S R Workshop PPII-Tonalncmusicworkshop.com/uploads/S_R PPII-Tonal 6 slides per pg.pdf · Music is...
Transcript of S R Workshop PPII-Tonalncmusicworkshop.com/uploads/S_R PPII-Tonal 6 slides per pg.pdf · Music is...
Music Literacy���Tonal
Carol J. Krueger���Director of Choral Activities
Emporia State University
“Musical literacy is as universally
possible as linguistic literacy and the
development of such literacy is an
obligation of the schools.”
Lois Choksy
Why Music Literacy?���One need not be able to read and write to make music.
Linguistic Literacy • Those who are illiterate
are DEPENDENT upon others; only oral – aural communication;
• Being able to read and write allows us to function in society; – Becomes an independent
creator and learner of stories, now able to communicate across space and time. Don P. Ester
Music Literacy • Those who are illiterate
are DEPENDENT upon others; only oral – aural communication.
• Ability to read and write music notation makes for an independent musician. – The restrictions on
communicating and learning are removed; horizons can expand beyond previous limits.
– EMPOWER not ENABLE
Music Literacy • Music Literacy: Ability to translate notation into vocal sound (reading)
and sound into notation (notating). – Singing voice is the fundamental instrument for all musicians.
• “If you can sing it, you can hear it; if you can hear it, you can sing it”. – Ability to sight-read notation on any instrument is an
important and valuable skill. However, being able to press the correct keys on an instrument in response to notation does not confirm that the performer can audiate the music.
– DECODING vs LITERACY
• Audiation or “thinking sound”: – the ability to hear the music internally, provides the
foundation for comprehensive music literacy.
• Process of learning music is much the same as learning language. – Listened to language-even in womb; surrounded by
conversation; became acculturated to it; – Tried to imitate; must pass through ‘babble’ before
imitation; – Began to think in it; words and phrases began to have
meaning; – Began to improvise in the language; engage in conversation;
developed ability to think and speak – Learned to read and write;
• Language development and achievement would have been affected if any of the steps had been skipped.
• Process of learning music: – Listen and absorb a wide variety of music; became
acculturated to it; – Must pass through ‘babble’ stage before accurate
imitation; – Audiate or think in it; hear and comprehend in one’s
mind; awareness of underlying tonality and meter; complex process;
– Improvise in the language; engage in conversation; develop ability to think and accurately perform;
– Learn to read and write;
Music is an aural art. • Sound
– Hear, sing/chant through imitation before reading and writing
• Sign – Sound + verbal association (syllable)
• Symbol – Visual representation of the sound/sign
• Theory – Give principles and theory only after practice and as they become relevant
“Action will remove the doubt that theory cannot solve.” – Petryl Hsieh
You can spend your whole life thinking and theorizing, but it is only through action that you gain clarity. Theory can only take you so far. When you actually start taking action, things are much different than in theory.
Literacy Process ���Sound before Sight
“Man cannot discover new oceans unless he
has the courage to lose sight of the shore.”
Andre Gide (1869-1951) French writer, humanist and moralist,
1947 nobel prize for literature
Tools ���[facilitate cognitive processing]���
Systems for Reading Tonal���
Tonal systems must serve the needs of the learning approach used by the teacher; they must not drive the approach or be the approach.
Systems for Reading Tonal: Must connect very efficiently with the aural syntax of music, allowing the learner to easily link syllables to patterns before encountering notation.
Must eventually link to musical symbols in a practical and intuitive manner.
Should be appropriate for use with all ages.
Should promote quality singing.
Should facilitate the generalization of identical patterns from one pitch level to another. For example, a given melody must be sung using the same syllables regardless of starting pitch.
Should assist in the aural identification, labeling, and accurate performance of each mode (Major, Minor, Dorian, etc.).
Solmization (solfa, solfège)
• Tonal-solmization systems are either sound-based (Moveable Do)
or symbol- based (Fixed Do); the syllables either correlate most directly with aural percepts or visual percepts. • Sound-based (relative) solmization systems are better suited for sound-before-symbol
teaching strategies; 99.99% of the population hears pitches in relation to each other rather than absolute pitches (Takeuchi & Hulse, 1993).
• Fixed solmization is symbol-based: syllables correlate with specific written pitches regardless of tonality or key center. • A different syllable pattern must be learned/sung for each of the tonic triads associated
with the fifteen key signatures.
• Fixed Do
• Two commonly-used versions: the original with only seven diatonic syllables, and a modified version that adds chromatic syllables.
Solmization (solfa, solfège)
• Sound-based systems are commonly referred to as relative solmization systems: the syllables correlate with aural scale degrees in the framework of tonality regardless of pitch level.
– The concept of relative solmization pre-dates fixed solmization by several centuries. – System is responsive to changes in tonality and tonic pitch level; facilitates the consistent labeling
of patterns in the context of tonality.
• Moveable Do [64% of middle/high school directors] Demorest, 2001
– Major Scale
– Chromatic Scale: accidental always signals a change in solfège syllable.
Solmization (solfa, solfège)
• La Minor [Accidentals are visual warnings that a chromatic syllable is required]
– Natural Minor Scale
– Harmonic Minor Scale
– Melodic Minor Scale
– Preferred by Practitioners; 2/3 of moveable do users, use “la” minor.
Solmization (solfa, solfège) • Do Minor
[Requires the extensive use of chromatic syllables from the initial encounter with the minor mode]
– Natural Minor Scale
– Harmonic Minor Scale
– Melodic Minor Scale
– Preferred by Theorists: values the theoretical perspective of parallelism that establishes do as the tonic in all modes
Numbers ���Sound Based
• The numbers 1, 2, 3, etc. are assigned to the degrees of the scale.
Letter Names ���Symbol Based
• The letters A, B, C, D, E, F and G are used for the appropriate pitch names. – Sharps are ace, beas(t), cease, dease, eas(t), feas(t) and jeese.
– Flats are ahs, bess, cess, des(k), es(t), fes(t) and jes(t).
Tools
Hand Signs
Hand Signs • History
– Ancient Hebrew and Egyptians
– Guidonian hand (11th century)
– Sarah Glover (19th century)
– John Curwen (1816-1880)
– Zoltan Kodàly (1882-1967)
• Positive Aspects – Connects to learning styles.
• Kinesthetic • Visual representation of high-
low relationship – Visually observe student
engagement – Movement and verbal
communication are essential to anchor new information for gestalt dominant learners
– Logic dominant learners benefit from discussion or writing/hand motion in order to anchor new information in memory; under stress they are less able to express themselves with hand and body gestures
Chromatic Tonal Ladder # do b
ti li te
la si le
so fi se
fa mi
ri me re
di ra do
Musical Literacy Procedure • Phase I—Reading Readiness or Preparation
– Teach songs by rote (WHOLE)
– Develop a sound vocabulary (PART)
• Neutral echoing: learn musical patterns; patterns have meaning in and of themselves.
• Syllable echoing: associate specific syllable labels with distinct patterns.
