THE SONG COMPANY 1000 Years of Song Teaching Resource Kit

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1 THE SONG COMPANY 1000 Years of Song Teaching Resource Kit Contents I Turn on the Tap F-2 Learning Experiences pp Learning Experiences pp Learning Experiences pp Learning Experiences pp Waltzing Matilda F-2 Learning Experiences pp Learning Experiences pp Learning Experiences pp Learning Experiences pp

2 F-2 LEARNING EXPERIENCES I TURN ON THE TAP Words and music Richard Stilgoe Arranged by Song Company Content Descriptors: 2.1, 2.2, 2.3, 2.4 General Capabilities: LIT, NUM, CCT, PSC, ICU The Big Idea Listen and sing! Learn a song from sound (the audio tracks) and from other singers (the interactive digital resources). Sing the various melodies separately then mix and match. Sing along with the audio and video recordings, then sing and combine in interesting ways with and without the recordings. Arrange into a performance. Explore themes of water, the environment and health. Resources Audio PDF IWB I Turn on the Tap - words and music Richard Stilgoe, arr by Song Company I Turn on the Tap - melody 1 tenor I Turn on the Tap - melody 2 soprano I Turn on the Tap - chorus melody soprano I Turn on the Tap - coda melody soprano I Turn on the Tap words I Turn on the Tap - Chapters Title Melody 1 Melody 2 Together Chorus Accompaniment Coda 1) I Turn on the Tap SINGING FOCUS Students learn the song, using whole song technique. Familiarisation Play the whole song through I Turn on the Tap - words and music Richard Stilfor arr by Song Company while the students walk to the beat, move, patsch or use other body percussion. Melody 1 I Turn on the Tap - melody 1 tenor First playing: FAMILIARISATION and BEAT Have students walk to the beat, move, patsch or use other body percussion. Second playing: PITCH SHAPING Using hands in the air, or elastic to connect the students in a circle, have the students shape the pitch contour as the melody rises and falls. Prepare by asking What do you notice? and discuss responses after activity Musica Viva Australia Song Company 1

3 Third playing: VOCALISE Repeat the pitch shaping activity and have the students hum along or vocalise using a syllable such as doo (some fun may be had deciding on various syllables!). REPEAT the above steps for: MELODY 2 CHORUS CODA MELODY I Turn on the Tap - melody 2 soprano I Turn on the Tap - chorus melody soprano I Turn on the Tap - coda melody - soprano SINGING THE WORDS I Turn on the Tap - Use each chapter in turn Melody 1, Melody 2, Chorus, Coda. Play the whole chapter through each time. Introduce the words cumulatively, using the whole song technique. Add a new word or phrase each time through until the students are singing the entire song. Sing only the word or phrase you (or the students) nominate, and sing the rest of the song in your head. To demonstrate what is to be sung, you might choose to play the video, say the words or sing it yourself. The students may enjoy making their own suggestions which words to sing next. MEMORY: There s no need to print or display the words. The whole song technique develops observation and memory. If parts are forgotten, or there are mistakes, that is all part of the process. Some activities may need to be repeated for practice but not until the point of perfection. MOVING: Devise actions for key ideas in the text Perform while singing the song Extension: Mix and match: Allocate actions and singing and sections of the song around the class for a fun variation. PERFORMANCE CULMINATION I Turn on the Tap Experiment with song and actions, allocating performance roles and exploring formation or use of space. Perform and record using audio or video Musica Viva Australia Song Company 2

4 Vocabulary voice Kwela phrase African sing melody poverty Caribbean water lyrics arrangement health tap South Africa message structure ICON KEY PDF File AUDIO File MOVIE File INTERACTIVE RESOURCE PICTURE File 2013 Musica Viva Australia Song Company 3

5 3-4 LEARNING EXPERIENCES I TURN ON THE TAP Words and music Richard Stilgoe Arranged by Song Company Content Descriptors: 4.1, 4.2, 4.3, 4.4 General Capabilities: LIT, NUM, CCT, PSC, ICU The Big Idea Listen and sing! Learn a song from sound (the audio tracks) and from other singers (the interactive digital resources). Sing the various melodies separately then mix and match. Sing along with the audio and video recordings, then sing and combine in interesting ways with and without the recordings. Arrange into a performance. Explore themes of water, the environment and health. Resources Audio PDF IWB I Turn on the Tap - words and music Richard Stilgoe, arr by Song Company I Turn on the Tap - melody 1 - tenor I Turn on the Tap - melody 2 - soprano I Turn on the Tap - melodies together - soprano & alto I Turn on the Tap words I Turn on the Tap - Chapters Title Melody 1 Melody 2 Together Chorus Accompaniment Coda 1) I turn on the tap... SINGING FOCUS Students learn the song, using whole song technique. Familiarisation Play the whole song through I Turn on the Tap - words and music Richard Stilfor arr by Song Company while the students walk to the beat, move, patsch or use other body percussion. Melody 1 I Turn on the Tap - melody 1 tenor First playing: FAMILIARISATION and BEAT Have students walk to the beat, move, patsch or use other body percussion. Second playing: PITCH SHAPING Using hands in the air, or elastic to connect the students in a circle, have the students shape the pitch contour as the melody rises and falls. Prepare by asking What do you notice? and discuss responses after activity Musica Viva Australia Song Company 4

