How Do We Become Musical Explorers?

Transcription

1 CARNEGIE HALL presents Musical Explorers My City, My Song A Program of The Weill Music Institute at Carnegie Hall for Students in Grades One and Two Teacher Guide

2 unit 1 Lesson 1 How Do We Become Musical Explorers? AIM: To answer What is an explorer? MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 6, 8; NYC 1, 2, 3 SUMMARY: In this introductory lesson, you and your students will investigate the meaning of exploration and learn the exploration methods we will use as Musical Explorers to discover New York City and the music found in its neighborhoods. VOCABULARY: creating, dynamics, explorer, listening, looking, pitch, senses, scavenger hunt, sounds, tempo Warm-Up and Activities for Student Guide Pages (SG) 1 7 Welcome to Our Musical Trip! (SG1) Three Different Kinds of Explorers (SG2 and 3) Introduce students to: The Carnegie Hall Musical Explorers Song, the program s theme song on page 8. Begin each class by listening to this song or performing it. Track 1 The line in the song that says Don t you want to know? When students want to know something, what do they do? The world explorer, someone who uses the five senses to learn about something. The character of the Conductor, who will introduce students to the different communities in New York City, where they will meet vocal artists and learn about their music. To prepare students to become Musical Explorers: Examine various types of explorers and think about what each one explores. Ask students: Who are some of the people who explore the world around us? For instance, who explores the sky, the oceans, or the land? (Answers: astronaut, marine biologist, archeologist.) Tell students to imagine that they are exploring the sky, the oceans, or the land. Have students choose one, pictured on SG2, and circle it. On SG3, have them draw what they imagine that explorer would find. Encourage them to use their senses to guide their responses. For example, the marine biologist might see different types of colorful fish, touch the cold water, or hear the crashing of the waves and underwater gurgles. Once students have finished, have them share their work with the rest of the class. 6

3 unit 1 Lesson 1 Musical Scavenger Hunt: What Can a Musical Explorer Discover? (SG4 and 5) Note: Musical Explorers use their sense of hearing the most. The next activity incorporates listening. LISTENING Invite students to: Create a Musical Word Wall, a space in the classroom used to display new musical sounds and terms Go on a musical scavenger hunt outside the classroom to find and identify the many sounds of our school s neighborhood. With your students, place sounds into various categories on chart paper: high or low sounds (pitch add to Word Wall) loud or soft sounds (dynamics add to Word Wall) fast or slow sounds (tempo add to Word Wall) transportation sounds (examples: airplanes, buses, car, trains) people sounds nature sounds other sounds (Students can invent categories.) Use SG4 and 5, chart paper, or the blackboard to document student findings. Urban Soundscape (SG6) Now that they have experienced sounds in their neighborhoods, students will look at the pictures on SG6, imagine the sounds they might hear, and color in the objects for which they imagine hearing sounds. LISTENING Ask students: What kinds of sounds did you imagine hearing? Were any of these sounds similar to the sounds you hear in your neighborhoods? Were any different? Our Steps as Musical Explorers (SG7) Introduce three important steps to help explore music: LISTENING (closely listening to sounds and music) LOOKING (carefully observing the world around you) CREATING (making something new using what you have heard, seen, and learned) Keep in mind that responding and reflecting are part of each step. 7

4 unit 1 Lesson 1 4 & # 7 & # 11 & # 14 & # & # 4 4 q»94 D 7sus4. œ œ œ A m7 - œ œ SON œ TELLS A TALE. Œ œ œ G. œ œ œ A m7 œ œ œ Œ EV' - RY SONG TELLS A STO - RY EV' - RY TUNE G G/F # F nœ œ œ œ œ B m7 œ œ œ œ œ œ œ Œ MAKES THE MU G œ. œ Œ Œ œ œ SING IT Carnegie Hall Musical Explorers Song I CAN DON'T YOU WANT TO KNOW? Œ œ œ œ E m œ. œ œ œ œ œ EV' - RY RHY - THM HAS A REA- D 7sus4 D 7 Ó A m7 œ œ œ œ œ œ œ j œ Œ œ œ œ A m7 œ œ œ œ œ œ œ j œ DON'T YOU WANT TO KNOW WHAT D 7sus4 - SIC GO? COME A-LONG AND SEE MAKE YOUR DIS-CO-VER-Y: G/F œ. nœ Œ Œ œ œ SAY IT I CAN C/E œ. DANCE IT œ Œ Œ œ œ I CAN E b œ. bœ œ. Œ Œ œ œ PLAY IT I CAN Music & Lyrics by Daniel Levy Music and Lyrics by Daniel Levy D7 œ œ œ œ j œ œ œ I CAN G œ. œ Œ Œ œ œ SING IT I CAN 19 & # G/F œ. nœ Œ Œ œ œ C/E œ. œ Œ Œ œ œ E b œ. bœ Œ Ó C(add9) G nœ œ œ œ œ. r œ œ œ SAY IT I CAN DANCE IT I CAN PLAY IT I CAN GO EX-PLORE THE 23 & # 25 & # C(add9) œ œ œ œ œ œ œ œ œ œ. G WORLD OF MU - SIC AT MY DOOR MY CI-TY AND MY NEIGH - BOR -HOOD C(add9) œ œ œ œ œ œ œ œ œ œ. nœ SINGIN' - SONGS AND FEEL - IN' GOOD G œ C(add9) G œ œ œ œ œ œ œ œ œ j œ F nœ œ œ œ œ œ œ œ œ œ œ œ I CAN KNOW WHAT MAKES THE MU - SIC GROW & # D 7sus4 D 7 œ. A m7 A m7/d œ œ œ œ œ œ œ œ œ œ œ œ I CAN KNOW WHAT MAKES THE MU - SIC GO! Ó G Copyright 2007 Daniel Eliot Levy ASCAP 8

5 Subway map and MTA logo the Metropolitan Transportation Authority. Used with permission. SG1 unit 1 Lesson 1 Welcome to Our Musical Trip! Welcome to Musical Explorers! I m the Conductor, and I ll be guiding you on a musical trip through New York City. Together, we ll hear music, explore places, and meet some special people. Come along with me! 9

6 SG4 SG2 Three Different Kinds of Explorers I think they would explore sky ocean land 10

7 SG3 SG5 If I were an explorer of the sky, the oceans, or the land, I imagine I would see: feel or touch: hear: and also: 11

8 SG4 Musical Scavenger Hunt: What Can a Musical Explorer Discover? Were the sounds you heard made by transportation? What were the sounds? Were the sounds you heard made by people? What were the sounds? 12

9 SG5 Were the sounds you heard made by nature? What were the sounds? Were the sounds you heard made by? What were the sounds? 13

10 SG6 Urban Soundscape Color in the objects that you think make sound. 14

11 SG7 Our Steps as Musical Explorers As we explore music, we will be: LISTENING: What do we hear? LOOKING: What do we see? CREATING: What can we make? 15

12 unit 1 Lesson 2 AIM: To explore our own neighborhoods. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 6, 8; NYC 1, 2, 3 SUMMARY: In this lesson, your students will begin using the steps they learned (LISTENING, LOOKING, CREATING) to investigate their own neighborhoods and homes. VOCABULARY: neighborhood Warm-Up and Activities for SG8 and 9 Warm up students voices by singing the Musical Explorers Song, Track 1. Exploring My Own Neighborhood (SG8 and 9) For homework, have students explore their own neighborhoods and homes. Encourage them to use the three steps for musical exploration as a guide. Students can use SG8 and 9 to document their findings through writing or artwork. Introduce students to the character of the Conductor, who will introduce students to the different communities in New York City, where they will meet vocal artists and learn about their music. LISTENING Ask students: What voices do you hear? What kinds of music do you hear? What other sounds do you hear? LOOKING Ask students: What are the important places in your neighborhood? What signs do you see? What kinds of food are people eating? What kinds of clothes are people wearing? 16

13 unit 1 Lesson 2 CREATING Have each student share a sound from their LISTENING (examples: music and other sounds). On small pieces of paper or index cards, have each student capture a LOOKING memory (examples: a person, place, food) from their exploration with a drawing. Have students share their artwork and sounds with the class. Create a class collage with the students artwork. Display the collage, recreate the sounds, and reflect together as a class. Ask students: Are any of the pictures or sounds similar? What differences do you see or hear? Who lives in your neighborhoods? Where are they from? How do you know? What else can you tell about the people in your neighborhoods based on what you saw and heard? Extension: Record the performance of the sounds as students first composition as Musical Explorers. 17

14 SG4 SG8 Exploring My Own Neighborhood LISTENING: I heard 18

15 SG5 SG9 LOOKING: I saw... 19

16 unit 1 Lesson 3 AIM: To explore vibration and our voices. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 6, 8; NYC 1, 2, 3 SUMMARY: In this lesson, students will begin to use their singing and talking voices. The exercises may be done as a warm-up, as it takes some time for students to know and feel that their singing and talking voices may sound very different from each other. VOCABULARY: breath, hum, pitch, singing, talking, vibration, vocal cords, voice Warm-Up and Activities for SG10 Warm up students voices by singing the Musical Explorers Song, Track 1. Vibrations Feel Wiggly! (SG10) Have students use breathing and humming to help them become aware of how air and vibrations move through their bodies. LOOKING: What happens when we breathe? Have students take a few slow, deep breaths. Ask students: What is happening inside your bodies as you breathe? Is anything moving? What? Can you describe what you feel? What happens when you raise both hands in the air, take a deep breath, and then lower your hands while you exhale? Does that feel different? How so? Have students try some simple breathing variations in pairs. Each person has a turn being the observer and explorer. After each variation, the pair can describe how each variation feels or looks different. Variations might include: Holding one s breath for a moment between the inhalation and exhalation Taking deep breaths standing up and sitting down Breathing while sitting, standing up tall, or hunching over Have students share and reflect as a class. Which kind of breathing felt or looked the most natural? Which felt or looked the least natural? Why do you think that is? 20