• Echo translating: aural-verbal translation (dictation)
• Phase II—Symbolic Association – Reading: symbol syllable sound
– Notating: sound syllable symbol
• Phase III—Melodic Reading – Integrating Tonal and Rhythm
Tonal Sequence���Major and Minor Should Be Taught Simultaneously
• Major Pentachord • Major Tonic Triad • Major Scale • Major Scale + Tonic
Arpeggio • I, V • I , V7 • I, IV, V7 • Other Diatonic Triads
• Minor Pentachord • Minor Tonic Triad • Natural Minor Scale • Minor Scale + Tonic
Arpeggio • Minor Scales + Tonic
Arpeggio • i, v; i, V • i , V7 • i, iv, V7 • Other Diatonic Triads
Tonal Sequence Phase I���
Reading Readiness or Preparation���Purpose: develop a “sound” vocabulary
• Train the ear – “In the ear and out the mouth”
• Process centers around rote learning (imitation) • Expose students to songs in a variety of meters
and tonalities (WHOLE) before you teach ‘patterns’ (PART).
Rote Song Guidelines—Tonal When teaching rote songs NEVER let students just sit and listen. They should always be listening for a musical concept/feature. • Teach the entire song as one solid piece; do not break it up unless it is very
long. [Whole Song Method vs Phrase Method] • Sing the song on a neutral syllable first (noo, bum, ee, etc.). Only add words
when students can sing it accurately and with phrasing and beauty. • Instruct singer to move their hands in tonal contour:
– In the air; – On a white board with a marker:
• As students advance, have them share his/her contour with the class; • After students have done the specific phrases in contour, mix them up to see
if the class can determine which phrase is which. – With a flashlight on the ground or the wall.
Rote Song Guidelines—Tonal • Instruct singers to move their hands up and down to show the tonal
movement; • Stop in the middle of the song and instruct the students to sing the
tonal center; • Instruct students to raise their hands when there is a specific tonal or
melodic pattern (do-mi-re); repeated pitches, ascending patterns, descending patterns;
• Instruct students to draw phrase rainbows in the air to find logical resting points;
• Instruct students to wave on the highest pitch and/or the lowest pitch; • Instruct students to translate the song or sections of the song into
solfege, write in tonal contour and then transfer to a staff; • Instruct student to sing the melodic cadence from the song that
defines the tonality.
Phase IA ���Aural-Oral Skill Development ���“In the ear and out the mouth”
• Tonal Procedure: Neutral Echoing – Teacher sings tonal patterns on neutral syllable while using
hand signs – Students echo on neutral syllable while using hand signs
Students learn musical patterns; patterns have meaning in and of themselves.
Phase IB: Verbal Association ��� Sound + Syllables = Sign
• Tonal Procedure: Syllable Echoing – Teacher sings tonal patterns on tonal syllables while using
hand signs; – Students echo on tonal syllables while using hand signs.
• Vocal-Pitch Exercises pitch skills that condition the ear, voice and mind – Scales and modes – Skip, step
• Flashcards – Intervals
• Ascending and Descending from Tonic • Moving out from Tonic • Flashcards
– Triad, chord – Thirds, fourths – Pentachords & Triads built on each scale degree – Chord Inversions – Chord Progressions—I, IV, V, etc.
Words should be associated with their sound.
“People often say that motivation
doesn’t last.
Well, neither does bathing –
that’s why we recommend
it daily.”
– Zig Ziglar
Additive Major Scale Major Scale • A Major Scale is a series of seven tones in a specific pattern of whole and half steps.
• The smallest distance between two tones is a half step or semitone. – Half steps occur between mi and fa (3-4)
and ti and do (7-1). • Two half steps combine to form a
whole step. – Whole steps occur between do—re—mi
and fa—so—la—ti. • Please note that a major scale is two
major tetra chords [WWH] connected by a whole step. [WWH] – W – [WWH]
Tetra Chord
PLUS Whole Step
Tetra Chord
Natural Minor Scale
• A Natural Minor Scale is a series of seven tones in a specific pattern of whole and half steps.
• The smallest distance between two tones is a half step or semitone. – Half steps occur between ti and do (2-3)
and mi and fa (5-6). • Two half steps combine to form a
whole step. – Whole steps occur between la—ti, do—
re—mi and fa—so—la.
• Please note that the pattern for a natural minor scale is:
W [H-W-W] [H-W-W]
Whole Steps
Half Step
Whole Steps
Half Step
Whole Step
Additive Minor Scale “If you wait to do
everything until
you’re sure ���
it’s right, ���
you’ll probably
never do much ���
of anything.”���
– Win Borden
“I hear and I forget.
I see and I remember.
I do and I understand.”
– Confucius
The dream begins with a teacher who
believes in you,
who tugs and pushes to lead you to the next plateau,
sometimes poking you with a sharp
stick called ‘truth’.
Dan Rather
RESPONSIBILITY FOR
LEARNING BELONGS
TO THE STUDENT, REGARDLESS
OF AGE.
Robert Martin
“Every
accomplishment
starts with the
decision to try.”
– Unknown
“Any change,���
even change ���
for the better,���
is always
accompanied by
drawbacks and
discomfort.” ���
– Arnold Bennett
Remember a dead fish can
float downstream but it takes a live one to
swim upstream. ~ W C Fields ~
Phase IC ���Pattern Generalization
• Tonal Procedure – Teacher sings tonal pattern on neutral syllable; – Students echo on tonal syllables using hand
signs.
• Application to Literature: – Aurally recognize tonal patterns in a familiar
piece of music
Tonal Recall • Using only hand signs, show typical tonal patterns and
instruct students to sing the patterns;
• Using a tonal ladder, instruct students to sing the indicated syllables;
• Read from tonal contour…
• Dictation in tonal contour.
TONAL LADDER
re
do ti
la
so
fa mi
re
do ti
mr r
d d
Iconic Representation
Dictation • Dictation in tonal contour (Beginning level);
• Dictation in tonal contour using a graph to indicate whole and half steps (Advanced level).
mr r
d d
Iconic Representation
National Standard ���Students should sing alone and with others.
• Teaching Technique—Edwin Gordon – Teaching Mode: Teacher performs pattern in duet with student or
three to five students simultaneously echo pattern.
– Teaching Mode: Should also be done with vocal exercises.
National Standard ���Students should sing alone and with others.
• Teaching Technique—Edwin Gordon – Evaluation Mode: Student performs pattern alone.
– Evaluation Mode: Should also be done with vocal exercises.
Phase I Activities • Aurally distinguish between:
– High vs Low (Relationship) – Ascending vs Descending vs Combination – Diatonic Step vs Skip (Intervals) – Same and Different Patterns – Major and Minor
• Research – Children as young as five can discriminate between simple tonal
patterns; they can even identify major vs. minor mode changes (Jordan-DeCarbo & Nelson, 2002).
– Five-year-olds are also quite successful at reproducing simple rhythm patterns and this skill continues to improve through age 8 and beyond (Hargreaves, 1986).
– It is important to note, however, that “children have to reach at least 7 years before they can pay attention to and coordinate rhythm and melody simultaneously” (Gembris, 2002, p. 494).
Phase I Activities • Aurally distinguish between:
– High vs Low (Relationship) – Ascending vs Descending vs Combination – Diatonic Step vs Skip (Intervals) – Same and Different Patterns – Major and Minor
• Family Feud – Aural - Oral – Verbal Association – Generalization
• Iconic Representation of Tonal Line – string/yarn/solfege in tonal contour
• Improvise with tonal patterns
Phase I Activities
• Solfege Game – Drill the solfege forward and backward
• Exercise (Keep the beat by alternating right and left hand) – Do— 1; Re — 2; Mi — 3; Fa — 4; So — 5; La — 6; Ti — 7; – 7 — G—Ti; 6 — La; 5 — So; 4 — Fa; 3 — Mi; 2 — Re; 1 — Do; – Variation: Reverse both tasks: 1 — Do; 2 — Re; etc.; G — Ti; La — 6, etc.