6 Third playing: VOCALISE Repeat the pitch shaping activity and have the students hum along or using a syllable such as doo (some fun may be had deciding on various syllables!). REPEAT the above steps for: MELODY 2 CHORUS CODA MELODY I Turn on the Tap - melody 2 soprano I Turn on the Tap - chorus melody soprano MELODY 1 & 2 TOGETHER I Turn on the Tap - coda melody - soprano I Turn on the Tap - melodies together - soprano & alto SINGING THE WORDS I Turn on the Tap - Use each chapter in turn Melody 1, Melody 2, Chorus, Coda. Play the whole of each chapter through each time. Introduce the words cumulatively, using the whole song technique. Add a new word or phrase each time through until the students are singing the entire song. Sing only the word or phrase you (or the students) nominate, and sing the rest of the song in your head. To demonstrate what is to be sung, you might choose to play the video, say the words or sing it yourself. The students may enjoy making their own suggestions which words to sing next. Melody 1 & 2 Together I Turn on the Tap Together Whole class sings Melody 1 accompanied by I Turn on the Tap Together. Repeat for Melody 2. Divide class and assign a melody to each half. Swap parts and repeat. Kwela accompaniment I Turn on the Tap - Accompaniment Students emulate one or more parts from watching and listening to Song Company. Divide class and assign parts as required. MEMORY: There s no need to print or display the words. The whole song technique develops observation and memory. If parts are forgotten, or there are mistakes,that is all part of the process. Some activities may need to be repeated for practice but not until the point of perfection Musica Viva Australia Song Company 5

7 MOVING: Devise actions for key ideas in the text Perform while singing the song Extension: Mix and match: Allocate actions and singing and sections of the song around the class for a fun variation. PERFORMANCE CULMINATION I Turn on the Tap Experiment with song and actions, allocating performance roles and exploring formation or use of space. Perform and record using audio or video. CREATE YOUR OWN VERSION As a class, in pairs or small groups, students arrange the material with the following musical features: Beginning, middle and an end Movement or actions Body percussion Students may wish to play found sound sources with hands, chop sticks or drum sticks. Represent the created version with pictorial or graphic notation. Links to Dance, HSIE DANCE Devise a kwela dance. Research on YouTube for fun ideas for Kwela dance moves to adapt to I Turn on the Tap. HSIE (Poverty, Water, Health) Reflect, research and discuss the words of I Turn on the Tap in a range of contexts. e.g. the struggle against poverty and the fate of children around the world the relationship between life expectancy and the availability of fresh water the effect on health and the significance of water as the most important source of sustenance and life. explore the deeper issues behind the jaunty good times style of the song humorous nature of the lyrics Musica Viva Australia Song Company 6

8 how does the song ask us to compare our ease of access to clean water with the experiences in Third World countries? explore the role of music in communicating important messages about people in their environment. Why did the composer choose such a breezy style of music to convey such a serious message? The rhythmic style of the song is based on Kwela, which originated in South Africa. Kwela is black street music from southern Africa. Research Kwela and its origins and history. Find other Kwela beat songs on YouTube. Vocabulary voice Kwela phrase African sing melody poverty Caribbean water lyrics arrangement health tap South Africa message structure ICON KEY PDF File AUDIO File MOVIE File INTERACTIVE RESOURCE PICTURE File 2013 Musica Viva Australia Song Company 7

9 5-6 LEARNING EXPERIENCES I TURN ON THE TAP Words and music Richard Stilgoe Arranged by Song Company Content Descriptors: 6.1, 6.2, 6.3, 6.4 General Capabilities: LIT, NUM, CCT, PSC, ICU The Big Idea Listen and sing! Learn a song from sound (the audio tracks) and from other singers (the interactive digital resources). Sing the various melodies separately then mix and match. Sing along with the audio and video recordings, then sing and combine in interesting ways with and without the recordings. Arrange into a performance. Explore themes of water, the environment and health. Resources Audio PDF IWB I Turn on the Tap - words and music Richard Stilgoe, arr by Song Company I Turn on the Tap - melody 1 - tenor I Turn on the Tap - melody 2 - soprano I Turn on the Tap - melodies together - soprano & alto I Turn on the Tap words I Turn on the Tap - structural outline I Turn on the Tap - structure exercise I Turn on the Tap - Chapters Title Melody 1 Melody 2 Together Chorus Accompaniment Coda 1) I Turn on the Tap SINGING FOCUS Students learn the song, using whole song technique. Familiarisation Play the whole song through I Turn on the Tap - words and music Richard Stilgoe arr by Song Company while the students walk to the beat, move, patsch or use other body percussion. Melody 1 I Turn on the Tap - melody 1 tenor First playing: FAMILIARISATION and BEAT Have students walk to the beat, move, patsch or use other body percussion. Second playing: PITCH SHAPING Using hands in the air, or elastic to connect the students in a circle, have the students shape the pitch contour as the melody rises and falls. Prepare by asking What do you notice? and discuss responses after activity Musica Viva Australia Song Company 8

10 Third playing: VOCALISE Repeat the pitch shaping activity and have the students hum along or using a syllable such as doo (some fun may be had deciding on various syllables!). REPEAT the above steps for: MELODY 2 CHORUS CODA MELODY I Turn on the Tap - melody 2 soprano I Turn on the Tap - chorus melody soprano MELODY 1 & 2 TOGETHER I Turn on the Tap - coda melody - soprano I Turn on the Tap - melodies together - soprano & alto SINGING THE WORDS I Turn on the Tap - Use each chapter in turn Melody 1, Melody 2, Chorus, Coda. Play the whole of each chapter through each time. Introduce the words cumulatively, using the whole song technique. Add a new word or phrase each time through until the students are singing the entire song. Sing only the word or phrase you (or the students) nominate, and sing the rest of the song in your head. To demonstrate what is to be sung, you might choose to play the video, say the words or sing it yourself. The students may enjoy making their own suggestions which words to sing next. Melody 1 & 2 Together I Turn on the Tap Together Whole class sings Melody 1 accompanied by I Turn on the Tap Together. Repeat for Melody 2. Divide class and assign a melody to each half. Swap parts and repeat. Kwela accompaniment I Turn on the Tap - Accompaniment Students emulate one or more parts from watching and listening to Song Company. Divide class and assign parts as required. MEMORY: There s no need to print or display the words. The whole song technique develops observation and memory. If parts are forgotten, or there are mistakes, that is all part of the process. Some activities may need to be repeated for practice but not until the point of perfection Musica Viva Australia Song Company 9