17 unit 1 Lesson 3 LOOKING: What happens when we hum? Have students hum or sing a few long sounds. While they hum or sing, tell them to feel their noses, cheeks, throats, necks, backs, and chests. Ask students: What do you notice? What do you feel? Does anything change when you hum or sing instead of speak? What do you think is happening? Why? Explain to students that all sounds are caused by vibrations. When something vibrates (a drum head, for example), it creates invisible waves that travel through the air to our ears, which we hear as a sound. Without vibrations, music and sounds wouldn t exist. By touching our throats when we hum, speak, or sing, we can actually feel the wiggly vibrations created by our vocal cords. Have students alternate between blowing air and humming while touching their throats so that they can feel the difference between vocal cords at rest and in use. Have students use SG10 to document their experiences by circling the parts of the Conductor that correspond to the parts of their body they feel vibrating. Vocal Exercises and Warm-Ups Now that students have felt their own vocal cord vibrations, guide them to discover what else their voices can do. Explain that when we sing, we use our singing voices. We can sing high or low sounds with our singing voices. Explain that when we describe sounds as being high or low, we are talking about pitch. Explain the purpose of the following vocal explorations and warm-ups: By doing these exercises often, students will become comfortable with using their singing voices, both high and low. 1) Yawning Kittens. Have students pretend they are sleepy kittens by stretching, yawning, and sighing. Model the vocal contour of the yawn and sigh (going from a high to low pitch). Model a swooping shape with your hands and arms. Have students mimic you so that they can begin to feel and understand the difference between high and low sounds by using their bodies and voices. Track 2 21

18 unit 1 Lesson 3 Variation 1: Start the yawn and start the sigh really high and finish really low. Ask students: Where do you feel the sound in your body? Can you describe the sound you re making? (Refer to our categories of sound from UNIT 1, Lesson 2.) Variation 2: Yawn and sigh while smiling, then while frowning. Have students experiment by trying out their own variations on the yawns and sighs. Discuss their reactions and experiments. Extension: Choose a few students to lead the class. 2) Bouncy Ball. For this warm-up, have students imagine that you are bouncing a ball on the ground. Model bouncing the imaginary ball by moving your arm and saying, bounce. Make your voice match the contour of the ball s path (voice starts high, dips low, and finishes high). Track 3 Repeat this several times. Have students imitate your arm and vocal movements. Experiment with the size and shape of the ball s arc, matching the movement with your voice. Extension: Select a series of student leaders for this exercise. 3) Sirens. Have students pretend they are police cars on a chase with their sirens on. To do this, begin by starting the Yawning Kittens sigh, but stay within the high range. Say: Let s begin with a yawn, but this time let s hold the high sound for a few seconds. (Repeat as needed.) Track 4 Now we re on a chase! How can we change our voices? How can we use our arms to show the different shape our voices are making? Try out students ideas as well as the ideas on the CD, Track 5. Ask students which sounds were the strongest or loudest and why. Extension: Keep experimenting, referring to sounds discussed in UNIT 1, Lesson 2, and incorporate this exercise regularly into your lessons as a warm-up. Try it out Have students hum the Musical Explorers Song, then speak the words, and then sing the song. 22

19 SG10 Vibrations Feel Wiggly! The wiggles are called vibrations, which cause sounds. Show where you feel the vibrations by circling the areas that wiggle on the Conductor. 23

20 unit 1 Lesson 4 AIM: To explore the musical staff. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 6, 8; NYC 1, 2, 3 SUMMARY: In this lesson, students will explore musical notation and the staff, as well as the concepts of pitch and contour, or shape, of a melody. VOCABULARY: contour, lines, notes, pitch, shape, spaces, staff Warm-Up and Activities for SG11 14 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or Sirens exercises (pages 20 21), Tracks 2, 3, 4, 5. Sing the Musical Explorers Song, Track 1. Looking at the Musical Staff (SG11 and 12) Creating Shapes (SG13 and 14) LISTENING Have students reflect on their experiences during the Yawning Kittens exercise in order to get them thinking about how high and low sounds might be represented on the musical staff. If needed, do the exercise once more, exaggerating the high height of your hands and arms when you make the highest sounds. Ask students: How could you write down the shape, or contour, of your yawning voices as music on the staff? Think about how you used your bodies to show the shape your voices made when you were a Yawning Kitten. Where would you represent the high part of the yawn on the staff? Toward the bottom or top part of the staff? Why? Revisit the concept of pitch (high and low) from the previous lesson. Activity: Notating Contour, or Shapes, on the Staff. Draw a large staff on the blackboard or on chart paper at the front of the class. Then draw a wavy line on the staff. Trace the line slowly with your finger while humming. Have students hum the contour as well. 24

21 unit 1 Lesson 14 LOOKING at the Staff Facilitate a discussion with your students about how and why musicians read music. In a performance, how do you think musicians know what to sing or play? How do you learn songs? If you wanted to teach a song to someone else, how would you do it? What if that person was not in the same room as you? How would you teach the song in that situation? Introduce the terms staff and notes to your students. Hundreds of years ago, musicians found a way to write down music so that other people could read it and be able to sing or play the music the same way. They wrote music down on a musical staff; look at the example on SG11. Ask students: How many lines do you see on the staff? How many spaces? What else do you observe? Starting with the bottom line and working up, have students practice labeling the lines of the staff in order, using the numbers 1 5. Starting with the bottom space and working up, have students practice labeling the spaces of the staff in order, using the numbers 1 4. Have students complete the note-writing practice on SG12. CREATING On SG14 have students create their own musical contours. Allow time for them to practice humming and performing their work. Encourage them to share with other students in small groups. Extension (Music Teacher): Using SG13 and 14, have students create their own musical contours using pipe cleaners. 25

22 SG11 Looking at the Musical Staff This is the musical staff. We use it to write down music. The staff has five lines The staff has four spaces

23 SG12 SG5 Looking at the Musical Staff We can write music by putting notes on the staff s lines and spaces. Here s what a note looks like: CREATING: Note Writing Practice Let s put some notes on the staff to create music. First draw five notes next to the numbers on the five lines of the staff. Put your notes on the same line as the numbers that appear on the staff below Now, draw four notes next to the numbers in the four spaces of the staff. Put your notes on the same space as the numbers that appear on the staff below

24 SG13 Musical Shapes When we hear music, we hear notes go up and down. Together, these notes create musical shapes, or contours. If we draw the shapes we hear, we may come up with wavy lines that look like roller coasters, rainbows, or the Saint Louis Gateway Arch. 28

25 SG14 SG5 Creating Musical Shapes You can create your own musical shapes! Start at the dot and make your own shape on the staff. Here is one of my musical shapes, or contours. Follow along and hum. As the shape goes up and down, make your voice change pitch, moving between high and low. Now make your own shapes and hum along. 29

26 unit 2 Preparation How Can Irish Music Tell a Story? Warm-Up and Activities for SG15 Find Anne-Marie s Neighborhood (SG15) Explain to students that the Conductor will now guide them on a journey through New York City to meet Anne-Marie, the first of the three featured singers in Musical Explorers. Have students turn to SG15 and help them: Locate their neighborhoods or boroughs and color them in. Locate Anne-Marie s picture on the map of Woodside, Queens. Have students color in a route they could take to get to Woodside. 30

27 SG15 Find Anne-Marie s Neighborhood It s time for us to begin our musical trip to meet three singers! Find Woodside, Queens, where my friend Anne-Marie lives, on the map below. Let s go! BRONX MANHATTAN Woodside, Queens NEW JERSEY QUEENS BROOKLYN STATEN ISLAND Anne-Marie 31

28 unit 2 Lesson 1 AIM: To learn about an Irish singer. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper and markers; Musical Word Wall STANDARDS: US 1, 6, 8, 9; NYC 1, 2, 3, 5 SUMMARY: The first performer we will meet is Anne-Marie Hildebrandt, who represents an Irish musical tradition. VOCABULARY: musical tradition Warm-Up and Activities for SG16 17 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or Sirens exercises, Tracks 2, 3, 4, 5. Sing the Musical Explorers Song, Track 1. Meet Anne-Marie! (SG16) My Postcard to Anne-Marie (SG17) Students will explore Anne-Marie s musical tradition through her neighborhood, Woodside, Queens, which is home to a large Irish population. Explain the concept of tradition a practice or custom that reflects where you come from. Singing songs during the holidays is an example of a tradition. LISTENING Listen to Anne-Marie s recording of O ro the Rattlin Bog, Track 6. Ask students: What are some words we use to talk about music? (Refer to Musical Word Wall.) How can we describe her voice with these words? (For example, is it soft, loud, clear, relaxing?) Does her voice remind you of anything you have heard? What else do you notice about her singing? (Possible answers: speaking accent; use of unusual words; a break in her voice; use of high, low, soft, or loud singing voice.) 32

29 unit 2 Lesson 1 LOOKING On SG16 is a postcard to the students from Anne-Marie. The front includes a collage of photos from Woodside, her neighborhood. Ask students: What do you notice about the photos of Woodside? What kinds of places do you see? Do the places look similar to or different from places in your neighborhood? Next, have students carefully look at the pictures of Anne-Marie and document what they notice. Ask students: What instruments do you see? What kind of clothing is she wearing? Read Anne-Marie s postcard to your students. Then, ask students: What does she mention about the Woodside neighborhood? Are there any similarities between the students answers and Anne-Marie s words about Woodside? CREATING On SG17 your students can write a postcard to Anne-Marie about their own neighborhoods. Help students write their neighborhood names on the front of the postcard ( Greetings from ). Ask students: What kinds of pictures would you include on the front of your postcard? What would you tell Anne-Marie about yourself or your life? What would you tell Anne-Marie about the sounds and places you found in your neighborhood? (See UNIT 1, Lesson 2, or SG8 and 9.) Students can draw or write their responses on the back of the postcard. 33

30 SG16 Meet Anne-Marie! Greetings from Dear Musical Explorers, Welcome to Woodside! This neighborhood is so alive. It is full of churches, restaurants, people walking all around, and lots of places to hear music. I have a wonderful time with other Irish musicians in Woodside. I look forward to meeting you soon! Your friend, Anne-Marie Photos courtesy of Anne-Marie Hildebrandt and Stefan Cohen. Musical Explorers c/o Carnegie Hall 881 Seventh Avenue New York, NY

