baharper.weebly.com · Web viewMUSE 351 Portfolio. Fall 2017. Created by: Megan Grady and Brett...

Megan Grady and Brett Harper

MUSE 351 Portfolio

Fall 2017

Created by: Megan Grady and Brett Harper


Summary of Contents

List of Rhymes (Alphabetical)

Cookie Jar Chant p.# 9

Cut the Cake p. # 1

Lucy Locket p. # 5

My Mammy Told Me p. # 11

Sea Shell p. # 3

The Old Woman and the Pig p. # 7

List of Songs (Alphabetical)

Bluebird p. # 17

Bow Wow Wow p. # 15

Ham and Eggs p. # 23

Hop Old Squirrel p. # 13

There’s a Big Ship Sailing p. # 19

Tideo p. # 21


List of Rhymes (By Grade)

Kinder: Cut the Cake p.1

1st Grade: Sea Shell p. 3

2nd Grade: Lucy Locket p. 5

3rd Grade: The Old Woman and the Pig p. 7

4th Grade: Cookie Jar Chant p. 9

5th Grade: My Mammy Told Me p. 11

List of Songs (By Grade)

Kinder: Hop Old Squirrel p. 13

1st Grade: Bow Wow Wow p. 15

2nd Grade: Bluebird p. 17

3rd Grade: There’s a Big Ship Sailing p. 19

4th Grade: Tideo p. 21

5th Grade: Ham and Eggs p. 23


Title: Cut the Cake

Source: Music Play Student Book

Author: Denise Gagne

Rhythms used: ta ta-di

Grade (play): Kindergarten

Grade (read): First Grade

Form: ABAB

Text: Clap your hands together, Give yourself a shake.

Make a happy circle, then let’s cut the cake.

Notation:

Introductory material/activity:

I love eating cake. Cake usually means its someone’s birthday and we’re excited to see them and celebrate with them!

Cutting the cake is the best part because that comes right before you get to eat it!

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Instruction:

Clap hands to beat

Whole-Part-Whole sections ABAB

Transition Technique/Material:

Clap hands to the beat (A1)

Shake hands out in front of you (B1)

March to the beat in a circle around the carpet for 4 beats (A2)

Cutting motion in the air just on the word cake (B2)

Musically Meaningful Activity:

Have kids sit in circle and bring a dog friend to visit who they will make do the motions we just learned. The friend will get passed around the circle and the rest of the students will keep the beat. Each time the friend switches people the way to keep the beat will change

Transition out:

Add an eat the cake section to the end where each student has a piece they eat with their fork then they’ll put the dishes away and have a seat

Potential Extension of Activity/Concept:

Continue using actions in songs and rhymes to help students keep the beat and understand rhythms with clapping later turning them into ta and ta-di

Use other rhymes as ways of using interpretive speech to teach keeping the beat and expressiveness when singing/chanting.

Incorporate Orff instruments to keep beat on a single pitch in different speaking rhymes they’ve already learned and new ones that would be simple to keep a beat to.

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Title: Sea Shell

Source: Kodaly Center: The American Folk Song Collection

Author:

Rhythms used: Ta, Ta-di

Grade (play): 1st grade

Grade (read): 2nd

Form: A A’

Text:

Sea shell sea shell sing a song for me

Sing about the ocean sing about the sea

Notation:


When I was little, my family and I would take trips to the ocean. What kinds of things do you see in the ocean? Whales, fish, sharks, shells; my grandma and sister still collect shells whenever they go to the beach, they’re so pretty to look at.

Instruction:

WPW the song

Echo-translate rhythms and clap rhythms as well

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Name the rhythm which they will say the icons with

Shark, Whale, Shell, Seahorse, Seaweed, Mermaid

Find a partner and a sheet of paper with 4 lines


Each pair will create 4 beat compositions that they will read aloud and to the beat of the song. The groups will rotate throughout the circle as crabs sight-reading each new composition they come to twice. I will provide 2 examples before the begin creating their own pieces.

Transition out:

I will catch the crabs into the boat and transport them back to their original compositions


This lesson will be used to enforce takadimi rhythms. The pictures will have the rhythms of the words on the back and we will then use takadimi to say the different compositions instead of the icons words. Then we will continue to reinforce the concept of notation of quarter notes and eighth notes.