11 MOVING: Devise actions for key ideas in the text Perform while singing the song Extension: Mix and match: Allocate actions and singing and sections of the song around the class for a fun variation. PERFORMANCE CULMINATION I Turn on the Tap Experiment with song and actions, allocating performance roles and exploring formation or use of space. Perform and record using audio or video. 2) Structure Discuss the STRUCTURE of the song with the students. STRUCTURE is the order that the musical ideas - Melody 1, Melody 2, Chorus, Melody 1 & 2 and Coda - are sung. Play the song and ask students to listen and complete the I Turn on the Tap structure exercise. This learning experience could be structured as a class collaboration, small group or individual work according to the abilities of the students. 3) Create your own version As a class, in pairs or small groups, students arrange the material with the following musical features: Introduction (Optional), Beginning, middle and an end (Coda optional) Movement or actions Body percussion Students may wish to play found sound sources with hands, chop sticks or drum sticks. Represent the created version with pictorial or graphic notation and a structural outline Musica Viva Australia Song Company 10

12 4) Links to Dance, HSIE DANCE Devise a kwela dance. Research on YouTube for fun ideas for Kwela dance moves to adapt to I Turn on the Tap. HSIE (Poverty, Water, Health) Reflect, research and discuss the words of I Turn on the Tap in a range of contexts. e.g. the struggle against poverty and the fate of children around the world the relationship between life expectancy and the availability of fresh water the effect on health and the significance of water as the most important source of sustenance and life. explore the deeper issues behind the jaunty good times style of the song humorous nature of the lyrics. how does the song ask us to compare our ease of access to clean water with the experiences in Third World countries? explore the role of music in communicating important messages about people in their environment. Why did the composer choose such a breezy style of music to convey such a serious message? The rhythmic style of the song is based on Kwela, which originated in South Africa. Kwela is black street music from southern Africa. Research Kwela and its origins and history. Find other Kwela beat songs on YouTube. LITERACY Create own words for environmental and health themes using I Turn on the Tap. Use I Turn on the Tap words as a model. Vocabulary voice Kwela phrase African sing melody poverty Caribbean water lyrics arrangement health tap South Africa message structure ICON KEY PDF File AUDIO File MOVIE File INTERACTIVE RESOURCE PICTURE File 2013 Musica Viva Australia Song Company 11

13 7-8 LEARNING EXPERIENCES I TURN ON THE TAP Words and music Richard Stilgoe Arranged by Song Company Content Descriptors: 8.1, 8.2, 8.3, 8.4 General Capabilities: LIT, NUM, CCT, PSC, ICU The Big Idea Listen and sing! Learn a song from sound (the audio tracks) and from other singers (the interactive digital resources). Sing the various melodies separately then mix and match. Sing along with the audio and video recordings, then sing and combine in interesting ways with and without the recordings. Arrange into a performance. Explore themes of water, the environment and health. Resources Audio PDF IWB I Turn on the Tap - words and music Richard Stilgoe, arr by Song Company I Turn on the Tap - melody 1 - tenor I Turn on the Tap - melody 2 - soprano I Turn on the Tap - melodies together - soprano & alto I Turn on the Tap words I Turn on the Tap structural outline I Turn on the Tap structure exercise I Turn on the Tap score I Turn on the Tap - Chapters Title Melody 1 Melody 2 Together Chorus Accompaniment Coda 1) I Turn on the Tap SINGING FOCUS Students learn the song, using whole song technique. Familiarisation Play the whole song through I Turn on the Tap - words and music Richard Stilgoe arr by Song Company while the students walk to the beat, move, patsch or use other body percussion. Melody 1 I Turn on the Tap - melody 1 tenor First playing: FAMILIARISATION and BEAT Have students walk to the beat, move, patsch or use other body percussion. Second playing: PITCH SHAPING Using hands in the air, or elastic to connect the students in a circle, have the students shape the pitch contour as the melody rises and falls. Prepare by asking What do you notice? and discuss responses after activity Musica Viva Australia Song Company 12

14 Third playing: VOCALISE Repeat the pitch shaping activity and have the students hum along or using a syllable such as doo (some fun may be had deciding on various syllables!). REPEAT the above steps for: MELODY 2 CHORUS CODA MELODY I Turn on the Tap - melody 2 soprano I Turn on the Tap - chorus melody soprano MELODY 1 & 2 TOGETHER I Turn on the Tap - coda melody - soprano I Turn on the Tap - melodies together - soprano & alto SINGING THE WORDS I Turn on the Tap - Use each chapter in turn Melody 1, Melody 2, Chorus, Coda. Play the whole of each chapter through each time. Introduce the words cumulatively, using the whole song technique. Add a new word or phrase each time through until the students are singing the entire song. Sing only the word or phrase you (or the students) nominate, and sing the rest of the song in your head. To demonstrate what is to be sung, you might choose to play the video, say the words or sing it yourself. The students may enjoy making their own suggestions which words to sing next. Melody 1 & 2 Together I Turn on the Tap Together Whole class sings Melody 1 accompanied by I Turn on the Tap Together. Repeat for Melody 2. Divide class and assign a melody to each half. Swap parts and repeat. Kwela accompaniment I Turn on the Tap - Accompaniment Students emulate one or more parts from watching and listening to Song Company. Divide class and assign parts as required. MEMORY: There s no need to print or display the words. The whole song technique develops observation and memory. If parts are forgotten, or there are mistakes, that is all part of the process. Some activities may need to be repeated for practice but not until the point of perfection Musica Viva Australia Song Company 13