31 SG17 My Postcard to Anne-Marie Greetings from Anne-Marie Woodside, NY 35

32 unit 2 Lesson 2 AIM: To explore how music and lyrics can paint a picture. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons; Musical Word Wall STANDARDS: US 1, 4, 5, 6, 8; NYC 1, 2, 3, 5 SUMMARY: Students will explore add-on, or cumulative, form through the Irish song O ro the Rattlin Bog. VOCABULARY: add-on (or cumulative form) song, bog, chorus, lyrics, rhythm, steady beat, verse, wildlife Warm-Up and Activities for SG18 and 19 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing the Musical Explorers Song, Track 1. Exploring an Irish Bog: O ro the Rattlin Bog (SG18) Explain to students that: A bog is a place where water collects and has lots of plants and wildlife growing in it. Bogs are common in Ireland, and add to the country s famed greenness. O ro the Rattlin Bog is an add-on (or cumulative form) song. It starts with a chorus, which is the part of a song that returns over and over again. The chorus to this song is: O ro the rattlin bog, the bog down in the valley-o, O ro the rattlin bog, the bog down in the valley-o. The song grows with each verse we add on to the chorus. A verse is like a short poem that tells the story of the song: Verse 1: And in that bog, there was a tree, a rare tree, a rattlin tree, With the tree in the bog, and the bog down in the valley-o. Chorus Verse 2: And on that tree, there was a limb, a rare limb, a rattlin limb, With the limb on the tree, and the tree in the bog, and the bog down in the valley-o. Chorus Verse 3: And on that limb, there was a branch, a rare branch, a rattlin branch Chorus Verse 4: And on that branch, there was a twig, a rare twig, a rattlin twig Chorus Verse 5: And on that twig, there was a nest, a rare nest, a rattlin nest Chorus 36

33 unit 2 Lesson 2 Verse 6: And in that nest, there was an egg, a rare egg, a rattlin egg Chorus Verse 7: And in that egg, there was a bird, a rare bird, a rattlin bird Chorus Verse 8: And on that bird, there was a feather, a rare feather, a rattlin feather Chorus Verse 9: And on that feather, there was a flea, a rare flea, a rattlin flea Chorus LISTENING Listen to O ro the Rattlin Bog, Track 6, with your students a couple of times. On the second and third time, have students clap a steady beat along with the recording. The steady beat is also the pulse of the music. It keeps going throughout the entire song. Ask students to identify some of the key words they hear. Reflect on these words as a class. Explain that in music, the words are called lyrics. Practice singing the chorus with your students. LOOKING Have students look at the photos of Irish bogs on SG18. Ask students: What do you notice? Do you think this would be a good place for wildlife? Why? Do you see any wildlife? If so, what? CREATING a Musical Text Collage The most prominent feature of this song is the add-on, or cumulative aspect. As each new object is introduced in the song, the song grows longer and more detailed. Below are the first five lines of the song with the objects placed in parentheses: O ro the rattlin (bog), the (bog) down in the (valley) -o And in that (bog), there was a (tree), a rare (tree), a rattlin (tree), With the (tree) in the (bog), And the (bog) down in the (valley) -o And now on that (tree), there was a (limb), a rare (limb), a rattlin (limb), etc. Assign each of the (underlined) words to different students. Sing the song, and whenever their word occurs, have each of those students make a sound (examples: clap, snap, tongue click). Explain to your students that this is similar to clapping for missing letters in the song B-I-N-G-O. Together, your words and sounds will form a musical collage. Try this with the CD as Anne-Marie sings the song. Track 6 37

34 unit 2 Lesson 2 Extension 1: CREATING Original Text With your students, create a poem in the same add-on style as O ro the Rattlin Bog. Choose an object from the classroom and create new lyrics to the song, using the same formula. For example: O ro the rattlin class, the class down in the school-o In that class, there was a desk, a rare desk, a rattlin desk With the desk in the class And the class down in the school-o Now on that desk there was a pencil, a rare pencil, a rattlin pencil, etc. Extension 2: CREATING Original Rhythms My Name Has a Rhythm (SG19) Make sure students know that rhythms are sounds that last for a certain length of time. Have students stand or sit in a circle. Choose a leader to begin. The leader will create a name rhythm by saying his or her name while clapping the syllables of his or her name. Then, the student to the left of the leader says the leader s name rhythm and adds his or her name rhythm. Continue going around the circle, with each person adding adding his or her name rhythm to the existing name rhythm chain. Students can notate their name rhythms on SG19 using graphic notation (lines or shapes). For example, here are Lisa, Bobby, and Marie : LI SA BOB BY MA RIE Have students perform their name rhythms while showing the class their name notations. Try creating a pattern by putting two student names together. Add another student s name rhythm to the mix and try this with up to four names. If time allows, divide students into groups of four and have them create rhythmic patterns using the same formula. Students can notate their patterns on SG19, if desired. Extension (Music Teacher): Show students what their name rhythms look like in musical notation by drawing their rhythms on individual index cards. 38

35 SG18 Exploring an Irish Bog: O ro the Rattlin Bog LISTENING: These are the photos that go with our song, O ro the Rattlin Bog. These are pictures of bogs in Ireland. Bogs collect water and have lots of things living and growing in them. LOOKING: What do you notice about the bogs? 39

36 SG19 My Name Has a Rhythm LISTENING: It sounds... LOOKING: My name has a rhythm. It looks like this CREATING: Our group rhythm looks like this 40

37 unit 2 Lesson 13 AIM: To discuss how can music tell a story and create a mood. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons; Musical Word Wall; cards with different moods written on them; hat or bowl STANDARDS: US 1, 2, 3, 4, 6, 7, 8, 9; NYC 1, 2, 3 SUMMARY: In the song Johnny s Gone for Soldier, students will explore how lyrics and melodies can create a sense of mood. VOCABULARY: Gaelic, mood, soldier, war Warm-Up and Activities for SG20 23 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing O ro the Rattlin Bog, Track 6, and the Musical Explorers Song, Track 1. Johnny s Gone for Soldier (SG20 and 21) Irish people have fought many wars over the course of hundreds of years. In many of these wars, Irish soldiers were often taken to countries outside of Ireland to help defeat another country s enemies. Irish soldiers have fought in wars in England, France, Spain, the Netherlands, and the United States. The map on SG61 shows the location of Ireland. Johnny s Gone for Soldier captures the regret, loss, and sadness a young woman feels when her beloved leaves Ireland to become a soldier somewhere else. The chorus of this song incorporates words in Gaelic, a language spoken by certain people in Ireland, Scotland, and the Isle of Man, an island in the Irish Sea off the coast of Great Britain. LISTENING Listen to Johnny s Gone for Soldier, Track 7, with your students. Ask students: What do you hear? How do you feel when you listen to this music? What are some music words we can use to describe what we hear? (Refer to Musical Word Wall.) Are there any words that sound like they are in a different language? Which ones? Look at SG22 and explore the Gaelic words in the song s refrain. Shule, shule, shule, agra means Come, come, come, my love. LOOKING On SG20, there is a picture of soldiers. Ask students: What do you see? What does the picture tell you? How do you feel when you look at the picture? If there were music to go along with this picture, what might it sound like? Have students record their thoughts. 41

38 unit 2 Lesson 3 Listening Extension: You can teach your students some additional conversational Gaelic phrases phonetically. Pronunciation for the phrases is included on the CD. Good day / Hello = Dia duit! (Phonetic: djiah gwich). Track 8 Good day / Hello (reply) = Dia is Muire duit. (Phonetic: djiahs murrah gwich). Track 9 How are you? = Conas tá tú? (Phonetic: co-nas tah tu). Track 10 I m well. = Táim go maith. (Phonetic: tah-im go mah.) Track 11 Thank you = Go raibh maith agat (Phonetic: guramahhagut) Track 12 You can find more common Gaelic phrases online at the following websites: ireland-information.com/irishphrases.htm english.glendale.edu/gaelic.html Your Singing Part for Johnny s Gone for Soldier (SG22) Teach your students the chorus from Johnny s Gone for Soldier. Track 7 & bb & bb 6 & bb œ Shule, shule, œ œ œ œ œ. j œ shule a - gra, oh œ. j œ he loves me. When œ œ œ œ œ j œ œ. J mar - ry me. My John - ny's gone for œ œ œ œ œ shule, oh shule and œ œ œ œ œ œ he comes back, he will j œ œ j œ œ œ œ sol - dier. Continue practicing this chorus. Your students will sing along with Anne-Marie during the concert. CREATING a Mood Game Prepare for this activity by writing down various moods on small slips of paper. Fold the slips in half and place them in a hat or bowl. Refer to SG20 and 21. Look at the picture of the soldiers and review students answers to the question, How do you feel when you look at this picture? and discuss how music can create moods that also inspire similar feelings. Ask students to make vocal sounds that represent different moods, such as happy or sad. Repeat several times. & b b 42

39 unit 2 Lesson 3 Select a student to come to the front of the class and select out of the hat or bowl one of the folded slips of paper with a mood printed on it. Ask the student to face away from the rest of the class so no one can see his or her facial expression. The student should make a sound with his or her voice to represent the mood. Ask students: Can anyone guess what the mood was? Why do you think so? (For example, I thought the mood was angry because the sound was low and deep.) What are some of our musical words we can use to describe the mood? (Refer to and add to Musical Word Wall.) Document which musical elements students change to create different moods. Repeat this activity frequently and use it as a warm-up exercise. Variations on a Nursery Rhyme (SG23) Divide the class into groups. Give each group a familiar song or chant (for example, a nursery rhyme such as Hickory, Dickory, Dock ; Three Blind Mice ; or Humpty Dumpty ) and have them create a few variations on it. For each variation: Select a mood, such as happy, sad, angry, or excited. Refer to the words you added to the Musical Word Wall. Decide on the tempo, dynamics, and pitch for the variation. Review these terms, if needed, by referring to the Musical Word Wall. Try singing the melody the way you ve decided. Using voices or percussion instruments, add a background to the melody to help convey the mood. Present the variation to the class. Ask the other students: Can you guess what the mood was? Why do you think so? (For example, I thought the feeling was angry because the sound was low and deep.) Decide which variation is your favorite and write it for the class on the blackboard or on chart paper. Have students copy it into their books on SG23. Listening for Mood (SG24) Listen to both O ro the Rattlin Bog, Track 6, and Johnny s Gone for Soldier, Track 7, once again. Have students focus on the moods these songs convey and pinpoint why they convey those feelings. Referring to the musical categories from UNIT 1, Lesson 2, and the Musical Word Wall, ask students whether these songs are: Fast or slow Loud or soft Ask students to identify which sounds they hear in the background ( what is going on besides the melody )? Students can document (write or draw) their observations on SG24. While students are completing the activity, ask them how each of these elements affects the overall feeling or mood of the music in these songs. 43

40 unit 2 SG20 Johnny s Gone for Soldier LOOKING: Here is a picture of some soldiers. When I look at it, I feel 44

