pathways T 3 purposeful Literacy Ensemble Movement Improvisation Composition Possibilities for the Elementary Music Classroom

Transcription

1 purposeful pathways T Possibilities for the Elementary Music Classroom Literacy Ensemble Movement Improvisation Composition 1 Book One 4,, h, $, 2 Sol, Mi, La, Do by Roger Sams and BethAnn Hepburn

2 purposeful pathways Possibilities for the Elementary Music Classroom by Roger Sams and BethAnn Hepburn with electronic visuals by Holly Walton Designed by Marie Smith, Radiant Graphic Design No part of this publication may be reproduced in any form or by any means, except where indicated as reproducibles, without the prior written permission of the Publisher by MIE Publications 5220 Mayfield Road Cleveland, Ohio (800)

3 Book One Grades K-2 Acknowlegements As with any significant project, this book has had the support of many beautiful people who believe in our work and the value it can bring to music classrooms. Holly Walton, an excellent music educator and friend, was quintessential to this project as she brought ideas for the electronic visuals into reality and enhanced each lesson. We thank Michelle Fella-Przybylowski for her careful attention to our first draft and helpful constructive criticism. Deanna Peters took time to field test many of these lessons with her students and offer thoughtful feedback. Sharon Morrow, Ph.D. was a skilled editor, helping us to shape these words into coherence. We appreciate Mark Izzo for his careful attention during the proofreading process and thoughtful insights. Each one of these individuals has contributed greatly to the quality of this book. Thank you to Marie Smith of Radiant Graphic Design for making these lessons look beautiful and for gently guiding us through the process of bringing them to print. We could not have done this without her. A special thank you goes to Jane Frazee, R. J. David Frego, Ph.D., and Jill Trinka, Ph.D. for their valuable support. To gain the approval of these three exemplary educators means more than words can express. We re very grateful for their faith in our work. A final thank you goes to Bill Johnson, Ron Guzzo, and Sam Marchuk, the men of MIE, for the encouragement to create this book series and for providing the resources to make it possible. Thanks for believing in us.

4 Contents 3 Indices 4 Introduction 6 Smart Notebook 7 About the Authors 91 Glossary of Terms Lessons 8 Name Riddle 9 Burnie Bee 12 Cinderella 14 Engine, Engine Number Nine 16 Mince Pie Fly 18 Cobbler, Cobbler 21 Young Animals 24 Rain on the Green Grass 28 The Mill Wheel 31 Barber, Barber Shave a Pig 34 Simple Simon 36 Shoemaker s Dance 38 Bubble, Bubble, Bubble! 41 Lucy Locket 44 Duérmete, Mi Niña 46 High in the Pine Tree 48 Davy Dumpling 51 Humpty Dumpty 54 Jelly in the Bowl 57 Coffee and Tea 59 Hickory Dickory Dare 62 Horsing Around 65 Charlie in the Tub 67 Johnny s Gone to Tea 69 Pease Porridge Hot 72 Wee Willie Winkie 75 Apple Tree 77 Johnny on the Woodpile 79 Little Sally Walker 81 Counting Out Rhymes 85 Garden Gate 2 Purposeful Pathways Book One

5 Indices Melody Sol, Mi Burnie Bee Cinderella Cobbler, Cobbler Engine, Engine Number Nine Rain on the Green Grass Young Animals Sol, Mi, La Barber, Barber Davy Dumpling Duérmete, Mi Niña Hickory Dickory Dare High in the Pine Tree Jelly in the Bowl Little Sally Walker Lucy Locket The Mill Wheel My Pony, Macaroni Sol, Mi, Do Charlie in the Tub Pease Porridge Hot Sol, Mi, La, Do Acka Backa Soda Cracker Apple Tree Garden Gate Johnny s Gone to Tea Johnny on the Woodpile Little Sally Walker Rhythm 4 h Apple Tree Bee, Bee, Bumble Bee Burnie Bee Cinderella Cobbler, Cobbler Eeny, Meny, Miny, Moe Engine, Engine Number Nine Garden Gate Johnny s Gone to Tea Name Riddle Young Animals 4 $ The Mill Wheel 4 h $ Barber, Barber Bubble, Bubble, Bubble Charlie in the Tub Davy Dumpling Eeny, Meeny, Macka, Racka High in the Pine Tree Hob, Shoe, Hob Jelly in the Bowl Lucy Locket Mince Fly Pie My Blue Ship Pease Porridge Hot Rain on the Green Grass Shoe a Little Horse Simple Simon Skunk in the Barnyard Trot, Trot, Trot Wee Willie Winkie 4 h 2 $ Acka, Backa Soda Cracker Duérmete, Mi Niña Johnny on the Woodpile Little Sally Walker The Mill Wheel My Pony Macaroni Shoemaker s Dance Compound Coffee and Tea Hickory Dickory Dare Humpty Dumpty Alphabetical Index of Songs and Rhymes Acka, Backa Soda Cracker Apple Tree Barber, Barber Bubble, Bubble, Bubble Burnie Bee Charlie in the Tub Cinderella Coffee and Tea Cobbler, Cobbler Davy Dumpling Duérmete, Mi Niña Eeny, Meeny, Macka, Racka Eeny, Meeny, Miny, Moe Engine, Engine, Number Nine Garden Gate Hickory, Dickory, Dare High in the Pine Tree Hob, Shoe, Hob Humpty Dumpty Ibble, Obble, Black Bobble Jelly in the Bowl Johnny s Gone to Tea Johnny on the Woodpile Little Sally Walker Lucy Locket The Mill Wheel Mince Fly Pie My Blue Ship My Pony Macaroni Name Riddle Pease Porridge Hot Rain on the Green Grass Shoemaker s Dance Shoe a Little Horse Simple Simon Three Young Animals Trot, Trot, Trot Wee Willie Winkie Young Animals Purposeful Pathways Book One 3

6 Introduction Welcome! We re glad that you ve chosen Purposeful Pathways: Possibilities for the Elementary Music Classroom for use in your classroom. Here you ll find wide range of developmentally sequenced lessons organized around the conceptual learning and skill development of young musicians. The intention of this book is to provide multiple possibilities for anyone teaching elementary music to adapt to their personal school setting. We believe that music teaching is most effective when it is purposeful, balancing conceptual learning with performance skills to develop thoughtful musicians capable of managing artistic choice with skill and ease. The possibilities in this book can be selected and shaped to work effectively in diverse situations. The teacher chooses which pathways will be explored and in what sequence they will be used. The prior knowledge and experiences of the children, the length of the classes, the number of classes per week, resources available, and pre-determined curricula will all impact the teacher s choice-making. Since every teacher and situation is unique, the possibilities in this book are intended to be shaped to support teaching and learning in a multitude of settings. Our goal is for each teacher to become masterful at creating a learning environment that fosters discovery learning. Music should be brought from the abstract to concrete understanding through purposeful active music making. We draw from multiple pedagogical philosophies, including Orff Schulwerk, Kodály, and Dalcroze Eurhythmics. The fusion of these philosophies provides an opportunity to differentiate the instruction to encompass the needs of many types of learners. The experience of the child will provide opportunities to actively explore and discover, to label concepts, and to gain understanding by manipulating musical material through creative process placing the child at the center of his/her own learning. This is process teaching, which brings concepts to the learner s understanding through musical experiences in multiple modalities and ultimately inspires each child s musical creativity. The students will experience music through singing, movement, speaking, playing games, and instrumental performance. Ultimately, the students create new works of art that embody their conceptual understanding, label their learning with new vocabulary, and simultaneously develop musical skills. 4 Purposeful Pathways Book One

7 How to use this book This book is designed in alignment with the sequential acquisition of musical skills and not by grade level. There is purposeful intention for conceptual learning and skill development embedded within these lessons. The lessons move through imitation and exploration, labeling or bringing to awareness, structured practice, and finally synthesis of the concepts through creative use of the material through improvisation and/or composition. This process of creating with what they know nurtures students into mastery and ownership through intellectual, artful, creative process fundamental for 21st Century Learning. It is important to understand this is not an all-inclusive curriculum. Purposeful Pathways is an extensive collection of developmentally sequenced learning activities. We expect that teachers who use Purposeful Pathways as their primary resource will be supplementing the material found in these pages. For example, we have made no attempt to integrate holiday, seasonal, and patriotic material. We have included minimal folk dance, which we value greatly. There are no music listening lessons in these pages. Fine resources are available in both those areas. Purposeful Pathways can also effectively serve as a supplement to any of the many fine music curricula already in the market place and those created by school districts and individual teachers. Each lesson in this book is a collection of learning activities. We intentionally give you multiple pathways to choose from for each song or concept. It is our intention that you will select the pathways that are most helpful to the development of the young artists in your care. It is important to note that these lessons cannot be accomplished in a single class session. Each of these lessons must be spread out over multiple sessions for the students to realize the learning potential of the activities. Purposeful Pathways is organized around rhythm and melody. Other concepts are included in these lessons, but the organizing principle is the development of rhythmic and melodic skills and understandings. We advocate no particular rhythmic syllable system, although we both use Kodály rhythm syllables in our classrooms. There are multiple syllable systems being used in North American schools with effectiveness and any are compatible with these materials. While we do advocate the use of solfege, we trust that teachers who do not solfege will adapt these materials. This book is designed to be fluid and flexible. Make it work for you and your students. You will notice that learning structures are repeated. This is for two reasons. First, we find that repeating learning structures supports student learning. The security of familiar structures allows the students the opportunity to practice and improve. Second, we don t expect you to use all of the pathways in every lesson. Thus you might not use PATHWAY TO IMPROVISATION for Bubble, Bubble, Bubble, but later choose to use the, nearly identical, structure when you re working with Wee Willie Winkie. Lastly, we encourage you to always maintain a spirit of play in your classroom. Musical learning with young children should be dynamic, kinesthetic and playful. These lessons should be fun! Remember that teaching music is about sharing the joy of music. Yes, you re teaching music. More important than that, you are teaching beautiful, young human beings. It is your job to nurture their humanity and their souls while supporting their growth as artful music makers. We wish you the very best as you embark on these pathways with your students. May the journey be joyful! BethAnn & Roger Purposeful Pathways Book One 5

8 SMART Notebook Electronic Visuals Purposeful Pathways: Possibilities for the Elementary Music Room comes with an optional CD-ROM (additional purchase) containing electronic visuals and reproducibles. The lessons were created using SMART Notebook software. The Purposeful Pathways SMART Notebook lessons are interactive and engaging. The Pull Tabs found in the lessons will offer suggestions and instructions for the teacher. The visuals in each lesson may be changed and manipulated to suit the needs and style of the individual teacher. If you do not have access to SMART Notebook software you may access SMART Notebook Express, using the link Product+Index/Software+Products/SMART+Notebook+Express Here you will find both a web-based application and free downloadable software. SMART Notebook Express will allow you to view, save, and interact with SMART Notebook files at no charge. The interactive aspects will not interface with other brands of hardware, but can be utilized through the teacher s computer. Teachers using Power Point or other brands of interactive whiteboard may wish to use our SMART Notebook files as models for creating electronic visuals best suited to your equipment and software. 6 Purposeful Pathways Book One