– Apply solfege to major and minor scales • Exercise 1
– Teacher gives number—students reply with corresponding solfege syllable – Teacher gives letter—students reply with corresponding solfege syllable
• Exercise 2 – Ascending Solfege Drill: Teacher gives solfege—students respond with the next
ascending solfege syllable. – Descending Solfege Drill: Teacher gives solfege—students respond with the next
descending solfege syllable. • Exercise 3
– Scale drill: Do—1; Re—2; Mi—3; Fa—4; So—5; La— 6; Ti—7; – Repeat with descending scale; – Variation: State number first and then the solfege syllable.
• Exercise 4 – Teacher sings one of the scale degree pitches and students respond by singing the
syllable of the next ascending scale degree; Repeat with students responding with the syllable of the next descending scale degree.
– Repeat above using intervals, triads, etc.
Phase I Activities
• Alphabet Game – Drill the musical alphabet and backward
• Exercise (Keep the beat by alternating right and left hand) – A — 1; B — 2; C — 3; D — 4; E — 5; F — 6; G — 7; – 7 — G; 6 — F; 5 — E; 4 — D; 3 — C; 2 — B; 1 — A; – Variation: Reverse both tasks: 1 — A; 2 — B; etc.; G — 7; F — 6, etc.
– Apply musical alphabet to major and minor scales • Exercise 1
– Teacher gives number—students reply with corresponding letter – Teacher gives letter—students reply with corresponding number
• Exercise 2 – Ascending Alphabet Drill: Teacher gives letter—students respond with the next
ascending musical alphabet letter. – Descending Alphabet Drill: Teacher gives letter—students respond with the next
descending musical alphabet letter. • Exercise 3
– Scale drill: D—1; E—2; F# (Feace)—3; G—4; A—5; B— 6; C# (Cease)—7; – Repeat with descending scale; – Variation: State number first and then the letter.
• Exercise 4 – Teacher sings one of the scale degree pitches and students respond by singing the
pitch of the next ascending scale degree; Repeat with students responding with the pitch of the next descending scale degree.
– Repeat above using intervals, triads, etc.
Phase I Activities
Jason Sickel
Phase II ���Symbolic Association
• Visually associate symbols (notation) with the sign (syllables + sound);
• Read patterns learned during the “reading readiness” phase;
• Read exercises; – Drill – Silent singing – Error detection
• Dictation; • Improvise; • Create and compose.
Notation of Pitch
• Staff • Line and Space Notes
Notation of Pitch
• Associate Sign (Sound + Syllables) with notation
• Intervals
• Triads
Tonal Reading Preparation—Steps • Read tonal syllables in tonal contour.
• Read tonal syllables on staff.
• Read note heads on staff.
Tonal Reading Preparation—Skips • Read tonal syllables in tonal contour.
• Read tonal syllables on staff.
• Read note heads on staff.
Reading—Tonal Patterns • Establish tonality, patsch several preparatory beats, sing
pattern a cappella. Use hand signs and patsch beat with dominant hand.
a. b.
c. d.
Reading—Tonal Patterns • Encourage students to look for harmonic tones and
non-harmonic tones.
a.
b.
• Drill: Place paper under line and write first letter of solfege.
Audiation Skills
• Silent Singing: Silently sing all of the fa’s.
• Silent Singing: Silently sing all of the re’s.
Audiation can be used as preparation for triad intervals.
Audiation Skills
• Silent Singing: Silently sing all of the mi’s. a.
b.
Clef Signs • A symbol called a clef is
placed at the beginning of the staff to indicate the pitch of the notes.
Treble���Clef
• Music for high voices and instruments will usually be written in treble clef or G clef. The symbol is an ornamented letter G used in early notation; the final curve of the symbol indicates the pitch ‘G’ on the second line.
Bass ���Clef
• Music for low voices and instruments will usually be written in bass clef or F clef. The symbol is an ornamented letter F used in early notation; the beginning of the curve, guarded by two dots, indicates the pitch ‘G’ on the fourth line.
Key Signatures
A key signature is a grouping of sharps or flats placed at the
beginning of a staff to indicate the key or tonality.
Major Key Signatures ���Find The Starting Tonal Syllable���
do = tonic – For sharp key signatures, call the sharp farthest to the right ‘ti’; assign a
tonal syllable to each line and space until the starting pitch is reached.
– For flat key signatures, call the flat farthest to the right ‘fa’; assign a tonal syllable to each line and space until the starting pitch is reached.
Tonic Syllable
Minor Key Signatures ���Find The Starting Tonal Syllable���
la = tonic – For sharp key signatures, call the sharp farthest to the right ‘ti’; assign a
tonal syllable to each line and space until the starting pitch is reached.
– For flat key signatures, call the flat farthest to the right ‘fa’; assign a tonal syllable to each line and space until the starting pitch is reached.
Tonic Tonic Syllable
Notice that each line and space represents a basic pitch of the musical alphabet [A, B, C, D, E, F AND G]. As notes ascend on the staff, the pitch names move forward in the musical alphabet. As notes descend, the pitch names move backward.
AVOID the use of old devices like “Every Good Boy Does Fine,” as this results in slow readers and defeats the intent of the staff (sequential hierarchy of pitch from low to high). Drill the names of lines and spaces from bottom to top and top to bottom. This will also aid in the understanding of ledger lines and spaces (used to extend the staff).
Treble Clef
Bass Clef
NAMES OF LINES AND SPACES
LEDGER LINES AND SPACES
The staff may be extended with ledger lines, short horizontal lines placed above or below the staff. Both the ledger lines and the spaces between the lines represent pitches. Notice that notes in the spaces immediately below or above the staff do not require ledger lines, and the ledger lines are never connected to one another.
Major Key Signatures • Call the sharp farthest to the right ‘ti’; find and name ‘do’.
1.
2.
TONIC
TONIC
5th
3rd R
5th3rdR
A Major
B Major
Major Key Signatures • Call the flat farthest to the right ‘fa’; find and name ‘do’.
1.
2. TONIC 5th
3rd R
TONIC 5th
3rd R
E Major
F Major
Minor Key Signatures • Call the sharp farthest to the right ‘ti’; find and name ‘la’.
1.
2.
TONIC
TONIC
5th
3rd R
5th
3rd R
B Minor
C# Minor
Minor Key Signatures • Call the flat farthest to the right ‘fa’; find and name ‘la’.
1.
2. TONIC
TONIC 5th
3rd R
5th
3rd R
D Minor
C Minor
Major Scale • A Major Scale is a series of seven tones in a specific pattern of whole and half steps.
• The smallest distance between two tones is a half step or semitone. – Half steps occur between mi and fa (3-4)
and ti and do (7-1). • Two half steps combine to form a
whole step. – Whole steps occur between do—re—mi
and fa—so—la—ti. • Please note that a major scale is two
major tetra chords [WWH] connected by a whole step. [WWH] – W – [WWH]
Tetra Chord
PLUS Whole Step
Tetra Chord
Major Scale 1. Major Scale Notated with Accidentals [WWH] W [WWH]
2. Major Scale Notated with a Key Signature [WWH] W [WWH]
Remember: The letters A, B, C, D, E, F and G are used for the appropriate pitch names. Sharps are ace, beas(t), cease, dease, eas(t), feas(t) and jeese.