41 SG21 I imagine the music for this picture sounds like 45

42 SG22 Lesson 1 Your Singing Part for Johnny s Gone for Soldier We re going to sing Johnny s Gone for Soldier with Anne-Marie in the concert. Here s what we ll sing: Shule, shule, shule a gra Oh shule, oh shule, and he loves me, When he comes back, he will marry me My Johnny, he has gone for soldier. 46

43 SG23 Variations on a Nursery Rhyme Our nursery rhyme is: We changed the mood to and made it faster or slower, louder or softer, higher or lower, and added 47

44 SG24 Listening for Mood LISTENING: Are these songs O ro the Rattlin Bog Fast or slow? Loud or soft? Johnny s Gone for Soldier Fast or slow? Loud or soft? What other sounds do you hear? 48

45 unit 2 Lesson 4 AIM: To identify, read, and write rhythms and melodies on the staff. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 1, 5; NYC 1, 2 SUMMARY: In this lesson, we will explore musical notation by reviewing the musical staff and introducing the treble clef and five-note scale (middle C to G). This will prepare students for exploring the scale used in Indian music in the next unit. VOCABULARY: clef, G clef, quarter note, scale, syllables (do-re-mi-fa-sol), treble clef NOTE: For simplicity s sake, we have structured this lesson s note reading and learning around the pitches C G. Please be aware that typically, when singing a five-note scale, students this age may be more comfortable singing in a slightly higher range (G-A-B-C-D). Warm-Up and Activities for SG25 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following as a warm-up: the Musical Explorers Song, Track 1; O ro the Rattlin Bog, Track 6; or Johnny s Gone for Soldier, Track 7. Have the students follow the musical contour, or shape, with their hands and arms. The Five-Note Scale (SG25) Introduce the term scale: A scale is a series of notes in a certain order. Add this term to the Musical Word Wall. Introduce the terms G clef and treble clef. The G clef, also known as the treble clef, is the symbol of the beginning of each musical example SG25. It tells us the particular range of pitches that the notes represent on the staff. Since students have not yet learned about note values, explain that they will be using musical notation to read and write notes on the staff. The note they will see and use looks like a filled-in circle with a stem and is called a quarter note. Add this term to the Musical Word Wall. On SG25 introduce and sing a five-note scale, starting on middle C: C-D-E-F-G. Track 13 These pitches have other names, too: do-re-mi-fa-sol. Track 14 Sing the five-note scale (ascending and descending) with note names: C-D-E-F-G-F-E-D-C. Track 15 Sing the five-note scale (ascending and descending) with syllables: do-re-mi-fa-sol-fa-mi-re-do. Track 16 Extension (Music Teacher): For an added challenge, have students draw the five-note scale on chart paper. You can also have them write notes in a different order (example: C, D, F, E) and perform your new scales as a class. 49

46 SG25 The Five-Note Scale LISTENING and LOOKING Now let s learn more! These five notes, or pitches, are called C, D, E, F, and G (or de, re, mi, fa, sol). Together, they make up a five-note scale. A scale is a series of notes you hear in a certain order. c d E F g Do Re Mi Fa Sol c d E F G F E d C Do Re Mi Fa Sol Fa Mi Re Do 50

47 unit 2 Lesson 5 AIM: To discuss how rhythm can help tell a story and create a mood. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons; chart paper; Musical World Wall STANDARDS: US 6, 9; NYC 1, 2, 3 SUMMARY: The following lesson will help your students to explore the relationship between movement and music. VOCABULARY: bodhrán Warm-Up and Activities for SG26 30 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following as a warm-up: the Musical Explorers Song, Track 1, O ro the Rattlin Bog, Track 6; or Johnny s Gone for Soldier, Track 7 Imagining Movements (SG26 and 27) Exploring Irish Step Dancing (SG28) LISTENING Listen to the Irish instrumental dance selection. Track 25. This piece features the bodhrán (BAO-run), the Irish frame drum, as a main instrument. Pictures of bodhráns are on SG29. While listening, have students clap the steady beat along with the recording. Ask students: What kind of dancing do you imagine people doing to this music? Brainstorm a list of words to match the kinds of movements they imagine (for example, skipping, jumping, bouncing, sliding, and galloping). You can write the list on a piece of chart paper, and students can draw the movements on SG27. LOOKING On SG28 there are pictures of traditional Irish step dancers. Ask students: What do you notice about the dancers feet and legs? What do you notice about their upper bodies? Can you describe the clothing the dancers are wearing? What kind of music do you imagine would match the pictures? Would it be slow or fast? Bouncy or smooth? Why? 51

48 unit 2 Lesson 5 CREATING Try out each of the movements from the list students created after listening to the Irish instrumental selection on Track 25. Ask students to do the movements while keeping their upper bodies very still and straight, as Irish step dancers do. Play a game in which students move to the music until you press pause. At this point, all students must freeze. Extension: When the music begins, call out a movement from the list (for example, gallop). When the students resume moving, they can try this kind of movement until you pause the music again. Remind them to keep their upper bodies very still. Try this several times. Choose student leaders to take turns calling out the movements. Exploring the Bodhrán (SG29 and 30) LISTENING Listen to Track 25 featuring the bodhrán again. What do students notice about the sound of the bodhrán? (Possible answers: It is very rhythmic; it helps to keep the beat in the music; it sounds high; it sounds low.) LOOKING Look at various pictures of a bodhrán on SG29. What do the students notice about the drum? They can document their ideas by writing or drawing on SG29. 52

49 unit 2 Lesson 5 CREATING a Drum Look at the picture of the bodhrán again. Ask students: Can you imagine how you could make your own drum? What types of materials could you use? What would it sound like? Have students write or draw their drum on SG30. Ask students to collect materials to bring in and make their own drums. Make sure to mention that they should collect containers that are clean and safe (with no residue of pesticides, chemicals, or cleaning products). (More information about drum-making will be given at the Professional Development session.) Once students have made their drums, explore how a rhythm on a drum could represent different moods. Play the musical mood guessing game from UNIT 2, Lesson 3, but this time have students make a sound on their drum instead of with their voices. Discuss the moods students created with their drums. Was it easier to guess moods with voices or with drums? In small groups, select a few students to play along as you listen to O ro the Rattlin Bog once again. Track 6 Now that your students have learned more about the bodhrán, point out that Anne- Marie plays it in this recording 53

50 SG26 Imagining Movements 54

51 SG27 LISTENING When I listen to Irish dance music, I can imagine the dancers movements, which look like 55

52 SG28 Lesson 1 Exploring Irish Step Dancing LOOKING: Here are some Irish step dancers. Do you think the music they are dancing to is... (circle) fast or slow? loud or soft? bouncy or smooth? 56

53 SG29 Exploring the Bodhrán LISTENING: How does the bodhrán, an Irish frame drum, sound? LOOKING: This is what a bodhrán looks like. 57

54 SG30 CREATING: How can I make a drum? 58

55 unit 3 Preparation What Makes the Music of India Have a Distinctive Sound? Activities for SG31 Find Our Next Neighborhood (SG31) The Conductor will now take us on a journey from Woodside to Little India to meet the second featured singer, Falu. Have students turn to SG31 and help them: Find Anne-Marie in Woodside, Queens. Find Falu in Little India, Manhattan. Have students complete the maze that takes them from Woodside to Little India on our imaginary trip. 59

56 SG31 SG4 Find Our Next Neighborhood Let s continue our musical trip! Let s start out from Woodside, Queens, and find Anne-Marie on the map. Now find Little India, where my friend Falu lives. Let s go! Falu Start Woodside, Queens Finish Little India, Manhattan Anne-Marie 60

57 unit 3 Lesson 1 AIM: To explore the languages that are spoken in our neighborhoods, and discuss what they tell us about the people living there. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 1, 8, 9; NYC 1, 3 SUMMARY: In this lesson, we will travel to the Little India section of Manhattan in New York City to meet the second featured singer, Falu (FAL-ooh), and her husband, Gaurav (GOW-rov). They are accomplished musicians who studied traditional music in India before moving to New York City. VOCABULARY: collage, language, phrase Warm-Up and Activities for SG32 34 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following as a warm-up: the Musical Explorers Song, Track 1; O ro the Rattlin Bog, Track 6; or Johnny s Gone for Soldier, Track 7. Languages Around Us (SG32) Exploring Languages (SG33) Learning a New Language (SG34) LISTENING Which languages do you hear in your classroom and in your neighborhood? (We will refer back to this later.) Have students document their responses on SG32. Pick a word from each language and try them as a class. Add these words to your Musical Word Wall. What are some qualities of these words? (Use musical words from the Musical Word Wall if possible.) How do they sound different from one another? (For example, some words may sound bright, smooth, nasal, have rolling R s.) Invite students to teach the class a conversational phrase in another language. These can be phrases like How are you? It s a beautiful day, or Goodbye. Have students reflect on the feeling of speaking a different language. How does speaking this new language feel different from speaking your first or native language? Are there any unusual or challenging sounds to produce? 61

58 unit 3 Lesson 1 LOOKING Have students look at the photos of New York City on SG33. Ask students: What do you see in these signs? Do they give you any clues about the people who live or work there? Document students responses on the blackboard or chart paper. Have students copy them into their books on SG33. Add any new words to the Musical Word Wall. CREATING As a class, create a short poem or language collage, mixing the class s various foreign-language words and phrases. The structure for the poem may be as simple as: Hello! (language 1) Hello! (language 2) How are you? (language 3) How are you? (language 4) Goodbye! (language 5) Document your language collage on the blackboard and have students copy it into their books on SG34. 62

59 SG32 Languages Around Us LISTENING: Which languages do you hear in your classroom and neighborhood? Who speaks these languages? 63

60 SG33 SG4 Exploring Languages LOOKING: What do you notice about these signs? 64

61 SG34 Learning a New Language Here are some words in other languages I learned from my classmates 65

62 unit 3 Lesson 2 AIM: To meet our Indian singer. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers and crayons for students; chart paper; Musical Word Wall STANDARDS: US 1, 4, 5, 6, 8, 9; NYC 1, 2, 3, 5 SUMMARY: The second performer we will meet is Falu and her husband, Gaurav. They represent the musical traditions of India. VOCABULARY: tabla, harmonium Warm-Up and Activities for SG35 37 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following as a warm-up: the Musical Explorers Song, Track 1; O Ro the Rattlin Bog, Track 6; or Johnny s Gone for Soldier, Track 7. Explain to students that they will explore Falu and Gaurav s musical tradition and background through the musicians neighborhood, Little India, in Manhattan, where a large population of people from India live and work. Meet Falu and Gaurav (SG35) Looking and Listening (SG36) LISTENING Listen to Falu s recording of O Lal Meri, Track 26. (Gaurav is also featured on the recording.) Once the faster section begins, have students clap along to the steady beat. Ask students: What do you notice about the voices and the words they are singing? How does the language sound to you? (Use musical words from your Musical Word Wall.) What are some words that can describe Falu s or Gaurav s voices? (Possible answers: soft, loud, clear, relaxing.) Do you think Falu sings in a singing or speaking voice? Why? Is there anything else you notice about the singing? (Possible answers: different tempos, notes that shake and are ornamented, two voices, use of unusual and foreign words, patterns.) Note: The traditional instruments accompanying the voices are tabla (a pair of hand drums) and harmonium (a small keyboard the player uses his or her hands to pump air through a bellows that causes a small reed to vibrate). These are some of the traditional instruments in Indian music. 66