9 About the Authors Beth Ann Hepburn holds a Bachelor of Music from Cleveland State University, and a Master of Arts in Music Education from The University of St. Thomas, MN. She teaches 4-6th grade general music in Streetsboro, Ohio. She is an instructor for the American Orff-Schulwerk Association s teacher education certification program. She is on faculty of Orff Schulwerk teacher education courses at Villanova University and Trinity University and has worked with teachers and children in China, Singapore and India. Beth Ann is Past Chair for General Music for the Ohio Music Education Association and Past Professional Development Chair for the American Orff-Schulwerk Association. She has taught music methods courses at Cleveland State University and the University of Akron. Roger Sams holds a Bachelor of Music from Bowling Green State University and a Master of Arts in Music Education from Case Western Reserve University. He has been teaching children in both public and private schools since 1982 and has served as adjunct faculty at Cleveland State University, teaching methods courses and supervising student teachers. Roger completed his Orff Schulwerk training at Hamline University and taught Orff Schulwerk teacher education courses for nearly twenty years at the University of St. Thomas, Cleveland State University, University of Akron, University of Montana and other venues throughout the US. Roger is a regular presenter at regional, state and national conferences, has served on the AOSA National Board of Trustees, and has worked with teachers in Canada, China and India. He currently serves as Music Education Consultant at Music is Elementary. Purposeful Pathways Book One 7

10 4, h Name Riddle Pathway to Pulse: Steady Beat Begin sitting in a circle together on the floor. Teacher establishes steady beat by patting. Students copy. (Simultaneous imitation)* Teacher chants the rhyme while students pat the steady beat. What is it? It s your name! Teach the text by rote, maintaining the steady beat. Pathway to Play: Name Game Chant the rhyme and pat the steady beat. Teacher models how to introduce oneself, speaking and clapping. The class echoes. Say the poem, followed by one child s introduction. Keep repeating the process until all students have had a chance to say/clap their name. For an advanced challenge give all the students a hand drum or a pair of rhythm sticks. Pass the rhythm of the names down the line on UTP (unturned percussion instruments). * Definition of terms in blue may be found in the glossary at the end of this book. 8 Purposeful Pathways Book One

11 Burnie Bee RHYTHM 4, h Sol Mi Pathway to Rhythm: 4- beat echo patterns using 4, h Teacher leads 4-beat echo patterns using 4, h 1. Drag one or two bees to each blank. Pathway to Literacy: Decode 4, h M M M M M M M M 2. Short and long. Tap the steady beat and speak the words. Students identify which beats have one long sound. Repeat, and check the student s answers. How many sounds fall on the other beats? Place two small bees there. Change to short, short, long iconic notation: M M M M Add note stems and read rhythm from stick notation. Beat vs. rhythm. MMMM MMMM MMMM MMMM h 4 h 4 hhh4 hhh4 hhh4 Teacher Talk: Icon Tracking for Music Literacy If your students are still at the reading readiness stage of development, the tracking of pictures to short and long icons is an excellent development tool for music literacy. When they can track from left to right, and identify the number of sounds on a beat, add music notation. This may be done with any of the reading lessons in this book. Half of the class pats the beat, the other half claps the rhythm with syllables. Trade jobs. Add text. 3. Beat vs. Rhythm Purposeful Pathways Book One 9

12 4, h Sol Mi Burnie Bee, Continued Pathway to Partwork: Preparation for instrumental ensemble Partner Practice: Feel the beat against the rhythm Students sit one behind another. The person in back is the beat keeper and lightly taps on their partner s shoulders while the partner claps the rhythm and speaks the rhyme. Turn around and trade jobs with the same partner. Can also be done in a full class circle. 5. Two-part percussion. 6. ABA form. Transferring to Instruments Transfer the steady beat to hand drums. Transfer the rhythm to rhythm sticks. Class performs the beat against the rhythm. Pathway to Form: ABA form with 4- beat rhythm patterns B Section Add teacher-led 4-beat echo patterns as a B Section in ABA form, with A as performed above with sticks and drums. Example: T. 4 4 h4 S. echo: 4 4 h 4 T. 4 hh4 S. echo: 4 h h4 A B A Sticks Echo Sticks and Patterns and Drums Drums Pathway to Literacy: Discovering Sol and Mi Rote teaching of song and text using echo imitation. Introduce (or review) Sol and Mi with hand signs. Practice with echo patterns. The teacher points to each bee icon as the song is sung. Students identify which bees should drop down to the lower line to match the voice. 7. Drag the bees so they are on the correct space: Sol or Mi? Example: becomes: s m s m Read solfege syllables for the song with the icons. Sing song with words. 10 Purposeful Pathways Book One

13 4, h Sol Mi Pathway to Ensemble: Chord bordun with color parts Pat steady beat while singing song. Transfer steady beat pat to chord bordun on BX/BM. Teacher Talk: Playing while singing Often students struggle with playing and singing simultaneously. to support the development of this skill, we suggest putting partners at each instrument. They alternate between playing and singing. After they have done both in isolation several times, ask them to play and sing simultaneously. Sing the song and clap when you sing the words, Burnie Bee. Transfer claps to shakers. Prepare the glockenspiel part with pat, pat, clap and transfer to Do Pentatonic on F glockenspiel with a glissando. Put all three parts together with singers. Purposeful Pathways Book One 11

14 4, h Sol Mi Cinderella Pathway to Rhythm & Pitch: 4- beat echo patterns Teacher leads 4-beat echo patterns (clapping) using 4 and h Be sure to include the following patterns from the song: h 4 4 Teacher leads 4-beat solfege patterns using Sol and Mi. Teacher plays Sol-Mi patterns on recorder. Students echo sing with hand signs. Pathway to Literacy: 4,, h Sol, Mi 1. Solfege ladder. Teacher chants text and points to shoes, while the students keep the beat. Students discover and label where the h occurs \ \ \ \ 4 h 4 4 \ Students determine the shoe with two sounds. Read rhythm using rhythm syllables. Add the time signature and have the students add the bar lines after every four beats. Read solfege. Sing with the text. Pathway to Improvisation: Triangle kisses After singing the song, one student has a triangle and plays the number of kisses that he gave her. While singing the song again, that student passes the triangle to the next kisser. Teacher Talk: Musical choice 3. Stick notation (solfege). This type of lesson serves to plant the seeds for improvisation by giving the students a musical choice. They must determine how many times to strike the triangle to represent kisses. (Experience tells us that it is wise to limit the kisses to a maximum of eight.) Pathway to Ensemble: Steady beat chord bordun w/color part Pat steady beat while singing song. Transfer to chord bordun on BX/BM. Teacher models, patting the GL part on lap. Students determine the magic words that s/he plays on (ella, yella, fella). Students join in and transfer to GL. 12 Purposeful Pathways Book One

15 4, h Sol Mi 4. Stick notation (solfege and text). Pathway to Rhythm: Moving to 4-beat patterns using 4 and h Missing Slipper Movement Game Review rhythm with the students. What notes make the rhythm for how many kisses? ( 4 h 4 4 ) Teacher plays that rhythm four times (on temple blocks or hand drum) followed by one strike of the triangle. Students search for Cinderella s missing slipper by tiptoeing that rhythm and pretending to search. Freeze in an ending shape when the triangle plays. Does your shape show us that you found the slipper or that you didn t find it? Shift the h to each of the other beats of the measure, allowing the students to experience all the possibilities within a 4-beat pattern. When students are ready, put more than one h in a measure. Extension Ideas: Dynamic contrasts can be explored by using dynamics as a clue to how close a person has come to uncovering a hidden shoe. (Loud=close, soft=far away) Consider using this movement game as a contrasting section in a Grand Rondo. A third of the class plays instruments, a third of the class sings, a third of the class moves. Rotate children through all three parts. Purposeful Pathways Book One 13

16 4, h Sol Mi Engine, Engine Number Nine Pathway to Pulse: Kinesthetic awareness of beat/subdivision 2. Stick notation (rhythm). Teacher plays the 4 steady beat. Students walk the beat. Change the quarter note pulse to h and students tip toe. Teacher sings the song while the students are traveling on h Arrange multiple train stations around the room. (Stations are free-standing drums, or instruments on chairs.) Students form trains of 6-8 people. Trains locomote around the room to the eighth note pulse while singing the song, stopping at a train station by the start of the B Section. (Yes, No, Maybe so.) Engineers lead train to new station during the A Section by locomoting while singing. Pathway to Literacy: 4, h, Sol, Mi 3. Drag the appropriate trains to the Mi space. Teacher leads 4-beat echo patterns using hand signs. Example: 4 4 h 4 jj sol, sol j sol d mi Read rhythm. Aurally identify Mi and move on the staff. Read melody using solfege and hand signs. d mi Teacher Talk: At this point you have a choice to make: You can either work from stick notation, or the staff: h h h 4 s s m m s s m 5. Melody on Staff. Add text. Everyone says, Yes. No. Maybe so, then claps the rhythm. Notate the rhythm together. 14 Purposeful Pathways Book One

17 4, h Sol Mi Everyone says, Yes. No. Maybe so. Leaders echo the rhythm on the drums. After the engineer (leader) has had a turn to play the big drum, s/he goes to the end of the train and a new engineer takes over leading the train around the room, arriving at a new train station in time for the B Section. Repeat, giving all students an opportunity to lead. Pathway to Ensemble: Steady beat chord bordun with ostinato Pat steady beat while singing. Transfer the pat to the BX/BM on chord bordun. Prepare ostinato with body percussion and speech. Transfer to guiro. = $ $ h 4 wave, wave, scrape, scrape, scrape* wait, wait for the train $ $ h 4 Put BX/BM, guiro and singing together. Teacher Talk: Rotate children through all three parts, as time permits. *Prepare the guiro part with a two-finger scrape up and down the arm. 6. Guirro part. Purposeful Pathways Book One 15

18 4, h, $ Mince Pie Fly Pathway to Rhythm: Kinesthetically preparing 4, h, $ 1. Catch the fly and label the rest. Begin with students in scattered space. Students match the steady beat played by the teacher (on drum) in their feet, stationary first then locomotor. Once the pulse has been established, teacher speaks the poem. Ask the students what Nellie Bly is doing in the poem. Walk like Nellie on the beat. When the drum stops, stop traveling. Catch a fly during the space (which they haven t yet labeled as a rest). Travel to the eighth note. Extract patterns from the poem, for the class to echo. Example: h h 4 $ h h 4 $ teacher on drum students move rhythm in feet Pathway to Literacy: Discover the rest Teacher models the rhyme, while tracking the steady beat with the fly icons. Which fly did we catch? That fly becomes a quarter rest. 2. Rhythmic notation. $ Pathway to Partwork: 4, h, $ Students read rhythm. Add text. Teacher creates ostinato using icons, fly $,,, fly $, mince pie, fly $. 3. Ostinato icons. fly $, fly $ mince pie fly $ Half the class on poem. Half on ostinato. Transfer to UTP. Poem on woodblock. Ostinato on hand drum. 16 Purposeful Pathways Book One

