point to the representation.
• Ss figure out the solfège syllables for complete melody and sing.
• Ss sing song in canon.
Creative movement “Zudio” (minor-based)
CSP: D
• Compose a rhythmic ostinato for percussion instrument.
• Compose a melodic ostinato for a pitched instrument.
• Create a new game movement.
• Create a new text.
Practice and “Alleluia” (in minor)
performance of CSP: D
music skills • Ss sing with hand signs.
Improvisation • T sings “Go Tell Aunt Rhody” in major and in minor.
• Ss sing in minor.
Practice transforming melodies from the major scale to the minor. Begin
with pentachord and hexachord scales before moving to the minor. Ss
should sing major melodies and T should sing back in minor. Once Ss
can switch back and forth between major and minor, T should begin to
analyze the form and tone set of major and minor melodies as well as
help Ss understand the role of the dominant and tonic notes at the ends
of phrases.
Practice singing question-and-answer phrases in a natural minor key.
SUM M A RY AC T I V I T I E S
Review lesson
outcomes
Review the new song “Rose Rose”
CSP G
In the first section (preparation of a new concept) of a lesson, we guide students to dis-
cover the concept behind a new element. For example, if we want to teach the musical ele-
ments of quarter and eighth notes, students need to be guided to understand the concept of
one or two sounds on a beat.
In the second section (practice) of the lesson, the teacher reinforces and further develops
students’ understanding of preceding known musical elements through a variety of musical
skills. Of course, musical skills may also be practiced during any section of the lesson plan.
This section of the lesson may also include assessment activities to help the teacher identify
students who may require extra help.
Each preparation/practice lesson has an instructional context (preparation) and a rein-
forcement (practice) context. In this type of lesson, we continue to develop singing abilities,
teach new repertoire, and enhance movement and listening skills. During the preparation/
practice lesson, we do not name the new concept or element but create opportunities for
40 music students to discover the attributes of the new concept or element being studied. This
dual structure of the preparation/practice lesson gives students time to process their under-
standing of the new concept, while promoting further development of their musical skills
with the previously learned musical element. This is crucial for positive self-esteem and the
enjoyment needed for learning to take place.
Creating a Presentation Lesson
There are two presentation lessons. In the first we associate solfège or rhythm syllables
with the new element and in the second we present the notation for the new lesson plan.
Throughout this book we identify specific songs for teaching specific elements. We refer
to these songs as focus songs: they contain core building blocks that we want students to
master. Sometimes we target a specific phrase in a focus song; we refer to this phrase as the
target phrase for the song.
As mentioned above, in the first presentation lesson we simply name or label the concept
or element studied during the preparation/practice lesson and continue developing singing
abilities, as well as movement and listening skills, and teach new repertoire. In the second
presentation lesson, we show students how to notate target patterns.
Table 2.6 is a basic presentation lesson plan template for presenting rhythmic or solfège
syllables.
Table 2.6 Basic Lesson Plan Template for Presenting Rhythmic or

Solfège Syllables
Performance and Ss demonstrate their prior knowledge of repertoire and musical
demonstration of elements, including the new musical element to be presented
known musical through performance of songs selected from the alphabetized
concepts and elements repertoire list.
(Continued)
Acquisition of New song selected from the alphabetized repertoire list that
repertoire expands Ss’ repertoire and prepares for the learning of a
music rhythmic or melodic concept or element. Instructional
context: when we are preparing a rhythmic element, the new song
should be selected to prepare the next melodic element; when we
are preparing a melodic element, the new song should be selected
to prepare the new rhythmic element.
Presentation of a T labels the name of the new musical element with rhythm or
rhythmic or melodic solfège syllables for the focus pattern.
element 41
Creative movement Known song or game found in the alphabetized repertoire list.
Focus on sequential development of age-appropriate movement
skills through songs and folks games.
Presentation of a T labels the name of the new musical element with rhythm or
rhythmic or melodic solfège syllables in a related pattern.
element
C L O SU R E
Review and Review of lesson content and T may perform the next new song
summation to be learned in a subsequent lesson found in the alphabetized
repertoire list
Table 2.7 is a presentation lesson plan for presenting syllables.
Table 2.7 Grade 5, Lesson 4
Outcome Presentation: labeling basic rhythms in compound meter with rhythm

syllables
I N T ROD U C TORY AC T I V I T I E S
Warm-up T selects a contemporary piece of music for movement.
• Body warm-up.
• Beat activity.
• Resonance: imitate the sound of a siren with the voice. Challenge
the Ss to make soft and loud, high and low, long and short sirens,
and sirens that just go up, just come down, or do both.
standing.
(Continued)
Sing known “Swing Low, Sweet Chariot”
songs CSP: A
• Sing song with text.
Develop tuneful “Sailor, Sailor on the Sea”
singing CSP: A
Tone production • Ss practice singing a phrase of a song and repeating it a minor
second higher. Use a pure vowel sound. Each time you repeat, you
Diction
• Ss sing in two parts from T’s hand signs.
• T continues to work on dynamic and tempo markings.
42
Review known “Go Down Moses“
songs and CSP: D
elements • Ss sing song and conduct.
• T sing phrases on “loo” and Ss sing with rhythm syllables.
Johnny Brown,” “Go Down Moses” or other known songs that use
known rhythms; Ss echo-sing using rhythm syllables.
Teach a new “Inez”
song CSP: A
• T sings song.
• Ss conduct.
• T and Ss sing.
Presentation “Row, Row, Row Your Boat”
Describe what CSP: D
you hear with • Ss sing song.
rhythm syllables • T assess kinesthetic, aural, and visual awareness activities with
phrase 1 of “Row, Row, Row Your Boat.”
• T presents the names of the rhythm syllables used in
compound meter.
• In compound meter one sound on the beat is called ta.
• One sound held for two beats is called ta-ah.
• Three even sounds that are evenly distributed over one beat are
called ta ki da.
• Two sounds on a beat, one long followed by a short sound, is
called ta da.
• Sing “Row, Row, Row Your Boat” with rhythm syllables while
tapping the beat.
• Sing “Row, Row, Row Your Boat” with rhythm syllables while
conducting the beat.
(Continued)
Creative “Golden Ring”
movement CSP: C
• Sing song.
Presentation “To Work Upon the Railway”
Describe what CSP: A
you hear with • Sing song and conduct.
rhythm or • Sing refrain with rhythm syllables while tapping the beat.
43
solfège syllables • Sing refrain with rhythm syllables while conducting the beat.
Review lesson
outcomes
Review the new “Inez”
song CSP: A
Table 2.8 provides a basic presentation lesson plan template for notating rhythmic or
melodic elements.
Table 2.8 Basic Lesson Plan Design for Notating Rhythmic or Melodic

Elements
Performance and Ss demonstrate their prior knowledge of repertoire and musical
demonstration of elements, including the new musical element to be presented
known musical through performance of songs selected from the alphabetized
concepts and elements repertoire list.
Acquisition of New song selected from the alphabetized repertoire list that
repertoire expands Ss’ repertoire and prepares for the learning of a
music rhythmic or melodic concept or element. Instructional
context: when we are preparing a rhythmic element, the new song
should be selected to prepare the next melodic element; when we
are preparing a melodic element, the new song should be selected
to prepare the next rhythmic element.
Presentation of a T presents the notation in the focus pattern.
rhythmic or melodic
element
(Continued)
Creative movement Known song or game found in the alphabetized repertoire list.
Focus on sequential development of age-appropriate movement
skills through songs and folk games.
Presentation of a T presents the notation in related patterns.
rhythmic or melodic
element
C L O SU R E
Review and Review of lesson content; T may perform the next new song
repertoire list.
44
Table 2.9 provides a sample of a presentation lesson.
Table 2.9 Grade 5: Unit 5, Lesson 5
Outcome Presentation: notation of basic rhythms in compound meter

Warm-up T selects a piece of contemporary popular music for movement.
• Body warm-up.
• Beat activity.
• Resonance: imitate the sound of a siren with the voice.
Challenge the Ss to make soft and loud, high and low, long
and short sirens, and sirens that just go up, just come down, or
do both.
• Posture: remind Ss about the correct posture to sing sitting and
or standing
Sing know songs “Colorado Trail”
CSP: F-sharp
Sing song with text
Developing “Inez”
tuneful singing CSP: A
Tone production • Ss practice singing a phrase of a song and repeating it a minor
second higher. Use a pure vowel sound. Each time you repeat
Diction
you can sing another on a new vowel sound.
Expression • Ss sing in two parts from T’s hand signs.
(Continued)
Review known “Charlotte Town”
songs and CSP: F
elements • Ss sing.
• Ss sing with rhythm syllables.
• T claps each phrase; Ss echo with rhythm syllables.
Johnny Brown,” “Go Down Moses” or other known songs that
use known rhythms; Ss echo-sing using rhythm syllables.
Teaching a new “Dors, Dors, ’Tit Bébé” 45
song CSP: A
• T hums phrases on “loo” and Ss repeat.
Notate what you CSP: D
hear T presents the time signature and note values.
Time signature
• Ss sing “Row, Row, Row Your Boat” and keep the beat.
• Ss sing and clap the micro beats.
• T: “Andy, how many macro beats do we have in a
measure?” (two)
• T: “Let’s sing the third phrase and clap the words.”
• T: “Each macro beats contain three micro beats. Since there are
two beats and each beat can be subdivided into three even micro
beats, we can describe the meter as compound duple.”
• T: “If each beat is a dotted quarter note long, then each beat lasts
for three eighth notes.”
• T: “Let’s sing ‘Row, Row, Row Your Boat’ while you keep the
micro beat.”
• T: “Andy, how many micro beats do we have in each
measure?” (six)
• T: “Since there are six micro beats and each one is equal to an
eighth note, our new time signature is 6*.”
Note values in compound meter
• T presents the notation for folk song:
• One sound on one beat in compound meter is notated as a
dotted quarter note.
• One sound held for two beats in compound is notated as two
dotted quarter notes tied.
• Three sounds on one beat in compound meter is notated as three
eighth notes.
(Continued)
• One long sound followed by a short sound on one beat in
compound meter is notated as a quarter note and eighth note.
• T presents the notation for the melody.
• Ss read the notation with rhythm syllables.
• T shows Ss how to count in compound meter.
• Ss read with numbers and conducting.
• Ss sing in canon.
Creative “Golden Ring”
movement CSP: C
• Sing song.
46 • Compose a melodic ostinato for a pitched instrument.
Notate what you CSP: A
hear • Ss sing with text.
• Ss sing with rhythm syllables and conducting.
• T reviews the notation and time signature.
SU M M A RY AC T I V I T I E S
Review lesson “Dors, Dors, ’Tit Bébé”
outcomes CSP A
Review the new
song
Chapter 3
Teaching Strategies
The goal of this chapter is to present teaching strategies for concepts and elements for fifth grade.
The teaching strategies are a sequence of teaching activities that guide students’ understand-
ing of specific musical concepts and elements. They are presented according to the Houlahan
and Tacka model of instruction and learning. In other words, they follow a specified order of
instruction. An important component of the teaching strategies are the guiding questions that 47
follow the kinesthetic activities in the cognitive phase of instruction and learning. The questions
provide the metacognitive scaffolding that allows students to understand both the process and
product of teaching. Each component of the model of instruction and learning also promotes
many opportunities for developing music skills. The teaching strategies are formulaic in struc-
ture; ultimately teachers will infuse these strategies with their own creativity to accommodate
the changing settings of teaching situations.
We provide some of the most important techniques for preparing, presenting, and practicing
musical elements. The instructor may add to any of these suggestions during the three phases of
instruction.
These teaching strategies are presented in this chapter:
high ti (major scale)
eighth note followed by dotted quarter note
natural minor scale
compound meter (part 1: 6*simple division)
si (harmonic minor)
compound meter (part 2: 6* even microbeat subdivision 2)
fi (Dorian mode)
compound meter (part 3: 6*uneven microbeat subdivision)
ta (Mixolydian mode)
high ti (Major Scale)
Table 3.1 presents an overview of the important information required to teach high ti.
Table 3.1
Element Concept Focus Present Theory Traditional Practice Additional

Song Syllables Notation Songs
high ti A series “Alleluia” ti Major Dotted “Joy to the
of seven diatonic eighth World,” “Wake
pitches scale, followed Up! Canon,”
with half leading by “Sweet Betsy
steps tone sixteenth From Pike,”
between “Johnny Has
the third Gone For
and a Soldier,”
fourth “Drill, Ye
and the Tarriers,” “To
seventh Work Upon
and the Railway,”
eighth “Kookaburra,”
48 degrees “The Raggle
of the Taggle
scale. Gypsies”; (art
song) “The
Bird in the
Pine Tree,”
by Johannes
Brahms
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Alleluia” and imitate the teacher’s motions to show the melodic contour.
2. Clap “Alleluia” following the contour of the melody with hands.
3. Sing “Alleluia” and point to a representation of the melodic contour of phrase 2 at
the board (Fig. 3.1).
4. Sing “Alleluia” with

rhythm syllables while
showing the melodic
contour.
FIG. 3.1
Describe What You Hear

1. Assess the kinesthetic activities with the focus song “Alleluia.” Sing phrase 2 while
keeping the beat before asking each question below.
2. Sing and determine the number of beats per phrase and the general direction of
the melody.
T: “Andy, how many beats are in the second phrase?” (eight)
Teaching Strategies
T: “Andy, what is the general direction of the melodic contour?” (it goes up)
Determine the number of different pitches in the phrase.
T: “Andy, how many different pitches did we sing?” (eight)
T: “Andy, sing the lowest note of the phrase.”
T: “Andy, which solfège syllable can we use for that pitch?” (do)
T: “Andy, sing the highest note of the phrase.”
T: “Andy, which solfège syllable can we use for that pitch?” (high do)
T: “Let’s sing phrase 1 with solfège syllables and hand signs and phrase 2 on la.”
Teacher sings the major scale on “loo” and students identify the intervals between
the notes as major or minor seconds.
Create a Representation of What You Hear

1. Assess kinesthetic and aural awareness by allowing the class to perform several of
the kinesthetic and aural awareness activities.
2. Teacher hums the target phrase with a neutral syllable and asks students to create
a visual representation of the melody of the target phrase. Students may use
manipulatives. T: “Pick up what you need to recreate what you heard” or “Draw
what you heard.” Teacher assesses students’ level of understanding. 49
3. Students share their representations with each other.
4. Teacher invites one student to the board to share a representation with the class.
If necessary, corrections to the representation can be made by reviewing the aural
awareness questions.
5. Students sing the first phrase of the “Alleluia” with a neutral syllable and point to
the representation for the second phrase as they sing.
6. Sing the second phrase with rhythm syllables. Students identify the meter and
rhythms and add in the known solfège syllables.
Create a Visual Representation of the Major Scale

Follow the same process to guide your students in creating a visual representation of the
major scale. The teacher hums the scale and students echo-sing:
1. Teacher sings the intervals between each pair of notes of the scale and students
echo-sing major second or minor second.
2. Students make a representation of the scale.
3. Students share representation.
5. Students sing the major scale with a neutral syllable and point to the representation.
Associative Phase: Presentation
Label the Sound
1 . Assess the kinesthetic, aural, and visual awareness activities with the focus song “Alleluia.”
2. Students identify the final solfège note of “Alleluia” as high do and discover that
the second-to-last note is a minor second below high do. Teacher presents the
name and hand sign for the new note: ti.
3 . Teacher sings phrase 2 of “Alleluia” with solfège syllables and hand signs.

4. Students sing back.
5. Teacher hums the second phrase and students sing with solfège syllables.
6. Teacher hums a phrase of “Alleluia” and students sing back on solfège syllables
and show the hand signs.
7. Teacher sings the pitches of the major scale with solfège syllables and hand signs.
Students identify the intervals of the major second and minor second. The teacher
specifically names the collection of pitches as a “major scale.”
8. Teacher hums the major diatonic scale from low to high. The students echo with
solfège syllables and hand signs.
Notate What You Hear

Second Phrase of “Alleluia”
1. Present the tone set for “Alleluia” on the tone ladder.
2. Present the rhythmic notation for “Alleluia” with the solfège syllables.
3. Review the Rule of Placement for ti on the staff.
4. Present the notation for “Alleluia” on the staff using different do positions.
50 Students read the notation with solfège and hand signs as well as letter names and
hand signs.
Major Scale
1. Present the pattern for the major diatonic scale and note the position of the half-
step intervals on the tone ladder. (See Fig. 3.2.)
T: “When we write the pitches of ‘Alleluia’ in

d'
ascending order, we discover that there are eight
t
l
adjacent pitches. We can label these pitches
s
with solfège syllables do-re-mi-fa-so-la-ti-do’,
f and scale degree numbers 1-2-3-4-5-6-7-1,
respectively. This scale is called the major scale.
m
Mark the half steps between mi-fa and ti-do.”
r
(See Fig. 3.3.)
d
FIG. 3.2 Note the intervals between do-re, re-mi, fa-so,
so-la, la-ti are whole steps. The interval between ti,
Solfège Scale Degree and do, and between mi and fa is a half step. We
Syllable Number can refer to whole steps as major seconds (M2) and half steps as
do’ 1
ti 7 minor seconds (m2). (See Fig. 3.4.)
la 6 3. Present Rule of Placement for ti on the staff.
so 5
fa 4 4. Present the major scale on the staff. Review Rules of
mi 3 Placement. Consider presenting the major scale in the F, G,
re 2
FIG. 3.3 do 1 D, and B-flat do positions.
G
3
F
IU
3
.R
E

Whole Steps Half Steps

Major 2 Minor 2
do - re ti, - do
re - mi mi - fa
fa - so
so – la
FIG. 3.4 la - ti
Teaching Strategies
Fig. 3.5
Assimilative Phrase: Practice Music Skills

Aural Practice
Singing with Solfège Syllables
1. Students sing “Alleluia” with solfège syllables.
2. Teacher sings phrases of different songs containing high ti on ¨loo¨ and students
echo the solfège.
3. Teacher sings phrases with solfège and students echo-sing using letter names.
Singing Intervals
1. Teacher sings intervals on solfège, and students echo-sing and identify the 51
intervals as either major or minor seconds.
2. Sing and identify the intervals between the tonic note and all the other scale
degrees.
3. Teacher sings the intervals between the notes of major scale, and students sing the
intervals and identify whether it is a major or minor second.
4. Teacher sings the intervals between the tonic note and notes of the major scale
tone set, and students sing the intervals and identify intervals.
5. Teacher plays intervals on the piano melodically or harmonically and students
identify the solfège and the interval name.
6. Students sing all known major scales and minor scales from the same pitch.
Part Work
1. Students echo-sing four beat patterns provided by the teacher with solfège and
hand signs but begin singing at beat 3 of the teacher’s pattern.
2. Sing the song in canon with a rhythmic ostinato.
3. Sing the song in canon with a melodic ostinato.
4. Combine a phrase as an ostinato with another motif from the song so that you are
using two ostinatos at the same time.
Improvisation
• Teacher sings descending major scale with a specific rhythm. Students improvise
the ascending major scale with the same or different rhythm.
• Teacher sings a four-beat question in solfège syllables using the notes of the major
scale, including high ti and students echo an answer phrase in solfège syllables.
• Students improvise a new melody based on the form of a known folk song using
the major scale.
Visual Practice
Reading from Hand Signs
• Teacher shows the “Alleluia” using hand signs and students read.
• Teacher shows known and unknown melodic phrases using hand signs and the
students sing these phrases using solfège syllables
• Teacher shows typical patterns in major key and students sing back with
solfège: d’ t l; l t d’; t s d’
Reading
1. Read target motifs from the tone ladder.
2. Read known melodies from the tone ladder.
3. Read target motif from traditional rhythmic notation and solfège with solfège
syllables and hand signs.
4. Read a known song from traditional rhythmic notation with solfège syllables
and hand signs.
5. Read a known song with solfège syllables and conduct.
6. Read a known song from staff notation with solfège syllables and hand signs.
52 7. Read a known song from staff notation with solfège syllables and conduct.
8. Transform target motif into a related pattern.
9. Read an unknown song with solfège syllables and hand signs.
10. Read an unknown song with solfège syllables and conduct.
11. Teacher shows hand signs and students read after two beats in canon with
hand signs.
12. Transform a known folk song into another folk song.
13. Read phrases of known song, notated with traditional rhythmic notation and
solfège, and play on a classroom instrument.
14. Read “Alleluia” from traditional rhythmic notation and solfège syllables.
15. Read “Alleluia” from staff notation.
16. Read known melodies on the staff.
17. Read “Heidenröslein” by Johannes Brahms (1833–1897) and listen to recording.
18. Read sight-singing examples from Sound to Symbol as well as from Sound
Thinking.
Intervals
1. Students identify intervals from notation of known songs.
2. Students identify intervals from notation of unknown songs.
3. Students are given a starting pitch by the teacher and then sing in solfège from a
series of intervals written on the board.
4. Students read different major and minor scales types from the same starting note.
Memory
1. Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
2. Read an unknown song with solfège syllables and conduct. Teacher erases four
Teaching Strategies
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation with
solfège syllables.
2. Write related patterns in stick and traditional rhythmic notation with solfège
syllables.
3. Write the tones of a known song on the board as a student or the class sings a
known song in solfège syllables.
4. Write a known song in stick and/or traditional rhythmic notation.
5. Fill the missing measures of a known song with the correct solfège syllables.
Teacher can furnish the rhythm but not the syllables for the missing measure.
6. Teacher sings an unknown song and students fill in the missing measures with
the correct rhythms and solfège syllables.
7. Students transcribe a song written in rhythmic notation with solfège syllables
into staff notation.
8. Write a scale on the staff and mark the half steps.
9. Write “Alleluia” using rhythmic notation and solfège syllables.
10. Write “Alleluia” on the staff.
11. Write patterns with rhythmic notation and solfège or on the staff from the songs 53
“Handsome Butcher,” “Roman Soldiers,” “Kookaburra,” and “Joy to the World.”
Improvisation
1. Teacher sings a question phrase with solfège syllables and hand signs and students
choose from four patterns from the board to use as an answering phrase. One
phrase should just include four heartbeats.
2. Students sing a question phrase with solfège syllables and hand signs, and another
student chooses from four patterns from the board to use as an answering phrase.
One phrase should just include four heartbeats.
3. The instructor writes a known folk song in traditional rhythmic notation and
solfège but leaves out four beats. Students read with solfège and improvise a
four-beat melody that uses the new melodic note.
4. Students improvise a new folk song to a given form and scale. For example,
students compose a new melody using the form ABAB. Teacher provides students
with the A phrase and students must improvise the B phrase, which should
end on do.
5. Create an alternative ending to a known song. Rhythm can be provided for students.
Memory
Inner-Hearing
1. Recognize familiar songs from teacher’s hand signs.
2. Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
3. Teacher provides students with four flash cards with rhythm and students must
identify the song and arrange flash cards in the correct order.
4. Students sing known songs but inner-hear the phrase containing the new target
pattern.
pattern.
6. Students sing a song but have to inner-hear the song at a signal from the teacher.
Students sing the song aloud at another signal from the teacher.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings taps a rhythmic ostinato that students read from notation.
signs and group 2 sings a melodic ostinato that students read from notation.
signs and group 2 sings a descant with solfège and hand signs that students read
from notation.
54 4. Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing
and group 2 clapping in canon.
5. Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing
6. Read a known song with solfège syllables while showing hand signs with the
left hand and conducting with the right hand. Divide the class into two groups;
group 1 performs the activity and group 2 claps rhythm in canon after two beats.
7. Students sing a known song and clap the rhythm of another well-known song
simultaneously.
8. Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
9. Students sing major scale in two- and three-part canon.
10. With the introduction of ti the teacher can now accompany major songs with the
tonic, dominant, and subdominant harmonic functions.
11. Sing some of these songs:
“Dear Companion,” Sourwood Mountain, by Philip Tacks and Susan
Taylor-Howell, pp. 32–33.
“I Will Give My Love an Apple,” The Owl Sings, by Susan Taylor-Howell, p. 10.
“Oro, My Bodeen,” The Owl Sings, by Susan Taylor-Howell, p. 11.
“That Music Enchanting,” from The Magic Flute, by Wolfgang Amadeus Mozart
(1756–1791)
Listening Examples (Major Scale)

For Children, vol. 1, nos. 5 and 11, by Béla Bartók (1881–1945)
Symphony no. 1, IV. Adagio-Allegro non troppo ma con brio, by Johannes Brahms
(1833–1897).
“All Through the Night,” by Edward Jones (1752–1824). On A Nancy Wilson
Christmas: All Through the Night.
Ce fut en May, by Moniot d’Arras (ca. 1225).
Teaching Strategies
“In Dulce Jubilo” (1582), recorded by the King’s College Choir of Cambridge.
Variations on a Theme by Haydn, Op. 56a, by Johannes Brahms (1833–1897).
Performed by Magdalena Baczewska and Joanne Polk 2011.
“Hornpipe Rigadoon,” by Henry Purcell (1659–1695).
Minuet in G, from The Notebook of Ana Magdalena, by Johann Sebastian Bach
(1685–1750).
“Jupiter,” from The Planets, Op. 32, by Gustav Holst (1874–1934).
Canon, by Thomas Tallis (1505–1585); performed at St. Patrick’s Cathedral, Dublin.
Mikrokosmos, vol. 1, nos. 7 and 28, by Béla Bartók (1881–1945).
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, vol. 2 (New York: Boosey & Hawkes, 1995), p. 45–49.
Eighth Note Followed by Dotted Quarter Note

Table 3.2 presents an overview of the important information required to teach eighth note
followed by dotted quarter note. 55
Table 3.2

Eighth Two “Charlotte Ta di Review Eighth note Major “All Night,
note sounds Town” -------- of the followed scale All Day,”
followed distributed rule by a dotted “The Erie
by a over two of the quarter note Canal”
dotted beats duration ar “Billy Boy,”
quarter where both dot “Great Big
note sounds also Dog,” “Walk
occur on Along John,”
beat 1 “Little
Johnny
Brown,”
“Go Down,
Moses”
1 . Sing “Charlotte Town” and pat the beat.
2. Sing “Charlotte Town” and determine the meter and conduct.
3. Sing “Charlotte Town” and clap the rhythm.
4. Sing “Charlotte Town” and point to a representation of the rhythm on the board.
5. Sing “Charlotte Town” while performing this ostinato:
2$sqsq\qq>

1 . Assess the kinesthetic activities with the focus song.
2. Sing the target phrase (phrase 1) using a neutral syllable while keeping the beat
before asking each question below.
3. Determine the number of beats in phrase 1.
T: “Andy, how many beats did we keep?” (eight)
4. Determine the number of sounds on each beat.
T: “Andy, are there any beats that have one sound on them?” (2 and 4)
T: “Andy, which beats have two sounds?” (1, 3, 5, and 7)
T: “Andy, what is different about the two sounds we sing on beats 5 and 7 and
the two sounds on beat 1? Listen.” Teacher sings on “loo.” (the second sound is
longer; on beat 1 we have ta di)
5. Sing the phrase with rhythm syllables and short long. (See Fig. 3.6.)
FIG. 3.6 ta di ta ta di ta Short long Short long
56 Create a Visual Representation of What You Hear

a visual representation of the target phrase. Students may use manipulatives.
T: “Pick up what you need to recreate what you heard” or “Draw what you heard.”
Teacher assesses students’ level of understanding.
5. Students sing the first phrase of “Charlotte Town” with a neutral syllable and point
to the representation.
6. Determine the meter and bars as well as the solfège syllables for the first phrase of
“Charlotte Town.”
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with the focus song
2. T: “We call two uneven sounds over two beats where the first is short and the
second is long ta di---.”
3. Teacher sings the target phrase of “Charlotte Town” with rhythm syllables.
4. Students echo with rhythm syllables while clapping the rhythm or performing the
beat. (See Fig. 3.7.)
FIG. 3.7
Teaching Strategies
5. Teacher sings the target phrase of “Charlotte Town” on “loo” and students echo
with rhythm syllables while clapping the rhythm.
1. Present symbols for two uneven sounds over two beats on the board in traditional
notation and then in stick notation. Students immediately clap and echo-sing the
target phrase of “Charlotte Town” in rhythm names.
A. T (if the beat is a quarter note long): “We can write our new rhythm using an
eighth note followed by a dotted quarter note.”
Traditional notation:
2$sqq\sqq\ar\ar\
B. T: “We can also write this phrase using stick notation and solfège syllables.”
Stick notation:
2$sqq\sqq\ar\ar\
d d r mm f md r s, 57

Aural Practice
Singing
1. Students echo-sing four-beat melodic patterns, containing new rhythm provided
by the teacher, with rhythm syllables and clapping the rhythm.
by the teacher, with rhythm syllables and conduct.
3. Teacher sing phrases of “Charlotte Town” and students echo on rhythm syllables.
4. Students sing “Charlotte Town” on rhythm syllables in canon with teacher and in
small groups.
5. Teacher sing phrases of “All Night, All Day” and students echo on rhythm syllables.
6. Teacher claps a rhythm ostinato with a pattern that includes eighth note followed
by dotted quarter note, and students echo, speaking on rhythm syllables. As an
example: “All Night, All Day” ostinato pattern:
4$arar\wqQ>
Part Work
1. Use the target phrase as an ostinato to accompany a known song.
2. Combine the target phrase as an ostinato with another motif from the song so
that you are using two ostinatos at the same time.
3. Teacher claps a rhythm and students follow in canon after two beats.
4. Students perform a two-part rhythmic reading exercises. Group 1 performs the
upper part and group two the lower part. Switch.
5. Students performs a two-part rhythmic reading exercises. Perform the upper part
with right hand and lower part with left hand.
Improvisation
1. Teacher claps and says the rhythm syllables in a question phrase that uses new
pattern, and students give an answer.
2. One student claps and says the rhythm syllables in a question phrase that uses
new pattern, and another student answers.
3. Students change rhythm of simple songs and use a Ta di—instead of two Ta notes.
4. One student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student’s pattern.
Inner-Hearing
1. Teacher sings known phrases of songs and students sing back with rhythm
syllables and clapping.
syllables and conducting.
3. Students inner-hear known song and clap ostinato that includes new rhythm.
Visual Practice
58 Reading from Hand Signs
1. Students sing known song from teacher’s hand signs that include the new rhythm
pattern.
2. Students sing known song from another student’s hand signs that include the new
rhythm pattern.
Reading
1. Read target motif from traditional rhythmic notation with rhythm syllables.
2. Read a known song with rhythm syllables and clap the rhythm.
3. Read a known song with rhythm syllables and conduct.
4. Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand.
6. Read an unknown song with rhythm syllables and clap the rhythm.
7. Read an unknown song with rhythm syllables and conduct.
9. Read the rhythm of a known song and play on classroom percussion instruments.
10. Read phrase of a known song with traditional notation and solfège, or from
the staff, that includes new rhythmic pattern and play on the xylophone or
tone bells.
11. Read the rhythm of a known song in two or three parts. For example, students
can sing the rhythm syllables using notes of the tonic chord in major or minor.
can play the rhythm patterns using notes of the tonic chord in major or minor
on the recorder.
13. Read the rhythmic notation of “Charlotte Town.”
14. Transform the target pattern into basic four-beat patterns found in the students’
repertoire.
15. Transform the rhythm of phrase 1 of “Charlotte Town” into phrase 2 of “All
Night, All Day.”
16. Read “All Night, All Day” with rhythmic notation or on the staff.
Teaching Strategies
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation.
2. Write related patterns in stick and traditional rhythmic notation.
4. Fill the missing measures of a known song with the correct rhythms.
5. Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms.
6. Students notate rhythm patterns by teacher and add the bar lines and time signature.
7. Write “Charlotte Town” with traditional notation.
8. Fill in the missing rhythms to measures of known songs, such as “All Night, All Day.”
Improvisation
1. Teacher claps a question phrase and chants rhythm syllables, and students choose
from four patterns from the board to use as an answering phrase. One phrase
should just include four heartbeats.
2. Students claps a question phrase and chants rhythm syllables, and another student
chooses from four patterns from the board to use as an answering phrase. One
phrase should just include four heartbeats. 59
3. The instructor writes a known folk song in traditional rhythmic notation but
leaves out four beats. Students read and clap the rhythm and improvise four-beat
rhythms that use new rhythm pattern for the missing measure:
• Students are given a written rhythmic exercise from a known or unknown
song. (Some of the measures contain only “heartbeats” or beat bars.)
• Students perform the rhythm where it is notated, and pat the beat elsewhere.
• Students perform the rhythm where it is notated, and improvise for the missing
measures.
4. Students read a four-phrase sixteen-beat rhythmic composition in ABAC form;
then teacher erases the C phrase and students create a new C phrase using eighth
and dotted quarter rhythms.
Memory
1. Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases
four beats each time and students memorize.
2. Read an unknown song with rhythm syllables and conduct. Teacher erases four
Inner-Hearing
1. Recognize familiar songs from teacher’s clapping.
syllables and keep the beat.
3. Teacher provides students with four flash cards with rhythm and they must
Part Work
signs and group 2 sings taps a rhythmic ostinato that students read from notation.
2. Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups and perform the activity in canon after two beats.
3. Read a known song with rhythm syllables and conduct. Divide the class into two
groups and perform the activity in canon after two beats.
hand and conducting with the right hand. Divide the class into two groups and
perform the activity in canon after two beats.
into two groups; one group performs the activity from the beginning and the
other from the end of the song.
groups; one group performs the activity from the beginning and the other from
the end of the song.
hand and conducting with the right hand. Divide the class into two groups; one
group performs the activity from the beginning and the other from the end of
the song.
simultaneously.
60 9. Students sing a known song, tap a rhythm from traditional rhythmic notation
Listening
“An Evening in the Village,” theme, from Hungarian Sketches, by Béla Bartók
(1881–1945).
Mikrokosmos, vol. 3, no. 94, by Béla Bartók (1881–1945).
“Hungarian Rondo,” by Zoltán Kodály (1882–1967):
4$sqsqsqsq\arw\sqsqsqsq\arw\
sqsqsqsq\arra\arra\arra\arw|
Sight Singing
Training, vol. 1. New York: Boosey & Hawkes, 1995, pp. 71–76, 87–98.
Zoltán Kodály. Kodály Choral Library: 333 Elementary Exercises. London: Boosey &
Hawkes, 1963, nos. 267 and 268.
Natural Minor Scale
Table 3.3 presents an overview of the important information required to teach natural
minor scale.
Teaching Strategies
Table 3.3

Natural “Alleluia” Solfège Minor Ar “Ghost of Tom,”
minor (in syllables: scale “Dona, Dona,
scale—a minor), la,-- ti,- structure Dona,” “Drill,
series “Fly, -do-re- Ye Tarriers,”
of eight Fly, Fly” mi-fa- “To Work Upon
pitches (Autumn so-la the Railway,”
with half Canon, “Sweet William,”
steps by Lajos “Hashivenu”
between Bardos) (with solfège
the syllables),
second “Come to
and third the Land,”
and the “Tumbalalaika,”
fifth and “Rise Up, Oh 61
sixth Flame,” “Shalom
pitches Chaverim”; (art
and music) Urians
whole Reise um die
steps Welt, Op. 52,
between No. 1, by Ludwig
all other van Beethoven
pitches
1. Sing “Alleluia” in
minor and point to a
representation of the
melodic contour at the
board (Fig. 3.8).
2. Sing “Alleluia” in
minor and point to FIG. 3.8
melodic contour of the
song with your eyes
closed.
3. Sing “Alleluia” in minor with rhythm syllables and show the melodic contour.

1 . Assess the kinesthetic activities with the focus song “Alleluia” in minor.
2. Sing while keeping the beat before asking each question below about the second
phrase of the song.
3. Determine the lowest and highest notes.

T: “Andy, sing the lowest note of the song.” (low la)
T: “Andy, sing the highest note of the song.” (la)
4. Determine how many pitches there are in the second phrase from the lowest to
the highest note. It may be best to do this by breaking down the second phrase
into smaller motifs.
5. Teacher sings the tone set of the natural minor scale and students identify the
intervals.
Create a Visual Representation of What You Hear

2. The instructor hums the target phrase with a neutral syllable and asks students to
create a visual representation of the melody of the target phrase. Students may use
what you heard.” Teacher assesses students’ level of understanding.
62 4. The instructor invites one student to the board to share a representation with the
class. If necessary, corrections to the representation can be made by reviewing the
aural awareness questions.
5. Students sing the “Alleluia” in minor with a neutral syllable and point to the
representation.
6. Determine the solfège syllables for “Alleluia” in minor. Determine the rhythm
syllables.
7. Determine the meter, and rhythmic notation.
Create a Visual Representation of the Natural Minor Scale

1 . Teacher sings the notes of the minor scale on “loo”.
2. Students create a visual representation of the minor scale. It is important for them
to show the steps and the skips.
5. Students sing the natural minor scale with a neutral syllable and point to the
representation.
Label the Sound
“Alleluia” in minor.
2. Teacher and students sing the seven pitches of “Alleluia” in minor from low
to high.
Teaching Strategies
3. Teacher specifically names the scale as a “natural minor scale,” because it has
seven pitches from low la to la with half steps between mi and fa and between low
ti and do.
4. Students sing the scale with hand signs.
5. Teacher sings the song with solfège and hand signs.
6. Students sing the song with solfège and hand signs.
7. Teacher hums motifs on “loo” and students sing the song with solfège and
hand signs.
8. Teacher presents scale degree numbers for the minor scale.
9. Teacher sings the song with scale degree and hand signs. Students echo-sing with
scale degrees and hand signs.

Second Phrase of “Alleluia”
1. Present the tone set for “Alleluia” on the tone ladder.
2. Present the melody with rhythmic notation.
3. Review the Rule of Placement for notes of the natural minor scale.
4. Present the notation for “Alleluia” on the staff using different do positions. 63
Students read the notation with solfège and hand signs as well as letter names and
hand signs.
Minor Scale
1. Present the pattern for the natural minor scale on the steps.
2. Present the natural minor scale in staff notation and the
Rule of Placement. l
s
3. Mark the half step intervals between fa and mi and f
between do and ti. (See Fig. 3.9.). m
r
4. Show students how to write the natural minor scale, d
beginning on C and F-sharp t,
l, FIG. 3.9
Assimilative Phase: Practice Music Skills

Aural Practice
Singing
1. Students sing “Alleluia” in minor with solfège.
2. Student sing the natural minor scale ascending and descending with solfège.
3. Teacher sings motifs from known songs and students sing back with solfège
4. Teacher sings major and minor scale types from the same starting note with
5. Students sing the natural minor scale in canon.
Singing Intervals
1. Teacher sings the intervals between the notes of natural minor scale, and students
sing the intervals and identify whether each is a skip or a step.
2. Teacher sings the intervals between the tonic note and notes of the natural minor
tone set, and students sing the intervals and identify them.

4. Teacher sings major and minor scale types from the same starting note with
Part Work
1. Use the target phrase as an ostinato to accompany known minor songs.
2. Students echo-sing four-beat patterns provided by the teacher with solfège and
3. Sing the song in canon with a rhythmic ostinato.
Improvisation
1. Teacher sings a music question with solfège syllables and hand signs and students
give an answer. Question should end on mi and the answer on low la.
64 2. One student sings a music question with solfège syllables and hand signs and
another student answers. Question should end on mi and the answer on low la.
improvisation with the last two beats of the first student.
4. Practice transforming melodies from the major scale to the natural minor scale.
Begin with pentachord and hexachord scales before moving to the minor. The
students should sing major melodies and the teacher should sing back in minor.
Once students can switch back and forth between major and minor, the teacher
should begin to analyze the form and tone set of major and minor melodies as
well as understand the role of the dominant and tonic notes at the end of phrases.
5. Practice singing question-and-answer phrases in a natural minor key.
Inner Hearing
syllables.
Visual Practice
4. Read a known song from traditional rhythmic notation with solfège syllables and
hand signs.
7. Read a known song from staff notation with solfège syllables and conduct.
Teaching Strategies
1 0. Read an unknown song with solfège syllables and conduct.

hand signs.
14. Students sing melodic phrases in natural minor from teacher’s hand signs.
15. Read “Alleluia” in minor with traditional rhythmic notation with solfège and in
staff notation.
16. Read from traditional rhythmic notation with solfège staff notation any of the
songs “Hashivenu,” “Ghost of Tom,” “Dona, Dona, Dona,” “Sweet William,”
“Come to the Land,” or “Tumbalalaika.”
Intervals
series of intervals written on the board. 65
4. Students read different pentatonic scales from the same starting note.
Memory
Writing
1. Write the target pattern in stick and/or traditional rhythmic notation with solfège
syllables.
syllables.
3. Write the tones of a known song on the board as a student or the class sings a
4. Write “Alleluia” in minor in traditional rhythmic notation with solfège and staff
notation.
5. Write in traditional rhythmic notation with solfège and staff notation
“Hashivenu,” “Ghost of Tom,” “Dona, Dona, Dona,” “Sweet William,” “Come to
the Land,” or “Tumbalalaika.”
6. Students transcribe a song written in rhythmic notation with solfège syllables into
staff notation.
7. Write the natural minor scales with and without key signature in A, D, E, G, B, C,
and F-sharp. Mark the half steps on the score.
Improvisation
2. One student sings a question phrase with solfège syllables and hand signs, and
another student chooses from four patterns from the board to use as an answering
phrase. One phrase should just include four heartbeats.
solfège but leaves out four beats. Students read with solfège and improvise
four-beat melody that uses the new melodic note.
students compose a new melody using the form ABAB. Teacher gives students the
A phrase and students must improvise the B phrase, which should end on do.
Memory
Inner-Hearing
66 1. Recognize familiar songs from teacher’s hand signs.
pattern.
pattern.
Part Work
signs, and group 2 sings taps a rhythmic ostinato that students read from notation.
signs, and group 2 sings a melodic ostinato that students read from notation.
signs, and group 2 sings a descant with solfège and hand signs that students read
from notation.
4. Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
Teaching Strategies
simultaneously.
9. Students perform:
“Sweet William,” from Denise Bacon’s 46 Two Part American Folk Songs, p. 42.
“I Will Give My Love an Apple,” from Philip Tacka and Susan Taylor-Howell’s The
Owl Sings, p. 10.
Zoltán Kodály, Bicinia Hungarica, vol. 1, nos. 33, 34, 36; and vol. 3, nos. 108,
112, 119.
Listening
“When Jesus Wept,” by William Billings
Toccatina, Op. 27, Book 1, No. 7, by Dmitri Kabalevsky (1904–1987).
Symphony no. 4, movement 2, Andante con moto, by Felix Mendelssohn (1809–1847).
Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear 67
Training, vol. 2. New York: Boosey & Hawkes, 1995, pp. 84–85.
Compound Meter (Part 1: 6*Simple Division)

Table 3.4 presents an overview of the important information required to teach compound
meter, simple division.
Table 3.4

6* Two “Row, ta macro beat 6* minor “Henay
ssd qa beats per Row, ta ki da and ssd scale Ma Tov,”
r measure; Row ta da micro beat qa “Charlie
aq with one Your in r over the
sound, Boat” compound aq Ocean,” “I’se
or three meter the B’y”;
even (art song)
sounds, “Longing
or one for Spring,”
long and by W. A.
one short Mozart
sounds
occurring
on each
beat
1 . Sing “Row, Row, Row Your Boat” and pat the beat for the entire song. (rr).
2. Determine the meter. (duple) Sing and conduct.
3. Determine the macro and micro beats. (You can label this a compound meter,
since the macro beat can be divided into three micro beats.)
4. Sing “Row, Row, Row Your Boat” and conduct.
5. Sing “Row, Row, Row Your Boat” and point to a representation of the rhythm on
the board (Fig. 3.10).
Fig. 3.10
68 6 . Teacher claps the beat and students sing the song and clap the rhythm.
7. Divide the class into two groups. Group 1 pats the beat for the target phrase and
group 2 claps the rhythm; then switch.
8. Sing “Row, Row, Row Your Boat.” Step the beat and clap the rhythm.

2. Sing each phrase on “loo” while keeping the beat before asking the
questions below.
3. Determine the number of beats and length of sounds in target phrases.
Phrase 1
T: “Andy, how many beats did we keep in phrase 1?” (four)
T: “Andy, how many sounds were on beats 1, 2, and 4?” (one) We can call one
sound on a beat in compound meter ‘ta’.”
T: “Andy, how many sounds did we sing on beat 3?” (two)
T: “Andy, describe these sounds.” (long, short)
Phrase 2
T: “Andy, was there a pitch that lasted two beats?” (yes, on beats 3 and 4)
T: “We can call one sound held for two beats in compound meter a Ta-ah.”
T: “Andy, describe these sounds” (long, short)
T: “Andy, describe these sounds.” (long, short)
Phrase 3
T: “Andy, how many beats did we keep?” (four)
T: “Andy, how many sounds did we sing on each beat?” (three)
T: “Andy, describe these sounds.” (they are even)
Teaching Strategies
Phrase 4
T: “Andy, how many sounds did we sing on beats 3 and 4?” (one)
T: “We can describe this as a ta-ah.”
T: “Andy, describe the sounds on beats 1 and 2.” (long short, long short . . .)

2. Teacher hums the target phrase with a neutral syllable and asks students to
create a visual representation for the rhythm of the song. Students may use
what you heard.” Teacher assesses students’ level of understanding. Students share
their representations with each other.
4. Students sing “Row, Row, Row Your Boat” with a neutral syllable and point to the 69
representation.
5. Determine the form, and figure out the solfège syllables for the phrases.
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with phrase 1 of
“Row, Row, Row Your Boat.”
2. Present the names of the rhythm syllables used in compound meter.
• One sound on the beat is called ta.
• One sound held for two beats is called ta—ah.
• Three even sounds that are evenly distributed over one beat are called ta ki da.
• Two sounds on a beat, one long followed by a short sound, are called ta da.
3. Sing “Row, Row, Row Your Boat” with rhythm syllables while tapping the beat.
4. Sing “Row, Row, Row Your Boat” with rhythm syllables while conducting the beat.
(See Fig. 3.11.)
FIG. 3.11

1. Present the time signature for compound meter. Students sing “Row, Row, Row
Your Boat” and keep the beat. Students sing and clap the micro beats.
T: “Andy, how many macro beats do we have in a measure?” (two)
T: “Let’s sing the third phrase and clap the words.”
T: “Each macro beats contain three micro beats. Since there are two beats and
each beat can be subdivided into three even micro beats, we can describe the
meter as compound duple meter.”
2. Present note values for basic rhythms in compound meter, when the beat is equal
to a dotted quarter note.
• One sound on one beat in compound meter is notated as a dotted quarter note.
• One sound held for two beats in compound is notated as two dotted quarter
notes tied.
• Three sounds on one beat in compound meter is notated as three eighth notes.
• One long sound followed by a short sound on one beat in compound meter is
notated as a quarter note and an eighth note.
T: “If each beat is a dotted quarter note long then each beat lasts for three eighth
70 notes.”
T: “Andy, how many micro beats do we have in each measure?” (six)
T: “Since there are six micro beats and each one is equal to an eighth note our,
new time signature is 6*
This is the notation for “Row, Row, Row Your Boat:”
6*rr\qar\
qaqa\t\
sddsdd\sddsdd\
qaqa\t|
• Students read the rhythm of “Row, Row, Row Your Boat” with rhythm syllables
while keeping the beat and conducting.
• Teacher presents how to count compound melodies with numbers.
• Students read the rhythm of “Row, Row, Row Your Boat” with numbers while
keeping the beat and conducting.

Aural Practice
Singing with Rhythm Syllables
3. Students sing known melodies with rhythm syllables and keep the beat.
4. Students sing known melodies with rhythm syllables and conduct.
5. Teacher sings known and unknown motifs and students sing back with rhythm
syllables.
Teaching Strategies
6 . Sing “Row, Row, Row Your Boat” with rhythm syllables and keep the beat.
7. Sing “Row, Row, Row Your Boat” with rhythm syllables and conduct.
Part Work
upper part and group two the lower part. Switch.
Improvisation
• Let the students decide how to sing “Row, Row, Row Your Boat” (canon, adding a
melodic ostinato, adding a rhythmic ostinato).
• Teacher claps a four-beat rhythmic pattern in compound meter and students clap
an answering four-beat phrase. 71
• Students improvise a new rhythmic composition in compound meter based on a
given form.
Inner-Hearing
1. Teacher sings known phrases of songs in compound duple meter and students
sing back with rhythm syllables and clapping.
sing back with rhythm syllables and conducting.
Visual Practice
• Read “Row, Row, Row Your Boat” from hand signs.
• Read from hand sings other known and unknown compound melodies.
Reading
6. Read a known song from teacher’s hand signs.
7. Read an unknown song from teacher’s hand signs.
8. Teacher shows hand signs and students read after two beats in canon.
12. Read the rhythm of a known song and play on classroom percussion instruments.
13. Read phrase of a known song with traditional notation and solfège syllables or
from the staff that includes new rhythmic pattern and play on the xylophone or
tone bells.
14. Read the rhythm of a known song in two or three parts. For example,
students can sing the rhythm syllables using notes of the tonic chord in major
or minor.
Writing
1. Write rhythm patterns in compound duple meter in stick and/or traditional
rhythmic notation.
correct rhythms.
5. Students notate rhythm patterns by teacher and add the bar lines and time
signature.
72 Improvisation
from four patterns from the board to use as an answering phrase.
2. One student claps a question phrase and chants rhythm syllables, and another
chooses from four patterns from the board to use as an answering phrase.
leaves a few measures blank. Students read and clap the rhythm and improvise
four-beat rhythms that use new rhythm pattern for the missing measures.
Memory
Inner-Hearing
Part Work
into two groups and perform the activity in canon after two beats.
groups and perform the activity in canon after two beats.
Teaching Strategies
hand and conducting with the right hand. Divide the class into two groups and
into two groups; one group performs the activity from the beginning, and the
groups; one group performs the activity from the beginning, and the other from
group performs the activity from the beginning, and the other from the end of
the song.
simultaneously.
10. Students perform: 73
• The OAKE Collection, vol. 2: The Owl Sings (Whitewater, WI: Organization of
American Kodály Educators, 1991), p. 7.
• Two-Part American Songs, book 2, by Mark Williams (San Antonio,
TX: Southern Music Co., 1988), nos. 10, 12, 25.
• The OAKE Collection: The Sounds of Rounds and Canons, by Ruth Boshkoff
and Kathy Sorensen, pp. 47, 73.
• Classical Canons, by Antal Molnar (Editio Musica Budapest, 1983), nos.
157, 164.
Listening
Sonatina in G major, KA 5, No. 1, by Ludwig van Beethoven (1770–1827).
“The Wild Rider” (Horseman), Op. 68, No. 8, from Album for the Young, by Robert
Schumann (1810–1856).
Six Variations on “Nel cor piu non mi sento” by Paisiello, by Ludwig van Beethoven
(1770–1827). (works for a\qaqa\xxxxxc r )
Symphony no. 4, movement 1, Allegro vivace, by Felix Mendelssohn (1809–1847).
Sight Singing
• Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing
and Ear Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 15–24,
45–56, 105–120.
si (Harmonic Minor)
Table 3.5 presents an overview of the important information required to teach si (harmonic
minor).
Table 3.5

si si is a “Ah, si Harmonic Even “Go Down,
minor Poor minor subdivisions Moses,”
second Bird” scale; of a beat “Vine and
below la augmented in 6*meter Fig Tree,”
second “Dors,
Dors, ’Tit
Bébé,”
“Soon
I Will be
Done”;
(art songs)
“There
Once Was
74 a Fiddler”
and “How
Can I Enter
in Your
House” by
Johannes
Brahms
Internalize Music through Kinesthetic Activities
1. Sing “Ah, Poor Bird” and point to a representation of the melodic contour at the
board (Fig. 3.12).
FIG. 3.12
2. Sing “Ah, Poor Bird” with rhythm syllables and show the melodic contour while
clapping the rhythm.

1 . Review the kinesthetic activities with the focus song “Ah, Poor Bird.”
T: “Andy, sing the lowest note of the song.” (low la)
Teaching Strategies
T: “Andy, sing the highest note of the song.” (la)

3. Determine the known solfège syllables for the third phrase.
T: “Andy, what solfège syllable begins on beat 1 of phrase 3?” (mi)
T: “Andy, what are the solfège syllables for beats 3 and 4?” (la mi mi re)
T: “Andy, what is the first solfège syllable for beat 2?” (la)
Teacher sings the phrase with solfège syllables and hums the new note.
4. Students discover that the new note is a minor second below la.

4. The instructor invites one student to the board to share a representation with the
class. If necessary, corrections to the representation can be made by reviewing the 75
5. Students circle all half steps in their representations.
6. Students sing “Ah, Poor Bird” with a neutral syllable and point to the
representation.
Create a Representation of the Scale

1 . Students create a visual representation of the scale.
2. Students identify the intervals between the notes as major or minor seconds.
Label the Sound
“Ah, Poor Bird.”
2. Teacher presents the name and high sign for the new note. (The hand sign for si is
most often showed with fingers slightly spread; see Fig. 3.13.)
3. Teacher sings the third phrase with solfège syllables and
hand signs. Students echo-sing with solfège and hand signs.
4. Teacher hums phrases on “loo” and students echo-sing with
5. Teacher hums the notes of the harmonic minor scale.
Students identify the notes of the scale with solfège
syllables. Teacher presents the name of the scale as
“harmonic minor.”
FIG. 3.13
6. Teacher identifies the new interval, fa-si, as an “augmented
second.”

“Ah, Poor Bird”
1. Present the tone set for the melody on the tone ladder.
2. Present the melody with traditional rhythmic notation.
4$qqw\qqw\sqsqsqsq\qqw|
l, t, d d r m m l l si l m m r d t, l,
3. Review the Rule of Placement for si on the staff.
Fig. 3.14
76 4. Present the notation for “Ah Poor Bird” on the staff using different do positions.
hand signs. (See Fig. 3.14.)
Minor Scale
1. Present the interval pattern for the harmonic minor scale on the steps (Fig. 3.15).
l
si
f
m
r
d
t,
l,
FIG. 3.15
2. Present the Rule of Placement and present the harmonic minor scale in staff
notation. (See Fig. 3.16.)
Fig. 3.16
3 . Present scale degree numbers for the harmonic minor scales.