63 unit 3 Lesson 2 LOOKING On SG35 is a postcard to the students from Falu from Little India. The front includes a collage of photos from the neighborhood. Ask students: What do you notice about the pictures of Little India? What kinds of places are shown? Do the places look similar to or different from places in your neighborhood? Next, have students look carefully at the pictures on SG36 and document, as a class, what they notice on chart paper. Ask students: What kind of clothing are Falu and Gaurav wearing? How does Falu s voice sound? Does she sing in a high or low voice? What colors and designs do you notice? From there, students can have ideas at hand for writing a letter to Falu and Gaurav. Ask students: What does Falu mention about the Little India neighborhood? Are there any similarities between the students answers and Falu s words about Little India? My Letter to Falu and Gaurav (SG37) CREATING Have your students write a letter to Falu and Gaurav. Ask students: What kinds of pictures could you include with the letter? What would you tell Falu and Gaurav about yourself or your family? What would you tell them about the languages in your neighborhood? What would you like to know about Falu and Gaurav? 67

64 SG35 SG4 Meet Falu and Gaurav Greetings from Little India, Manhattan Dear Musical Explorers, Greetings from Little India! Music has always been a way of life in my family. Both my mother and grandmother were singers. While growing up, I would sing for fun. I went to college to study Indian classical music, and there I met my husband Gaurav. Today we make music together all over New York City. Your friend, Falu Musical Explorers c/o Carnegie Hall 881 Seventh Avenue New York, NY Photos courtesy of Falu, Gaurav, and Stephan Cohen. 68

65 SG36 Listening and Looking LISTENING: What do you notice when you listen to Falu and Gaurav sing? LOOKING: What do you notice in the pictures of Falu, Gaurav, and items from Little India? Photos courtesy of Falu, Gaurav, and Stephan Cohen. 69

66 SG37 My Letter to Falu and Gaurav Write a letter or draw a picture for Falu and Gaurav. You can tell them about or make a drawing of your neighborhood and languages you know or hear. You can also ask anything you d like to know about them. Dear Falu and Gaurav, Sincerely, 70

67 unit 3 Lesson 3 AIM: To learn about dynamics and how are they different from pitch. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers and crayons for students; Musical Word Wall STANDARDS: US 1, 3, 6; NYC 1, 2, 3 SUMMARY: Since it is sometimes challenging for students to distinguish between pitch and dynamics in music, we will review pitch and explore dynamics. VOCABULARY: dynamics, forte, piano, pitch, volume Warm-Up and Activities for SG38 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following as a warm-up: the Musical Explorers Song, O ro the Rattlin Bog, Track 6; or Johnny s Gone for Soldier, Track 7. Listening for Parts of Music (SG38) LISTENING to explore pitch and dynamics People can sing both high and low (pitch), and loud and soft (dynamics). Use these activities to clarify the difference between these concepts. Establishing High and Low Pitch Ask students what they remember about pitch and perform the extremes (very high, very low). If needed: Lead the Yawning Kittens, Bouncy Ball, and the Sirens exercises. Refer back to the contour exercise and movements from UNIT 1, Lesson 4, in which students traced and notated high and low sounds. Students can find some descriptive pitch words already on the Musical Word Wall as well as on SG38. Have students read Falu s postcard in a high-pitch voice and in a low-pitch voice. Establishing Volume: Soft and Loud Dynamics Now that students have performed high and low pitches, ask them to focus on dynamics or volume. Have students sing sounds loudly (forte) and softly (piano). Add to your Musical Word Wall. They can also whisper and shout to illustrate dynamics. You can add these to the Musical Word Wall. Then, add back in pitch: Have them sing high sounds loudly (forte) and softly (piano) and low sounds loudly (forte) and softly (piano). Ask students to reflect on the differences between pitch and dynamics. Practice this exercise regularly so that students understand these different concepts. Students can find some descriptive dynamics words (and add their own) on SG38. Have students read Falu s postcard in a soft voice (whisper) and in a loud voice (shouting or outside voice). 71

68 SG38 Listening for Parts of Music LISTENING: Music has different parts! I learned that pitch is how high or low a sound is. Here are some pitch words: high low middle I learned that volume is how loud or soft a sound is. Here are some volume words: very soft soft or piano medium-soft medium-loud loud or forte very loud 72

69 unit 3 Lesson 4 AIM: What are melodies? MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 1, 4, 5, 6; NYC 1, 2, 5 SUMMARY: In this lesson we will revisit the musical staff and do some skills-based work focusing on tunes, or melodies. Building on the contour activity from UNIT 1, Lesson 4, we will explore two kinds of melodies stepwise and skipping and how they look, sound, and can be notated. VOCABULARY: call and response, composer, leaping melodies, melody, skipping melodies, stepwise melodies, tune Warm-Up and Activities Warm up students head voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following as a warm-up: the Musical Explorers Song, Track 1; O ro the Rattlin Bog, Track 6; or Johnny s Gone for Soldier Track 7. LISTENING for Stepwise Melodies Define melody: A melody is a tune. Add to your Musical Word Wall. Listen to and sing some familiar stepwise melodies (melodies in which the notes are mostly in order on the staff, with very few skips). Add the term to the Musical Word Wall. Examples of stepwise melodies include Mary Had a Little Lamb and Hot Cross Buns. When singing, use the syllable la instead of the actual lyrics. Teach students the melodies of Mary Had a Little Lamb and Hot Cross Buns via call and response, having students echo each phrase. As they sing, students can trace the contour of the melodies in the air with their hands. They should be aware of how their voices feel when singing the stepwise melodies of Mary Had a Little Lamb, Track 27, and Hot Cross Buns, Track 29. If you would like to teach these songs using call and response, Track 28 is a call-and-response version of Mary Had a Little Lamb, and Track 30 is a call-and-response version of Hot Cross Buns. Reflect on this activity. Ask students: What did you observe? How did your voice feel? 73

70 unit 3 Lesson 14 What motions did we make? Was singing in stepwise motion easy or difficult? Why do you think they call it stepwise motion? LISTENING for Skipping or Leaping Melodies Listen to some familiar skipping, or leaping, melodies (melodies that contain lots of skips or leaps; notes are not in order). Add the term to the Musical Word Wall. Examples of melodies with skips include Lightly Row, Yankee Doodle, and Reveille. When singing, use the syllable la instead of the actual lyrics. Teach students the melodies of Lightly Row, Yankee Doodle, and Reveille by way of call and response. As they sing, students can trace the contour of the melodies in the air with their hands. They should be aware of how their voices feel when singing the skipping melodies of Lightly Row, Track 31, Yankee Doodle Track 33, and Reveille, Track 35. Call-and-response versions of these melodies can be found on Tracks 32, 34, and 36. Reflect. Ask students: What did you observe? How did your voice feel? What motions did you make? Was singing these melodies with skips or leaps easy or difficult? Which was easier, singing stepwise or skipping melodies? Extension (Music Teacher): CREATING Our Own Melody Explain that composers are people who write music, and that the students are going to become composers. Using the five notes they have learned so far, work with students to compose three short melodies made up of quarter notes and using notes from the fivenote scale. Write the melodies on chart paper. Students may choose to create either a stepwise or skipping melody. When students are done, practice singing the melodies as a class. 74

71 unit 3 Lesson 5 AIM: To explore some rhythmic patterns that are used in Indian music. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 1, 2, 4, 5, 6, 8; NYC 1, 2, 3 SUMMARY: This lesson will explore some rhythmic patterns that are used in Indian music. VOCABULARY: bar line, beat, eighth notes ( ti-ti ), half note ( ta-a ), length, pattern, quarter note ( ta ), rhythm, time signature Warm-Up and Activities for SG39 42 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following as a warm-up: the Musical Explorers Song, Track 1; O ro the Rattlin Bog, Track 6; or Johnny s Gone for Soldier, Track 7. Exploring Patterns (SG39 and 40) LISTENING Patterns in music: Using call and response, clap some simple rhythmic patterns and ask students to repeat them after you. Some examples are included on the CD. Track 42 Listen to Falu s recording of O Lal Meri again, focusing on the repeating rhythmic patterns that persist throughout the piece. These patterns can include patterns that are sung or played on the tabla or harmonium. Track 37 Teach your students the repeating pattern that continues throughout the piece. Explain that this song is about traveller asking for protection on a journey or trip. Begin by having students clap the rhythm in a call-and-response format. Note: We will only use part of the lengthy refrain. 75

72 unit 3 Lesson 5 LOOKING Pattern hunt: Invite students to look around the classroom and identify some of the patterns they observe. These may include patterns of shapes, colors, and numbers. Have students write down their responses on chart paper. Students can draw the patterns in their books on SG39. CREATING Students can use some of their pattern ideas to create their own graphic patterns on SG40. They can use shapes, designs, and colors in their patterns. Introducing Rhythms (SG41) Creating Rhythm Patterns (SG42) Introduce the concept of rhythm: In music, when we want to write down how long notes are when we want to write down the rhythm we use symbols called notes. Each note represents a certain length of time. A quarter note stands for one beat. Track 38 ( ) Practice clapping quarter notes and saying ta for four beats. An eighth note ( ) We often see two of these together ( stands for one-half of a beat. We call it ti. Track 39 ) to form one beat. Let s call these ti-ti. Track 40. Two ti-ti s make a ta. Practice clapping eighth notes and saying ti-ti for four beats. Ask students: How are the ta s and ti-ti s different? (Answer: The ti-ti s are faster or there are two ti s in a ta.) Practice clapping quarter notes and saying ta again for 4 beats. A half note ( ) stands for two beats. Let s call it ta-a. Track 41 Practice clapping half note ta-a s for 4 beats. 76 Ask students: How are the ta-a s different from the ta s? (The ta-a s are longer.) How are they different from the ti-ti s? (The ti-ti s are faster.) Have students practice drawing these notes on SG41.