Major Scale 1. Major Scale Notated with Accidentals [WWH] W [WWH]
2. Major Scale Notated with a Key Signature [WWH] W [WWH]
Remember: The letters A, B, C, D, E, F and G are used for the appropriate pitch names. Flats are ahs, bess, cess, des(k), es(t), fes(t) and jes(t).
Natural Minor Scale
• A Natural Minor Scale is a series of seven tones in a specific pattern of whole and half steps.
• The smallest distance between two tones is a half step or semitone. – Half steps occur between ti and do (2-3)
and mi and fa (5-6). • Two half steps combine to form a
whole step. – Whole steps occur between la—ti, do—
re—mi and fa—so—la.
• Please note that the pattern for a natural minor scale is:
W [H-W-W] [H-W-W]
Whole Steps
Half Step
Whole Steps
Half Step
Whole Step
Natural Minor Scale 1. Natural Minor Scale Notated with Accidentals w+[HWW] [HWW]
2. Natural Minor Scale Notated via a Key Signature w+[HWW] [HWW]
Remember: The letters A, B, C, D, E, F and G are used for the appropriate pitch names. Sharps are ace, beas(t), cease, dease, eas(t), feas(t) and jeese.
Natural Minor Scale 1. Natural Minor Scale Notated with Accidentals w+[HWW] [HWW]
2. Natural Minor Scale Notated via a Key Signature w+[HWW] [HWW]
Remember: The letters A, B, C, D, E, F and G are used for the appropriate pitch names. Sharps are ace, beas(t), cease, dease, eas(t), feas(t) and jeese.
Students differ in “how they learn.” Full Motor Access • Individual under stress can still
access information visually and auditorially, and can communicate details through language;
Fully Limited- One Sided Processing
• Individual under stress is unable to access most auditory and visual information, has difficulty moving gracefully and communicating
– Often get labeled “learning disable” or “Special Ed”
– Thought to be Einstein’s profile
Eye Dominance • Visually able learners have their
dominant eye opposite their dominant brain hemisphere and can access visual information even under stress.
• [Cross Lateral Control]
• Visually limited profile: dominant eye on the same side as dominant brain hemisphere; visual access is decreased during stress because dominant brain is not controlling the muscular movements of the dominant eye
• [Homolateral: Fully Limited-Unilateral State]
Eye Dominance • Approximately half of all learners are homolateral;
[dominant eye on the same side as dominant brain hemisphere];
• When attempting to learn new or challenging information, they may not actually look at the teacher; they may even shut their eyes in order to concentrate on verbal information, especially if their ears are facilitated by their dominance patterns. Often interpreted by teachers are inattentiveness.
Eye Dominance���Implications for Reading
• In normal eye teaming the dominant eye orchestrates the tracking of both eyes; right eye naturally tracks from left to right while the left eye naturally tracks from right to left. – Left eye dominant learners will initially want to look at the
right side of the page first, thus causing difficulties in reading English.
– Because eye and hand are so intimately connected, letter reversals are not uncommon when left eye dominant learners are first learning to read and write.
Eye Dominance • Tracking:
• Work in pairs; student to left should track for student on right;
• Use paper/card to isolate line; • Use flashcards to train the eye.
• Only 4% of vision actually comes through the eyes as primary vision, the other 96% is manufactured in our brains using integrative information from our memories and all our senses.
Ear Dominance • In an integrated state we are able to take in primary
hearing through both ears. • Auditory able learners have their dominant ear opposite
their dominant brain and prefer an auditory presentation;
– Gestalt dominant individuals with the opposite ear dominant will preferentially listen for overview, metaphor, story, dialect and emotion of the information; good memories for faces, underlying meanings and emotions;
– Logic dominant individuals with the opposite ear dominant will preferentially listen for details and linear progression of information; good memories for numbers, formulas, spelling.
Ear Dominance
• Auditory Limited Profile (dominant ear on same side as the dominant hemisphere) – Taking in new information via hearing
may prove difficult – Over half of all learners are auditory limited,
and yet the majority of teaching is verbal.
• Ears also facilitate our understanding of tone and meaning behind the words and also the fast sound components in ordinary language. – One of the factors of dyslexia is the inability to decipher fast sound
components in ordinary language (sh, th, s, ch, etc.), the improvement of auditory functioning should be considered in dealing with dyslexia.
– Impacts singers awareness of diction (vowel and consonants).
Hand Dominance • Logic Hemisphere Dominant Learners
– Tend to be expressive: verbal and kinesthetic
COMMUNICATION ABLE LEARNERS
COMMUNICATION LIMITED LEARNERS
Even under stress they can fully express via words and gesture.
Under stress they will be less able to express in words and gesture.
Hand Dominance • Gestalt Hemisphere Dominant Learners
– Tend to be kinesthetically expressive: – Gestalt dominant learners welcome movement to
anchor learning. KINESTHETICALLY ABLE
LEARNERS COMMUNICATION LIMITED
LEARNERS
Even under stress they can fully communicate via gesture.
Under stress they are verbally limited.
Under stress they have limited access to their verbal, logic hemisphere,
and kinesthetic expression.
Feet—Movement Able • Logic:
– Follow step-by step instructions in movement activities
– Lack spontaneity in movement.
• Gestalt: – More spontaneous, free-
form and guided by rhythm.
– Difficulty following step-by-step instructions.
Feet—Movement Limited • Dominant foot on same side as dominant hemisphere
– Individual will have difficulty moving forward under stress; – ‘stop in their tracks’ – Experience clumsiness resulting in bruises, skinned knees or
worse.
Teach to the Whole Brain • Organize students according to their easiest sensory access:
– Visual learner in front – Auditory learners in the next row with right ear dominants on the left side
of the room and left ear dominants on the right side of the room – Gestalt fully limited students should be placed in the back of the room
with clay or wax to manipulate kinesthetically during class.
• Additional Benefits – It can become a strong lesson in self-understanding and compassion for
others. Students should become aware of the learning preferences of their peers and how and why they respond under stress.
– Stress level will be lower, classroom management will be easier, and students may gain higher academic achievement.
Dominance Profile of Teachers • Study also profiled the
teachers: 75% of them were logic hemisphere dominant, right-handed, right eyed, and auditory limited
• Under stress people with this profile tend to talk about the details, not listen, and expect students to look at them.
Apply Skills to Literature
• Read tonal only in literature.
• Retention is dependent upon immediate and consistent use of skill.
To improve is to change, to be perfect is to change often. —Winston Churchill
Apply Knowledge to Literature ���Score Search
• Find and circle the “new” and “out-of-sequence” tonal patterns; • Identify and define all terms:
– Dynamics – Articulation – Character Terms (cantabile, dolce, con brio, etc.)
• Indicate all accidentals with an asterisk [*] • Label all cadences
– Progressive/Terminal and/or Authentic/Half/Plagal • Draw a(n):
– Blue box around all Tonic Chord Tones – Red box around all Dominant Chord Tones – Green box around all Subdominant Chord Tones – Pink circle around all passing tones (non-harmonic tone) – Orange triangle around all upper and lower neighbor tones (non-harmonic tone)
Phase II Tonal Activities
• Family Feud – Symbolic Association
• Solfege and/or Alphabet Drill on Staff
• Twister Solfege or Letter Name
– Use oil cloth table cloths or shower curtains
• Research – Do NOT teach Every Good
Boy Does Fine/FACE, etc. • Students seldom integrate the
lines and spaces back into a pitch hierocracy;
• Results in slow readers • Professional pianists and
orchestral members read via intervals or tactile NOT letter names.