4. Present the notation of the scale on the staff.
5. Identify the augmented second interval and the major seventh interval.
Teaching Strategies

Aural Practice
Singing with Syllables
1. Teacher sings phrases of “Ah, Poor Bird” and students echo solfège syllables.
2. Students sing “Ah, Poor Bird” on solfège syllables in canon with teacher and in
small groups.
4. Teacher sings minor and major scales and students sing back with solfège and
hand signs.
Singing Intervals
1. Teacher sings the intervals between the notes of the tone set, and students sing the
intervals and identify whether each is a skip or a step.
2. Teacher sings the intervals between the tonic note and notes of the tone set, and
students sing the intervals and identify them.
77
Part Work
1. Use the target phrase as an ostinato.
4. Students sing a minor song and teacher accompanies with a drone made up of low
la or la-mi played on an instrument.
5. Students sing a minor and teacher accompanies with the solfège syllables
la or mi.
Improvisation
give an answer. Question ends on mi and after several activities ends on ti. Answer
ends on la.
2. One student sings a music question with solfège syllables and hand signs and
another student answers.
4. Students transform a minor melody into a major melody.
Inner-Hearing
2. Teacher sings known phrases of songs and students sing back with solfège.
Visual Practice
1. Students sing known song from teacher’s hand signs that includes the new solfège
pattern.
2. Students sing known song from another student’s hand signs that includes the
new solfège pattern.
3. Students read a motif from a teacher’s hand sign and play on a classroom
instrument. Teacher provides the starting place on the instrument.
Improvisation
• Teacher claps a question phrase using solfège syllables belonging to harmonic
minor scale and students give an answering phrase.
Visual Practice
1. Teacher shows hand signs for phrases of “Ah, Poor Bird” and students read with
78 2. Teacher shows hand signs for “Vine and Fig Tree” and students read with solfège
and hand signs.
Reading
5. Read a known song from traditional rhythmic notation with solfège syllables
and hand signs.
8. Read a known song from staff notation with solfège syllables and conduct.
11. Read an unknown song with solfège syllables and conduct.
hand signs.
15. Read “Ah, Poor Bird” in rhythm notation with solfège syllables notation and
from staff notation.
16. Read “Go Down, Moses” and/or “Vine and Fig Tree” in rhythm notation with
solfège syllables or staff notation.
Intervals
Teaching Strategies
Memory
Writing
solfège syllables.
syllables.
3. Write the tone set of a known song on the board as a student or the class sings a
5. Fill the missing measures of a known song with the correct solfège syllables. 79
Teacher can furnish the rhythm but not the syllables for the missing
measure.
7. Students transcribe a song written in rhythmic notation and solfège syllables
8. Write a minor scale on the staff and mark the half steps.
9. Write “Ah, Poor Bird” in rhythm notation with solfège syllable notation and staff
notation.
10. Write “Go Down, Moses” or “Vine and Fig Tree” in rhythm notation with solfège
syllables or staff notation.
Improvisation and Composition

2. Teacher sings a question phrase with solfège syllables and hand signs, another
solfège but leaves out four beats. Students read with solfège and one student
improvises four-beat melody that uses the new melodic note.
students compose a new melody using the form ABAB. Teacher provides
students with the A phrase, which should end on mi, si, or ti, and they must
improvise the B phrase, which should end on low la.
5. Improvise a new ending for “Ah, Poor Bird.” Students notate their response.
Memory
Inner-Hearing
pattern.
pattern.
80 Students sing the song aloud at another signal from the teacher.
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and
hand signs, and group 2 sings taps a rhythmic ostinato that students read from
notation.
from notation.
two groups, and perform the activity in canon after two beats, group 1 singing
two groups, and perform the activity in canon after two beats, group 1 singing
group 1 performs the activity, and group 2 claps rhythm in canon after two beats.
simultaneously.
with right hand, and tap an ostinato with the left hand. Sing minor pentachord
scales in canon.
9. Sing the natural minor scale as a two- or three-part canon.
10. Sing the following:
“Pat-a Pan,” The Owl Sings, by Philip Tacka and Susan Taylor-Howell, p. 37.
Classical Canons, nos. 25, 106, 108, 109.
Teaching Strategies
Listening
Little Fugue in G Minor, by J. S. Bach (1685–1750).
Polonaise in G Minor, Anna Magdalena Bach Notebook, BWV Anhang 125, by Johann
Sebastian Bach (1685–1750).
“In Church,” Album for the Young, Op. 68, No. 23, by Robert Schumann (1810–1856).
“Sunrise, Sunset,” from Fiddler on the Roof, by Jerry Bock (1928–2010), lyrics by
Sheldon Harnick (1924–).
“The Wild Rider” (Horseman), Album for the Young, Op. 68, No. 8, by Robert
Schumann (1810–1856).
Csondes Kánon, by Lajos Bardos (1899–1986).
Sight Singing
Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 80–82 and 83–89.
Compound Meter (Part 2: 6*, Even Microbeat

Subdivision 2)
81
Table 3.6 presents an overview of the important information required to teach syncopation.
Table 3.6

sxxxxc Two “Morning Subdivision 6* One eighth Melodies “The
pulsations Is Come” tavakididama note in a Cherry
per followed harmonic Tree Carol
New rhythm
measure, by four minor key (II),”
each ta kididama sixteenth (si) “Come,
pulsation notes Let’s
having sxxxxc Dance,”
six micro “With
pulsations Laughter
and
Singing”
1. Sing “Morning Is Come” and pat the beat for the entire song. (Sing as two
phrases.)
2. Sing “Morning Is Come”; pat the macro beat in the right hand and the micro beat
in the left hand for the entire song.
3. Determine the macro and micro beats.
4 . Determine the meter. (compound duple meter) Sing and conduct

5. Sing “Morning Is Come” and clap the rhythm for the entire song.
6. Sing “Morning Is Come” and point to a representation of the rhythm on the board
(Fig. 3.17).
FIG. 3.17
7. Divide the class into two groups. Group 1 pats the beat for the target phrase, and
group two claps the rhythm. Switch.
8. Sing “Morning Is Come.” Step the beat and clap the rhythm.

1. Sing the target phrase using a neutral syllable while keeping the beat before asking
each question below.
2. Assess the kinesthetic activities with the focus song.
3. Determine the number of beats in target phrases.
82 Second phrase
T: “How many sounds were there on beat 4?” (one) “What do we call one sound
on one beat in compound meter?”
T: “Which beats had three sounds?” (1 and 3) “What do we call three sounds on
one beat in compound meter?”
T: “Andy, which beat had the most sounds?” (beat 2)
T: “Andy, sing beats 1, 3, and 4 with rhythm syllables, and sing beat 2 with ‘loo’.”
T: “Andy, how many sounds were on beat 2?” (five)
T: “Andy, let’s describe these sounds with long and short.” (long, short, short,
short, short; or the first sound was longer than the other sounds)

2. The instructor hums the target phrase with a neutral syllable and asks students
to create a visual representation of the target phrase. Students may use
5. Students sing “Morning Is Come” with a neutral syllable and point to their
representation.
6. Determine the form and figure out the solfège syllables for the phrase.
Teaching Strategies
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities with the second
phrase of “Morning Is Come.”
2. T: “In compound meter, any attack on the beat is called a ta.”
3. T: “Three sounds that are evenly distributed over one beat are called Ta ki da.”
4. T: “Six sounds that are evenly distributed over one beat are called tava kidi dama.”
5. T: “Five sounds that occur on one beat, long short short short short, are called ta
ki di da ma.”
6. Teacher sings second phrase of “Morning Is Come” with rhythm syllables while
7. Students sing second phrase of “Morning Is Come” with rhythm syllables while
8. Teacher hums phrases from “Morning Is Come” and students echo-sing with
rhythm syllables.
9. Sing “Morning Is Come” with rhythm
syllables while conducting the beat.
(See Fig. 3.18.)
83
FIG. 3.18
1. Time signature. T: “In compound duple meter, where we have two macro beats
per measure, the time signature is 6*.”
2. Dotted quarter note. T: “In compound meter, the macro beat is a dotted
quarter note.”
3. Three eighth notes. T: “Three even sounds that occur on one beat, where the beat
is equal to a dotted quarter note, are called three eighth notes.”
6*r r \r r \
ssqssq\ssqssq\
4. Eighth note followed by quarter note. T: “Two sounds on a beat, where the first
sound is short and the second sound is long, are represented as an eighth note
followed by a quarter note.”
6*aq aq \aq aq \

ssqssq\ssqssq\
5. Sixteenth notes. T: “Six even sounds on a beat are represented as sixteenth notes.”
6* ssq ssq \ssq ssq\

xxxxxqxxxxxq \xxxxxqxxxxxq\
6. Eighth note followed by four sixteenth notes. T: “Five sounds on a beat, where
the first sound is long and the other four sounds are short, are represented as an
eighth note followed by four sixteenth notes.”
6*ssq ssq\ssq ssq\
sxxxqsxxxq\sxxxqsxxxq\
Target phrase:
6*ssqsxxxq\ssqr\
ssqssq\ssqssq\
7. Present notation for “Morning Is Come.”
• Teacher presents the notation for “Morning Is Come.”

• Students sing with rhythm syllables.
• Teacher presents numbers for counting compound melodies.
• Students sing with numbers.
6*ssdr\ssdr\
ssdsxxxc\ssdr|
84
• Students sing with rhythm syllables.

Aural Practice
syllables.
6. Students sing “Morning Is Come” with rhythm syllables while clapping the
rhythm.
7. Students sing “Morning Is Come” with rhythm syllables while conducting.
Part Work
upper part, and group 2 the lower part. Switch.
with the right hand and lower part with the left hand.
Teaching Strategies
Improvisation
1. Let the students decide how to sing “Row, Row, Row Your Boat” (canon, adding a
melodic ostinato, adding a rhythmic ostinato).
2. Teacher claps a four-beat rhythmic pattern in compound meter and students clap
an answering four-beat phrase.
3. Students improvise a new rhythmic composition in compound meter based on a
given form.
Inner-Hearing
Visual Practice
1. Read from hand sings “Morning Is Come.”
2. Read from hand signs other known and unknown compound melodies that 85
include the new rhythmic pattern.
Reading
7. Read an unknown song from teacher’s hand signs.
12. Read the rhythm of a known song and play on classroom percussion
instruments.
13. Read a phrase of a known song with traditional notation and solfège syllables, or
from the staff, that includes new rhythmic pattern and play on the xylophone or
tone bells.
15. Read “Morning Is Come” in traditional rhythmic notation with rhythm syllables.
16. Read “Morning Is Come” notated on staff with rhythm syllables and solfège
17. Transform the rhythm of “Morning Is Come” into other known compound
melodies.
Writing
rhythmic notation.
correct rhythms.
5. Students notate rhythm patterns by teacher and add the bar lines and time
signature.
6. Write “Morning Is Come” using traditional rhythmic notation and solfège.
7. Write “Morning Is Come” on the staff.
Improvisation
2. Students clap a question phrase and chant rhythm syllables; another student
86 3. The instructor writes a known folk song in traditional rhythmic notation but
Memory
Inner-Hearing
Part Work
into two groups, and perform the activity in canon after two beats.
groups, and perform the activity in canon after two beats.
hand and conducting with the right hand. Divide the class into two groups, and
into two groups; one group performs the activity from the beginning, and the
Teaching Strategies
group performs the activity from the beginning, and the other from the end of
the song.
simultaneously.
10. Students sing “Come, Let’s Dance” and “With Laughter and Singing.”
Listening
Fantasia in D, second movement, by Georg Philipp Telemann (1681–1767).
(Telemann’s Fantaisies pour le clavessin, c. 1732, 3me douzaines, no. 10.)
Six Variations on “Nel cor piu non mi sento” by Paisiello, by Ludwig van Beethoven
(1770–1827). 87
Sight Singing
• Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing
and Ear Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 15–24,
45–56, 105–120.
fi (Dorian Mode)
Table 3.7 presents an overview of the important information required to teach fi
(Dorian mode).
Table 3.7

fi A pitch “Drunken fi New tonal Writing Rhythm “Scarborough
a minor Sailor” center Dorian patterns in Fair,”
second Dorian scale with compound “Ground
below mode the tone set meter that Hog,” “Bow,
so and r-m-f-s-l-t-d-r include even Belinda,”
re pentatonic
a major or subdivisions “Cantate
scale
second l-t-d-r-m-fi-s-l Domino,”
above Lower “Hey, Ho,
mi neighboring What Shall
tone I Say,”
Modulation “Verbum
to dominant Domini”
Melodic
minor scale
This is a challenging concept, and the introduction of fi opens up myriad possibilities for
students. It is best to use this sequence:
1. Introduce fi in the context of the Dorian scale.

2. Introduce fi as a neighboring tone.
3. Introduce fi as a note that can imply modulation to the dominant key.
This unit plan will focus on teaching fi in the context of the Dorian scale.
1. Sing the fourth phrase and point to a representation of the melodic contour at the
board (Fig. 3.19).
2. Sing the fourth phrase of “Drunken Sailor” and show the melodic contour.
3. Sing the fourth phrase of “Drunken Sailor” with rhythm syllables and show the
melodic contour.
88
FIG 3.19

1. Assess the kinesthetic activities with the focus song “Drunken Sailor” (second
phrase).
T: “Andy, how many beats are in the phrase?” (eight)
T: “Andy, sing the lowest note of the phrase on ‘loo’.”
T: “Andy, on which beats do you hear the lowest note of that phrase?” (7 and 8)
T: “Andy, sing me the solfège syllable for the last two beats.” (la)
T: “Andy sing me the solfège syllables for beats 5–8.” (r-r-r-r-r-r-r-s,-t,-r)
T: “Andy, sing the highest note of the phrase.” (la)
T: “Andy, on which beat do you hear the highest pitch?” (second half of beat 4)
T: “Andy, tell me the solfège syllable for that pitch.” (high la)
3. Determine the solfège syllables for the first four beats of the target phrase.
T: “Andy, what solfège syllable begins the phrase?” (mi)
T sings the pitches on beats 3 and 4 on “loo.”
T: “Andy, describe the direction of the pitches.” (stepwise and ascending)
Teacher hums the notes on beat 3 and 4 of the target phrase (mi fi so la) and asks
students to identify the solfège for the notes on beat 4. Teacher hums the phrase “mi
hum so la” and students identify the new note as a half step below so but a whole
step above mi. Teacher asks students to sing the pattern as “mi hum (for new note)
so la.” Students sing the target phrase with solfège, humming for the new note.
Teaching Strategies

a visual representation of the melody of the target phrase. Students may use
5. Students sing the target phrase of “Drunken Sailor” with a neutral syllable and point to
the representation. Students sing the target phrase with solfège but hum for the new note.
6. Identify the meter and sing “Drunken Sailor” with rhythm syllables.
Create a Representation of the Scale

1 . Teacher sings the notes of the Dorian scale on “loo.”
2. Students create a visual representation of the scale. 89
3. Teacher hums the notes of the Dorian scale, and students identify the intervals
between the notes as major or minor seconds.
Label the Sound
“Drunken Sailor.”
2. Teacher names new element as “fi” and shows the hand sign.
3. Teacher sings the target phrase of “Drunken Sailor” with solfège syllables and
hand signs. Students echo-sing.
4. Teacher hums phrases from “Drunken Sailor,” and students echo-sing with
5. Teacher and students identify the tone set of “Drunken Sailor”: la-ti-do-re-mi-fi-so-la.
6. Teacher specifically names the notes of the tone set as the “Dorian mode.”
7. Teacher sings the Dorian mode from low to high and back with solfège syllables
and hand signals, and students echo.
8. Teacher identifies the characteristic interval of the Dorian mode, la-fi, as a
major sixth interval.
9. Students identify the intervals between the tonic note and the other notes of the scale.
10. Teacher hums the Dorian mode on “loo,” and students figure out that it can also
be sung with the solfège syllables re-mi-fa-so-la-ti-do-re.
11. Sing “Drunken Sailor” using a re or la tonic.

“Drunken Sailor”
1. Present the tone set for “Drunken Sailor” on the tone ladder.
2. Present the notation of the melody with rhythmic notation and solfège. Students
read with solfège and hand signs.
3 . Teacher reviews the Rule of Placement for fi on the staff.

4. Present the melody on the staff using A, D, and E as the tonic notes. Students read
with solfège and hand signs.
Dorian Mode
1. Present the Dorian scale tone ladder.
2. Present the scale on the staff: analyze the intervals between the notes as well as
between the tonic and all other scale degrees. Teacher explains that the Dorian is a
minor scale with a characteristic major sixth interval (la-fi).
Fig. 3.20
90 Demonstrate how the Dorian mode is a minor-sounding mode and it may be sung begin-
ning with one of two starting pitches: (1) sing it beginning on la and raise the note fa to fi,
or (2) sing the scale beginning on re. Note that the half step intervals are in the same posi-
tion (Figs. 3.20 and 3.21).
Fig. 3.21

Aural Practice
1. Sing “Drunken Sailor” and “Scarborough Fair” with solfège syllables using a la
scale with a raised sixth degree fi, as well as a re-re scale with no solfège syllable
alterations.
3. Teacher sings major and minor type scale on “loo,” and students sing back with
Transforming Minor Hexachord Melodies into the Dorian Mode

1. Sing minor hexachord melodies in the Dorian mode by raising the fa to a fi. Sing
them again using re as the tonic note.
Teaching Strategies
2. Practice singing minor hexachord melodies in Dorian mode beginning on la. Sing
them again using re as the tonic note.
Singing Intervals
1. Practice singing the intervals between each pair of scale degrees of the
Dorian scale.
2. Practice singing the intervals between the tonic note and each scale degree of the
Dorian scale. The interval of the major sixth, la-fi, is the characteristic interval of
the Dorian mode. Note the intervals between low la–low ti, do-re, re-mi, mi-fi, and
so-la are whole steps. The distance between low ti–do and between fi-so is a half
step. We can refer to whole steps as major seconds (M2) and half steps as minor
seconds (m2).
Part Work
2. Students echo-sing four beat patterns provided by the teacher with solfège and
3. Sing the song in canon with a melodic ostinato. 91
using two ostinatos at the same time. This works with pentatonic music.
5. Students sing a minor song and teacher accompanies with a drone made up of low
la or la-mi played on an instrument.
Improvisation
1. Teacher sings a question using notes of the Dorian scale, and students provide an
answer. These can be performed with both solfège systems.
2. Students improvise a new melody in Dorian mode to a given form.
3. Teacher sings a music question with solfège syllables and hand signs, and students
give an answer. Question ends on mi and after several activities ends on ti. Answer
ends on la.
4. One student sings a music question with solfège syllables and hand signs, and
6. Students transforms major scale into minor scale.
Inner-Hearing
Visual Practice
1. Students read from teacher’s hand signs using melodic patterns that are based on
the Dorian mode.
2. Teacher sings three-note melodic patterns and students echo after two beats,
creating a canon.
Reading
1. Read “Drunken Sailor” in rhythm notation with solfège syllables notation and
staff notation starting on low la and again starting on re.
2. Students sight-read “Ground Hog.”
3. Read a song in minor, “To Work Upon the Railroad,” and sing it with fi
instead of fa.
4. Students read and label the intervals for the scale starting on low la.
5. Students read and label the intervals for the scale starting on re.
Intervals
Memory
92 beats each time and students memorize.
Writing
solfège syllables.
syllables.
8. Write a Dorian scale on the staff and mark the half steps.
9. Write “Drunken Sailor” in rhythm notation with solfège syllable notation and
staff notation.
10. Teacher sings a short melodic pattern using the Dorian scale and students
inner-hear and write the pattern on the staff.
Improvisation
1. Teacher sings a question phrase with solfège syllables and hand signs, and
students choose from four patterns from the board to use as an answering phrase.
Teaching Strategies
2. Teacher sings a question phrase with solfège syllables and hand signs, and a
solfège but leaves out four beats. Students read with solfège, and one student
students compose a new melody using the form ABAB. Teacher gives students the
A phrase and they must improvise the B phrase, which should end on do.
Memory
Inner-Hearing
1. Recognize familiar songs from teacher’s hand signs. 93
pattern.
pattern.
Part Work
from notation.
6. Read a known song with solfège syllables while showing hand signs with the left
hand and conducting with the right hand. Divide the class into two groups; group
1 performs the activity, and group 2 claps rhythm in canon after two beats.
simultaneously.
with right hand, and tap an ostinato with the left hand. Sing minor pentachord
scales in canon.
9. Sing minor hexachord scales in canon.
10. Sing this two-part repertoire:
Fifteen Two-Part Exercises, no. 7, by Zoltán Kodály (1882–1967).
“The Drunken Sailor,” The Owl Sings, by Philip Tacka and Susan Taylor Howell,
pp. 29–35.
Mikrokosmos, vol. 1, no. 31, by Béla Bartók.
Bicinia Hungarica, by Zoltán Kodály, vol. 1, nos. 38, 44, 45; vol. 3, nos. 101 102,
103, 107, 111, and 117.
Listening
Greensleeves (be careful, because many versions have fa instead of fi!)
For Children, vol. 1. (revised Boosey & Hawkes, 1947), no. 28, by Béla Bartók.
94 Mikrokosmos, vol. 1, no. 32, and vol. 2, no. 65 (revised Boosey & Hawkes, 1947), by
Béla Bartók.
Polonaise in G minor, BWV 119, by J. S. Bach (1685–1750).
15 Hungarian Peasant Folk Songs, no. 11, by Béla Bartók.
Sight Singing
Micheál Houlahan and Philip Tacka, Sound Thinking: Music for Sight-Singing and Ear
Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 57–69, 83–89.
Compound Meter (Part 3: 6*Uneven Microbeat

Subdivision)
Table 3.8 presents an overview of the important information required to teach compound
meter, uneven microbeat subdivision.
Table 3.8

gcd Uneven “Early New Uneven Dotted fi (Dorian) “Scarborough
micro to rhythm micro eighth note, Fair”
subdivision Bed” syllables subdivision sixteenth
where ta di da in 6* note
there is a meter, followed by
long sound duration eighth note
followed dot in gcd
by a short compound
sound meter
followed by
a long sound
Teaching Strategies
1 . Sing “Early to Bed” and pat the beat for the entire song.
2. Determine the macro and micro beats. Sing and conduct.
3. Determine the meter (compound duple).
4. Sing “Early to Bed” and clap the rhythm for the entire song.
5. Sing “Early to Bed” and point to a representation of the rhythm on the board
(Fig. 3.22).
FIG. 3.22
6. Divide the class into two groups. Group 1 pats the beat for the target phrase, and
group 2 claps the rhythm. Switch.
7. Sing “Early to Bed.” Step the beat and clap the rhythm.

95
2. Sing the target phrase using a neutral syllable while keeping the beat before asking
3. Determine the number of beats in the phrase (target phrase 1).
T: “Andy, which beat has one sound?” (4) “We call that a ta.”
T: “Andy, how would you describe the sounds on beat 3?” (even)
T: “Andy, how many sounds do we sing on beat 3?” (three) “We call that ta ki da.”
T: “Andy, how would you describe the sounds on beat 2?” (long short) “We call
that ta da.”
T: “Andy, how many sounds do we sing on beat 1?” (three)
T: “Andy, how would you describe the sounds on beat 1? Are they even sounds
like the sounds on beat 3?” (no). “How could you describe them? (three
sounds, first sound is longest, third sound is next longest, and middle sound is
shortest)
T: “Andy, sing the sounds on beat 3 on “loo” and sing all of the other beats with
rhythm syllables while keeping the beat.”

a visual representation of the target phrase. Students may use manipulatives.
T: “Pick up what you need to recreate what you heard” or “Draw what you heard.”
Teacher assesses students’ level of understanding.
5. Students sing “Early to Bed” with a neutral syllable and point to the
representation.
6. Figure out the rhythm syllables for known rhythmic patterns and hum for the
unknown pattern.
7. Figure out the solfège syllables for the melody.
Label the Sound
“Early to Bed.”
T: “In compound meter any attack on the beat is called a ta.”
T: “Three sounds that are evenly distributed over one beat are called Ta ki da.”
T: “Two sounds on a beat; one long followed by a short sound, is called ta da.”
T: “Three uneven sounds on a beat, where the first sound is the longest, followed
by the third sound and the second sound is the shortest, are called ta di da.”
2. Sing “Early to Bed” with rhythm syllables while tapping the beat.
96 3. Sing “Early to Bed” with rhythm syllables while conducting the beat.
4. Sing counting with numbers. (Remember that we have to use “and” for counting
subdivisions in compound meter; see Fig. 3.23.)
FIG. 3.23

1. Time signature. T: “In compound duple meter, where we have two macro beats
per measure, the time signature is 6*.”
2. Dotted quarter note. T: “One sound that occurs on one beat, where the macro
beat is equal to a dotted quarter note, is called a dotted quarter note.”
3. Three eighth notes. T: “Three even sounds that occur on one beat, where the
macro beat is equal to a dotted quarter note, are called three eighth notes.”
6*r r \r r \
ssqssq\ssqssq\
4. Dotted half note. T: “One sound on two beats, where the macro beat is equal to a
dotted quarter note, is called a dotted half note.”
6*t \t \ ssqssq\ssqssq\
Teaching Strategies
5. Quarter note followed by an eighth note. T: “Two sounds on a beat, where the
macro beat is equal to a dotted quarter note, and where the first sound is twice as
long as the second, are called a quarter note followed by an eighth note.”
6*qa qa \qa qa \
ssqssq\ssqssq\
6. Eighth note followed by a quarter note. T: “Two sounds on a beat, where the
macro beat is equal to a dotted quarter note, where the first sound is short
and the second sound is long, are represented as an eighth note followed by a
quarter note.”
6*aq aq \aq aq \
ssqssq\ssqssq\
7. Dotted eighth note followed by a sixteenth note followed by a quarter note.

T: “Three sounds on a beat, where the macro beat is equal to a dotted quarter
note, and where the first sound is one and a half micro beats, the second sound 97
is a half micro beat, and the third sound is equal to a micro beat, are represented
in traditional notating using a dotted eighth note followed by a sixteenth note
followed by an eighth note.”
6*g,d g,d \g,d g,d \

ssqssq\ssqssq\
8. Present notation for “Early to Bed.”
6*gvdqa\ssdr\
gcdssd\ssdr\
rssd\rr|
9. Read “Early to Bed” with rhythm syllables and conducting as well as with
numbers for counting and conducting.
10. Add the solfège syllables and read “Early to Bed” with solfège syllables and
hand signs.

Aural Practice
syllables.
6. Teacher sings each phrase of “Early to Bed” and students echo-sing with rhythm
syllables.
Part Work
upper part and group 2 the lower part. Switch.
Improvisation
1. Let the students decide how to sing “Row, Row, Row Your Boat” (canon, adding a
98 melodic ostinato, adding a rhythmic ostinato).
2. Teach claps a four-beat rhythmic pattern in compound meter and students clap an
answering four-beat phrase.
3. Students improvise a new rhythmic composition in compound meter based on a
given form.
Inner-Hearing
2. Teacher sings known phrases of songs in compound duple meter, and students
Visual Practice
1. Read “Early to Bed” in traditional rhythmic notation with rhythm syllables and
numbers (for counting).
2. Read “Early to Bed” from staff notation with rhythm syllables, numbers (for
counting).
Reading
7. Read an unknown songs from teacher’s hand signs.
Teaching Strategies
1 0. Read an unknown song with rhythm syllables and conduct.

12. Read the rhythm of a known song and play on classroom percussion
instruments.
13. Read phrase of a known song with traditional notation and solfège syllables, or
from the staff, that includes new rhythmic pattern and play on the xylophone or
tone bells.
15. Read “Early to Bed” in traditional rhythmic notation with rhythm syllables.
16. Read “Early to Bed” notated on staff with rhythm syllables and solfège syllables
and hand signs.
17. Transform the rhythm of “Morning Is Come” into other known compound
melodies.
Writing
rhythmic notation. 99
correct rhythms.
5. Students notate rhythm patterns by teacher and add the bar lines and time signature.
6. Write “Early to Bed” with rhythmic notation and solfège syllables.
7. Write “Early to Bed” in staff notation.
Improvisation
2. Students claps a question phrase and chants rhythm syllables, another student
Memory
Inner-Hearing
Part Work
1. Divide the class into two groups. Group 1 sings the song with solfège and
hand signs, and group 2 sings taps a rhythmic ostinato that students read from
notation.
into two groups, and perform the activity in canon after two beats.
groups, and perform the activity in canon after two beats.
hand and conducting with the right hand. Divide the class into two groups, and
into two groups; one group performs the activity from the beginning and the
100 7. Read a known song with rhythm syllables while tapping the rhythm with the left
group performs the activity from the beginning and the other from the end of
the song.
simultaneously.
10. Students perform:
The OAKE Collection, Vol. 2, The Owl Sings (Organization of American Kodály
Educators, 1991, p. 12).
The OAKE Collection: The Sounds of Rounds and Canons, by Ruth Boshkoff and
Kathy Sorensen, p. 67.
Listening
“Danza de la Moza Donosa,” Op. 2, No. 2, from Danzas Argentinas for piano, by
Alberto E. Ginastera (1916–1983).
Piano Sonata No. 11 in A Major, K. 331, Andante grazioso by W. A. Mozart
(1756–1791).
“Morning Greeting,” Op. 130, No. 1, by Cornelius Gurlitt (1850–1938).
Sight Singing
Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 15–24, 45–56,
105–120.
ta (Mixolydian Mode)
Table 3.9 presents an overview of the important information required to teach ta
(Mixolydian mode).
Teaching Strategies
Table 3.9

ta A note “Old Solfège Mixolydian gcd “I’m Going
that is a Joe syllables scale Home on
half-step Clark” do-re- structure a Cloud,”
lower mi-fa- “Git Along
than the so-la- Lil Dogies,”
seventh ta-do’ “Good
degree Morning
of a My Pretty
major Little Miss,”
scale “The Dying
Cowboy,”
“The
Avondale
Mine 101
Disaster,”
“The Jam
on Jerry’s
Rocks,” “As
I Roved Out”
1. Sing the last phrase of “Old
Joe Clark” and point to a
representation of the melodic
contour at the board (Fig. 3.24).
2. Sing the last phrase of “Old Joe
Clark,” and clap the melodic FIG. 3.24
contour.
3. Sing the last phrase with rhythm
syllables while clapping melodic contour.

1. Assess the kinesthetic activities with the focus song “Old Joe Clark.”
T: “Andy, how many beats are in the last phrase?” (eight)
T: “Andy, what is the general direction of the melodic contour?” (up and
then down)
T: “Andy, sing the solfège for the last four beats of the phrase.” (mi mi-re re-do)
T: “Andy, what is the beginning pitch of the phrase?” (so)
2. Determine the solfège syllables for beats 3 and 4 for the target phrase. (so fa mi do)
3. Determine the solfège syllables for beats 1 and 2 for the target phrase.
T: “Andy, if we start on so, sing the solfège for beat 1.” (so la)
T: “Andy, what is the solfège for the last note on beat 2?” (la)
T: “Andy, sing the pitches ascending for beats 1 and 2.”
T: “Andy, sing the intervals between these notes.” (major second followed by
minor second)
Teacher sings the first three pitches using so, la, and humming on the new note.
4. Students should verbalize that the note hummed is a half step above la.
5. Students sing the target phrase with solfège and hand signs but hum on the
new sound.

102 what you heard.” Teacher assesses students’ level of understanding.
5. Students sing the target phrase of “Old Joe Clark” with a neutral syllable and point
6. Students identify the form of the melody, identifying the placement of the phrase
within the form and sing the target phrase of “Old Joe Clark” with rhythm
syllables.
Create a Visual Representation of the Mixolydian Scale

1 . Teacher sings the notes of the Mixolydian scale.
2. Students create a visual representation of the scale. It is important for them to
show the steps and the skips.
4. Identify the major and minor seconds.
Label the Sound
1. Assess the kinesthetic, aural, and visual awareness activities.
T: “We have a note that is between la and ti; we call it Ta.” Teacher shows the hand
sign for the new note.
2. Teacher sings the target phrase with solfège and hand signs and the students
echo-sing with solfège and hand signs.
3. Teacher hums phrases from “Old Joe Clark” and students echo-sing with solfège
and hand signs.
4. Students determine the tone set of “Old Joe Clark.”
Teaching Strategies
5. Teacher and students sing the tone set and label as the Mixolydian mode
(d-r-m-f-s-l-ta-d’).
6. Students will figure out with the help of the teacher that we can also use the notes
s-l-t-d-r-m-f-s to sing the same scale.

“Old Joe Clark”
1. Present the tone set for “Old Joe Clark” on the tone ladder.
2. Present the melody with rhythmic notation. Students read with solfège syllables
and hand signs.
3. Review the Rule of Placement for ta.
4. Present the notation for “Old Joe Clark” on the staff using different do positions.
hand signs.
Mixolydian Mode
1. Present the notes of the mode on the tone ladder.
2. Present the scale on the staff; analyze the intervals between the notes of the scale 103
and from the tonic to each degree of the scale.
3. Demonstrate how the Mixolydian mode can written with two solfège syllable
interpretations: (1) beginning on do and lowering the seventh degree a half step,
or (2) beginning on so and singing the scale with no alterations. (See Figs. 3.25,
3.26 and 3.27)
Fig. 3.25
Fig. 3.26
4. Review the intervallic distances between the notes of the Mixolydian Mixolydian
beginning beginning
Mixolydian mode. on d on s
• Note that the interval between ta and high do is a whole d’ s
step, and that the distance corresponds in distance to ta f
l m
the new scale. We refer to whole steps as major seconds s r
(M2; ta–high do) and half steps as minor seconds (m2; f d
m t
ti–high do). r l
d s FIG. 3.27

Aural Practice
1. Students sing “Old Joe Clark” with solfège syllables.
2. Students sing the Mixolydian scale ascending and descending with solfège and
hand signs using do or so as the starting note.
3. Students sing the Mixolydian scale in canon.
Singing Intervals
1. Teacher hums intervals based on the Mixolydian scale, and students echo-sing
and identify these intervals.
2. Students sing the intervals between notes of the Mixolydian scale.
3. Students sing the intervals between the tonic and notes of the Mixolydian scale.
The minor seventh is a characteristic interval of the Mixolydian mode.
Transforming Major Melodies into the Mixolydian Mode

1. Sing major melodies in the Mixolydian mode by lowering the ti to ta.
104 2. Practice singing major melodies in the Mixolydian mode using so as the tonic note.
Singing Intervals
1. Practice singing the intervals between scale degrees of the Mixolydian scale.
2. Practice singing the intervals between the tonic note and each scale degree of the
Mixolydian scale. The interval of the minor seventh do-ta is the characteristic
interval of the mode.
Part Work
using two ostinatos at the same time. This works with pentatonic music.
Improvisation
1. Teacher sings a question using notes of the Mixolydian scale and students give an
answer. These can be performed with both solfège systems.
2. Students improvise a new melody in Mixolydian mode to a given form.
give an answer. Question ends on so and answer ends on do.
4. One student sings a music question with solfège syllables and hand signs, and
6. Students transforms major scale into minor scale.
7. Teachers sings a question using notes of the Mixolydian mode, and students sing
an answer in solfège.
8. Students improvise a Mixolydian melody using the text of Text of “Old Joe Clark.”
Teaching Strategies
Inner-Hearing
Visual Practice
1. Students read from teacher’s hand signs using melodic patterns that are based on
the Mixolydian mode.
2. Teacher sings three-note melodic patterns and students echo after two beats,
creating a canon.
Reading
1. Read “Old Joe Clark” from rhythm notation with solfège syllable notation.
2. Read “Old Joe Clark” from staff with solfège syllable notation.
Intervals
2. Students identify intervals from notation of unknown songs. 105
Memory
Writing
solfège syllables.
syllables.
6. Teacher sings an unknown song, and students fill in the missing measures with
8. Write a Mixolydian scale on the staff and mark the half steps.
9. Write “Old Joe Clark” in rhythm notation with solfège syllable notation.
10. Write “Old Joe Clark” on the staff.
Improvisation
1. Students compose a question and answer in Mixolydian mode.
2. Students compose a new composition based on the form of a known folk song.
4. Teacher sings a question phrase with solfège syllables and hand signs, and a
solfège but leaves out four beats. Students read with solfège and one student
students compose a new melody using the form ABAB. Teacher provides students
with the A phrase and they must improvise the B phrase, which should end on do.
Memory
106 beats each time and students memorize.
Inner-Hearing
3. Teacher gives students four flash cards with rhythm and students must identify
the song and arrange flash cards in the correct order.
pattern.
pattern.
Part Work
signs and group 2 taps a rhythmic ostinato that students read from notation.
signs and group 2 sings a melodic ostinato that students read from notation.
signs and group 2 sings a descant with solfège and hand signs that students read
from notation.
Teaching Strategies
simultaneously.
with right hand, and tap an ostinato with the left hand. Sing the Mixolydian
scale in canon.
9. Sing minor hexachord scales in canon.
10. Singing this two-part repertoire:
In 46 Two-Part American Folk Songs, by Denise Bacon: “Good Bye, Girls, I’m
Going to Boston,” pp. 47–48; “Old Joe Clark,” pp. 59–60; and “I’m Goin’ Home
on a Cloud,” pp. 57–58.
Bicinia Hungarica, vol. 3, by Zoltán Kodály, nos. 110 and 118.
Listening
Mikrokosmos, vol. 2 (revised Boosey & Hawkes, 1947), no. 48 (the solfège for this
piece of music begins on s!); and no. 40. 107
Sight Singing
Training, vol. 2 (Boosey & Hawkes, 1995), selected examples, pp. 65–68, 69–74.
Developing a Lesson Plan Design Based

on the Teaching Strategies
The goal of this section is to show how our model of instruction and learning incorporates
information for developing musical literacy into the preparation/practice and presentation
lesson plan designs.
In the cognitive phase of learning, students explore a music concept moving through
three stages of learning. In stage 1, they learn to internalize music and construct kinesthetic
awareness. In stage 2, they learn to describe the characteristics of the new concept by con-
structing aural awareness. In stage 3, they construct a representation of the new concept.
The stages of learning in this phase are explored in three lesson plans.
In the associative phase of learning, students learn how to describe the sounds of music
with rhythm or solfège syllables and how to translate these sounds into music notation.
Stage 1 is aural presentation of the new rhythmic or melodic syllables and hand signs using
known song material that contains the target pattern (the most frequent pattern that con-
tains the new element) and related patterns. Stage 2 is visual presentation of the target pat-
tern using traditional notation. Each stage of learning here is explored in a lesson plan.
In the assimilative phase of learning, students practice and gain fluency in integrating
the new element into their vocabulary of other known rhythmic and melodic elements. In
Stage 1, students aurally practice the rhythm or solfège syllables and hand signs for the new
element with music skills. In stage 2, students visually practice the new element with musi-
cal skills. Aural practice should take place independently from visual practice, but visual
practice should never take place without recourse to aural practice. These stages of learning
take place in a concentrated manner over three lessons and may be practiced independently
or combined.
Figure 3.28 demonstrates how the phases of learning are reflected in different types of
lessons.
Fig. 3.28 Connecting Lessons Plans to Phases of Learning and Instruction
P HASE 1 : C O G N I T I V E P HASE ( P R E PA R AT I ON )
Lesson 1
Stage 1: internalizing music through kinesthetic activities; constructing kinesthetic awareness
Ss listen to T sing the new song.
Ss perform the new song with movement.
Rationale: to match patterns of experience to patterns of music.
Lesson 2
Stage 2: describing what you hear: constructing aural awareness by responding to questions
108 Ss aurally analyze the characteristics of the new musical element with the help of the
instructor.
Ss describe the characteristics of the new element.
Rationale: to verbalize what they perceive.
Lesson 3
Stage 3: constructing a representation from memory; constructing visual awareness
Students create a visual representation based on their aural understanding.
Rationale: to visually represent what they have heard and verbalized.
P HASE 2 : AS S O C IAT I V E P HASE ( P R E SE N TAT I ON )

Lesson 4
Stage 1: associate the sound of the new element with solfège or rhythmic syllables
Lesson 5
Stage 2: associate traditional notation with the sound of the new musical element
After lesson 5, the new element is now referred to as a known element.
P HASE 3 : AS SI M I L AT I V E P HASE ( P R AC T I C E )
After the fifth lesson, T begins with the introduction of another new element in preparation/
practice and presentation lesson plan cycle. During the practice segments of these lessons, T
assimilates the known element.
Stage 1: students aurally practice music skills, assimilating the new element, in familiar and
new songs
Stage 2: students visually practice music skills, assimilating the new element, in familiar and
new songs
Teaching Strategies
The lesson plan designs and lesson plans below represent how students begin the pro-
cess of understanding the sounds of a new element before learning how to notate the new
element. These plans show where the various phases and the stages of learning take place.
We will include after each plan design a lesson plan segment from an actual lesson plan so
you can see how these ideas translate into practical applications in the classroom. For the
purposes of showing you examples of lesson plans, we use these elements:
New element Grade 5, Unit 2, high ti

Known element Grade 5, Unit 2, dotted eighth and sixteenth note
New element Grade 5, Unit 3, eighth and dotted quarter note
Known element Grade 4, Unit 3, high ti
Lesson 1: Kinesthetic
Table 3.10 shows the lesson plan design for developing a preparation/practice lesson plan
framework for cognitive phase of learning, stage 1.
109
Table 3.10
Outcome
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and elements
Teach a new song
Preparation of new concept Cognitive Phase, Stage 1
Develop knowledge of music • Ss listen to T sing the focus song.
literacy concepts • Ss perform the focus song with a movement
that demonstrates the concept.
Internalize music through
• Rationale: to match patterns of experience to
kinesthetic activities
patterns of music.
Creative movement
Practice music performance and
literacy skills
Reading and Listening
Review lesson outcomes
Review the new song
Table 3.11 shows a lesson plan for developing a preparation/practice lesson plan frame-
work for cognitive phase of learning, stage 1.
Table 3.11 Grade 5: high ti, Lesson 1
Outcome Preparation: internalize high ti, the major scale, through

Practice: read dotted eighth and sixteenth four-beat
patterns
Warm-Up
Sing known songs
Tone production
Diction
110 Expression
Review known songs and
elements
Teach a new song
Develop knowledge of music “Alleluia”
literacy concepts CSP: D
Internalize music through • Ss sing “Alleluia” with text.
kinesthetic activities • Ss sing the second phrase and point to a
representation of the melodic contour at the board.
• Ss sing “Alleluia” and show the melodic contour of the
second phrase.
• Ss sing phrase 2 of “Alleluia” with rhythm syllables
while showing the melodic contour.
Creative movement
Practice music performance
and literacy skills
Reading
Review the new song
Teaching Strategies
Lesson 2: Aural
Table 3.12 has a lesson plan template for developing a preparation/practice lesson plan for
cognitive phase of learning stage 2.
Table 3.12
Outcome
Warm-up
Sing known songs
Tone production
Diction
Expression
Review known songs and 111
elements
Teach a new song
Preparation of new concept Cognitive Phase, Stage 2
Develop knowledge of music Describe what you hear
literacy concepts • Ss aurally analyze the characteristics of the new
Describe what you hear musical element with T’s help.
• Ss describe the characteristics of the new element by
answering a series of carefully sequenced questions
from T. In this way, they can develop their audiation
skills during the process of answering questions. Ss
must inner-hear the focus phrase in order to be able
to answer T’s questions.
Creative movement
and literacy skills
Writing
Review the new song
Table 3.13 presents a lesson plan for developing a preparation/practice lesson plan for
cognitive phase of learning, stage 2.

Practice: read dotted eighth and sixteenth four-beat patterns
Warm-up
Sing known songs
Tone production
Diction
Expression
elements
112
Teach a new song
Develop knowledge of “Alleluia”
music literacy concepts CSP: D
Describe what you hear • Assess the kinesthetic activities with the focus song
“Alleluia.” Sing phrase 2 while keeping the beat before
asking each question below.
• Sing and determine the number of beats per phrase and
the general direction of the melody.
• Sing the second phrase on “loo” before asking each of
these questions:
T: “Andy, how many beats are in the second phrase?”
(eight)
T: “Andy, what is the general direction of the melodic
contour?” (it goes up)
• Determine the number of different pitches in the
phrase.
T: “Andy, how many different pitches did we sing?” (eight)
T: “Andy, sing the lowest note of the phrase.”
T: “Andy, which solfège syllable can we use for that
pitch?” (do)
T: “Andy, sing the highest note of the phrase.”
T: “Andy, which solfège syllable can we use for that pitch?”
(high do)
T: “Andy, sing all of the pitches from highest to lowest and
identify the intervals as major or minor seconds.
T: “Andy sing the first phrase on solfège and the second
phrase on ‘loo.’”
(Continued)
Teaching Strategies
Creative movement
Practice music
performance and
literacy skills
Writing
Review the lesson
outcomes
Review the new song
Lesson 3: Visual
Table 3.14 presents a lesson plan template for developing a preparation/practice lesson plan 113
framework for cognitive phase of learning, stage 3.
Table 3.14
Outcome
Warm-up
Sing known songs
Tone production
Diction
Expression
elements
Teach a new song
Preparation of new concept Cognitive phase
Develop knowledge of Stage 3: constructing a representation from memory;
music literacy concepts constructing visual awareness
Create a representation of • Ss create a visual representation of the focus phrase
what you hear based on their aural understanding.
• Rationale: to visually represent what they have heard
and verbalized.
(Continued)
Creative movement
and literacy skills
Improvisation
Review the new song
Table 3.15 shows a lesson plan for developing a preparation/practice lesson plan frame-
work for cognitive phase of learning, stage 3.

114 Outcome Preparation: create a visual representation of the la
pentatonic scale
Practice: improvise a four-beat rhythm using aqa
Warm-up
Sing known songs
Tone production
Diction
Expression
elements
Teach a new song
Create a representation of • T assesses kinesthetic and aural awareness by allowing
what you hear the class to perform several of the kinesthetic and
aural awareness activities.
• T sings phrase 2 on a neutral syllable and asks
students to create a visual representation of the
melody of the target phrase. Ss may use manipulatives.
T: “Pick up what you need to recreate what you heard”
or “Draw what you heard.” Teacher assesses Ss’ level of
understanding.
(Continued)
Teaching Strategies
• T invites one student to the board to share a

representation with the class. If necessary, corrections
to the representation can be made by reviewing the
• Ss sing the second phrase of “Alleluia” with a neutral
syllable and point to the representation.
• Ss sing the phrase with rhythm syllables.
Creative movement
and literacy skills
Improvisation
Review the new song
115
Lesson 4: Presentation
Table 3.16 shows a lesson plan template for the associative phase of learning, Stage 1, pre-
sentation. Label the sound.
Table 3.16
Outcome
Warm-ups
Sing known songs
Tone production
Diction
Expression
elements
Teach a new song
Presentation of music Phase 2: Associative Phase (Presentation)
literacy concepts Stage 1: associate the sound of the new element with solfège
Describe what you hear with or rhythmic syllables with a focus pattern
solfège or rhythm syllables
(Continued)
Creative movement
Presentation of music Phase 2: Associative Phase (Presentation)
literacy concepts Stage 1: associate the sound of the new element with solfège
Describe what you hear with or rhythmic syllables with a related pattern
solfège or rhythm syllables
Review the new song
Table 3.17 is a presentation lesson plan for the associative phase of learning, stage 1, pre-
sentation. Label the sound.
Table 3.17 Grade 4: Major Scale, Lesson 4

116
Outcome Presentation: label high ti and the major scale with solfège
syllables
Warm-up
Sing known songs
Tone production
Diction
Expression
elements
Teach a new song
Presentation “Alleluia”
Describe what you hear with CSP: D
solfège syllables • T reviews the kinesthetic, aural, and visual
awareness activities with the focus song “Alleluia.”
• T sings song with solfège syllables and hand signs.
• T sings “Alleluia” with solfège syllables and hand
signs and Ss echo-sing with solfège syllables and
hand signs.
• T sings phrases with text; Ss echo with solfège
• Ss sing the eight pitches of the major scale from low
to high. T names it a “major diatonic scale.”
(Continued)
Teaching Strategies
• Ss sing the scale ascending and descending with

• Students sing the scale in canon.
Creative movement
Presentation “Wake Up! Canon”
Describe what you hear with CSP: A
solfège syllables • Ss sing song.
• T reviews the solfège syllable and hand signs for the
new note.
• T sings each phrase with solfège syllables and
students echo with syllables and hand signs.
• T sings phrases with text or on a neutral syllable
and students echo with solfège syllables and
hand signs.
• Ss sing in canon with text and then sing in canon
with solfège syllables and hand signs.
117
SUM M A RY AC T I V I T E S
Review the lesson outcomes
Review the new song
Lesson 5: Presentation
Table 3.18 shows a template for a presentation lesson plan for associative phase of learning,
stage 2, a new element.
Table 3.18
Outcome
Warm-up
Sing known songs
Tone production
Diction
Expression
elements
(Continued)
Teach a new song
Presentation of music literacy Phase 2: Associative Phase (Presentation)
concepts Stage 2: associate traditional notation with the sound of
Notate what you hear the new musical element in a focus pattern
Creative movement
Presentation of music literacy Phase 2: Associative Phase (Presentation)
concepts Stage 2: associate traditional notation with the sound of
Notate what you hear the new musical element in a related pattern
Review the new song
118
Table 3.19 has a presentation lesson plan for the associative phase of learning, stage 2,
presentation. Present the notation.
Outcome Presentation: notation of major key melodies and scales on

the staff
Warm-up
Sing known songs
Tone production
Diction
Expression
elements
Teach a new song
Presentation of music “Alleluia”
literacy concept CSP: D.
Notate what you hear • Ss sing song in canon.
• T presents the rhythmic notation and solfège syllables
for “Alleluia.” Ss read with solfège syllables and
hand signs.
(Continued)
Teaching Strategies
• T presents the pattern for the major diatonic scale on

the tone ladder and explains the position of the two
half-step intervals between mi and fa and between ti
and high do.
• T presents the pattern for the major diatonic scale
and comments on the position of the half-step
intervals.
• T reviews the Rule of Placement for the notes of the
major scale.
• T presents the melody on the staff. Ss read with solfège
Creative movement
Presentation of music “Wake Up! Canon”
literacy concepts CSP: A
Notate what you hear • Ss sing in canon.
• T presents the rhythmic notation with solfège syllables
119
written beneath. Ss read with solfège syllables and
hand signs.
• T presents the melody on the staff. Ss read with solfège
Review the lesson outcomes
Review the new song
The assimilative phase, stages 1 and 2, takes place during the next units. Stages 1 and 2
are integrated into various sections of lessons of the next units. In our lesson plan structure,
we focus on the skills of reading, writing, and improvisation during the next three lessons
at the same time as we are preparing another new element to be mastered.
Lesson Segment for Practicing Reading

We use the preparation/practice lesson plan framework, but note how we focus on practic-
ing reading while preparing the next new element (Table 3.20).
Table 3.20 Grade 5: Eighth Note and Dotted Quarter Note, Lesson 1
Outcome Preparation: internalize an eighth note followed by a dotted

quarter note through kinesthetic activities
Practice: read melodic patterns with high ti based on the
major scale
(Continued)
Warm-up
Sing known songs
Tone production
Diction
Expressions
elements
Teach a new song
Develop knowledge of music
concepts
120
Internalize music through
Creative movement
Practice and performance of “Alleluia”
music skills CSP: D
Reading Reading from T’s hand signs
• Ss sing “Alleluia” in two parts.
• T shows “Alleluia” using hand signs, and Ss read with
solfège
Reading from notation
• Read “Alleluia” from traditional rhythmic notation
and solfège syllables.
• Read “Alleluia” from staff notation.
• Read Bartók’s For Children, vol. 1 (revised Boosey &
Hawkes, 1947), no. 11, from T’s hand signs.
Review the new song
Lesson Segment for Practicing Writing

ing writing while preparing the next new element (Table 3.21).
Teaching Strategies
Outcome Preparation: analyzing repertoire that contains eighth note

followed by a dotted quarter note through aural awareness
questions
Practice: writing patterns with high ti based on the major scale
Warm-up
Sing known songs
Tone production
Diction
Musicianship
Review known songs
and elements
C OR E AC T I V I T I E S 121
Teach a new song
Develop knowledge of
music literacy concepts
Describe what you hear
Creative movement
Practice and “Alleluia”
music skills • Ss sing “Alleluia” in canon on “loo.”
Writing • Ss sing with rhythm and solfège names.
• Write “Alleluia” using rhythmic notation and solfège
syllables.
• Write “Alleluia” on the staff.
• Read from notation and sing with solfège syllables and
hand signs.
Review the new song
Lesson Segment for Practicing Improvisation

ing improvisation while preparing the next new element (Table 3.22).
Outcome Preparation: creating a visual representation of an eighth

note followed by a dotted quarter note
Practice: improvise a pattern with high ti based on the
major scale
Warm-up
Sing known songs
Tone production
Diction
Musicianship
elements
122 C OR E AC T I V I T I E S
Teach a new song
Develop knowledge of .
music literacy concepts
Create a visual representation
of what you hear
Creative movement
Practice and performance “Alleluia”
of music skills CSP: D
Improvisation • Sing in canon.
• T sings a question written in traditional rhythm
notation with solfège syllables beneath, or on staff
notation, that incorporates the notes of the major scale.
• Ss echo with an answering phrase using solfège
syllables and hand signs. The rhythm may be provided
for the students to improvise. Important to end the
question with so and the answer with do.
Review the new song
Chapter 4
Developing Music Skills and Creative Expression
This chapter provides a quick overview of techniques for developing tuneful singing, reading,
writing, improvisation, playing instruments, creative movement, and listening skills. More
detailed activities are included in Chapters 3 and 7 of Kodály Today. Also included are listening 123
examples that may be used for movement development as well as to develop music literacy skills.
Where possible, music skills should practice all of the rhythmic and melodic elements outlined in
the curriculum for each grade. Grade five elements include knowledge of pitches of the extended
pentatonic scale, major, minor, and modal scales. Rhythmically, students will understand eighth
and dotted quarter notes, and compound meter.
Tuneful Singing Skills
Posture
1. Balance the head. To accomplish this, the face should look straight ahead. Try several
exercises, such as moving the head up and down and sideways to relax the head and
neck muscles. Stand with your back against a wall and make sure that your head and
the heels of your feet are touching the wall. The head should feel suspended as if you
are a puppet or a balloon. Keep the spine straight.
2. Explain the correct seating position:
Shoulders should be relaxed and rotated toward the back.
Neck muscles should be relaxed.
Tongue should be relaxed in the bottom of the mouth.
Spine should be extended.
Rib cage is lifted.
Be at the edge of your chair when singing.
Feet are on the floor.
Hands are on the legs.
Eyes are on the conductor.
3. Explain the correct standing position:

Shoulders should be relaxed and rotated toward the back.
Neck muscles should be relaxed.
Tongue should be relaxed in the bottom of the mouth.
Spine should be extended.
Rib cage is lifted.
Arms should dangle freely at the sides. Hands should be relaxed at the sides.
Knees should be relaxed and very slightly bent.
Feet should be firmly placed on the ground and roughly ten to twelve inches
apart. Feet should be slightly apart, less than the width of the shoulders.
Make sure the body is resting on the balls of the feet.
Eyes are on the conductor.
Body Warm-up
1. Body stretches. Teacher explains that students’ shoulders should be kept down, and
they should reach for the stars; each hand should alternate with the other.
2. Shaking arms. Extend arms in from of your body and shake each arm separately.
3. Shoulder roll. Roll each shoulder separately, making a circle.
4. Shrugging shoulders. Shrug your shoulders, hold position for several counts, and
then release.
5. Head rolls. Drop head to left shoulder and trace a half circle, moving chin toward
124 chest and right shoulder.
6. Neck stretch. Drop the right ear to the right shoulder and the left ear to the left
shoulder. Move the neck, making a yes-or-no motion.
7. Facial stretch. Ask students to act surprised. Try to drop your jaw and say mah,
mah, mah several times.
8. Knee flex. Arms should be extended forward and hands should be relaxed; bounce
the body by flexing the knees.
9. Wiggle toes. Wiggle toes inside your shoes.
Breathing
1. Correct breathing posture. Students lie on the floor with a book placed on their
abdominal muscles. When inhaling, the book rises, and when exhaling, the book
lowers. Students should stand and place a hand on the abdominal muscles. They
then exhale and inhale, paying attention to abdominal muscle and not raising
their shoulders. They need to be encouraged to take in a deep breath through
their nose and mouth and not a shallow one. Sometimes it is useful for students to
exhale air against the palm of the hand.
2. Awareness of the diaphragm and other abdominal muscles for breathing. These
exercises will help students understand use of the abdominal muscles for
breathing:
Show students how to sip through a straw correctly and expand their waist.
Show students how to release air using a “sss” or hissing sound.
Show students how to release air using the words “ha.”
Guide the students to yawn, as this opens up the back of the throat and relaxes
the voice.
3. Sighing. This is a gentle way of using a higher voice than students usually speak with.
Try having them sigh a few times, starting each sigh a little higher than the last.
4. Practice breathing. Breathe in through the nose for four counts and exhale through
the mouth for four counts.
5. Consonants. Students echo four-beat patterns of consonants (k-k-k-k, ss-ss-ss-ss,
p-p-p-p, zz-zz-zz-zz, etc.).
Resonance
1. Use of sirens. Imitate the sound of a siren with the voice. Challenge the students to
make soft and loud, high and low, long and short sirens, and sirens that just go up,
just come down, or do both.
2. Falling off a cliff. Pretend you’re falling off a cliff and say “aaaahhhhhhhhhh!”
3. Use a ball. Teacher throws a ball from one student to another. Students have to
follow the movement of the ball with their voices.
Tone Production
1. Humming melodic patterns from folk songs. Students hum a pattern from a song,
but the last note should be shortened to take a breath and repeat the pattern.
2. Singing known songs with the word yip. Students sing known song with a “yip” sound.
3. Students speak with a “koo” sound. Students repeat “koo” to known rhythm patterns.
4. Students sing with a “koo” sound. Students sing known melodies to a “koo” sound. 125
5. Lip trills. Teacher directs students to then use lip trills to sing the song.
6. Pure vowel sounds. Sing with known solfège syllables and hand signs.
7. Vowel scales. Unify vowel sounds by singing descending in several pentatonic
scales on “mee,” “meh,” “mah,” “moh,” and “moo.”
8. Combination vowels. Students sing the sequence of “oh-oo-ah” on notes of the
pentatonic scale. For example, students sing the three vowel sounds on mi and
then re and finally do. Pay attention to the jaw on all the vowel sounds. Keep
repeating but singing a minor second higher each time.
9. Extending vocal range. Students practice singing a phrase of a song and repeating
it a minor second higher. Use a pure vowel sound. Each time you repeat, you can
sing another on a new vowel sound.
Diction
1. Tongue twisters sung. Students gain flexibility by singing tongue twisters on one
pitch and repeating at intervals of a minor second.
2. Tongue twisters sung with two voice parts. Students gain flexibility by singing
tongue twisters at the interval of a fourth or fifth.
3. Unvoiced consonants. Students say the unvoiced consonants p, t, and k using
rhythm patterns of songs.
4. Voiced consonants. Students sing songs using voiced consonants b, d, g, and j using
rhythm patterns of songs.
5. Inner smile. Singing melodic patterns with an inner smile. Ask students to keep
their lips closed and do an inner smile. Using this position, ask them to echo-sing
melodic patterns with this inner smile.
6. Practice singing diphthongs (dominant vowel sound and a lesser vowel sound). For
example, practice saying and singing on a pitch:
How now brown cow
The rain in Spain stays mainly in the plain
7. Singing melodic patterns with an inner smile. Ask students to keep their lips
closed and do an inner smile. Using this position, ask them to echo sing melodic
patterns with this inner smile.
8. Singing using a sustained m or n. Ask students to sing the sequences “Moo-moh,”
“mah meh mee,” and “noo-noh-nah-neh nee” on a sustained note or using notes
of the pentatonic scale.
Tuneful Singing
1. Work with more melodic ostinatos and descants. Students can now begin to work
with simple canons using a smaller range of notes. They can also begin to sing
simple bicinia arrangements of folk songs.
2. Singing phrases of songs on “oh” sound. Students sing phrases of songs on oh
making sure the tone is very light and relaxed.
3. Singing with dynamic markings. Students should sing known melodies using the
correct dynamic names and terms:
pp pianissimo
p piano
126 mp mezzo-piano
mf mezzo-forte
f forte
ff fortissimo
It is best to sing songs using two very different dynamics: f and p.
4. Sing songs using two part–hand signs. Students sing in two parts from the teacher’s
hand signs.
5. Singing longer phrases. Students sing known songs but combine two phrases into
one phrase.
6. Tempo markings. Students should be taught the Italian terms and English
meanings:
Largo very slow
Adagio slow
Andante moderately slow
Moderato moderate
Allegretto moderately fast
Allegro fast
Presto very fast
Students should begin singing known songs using two differing tempi.
7. Staggered breathing. Students sing on one pitch using the word “loo” and must
learn to breath quietly and enter softly after each breath to maintain the sound
and vowel color.
8. Staccato and legato. Students practice singing songs legato and staccato.
9. Crescendo and decrescendo. Students should sing songs using crescendo and
decrescendo.
Reading Skills
We distinguish reading as follows: when students read a melody, they know it is referred to
as reading. When the teacher transforms a known melody to create an new and unfamiliar
melody, we refer to this as sight singing.
Reading Rhythms
Reading tradition rhythmic notation from flash card, the interactive SMART Board, or
worksheets. Read a known song from rhythmic notation that includes grade five elements.
The process:
1 . Sing the song and tap the beat.