73 unit 3 Lesson 5 CREATING Clap four quarter notes while saying ta. Repeat this a few times to make a pattern. Review the concept of steady beat, which is the pulse that continues throughout the music. A beat is also a unit in music. Using the rhythms students know (half, quarter, and eighth notes), as a class, create some simple four measure rhythmic patterns in 2/4 time and notate the pattern on chart paper. Here is one example to get you started. This is included as a call and response on the CD. Track 42 Turn each rhythm into a pattern by repeating it several times in a row. Clap the patterns or play them on percussion instruments. Students can write up to three of your class s patterns in their books on SG42. Extension (Music Teacher): Students may perform the patterns for the class. 77

74 SG39 Exploring Patterns Patterns are all around us! LOOKING: The patterns I see in my classroom are 78

75 SG40 CREATING: I can create my own pattern with shapes and colors. My pattern looks like 79

76 SG41 Introducing Rhythms In music, when we want to write down how long a sound is, meaning its rhythm, we use symbols called notes. Each note represents a certain length of time. A quarter note ( ) stands for one beat. Let s call it ta. Practice writing a few quarter notes: ta ta ta ta An eighth note ( ) stands for one-half of a beat, and two eighth notes stand for one beat. We call it ti. We often see two together, ( ), and we call these ti-ti. Practice writing a few pairs of eighth notes: ti-ti ti-ti ti-ti ti-ti A half note ( ) stands for two beats. We call it ta-a. Practice writing a few half notes: ta - a ta - a 80

77 SG42 Creating Rhythm Patterns CREATING: Here are some of our class s rhythm patterns. Pattern 1: Pattern 2: Pattern 3: 81

78 unit 3 Lesson 6 AIM: To learn how scales and patterns are used in Indian music. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 1, 2, 4, 5, 6; NYC 1, 2 SUMMARY: Now that we have explored rhythms and patterns, we will look more closely at patterns we can make with scales. VOCABULARY: Indian scale (SA-RE-GA-MA-PA), syllables Warm-Up and Activities for SG43 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Track 2, 3, 4, 5. Sing one of the following as a warm-up: the Musical Explorers Song, Track 1; O ro the Rattlin Bog, Track 6; Johnny s Gone for Soldier, Track 7; or O Lal Meri, Track 37. The Five-Note and Indian Scales (SG43) LISTENING and LOOKING Review the five-note scale from UNIT 2, Lesson 4, with your students (SG 25). (C-D-E-F-G). Track 13 Remind students that these pitches have other names: do-re-mi-fa-sol. Track 14 Refer to Musical Word Wall if needed. Introduce the Indian scale and syllables to your class on SG43: SA-RE-GA-MA-PA (C D-flat E F G). Track 43 Ask students: How do the scales look the same? (Answer: Notes are on the same lines and spaces.) Different? (Answer: There is a new symbol, a flat, which lowers the sound of the second note.) Chart students answers. Listen to the five-note scale, then the Indian scale. Tracks 14 and 43 Ask students: How do the two scales sound different? (Possible answer: The Indian scale may sound darker or moodier.) Why? Chart students answers. 82

79 unit 3 Lesson 6 Listen to Falu s recording of Rabba with your students. Teach them to sing the repeating pattern from the love song Rabba, Track 46. They will sing this part with Falu and Gaurav during the concert. CREATING Sing the Indian scale on SG43 with your students. Track 43 Experiment with the notes of the scale using call and response, such as: SA RE PA, Track 47: GA MA PA, Track 48: GA MA SA, Track 49: As a class, create an original melody by reorganizing the syllables. Notate melody on chart paper. Extension (Music Teacher): Using the note values the students have learned (half, quarter, and eighth notes), add rhythm to your melody. For example: Repeat the melody with these rhythms, so that it turns into a pattern. Practice singing your new melodic and rhythmic pattern as a class. For an added challenge, split the class into two group. Have one group sing the melodic and rhythmic pattern you just created. Have them repeat the pattern. Then, have the other group clap or play one of the rhythm patterns on percussion instruments. 83

80 SG43 The Five-Note and Indian Scales Listening and LOOKING Let s build on the five-note scale we learned earlier. Do Re Mi Fa Sol C D E F G In India, musicians also use five-note scales. Here is what one looks like: Sa Re Ga Ma Pa 84

81 unit 3 Lesson 7 AIM: To learn about ornamentation. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; Musical Word Wall STANDARDS: US 1, 3, 6, 8, 9; NYC 1, 2, 3 SUMMARY: Ornamentation features prominently in traditional Indian music. We will look at patterns in fabrics and rugs and see how ornamentation translates into music. VOCABULARY: decorate, fabric, ornamentation, rug, trill, vocal ornamentation Warm-Up and Activities for SG44 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following as a warm-up: the Musical Explorers Song, Track 1; O ro the Rattlin Bog, Track 6; Johnny s Gone for Soldier, Track 7; O Lal Meri, Track 37; or Rabba, Track 46. Ornamentation (SG44) LISTENING Listen to Rabba once again, Track 46. Listen for the way in which Falu does not hold her voice steady throughout, but decorates the melody with her voice. LOOKING Now that we ve heard ornamentation in music, we will look at some examples of visual ornamentation found in fabrics and rugs. Examine the pictures of the Indian fabrics on SG44 with your students. What do they notice? What kinds of colors do they see? What kinds of patterns? On SG45, there is an outline of an Indian rug. Ask students: How could we make the rug look like the fabrics in the pictures? Have students decorate their rugs using colors, lines, and shapes. They can make the rugs as ornate as they wish. When students are finished, encourage them to share their different versions. Reveal that they have taken a basic idea (the rug) and, by decorating it or adding to the original idea, have created their own version. In music, this is called ornamentation. 85

82 unit 3 Lesson 7 CREATING Review the Indian scale again. Track 43 Ask students to sustain the first pitch of the scale. Now ask them to shake their voices to add a trill or ornament to the sound. Start slowly and gradually increase speed. Track 50 For an added challenge, ask students to add a trill to each of the notes of the scale as they ascend the scale. Track 51 Listen again to Falu s recordings of Rabba, Track 45, and O Lal Meri, Track 26. Ask students: Now that we ve done some vocal ornamentation, did you notice anything new or different this time while listening to Falu? What did you notice? 86

83 SG44 Ornamentation LISTENING: When Falu sings, she adds vocal ornamentation to the melodies. LOOKING: What do you notice about these fabrics? 87

84 SG45 CREATING: Here is a plain rug. Decorate, or ornament, it with crayons or markers. 88

85 unit 4 Lesson Preparation 1 How Can We Connect What We ve Learned and Understand It More Deeply? Activities for SG46 From Little India to Harlem (SG46) The Conductor will now take us on a journey from Little India to Harlem to meet the third featured singer, Gregory. Have students turn to SG46 and help them: Find Falu in Little India, Manhattan. Find Gregory s picture on the map in Harlem, Manhattan. Complete the maze that takes them from Little India to Harlem on our imaginary trip. 89

86 SG46 From Little India to Harlem Now we re ready to meet our third singer. We ll leave Little India and make our way to Harlem. Find Falu s picture. Now find Harlem, where my friend Gregory lives. Complete the maze and let s go! Gregory finish Harlem Little India start Falu 90

87 unit 4 Lesson 1 AIM: To meet our last singer. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 1, 5, 6, 9; NYC 1, 2, 3, 5 SUMMARY: So far, we have explored how music can represent the spirit of a community. Students have met artists from different cultural and musical traditions and have explored: Their own neighborhoods, classrooms, and homes. How music can tell a story and create distinct moods. The idea of music as a language, focusing on details such as patterns and ornamentation. In this final unit, featuring Gregory Rahming, we will review some of these ideas and deepen the students connection to these concepts. VOCABULARY: celebration, church, gospel music, mosque, synagogue Warm-Up and Activities for SG47 49 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following songs as a warm up: the Musical Explorers Song, Track 1; O ro the Rattlin Bog, Track 6; Johnny s Gone for Soldier, Track 7; O Lal Meri, Track 37; or Rabba, Track 46. Meet Gregory! (SG47) We will explore Gregory s musical tradition and background through his neighborhood, Harlem, Manhattan, which has historically been an important center of African American culture and business. Harlem is known for its many famous buildings, such as the Apollo Theater and Strivers Row, and its residents, including the writer Langston Hughes. Harlem is also a destination for spiritual seekers; it is the location of many mosques, synagogues, and large churches. 91

88 unit 4 Lesson 1 LISTENING Listen to Gregory s recording of Total Praise composed by Richard Smallwood, Track 52. Tell your students that this song is an example of gospel music. Gregory will perform it at Carnegie Hall, but gospel music is also used for worship celebrations in church. Ask students: How is this song similar or different from the music you are familiar with from your own cultural celebrations or worship services? What are some words that can describe his voice? (Possible answers: soft, loud, clear, relaxing, mellow, smooth, high, low.) Be sure to refer to and add to the Musical Word Wall. Does his voice remind you of a place or a person you know? What else do you notice about his singing? (Possible answers: clear tone, vibrato, and lots of feeling.) My Letter to Gregory (SG48) LOOKING On SG48 is a postcard to the students from Gregory. The front includes a collage of photos from Harlem. Ask students: What do you notice about the pictures of Harlem? What kinds of places are shown? What kind of music might you imagine hearing at these places? (Explore what types of music students might imagine hearing at the Apollo Theater or a neighborhood church.) Consider the places you might celebrate religious or cultural events with your families. What kind of music do you hear at these celebrations? (Possible answers: chanting, singing, organs playing, bands.) Note students responses on chart paper. Do the places look similar to or different from places in your neighborhood? Next, have students look carefully at the pictures of Gregory and document what they notice. Ask students: What do you notice about Gregory? What kind of clothing is he wearing? What about the other people in the pictures who do you think they are? How do you think Gregory s voice sounds? Do you think he sings high or low? Why? Read Gregory s postcard to the students. Ask students: What does he mention about the Harlem neighborhood? Are there any similarities between the students answers and Gregory s words about Harlem? 92