19 4, h, $ Teacher Talk: Adapt to your students Be aware that an ostinato against the poem will be challenging at this stage. If it proves too challenging, use Slide 5 to create this simpler ostinato: Mince Pie, Mince Pie, Mince Pie, Fly $ 4. Teacher s score. 5. Composing with icons. Pathway to Composition: Composing with icons Individual work with rhythmic building blocks - icon cards (mince pie, fly). Create ostinati by selecting and arranging four cards. fly $, mince pie mince pie fly $ 6. Reproducibles. Students travel around the room performing the ostinati that were created by their classmates and discovering those who created the same patterns. Cluster with those who wrote the same ostinato and practice as an ensemble. Listen to each ostinato performed with the rest of the class on the poem. Perform on UTP, if time permits. Purposeful Pathways Book One 17

20 4, h Sol Mi Cobbler, Cobbler PATHWAY to RHYTHM: Prepare four beat rhythm patterns Pathway to Rhythm: Prepare 4-beat rhythm patterns Teacher leads 4-beat echo patterns containing 4 and h Students lead the echo patterns. If students are struggling with the 4-beat length, show the 4 beats with a gesture: Use fingers or arm to count the 4-beat pattern. Students practice with a partner, taking turns being the leader and the echo. Be aware this assumes that they ve had quite a lot of practice with this skill in large group settings. Pathway to Literacy: Decoding 4 and h 1. Text with steady beat. Teacher taps the shoe icons on the beat while speaking the rhyme. Repeat with the class patting the beat and speaking the rhyme. Add dynamic changes, piano on the first two phrases, mezzo forte on the last two. Half the class pats the beat, while the other half claps and speaks the rhyme. Students trade jobs. Teacher Talk: Expressive speech Encourage students to use expressive speech when they speak any rhyme. This paves the way for expressive playing on instruments later. Have the students notice that the last two phrases of the rhyme have an exclamation point! Speak these lines differently. Cob-bler cob-bler mend my shoe. Get it done by half past two. Half past two is much too late! Get it done by half past eight! 18 Purposeful Pathways Book One

21 4, h Sol Mi Discover which shoes have only one sound and label as 4 Discover which shoes have two sounds and label as h Class adds the bar lines. 2 4 h h h 4 h h h 4 Cob-bler cob-bler mend my shoe. Get it done by half past two. h h h 4 h h h 4 Half past two is much too late! Get it done by half past eight! 2. Move 4 and h to the appropriate beats. Clap the rhythm with syllables. Pathway to Literacy: Sol, Mi Read melody in solfege from electronic visual using hand signs. Add text. S M 3. Staff notation (with text). Pathway to Ensemble: Steady beat chord bordun Sing song and pat steady beat. Transfer to chord bordun on BX/BM. Purposeful Pathways Book One 19

22 4, h Sol Mi Cobbler, Cobbler, Continued Pathway to Improvisation: 4-beat rhythm patterns on woodblock 4. B section. GL play the Sol, Mi pattern followed by four $ Woodblocks fill in the measures of rest with four 4 Woodblocks fill in the rests with four h Woodblocks improvise using 4 and h Add $ to the choices for improvisation, if your students are ready. Use with the song in ABA form or a Grand Rondo. Teacher Talk: Grand Rondo When we suggest a Grand Rondo we re inviting you to create a final form that meets the needs of your students at this point in time. Alternate between the song (A Section) and the improvisatory B Section. You could have solo improvisations and do an assessment. You could do small group improvisations. It is possible to assess by small groups. You can cultivate your listening and evaluating skills so that you can assess three or four children simultaneously. You decide how you want to shape the B Sections to best meet the needs in your classroom. 20 Purposeful Pathways Book One

23 Young Animals RHYTHM 4, h Sol Mi Pathway to Pitch: Sol, Mi Teacher leads 4-beat echo patterns using Sol and Mi. Use the solfege ladder, either electronic or hands-on manipulative, to support the students in seeing the pitch. Teacher sings the song to class with focused listening questions, to allow the students to hear the song multiple times: Which animals wear hats? S Which animal has a curling tail? Are the hats the same color? Which animal wears demiveils? M What are demiveils? (A veil, like a bride wears) Students learn song through echo imitation. 1. Solfege ladder. Pathway to Literacy: Sol and Mi Begin with a two line staff, with animal icons on the top line. Students identify when to lower from Sol to Mi. s m 2. Drag the appropriate animals to the Mi space. Sing the song with solfege. Add text. Transfer to barred instruments. Students echo teacher one measure at a time to learn the piece. Alternate singing the song with playing the song. Teacher Talk: Playing musically When transferring the melody to barred instruments, remember to have the students play musically. Insist on a nice dynamic, alternating hands. 3. Continued. Purposeful Pathways Book One 21

24 4, h Sol Mi Young Animals, Continued Pathway to Composition: Creating 4-beat rhythms using 4 h 4. B Section (composition or improvisation). NOTE: This can either be done as a whole class project (if this kind of project is new for your students) or as small group work (if they have experience). Students compose 4-beat patterns for each of the animals using 4, h Determine what UTP would be a good choice for each animal. Use as a B Section with song in ABA form. 22 Purposeful Pathways Book One

25 4, h Sol Mi Pathway to Timbre Exploration: Selecting color instruments Sing song while patting steady beat. Transfer steady beat to chord bordun on BX/BM. Students sing song and teacher claps the UTP/BP part. Teacher leads an exploration of assorted UTP instruments. Students determine which instrument plays h 4 for which animal. Put arrangement together with UTP instruments. Pathway to Improvisation: 4-beat rhythm patterns Similar to PATHWAY to COMPOSITION, but you use the B Section as a structure for improvisation instead of composition. Consider having four different groups of UTP for the four different animals, based on PATHWAY to TIMBRE EXPLORATION. Pathway to Creative Movement: Reinforcing the beat in groups Place the students in groups of two, three, or four. Have the students create a hand-clapping and patting pattern to represent the common time signature. Their pattern will be a 4-beat ostinato. Example: pat, clap, partner clap, clap. Sing the song while groups practice their body percussion ostinati. Groups decide which of the animals they will represent and create a movement to represent their animal. Example: curling motions to represent the dog tails, moving like a duck, etc. Alternate singing the song with the ostinati, and moving the song with their new animal motions while others play the melody on barred instruments. Half the class can accompany the movers, from the ensemble lesson above. Pathway to Culmination: Perform in a Grand Rondo with half the class on instruments and half moving. A B A C A D A E A A = All instruments and singing, movers performing ostinati B = Rat moving groups C = Duck moving groups D = Dog moving groups E = Cat moving groups Accompany the movement sections with BX/BM steady beat chord bordun. You can decide what you want to add to that bordun. Would you prefer to have the other barred instruments play the melody or use PATHWAY to COMPOSITION or IMPROVISATION to accompany the movement? There are always so many possibilities. Which possibility is the best choice for your situation right now? Purposeful Pathways Book One 23

26 4 h $ Sol Mi Rain on the Green Grass Pathway to Singing: Vocal exploration What brings in the rain? The wind! Explore finding the head voice by following the wind pathway on ooooo. Rote teaching of song and text through echo imitation. Pathway to Literacy: Discovering $ 1. Vocal exploration. Students pat the steady beat while singing the song. Teacher points to icons as they sing. F 2. Rhythmic icons. Teacher uses questioning to support the children in discovering that when the umbrella appears there is one sound on the beat and when the raindrops appear there are two sounds on the beat. What happens when the sun appears? F No sound at all! Label the beat with no sound as a rest $ Pathway to Literacy: Decoding Sol and Mi Students determine when the melody moves to Mi and move the icons down one space. (All of the icons begin in the Sol space.) 3. Move icons to reflect pitch. S M Convert the icons on the staff to rhythmic notation. Sing in rhythm syllables. Sing in solfege. Sing with text. 24 Purposeful Pathways Book One

27 4 h $ Sol Mi Pathway to Ensemble: Steady beat chord bordun with color parts by word cue Pat the steady beat and sing song. Transfer to chord bordun on BX/BM. Teacher claps on the rests. Students determine the pattern and join in. Transfer to triangle. Prepare guiro part by scraping arm with finger on word cues, green grass and roof-top. Transfer to guiro. Put all parts together with song. Pathway to Rhythmic Improvisation: 4-beat patterns using 4, h, $ 5. Improvisation. Speech followed by four beats of rest (2X). Fill in the rests with four 4 (clapping). Fill in the rests with h Teacher models improvisation using 4, h, $ Students improvise. Small groups of students transfer improvisation to UTP. Put together with song in ABA form. For an advanced challenge Transfer the speaking part, Hear the raindrops, to a contrasting timbre instrument. Purposeful Pathways Book One 25

28 4 h $ Sol Mi Rain on the Green Grass, Continued Pathway to Form: Creating an introduction soundscape with movement Consider reading the following poem, by Roger Sams, about the rain with sound effects chosen by students, then bring in the BX and begin the orchestration for the song after the steady beat is established. 9. Poem. Rain is falling down. Such a peaceful sound. Oh, so gently, rain is falling All around. Rain is falling down. Thunderstorms abound! Lightning crashing, storm clouds thrashing, What a sound! Rain is falling down. Such a peaceful sound. Oh, so gently, rain is falling All around. Teacher Talk: Creating Soundscapes The accompaniment for the rain poem does not need to be metric. The students can create an ethereal soundscape to accompany the poem inspired from the words. This is a great opportunity to explore various timbres and unconventional ways to play the instruments. Consider using this poem as an opportunity to explore dynamic contrast, emphasizing the difference between the gentle rain and the storm. 26 Purposeful Pathways Book One

29 4 h $ Sol Mi Pathway to Creative Movement: Sudden and sustained movements accompanied by percussion soundscape Movement Exploration Students begin in one place, exploring the way rain drops fall (sustained movement): Slowly on the wind, straight down, swirling, twirling. (List more with class.) Explore the various rain movement ideas in self-space. Students imagine they are raindrops, and chose a spot somewhere else in the room where they will land. Can they travel to that place (locomotor movement) in a way from the previous list? Explore several ways. Chose their favorite, and travel to their spot. Now explore sudden movement very angular, like lightening. Encourage angular movement in legs, arms, head, etc. Create a movement sequence: Sustained, Sudden, Sustained Add percussion accompaniment Students watch a partner dance their sequence and decide what instruments can accompany their movement. Possibilities for sustained rain accompaniment: Glockenspiel, wind chimes, earth bell, triangle, rainstick, spring drum, metallophone. Possibilities for sudden thunder accompaniment: Drum, cymbal, woodblocks, templeblocks, vibraslap, slapstick, thunder drum Alternative accompaniment Consider combining with PATHWAY to FORM poetry/soundscapes. Purposeful Pathways Book One 27

30 4, $ Sol Mi La The Mill Wheel 1. Movement play notation. Pathway to Movement Play: Rhythmic exploration Play a quick reaction game and change the rhythms, students will have to aurally determine which action to perform. Students will explore various rhythm patterns preparing the corn for the mill. Start with the pulse, then ask how the chopping pattern is different $ Chop, chop, chop, $ (cutting down the stalks) 2 2 p u ll, p u ll (husk the corn) hhhh cutting kernels, cutting kernels (cut the kernels off the cob) Teacher plays rhythms on UTP. Consider layering these ostinati and transferring to UTP for rhythm practice. Form groups of 4-5 students to create a mill wheel to grind the corn after the movement exploration. Learn The Mill Wheel by rote and sing while the mill wheels are turning. Pathway to Literacy: Introducing La Warm-up voices singing Sol and Mi with hand signs. Use solfege ladder to support visual learners. Echo the 4-beat motives in the song. M Guide the class to identify where the pitches belong on the staff. The students should discover from their aural experience that La is placed above Sol. (You may have to review the quarter rest.) L S 2. Solfege notation Isolate and read each pattern from the staff. Jumble the order, and have the students put them in the correct order of the song. 3. Ordering the measures. 28 Purposeful Pathways Book One