15 MOVING: Devise actions for key ideas in the text Perform while singing the song Extension: Mix and match: Allocate actions and singing and sections of the song around the class for a fun variation. PERFORMANCE CULMINATION I Turn on the Tap Experiment with song and actions, allocating performance roles and exploring formation or use of space. Perform and record using audio or video. 2) Structure and score Discuss the STRUCTURE of the song with the students. STRUCTURE is the order that the musical ideas - Melody 1, Melody 2, Chorus, Melody 1 & 2 and Coda - are sung. Play the song and ask students to listen and complete the I Turn on the Tap structure exercise. This learning experience could be structured as a class collaboration, small group or individual work according to the abilities of the students. Score read I Turn on the Tap score 3) Create your own version As a class, in pairs or small groups, students arrange the material with the following musical features: Introduction (Optional), Beginning, middle and an end (Coda optional) Movement or actions Body percussion Students may wish to play found sound sources with hands, chop sticks or drum sticks. Represent the created version with pictorial or graphic notation and a structural outline Musica Viva Australia Song Company 14

16 4) Links to Dance, HSIE DANCE Devise a kwela dance. Research on YouTube for fun ideas for Kwela dance moves to adapt to I Turn on the Tap. HSIE (Poverty, Water, Health) Reflect, research and discuss the words of I Turn on the Tap in a range of contexts. e.g. the struggle against poverty and the fate of children around the world the relationship between life expectancy and the availability of fresh water the effect on health and the significance of water as the most important source of sustenance and life. explore the deeper issues behind the jaunty good times style of the song humorous nature of the lyrics. how does the song ask us to compare our ease of access to clean water with the experiences in Third World countries? explore the role of music in communicating important messages about people in their environment. Why did the composer choose such a breezy style of music to convey such a serious message? The rhythmic style of the song is based on Kwela, which originated in South Africa. Kwela is black street music from southern Africa. Research Kwela and its origins and history. Find other Kwela beat songs on YouTube. LITERACY Create own words for environmental and health themes using I Turn on the Tap. Use I Turn on the Tap words as a model. An additional reference to environmental and health themes can be found on the Gorillaz album Plastic Beach. Vocabulary voice Kwela phrase African sing melody poverty Caribbean water lyrics arrangement health tap South Africa message structure ICON KEY PDF File AUDIO File MOVIE File INTERACTIVE RESOURCE PICTURE File 2013 Musica Viva Australia Song Company 15

17 F-2 LEARNING EXPERIENCES WALTZING MATILDA Traditional, arranged by Ruth McCall Content Descriptors: 2.2, 2.3, 2.6, 2.8 General Capabilities: LIT, NUM, CCT, PSC, IC The Big Idea Students explore rhythmic and melodic features of the song and compose new ideas from the text. Resources Audio PDF IWB Waltzing Matilda - by Ruth McCall Waltzing Matilda - words Time Different Vocal Sounds, Didgeridoo Waltzing Matilda, Show Me! 1) A Memorable Melody Lead the listening of Waltzing Matilda - by Ruth McCall by asking students What do you notice? (The piece is based on Waltzing Matilda). Teach the students to sing the traditional version of Waltzing Matilda. Search Slim Dusty Live at the 2000 Olympics Waltzing Matilda on YouTube. Or, use your own version of the song. Compare and contrast the YouTube version to the Song Company arrangement, discuss similarities and differences. Discuss the meaning of the song and unknown words, for example, what is a swag or Matilda? Where were they going? Use Waltzing Matilda - words for your reference. Waltzing Matilda by Banjo Patterson Once a jolly swagman camped by a billabong Under the shade of a Coolabah tree And he sang as he watched and waited till his Billy boiled Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled Down came a jumbuck to drink at that billabong Up jumped the swagman and grabbed him with glee And he sang as he shoved that jumbuck in his tuckerbag Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled You'll come a waltzing Matilda with me 2013 Musica Viva Australia Song Company 16

18 Up rode the squatter mounted on his thoroughbred Down came troopers one two three Whose that jumbuck you've got in the tucker bag Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled Up jumped the swagman and sprang into the billabong You'll never catch me alive said he And his Ghost may be heard as you pass by that billabong In Time the presenters explain and demonstrate time, with the support of animated notation. Allow the students to become competent with the beat, and at ease with each chapter. This may need to be revisited over several lessons. Echo clapping one or two rhythms between classroom activities throughout the school day can be an excellent way to reinforce a musical skill while energising and focusing the students for their next subject. The following activity puts this theory into practice: Revise Waltzing Matilda from YouTube. Copy to the students a body percussion pattern of four beats: Patsch, clap, clap, clap. Emphasise the first beat (the patsch). This emphasis in music is called an accent. Use this ostinato (musical pattern) to accompany a class version of the song using Matilda words. Waltzing As a class or in groups have students create their own body percussion and/or movement ostinato while they sing the song, with and without Reinforce the need to place an accent on the first beat (the patsch). Waltzing Matilda - by Ruth McCall. Transfer the beat to non-melodic percussion instruments or drumsticks on found sound sources, such as tables or chair legs. Experiment with ways to accent the first beat by choosing two different instruments/sound sources; tambourines on the first beat and triangles for the remainder etc. Perform as a class with the students singing and keeping the beat on instruments. Play Waltzing Matilda - by Ruth McCall and ask students to play along by keeping the beat using the instruments (remind them of the accent). Compare the beat accompaniment between the class version of Waltzing Matilda and the Song Company version e.g. describe and discuss similarities/differences - what was easy, what was hard etc. Point out to the students that they ve been playing a quarter note or crotchet pulse - one sound per beat. Explain that a crotchet can be said as 'ta' and have students say ta as they keep the beat. Relate back to Time, to reinforce the concept and skill Musica Viva Australia Song Company 17