Change is the only constant. Hanging on is the only sin.
Denise McCluggage
Solfege/Letter Name Twister
Jeffrey Danielson West Carteret High School
Moorehead City, NC
Theresa Burns Jamestown Middle School
Greensboro, NC
Spinner for Twister
Theresa Burns
Solfege on Staff Kathy Bonyon, BCS Literacy Coach and Jeannie Graeme, Chorus Teacher at North Buncombe High School designed an interactive, musical staff floor mat complete with 4’ tall treble and bass clef in order to give music students an “off the paper” learning experience.
Jeannie Graeme, North Buncombe High School, Weaverville, NC
Phase II Tonal Activities • Identify Tonal Patterns
– Which pattern was performed; – Order the patterns were
performed; – Which pattern was performed
with a mistake?
• Use Tonal Flash Cards – ‘Flash’ – Move from left to right
• Transcribe tonal contour to the staff.
• Tonal Bingo • Tic-Tac-Toe
• SWAT: Tonal and Melodic A. Tonal B. Tonal C. Melodic
Rules for Treble Trek
• Divide class into 2 teams • Teacher sings/chants patterns; a
student from each team notates pattern.
• 1st student correct, team moves 2 spaces
• 2nd student correct, team moves 1 space.
• Only 1 student correct, team moves 3 spaces.
• Only 2 chances per round. • If no one is correct, each team
moves back one space. • Class should read correctly
notated pattern
Dirk Myers
Jeopardy “Which Way Did
They Go?”
“So’ What?”
“Where is Bambi’s Mother?”
“Do You Hear What I
Hear?”
“It’s a hop, ‘step’ and a ‘skip’”
100 100 100 100 100 200 200 200 200 200 300 300 300 300 300 400 400 400 400 400 500 500 500 500 500
Concentration Flashcard
#1A Flashcard
#3B Flashcard
#4A Flashcard
#5B
Flashcard #2A
Flashcard #1B
Flashcard #5A
Flashcard #4B
Flashcard #3A
Flashcard #2B
Flashcard #6A
Flashcard #6B
Use Games for Bulletin Boards Bulletin Board Kevin Piner – Akin, SC
Aural Skills • Error Detection
– Include “negative ear training” exercises. • Same or Different • Circle incorrect pitch(es) • Notate the correct pitch(es)
a.
b.
Musical Memory Skills
• Game: Add one or two note tonal pattern
Tonal Dictation—Phase I • Dictation in Graphic Form
mr r
d d
Tonal Dictation—Phase II • Notate pattern on large paper staff using game
chips as note heads.
• Dictation Shorthand
IMPROVISATION
• What? – Spontaneous expression of meaningful musical ideas
• Analogous to conversation in language. – Babble to words to statements to questions; think and improvise
in the language—crucial to language acquisition. – Learn to read and write with understanding because of the
experiences you had listening, thinking, and speaking.
• Why? – Enables musicians to express themselves from an
internal source and is central to developing musicianship in all aspects of music.
IMPROVISATION
• How? – Build a repertoire of tunes and a sense of musical
styles; – Build a vocabulary of tonal patterns, melodic
phrases, rhythm patterns and rhythm phrases – Develop an understanding of harmonic progression,
harmonic rhythm and aural skills necessary to listen to music meaningfully and to interact expressively with others.
Tonal Patterns ���Built On ���
Harmonic Function
• Echo—Sing tonal patterns on ‘bum’; • Echo—Sing tonal patterns on solfège syllables; • Echo—Play tonal patterns on instruments (if applicable);
• Read—Sing tonal patterns from notation; • Read—Play tonal patterns from notation.
Tonic—Dominant—Tonic
Sing ‘Root’ of Tonal Patterns ���Identify Harmonic Function
• Listen to each tonal pattern: – Sing the root function using solfége syllables; – Immediately identify the harmonic function;
(Tonic, Dominant, Subdominant, etc.)
• Listen again and play the root on instruments.
Improvise Tonal Patterns • Listen to each tonal pattern. After each pattern
improvise a different pattern with the same harmonic function (Tonic, Dominant, Subdominant, etc.)
– Sing using solfège; – Sing on a neutral syllable (bum); – Play on instruments.
→
→
→
Echo Tonal Phrases Built On ���Harmonic Progression
• Echo—Sing the series of patterns (phrase)
using ‘bum’.
• Echo—Sing the series of patterns (phrase)
using solfége.
• Echo—Play the series of patterns (phrase)
on instruments.
Echo Tonal Phrases Built On ���Harmonic Progression
Tonic Dominant Tonic
Harmonic Progression of Tonal Phrases • Listen to the harmonic progression of the tonal phrase and Sing
the bass line (roots) using solfège; indicate function using fingers (I/V, etc.)
• Listen to the harmonic progression of the tonal phrase again and Play the bass line (roots) on instruments.
A. Listen
Root
B. Listen
Root
Harmonic Progression of Tonal Phrases • Listen to the harmonic progression of the tonal phrase and Sing
the bass line (roots) using solfège; indicate function using fingers (I/V, etc.)
• Listen to the harmonic progression of the tonal phrase again and Play the bass line (roots) on instruments.
C. Phrase
Roots
D. Phrase
Roots
Melody & Harmonic Progression • Sing known melody over root chord/bass line;
– Half of class sings melody/half sings root chord line;
Repeat above process using instruments.
Improvise Tonal Phrases ���Over Harmonic Progression
• Listen to a tonal phrase (series of tonal patterns). After each phrase improvise a different series of patterns over the same harmonic progression: – Sing using solfège; – Sing on a neutral syllable (bum); – Play on instruments.
A. Listen
Improvise
Improvise Tonal Phrases ���Over Harmonic Progression
B. Listen
Improvise
C. Listen
Improvise
Melody & Harmonic Progression • Sing known melody over improvised harmonic
progression; – Half of class sings melody/half improvises tonal patterns over harmonic
progression;
Repeat above process using instruments.
Melody & Harmonic Progression Melody
Roots
Rhythm Pattern
Melody
Roots
Rhythm Pattern
Voice Parts • Read and Sing each of the harmony parts (solfège) below;
Sing in two-five part harmony.
Repeat above process using instruments.
Melody
Roots
Do & Ti
Mi & Fa
So
Improvised Rhythm of Harmonic Progression • Using neutral, solfége, and/or rhythm syllables, improvise known rhythm patterns to
each of the voice parts below. Sing in two to four-part harmony.
Repeat above process using instruments.
Melody
Roots
Do & Ti
Mi & Fa
So
Melody, Improvised Rhythm ���Over Harmonic Progression
• Divide class into two to four parts; each individual improvises known rhythm patterns on the pitches from his/her assigned voice part. Exchange tasks. (Use solfège as it will help to anchor novice harmony skills.)
• Divide class into three to five parts; one group sings the melody while the remaining groups improvise known rhythm patterns on the pitches from his/her assigned voice part.
Repeat above process using instruments.