31 4, $ Sol Mi La Pathway to Ensemble: Chord bordun with color parts on the rests Sing the song and clap on the rests. Transfer claps to pentatonic tone clusters on GL. Prepare the BX/BM part with a pat followed by a tap on the shoulders for the rest. Sing the song while performing the pat/rest pattern. Transfer pat/rest to chord bordun on BX/BM. Put it all together. Pathway to Pitch: Playing Sol, Mi, La Set up barred instruments, isolating Sol (C), Mi (A), and La (D). Teacher Talk: Set up Set up is important when teaching instrumental technique pieces, such as playing a melody. Some teachers prefer to take all of the bars off of the instruments, except the bars being used. Other teachers prefer to take off the bars that neighbor the bars used. The choice is yours. Many of the students will take visual cues from the teacher s example, which is best done through mirroring. Because of this, it is best to set the room up with all of the instruments facing the same direction. The teacher, in the front, faces the students and plays the instrument upside down or backwards. Initially, this may take some practice on your part. Purposeful Pathways Book One 29

32 4, $ Sol Mi La The Mill Wheel, Continued Teacher simultaneously sings solfege and plays corresponding notes on barred instruments. Students echo, playing and singing. C is Sol. D is La. C is Sol. A is Mi. Students echo teacher playing and singing solfege, four beats at a time. Students echo teacher playing and singing solfege, one phrase at a time (4 measures). Sing song and play the air. Fingertip practice. Teacher Talk: Individual fingertip practice It is important to give the students an opportunity to practice on their own, in their own way. Individual fingertip (rather than mallet) practice on the bars is ideal for this task. It minimizes the sound in the room and gives each student an opportunity to practice in his/her own way without being distracted by lots of sound. We suggest you set up a standard operating procedure for individual work and a signal for individuals to request help during practice time. Play entire melody together. You may wish to consider a simple accompaniment played by the teacher. When your students know the melody well you may wish to add the entire Orff arrangement as an accompaniment. 30 Purposeful Pathways Book One

33 Barber, Barber, Shave a Pig RHYTHM 4, h, $ Sol Mi La Pathway to Literacy: Sol, Mi, La Warm up voices with solfege echo patterns. Utilize the solfege ladder and patterns from the melody $ $ h 4 s s m s l s s l s m s m s s m etc. Sing the solfege patterns from melody cards or electronic visual. Teacher sings the song in solfege, one measure at a time. Students put the measures in order using melody cards or electronic visuals. Students sing the entire melody with solfege, then add text. L S M 1. Solfege ladder. 2. Melody cards. 3. Order cards to reflect melody. Purposeful Pathways Book One 31

34 4, h, $ Sol Mi La Barber, Barber..., Continued Pathway to Ensemble: Steady beat chord bordun, color part by word cue Sing the song and pat the steady beat. Transfer to chord bordun on BX/BM. Students sing. Teacher models UTP part using BP on cue words. Consider tapping/ scraping your arm for the guiro part and clapping the hand drum part. Students join teacher on BP and transfer to UTP. Alternate students on various instruments. Rotate students through parts by moving around the circle. Consider using the following chant to help facilitate the rotation, so that the students have a specific time frame to move and get situated with their new instrument. 4. Chant. Hey, barber, ho, barber, Give us a chop. First we move over, And then we stop. Teacher Talk: Rotating around the circle Alternating several UTP between barred instruments in a circular rotation is a great solution if you only have a few barred instruments. Students move efficiently around the circle, during the chant above, creating performance opportunities on many different instruments in a short period of time. Consider having an empty space in each rotation with no instrument as a special singer s spot to allow for vocal assessment. A hulu hoop works well to designate the singer s spot. 32 Purposeful Pathways Book One

35 4, h, $ Sol Mi La Pathway to Improvisation: Improvising on a given text generated by students 4 h 4 4 Pose a question to the class: What kind of hair cut? Create a list of possible answers from the students that can fit in 4-beat motives, such as: 4 h 4 4 h h h 4 I want a mo-hawk! Cut it short and curly please hh h $ h h 4 $ Cut it super spiky! I don t want it cut! 5. Improvisation practice. Practice the student answers in the tempo of the song. Teacher speaks & claps: 4 h 4 4 Students speak & clap answers. What kind of hair cut? Transfer to barred instruments*, using given tone set: Sol, Mi, La. *May also be done with vocal improvisation Teacher plays the question using given pitch set. Students improvise a Sol, Mi, La melody to their speech answers. 6. Student improvisation. Pathway to Composition: 4-beat rhythms Work from the structure of PATHWAY to IMPROVISATION, but use it as a compositional activity. Students write down the rhythm of their request. If you choose, take that rhythm and add Sol, Mi, La and turn it into a melodic pattern. Purposeful Pathways Book One 33

36 4, h, $ Simple Simon 1. Rhyme. 2. Rhyme plus speech ostinato. Pathway to Improvisation: Rhythmic building blocks containing 4, h Students locomote as they pretend to travel to the fair, matching the tempo of a drum or temple blocks. When the instrument stops, they freeze. Repeat several times, establishing the steady beat and stopping on the rest. Teacher speaks text of the poem while the students move to the steady beat. When they freeze at the end, ask what type of pie Simon may see at the pieman s stand. Have the students speak and clap the pie names, repeating the pie name four times. (example: a student may say blueberry and clap 4 h four times) Continue process, clapping and speaking different types of pies, to prepare later composition activity. 34 Purposeful Pathways Book One

37 4, h, $ Pathway to Ensemble: Rhyming word cue and ostinato Teach text, clapping rhythm of words with speech. Add a snap after each rhyming word, preparing the triangle part. Practice those two parts together, half the class snapping and half the class clapping. Teach ostinato by rote. Teacher speaks the rhyme while the class speaks the ostinato. Half the class on the rhyme, half on the ostinato. Repeat the two-part practice, with the teacher adding the snaps on the rest. Divide the class into three parts, prepare with BP (triangle part = snapping, poem = clapping, ostinato = patting,) and transfer to instruments. You may choose to speak the poem with two instrumental parts or consider playing the rhythm of the poem on wood block for a three-part percussion piece. 3. Beat icons. Pathway to Composition: 8-beat rhythms with rhythmic building blocks 4. Composition practice. M M M M M M M M Compose an 8-beat rhythm ostinato by selecting a rhythmic building block for each pie. Use as a sight-reading activity, changing the ostinato several times. h $ lemon 4 4 mince meat h h peanut butter 4 $ plum h 4 coco-nut 4 h blue-berry 5. Reproducibles. Students create their own ostinato with the rhythmic building block cards in small groups. Transfer student ostinati to UTP. Choose a contrasting timbre instrument for the poem. Use student composed ostinati to accompany poem. Purposeful Pathways Book One 35

38 AB FORM SIMPLE & COMPOUND METER Shoemaker s Dance Pathway to Folk Dance: Simple and compound meters Teacher models song and dance. Gesture for A Section Wind it this-a-way: (wind fists to the left) Wind it that-a-way: (wind fists to the right) Pull, Pull: (both arms pull in on the half note duration) Tap, tap, tap: (Tap right fist onto left fist) Skipping for B Section Teacher Talk: Introducing simple and compound meters Introduce (or review) the concepts of simple and compound meters. Ask higher level thinking questions, such as How does simple meter feel different than compound meter? or What words can you use to describe simple meter and compound meter? Simple meter feels like marching. Compound meter feels like skipping. Students join teacher when ready. Dance with a partner. A Section: Face partner for gestures. Jr. B Section: Skip around the room holding hands. Advanced B Section: Right elbow swing for eight beats, left elbow swing for eight beats. Daredevil B Section: Helicopter spin. Cross wrists and join hands with partner. Sashay around the center point where your hands meet. Faster is better! Use the A Section to find a new partner. Teacher may add piano accompaniment (I-IV-V) emphasizing the switch from simple to compound meter. Add drums to the steady beat on the A Section (Simple Meter) and rhythm sticks on the skipping rhythm of the B Section (Compound Meter). 36 Purposeful Pathways Book One

39 AB FORM SIMPLE & COMPOUND METER Pathway to Creative Movement: Folk dance structure into movement composition Twist and wind, becoming interesting shapes in two different levels for Wind it this a-way. Wind it that a-way. Use the twisting and winding to move into a new shape that pops on the syllable way. Core to distal movement (small shape to large shape) on pull, pull. End the A Section with three strong shapes that locomote on tap, tap, tap. What can we do with the skipping B Section? Pathway to Ensemble: Using text rhythm to create UTP pattern Take the rhythm of the A Section and transfer to BP. Pat: 4 4 h h 4 4 h h wind it this a- wa-y, wind it that a- wa-y Snap: 2 2 Clap: $ Pull pull tap tap tap Teacher Talk: Speech and gesture as preparation Using speech and gesture (often along with BP) to prepare students for instruments is an excellent teaching strategy. For example: clapping on the word tap prepares students for woodblock or hand drum. A pulling gesture helps visually and kinesthetically prepare a half note. Transfer BP to three different UTP. Use skillful questioning to guide your students in making wise instrument choices, such as: Which instruments can sustain for 2? Which instruments tap? What makes a good winding sound? Why? Consider combining these compositions with the dances they made during PATHWAY to CREATIVE MOVEMENT. One group plays their composition while another group dances. Purposeful Pathways Book One 37

40 4,, h, $ Bubble, Bubble, Bubble! Pathway to Literacy: Discover which beats are silent and label as $ Teacher taps the beat icon while chanting the rhyme. Students identify the silent beats and label as $. M M M M M M M M Bubble, said the kettle Bubble, said the pot. 1. Steady beat. Facilitate student labeling of how many sounds are on each beat. Add the notation. First measure, for example: M M M M h h h $ Bubble said the kettle Read the rhythm using rhythm syllables. Add a time signature. Students add the bar lines. Pathway to Partwork: Rhythm against ostinato 2. Lable rhythm. Teacher begins a pat/pat/clap/clap ostinato and asks students to join in (simulateous imitation) Chant the rhyme and perform the ostinato. Transfer two levels of BP to UTP. Possibilities for Percussion: Teacher Talk: Simultaneous imitation This type of imitation is called simultaneous imitation. Please watch my pattern and join me when you re ready. This is a very efficient process for teaching patterns that are easily within the skill set of the class. 3. Add bar lines. Rhythm sticks: Play the floor for the pats and click the sticks for the claps. Hand Drums: You may wish to consider this lesson when beginning to teach the down and up strokes on the hand drum. Drums and shakers (using two different students): Drums for the pats and shakers for the claps. 38 Purposeful Pathways Book One

41 4,, h, $ Pathway to Improvisation: 4-beat patterns Review poem with ostinato. Teach text for B Section with measures of rest. 4. Improvisation Purposeful Pathways Book One 39