2. Sing the song with rhythm syllables.
3. Tap the beat as the students keep the beat and read the rhythm of the complete
song, or the rhythm of a specific phrase using inner hearing or aloud.
Transform Rhythm of Known Song into an Unknown Song

Transform a known song into an unknown song by sequentially changing rhythms that
include grade four elements. The process:
1 . Students sing a known song.

2. Teacher erases parts of the song. 127
3. Students clap the rhythm and say the new rhythm syllables.
4. Teacher transforms to a new rhythm entirely and sings new song.
Form
Present mixed-up phrases of the rhythm of a known song, to have students correctly rear-
range the form. The process:
1 . Teacher presents the phrases out of order.

2. Students identify the song.
3. They arrange the phrases in proper order.
4. Students sing the song.
Inner-Hearing
Students can practice inner hearing using both aural and visual activities.
Aural Inner-Hearing Exercises

Students chant rhythm of a known melody and inner-hear specific rhythmic motifs sig-
naled or indicated by teacher. The process:
1 . Sing song with text.

2. Sing song with rhythm syllables and keep the beat.
3. Sing song with rhythm syllables; teacher signals which measures to chant silently.
Visual Inner-Hearing Exercises

Students read the rhythmic notation of a known melody and inner-hear certain motifs
indicated by teacher on the reading exercises. The process:

3. Sing song with rhythm syllables from notation; teacher indicates which measures
to chant silently.
Students read the rhythmic notation of an unknown melody and inner-hear certain motifs
indicated by teacher on the reading exercises. The process:

3. Sing song with rhythm syllables from notation; the teacher indicates which
measures to chant silently.
Matching
Match song titles to written rhythms that include grade five elements. The process:
1 . List the titles of four songs on the board.

2. Write a phrase from each of the four songs in rhythmic notation.
128 3. Students match the rhythm to the title of the song.
Error Identification
Students read the rhythm of a known song and identify rhythmic errors that are made by
the teacher. The process:
1 . Teacher or a student writes a sixteen-beat rhythm pattern.

2. Teacher or the student claps a slightly different pattern.
3. Another student must identify the phrases and the beats where the changes occur.
Retrograde
Read a rhythm of a known song in retrograde that includes grade four elements. The process:

3. Sing song with rhythm syllables from notation.
4. Sing song backwards with rhythm syllables from notation.
Two-Part Rhythm Reading

Students read the rhythm of multiple songs, and they sing one song while reading rhythm
of another. The process:
1 . Students sing known song A.

2. Divide class into two groups. One group claps rhythm of song B while other sings
song A. Reverse.
3. Students sing song A and clap rhythm of song B.
Students read two-part rhythmic notation that includes grade five concepts. The process:
1 . Students speak each part all together on rhythm names.

2. Divide class into two groups. One group claps rhythm of upper part while the
other claps rhythm of lower. Reverse.
3. Students chant the rhythm to the upper part and clap rhythm of lower part.
Canon
1 . Students say the rhythm syllables and clap the rhythm from notation.
2. Students think the rhythm syllables and clap the rhythm.
3. Students think and clap the rhythm while the teacher taps it in canon.
4. The teacher claps the rhythm while the students clap it in canon.
5. Divide the class into two groups. One half claps the rhythm while the other half
claps in canon so that the teacher can observe any students who may be having
difficulty.
6. Individuals may then perform the rhythmic canon saying the rhythm syllables
while clapping it in canon.
Melodic Reading
Hand Signs
Sing a known and an unknown song from teacher’s hand signs, to include grade five con-
cepts. The process: 129
1 . Teacher sings on “loo” and shows hand signs for a phrase of music.
2. Students sing with solfège and hand signs.
Tone Ladder
Teacher points to a pattern on the tone ladder that includes grade five concepts.
1 . Teacher points to notes of a known song on the tone ladder.

2. Students can sing each note or should wait to sing the melodic motif.
Reading Traditional Rhythmic Notation with Solfège Syllables

Students read known melodies from flash cards or from the SMART Board, to include
grade five elements. They sing known elements using solfège and hand signs. The process:
1 . Students sing the known song with rhythm syllables.

2. The teacher points to the notation, keeping the beat while the students read the
rhythm syllables and clap the rhythm.
3. The teacher points to the notation, keeping the beat while the students clap the
rhythm.
4. The students locate the highest and lowest notes.
5. The teacher provides the starting pitch and may have the students sing the
tone set.
6. Students read the melody from the teacher’s hand signs. The teacher may hum an
occasional note to help the students.
7 . The students read and perform the exercise aloud singing with solfège syllables.
8. The students perform the exercise aloud, singing on a neutral syllable.
Flash Cards and SMART Board

Students read unknown melodies from flash cards or a SMART board that include grade
five elements. They sing known element using solfège and hand signs. The process:
1. The instructor points to the notation, keeping the beat while the students read the
2. The instructor points to the notation, keeping the beat while the students clap the
rhythm.
4. The instructor provides the starting pitch and may have the students sing the
tone set.
5. Students read from the melody from the instructor’s hand signs. The instructor
may hum an occasional note to help the students.
6. The students read and perform the exercise aloud singing with solfège syllables.
7. The students perform the exercise aloud singing on a neutral syllable.
Reading from Finger Staff
Sing a song while showing placement on finger staff that can include grade five concepts.
The process:
130
1 . Teacher sings with solfège syllables and shows placement on finger staff.
2. Students sing with solfège syllables and show placement on finger staff.
Reading from the Staff
Students read known melodies with solfège syllables and letter names from the staff that
include grade five elements. Students sing using solfège syllables and hand signs.
Students read unknown melodies with solfège syllables and letter names from the staff
that include grade five elements. Students sing using solfège syllables and hand signs.
1 . Students sing the known songs with rhythm syllables.

2. The instructor points to the notation, keeping the beat while the students read the
3. The instructor points to the notation, keeping the beat while the students clap the
rhythm.
4. The students sing the known song with solfège syllables.
tone set.
7. Students read from the melody from the instructor’s hand signs.
8. Teacher reviews the Rule of Placement for the students, and they read the notes of
the melody from the tone set written on the staff.
9. The students show the hand signs and use their inner hearing while the instructor
points to keep the beat. The instructor may hum an occasional note to help the
students.
10. The students read the known song from the staff aloud, singing with solfège
11. The students perform the exercise aloud, singing on a neutral syllable.
Transform a Melody
Transform a known song into an unknown song by sequentially changing rhythms and
pitches. This can be accomplished using traditional rhythmic notation and solfège syllables
or from the staff. The process:
1. Sing known song.
2. Teacher transforms parts of song.
3. Students clap rhythm, say new rhythm syllables, and sing with solfège syllables.
4. Teacher transforms additional parts of a new melody. Students sing new song.
Form
Present mixed-up phrases of a known song written with traditional rhythmic notation and
solfège or on the staff, and students correctly rearrange the song. The process:
1 . Teacher presents phrases out of order.

2. Students identify the song.
3. They arrange in proper order.
4. Sing song.
131
Inner-Hearing
Aural Activities
Students read a known song from the teacher’s hand signs with solfège syllables and “hide”
a specific melodic motif that is indicated by the teacher. Melodic notes include notes from
the grade five curriculum.
Students read an unknown song from the teacher’s hand signs and “hide” a specific
melodic motif that is indicated by the teacher. Melodic notes include notes from the grade
five curriculum. The process:

2. Sing song with solfège syllables and hand signs.
3. Sing song with solfège syllables and teacher will signal which measures to sing silently.
Visual Activities
Students read a known song from rhythmic notation and solfège, or staff, and “hide” a spe-
cific motif that include notes of the grade five curriculum. Students read from the staff and
sing on solfège with hand signs.
Students read an unknown song from rhythmic notation and solfège, or staff and “hide”
a specific motif that include notes of the grade five curriculum. Students read from the staff
and sing on solfège with hand signs. The process:

2. Sing song with rhythm syllables and solfège syllables and hand signs.
3. Sing song with syllables from notation; teacher indicates which measures to sing silently.
Matching
Match song titles to written melodies that include notes of the grade five curriculum. The
process:
1 . Teacher write phrases on board.

2. Students identify sections from known songs.
Error Identification
Students read a known song and identify rhythmic or melodic errors that include notes of
the grade five curriculum. The process:
1 . The instructor or a student writes a sixteen-beat melody on the board.

2. Teacher or students sings, changing the notes.
3. Another student must identify the phrases and the beats where the changes occur.
Reading a Two-Part Known Melody from Rhythmic

Notation and Solfège Syllables
Students read two-part songs in rhythmic notation with solfège that include notes of the
grade five curriculum. They sing the known song with rhythm syllables and solfège syllables.
1. The instructor points to the notation of the upper part, keeping the beat while
132 the students read the rhythm syllables and clap the rhythm.
2. The instructor points to the notation of the lower part, keeping the beat while
the students read the rhythm syllables and clap the rhythm.
3. Students clap the upper part and teacher claps the lower part. Reverse.
4. Divide the class into two groups. One group claps the upper part and the other
group claps the lower part. Reverse.
5. Students read the upper part from the teacher’s hand signs.
6. Students read the lower part from the teacher’s hand signs.
7. Students read the upper part from the teacher’s hand signs while teacher sings
the lower voice. Reverse.
8. Students read the upper part with hand signs while teacher sings the lower voice.
Reverse.
9. Divide the class into two groups. One group sings the upper part and the other
group the lower part. Reverse.
10. One student sings the upper voice part and shows the hand signs for the lower
part. Reverse.
Reading a Two-Part Known Melody from Staff Notation

Students read two-part songs from staff with solfège syllables that include notes of the grade
five curriculum. They sing the known song with rhythm syllables and solfège syllables.
1. The instructor points to the notation of the upper part, keeping the beat while the
students read the rhythm syllables and clap the rhythm.
2. The instructor points to the notation of the lower part, keeping the beat while the
students read the rhythm syllables and clap the rhythm.
3. Students clap the upper part and teacher claps the lower part. Reverse.
4. Divide the class into two groups. One group claps the upper part and the other
group claps the lower part. Reverse.
5. Students read the upper part from the teacher’s hand signs.
6. Students read the lower part from the teacher’s hand signs.
7. Students read the upper part from the teacher’s hand signs while teacher sings
the lower voice. Reverse.
tone set.
10. Teacher reviews the Rule of Placement for the students, and they read the notes
of the upper and lower parts from the tone set written on the staff.
11. Students read the upper part with hand signs while teacher sings the lower voice.
Reverse.
12. Divide the class into two groups. One group sings the upper part and the other
group the lower part. Reverse.
13. One student sings the upper voice part and shows the hand signs for the lower
part. Reverse.
Inner-Hearing Skills
Hand Signs
133
1 . Students follow teacher’s hand signs of known songs and inner-hear solfège.
2. Students follow and sing teacher’s hand signs and inner-hear specific solfège
syllables.
3. Teacher shows hand signs for a whole known song, and students inner-hear and
recognize the song.
4. Students “sing” the indicated measures of a song using inner hearing.
Tone Ladder
1 . Students follow teacher pointing to tone ladder and inner-hear solfège.
2. Students follow and sing from the tone ladder and inner-hear specific solfège
syllables.
3. Teacher points out a whole song on the tone ladder and students inner-hear and
recognize the song.
Rhythmic Notation or Staff Notation

1 . Students recognize a song from inner-hearing rhythmic or staff notation.
2. Sight-read and memorize a simple melodic pattern without hearing it aloud.
Flash Cards and SMART Board

1 . Students inner-hear from flash card patterns.
2. Students sing three of the four melodic flash cards and inner-hear the last card,
and then switch the last card to something new and repeat.
Rhythm
1. Teacher claps rhythm for a known song and students inner-hear and recognize
the song.
2. Teacher sings part of a known song, and students inner-hear solfège syllables and
clap the rhythm for the second phrase.
Melody
1. Students inner-hear solfège written out without rhythmic notation and recognize
the song.
2. They inner-hear a song written with traditional notation and solfège syllables.
3. They inner-hear a song written on the staff.
Additional Inner-Hearing Activities

1. Sing a melody with solfège syllables; the teacher indicates where students should
sing the melody silently.
2. Students read from a score, but the instructor indicates where they should singing
silently with inner hearing.
3. The teacher sings or plays a melody and the students have to remember the first
note. This exercise can be extended from short to longer motifs.
134 4. Students sing a well-known song, and teacher claps a four-beat ostinato. Students
must clap and sing known song. This activity can be extended to an eight-beat
ostinato.
5. Students sing a series of notes, and the teacher plays a series of notes above or
below those. Students must identify the intervals of the solfège of the melody sung
or performed by the teacher.
Writing Skills
Writing Rhythm
Manipulatives
Students use manipulatives to create a visual representation of a new concept. The
process:
1 . Teacher sings focus pattern on neutral syllable.

2. Students use Unifix cubes or SMART Boards to create representation.
Fill in the Blank
Fill in the blanks of a known song. The process:
1 . Teacher and students sing song.

2. Teacher sings song on “loo” and students echo-sing with rhythm syllables.
3. Teacher has written song with missing measure or measures, and students fills in
missing measures.
Traditional Rhythmic Notation

Students write the rhythmic notation of known and unknown motifs that include notes of
1 . Sing the song and keep the beat.

2. The students sing the phrase and clap the beat.
3. The students sing the phrase and clap the rhythm.
4. The students sing the phrase with rhythm syllables.
5. Students can draw a representation of the rhythm.
6. Teacher reviews how to write different sounds on the beat.
7. Students write the phrase with stick notation.
8. Students add note heads.
9. Students read notation with rhythm syllables.
Writing Melody
Manipulatives
Students use manipulatives to create a visual representation of a new concept. The process:
1 . Teacher sings focus pattern on neutral syllable.

2. Students use Unifix cubes or SMART Boards to create representation.
135
Tone Set
Write the tone set of a song on the board as it is being performed that includes elements of

2. Sing song with solfège
3. Inner-hear the song.
4. Student goes to the board and writes down highest to lowest pitch in the song.
Traditional Notation with Solfège Syllables

Students write the rhythmic notation with solfège syllables of a known or unknown song
that includes elements of the grade five curriculum. The process:
1. Sing the song and keep the beat.

3. They sing the phrase and clap the rhythm.
4. They sing the phrase with rhythm syllables.
5. They can draw a representation of the rhythm.
8. They add note heads.
9. They read notation with rhythm syllables.
10. They sing the known phrase with solfège syllables.
1 1. Students sing example and add solfège syllables.

12. Practice the example on the hand staff.
13. Teacher presents students with the note heads on the staff and students add
the stems.
14. Present students with the rhythmic notation and students add the solfège syllables.
15. Present notes on the staff, and students must add the note heads and stems
to notes.
16. Simultaneously sing and write the melodic phrase on the staff.
Fill in the Blank
Students complete the empty measures of a known song with traditional notation and
solfège or on the staff. The process:
1 . Teacher and students sing song.

2. Teacher sings song on “loo” and students echo-sing with rhythm and solfège
syllables while conducting.
3. Teacher has written song with missing measure or measures, and students fill in
missing measures.
Writing a Pentatonic Scale
Write a scale on the staff.
136 1 . Teacher writes known song on the board.

2. Students sing with solfège syllables and hand signs.
3. They identify the tone set.
4. They identify steps and skips on the tone ladder.
5. Teacher reviews the Rule of Placement for notes of the scale.
6. Students write the corresponding scale, marking the skips and steps on the staff.
Writing Major or Minor Scales

Write a scale with correct half and whole steps, with appropriate accidentals.
1 . Teacher writes known song on the board.

3. They identify the tone set.
4. Students identify half and whole steps on the tone ladder.
5. Teacher reviews the Rule of Placement for notes on the staff.
6. Students write the notes on the staff by associating a solfège syllable with each
note of the scale.
7. They indicate the half and whole steps.
8. They add the appropriate accidentals.
Staff Notation
Students write staff notation that includes elements of the grade five curriculum. The process:
1 . Sing the song and keep the beat.

3. They sing the phrase and clap the rhythm.

4. They sing the phrase with rhythm syllables.
5. They identify the meter and sing the phrase with rhythm syllables and conduct.
6. They can draw a representation of the rhythm.
9. They add note heads, meter, and bar lines.
10. They read notation with rhythm syllables.
11. They sing the known phrase with solfège syllables.
12. They sing example and write in the solfège syllables beneath the rhythmic
notation.
13. Teacher reviews Rule of Placement for students for a given do or la position.
14. Students sing song with solfège syllables and point to notes on the finger staff.
15. Students write the notes heads on the staff and then add the stems.
16. Students sing the notation with solfège syllables and hand signs.
Improvisation Skills
Rhythm Improvisation
Choose Alternate Ending
Students clap the rhythm of a known song and choose an alternate ending from four choices
that contain the musical element being practiced in a four-beat pattern. The process: 137
1 . Students sing known song.
2. They identify the form.
3. They sing the song with rhythm syllables.
4. They sing the song with rhythm syllables but choose an alternative rhythmic
ending from four choices.
Rhythm Chain
Students improvise rhythm patterns. The process:
1. Students clap a four-beat rhythm pattern, one after the other, without pause, using
known rhythmic patterns.
2. In another version, students clap a four-beat rhythm pattern, one after the other,
without pause, using known rhythmic patterns; but a student must repeat the four
beats of the previous student.
Improvise Rhythmic Ostinato

Students create a rhythmic ostinato to known songs. The process:
1 . Students sing a known song.

2. Teacher demonstrates an improvised rhythmic ostinato.
3. Students create their own rhythmic ostinato based.
4. Individuals perform rhythmic ostinato on a classroom percussion instrument
while class sings known song.
Improvise Rhythmic Pattern to Known Songs

Students are challenged to fill in the missing measures of known songs with improvised
rhythms. The process:
1. Students are given the rhythmic notation of a known song. (Some of the measures
contain only “heartbeats” or beat bars.)
2. They sing the song, performing the rhythm where it is notated and patting the
beat elsewhere.
3. They perform the rhythm where it is notated, and improvise elsewhere.
Question and Answer
Students create a rhythmic question and answer. The process:
1. Clap a four-beat rhythmic question to the student; he or she must respond by

clapping back a four-beat answer.
2. Students may do this exercise without naming any of the rhythms. Later, they can
clap their answer and say rhythm syllables. Question-and-answer conversations
can continue as a chain around the class.
Improvise New Rhythms for Phrases of Known Form

Improvise new rhythmic phrases to a known form. The process:
138 1 . Teacher assigns each student a phrase of the form ABA’C.

2. Student 1 claps the rhythm of the A phrase.
3. Student 2 improvises phrase B.
4. Student 3 improvises a variant for phrase A’.
5. Student 4 improvises phrase C.
Creating a New Rhythmic Composition Based

on a Form Provided by the Instructor
Students improvise rhythms to a new form. The process:
1. The instructor provides students with an A phrase (question) that is four beats
long and asks students to improvise a B phrase (answer). This may be turned into
a larger improvisation exercise using the form ABAC.
2. The instructor may specify a longer composition, an AABA composition.
3. This could be performed as a group activity or could be performed by an individual
student. This exercise should be based on song material the class is studying.
Fill-in-the-Blank Improvisation
Students improvise a new rhythm while reading. The process:
1 . Place a series of four flash cards on the board.

2. Three of the flash cards have a rhythm written on them; the third card is blank.
3. Ask students to clap flash cards 1, 2, and 4 while an individual student improvises a
four-beat rhythm pattern for flash card 3. (When beginning this activity, consider
putting four beats on the third card and ask them to change only one beat.)
Change Meter
Students perform a known song in a different meter. The process:
1 . Students sing known song in duple meter.

2. They sing with rhythm syllables and conduct.
3. They sing in new meter, changing the rhythm syllables.
Melodic Improvisation
Improvise Melodic Ostinato
Students create a four- or eight-beat melodic ostinato with known melodic elements. The
process:
1 . Students sing known song with text.

2. They sing known song with solfège syllables and hand signs.
3. Teacher sings a melodic ostinato, and students sing known song with solfège and
hand signs.
4. Teacher sings song and students improvise a new melodic ostinato.
Choose Alternate Ending
Students sing a known song and choose an alternate ending from four options that contain
the musical element being practiced in a four-beat pattern. Teacher gives students a series
of choices with just the beginning note and ending note. The process:
139
1 . Students sing known song with text.

2. They sing known song with solfège syllables and hand signs.
3. They sing known song with solfège syllables and hand signs but only tap beats for
the last phrase.
4. They sing known song with solfège syllables and hand signs, but choose to
complete the ending for the song from four options provided by teacher.
Improvise New Phrases to Known Form

Improvise phrases in a known song. The process:
1 . Teacher assigns each student a phrase of the form ABA’C.

2. Student 1 sings phrase A.
3. Student 2 improvises phrase B.
4. Student 3 improvises a variant for phrase A’.
5. Student 4 improvises phrase C.
Improvise New Form
Improvise a new form for a known song. The process:

2. They analyze the form of the known song.
3. They change the form.
4. They perform the song with a different form.
Question and Answer
Students create an answer to a question. The process:
1. Teacher establishes the beat and sings a four-beat melody; students respond with a
different four-beat melody.
2. Sing a pattern and ask the students to change one beat. (This can also be done
visually and may be easier for some students.)
3. As students become more proficient, teacher lengthens the phrase or changes the
tempo. This leads to performance of melodic conversations. Question-and-answer
conversations can continue as a chain around the class. Remember that it is best
to begin the exercise using forms with these ending notes:
Major improvisations
A ends on so; A’ ends on do
A ends on re; B ends on do
Minor improvisations
A ends on mi; B ends on low la
A ends on si; B ends on low la
Song in Different Meter
Students sing known songs in a different meter from the original. The process:
1 . Students sing known song. Teacher sings song in the new meter.

140 2. Teacher asks students to sing in a different meter, i.e., duple instead of triple.
3. Students perform the song in the new meter.
New Tonality
Students perform a known song in a different tonality, for example, singing a major penta-
chord song in the parallel minor key. The process:
• Students sing a known song with text in a major key.

• Students sing known song with solfège and hand signs.
• Teacher transforms song to minor key.
• Students practice.
• Repeat process with other known songs.
Create Movement to a Given Form

Create movements that correlate to the form of a song or piece of music. The process:

2. Discuss the form.
3. Students create movements for each section of the song (i.e., verse or refrain).
4. Students perform the song with movements.
Musical Memory
Memorizing by Reading Hand Signs
Show typical melodic and rhythmic patterns and ask the students to sing patterns back that
include elements of the grade five curriculum. The process:
1 . Select a melody and show it with hand signs.

2. Students sing from hand signs in solfège syllables.
3. Students sing in canon with hand signs with solfège syllables.
4. Students sing in canon with hand signs with letter names.
5. Students write the melody from memory.
Memorization from Rhythmic Notation

Students look at a rhythmic score and memorize it. The process:
1 . Students inner-hear the notation with rhythm syllables.

2. They identify the form.
3. They chant the rhythm syllables out loud.
4. They chant the example with rhythm syllables from memory.
5. They may write the rhythm using rhythmic notation.
Memorization from Rhythmic Notation with Solfège Syllables

Students memorize a new piece of music from notation. The process:
1. Students look at a score and memorize a phrase of the musical example by silently
singing in their head using hand signs.
2. They identify the form. 141
3. They sing the example with hand signs from memory.
4. They may write the melody using rhythmic notation and solfège syllables.
Memorizing from Staff Notation

Students memorize a new piece of music from staff notation. The process:
1. Students look at a score and memorize a phrase of the musical example by silently
singing in their head using hand signs.
2. If some phrases of the musical example are known and others unknown, the
students may sing the known phrases and the teacher may sing the unknown
phrases. They listen and learn the unfamiliar phrases.
3. They may write the melody using rhythmic notation and solfège syllables.
Inner-Hearing Memorization
Students are given an unknown piece that contains known elements to learn without sing-
ing aloud. The process:
1 . Students inner-hear the example with rhythm syllables and keep the beat.
2. They inner-hear example with solfège syllables and hand signs.
3. They identify the form of the example.
4. They write down the example from memory.
Memorizing by Ear
Teacher plays a musical phrase on the piano, and students memorize by ear by following
this process:
1 . Students identify the meter.

2. They sing the example with rhythm syllables.
3. They identify the solfège syllables for the ending and starting pitches.
4. They sing the example with solfège syllables and hand signs.
5. They sing the example with absolute pitch names and hand signs.
6. They write the exercise or play it back on the piano.
Memorizing Two-Part Rhythmical Examples

Here is a process that may be used to memorize a two-part rhythm:
1 . Sing the selected extracts in two parts.

2. Memorize one part silently, using rhythmic syllables.
3. Sing the memorized part out loud while conducting.
4. Practice the other part following steps 1 through 3.
5. Say and clap both parts in a group and then as solos, using rhythmic syllables.
6. Write both parts of the musical example.
142 7. Clap one part and say the second part with rhythm syllables.
Memorizing Two-Part Musical Examples

This process may be used for memorizing a two-part musical example written on the staff
or in traditional rhythmic notation and solfège:
1 . Sing the selected extracts in two parts.

2. Memorize one part silently, using rhythm and solfège syllables.
3. Sing the part out loud while conducting.
4. Practice the other part, following steps 1 through 3.
5. Divide the class into two groups. Group 1 sings the upper part and group 2 sings
the lower part. Reverse.
6. One student can sing one part and show the hand signs for another.
7. Write both parts of the musical example.
8. Sing one part and play the other on the piano.
Understanding Form
Identifying Form with Letters
Use letter names to identify the form in more complex songs.
Students should be guided to aurally and visually recognize simple song forms such
as AABA, ABAB, and ABAC. Understanding form is valuable in helping students
develop their musical memory. For example, “Great Big House in New Orleans” is in
ABAC. This form is clearly audible when performed with a breath every two measures.
The process:
1. Sing known songs.
2. Sing known songs and show the phrases.
3. Identify each phrase with a letter name.
Comparing Forms
It is important for students to compare the forms of the folk songs they are singing. The
process:
1 . Students sing known songs.

2. Teacher writes form on the board.
3. Students write form on the board.
4. Teacher sings two songs, and students categorize them by notating form
on board.
Changing a Folk Song
Is it important to identify the form of a song with children. This becomes an important
component for improvisation. The process: 143
1. Students label the form of a folk song. For example, the form of the “Canoe
Round” is ABAC.
2. Teacher erases the C and have students create a new C ending.
3. Students label the form of the new folk song and change the song to reflect a
new form.
Movement
It is important for students to create new movements to known songs. They should
identify the form of the song so that the new movements will reflect the form. The
process:
1 . Students label the form of a known folk dance.

2. They create a dance to show the form of the music.
3. They are in groups of four and stand in the shape of a diamond. They all face
the same direction, and lead students improvise movement for phrase A that
everyone copies. At the end of phrase A, students turn to the right, giving the
group a new leader. If the second phrase is the same as A, then the leader does
the same movement from A; if it’s a new phrase the leader will create a new
movement for all to follow. This pattern repeats until all children have been the
leader. Teacher leads the music by signing or playing an instrument.
Part-Work Skills
As you begin to implement these activities into your lessons, follow this teaching sequence.
1. Teacher and class.
2. Class and teacher.
3. Divide the class into two groups, each performing its own part. Switch.
4. Two small ensembles, each performing its own part.
5. Two students, each performing its own part.
This section gives techniques and activities that are divided between simpler and more
advanced part work. The activities are useful for helping students learn simpler repertoire.
Once they have mastered these activities with easier repertoire, the transition to perform-
ing more complex musical examples will occur more quickly.
Keep a Beat
Sing a folk song while marching, walking, or in some way moving to the beat. Performing a
song while keeping the beat requires students to concentrate on two tasks at the same time.
This activity is valuable in both the classroom and the choral rehearsal.
Keep a Beat and Demonstrate Music Comparatives

144
Once students can sing and perform the beat both accurately and musically, add the task of
altering tempo and dynamics. To accomplish this, the students will need a strong founda-
tion in being able to demonstrate music comparatives such as slow and fast, high and low,
loud and soft, duple meter beat (marching), and compound meter beat.
Call-and-Response or Antiphonal Singing

Although students perform only one phrase of music in a call-and-response song, they
must eventually learn to sing both phrases if they are going to be able to sing rhythmically
and musically. Developing this ability requires audiation practice (using inner-hearing).
Call-and-response singing may be applied to folk songs (you may also think of call and
response as responsorial singing). Some simple examples of call-and-response songs are
“Skin and Bones,” “Charlie over the Ocean,” and “Pizza, Pizza.”
Pointing to a Beat
Perform or point to a visual of the beat in a song while singing. This “tracking” ability pro-
motes more fluent music reading and reading in general. Students may also keep the beat
by performing it on a percussion instrument.
Clapping the Rhythm
Sing a song while clapping the rhythm. This can be accomplished in a number of ways.
Students need to perform this activity musically, and always according to the phrase.
They may sing while clapping (we suggest clapping with two fingers) the rhythm or
performing the rhythm on a percussion instrument. Two students may perform a sim-
ple folk song, one performing the beat while the other does the rhythm; use different
timbres for beat and rhythm. The teacher may write the rhythm of a known song on
the board and place the beat below the rhythmic notation. Two students can go to
the board and perform the song, with one pointing to the beat and the other to the
rhythm.
Tapping on Specified Beat
When students are singing familiar melodies, ask them to tap on the strong beats while
singing. Or they might tap on the rests in a known song or the beginning of each phrase.
This activity may also be done with a music instrument.
Singing the Final Note of a Composition

The teacher sings a known melody but does not sing the final note; students must fill it in.
This activity helps them understand the tonal strength of each note. An interesting activity
is to have students explore alternative endings to known compositions. This strengthens
their understanding of harmonic functions and voice leading.
Finding the Tonic Note of a Composition 145

This exercise can be performed with known songs, known canons, or new songs. The
teacher sings a known song to the students and stops in the middle. Students must identify
the tonic of the melody. They sing a canon; the teacher signals a pause. Students then must
sing the tonic note.
Creating Organ Points on a Specified Beat

Guide students to sing the first note of each phrase of a known composition on neutral
syllable or to sustain a note in phrase for the length of the phrase. This could be the tonic
note of the known melody. This activity is most successful when the students sing and the
teacher provides an accompaniment for students.
Rhythmic Ostinato
An ostinato is a repeated rhythmic or melodic motive used to accompany a song.
Here we offer a procedure for performing a rhythmic ostinato. Singing songs with
hand-clapping movements can also be included in this category. For example, the sing-
ing game “Four White Horses” has specified hand-clapping movements to perform
while singing the song. Depending on the age of the students, you may use several
ostinatos together.
The students sing the melody while the teacher claps a rhythmic ostinato or sings a
melodic ostinato. (It is important, when teaching students a knowledge of rhythm, that
the students do not develop their knowledge of rhythm on the basis of visual clues. The
teacher should always make sure the students hear the new rhythm pattern being clapped,
as opposed to it being seen.) Use this process:
1. The students sing the melody while the teacher claps a rhythmic ostinato or sings
a melodic ostinato.
2. The students and the teacher exchange parts.
3. Divide the students into two groups, one group to sing and the other to perform
the ostinato. Switch tasks.
4. Two students perform the work.
5. One student sings while performing the second part. More advanced students can
perform the ostinato on percussion.
Performing Rhythm Canons Based on Simple Rhythms

These canons are based on simple rhymes or rhythms of very simple melodies. Begin the
canon after one measure. Rhythm syllables can be used to perform the canons. It is use-
ful to practice both types of canons with familiar material before moving to unknown
repertoire. Although the rhythm of many folk songs can work well when performed
in canon, the best songs for this type of activity are those that have a rest at the end of
every phrase. A good example is “Bow Wow Wow.” Perform the canon with two timbres.
The process:
146 1. Teacher and class.

2. Class and teacher.
3. Divide the class into two groups; each performs its own part. Switch.
4. Two small ensembles, each performing its own part.
5. Two students, each performing one part.
6. Have the students begin to clap the rhythm of a simple song; the teacher can clap
in canon. Once they are comfortable with hearing the canon, the teacher and
students can reverse roles. Canons maybe performed kinesthetically, aurally, and
visually, or using a combination of techniques.
Performing a Kinesthetic Canon (Body Canon)

The teacher performs a rhyme with a beat motion for every four beats. The students follow
in canon, performing the rhythm as well as the beat motion. For example, say “Ali Baba
forty thieves” while tapping four beats. Now say it and tap the beats on different parts of
your body, and have students imitate. Once students are proficient at this activity, perform
it in canon after four beats with text. You could also perform a rhythm and have students
clap it back after two or four beats.
Performing a Visual Rhythm Canon with Rhythm Syllables

The goal of this activity is for students to read a rhythm in canon. The canon can be per-
formed with the teacher and students, or just the students. To perform a rhythm canon
visually, have students read rhythm flash cards of the rhyme or melody to be used for
the canon. The teacher should keep a steady pulse but show the card quickly and move
on to the next card while the students are still performing the rhythm of the first card.
In other words, give the students a brief look at every card in succession. The speed of
this process may be increased so that the students are always saying something different
from what they are seeing. Students should perform the canon by reading with rhythm
syllables.
Performing an Aural Rhythm Canon with Rhythm Syllables

Performing aural canons can be more challenging than visual canons. Aural rhythm canons
are performed without the aid of notation. If a motion is attached to a phrase, the exercise
is simple to perform. Echo clapping is a preliminary preparation for aural canon work. This
task can be made more complex by having students clap back the rhythm while chanting or
singing the rhythm syllables.
Performing Simple Rhythm Canons Based on Simple Folk Songs

These canons are based on the rhythms of very simple melodies. Rhythm syllables can be
used to perform the canons. Here is a procedure for performing a rhythmic canon.
1 . Perform the song with actions and words.

2. Sing the song with rhythm syllables and keep the beat.
3. Say rhythm syllables while clapping the rhythm.
4. Think the rhythm syllables and clap the rhythm. 147
5. Teacher taps the rhythm using a drum or wood block; students clap and say the
rhythm syllables beginning after four beats.
6. Teacher writes the canonic part below the notation of the song. T: “Where
should we begin writing the second part? What should be written in the empty
measures?”
7. Teacher and students may perform in canon after two beats.
8. Challenge a student to sing while pointing to the notation in canon.
Drones
Students sing a folk song as the teacher accompanies the students’ singing with a tonic
drone. As they gain fluency with this technique they can sing a drone made up of the
tone and dominant notes to accompany known pentatonic melodies. Drones may be
sung as held notes to each phrase, or they may be sung on the strong beats of each
measure.
Sometimes a teacher might sing an accompanying melody primarily made up of a dom-
inant drone to accompany a pentatonic song. This is an excellent technique for developing
in-tune singing. Pentatonic and diatonic melodies provide a good basis for the develop-
ment of functional and harmonic thinking. For do-centered and la-centered pentatonic
songs, accompany the song by having a group of students sustain the tonal center while
the class performs the song. This pitch is the chord root note of the tonic triad. These songs
may also be accompanied by a drone made up of do-so or do-mi-so (major tonic triad) for
do pentatonic repertoire and la-mi or la-do-mi (minor tonic triad) for la pentatonic reper-
toire. Be mindful that sustained pitches tend to go flat.
Melodic Ostinato
Students accompany known songs with melodic ostinati. Melodic ostinati should be based
on the melodic building blocks of known song repertoire. This activity is only appropriate
for classes that have a good number of independent, strong singers.
Combining Drones and Melodic Ostinatos

Divide the class into three groups. One group sings the folk song. A second group accom-
panies the folk song with a drone composed of the tonic note or tonic and dominant notes,
and a third group sings a melodic ostinato.
Three-Part Singing
Here are examples how to create pieces of music from a simple folk song:
1 . Sing a melody with two complimentary melodic ostinati.

2. Sing a pentatonic melody in canon and add a melodic ostinato.
3. Sing a melody in canon and add a third voice that sings a descant. Kodaly’s
“Ladybird” is an example of this compositional technique.
4. Rhythmic ostinati work well with all of these techniques.
148 Discovering an Ostinato as the Students Sing a Known Song

The students sing a song while the teacher taps a rhythmic ostinato or sings the ostinato on
one note. Students discover the ostinato and write it on the board.
Discovering an Ostinato as the Students Sight-Read a Song

Have students sight-sing an unknown melody while the teacher taps a rhythmic ostinato or
sings the ostinato on one note. They discover the ostinato and write it down.
Two-Part Hand Sign Singing (Note-Against-Note)

Guide students to sing in two parts from a teacher’s hand signs. Using pentatonic musical
examples before moving to diatonic will ensure more secure intonation. Initially begin and
end the exercise with the same notes.
1. Hold one tone in one voice while the other voice performs a simple melody.
Switch parts.
2. Show a simple canon from hand signs (teacher signs both parts simultaneously).
3. Perform two individual melodies holding one note against another voice. (One
melody is more stationary than the other.)
4. Perform two individual lines.
Singing Simple Melodies as Canons with Text

All pentatonic songs may be sung in canon with text. Choose simple folk songs. The teacher
may begin to sing the melody and the children follow in canon after one measure. Carefully
select pentatonic songs that may be performed as canons. Initially the canon should begin
on the same pitch that the first part is singing. Canons may be performed with words or
with rhythm or solfège syllables. Once children have mastered singing simple pentatonic
songs they can sing pentachord, hexachord, and major and minor canons. Remember that
canons may be performed aurally (without the aid of notation) or visually (using notation).
Partner Songs
Remember that all pentatonic songs can be performed in canon and can be performed
together. For example, half the class may perform the song “Liza Jane” while the other half
performs “Rocky Mountain.” Here are additional examples of partner songs:
“Dinah” and “Bounce High, Bounce Low”

“Land of the Silver Birch” and “Who Killed Cock Robin?”
“Liza Jane” and “Come Thru ’Na Hurry”
“Liza Jane,” “Come Thru ’Na Hurry,” “All Around the Brickyard,” and “Dinah”
Singing a Known Song and Clapping Rhythmic

Motives as an Accompaniment
Guide students to sing one song while reading and clapping the rhythms of another known
song. For example, the students may sing “Rocky Mountain” while reading and clapping the
rhythm of “Tideo.” The teacher might ask students to read from a board a series of four-beat 149
rhythms that are abstracted from a known song or are typical rhythms found in the reper-
toire being sung by students.
Another variation on this technique is for the teacher to label the phrases of a song or a
series of rhythms with a number and the students sing a known song and clap according to
a given number sequence, for example, 1, 4, 3, 2. In other words, they have to sing a known
song, look at the number, and clap the corresponding phrase. This requires considerable
concentration. It is always best that these activities lead to music making rather than be
mere technical exercises.
Singing and Clapping a Known Pentatonic Melody

Create a two-part arrangement of a pentatonic folk song. Have the upper voice perform
phrase 1 and the lower voice phrase 2. Create a rhythmic ostinato or accompaniment for the
voice that is not singing. Divide the class into two groups. When group 1 begins, group 2
will clap the rhythmic accompaniment. It is important for the students to sing the complete
melody fluently with solfège syllables and hand signs so that when they are clapping their
part of the composition, they are also listening to the other voice part in order for the exam-
ple to be performed musically.
Singing Simple Pentatonic Melodies

as Canons with Solfège Syllables
All pentatonic songs may be sung in canon with solfège syllables. Choose simple folk
songs. Begin singing the melody with solfège syllables and the students follow in canon
after one measure. Once they have mastered singing simple pentatonic songs, they can sing
pentachord, hexachord, and major and minor canons. Remember that canons may be per-
formed aurally (without notation) or visually (using notation).
Sight Singing and Clapping in Canon

Guide students to sight-sing an unknown melody, and clap the rhythm in canon after
one measure. This helps them develop the facility of looking at two lines of music at the
same time.
Singing Pentatonic Scales in Canon

Students can now sing major and minor pentatonic scales in two or more parts. Begin the
canon after two notes. This is an excellent activity for developing intonation.
More Advanced Part-Work Skills

Divide the class into three groups. One group sings a pentatonic melody in canon and the
other groups may sing a pentatonic scale in two or more parts. This activity is also excellent
for developing secure intonation.
Singing Simple Pentatonic Folk Songs in Three Parts

150 In this activity, the class is divided into two groups. Perform the pentatonic folk song as a
two-part canon. Once the students can perform the two parts with ease, the instructor may
sing in canon with the students, creating a third part.
Sing Simple Pentatonic Melodic Motives and Melodies in Canon

at the Octave, Fourth, and Fifth with Solfège Syllables
Once students can sing simple melodies in canon, the teacher can add another challenge for
students. Provide the starting pitch of a well-known song for students, and sing or play in
canon in unison, and then in canon at the fourth, or canon at the fifth. In other words, sing
in canon but the second part will come in a fourth or fifth higher. This can be done with
other intervals as well. Students will enjoy figuring out the puzzle as to how the teacher per-
formed the canon. The teacher can sing the example using the same solfège as the students.
Even though the teacher and students are technically singing in two keys, the canon can be
sung using the same solfège syllables.
With the introduction of the major scale, students will understand that the scale is bro-
ken into two tetrachords, do-re-mi-fa and so-la-ti-do. A simple way to think about this
exercise is to perform “Hot Cross Buns” in canon, having students sing the melody with
do-re-mi; the teacher can sing at a canon of a fifth using the notes do-re-mi or so-la-ti.
These are excellent sources of music for children’s choir:
Denise Bacon. 46 Two-Part American Folk Songs for Elementary Grades. Columbus,
OH: Capital University, Kodály Center of America, 1973.
Edward Bolkovac. Sing We Now Merrily. New York: Boosey and Hawkes, 2007.
Edward Bolkovac, and Judith Johnson. 150 Rounds for Singing and Teaching.
New York: Boosey and Hawkes, 1996.
Susan Taylor-Howell. The Owl Sings: 22 Folk Songs Arranged for 2 or 3 Voices.
Whitewater, WI: Organization of American Kodály Educators, 1997.
Philip Tacka and Susan Taylor-Howell. Sourwood Mountain: 28 North American &
English Songs Arranged for Two Voices. Whitewater, WI: Organization of American
Kodaly Educators, 1986.
Singing Simple Two-Part Song Arrangements

When teaching students to sing in two parts, build on their prior knowledge. It is a good
idea to select two-part arrangements where they already know the melody; now they will
be learning an arrangement of the folk song. Many of these folk songs can include some or
all of these compositional techniques:
1 . A rhythmic or melodic ostinato to accompany the folk song.

2. Including a tonic or a tonic and dominant drone that may be sung as an
accompaniment.
3. The melody line may be shared between the upper and lower voices.
4. Songs should include imitation.
Teaching the Second Part to a Known Song by Rote 151

Students should already be able to sing songs with rhythmic and melodic ostinato as well
as sing songs in canon before learning simple two-part songs. Here is a suggested teaching
procedure for teaching a two-part song arrangement:
1. Sing the unfamiliar part or harmony while playing the melody on the piano or
performing with another student.
2. Ask students questions based on the performance of the song:
A. How many phrases are there in this arrangement?
B. Did the two parts begin and end each phrase together?
C. Did both parts have the same text?
D. How would you describe the tune of the harmony line?
E. Did both parts begin and end on the same pitch?
3. Sing the harmony line phrase by phrase and have the students repeat. This can be
done with rhythm or solfège syllables or on a neutral syllable if the students have
not learned all the solfège or rhythm syllables. This is easiest when done with text.
4. Perform the melody on the piano for each phrase as the students learn the
harmony line phrase by phrase.
5. Students and the instructor sing the harmony line while the instructor plays the
melody line on the piano.
6. The students sing the harmony line while the instructor sings the melody line.
Switch parts.
7. Divide the class into two groups. Group 1 sings the harmony and group 2 sings
the melody. Switch parts.
Teaching the Second Part to a Known Song by Note

Here is a teaching procedure for working with a two-part song arrangement.
1. All students should know the main melody.

2. The instructor may sing the unfamiliar part or harmony while playing the
melody on the piano or have several students perform the known melody.
3. Ask students questions based on the performance of the song.
A. How many phrases are there in this arrangement?
B. Did the two parts begin and end each phrase together?
C. Did both parts have the same text?
D. How would you describe the tune of the harmony line?
E. Did both parts begin and end on the same pitch?
4. Hum the harmony line while pointing to the contour of the melody on the
board. Students repeat and point to the contour. Instructor repeats the exercise,
but students have to repeat each phrase and indicate the contour with their
hands. Students sing and draw the contour of the harmony line.
5. The instructor identifies the rhythm and solfège syllables of the harmony line
phrase by phrase, and the students repeat.
6. Students are presented with the score and clap and say the rhythm of the melody
with rhythm syllables or numbers for counting. The teacher prepares the staff
placement for do, and students read the harmony line with solfège syllables.
152 7. Sing the melody; the students perform the harmony line with solfège syllables.
8. Students perform the harmony line with neutral syllables and then learn to sing
the text with the help of the teacher.
9. The students sing the harmony line while the instructor sings the melody line
using solfège and then text. Switch parts.
the melody using solfège syllables and then text. Switch parts.
Teaching a Simple Two-Part Song by Rote

Students should already be able to sing and perform songs with rhythmic and melodic
ostinati, perform in canon, and perform simple two-part folk song arrangements prior to
learning a two-part song that is not familiar.
1. Perform the new two-part song by singing one part and playing the other on the
piano or by singing and having a student sing the second part or by playing a
recorded performance.
2. Ask students questions based on the performance of the song. Perform the song
again and ask students to respond.
A. How many parts are there in this arrangement?
B. What did you notice about the form of the piece?
C. How many phrases are there in this arrangement?
D. Did the two parts begin and end each phrase together?
E. Did both parts have the same text?
F. Did both parts begin and end on the same pitch?

G. Which is the harmony line?
H. How would you describe the tune of the harmony line?
3. Sing one part and play the second part on the piano phrase by phrase while the
students repeat from memory.
4. The students and instructor sing the first part while the instructor plays the
second part on the piano.
5. Sing the second part and play the first part on the piano, phrase by phrase, and
have the students repeat from memory. Hum or play the first part as the students
are singing the second part phrase by phrase.
6. The students and instructor sing the second part while the instructor plays the
first part on the piano. The students sing the second part while the instructor
plays the first part on the piano.
7. The students sing the second part while the instructor sings the first part.
Switch parts.
8. Divide the class into two groups. Group 1 sings the top part and group 2 sings the
second. Switch parts.
Teaching a Simple Two-Part Song by Note

Here is a teaching procedure for working with a two-part song arrangement.
1. Sing one part of the arrangement while playing the second part on the piano or 153
performing with another student. Switch.
2. Ask students questions based on the performance of the song.
A. Where did you hear the melody? Or, which voice had the new melody?
B. How many phrases are there in this arrangement?
C. Did the two parts begin and end each phrase together?
D. Did both parts have the same text?
E. How would you describe the tune of the harmony line?
F. Did both parts begin and end on the same pitch?
3. Sing the melody line phrase by phrase and the students repeat. This can be
done with rhythm or solfège syllables or on a neutral syllable if the students
have not learned all the solfège or rhythm syllables. This is easiest when done
with text.
4. Students sing the melody line with syllables and text.
5. Students sing the melody line, and the teacher hums the second part. Teacher
sings the second part with text.
6. Sing the harmony line phrase by phrase, and the students repeat. This can be done
with rhythm or solfège syllables or on a neutral syllable if the students have not
learned all the solfège or rhythm syllables. This is easiest when done with text.
7. Students perform the harmony line on their own. Perform it a second time as the
instructor sings the melody line.
8. The students sing the harmony line while the instructor sings the melody line.
Switch parts.
the melody. Switch parts.
We now discuss more advanced part-work concepts and teaching techniques.
Singing Folk Songs in Thirds and Sixths

As children begin to learn music of other cultures, they will discover the stylistic traits of
this repertoire. Guide students to recognize familiar elements in this repertoire, but also
to discover a greater variety of musical elements. Singing folk songs in thirds and sixths is
another skill in the development of part work.
Accompanying Melodies with Tonic and Dominant

Chords Roots (Harmonic Functions)
As students add the solfège syllables fa and ti to their melodic vocabulary, they begin to
discover the need for a note other than do in major and la in minor melodies, for their
accompaniments. While they are singing known pentachord, hexachord, and diatonic mel-
odies, the instructor should quietly hum the functional notes (chord roots) do and so for
do-centered pieces.
Sing or Hum la and mi for la-centered Pieces

Once the students are familiar with these accompanying pitches, the instructor guides them
to discover the solfège syllables of the new accompanying notes and introduces the terms
154 tonic function and dominant function.
Accompanying Melodies with Tonic, Dominant, and

Subdominant Chord Roots (Harmonic Functions)
When students sing folk songs from Germany, many times the bass part outlines the notes
of the tonic, subdominant, and dominant functions.
Practice suggestions:
• Students sing familiar songs while the instructor sings or plays the functional
notes or chord roots, as an accompaniment.
• Students sing familiar songs while showing with hand signs when the functional
note or chord root in the melody changes.
• Individual students sing familiar songs while showing hand signs for the
functional note or playing the functional notes on the piano.
• Students identify the tonic, subdominant, and dominant functions of unknown
melodies sung or played by the instructor.
• Students transpose melodies into their parallel major or minor key and sing them
with the corresponding functions.
• Students may be presented with sight singing materials that include a melody and
an accompaniment built on the tonic, subdominant, and dominant functions.
These materials can also be used for dictation, memory work, and analyzing the
harmonic basis of the melodies.
• Students relate harmonic functions to their knowledge of form.
These exercises are very important for developing musicianship. Being able to harmonize
melodies with the chord roots of tonic, dominant, and subdominant functions develops
another very important skill in our students, the ability to sense when chords change
in music.
Triads and Their Respective Functions

After students are thoroughly familiar with the tonic, subdominant, and dominant func-
tions they can be introduced to the concept of triads. Explain the meaning of root, third,
and fifth of a triad and how a triad is classified as either major or minor. Show how the
tonic, subdominant, and dominant notes and the triads built on them define a key.
Canons in major and minor keys with clearly defined triads at the cadence provide appro-
priate literature for initial experiences in analyzing harmony. Initially, the music material
should be restricted to primary triads. Looking at both the melodic lines and harmonic
aspects of music is essential for students’ understanding of harmonic concepts. Students
should memorize canons and discover the harmonic functions of the melody. Then draw
the students’ attention to individual melodic lines or melodic lines that are sounded
together to create triads. These triads should be abstracted from the music material and
sung by the class. Students should be guided to hear major and minor triads within the con-
text of the perfect fifth interval. Students should sing triads beginning with the root, then
the fifth, and finally the third, for example, singing a major tonality canon in four parts and
accompanying each line with tonic or dominant notes.
155
Accompanying Melodies with Chord Inversions
Students can now create their own accompaniments to melodies using notes other than the
bass note of the tonic, subdominant, and dominant chord roots. For example, in a major
key the third of the tonic chord, mi, can substitute for do, and the third of the dominant
chord, ti, can substitute for so. In a minor key the third of the tonic minor, do, can substitute
for the tonic note la, and the third of the dominant chord, si, can substitute for the domi-
nant note mi.
Discovering Bass Lines
The instructor plays a two-part melody on the piano; students listen and show the melodic
contour of the lowest voice with arm motions.
1 . Students discover the direction of the bass line.

2. They discover the rhythm of the bass line.
3. They sing the bass line with solfège syllables.
4. They sing both parts.
Singing Harmonic Progressions

The instructor may explore the effect of singing progressions in three parts using root posi-
tion and inversions. Guide students to discover that singing certain chords in inversion is
much easier than singing them in root position. Once the students understand inversions,
three-part chordal progressions may be used as accompaniments to students’ songs and as

choral warm-up exercises.
Singing Pentatonic Major, Minor, and Modal Scales in Canon

1 . Sing various pentatonic scales in canon. This can be done in two to five parts.
2. Sing pentatonic scales in ascending and descending succession from the same
starting pitch. Begin on a selected pitch, for example D. Sing the pentatonic scale
up from that pitch, change the top pitch to the new scale as directed and continue
to sing the descending scale. Change the low pitch to the new scale and continue
singing the ascending scale.
3. Sing major and minor scales using solfège syllables or letter names in canon;
begin after two notes. Perform the scales in three-part canon.
4. Sing major and minor scales from the same starting note in canon. Using solfège
syllables, sing the major scale beginning on do and starting on the pitch D; then
sing the minor scale beginning on la, beginning on the same starting pitch. In this
way, the students perform the major scale followed by its parallel minor scale.
5. Perform modal scales in canon.
6. Perform modal scales ascending and descending from the same starting pitch.
7. Divide the class into three parts; give each part a note of the major triad to sing.
Ask all groups to call this note mi. Instruct the groups to sing “Hot Cross Buns”
with solfège syllables. The students will be singing the simple song in three parts
156 in parallel major chords. This exercise may be repeated using a minor triad and
starting on la.
Incorporating Instruments into the Music Curriculum

Appropriate Instruments
Xylophone: for playing a moving drone, ostinato, and melodies; two mallets striking
Recorder: more extended range
Claves: rhythmic ostinati
Rhythm sticks: rhythmic ostinati
Guitar: for playing chords
Keyboard: accompaniment
Drums: emphasize the beat
Tambourine: beat and rhythm
Teaching Progression
1. Beginning music examples should be derived from known singing material. Sing
the song with text.
2. Perform the music with rhythm syllables and conduct.
3. Perform the music with solfège syllables and hand signs
4. Connect the fingering to solfège syllables and perform.
5. Read the music with rhythm syllables and conduct.
6 . Read the music solfège syllables and hand signs.

7. Sing the music with letter names and hand signs.
8. Perform the example but inner-hear the solfège syllables.
Reinforce Concepts Using Instruments

Beat
Use simple percussion instruments to keep the beat of a rhyme or folk song.
Beat and Rhythm
Use simple rhythm instruments to perform the beat with a folk song and the rhythm to a
folk song; then use them to perform the beat and rhythm of a folk song simultaneously.
Rhythmic Ostinati
Use simple rhythmic instruments to perform a rhythmic ostinato (a repeated rhythmic
pattern) to a folk song. Then use them to perform two simultaneous-sounding ostinati to
a folk song.
Melodic Ostinati
Use glockenspiels, xylophone, metalophones, and melody bells to perform a melodic osti-
nato to a folk song.
157
Canons
Instruments may be used for playing canons in the classroom.
Rhythmic Canons
1. Teacher performs a known rhythmic pattern in canon with students clapping the
rhythmic pattern. Use simple rhythmic instruments.
Melodic Canons
1. Teacher performs a folk song in canon with students on a pitched-percussion
instrument.
2. Teacher performs a folk song in canon with students on a piano.
3. Teacher performs a folk song in canon with students on guitar.
4. Teacher performs known melodic pattern on guitar and students echo with
solfège syllables.
Listening
These activities may be used with instruments for developing listening.
1 . Teacher performs and introduces a new song on a pitched percussion instrument.