Tonic—Subdom
inant—D
ominant
Tonic—Subdom
inant—D
ominant
A. Phrase
Root
Improvise
B. Phrase
Root
Improvise
Tonic—Subdom
inant—D
ominant
C. Phrase
Root
Improvise
D. Phrase
Root
Improvise
Tonic—Subdominant—Dominant • Using neutral, solfége, and/or rhythm syllables, improvise known rhythm
patterns to each of the voice parts below. Sing in two to four-part harmony.
Melody
Roots
Do-Ti
Mi-Fa
So-La
Tonic—Subdominant—Dominant • Using neutral, solfége, and/or rhythm syllables, improvise known rhythm
patterns to each of the voice parts below. Sing in two to four-part harmony.
Melody
Roots
Do-Ti
Mi-Fa
So-La
ASSESSMENT
• Why? – Determine the teacher’s instructional effectiveness; – Diagnose students’ strengths and weaknesses; – Monitor students’ progress.
• How? – Gather information about:
• Where the student has been, • Where the student is now, and • Where the student should be relevant to your academic
and musical expectations.
Assessment, Phase I, Tonal���National Standard ���
Students should sing alone and with others.
• Teaching Mode: – Teacher sings a tonal pattern and teacher echoes in duet with a
student or three to five students simultaneously echo pattern. • Phase IA, Aural-Oral: Neutral Echoing • Phase IB, Verbal Association: Syllable Echoing • Phase IC, Generalization: Echo Translating
• Evaluation Mode: – Teacher sings a tonal pattern and student echoes the pattern alone.
• Phase IA, Aural-Oral: Neutral Echoing • Phase IB, Verbal Association: Syllable Echoing • Phase IC, Generalization: Echo Translating
Phase I Assessment ���Tonal Recall
• Using only hand signs, show typical tonal patterns and instruct student to sing the pattern;
• Using a tonal ladder, instruct student to sing the indicated syllables;
• Read from tonal contour…
• Take dictation in tonal contour.
TONAL LADDER
re
do ti
la
so
fa mi
re
do
ti
mr r
d d
Phase I Assessment���Vocal Pitch Exercises
• Students individually sing assigned vocal pitch exercises via video or in person.
Phase I Assessment���(Aural-Oral)
• Aurally distinguish between: – High vs Low (Relationship)
Listen as three pitches are performed and then determine which of the three pitches is the :
1. Highest pitch: First Pitch Second Pitch Third Pitch
2. Lowest Pitch: First Pitch Second Pitch Third Pitch
3. Middle Pitch: First Pitch Second Pitch Third Pitch
Phase I Assessment���(Aural-Oral)
Aurally identify the tonic or keynote: • In each of the following exercises you will hear a short melody
that begins on the tonal center. Listen and circle “yes” if the melody ends on the tonic and “no” if the melody ends on a note other than the tonic.
• In each of the following exercises you will hear a short melody that begins on a pitch other than the tonal center. Listen and circle “yes” if the melody ends on the tonic and “no” if the melody ends on a note other than the tonic.
1. Yes No 2. Yes No
1. Yes No 2. Yes No
Phase I Assessment���(Aural-Oral)
Listen as two patterns are Performed and then determine if they are the same or if they are different.
1. Same Different 2. Same Different 3. Same Different 4. Same Different 5. Same Different
Listen as a tonal pattern is performed and then determine if the pattern contains only diatonic steps. Circle the appropriate answer. 1. Yes No
Listen as a tonal pattern is performed and then determine if the pattern contains only tonic triad chord tones. Circle the appropriate answer. 1. Yes No
Phase I Assessment���(Aural-Oral)
Listen as a tonal pattern is performed and then determine if the pattern contains only diatonic steps or tonic triad chord tones. Circle the appropriate answer.
1. Steps Chord Tones 2. Steps Chord Tones 3. Steps Chord Tones 4. Steps Chord Tones 5. Steps Chord Tones
Listen as a tonal pattern is performed and then determine if the pattern contains only diatonic steps, tonic triad chord tones or a combination of diatonic steps and chord tones. Circle the appropriate answer.
1. Steps Chord Tones Both 2. Steps Chord Tones Both 3. Steps Chord Tones Both 4. Steps Chord Tones Both 5. Steps Chord Tones Both
Phase I Assessment���(Aural-Oral)
• Dictation in Graphic Form
mr r
d d
Phase I Assessment���(Aural-Oral)
Aurally identify intervals: • In each of the following exercises you will hear an isolated
melodic interval in ascending or descending order. Circle the quantity and direction of each interval.
• In each of the following exercises you will hear an isolated melodic interval in a Major scale (ascending or descending order). Circle the quantity and direction of each interval.
Phase I Assessment���(Aural-Oral)
Aurally identify scales: • In each of the following exercises you will hear a succession of
eight pitches in ascending or descending order. Circle “yes” if the pitches form a major scale, “no” if they do not.
• In each of the following exercises one of the three scales performed will be a natural minor scale. Circle the number that represents the natural minor scale.
A. Yes No B. Yes No C. Yes No
A. First Second Third
B. First Second Third
C. First Second Third
Phase I Assessment���(Aural-Oral)
Aurally identify scales: • In each of the following exercises you will hear either a major
scale or a natural minor scale. Circle the quality of each scale.
• In each of the following exercises you will hear a natural minor, harmonic minor or melodic minor scale. Circle the quality of each scale.
A. Major Minor B. Major Minor C. Major Minor
A. Natural Harmonic Melodic
B. Natural Harmonic Melodic
C. Natural Harmonic Melodic
Phase I Assessment���(Aural-Oral)
Aurally identify triads/chords: • In each of the following exercises you will hear three pitches
performed simultaneously. Circle “yes” if the pitches form a major triad and “no” if they do not.
• In each of the following exercises you will hear the three pitches of the tonic triad performed one at a time. Determine the order of the pitches. Write “R” for root, 3rd for the third and 5th for the fifth.
A. Yes No B. Yes No C. Yes No
A. _____ _____ _____
B. _____ _____ _____
C. _____ _____ _____
Phase I Assessment���(Aural-Oral)
Aurally identify triads/chords: • In each of the following exercises one of the three triads
performed will be a minor triad. Circle the number that represents the minor triad.
• In each of the following exercises you will hear either a major triad or a minor triad. Circle the quality of each triad and then determine the order of the pitches. Write “R” for root, 3rd for the third and 5th for the fifth.
A. First Second Third
B. First Second Third
C. First Second Third
A. Major Minor B. Major Minor ___ ___ ___ ___ ___ ___
Phase I Assessment���(Aural-Oral)
Aurally identify tonality and harmonic progression: • In each of the following exercises you will hear tonic and dominant
chords in major and/or minor tonalities, determine the quality and order of the harmonic progression. Circle the quality and write “T” for Tonic and “D” for dominant.
• In each of the following exercises you will hear tonic, subdominant and dominant chords in major and/or minor tonalities, determine quality and order of the harmonic progression. Circle the quality and write “T” for Tonic, “SD” for subdominant and “D” for dominant.
A. Major Minor B. Major Minor ___ ___ ___ ___ ___ ___ ___ ___
A. Major Minor B. Major Minor ___ ___ ___ ___ ___ ___ ___ ___
Phase II Assessment ���(Symbol-Visual)
• Matching: Tonal Pattern Tonal Syllables
__1. a. mi, fa, so, mi, do
__2. b. so, fa, mi, so, do
__3 c. do, mi, so, fa, mi
__4 d. so, mi, fa, so, do
e. mi, so, mi, re, do – œ œ œ œ œ
– œ œ œ œ œ– œ œ œ œ œ– œ œ œ œ œ
Phase II Assessment ���(Symbol-Visual)
• Write the tonal syllables for each notated pattern.
