Richmond Music TEACHER S BOOK Term PRIMARY
Contents Introduction... 4 Syllabus for term... 2 Schemes of work for term... 3 Teaching suggestions for lesson... 8 Teaching suggestions for lesson 2... 20 Teaching suggestions for lesson 3... 22 Teaching suggestions for lesson 4... 24 Teaching suggestions for lesson 5... 26 Teaching suggestions for lesson 6... 28 Teaching suggestions for lesson 7... 30 Teaching suggestions for lesson 8... 32 Teaching suggestions for term review... 34 Scores... 37 Reinforcement worksheets... 45 Tests... 55 Answer keys... 6 Relaxing and breathing... 68 Staves... 7 3
term Lesson Silence at Last! STRAND : Listening Sound, noise and silence Noise pollution Properties of sound Topics STRAND 2: Musical performance STRAND 3: Moving and dancing Performing soundscapes with vocal ostinatos Syllabus Music Story: Silence at Last! 2 In the City, Too Much Sound Dynamic indicators Time signatures The tuning fork Vocal performance Experimenting with a tuning fork In the City, Too Much Sound 3 Serenade Andalouse Chordophones Active listening with graphic scores Listening to classical music Composer P. Sarasate Accompanying music with body percussion Serenade Andalouse, P. Sarasate 4 It s Not the Same The note Re or D on the recorder and mallet percussion instruments First-time and second-time signs Performing on the recorder and mallet percussion instruments Singing with the names for the notes It s Not the Same 5Tarantella Tempo indicators The metronome Review of musical form Movement and dance Creating and performing vocally different musical forms Tarantella, traditional dance 6 Jolie Blon Instruments around the world: balafon, sitar, bouzouki, erhu and accordion Making instruments: a washboard Vocal performance Accompanying music with rhythmic ostinatos Jolie Blon, traditional song 7 Così Fan Tutte The opera Types of voices Listening to classical music Accompanying an excerpt from an opera with vocal ostinatos Excerpts from L Orfeo by C. Monteverdi, Così Fan Tutte by W. A. Mozart and La Traviata by G. Verdi 8 A New Rhythm Semiquaver and semiquaver rest Rhythmic group: a quaver and two semiquavers Performing on the recorder and mallet percussion instruments Accompanying music with body percussion Singing with the names for the notes A New Rhythm term review Rudolph, the Red Nosed Reindeer Review of the contents and musical practice of term Rudolph, the Red-Nosed Reindeer, Christmas song Backing track for improvisation 2
TERM Silence at Last! The noises of the city were too loud for Mike and John, so they decided to go to It s too noisy! another place. They went to their grandparents village. But it wasn t quieter! The next day, Mike took John to the lake. But it was also too noisy, even for the fish! What? So John tried to find a place without noise. Silence at last! We hear many different sounds every day. Pleasant sounds are called sounds, but unpleasant sounds are called noises. Silence is when there aren t any sounds or noises. Too much sound and noise in our surroundings can bother us and can be bad for our health. We call this: noise pollution. What is your favourite sound? What noises bother you?.2 Listen to the story and identify the sounds. Then answer the questions. Can you remember a time when you experienced noise pollution? 6 Activity : Story: Silence at Last! CD, track 2 (*). Contents: Sound, noise and silence. Noise pollution. (*) All track numbers refer to the Class Audio. Contents Silence, sound and noise Noise pollution: risks and consequences Properties of sound: pitch, duration, dynamics and timbre Soundscapes Key language silence, sound, noise pleasant/unpleasant, surroundings, health, pollution, bother property, pitch, duration, dynamics, timbre, distinguish, vibrate, emit, reach, wave bear, hurt, ultrasound soundscape, frog, cricket, ambulance, fly Teaching suggestions Say: Look at page 6. Play the story and pause the track after the first picture. Say to a student: Read out the text for the first picture. Then continue playing the track and listen to the sounds for the first picture. Pause the track again and ask: Where were Mike and John?, What sounds can you hear from the city? Repeat the same procedure with the other pictures, asking the following questions: Picture 2: Where did Mike and John decide to go?, What happened there? Picture 3: Where did they go the next day?, What happened there? Picture 4: Where did John decide to take Mike in the end? Pictures 5 and 6: What did Mike do when they arrived at the last place? Play the track again and ask the students to list all the sounds from each picture (see answers on page 62). Read out the text at the end of page 6 and ask comprehension questions such as: What sounds do you hear from the time you get up until the time you get to school?, Which ones are pleasant?, Which ones are unpleasant?, What are the pleasant sounds called?, And the unpleasant ones?, What is noise pollution? Then ask the questions. Encourage everyone to take part. Say: Put up your hands to answer. 2 Say: Look at page 7, and read out the first paragraph. Play a triangle and ask: What happens when I play the triangle? Then read out the texts about the properties of sound and demonstrate each one: 8