42 4,, h, $ Bubble, Bubble, Bubble, Continued 5. Composition practice. Fill in rests with four 4 (clapping). Fill in rests with four h Teacher models 4-beat improvisation using 4, h, $ Teacher leads a discussion about improvisation. - Improvisation is music that is created on the spot. - Four beats for each improvisation. - You can use 4, h or $ for each beat. Students take over the improvisation. Have all of the students improvise at the same time when you begin this activity, creating security in large group practice. Perform in ABA form. Extend to various rondo forms to allow for small group or solo improvisation. Pathway to Composition: Composing with icons 6. Composition. Start with just one sound on the beat with the pots, then add a kettle. Consider having an empty space for a rest. Individuals create their own 4-beat rhythm using pot and kettle. Groups of two create a 4-phrase form using their composed rhythms. Give the students choice of pattern options: a a b a - a b b a - a b a b Create a final form with poem as A Section. n n n n M 1 M 2 M 3 M4 7. Reproducibles. n n D n 4 4 h M M M M 40 Purposeful Pathways Book One

43 Lucy Locket RHYTHM 4, h, $ Sol Mi La Pathway to Pitch and Rhythm: 4, h, $ and Sol, Mi, La 4-beat echo patterns (clapping), using 4, h, $ Prepare Sol, Mi, La patterns with the solfege ladder. Teacher Talk: Remember to pull rhythmic and melodic patterns from the song. L S M Pathway to Play: Traditional circle game One student walks around the exterior of the circle carrying the pocket. (A pocket was traditionally a small bag or fabric pocket tied or sewn into a lady s skirt or over coat. A little draw string bag would be perfect to play this game.) At the end of the song they drop the pocket behind one person and a race/chase around the circle begins. (This game is similar to Duck, Duck, Goose.) 1. Solfege ladder. Teacher Talk: Teacher demonstrates the game while singing the song. Students learn the song by rote while playing the game. Hence, students learn the song through play, rather than direct instruction. h x 2. Stick notation. Pathway to Improvisation: 4-beat echo patterns using 4,h,$ Create a new version of the game where the leader travels around the inside of the circle during the singing of the song. At the end of the song the leader stops and leads two 4-beat echo patterns (clapping.) The group echoes the leader s rhythms. The person they stop in front of becomes the next leader. The former leader takes the new leader s place in the circle. Pathway to Literacy: 4, h, $ and Sol, Mi, La 3. Melodic notation on staff. Read rhythm using rhythm syllables. Determine pitch, working together as a class. Move note heads on staff to indicate pitches. Sing with lyrics while reading notation. Purposeful Pathways Book One 41

44 4, h, $ Sol Mi La Lucy Locket, Continued Pathway to Form: a b a b form Use the complete song melody from PATHWAY to LITERACY and have the students identify which of the measures are identical. Label a b a b phrase form. Pathway to Ensemble: Steady beat chord bordun with color part by word cue 4. Label form. Pat steady beat while singing song. Transfer steady beat to chord bordun on BX/BM. Students sing song while teacher claps the GL part. Students listen and determine that the claps are on the rhyming words, found it and round it. Students clap on the rhyming words, then transfer to octave F s on GL. Put all three parts together. Rotate students through performance opportunities. 42 Purposeful Pathways Book One

45 4, h, $ Sol Mi La Pathway to Partwork: Two ostinati Rote teaching of bottom line using simultaneous imitation. Students speak bottom line while teacher speaks top line. Rote teaching of top line using simultaneous imitation. Put two lines together. Transfer top line to woodblock and bottom line to hand drum. ABA form (with song as A Section) Purposeful Pathways Book One 43

46 4,h $ Sol Mi La Duérmete, Mi Niña 2. Rhythm. 3. Solfege. Verse 1 Verse 2 Duérmete, mi niña go to sleep my girl Duérmete, mi niño go to sleep my boy Duérmete, mi sol go to sleep my sunshine Duérmete, solito sleep by yourself, Duérmete pedazo de mi Corazon Que cuando despiertes for when you awaken go to sleep, piece of my heart Te daré atolito I will give you sweet corn soup Rote teaching of Spanish text using echo imitation. Teach the melody, either through echo imitation or through literacy using slides. 4. Staff. Pathway to Ensemble: Chord bordun with color part on rests Pat rhythm of chord bordun while saying Hush, now go to sleep. Divide the class in half. Half sings the song. Half chants and pats the ostinato. Trade parts. Transfer ostinato to chord bordun on BX/BM. Sing the song and clap on the rests. Transfer claps to pentatonic tone clusters on GL. Put it all together. 44 Purposeful Pathways Book One

47 Pathway to Improvisation: 4-beat patterns on UTP and Sol, Mi, La Chant text with four beats of rest. RHYTHM 4,h $ Sol Mi La Put a soft shh sound in the place of each rest. Make the shh sound on h Improvise on the shh sound using 4, h, $ Transfer the improvisation to gentle clapping. Transfer clapping to triangle or maracas. At any point in the process you may choose to make the initial part of this improvisation melodic, either singing or playing barred instruments on Sol, Mi and La. 5. Improvisation. Pathway to Composition: Rhythmic building blocks h 4 ensue - o h $ cama h h buenos noches dream bed good night! 4 h pi - jama 4 4 Ron-car 4 $ paz 6. Composition. pajamas snore rest Students create 4-beat or 8-beat rhythms using the Spanish word building blocks above. Transfer word chains to UTP and perform with song. Optional: create a melodic ostinato on SX to add to the song. Pathway to Pitch: Playing Sol, Mi, La Students echo teacher (playing and singing), orienting to the instrument. C = Sol. D = La. C = Sol. A = Mi. Transfer the two patterns for the melody to the barred instruments, use the phrase form to help students remember the order: abab. Students echo teacher singing solfege and playing the melody, four beats at a time. Repeat the process above, one phrase (8 beats) at a time. Allow students time to practice. Fingertip practice will help manage the volume in the room. L S M 7. Reproducibles. Purposeful Pathways Book One 45

48 4 h $ Sol Mi La High in the Pine Tree Pathway to Head Voice Singing: Two possibilities 1. Vocal exploration. Vocal exploration Students explore finding their head voice with a coo. Each time point higher up the tree, to the next bird, to help the students find their head voice. When the teacher rests on a bird, the students sustain the pitch. Practice sliding from the highest bird to the lowest. Teacher sings a greeting to each student. Students respond with a descending coo in the head voice. 2. Melodic notation. Call and Response Teacher sings hello to individual students. Each student has the opportunity to sing alone and you have an opportunity to do a pitch matching assessment. Use this activity as a warm up and save it to use later as the contrasting sections of a Grand Rondo. Four sets of call and response make a section. 3. Melodic notation (continued). Pathway to Literacy: Mapping Sol, Mi, La, and adding rhythm syllables The teacher sings a phrase and students place note heads on the staff to map out the melody with solfege. This may be used as an assessment for notating Sol, Mi and La. S- High in the pine tree the little turtle dove, $ 46 Purposeful Pathways Book One

49 4 h $ Sol Mi La Repeat the process until the entire melody has been mapped out. Sing the melody with solfege and hand signs. Add the rhythmic notation to the note heads on the staff. Read rhythm using rhythm syllables. Add time signature and bar lines. Sing the melody with rhythm syllables. Sing the song with text, reading staff notation. 4. Rhythmic notation. 5. Rhythmic notation (continued). Pathway to Ensemble: Steady beat chord bordun with color part by word cue Sing song and pat steady beat. Transfer to chord bordun on BX/BM. Sing song and clap on coo. Transfer to pentatonic tone clusters on GL. Put both parts together with singers. Consider creating a Grand Rondo with the call and response activity from PATHWAY to HEAD VOICE SINGING. Purposeful Pathways Book One 47

50 4, h, $ Sol Mi La Davy Dumpling Pathway to Pitch: Sol, Mi, La Sol, Mi, La echo patterns with solfege ladder. Remember to extract patterns from the song. L S M Pathway to Literacy: 4, h, $ and Sol, Mi, La 1. Rhythm. 2. Solfege. Read rhythm of the song, using rhythm syllables. Read solfege with hand signs. Sing with text. Sing song while patting the steady beat. Pathway to Ensemble: Steady beat chord bordun with color parts by word cue Transfer steady beat to chord bordun on BX/BM. Add hand drum part. Students listen while teacher sings the song and claps on the rhyming words. Boys and girls when did I clap? (On the rhyming words.) How would we write down that rhythm? (h 4) 48 Purposeful Pathways Book One

51 4, h, $ Sol Mi La Students sing the song and clap the drum part. Transfer clapping to hand drum. Prepare and transfer shaker part, using similar process. Put all parts together. Pathway to Orchestration: Timbre exploration Review song. Read rhythm of B Section. 3. B Section rhythm. Learn text by reading or rote, as appropriate. Teacher introduces (or reviews) four families of UTP. Proper care and technique are explained. Drums Woods Metals Shakers/Scrapers What are the ingredients in our Davy Dumplings? Flour Egg Sugar Cinnamon Class works together to determine which UTP instrument family goes with each ingredient. This class collaboration serves as the model for small group work. Small groups (teams of 4 will work best) create speech pieces adding UTP to the B Section. Four UTP families/four ingredients. Teams may select one instrument from each family. 4. B Section text. Teacher Talk: Creating structure When doing this kind of creative work, it is important to have solid procedures in place for instrument selection. If you don t create structures (and enforce them) you will experience unsatisfying chaos in your room. Here are Roger s rules for doing this kind of small group creative work: 1) Your group must create a plan first. 2) One person from your group may collect the instruments you need after you have a plan. (You may NOT just start grabbing instruments without a thoughtful plan.) Purposeful Pathways Book One 49

52 4, h, $ Sol Mi La Davy Dumpling, Continued Each group shares their work with the class. Teacher Talk: Listening After each sharing, take the time to discuss each group s creation. During this time, you are modeling how to be a thoughtful listener and analyzer. Discussion following performances can be prompted with cues like What did you notice about this group s choices? and What did this group do that was different? Perform as a Grand Rondo with each team having the opportunity to be the B Section. Pathway to Composition: Composing with icons Students review the poem. Create a word chain by arranging four ingredient icons. Use that word chain as a speech ostinato under the poem. Consider moving this into a notation lesson, with students notating the rhythm of their ostinati. 5. Composing with icons. h h 4 4 Pathway to Orchestration: Transfer each ingredient in your new ostinato to a different UTP instrument. Put ostinato together with poem. Use as B Section in ABA form or as an ostinato with the song. 50 Purposeful Pathways Book One

53 Humpty Dumpty METRIC FOCUS: Compound Meter Pathway to Pulse: Eurhythmics quick reaction game Teacher leads students with two pitches. For example: on temple blocks or the piano, each pitch represents one of the two feet. Lead students through movement exploration, feeling walking and skipping. Repeat each several times. When students are successful, begin to alternate. walking skipping Pathway to Meter: Exploring compound meter through speech and movement Students locomote (walk, skip) ostinato pattern above while teacher chants rhyme. Rote teaching of rhyme, using echo imitation. Divide class in half. Half performs rhyme. Half performs movement ostinato. Teacher Talk: Feeling simple and compound meters The best way for students to gain clarity around simple and compound meters is through movement. In simple meter the beat is subdivided into two marching music. In compound meter the beat is subdivided into three skipping music. This aural and kinesthetic experience will prepare the students for the performance of the ostinato against the poem. Purposeful Pathways Book One 51