2. Teacher performs an excerpt from a listening example on a nonpitched
instrument before playing the recording for the students.
3. Teacher performs an excerpt from a listening example on the recorder before
playing the recording for the students.
4 . Teacher performs and introduces a new song on the recorder.

5. Teacher performs an excerpt from a listening example on an instrument before
playing the recording for the students.
Transitions
Here are two activities that use instruments to transition from one segment of a lesson to
another.
1. Teacher performs a rhythmic ostinato on a classroom instrument to accompany a

folk song and maintains the ostinato to transition to the next song in the lesson.
2. Teacher performs a melodic ostinato on a classroom instrument to accompany a
folk song and maintains the ostinato to transition to the next song in the lesson.
Aural Rhythmic Practice

1. Teacher performs known rhythmic pattern on nonpitched percussion instrument
and students echo with rhythm syllables.
Aural Melodic Practice

1. Teacher performs known melodic pattern on pitched percussion instrument and
158 students echo with solfège syllables.
2. Teacher performs known melodic pattern on recorder and students echo with
solfège syllables.
3. Teacher performs known melodic pattern on piano and students echo with solfège
syllables.
Writing Rhythmic Practice

1. Teacher performs the focus pattern or related pattern of a rhythmic concept on
a nonpitched percussion instrument, and students write missing beats or whole
pattern on the board.
2. Teacher performs the focus pattern or related pattern of the concept on piano, and
students write missing beats or whole pattern on the board.
Writing Melodic Practice

1. Teacher performs the focus pattern or related pattern of a melodic concept on a
pitched percussion instrument, and students write missing beats or whole pattern
on the board.
2. Teacher performs the focus pattern or related pattern of a melodic concept on a
recorder, and students write missing beats or whole pattern on the board.
3. Teacher performs the focus pattern or related pattern of a melodic concept on
guitar, and students write missing beats or whole pattern on the board.
Creative Movement Skills
Beat Motions
1 . Have students create beat motion to accompany a folk song.

2. Have students borrow beat motions from another song.
3. Have students create motions that act out the story of a folk song.
4. Have students play charades and act out a song while other students try to guess
the song.
5. Have students perform beat motions in a canon.
Form
1 . Have students create beat motions that reflect the form of a folk song.
2. Have students create motions for each phrase of a song, and then shuffle the
motions to change the order of the phrases in a folk song.
3. Have students create motions to reflect forms (for example, binary) in a listening
example of classical music.
4. Have students show cadences by freezing at the point of the cadence.
Instruments
159
1 . Have students create a rhythmic or melodic ostinato on instruments.
2. Have students become a pentatonic piano, and choose a conductor to point to
each student to create a melodic pattern.
3. Have students use instruments to create sound effects to accompany a folk song
(i.e., train sounds).
Rhythmic Concepts
1. Have students create motions to reflect the tempo of various folk songs or classical
listening examples.
2. Have students create motions that reflect a rhythmic ostinato.
3. Have students demonstrate the difference between simple meter and compound
meter by skipping or marching.
Singing
1 . Have students create alternate text for a folk song.
2. Have students conduct each other in different styles.
Melodic Concepts
1. Have students create motions that reflect the melodic contour of a folk song.
Body Warm-ups and Creative Movement

Table 4.1 shows movement examples that can be used as an introductory activity in each
lesson and are part of the body “warm-up” for students. We recommend choosing a move-
ment piece that connects to the next singing activity in the lesson. Look for examples that
are in the same meter, tempo, tonality, key, and dynamics as the next song in the lesson.
Recorded examples for movement may also include some of the listening repertoire that
students will later read and listening to in the music lesson. These examples were developed
by teachers in the Kodály Certification Program at Texas State University in 2014.
Table 4.1
M OV E M E N T L I ST
Song Title Composer Features
C L AS SI C A L
“Ballet of the Unhatched Modest Mussorgsky Presto, staccato, orchestra
Chicks,” from Pictures at (1839–1928)
an Exhibition
“Alla Turca,” from Piano Wolfgang Amadeus Mozart Allegro, piano solo, $
2 , xccc
Sonata No. 11 in A (1756–1791)
160 “March of the Toy Pyotr Ilyich Tchaikovsky Vivace, fanfare, orchestra
Soldiers,” from Nutcracker (1840–1893)
Suite
“Fossils,” from Carnival of Camille Saint-Saëns Allegro, orchestra, xylophone,
the Animals (1835–1921) xccc
“In the Hall of the Edvard Grieg (1843–1907) Moderato, accelerando,
Mountain King,” from Peer orchestra, dynamic contrast
Gynt, Suite No. 1
“Moderato,” from Minuet Ludwig van Beethoven Moderato, triple meter, strings
in G, No. 2 (1770–1827)
“Les Toreadors,” from Georges Bizet (1838–1875) Allegro, march, orchestra
Carmen
“Funeral March of a Charles Gounod Allegro, compound meter,
Marionette” (1818–1893) orchestra
Hungarian Dance No. 5 Johannes Brahms Contrasting tempi, orchestra
(1833–1897)
Turkish March, Op. 113 Ludwig van Beethoven Allegro, march, accents
(1770–1827)
“Overture,” from William Gioachino Rossini Allegro vivace, fanfare, finale,
Tell (1792–1868) orchestra
“Trepak,” from Nutcracker Pyotr Ilyich Tchaikovsky Molto vivace, orchestra
Suite (1840–1893)
(Continued)
Eine kleine Nachtmusik Wolfgang Amadeus Mozart Allegro, strings only
(Serenade No. 13 for (1756–1791)
strings), movement 1
Fur Elise (Bagatelle No. 25) Ludwig van Beethoven Allegro, triple meter, piano
(1770–1827) solo
Organ Concerto in G George Frideric Handel Andante, compound meter,
minor, Op. 4, movement 4 (1685–1759) organ and strings
Military March No. 1 Franz Schubert (1797–1828) Allegro vivace, orchestra
“An Evening in the Village” Béla Bartók (1881–1945) Lento, rubato, form, la
pentatonic
A Doll’s Funeral Pyotr Ilyich Tchaikovsky Grave, form, gb, piano solo
Procession,” Children’s (1840–1893)
Album, Op. 39, No. 7
Playing Soldiers, Op. 31, Vladimir Rebikov Allegro, march, piano solo, gb
No. 4 (1866–1920)
Minuet in G, BMV Johann Sebastian Bach Moderato, triple meter,
Anh 114 (1685–1750) keyboard solo
161
For Children, Vol. 1, No. 11 Béla Bartók (1881–1945) Lento, high ti, piano solo
“Ecce gratum,” from Carl Orff (1895–1982) Pesante, full orchestra,
Carmina Burana chorus, fa
“Dies irae,” from Requiem Wolfgang Amadeus Mozart Allegro assai, full orchestra,
(1756–1791) chorus
Rigadoon Henry Purcell (1659–1695) Allegro, high ti
C ON T E M P OR A RY C L AS SI C A L
“Palladio” Karl Jenkins (1944–) Moderato, strings only
“Jamaican Rumba” Arthur Benjamin Lively, piano duet, syncopation
(1893–1960) over one beat
C L AS SI C A L OP E R A
“Non so più,” from The Wolfgang Amadeus Mozart Allegro vivace, staccato vs.
Marriage of Figaro (1756–1791) legato
JA Z Z
“Maple Leaf Rag” Scott Joplin (c. 1867–1917) Lively, ragtime, piano solo
“Crazy Race” Roy Hargrove (1969–) Moderato, hip-hop influence
“It Don’t Mean a Thing” Duke Ellington (1899–1974) Presto, big band, vocals
“Sing, Sing, Sing” Louis Prima (1910–1978) Fast swing, big band
(Continued)
“Groovin’ Hard” Don Menza (1936–) Moderato, big band
“Joshua Fit the Battle of African American spiritual Lively, big band, vocals
Jericho” (performed by Chris
Barber’s Jazz Band)
“Take the A Train” Billy Strayhorn (1915-67) Allegro, big band
C ON C E RT BA N D
“Stars and Stripes Forever” John Philip Sousa Allegro, march
(1854–1932)
“Short Ride in a Fast John Adams (1947–) Fast, minimalism, woodblock
Machine” throughout
C ON T E M P OR A RY
“Montezuma” Cusco (c. 1979) Presto, South American flutes
“Chariots of Fire” Vangelis (1943–) Andante, electronic
162
P OP U L A R
“ABC” Berry Gordy, Alphonzo Andante, dance, motown
Mizell, Freddie Perren, Deke
Richards (performed by the
Jackson 5)
“Blame It on the Boogie” Mick Jackson (performed by Allegro, dance, motown
the Jacksons)
“YMCA” Jacques Morali (performed Allegro, dance
by the Village People)
“Sir Duke” Stevie Wonder Allegro, funk
F OL K
“Wassail Wassail” Anonymous (performed by Adagio, compound meter,
Mannheim Steamroller) Renaissance
“Old Joe Clark” Traditional (performed Quick, mandolin, Mixolydian
by Bluegrass Mandolin
Extravaganza)
“Charlotte Town” Traditional (performed by Quick, ar
Judy Henske)
Listening Examples Connected to Grade 5

Concepts and Elements
The listening examples listed in this section can be used in the classroom for a number of
activities:
1. Teacher sings a known song for the class with accompaniment as a live listening
performance.
2. Teacher performs a known or an unknown song for the class on a music instrument.
3. Teacher performs an instrumental piece of music for the students.
4. Teacher plays a recorded piece of music that contains the new element.
5. Teacher plays a recorded piece of music for students but creates a listening map
for the students to follow. This map can include the form of the piece as well as the
important themes notated.
6. Teacher plays a recorded piece of music for the students but furnishes a complete
score for students to follow. For example, the teacher may create a line score of the
students to follow. The score will include the traditional rhythmic notation and/
or solfège for themes that students can sing. If there are sections in the piece of
music that include rhythms or melodies in another voice part that students can
listen to or perform, this should be employed. The teacher can insert beat bars
in measures that contain rhythmic and melodic elements that students cannot
read and sing. It is important to spell out the phrasing and make sure students are
reading complete motives. 163
Major Scale: high ti
Live Performance
“Oro, My Bodeen”
“Sleep, Little One”
“Des Colores”
“The Ship That Never Returned”
“The Little Dappled Cow”
“When I Was a Young Girl”
“Sweet Betsy from Pike”
Recorded Performance
For Children, vol. 1 (revised by Boosey & Hawkes, 1947), no. 11, by Béla Bartók
(1881–1945).
Eine Kleine Nachtmusik, K. 525, movement 3, Allegretto, by W. A. Mozart (1756-1791).
“Jupiter,” from The Planets, by Gustav Holst (1874–1934).
Die Forelle, Quintet, Op. 114, “The Trout,” fourth movement, by Franz Schubert
(1797–1828).
Eighth Note Followed by Dotted Quarter Note: ar

Live Performance
“Charlotte Town”
“Erie Canal”
“Swing Low, Sweet Chariot”

“Amasee”
“Shortnin’ Bread”
“My Good Ol’ Man”
“Billy Boy”
Music by Béla Bartók (1881–1945):
For Children, no. 18
Gyermekeknek Für Kinder, Vol. 4, Editio Musica Budapest, 1946, p. 11
“An Evening in the Village,” from Ten Easy Pieces, no. 5
[Evening in Transylvania], from Hungarian Sketches, theme 2
Mikrokosmos, Vol. 3, No. 95
Natural Minor Scale
Live Performance
“Drill, Ye Tarriers”
“To Work Upon the Railway”
“Sweet William”
“Hashivenu” (w/ solfège syllables)
164 “Come to the Land”
“Tumbalalaika”
“Alleluia” (in minor)
“Hush-a-bye”
“When Jesus Wept,” by William Billings.
Theme from Symphony No. 4, second movement, by Felix Mendelssohn (1809–1847).
“Dona Dona,” on album From Jewish Life, Signum Classics, performed by John Lenehan
and Paul Marleyn; also on album Amulet, sung by Nikitob, Chamsa Records, 2004.
From film Schindler’s List, theme, by John Williams (1932–).
Compound Meter (Part 1): sdd

Live Performance
“Row, Row, Row Your Boat”
Jesu, Joy of Man’s Desiring, from Cantata No. 147, by Johann Sebastian Bach
(1685–1750).
Horn Concerto No. 4 in E-flat major, K. 495, movement 3, Rondo, by Wolfgang
Amadeus Mozart (1756–1971).
“When Johnny Comes Marching Home,” from Songs of the Civil War, played by the
U.S. Military Academy Band
“The Wild Horseman,” from Album for the Young, Op. 68, No. 8, by Robert Schumann
(1810–1856).
Harmonic Minor (si)
Live Performance
“Ah, Poor Bird”
“Inez”
“Ser Come el Aire Libre”
“Dors, Dors, ’Tit Bébé”
Album for the Young, Op. 39, Nos. 23 and 24, by Peter Ilyich Tchaikovsky (1844–1893).
Polonaise in G Minor, BWV Anh. 125, from Notebook for Anna Magdalena Bach, by
Johann Sebastian Bach (1685–1750).
Compound Meter (Part 2): xxxxxc

Live Performance
“Morning Has Come”
“Stewball I”
Horn Concerto No. 4 in E-flat major, K.495, movement 3, Rondo, by Wolfgang
Amadeus Mozart (1756–1791).
Violin Concerto, movement 3, by Ludwig van Beethoven (1770–1827).
“When Johnny Comes Marching Home,” from Songs of the Civil War, played by the
165
U.S. Military Academy Band.
Dorian Mode (fi)
Live Performance
“Ground Hog”
“Wondrous Love”
“Hangman’s Tree”
“The Ballad of Springhill”
“Song on Courtship”
“Drunken Sailor”
“Bow Belinda”
“Wondrous Love,” as sung by Jean Ritchie.
“Round Dance,” Mikrokosmos, vol. 1, nos. 31 and 32, and vol. 2, no. 65.
“Drunken Sailor,” as sung by the Irish Rovers.
“Scarborough Fair,” as sung by the Gothard Sisters.
“The Ballad of Spring,” as sung by Peter, Paul, and Mary.
Compound Meter (Part 3): gvd

Live Performance
“Sir Eglamore”
“Git Along, Lil Dogies”

“De Colores”
“I love Little Willie”
Gigue, from 6 Piano Pieces, Op. 52, Anton Dvořák (1841–1904).
Violin Concerto, movement 3, by Ludwig van Beethoven (1770–1827).
“Ride of the Valkyries,” from Die Walküre, act 3, by Richard Wagner (1813–1883).
Mixolydian Mode (ta)
Live Performance
“Old Joe Clark”
“Git Along, Lil Dogies”
“Good Morning, My Pretty Little Miss”
“The Dying Cowboy”
“The Avondale Mine Disaster”
“As I Roved Out”
“I’m Going Home on a Cloud”
Mikrokosmos, Vol. 2 (revised Boosey & Hawkes, 1947), No. 40, by Béla Bartók
166 (1881–1945).
Lesson Planning
Designing a Preparation/Practice Lesson Plan
Design That Includes Music Skills
In this chapter we have presented activities for developing a child’s singing voice, move-
ment skills, and instrumental skills, as well as discussing how the instructor can develop
music literacy skills. As a result of the information contained in this chapter, we can pro-
pose modifications to our basic preparation/practice lesson plan:
1 . Developing appropriate creative movement activities for children

2. Developing appropriate instrumental activities for children
3. Developing appropriate reading, writing, and improvisation activities
4. Developing appropriate inner-hearing activities
5. Developing appropriate listening activities
6. Developing appropriate part-work skills
Table 4.2 presents a preparation/practice lesson plan template that shows how the
information for this chapter can now be used to modify a lesson plan design. We have
bolded the sections of the lesson plan that can be modified to incorporate material from
Chapter 4.
Table 4.2 Preparation/Practice Lesson Plan Template
Demonstration Body warm-ups and breathing exercises
of known • Ss demonstrate their prior knowledge of repertoire and musical
musical concepts elements through performance of songs selected from the
and elements alphabetized repertoire list.
• These songs may be accompanied by rhythmic or melodic
instruments.
Acquisition of • Teach a new song by rote using an appropriate technique.
repertoire
Preparation of a • Learning activities in which Ss are taught a new musical concept
new concept through known songs found in the alphabetized repertoire list.
Movement • Focus on the sequential development of age-appropriate
development movement skills through songs and folk games.
Practice and • Ss reinforce their knowledge of musical concepts and elements
musical skill working on the skill areas of reading and writing, form, memory,
development inner hearing, ensemble work, instrumental work, improvisation
and composition, and listening through known songs found in the
alphabetized repertoire list. 167
C L O SU R E
Review and • Review of lesson content; T may perform the next new song
repertoire list.
When repertoire and selected activities are applied to the preparation/practice lesson
framework, the lesson itself becomes more visible. The lesson plan in Table 4.3 includes rep-
ertoire and several activities; some procedural portions of this lesson have been removed.
Table 4.3 Unit 6, Harmonic Minor (si), Lesson 1
Outcome Preparation: internalizing si through kinesthetic activities

Practice: reading simple rhythms in compound meter
• Body warm-up
• Beat activity
• Resonance: Imitate the sound of a siren with the voice. Challenge
standing .
(Continued)
Sing known “Boots of Shining Leather”

songs CSP: D
• Ss sing song with text.
Develop “Go Down, Moses”
tuneful singing CSP: D
Tone • Sing on text.
production • Sing on different vowels and use voiced and unvoiced consonants.
• Review target vowels [i]‌ [e] [a] [o] [u].
Diction
Expressions
Review known “To Work Upon the Railway”
songs and CSP: A
• Ss sing song with solfège syllables and hand signs.
• T sings phrases on “loo” and Ss echo-sings with solfège syllables and
hand signs.
• T may choose to sing phrases of “Ghost of Tom,” “Dona, Dona,
Dona,” “Drill, Ye Tarriers,” “Sweet William,” “Hashivenu,” “Come
to the Land,” “Tumbalalaika,” “Rise Up, Oh Flame,” “Shalom
168
Chaverim”; (art music) “Urians Reise um die Welt,” Op. 52, No. 1,
or other known songs that use the solfège syllables low la low ti do
re mi fa so and la; Ss echo-sing using with solfège syllables and hand
signs.
Teach a new “Come, Let’s Dance”
song CSP: C
• T sings.
• Ss identify the form and meter.
Develop “Ah, Poor Bird”
knowledge of CSP: D
music concepts • Sing “Ah, Poor Bird” and point to a representation of the melodic
Internalize contour at the board.
music through • Sing “Ah, Poor Bird” with rhythm syllables and show the melodic
kinesthetic contour while clapping the rhythm.
activities
Creative “I’s the B’y”
movement CSP: A
(Continued)
Practice and “Row, Row, Row Your Boat”

music skills • Sing with words.
Reading • Sing “Row, Row, Row Your Boat” with rhythm syllables and keep
the beat.
• Sing “Row, Row, Row Your Boat” with rhythm syllables and
conduct.
• Determine the meter.
• Read “Row, Row, Row Your Boat” in traditional rhythmic notation
with rhythm syllables.
• Read “Row, Row, Row Your Boat” notated on staff with rhythm
syllables and solfège syllables.
• Read the notation for, and listen to a recording of, “The Wild Rider,”
Op. 68, No. 8, from Album from the Young, by Robert Schumann
(1810–1856).
Review lesson “Come, Let’s Dance”
outcomes CSP: C
Review the new
song 169
Designing a Presentation Lesson Plan Template

That Includes Music Skills
Table 4.4 is an example of a presentation lesson plan template. We want to show how the
information in this chapter can be incorporated into this lesson.
Table 4.4 Presentation Lesson Plan Template for Labeling Sounds

with Syllables
Demonstration Body warm-ups and breathing exercises
of known musical • Ss demonstrate their prior knowledge of repertoire and
concepts and musical elements through performance of songs selected from
elements the alphabetized repertoire list.
• These songs may be accompanied by rhythmic or melodic
instruments.
Acquisition of • Teach a new song by rote using an appropriate technique.
repertoire
(Continued)
Presentation of new • T presents the syllables for the new musical element in the
element focus pattern of a known song.
Movement • Known song or game found in the alphabetized repertoire list
development • Focus on the sequential development of age-appropriate
movement skills through songs and folk games.
Presentation of new • T presents the syllables for the new musical element in a
element related pattern of a known song.
C L O SU R E
Review and Review of lesson content; T may perform the next new song to be
summation learned in a subsequent lesson found in the alphabetized repertoire
list.
Again, when repertoire and selected activities are applied to in a lesson, the lesson plan-
ning process itself becomes more evident. The lesson plan in Table 4.5 includes activities
appropriate to a presentation lesson.
Table 4.5 Unit 6, Harmonic Minor (si), Lesson 4

170
Outcome Presentation: labeling the seventh degree of the harmonic minor scale
with solfège and hand signs
Warm-up T selects a contemporary piece of popular music for movement.
• Body warm-up
• Beat activity
standing.
Sing known “The Raggle Taggle Gypsies”
songs CSP: F-sharp
• Sing song and conduct.
Develop tuneful “Inez”
singing CSP: A
Tone production • Sing song.
• Ss practice singing a phrase of a song and repeating it a minor
Diction
second higher. Use a pure vowel sound. Each time you repeat, you
(Continued)
Review known “Alleluia” (in minor)

songs and CSP: D
• T sings phrases on “loo” and Ss echo-sings with solfège syllables
and hand signs.
Dona,” “Drill, Ye Tarriers,” “To Work Upon the Railway,” “Sweet
William,” “Hashivenu,” “Come to the Land,” “Tumbalalaika,” “Rise
Up, Oh Flame,” “Shalom Chaverim”; (art music) “Urians Reise um
die Welt,” Op. 52, No. 1, or other known songs that use the solfège
syllables low la low ti do re mi fa so and la; Ss echo-sing using with
Teach a new “Morning Is Come”
song CSP: F
• T sings songs.
• Ss discover the form and meter.
• T sings and Ss conduct.
Presentation of “Ah, Poor Bird” 171
music literacy CSP: D
concepts • Ss sing.
Describe what • Ss sing in canon.
you hear with • T assesses kinesthetic, aural, and visual awareness activities with
rhythm or the focus song “Ah, Poor Bird.”
solfège syllables • T presents the name and hand sign for the new note.
• T sings the third phrase with solfège syllables and hand signs.
• Ss sing with solfège and hand signs.
• T hums phrases on “loo” and Ss echo with solfège syllables and
hand signs.
• T hums the notes of the harmonic minor scale. Ss identify the
notes of the scale with solfège syllables. T presents the name of the
scale as harmonic minor.
• T presents scale degrees to Ss.
• Ss sing with numbers.
Creative “Rabbit and the Possum”
movement CSP: D
• Ss sing song and keep the beat.
(Continued)
Presentation of “Rose Rose”
music literacy CSP: G
Describe what • Ss sing song in canon.
you hear with • T assesses kinesthetic, aural, and visual awareness activities with
rhythm or “Rose Rose.”
solfège syllables • T reviews the name and hand sign for the new note.
• Ss determine the solfège for phrase 1.
• T hums phrases on “loo” and Ss echo with solfège syllables and
hand signs.
• T reviews the harmonic minor scale.
Review lesson “Morning Is Come”
outcomes CSP: F
Review the new
song
172
Chapter 5
Unit Plans and Lesson Plans
A primary objective of this text is to present teachers with a sequential series of lesson plans to
inspire the artistry inherent in every student. As is evident in all of our publications, we are also
involved with developing cognition, the “thinking” abilities that lead to a deeper understanding
and appreciation of music through performing, critical thinking, listening, literacy, composing,
and improvising. Kodály offers us a timely reminder concerning the importance of excellent
teaching techniques to enable the student to engage with music as a true artist: “It is not tech-
nique that is the essence of art, but the soul. As soon as the soul can communicate freely, without
obstacles, a complete musical effect is created. Technique sufficient for a free manifestation of the
child’s soul can easily be mastered under a good leader in any school.”1
This chapter furnishes teachers with a detailed series of lesson plans arranged according to 173
concept. With the exception of Unit 1 (review lessons), each unit is divided into three sections:
Section 1. A summary overview of the repertoire used to prepare, present, and practice a
particular music element
Section 2. A brief outline of the music skills that are to be developed in the unit plan
Section 3. Five sequential lesson plans for preparing, presenting, and practicing a music
element
Please consult Kodály Today for a more comprehensive overview of lesson planning.
These are the lesson plan units presented in this chapter:
Unit 1, Review of Grade 4 Concepts

Unit 2, Teaching high ti
Unit 3, Teaching an Eighth Note Followed by Dotted Quarter
Unit 4, Teaching the Natural Minor Scale
Unit 5, Teaching Compound Meter (part 1)
Unit 6, Teaching Harmonic Minor
Unit 7, Teaching Compound Meter 2 (part 2, subdivision)
Unit 8, Teaching Dorian Mode (fi)
Unit 9, Teaching Compound Meter (part 3, dotted rhythms)
Unit 10, Teaching Mixolydian Mode (ta)
Remember that these lesson plans are only sketches of what can be accomplished in the
lesson. We have not included transitions between the sections of the lessons as we want
teachers to get an idea as to the flow of the lesson plan. Teachers should infuse these lessons
with their own musicianship and creativity.
Our suggested five-lesson sequence allows students to engage and explore concepts
through music literature. Building on the numerous performance experiences within these
lessons, the teacher can guide students toward an understanding of musical elements and
concepts.
The five sequenced lessons are divided as follows. The first three are preparation/practice
lesson plans.
Lesson one is a plan for developing the kinesthetic awareness of a new melodic or
rhythmic concept and concentrated practice of known melodic or rhythmic ele-
ments through reading. (Reading is normally connected to listening.)
Lesson two is a plan for developing aural awareness of a new melodic or rhyth-
mic concept and concentrated practice of known melodic or rhythmic elements
through writing.
Lesson three is a plan for developing visual awareness of a new melodic or rhyth-
mic concept and concentrated practice of known melodic or rhythmic elements
through improvisation and composition.
There are two presentation lessons in the associative phase.
Lesson four is the first presentation lesson; the goal is to label the new sound with
rhythm or solfège syllables.
Lesson five is the second presentation lesson; the goal is to present the notation for the
174 new element.
The objectives for each type of lesson are derived from activities proposed in the teach-
ing strategies (Chapter 4). Although the lessons will differ across the three phases of learn-
ing, all preparation/practice lessons, regardless of the element being prepared, are similar in
structure. The same is true for all presentation lessons. You will note that lessons one, two,
and three focus on kinesthetic, aural, and visual preparation of a new element respectively
and practice of a familiar element through reading, writing, and improvisation activities.
Lessons four and five focus on presenting and initial practice of the newly learned element.
Chapter 10 of Kodály Today describes the types of lesson plan structure as well as informa-
tion on adapting these lesson plans for the inclusive classroom.
Transitions in Lesson Plans
Transitions are the cement that holds the segments of a lesson together. Transitioning
between songs and activities can become an interesting means to help tie, and often hold,
the lesson together. They can be used to move students from one activity to another in
a music lesson. Here we present some sample transition activities that can be used to
enliven a creative music lesson plan. Transitions may be thought of as conscious and
unconscious: with the former, the students are aware that they are moving between songs
or activities, and with the latter the teacher guides students to different activities. Spend
time analyzing all of the repertoire and materials you will be using in the lesson. This will
allow you to see possible connections in the suggested repertoire. Transitions should be
logical. When they are properly planned, they add the elements of surprise, creativity,
and magic to a lesson. Many of the best transitions are musical. If you are transitioning
into a segment of a lesson where the focus is on rhythm, use a rhythmic activity such
as an ostinato to move to the next segment of the lesson. If you are transitioning into
a melodic segment of the lesson, you could use a melodic ostinato to move to the next
section of your lesson.
There are three types of transition:
1 . Transitions that connect several lessons

2. Transitions that connect several sections in a lesson
3. Transitions that move from one section of a lesson to another
Transitions That Connect Several Lessons

Here are examples of the transition types that can be used over a series of lessons.
1. We can teach a new song over several lessons. For example:

A. Sing the song as a listening activity.
B. Discover the form of a song.
C. Read the rhythm of the new song.
D. Read the melody of the new song written in rhythmic notation with solfège
syllables beneath.
E. Read the new song from staff notation.
F. Sing the song as a partner song with another known song.
2. We can teach a game over several lessons: 175
A. Sing the song as a listening activity.
B. Memorize the song by rote.
C. Learn the game associated with the song (this may take place over several
lessons).
D. Create a new movement to accompany the singing game.
3. Teach a second part to a known folk song:
A. Sing and memorize a folk song.
B. Teacher sings the second voice part to a folk song.
C. Students learn to sing the second voice part to a folk song.
D. Students learn to sing both voice parts.
4. Teach a new piece of art music over several lessons:
A. Sing some themes of an art music example. Listen to these themes.
B. Create a listening map or chart that illustrates the form of the listening
example.
C. Identify the main instruments that play in the section of the music.
D. Create a listening score for the piece of music. Remember that in the
listening score you can notate the major themes and instruments. You do
not have to include all measures, but indicate the measures that are not
notated.
Transitions That Connect Several Segments in a Lesson

1. Story line connection
A. Connecting lessons using a story line is most often successful in the early
studenthood classroom or first grade. Connections are made throughout the
lessons as the teacher builds a story uniting all of the songs used during the
lesson. Each song in a lesson can be woven into the story line that connects them.
2. Use songs that have the same form. When selecting songs for your lesson plans,
include songs that have the same form. Students can point to a generic form map
that can be used to connect several activities. For example, when teaching a new
song, sing songs during the introduction of the lesson that use the same form
as that of the new song. This will help you move seamlessly from one activity to
another.
3. Sing songs in the same tonality or related tonalities. Make sure to sing songs in the
same keys. This is particularly important when moving from a piece of music in
a major key to a minor key. There are times when we sing the song in the related
key, but other times we might need to sing the song in the parallel keys. It is
important to tonally establish new keys.
4. Songs may also be used to prepare the singing of a new song or reading activity.
Keeping the same tonality between known and unknown will help secure
students’ listening and singing skills.
When moving from a creative movement activity to a reading, writing, or
improvisation activity, the subsequent game song is in the same key as the
reading, writing, or improvisation activities as this helps with intonation and
keeps the transition between lesson segments smooth and accessible.
5. Using songs that have the same meter.
A. When teaching an aural awareness activity addressing rhythm, singing known
176 songs in the same meter of the aural awareness activity helps with student
focus and subsequent attentiveness.
6. Use the same key or do placement on the staff for all sections in a lesson.
A particular scale written on the staff can be used throughout a lesson for
different melodies. This provides a point of focus for the students.
7. Use the same rhythmic ostinato from one segment of a lesson to another to
accompany singing.
8. Use the same melodic ostinato from one segment of a lesson to another to
accompany singing.
9. Sing songs that share the same rhythmic motif from one segment of a lesson to
another to accompany singing.
10. Sing songs that share the same melodic motif from one segment of a lesson to
another to accompany singing.
Transitions Between One Segment of a Lesson to Another

Using Specific Directions
1 . Give students directions using the melody of a song they are about to sing.
2. Give students directions without any verbal language. This might be as simple as
having them sing a known song while the teacher motions to the students to form
a circle to play the game.
Unconscious Rhythmic Connections

1 . Sing several songs with the same time signature and tempo.
2. Sing several songs that have the same rhythmic motifs.
3. Conduct a song and ask students to keep conducting while you sing the next song
in the lesson.
Unconscious Melodic Connections

1 . Sing several songs in the same tonality.
2. Sing several songs in the same tonality and scale range.
3. Sing several songs that have the same recurring melodic motifs.
4. Sing several songs having the same character or mood. Students will not be made
aware of this at this time in the lesson.
Conscious Rhythmic Connections

1. Teachers use rhythmic connections in songs to move from one segment of the
lesson to another. Students are made aware of these rhythmic connections.
2. Sing several songs with the same time signature.
3. Sing songs that share the same tempo.
4. Sing songs that share rhythmic motifs; for example, think of the syncopated
rhythmic pattern that connects the “Canoe Song” and “Liza Jane.”
5. A rhythmic motif from one song may become an ostinato for another.
6. Transform the rhythm of one song into another song.
7. Teacher claps the rhythm of a folk song and students follow in canon. The teacher
begins to transform this rhythm into the rhythm of another folk song.
Conscious Melodic Connections

Teachers use melodic connections in songs to move from one segment of the lesson to 177
another. Students are made aware of these melodic connections.
1. Sing several songs in the same tonality. The preparation for this type of activity
may be accomplished by pointing to the tone steps or staff ladder.
2. The teacher connects two songs together by using the same melodic motive. For
example:
A. “Rocky Mountain” and “Hot Cross Buns” share the mi re do motif at the end.
B. “Tideo” and “Great Big House in New Orleans” share the mi so so la mi so so
melodic motif.
3. Structural reductions
A. The music teacher can use structural reductions of folk songs to move from
one song to another. To make a structural reduction, write the notes that
occur on each beat in a phrase. Do not include passing notes. The structural
reduction (for example so la so mi is the structural reduction of the first
four beats of “Lucy Locket”) is the same as the first phrase of “Bounce High,
Bounce Low.” Finding these links between songs can build a powerful
connection for students.
4. Structural reductions and partner songs
A. Sing the structural reduction of one song and use it as a partner song with
another song, for example, “Liza Jane” and “Ridin’ in a Buggy.”
5. Melodic transformations
A. Transform the melodic phrase of one song into a phrase of another song.
6. Melodic motifs
A. Use a melodic motif in a song as a melodic ostinato for another song.
7. Canon
A. For older students, show the hand signs of a known song and ask them to
follow in canon. The teacher then transforms the known song into another
song as the students are following in canon.
8. Harmonic functions
A. Divide the class into two groups. One group performs the song. The other
performs the functional chord root tones. As one group continues to repeat
the functional chord root tones, the teacher can use hand signs and have
students sing another melody that shares the same harmonic rhythm with the
first melody.
9. Character of repertoire
A. Sing several songs having the same character or mood.
Form Connections
1. Unconscious connections
A. Sing several songs that have the same rhythmic form. For example, “All
Around the Buttercup” and “Let Us Chase the Squirrel” share the same form.
B. Sing several songs that have the same melodic form.
2. Conscious connections
A. Sing several songs that have the same rhythmic form. Students will identify
the forms of these songs.
178 B. Sing several songs that have the same melodic form. Students will identify the
forms of these songs.
Chapter 10 of Kodály Today includes many ideas for creating transitions in lesson plans.
Tables 5.1 and 5.2 show two versions of the same lesson plan: Table 5.1 is a lesson plan
with no transitions, and Table 5.2 has the same lesson plan with transitions. Transitions
should not detract from the lesson but should allow the teacher to move smoothly from one
segment of the lesson to another.
Table 5.1 Unit 2, high ti and dotted eighth note and sixteenth notes,
Lesson 2

kinesthetic activities.
patterns.
Warm-up T selects a contemporary composition for movement.
• Body warm-up
• Beat activity
(Continued)
• Resonance: imitate the sound of a siren with the

voice. Challenge the Ss to make soft and loud, high
and low, long and short sirens, and sirens that just
go up, just come down, or do both.
• Posture: remind Ss about correct posture for singing.
Sing known songs “Viva la Musica!”
CSP: C
CSP: F
• Ss sing song.
Develop tuneful singing “Alphabet Song”
Tone production CSP: D
• T introduces tempo markings to Ss; they determine
Diction
the appropriate one to use for the song.
Expression
Review known songs and “When I First Came to This Land”
elements CSP: F
• Ss sing song with solfège and hand signs.
• T sings phrases and Ss sing with solfège syllables
and hand signs.
Teach a new song “Camptown Races” 179
CSP: A
• T sings song.
• Ss sing each phrase.
literacy concepts CSP: E
Describe what you hear • Ss sing song.
• T assesses the kinesthetic activities with the focus
song “Alleluia.” Sing phrase 2 while keeping the
beat before asking each question below.
• Ss sing and determine the number of beats per
phrase and the general direction of the melody.
• Ss sing the second phrase on “loo” before T asks
each of these questions:
• T: “Andy, how many beats are in the second
phrase?” (eight)
• T: “Andy, what is the general direction of the
melodic contour?” (it goes up)
Determine the number of different pitches in the phrase
• T: “Andy, how many different pitches did we sing?”
(eight)
(Continued)
• T: “Andy, sing the lowest note of the phrase.”

• T: “Andy, which solfège syllable can we use for that
pitch?” (do)
• T: “Andy, sing the highest note of the phrase.”
pitch?” (high do)
• T sings the major scale on lo and Ss identify all
intervals as major or minor seconds.
Creative movement “Rabbit and the Possum”
CSP: D
Practice music performance “Donkey Riding”
and literacy skills CSP: F
Writing • Ss sing song and conduct.
• Individual Ss sing verses of song.
• Ss write the last phrase of the song with rhythmic
notation and solfège syllables beneath.
Review the lesson outcomes “Camptown Races”
Review the new song CSP: A
180 Table 5.2 Unit 2, high ti and dotted eighth note and sixteenth notes,
Lesson 2

kinesthetic activities.
patterns.
• Body warm-up
• Beat activity
• Resonance: imitate the sound of a siren with the
voice. Challenge the Ss to make soft and loud, high
and low, long and short sirens, and sirens that just
go up, just come down, or do both.
• Posture: remind Ss about correct posture for
singing.
(Continued)

CSP: C
• T shows hand signs for “Charlotte Town.” Ss read
T’s hand signs, singing the solfège syllables while
showing the hand signs.
CSP: F
• Two Ss sing in canon.
• Ss sing and T claps a rhythmic accompaniment.
• T writes the accompaniment on board, changes
time signature to triple meter, and adds bar lines.
• Ss clap the new rhythm while T sings the next song.
Develop tuneful singing “Alphabet Song”
Tone production CSP: E
Diction • T introduces tempo markings to Ss; they determine
Expression the appropriate one to use for the song.
• Ss read from T’s two-part hand signs in D = do. T
shows the hand signs for the following music exam-
ple in Let Us Sing Correctly.
Kodály Choral Library, Let Us Sing Correctly: select
exercises from those that use ti in introduction of the
volume.
• Ss read from T’s two-part hand signs in F = do as T 181
sings the next melody on “loo.”
Review known songs and “When I First Came to This Land”
elements CSP: F
• T sings phrases and Ss sing with solfège syllables
and hand signs.
• T sings phrases of “The Birch Tree,” “Alfonso Doce,”
“Debka Hora,” “Three Rogues,” “Coffee Canon,”
“Morning Is Come,” or other known songs that
use the solfège syllables l s f m r d low ti low la and
low so; Ss echo-sing using solfège syllables and
hand signs.
• T hums phrases from next melody and Ss sing with
(Continued)
Teach a new song “Camptown Races”
CSP: B
• T sings song.
• T sings song. Ss create a score indicating the meter
and bar lines.
• T sings song. Ss identify the form.
• T sings song and Ss follow a score that
includes text.
• Ss sing song.
• T show hand signs for phrase 1 of the next song
and Ss sing with solfège syllables and hand sign. As
they sing, T notates the notes on a tone ladder.
Describe what you hear • Ss sing song.
• T assesses the kinesthetic activities with the focus
song “Alleluia.” Sing phrase 2 while keeping the beat
• Ss sing and determine the number of beats per
phrase and the general direction of the melody.
• Ss sing the second phrase on “loo” before T asks
each of these questions:
Determine the number of different pitches in the phrase.
182
• T: “Andy, how many beats are in the second
phrase?” (eight)
• T: “Andy, what is the general direction of the
melodic contour?” (it goes up)
• T: “Andy, how many different pitches did we sing?”
(eight)
pitch?” (do)
pitch?” (high do)
• T sings the major scale on “loo” and Ss identify all
• T points the solfège syllables of the next song and
Ss recognize it through inner-hearing.
(Continued)

CSP: D
• Ss sing song and play game.
• Compose a rhythmic ostinato for a percussion
instrument.
• Compose a melodic ostinato for a pitched
instrument.
• Ss clap the rhythm of song and T plays the rhythm
of “Donkey Riding” on a percussion instrument. Ss
recognize and sing.
Practice music performance “Donkey Riding”
and literacy skills CSP: F
Writing • Ss sing song and conduct.
• Ss sing the song with rhythm syllables and clap the
rhythm.
• Ss write the last phrase of the song with rhythmic
notation and solfège syllables beneath.
Review the lesson outcomes “Camptown Races”
Review the new song CSP: A
• Ss sing song. 183
General Points for Planning Lessons

1. Goals for each lesson should come from the outcomes listed in the concept plans;
but singing in tune should always be a primary goal of each lesson.
2. Work to select the best song material for each class and make sure you enjoy this
repertoire. We suggest three to eight songs in a thirty-to-forty-minute lesson.
Memorize all of the song material you are going to use.
3. Every new song you teach should be introduced appropriately. Sometimes we
review a familiar song as we would a new song. This is an opportunity for the
teacher to spend more time polishing the song and making sure that students are
able to sing artfully.
4. When teaching a new element, is it surrounded by known rhythmic or melodic
patterns?
5. Our lessons contain both rhythmic and melodic elements, one for preparation
and the other for practice. Remember that when you abstract a pattern or motif
from a song, always sing the song again to put it back in context and to give
students the experience of enjoying the performance of the song.
6. There should be a focus to each section of the lesson that you can assess
informally and formally.
7. Know your repertoire. Be able to analyze the materials for each lesson from an
analytical, performance perspective and from a pedagogical one.
8. Try to find variety in the song material for the lesson.
9. Our lessons include periods of relaxation and concentration. The pace of a
lesson is critical. Veteran teachers always tell us that it is better to teach faster
than slower. Students will follow you if you’re moving.
10. Give the students plenty of individual experience in the classroom. It is
important to work from the group toward individual activities. You’ll notice that
students are attentive to their peers when they do things like go to the board or
perform on their own.
11. We have suggested a comfortable starting pitch for each song. Feel free to
experiment with what works best for your classroom.
Evaluating a Lesson
1. Learning should stem from the enjoyment of singing songs, chanting rhymes,
and playing games. The overarching goals of a music lesson should be singing,
listening, and enjoyment of music. Musical concepts and elements are taught to
enhance this enjoyment.
2. We believe that reading and/or writing should be addressed during each lesson.
Even if students simply read or write a small motive from a song, they develop a
deeper understanding and appreciation of the song. We recommend checking our
other publications for more ideas on how to teach music literacy concepts:
184 Sound Thinking: Music for Sight-Singing and Ear Training, vols. 1 and 2, published
by Boosey & Hawkes
From Sound to Symbol: Fundamentals of Music, published by Oxford
University Press
3. Include opportunities for both review and reinforcement of musical elements and
concepts.
4. A good lesson plan should reveal clear answers to these questions:
A. Was the lesson presented musically?
B. What were the primary and secondary goals of the lesson?
C. How were the goals of the lesson achieved?
D. How many songs and games were used in the lesson?
E. What activities used in conjunction with the song material led students to an
understanding of the goals of the lesson?
F. Was there an emphasis on singing and making music?
G. Did the lesson use a variety of songs?
H. Were the goals of the lesson achieved?
I. Was new material prepared and presented in the lesson? What exercises were
used in the lesson? Did the musical exercises planned for the lesson help the
students achieve the goals?
J. Was there a logical sequence and pacing in the lesson?
K. Was the culmination of the lesson clear?
L. Were there periods of relaxation and concentration in the lesson?

M. What musical skills were developed in the lesson? It is important to create
a greater focus on the development of part-singing skills in the upper
grades. We suggest that the teacher use these books as sources for part-work
repertoire to enhance their teaching:
Bacon, Denise. 46 Two-Part American Folk Songs for Elementary Grades.
Columbus, OH: Capital University, Kodaly Center of America, 1973.
Bolkovac, Edward. 150 Rounds for Singing and Teaching. New York: Boosey &
Hawkes, 1996.
Bolkovac, Edward. Sing We Now Merrily. New York: Boosey & Hawkes, 2007.
Williams, Mark. Two-Part American Folk Songs (Bicinia Americana), book
1. San Antonio, TX: Southern Music, 1977.
Williams, Mark. Two-Part American Folk Songs (Bicinia Americana), book
2. San Antonio, TX: Southern Music, 1988.
Taylor-Howell, Susan. The Owl Sings: 22 Folk Songs Arranged for 2 or 3 Voices.
Whitewater, WI: Organization of American Kodály Educators, 1997.
N. Were the students active collectively and individually during the lesson?
O. Did the lesson plan offer an opportunity to assess student progress?
P. Was the lesson enjoyable for the students?
Q. Did the lesson begin and end with singing?
Unit Plans
The units presented here give teachers lesson plans arranged according to concept.
Unit 1: Grade 4 Review 185

S ON G R E P E RTOI R E
Known Songs for Songs to Songs to Songs to Creative Songs to
Songs Tuneful Review Prepare Next Review Movement Practice
Singing Known New Concept Known Known
Elements Elements Elements
Lesson “Debka “Sail Away, “Viva la “Alleluia,” “The “Mamalama” “Donkey
1 Hora” Ladies” Musica!” “Charlotte Birch Riding”
“Shady Town” Tree”
Grove”
Lesson “O How “Land of “The “Ah, Poor “Donkey “Mamalama” “Circle
2 Lovely,” the Silver Birch Bird,” “Early Riding” Round
“Debka Birch” Tree” to Bed” the Zero,”
Hora” “Sail
Away,
Ladies”
Lesson “Weevily “Hungarian “The “Go Down, “Circle “Mamalama” “Donkey
3 Wheat,” Canon” Birch Moses” Round Riding”
“Hill Tree” the Zero”
and (review
Gully low ti)
Rider”
Lesson “John “Go Tell “Whistle, “Scarborough “The “Wishy “Yankee

4 Kanaka,” Aunt Daughter, Fair” Birch Washy” Doodle”
“Long Rhody” Whistle” Tree”
Road of
Iron,”
“Above
the
Plain,”
“Chair
to
Mend”
Lesson “Liza “Road of “Canoe “Sweet Betsy “The “Here “Sail
5 Jane” Iron” Song” from Pike” Birch Comes One Away,
Tree” Johnny Ladies”
Cuckoo”
M U SI C A L SK I L L DE V E L OP M E N T
Practice known elements
Reading Read rhythm of Read la pentatonic Ss read song Read a
known songs. songs from tone from T’s hand two-part
ladder, traditional signs. arrangement
notation and of a
solfège and staff. well-known
song.
186
Writing Dictation of Write a known Write a known
target phrases song with rhythmic song in staff
in traditional notation and notation.
notation of “Liza solfège.
Jane.”
Improvisation Improvise a new Improvise osti- Improvise Improvise
and melodic ending natos for chosen pentatonic rhythm
composition for known song songs in unit. melodies to patterns using
ending on tonic. Improvise ques- simple four or a variety of
tion-and-answer eight beat. all known
motives using rhythmic
known rhythm or elements up
melodic patterns. to date.
Listening Live performance Movement activity Listening with
to listening a prepared
score
Part work T or Ss divide Perform la Ss clap T stands at

the melody of pentatonic tone set rhythmic the back of
a known song in canon. patterns from the classroom
into two parts the board and performs
and add melodic and say the simple
or rhythmic rhythmic rhythmic
accompaniment syllables in patterns with
to create an canon. instrument
arrangement of and the Ss
the folk song. clap and say
the rhythm
syllables in
canon.
Memory Write the rhythm Sing “Above the Learn the songs Memorize a
for “The Ship That Plain” on solfège missing from rhythm form
Never Returned” from memory. fourth grade notation.
from memory. that are needed Memorize a
for fifth grade melody from
elements. notation.
Inner hearing Inner-hear Identify mystery Song match Identify
“Phoebe in Her songs from (choose known songs
Petticoat” on notation. three songs from pitch
“loo,” and Ss have from fourth ladder and
to identify it. grade. Ss from T’s hand
have to match signs.
the rhythm 187
performed by
T to the songs).
Form Improvise Make a listening Soloists are Ss call and
movements for map that serves as assigned respond with
a known song to performance map sections to sing T for different
show the form. for nonpitched that reflect the sections.
percussion form.
instruments.
Instruments Ostinato to a Ss switch between Perform an Read listening
known song on playing the beat or arrangement of map from
xylophones. rhythm on drums a folk song on form with
while other Ss sing an instrument. instruments.
known song.
Unit 1, Review low ti and Dotted Eighth and Sixteenth Note, Lesson 1
Outcome Presentation: label the sound a pitch a half step below do, as low
ti, with solfège syllables
Presentation: label two sounds on one beat, the first being long
and the second short, with rhythm syllables (ta---mi)
Warm-ups “Ecce Gratum,” fifth movement of Carmina Burana, by Carl Orff
(1895–1982)
• Body warm-up
• Beat activity
Challenge Ss to make soft and loud, high and low, long and
short sirens, and sirens that just go up, just come down, or
do both.
Sing known songs “Debka Hora”
CSP: A
Sing “Debka Hora” in canon on a neutral syllable.
• T sings the song on “loo.”
• Ss identify the melody and sing in unison with text.
• T divides the class into the appropriate number of parts.
• Ss sing in canon with T directing their entrances and indi-
cating cadence points.
188 Develop tuneful “Sail Away, Ladies”
singing CSP: F-sharp
Tone production Sing “Sail Away, Ladies” on pure vowels [i, a, o, u].
Diction
• Ss identify the melody and sing along with text.
Expression • T directs Ss to then sing on a chosen pure vowel, monitoring
their voices to ensure proper vowel shapes and to see that Ss
are not emphasizing each note with a glottal attack.
“Shady Grove”
CSP: D
Vocal range (be sure to sing with rhythm syllables)
Sing a pattern from “Shady Grove” progressively higher or lower.
• Ss sing a song in unison.
• T extracts a phrase or part of a phrase. T modulates the key
up or down (Ss do not sing the modulation) and Ss repeat
the chosen section of the song.
Review known “Viva la Musica!”

elements CSP: A
Describe what you • Ss sing the song.
hear with rhythm and • Ss sing the song in canon.
solfège syllables • Ss sing song with rhythm syllables and conduct.
• Review kinesthetic, aural, and visual awareness activities for
low ti.
• T: “When we have a note that is a half-step below do and a
whole step above low la, we call it low ti.”
• T shows Ss hand sign.
• T echo-sings with at least eight Ss.
• Ss read the first phrase of the next song from T’s
hand signs.
• Ss identify and sing the song.
Teach a new song “Alleluia”
CSP: D
• T sings song.
• Ss determine the phrase, form, and meter.
• T sings each phrase and Ss echo-sing with rhythm
syllables.
• T sings phrase 1 and Ss echo-sing with solfège syllables and
hand signs.
• T sings each phrase with words and Ss echo-sing with
words.
Review known “The Birch Tree” 189
elements CSP: G
Describe what you hear • Ss sing the song.
with solfège syllables • Ss sing the song with solfège syllables and hand signs.
• T makes connections to other related songs.
• Ss sing related songs with solfège syllables and
hand signs.
• T sings individual phrases with text; Ss echo-sing with
Creative movement “Mamalama”
CSP: F
• Ss sing the song and play the game.
• Ss create their own movements to the game to reflect
form.
Review known “Donkey Riding”

elements CSP: F
Describe what you hear • Ss sing the song.
with rhythm syllables • Review kinesthetic, aural, and visual awareness activities for
ta---mi.
• T: “We call two uneven sounds on one beat where the first is
long and the second is short ta---mi.”
• T sings the first eight beats using rhythm syllables. Ss echo
while keeping the beat and clapping the rhythm.
• Six to eight Ss sing phrase 1 with rhythm syllables.
• Ss step the beat and sing the song with rhythm syllables.
• T sings phrases from “Sail Away, Ladies”; Ss echo-sing using
rhythm syllables both as a class and individually.
Review lesson “Alleluia”
outcomes CSP: D
Review the new song • Ss sings and T sings in canon.
Outcome Presentation: notate low ti, using steps, stick, and staff notation
Presentation: notate two sounds on one beat, the first being long
and the second being short, with a dotted eighth and sixteenth
190 note
(1895–1982)
• Body warm-up
• Beat activity
and short sirens, and sirens that just go up, just come down,
or do both.
Sing known songs “O, How Lovely Is the Evening”
CSP: F
• Ss sing and T sings in canon.
“Debka Hora”
CSP: A
Sing “Debka Hora” in canon on a neutral syllable.