Notation Tonal Syllables
1.
2.
3.
4.
– œ œ œ œ œ– œ œ œ œ œ– œ œ œ œ œ– œ œ œ œ œ
Phase II Tonal Assessment ���(Symbol-Visual)
• Using a sight reading exercise or piece of music, read and simultaneously write the solfege syllables on a separate sheet of paper. – Time the above task.
Phase II Assessment ���(Symbol & Aural-Oral)
• Listen as a pattern is performed on a neutral syllable. Circle the letter of the music notation that corresponds to the pattern performed.
• All of the following patterns will be performed in a random order. Listen and determine the order in which they were performed.
Phase II Assessment���(Aural-Oral & Symbolic Association)
• Error Detection A. Listen and follow the notation below.
Determine if the performance and the notation are the same or different. 1. Same Different 3. Same Different 2. Same Different 4. Same Different
B. Listen and follow the notation below. Circle the incorrect pitch(es).
C. Listen and follow the notation below. Identify the incorrect pitch(es) and then notate the correct pitch(es).
Major Key Signatures (Symbol—Visual)
• Examine the key signature (a) determine the starting tonal syllable, (b) determine the key name, and (c) circle the tonic note. 1. Tonal Syllable___ Key _____ 4. Tonal Syllable___ Key ___
2. Tonal Syllable___ Key _____ 5. Tonal Syllable___ Key ___
3. Tonal Syllable___ Key _____ 6. Tonal Syllable___ Key ___
Minor Key Signatures (Symbol—Visual)
• Examine the key signature (a) determine the starting tonal syllable, (b) determine the key name, and (c) circle the tonic note. 1. Tonal Syllable___ Key _____ 4. Tonal Syllable___ Key ___
2. Tonal Syllable___ Key _____ 5. Tonal Syllable___ Key ___
3. Tonal Syllable___ Key _____ 6. Tonal Syllable___ Key ___
Major Scale (Symbol—Visual)
1. Notate the A Major Scale via Accidentals.
2. Notate the A Major Scale via a Key Signature.
ASCENDING DESCENDING
ASCENDING DESCENDING
Major Scale (Symbol—Visual)
1. Notate the E Major Scale via Accidentals.
2. Notate the E Major Scale via a Key Signature.
ASCENDING DESCENDING
ASCENDING DESCENDING
Natural Minor Scale (Symbol—Visual)
1. Notate the C Natural Minor Scale via Accidentals.
2. Notate the C Natural Minor Scale via a Key Signature.
ASCENDING DESCENDING
ASCENDING DESCENDING
Natural Minor Scale (Symbol—Visual)
1. Notate the B Natural Minor Scale via Accidentals.
2. Notate the B Natural Minor Scale via a Key Signature.
ASCENDING DESCENDING
ASCENDING DESCENDING
Musicianship Skills Ensemble Skills
Vocal/Instrument Skills
Musicianship Skills Ensemble Skills
Vocal/Instrument Skills
Literature
Elementary Lesson Plan
Elementary Lesson Plan
Chorus Rehearsal Lesson Plan Date:________ Class Period: ________________
Activity Musical Focuses
Vocal Technique Vocal Warm-Ups Student Objective: Students will consistently reinforce the characteristics of healthy
vocal tone and continue to demonstrate them throughout the rehearsal
Exercises:
! Posture
! Breathing
! Registration
! Resonance
! Phonation
! Articulators
! Vowel Shapes
! Consonants
! Flexibility
! Relaxation
Meter Rhythms Voicing
! Q = 1 beat ! ! ! Unison ! SA ! SSA
! TB ! SAB ! SATB
! E = 1 beat ! ! Key Signature
! Major:___ ! Minor:___
! H = 1 beat ! ! Melodic Movement
! Steps ! Skips _____________ ! Simple ! Ties/Slurs ! Extension Dots
! Compound !
!
! Mixed ! !
Music Literacy Student Objective: Students will become independent readers on rhythmic and melodic
exercises.
Exercises:
! Asymmetrical ! !
Solfege Syllables Used:
Di Ri Fi Si Li
Do Re Mi Fa So La Ti Do
Ra Me Se Le Te
Musicianship Skills ! Dictation ! Aural Skills ! Composition ! Improvisation
! Theory ! Musical Memory ! Listening ! Other:
Student Objective: Students will…_______________________________________________________
Student Objective: Students will…_______________________________________________________
Rehearsal of Literature _____________________________________ ___________________________
Selection Page(s)/measures to be rehearsed
Student Objectives: Students will…
! Correct pitches
! Correct rhythms
! Part-singing
! Balance
! Intonation
! Vowel
unification
! Diphthongs
! Consonants
! Phrasing
! Diction
! Text (word
and syllabic
stress)
! Tempo
(changes)
! Rhythmic
Integrity
! Articulations
! Dynamics
! Artistry
! Choir/director
response
_____________________________________ ___________________________
Selection Page(s)/measures to be rehearsed
Student Objectives: Students will…
! Correct pitches
! Correct rhythms
! Part-singing
! Balance
! Intonation
! Vowel
unification
! Diphthongs
! Consonants
! Phrasing
! Diction
! Text (word
and syllabic
stress)
! Tempo
(changes)
! Rhythmic
Integrity
! Articulations
! Dynamics
! Artistry
! Choir/director
response
_____________________________________ ___________________________
Selection Page(s)/measures to be rehearsed
Student Objectives: Students will…
! Correct pitches
! Correct rhythms
! Part-singing
! Balance
! Intonation
! Vowel
unification
! Diphthongs
! Consonants
! Phrasing
! Diction
! Text (word
and syllabic
stress)
! Tempo
(changes)
! Rhythmic
Integrity
! Articulations
! Dynamics
! Artistry
! Choir/director
response
Materials Needed: ! Music folder & pencil ! Sight-reading book ! Theory book & pencil ! Other:
ESE/ESOL Modification: ! A-Peer partner assigned ! C-Oral test administered ! E-___________________
! B-Extended test time ! D-Seat in front of room ! F-___________________
(See back of lesson plan for specific modifications on each student) Homework:
Instrumental Rehearsal Lesson Plan Date:________ Class Period: ________________
Activity Musical Focuses Instrumental Technique Warm-Ups
Student Objective: Students will consistently reinforce the characteristics of healthy instrumental tone and continue to demonstrate them throughout the rehearsal Exercises:
! Posture ! Breathing
! Registration ! Resonance
! Fingering ! Embouchure
! Tone ! Articulation
! Flexibility ! Relaxation
Meter Rhythms Voicing
! Q = 1 beat ! w ! ! ˙ Ó
! Unison ! Parts: ___________________
! E = 1 beat ! œ Œ ! œ œ Key Signature
! Major:___ ! Minor:___ ! H = 1 beat !
jœ ‰ ‰ jœ !.˙
Melodic Movement ! Steps ! Skips/Leaps _______
! Simple ! Ties/Slurs ! Extension Dots ! Compound
!.œ jœ !
3œ œ œ ! Mixed
!jœ œ jœ ! œ œ œ œ
Music Literacy Student Objective: Students will become independent readers on rhythmic, tonal, and melodic exercises. Exercises:
! Asymmetrical ! œ œ œ œ œ œ !