54 METRIC FOCUS: Compound Meter Humpty Dumpty, Continued 52 Purposeful Pathways Book One

55 METRIC FOCUS: Compound Meter Trade parts. Introduce the notation for walk and skipping. Walk = 4. Skipping = 4 8 Add new text (in score) for movement ostinato. advanced challenge: Salt and pepper style Two groups perform simultaneously. But this time they are mixed together. The movement ostinato team speaks and moves among the stationary poem team, who are spread throughout the classroom. If students master that challenge, have them alternate between the two groups: poem, ostinato, poem, ostinato, etc. Pathway to Ensemble: Two-part percussion ensemble Prepare with body percussion. Poem = clapping rhythm of poem. Ostinato = patting rhythm of ostinato. Transfer to UTP. Poem = wooden clicking sounds. Ostinato = hand drum played with one mallet. Pathway to Movement Composition: Levels, stationary/locomotor movement Choreograph rhyme as a class or in small groups. Include the following in your movement: Level change. Some stationary movement (possible gesture). Some locomotor movement. Purposeful Pathways Book One 53

56 4, h, $ Sol Mi La Jelly in the Bowl Pathway to Pitch: Sol, Mi, La Solfege echo patterns with the solfege ladder. Teacher sings L S M Use visual icons (paper or digital) for the students to identify which pitches move. 1. Solfege ladder. v v v v $ Jelly in the bowl Repeat process for each phrase. Pathway to Form: a a b a form Students identify which 4-beat pattern is different. Label the phrase form. 2. Which bowls move to Mi? Pathway to Literacy: 4, h, $, Sol, Mi, La Transfer jelly and bowl icons to 4,h,$ on the staff. Sing rhythm on solfege syllables. Read rhythms one measure at a time, using rhythm syllables. Sing melody using rhythm syllables Sing melody with text. 4. Which phrase is different? 54 Purposeful Pathways Book One

57 4, h $ Sol Mi La 6. Notation for labeling form. Pathway to Ensemble: Utilizing word cues to create timbre and texture 7. Iconic notation for melodic work. Pat the steady beat while singing song. Transfer the steady beat to chord bordun on BX/BM. Prepare GL part with pat-clap on the word bowl. Transfer. Prepare maracas by clapping on the words wiggle, waggle. Transfer. Put all parts together with singers. Rotate parts as time permits. Purposeful Pathways Book One 55

58 4, h, $ Sol Mi La Jelly in the Bowl, Continued Pathway to Composition: a a b a form from 4-beat patterns 9. Composition icons. Class creates two different 4-beat patterns using jelly and bowl icons. Experiment with creating a a b a pieces by rearranging our patterns. Notate rhythm of patterns, if developmentally appropriate and time permits. Transfer one pattern to woodblock and the other to hand drum. Perform as B Section in ABA form with the song. Small groups create their own rhythm compositions following this model. Perform a Grand Rondo, giving each group an opportunity to share their composition as a contrasting section in the rondo. NOTE: This is a perfect opportunity for assessment. Pathway to Creative Movement: High, middle and low levels 10. Reproducibles. Teacher leads exploration of shapes in high, middle and low levels. Students strike a pose in high, middle and low levels at the beginning of each a phrase on the word, jelly. Students explore different ways to locomote during the b phrase on wiggle, waggle. Teacher leads discussion about what kind of movement qualities might work best for this phrase. Put together dance in a a b a phrase form. Small groups work together to set their dance, based on our exploration. What do you want your group formation to be? Do you want the levels to all match or to be varied on the a phrases? What to you want the locomotor movement to look like? Small groups show their dances to each other. Put two groups together. One group plays their rhythm composition while the other performs their dance. 56 Purposeful Pathways Book One

59 Coffee and Tea Readiness Lesson Ensemble Skills Aural Composition Pathway to Meter: Simple and compound meter Review movement ostinato from Humpty Dumpty. Pathway to Partwork: Poem with ostinato Rote teaching of poem using echo imitation. Rote teaching of ostinato using simultaneous imitation. Tea = clap Coffee = pat Divide the class in half. Half performs ostinato. Half performs poem Trade parts. Transfer BP to UTP. Tea = triangle Coffee = woodblock Put UTP ostinato with poem. Purposeful Pathways Book One 57

60 Readiness Lesson Ensemble Skills Aural Composition Coffee and Tea, Continued Pathway to Composition: Composition using icons Give students paper plates to represent each beat. A tea bag or some coffee beans may be placed on each paper plate. If you d rather work with coffee and tea icon cards, that works just as well. 1. Composition icons. Students create four measure pieces that serve as contrasting sections in a Grand Rondo. You may consider adding notation and having the students write down the notation for their coffee/tea rhythms. 2. Reproducibles. 58 Purposeful Pathways Book One

61 Hickory Dickory Dare METER Compound Sol Mi La Pathway to Compound Meter: Preparing compound meter Students aurally and kinesthetically will compare the feel of simple meter 6 and compound meter 8 Sit in a large class circle on the floor. Students pat and clap patterns played by the teacher on a drum (simultaneous imitation). This pattern is the beat subdivided into two or simple meter: Model the pattern for subdividing the beat into three or compound meter: clap pat clap right pat left pat Teacher alternates playing sets of 2 s and 3 s. Students react and change with teacher. Have the students listen to Hickory Dickory Dare several times and determine which of the two patterns best matches the rhyme. (compound meter) Teach the words by rote or by reading text. Students speak and perform the text with the compound meter BP. You may wish to have all of the students practice accompanying the poem on drums. Pathway to Pitch: Practicing Sol, Mi, La Use solfege ladder to warm up voices and establish tonality. Teach song through solfege echo patterns and then sing with the text. Teacher Talk: Reading vs. rote learning Due to anacrusis, this song is not learned through literacy. Even though musical literacy is a high priority, the students do not need to read every song that they learn. Sometimes you may choose to use a piece of literature to prepare a concept. If there s a piece of literature that has some portions that are developmentally appropriate for reading, but other portions that are not, a possibility may be to read the portions they are able to read and teach the other portions by rote. L S M 1. Solfege ladder. Purposeful Pathways Book One 59

62 METER Compound Sol Mi La Hickory Dickory Dare, Continued Pathway to Ensemble: Steady beat broken bordun with color parts by word cue Sing song and pat steady beat, alternating hands. Transfer to broken bordun on BX/BM. Prepare GL part with pat/clap or pat/slide hand across lap. Transfer. Prepare SX/AX part with a high clap on brown and a low clap on down. Transfer. Put all three parts together with singers. 60 Purposeful Pathways Book One

63 METER Compound Sol Mi La Pathway to Creative Movement: Reinforcing phrase form utilizing levels The words hickory, dickory, dare are the English translation of the numbers used by Celtic shepherds to count. They literally mean eight, nine, and ten. Use this information to set up exploring shape changes on specific counts. Begin with the class scattered in self space around the room Explore levels: Make a low body shape. Change to a new low shape, then a high shape. Explore shapes in the middle. Practice changing shapes on a given signal. scattered space low shape high shape middle shape Practice changing from high to low in an interesting way. Can you spin from the high shape to the low shape? Travel while changing? Etc. Divide the students into three groups to represent 8, 9 and 10. Students will change their shape when their number is said, and remain in the shape until it s time to change again. The teacher counts 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 while students change on their number. Repeat several times, then change the cue words to Hickory (8), Dickory (9), Dare (10). Sing the song while the students change shape on their number/word. Next, ask the students for ideas for how to change on the pig flew up in the air, what kind of shape should be on that phrase? (high) Ask the students to go from their number shape and morph into a high shape on that phrase (spinning, growing, gliding, etc.) Add changing to a low shape on the man in brown brought him down (melting, turning, swirling, etc.) End with the students in their frozen shapes for Hickory, Dickory, and Dare. Purposeful Pathways Book One 61

64 h, 4, 2 Sol Mi La Horsing Around Pathway to Rhythm: Explore rhythmic values through quick reaction game Teacher leads movement exploring various note values on temple blocks or the piano. Begin with establishing the steady pulse of the quarter note. Start with an interrupted canon Teacher Talk: Interrupted canon An interrupted canon (from Dalcroze practice), is similar to 4-beat echo patterns in Kodály or Orff. The teacher plays a pattern and then the students echo that pattern (in their feet for this example). Teacher plays: march march march march Students echo by moving like marching horses. Teacher plays 4 while students are simultaneously marching horses. Note that this is no longer an echo game, but rather the students are responding and moving to what they hear in the moment. This is now a quick reaction game, rather than an interrupted canon. Teacher plays: h h h h prancing prancing prancing prancing Students respond like prancing horses. Return to the quarter note pulse and then establish the half note. Model the pulling motion of a plow horse, to show the sustained motion to match the sound over two beats. Use a sustaining instrument for this movement like a triangle or cymbal. Teacher plays: 2 2 Pu------ll Pu------LL Students respond like a work horse pulling the plow. Teacher alternates note values. Students respond through movement. Pathway to Literacy: Sing the song My Pony, Macaroni to the class. Focus students listening by asking questions such as: - What is my pony s name? - How does he move? Sing the entire song again, asking students to prance like a horse ( h) while singing, and stop on the word stops. All sing the final phrase while standing still. Practice this a few times and then add patting the steady beat (4) on the final phrase. 62 Purposeful Pathways Book One

65 h, 4, 2 Sol Mi La Focus the students awareness on the long notes on ro-ni. Make connection to the work horse pulling. Label as half note. Combine all three kinds of horse locomotor movements (march, prance, pull). Prance for much of the song. Stop. March for the final phrase until the half notes and then pull the plow. After playing the game several times review the three different kinds of notes that are used for the movement game: h, 4, 2 Pathway to Ensemble: Orchestrating by word cue We suggest that you teach one of the following poems per music class, rather than trying to do all three poems at once. Teach the poem either by rote or through reading rhythmic notation. Nearly all of the rhythms are readable. The exception is the anacrusis in Shoe a Little Horse. Prepare each UTP part with BP and then transfer. Combine the poems with the singing and dancing (A Section) to create a rondo. 1. Hob Shoe Hob. Purposeful Pathways Book One 63

66 h, 4, 2 Sol Mi La Horsing Around, Continued 2. Trot, Trot, Trot. 3. Shoe a Little Horse. 64 Purposeful Pathways Book One

67 Charlie in the Tub RHYTHM h, 4, $ Sol Mi Introducing Do Pathway to Pitch: Sol, Mi Solfege echo patterns using Sol and Mi. Pathway to Literacy: Discover and label Do Utilize visuals to lead the students through identifying the pitches. When the pitch is lower, the students move those icons down. Char lie Char lie S M D 1. Sol-Mi solfege ladder. Practice with solfege, to help identify the Do. Which pitch is different than the others? Have the students discover the Do. Introduce the hand sign a for Do, then sing the song with solfege. 2. Move the bubbles on the staff. 3. Continued. Purposeful Pathways Book One 65