• Ss identify the melody and sing in unison with solfège sylla-
bles with hand signs.
• T divides the class into the appropriate number of parts.
• Ss sing again in canon.
Develop tuneful “Land of the Silver Birch”
singing CSP: D (la pentatonic to make connection to “Alleluia” in minor)
Tone production • Ss sing song.
Diction
• Ss identify the melody and sing along with text/hand signs.
Expression • T directs Ss to sing on a pure vowel, monitoring their voices
to ensure proper vowel shapes and to see that Ss are not
emphasizing each note with a glottal attack.
Review known “The Birch Tree”
concepts CSP: A
Notate what you hear • Ss sing the song.
• Ss sing the song in canon.
• Ss sing phrase 1 with solfège syllables and hand signs.
• T presents the position of ti, on the tone ladder. Discuss
whole steps and half steps in the tone set and identify them
as major and minor seconds.
• T presents the target phrase in traditional rhythmic notation
with solfège syllables.
2$ sdsd\qsd\qq\
mmmm r d d t, l, 191
• Ss read the target phrase with solfège syllables and
hand signs.
• T discusses the Rules of Placement for notes of the la
pentachord scale.
• T presents the target phrase in staff notation; la = A,
D, and E.
• Ss sing the target phrase with solfège syllables and
hand signs.
• Ss sing the target phrase with letter names and hand signs.
Teach a new song “Ah, Poor Bird”
CSP: D
• T sings song.
• T sings each phrase and Ss echo-sing with rhythm syllables.
• T sings each phrase with words and Ss echo-sing
with words.
• T sings and Ss sing in canon.
• T sings, transforming the melody from minor to major, and
Ss conduct to prepare tonality of next song.
Review known “Donkey Riding”

concepts CSP: F
Notate what you hear • Ss sing and keep the beat.
• Ss sing song and clap rhythm.
• Ss sing phrase 1 with rhythm syllables.
• T: “When we have a long sound followed by a short sound
on one beat, the beat is a quarter note long, we can notate it
with a dotted eighth note and one sixteenth note.”
• T writes the rhythm on the board.
• Ss may practice writing dotted eighth and sixteenth notes on
the board.
• Ss read rhythm of the song from the board in standard
rhythmic notation.
• Ss read phrase 1 of the song from the board using numbers
for counting and conducting.
CSP: F
• Ss create their own movements to the game to reflect form.
• Ss create their own rhythmic accompaniment to game.
Presentation of music “Circle Round the Zero.”
literacy concepts CSP: F-sharp
Notation • Ss sing and keep the beat.
• Ss sing song and clap rhythm.
192 • Ss write the rhythm on the board.
• Ss read the song from the board with rhythm syllables and
conduct.
• Ss read the rhythm of the song from the board with numbers
for counting and conduct.
Review lesson “Ah, Poor Bird” (in minor)
outcomes CSP: D
Review the new song • T sings and Ss sing in canon.
Outcome Read low ti, using steps, stick, and staff notation
Read two sounds on one beat, the first being long and the second
being short, with a dotted eighth and sixteenth note
(1895–1982)
• Body warm-up
• Beat activity
or do both.
Sing known songs “Weevily Wheat”
CSP: A
“Hill and Gully Rider”
CSP: C
• Sing “Hill and Gully Rider”
• Ss read with inner hearing “Hill and Gully Rider” from
rhythmic notation on board.
• Individual Ss sing the verse and the class sings the refrain.
Develop tuneful “Hungarian Canon”
singing CSP: F
Tone production • Sing “Hungarian Canon” on pure vowels.
Diction
• Ss identify the melody and sing along with hand signs and 193
Expression solfège syllables.
• T directs Ss to then sing on a chosen pure vowel, monitoring
• Ss sing in canon on “loo.”
Practice of known “The Birch Tree”
elements CSP: A
Reading low ti • Ss sing the song.
• Ss read the song from the tone ladder.
• Ss read the song from standard rhythmic notation and
solfège.
• Ss read the song with solfège syllables and hand signs from
staff notation.
• Ss read the song with letter names and hand signs.
• Ss read theme with solfège and hand signs and listen to For
Children, vol. 1, no. 8, by Béla Bartók (1881–1945) and iden-
tify the “A” and “B” sections in the music.
• Ss sing phrases with solfège syllables and hand signs as they
listen to the Bartók.
Teach a new song “Go Down, Moses”
CSP: B
• T sings song.
• T gives the text and rhythmic notation of song for the
known phrases and only the text for those phrases that
contain unknown element. Ss sing with rhythm syllables,
keeping the beat for known element and words and beat for
unknown.
• T sings each phrase with words and Ss echo-sing with
words.
Review of known “Circle Round the Zero”
elements CSP: F-sharp
Reading dotted eighth • Ss sing and keep the beat.
and two sixteenths • Ss sing song and clap rhythm.
• Ss sing with rhythm syllables and conduct.
• Ss writes the rhythm on the board.
• Ss sing song in canon with rhythm syllables.
• Ss sing song in canon with words.
CSP: F
194 • Ss create their own melodic accompaniment to game.
Review of known “Donkey Riding”
elements CSP: F
Reading dotted eighth • Ss sing song.
and two sixteenths • Ss read “Donkey Riding” in traditional rhythm with rhythm
syllables and conducing.
• Transform “Donkey Riding” into “Circle Round the Zero.”
• T sings the rhythm of the listening example on “loo” and Ss
sing back with rhythm syllables as they conduct.
• Ss read the rhythm of the theme and listen to a recording of
“Feierlich und Gemessen” from Symphony No. 1, by Gustav
Mahler (1860–1911).
Review lesson “Go Down, Moses”
outcomes CSP: B
Review the new song • Ss sing with text.
Outcome Writing practice: write a six-beat melody containing low ti

Writing practice: write the rhythmic notation for “Yankee
Doodle”
(1895–1982)
• Body warm-up
• Beat activity
or do both.
Sing known songs “John Kanaka”
CSP: A
“Chair to Mend”
CSP: D ra
• Ss identify with inner-hearing songs from traditional
notation on board using rhythm syllables.
Develop tuneful “Go Tell Aunt Rhody”
singing CSP: A
Tone production Vowels 195
Diction
• Ss identify the melody and sing.
Expression • T directs Ss to then sing on a chosen pure vowel, monitoring
Review of Known “Whistle, Daughter, Whistle”
Elements CSP: A
• Ss sing songs with text.
• S sings a different verse with text.
• T and Ss sing songs with solfège syllables and
hand signs.
• T sings phrases of the song with text; Ss echo-sing with
solfège syllables and hand signs both as a class and
individually.
Teach a new song “Scarborough Fair”
CSP: D
• T sings song.
• Ss determine the phrases and form. T creates a score indicat-
ing only the phrases and beats.
• Ss follow the score as T sings with text.
elements CSP: A
• Ss sing the song.
• Ss sing phrase 1 with solfège syllables and hand signs.
• Ss write in the solfège syllables for phrase 1 under standard
rhythmic notation.
• Ss write phrase 1 of the song on the staff in different la
positions.
• Class sings the song in canon with letter names.
Creative movement “Wishy Washy”
CSP: A
Ss sing the song and play the game.
• Ss create their own movements to the game to
reflect form.
Practice known “Yankee Doodle”
elements CSP: A
Writing • T and Ss sing “Yankee Doodle” with text.
196 • T sings “Yankee Doodle” on “loo.”
• Ss identify “Yankee Doodle” and sing with text and then
repeat using rhythm syllables.
• Ss write “Yankee Doodle” in rhythmic notation.
• Ss sing “Yankee Doodle” from T’s hand signs with solfège
syllables.
• Ss write the solfège syllables beneath the rhythm notation.
Review lesson “Scarborough Fair”
outcomes CSP: D
Review the new song • T sings song for Ss, and they listen to a recording of this
song.
Unit 1, Review low ti and Dotted Eighth and Sixteenth Note,

Lesson 5
Outcome Improvising practice: improvise a six-beat melody

containing low ti
Improvising practice: improvise a rhythmic notation containing
gxc
(1895–1982)
• Body warm-up
• Beat activity
or do both.
Sing known songs “Liza Jane”
CSP: F-sharp
“Riding in a Buggy”
CSP: D
• Ss read songs with inner-hearing from traditional rhythm
notation on board with rhythm syllables.
• Ss identify each song and sing with text.
Develop tuneful “Road of Iron” 197
singing CSP: F
“Twinkle, Twinkle, Little Star”
CSP: F
“Are You Sleeping?”
CSP: F
• Ss sing.
• Ss sing the song on “loo.”
• T directs Ss to then sing on a chosen pure vowel, moni-
toring their voices to ensure proper vowel shapes and to
see that Ss are not emphasizing each note with a glottal
attack.
Review known “Canoe Song”

elements CSP: A
la pentatonic “Sioux Indian Lullaby”
CSP: D
“My Good Ol’ Man”
CSP: D
• T sings songs with text.
• Ss sing songs with solfège syllables and hand signs.
• T sings each phrase of the three songs with text; Ss
echo-sing using solfège syllables and hand signs both as a
class and individually.
• S write the tone set of each song on the board. Ss identify
the scale.
Teach a new song “Sweet Betsy from Pike”
CSP: D
• T sings song.
• T provides Ss with the rhythmic notation, meter, and words.
T sings song and Ss add in the phrase marks and the form.
• T sings song and Ss follow their score.
• Ss sing song.
elements CSP: A
Improvise • Ss sing the song.
• Ss read the song from staff notation.
198 • Ss identify the tone set of phrase 1 (la, ti, do re mi)
• Ss sing a la pentachord from low to high to low.
• T writes a four-beat melody on the board using notes from
the la pentachord. Ss read:
2$sdsd\qq|
l,t,d r m m
• T writes the pitches backwards. Ss read:
2$sdsd\qq|
mr dt, l, l,
• T writes two additional melodies for Ss to read:
2$sdsd\qq|
l,t,d t, l, l,
2$sdsd\qq|
rr d d t, l,
• T uses the first melody, ending on mi, as a “question” and Ss
sing any of the remaining three as an “answer.”
• Ss may also create their own melody using notes from the la
pentachord as an answer.
T can use these ideas to improvise songs in different forms
Creative movement “Here Comes One Johnny Cuckoo”

CSP: A
• Ss sing song.
Review known “Sail Away, Ladies”
elements CSP: F-sharp
Improvise • Ss sing song with text.
• Ss improvise a new text to selected phrases.
• Ss sing the call; the response can be improvised with
rhythm syllables.
Review lesson “Sweet Betsy from Pike”
outcomes CSP: D
Review the new song • Ss sing song with text.
Unit 2: high ti
S ONG R E P E RTOI R E
Songs Tuneful Review Prepare Prepare Movement Practice
Singing Known Next Concept: Known 199
Elements Concepts: high ti Elements
ar
Lesson “Sail Away, “Johnny “The Birch “Charlotte “Alleluia” “Rabbit and “Donkey
1 Ladies” Has Gone Tree,” Town” the Possum” Riding”
for a reviewing
Soldier” minor
pentachord
scale
Lesson “Viva la “Alphabet “When “Camptown “Alleluia” “Rabbit and “Donkey
2 Musica!” Song” I First Races” the Possum” Riding”
“Charlotte Came to
Town” This Land”
Lesson “The Birch “Wake “Debka “Colorado “Alleluia” “Mamalama” “Donkey
3 Tree,” Up! Hora” Trail” Riding”
“Camptown Canon”
Races”

Songs Tuneful Review Prepare Present Movement Present
Singing Known Next Concept: Concept:
Elements Concepts: high ti high ti
r
Lesson “When “Sweet “Debka “All Night, “Alleluia” “Mamalama” “Wake Up!
4 I First Betsy Hora” All Day” Canon”
Came to from
This Land,” Pike”
“Colorado
Trail”
Lesson “Debka “Johnny “Coffee “Swing “Alleluia” “Alabama, “Wake Up!
5 Hora,” “All Has Gone Canon” Low, Sweet Mississippi” Canon”
Night, All for a Chariot”
Day” Soldier”
Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of high ti. Remember, in the first three lessons Ss practice the pre-
vious musical element, in this case, dotted eighth note followed by a sixteenth note.
Skill Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Reading Ss read the Ss read
rhythm of “Alleluia” with
“Donkey hand signs
Riding” and from steps,
200 additional traditional
songs from notation with
traditional solfège, and
rhythm then staff
notation. notation.
Writing Ss write the Ss write the
rhythm of first phrase of
“Donkey “Alleluia” with
Riding” from hand signs
traditional from steps,
rhythm traditional
notation. notation with
solfège, and
then staff
notation.
Improvisation T says and

claps a
question
phrase using
the new
rhythm Ss
echo an
answer phrase
with rhythm
syllables
using the
new rhythm
pattern.
Movement “Rabbit and “Rabbit and “Mamalama” “Mamalama” “Alabama,
the Possum” the Possum” Mississippi”
Listening “London
Bridge Is
Falling
Down,”
from The
Complete
Decca
Recordings
of Count
Basie
(1904-1984) 201
Unit 2, high ti and Dotted Eighth Note and Sixteenth Notes, Lesson 1
Outcome Preparation: internalize high ti, the major scale, through kines-

thetic activities
Practice: read four beat patterns that include dotted eighth and
sixteenth notes
Warm-up “Les Toreadors,” from Carmen, by Georges Bizet (1838–1875),
Allegro
• Body warm-up
• Beat activity
or do both.
Sing known songs “Sail Away, Ladies”

CSP: F-sharp
• T provides an ostinato, and Ss sing song.
• Ss sings song and class sings refrain.
Develop tuneful “Johnny Has Gone for a Soldier”
singing CSP: D
Tone production • Ss sing song with text.
• T introduces tempo markings, and Ss find the appropriate
Diction
one to use for singing song.
Expression
Kodály Choral Library, Let Us Sing Correctly: select exercises that
use the solfège syllable ti from the introduction of the volume.
Review known songs “The Birch Tree”
and elements CSP: A
• Ss sing the song with text.
• Ss sing the song with solfège syllables and hand signs.
• T sings individual phrases, and Ss sing with solfège syllables
and hand signs both as a class and individually.
• T sings phrases of “Alfonso Doce,” “Debka Hora,” “Three
Rogues,” “Coffee Canon,” “Morning Is Come,” or other
known songs that use the solfège syllables la so fa mi re do
low ti low la and low so; Ss echo-sing using solfège syllables
Teach a new song “Charlotte Town”
202 CSP: F
• T writes the text of the song on the board. T sings and Ss
indicate the phrase marks and identify the form.
• Ss sing the song and play a game similar to “Come Thru ’Na
Hurry” as they sing.
Develop knowledge “Alleluia”
concepts • Ss sing “Alleluia” with text.
Internalize music • Ss sing the second phrase and point to a representation of
through kinesthetic the melodic contour at the board.
activities • Ss sing “Alleluia” and show the melodic contour of the sec-
ond phrase.
• Ss sing phrase 2 of “Alleluia” with rhythm syllables while
showing the melodic contour.

CSP: D
• Ss sing song and play the game.
• Ss create their own movements to the song to reflect form.
Practice music “Donkey Riding”
performance and CSP: F
literacy skills • Ss sing song.
Reading • Ss sing song with rhythm syllables.
• Ss read the rhythmic notation of song with rhythm syllables.
• Ss read the rhythmic notation counting with numbers and
conducting.
• Make a transition in the notation of “Donkey Riding” to the
theme for Variations on a Theme, St. Anthony’s Chorale by
Haydn, by Johannes Brahms (1833–1897).
• Ss sing the “St. Anthony’s Chorale” with rhythm syllables
and then solfège syllables and hand signs as they listen to the
recording.
Review lesson “Charlotte Town”
outcomes CSP: F
Review the new song • Ss sing the song with text.
Unit 2, high ti and Dotted Eighth Note and Sixteenth Notes, Lesson 2 203
Outcome Preparation: internalize high ti, the major scale, through kines-

thetic activities
Practice: read dotted eighth and sixteenth four-beat patterns
Allegro
or
T may select a contemporary composition for movement.
• Body warm-up
• Beat activity
or do both.

CSP: D
CSP: F
• Two Ss sing in canon.
• Ss sing song and T accompanies with tonic, subdominant,
and dominant chord roots on a musical instrument.
Develop tuneful “Alphabet Song”
singing CSP: D
Tone production • T introduces tempo markings to Ss; Ss determine the appro-
priate one to use for the song.
Diction
Expression
Review known songs “When I First Came to This Land”
and elements CSP: F
• T sings phrases and Ss sing with solfège syllables and
hand signs.
• T sings phrases of “The Birch Tree,” “Alfonso Doce,” “Debka
Hora,” “Three Rogues,” “Coffee Canon,” “Morning Is Come,”
or other known songs that use the solfège syllables la ss fa
mi re do low ti low la and low so; Ss echo-sing using solfège
204 syllables and hand signs.
Teach a new song “Camptown Races”
CSP: A
• T sings song.
• T sings song. Ss create a score indicating the meter and
bar lines.
• T sings song. Ss identify the form.
• T sings song and Ss follow a score that includes text.
• Ss sing song.
Describe what you hear • T assesses the kinesthetic activities with the focus song
“Alleluia.” Sing phrase 2 while keeping the beat before asking
• Ss sing and determine the number of beats per phrase and
the general direction of the melody.
• Ss sing the second phrase on “loo” before T asks each of

these questions:
• T: “Andy, how many beats are in the second phrase?”
(eight)
• T: “Andy, what is the general direction of the melodic
contour?” (it goes up)
• Determine the number of different pitches in the phrase:
• T: “Andy, how many different pitches did we sing?” (8)
pitch?” (do)
• T: “Andy, which solfège syllable can we use for that pitch?”
(high do)
• T sings the major scale on “loo” and Ss identify all
CSP: D
• Compose a rhythmic ostinato for a percussion instrument.
performance and CSP: F 205
literacy skills • Ss sing song and conduct.
Writing • Ss sing the song with rhythm syllables and clap the
rhythm.
• Ss write the last phrase of the song with rhythmic notation
and solfège syllables beneath.
Review the lesson “Camptown Races”
outcomes CSP: A
Review the new song • Ss sing song.
Unit 2, high ti and Dotted Eighth Note and Sixteenth Notes, Lesson 3
Outcome Preparation: create a visual representation for high ti, major scale.

Practice: improvise a four-beat rhythm using gc
Allegro
or
T selects a contemporary composition for movement.
• Body warm-up
• Beat activity
or do both.
Sing known songs “The Birch Tree”
CSP: A
“Camptown Races”
CSP: A
• Ss sing song.
• Ss sing song in canon if appropriate.
Develop tuneful “Wake Up! Canon”
singing CSP: A
206 Tone production • Ss sing song.
• Ss practice singing a phrase of a song and T has them repeat
Diction
it a minor second higher. Use a pure vowel sound. Each time
Expression T repeats, Ss can sing another on another vowel sound.
• Ss hum song and T plays the tonic and dominant chord
roots on an instrument.
Kodály Choral Library, Let Us Sing Correctly: select from ti exer-
cises in introduction of the volume.
Review known songs “Debka Hora”
and elements CSP: A
• Ss sing.
• Ss sing with rhythm syllables and keep the beat.
• T sings phrases of “The Birch Tree,” “Alfonso Doce,” “Three
Teach a new song “Colorado Trail”
CSP: F-sharp
• T sings song.
• Ss identify the meter and form.
• Ss create their own score for the music indicating the bar
lines and form.
Create a representation • T assesses kinesthetic and aural awareness by allowing the
of what you hear class to perform several of the kinesthetic and aural aware-
ness activities.
• T sings phrase 2 on a neutral syllable and asks Ss to create a
visual representation of the melody of the target phrase. Ss
may use manipulatives. T: “Pick up what you need to recre-
ate what you heard” or “Draw what you heard.” T assesses Ss’
level of understanding.
• T invites one S to the board to share a representation with
the class. If necessary, corrections to the representation
can be made by reviewing the aural awareness questions.
Identify the meter.
• Ss sing the second phrase of “Alleluia” with a neutral syllable
and point to the representation.
• T hums the notes of the major scale and asks Ss to change their 207
visual representation to show the major and minor seconds.
CSP: F
performance and CSP: F
literacy skills • Ss sing song.
Improvisation • T claps a rhythmic question based on the new rhythm
pattern and Ss provide an answer. Use rhythmic phrases of
“Donkey Riding.” Ss clap back their answer and say rhythm
syllables.
• Ss compose a rhythmic composition based on a given form.

The A phrase can be the rhythm from the first four measures
of “Donkey Riding.”
• T sings known folk song with rhythm syllables. Ss sing back
but include a more advanced rhythmic element. For exam-
ple, T sings “Rain, Rain” on rhythm syllables and Ss substi-
tute ta mi for ta di.
Review lesson “Colorado Trail”
outcomes CSP: F-sharp
Unit 2, high ti, Lesson 4
Outcome Presentation: label high ti and the major scale with solfège

syllables
Allegro
or
T selects a contemporary composition for movement.
• Body warm-up
208 • Beat activity
or do both.
Sing known songs “When I First Came to This Land”
CSP: F
“Colorado Trail”
CSP: F-sharp
• Ss sing with text and conduct.
Develop tuneful “Sweet Betsy from Pike”
singing CSP: D
Tone production • T introduces tempo markings to Ss and find the appropriate
one to use for song.
Diction
Expression
Review known songs “Debka Hora”

and elements CSP: A
• Ss sing song with words.
• T phrases from melody and Ss echo with solfège syllables
and hand signs.
• T sings phrases of “The Birch Tree,” “Alfonso Doce,” “Three
Teach a new song “All Night, All Day”
CSP: D
• T sings song.
• Ss identify the meter.
• T writes the text of the song on the board. Ss add in
phrase marks.
• Ss sing song.
Presentation “Alleluia”
Describe what you hear CSP: D
with solfège syllables • T reviews the kinesthetic, aural, and visual awareness activi-
ties with the focus song “Alleluia.”
• T sings song with solfège syllables and hand signs emphasiz-
ing the new note ti.
• T sings “Alleluia” with solfège syllables and hand signs and 209
Ss echo-sing with solfège syllables and hand signs.
• T sings phrases with text; Ss echo with solfège syllables and
hand signs.
• T and Ss sing the eight pitches of the major scale from low to
high. T names it a “major diatonic scale.”
• Ss sing the scale ascending and descending with solfège
• T and Ss identify the intervals between the notes of the
major scale.
• Ss identify the intervals from the tonic to each scale degree.
CSP: F
Presentation “Wake Up! Canon”

Describe what you hear CSP: CSP: A
with solfège syllables • T reviews the solfège syllable and hand signs for the
new note.
• T sings each phrase with solfège syllables and Ss echo with
• T sings phrases with text or on a neutral syllable, and Ss
echo with solfège syllables and hand signs.
• Ss sing in canon with text.
Review the lesson “All Night, All Day”
outcomes CSP: D
Unit 2, high ti, Lesson 5
Outcome Presentation: notation of major key melodies and scales on the

staff
• Body warm-up
• Beat activity
210 • Breathing: Ss practice breathing exercises.
the Ss to make soft and loud, high and low, long and short sirens,
Sing known songs “Debka Hora”
CSP: A
“Viva la Musica!”
CSP: D
CSP: F
• Ss sing and keep the beat.
Develop tuneful “Johnny Has Gone for a Soldier”
singing CSP: D
Diction
Expression

T repeats, Ss can sing another on another vowel sound.
Kodály Choral Library, Let Us Sing Correctly: select from ti
exercises in introduction of the volume.
Review known songs “Donkey Riding”
and elements CSP: F
• Ss sing the song with solfège syllables and hand signs.
• T sings phrases the song and Ss echo-sing with solfège sylla-
bles and hand signs.
• T sings phrases of “The Birch Tree,” “Alfonso Doce,” “Debka
Hora,” “Three Rogues,” “Coffee Canon,” “Morning Is Come,”
or other known songs that use the solfège syllables la so fa
mi re do low ti low la and low so; Ss echo-sing using solfège
syllables and hand signs both as a class and individually.
Teach a new song “Swing Low, Sweet Chariot”
CSP: A
• T sings song.
• T provides Ss with notation, text for measures 1 and 2 of
each phrase and text and rhythms for measures 3 and 4 of
each phrase. T sings each phrase. T sings first two measures
of each phrase and Ss sing measures 3 and 4.
• Ss conduct and T sings.
• Ss sing song. 211
Presentation of music “Alleluia”
literacy concept CSP: D
Notate what you hear • Ss sing song.
• T presents the rhythmic notation and solfège syllables for
“Alleluia.” Ss read with solfège syllables and hand signs.
• T presents the Rule of Placement for ti and writes melody
on the staff in different do positions. Ss read with solfège
syllables and hand signs. Ss read with letter names and
hand signs.
• T presents the pattern for the major diatonic scale on the
tone ladder and explains the position of the two half-step
intervals between mi fa and ti high do.
• T presents the pattern for the major diatonic scale on the
staff and explains the position of the half-step intervals.
Creative movement “Alabama, Mississippi”
CSP: F
Presentation of music “Wake Up! Canon”

literacy concept CSP: A
Notate what you hear • Ss sing song.
• Ss figure out the solfège syllables for the song and sing with
hand signs.
• T presents the rhythmic notation with solfège syllables writ-
ten beneath. Ss read with solfège syllables and hand signs.
• T presents the melody on the staff in different do positions.
Ss read with solfège syllables and hand signs. Ss read with
absolute names and hand signs.
Review the lesson “Swing Low, Sweet Chariot”
outcomes CSP: A
Unit 3: Eighth Note Followed by Dotted Quarter Note
Singing Known Next New Concept: Known
Elements Concept: eighth Elements:
212 natural and high ti
minor scale dotted
quarter
Lesson “Shady “Camptown “Donkey “Dona, “Charlotte “Aquaqua “Alleluia”
1 Grove,” Races” Riding” Dona, Town” Del-a
“Swing Dona” Omar”
Low, Sweet
Chariot”
Lesson “Sourwood “Colorado “Sail “The Raggle “Charlotte “Rabbit “Alleluia”
2 Mountain,” Trail” Away, Taggle Town” and the
“Dona, Ladies” Gypsies” Possum”
Dona,
Dona”
Lesson “Sail Away, “All Night, “Shady “Hashivenu” “Charlotte “Zudio” “Alleluia”
3 Ladies,” All Day” Grove” Town” (minor-
“The Raggle based)
Taggle
Gypsies”

Singing Known Next New Concept: Concept:
Elements Concept: ar ar
natural
minor scale
Lesson “Donkey “Swing “Circle “Hashivenu” “Charlotte “Rabbit “Camptown
4 Riding,” Low, Sweet Round Town” and the Races,”
“Hashivenu” Chariot” the Zero” Possum” “Colorado
Trail,” “All
Night,
All Day,”
“Swing
Low, Sweet
Chariot,”
“Little
Johnny
Brown”
Lesson “Michael, “Colorado “Donkey “Alleluia” “Charlotte “Bow, “Little
5 Row the Trail” Riding” (in minor) Town” Belinda” Johnny
Boat Brown,” “All
Ashore” Night, All
“Hashivenu” Day”
with teaching the concept of an eighth note followed by a dotted quarter note. Remember, in 213
the first three lessons Ss practice the previous musical element, in this case high ti.
Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Reading Ss read “Alleluia” Ss read the
and additional rhythm of
songs with hand “Charlotte
signs from steps, Town”
traditional nota- from
tion with solfège, traditional
and then staff rhythm
notation. notation.
Writing Ss write “Alleluia” Ss write the
and additional rhythm of
songs with “Charlotte
hand signs from Town”
steps, traditional using
notation with tradition
solfège, and then rhythm
staff notation. notation.
Improvisation T sings a
question
phrase
using
high
ti; Ss
sing an
answer
phrase
using
high ti
but must
end on
high do.
Movement “Aquaqua Del-a “Rabbit and the “Zudio” “Rabbit “Bow,
Omar” Possum” (minor and the Belinda”
variant) Possum”
Listening For Children,
Vol. 1/2 (revised
Boosey &
Hawkes, 1947),
No. 11, by
Béla Bartók
(1881–1945)
214
Unit 3, Prepare Eighth Note and Dotted Quarter Note and Practice
high ti, Lesson 1
Outcome Preparation: internalize an eighth note followed by a dotted quar-

ter note through kinesthetic activities
Practice: read melodic patterns with high ti based on the major scale
Warm-up Playing Soldiers, Op. 31, No. 4, Vladimir Rebikov (1866–1920),
Allegro, march. T selects a contemporary popular piece of music
for movement.
• Body warm-up
• Beat activity
or do both.
Sing known songs “Shady Grove”

CSP: D
“Swing Low, Sweet Chariot”
CSP: A
• Ss sing song.
• T provides rhythmic and melodic ostinatos and Ss sing song
with these accompaniments.
Develop tuneful “Camptown Races”
singing CSP: A
Tone production • Ss sing phrases of song using lip trills.
• Ss sing phrases of song with an inner smile.
Diction
Expressions
and elements CSP: F
• Ss sing with text.
• T sings each phrase and Ss echo-sing with rhythm syllables.
• T may choose to sing phrases of “Sail Away, Ladies,” “Circle
Round the Zero,” “Yankee Doodle,” “Shady Grove”; (art
song) “Cradle Song,” Op. 98, No. 2, by Franz Schubert
(1797–1828), or other known songs that use known
rhythms; Ss echo-sing using rhythm syllables both as a class
and individually.
Teach a new song “Dona, Dona, Dona” 215
CSP: A
• T sings song.
• T gives Ss with a score of the rhythm and text.
• T sings song and Ss mark in phrases and identify form.
• Ss sing song.
Develop knowledge of “Charlotte Town”
music concepts CSP: F
Internalize music • Ss sing “Charlotte Town” and pat the beat.
through kinesthetic • Ss sing “Charlotte Town” and determine the meter and
activities conduct.
• Ss sing “Charlotte Town” and clap the rhythm.
• Ss sing “Charlotte Town” and point to a representation of the
rhythm on the board.
• Ss sing “Charlotte Town” and step to the beat while clapping
the rhythm.
Creative movement “Aquaqua Del-a Omar”
CSP: E

Practice and perfor- “Alleluia”
mance of music skills CSP: D
Reading Reading from T’s hand signs
• Ss sing “Alleluia” in two parts.
• T shows the “Alleluia” using hand signs and Ss read with
Reading from notation
• Ss read “Alleluia” from traditional rhythmic notation and
solfège syllables.
• Ss read “Alleluia” from staff notation with solfège syllables
and hand signs as well as letter names and hand signs.
• Read the melody, from T’s hand signs, for For Children, Vol.
1 (revised Boosey & Hawkes, 1947), no. 11, by Béla Bartók
(1881–1945).
Review lesson “Dona, Dona, Dona”
outcomes CSP: A
216 Unit 3, Prepare Eighth Note and Dotted Quarter Note and Practice
high ti, Lesson 2
Outcome Preparation: analyzing repertoire that contains eighth note fol-

lowed by a dotted quarter note, through aural awareness questions
Practice: writing patterns with high ti based on the major scale
for movement.
• Body warm-up
• Beat activity
or do both.
Sing known songs “Sourwood Mountain”

CSP: F-sharp
CSP: A
• Individual Ss sing verses.
• Ss sing “Dona, Dona, Dona” in canon.
Develop tuneful “Colorado Trail”
• Ss practice vowel sounds by singing descending scales using
Diction
a major pentatonic or pentachord scale on “mee,” “meh,”
Musicianship “mah,” “moh,” and “moo.”
Review known songs “Sail Away, Ladies”
and elements CSP: F-sharp
• T sings each phrase and Ss echo-sing with rhythm syllables
both as a class and individually.
• T sings phrases of “Circle Round the Zero,” “Yankee
Doodle,” “Shady Grove”; (art song) “Cradle Song,” Op. 98,
No. 2, by Franz Schubert (1797–1828), or other known songs
that use known rhythms; Ss echo-sing using rhythm sylla-
bles both as a class and individually.
Teach a new song “The Raggle Taggle Gypsies”
CSP: F-sharp
• T sings song.
• T provides Ss with the text and rhythm of song.
• T sings song and Ss identify the phrases.
• Ss sing song.
Develop knowledge “Charlotte Town”
of music literacy CSP: F
Describe what you hear • Assess the kinesthetic activities with the focus song. T and
Ss sings the first phrase on “loo” while keeping the beat
Determine the number of beats in phrase 1
• T: “Andy, how many beats did we tap?” (eight)
Determine the number of sounds on each beat
• T: “Andy, which beats that have one? (2 and 4)
• T: “Andy, which beats have two sounds?” (1, 3, 5, and 7)
• T: “Andy, what is different about the two sounds we sing on

beats 5 and 7?” (the second sound is longer)
• Ss sing the phrase with rhythm syllables and the words
“short long” for beats 5 and 7. (tadi ta tadi ta short long…
short long…)
CSP: D
• Ss compose a rhythmic ostinato for a percussion instrument.
• Ss compose a melodic ostinato for a pitched instrument.
• Ss create a new game movement.
• Ss create a new text.
Writing • Ss sing song.
• Ss write “Alleluia” using rhythmic notation and solfège
syllables.
• Ss write “Alleluia” on the staff.
• Ss read from notation and sing with solfège syllables and
hand signs then with letter names and hand signs.
Review lesson “The Raggle Taggle Gypsies”
outcomes CSP: F-sharp
Review the new song
218
Unit 3, Prepare Eighth Note and Dotted Quarter Note and Practice
high ti, Lesson 3
Outcome Preparation: creating a visual representation of an eighth note

followed by a dotted quarter note
Practice: improvise a pattern with high ti based on the major scale
for movement.
• Body warm-up
• Beat activity

or do both.
Sing known songs “Sail Away, Ladies”
CSP: A
“The Raggle Taggle Gypsies”
CSP: F-sharp
• Ss sing “The Raggle Taggle Gypsies” and T sings the sec-
ond part from Denise Bacon’s 46 Two-Part American Folk
Songs, p. 50.
Develop tuneful “All Night, All Day”
singing CSP: D
Tone production • Ss sing song in canon.
Diction • Ss say the unvoiced consonants p, t, k using known rhythm
Musicianship patterns from song.
Review known songs “Sweet Betsy from Pike”
and elements CSP: D
• Ss sing and conduct.
• T claps each phrase, and Ss echo with rhythm syllables both
as a class and individually.
• T sings phrases of “Sail Away, Ladies,” “Circle Round 219
the Zero,” “Yankee Doodle,” “Shady Grove”; (art
rhythms; Ss echo-sing using rhythm syllables both as a
Teach a new song “Hashivenu”
CSP: C or
“Hushabye”
CSP: D
• T sings song.
• T gives Ss the rhythm and words to the song.
• T sings song and Ss indicate the phrases and the form.
• T sings song and Ss point to a visual of the contour of the
melody.
Develop knowledge “Charlotte Town”

of music literacy CSP: E
Create a visual repre- • Assess kinesthetic and aural awareness by allowing the class to
sentation of what you perform several of the kinesthetic and aural awareness activities.
hear • T hums the target phrase with a neutral syllable and asks Ss
to create a visual representation of the target phrase. Ss may
use manipulatives. T: “Pick up what you need to recreate
what you heard” or “Draw what you heard.” T assesses Ss’
level of understanding.
the class. If necessary corrections to the representation can
be made by reviewing the aural awareness questions.
• Ss sing the first phrase of “Charlotte Town” with a neutral
syllable and point to the representation. Determine the meter.
• Determine the solfège syllables for the first phrase of
• Ss sing song.
CSP: F
• Ss sing song.
220
Improvisation • Ss sing song.
• T sings a question written in traditional rhythm notation
with solfège syllables beneath or on staff notation that incor-
porates the notes of the major scale.
• Ss echo with an answering phrase using solfège syllables
and hand signs. The rhythm may be provided for the Ss to
improvise with. Important to end the question with so and
the answer with do.
• Ss read a known song with solfège syllables that does not
include high ti. Ss perform the song but change a phrase to
include high ti.
Review lesson “Hashivenu”
outcomes CSP: C and/or
Review the new song. “Hushabye”
CSP: D
• Ss sing song and T sings the second part from Denise
Bacon’s 46 Two-Part American Folk Songs, p. 55.
Unit 3, Prepare Eighth Note and Dotted Quarter Note, Lesson 4
Outcome Presentation: labeling an eighth note followed by a dotted quarter

note with rhythm syllables
Warm-up Playing Soldiers, Op. 31, No. 4, by Vladimir Rebikov (1866–1920)
for movement.
• Body warm-up
• Beat activity
or do both.
Sing known songs “Donkey Riding”
CSP: F
“Hashivenu”
CSP: C
“Hushabye”
CSP: D
• Individual Ss sing different verses of the song.
Develop tuneful “Swing Low, Sweet Chariot”
singing CSP: A 221
Tone production • Ss say the unvoiced consonants p, t, k using known rhythm
patterns from song.
Diction
• Ss read from two-part hand signs shown by T.
Musicianship
Review known songs “Circle Round the Zero”
and elements CSP: F-sharp
• Ss sing.
• Ss sing with rhythm syllables both as a class and
individually.
• T sings phrases of “Sail Away, Ladies,” “Circle Round
the Zero,” “Yankee Doodle,” “Shady Grove”; (art
rhythms; Ss echo-sing using rhythm syllables both as a
CSP: C
“Hushabye”
CSP: D
• T sings song.
• T provides with the rhythm and words to the song.
• T sings song and students indicate the phrases and the form.
• T sings song and Ss point to a visual of the contour of the
melody.
• Ss sing song.
Presentation “Charlotte Town”
Describe what you hear CSP: F
with rhythm syllables • Ss sing song.
• Assess the kinesthetic, aural, and visual awareness activities
with the focus song “Charlotte Town.”
• T: “We call two uneven sounds over two beats where the first
is short and the second is long ta di---.”
• T sings the target phrase of “Charlotte Town” with rhythm
syllables.
• Ss echo with rhythm syllables while clapping the rhythm or
performing the beat.
• T sings the target phrase of “Charlotte Town” on “loo” and
Ss echo with rhythm syllables while clapping the rhythm
222 Creative movement “Rabbit and the Possum”
CSP: D
• Ss sing song.
Presentation “Erie Canal” or “Go Down, Moses”
Describe what you hear CSP: A
with rhythm or solfège • Ss sing song.
syllables • T sings the selected phrases with rhythm syllables both as a
• Ss echo with rhythm syllables while clapping the rhythm or
performing the beat.
• T sings the a phrase from any of these songs on a neutral
syllable and Ss echo with rhythm syllables while clapping the
rhythm both as a class and individually.
° “All Night, All Day,” “Billy Boy,” “Great Big Dog,” “Walk
Along, John,” “Little Johnny Brown,” “Go Down, Moses.”
outcomes CSP: C
Review the new song “Hushabye”
CSP: D
• Ss sing song.
Unit 3, Prepare Eighth Note and Dotted Quarter Note, Lesson 5
Outcome Presentation: notation of an eighth note followed by a dotted

quarter note
Warm-up Playing Soldiers, Op. 31, No. 4, by Vladimir Rebikov (1866–1920),
for movement.
• Body warm-up
• Beat activity
or do both.
223
Sing known songs “Michael, Row the Boat Ashore”
CSP: D
“Hashivenu”
CSP: C
“Hushabye”
CSP: D
• Ss sing songs with text.
Develop tuneful “Colorado Trail”
• Ss say the unvoiced consonants p, t, k using known rhythm
Diction
patterns from song.
Expression
• Ss sing solfège syllables in two parts reading from T’s
hand signs.
• T introduces tempo markings to Ss and they find the appro-
priate one to use for the song.

and elements CSP: F
• T and Ss sing.
• T claps each phrase, and Ss echo with rhythm syllables.
• T sings phrases of “Sail Away, Ladies,” “Circle Round the
Zero,” “Yankee Doodle,” “Shady Grove”; (art song) “Cradle
Song,” Op. 98, No. 2, by Franz Schubert (1797–1828), or
other known songs that use known rhythms; Ss echo-sing
using rhythm syllables.
Teach a new song “Alleluia” (in minor)
CSP: D
• T sings song in minor.
• Ss identify the form.
• Ss sing in minor.
Presentation “Charlotte Town”
Notate what you hear CSP: F
• Ss sing song.
• T presents notation for two uneven sounds over two beats
on the board in traditional notation and then stick notation.
• T: “If the beat is a quarter note long, we can write this
rhythm using an eighth note followed by a dotted
quarter note.”
• T: “We can also write this phrase using stick notation and
224 add solfège syllables beneath.”
• Ss read with rhythm syllables.
• T introduces numbers for counting and Ss read and conduct
with numbers.
• Ss sing song.
Creative movement “Bow, Belinda”
CSP: A
Presentation “Little Johnny Brown”
Notate what you hear CSP: D
• Ss sing song.
• T presents again the symbols for two uneven sounds over
two beats on the board in traditional notation and then stick
notation.
• T: “If the beat is a quarter note long, we can write the first
two phrases of this rhythm using an eighth note followed by
a dotted quarter note.”
• T: “We can also write the first two phrases using stick nota-
tion and solfège syllables.”
• Ss read the melody of the first two phrases from rhythmic
notation and solfège syllables with solfège and hand signs.
• Ss read the melody of the first two phrases from the staff
with solfège syllables and hand signs as well as absolute letter
names and hand signs.
• Ss sing song.
Review lesson “Alleluia” in minor
outcomes CSP: D
Review the new song • Ss sing in minor.
Unit 4: Natural Minor Unit Plan
Songs Tuneful Review Prepare Next Prepare Movement Practice
Singing Known Concept: Concept: Known
Elements: Compound Natural Elements
Major Meter 1 Minor
Scale
Lesson “Wake “Dona, “Alphabet “I’s the B’y” “Alleluia” “Long Road “Charlotte
1 Up! Dona, Song” (in minor) of Iron” Town”
Canon” Dona”
225
Lesson “Alphabet “Hashivenu” “Sweet “Row Your “Alleluia” “Long Road “Charlotte
2 Song,” “I’s William” Boat” (in minor) of Iron” Town”
the B’y”
Lesson “Sweet “The Raggle “All Night, “When “Alleluia” “Alabama, “Charlotte
3 Betsy Taggle All Day” Johnny Comes (in minor) Mississippi” Town”
from Gypsies” Marching
Pike” Home”
Songs Tuneful Review Prepare Next Present Movement Present
Singing Known Concepts Concept: Concept:
Elements high ti high ti
Lesson “Johnny “Dona, “Sweet “Boots of “Alleluia” “Rabbit and “Dona,
4 Has Gone Dona, Betsy from Shining (in minor) the Possum” Dona, Dona,”
for a Dona” Pike” Leather” “Hashivenu,”
Soldier” “Alleluia” (in
minor), “The
Raggle Taggle
Gypsies”
Lesson “Wake “The Raggle “Sweet “Sailor, Sailor “Alleluia” “Aquaqua “Hashivenu “
5 Up! Taggle Betsy from on the Sea” (in minor) Del-a
Canon” Gypsies” Pike” Omar”
with teaching the concept of natural minor. Remember, in the first three lessons Ss practice
the previous musical element, in this case an eighth note followed by a dotted quarter note.

rhythm of “Alleluia” (in
“Charlotte minor) with
Town” or hand signs
additional from steps,
songs from traditional
traditional notation with
rhythm solfège, and
notation. then staff
notation.
Writing Ss write the Ss write
rhythm of “Alleluia” (in
“Charlotte minor) with
Town” hand signs
and/or from steps,
additional traditional
songs using notation with
tradition solfège, and
rhythm then staff
notation. notation.
Improvisation T sings an
226
eight-beat
question
phrase using
the new
rhythm;
Ss echo an
eight-beat
answer phrase
using the
new rhythm
pattern.
Movement “Long Road “Alabama, “Rabbit
of Iron” Mississippi” and the
Possum”
Listening Mikrokosmos,
Vol. 3,
No. 95, by
Béla Bartók
(1881–1945)
Unit 4, Natural Minor Scale, Lesson 1
Outcome Preparation: internalizing natural minor scale through kinesthetic

activities
Practice: reading eighth followed by a dotted quarter
Warm-up Palladio, by Karl Jenkins (1944–)
or
T selects a piece of contemporary popular music for movement.
• Body warm-up
• Beat activity
standing.
Sing known songs “Wake Up! Canon”
CSP: B
Develop tuneful “Dona, Dona, Dona”
singing CSP: A
• Ss sing the sequence of “oh-oo–ah” on notes of the pentatonic
Diction
scale. For example Ss sing the three vowel sounds on mi, then 227
Expression re, and finally do. T pays attention to the jaw on each of the
vowel sounds. Keep repeating but singing a minor second higher
each time.
• Continue to work on tempo markings and dynamic markings.
Review known “Alphabet Song”
• T sings phrases on “loo” and Ss repeat with solfège syllables and
hand signs both as a class and individually.
William,” “Hashivenu,” “Come to the Land,” “Tumbalalaika,”
“Rise Up, O Flame,” “Shalom Chaverim”; (art music) “Urians
Reise um die Welt,” Eight Songs, Op 52, No. 1, by Ludwig van
Beethoven (1770–1827); or other known songs that use the
solfège syllables low la low ti d r m f s l; Ss echo-sing using with
solfège syllables and hand signs both as a class and individually.
Teach a new song “I’s the B’y”
CSP: A
• T sings song.
• T asks Ss to create a beat chart, add bar lines, and figure out the
number of beats per measure. Ss create a score indicating the
bar lines, beat bars, and form. (Ss should be able to figure out
that this is in duple meter.)
• T sings song and students add in the phrase marks and
the form.
• Ss sing song.
Develop knowl- “Alleluia” (in minor)
edge of music CSP: D
concepts • Ss sing “Alleluia” in minor and point to a representation of the
Internalize music melodic contour at the board.
through kinesthetic • Ss sing “Alleluia” in minor and point to melodic contour of the
activities song with their eyes closed.
• Ss sing “Alleluia” in minor with rhythm syllables while showing
the melodic contour.
Creative “Long Road of Iron”
movement CSP: A
• Ss sing song.
• Ss compose a rhythmic ostinato for a percussion
228 • Ss create a new text.
Practice and “Charlotte Town”
performance of CSP: F
music skills • Ss sing the song.
Reading • T sing phrases of “Charlotte Town” and Ss echo on rhythm
syllables.
• Ss sing “Charlotte Town” on rhythm syllables in canon with T
and in small groups.
• Ss read the rhythmic notation of “Charlotte Town.”
• T transforms the target pattern into basic four-beat patterns
found in Ss’ song material. Transform the rhythm of phrase 1 of
“Charlotte Town” into phrase 2 of “All Night, All Day.”
• Ss read the rhythm to Mikrokosmos, vol. 3 no. 94, by Béla Bartók
(1881–1945).
Review lesson “I’s the B’y”
outcomes CSP: A
Review the new • Ss sing song.
song
Outcome Preparation: analyzing repertoire in natural minor.

Practice: eighth followed by a dotted quarter
or
• Body warm-up
• Beat activity
standing.
Sing known songs “I’s the B’y”
CSP: A
• Ss sing verses of song both as a class and individually.
Develop tuneful “Hashivenu”
singing CSP: B
• Ss sing the sequence of vowel sounds “oh-oo–ah” on notes of the
Diction
pentatonic scale. For example, Ss sing the three vowel sounds on
Expression mi, then re, and finally do. T pays attention to the jaw on each 229
of the vowel sounds. Keep repeating but singing a minor second
higher each time.
Review known “Sweet William”
songs and CSP: D
• T hums phrases on “loo” and Ss repeat with solfège and hand
signs both as a class and individually.
Up, O Flame,” “Shalom Chaverim”; (art music) “Urians Reise um
die Welt,” Eight Songs, Op 52, No. 1, by Ludwig van Beethoven
(1770–1827); or other known songs that use the solfège syllables
low la low ti d r m f s l; Ss echo-sing using with solfège syllables
Teach a new song “Row, Row, Row Your Boat”
CSP: D
• T sings song.
• T sings song and Ss create a beat chart.
• T sings song and Ss identify the meter. (duple)
• T sings song and Ss add in bar lines.
• T sings and Ss conduct using a duple-meter conducting pattern.
• Ss sing and conduct using a duple-meter conducting pattern.
Develop knowl- “Alleluia” (in minor)
edge of music CSP: D
literacy concepts • Ss sing song in minor.
Describe what you • Assess the kinesthetic activities with the focus song “Alleluia”
hear in minor.
• Ss sing while keeping the beat before asking each question below
about the second phrase of the song.
Determine the lowest and highest notes
• T: “Andy, sing the lowest note of the song.” (low la)
• T: “Andy, sing the highest note of the song.” (la)
Determine how many pitches we have in the second phrase
• T: “Andy, how many different pitches did we sing?” (eight) (It
may be best to do this by breaking down the second phrase into
smaller motifs.)
• T sings these notes as a scale and determine the intervals by ask-
ing to identify the intervals as major or minor seconds.
230 Creative “Long Road of Iron”
movement CSP: A
• Ss sing and play game.
Practice and “Charlotte Town”
music skills • Ss sing song.
Writing • Ss sing with rhythm syllables and conducting.
• Ss write “Charlotte Town” with traditional rhythmic notation.
• Using a worksheet, Ss fill in the missing rhythms to measures of
known songs, such as “All Night, All Day.”
Review lesson “Row, Row, Row Your Boat”
outcomes CSP: D
Review the new • Ss sing in canon with T.
song
Outcome Preparation: creating a visual representation of a melody in a

minor key
Practice: improvise using an eighth followed by a dotted quarter
or
• Body warm-up
• Beat activity
do both.
• Posture: remind Ss about the correct posture to sing sitting
and or standing.
Sing known songs “Sweet Betsy from Pike”
CSP: D
• Ss sing verses individually.
Develop tuneful “The Raggle Taggle Gypsies” CSP: A
singing • Ss sing song with text.
Tone production • Ss sing the two-part arrangement of “Raggle Taggle
Gypsies” from Denise Bacon’s 46 Two Part American Folk 231
Diction
Songs, p. 50.
Expression
Review known songs “All Night, All Day”
and elements CSP: E
• T hums phrases on “loo” and Ss repeat with solfège and
• T may choose to sing phrases of “Ghost of Tom,” “Dona,
Dona, Dona,” “Drill, Ye Tarriers,” “To Work Upon the
Railway,” “Sweet William,” “Hashivenu,” “Come to the Land,”
“Tumbalalaika,” “Rise Up, O Flame,” “Shalom Chaverim”;
(art music) “Urians Reise um die Welt,” Eight Songs, Op
52, No. 1, by Ludwig van Beethoven (1770–1827); or other
known songs that use the solfège syllables low la low ti d r m
f s l; Ss echo-sing using with solfège syllables and hand signs
Teach a new song “When Johnny Comes Marching Home”
CSP: A
• T sings song.
• T sings song and Ss identify meter.
• T sings song and Ss identify form.
• T shows hand signs and Ss sing with solfège with hand signs.
• T sings song and Ss follow the words provided by the T.
• Ss sing song.
• Review singing this song with all verses.
Develop knowledge “Alleluia” (in minor)
Create a visual repre- • T assess kinesthetic and aural awareness by allowing the
sentation of what you class to perform several of the kinesthetic and aural aware-
hear ness activities.
• T hums the target phrase with a neutral syllable and asks Ss to
create a visual representation of the melody of the target phrase.
• T: “Pick up what you need to recreate what you heard”
or “Draw what you heard.” T assesses Ss’ level of
understanding.
the class. If necessary, corrections to the representation can
232 • Ss sing “Alleluia” in minor with a neutral syllable and point
CSP: F
• Ss sing song.
Practice and perfor- “Charlotte Town”
mance of music skills CSP: F
• Ss are given the rhythm notation of the song. (Some of the
measures contain only “heartbeats” or beat bars.)
• Ss perform the rhythm where it is notated, and pat the beat
elsewhere.
• Ss perform the rhythm where it is notated, and improvise for
the missing measures.
• Ss read a four-phrase, sixteen-beat rhythmic composition in
ABAC form. Then T erases the C phrase, and Ss create a new
C phrase using eighth and dotted quarter rhythms, or they
create a B and a C phrase.
Review lesson “When Johnny Comes Marching Home”
outcomes CSP: A
Review the new song • T sings song and Ss conduct.
• Ss sing song.
Outcome Presentation: labeling natural minor melody and scale with solfège syllables.
or
• Body warm-up
• Beat activity
standing.
Sing known “When Johnny Comes Marching Home”
songs CSP: A
• Ss sing and conduct. 233
Develop tuneful “Dona, Dona, Dona”
singing CSP: A
Tone production • Ss sing a vocal warm-up shown by the T in two parts from T’s
hand signs.
Diction
Expression
Review known “Sweet Betsy from Pike”
songs and CSP: D
• T hums phrases on “loo” and Ss repeat with solfège and hand signs
Up, O Flame,” “Shalom Chaverim”; (art music) “Urians Reise um
die Welt,” Eight Songs, Op 52, No. 1, by Ludwig van Beethoven
(1770–1827); or other known songs that use the solfège syllables low
la low ti do re mi fa so la; Ss echo-sing using with solfège syllables
Teach a new “Boots of Shining Leather”
song CSP: D
• T has each phrase of the text written on the board.
• T sings song with text.
• Ss identify meter and conduct.
• T sings song with text and Ss notate the rhythm bar lines, and
determine the meter.
Presentation “Alleluia” (in minor)
Describe what CSP: D
rhythm or • T assesses kinesthetic, aural, and visual awareness activities with
solfège syllables the focus song “Alleluia” in minor.
• T sings the song with solfège and hand signs.
• Ss echo-sing with solfège and hand signs.
• T hums motifs from song; Ss echo-sing with solfège and
hand signs.
• T and Ss sing the seven pitches of “Alleluia” from low to high with
• T specifically names the scale as a “natural minor scale,” because it
has seven pitches from low la to la with half steps between mi and
fa and between low ti and do.
• Ss sing the scale with solfège and hand signs both as a class and
individually.
234 • Ss sing the scale in canon.
Creative “Rabbit and the Possum”
movement CSP: D
• Ss sing song.
Presentation “Dona, Dona, Dona”
Describe what CSP: A
rhythm or • T presents solfège syllables and hand signs for last two phrases
solfège syllables of song.
• Ss sing the last two phrases of song with solfège and hand signs.
Review lesson “When Johnny Comes Marching Home”
outcomes CSP: G
Review the new • Ss sing song with text.
song
Outcome Presentation: notation of natural minor scales on the staff

or
• Body warm-up
• Beat activity
do both.
and or standing.
Sing known songs “Wake Up! Canon”
CSP: B
Develop tuneful “The Raggle Taggle Gypsies”
singing CSP: A
• Ss sing the two-part arrangement of “Raggle Taggle Gypsies”
Diction
from Denise Bacon’s 46 Two Part American Folk Songs, p. 50. 235
Expression • Continue to work on tempo markings and dynamic
markings.
Review known songs “Sweet Betsy from Pike”
and elements CSP: D
• T hums phrases on “loo” and Ss repeat with solfège syllables
and hand signs.
• T may choose to sing phrases of “Ghost of Tom,” “Dona,
Dona, Dona,” “Drill, Ye Tarriers,” “To Work Upon the
Railway,” “Sweet William,” “Hashivenu,” “Come to the Land,”
“Tumbalalaika,” “Rise Up, O Flame,” “Shalom Chaverim”;
(art music) “Urians Reise um die Welt,” Eight Songs, Op
52, No. 1, by Ludwig van Beethoven (1770–1827); or other
known songs that use the solfège syllables low la low ti do
re mi fa so la; Ss echo-sing using with solfège syllables and
Teach a new song “Sailor, Sailor on the Sea”
CSP: A
• T sings song.
• Ss read T hand signs with solfège syllables.
• T sings song and Ss read the text.
• Ss sing song.
Develop knowledge of “Alleluia” (in minor)
music concepts CSP: D
Notate what you hear • T presents the melody with rhythmic notation with solfège
syllables written beneath.
• T presents the melody on a staff and reviews the Rule of
Placement.
• Ss sing with solfège syllables and hand signs.
• Ss sing with absolute letter names and hand signs.
• Ss sing in canon with words.
CSP: E
• Ss sing song.
instrument.
Presentation of “Dona, Dona, Dona”
236 music skills CSP: A
Notate what you hear “Hashivenu”
CSP: B
• Ss sing song.
• Ss sing melody with solfège syllables and hand signs.
• T reviews the Rule of Placement for notes of minor scale and
presents the scale on the staff.
• Ss sing the last two phrases of song with solfège sylla-
bles while pointing to the notes of the minor scale on
the staff.
• Ss identify the whole and half steps.
Review lesson “Sailor, Sailor on the Sea”
outcomes CSP: A
Review the new song • Ss sings song and keep the beat.
Unit 5: Compound Meter (Part 1)
Elements Concepts: si Compound Elements:
(Harmonic Meter 1 Natural
Minor) Minor
Lesson “Sailor, “I’s the “All Night, “Ah, Poor “Row, Row, “Aquaqua “Alleluia”
1 Sailor on B’y” All Day” Bird” Row Your Del-a (in minor)
the Sea” Boat” Omar”
Lesson “Colorado “To Work “Little “Ah, Poor “Row, Row, “Aquaqua “Alleluia”
2 Trail” Upon the Johnny Bird” Row Your Del-a (in minor)
Railway” Brown” Boat” Omar”
Lesson “All Night, “To Work “Go “Inez” “Row, Row, “Zudio” “Alleluia”
3 All Day” Upon the Down, Row Your (minor- (in minor)
Railway” Moses” Boat” based)
Singing Known Next New Concept: Concept:
Elements: Concepts: si Compound Compound
Natural (Harmonic Meter 1 Meter 1
Minor Minor)
Lesson “Swing “Sailor, “Go “Rose Rose” “Row, Row, “Golden “Row, Row,
4 Low, Sailor on Down, Row Your Ring” Row Your
Sweet the Sea” Moses” Boat” Boat,” “To 237
Chariot” Work Upon
the Railway,”
“Sailor,
Sailor on
the Sea”
Lesson “Colorado “Swing “Charlotte “Dors, “Row, Row, “Golden “To Work
5 Trail” Low, Town” Dors, ’Tit Row Your Ring” Upon the
Sweet Bébé” Boat” Railway”
Chariot,”
“Inez”
with teaching the concept of compound meter (even patterns). Remember, in the first three
lessons Ss practice the previous musical element, in this case natural minor.