19 2) Please Accompany Me View Time for revision and have students focus on the quavers. Revise the accented body percussion pattern of four beats and accompany Waltzing Matilda - by Ruth McCall with the ostinato; patsch, clap, clap, clap. Play Waltzing Matilda - by Ruth McCall and change from quarter notes to a quaver pulse (eighth notes). Maintain this by patsching alternating hands during the introductory drone section (quavers are sung by the alto part). These are eighth notes or quavers - half the length (value) of quarter notes (crotchets). They can be said as 'ta-te' (French time names) or 'ti-ti' (Kodaly and Orff). Be sure to be consistent if using these highly effective approaches to saying rhythms. Divide the class in two; group 1 performs the quarter beat (crotchet or ta) pulse; group 2 perform the eighth notes (quavers or ta-te / ti-ti). Begin these two rhythms separately, and then perform simultaneously. EXTENSION Show students the notation of ta and ta-te (quarter note and two eighth notes, or crotchets and quavers) as above. Students devise a combination of these rhythms as a 1-bar of ostinato using body percussion. Play the ostinato as an accompaniment to Waltzing Matilda - by Ruth McCall. Transfer the ostinato to non-melodic instruments or drumsticks on found sound sources. Assessment Teacher Observation Content Descriptors: 2.3, 2.8 General Capabilities: LIT, NUM, ICT, CCT, ICU Were the students able to: Listen to Waltzing Matilda - by Ruth McCall in particular the introduction, and identify the accents through movement or clapping? 2.3, 2.8, LIT, NUM, CCT, ICU 2013 Musica Viva Australia Song Company 18

20 Vocabulary voice accent waltzing Aboriginal sing melody Matilda pulse ostinato billabong billy jumbuck Coolabah tree claves swagman trooper ICON KEY PDF File AUDIO File MOVIE File INTERACTIVE RESOURCE PICTURE File 2013 Musica Viva Australia Song Company 19

21 3-4 LEARNING EXPERIENCES WALTZING MATILDA Traditional, arranged by Ruth McCall Content Descriptors: 4.2, 4.6, 4.7, 4.8 General Capabilities: LIT, NUM, ICT, CCT, PSC, EB, IC The Big Idea Students explore rhythmic and melodic features of the piece and compose new ideas from the text. Resources Audio PDF IWB Waltzing Matilda - by Ruth McCall Waltzing Matilda - bars bass, tenor, soprano then alto 1) A Memorable Melody Waltzing Matilda - words Waltzing Matilda - vocal refrain Waltzing Matilda - vocal refrain 2 Time Different Vocal Sounds, Didgeridoo Waltzing Matilda, Show Me! Waltzing Matilda, Musical Conversations! Lead the listening of Waltzing Matilda - by Ruth McCall by asking students What do you notice? (The piece is based on Waltzing Matilda). Teach the students to sing the traditional version of Waltzing Matilda. Search Slim Dusty Live at the 2000 Olympics Waltzing Matilda on YouTube. Or, use your own version of the song. Compare and contrast the YouTube version to The Song Company arrangement, discuss similarities and differences. Discuss the meaning of the song and unknown words, for example, what is a swag or Matilda? Where were they going? Use Waltzing Matilda - words for your reference. Waltzing Matilda by Banjo Patterson Once a jolly swagman camped by a billabong Under the shade of a Coolabah tree And he sang as he watched and waited till his Billy boiled Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled Down came a jumbuck to drink at that billabong Up jumped the swagman and grabbed him with glee And he sang as he shoved that jumbuck in his tuckerbag Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled You'll come a waltzing Matilda with me 2013 Musica Viva Australia Song Company 20

22 Up rode the squatter mounted on his thoroughbred Down came troopers one two three Whose that jumbuck you've got in the tucker bag Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled Up jumped the swagman and sprang into the billabong You'll never catch me alive said he And his Ghost may be heard as you pass by that billabong In Time the presenters explain and demonstrate time, with the support of animated notation. Allow the students to become beat competent and at ease with each chapter. This may need to be revisited over several lessons. Echo clapping one or two rhythms between classroom activities throughout the school day can be an excellent way to reinforce a musical skill while energising and focusing the students for their next subject. The following activity puts this theory into practice: Revise Waltzing Matilda from a suitable YouTube performance. Copy to the students a body percussion pattern of four beats: Patsch, clap, clap, clap. Emphasise the first beat (the patsch). This emphasis in music is called an accent. Use this ostinato (musical pattern) to accompany a class version of the song using Matilda words. Waltzing As a class or in groups have students create their own body percussion and/or movement ostinato while they sing the song, with and without Reinforce the need to place an accent on the first beat (the patsch). Waltzing Matilda - by Ruth McCall. Transfer the beat to non-melodic percussion instruments or drumsticks on found sound sources, such as tables or chair legs. Experiment with ways to accent the first beat by choosing two different instruments/sound sources; tambourines on the first beat and triangles for the remainder etc. Perform as a class with the students singing and keeping the beat on instruments Musica Viva Australia Song Company 21