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Title: Lucy Locket

Source: Kodaly Center: The American Folk Song Collection

Author: ------

Rhythms used: Ta, Ta-di

Grade (play): 2nd

Grade (read): 2nd

Form: A A’

Text:

Lucy Locket lost her pocket Kitty Fisher found it

Not a penny was there in it only ribbon round it

Notation:


My friend Lucy is always running around everywhere looking for the things she’s lost. She lost her wallet earlier today but she calls it a pocket instead of a wallet. Lucy Locket lost her wallet or what’s the new word we could use? Lucy Locket lost her POCKET

Instruction:

WPW the rhyme and rhythms


Let’s put the rhythm in our hands and feet to help Lucy find her pocket

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T: Lucy Locket lost her pocket ** (Clap, Clap, Pat, Pat, Clap, Clap, Pat, Pat)

S: Lucy Locket lost her pocket (clap, clap, pat, pat, clap, clap, pat, pat)

T: Kitty Fisher found it ** (Snap, snap, snap, snap, stomp, stomp)

S: Kitty Fisher found it (snap, snap, snap, snap, stomp, stomp)

T: Not a penny was there in it ** (Clap, clap, pat, pat, clap, clap, pat, pat)

S: Not a penny was there in it (Clap, clap, pat, pat, clap, clap, pat, pat)

T: Only ribbon round it ** (snap, snap, snap, snap, stomp, stomp)

S: Only ribbon round it (snap, snap, snap, snap, stomp, stomp)

Transition out:

On the last stomp on the last run all sit down and begin instruction for ostinato


Ostinato to link with the piece. Unlucky Lucy has a ribbon, Unlucky Lucy has no coins

This will be taught WPW and will eventually have body percussion to go along with it also. The class and I will switch back and forth between me saying the ostinato and them saying the rhyme and vice versa until they are comfortable enough for me to split them in half and perform it. The body percussion would be added at the very end once they are very comfortable and capable of saying the rhyme split up.

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Title: The Old Woman and the Pig

Source: 150 American Folk Songs to Sing, Read and Play

Author: Peter Erdei

Rhythms used: ta, ta-di, ta--di

Grade (play): 3rd

Grade (read): 4th

Form: A B A’

Text:

There was an old woman and she had a little pig, oink, oink, oink. There was an old woman and she had a little pig, he didn’t cost much ‘cause he wasn’t very big, oink, oink, oink.

Notation:


I used to live on a farm and my neighbor was a really old lady who would bring over cookies and let me and my sisters play with her animals in the barn. She had a little pig that we would love to play with all the time. The other animals were jealous because we played with the pig so much.

Instruction:

WPW the rhyme

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Tell the students to find a farmer friend and a farm (piece of paper they will build the rhythms on)

Name the animal icons we will be using to build rhythm patterns

Give 2 examples of rhythms they are going to build

Make sure they know how many pictures to use and how many times to say the pattern


Students will build rhythms using the animal packets

We will all practice the patterns as a class and then the students will ride their horses while we sing the song to the neighboring farm to look at different patterns

I will ask for volunteers to say the patterns if they would like to read them for the class

Transition out:

The students will gallop back to their own farms and flip over their pictures


This activity will be used to continue building on notation skills. The proper rhythms will be written on some of the animals and the students will have to write some of the rhythms on the cards.

We will then figure out the takadimi for the rhyme itself with echo-translating and having students write a beat at a time on the board giving each of them a chance to show their notation skills.

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Title: Cookie Jar Chant

Source: Singing Games Children Love Volume 1

Author: Denise Gagne

Rhythms used: ta ta-di ta-mi

Grade (play): 4th

Grade (read): 5th

Form: ABB

Text:

Zoom, Zoom, Zoom, my heart goes kaboom. Now who stole the cookies from the cookie jar?

B-J stole the cookies from the cookie Jar. Who me? Yes you! Couldn’t be! Then Who?

Notation:


When you’re hungry but dinner’s almost done; do you steel a cookie from the cookie jar at all? I did a lot. I LOVE cookies. What did you guys take when you were hungry and you needed a little snack?

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Instruction:

Whole-Part-Whole by line

1, 2, 3, 4, 1&2, 3&4, 1&2&3&4

Provide rhythm for “who has the cookie” and “I have the cookie”

The student in the center of the circle will chant “Who has the cookie?” but the responder will clap ta ta-di ta ta for “I have the cookie”

One student sits in the middle of a circle with eyes closed while we chant the full song

I hand the cookie to a person; person in the middle chants who has the cookie; person with the cookie responds by clapping ta ta-di ta ta and the middle person has to identify which student has the cookie.