.œ œ œ .œ
Solfege Syllables Used:
Di Ri Fi Si Li Do Re Mi Fa So La Ti Do Ra Me Se Le Te
Musicianship Skills ! Dictation ! Aural Skills ! Composition ! Improvisation ! Theory ! Musical Memory ! Listening ! Other:
Student Objective: Students will…_______________________________________________________ Student Objective: Students will…_______________________________________________________ Student Objective: Students will…_______________________________________________________
Rehearsal of Literature _____________________________________ ___________________________ Selection Page(s)/measures to be rehearsed Student Objectives: Students will…
! Correct pitches ! Correct rhythms ! Balance
! Intonation ! Fingering ! Phrasing
! Articulations ! Dynamics ! Tone
! Tempo (changes) ! Rhythmic Integrity
! Artistry ! Band/director response
_____________________________________ ___________________________ Selection Page(s)/measures to be rehearsed Student Objectives: Students will…
! Correct pitches ! Correct rhythms ! Balance
! Intonation ! Fingering ! Phrasing
! Articulations ! Dynamics ! Tone
! Tempo (changes) ! Rhythmic Integrity
! Artistry ! Band/director response
_____________________________________ ___________________________ Selection Page(s)/measures to be rehearsed Student Objectives: Students will…
! Correct pitches ! Correct rhythms ! Balance
! Intonation ! Fingering ! Phrasing
! Articulations ! Dynamics ! Tone
! Tempo (changes) ! Rhythmic Integrity
! Artistry ! Band/director response
Materials Needed: ! Instrument & Equipment ! Music Folder ! Band Method Book ! Theory Book ! Pencil ! Paper ! Other: _____________________________________
ESE/ESOL Modification: ! A-Peer partner assigned ! C-Oral test administered ! E-___________________ ! B-Extended test time ! D-Seat in front of room ! F-___________________
(See back of lesson plan for specific modifications on each student) Homework:
Redbird—Tonal Patterns • Phase I: Aural—Oral
– Vocal Pitch Exercises: Additive Major Scale, Extended Major Scale, Tonic Triad Arpeggio
– Tonal Patterns • Echo Syllable - Syllable • Echo Neutral - Syllable
– Pre-Reading: Read above tonal patterns in tonal contour (Pitch Recall)
Redbird—Tonal Patterns
• Phase II: Symbolic Association – A. Read Tonal Patterns
Redbird—Tonal Line
• Phase II: Symbolic Association – B. Read Tonal Line
What Y
ou Gonna Call ���
Your Pretty Little Baby
Kyrie Eleison Kyrie Eleison
A Jubilant Gloria Alma Llanera
Alma Llanera A
lma Llanera
Benedicamus D
omino
Courage
Eu e Voce
I Am A Cloud
Jede Sedlak Muerto
Nine Hundred Miles Nine Hundred Miles
Starry Night of Winter Starry Night of W
inter
The Place Called Morning
The Place Called Morning
I Want Jesus To Walk With Me I Want Jesus To W
alk With M
e
Praise The Lord Sanctus
Rhythm Patterns
Beat Beat Division Extension Dots
Tonal Patterns
Tonal Lines
Tonal Line—Voice Part I
Tonal Line—Voice Part II
Tonal Line—Voice Part III
Tonal Line—Voice Part IV
J’aime La Galette !
!"#$"%&'($$)*+,&
"#$%! "#$%!&'(')'*+!
!
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!!!!
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,!-.*+'/0! 12!-&*3'+$+%45#(#+%60! ,1!-57849*3'+$+%0!
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8'9*5:;!<':!*=!>!
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!!
Lift Up Your Voice and Rejoice A. Rhythm Patterns
B. Two-Part Rhythm
C. Tonal Patterns
D. Tonal Lines by Phrase
Zither, Zinga, Zing! Rhythm Patterns
Tonal Patterns
Tonal Line—Voice Part I
Tonal Line—Voice Part II
Tonal Line—Voice Part III
Fare Ye Weel !
!"#$"%&'($$)*+,&
!
!
!
!
!!
-.+(/&'($$)*+,&
!
!
!
!
!
!
!
!!!!
!
"#$%&!'($)*!
+$(*#$!",)-&)!
!!
",)-&)!.!
!!
",)-&)!..!
!!
",)-&)!...!
!!
!
Domaredansen Beat and Beat Division Beat Subdivision Syncopation
Tonal Patterns
Interval from vi chord. Intervals from V and vi chord. Intervals from V chord. Intervals from V chord. Interval from V chord. Interval from V chord. Interval from iii chord.
Interval from V chord. Interval from V chord. Interval from V chord. Interval from V chord.
I am always doing that which I cannot do,
in order that I may learn how to do it.
~Pablo Picasso
Oxford University Press Progressive Sight Singing
Second Edition
ISBN 0195386043
Companion Website
http://www.oup.com/us/krueger
Teaching Tool Websites Free “positive feedback” postcards
http://www.Vistaprint.com Free Web-based Music Notation Program
www.noteflight.com Main Website with all sorts of teacher tools
http://www.murray.k12.ga.us/teacher/kara%20leonard/TeacherTools.htm
Game show templates and sound byte http://www.murray.k12.ga.us/teacher/kara%20leonard/
MiniT/Games/Games.htm#gameshows
Resources Old and New Rounds and Canons. Harry R. Wilson, Harold Flammer Music, G-5002 150 Rounds for Singing and Teaching. Bolkovac and Johnson. Boosey & Hawkes, 1996. The King’s Singers Book of Rounds, Canons and Partsongs. Hal Leonard: HL 08743259
Pentatonic Partners. Cristi Cary Miller, Hal Leonard: 09970253
Five Concert Canons. (3-5 voices) Ron Jeffers. Earthsongs, B-08
Resources Smart Moves: Why Learning Is Not All In Your Head,
Carla Hannaford, ISBN 0-915556-37-5 The Dominance Factor,
Carla Hannaford, ISBN 0-915556-31-6 The Ways Children Learn Music, An Introduction and
Practical Guide to Music Learning Theory, Eric Bluestein, GIA Publications, G 5440
Music Play: The Early Childhood Music Curriculum Guide; Valerio, Reynolds, Bolton, Taggart and Gordon. GIA Publications, G-J236
Jump Right In Song Collections David Woods and Edwin Gordon, GIA Publication, G-J13
Use ���old drum heads ���for classroom decoration.
Flint Dollar Macon, GA
Summer���2013���
MUSIC LITERACY ���
& ���CHORAL���
W���O���R ���K���S ���H���O���P���S ���
CAROL J. KRUEGER
June 10-12, Morningside College, Sioux City, IA Jill Wilson: [email protected]
June 19-21, University of South Dakota, Vermillion, SD South Dakota Choral Director’s Institute
David Holdhusen: [email protected]
June 24-26, Southwest Plains Regional Service Center, Sublette, KS Belinda Miller: [email protected] Website: http://www.swprsc.org/ July 13-19, Tennessee Arts Academy,
Belmont University, Nashville, TN Connie Marley: [email protected] Website: http://www.tennesseeartsacademy.org/
July 22-25, Shenandoah University, Winchester, VA Jeffrey Marlatt: [email protected]
July 29-August 2, Meredith College, Raleigh, NC Jane Bruer: [email protected]
Website: http://www.ncmusicworkshop.com
August 6-10, Minnesota ACDA State Conference Steven Albaugh: [email protected]