23 Play Waltzing Matilda - by Ruth McCall and ask students to play along by keeping the beat using the instruments (remind them of the accent). Compare the beat accompaniment between the class version of Waltzing Matilda and the Song Company version e.g. similarities / differences, what was easy, what was hard etc. Point out to the students that they ve been playing a quarter note or crotchet pulse - one sound per beat. Explain that a crotchet can be said as 'ta' and have students say ta as they keep the beat. Relate back to Time to reinforce. a) Using Waltzing Matilda - vocal refrain, teach the soprano part Waltzing Matilda - Ruth McCall, 0:40. This can also be heard as a separate track, with individual vocal parts layered over the bass vocals Waltzing Matilda - bars bass, tenor, soprano then alto Waltzing Matilda - vocal refrain b) Divide the class into two groups: - Group 1 will sing the vocal refrain; - Group 2 will keep the pulse by playing on each beat using body percussion and/or nonmelodic percussion instruments. Swap roles or have the students perform both parts simultaneously. Perform with and without Waltzing Matilda - bars bass, tenor, soprano then alto Identify the difference between keeping the beat and the vocal part (the vocal refrain is off the beat - syncopated). Discuss Musica Viva Australia Song Company 22

24 c) Teach the soprano part, using Waltzing Matilda - vocal refrain 2 and Waltzing Matilda - by Ruth McCall, 1:57. Waltzing Matilda vocal refrain 2 d) Divide the class into two groups: - Group 1 will sing the vocal refrain; - Group 2 will keep the pulse by playing on each beat using body percussion and/or nonmelodic percussion instruments. Swap roles or have the students perform both parts simultaneously. Perform with and without the excerpt Waltzing Matilda - by Ruth McCall, at 1:57. Compare and contrast the two vocal refrains (the first refrain has a descending melody and is syncopated; the second refrain features an ascending melody, and has less syncopation). 2) Please Accompany Me View Time for revision and have students focus on the quavers. Revise the accented body percussion pattern of four beats and accompany Waltzing Matilda by Ruth McCall with the ostinato; patsch, clap, clap, clap. Play Waltzing Matilda - by Ruth McCall and change from quarter notes to a quaver pulse (eighth notes). Maintain this by patsching alternating hands during the introductory drone section (quavers are sung by the alto part). These are eighth notes or quavers - half the length (value) of quarter notes (crotchets). They can be said as 'ta-te' (French time names) or 'ti-ti' (Kodaly and Orff). Be sure to be consistent if using one of these highly effective approaches to saying rhythms. Divide the class in two; group 1 performs the quarter beat (crotchet or ta) pulse; group 2 perform the eighth notes (quavers or ta-te / ti-ti). Begin these two rhythms separately, and then perform simultaneously Musica Viva Australia Song Company 23

25 EXTENSION Show students the notation of ta and ta-te (quarter note and two eighth notes, or crotchets and quavers) as above. Students devise a combination of these rhythms as a 1-bar of ostinato using body percussion. Play the ostinato as an accompaniment to Waltzing Matilda - by Ruth McCall. Transfer the ostinato to non-melodic instruments or drumsticks on found sound sources. Assessment Teacher Observation Content Descriptors: 4.3, 4.8 General Capabilities: LIT, NUM, CCT, ICU Were the students able to: Listen to Waltzing Matilda - by Ruth McCall in particular the introduction, and identify the accents through movement or clapping? 4.3, 4.8, LIT, NUM, CCT, ICU Vocabulary voice accent waltzing Aboriginal sing melody matilda pulse ostinato billabong billy jumbuck coolabah tree Clave swagman trooper ICON KEY PDF File AUDIO File MOVIE File INTERACTIVE RESOURCE PICTURE File 2013 Musica Viva Australia Song Company 24

26 5-6 LEARNING EXPERIENCES WALTZING MATILDA Traditional, arranged by Ruth McCall Content Descriptors: 6.2, 6.3, 6.6, 6.8 General Capabilities: LIT, NUM, ICT, CCT, PSC, ICU The Big Idea Students explore rhythmic and melodic features of the piece and compose new ideas from the text. Resources Audio PDF IWB Waltzing Matilda - by Ruth McCall Waltzing Matilda - bars bass, tenor, soprano then alto 1) A Memorable Melody Waltzing Matilda - words Waltzing Matilda - vocal refrain Waltzing Matilda - vocal refrain 2 Time Different Vocal Sounds, Didgeridoo Waltzing Matilda, Show Me! Waltzing Matilda, Musical Conversations! Lead the listening of Waltzing Matilda - by Ruth McCall by asking students What do you notice? (The piece is based on Waltzing Matilda). Teach the students to sing the traditional version of Waltzing Matilda. Search Slim Dusty Live at the 2000 Olympics Waltzing Matilda on YouTube. Or, use your own version of the song. Compare and contrast the YouTube version to The Song Company arrangement, discuss similarities and differences. Discuss the meaning of the song and unknown words, for example, what is a swag or Matilda? Where were they going? Use Waltzing Matilda - words for your reference. Waltzing Matilda by Banjo Patterson Once a jolly swagman camped by a billabong Under the shade of a Coolabah tree And he sang as he watched and waited till his Billy boiled Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled Down came a jumbuck to drink at that billabong Up jumped the swagman and grabbed him with glee And he sang as he shoved that jumbuck in his tuckerbag Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled 2013 Musica Viva Australia Song Company 25