Reading Ss read Ss read the
“Alleluia” (in rhythm of “Row,
minor) and Row, Row Your
additional Boat” or addi-
songs with tional songs
hand signs from traditional
from steps, rhythm notation.
traditional
notation with
solfège, and
then staff
notation.
Writing Ss write Ss write the
“Alleluia” rhythm of
(in minor) “Row, Row, Row
and Your Boat” or
additional additional songs
songs with from traditional
hand signs rhythm notation.
from steps,
traditional
notation
with
solfège, and
238 then staff
notation.
question
phrase
written
in natural
minor; Ss
sing an
answer
phrase in
natural
minor
ending on
low la.
Movement “Aquaqua “I’s the B’y” “Zudio” “Glory
Del-a Omar” (minor to the
variant) Mountain”
Listening Theme from

Symphony
no. 4, second
movement,
by Felix
Mendelssohn
(1809–1847)
Unit 5, Compound Meter (Part 1), Lesson 1
Outcome Preparation: internalizing simple compound meter patterns

through kinesthetic activities
Practice: reading natural minor melodies
Warm-up Horn Concerto No. 4 in E-flat major, K. 495, by Wolfgang
Amadeus Mozart (1756–1971), movement 3, Rondo
or
T selects a contemporary piece of music for movement.
• Body warm-up
• Beat activity
and short sirens, and sirens that just go up, just come down, 239
or do both.
and standing.
Sing known songs “Sailor, Sailor on the Sea”
CSP: A
Develop tuneful “I’s the B’y”
singing CSP: A
Diction
Expressions Ss repeat they can sing another on a new vowel sound.
Review known songs “All Night, All Day”

and elements CSP: E
• T sings phrases on “loo” or with text and Ss repeat with
• T may choose to sing phrases of “All Night, All Day,” “The
Erie Canal,” “Billy Boy,” “Walk Along John,” “Go Down,
Moses,” or other known songs that use known rhythms;
Ss echo-sing using rhythm syllables both as a class and
individually.
Teach a new song “Draw Me a Bucket of Water”
CSP: G
• Ss sing song.
Develop knowledge of “Row, Row, Row Your Boat”
Internalize music • Ss sing “Row, Row, Row Your Boat” and pat the beat for the
through kinesthetic entire song.
activities • Determine the meter. (duple) Sing and conduct.
• Determine the macro and micro beats. (You can label this a
240 compound meter, since there are three micro beats for each
macro beat. You may also call this duple compound meter.)
• Ss sing “Row, Row, Row Your Boat” and conduct.
• Ss sing “Row, Row, Row Your Boat” and point to a represen-
tation of the rhythm on the board.
• T claps the beat and Ss sing the song and clap the rhythm.
• Divide the class into two groups. Group 1 pats the beat, and
group 2 claps the rhythm, then switch.
• Ss sing “Row, Row, Row Your Boat.” Step the beat and clap
the rhythm.
CSP: G
• Ss sing song.
Practice and perfor- “Alleluia” (in minor)

Reading • Ss sing “Alleluia” in minor with text.
• Ss sing “Alleluia” in minor with solfège syllables and
hand signs.
• Ss sing the natural minor scale ascending and descending
• Ss sing the natural minor scale in canon.
• Ss sing phrases from T’s hand signs.
• Ss read “Alleluia” (in minor) with traditional rhythmic nota-
tion with solfège and staff notation.
• Ss sing the theme from Symphony no. 4, movement 2, by
Felix Mendelssohn (1809–1847), from T’s hand signs and
listen to recording with a map of the music.
• T should consider teaching Mark Williams, Two-Part
American Songs, Book 2, “Buttermilk Hill,” p. 16; and/or
Denise Bacon, 46 Two Part American Folk Songs, “Sweet
William,” p. 42.
Review lesson “Ah, Poor Bird”
outcomes CSP: D
Review the new song • Ss sing song in canon with T.
Unit 5, Compound Meter (Part 1), Lesson 2 241
Outcome Preparation: analyzing repertoire that contains basic rhythm

patterns in compound meter.
Practice: writing melodies and scales in the natural minor scale
or
• Body warm-up
• Beat activity
or do both.
and standing.
Sing known songs “Colorado Trail”

CSP: F-sharp
singing CSP: A
• Ss practice singing a phrase of a song and T has them repeat it
Diction
a minor second higher. Use a pure vowel sound. Each time Ss
Expression repeat they can sing another on a new vowel sound.
Review known songs “Little Johnny Brown”
and elements CSP: E
• Ss sing song with simple rhythmic ostinato.
Canal,” “Billy Boy,” “Walk Along John,” “Go Down, Moses,”
or other known songs that use known rhythms; Ss echo-sing
using rhythm syllables both as a class and individually.
Teach a new song “Ah, Poor Bird”
CSP: D
• T sings song.
• Ss sing following T in canon.
• Ss sing and T accompanies with the tonic and dominant
chord roots on an instrument.
242
Develop knowledge “Row, Row, Row Your Boat”
Describe what you hear • T assesses the kinesthetic activities with the focus song.
• Ss sing each phrase on “loo” while keeping the beat before
asking each question below.
Determine the number of beats and length of sounds in target
phrases.
Phrase 1
• T: “Andy, how many beats did we keep in phrase
one?” (four)
• T: “Andy, how many sounds were on beats 1, 2, and 4?”
(one sound) “We can call one sound on a beat in compound
meter ‘ta’.”
• T: “Andy, how many sounds did we sing on beat 3?” (two)
• T: “Andy, describe these sounds.” (long, short)
Phrase 2
• T: “Andy, how many beats did we keep in phrase 2?” (four)
• T: “Andy, was there a pitch that lasted two beats?” (yes, on
beats 3 and 4) “We can call one sound held for two beats in
compound meter a ‘ta-ah’.”
• T: “Andy, how many sounds did we sing on beat 1?” (two)

• T: “Andy, how many sounds did we sing on beat 2?” (two sounds)
Phrase 3
• T: “Andy, how many beats did we keep?” (four)
• T: “Andy, how many sounds did we sing on each beat?” (three)
• T: “Andy, describe these sounds.” (they are even)
Phrase 4
• T: “Andy, how many sounds did we sing on beats 3 and 4?”
(one) “We can describe this as a ‘ta-ah’.”
• T: “Andy, describe the sounds on beats 1 and 2.” (long short,
long short …)
Creative movement “Draw Me a Bucket of Water”
CSP: D
• Ss sing song.
• Ss sing song with solfège syllables and hand signs and T 243
writes the notes of the tone set on tone ladder.
• T writes “Alleluia” (in minor) in traditional rhythmic nota-
tion with solfège and staff notation. Ss read with solfège
• T writes “Alleluia” (in minor) in staff notation. Ss read with
solfège syllables and hand signs as well as letter names.
• Consider writing a phrase of one of these in traditional
rhythmic notation with solfège syllables beneath and staff
notation: “Hashivenu,” “Ghost of Tom,” “Dona, Dona, Dona,”
“Sweet William,” “Come to the Land,” or “Tumbalalaika.”
• Write these natural minor scales with and without key signa-
ture: A, D, E, G, and B minor.
• Ss sing “Alleluia” in canon.
Review lesson “Ah, Poor Bird”
outcomes CSP: D
Review the new song • T sings song.
• Ss sing following T in canon.
Outcome Preparation: creating a visual of repertoire that contains basic

rhythm patterns in compound meter.
Practice: improvise melodies in the natural minor scale
Warm-up “When Johnny Comes Marching Home,” from Songs of the Civil
War, played by the U.S. Military Academy Band
or
• Body warm-up
• Beat activity
or do both.
and standing.
CSP: E
• Ss sing song.
• Ss sing song in two parts.
singing CSP: A
244 Tone production • Ss sing song.
• Ss practice singing a phrase of a song, and T has them repeat
Diction
Expression Ss repeat they can sing another on a new vowel sound.
Review known songs “Go Down, Moses”
and elements CSP: D
• T sings individual phrases with the text or on “loo” and Ss
echo-sing with rhythm syllables.
Erie Canal,” “Billy Boy,” “Walk Along John,” or other known
songs that use known rhythms; Ss echo-sing using rhythm
syllables both as a class and individually.
Teach a new song “Alabama Gal”
CSP: F
• Ss sing.
• Ss compose a melodic ostinato for a pitched instrument
using tonic, subdominant, and dominant notes.
Develop knowledge “Row, Row, Row Your Boat”
Create a visual repre- • T assesses kinesthetic and aural awareness by allowing the
• T hums the target phrase with a neutral syllable and asks Ss
to create a visual representation for the rhythm of the song.
• T: “Pick up what you need to recreate what you heard.”
understanding.
the class. If necessary, corrections to the representation
can be made by reviewing the aural awareness questions.
Identify solfège syllables for representation and sing.
• Ss sing “Row, Row, Row Your Boat” with a neutral syllable 245
and point to the representation.
• Ss figure out the solfège syllables for complete melody
and sing.
• Ss sing song in canon with text.
CSP: D
• Ss sing and play game.
Improvisation • Ss sing with hand signs.
• T sings “Hungarian Canon" in major. Ss sing scale.
• T sings “Hungarian Canon" in minor. Ss sing scale.
• Ss sing “Hungarian Canon" in major and minor from the
same starting note. Ss sing scale.
• Practice transforming melodies from the major scale to the

minor. Begin with pentachord and hexachord scales before
moving to the minor. Ss should sing major melodies and
T should sing back in minor. Once Ss can switch back and
forth between major and minor, then T may begin to analyze
the form and tone set of major and minor melodies as well
as help the Ss understand the role of the dominant and tonic
notes at the ends of phrases.
• Practice singing question-and-answer phrases in a natural
minor key.
Review lesson Review “Alabama Gal”
outcomes CSP: F
Review the new song
Outcome Presentation: labeling basic rhythms in compound meter with

rhythm syllables
Warm-up “When Johnny Comes Marching Home,” from Songs of the Civil
War, played by the U.S. Military Academy Band
246 or
• Body warm-up
• Beat activity
Ss to make soft and loud, high and low, long and short sirens,
and standing.
Sing known songs “Swing Low, Sweet Chariot”
CSP: A
Develop tuneful “Sailor, Sailor on the Sea”
singing CSP: A
Tone production • Ss practice singing a phrase of a song and T has them repeat
Diction
Ss repeat they can sing another on a new vowel sound.
Review known songs “Go Down, Moses”

and elements CSP: D
• T sing phrases with text or on “loo” and Ss echo-sing with
rhythm syllables.
individually.
Teach a new song “Inez”
CSP: A
• T sings song.
• Ss conduct.
• T and Ss sing song.
• T assess the kinesthetic, aural, and visual awareness activities
with phrase 1 of “Row, Row, Row Your Boat.”
• T labels the sounds by naming the rhythm syllables used in
compound meter.
• T: “In compound meter one sound on the beat is
called ta.” 247
• T: “One sound held for two beats is called ta---ah.”
• T: “Three even sounds that are evenly distributed over one
beat are called ta ki da.”
• T: “Two sounds on a beat, one long followed by a short
sound, is called ta da.”
• T sings “Row, Row, Row Your Boat” with rhythm syllables
while tapping the beat.
• Ss sing “Row, Row, Row Your Boat” with rhythm syllables
while tapping the beat.
while conducting the beat.
Creative movement “Golden Ring”
CSP: C
• Ss sing song.

with rhythm or solfège • Ss sing song and conduct.
syllables • Ss sing refrain with rhythm syllables while tapping the beat.
• Ss sing refrain with rhythm syllables while conducting the
beat.
Review lesson “Inez”
outcomes CSP: A
Review the new song • T and Ss sing song.

Warm-up “The Wild Horseman,” Op. 68 No. 8, by Robert Schumann
(1810–1856)
or
• Body warm-up
• Beat activity
248 Challenge Ss to make soft and loud, high and low, long and
do both.
and standing.
Sing known songs “Colorado Trail”
CSP: F-sharp
singing CSP: A
Diction
Expression • Ss sing in two parts from T’s hand signs.
Review known songs “Charlotte Town”

and elements CSP: F
• Ss sing.
• T sings each phrase with text, and Ss echo-sing with rhythm
syllables.
individually.
Teaching a new song. “Dors, Dors, ’Tit Bébé”
CSP: A
• T sings song and conduct.
• Ss create a score and add in phrase marks as T sings.
• T presents the time signature and note values.
Time signature
• Ss sing “Row, Row, Row Your Boat” and keep the beat.
• Ss sing and clap the micro beats.
• T: “Andy, how many macro beats do we have in a
measure?” (two) 249
• T: “Let’s sing the third phrase and clap the words.
• T: “Each macro beats contain three micro beats. Since there
are two beats and each beat can be subdivided into three
even micro beats, we can describe the meter as compound
duple.”
• T: “If each beat is a dotted quarter note long, then each beat
lasts for three eighth notes.”
• T: “Let’s sing ‘Row, Row, Row Your Boat’ while you keep the
micro beat.”
• T: “Andy, how many micro beats do we have in each
measure?” (six)
• T: “Since there are six micro beats and each one is equal to
an eighth note, our new time signature is 6*.”
• T gives the notation for compound meter.
• T presents the notation for Row, Row, Row Your Boat:
• T: “One sound on one beat in compound meter is notated as
a dotted quarter note.”
• T: “One sound held for two beats in compound is notated as
two dotted quarter notes tied.”
• T: “Three sounds on one beat in compound meter is notated

as three eighth notes.”
• T: “One long sound followed by a short sound on one
beat in compound meter is notated as a quarter note and
eighth note.”
• T presents the notation for the melody.
• Ss read the notation with rhythm syllables and keep the beat.
• T shows Ss how to count in compound meter.
• Ss read with numbers and conducting.
Creative movement “Golden Ring”
CSP: C
• Ss sing song.
Notate what you hear CSP: A
• T reviews the notation and time signature.
• T gives the rhythmic notation and Ss sing with rhythm sylla-
bles and conducting.
• Ss write the rhythmic notation of the refrain in compound
250 meter.
Review lesson “Dors, Dors, ’Tit Bébé”
outcomes CSP: A
Review the new song • Ss sing song and conduct.
Unit 6: Harmonic Minor (si)
Known Songs Songs to Songs to Songs to Creative Songs to
Songs for Review Prepare Prepare Movement Practice
Tuneful Known Next New Concept: si Known
Singing Elements: Concept: (Harmonic Elements:
Natural Compound Minor) Compound
Minor Meter 2 Meter 1
Lesson “Boots of “Go “To Work “Come, “Ah, Poor “I’s the B’y” “Row, Row,
1 Shining Down, Upon the Let’s Dance” Bird” Row Your
Leather” Moses” Railway” Boat”
Lesson “Dona, “Go “Hungarian “The “Ah, Poor “I’s the B’y” “Row, Row,
2 Dona, Down, Canon” (in Cherry Tree Bird” Row Your
Dona” Moses” minor) Carol” Boat”
Lesson “The “Dors, “Go Tell “Morning Is “Ah, Poor “Draw Me “Row, Row,
3 Cherry Tree Dors, Aunt Come” Bird” a Bucket of Row Your
Carol” (II) ’Tit Rhody” in Water” Boat”
Bébé” minor
Songs for Review Prepare Present Movement Present
Tuneful Known Next New Concept: Concept: si
Singing Elements: Concept: si (Harmonic
Compound Compound (Harmonic Minor)
Meter 1 Meter 2 Minor)
Lesson “The Raggle “Inez” “Alleluia” “Shoo, Fly” “Ah, Poor “Draw Me “Rose Rose”
4 Taggle (in minor) Bird” a Bucket of
Gypsies” Water”
Lesson “Hungarian “Inez” “Alleluia” “Hinay Ma “Ah, Poor “Rabbit “Rose Rose”
5 Canon” (in (in minor) Tov” Bird” and the
minor) Possum”
with teaching the concept of si (harmonic minor). Remember, in the first three lessons Ss
practice the previous musical element, in this case compound meter 1.

Reading Ss read the Ss read “Ah, 251
rhythm of “Row, Poor Bird”
Row, Row Your with hand
Boat” or addi- signs from
tional songs steps, tradi-
from traditional tional notation
rhythm notation. with solfège,
and then staff
notation.
Writing Ss write the Ss write
rhythm of “Ah, Poor
“Row, Row, Bird” with
Row Your hand signs
Boat” and/ from steps,
or additional traditional
tradition solfège, and
rhythm then staff
notation. notation.
question
phrase in
compound
meter
with even
subdivisions;
Ss echo
an answer
phrase.
Movement “I’s the B’y” “I’s the B’y” “Aquaqua “Rabbit “Rabbit and
Del-a Omar” and the the Possum”
Possum”
Listening “When Johnny “The Wild
Comes Marching Rider,”
Home” from Op. 68, No.
Songs of the Civil 8, from
War, played by Album for
the U.S. Military the Young,
Academy Band by Robert
Schumann
(1810–1856)
252 Unit 6, Harmonic Minor (si), Lesson 1
Outcome Preparation: internalizing si through kinesthetic activities

Practice: reading simple rhythms in compound meter
Warm-up Album for the Young, Op. 39, Nos. 23 and 24, by Peter Ilyich
Tchaikovsky (1844–1893)
or
• Body warm-up
• Beat activity
do both.
and standing.
Sing known songs “Boots of Shining Leather”

CSP: D
“Rose Rose”
CSP: G
Develop tuneful “Go Down, Moses”
singing CSP: D
• Ss sing on different vowels and use voiced and unvoiced
Diction
consonants.
Expressions • Review target vowels [i]‌ [e] [a] [o] [u].
Review known songs “To Work Upon the Railway”
and elements CSP: A
• T sings phrases on “loo,” and Ss echo-sing with solfège sylla-
• T sings individual phrases of any of the following songs, and
Ss echo-sing with solfège syllables and hand signs: “Ghost of
Tom,” Dona, Dona, Dona,” “Drill Ye Tarriers,” and “Shalom
Chaverim” both as a class and individually.
Teach a new song “Come, Let’s Dance”
CSP: C
• T sings song.
• T hums and Ss follow in canon.
• T sings and Ss create a beat chart, bar lines, and time
signature.
• T and Ss sing and conduct.
Develop knowledge of “Ah, Poor Bird”
Internalize music • Ss sing “Ah, Poor Bird” and point to a representation of the
through kinesthetic melodic contour at the board. T hums the tonic and domi-
activities nant notes as an accompaniment.
• Ss sing “Ah, Poor Bird” with rhythm syllables and show the
melodic contour while clapping the rhythm.
• Ss sing in canon as they clap the melodic contour.
Creative movement “I’s the B’y”

CSP: A
• Ss sing song.
• Ss sing song and T accompanies with tonic and dominant
tones on an instrument.
Practice and perfor- “Row, Row, Row Your Boat”
Reading • Ss sing song.
and keep the beat.
and conduct.
• Determine the meter.
• Read “Row, Row, Row Your Boat” in traditional rhythmic
notation with rhythm syllables.
• Read “Row, Row, Row Your Boat” notated on staff with
rhythm syllables and solfège syllables.
• Read “Row, Row, Row Your Boat” notated on staff with num-
bers and conducting.
• Read the notation for, and listen to a recording of, “The Wild
Rider,” Op. 68, No. 8, from Album for the Young, by Robert
Schumann (1810–1856).
254
Review lesson “Come, Let’s Dance”
outcomes CSP: C
Unit 6, Harmonic Minor (si), Lesson 2
Outcome Preparation: analyzing repertoire that contains si

Practice: writing basic rhythm patterns in compound meter.
or
• Body warm-up
• Beat activity

do both.
and standing.
Sing known songs “Dona, Dona, Dona”
CSP: A
• Ss sing song.
singing CSP: D
Diction
Review known songs “Hungarian Canon” in Minor CSP: D
and elements • Ss hums song and conduct in major.
• Ss hums song and conduct in minor.
• T sings phrases on “loo” and Ss echo-sing with solfège sylla-
• T may choose to transform major melodies that use known 255
solfège syllables into minor; Ss echo-sing using with solfège
syllables and hand signs. Begin with simple melodies that
begin with the first or fifth degree of the scale.
Teach a new song “The Cherry Tree Carol”
CSP: A
• T sings song.
• Ss identify the meter and form and create score.
• T sings and Ss add in phrases.
Develop knowledge “Ah, Poor Bird”
Describe what you hear • Review the Kinesthetic activities with the focus song “Ah,
Poor Bird.”
• Determine the lowest and highest notes.
• T: “Andy, sing the lowest note of the song.” (low la)
• T: “Andy, sing the highest note of the song.” (la)
Determine the known solfège syllables for the third phrase:

• T: “Andy, what solfège syllable begins on beat 1 phrase
3?” (mi)
• T: “Andy, what are the solfège syllables for beat 3 and 4?” (la
mi mi re)
• T: “Andy, what is the first solfège syllable for beat 2?” (la)
• T sings the phrase with solfège syllables and hums the
new note.
• Ss discover that the new note is a minor second below la.
CSP: A
• Ss sing song and keep the beat with the right hand and the
microbeats in the left hand.
instrument.
• T sings song and accompanies with tonic and dominant
tones on a music instrument. Ss discover solfège syllables of
the bass line.
• T divides Ss into two groups: group 1 sings the melody, and
group 2 accompanies with tonic and dominant notes.
256 mance of music skills CSP: D
• Ss write “Row, Row, Row Your Boat” using traditional rhyth-
mic notation and solfège syllables.
• Ss write the solfège underneath the traditional rhythmic
notation.
• Ss write “Row, Row, Row Your Boat” or the refrain of “To
Work Upon the Railway” on the staff.
Review lesson “The Cherry Tree Carol”
outcomes CSP: A
Review the new song • Ss sing and keep the beat.
Outcome Preparation: creating a visual representation of a melody

containing si
Practice: improvise with basic rhythms in compound meter
or
• Body warm-up
• Beat activity
do both.
and standing.
Sing known songs “The Cherry Tree Carol” (II)
CSP: A
• Ss sing song with text as a few create a melodic accompani-
ment of Orff instruments.
Develop tuneful “Dors, Dors, ’Tit Bébé”
singing CSP: A 257
• Ss practice singing a phrase of a song, and T has them
Diction
repeat it a minor second higher. Use a pure vowel sound.
Expression Each time Ss repeat they can sing another on a new
vowel sound.
• Ss sing in two parts from T hand signs.
Review known songs “Go Tell Aunt Rhody” in minor
and elements CSP: F
• Ss sing song in major and conduct.
• Ss sing song in minor and conduct.
• T sings major and minor phrases on “loo” and Ss echo-sing
Teach a new song “Morning Is Come”
CSP: F
• T sings song.
• T sings song and accompanies with tonic and dominant
notes on an instrument. Ss identifies the notes of the accom-
paniment using solfège syllables.
Develop knowledge “Ah, Poor Bird”
to create a visual representation of the melody of the target
phrase. Ss may use manipulatives.
• T: “Pick up what you need to recreate what you heard” or
“Draw what you heard.”
• T assesses Ss’ level of understanding.
• Ss circle all half steps in their representations.
• Ss sing “Ah, Poor Bird” with a neutral syllable and point to
258 the representation.
• T hums notes of the harmonic minor scale and Ss identify
intervals. (fa-si; Ss will identify as a skip)
CSP: G
• Ss sing song.
• T claps a four-beat rhythmic pattern in compound meter
and Ss clap an answering four-beat phrase.
• Ss improvise a new rhythmic composition based on a
given form.
• Ss compose a rhythmic composition to a given form based
on known folk songs.
• T hums a known simple song such as “Snail, Snail” in simple

duple meter and then sings it in compound duple meter. Ss
echo-sing the compound meter version.
• T hums another known simple song such as “Rain, Rain” in
simple duple meter and Ss sing it in compound duple meter
and conduct.
Review lesson “Morning Is Come”
outcomes CSP: F
Review the new song • Ss sing in canon.
Outcome Presentation: labeling the seventh degree of the harmonic minor

scale with solfège and hand signs
Warm-up T selects a contemporary piece of popular music for movement.
• Body warm-up
• Beat activity
short sirens, and sirens that just go up, just come down, or 259
do both.
and standing.
Sing known songs “The Raggle Taggle Gypsies”
CSP: F-sharp
• Ss sing the two-part arrangement of “Raggle Taggle Gypsies
from Denise Bacon’s 46 Two-Part American Folk Songs, p. 50.
singing CSP: A
• Ss practice singing a phrase of the song and T has them
Diction
Each time Ss repeat they can sing another on a new
vowel sound.
Review known songs “Alleluia” in minor

and elements CSP: D
• T sings phrases on “loo” from both the minor transforma-
tion and major version and Ss echo-sing with solfège sylla-
• T sings individual phrases of any of the following songs and
Ss echo-sing with solfège syllables and hand signs: “Ghost
of Tom,” Dona, Dona, Dona,” “Drill Ye Tarriers,” “To Work
Upon the Railway,” and “Shalom Chaverim” both as a class
and individually.
Teach a new song “Shoo, Fly”
CSP: A
• Ss sing song.
• T sings and Ss identify the form, meter, and tonic note in
solfège.
• Ss read the rhythm with rhythm syllables.
• Ss read the rhythm with rhythm syllables.
• T sings and Ss clap the rhythm.
• Ss sing with words.
Presentation “Ah, Poor Bird”
260 syllables • T assesses the kinesthetic and aural awareness and visual
awareness activities with the focus song “Ah, Poor Bird.”
• T presents the name and hand sign for the new note.
• T sings the third phrase with solfège syllables and
hand signs.
• Ss sing with solfège and hand signs.
• T hums phrases on “loo” and Ss echo with solfège syllables
and hand signs.
• T hums the notes of the harmonic minor scale. Ss identify
the notes of the scale with solfège syllables. T presents the
name of the scale as harmonic minor scale.
• T identifies the new interval: augmented second.
• Ss identify the intervals from the tonic note to each degree
of the scale.
• T presents scale degrees to Ss.
• Ss sing with scale degree numbers and hand signs.

CSP: G
• Ss sing song.
Presentation “Rose Rose”
Describe what you hear CSP: G
syllables • T assesses the kinesthetic and aural awareness and visual
awareness activities with “Rose Rose.”
• T reviews the name and hand sign for the new note.
• Ss determine the solfège for phrase 1.
• T sings phrases on “loo” and Ss echo with solfège syllables
and hand signs.
• T reviews the solfège for harmonic minor scale.
Review lesson “Shoo, Fly”
outcomes CSP: A
Unit 6, Harmonic Minor (si), Lesson 5 261
Outcome Presentation: notation of seventh degree of harmonic minor scale

• Body warm-up
• Beat activity
and standing.
Sing known songs “Hungarian Canon” (in minor)
CSP: D
• Ss sing minor version on “loo.”
• Ss sing major version on “loo.”

singing CSP: A
Tone production • Ss sing.
Diction
Review known songs “Alleluia” in minor CSP: D
and elements • Ss sing song and conduct.
• T sings phrases on “loo” from the minor version and
major version and Ss echo-sing with solfège syllables and
hand signs.
• Ss sing “Go Tell Aunt Rhody” song in major and minor
with text.
• T sings phrases on “loo” from the major and minor version
and Ss echo-sing with solfège syllables and hand signs or
with scale degrees and hand signs.
• T sings individual phrases of any of the following songs and
Ss echo-sing with solfège syllables and hand signs: “Ghost
of Tom,” Dona, Dona, Dona,” “Drill Ye Tarriers,” “To Work
Upon the Railway,” and “Shalom Chaverim” both as a class
and individually.
Teaching a new song. “Hinay Ma Tov”
CSP: D
• T sings song.
Presentation “Ah, Poor Bird”
• Ss sing song.
• T presents the melody with traditional rhythmic notation
with solfège syllables written beneath. Ss read with solfège
• Review the Rule of Placement for si.
• T presents the melody on a staff. Ss read with solfège sylla-
• T presents the harmonic minor scale on the steps and staff.
• Ss identify the augmented second.

CSP: D
• Ss sing song.
Presentation “Rose Rose”
Notate what you hear CSP: G
• Ss sing song.
with solfège syllables written beneath. Ss read the song with
• T presents the melody on a staff. Ss read the song with
solfège syllables and hand signs as well as with letter names
and hand signs.
• Ss sing in canon with solfège reading from staff.
• Ss sing in canon with text.
Review lesson “Hinay Ma Tov”
outcomes CSP: D
Review the new song • Ss sing and keep the beat.
263
Unit 7: Compound Meter (Part 2, Subdivision of the Beat)
Songs for Review Prepare Prepare Movement Practice
Tuneful Known Next New Concept: Known
Singing Elements Concepts: fi Compound Elements: si
(Dorian) Meter 2 (Harmonic
Minor)
Lesson “To Work “Coffee “Row, Row, “Bow Belinda” “Morning Is “Shoo, Fly” “Ah, Poor
1 Upon the Canon” Row Your Come” Bird”
Railway” Boat”
Lesson “I’s the “Come, “To Work “Drunken “Morning Is “Bow, “Ah, Poor
2 B’y” Let’s Upon the Sailor” Come” Belinda” Bird”
Dance” Railway”
Lesson “All “Sailor, “To Work “Scarborough “Morning Is “Bow, “Ah, Poor
3 Night, All Sailor, Upon the Fair,” “Here’s a Come” Belinda” Bird”
Day” on the Railway” Health”
Sea”

Songs for Review Prepare Present Movement Present
Tuneful Known Next New Concept: Concept:
Singing Elements: Concepts: fi Compound Compound
si (Dorian) Meter 2 Meter 2
(Harmonic
Minor)
Lesson “Sailor, “Viva La “Henay Ma “Scarborough “Come, “I’s the B’y” “Morning Is
4 Sailor, on Musica!” Tov” Fair” Let’s Come”
the Sea” “The Higher Dance”
the Plum
Tree”
Lesson “Inez” “The “Henay Ma “Scarborough “Come, “I’s the B’y” “Morning Is
5 Higher Tov” Fair” Let’s Come”
the Dance”
Plum
Tree”
(canon)
Here is a chart of the primary musical skills that are developed in five lessons associated
with teaching the concept of compound meter 2 (uneven divisions). Remember, in the first
three lessons Ss practice the previous musical element, in this case si (harmonic minor).

Reading Ss read “Ah, Ss read the
264 Poor Bird” rhythm of
with hand “Morning
signs from Is Come” or
steps, tradi- additional
tional nota- songs from
tion with traditional
solfège, and rhythm
then staff notation.
notation.
Writing Ss write “Ah, Ss write the
Poor Bird” with rhythm of
hand signs “Morning
from steps, Is Come” or
traditional additional
notation with songs from
solfège, and traditional
then staff rhythm
notation. notation.
question
phrase in
harmonic
minor Ss
echo an
answer
phrase in
harmonic
minor
ending on
la.
Movement “Bow, “Drunken “I’s the “Mamalama”
Belinda” Sailor” B’y”
Listening Movement 3
from Violin
Concerto by
Ludwig van
Beethoven
(1770–1827)
Outcome Preparation: internalizing rhythm patterns in compound meter 265

Practice: reading melodies in the a harmonic minor key
Warm-up Violin Concerto in D Major, Op. 61, by Ludwig van Beethoven
(1770–1827), movement 3
or
• Body warm-up
• Beat activity
standing.
Sing known songs “To Work Upon the Railway”
CSP: A
• Ss sing song.
Develop tuneful “Coffee Canon”

singing CSP: CSP: C
Tone production • Ss sing song in canon with T.
Diction
Expressions repeat they can sing another on a new vowel sound.
Review known “Row, Row, Row Your Boat”
• T sings phrases on “loo” and Ss repeat with rhythm syllables
• T may choose to sing phrases of “Henay Ma Tov,” “Charlie
over the Ocean,” “I’s the B’y”; (art song) “Longing for Spring,”
by W. A. Mozart (1756–1791), or other known songs that
use known rhythms in compound meter; Ss echo-sing using
Teach a new song “Bow, Belinda”
CSP: A
• T sings song.
• Ss conduct as T sings.
266 • T sings song and demonstrates the game.
• Ss sing song.
Develop knowledge “Morning Is Come”
of music concepts CSP: F
Internalize music • Ss sing “Morning Is Come” and pat the beat for the entire song.
through kinesthetic • Ss determine the form. (Sing as a two-phrase melody.)
activities • Ss determine the meter.
• T sings and students keep the macro beats with their right hand
and their micro beats with their left hand.
• Ss sing “Morning Is Come” and clap the rhythm for the
entire song.
• Ss sing “Morning Is Come” and point to a representation of the
• Divide the class into two groups. Group 1 pats the beat for the
target phrase, and group 2 claps the rhythm. Switch.
• Ss sing “Morning Is Come.” Step the beat and clap the rhythm.
• Ss sing “Morning Is Come” in canon and T accompanies with
tonic and dominant chord roots on an instrument.
Creative movement “Shoo, Fly”

CSP: A
• Ss sing song.
Practice and “Ah, Poor Bird”
music skills • Ss sing in canon.
Reading • Ss sing with solfège and hand signs.
• T sings phrases of “Ah, Poor Bird” and Ss echo solfège syllables.
• Ss read “Ah, Poor Bird” in rhythm notation with solfège sylla-
bles and from staff notation.
• T shows hand signs for Little Fugue in g minor by J. S. Bach
(1685–1750).
• Ss listen.
Review lesson “Bow, Belinda”
outcomes CSP: A
song
267
Outcome Preparation: analyzing repertoire that contains rhythms in

compound meter
Practice: writing melodies in harmonic minor
(1770–1827), movement 3
or
• Body warm-up
• Beat activity
do both.
standing.
Sing known songs “I’s the B’y”

CSP: A
• T divides the class into two groups: group 1 sings the melody
with solfège syllables and hand signs, and group 2 sings the
tonic and dominant chord roots as an accompaniment.
Develop tuneful “Come, Let’s Dance”
singing CSP: C
Tone production • Ss practice singing a phrase of a song and T has them repeat it
Diction
repeat they can sing another on a new vowel sound.
Expression • T continues to work on dynamic and tempo markings.
Review known “To Work Upon the Railway”
songs and elements CSP: A
• T sings phrases on “loo” and Ss echo with rhythm syllables
over the Ocean,” “I’s the B’y”; (art song) “Longing for Spring,”
by W. A. Mozart (1756–1791), or other known songs that
Teach a new song “Drunken Sailor”
CSP: A
• T sings song.
• T presents the rhythmic notation and text and Ss read the
rhythm of song with rhythm syllables and conducting.
• T sings and Ss follow the text.
Describe what you • Ss sing song in canon.
hear • T sings the target phrase using a neutral syllable while keeping
the beat before asking each question below.
• Assess the kinesthetic activities with the focus song.
Determine the number of beats in target phrases.
Second phrase:
• T: “How many beats did we keep?” (four)
• T: “Andy, how many beats did we keep in phrase 2?” (four)
• T: “How many sounds were there on beat 4?” (one)
• T: “Which beats had three sounds?” (1 and 3)
• T: “Which beat had one sound? (4)
• T: “Andy, which beat had the most sounds?” (2)
• T: “Andy, sing beats 1, 3, and 4 with rhythm syllables and sing
beat 2 with ‘loo’.”
• T: “Andy, how many sounds were on beat 2?” (five)
• T: “Andy, let’s describe these sounds with long and short.” (long,
short, short, short, short; or the first sound was longer than the
other sounds)
• Ss sing song in canon and T accompanies with chord roots of
tonic and dominant on an instrument.
CSP: A
instrument.
Practice and “Ah, Poor Bird”
performance of CSP: D 269
music skills • Ss sing in canon.
Writing • Ss sing with solfège syllables and hand signs.
• Ss write “Ah, Poor Bird” with rhythm notation and solfège
syllables.
• Write the harmonic minor scale on the staff beginning on dif-
ferent tonic notes such as A, D, and E.
• Write “Ah, Poor Bird” in staff notation.
Review lesson “Drunken Sailor”
outcomes CSP: A
Review the new • Ss sing with text and conduct.
song
Outcome Preparation: creating a visual representation of rhythms in

compound meter.
Practice: improvise melodies using the harmonic form for the
minor scale
(1770–1827), movement 3
or
• Body warm-up
• Beat activity
do both.
and standing.
CSP: E
• Ss sing in two parts.
Develop tuneful “Sailor, Sailor, on the Sea”
270 singing CSP: A
Diction
Review known songs “To Work Upon the Railway”
and elements CSP: A
• Ss sing refrain with rhythm syllables while tapping the beat.
• Ss sing refrain with rhythm syllables while conducting
the beat.
• T sings phrases Ss echo-sing with rhythm syllables both as a
over the Ocean,” “I’s the B’y”; (art song) “Longing for
Spring,” by W. A. Mozart (1756–1791), or other known songs
that use known rhythms in compound meter; Ss echo-sing
Teach a new song “Here’s a Health” or “Scarborough Fair”
CSP: F
• T sings song.
• T sings and Ss create a score with beats bars, barline.
• T sings and Ss add in the phrases.
• Ss sings with text and conduct.
to create a visual representation of the target phrase.
• T: “Pick up what you need to recreate what you heard”
understanding.
• Ss sing “Morning Is Come” with a neutral syllable and point
to the representation. 271
• Ss figure out the solfège syllables for the phrase or melody.
CSP: A
• Ss sing song.
instrument.
Practice and perfor- “Ah, Poor Bird”
Improvisation • Ss sing with words and in canon.
• T sings a question phrase using solfège syllables belong-
ing to harmonic minor scale ending on mi and Ss provide
an answer phrase ending on la. Other notes belonging to
the dominant triad can be used for the ending note of the
question.
Review lesson “Here’s a Health”
outcomes CSP: F
Review the new song • Ss sing with words and in canon and T accompanies on a
instrument the tonic, subdominant, and dominant tones.
Outcome Presentation: labeling rhythm patterns in compound meter that

contain subdivisions of the micro beat with rhythm syllables
or
• Body warm-up
• Beat activity
and standing.
Sing known songs “Sailor, Sailor on the Sea”
272 CSP: A
Develop tuneful “Viva la Musica!”
singing CSP: C
Diction
Expressive singing • T continues to work on dynamic and tempo markings.
Review known songs “Henay Ma Tov”
and elements CSP: D
• T sings motifs on “loo” and Ss echo-sing with rhythm sylla-
bles both as a class and individually.
Teach a new song “The Higher the Plum Tree”
CSP: D
• T sings song.
• Ss figure out the form and meter.
• Ss conducts and T sings.
• T sings song and Ss sing in canon.
Presentation “Come, Let’s Dance”
Describe what you hear CSP: C
• T assesses the kinesthetic, aural, and visual awareness activi-
ties with the second phrase of “Morning Is Come.”
• T presents the rhythm syllables. T: “In compound meter any
attack on the beat is called a ta.”
• T: “Three sounds that are evenly distributed over one beat
are called ta ki da.”
• T: “Six sounds that are evenly distributed over one beat are
called tava kidi dama.”
• T: “Four sounds that occur on one beat, short short long
long, are called ta va ki da.”
• T sings song with rhythm syllables while clapping the
rhythm.
• Ss sing with rhythm syllables while clapping the rhythm.
• T sings phrases of melody and Ss echo-sing with rhythm
syllables while tapping the beat.
• Ss sing song in canon. 273
CSP: A
• Ss sing song.
based on the tonic and dominant chord roots.
Presentation Morning Is Come”
Describe what you hear CSP: F
syllables • T assesses the kinesthetic, aural, and visual awareness activi-
ties with the second phrase of “Morning Is Come.”
• T presents the rhythm syllables. T: “In compound meter any
attack on the beat is called a ta.”
• T: “Three sounds that are evenly distributed over one beat
are called ta ki da.”
• T: “Six sounds that are evenly distributed over one beat are
called tava kidi dama.”
• T: “Five sounds that occur on one beat, long short short

short short, are called ‘ta ki di da ma’.”
• T sings second phrase of “Morning Is Come” with rhythm
syllables while clapping the rhythm.
• Ss sing second phrase of “Morning Is Come” with rhythm
syllables while clapping the rhythm.
• T sings phrases of the melody and Ss echo-sing with rhythm
syllables while tapping the beat.
• Ss sing song in canon and T accompanies with tonic and
dominant chord roots on a music instrument.
Review lesson “The Higher the Plum Tree”
outcomes CSP: A
Review the new song • T sings song and Ss sing in canon.
Outcome Presentation: notation of rhythms in compound meter that con-

tain subdivisions of the micro beat
274 or
• Body warm-up
• Beat activity
and standing.
Review known songs “Inez”
CSP: A
Develop tuneful “The Higher the Plum Tree” (canon)
singing CSP: A
Tone production • Ss sing with text.
Diction
Review known songs “Henay Ma Tov”

and elements CSP: D
• T and Ss sing.
• T claps each phrase, and Ss echo with rhythm syllables both
Teaching a new song “Scarborough Fair”
CSP: D
• T sings song.
• T sings and Ss create a score with beats bars, barline.
• T sings and Ss add in the phrases.
Presentation “Come, Let’s Dance”
Notate what you hear CSP: C
• T presents rhythmic notation for melody. 275
• T presents numbers for counting compound melodies.
• Ss sing with numbers and conduct.
CSP: A
• Ss sing song.
using tonic and dominant notes.
Presentation “Morning Is Come”
Notate what you hear CSP: F
• T presents rhythmic notation for melody.
• T presents numbers for counting compound melodies.
• Ss sing with numbers and conduct.

• Ss sing in canon and T accompanies with tonic and domi-
nant chord roots.
Review lesson “Scarborough Fair”
outcomes CSP: D
Review the new song • Ss sings with text and conduct.
Unit 8: Dorian Mode (fi)
Singing Known Next New Concept: fi Known
Elements Concepts: (Dorian) Elements:
Compound Compound
Meter 3 Meter 2
Lesson “Go “Bow “Raggle “Carrion “Drunken “Boots of “Morning Is
1 Down, Belinda” Taggle Crow” Sailor” Shining Come”
Moses” Gypsy” Leather”
Lesson “Inez” “Ah, Poor “Raggle “Early to “Drunken “Boots of “Morning Is
2 Bird” Taggle Bed” Sailor” Shining Come”
Gypsy” Leather”
276 Lesson “Ah, “Go “Ah, Poor “Early to “Drunken “Bow “Morning Is
3 Poor Down, Bird” Bed” Sailor” Belinda” Come”
Bird” Moses”
Singing Known Next New Concept: fi Concept
Elements Concepts: (Dorian)
Compound
Meter 3
Lesson “Dors, “Twinkle, “Rose “Hashivenu” “Drunken “Alabama, “Scarborough
4 Dors, Twinkle Rose” Sailor” Mississippi” Fair”
’Tit Little Star”
Bébé,” (beginning
“Early on la)
to Bed”
Lesson “Inez” “When “Rose “Needle’s “Drunken “Shoo, Fly” “Scarborough

5 I First Rose” Eye” Sailor” Fair”
Came
to This
Land” in
major and
transform
to minor
with teaching the concept of fi (Dorian mode and melodic minor scale). Remember, in the
first three lessons Ss practice the previous musical element, in this case compound meter 2.

rhythm of “Drunken
“Morning Sailor” with
Is Come” or hand signs
additional from steps,
songs from traditional
traditional notation with
notation.
Writing Ss read the Ss write
rhythm of “Drunken 277
“Morning Sailor” with
Is Come” hand signs
or from steps,
additional traditional
rhythm then staff
notation. notation.
question
phrase in
compound
meter with
uneven
subdivisions;
Ss echo
an answer
phrase that
uses uneven
subdivisions.
Movement “Boots of “Bow, “Alabama, “Aquaqua

Shining Belinda” Mississippi” Del-a Omar”
Leather”
from Horn
Concerto
No. 4 by
W. A. Mozart
(1756–1791)
Unit 8, Dorian Mode (fi), Lesson 1
Outcome Preparation: internalizing Dorian melodies through kinesthetic activities

Practice: reading melodies in compound meter that includes subdivision
of beat
Warm-up Choose any of the following: “Drunken Sailor,” as sung by the Irish Rovers;
or, by Béla Bartók (1881–1945), Mikrokosmos, vol. 1, nos. 31 and 32, and
vol. 2, no. 65, “Round Dance II,” from For Children, vol. 2, no. 9; or T
selects a piece of contemporary popular music for movement.
• Body warm-up
• Beat activity
278 • Resonance: imitate the sound of a siren with the voice. Challenge Ss
to make soft and loud, high and low, long and short sirens, and sirens
that just go up, just come down, or do both.
standing.
Sing known “Go Down, Moses”
songs CSP: D
Develop tune- “Bow, Belinda”
ful singing CSP: A
Tone • Ss sing song.
production • Ss practice singing a phrase of a song and T has them repeat it a
minor second higher. Use a pure vowel sound. Each time Ss repeat
Diction
they can sing another on a new vowel sound.
Expressions
Review known “Raggle Taggle Gypsy”

songs and CSP: A
• T sings phrases on “loo” and Ss echo-sing with solfège syllables and
• T may choose to sing phrases of “other known songs that use
the solfège syllables low la low ti do re mi fa si la; Ss echo-sing
using with solfège syllables and hand signs both as a class and
individually.
Teach a new “Carrion Crow” (II)
song CSP: D
• T sings song.
Develop “Drunken Sailor”
knowledge CSP: A
of music • Ss sing song.
concepts • Ss sing the fourth phrase and point to a representation of the melodic
Internalize contour at the board.
music through • Ss sing the fourth phrase of “Drunken Sailor” and show the melodic
kinesthetic contour.
activities • Ss sing the fourth phrase of “Drunken Sailor” with rhythm syllables
and show the melodic contour. 279
Creative “Boots of Shining Leather”
movement CSP: D
• Ss sing song.
Practice and “Morning Is Come”
performance CSP: F
of music skills • Ss sing song.
Reading • Ss sing “Morning Is Come” with rhythm syllables while clapping the
rhythm.
• Ss sing “Morning Is Come” with rhythm syllables while conducting.
• Ss sing “Morning Is Come” and count with numbers while
conducting.
• Ss read from T hand sings “Morning Is Come.”
• Ss read “Morning Is Come” in traditional rhythmic notation with
rhythm syllables.
• Ss read “Morning Is Come” notated on staff with rhythm syllables

and solfège syllables.
• Prepare the form and rhythm for listening to Fantasia in D, second
movement, from Fantaisies pour le clavessin, 3me douzaines, no. 10, by
Georg Philipp Telemann (1681–1767).
Review lesson “Early to Bed”
outcomes CSP: B
Review the • Ss sing and conduct and T accompanies with tonic and dominant
new song chord roots on an instrument.
Outcome Preparation: analyzing repertoire in Dorian mode

Practice: writing melodies in compound meter
Warm-up Choose any of the following: “Drunken Sailor,” as sung by the Irish
Rovers; or, by Béla Bartók (1881–1945), Mikrokosmos, vol. 1, nos. 31
and 32, and vol. 2, no. 65, “Round Dance II,” from For Children, vol. 2,
no. 9; or T selects a piece of contemporary popular music for movement.
• Body warm-up
• Beat activity
280 • Breathing: Ss practice breathing exercises.
standing.
Sing known “Inez”
songs CSP: A
Develop tune- “Ah, Poor Bird”
ful singing CSP: D
Tone • Ss sing song.
production • Ss practice singing a phrase of a song and T has them repeat it a
minor second higher. Use a pure vowel sound. Each time Ss repeat
Diction
Expression • Ss sing in two parts from T hand signs.
Review known “Raggle Taggle Gypsy”

songs and CSP: A
• T sings phrases on “loo” and Ss repeat with solfège syllables and
• T may choose to sing phrases or other known songs that use
the solfège syllables low la low ti do re mi fa si la; Ss echo-sing
using with solfège syllables and hand signs both as a class and
individually.
Teach a new “Early to Bed”
song CSP: B
• T sings song.
• Ss sing in canon with T.
Develop “Drunken Sailor”
knowledge of CSP: A
music literacy • Ss sing song.
concepts • T assesses the kinesthetic activities with the focus song “Drunken
Describe what Sailor” (second phrase).
you hear • T: “Andy, how many beats are in the phrase?” (eight)
Determine the lowest and highest notes.
• T: “Andy, sing the lowest note of the phrase on loo.”
• T: “Andy, on which beats do you hear the lowest note of that
phrase?” (7 and 8)
• T: “Andy, sing me the solfège syllable for the last two beats.” (la) 281
• T: “Andy sing me the solfège syllables for beats 5 through 8.”
• T: “Andy, sing the highest note of the phrase.” (la)
• T: “Andy, on which beat do you hear the highest pitch?” (second half
of fourth beat)
• T: “Andy, tell me the solfège syllable for that pitch.” (high la)
Determine the solfège syllables for the first four beats of the target phrase.
• T: “Andy, what solfège syllable begins the phrase?” (mi)
• T sings the pitches on beats 3 and 4 on “loo.”
• T: “Andy, describe the direction of the pitches.” (stepwise and
ascending)
• T hums the notes on beats 3 and 4 of the target phrase (mi fi so la)
and asks Ss to identify the solfège for the notes on beat 4. T hums
the phrase mi hum so la and Ss identify the new note as being a
half step below so but a whole step above mi. T asks Ss to sing the
pattern as follows: mi hum (for new note) so la. Ss sing the target
phrase with solfège, humming for the new note.
• T hums the scale and identifies the major and minor steps.
Creative “Boots of Shining Leather”

movement CSP: D
music skills • Ss sing with text.
Writing • Ss sing in canon.
• Ss write “Morning Is Come” using traditional rhythmic notation and
solfège syllables.
• Ss write “Morning Is Come” on the staff.
• Ss sing in canon and T hums an accompaniment using the tonic and
dominant notes. Ss identify the solfège syllables for these notes.
• Ss write the tonic and dominant notes in solfège under the notation
for “Morning Is Come” on the staff.
• T divides class into two groups: group 1 hums the melody and
group 2 sings the tonic and dominant notes with solfège.
Review lesson “Boots of Shining Leather”
outcomes CSP: D
282 Review the new • Ss sing in canon.
song
Outcome Preparation: creating a visual representation of a Dorian melody

Practice: improvise rhythms and melodies in compound meter
Warm-up Choose any of the following: “Drunken Sailor,” as sung by the Irish
Rovers; or, by Béla Bartók (1881–1945), Mikrokosmos, vol. 1, nos. 31
and 32, and vol. 2, no. 65, “Round Dance II,” from For Children,
vol. 2, no. 9; or T selects a piece of contemporary popular music for
movement.
• Body warm-up
• Beat activity

standing.
Sing known “Ah, Poor Bird”
songs CSP: D
singing CSP: D
Diction
Expression repeat they can sing another on a new vowel sound.
Review known “Ah, Poor Bird”
songs and CSP: D
elements • Ss sing song.
• Ss sing with solfège syllables.
• T sings individual phrases; Ss echo-sing with solfège syllables and
• T may choose to sing phrases of other known songs that use the
solfège syllables low la low ti do re mi fa si la; Ss echo-sing using with 283
solfège syllables and hand signs both as a class and individually.
Teach a new song “Early to Bed”
CSP: B
• Ss sing.
• Three Ss perform the canon.
Develop knowl- “Drunken Sailor”
edge of music CSP: A
literacy concepts • Ss sing song.
Create a visual • T assesses kinesthetic and aural awareness by allowing the
representation of class to perform several of the kinesthetic and aural awareness
what you hear activities.
• T hums the target phrase with a neutral syllable and asks Ss to
create a visual representation of the melody of the target phrase.
T: “Pick up what you need to recreate what you heard” or “Draw
• T invites one S to the board to share a representation with the

class. If necessary, corrections to the representation can be made
by reviewing the aural awareness questions.
• Ss sing the target phrase of “Drunken Sailor” with a neutral sylla-
ble and point to the representation.
• Identify the meter and sing “Drunken Sailor” with rhythm
syllables.
Creative “Bow, Belinda”
movement CSP: A
• Ss sing song.
music skills • Ss sing with words.
Improvisation • Ss sing in canon.
• T claps a four-beat rhythmic pattern derived from “Morning
Is Come” in compound meter, and Ss clap a new answering
four-beat phrase using the new rhythmic pattern.
• Ss improvise a new rhythmic composition based on a given form.
Ss notate their compositions.
284 Review lesson “Early to Bed”
outcomes CSP: B
Review the new
song
Outcome Presentation: labeling Dorian melodies with solfège syllables

Warm-up Choose any of the following: “Drunken Sailor,” as sung by the
Irish Rovers; or, by Béla Bartók (1881–1945), Mikrokosmos, vol.
1, nos. 31 and 32, and vol. 2, no. 65, “Round Dance II,” from For
Children, vol. 2, no. 9; or T selects a piece of contemporary popu-
lar music for movement.
• Body warm-up
• Beat activity

do both.
and standing.
Sing known songs “Dors, Dors, ’Tit Bébé”
CSP: A
Develop tuneful “Twinkle, Twinkle, Little Star” (in minor)
singing CSP: D
Diction
Review known songs “Rose, Rose”
and elements CSP: G
• Ss sings melody.
• T sings phrases; Ss echo-sing with solfège syllables and hand
signs both as a class and individually.
• T may choose to sing phrases of “Go Down, Moses,” “Vine
and Fig Tree,” “Dors, Dors, ’Tit Bébé,” “Soon I Will Be 285
Done,” (art songs) or other known songs that use the solfège
syllables low la low ti do re mi fa si la; Ss echo-sing using
with solfège syllables and hand signs both as a class and
individually.
CSP: C
• T sings song.
Presentation “Drunken Sailor”
with syllables • Ss sing song.
• T assesses the kinesthetic, aural, and visual awareness activi-
ties with phrase 1 of “Drunken Sailor.”
• T names new syllable in sequence, “fi,” and shows the
hand sign.
• T sings the target phrase of “Drunken Sailor” with solfège
syllables and hand signs. Ss echo-sing.
• T hums phrases from “Drunken Sailor,” and Ss echo-sing

with solfège and hand signs.
• T and Ss collect the eight pitches of “Drunken Sailor,” the
Dorian mode, from low to high: l-t-d-r-m-fi-s-l.
• T specifically names the eight pitches as the Dorian mode.
• T sings the Dorian mode from low to high and back with
solfège syllables and hand signals Ss echo.
• Ss figure out that the Dorian mode can also be sung with the
solfège syllables r-m-f-s-l-t-d-r.
• Ss sing song.
CSP: F
• Ss sing song.
Presentation “Scarborough Fair”
with rhythm or solfège • Ss sing with words.
syllables • T and Ss figure out the solfège syllables for
“Scarborough Fair.”
• Ss sing the melody with solfège syllables and hand signs.
• T hums phrases from melody and Ss sing with solfège and
hand signs.
286 • Ss sing with words.
outcomes CSP: C
Review the new song • Ss conduct and T sings.
Outcome Presentation: notation of Dorian melodies on the staff

Warm-up Choose any of the following: “Drunken Sailor,” as sung by the
Irish Rovers; or, by Béla Bartók (1881–1945), Mikrokosmos, vol.
1, nos. 31 and 32, and vol. 2, no. 65, “Round Dance II,” from For
Children, vol. 2, no. 9; or T selects a piece of contemporary popu-
• Body warm-up
• Beat activity

do both.
and standing.
Sing known songs “Inez”
CSP: A
Develop tuneful “When I First Came to This Land” in major; transform to minor
singing CSP: F
Diction
Review known songs “Rose Rose”
and elements CSP: G
• T sings individual phrases with text or on a neutral syllable;
Ss echo-sing with solfège syllables and hand signs both as a
• T may choose to sing phrases of “Go Down, Moses,” “Vine 287
and Fig Tree,” “Dors, Dors, ’Tit Bébé,” “Soon I Will Be
Done,” or other known songs that use the solfège syllables
low la low ti do re mi fa si la; Ss echo-sing using with solfège
syllables and hand signs both as a class and individually.
Teaching a new song “Needle’s Eye”
CSP: C
• T sings song.
• T and Ss play the game.
Presentation “Drunken Sailor”
• Ss sing melody.
• T presents the notation of the melody with rhythmic nota-
tion and solfège.
• Ss read with solfège and hand signs.
• T presents Rule of Placement and writes the melody on

the staff.
• Ss read with solfège and hand signs.
• T presents the Dorian scale on the staff. Analyze the inter-
vals between the notes as well as between the tonic and all
other scale degrees. T explains that the Dorian is a minor
scale with a characteristic major sixth interval (la-fi).
Creative movement “Shoo, Fly “
CSP: A
• Ss sing song.
Presentation “Scarborough Fair”
• Ss sings.
• T presents the notation of the melody with rhythmic nota-
tion and solfège syllables.
• Ss read with solfège syllables and hand signs.
• T presents the melody on the staff and reviews the Rule of
Placement.
• Ss read with solfège and hand signs and then write phrases
one and two in staff notation.
288 Review lesson “Hashivenu”
outcomes CSP: C
Review the new song • Ss sing in canon.
Unit 9: Compound Meter (Part 3, Dotted Rhythms)
Elements Concepts: ta Compound Elements: fi
(Mixolydian) Meter 3 (Dorian)
Lesson “Come, “Scarborough “Row, “Old Joe “Early to “Hashivenu” “Drunken
1 Let’s Fair” Row, Clark” Bed” Sailor”
Dance” Row Your
Boat”
Lesson “Come, “Hashivenu” “Morning “Old Joe “Early to “Needle’s “Drunken

2 Let’s Is Come” Clark” Bed” Eye” Sailor”
Dance”
Lesson “Needle’s “Scarborough “Morning “Old Joe “Early to “Shoo, Fly” “Drunken
3 Eye” Fair” Is Come” Clark” Bed” Sailor”
Singing Known Next New Concept Concept
Elements Concepts: ta
(Mixolydian)
Lesson “The “Old Joe “Here’s a “My Singing “Early to “Turn the “Hashivenu”
4 Cherry Clark” Health” Bird” Bed” Glasses
Tree Over”
Carol”
(II)
Lesson “To “Come, Let’s “Here’s a “My Singing “Early to “Alabama “Hashivenu”
5 Work Dance” Health” Bird” Bed” Gal”
Upon
the
Railway”
with teaching the concept of compound meter 3 (dotted patterns). Remember, in the first
three lessons Ss practice the previous musical element, in this case fi (Dorian mode and
melodic minor scale).
289
Reading Ss read Ss read the
“Drunken rhythm of
Sailor” and “Early to Bed”
additional or additional
songs with songs from
hand signs traditional
from steps, rhythm
nota-
tion with
solfège, and
then staff
notation.
Writing Ss write Ss write

“Drunken “Early to Bed”
Sailor” using in rhythmic
notes on notation
the steps, with solfège
traditional syllables and
notation with staff notation.
solfège, and
then staff
notation.
question
phrase in
melodic
minor; Ss
echo an
answer
phrase in
melodic
minor ending
on la.
Movement “Bow, “Bow, “Aquaqua “Aquaqua “Boots of
Belinda” Belinda” Del-a Omar” Del-a Shining
Omar” Leather”
Listening “Round
290 Dance II,”
from For
Children,
Vol. 2
No. 9. by
Béla Bartók
(1881–1945)
Outcome Preparation: internalizing dotted rhythms in compound meter

Practice: reading Dorian melodies
Warm-up Select from any of the following: “Gigue” from 6 Piano Pieces,
Op. 52, by Anton Dvorak (1841–1904); Violin Concerto in D
Major, Op. 61, by Ludwig van Beethoven (1770–1827), movement
3; “Ride of the Valkyries,” from Die Walküre, act 3, by Richard
Wagner (1813–1883); or T selects a piece of contemporary popu-
• Body warm-up
• Beat activity
do both.
and standing.
Sing known songs “Come, Let’s Dance”
CSP: C
• Ss sing song with test.
• Ss sing song with canon.
Develop tuneful “Scarborough Fair”
singing CSP: D
Tone production • Ss sing song and conduct.
Diction
Expressions Ss repeat they can sing another on a new vowel sound. 291
• Ss sing the Dorian scale in canon beginning on re or la
plus fi.
Review known songs “Row, Row, Row Your Boat”
and elements CSP: D
• Ss sing song with rhythm syllables.
• T sings phrases on “loo,” and Ss echo-sing with rhythm
syllables both as a class and individually.
• T may choose to sing phrases of “With Laughter and
Singing,” “The Cherry Tree Carol,” “Come, Let’s Dance,” or
other known songs that use known rhythms in compound
meter; Ss echo-sing using rhythm syllables both as a class
and individually.
Teach a new song “Old Joe Clark”
CSP: E
• T sings song.
• T provides Ss with rhythm and text of melody.