The person with the cookie will be the next in the middle of the circle

This gives the students a chance to chant on their own and let me assess their rhythmic ability when clapping


Sit the kids in a circle with myself standing in the middle

Present a paper cookie that will be passed around to the kids


The students will get into partners and create body percussion patterns to go with the rhyme. Some partners will share their rhythms but not all

The partners will then get into groups of four and create another pattern or meld their previous patterns together. Half of the groups will do it for the first line and the other half will do it for the second line so that when we sing the rhyme each group gets to present and the other half of the class can sing and watch the other groups.

Transition out:

After each group presents they will go sit in their seats while singing along with the rest of the class until everyone is at their seats.


Put some sixteenth note groups on the board; use echo-translating to have the students say different variations of takadimi that they have sung in previous lessons to show and provide notation for those rhythms.

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Title: My Mammy Told Me


Author: Peter Erdei

Rhythms used: Ta-Di-Di, Ta-ka-di---mi, Ta, Ta--Di

Grade (play): 5th

Grade (read): 6th+

Form:

Text: My Mammy Told me long years ago, my son, don’t you marry no gal you know. She’ll spend all your money, wear out your clothes, and what will become of you the Lord only knows.

Notation:


When people are getting ready for a wedding, the parents might not like who they are marrying so the parents tell the people in the relationship why the two shouldn’t get married. Sometimes they’ll do crazy things that interfere with the wedding and end up just upsetting everyone.

Instruction:

Teach the rhyme WPW

Rhythms that they struggle with will be addressed with echo-translation of clapping and takadimi

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Students are dismissed 3 at a time to get the drums that are out in a group and come back to seats.


Students transfer rhythms onto the drums while saying the rhyme.

Have different instruments lined up around the room such as Orff instruments, rhythm sticks and larger drums for the students to switch around and put the rhythm on each of the instruments.

****Transition out:

When each of the students has had a turn on the instruments, we will


The students will break up into two groups one with drums that will keep the beat the other half will clap the rhythm of the song. The two groups will switch back and forth to gain comfortability with playing syncopation with a beat right against it.

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Title: Hop Old Squirrel

Source: Singing Games for Children Vol 1.2 Primary: Steady Beat

Composer: Denise Gagne Range: Eb- G

Intervals: m3, M3 Solfege Pitches: Do and Mi

Grade (sing): Kindergarten Grade (read/write): 1st

Introduction:

Begin by starting a conversation with students about squirrels. Have a picture of squirrel, ask the students what they notice about the squirrel (colors, fur, tail). How does the squirrel move? Do the squirrel hop or craw everywhere? Have students make squirrel noises. When the students seem to be engaged, talk about a squirrel you saw hopping around, use the syllable “zoom” for vocal exploration, talking about how fast the squirrel was.

Teaching Sequence:

Sitting in a circle, begin teaching the song. Use neutral syllables with the students, focusing on Do and mi, incorporating the rhythms within the songs. Teach the students the entire song on the neutral syllable, using the whole part whole method, starting with one measure and building. Continue to sing the song to the students with lyrics, teaching it in whole part whole by measure, building on. Spend time teaching until the students can do it repeatedly and comfortably.

Transition:

While students are singing the song, the teacher will begin patting the floor. The teacher will then ask students to tell them what the teacher did. Have students join in this activity.

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Musical Activity:

The activity will focus on having the students keep a steady beat in different ways. The students

will start by patting the ground. The students will then move to clapping while singing. The teacher will ask the students to copy their motions, as the teacher pats their head, claps, taps their knees and so on.

Transition out:

To transition out, have the students bound over to their desks like a squirrel, with their hands in their lap as if they are hiding an acorn.

Extension:

An extension of this lesson could be repeating the song, but having students march to the tempo while singing it, possible only moving while singing and stopping on the rests. This will focus on students keeping the beat while not moving.

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Title: Bow, Wow, Wow


Primary: Teach quarter and eight notes

Composer: Peter Erdei Range: Do- La

Intervals: M2, m3, M3, Solfege Pitches: Do, Re, Mi, Sol, La

Grade (sing): 1st Grade Grade (read/write): 1st Grade

Introduction:

Ask students about their pets. What kinds do they have? What are their names? Do they have dogs? What size dogs do they like? Talk about how your friend Tommy has a dog, and how he often wanders into your yard. Include a story about meeting the dog and not knowing who he belonged to.

Teaching Sequence:

Start with vocal exploration on the neutral syllable “woof”. After moving up and down in pitch on “woof”, have the students practice “do, mi and sol” on the neutral syllable. Teach the song on this neutral syllable using the whole part whole method. Move on to using the actual solfege, mostly focusing on the intervals of do, mi and sol. Teach the song in a whole-part-whole method, most likely in two bar phrases at first, and then the whole thing. Ask questions after first singing through the song, such as who the dog belongs to, and what noises the dog makes.