68 h, 4, $ Sol Mi Introducing Do Charlie in the Tub, Continued Pathway to Ensemble: Steady beat chord bordun with color part utilizing word cue 4. Sol-Mi-Do solfege ladder. Pat the steady beat while singing the song. Transfer to steady beat chord bordun on BX/BM. Teach BP pattern. The four levels of BP will transfer to four timbre choices. Lead the class in a discussion about pitch and duration as class selects four different UTP instruments. Guide the discussion with questions like, For the word TUB, do we want a high sound or a low sound? Do we want a long sound or a short sound? Once the students have made their choices, together you go looking for an instrument that meets their criteria, sampling the sounds and discussing the properties they hear. High or low? Long or short? Loud or soft? Add UTP choices to rhyming words. Put it all together with singing. Pathway to Composition: Rhythmic building blocks Students create ostinato rhythms using known notation with the following rhythmic building blocks: 5. Composition. 4 h soap bubble 4 $ pop! 4 4 soap soap h h bubble bubble Rhythms may be 4 or 8 beats in length, depending on the ability of the students. Practice chanting and clapping student rhythms. Transfer to UTP, and add to the arrangement one at a time as an ostinato. Pathway to Creative Movement: Exploring levels 6. Reproducibles. Explore individual shapes in three levels: high, middle, low Explore movement that either spins or follows a spiral pathway moving from high to low, like Charlie swirling down the drain. For the first three cadences the class decides on high, middle or low shapes. Pop into the shape on rhyming words, when the UTP instruments play. On the final phrase students locomote with a spin or a spiral going from high to low space. You could break into small groups with students creating group shapes, rather than individual shapes. Consider accompanying the dances with the UTP ostinati that were created during PATHWAY to COMPOSITION. 66 Purposeful Pathways Book One

69 Johnny s Gone to Tea RHYTHM 4, h Sol Mi La Do Pathway to Pitch: Sol, Mi, La Use the solfege ladder to practice echo patterns containing Sol, Mi and La. Repeat the pattern contained in the melody several times. L S M 1. Sol-Mi-La solfege ladder. 2. Sol-Mi-La-Do solfege ladder. Purposeful Pathways Book One 67

70 4, h Sol Mi La Do Johnny s Gone to Tea, Continued Pathway to Literacy: Finding and labeling Do 3. Text. Teacher sings first measure in solfege followed by four beats of rest (4X). Students join teacher on the above pattern. Students sing the first measure. Teacher sings the second measure with the text, I don t know what pitch this is. Teacher asks the class, if that part is Sol, La, Mi? Students discover that it isn t any of those choices, that the sound is lower. Label our new note, Do. (Learned in the previous lesson, if you chose to do Charlie in the Tub. ) Teacher sings the second measure using the text, Then a low note we call Do. Teacher and students trade jobs. Everyone sings the entire song in this way. Rote teaching of text, using visual and echo imitation. Sing entire song with text. Pathway to Ensemble: Steady beat chord bordun with color parts 4. Composition. Pat 4 $ 4 4 while singing the song. Tap shoulders for the rest. Transfer to BX/BM on chord bordun. Add a jump on the word jumped and claps on Little Johnny s gone to tea. Transfer to a big drum and rhythm sticks (see score). Put orchestration together. Pathway to Improvisation: 4-beat echo patterns Teacher leads 4-beat echo patterns as B Section. This time, the students are the jumping, dancing fish when they echo. Put the rhythm in your body. Students tread water (stationary movement) when the teacher creates the patterns. Individual students become the leader improvising 4-beat echo patterns. Put it all together to create final form: ABA: Song, Improvisation with Movement, Song. 5. Reproducibles. Pathway to Composition: 8-beat patterns Students create 8-beat rhythms containing 4,,,$,, and h using the names of fish on cards. These patterns may be used as an ostinato with the song, as an interlude between performances of the song, or as layered ostinati in a B Section. 4 4 sun fish h h sockeye salmon h 4 angel fish 4 $ bass 68 Purposeful Pathways Book One

71 Pease Porridge Hot RHYTHM 4 h,,,,$, Sol Mi Do Pathway to Rhythm: Kinesthetic experience preparing 4, h,,,$, Students locomote to the steady beat (4) established by the teacher. Change to subdivision (h). Alternate between the beat and subdivision. Return to the steady beat, alternating with rests, students locomote the beat, and freeze on the rests. Example: Introduce the rhythms from the song: teacher plays, students step the patterns $ k K k $ Return to the steady beat for a while, then add a new pattern. 4 h 4 $ k KK k $ Return to the steady beat for a while, then add a new pattern. 4 h h 4 k KK ki m Sing by phrases, have students echo sing and move the patterns. Pathway to Literacy: Practice 4, h,,,$ - Sol, Mi, Do Read rhythm from stick notation. Learn melody and text. (No melodic literacy work at this point in time) Teacher Talk: Working in diverse ways We chose not to read the melody at this point in time. While having familiar learning structures and processes is important, it is also helpful to work with the students in diverse ways. In this lesson we are choosing to learn the melody and text by rote, saving our melodic work for later, when the students notate the melody. 1. Rhythm. Purposeful Pathways Book One 69

72 4 h,,,,$, Sol Mi Do Pease Porridge Hot, Continued Pathway to Ensemble: Body percussion transferred to percussion instruments Students sing song. Teacher performs BP representing color parts. GL = clap SX/AX = pat Hand drum = stomp Students determine when the color parts occur and notate the rhythms. Students perform BP while singing. Transfer to pentatonic tone clusters and hand drum. Pat steady beat while singing. Transfer to chord bordun on BX/BM. Put all parts together. 70 Purposeful Pathways Book One

73 4, h,,$, Sol Mi Do Pathway to Literacy: Locate and label Do Sing song together. Students review rhythm of song. Students notate melody in solfege. In the process they find the recently learned new low note and label as Do. After notating song, review barred instrument parts learned in previous lesson and play for enjoyment. Pathway to Improvisation: 4-beat rhythm patterns 2. Solfege ladder. Teacher performs B Section, counting 1, 2, 3, 4 in the measures of rest. Students listen, but do not join in. Teacher Talk: Active listening It is important to cultivate the skill of active listening in your classroom. Listening requires students to restrain from participating, but offers the reward of being able to take in much more information. Critical listening increases the accuracy of their performance. You can foster this skill by asking students questions such as How many times did my pattern repeat? or Were there any changes or was it the same every time? 3. Notating the melody. Students join teacher with counting 1, 2, 3, 4 during the measures of rest. Teacher models rhythmic improvisation (clapping) during the open measures using 4, h and $. Students improvise. Transfer to UTP. Use as an assessment tool. Perform a Grand Rondo (repeat many times) so that each student has a turn to improvise for four beats alone. You are with your grade book, doing a quick assessment. 6. Improvisation. Purposeful Pathways Book One 71

74 4, h, $ Wee Willie Winkie Pathway to Literacy: Rhythm detective game Teacher leads 4-beat echo patterns (see Slide 1). Students identify which card matches the rhythm performed. Pathway to Partwork: Poem with ostinato 1. Rhythm detective. Rote teaching of text using echo imitation. Students arrrange rhythm cards to reflect rhythm of poem. Read rhythm. Add text. Speak poem and pat steady beat. Teacher performs BP ostinato (pat/clap). Students join in when ready. (simultaneous imitation) 2. Arrange the rhythm to match the poem. 3. Rhythm. Divide class. Half performs rhyme. Half performs ostinato. Trade jobs. Try both parts at once. 72 Purposeful Pathways Book One

75 4, h, $ For an advanced challenge: Create a percussion ensemble: Transfer BP to drum/triangle. Pat=drum. Clap=triangle. Transfer rhythm of poem to woodblock. Perform in ABA form with UTP ostinato. A = Rhythmic Speech with ostinato B = Woodblock with ostinato 4. Poem. Teacher Talk: Repeating structures Notice that the structure of this piece is nearly identical to Bubble, Bubble, Bubble. Students benefit from repeating learning structures. It serves them to revisit something familiar, however we have created a more challenging accompaniment ostinato. Purposeful Pathways Book One 73

76 4, h, $ Wee Willie Winkie, Continued Pathway to Improvisation: Review above as needed. Transfer BP to rhythm sticks. Play the floor on the pat. Click the sticks together on the clap. Rote teaching of the following chant (B Section): 5. Improvisation. Speak the chant (count to four during the four beats of rest). Play four 4 with rhythm sticks on the floor (like a drum) during the rest measures. Play four h during the rest measures. Teacher models 4-beat improvisation using 4, h, $ Students improvise. ABA form. Grand Rondo for assessment. Each time the B Section occurs four students get a turn to improvise solo. This is a perfect opportunity to do a formative assessment. 74 Purposeful Pathways Book One

77 Apple Tree RHYTHM 4, h Sol Mi La Do Pathway to Literacy: Reading 4, h and Sol, Mi, La, Do Read rhythm using rhythm syllables. Sing melody using solfege syllables. Add text. Sing entire song while reading notation. 1. Solfege ladder. 2. Notation. Pathway to Play: Creating rhythmic ostinati through movement and speech Explore movement possibilities themed around harvesting apples and/or cooking with apples. Use the woodblock ostinato as an example: Students mime picking up apples, rhythmically speaking the ostinato. Explore new ways to pick apples. What other ways can the students find to get the apples from the tree? (shake the tree, use a picker, climb the ladder up the tree, etc.) Once the apples are gathered, what can students make with the apples? Put students into groups of 2-3. Each group creates an 8-beat speech-and-movement phrase. Students mime the activities that match their word choice. (Example: roll the dough, chop up apples, mix in spices, bake til done) Purposeful Pathways Book One 75

78 4, h Sol Mi La Do Apple Tree, Continued Share ideas with the class. (These ideas will be used later in the lesson for literacy and ensemble work) Pathway to Literacy: Notating rhythms of movement ostinati Review the speech/movement ostinati students created. Each group notates their ostinato and practices with syllables. Example: Pathway to Partwork: Singing with movement/speech ostanati Students transfer their speech and movement ostinato to UTP. Students can vary the timbre by selecting word cues for certain instrument sounds. Each group performs their ostinato, while the remainder of the class sings. Pathway to Ensemble: Broken bordun with UTP ostinati Prepare broken bordun with patting (alternating hands). Transfer patting to BX/BM. Combine singing and broken bordun. Add a group s ostinato on UTP to add to the texture. Pathway to Composition: Rhythmic building blocks to pitch 4 4 Brae - burn h 4 Granny Smith h h Red De-licious 4 h Crab Apple h $ Gala 4 $ York 3. Reproducibles. Students chose two building blocks and create a 4-beat rhythm pattern. Practice speaking and clapping the pattern four times. Transfer to pitched percussion using Sol, Mi and La to create a melodic ostinato. If students are successful with Sol, La, Mi improvisation, condider adding Do. Practice repeating the pattern four times on instruments. Use the student-created ostinati as interludes to the A Section. Create final form with combining as many of the pathways as you wish. 76 Purposeful Pathways Book One