27 Up rode the squatter mounted on his thoroughbred Down came troopers one two three Whose that jumbuck you've got in the tucker bag Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled Up jumped the swagman and sprang into the billabong You'll never catch me alive said he And his Ghost may be heard as you pass by that billabong In Time the presenters explain and demonstrate time, with the support of animated notation. Allow the students to become beat competent and at ease with each chapter. This may need to be revisited over several lessons. Echo clapping one or two rhythms between classroom activities throughout the school day can be an excellent way to reinforce a musical skill while energising and focusing the students for their next subject. The following activity puts this theory into practice: Revise Waltzing Matilda from a suitable YouTube performance. Copy to the students a body percussion pattern of four beats: Patsch, clap, clap, clap. Emphasise the first beat (the patsch). This emphasis in music is called an accent. Use this ostinato (musical pattern) to accompany a class version of the song using Matilda words. Waltzing As a class or in groups have students create their own body percussion and/or movement ostinato while they sing the song, with and without Reinforce the need to place an accent on the first beat (the patsch). Waltzing Matilda - by Ruth McCall. Transfer the beat to non-melodic percussion instruments or drumsticks on found sound sources, such as tables or chair legs. Experiment with ways to accent the first beat by choosing two different instruments/sound sources; tambourines on the first beat and triangles for the remainder etc. Perform as a class with the students singing and keeping the beat on instruments Musica Viva Australia Song Company 26

28 Play Waltzing Matilda - by Ruth McCall and ask students to play along by keeping the beat using the instruments (remind them of the accent). Compare the beat accompaniment between the class version of Waltzing Matilda and the Song Company version e.g. similarities / differences, what was easy, what was hard etc. Point out to the students that they ve been playing a quarter note or crotchet pulse - one sound per beat. Explain that a crotchet can be said as 'ta' and have students say ta as they keep the beat. Relate back to Time to reinforce. e) Using Waltzing Matilda - vocal refrain, teach the soprano part Waltzing Matilda - Ruth McCall, 0:40. This can also be heard as a separate track, with individual vocal parts layered over the bass vocals Waltzing Matilda - bars bass, tenor, soprano then alto. Waltzing Matilda - vocal refrain f) Divide the class into two groups: - Group 1 will sing the vocal refrain; - Group 2 will keep the pulse by playing on each beat using body percussion and/or nonmelodic percussion instruments. Swap roles or have the students perform both parts simultaneously. Perform with and without Waltzing Matilda - bars bass, tenor, soprano then alto. Identify the difference between keeping the beat and the vocal part (the vocal refrain is off the beat - syncopated). Discuss Musica Viva Australia Song Company 27

29 g) Teach the soprano part, using Waltzing Matilda - vocal refrain 2 and Waltzing Matilda - by Ruth McCall, 1:57. Waltzing Matilda vocal refrain 2 h) Divide the class into two groups: - Group 1 will sing the vocal refrain; - Group 2 will keep the pulse by playing on each beat using body percussion and/or nonmelodic percussion instruments. Swap roles or have the students perform both parts simultaneously. Perform with and without the excerpt Waltzing Matilda - by Ruth McCall, at 1:57. Compare and contrast the two vocal refrains (the first refrain has a descending melody and is syncopated; the second refrain features an ascending melody, and has less syncopation). The following activities reinforce the rhythms by adapting the vocal refrains into creative outcomes. i) Revise Waltzing Matilda - vocal refrain. Have students sing along, then sing and clap the rhythm along to Waltzing Matilda - by Ruth McCall, at 0:40. Waltzing Matilda - vocal refrain j) Revise Waltzing Matilda - vocal refrain 2, have students sing along, then sing and clap the rhythm Waltzing Matilda - by Ruth McCall at 1: Musica Viva Australia Song Company 28

30 For the first vocal refrain have the class transfer the rhythms to body percussion/movement with and without the recording Waltzing Matilda - bars bass, tenor, soprano then alto. For vocal refrain 2 have the class transfer the rhythms to body percussion/movement with and without the recording Waltzing Matilda - bars bass, tenor, soprano then alto. Divide the class in three, using body percussion; group 1 plays their vocal refrain pattern; group 2 plays their vocal refrain 2 pattern; group 3 keeps the beat. Swap parts. If this is challenging for students, they should sing the melody in their heads as they play. Transfer the patterns to non-melodic percussion instruments or found sound sources (each group with its own instruments or found sound sources). Begin separately then layer each pattern in so all are being performed simultaneously. EXTENSION Research repertoire that has been adapted from simple folk tunes and expanded into major works and how this has been achieved, for example, Beethoven s Ninth Symphony, Rimsky- Korsakov s Scheherazade or Copland s Appalachian Spring. Researching folk tunes used in Popular music may also be of interest, such as Blackbird by The Beatles. 2) Please Accompany Me View Time for revision and have students focus on the quavers. Revise the accented body percussion pattern of four beats and accompany Waltzing Matilda - by Ruth McCall with the ostinato; patsch, clap, clap, clap. Play Waltzing Matilda - by Ruth McCall. Change from a to a quaver pulse (eighth notes). Maintain this by patsching alternating hands during the introductory drone section (quavers are sung by the alto part). These are eighth notes or quavers - half the length (value) of quarter notes (crotchets). They can be said as 'ta-te' (French time names) or 'ti-ti' (Kodaly and Orff). Be sure to be consistent if using these highly effective approaches to saying rhythms. Divide the class in two; group 1 performs the quarter beat (crotchet or ta) pulse; group 2 perform the eighth notes (quavers or ta-te / ti-ti). Begin these two rhythms separately, and then perform simultaneously Musica Viva Australia Song Company 29