Transition:

Have students get into pairs, with pictures that have syllables reflecting rhythms. Present these pictures to the children, keeping a beat while presenting them. These cards will include “dog”, which will be like a quarter note and turtle, which will function as two eighth notes, which are the two rhythms used in this song. The teacher will introduce the cards by saying the name while keeping the beat, with students echoing. The teacher will model how the cards will be placed and how many times the composed measure will be read through, asking questions about what the teacher did. Students will have four spaces to fill, allowing each group to create a measure.

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Musical Activity:

The students will use the cards to make a measure long composition. The song will be sung, with a different group saying their measure long rhythm twice, in time, after each repetition, going right back into the song. This will be repeated until every group has gone. The activity can either be ended here, or continued by having the students make a new composition, or have them move to read a different group’s rhythms. Make sure to end with the song.

Transition out:

After the student are done singing their part, send them back to the chairs. Do this by telling the students to go back to their chairs as if they were a dog going home, barking when they have reached the designated seat. This will be done on their last time around.

Extension:

An extension of the lesson could focus on fostering independence. This can be done by having the teacher clap the rhythm while the students keep a steady beat, all while singing the song. Have half the students join the teacher in clapping the rhythm with the teacher, while half keep the beat. After this is done, simply switch.

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Title: Bluebird


Primary: Focus on different note lengths

Composer: Peter Erdei Range: G-E

Intervals: M2, m3, M3, P5 Solfege Pitches: Do, Re, Mi, Sol, La

Grade (sing): 2nd Grade Grade (read/write): 3rd

Introduction:

This could be introduced with a story about bluebirds tweeting, waking the teacher up in the morning. The students would echo the teacher’s pitches on the word “tweet”. The students will tweet with pitches going up and down, eventually landing on the starting pitch. Students will practice Sol to La, Sol and Mi, and the Do Mi Do sequence. This will all be down on solfege. This would transition into solfege.

Teaching Sequence:

After the introduction of the syllables, the song can be easily taught in parts. Starting with two measure chunks, then into four measures, and then the entire song. The students will echo the teacher each time, following the “my turn then your turn, my turn is first” phrasing. Sections of the songs can be repeated based on the students’ difficulty with the song.

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Transition:

The transition will have the students moving into a circle, with the teacher visible to all students. The students will be instructed to watch the teacher, who will model the body percussion. This body percussion will be stomping on quarter or half notes, patting the legs on eighth notes, and clapping on the rest at the end of each phrase. The teacher will ask questions such as “What did I do on the words ‘blue bird’”? and “When did I clap?”.

Musical Activity:

The students will learn this body percussion through the whole part whole method. The teacher will first teach in two bar fragments, moving to four and then the entire song. Students will replicate this motion until they seem comfortable with it. Students will first practice the body percussion while the teacher sings. Next, the students will do the body percussion while singing the songs in their heads. Lastly, the students will sing the song with body percussion.

Transition out:

The teacher will transition out by having the students “fly” back to their seats after they are placed back in the circle.

Extrension:

The extension will focus on the rhythms used in this song. The song would be sung by students again with body percussion. The students would then move to Orff instruments with three bars, Do, Mi and Sol. The students will slowly add in a new note for each rhythm. The students will be instructed to play the quarter notes on one note, then half notes on another and finally add eighth notes on the note they have left.

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Title: There’s a Big Ship Sailing

Source: Sail Away: 155 American Folk Songs to Sing, Read and Play

Primary: Pickup Notes

Composer: Eleanor G. Locke Range: C-D

Intervals: m2, m3, M3, P4, P5 Solfege Pitches: Do, Re, Mi Fa, Sol, La

Grade (sing): 3rd Grade (read/write): 4th

Introduction:

Begin by discussing what it is like to be on a boat. Talk about how waves throw a boat. Do vocal exploration based on the syllable “woah”, as students pretend that they are tossed around by waves. Eventually narrow it down to just the syllable “oh”.

Teaching Sequence:

Start with solfege syllables, going through the whole-part-whole method. Begin with four bar phrases, eventually going to eight bar phrases and then the whole song. After the students are comfortable with the solfege syllables, add the lyrics, most likely in eight bar phrases.

Transition:

Transition by talking about how boats usually have captains, and have the students in three lines, with the front being the “captain”. Have a hat or bandana for the captains to hold.

Musical Activity:

For the game, the students will look at each other and start the song with each other. The boats will stop on the words, “There’s a”, which works as a pickup measure. After the song is sung through, the students will change captains.

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Transition out:

To transition out, have the students begin to sit down once they are done being the captain.