79 Johnny on the Woodpile RHYTHM 4,h, $ 2 Sol Mi La Do Pathway to Rhythm: Quick reaction game using 4,$,h and 2 Teacher plays hand drum or temple blocks to establish the steady beat. Students walk to the pulse. Explore alternating 4 and $ in 4-beat echo patterns. Teacher plays, then students move. Example: 4 $ 4 $ step pause step pause Add the half note duration, played on triangle or other sustaining instrument. Encourage students to show the sustained sound through their movement (like walking on the moon, or pulling their foot out of gum they stepped upon.) Practice new 4-beat patterns, containing 4,$, h and 2 Pathway to Literacy: Practicing reading rhythms with 4, h,, $ Read rhythm from visual. Add text. Pathway to Partwork: Speech to UTP Turn the last measure of the poem into an accompaniment ostinato. Two-part speech. Transfer poem to woodblock and ostinato to hand drum. 1. Rhythmic notation. Purposeful Pathways Book One 77

80 4,h, $ 2 Sol Mi La Do Johnny on the Woodpile, Continued Pathway to Literacy: Practice Sol, Mi, La, Do - Review 2 Review rhythm and text. Read solfege. Practice with hand signs. Utilize solfege ladder. Sing song with text. Lead students into discovering that fence and cents are more beautiful when you let the tone go on longer. Review half note, converting the quarter note and rest into a half note. L S M D 2. Solfege ladder. 3. Melody. Pathway to Partwork: Melody with ostinato Teach ostinato by rote. Sing in two parts. 78 Purposeful Pathways Book One

81 Little Sally Walker RHYTHM 4, h 4 $ Sol Mi La Do Pathway to Movement Play: Traditional singing game Students learn song by rote while playing game. Formation: Single circle, holding hands Sally Sally is in the center traveling counter clockwise until the last phrase, Turn to the one that you like best. All others circle clockwise during the first two phrases All stop traveling, release hands, and raise arms on Rise, Sally, rise. Bring hands down over face, like wiping away tears, Wipe your weeping eyes. Shake hips to the right for Turn to the East. Shake hips to the left for Turn to the West. Sally changes places with closest person from the outside circle on Turn to the one that you like best. 1. Rhythm and text. Pathway to Improvisation: 4-beat rhythm patterns Sally leads 4-beat echo patterns after selecting their replacement, but before taking their place in the circle. All others in the circle echo the patterns. Pathway to Literacy: Decoding Sol, Mi, La, Do Speak rhythm of song using rhythm syllables (notated all on the Sol space). Sing song with lyrics while reading rhythm. Student move note heads to the appropriate place on the staff for Sol, Mi, La and Do. 3. Move the noteheads to reflect melody. Notate rhythm. Purposeful Pathways Book One 79

82 4, h 4 $ Sol Mi La Do Little Sally Walker, Continued Pathway to Ensemble: Level bordun with color parts by word cue Review song. Prepare the level bordun with patting (BX/BM) and clapping (AX/AM). Transfer to barred instruments. Notice that the level bordun is split between BX/BM and AX/AM. Prepare the hand drum part with stamping and transfer. Prepare the GL part with patting, crossing left hand over right, and transfer. Put it all together with singing and the game. 80 Purposeful Pathways Book One

83 Counting Out Rhymes RHYTHM 4,h $,2 Sol Mi La Do Pathway to Rhythm: Circle game with 4-beat echo patterns Teach the song by rote through playing our version of this counting out game. Stand in a circle. Teacher sings the song (Acka Backa Soda Cracker) and travels around the inside of the circle. At the end of the song the teacher leads four 4-beat echo patterns (clapping). Following the echo patterns, the student closest to the teacher becomes the new leader and walks around the inside of the circle while all sing. The teacher sits down in the spot formerly occupied by the current leader. Continue the game until every student has a turn to lead the echo patterns and has sat down. Encourage students to sing as they play the game. Teacher Talk: Assessment and play This is a perfect opportunity to assess the skill of improvising a 4-beat rhythm pattern. The students feel they are playing a game, while you get an opportunity to do an authentic skill-based assessment! S- Pathway to Literacy: Decoding the notation 1. Move the noteheads. Acka backa, soda cracker, acka backa boo- --- Begin by placing the note heads on the correct place for Sol, Mi, La, and Do on the staff one phrase at a time. When the melody is completely mapped, sing it with solfege syllables and hand signs. Add the rhythmic notation to the note heads on the staff Read and clap the rhythmic notation. Sing the melody with rhythm syllables. Sing the song with text. 2. Solfege. Purposeful Pathways Book One 81

84 4,h,$ 2 Sol Mi La Do Counting Out Rhymes, Continued Pathway to Ensemble: Level bordun with UTP ostinato and color part Teacher models singing song while patting/clapping the rhythm of the level bordun. Notice that the level bordun is split between BX/BM and AX/AM pat clap clap Students join teacher on BP ostinato. Teacher sings song. Students perform BP ostinato and sing song. 82 Purposeful Pathways Book One

85 4,h,$ 2 Sol Mi La Do Transfer pat to BX/BM and claps to AX/AM. Prepare hand drum with three stomps on out goes you. Transfer to hand drum. Read rhythm for wood block ostinato. Prepare by clapping the rhythm, then transfer to instruments. Put all parts together with the song. Pathway to Orchestration: UTP by word cue (Work together as a group with one of the following poems to model the group process for students. Students will then work in small groups, following the same process.) Chant the poem together. Select one or two instruments as color parts. Orchestrate only very special places, using the word rests as playing cues. Remind the students that simple is better. Too many sounds clutter the poem. A small number of sounds in select places enhance the poem. Decide who will speak the poem: a soloist, small group, or all? Perform poem with color parts. 3. Bee, Bee, Bumble Bee. Teacher Talk: Timbre choices Prepare baskets of instruments for each group ahead of time containing various timbre choices that are good for playing rhythms. For example, a basket might contain a woodblock, maracas, one triangle, and a hand drum. Each basket can be different with a variety of timbres for each group. 4. Skunk in the Barnyard. 5. Ibble, Obble, Black Bobble. Purposeful Pathways Book One 83

86 4,h,$ 2 Sol Mi La Do Counting Out Rhymes, Continued 6. Eeny, Meeny, Miny, Moe. 7. Eeny, Meeny, Macka, Racka. 8. My blue Ship. 84 Purposeful Pathways Book One

87 Garden Gate RHYTHM 4, h Composing w/ Sol Mi La Do Pathway to Rhythm: Kinesthetic preparation of rhythm Begin with students scattered around the room. Students travel to the steady beat, established by the teacher on UTP. Teacher Talk: Leading while modeling Leading this activity with a hand drum is most ideal. The teacher can be moving with the class, modeling while leading the activity. The quarter note pulse can be played on the drum head and the rhythms played on the rim with a mallet. Practice alternating 4-beat patterns of moving and resting: $ $ $ $ $ $ $ $ Students travel students freeze students travel students freeze Next, students echo 4-beat rhythms from the rhyme with a two-finger clap while in stationary position. This can be done on another timbre. Teacher plays: h h h 4 students clap: h h h 4 Teacher plays: h students clap: h Students walk to the beat while the teacher chants the rhyme and plays the steady beat. 1. Rhythm and text. Students clap rhythm of text while traveling and keeping the steady beat in their feet. To make a connection toward kinesthetic awareness, ask the students, When do your feet and hands match? When are your hands faster than your feet? Pathway to Improvisation: Rhythmic practice Students get into pairs to build a gate with a partner. How many ways can they connect to show a gate? How does their gate open and close? Chose one pair to travel to the various garden gates. The traveling pair walks on the steady beat, while saying and playing the rhyme on a hand drum, or other UTP that can travel easily. When they reach the end of the rhyme, the gate opens, and they give the drums to the students who were the gate, taking their place as a gate while the new pair moves and plays the rhyme. Purposeful Pathways Book One 85

88 4, h Composing w/ Sol Mi La Do Garden Gate, Continued Possible extension: When the students reach the gate (and before it opens), one member of the traveling pair improvises a 4-beat knocking pattern echoed by the two students whose gate they arrived at. Then the other member of the traveling pair improvises a 4-beat rhythm that is echoed before giving them the drums and replacing them as the gate. This variation can be used as a 4-beat rhythmic improvisation assessment. Pathway to Improvisation: Melodic improvisations using Sol, Mi, La, and Do Teacher Talk: First things first It is important that the students are solid on the text and rhythm of the rhyme before creating their melodies. This rhyme is excellent for establishing beginning and ending on Do. All the numbers simply go on Do, and students improvise the remainder of the rhyme. Begin by having students review the rhyme with speech. Transfer the rhythmic speech to pats on their laps, alternating hands for each syllable of the rhyme. Play the entire rhyme on Do. Encourage alternating mallets. Students play only the numbers on Do and chant the other words. Repeat, this time the teacher models how to improvise using Sol, La, Mi, during measures 2-3, using the rhythm of the text. Teacher Talk: Ask questions Teacher Talk: Alternating the hands on the lap will help to prepare alternating mallets on the barred percussion instruments. Ask questions throughout this process to increase understanding: What was different between the beginning/ending of the song and the middle? What pitches did I use? Are my mallets alternating? Repeat the process again, with the teacher playing the numbers on Do, and the students improvising on Sol, La, and Mi to the rhythm of the words. Add a steady beat chord bordun on BX. Bring to awareness that the melody starts and ends on Do with the numbers, and they can create a melody with the other words. Allow time for the students to compose their melodies and share over a chord bordun. 86 Purposeful Pathways Book One

89 4, h Composing w/ Sol Mi La Do Pathway to Ensemble: Steady beat chord bordun with pentatonic tone clusters Select one of the compositions to work with as a class. Everyone learns that version of the melody. Sing while patting the steady beat. Transfer to chord bordun on BX/BM. Clap four claps gradually moving higher on the numbers. Transfer to ascending pentatonic tone clusters on the numbers on SX/AX. Consider creating a Grand Rondo with student compositions as the contrasting sections and the spoken poem as the A Section. Purposeful Pathways Book One 87

90 Glossary of Terms and Abbreviations 4-BEAT ECHO PATTERNS: Four beat patterns led by the teacher or one student, echoed by the class. Often four sets of 4-beat echo patterns are performed together to complete a 32-beat chorus. ABA FORM: Three part form. The first and third sections are identical with a contrasting section in the middle. In this book the B Section is often a student created work or an extraction of some skill set found within the A Section. AM: Alto Metallophone ANGULAR MOVEMENT: Movement that has sharp edges and strong angles. AX: Alto Xylophone BP (BODY PERCUSSION): The body used as an instrument in Orff Schulwerk. Usually stamp, pat, clap, snap. BORDUN (BOURDON-FRENCH): An accompaniment using only the first and fifth scale steps. The tonic must sound on every metric accent. It is static harmony (I or i only). Borduns may be played on any rhythm. There are four simple borduns: CHORD BORDUN: The tonic and the dominant sound at the same time. LEVEL BORDUN: The tonic and dominant sound at the same time. There is a change of octave within the pattern. BROKEN BORDUN: The tonic and dominant are played individually, rather than simultaneously. Arpeggiated Bordun: Similar to a broken bordun, with the addition of the high tonic. Sometimes called Crossover Bordun due to the fact that your left hand must cross the right hand to play the top note. BM: Bass Metallophone BX: Bass Xylophone 88 Purposeful Pathways Book One