31 EXTENSION Show students the notation of ta and ta-te (quarter note and two eighth notes, or crotchets and quavers) as above. Students devise a combination of these rhythms as a 1-bar of ostinato using body percussion. Play the ostinato as an accompaniment to Waltzing Matilda - by Ruth McCall. Transfer the ostinato to non-melodic instruments or drumsticks on found sound sources. Assessment Teacher Observation Content Descriptors: 6.2, 6.3, 6.8 General Capabilities: LIT, NUM, ICT, CCT, ICU Were the students able to: Listen to Waltzing Matilda - by Ruth McCall in particular the introduction, and identify the accents through movement or clapping? 6.3, 6.8, LIT, NUM, CCT, ICU Transfer the vocal refrain patterns to non-melodic percussion instruments or found sound sources? 6.2, NUM, CCT Vocabulary voice accent waltzing Aboriginal sing melody matilda pulse ostinato billabong billy jumbuck coolabah tree claves swagman trooper ICON KEY PDF File AUDIO File MOVIE File INTERACTIVE RESOURCE PICTURE File 2013 Musica Viva Australia Song Company 30

32 7-8 LEARNING EXPERIENCES WALTZING MATILDA Traditional, arranged by Ruth McCall Content Descriptors: 8.2, 8.3, 8.4, 8.6, 8.8 General Capabilities: LIT, NUM, ICT, CCT, PSC, ICU The Big Idea Students explore rhythmic and melodic features of the piece and compose new ideas from the text. Resources Audio PDF IWB Waltzing Matilda - by Ruth McCall Waltzing Matilda - bars bass, tenor, soprano then alto 1) A Memorable Melody Waltzing Matilda - words Waltzing Matilda - vocal refrain Waltzing Matilda - vocal refrain 2 Waltzing Matilda - melodic percussion arrangement 7-8 Waltzing Matilda - melodic percussion arrangement 7-8 bass part Time Different Vocal Sounds, Didgeridoo Waltzing Matilda, Show Me! Waltzing Matilda, Musical Conversations! Lead the listening of Waltzing Matilda - by Ruth McCall by asking students What do you notice? (The piece is based on Waltzing Matilda). Teach the students to sing the traditional version of Waltzing Matilda. Search Slim Dusty Live at the 2000 Olympics Waltzing Matilda on YouTube. Or, use your own version of the song. Compare and contrast the YouTube version to The Song Company arrangement, discuss similarities and differences. Discuss the meaning of the song and unknown words, for example, what is a swag or Matilda? Where were they going? Use Waltzing Matilda - words for your reference. Waltzing Matilda by Banjo Patterson Once a jolly swagman camped by a billabong Under the shade of a Coolibah tree And he sang as he watched and waited till his Billy boiled Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled Down came a jumbuck to drink at that billabong Up jumped the swagman and grabbed him with glee And he sang as he shoved that jumbuck in his tuckerbag 2013 Musica Viva Australia Song Company 31

33 Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled You'll come a waltzing Matilda with me Up rode the squatter mounted on his thoroughbred Down came troopers one two three Whose that jumbuck you've got in the tucker bag Waltzing Matilda, Waltzing Matilda And he sang as he watched and waited till his Billy boiled Up jumped the swagman and sprang into the billabong You'll never catch me alive said he And his Ghost may be heard as you pass by that billabong In Time the presenters explain and demonstrate time, with the support of animated notation. Allow the students to become beat competent and at ease with each chapter. This may need to be revisited over several lessons. The following activity puts this theory into practice: Revise Waltzing Matilda from YouTube. Copy to the students a body percussion ostinato of four beats: Patsch, clap, clap, clap. Accent the first beat. Use this ostinato to accompany a class version of the song using Waltzing Matilda - words. As a class or in groups have students create their own body percussion and/or movement ostinato while they sing the song, with and without Waltzing Matilda - by Ruth McCall. Reinforce the need to accent the first beat of every four. Transfer the beat to non-melodic percussion instruments or drumsticks on found sound sources. Experiment with ways to accent the strong beat by choosing two different instruments/sound sources; tambourines on the first beat and triangles for the remainder etc. Perform as a class with the students singing and keeping the beat on instruments Musica Viva Australia Song Company 32

34 Play Waltzing Matilda - by Ruth McCall and ask students to play along by keeping the beat using the instruments (remind them of the accent). Compare the beat accompaniment between the class version of Waltzing Matilda and the Song Company version. E.g. similarities/differences, what was easy, what was hard etc. Point out to the students that they ve been playing a quarter note or crotchet pulse - one sound per beat. Explain that a crotchet can be said as 'ta' and have students say ta as they keep the beat. Relate back to Time to reinforce. k) Using Waltzing Matilda - vocal refrain, teach the soprano part Waltzing Matilda - Ruth McCall at 0:40. This can also be heard as a separate recording, with individual parts layered over the bass Waltzing Matilda - bars bass, tenor, soprano then alto. Waltzing Matilda - vocal refrain l) Divide the class into two groups: - Group 1 will sing the vocal refrain; - Group 2 will keep the pulse by playing on each beat using body percussion and/or nonmelodic percussion instruments. Swap roles or have the students perform both parts simultaneously. Perform with and without Waltzing Matilda - bars bass, tenor, soprano then alto. Identify the difference between keeping the beat and the vocal part (the vocal refrain is off the beat - syncopated). Discuss. m) Teach the soprano part, using Waltzing Matilda - vocal refrain 2 and Waltzing Matilda - by Ruth McCall, 1:57. Waltzing Matilda vocal refrain Musica Viva Australia Song Company 33

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