• Ss read the rhythm with rhythm syllables and conduct.
• T sings the song and Ss add the phrases.
• Ss sing song.
Develop knowledge of “Early to Bed”
music concepts CSP: B
Internalize music • Ss sing “Early to Bed” and pat the beat for the entire song.
through kinesthetic • Ss determine the meter and sing “Early to Bed” and conduct.
activities • Ss sing “Early to Bed” and keep the beat with their right
hand and the micro beats with their left hand.
• Ss sing “Early to Bed” and clap the rhythm for the
entire song.
• Ss sing “Early to Bed” and point to a representation of the
• T divides the class into two groups. Group 1 pats the beat for
the target phrase, and group 2 claps the rhythm. Switch.
• Ss sing “Early to Bed” as they step the beat and clap the
rhythm.
Creative movement “Hashivenu”
CSP: C
• Ss sing song.
292 Practice and perfor- “Drunken Sailor”
mance of music skills CSP: A
• Ss sing “Drunken Sailor” on solfège syllables using l, t, d r m
fi s l as well as r m f s l t d’ r’.
• Ss read from T’s hand signs.
• Ss read “Drunken Sailor” in rhythm notation with solfège
syllables notation using low la as the tonic and another nota-
tion using re as the tonic.
• Ss read “Drunken Sailor” read from staff notation using low
la as the tonic and another notation using re as the tonic.
• Ss read the notation and listen to Mikrokosmos, vol. 2
(revised Boosey & Hawkes, 1947), no. 65, by Béla Bartók
(1881–1945).
Review lesson “Old Joe Clark”
outcomes CSP: E
Review the new song • S sings song.
Outcome Preparation: analyzing repertoire that contains dotted rhythms in

compound meter
Practice: writing Dorian melodies
Warm-up Select from any of the following: “Gigue” from 6 Piano Pieces, Op. 52,
by Anton Dvorak (1841–1904); Violin Concerto in D Major, Op. 61,
by Ludwig van Beethoven (1770–1827), movement 3; “Ride of the
Valkyries,” from Die Walküre, act 3, by Richard Wagner (1813–1883); or
• Body warm-up
• Beat activity
standing.
Sing known “Come, Let’s Dance”
songs CSP: C
singing CSP: C
Tone production • Ss sing song with text. 293
Diction
• Ss practice singing a phrase of a song and T has them repeat it a
Expression minor second higher. Use a pure vowel sound. Each time Ss repeat
Review known “Morning Is Come”
songs and CSP: F
• T sings phrases on “loo,” and Ss echo-sing with rhythm syllables
• T may choose to sing phrases of “With Laughter and Singing,” “The
Cherry Tree Carol,” “Come, Let’s Dance,” or other known songs
that use known rhythms in compound meter; Ss echo-sing using
• T divides class into three groups: groups 1 and 2 sing in canon, and
group 3 accompanies with tonic and dominant chord roots.
Teach a new “Old Joe Clark”
song CSP: E
• T sings song.
• Ss read the rhythm as the T sings the song.
• Ss sing song.
• Ss sing song.
Develop knowl- “Early to Bed”
edge of music CSP: B
literacy concepts • Ss sing song.
Describe what • T assesses kinesthetic activities with the focus song.
you hear • Ss sing the target phrase using a neutral syllable while keeping the
beat before asking each question:
Determine the number of beats in the phrase
Phrase 1
• T: “Andy, which beat has one sound?” (4) “We call that a ta.”
• T: “Andy, how would you describe the sounds on beat 3?” (even)
• T: “Andy, how many sounds do we sing on beat 3?” (three) “We call
that ta ki da.”
• T: “Andy, how would you describe the sounds on beat 2?” (long,
short) “We call that ta da.”
Phrase 2
• T: “Andy, how many sounds do we sing on beat 1?” (three)
294 • T: “Andy, how would you describe the sounds on beat 1? Are they
even sounds, like the sounds on beat 3?” (no) “How could you
describe them?” (three sounds; first is the longest, then the third is
the next longest, and finally the middle sound is the shortest)
• T: “Andy, hum the sounds on beat 3 and sing all of the other beats
with rhythm syllables while keeping the beat.”
Creative “Needle’s Eye”
movement CSP: A
• Ss sing song.
Practice and “Drunken Sailor”
performance of CSP: A
music skills • Ss sing song with text.
Writing • Ss writes “Drunken Sailor” in rhythm notation with solfège sylla-
bles notation and staff notation.
• T sings a short melodic pattern using the Dorian scale, and Ss
inner-hear and write the pattern on the staff.
outcomes CSP: E
song
Outcome Preparation: creating a visual representation of dotted rhythms in

compound meter
Practice: improvise melodies in the Dorian mode
Op. 52, by Anton Dvorak (1841–1904); Violin Concerto in D
Major, Op. 61, by Ludwig van Beethoven (1770–1827), move-
ment 3; “Ride of the Valkyries,” from Die Walküre, act 3, by
Richard Wagner (1813–1883); or T selects a piece of contempo-
rary popular music for movement.
• Body warm-up
• Beat activity
Challenge Ss to make soft and loud, high and low, long and 295
do both.
and standing.
Sing known songs “Needle’s Eye”
CSP: A
• Ss sing song with text and conduct.
Develop tuneful “Scarborough Fair”
singing CSP: D
Diction
Expression
Review known songs “Morning Is Come”

and elements CSP: F
• Ss sing.
• T sings each phrase, and Ss echo with rhythm syllables both
and individually.
Teach a new song “Old Joe Clark”
CSP: E
• T sings song.
• Ss sing song.
• Ss sings song.
Develop knowledge “Early to Bed”
of music literacy CSP: B
296 to create a visual representation of the target phrase. T: “Pick
up what you need to recreate what you heard” or “Draw
• Ss sing “Early to Bed” with a neutral syllable and point to the
representation.
• Figure out the rhythm syllables for known rhythmic patterns
and hum for the unknown pattern.
• Figure out the solfège syllables for the melody.
Creative movement “Shoo, Fly”
CSP: A
• Ss sing song.
Practice and perfor- “Drunken Sailor”

• Ss compose a new ending
• T sings a question including a fi and Ss sing an answer.
• Ss compose a Dorian melody to a given form.
outcomes CSP: E
Outcome Presentation: labeling dotted rhythms in compound meter.

Op. 52, by Anton Dvorak (1841–1904); Violin Concerto in
D Major, Op. 61, by Ludwig van Beethoven (1770–1827), move-
• Body warm-up
• Beat activity 297
do both.
and standing.
Sing known songs “The Cherry Tree Carol” (II)
CSP: E
Develop tuneful “Old Joe Clark”
singing CSP: E
Diction
Review known songs “Here’s a Health”

and elements CSP: A
and individually.
Teach a new song “My Singing Bird”
CSP: A
• T sings song.
• Ss determine the form, meter, and solfège syllable for
final note.
• T provides Ss with notation and text. T sings song and Ss
add the phrase marks.
• Ss clap the rhythm as T sings.
Presentation “Early to Bed”
Describe what you hear CSP: B
syllables • Ss sing in canon.
• T assesses kinesthetic, aural, and visual awareness activities
with phrase 1 of “Early to Bed.”
298 • T presents the rhythm syllables for all the rhythm patterns.
• Ss sing “Early to Bed” with rhythm syllables while tapping
the beat.
• Ss sing “Early to Bed” with rhythm syllables while
conducting.
Creative movement “Turn the Glasses Over”
CSP: F
• Ss sing song.
Presentation “Hashivenu”
Describe what you hear CSP: C
with rhythm or solfège • Ss sing.
syllables • Ss sing in canon.
• T presents the rhythm syllables for all the rhythm patterns.
• Ss sing “Hashivenu” with rhythm syllables while tapping
the beat.
• Ss sing “Hashivenu” with rhythm syllables while conducting

the beat.
• T demonstrates how to count with numbers and conducting.
Ss sing counting with numbers.
Review lesson “My Singing Bird”
outcomes CSP: A
Review the new song • Ss sing with words.
Outcome Presentation: notation of dotted rhythms in compound meter

Op. 52, by Anton Dvorak (1841–1904); Violin Concerto in
D Major, Op. 61, by Ludwig van Beethoven (1770–1827), move-
• Body warm-up
• Beat activity
299
do both.
and standing.
Sing known songs “To Work Upon the Railway”
CSP: A
singing CSP: C
Tone production • Ss sing song in canon.
Diction
Review known songs “Here’s a Health”

and elements CSP: A
• T and Ss sing.
• T sings each phrase; Ss echo-sing with rhythm syllables both
• T sings phrases of “With Laughter and Singing,” “The Cherry
Tree Carol,” “Come, Let’s Dance,” or other known songs that
Teaching a new song. “My Singing Bird”
CSP: A
• T sings song.
• Ss sing song tracing the melodic contour of the melody.
Presentation “Early to Bed”
Notate what you hear CSP: B
• Ss sing song.
• Ss read “Early to Bed” with rhythm syllables and conducting.
• T presents the rhythmic notation.
• Ss read “Early to Bed” with rhythm syllables and conducting
as well as with numbers for counting and conducting.
Creative movement “Alabama Gal”
CSP: F
300 • Ss sing.
using tonic, subdominant, and dominant notes.
Presentation “Hashivenu”
Notate what you hear CSP: C
• Ss sing with rhythm syllables and conducting
• T presents the rhythmic notation.
• Ss read the melody with rhythm syllables and conduct as
well as sing with numbers for counting as they conduct.
Review lesson “My Singing Bird”
outcomes CSP: A
Unit 10: Mixolydian Mode (ta)
Singing Known Next New Concept: ta Known
Elements Concepts: (Mixolydian) Elements:
Transforming Compound
songs from Meter 3
simple meter
to compound
meter and vice
versa (duplets
and triplets)
Lesson “Drunken “Hashivenu” “Ah, Poor “Here Comes “Old Joe “I’s the B’y” “Early to Bed”
1 Sailor” Bird” a Bluebird” Clark”
(melody)
Lesson “Raggle “Hashivenu” “Bow, Belinda” “Here Comes “Old Joe “Draw Me “Early to Bed”
2 Taggle a Bluebird” Clark” a Bucket of
Gypsy” (melody) Water”
Lesson “My “Come, Let’s “Scarborough “My “Old Joe “Drunken “Early to Bed”
3 Singing Dance” Fair” Landlord” Clark” Sailor”
Bird”
Singing Known Next New Concept: ta Concept: ta
Elements Concepts (Mixolydian) (Mixolydian)
301
Lesson “Twinkle, “When “Rose Rose” “My “Old Joe “Roman “My Singing
4 Twinkle, I First Came Landlord” Clark” Soldiers” Bird”
Little Star” to This
(in Dorian) Land,” in
major and
transform to
minor
Lesson “Hungarian “When “Drunken “Alleluia” in “Old Joe “Roman “My Singing
5 Canon” (in I First Came Sailor” Mixolydian Clark” Soldiers” Bird”
Dorian) to This
Land,” in
major and
transform to
minor
with teaching the concept of ta (Mixolydian mode). Remember, in the first three lessons Ss
practice the previous musical element, in this case compound meter 3.

Reading Ss read the Ss read “Old
rhythm of Joe Clark”
“Early to with hand
Bed” or signs from
additional steps, tradi-
songs from tional nota-
traditional tion with
notation.
Writing Ss write Ss write
the rhythm “Old Joe
of “Early Clark” using
to Bed” or tradition
additional notation
songs from with
rhythm then staff
notation. notation.
question phrase
in compound
meter with
dotted note
302 subdivisions; Ss
echo an answer
phrase that uses
dotted note
subdivisions.
Movement “I’s the B’y” “Draw Me “Drunken “Roman
a Bucket of Sailor” Soldiers”
Water”
from Violin
Concerto
No. 1, by
Ludwig van
Beethoven
(1770–1827)
Unit 10, Mixolydian Mode (ta), Lesson 1
Outcome Preparation: internalizing the Mixolydian through kinesthetic

activities
Practice: reading rhythms in compound meter
Warm-up T may choose from the following: “Palladio,” by Karl Jenkins
(1944–); or Mikrokosmos, vol. 2, by Béla Bartók (1881–1945)
(revised Boosey & Hawkes, 1947), no. 40; or T selects a piece of
contemporary popular music for movement.
• Body warm-up
• Beat activity
do both.
and standing.
Sing known songs “Drunken Sailor”
CSP: A
singing CSP: C
• Ss sing song in canon. 303
Diction
Expression it a minor second higher. Use a pure vowel sound. Each time
Review known songs “Ah, Poor Bird”
and elements CSP: D
• T hums phrases on “loo” and Ss repeat with solfège syllables
and hand signs.
• Ss hum song with hand signs, and T sings the chord roots
of the tonic and dominant notes with solfège syllables and
hand signs.
• T hums song and Ss sings the chord roots of the tonic and
dominant notes with solfège syllables and hand signs.
• Ss sing song in major key with solfège syllables and
hand signs.
• Ss sing song and show hand signs, and T sings the chord
roots of the tonic and dominant notes with solfège syllables
and hand signs.
• T sings the song and Ss sing the chord roots of the tonic and
dominant notes with solfège syllables and hand signs.
• T may choose to sing phrases of “Joy to the World,” “Wake
Up! Canon,” “Sweet Betsy from Pike,” “Kookaburra,” or “The
Raggle Taggle Gypsies”; (art song) “The Bird in the Pine
Tree,” by Johannes Brahms (1833–1897); or other known
songs that use known that use known solfège syllables; Ss
echo-sing using with solfège syllables and hand signs both as
a class and individually.
Teach a new song “Here Comes a Bluebird” (melody)
CSP: A
• Ss sing melody on a neutral syllable in simple meter with
rhythm syllables.
• Ss transform melody in compound meter with rhythm
syllables.
Develop knowledge of “Old Joe Clark”
music concepts CSP: E
Internalize music • Ss sing song.
through kinesthetic • Ss sing the last phrase of “Old Joe Clark” and point to a rep-
activities resentation of the melodic contour at the board.
• Ss sing the last phrase of “Old Joe Clark” and clap the
melodic contour.
• Ss sing the last phrase with rhythm syllables while clapping
melodic contour.
304 Creative movement “I’s the B’y”
CSP: A
• Ss sing song.
using the tonic and dominant chord roots.
Practice and perfor- “Early to Bed”
mance of music skills CSP: B
• T shows hand signs, and Ss inner-hear the song.
• Ss sing song.
• Read “Early to Bed” in traditional rhythmic notation with
rhythm syllables and numbers (for counting).
• Read “Early to Bed” from staff notation with rhythm sylla-
bles, numbers (for counting) and hand signs.
• Ss read the rhythm of the melody and listen to “Danza de
la Moza Donosa,” Op. 2, No. 2, from Danzas Argentinas for
piano, by Alberto E. Ginastera (1916–1983).
Review lesson “Here Comes a Bluebird” (melody)
outcomes CSP: A
Review the new song • Sing melody in simple meter with rhythm syllables.
• Sing melody in compound meter with rhythm
syllables.
Outcome Preparation: analyzing Mixolydian repertoire

Practice: writing dotted rhythms in compound meter
• Body warm-up
• Beat activity
do both.
305
and standing.
Sing known songs “Raggle Taggle Gypsy”
CSP: G
singing CSP: C
Diction
• Ss practice singing a phrase of a song, and T has them
Expression
Each time Ss repeat they can sing another on a new
vowel sound.
Review known songs “Bow, Belinda”

and elements CSP: A
• Ss sing with solfège syllables and conduct.
Teach a new song “Here Comes a Bluebird” (melody in simple and
compound meter)
CSP: C
• Ss sing in simple meter with rhythm syllables.
• Ss sing in compound meter with rhythm syllables.
• Ss sing in compound meter with rhythm syllables.
Develop knowledge “Old Joe Clark”
Describe what you hear • T assess the kinesthetic activities with the focus song “Old
Joe Clark.”
° T: “How many beats are in the last phrase?” (eight)
° T: “What is the general direction of the melodic contour?”
306 (up and then down)
• Ss determine the final and beginning pitch of the target
phrase.
° T: “Sing the lowest note of the phrase.” (Ss sing on
“loo”: do)
° T: “What is the beginning pitch of the phrase?” (so)
• Ss determine the solfège syllables for the first three pitches.
° T: “If we start on so, hum the next three pitches.” (la)
° T: “Sing the pitches ascending for beats 1 and 2.”
° T: “Sing the intervals between these notes.”
° T: “We notice that the last note is a minor second above
the la.”
• T sings the first three pitches using low so low la and sings
the new note on a neutral syllable.
• Ss should verbalize that the third pitch of the phrase is a half
step above la rather than a whole step above la.
• Ss figure out the solfège syllables for the rest of the phrase,
but sing the new note on a neutral syllable.
• Ss sing the song with solfège and hand signs but hum on the
new sound.

CSP: G
• Ss sing song.
• Ss sing song with rhythm syllables and conducting.
• Ss write the song using rhythmic notation.
Review lesson “Here Comes a Bluebird” (melody)
outcomes CSP: C
Review the new song • Ss sing in compound meter with rhythm syllables in canon.
Outcome Preparation: creating a visual representation of Mixolydian

melodies
307
Practice: improvise rhythms and melodies with dotted notes in
compound meter
• Body warm-up
• Beat activity
do both.
and standing.
Sing known songs “My Singing Bird”
CSP: D

singing CSP: C
Diction
Review known songs “Scarborough Fair”
and elements CSP: D.
• T sings phrases; S echo with solfège syllables and hand signs
Teach a new song “My Landlord”
CSP: D
• T sings song.
308 • T sings song and demonstrates motions to game.
• T sings song and demonstrates motions with a S.
• T sings song, and Ss demonstrate motions.
• T sings song, and Ss demonstrate motions with a partner.
• Ss sings song.
Develop knowledge “Old Joe Clark”
to create a visual representation of the melody of the target
phrase. Ss create a representation of picture.
• Ss sing the target phrase of “Old Joe Clark” with a neutral
syllable and point to the representation.
• Ss sing the target phrase of “Old Joe Clark” with rhythm
syllables.
Creative movement “Drunken Sailor”

CSP: A
• Ss sing song.
• Ss sing song with words.
• T claps a question phrase and chants rhythm syllables; Ss
clap an answer phrase and chant rhythm syllables incorpo-
rating the new rhythm pattern.
• Ss compose a rhythmic composition based on the form of
“Early to Bed.”
• Ss transform simple duple meter songs into compound
duple using patterns of dotted note rhythms.
Review lesson “My Landlord”
outcomes CSP: D
Review the new song • Ss sings song and keep the beat.
309
Outcome Presentation: labeling pitches of the Mixolydian with solfège

• Body warm-up
• Beat activity
do both.
and standing.
Sing known songs “Twinkle, Twinkle, Little Star” (sung in Dorian mode)

CSP: D
• Ss sing with text in minor key.
• Ss sing with text in Dorian.
Develop tuneful “When I First Came to This Land” (sing in major and then in
singing parallel minor)
Tone production CSP: F
• Ss sing song.
Diction
Review known songs “Rose Rose”
and elements CSP: G
• T sings motifs on “loo” and S echo with solfège syllables and
310 echo-sing using with solfège syllables and hand signs both as
Teach a new song “My Landlord”
CSP: D
• T sings song.
• T sings song and demonstrates motions to game.
• T sings song and demonstrates motions with a S.
• T sings song, and Ss demonstrates motions
• T sings song, and Ss demonstrates motions with a partner.
• Ss sings song and plays game with partner.
Presentation “Old Joe Clark”
Describe what you hear CSP: E
• T assess the kinesthetic, aural, and visual awareness
activities.
• T presents the solfège name of the new note and the corre-
sponding hand signs.
• T sings the target phrase with solfège and hand signs, and
the Ss echo-sing with solfège and hand signs.
• T hums phrases from “Old Joe Clark” and Ss echo-sing with

• Ss determine the tone set of “Old Joe Clark.”
• T and Ss sing the tone set and labels as the Mixolydian mode
(d-r-m-f-s-l-ta-d’).
• Ss identify the interval between notes of the Mixolydian
scale and between the tonic and lowered seventh.
• Ss figure out, with the help of the T, that we can also use the
notes s-l-t-d-r-m-f-s to sing the same scale.
Creative movement “Roman Soldiers” (teach this as a new song and game)
CSP: D
• Ss sing song.
Presentation “My Singing Bird”
syllables • T reviews the solfège name of the new note and the corre-
sponding hand sign.
• T sings phrases, and Ss echo-sing with solfège syllables and
hand signs.
• Ss determine the tone set.
• T sings the tone set and labels as the Mixolydian mode.
• T introduces the minor seventh interval between the tonic 311
and lowered seventh of the melody.
Review lesson “My Landlord”
outcomes CSP: D
Review the new song • Ss sing song and play game with partner.
Outcome Presentation: notation of Mixolydian melodies

(1944–) or Mikrokosmos, vol. 2, by Béla Bartók (1881–1945)
• Body warm-up
• Beat activity

do both.
and standing.
Sing known songs “Hungarian Canon” (in Dorian)
CSP: A
• Ss sing song.
Develop tuneful “When I First Came to This Land” (in major and transform
singing to minor)
Tone production CSP: F
• Ss sing song.
Diction
Expression it a minor second higher. Use a pure vowel sound. Each time
Review known songs “Drunken Sailor”
and elements CSP: A
• Ss sing.
• T sings each phrase, and Ss echo-sing with solfège syllables
312 both as a class and individually.
Teaching a new song. “Alleluia” (transformed from major mode into Mixolydian and
sung with text)
CSP: D
• T sings song.
• Ss conduct and sing the song in canon.
Presentation “Old Joe Clark”

Notate what you hear CSP: E
• Ss sing song.
• T presents the melody with rhythmic notation. Ss read with
• T presents the melody on the staff and reviews the Rule of
Placement. Ss read with solfège syllables and hand signs.
• T presents the scale tone ladder. T presents the scale on the
staff, and Ss analyze the intervals between the notes.
• T will demonstrate how the Mixolydian mode can written as
do + ta, or so to so and have the same whole-step/half-step
relationships.
Creative movement “Roman Soldiers”
• Ss sing song.
• Ss play the game.
Presentation “My Singing Bird”
Notate what you hear CSP: A
• Ss sing song.
and solfège syllables written beneath. Ss read with solfège
• T presents the scale tone ladder.
• T reviews rule of placement for notes and presents the
Mixolydian scale on the staff 313
• Ss analyze the intervals between the notes.
• T demonstrates how the Mixolydian mode can be written as
do + ta, or so to so.
• Ss sing song with solfège syllables and hand signs from staff
notation.
• Ss sing song.
Review lesson “Row, Row, Row Your Boat“
outcomes • Ss sing in compound meter with rhythm syllables.
Review the new song • Ss sing in simple meter with rhythm syllables.
Chapter 6
Assessment and Evaluation
The purpose of assessment in the classroom is to evaluate the work of both students and teacher.
The chapter contains examples of assessments for evaluating each musical concept and element
taught in fifth grade. By assessing a student’s skill development and the teacher’s classroom teach-
ing we can develop strategies to improve music learning and music teaching. Effective assess-
ments lead to development of a more effective music program.
There are five steps to developing assessment rubrics in the fifth grade classroom:
1 . Decide on the areas of assessment.

2. Determine the activities you will use to assess these areas.
3. Create assessment rubrics for each area.
4. Create a class profile that summarizes the children’s scores.
5. Have the teacher review the results of assessments and decide how to modify the
teaching to help students develop their knowledge of music.
314 For a more comprehensive view of assessment, consult Kodály Today.

We have included assessment rubric samples for grade five. The assessment for each unit
includes assessments for singing, reading, writing, and improvisation. The teacher can select
to use some or all of the assessment activities for the unit being taught. In our assessment for
melodic writing we have included only rhythmic notation with solfège syllables; teachers should
also consider assessing children’s ability to write melodies on the staff.
Grade 5 Assessments
Assessments for high ti
high ti tuneful singing assessment is for a student’s singing of “Alleluia” (Table 6.1).
Table 6.1 Tuneful Singing Assessment for high ti
Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments
Student sings the text of “Alleluia” Advanced 4
with accurate intonation, pure vowel
sounds, clear pronunciation, and tall,
balanced posture, giving a musically
sensitive performance that shows
evidence of excellent vocal technique.
Student sings the text of “Alleluia” Proficient 3
with mostly accurate intonation,
primarily pure vowel sounds, some
use of clear pronunciation, and
balanced posture, giving an overall
musical performance.
Student sings the text of “Alleluia” Basic 2
with some accurate intonation,
few pure vowel sounds, unclear
pronunciation, and generally poor
posture, giving a performance that
lacks musicality.
Student sings the text of “Alleluia” Emerging 1
without accurate intonation, pure
vowel sounds, clear pronunciation,
or tall posture, giving a performance
that lacks musicality and shows
evidence of poor vocal technique.
Reading assessment is for a student’s reading of an eight-beat rhythm pattern that includes 315
high ti and is based on the major scale (Table 6.2).
Table 6.2 Reading Assessment for high ti

Student reads the second phrase Advanced 4
of “Alleluia” with solfège syllables
and hand signs from the staff and/
or traditional notation, making no
errors.
(Continued)
Student reads the second phrase of Proficient 3

“Alleluia” with solfège syllables and
hand signs from the staff and/or
traditional notation, making only a
few errors that do not detract from
the performance.
Student reads the second phrase of Basic 2
“Alleluia” with solfège syllables and
traditional notation, making errors
that detract from the performance.
Student does not read the second Emerging 1
phrase of “Alleluia” with solfège
syllables and hand signs from the
staff and/or traditional notation.
Writing assessment is for a student’s writing of an eight-beat rhythmic pattern that

includes high ti and is based on the major scale (Table 6.3).
Table 6.3 Writing Assessment for high ti

Student writes the second phrase of Advanced 4
“Alleluia” with traditional rhythm
notation and solfège syllables
316 beneath, making no errors.
Student writes the second phrase of Proficient 3
beneath, making only a few errors
and they do not detract from the
writing activity
Student writes the second phrase of Basic 2
beneath, making errors that detract
from the writing activity.
Student does not write the second Emerging 1
phrase of “Alleluia” with traditional
rhythm notation and solfège syllables
beneath.
Improvisation assessment is for a student’s improvising of an eight-beat rhythm pattern

that includes high ti and is based on the major scale (Table 6.4).
Table 6.4 Improvisation Assessment for high ti

Student improvises an eight-beat Advanced 4
melodic motif with solfège syllables
that includes high ti, making no
errors.
Student improvises an eight-beat Proficient 3
that includes high ti, making few
errors and they do not detract from
the performance.
Student improvises an eight-beat Basic 2
that includes high ti, making errors
Student does not improvise an Emerging 1
eight-beat melodic motif with solfège
syllables that includes high ti.
Assessments for Eighth Note Followed by a Dotted Quarter

In tuneful singing assessment, a student sings “Charlotte Town” using an eighth note fol-
lowed by a dotted quarter (Table 6.5). 317
Table 6.5 Tuneful Singing Assessment for Eighth Note Followed by a

Dotted Quarter

Student sings the text of “Charlotte Advanced 4
Town” with accurate intonation, pure
and tall, balanced posture, giving a
musically sensitive performance that
shows evidence of excellent vocal
technique.
(Continued)
Student sings the text of “Charlotte Proficient 3

Town” with mostly accurate
intonation, primarily pure
vowel sounds, some use of clear
pronunciation, and tall, balanced
posture, giving an overall musical
performance.
Student sings the text of “Charlotte Basic 2
Town” with some accurate
intonation, few pure vowel sounds,
unclear pronunciation, and generally
poor posture, giving a performance
that lacks musicality.
Student sings the text of “Charlotte Emerging 1
Town” without accurate intonation,
pure vowel sounds, clear
pronunciation, or tall posture, giving
a performance that lacks musicality
and shows evidence of poor vocal
technique.
In reading assessment, a student reads an eight-beat pattern that includes an eighth note
followed by a dotted quarter (Table 6.6).
Table 6.6 Reading Assessment for Eighth Note Followed by a Dotted

Quarter
318 Student Name: _______________ Date: _____ Class: _______________________
Student reads the first phrase of Advanced 4
“Charlotte Town” from traditional
notation speaking and clapping
rhythm syllables, making no errors.
Student reads the first phrase of Proficient 3
rhythm syllables, making only a few
the performance.
(Continued)
Student reads the first phrase of Basic 2

rhythm syllables, making errors that
detract from the performance.
Student does not read the first phrase Emerging 1
of “Charlotte Town.”
In writing assessment, a student writes an eight-beat pattern that includes an eighth note
followed by a dotted quarter (Table 6.7).
Table 6.7 Writing Assessment for Eighth Note Followed by a Dotted

Quarter

Student writes an eight-beat rhythm Advanced 4
pattern with traditional rhythmic
notation of the first phrase of
“Charlotte Town,” making no errors.
Student writes an eight-beat rhythm Proficient 3
“Charlotte Town,” making only a few
the writing activity.
Student writes an eight-beat rhythm Basic 2 319
“Charlotte Town,” making errors that
detract from the writing activity.
Student does not write an eight-beat Emerging 1
rhythm pattern with traditional
rhythmic notation of the first phrase
of “Charlotte Town.”
In improvisation assessment, a student improvises an eight-beat pattern that includes an

eighth note followed by a dotted quarter (Table 6.8).
Table 6.8 Improvisation Assessment for Eighth Note Followed by a

Dotted Quarter

rhythm pattern that includes an
eighth note followed by a dotted
quarter note on rhythm syllables,
making no errors.
rhythm pattern that contains an
making few errors and they do not
rhythm pattern that contains an
making errors that detract from the
overall performance.
eight-beat rhythm pattern that
contains an eighth note followed by a
dotted quarter.
320 Assessments for Natural Minor Scale

In tuneful singing assessment of natural minor scale, a student sings “Alleluia” in minor
(Table 6.9).
Table 6.9 Tuneful Singing Assessment for Natural Minor Scale

Student sings “Alleluia” in minor on Advanced 4
text with accurate intonation, pure
vowel sounds, clear pronunciation, and
tall, balanced posture giving a musically
sensitive performance that shows
evidence of excellent vocal technique.
(Continued)
Student sings the text of “Alleluia” Proficient 3

in minor with mostly accurate
intonation, primarily pure vowel
sounds, and balanced posture, giving
an overall musical performance.
Student sings the text of “Alleluia” in minor Basic 2
with some accurate intonation, few pure
vowel sounds, unclear pronunciation,
and generally poor posture, giving a
performance that lacks musicality.
Student sings the text of “Alleluia” in Emerging 1
minor without accurate intonation,
pure vowel sounds, clear pronunciation,
or tall posture, giving a performance
that lacks musicality and shows
evidence of poor vocal technique.
In reading assessment, a student reads an eight-beat melodic motif with solfège that is
based on the natural minor scale (Table 6.10).
Table 6.10 Reading Assessment for Natural Minor Scale

Student reads the text of the second phrase Advanced 4
of “Alleluia” in minor with solfège syllables
and hand signs from the staff and/or
traditional rhythmic notation with solfège 321
syllables beneath, making no errors.
Student sings the second phrase of “Alleluia” Proficient 3
in minor with solfège syllables and hand
signs from the staff and/or traditional
rhythmic notation with solfège syllables
beneath, making only a few errors and they
do not detract from the performance.
Student sings the second phrase of Basic 2
“Alleluia” in minor with solfège syllables
or traditional rhythmic notation with
solfège syllables beneath, making errors
Student does not sing the second phrase Emerging 1
of Alleluia in minor with solfège syllables
or traditional rhythmic notation with
solfège syllables beneath.
In writing assessment, a student writes an eight-beat melodic motif with solfège that is
based on the natural minor scale (Table 6.11).
Table 6.11 Writing Assessment for Natural Minor Scale

Student writes the solfège syllables Advanced 4
underneath the traditional rhythmic
notation of the second phrase of
“Alleluia” in minor, making no errors.
Student writes an eight-beat melodic Proficient 3
motif with solfège syllables underneath
the traditional rhythmic notation of the
second phrase of “Alleluia” in minor,
making only a few errors and they do
not detract from the writing activity.
Student writes an eight-beat Basic 2
notation of the second phrase
“Alleluia” in minor, making errors
that detract from the writing activity.
Student does not write an eight-beat Emerging 1
melodic motif with the solfège
syllables underneath the traditional
rhythmic notation of the second
phrase of “Alleluia” in minor.
322 In improvisation assessment, a student improvises an eight-beat melodic motif with

solfège that is based on the natural minor scale (Table 6.12).
Table 6.12 Improvisation Assessment for Natural Minor Scale

that is based on the natural minor
scale, making no errors.
scale, making few errors and they do
not detract from the performance.
(Continued)

scale, making errors that detract
from the performance.
eight-beat melodic motif with solfège
syllables that is based on the natural
minor scale.
Assessment for Compound Meter 1

In compound meter 1 singing assessment, a student sings “Row, Row, Row Your Boat”
(Table 6.13).
Table 6.13 Tuneful Singing Assessment for Compound Meter 1

Student sings “Row, Row, Row Advanced 4
Your Boat” on text with accurate
intonation, pure vowel sounds,
technique.
323
Student sings “Row, Row, Row Your Proficient 3
Boat” on text with mostly accurate
intonation, primarily pure vowel
sounds, and balanced posture, giving
an overall musical performance.
Student sings “Row, Row, Row Your Basic 2
Boat” on text with some accurate
and generally poor posture, giving a
performance that lacks musicality.
Student sings “Row, Row, Row Your Emerging 1
Boat,” on text without accurate
intonation, pure vowel sounds, or tall
lacks musicality and shows evidence
of poor vocal technique.
In reading assessment, a student reads a two-beat pattern that includes rhythms found in
“Row, Row, Row Your Boat” (Table 6.14).
Table 6.14 Reading Assessment for Compound Meter 1

Student reads the rhythm patterns Advanced 4
found in the four phrases of “Row,
Row, Row Your Boat” from traditional
notation, speaking and clapping
rhythm syllables, making no errors.
Student reads the rhythm patterns Proficient 3
found in the four phrases of
“Row, Row, Row Your Boat” from
traditional notation, speaking and
clapping rhythm syllables, making
only a few errors and they do not
Student reads the rhythm patterns Basic 2
found in the four phrases of
“Row, Row, Row Your Boat” from
traditional notation, speaking
and clapping rhythm syllables,
performance.
Student does not read and clap the Emerging 1
rhythm of the patterns found in the
four phrases of “Row, Row, Row Your
324 Boat.”
In writing assessment, a student writes a two-beat pattern that includes rhythms found in
“Row, Row, Row Your Boat” (Table 6.15).
Table 6.15 Writing Assessment for Compound Meter 1

Student writes a four-beat rhythm Advanced 4
pattern found in “Row, Row, Row
Your Boat,” with traditional notation,
making no errors.
(Continued)
Student writes a four-beat rhythm Proficient 3

not detract from the writing activity.
Student writes a four-beat rhythm Basic 2
writing activity.
Student does not write a four-beat Emerging 1
rhythm pattern found in “Row, Row,
Row Your Boat,” with traditional
notation.
In improvisation assessment, a student improvises a two-beat pattern that includes

rhythms found in “Row, Row, Row Your Boat” (Table 6.16).
Table 6.16 Improvisation Assessment for Compound Meter 1

Student improvises a four-beat Advanced 4
rhythm pattern that includes the
patterns found in “Row, Row, Row
Your Boat” on rhythm syllables,
making no errors. 325
Student creates a four-beat rhythm Proficient 3
pattern that includes the patterns
found in “Row, Row, Row Your Boat”
on rhythm syllables, making few
the performance.
Student creates a four-beat rhythm Basic 2
pattern that includes that patterns
found in “Row, Row, Row Your Boat”
on rhythm syllables, making errors
Student does not create a four-beat Emerging 1
rhythm pattern that includes four
sixteenth notes.
Assessment for Harmonic Minor Scale (si)

In harmonic minor (si) tuneful singing assessment, a student sings “Ah, Poor Bird”
(Table 6.17).
Table 6.17 Tuneful Singing Assessment for Harmonic Minor Scale (si)

Student sings the text of “Ah, Poor Advanced 4
Bird” with accurate intonation, pure
technique.
Student sings the text of “Ah, Proficient 3
Poor Bird” with mostly accurate
pronunciation, and balanced
performance.
Student sings the text of “Ah, Poor Basic 2
Bird” with some accurate intonation,
lacks musicality.
326 Student sings the text of “Ah, Emerging 1
Poor Bird” without accurate
intonation, pure vowel sounds, clear
technique.
based on the harmonic minor scale (Table 6.18).
Table 6.18 Reading Assessment for Harmonic Minor Scale (si)

Student sings the second phrase of Advanced 4
“Ah, Poor Bird” with solfège syllables
and hand signs reading from the staff
and/or traditional rhythm notation
with solfège syllables beneath,
making no errors.
Student sings the second phrase of Proficient 3
Student sings the second phrase of Basic 2
performance.
Student does not sing the second Emerging 1
phrase of “Ah, Poor Bird” with
solfège syllables and hand signs
reading from the staff and/or
traditional rhythm notation with
solfège syllables beneath. 327
based on the harmonic minor scale (Table 6.19).
Table 6.19 Writing Assessment for Harmonic Minor Scale (si)

notation of the second phrase of “Ah,
Poor Bird,” making no errors.
(Continued)
Student writes the solfège syllables Proficient 3

notation of the second phrase of “Ah,
Poor Bird,” making only a few errors
writing activity.
Student writes the solfège syllables Basic 2
“Ah, Poor Bird,” making errors that
Student does not write the solfège Emerging 1
phrase of “Ah, Poor Bird,” “Ah, Poor
Bird.”
In improvisation assessment, a student improvises an eight-beat melodic motif with

solfège that is based on the harmonic minor scale (Table 6.20).
Table 6.20 Improvisation Assessment for Harmonic Minor Scale (si)

328 that is based on the harmonic minor
scale, making no errors.
that is based on the harmonic minor
scale, making few errors and they do
that is based on the harmonic minor
eight-beat melodic motif with
solfège syllables that is based on the
harmonic minor scale.
Assessments for Compound Meter 2

In compound meter 2 tuneful singing assessment, a student sings “Morning Is Come”
(Table 6.21).

Student sings the text of “Morning Advanced 4
Is Come” with accurate intonation,
pronunciation, and tall, balanced
posture, giving a musically sensitive
performance that shows evidence of
excellent vocal technique.
Student sings the text of “Morning Proficient 3
Is Come” with mostly accurate
performance.
Student sings the text of “Morning Basic 2
Is Come” with some accurate
Student sings the text of “Morning Emerging 1 329
Is Come” without accurate
technique.
“Morning Is Come” (Table 6.22).

found in “Morning Is Come” from
clapping rhythm syllables, making no
errors.
traditional notation, speaking an
performance.
rhythm of the patterns found in
“Morning Is Come.”
“Morning Is Come” (Table 6.23).
330 Table 6.23 Writing Assessment for Compound Meter 2

notation using the patterns found
in “Morning Is Come,” making no
errors.
notation using the patterns found in
“Morning Is Come,” making only a
few errors and they do not detract
(Continued)

notation using the patterns found in
“Morning Is Come,” making errors
that detract from the writing activity.
rhythm pattern with traditional
rhythmic notation using the patterns
found in “Morning Is Come.”

rhythms found in “Morning Is Come” (Table 6.24).

rhythm pattern that contains the
rhythm patterns found in “Morning
Is Come” in rhythm syllables,
making no errors
Student improvises a four-beat Proficient 3
making few errors and they do not 331
Student improvises a four-beat Basic 2
performance.
Student does not improvise a Emerging 1
four-beat rhythmic pattern that
contains the rhythm patterns found
in “Morning Is Come” in rhythm
syllables.
Assessment for Dorian Mode (fi)

In Dorian mode (fi) tuneful singing assessment, a student sings “Drunken Sailor” (Table 6.25).
Table 6.25 Tuneful Singing Assessment for Dorian Mode (fi)

Student sings the text of “Drunken Advanced 4
Sailor” with accurate intonation, pure
technique.
Student sings the text of “Drunken Proficient 3
Sailor” with mostly accurate
performance.
Student sings the text of “Drunken Basic 2
Sailor” with some accurate
Student sings the text of “Drunken Emerging 1
332 Sailor” without accurate intonation,
technique.
based on the Dorian mode (Table 6.26).
Table 6.26 Reading Assessment for Dorian Mode (fi)

Student sings the second phrase Advanced 4
of “Drunken Sailor” with solfège
syllables and hand signs, reading
from the staff and/or traditional
notation, making no errors.
Student sings the second phrase Proficient 3
notation, making only a few errors
performance.
Student sings the second phrase Basic 2
notation, making errors that detract
Student does not sing the second Emerging 1
phrase of “Drunken Sailor” with
solfège syllables and hand signs,
reading from the staff and/or
based on the Dorian mode (Table 6.27). 333
Table 6.27 Writing Assessment for Dorian Mode (fi)

“Drunken Sailor,” making no errors.
(Continued)
Student writes the solfège syllables Proficient 3

“Drunken Sailor,” making only a few
the writing activity.
Student writes the solfège syllables Basic 2
“Drunken Sailor,” making errors that
Student does not write the solfège Emerging 1
phrase of “Drunken Sailor.”

solfège that is based on the Dorian mode (Table 6.28).
Table 6.28 Improvisation Assessment for Dorian Mode (fi)

that is based on the Dorian mode,
334 making no errors.
that is based on the Dorian mode,
making few errors and they do not
that is based on the Dorian mode
Student does not improvise a four-beat Emerging 1
that is based on the Dorian mode scale.
Assessment for Compound Meter 3

In compound meter 3 tuneful singing assessment, a student sings “Early to Bed” (Table 6.29).

Student sings the text of “Early to Advanced 4
Bed” with accurate intonation, pure
technique.
Student sings the text of “Early Proficient 3
to Bed” with mostly accurate
performance.
Student sings the text of “Early to Basic 2
Bed” with some accurate intonation,
lacks musicality.
Student sings the text of “Early to Emerging 1
Bed” without accurate intonation, 335
technique.
“Early to Bed” (Table 6.30).

found in “Early to Bed” from
clapping rhythm syllables, making no
errors.
traditional notation, speaking an
performance.
rhythm patterns found in “Early to
Bed.”
“Early to Bed” (Table 6.31).
336 Table 6.31 Writing Assessment for Compound Meter 3

pattern found in “Early to Bed” with
traditional rhythm notation making
no errors.
(Continued)

errors that detract from the writing
activity.
rhythm pattern found in “Early to
Bed” with traditional notation.

rhythms found in “Early to Bed” (Table 6.32).

rhythms found in “Early to Bed”
using rhythm syllables, making no
errors.
using rhythm syllables, making few
the performance. 337
Student improvises a four-beat Basic 2
using rhythm syllables, making
errors that detract from the
performance.
four-beat rhythmic pattern that
contains the rhythms found in “Early
to Bed” in rhythm syllables.
Assessment for Mixolydian Mode (ta)

In Mixolydian mode (ta) tuneful singing assessment, a student sings “Old Joe Clark”
(Table 6.33).
Table 6.33 Tuneful Singing Assessment for Mixolydian Mode (ta)

Student sings the text of “Old Joe Advanced 4
Clark” with accurate intonation, pure
technique.
Student sings the text of “Old Proficient 3
Joe Clark” with mostly accurate
performance.
Student sings the text of “Old Basic 2
Joe Clark” with some accurate
338 Student sings the text of “Old Emerging 1
Joe Clark” without accurate
technique.
based on the Mixolydian mode (Table 6.34).
Table 6.34 Reading Assessment for Mixolydian Mode (ta)

Student reads the verse of “Old Advanced 4
Joe Clark” with solfège syllables
or traditional notation, making no
errors.
Student reads the verse of “Old Joe Proficient 3
Clark” with solfège syllables and
traditional notation, making only a
few errors and they do not detract
Student reads the verse of “Old Joe Basic 2
Clark” with solfège syllables and
traditional notation, making errors
Student does not read the verse of Emerging 1
“Old Joe Clark” with solfège syllables
and hand signs from the staff and/or
based on the Mixolydian mode (Table 6.35).
Table 6.35 Writing Assessment for Mixolydian Mode (ta) 339

Student writes the verse of “Old Advanced 4
underneath the traditional rhythm
notation, making no errors.
Student writes the verse of “Old Proficient 3
notation, making only a few errors
writing activity.
(Continued)
Student writes the verse of “Old Basic 2

notation, making errors that detract
Student does not write the verse of Emerging 1
“Old Joe Clark” with solfège syllables
notation.

solfège that is based on the Mixolydian mode (Table 6.36).
Table 6.36 Improvisation Assessment for Mixolydian Mode (ta)

that is based on the Mixolydian
mode, making no errors.
mode, making few errors and they do
340 Student improvises a four-beat Basic 2
mode, making errors that detract
four-beat melodic motif with
solfège syllables that is based on the
Mixolydian mode.
Notes
Introduction
i. “Education for Life and Work Developing Transferable Knowledge and Skills in the
21st Century.” Report Brief. July 12, 2012. National Research Council. http://www8.
nationalacademies.org/onpinews/newsitem.aspx?RecordID=13398
Chapter 1
1. Pink, Daniel H. A Whole New Mind: Why Right Brainers Will Rule the Future.
New York: River Head Trade, 2006.
2. Trevarthen, Colwyn, and Stephen Malloch. “Musicality and Musical Culture: Sharing
Narratives of Sound from Early Childhood.” The Oxford Handbook of Music Education,
vol. 1, ed. Gary E. McPherson and Graham F. Welch, chap. 2.3, p. 254. New York: Oxford
Chapter 2
1. David J. Elliott. Praxial Music Education: Reflections and Dialogues. New York: Oxford
University Press, 2005, p. 258.
2. Margaret. S. Barrett. “Commentary: Music Learning and Teaching in Infancy and Early
Childhood.” In The Oxford Handbook of Music Education, vol. 1, ed. Gary E. McPherson
and Graham F. Welch, chap. 2.1, p. 228. New York: Oxford University Press, 2012.
3. Lily Chen-Hafteck and Esther Mang. “Music and Language in Early Childhood
Development and Learning.” In The Oxford Handbook of Music Education, vol. 1,
ed. Gary E. McPherson and Graham F. Welch, chap. 2.4, p. 274. New York: Oxford
4. Ruth C. Seeger. American Folk Songs for Children. Garden City, NY: Doubleday, 1948.
(Released in 2002.) 341
5. Neryl Jeanneret and George M. Degraffenreid. “Music Education in the Generalist
Classroom.” In The Oxford Handbook of Music Education, ed. Gary E. McPherson and
Graham F. Welch, vol. 1, chap. 3.6, p. 404. New York: Oxford University Press, 2012.
6. Susan Young and Beatriz Ilari. “Musical Participation from Birth to Three: Toward
a Global Perspective.” In The Oxford Handbook of Music Education, vol. 1, ed. Gary
E. McPherson and Graham F. Welch, vol. 1, chap. 2.5, p. 281. New York: Oxford
Chapter 5
1. Kodály, ”Children’s Choirs,” Selected Writings, pp. 121–122.
Index
“Above the Plain,” 186t, 187t, 195t in high ti unit plan, 199t, 200t, 202t, 204t, 207t,
“Ah, Poor Bird” 209t, 211t
in compound meter (part 1) unit plan, 237t, 241t, in lesson review unit plan, 185t
242t, 243t in low ti and dotted eighth and sixteenth notes
in compound meter (part 2) unit plan, 263t, 264t, review unit plan, 189t, 190t
267t, 269t, 271t in major scale lesson plan, 116t
in Dorian mode unit plan, 276t, 280t, 283t in Mixolydian mode unit plan, 301t, 312t
in harmonic minor lessons, 168t, 171t in natural minor scale assessments, 320–22t
in harmonic minor scale assessment, 326–28t in natural minor scale unit plan, 225t, 226t, 228t,
in harmonic minor unit plan, 250t, 251t, 253t, 230t, 232t, 234t, 236t
255t, 258t, 260t, 262t in sample preparation/practice lesson plan, 39t
in lesson review unit plan, 185t and teaching high ti, 48–51, 52, 53
in low ti and dotted eighth and sixteenth notes and teaching natural minor scale, 61–63
review unit plan, 191t, 192t “All Night, All Day”
in Mixolydian mode unit plan, 301t, 303t in compound meter (part 1) unit plan, 237t, 240t,
and teaching si (harmonic minor), 74, 75, 76, 242t, 244t, 247t, 249t
77, 78, 79 in compound meter (part 2) unit plan, 263t, 270t
“Alabama, Mississippi” in eighth note followed by dotted quarter note unit
in Dorian mode unit plan, 276t, 278t, 286t plan, 212t, 213t, 219t, 222t
in high ti unit plan, 200t, 201t, 211t in high ti unit plan, 200t, 209t, 210t
in natural minor scale unit plan, 225t, 226t, 232t in natural minor scale unit plan, 225t, 231t
“Alabama Gal” in sample preparation/practice lesson plan, 38t,
in compound meter (part 1) unit plan, 245t, 246t 42t, 45t
in compound meter (part 3) unit plan, 289t, 300t and teaching eighth note followed by dotted
in low ti and dotted eighth and sixteenth notes quarter note, 55t, 57, 58, 59
review unit plan, 197t “All Through the Night” (Jones), 54
Album for the Young, Op. 39, Nos. 23 and 24 “Alphabet Song”
(Tchaikovsky), 252t, 254t, 257t in high ti lesson plan, 179t, 181t
“Alcitron,” 23t in high ti unit plan, 199t, 204t
“Alfonso Doce” in natural minor scale unit plan, 225t, 227t
in high ti lesson plan, 181t alternate ending, and developing improvisation skills,
in high ti unit plan, 202t, 204t, 206t, 209t, 211t 137, 139
“All Around the Brickyard,” 149, 178 “Amasee” (I Must See), 24t
“Alleluia” antiphonal singing, 144
in compound meter (part 1) unit plan, 237t, 238t, “Aquaqua Del A Omar”
241t, 243t, 245t in compound meter (part 1) unit plan, 237t,
in eighth note and dotted quarter note lesson plan, 238t, 240t
121t, 122t in compound meter (part 3) unit plan, 290t
343
in eighth note followed by dotted quarter note unit directions for playing, 24t
plan, 212t, 213t, 216t, 218t, 220t, 224t, 225t in Dorian mode unit plan, 278t
in harmonic minor presentation lesson, 171t in eighth note followed by dotted quarter note unit
in harmonic minor unit plan, 251t, 260t, 262t plan, 212t, 214t, 215t
in high ti assessment, 314–16t in harmonic minor unit plan, 252t
in high ti lesson plan, 110t, 112t, 114–15t, 118t, in natural minor scale unit plan, 225t, 236t
179t, 182t “Are You Sleeping?,” 197t
Index
d’Arras, Moniot, Ce fut en May, 54 for high ti, 51