89 unit 4 Lesson 1 Singing Total Praise (SG49) CREATING Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing the Musical Explorers Song, Track 1, as a warm-up exercise. As a class, review the other songs students have learned so far in the curriculum: O ro the Rattlin Bog (chorus), Track 6 Johnny s Gone for Soldier (chorus), Track 7 O Lal Meri (repeating part), Track 37 Rabba (repeating part), Track 46 Ask students: What do you remember learning when we met Anne-Marie, Falu, and Gaurav? (Possible answers: mood, add-on songs, scales, rhythms, patterns, instruments.) What has been your most memorable experience so far on our trip? Why? Students can share their thoughts with a partner before opening up to class discussion. On SG48, your students can write a letter to Gregory. Ask students: What kinds of pictures could we include with the letter? What has been your most memorable experience on your trip so far? What would you tell Gregory about our classroom? What would you tell Gregory about Anne-Marie, Falu, or Gaurav? What would you tell Gregory about the music you listen to in our classroom? What would you like to know about Gregory and his music? 93

90 unit 4 Lesson 1 Now, practice singing the end of Total Praise (SG49) with your students. Track 54 Part 1 &b b c Ó œ Œ œ œ œ Œ Ó As they learn this section of the song, ask students: Is the melody moving mainly by steps or skips? A men, How can you tell? (Possible answers: by looking at the music and by the feeling of the notes while singing.) Practice singing this section of the music with the recording until students are comfortable with the melody. Track 54 A men. & b b Extension: Here is another singing part for Total Praise. Track 53 Part 2 &b b 4 4 Ó œ Œ œ Œ Ó A - me - n, A - me - n. You can teach it to your students. Then divide your class into two groups, having one group sing Part 1 and the other group sing Part 2. We will sing both parts at the concert. b 94

91 SG47 Meet Gregory! Dear Musical Explorers, Hello from Harlem! I began singing and playing the piano at a very young age. As the son of a minister at a large and popular church, I often performed in worship services. Singing touched something very deep inside of me. When I was a little older, I went to school to study singing and classical music. Today, I sing all over the country and the world. I look forward to singing with you soon! Your friend, Gregory 95

92 SG48 My Letter to Gregory Write a letter to or draw a picture for Gregory. Write or draw about your favorite experience as a Musical Explorer or about the music in your classroom. You can also ask anything you d like to know about Gregory. Dear Gregory, Sincerely, 96

93 SG49 Singing Total Praise LOOKING: Here is our singing part for the song Total Praise. Here is another singing part for the song Total Praise. & bb 4 4 Ó œ Œ œ Œ Ó A - me - n, A - me - n. b 97

94 unit 4 Lesson 2 AIM: To discuss how we can build a sense of community through music. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 1, 4, 5, 6, 9; NYC 1, 2, 3 SUMMARY: Gregory will perform a Spiritual entitled Every Time I Feel de Spirit at the concert. Spirituals demonstrate: How music can represent the spirit of a community The power of music to inspire strength, comfort, and change In this lesson, your students will learn how the power of music can tell a story by creating an original song to help begin change within their own communities. VOCABULARY: inspire, Spiritual, struggle, peace, happiness, community, composition Warm-Up and Activities for SG50 52 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following songs as a warm up: the Musical Explorers Song, Track 1; O ro the Rattlin Bog, Track 6; Johnny s Gone for Soldier, Track 7; O Lal Meri, Track 37; Rabba, Track 46; or Total Praise, Tracks Improving Our Community (SG50) Our Class Poem and Melody (SG51-52) LISTENING Listen to Gregory s recording of Every Time I Feel de Spirit with your students. Track 55 Ask students: What feelings does Gregory express in this song? What do you think it means when Gregory sings about feeling de spirit? What are other words that represent a similar feeling? (Possible answers: joy, happiness, peace.) Refer to your Musical Word Wall and add to it. Can you think of times in your daily lives when you feel a sense of happiness and peace? (For example, spending time with family, at worship, and playing with their friends.) Reveal to your students that this song is from the Spiritual tradition, which grew out of the struggle of Africans who were forcefully brought to America as slaves. The African Americans developed this genre of music because singing and creating songs was a way for the community to bond, strengthen, find comfort, and bring about change. These songs were learned by listening and repeating. Teach your students the chorus from Every Time I Feel de Spirit, Track 56. As you repeat the words, ask students: Can you think of some simple movements we could make to this? (For example, students could create movements for individual words, such as every, spirit, heart, and pray. ) 98

95 unit 4 Lesson 2 Practice your movements every time you sing this song. Have a student soloist sing the verse while the other students form a choir and sing the chorus part. LOOKING Ask your students to: Look around the school and their neighborhoods. Discuss the problems they see (examples: pollution, littering, unhealthy foods, or bullying). Consider some of the improvements that could make their neighborhood a better place to live. Create a list of problems on chart paper and on SG50. As a class, select one problem to inspire your composition. Explain what these words mean and add them to your Musical Word Wall. Extension: CREATING Review the class s ideas about improving their community (from previous LOOKING activity). Then, begin to create short, catchy, rhythmic word phrases that capture important ideas. For instance, if students mention littering, a short, catchy phrase like Pick it up! would be appropriate. Create at least one phrase as a class, and then divide your students into small groups to come up with additional short phrases related to the topic. Remind the students to keep the phrases very simple. After your students have gathered several short word phrases, organize them into a pattern. Write down the pattern on chart paper. Repetition is encouraged! The following simple poem can serve as a model: Pick it up! Clean it up! Pick it up! Clean it up! Reduce, reuse, recycle! 99

96 unit 4 Lesson 2 Chant the original class poem together until the students are comfortable with the rhythm of the words. Track 57 Once you have established a rhythm for the words, match a pitch to each syllable use the five-note scale (C-D-E-F-G) the students have learned in this curriculum. Ask students: Should we use skips or steps to match the words? If possible, try out the students melodic ideas on a pitched instrument in the classroom. Use repeating patterns of notes whenever possible. For instance, the example provided above could be: First, say the chant: Pick it up! / Clean it up! / Pick it up! / Clean it up! / Reduce / Reuse / Recycle! Track 57 Then sing your song with notes, like in this example: Track 58 When your song is finished, write it on chart paper or the board. Students can notate the song in their books on SG51 and 52. Practice singing the song and then perform it for other members of the school community as a way to inspire change within the neighborhood. 100

97 SG50 Improving Our Community We discussed some problems in our communities. What could we do to make things better? 101

98 SG51 Our Class Poem and Melody My group s phrase for the class poem is: The poem our class wrote is: 102

99 SG52 Our Class Poem and Melody The melody our class composed is: 103

100 unit 4 Lesson 3 AIM: To create our own version of the Musical Explorers Song. MATERIALS: Musical Explorers Student Guide and CD; CD player; pencils, markers, and crayons for students; chart paper; Musical Word Wall STANDARDS: US 1, 4, 8; NYC 1, 2, 3 SUMMARY: As a culminating lesson, students will apply some of the concepts and ideas they have explored during the curriculum while creating variations on the Musical Explorers Song. VOCABULARY: language, translation, variation Warm-Up and Activities for SG53 Warm up students singing voices with the Yawning Kittens, Bouncy Ball, or the Sirens exercises, Tracks 2, 3, 4, 5. Sing one of the following songs as a warm up: the Musical Explorers Song, Track 1; O ro the Rattlin Bog, Track 6; Johnny s Gone for Soldier, Track 7; O Lal Meri, Track 37; Rabba, Track 46; or Total Praise, Tracks Translating the Musical Explorers Song (SG54 and 55) LISTENING and LOOKING Read the text of the Musical Explorers Song chorus with your class on SG53. Recalling the translation work from UNIT 3, Lesson 1, brainstorm the languages represented by students in the class. Ask for four student volunteers (if possible) to translate the chorus into a foreign language (working with a parent as a homework assignment). When students have completed the translations of the lyrics, invite individual students to share a line of translated text. The remaining students should listen very carefully and try to repeat the line of text in the new language. Try this same activity with the rest of the song. Document the translations in writing. Once the translation is complete, try to sing the translated version with your students. Remind them that the meaning of the translated version is the same as the meaning of the original version in English. 104

101 unit 4 Lesson 3 Our Own Musical Explorers Song (SG54 and 55) CREATING Using the students translation of the Musical Explorers Song refrain, create a few musical variations as a class. Explain that variation occurs when something is changed. In this activity, the Musical Explorers song is being changed or varied. Select at least two of the variables below to change or add to the music in each variation: Tempo Dynamics Pitch Patterns Ornamentation Write the translated lyrics and variables students have selected on chart paper. Extension (Music Teacher): Students can try creating original variations in small groups. Allow time for students to practice and perform the variations and decide which ones they prefer. From there, document the class song, asking for students help and ideas about how to notate the song so that everyone will remember how to sing the song when they look at the notation. Nontraditional notation is encouraged (examples: squiggles to show ornamented words, swoops to notate the melody contour, patterns and rhythmic notation to show rhythms). Write down the song using this notation on chart paper. Students can also copy it into their books on SG54 and 55. Allow time for students to finalize the class s notated song and practice singing it. Once they are done, tell students: At the concert, you will hear each singer performing his or her own variation on the chorus of the Musical Explorers Song. The singers will sing these variations in the different kinds of musical styles and traditions that we ve been learning about. When you are done with this activity, please send your class s version of the chorus to Carnegie Hall. 105

102 SG53 Translating the Musical Explorers Song Here s a part of our Musical Explorers song in English: Here it is in another language: I can sing it, I can say it, I can dance it, I can play it. 106

103 SG54 Our Own Musical Explorers Song We created our own Musical Explorers song! Here s what our song looks like: Our Own Musical Explorers Song 107

104 SG55 SG4 Our Own Musical Explorers Song 108

105 Getting Ready for the Musical Explorers Concert Activities for SG56 60 Getting Ready for the Musical Explorers Concert (SG56 57) Songs We Know (SG58) Where Are All the Countries We Learned About? (SG59) Let s Go to Carnegie Hall! (SG60) The Conductor will now take us on a trip from Harlem to Carnegie Hall, where we will soon meet and hear all of our singers, Anne-Marie, Falu, and Gregory. Have students turn to SG60 and help them: Find Gregory s neighborhood, Harlem. Find Carnegie Hall in midtown Manhattan on the map. Complete the maze from Harlem to Carnegie Hall. In addition to reviewing the curriculum concepts, make sure to practice singing the songs with your students! Students should be ready to sing the following songs or parts of songs at the concert: Musical Explorers Song, Track 1 O ro the Rattlin Bog, Track 6 Johnny s Gone for Soldier, Track 7 O Lal Meri, Track 37 Rabba, Track 46 Total Praise, Tracks Every Time I Feel de Spirit, Track 56 Remember to do the warm-up exercises with your students each time you meet to encourage good vocal tone production and to improve their technique. 109