Concept:

The concept of this lesson is that students will learn to begin together, while also focusing on a pickup measure. This is done by starting together, and the entire “boat” stopping while they say the words “There’s a”.

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Title: Tideo

Source: Singing Games Vol 1.2

Primary: Singing while dancing and introducing sixteenth notes.

Composer: Denise Gagne Range: C-C

Intervals: M2, m3, M3, P4, P8

Solfege Pitches: Do, Re, Mi, Sol, La, Do

Grade (sing): 4th Grade Grade (read/write): 4th

Introduction:

Talk to students about different noises that things make. Such as rattling, ringing, slushing and jingling. Have ideas for things in mind, such as bells, a sand box or a rattle. Ask students to say what different noises these make. Focus on jingling after a while, to bring the students into the lesson.

Teaching Sequence:

Begin by singing the song for the students and teaching the song in a whole part whole method. Before the song, ask students to listen for how many windows are passed, and what noise Joe is making at the window. Use whole part whole starting with single measures, paying attention to how students can handle the octave leap. If the students have an issue with the octave, practice it on a neutral syllable.

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Transition:

Teach body percussion for the song using whole part whole. The body percussion will include moving to the right two steps, and hitting hands with the partner on “tideo”. At “jingle in the window” students will pat their thighs, hitting hands again on “tideo”. During “Jinglin’ Jinglin’ Jinglin’ Joe” students will change spots, again hitting their knees on “jingle at the window” and so on during that measure. This will be repeated, and then the song will be repeated. Have the students find a partner, making a circle within a circle, with the students facing each other. Through the whole part whole method, teach them the body percussion for the lesson, airing the partner motions. Start by showing the students the whole song with the body percussion. The students will practice just the body percussion, then the body percussion while the teacher sings, and then sing while performing the body percussion.

Musical Activity:

The activity will have the students performing the body percussion, while singing, moving around the circle at each repetition. This will allow them to practice keeping time in a dance, while enforcing that the sixteenth notes are different by patting their legs.

Transition out:

To transition out, have the students “jingle” back to their seats, meaning have them shake as if they are bells making noise.

Concept:

The concept for this lesson is that it is the beginning of talking about how the sixteenth notes are much faster than the other notes. This activity allows for students to learn this while performing and moving with other students.

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Title: Ham and Eggs

Source: Singing Games V1.2 Primary:Call and Response

Composer: Denise Gagne Range: C-D

Intervals: m2, M2, m3, M3, P4, M9, M7 Solfege Pitches: Do, Re, Mi, Sol, La Ti

Grade (sing): 5th Grade Grade (read/write): 5th Grade

Introduction:

Ask questions about breakfast food: Favorite kinds of breakfast food? How they like their eggs? Where are their favorite breakfast places to eat? Talk enthusiastically about how you love breakfast and how it is a great way to start your day. Also talk about how your favorite breakfast consists of ham and eggs.

Teaching Sequence:

Giving the students a starting pitch, practice the song in a whole- part- whole method. Begin by singing the whole song, and continue to have students echo firstly in two bar fragments, move to four bars, and then the whole song. Pay attention to the trickier parts of the song, especially the last two bars.

Isolate the last two bars, working on them with neutral syllables, most likely “pah”. After the students are more comfortable, also teach the song in whole part whole using solfege, allowing more melodic practice, especially on the last two intervals. Spend extra time on the trickier places while teaching in solfege.

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Transition:

Have students create a circle and split the circle down the middle. Call one side group one and one side group two. Model the song for group one, beginning on bar one and skipping the second, fourth and sixth bars. Ask what you have left out. Have the students sing the piece this way. Do the same thing for group two, but leaving out bars one, three and five. Have those students try this way.

Musical Activity:

The music activity is having the students sing in two groups, which allows them to sing in a call and response way. The groups can also switch. As the students begin to be more comfortable you can also add in a third group, which does an ostinato, being bar seven repeated through the piece, until the last bar. Change these groups around as you go.

Transition out:

To transition out, pretend to “flip” the students back to their desks as they are singing the piece. Do this until three students remain, one from each group, then end the lesson.

Concept:

The most prominent concept in this lesson is that of practicing call and response. This allows students to do a more solo activity within an ensemble. It also allows kids to listen to each other while staying engaged. It also works with rhythmic accuracy, as they must come in exactly after the other group. There is also the concept of the octave, which is very practiced, especially with the ostinato. The ostinato itself could also be a concept for discussion.

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baharper.weebly.com · Web viewMUSE 351 Portfolio. Fall 2017. Created by: Megan Grady and Brett...

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