“As I Roved Out,” 101t for Mixolydian mode, 104–5
assessment(s), 314 for natural minor scale, 63–64
for compound meter I, 323–25t aural rhythm canon, 147
for compound meter II, 329–31t “Avondale Mine Disaster, The,” 101t
for compound meter III, 335–37t
for Dorian mode, 332–34t Bach, Johann Sebastian
for eighth note followed by dotted quarter note, Little Fugue in G minor, 81
317–20t Minuet in G, The Notebook of Anna Magdalena, 55
for harmonic minor scale, 326–28t Polonaise in G minor, Anna Magdalena Notebook,
for high ti, 314–17t BWV Anhang 125, 81, 94, 165
of lessons, 184–85 Bartók, Béla
for Mixolydian mode, 338–40t “An Evening in the Village,” 60
for natural minor scale, 320–23t For Children, 54, 193t
assimilative phase Mikrokosmos, 55, 60, 94, 107, 226t, 278t, 280t,
based on teaching strategies, 107–8 282t, 284t, 286t, 292t, 303t, 305t, 307t, 309t, 311t
for compound meter (6/8, even microbeat “Round Dance II,” For Children, Vol. 2, No. 9, 290t
subdivision), 84–87 bass lines, 155
for compound meter (6/8, simple division), 70–73 beat
for compound meter (6/8, uneven microbeat and developing creative movement skills, 159
subdivision), 97–100 and developing part-work skills, 144, 145
for Dorian mode, 90–94 reinforcing, with instruments, 157
for eighth note followed by dotted quarter Beethoven, Ludwig van
note, 57–60 Six Variations on “Nel cor piu non mi sento” by
for harmonic minor, 77–81 Paisiello, 73, 87
for high ti, 51–55 Sonatina in G major, KA 5, No. 1, 73
for Mixolydian mode, 104–7 “Urians Reise um die Welt,” Op. No 1, 61t, 168t,
for natural minor scale, 63–67 171t, 227t, 229t, 231t, 233t, 235t
associative phase Violin Concerto in D Major, Op. 61, 265t, 267t,
based on teaching strategies, 107–8 270t, 291t, 293t, 295t, 297t, 299t
for compound meter (6/8, even microbeat Violin Concerto No. 1, Movement 3, 302t
subdivision), 83–84 Bicinia Hungarica (Kodály), 67, 94, 107
for compound meter (6/8, simple division), 69–70 “Big Fat Biscuit,” 24t
for compound meter (6/8, uneven microbeat Billings, William, “When Jesus Wept,” 67
subdivision), 96–97 “Billy Boy”
for Dorian mode, 89–90 in compound meter (part 1) unit plan, 240t, 242t,
for eighth note followed by dotted quarter 244t, 247t, 249t
note, 56–57 in eighth note followed by dotted quarter note unit
for harmonic minor, 75–76 plan, 222t
for high ti, 49–50 in sample preparation/practice lesson plan, 38t,
for Mixolydian mode, 102–3 42t, 45t
for natural minor scale, 62–63 and teaching eighth note followed by dotted
preparation/practice lesson plan framework for, quarter note, 55t
115–19t “Birch Tree, The”
aural inner hearing, 127, 131 in high ti lesson plan, 181t
aural practice in high ti unit plan, 199t, 202t, 204t, 206t,
for compound meter (6/8, even microbeat 209t, 211t
344 subdivision), 84–85 in lesson review unit plan, 185t, 186t
for compound meter (6/8, simple division), 70–71 in low ti and dotted eighth and sixteenth
for compound meter (6/8, uneven microbeat notes review unit plan, 189t, 191t, 193t,
subdivision), 97–98 196t, 198t
for Dorian mode, 90–91 “Bird in the Pine Tree, The” (Brahms)
for eighth note followed by dotted quarter in Mixolydian mode unit plan, 304t, 306t, 308t,
note, 57–58 310t, 312t
for harmonic minor, 77 and teaching high ti, 48t
Index
Bizet, Georges, “Les Toreadors,” Carmen, 201t, 203t, “Charlie over the Ocean”
206t, 208t in compound meter (part 2) unit plan, 266t, 268t,
Bock, Jerry, “Sunrise, Sunset,” Fiddler on the Roof, 81 270t, 272t, 275t
body canon, 146 and teaching compound meter (6/8, simple
“Boots of Shining Leather” division), 67t
in compound meter (part 3) unit plan, 290t “Charlotte Town”
directions for playing, 24t in compound meter (part 1) unit plan, 237t, 249t
in Dorian mode unit plan, 276t, 278t, 279t, 282t in eighth note followed by dotted quarter note
in harmonic minor preparation/practice assessments, 317–19t
lesson, 168t in eighth note followed by dotted quarter note unit
in harmonic minor unit plan, 250t, 253t plan, 212t, 213t, 215t, 217t, 220t, 222t, 224t
in natural minor scale unit plan, 225t, 234t in high ti lesson plan, 179t, 181t
“Bounce High, Bounce Low,” 149, 177 in high ti unit plan, 199t, 202t, 203t, 204t, 210t
“Bow, Belinda” in lesson review unit plan, 185t
in compound meter (part 2) unit plan, 263t, 265t, in natural minor scale unit plan, 225t, 226t, 228t,
266t, 267t, 269t, 271t 230t, 232t
in compound meter (part 3) unit plan, 290t in sample preparation/practice lesson plan, 45t
directions for playing, 25t and teaching eighth note followed by dotted
in Dorian mode unit plan, 276t, 278t, 283t quarter note, 55, 56–57, 58, 59
in eighth note followed by dotted quarter note unit “Cherry Tree Carol, The”
plan, 213t, 214t, 224t in compound meter (part 3) unit plan, 289t, 291t,
in Mixolydian mode unit plan, 301t, 306t 293t, 296t, 297t, 298t, 300t
and teaching fi (Dorian mode), 87t in harmonic minor unit plan, 251t, 255t, 256t, 257t
“Bow Wow Wow,” 146 and teaching compound meter (6/8, even
Brahms, Johannes microbeat subdivision), 81t
“The Bird in the Pine Tree,” 48t, 304t, 306t, 308t, chord inversions, 155
310t, 312t “Circle Round the Zero”
“Heidenröslein,” 52 directions for playing, 25t
“How Can I Enter Your House,” 74t in eighth note followed by dotted quarter note unit
Symphony no. 1, IV. Adagio-Allegro non troppo plan, 213t, 215t, 217t, 219t, 221t, 224t
ma con brio, 54 in lesson review unit plan, 185t
Variations on a Theme, St. Anthony’s Chorale by in low ti and dotted eighth and sixteenth notes
Haydn, 55, 203t review unit plan, 192t, 194t
breathing, 124–25, 126 “Coffee Canon”
“Buttermilk Hill,” 241t in compound meter (part 2) unit plan, 263t, 266t
in high ti lesson plan, 181t
call-and-response singing, 144 in high ti unit plan, 200t, 202t, 204t, 206t,
“Camptown Races” 209t, 211t
in eighth note followed by dotted quarter note unit cognitive phase
plan, 212t, 213t, 215t based on teaching strategies, 107–8
in high ti lesson plan, 179t, 180t, 182t, 183t for compound meter (6/8, even microbeat
in high ti unit plan, 199t, 204t, 205t, 206t subdivision), 81–82
“Canoe Song,” 186t, 198t for compound meter (6/8, simple
Canon (Tallis), 55 division), 68–69
canon(s) for compound meter (6/8, uneven microbeat
and developing instrument skills, 157 subdivision), 95–96
and developing part-work skills, 146–47, 148–50 for eighth note followed by dotted quarter
and developing reading skills, 129 note, 55–56
345
pentatonic scales in, 150, 156 for fi (Dorian mode), 88–89
transitions and, 178 for high ti, 48–49
“Cantate Domino,” 87t for natural minor scale, 61–62
“Carrion Crow,” 276t, 279t preparation/practice lesson plan
“Cedar Swamp,” 25t framework for, 109–15t
Ce fut en May (d’Arras), 54 for si (harmonic minor), 74–75
“Chair to Mend,” 186t, 195t for ta (Mixolydian mode), 101
Index
“Colorado Trail” “Cradle Song,” Op. 98, No. 2 (Schubert), 215t, 217t,

in compound meter (part 1) unit plan, 237t, 219t, 221t, 224t
242t, 248t creativity, 3. See also improvisation; movement
in eighth note followed by dotted quarter note unit critical thinking
plan, 212t, 213t, 217t, 223t in grade five curriculum, 6–7
in high ti unit plan, 199t, 200t, 207t, 208t in Kodály concept, 3
in sample preparation/practice lesson cultural heritage, students as stewards of, 3, 4
plan, 44t curriculum
combination vowels, 125 based on Kodály concept, 2
“Come, Let’s Dance” for grade five, 4–8
in compound meter (part 2) unit plan, 263t, 264t, and lesson plan design, 10–16
268t, 273t, 275t prompt questions for constructing, 9–10
in compound meter (part 3) unit plan, 288t, 289t,
291t, 293t, 296t, 298t, 299t, 300t “Danza de la Moza Donosa,” Op. 2, No. 2, Danzas
in harmonic minor preparation/practice lesson, Argentinas (Ginastera), 100, 304t
168t, 169t d’Arras, Moniot, Ce fut en May, 54
in harmonic minor unit plan, 250t, 253t, 254t “Dear Companion,” Sourwood Mountain (Tacka &
in Mixolydian mode unit plan, 301t, 308t Taylor-Howell), 54
and teaching compound meter (6/8, even “Debka Hora”
microbeat subdivision), 81t, 87 in high ti lesson plan, 181t
“Come Thru ’Na Hurry,” 25–26t, 149, 202t in high ti unit plan, 199t, 200t, 202t, 204t, 206t,
“Come to the Land” 209t, 210t, 211t
in compound meter (part 1) unit plan, 243t in lesson review unit plan, 185t
in harmonic minor lessons, 168t, 171t in low ti and dotted eighth and sixteenth notes
in natural minor scale unit plan, 227t, 229t, 231t, review unit plan, 188t, 190–91t
233t, 235t diction, 125–26
and teaching natural minor scale, 61t, 65 “Dinah,” 149
composition diphthongs, 126
in grade five curriculum, 7–8 dominant chord roots, 154–55
in lesson review unit plan, 186t “Dona, Dona, Dona”
and teaching si (harmonic minor), 79 in compound meter (part 1) unit plan, 243t
compound meter I (6/8, simple division) in eighth note followed by dotted quarter note unit
assessments for, 323–25t plan, 212t, 215t, 216t, 217t
listening examples for, 164 in harmonic minor lessons, 168t, 171t
songs for teaching, 34t in harmonic minor unit plan, 251t, 253t, 255t,
teaching strategies for, 67–73 260t, 262t
unit plan for, 237–50t in natural minor scale unit plan, 225t, 227t, 229t,
compound meter II (6/8, even microbeat 231t, 233t, 234t, 235t, 236t
subdivision) and teaching natural minor scale, 61t, 65
assessments for, 329–31t “Donkey Riding”
listening examples for, 165 in eighth note followed by dotted quarter note unit
songs for teaching, 34t plan, 212t, 213t, 215t, 221t, 224t
teaching strategies for, 81–87 in high ti lesson plan, 183t
unit plan for, 263–76 in high ti unit plan, 199t, 200t, 203t, 205t, 207t, 210t
compound meter III (6/8, uneven microbeat in lesson review unit plan, 185t
subdivision) in low ti and dotted eighth and sixteenth notes
assessments for, 335–37t review unit plan, 190t, 192t, 194t
346 listening examples for, 165–66 Dorian mode
songs for teaching, 35t assessments for, 332–34t
teaching strategies for, 94–100 listening examples for, 165
unit plan for, 288–300t teaching strategies for, 87–94
conducting, 6 unit plan for, 276–88t
conscious transitions, 174, 177–78 “Dors, Dors, ’Tit Bébé”
consonants, voiced and unvoiced, 125 in compound meter (part 1) unit plan, 237t,
“Cotton Eye Joe,” 26t 249t, 250t
Index
in Dorian mode unit plan, 276t, 285t, 287t “Ecce Gratum,” Carmina Burana (Orff), 188t, 190t,
in harmonic minor unit plan, 251t, 257t 193t, 195t, 197t
in sample preparation/practice lesson plan, 45t, 46t eighth note followed by dotted quarter note. See also
and teaching si (harmonic minor), 74t dotted eighth and sixteenth note
dotted eighth and sixteenth note assessments for, 317–20t
review unit plan for, 188–99t lesson plan for, 119–20t, 122t
transitions lesson plan for, 178–83t listening examples for, 163–64
dotted quarter note songs for teaching, 33t
assessments for eighth note followed by, 317–20t teaching strategies for, 55–60
lesson plan for eighth note and, 119–20t, 122t unit plan for, 212–25t
listening examples for eighth note followed “Erie Canal, The”
by, 163–64 in compound meter (part 1) unit plan, 240t, 242t,
songs for teaching eighth note followed by, 33–34t 244t, 247t, 249t
teaching strategies for eighth note followed in eighth note followed by dotted quarter note unit
by, 55–60 plan, 222t
unit plan for eighth note followed by, 212–25t in sample preparation/practice lesson plan, 38t, 42t, 45t
“Draw Me a Bucket of Water” and teaching eighth note followed by dotted
in compound meter (part 1) unit plan, 240t, 243t quarter note, 55t
in harmonic minor unit plan, 251t, 258t, 261t error identification, and developing reading skills,
in Mixolydian mode unit plan, 301t, 302t, 307t 128, 132
“Drill, Ye Tarriers” evaluations. See assessment(s)
in harmonic minor lessons, 168t, 171t “Evening in the Village, An,” Hungarian Sketches
in harmonic minor unit plan, 253t, 260t, 262t (Bartók), 60
in natural minor scale unit plan, 227t, 229t, 231t,
233t, 235t Fantasia in D, second movement (Telemann), 87, 280t
and teaching high ti, 48t “Feierlich und Gemessen,” Symphony No. 1
and teaching natural minor scale, 61t (Mahler), 194t
drones, 147, 148 fi (Dorian mode). See Dorian mode
“Drunken Sailor” Fifteen Two-Part Exercises, no. 7 (Kodály), 94
in compound meter (part 2) unit plan, 263t, 265t, fill in the blank
268t, 269t and developing improvisation skills, 138
in compound meter (part 3) unit plan, 288t, 289t, and developing writing skills, 134, 136
290t, 292t, 294t, 297t final note, and developing part-work skills, 145
in Dorian mode assessments, 332–34t finger staff, 130
in Dorian mode unit plan, 276t, 277t, 278t, 279t, flash cards
280t, 281t, 282t, 283t, 284t, 285–86t, 287t and developing inner-hearing skills, 133
in Mixolydian mode unit plan, 301t, 302t, 303t, and developing reading skills, 130
309t, 312t folk songs and music
and teaching fi (Dorian mode), 87t, 88, 89, 92, 94 in Kodály concept, 1–2, 3
Dvorak, Antonin, “Gigue,” Six Piano Pieces, Op. 52, pentatonic, in three parts, 150
291t, 293t, 295t, 297t, 299t in repertoire, 17
“Dying Cowboy, The,” 101t rhythm canons based on, 147
dynamic markings, 126 teaching second part to, 174
in thirds and sixths, 154
ear, memorizing by, 142 and understanding form, 143
“Early to Bed” For Children (Bartók), 54, 193t
in compound meter (part 3) assessments, 335–37t form
in compound meter (part 3) unit plan, 288t, 289t, and developing creative movement skills, 159
347
290t, 292t, 294t, 296t, 298t, 300t and developing improvisation skills, 138, 139
in Dorian mode unit plan, 276t, 280t, 281t, 283t and developing reading skills, 127, 131
in lesson review unit plan, 185t in grade five curriculum, 7
in Mixolydian mode unit plan, 301t, 302t, 304t, in lesson review unit plan, 187t
307t, 309t transitions and, 176, 178
and teaching compound meter, 94t, 95, understanding, 142–43
96–97, 98, 99 “Four White Horses,” 26t
Index
“Ghost of Tom” and developing part-work skills, 148

in compound meter (part 1) unit plan, 243t and developing reading skills, 129
in harmonic minor lessons, 168t, 171t and teaching compound meter (6/8, even
in harmonic minor unit plan, 253t, 260t, 262t microbeat subdivision), 85
in natural minor scale unit plan, 227t, 229t, 231t, and teaching compound meter (6/8, simple
233t, 235t division), 71
and teaching natural minor scale, 61t, 65 and teaching compound meter (6/8, uneven
“Gigue,” Six Piano Pieces, Op. 52 (Dvorak), 291t, microbeat subdivision), 98
293t, 295t, 297t, 299t and teaching eighth note followed by dotted
Ginastera, Alberto E., “Danza de la Moza Donosa,” quarter note, 58
Op. 2, No. 2, Danzas Argentinas, 100, 304t and teaching fi (Dorian mode), 91
“Git Along, Li’l Doggies,” 101t and teaching high ti, 52
“Glory to the Mountain,” 238t and teaching natural minor scale, 64–65
“Go Down, Moses” and teaching si (harmonic minor), 78
in compound meter (part 1) unit plan, 237t, 240t, and teaching ta (Mixolydian mode), 105
242t, 244t, 247t, 249t “Handsome Butcher,” 53
in Dorian mode unit plan, 276t, 278t, 283t, harmonic functions, 154–55, 178
285t, 287t harmonic minor
in eighth note followed by dotted quarter note unit assessments for, 326–28t
plan, 222t listening examples for, 165
in harmonic minor preparation/practice lesson, 168t preparation/practice lesson plan for, 167–68t
in harmonic minor unit plan, 250t, 251t, 253t, 255t presentation lesson plan for, 170–72t
in lesson review unit plan, 185t teaching strategies for, 73–81
in low ti and dotted eighth and sixteenth notes unit plan for, 250–63t
review unit plan, 194t harmonic progressions, 155–56
in sample preparation/practice lesson plan, 38t, “Hashivenu”
42t, 45t in compound meter (part 1) unit plan, 243t
and teaching eighth note followed by dotted in compound meter (part 3) unit plan, 288t, 289t,
quarter note, 55t 292t, 293t, 298–99t, 300t
and teaching si (harmonic minor), 74t, 78 in Dorian mode unit plan, 276t, 285t, 286t, 287t
“Golden Ring” in eighth note followed by dotted quarter note unit
in compound meter (part 1) unit plan, 237t, 247t, 250t plan, 212t, 213t, 219t, 220t, 221t, 222t, 223t
in sample preparation/practice lesson in harmonic minor lessons, 168t, 171t
plan, 43t, 46t in Mixolydian mode unit plan, 301t, 303t, 305t
“Good Bye, Girls, I’m Going to Boston,” 107 in natural minor scale unit plan, 225t, 227t, 229t,
“Good Morning, My Pretties,” 101t 231t, 233t, 235t
“Go Tell Aunt Rhody” and teaching natural minor scale, 61t, 65
in harmonic minor unit plan, 251t, 257t “Heidenröslein” (Brahms), 52
in lesson review unit plan, 186t “Henay Ma Tov”
in low ti and dotted eighth and sixteenth notes in compound meter (part 2) unit plan, 264t, 266t,
review unit plan, 195t 268t, 270t, 272t, 275t
in sample preparation/practice lesson plan, 39t in harmonic minor unit plan, 251t, 262t, 263t
“Great Big Dog” and teaching compound meter (6/8, simple
in eighth note followed by dotted quarter note unit division), 67t
plan, 222t “Here Comes a Bluebird,” 301t, 304t, 305t, 306t, 307t
in sample preparation/practice lesson plan, 38t, “Here Comes One Johnny Cuckoo,” 186t, 199t
42t, 45t “Here’s a Health”
348 and teaching eighth note followed by dotted in compound meter (part 2) unit plan, 263t,
quarter note, 55t 271t, 272t
“Ground Hog,” 87t, 92 in compound meter (part 3) unit plan, 289t,
Gurlitt, Cornelius, “Morning Greeting,” Op. 130, 298t, 300t
No. 1, 100 “Hey, Ho, What Shall I Say,” 87t
“Higher the Plum Tree, The,” 264t, 273t, 274t
hand signs high ti
and developing inner-hearing skills, 133 assessments for, 314–17t
and developing memory skills, 140–41 listening examples for, 163
Index
preparation/practice lesson plan for, 110t, 112–13t, and teaching compound meter (6/8, simple
114–15t division), 71, 72
presentation lesson plan for, 118–19t and teaching compound meter (6/8, uneven
songs for teaching, 33t microbeat subdivision), 98, 99
teaching strategies for, 47–55 and teaching eighth note followed by dotted
transitions lesson plan for, 178–83t quarter note, 58, 59
unit plan for, 199–212t and teaching fi (Dorian mode), 91, 92–93
“Hill and Gully Rider,” 26–27t, 185t, 193t and teaching high ti, 51, 53
“Hogs in the Cornfield,” 27t and teaching natural minor scale, 64, 65–66
Holst, Gustav, “Jupiter,” The Planets, Op. 32, 55 and teaching si (harmonic minor), 77, 78, 79
Horn Concerto No. 4 in E-flat major, K. 495 (Mozart) and teaching ta (Mixolydian mode), 104, 105–6
in compound meter (part 1) unit plan, 239t, 241t “In Church,” Album for the Young, Op. 68, No. 23
in compound meter (part 2) unit plan, 272t, 274t (Schumann), 81
in Dorian mode unit plan, 278t “Inez”
“Hornpipe Rigadoon” (Purcell), 55 in compound meter (part 1) unit plan, 237t,
“Hot Cross Buns,” 150 247t, 248t
“How Can I Enter Your House” (Brahms), 74t in compound meter (part 2) unit plan, 274t
“Hungarian Canon” in Dorian mode unit plan, 276t, 277t,
in compound meter (part 1) unit plan, 245t 280t, 287t
in harmonic minor unit plan, 251t, 255t, 261t in harmonic minor presentation lesson, 170t
in lesson review unit plan, 185t in harmonic minor unit plan, 251t, 259t, 262t
in low ti and dotted eighth and sixteenth notes in sample preparation/practice lesson plan, 42t,
review unit plan, 193t 43t, 44t
in Mixolydian mode unit plan, 301t, 312t inner hearing
“Hungarian Rondo” (Kodály), 60 developing, 133–34
“Hushabye,” 219t, 220t, 221t, 222t, 223t and developing memory skills, 141
and developing reading skills, 127–28, 131
“I’m Going Home on a Cloud,” 101t, 107 in grade five curriculum, 7
improvisation in lesson review unit plan, 187t
compound meter I assessment, 325t and teaching compound meter (6/8, even
compound meter II assessment, 331t microbeat subdivision), 85, 86
compound meter III assessment, 337t and teaching compound meter (6/8, simple
in compound meter III unit plan, 290t division), 71, 72
in compound meter II unit plan, 265t and teaching compound meter (6/8, uneven
in compound meter I unit plan, 238t microbeat subdivision), 98, 99
developing, 137–40 and teaching eighth note followed by dotted
Dorian mode assessment, 334t quarter note, 58, 59
in Dorian mode unit plan, 277t and teaching fi (Dorian mode), 91, 93
eighth note followed by dotted quarter note and teaching high ti, 53–54
assessment, 319–20t and teaching natural minor scale, 64, 66
in eighth note followed by dotted quarter note unit and teaching si (harmonic minor), 77, 80
plan, 214t and teaching ta (Mixolydian mode), 105, 106
in grade five curriculum, 7–8 inner smile, 125, 126
harmonic minor scale assessment, 328t instruments
in harmonic minor unit plan, 252t appropriate, 156
high ti assessment, 317t and developing creative movement skills, 159
in high ti unit plan, 201t developing skills, 156–58
in Kodály concept, 3 in grade five curriculum, 5
349
in lesson review unit plan, 186t in lesson review unit plan, 187t
lesson segment for practicing, 121–22t teaching progression, 156–57
Mixolydian mode assessment, 340t intervals
in Mixolydian mode unit plan, 302t and teaching fi (Dorian mode), 91, 92
natural minor scale assessment, 322–23t and teaching high ti, 51, 52
in natural minor scale unit plan, 226t and teaching natural minor scale, 63–64, 65
and teaching compound meter (6/8, even and teaching si (harmonic minor), 77, 78–79
microbeat subdivision), 85, 86 and teaching ta (Mixolydian mode), 104, 105
Index
“I’s the B’y” Bicinia Hungarica, 67, 94, 107

in compound meter (part 1) unit plan, 237t, Fifteen Two-Part Exercises, no. 7, 94
238t, 239t “Hungarian Rondo,” 60
in compound meter (part 2) unit plan, 263t, 264t, Kodály concept, 1–4
265t, 266t, 268t, 270t, 272t, 273t, 275t “Kookaburra”
directions for playing, 27t in Mixolydian mode unit plan, 304t, 306t, 308t,
in harmonic minor preparation/practice 310t, 312t
lesson, 168t and teaching high ti, 48t, 53
in harmonic minor unit plan, 250t, 251t, 252t,
254t, 256t labeling sounds
in Mixolydian mode unit plan, 301t, 302t, 304t presentation lesson plan for, 169–70t
in natural minor scale unit plan, 225t, 228t, 229t and teaching compound meter (6/8, even
and teaching compound meter (6/8, simple microbeat subdivision), 83
division), 67t and teaching compound meter (6/8, simple
“I’ve Lost the Farmer’s Dairy Key,” 27t division), 69
“I Will Give My Love an Apple” (Tacka & and teaching compound meter (6/8, uneven
Taylor-Howell), 67 microbeat subdivision), 96
and teaching eighth note followed by dotted
“Jam on Jerry’s Rocks, The,” 101t quarter note, 56–57
Jenkins, Karl, Palladio and teaching fi (Dorian mode), 89
in Mixolydian mode unit plan, 303t, 305t, 307t, and teaching high ti, 49–50
309t, 311t and teaching natural minor scale, 62–63
in natural minor scale unit plan, 227t, 229t, 231t, and teaching si (harmonic minor), 75
233t, 235t and teaching ta (Mixolydian mode), 102–3
“John Kanaka” “Land of the Silver Birch”
directions for playing, 27–28t and developing part-work skills, 149
in lesson review unit plan, 186t in lesson review unit plan, 185t
in low ti and dotted eighth and sixteenth notes in low ti and dotted eighth and sixteenth notes
review unit plan, 195t review unit plan, 191t, 197t
“Johnny Has Gone for a Soldier” lesson plan(s). See also preparation/practice lesson
in high ti unit plan, 199t, 200t, 202t, 210t plan; presentation lesson plan; unit plan(s)
in natural minor scale unit plan, 225t based on teaching strategies, 107–9
and teaching high ti, 48t developing, 10–11
Jones, Edward, “All Through the Night,” 54 evaluating, 184–85
“Joy to the World” general points for, 183–84
in Mixolydian mode unit plan, 304t, 306t, 308t, transitions in, 174–83
310t, 312t letter names, 142–43
and teaching high ti, 48t, 53 “Let Us Chase the Squirrel,” 178
“Jupiter,” The Planets, Op. 32 (Holst), 55 listening
in compound meter unit plans, 239t, 265t, 290t
Kabalevsky, Dimitri, Toccatina, Op. 27, Book 1, and developing instrument skills, 157–58
No. 7, 67 in Dorian mode unit plan, 278t
kinesthetic activities in eighth note followed by dotted quarter note unit
for compound meter (6/8, even microbeat plan, 214t
subdivision), 81–82 in grade five curriculum, 8
for compound meter (6/8, simple division), 68 in harmonic minor unit plan, 252t
for compound meter (6/8, uneven microbeat in high ti unit plan, 201t
350 subdivision), 95 in Kodály concept, 3–4
for fi (Dorian mode), 88 in lesson review unit plan, 186t
for si (harmonic minor), 74 in Mixolydian mode unit plan, 302t
for ta (Mixolydian mode), 101, 102 in natural minor scale unit plan, 226t
for teaching high ti, 48 and teaching compound meter (6/8, even
for teaching natural minor scale, 61 microbeat subdivision), 86–87
kinesthetic canon, 146 and teaching compound meter (6/8, simple
Kodály, Zoltán division), 72–73
Index
and teaching compound meter (6/8, uneven lesson plan design for notating, 43–46t
microbeat subdivision), 100 and literacy in grade five curriculum, 6–7
and teaching fi (Dorian mode), 94 songs for teaching, 33–35t
and teaching natural minor scale, 67 transitions and, 176
literacy. See reading; writing melodic ostinato
Little Fugue in G minor (Bach), 81 and developing improvisation skills, 139
“Little Johnny Brown” and developing part-work skills, 148
in compound meter (part 1) unit plan, 237t, 242t reinforcing, with instruments, 157
in eighth note followed by dotted quarter note unit transitions and, 176
plan, 213t, 222t, 224t melody
in sample preparation/practice lesson plan, 38t, accompanying, with chord inversions, 155
42t, 45t and developing improvisation skills, 139–40
and teaching eighth note followed by dotted and developing inner-hearing skills, 134
quarter note, 55t and developing instrument skills, 158
“Liza Jane” and improvisation in grade five curriculum, 8
and developing part-work skills, 149 introducing songs using melodic focus, 36
in lesson review unit plan, 186t reading, 129–33
in low ti and dotted eighth and sixteenth notes transitions and, 177–78
review unit plan, 197t writing, 135–37
transitions and, 177 memory. See musical memory
“London Bridge Is Falling Down,” 201t Mendelssohn, Felix
“Longing for Spring” (Mozart) Symphony no. 4, movement 1, Allegro vivace, 73
in compound meter (part 2) unit plan, 266t, 268t, Symphony no. 4, movement 2, Andante con
270t, 272t, 275t moto, 239t
and teaching compound meter (6/8, simple meter
division), 67t and developing improvisation skills, 139, 140
“Long Road of Iron” transitions and, 176
directions for playing, 28t “Michael, Row the Boat Ashore,” 213t, 223t
in lesson review unit plan, 186t Mikrokosmos (Bartók)
in low ti and dotted eighth and sixteenth notes in compound meter (part 3) unit plan, 292t
review unit plan, 195t in Dorian mode unit plan, 278t, 280t, 282t,
in natural minor scale unit plan, 225t, 226t, 284t, 286t
228t, 230t in Mixolydian mode unit plan, 303t, 305t, 307t,
low ti, unit plan for reviewing, 188–99t 309t, 311t
“Lucy Locket,” 177 in natural minor scale unit plan, 226t
and teaching eighth note followed by dotted
Mahler, Gustav, “Feierlich und Gemessen,” quarter note, 60
Symphony No. 1, 194t and teaching fi (Dorian mode), 94
major scale and teaching high ti, 55
in canon, 156 and teaching ta (Mixolydian mode), 107
and developing writing skills, 136 minor hexachord melodies, 91–92
lesson plan for, 116–17t minor scale. See also natural minor scale
and teaching high ti, 49, 50 in canon, 156
“Mamalama” and developing writing skills, 136
in compound meter (part 2) unit plan, 265t and teaching natural minor scale, 63
directions for playing, 28t and teaching si (harmonic minor), 76
in high ti unit plan, 199t, 200t, 201t, 207t, 209t Minuet in G, The Notebook of Anna Magdalena
in lesson review unit plan, 185t (Bach), 55
351
in low ti and dotted eighth and sixteenth notes Mixolydian mode
review unit plan, 189t, 192t, 194t assessments for, 338–40t
manipulatives, and developing writing skills, 134, 135 listening examples for, 166
matching, and developing reading skills, 128, 132 teaching strategies for, 100–107
melodic concepts and elements unit plan for, 301–13t
and critical thinking, 3 Mixolydian scale, 102
and developing creative movement skills, 159 modal scale, in canon, 156
Index
“Morning Greeting,” Op. 130, No. 1 (Gurlitt), 100 designing lesson plans including, 166–72

“Morning Is Come” developing, 123
in compound meter (part 2) assessments, 329–31t form, 142–43
in compound meter (part 2) unit plan, 263t, 264t, improvisation, 137–40
266t, 268t, 271t, 273t, 275t inner hearing, 133–34
in compound meter (part 3) unit plan, 289t, instruments, 156–58
293t, 296t and lesson review, 186–87t
in Dorian mode unit plan, 276t, 277t, 279–80t, movement, 159–62
282t, 283t musical memory, 140–42
in harmonic minor presentation lesson, 171t, 172t part work, 144–56
in harmonic minor unit plan, 251t, 258t, 259t and prompt questions for constructing
in high ti lesson plan, 181t curriculum, 9
in high ti unit plan, 202t, 204t, 206t, 209t, 211t reading, 127–33
and teaching compound meter (6/8, even tuneful singing, 123–26
microbeat subdivision), 81–82, 83, 84, 85 writing, 134–37
and teaching compound meter (6/8, uneven music literacy. See reading; writing
microbeat subdivision), 99 “My Good Ol’ Man,” 198t
movement “My Landlord,” 301t, 308t, 309t, 310t, 311t
in compound meter (part 1) unit plan, 238t “My Singing Bird”
in compound meter (part 2) unit plan, 265t in compound meter (part 3) unit plan, 289t, 298t,
in compound meter (part 3) unit plan, 290t 299t, 300t
developing, 159–62 in Mixolydian mode unit plan, 301t, 307t,
and developing improvisation skills, 140 311t, 313t
in Dorian mode unit plan, 278t
in eighth note followed by dotted quarter note unit natural minor scale
plan, 214t assessments for, 320–23t
in grade five curriculum, 5 listening examples for, 164
in harmonic minor unit plan, 252t songs for teaching, 34t
in high ti unit plan, 201t teaching strategies for, 60–67
and introducing songs, 35 unit plan for, 225–36t
in Mixolydian mode unit plan, 302t “Needle’s Eye,” 277t, 287t, 294t, 295t
in natural minor scale unit plan, 226t “Noble Duke of York, The,” 28t
and understanding form, 143 notation
Mozart, Wolfgang Amadeus basic lesson plan design for, 43–46t
Horn Concerto No. 4 in E-flat major, K. 495, 239t, and developing inner-hearing skills, 133
241t, 272t, 274t, 278t and developing memory skills, 141
“Longing for Spring,” 67t, 266t, 268t, 270t, and developing reading skills, 129–30, 132–33
272t, 275t and developing writing skills, 135–37
Piano Sonata No. 11 in A Major, K. 331, Andante and teaching compound meter (6/8, even
grazioso, 100 microbeat subdivision), 83–84
“That Music Enchanting,” The Magic Flute, 54 and teaching compound meter (6/8, simple
musical memory division), 70
developing, 140–42 and teaching compound meter (6/8, uneven
in grade five curriculum, 7 microbeat subdivision), 96–97
in lesson review unit plan, 187t and teaching eighth note followed by dotted
and teaching compound meter, 72, 86, 99 quarter note, 57
and teaching eighth note followed by dotted and teaching fi (Dorian mode), 89–90
352 quarter note, 59 and teaching high ti, 50
and teaching fi (Dorian mode), 92, 93 and teaching natural minor scale, 63
and teaching high ti, 52, 53 and teaching si (harmonic minor), 76
and teaching natural minor scale, 65, 66 and teaching ta (Mixolydian mode), 103
and teaching si (harmonic minor), 79, 80 note
and teaching ta (Mixolydian mode), 105, 106 teaching second part by, 152
music comparatives, 144 teaching two-part song by, 153
musicianship skills note-against-note singing, 148
Index
“O, How Lovely Is the Evening,” 185t, 190t Pink, Daniel H., 2

“Obwisanna,” 29–30t Playing Soldiers, Op. 31, No. 4 (Rebikov), 214t, 216t,
“Old Betty Larkin,” 29t 218t, 221t, 223t
“Old Joe Clark” Polonaise in G minor, Anna Magdalena Notebook,
in compound meter (part 3) unit plan, 288t, 289t, BWV Anhang 125 (Bach), 81, 94, 165
291t, 292t, 294t, 295t, 296t, 297t posture, and tuneful singing, 123–24
in Mixolydian mode assessments, 338–40t preparation/practice lesson plan
in Mixolydian mode unit plan, 301t, 302t, 304t, basic template for, 37t
306t, 308t, 310–11t, 313t for cognitive phase, 109–15t
and teaching ta (Mixolydian mode), 101, 104, 105 components of, 11t
Orff, Carl, “Ecce Gratum,” Carmina Burana, 188t, creating, 36–40
190t, 193t, 195t, 197t explanation of, 12–13t
organ points, 145 including musicianship skills, 167–69t
“Oro, My Bodeen,” The Owl Sings (Taylor-Howell), 54 for practicing improvisation, 121–22t
ostinati, and developing part-work skills, 148. See for practicing reading, 119–20t
also melodic ostinato; rhythmic ostinato for practicing writing, 120–21t
“Over the River,” 29t sample, 38–39t
in unit plans, 174
Palladio (Jenkins) presentation lesson plan
in Mixolydian mode unit plan, 303t, 305t, 307t, for associative phase, 115–19t
309t, 311t basic template for, 40–41t, 43–44t
in natural minor scale unit plan, 227t, 229t, 231t, components of, 13t, 15t
233t, 235t creating, 40
partner songs, 149, 177–78 explanation of, 14t, 15–16t
part work including musicianship skills, 169–72t
developing, 144–56 sample, 41–46t
and developing memory skills, 142 in unit plans, 174
in grade five curriculum, 5–6 Purcell, Henry, “Hornpipe Rigadoon,” 55
in lesson review unit plan, 187t
and teaching compound meter (6/8, even quarter note. See dotted quarter note
microbeat subdivision), 84, 86–87 question and answer, and developing improvisation
and teaching compound meter (6/8, simple skills, 138, 140
division), 71, 72–73
and teaching compound meter (6/8, uneven “Rabbit and the Possum”
microbeat subdivision), 98, 100 directions for playing, 30t
and teaching eighth note followed by dotted in eighth note followed by dotted quarter note unit
quarter note, 57, 59–60 plan, 212t, 213t, 214t, 218t, 222t
and teaching fi (Dorian mode), 91, 93–94 in harmonic minor presentation lesson, 171t
and teaching high ti, 51, 54 in harmonic minor unit plan, 251t, 252t, 263t
and teaching natural minor scale, 64, 66–67 in high ti lesson plan, 180t, 183t
and teaching si (harmonic minor), 77, 80 in high ti unit plan, 199t, 201t, 203t, 205t
and teaching ta (Mixolydian mode), 104, 106–7 in natural minor scale unit plan, 225t, 226t, 234t
“Pat-a Pan,” The Owl Sings (Tacka & “Raggle Taggle Gypsies, The”
Taylor-Howell), 80 in Dorian mode unit plan, 276t, 279t, 281t
“Pebble Song, The,” 29t in eighth note followed by dotted quarter note unit
pentatonic melody, 149–50 plan, 212t, 217t, 218t, 219t
pentatonic scale in harmonic minor presentation lesson, 170t
in canon, 150, 156 in harmonic minor unit plan, 251t, 259t
353
and developing writing skills, 136 in Mixolydian mode unit plan, 301t, 304t, 305t,
performance 306t, 308t, 310t, 312t
in grade five curriculum, 5–6 in natural minor scale unit plan, 225t, 231t, 235t
in Kodály concept, 3 and teaching high ti, 48t
“Phoebe in Her Petticoat,” 187t “Rain, Rain,” 259t
Piano Sonata No. 11 in A Major, K. 331, Andante reading
grazioso (Mozart), 100 compound meter I assessment, 324t
Index
reading (Cont.) and developing instrument skills, 158

compound meter II assessment, 329–30t and developing part-work skills, 144–45
compound meter III assessment, 335–36t and improvisation in grade five curriculum, 7–8
in compound meter III unit plan, 289t introducing songs using rhythmic focus, 35–36
in compound meter II unit plan, 264t reading, 127–29
in compound meter I unit plan, 238t reinforcing, with instruments, 157
developing, 127–33 transitions and, 177
Dorian mode assessment, 332–33t writing, 134–35
in Dorian mode unit plan, 277t rhythm canons, 146–47
eighth note followed by dotted quarter note rhythm chain, 137
assessment, 318–19t rhythmic concepts and elements
in eighth note followed by dotted quarter note unit and critical thinking, 3
plan, 213t and developing creative movement skills, 159
and evaluating lessons, 184 lesson plan design for notating, 43–46t
in grade five curriculum, 6–7 and literacy in grade five curriculum, 6
harmonic minor scale assessment, 326–27t songs for teaching, 33–35t
in harmonic minor unit plan, 251t transitions and, 176
high ti assessment, 315–16t rhythmic motives, 149
in high ti unit plan, 200t rhythmic ostinato
in Kodály concept, 2 and developing improvisation skills, 137
in lesson review unit plan, 186t and developing part-work skills, 145–46
lesson segment for practicing, 119–20t reinforcing, with instruments, 157
Mixolydian mode assessment, 338–39t transitions and, 176
in Mixolydian mode unit plan, 302t rhythm syllables
natural minor scale assessment, 321t lesson plan template for presenting, 40–43t
in natural minor scale unit plan, 226t rhythm canon with, 146–47
and teaching compound meter (6/8, even and teaching compound meter (6/8, even
microbeat subdivision), 85 microbeat subdivision), 84
and teaching compound meter (6/8, simple and teaching compound meter (6/8, simple
division), 71–72 division), 70–71
and teaching compound meter (6/8, uneven and teaching compound meter (6/8, uneven
microbeat subdivision), 98–99 microbeat subdivision), 97–98
and teaching eighth note followed by dotted “Ride of the Valkyries,” Die Walküre (Wagner), 291t,
quarter note, 58 293t, 295t, 297t, 299t
and teaching fi (Dorian mode), 92 “Riding in a Buggy,” 177, 197t
and teaching high ti, 52 “Rise Up, O Flame”
and teaching si (harmonic minor), 78 in harmonic minor lessons, 168t, 171t
and teaching ta (Mixolydian mode), 105 in natural minor scale unit plan, 227t, 229t, 231t,
Rebikov, Vladimir, Playing Soldiers, Op. 31, No. 4, 233t, 235t
214t, 216t, 218t, 221t, 223t and teaching natural minor scale, 61t
repertoire “Road of Iron,” 186t, 197t
alphabetized song list, 18–21t “Roman Soldiers”
in grade five curriculum, 4 directions for playing, 30t
knowledge and analysis of, 184 in Mixolydian mode unit plan, 301t, 302t, 311t, 313t
in Kodály concept, 1–2 and teaching high ti, 53
lesson plan template using, 37–39t “Rose, Rose”
for lesson review, 185–86t in compound meter (part 1) unit plan, 237t
354 and prompt questions for constructing in Dorian mode unit plan, 276t, 277t, 285t, 287t
curriculum, 9 in harmonic minor presentation lesson, 172t
selecting, 17–18 in harmonic minor unit plan, 251t, 253t, 261t, 263t
resonance, 125 in Mixolydian mode unit plan, 301t, 310t
retrograde, 128 in sample preparation/practice lesson plan, 39t
rhythm rote
and developing improvisation skills, 137–39 teaching second part by, 151
and developing inner-hearing skills, 134 teaching two-part song by, 152–53
Index
“Round Dance II,” For Children, Vol. 2, No. 9 seating position, 123

(Bartók), 290t Seeger, Ruth Crawford, 18
“Row, Row, Row Your Boat” sequencing, 2
in compound meter I assessments, 323–25t “Shady Grove”
in compound meter III unit plan, 288t, 291t in eighth note followed by dotted quarter note unit
in compound meter II unit plan, 263t, 266t plan, 212t, 215t, 217t, 219t, 221t, 224t
in compound meter I unit plan, 237t, 238t, 240t, in lesson review unit plan, 185t
242t, 245t, 247t, 249t in low ti and dotted eighth and sixteenth notes
in harmonic minor preparation/practice review unit plan, 188t
lesson, 169t “Shalom Chaverim”
in harmonic minor unit plan, 250t, 252t, 254t, in harmonic minor lessons, 168t, 171t
256t, 258t in harmonic minor unit plan, 253t, 260t, 262t
in Mixolydian mode unit plan, 313t in natural minor scale unit plan, 227t, 229t, 231t,
in natural minor scale unit plan, 225t, 230t 233t, 235t
in sample preparation/practice lesson plan, 39t, and teaching natural minor scale, 61t
42t, 45t “Ship That Never Returned, The,” 187t
and teaching compound meter (6/8, even “Shoo, Fly”
microbeat subdivision), 85 in compound meter (part 2) unit plan, 263t, 267t
and teaching compound meter (6/8, simple in compound meter (part 3) unit plan, 289t, 296t
division), 67t, 68, 69, 71 in Dorian mode unit plan, 277t, 287t
and teaching compound meter (6/8, uneven in harmonic minor unit plan, 251t, 260t, 261t
microbeat subdivision), 98 si (harmonic minor). See harmonic minor
sight singing, 150
“Sail Away, Ladies” singing. See also tuneful singing
in eighth note followed by dotted quarter note unit and developing creative movement skills, 159
plan, 212t, 215t, 217t, 219t, 221t, 224t in Kodály concept, 1
in high ti unit plan, 199t, 202t and teaching eighth note followed by dotted
in lesson review unit plan, 185t, 186t quarter note, 57
in low ti and dotted eighth and sixteenth notes and teaching natural minor scale, 63
review unit plan, 188t, 199t and teaching si (harmonic minor), 77
“Sailor, Sailor on the Sea” singing games
in compound meter (part 1) unit plan, 237t, 239t, 246t directions for playing, 23–33t
in compound meter (part 2) unit plan, 263t, 264t, glossary of terms, 22–23t
270t, 272t “Sioux Indian Lullaby,” 198t
in natural minor scale unit plan, 225t, 236t sixteenth notes
in sample preparation/practice lesson plan, 42t review unit plan for dotted eighth note and,
“Scarborough Fair” 188–99t
in compound meter (part 2) unit plan, 263t, 264t, transitions lesson for dotted eighth notes and,
271t, 275t, 276t 178–83t
in compound meter (part 3) unit plan, 288t, 289t, sixths, folk songs in, 154
291t, 295t Six Variations on “Nel cor piu non mi sento” by
in Dorian mode unit plan, 276t, 277t, 286t, 287t Paisiello (Beethoven), 73, 87
in low ti and dotted eighth and sixteenth notes SMART Board
review unit plan, 196t and developing inner-hearing skills, 133
in Mixolydian mode unit plan, 301t, 308t and developing reading skills, 130
and teaching compound meter (6/8, uneven “Snail, Snail,” 259t
microbeat subdivision), 94t solfège syllables
and teaching fi (Dorian mode), 87t, 90 and developing memory skills, 141
355
Schubert, Franz, “Cradle Song,” Op. 98, No. 2, 215t, and developing part-work skills, 149–50
217t, 219t, 221t, 224t and developing reading skills, 129–30, 132
Schumann, Robert and developing writing skills, 135–36
“In Church,” Album for the Young, Op. 68, lesson plan template for presenting, 40–43t
No. 23, 81 pentatonic melodic motives and melodies in canon
“The Wild Rider” (Horseman), Album for the with, 150
Young, Op. 68, No. 8, 81, 169t, 248t, 252t, 254t and teaching fi (Dorian mode), 90
Index
solfège syllables (Cont.) Taylor-Howell, Susan

and teaching high ti, 51 “Dear Companion,” Sourwood Mountain, 54
and teaching si (harmonic minor), 77 “I Will Give My Love an Apple,” 67
and teaching ta (Mixolydian mode), 104 “Oro, My Bodeen,” The Owl Sings, 54
Sonatina in G major, KA 5, No. 1 (Beethoven), 73 “Pat-a Pan,” The Owl Sings, 80
songs Tchaikovsky, Peter Ilyich, Album for the Young,
alphabetized list, 18–21t Op. 39, Nos. 23 and 24, 252t, 254t, 257t
introducing, 35–36, 183 teaching strategies, 47
partner, 149, 177–78 for compound meter (6/8, even microbeat
for teaching rhythmic and melodic subdivision), 81–87
concepts, 33–35t for compound meter (6/8, simple division), 67–73
two-part, 150–53 for compound meter (6/8, uneven microbeat
“Soon I Will Be Done,” 74t, 285t, 287t subdivision), 94–100
“Sourwood Mountain,” 212t, 217t for eighth note followed by dotted quarter
standing position, 124 note, 55–60
story line connections, 176 for fi (Dorian mode), 87–94
structural reductions, 177–78 for high ti, 47–55
subdominant chord roots, 154–55 lesson plan design based on, 107–9
“Sunrise, Sunset,” Fiddler on the Roof (Bock), 81 for natural minor scale, 60–67
“Sweet Betsy from Pike” for si (harmonic minor), 73–81
in eighth note followed by dotted quarter note unit for ta (Mixolydian mode), 100–107
plan, 219t Telemann, Georg Philipp, Fantasia in D, second
in high ti unit plan, 200t, 208t movement, 87, 280t
in lesson review unit plan, 186t tempo markings, 126
in low ti and dotted eighth and sixteenth notes “That Music Enchanting,” The Magic Flute
review unit plan, 198t, 199t (Mozart), 54
in Mixolydian mode unit plan, 304t, 306t, 308t, “There Once Was a Fiddler,” 74t
310t, 312t thirds, folk songs in, 154
in natural minor scale unit plan, 225t, 231t, three-part singing, 148
233t, 235t “Three Rogues, The”
and teaching high ti, 48t in high ti lesson plan, 181t
“Sweet William” in high ti unit plan, 202t, 204t, 206t, 209t, 211t
in compound meter (part 1) unit plan, 241t, 243t “Tideo,” 30–31t
in harmonic minor lessons, 168t, 171t Toccatina, Op. 27, Book 1, No. 7 (Kabalevsky), 67
in natural minor scale unit plan, 225t, 227t, 229t, tonality, 140
231t, 233t, 235t tone ladder, 129, 133
and teaching natural minor scale, 61t, 65, 67 tone production, 125
“Swing Low, Sweet Chariot” tone set, 135
in compound meter (part 1) unit plan, 237t, 246t tongue twisters, 125
in eighth note followed by dotted quarter note unit tonic chord roots, 154–55
plan, 212t, 213t, 215t, 221t tonic note, 145
in high ti unit plan, 200t, 211t, 212t “Les Toreadors,” Carmen (Bizet), 201t, 203t, 206t, 208t
in sample preparation/practice lesson plan, 42t “To Work Upon the Railway”
Symphony no. 1, IV. Adagio-Allegro non troppo ma in compound meter (part 1) unit plan, 237t, 242t,
con brio (Brahms), 54 244t, 248t, 250t
Symphony no. 4, movement 1, Allegro vivace in compound meter (part 2) unit plan, 263t, 265t,
(Mendelssohn), 73 268t, 270t
356 Symphony no. 4, movement 2, Andante con moto in compound meter (part 3) unit plan, 289t, 299t
(Mendelssohn), 67, 239t in harmonic minor lessons, 168t, 171t
in harmonic minor unit plan, 250t, 253t,
ta (Mixolydian mode). See Mixolydian mode 260t, 262t
Tacka, Philip in natural minor scale unit plan, 227t, 229t, 231t,
“Dear Companion,” Sourwood Mountain, 54 233t, 235t
“I Will Give My Love an Apple,” 67 in sample preparation/practice lesson plan, 38t,
“Pat-a Pan,” The Owl Sings, 80 43t, 46t
Tallis, Thomas, Canon, 55 and teaching fi (Dorian mode), 92
Index
and teaching high ti, 48t Variations on a Theme, St. Anthony’s Chorale by

and teaching natural minor scale, 61t Haydn (Brahms), 55, 203t
transitions “Verbum Domini,” 87t
and developing instrument skills, 158 “Vine and Fig Tree”
in lesson plans, 174–83 in Dorian mode unit plan, 285t, 287t
triads, 155 and teaching si (harmonic minor), 74t, 78
“Tumbalalaika” Violin Concerto in D Major, Op. 61 (Beethoven)
in compound meter (part 1) unit plan, 243t in compound meter (part 2) unit plan, 265t,
in harmonic minor lessons, 168t, 171t 267t, 270t
in natural minor scale unit plan, 227t, 229t, 231t, in compound meter (part 3) unit plan, 291t, 293t,
233t, 235t 295t, 297t, 299t
and teaching natural minor scale, 61t, 65 Violin Concerto No. 1, Movement 3
tuneful singing (Beethoven), 302t
compound meter I assessment, 323t visual inner hearing, 128, 131
compound meter II assessment, 329t visual practice
compound meter III assessment, 335t for compound meter (6/8, even microbeat
developing, 123–26 subdivision), 85–87
Dorian mode assessment, 332t for compound meter (6/8, simple
eighth note followed by dotted quarter note division), 71–73
assessment, 317–18t for compound meter (6/8, uneven microbeat
in grade five curriculum, 5 subdivision), 98–100
harmonic minor scale assessment, 326t for eighth note followed by dotted quarter
high ti assessment, 315t note, 58–60
Mixolydian mode assessment, 338t for fi (Dorian mode), 91–94
natural minor scale assessment, 320–21t for high ti, 52–55
“Turn the Glasses Over” (“I’ve Been to Haarlem“), for natural minor scale, 62, 64–67
31t, 289t, 298t for si (harmonic minor), 78–81
“Twinkle, Twinkle, Little Star” for ta (Mixolydian mode), 105–7
in Dorian mode unit plan, 276t, 285t visual representation
in low ti and dotted eighth and sixteenth notes for compound meter, 82, 95–96
review unit plan, 197t for eighth note followed by dotted
in Mixolydian mode unit plan, 301t, 310t quarter note, 56
two-part songs, 150–53 for fi (Dorian mode), 89
of major scale in teaching high ti, 49
unconscious transitions, 174, 177, 178 for minor scale, 62
unit plan(s), 173–74. See also lesson plan(s) for si (harmonic minor), 75
for compound meter (part 1), 237–50t for ta (Mixolydian mode), 101
for compound meter (part 2, subdivision of for teaching compound meter (6/8, simple
beat), 263–76 division), 69
for compound meter (part 3, dotted rhythms), visual rhythm canon, 146–47
288–300t visuals, and introducing songs, 35
for Dorian mode, 276–88t “¡Viva Viva la Musica!”
for eighth note followed by dotted quarter note, in compound meter (part 2) unit plan, 264t, 272t
212–25t in high ti lesson plan, 179t, 181t
for harmonic minor, 250–63t in high ti unit plan, 199t, 204t, 210t
for high ti, 199–212t in lesson review unit plan, 185t
for lesson review, 185–87t in low ti and dotted eighth and sixteenth notes
for Mixolydian mode, 301–13t review unit plan, 189t
357
for natural minor scale, 225–36t vocal range, 125
to review low ti and dotted eighth and sixteenth
notes, 188–99t Wagner, Richard, “Ride of the Valkyries,” Die
“Urians Reise um die Welt,” Op. No 1 (Beethoven) Walküre, 291t, 293t, 295t, 297t, 299t
in harmonic minor lessons, 168t, 171t “Wake Up! Canon”
in natural minor scale unit plan, 227t, 229t, 231t, in high ti lesson plan, 119t
233t, 235t in high ti unit plan, 199t, 200t, 206t, 210t, 212t
and teaching natural minor scale, 61t in major scale lesson plan, 117t
Index
“Wake Up! Canon” (Cont.) compound meter I assessment, 324–25t

in Mixolydian mode unit plan, 304t, 306t, 308t, compound meter II assessment, 330–31t
310t, 312t compound meter III assessment, 336–37t
in natural minor scale unit plan, 225t, 227t, 235t developing, 134–37
and teaching high ti, 48t and developing instrument skills, 158
“Walk Along John” Dorian mode assessment, 333–34t
in compound meter (part 1) unit plan, 240t, 242t, in Dorian mode unit plan, 277t
244t, 247t, 249t eighth note followed by dotted quarter note
in eighth note followed by dotted quarter note unit assessment, 319t
plan, 222t in eighth note followed by dotted quarter note unit
in sample preparation/practice lesson plan, 38t, plan, 213t
42t, 45t and evaluating lessons, 184
and teaching eighth note followed by dotted in grade five curriculum, 6–7
quarter note, 55t harmonic minor scale assessment, 327–28t
warm-up exercises, 124, 160–62 in harmonic minor unit plan, 251t
“Weevily Wheat” high ti assessment, 316t
directions for playing, 31t in high ti unit plan, 200t
in lesson review unit plan, 185t in Kodály concept, 2
in low ti and dotted eighth and sixteenth notes in lesson review unit plan, 186t
review unit plan, 193t, 197t lesson segment for practicing, 120–21t
“Weldon,” 32t Mixolydian mode assessment, 339–40t
“When I First Came to This Land” in Mixolydian mode unit plan, 302t
in Dorian mode unit plan, 277t, 287t natural minor scale assessment, 322t
in high ti lesson plan, 179t, 181t in natural minor scale unit plan, 226t
in high ti unit plan, 199t, 200t, 204t, 208t and teaching compound meter (6/8, even
in Mixolydian mode unit plan, 301t, 310t, 312t microbeat subdivision), 86
“When Jesus Wept” (Billings), 67 and teaching compound meter (6/8, simple
“When Johnny Comes Marching Home” division), 72
in compound meter (part 1) unit plan, 244t, 246t and teaching compound meter (6/8, uneven
in harmonic minor unit plan, 252t microbeat subdivision), 99
in natural minor scale unit plan, 225t, 232t, and teaching eighth note followed by dotted
233t, 234t quarter note, 59
“Whistle, Daughter, Whistle,” 186t, 195t and teaching fi (Dorian mode), 92
“Who Killed Cock Robin?,” 149 and teaching high ti, 53
“Wild Rider, The,” (Horseman), Album for the Young, and teaching natural minor scale, 65
Op. 68, No. 8 (Schumann) and teaching ta (Mixolydian mode), 105
in compound meter (part 1) unit plan, 248t
in harmonic minor preparation/practice “Yankee Doodle”
lesson, 169t in eighth note followed by dotted quarter note unit
in harmonic minor unit plan, 252t, 254t plan, 215t, 217t, 219t, 221t, 224t
and teaching si (harmonic minor), 81 in lesson review unit plan, 186t
“Wishy Washy,” 33t, 186t, 196t in low ti and dotted eighth and sixteenth notes
“With Laughter and Singing” review unit plan, 196t
in compound meter (part 3) unit plan, 291t, 293t,
296t, 298t, 300t “Zudio”
and teaching compound meter, 81t, 87 in compound meter (part 1) unit plan, 237t,
writing 238t, 245t
358 in compound meter I unit plan, 238t in eighth note followed by dotted quarter note unit
in compound meter II unit plan, 264t plan, 212t, 214t, 220t
in compound meter III unit plan, 290t in sample preparation/practice lesson plan, 39t

Kodály in The Fifth Grade Classroom

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Kodály in the Fifth Grade Classroom

Kodály Today Handbook Series

Micheál Houlahan and Philip Tacka

Kodály in the Fifth

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Published in the United States of America by

© Oxford University Press 2015

All rights reserved. No part of this publication may be reproduced, stored in

You must not circulate this work in any other form

Library of Congress Cataloging-in-Publication Data

We are the music-makers,

Ode, by Arthur O’Shaughnessy

[…] eratque tam turpe Musicam nescire quam litteras

“Legyen A Zene Mindenkié” [Music should belong to everyone]

1 Framing a Curriculum Based on the Kodály Concept • 1

Creative Movement Skills • 159

• Select music materials for teaching

Chapter 1: Framing a Curriculum Based on the Kodály Concept

Chapter 2: Developing a Music Repertoire: Students as Stewards

Chapter Three: Teaching Strategies

Chapter 4: Students as Performers: Developing Music

Chapter 5: Unit Plans and Lesson Plans

Chapter 6: Assessment and Evaluation

Transcending All Methods of Teaching Music

Vertical Alignment of Music Classes

New Cognitive Model for Teaching Music

Who Should Read This Book? xv

Kodály in the Fifth Grade Classroom

Framing a Curriculum Based

The Kodály Concept

Folk songs and games of the American culture

Reading and Writing

Multiple Dimensions of Music

• Performance skills through singing, playing an instrument, and movement

Students as Stewards of Their Cultural Heritage

Students as Critical Thinkers

Students as Creative Human Beings

Students as Informed Listeners

Grade 5 Music Curriculum

Students as Stewards of Their Cultural

. They accompany a song with rhythmic and melodic ostinati.

Children as Critical Thinkers and Problem Solvers: Music Literacy

Students as Creative Human Beings: Improvisation

1. Rhythmic improvisation (based on the rhythmic building blocks of sung

Students as Informed Audience Members: Listening

Prompt Questions for Constructing a Music Curriculum

Questions on Where You Are Coming From

Questions on Repertoire in the Classroom

Questions on Music Skills and Content in Grade Five

Questions on Tailoring Your Teaching to Student Populations

10 Questions on Keeping Your Teaching Relevant

Questions on Embracing Music Learning at Your Campus

This is accomplished throughout a series of lessons.

Key Components of Lesson Plan Design

Table 1.1 Components of the Basic Preparation/Practice Lesson

Table 1.2 Explanation of the Preparation/Practice Lesson Plan

This period of relaxation is followed by a second period of concentration.

Table 1.3 Components of the Basic Presentation Lesson Plan Design

Table 1.4 Explanation of Presentation Lesson Plan for Labeling

Table 1.5 Components of the Basic Presentation Lesson Plan Design

Table 1.6 Explanation of the Presentation Lesson Plan Design

Presentation of a new Element B

4. Sing “Alleluia” with