106 SG56 Getting Ready for the Musical Explorers Concert We have learned so much on our trips to Woodside, Little India, and Harlem! LISTENING We learned that there are lots of different ways of singing, and that singers can tell their stories with the music they sing. LOOKING We learned what music looks like and how to write it down. mood and telling stories patterns and ornamentation spirituality and history C D E F G Do Re Mi Fa Sol 110

107 SG57 CREATING We created our own rhythms, patterns, poems, and songs. We also explored our school, neighborhoods, and languages. My favorite part so far is: 111

108 SG58 Songs We Know During this part of our journey, we ve learned these songs: Musical Explorers Song O ro the Rattlin Bog Johnny s Gone for Soldier O Lal Meri Rabba Total Praise Every Time I Feel de Spirit We re going to sing them at Carnegie Hall with Anne-Marie, Falu, and Gregory! 112

109 SG59 Where Are All the Countries We Learned About? Ireland United States India 113

110 SG60 SG4 Let s Go to Carnegie Hall! It s time for a very important stop on our musical trip! We ll be leaving from Harlem, Manhattan, so first let s find Gregory s photo on the map. Gregory Start Harlem CENTRAL PARK Carnegie Hall Finish Now help Gregory get to Carnegie Hall, where he will join Anne-Marie and Falu. Are you ready to hear and see our friends perform at the Musical Explorers concert? Let s go! Anne-Marie Falu 114

111 National Standards for Music Education Found in unit(s): Standard 1 Singing a varied repertoire of music alone and with others. 1, 2, 3, 4 Standard 2 Performing a varied repertoire of music alone and with others. 2, 3 Standard 3 Improvising melodies, variations, and accompaniments. 1, 2, 3 Standard 4 Composing and arranging music within specified guidelines. 2, 3, 4 Standard 5 Reading and notating music. 1, 2, 3, 4 Standard 6 Listening to, analyzing, and describing music. 1, 2, 3, 4 Standard 7 Evaluating music and music performances. 1, 2 Standard 8 Understanding relationships between music, the other arts, 1, 2, 3, 4 and disciplines outside the arts. Standard 9 Understanding music in relation to history and culture. 1, 2, 3, 4 New York City Department of Education Blueprint for Teaching and Learning in the Arts: Music Found in unit(s): Strand 1 Music Making: By exploring, creating, replicating, and observing 1, 2, 3, 4 music, students build their technical and expressive skills, develop their artistry and a unique personal voice in music, and experience the power of music to communicate. They understand music as a universal language and a legacy of expression in every culture. Strand 2 Developing Music Literacy: Students develop a working knowledge 1, 2, 3, 4 of music language and aesthetics, and apply it to analyzing, evaluating, documenting, creating, and performing music. They recognize their roles as articulate, literate musicians when communicating with their families, schools, and communities through music. Strand 3 Making Connections: By investigating historical, social, and cultural 1, 2, 3, 4 contexts, and by exploring common themes and principles connecting music with other disciplines, students enrich their creative work and understand the significance of music in the evolution of human thought and expression. Strand 4 Working with Community and Cultural Resources: Students 1, 2, 3, 4 broaden their perspective by working with professional artists and arts organizations that represent diverse cultural and personal approaches to music, and by seeing performances of widely varied music styles and genres. Active partnerships that combine school and local community resources with the full range of New York City s music and cultural institutions create a fertile ground for students music learning and creativity. Strand 5 Exploring Careers and Lifelong Learning: Students consider the range 2, 3, 4 of music and music-related professions as they think about their goals and aspirations, and understand how the various professions support and connect with each other. They carry physical, social, and cognitive skills learned in music, and an ability to appreciate and enjoy participating in music throughout their lives.

112 ACKNOWLEDGMENTS Recordings Bodhrán by The Young Dubliners. Performed by The Young Dubliners. Courtesy of Higher Octave Records, Narada Productions, and EMI Blue Note Records. Carnegie Hall Musical Explorers Song by Daniel Eliot Levy. Performed by Daniel Levy. Courtesy of Daniel Levy and ASCAP. Ev ry Time I Feel de Spirit by H. T. Burleigh. Performed by Gregory Emanuel Rahming and Edwin C. Starner. Courtesy of the Christian Science Publishing Society. Johnny s Gone for Soldier, traditional Irish tune. Performed by Anne-Marie Hildebrandt. Courtesy of Anne-Marie Hildebrandt. O Lal Meri, traditional Indian song. Performed by Falu. Courtesy of Monsoon Records. O ro the Rattlin Bog, traditional Irish tune. Performed by Anne-Marie Hildebrandt. Courtesy of Anne-Marie Hildebrandt. Rabba by Falu and Borahm Lee. Performed by Falu. Courtesy of Monsoon Records. Total Praise by Richard Smallwood. Performed by Gregory Emanuel Rahming and Edwin C. Starner. Courtesy of the Christian Science Publishing Society. Print Carnegie Hall Musical Explorers Song by Daniel Eliot Levy. Courtesy of Daniel Levy. Every Time I Feel de Spirit by H. T. Burleigh, from A Collection of 25 Selected Famous Negro Spirituals, transcribed and arranged by Hugo Frey. Courtesy of Robbins Music Corporation; EMI Catalogue Partnership; EMI Robbins Catalog Inc.; Alfred Publishing Co., Inc.; and Belwin-Mills Publishing Corp., a division of Warner Bros. Publications. Rabba by Falu and Borahm Lee. Courtesy of Falu and Borahm Lee. Total Praise by Richard Smallwood, from Selections from Donnie McClurkin: Psalms, Hymns, and Spiritual Songs. Courtesy of T. Autumn Music; Zomba Songs, a division of Zomba Enterprises, Inc.; and Hal Leonard Publishing Co., a division of Warner Bros. Publications. Photos (SG2) NASA California Space camp student 1996 by NASA, snorkler challenges depths photo by Elana Farley, Historical archaeology at Champoeg townsite (Oregon USA) by gbaku; (SG13) St. Louis Blues by code poet; (SG16) Seán Óg s store by Stefan Cohen, courtesy of Jim Sullavin and Seán Óg s, Saint Sebastian Roman Catholic Church by Stefan Cohen, courtesy of Howard P. Maresca, Director of Facilities; (SG18) Irish bogs by Roy Mazucco, Img_7845 by radiationalley; (SG20) Soldiers on the line by 82nd Sustainment Brigade; (SG26) Jumping Rope by Brent Danley, Skaters by ianturton, Gallop by John Roling; (SG28) Straight Legs by Jonathan Smith, Off the Ground by thepaisleycravat, Dublin Irish Festival 2007 by capn madd matt; (SG33) Arabic boutique by Bonnie Natko, Pell Street in Chinatown by Devyn Caldwell, NYC Parking Sign by Nicole Wilkins, Russian Deli by Mike Sheehan; (SG35) st Street Deli by Stefan Cohen, courtesy of Raj, Kalustyan s by Stefan Cohen, courtesy of Aziz Osmani and Kalustyan s, Om Sari Palace by Stefan Cohen, courtesy of Shrma Shla and Om Sari Palace, Pongal Restaurant (Kosher) by Stefan Cohen, courtesy of Nazeer Ahmed and Pongal Restaurant, Om Sari Palace by Stefan Cohen, courtesy of Shrma Shla and Om Sari Palace; (SG38) Climbing the Edge by brothergrimm, Little secret by Pricklebush, SCREAM! by March Walter; (SG44) Untitled by Joseph Robertson; (SG47) Harlem photos by Stefan Cohen.

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114 CD TRACK LISTING 1. Carnegie Hall Musical Explorers Song, p Vocal warm-up: Yawning Kittens, p Vocal warm-up: Bouncy Ball, p Vocal warm-up: Sirens Part 1, p Vocal warm-up: Sirens Part 2, p O ro the Rattlin Bog, p Johnny s Gone for Soldier, p Gaelic phrase 1, p Gaelic phrase 2, p Gaelic phrase 3, p Gaelic phrase 4, p Gaelic phrase 5, p Ascending 5-note scale (call and response): C-D-E-F-G, p Ascending 5-note scale (call and response): Do-Re-Mi-Fa-Sol, p Ascending and descending 5-note scale (call and response): C-D-E-F-G, p Ascending and descending 5-note scale (call and response): Do-Re-Mi-Fa-Sol, p Note drawing practice 1: C and D* 18. Note drawing practice 2: C and D* 19. Note drawing practice 1: E, F, and G* 20. Note drawing practice 2: E, F, and G* 21. Note drawing practice 3: E, F, and G* 22. Note drawing practice 1: C, D, E, F, and G* 23. Note drawing practice 2: C, D, E, F, and G* 24. Note drawing practice 3: C, D, E, F, and G* 25. Irish instrumental dance music featuring the bodhrán, p O Lal Meri, p Stepwise melody 1 (complete): Mary Had a Little Lamb, p Stepwise melody 1 (call and response): Mary Had a Little Lamb, p Stepwise melody 2 (complete): Hot Cross Buns, p Stepwise melody 2 (call and response): Hot Cross Buns, p Leaping melody 1 (complete): Lightly Row, p Leaping melody 1 (call and response): Lightly Row, p Leaping melody 2 (complete): Yankee Doodle, p Leaping melody 2 (call and response): Yankee Doodle, p Leaping melody 3 (complete): Reveille, p Leaping melody 3 (call and response): Reveille, p O Lal Meri rhythmic excerpt, p Quarter-note example: ta, p Eighth-note example: ti, p Eighth-note pair example: ti-ti, p Half-note example: ta-a, p Clapping rhythms in 2/4 example (call and response), p Indian scale (ascending), p C-major scale (ascending), p Rabba, p Rabba refrain, p Indian scale 1 (call and response), p Indian scale 2 (call and response), p Indian scale 3 (call and response), p Voice shake, ornamentation (trill) on first note of Indian scale, p Voice shake, ornamentation (trill) on entire Indian scale, p Total Praise, p Total Praise : Amen (sustained part), p Total Praise : Amen (moving part), p Every Time I Feel de Spirit, p Every Time I Feel de Spirit refrain, p Class poem example: Chant, p Class poem example: Music, p. 100 *Tracks are supplemental and do not appear in Teacher Guide.

115 Musical Explorers CD