TERM lesson 2 Time signatures Time signatures show how many beats there are in each bar: a duple metre has two beats in each bar, a triple metre has three beats in each bar, and a quadruple metre has four beats in each bar. Each beat is equal to a crotchet, which we can write like this: or with the number 4. 2 = 3 4 = = two four time three four time number of beats in each bar notation that shows that each beat is equal to a crotchet four four time.7 3 A tuning fork is a metallic object that helps us to tune instruments in orchestras and voices in choirs. When we hit it against a surface, it emits the note La or A. Do this experiment and answer the questions. Hit the top part of a tuning fork against a table. While it s vibrating, put its bottom on the table and listen. What note does it sound? 2.6 Listen and say the time signature and dynamic indicator of each song. Use each symbol once. cresc. Hit the top part of the tuning fork against a table again, but this time put its bottom on a different surface, for example, your elbow or your knee. What happens? Does it make the same sound? Can you feel the vibrations? In the City, Too Much Sound A New Rhythm Ronda Rudolph, the Red-Nosed Reindeer Make the tuning fork vibrate again, but this time put its top part in a glass of water. What do the sound waves look like? Activity 2: Review of time signatures and dynamic indicators CD, track 6. Tuning fork CD, track 7. 9 On the board, write each one of the time signatures that the students already know, using the number 4 as the denominator and ask some students individually: What does the number on the top mean?, What does the number on the bottom mean?, Write a duple metre time signature on the board, etc. To finish, read out the instruction and play the track. Say: Pay attention to the metre and the dynamics of the music. Put up your hands to answer. 3 Show the class a tuning fork and ask a student to read out the text about it. Correct the pronunciation if necessary. On the board, write the note La so that the students can identify the sound the tuning fork produces. Remind the students: This is the note that orchestras and many musicians use to tune their instruments and the voices in choirs. If possible, show a video of an orchestra tuning up before a performance. Then do the suggested experiment. Put a basin filled with water in the middle of a table. Say: Get up and form a circle around the basin of water. Do the experiments while a student reads out the instructions, so that everyone can follow. Correct pronunciation if necessary. Repeat each of the actions allowing different students to try out the tuning fork in the way shown in the activity, and encourage them to answer the questions. Materials Student s Book, pages 8 & 9 Class Audio CD, tracks 4, 5, 6 & 7 Score of In the City, Too Much Sound, Teacher s Book, page 38 Activity Book, page 5, activities, 2, 3 & 4 Reinforcement worksheet, Teacher s Book, page 47, activities, 2 & 3 LibroMedia extras Recordings of all the texts in the Student s Book Karaoke of In the City, Too Much Sound Interactive activities 2
Serenade Andalouse Listen and follow the melody and the accompaniment in the graphic score..8 x3 melody accompaniment A graphic score is a way to represent music with visual symbols. 0 Activity : Serenade Andalouse by P. Sarasate CD, track 8. Contents: String instruments. Contents Graphic scores Pieces of classical music Composer P. Sarasate Body percussion as a way of accompanying pieces of music Review of melody and musical phrase Chordophones: types and characteristics Key language graphic score, melody, accompaniment composer, virtuoso, folk music chordophones, rub, pluck, strike, thickness, length, tension, neck, pick, peg, bow, horsehair, rosin, key, hammer, tune, tuner 22 Teaching suggestions Say: Look at page 0, and read out the instruction. Ask: According to the box on the right, which instrument is playing the melody?, And the accompaniment?, Which drawing shows the violin part? (red carnations), And the piano part? (blue shapes). Explain to the students: The position of the red carnations shows the pitch of the notes, and their size shows their duration. Then play the track. Pause it at the following intervals to focus on musical phrases: First musical phrase (first line of the graphic score): 0:00 to 0:6. Second musical phrase (second line of the graphic score): 0:7 to 0:25. Third musical phrase (third line of the graphic score): 0:26 to 0:37. Fourth musical phrase (fourth line of the graphic score): 0:38 to 0:47. Fifth musical phrase (fifth line of the graphic score): 0:48 to :06. (It is repeated an octave lower.) Sixth musical phrase (sixth line of the graphic score): :07 to the end. Then say: Look at page, and ask a student to read out the text about Pablo Sarasate, paying attention to pronunciation and intonation. Ask comprehension questions such as: Where was Pablo Sarasate born?, Why did he start to study music?, What instrument did he play?, What were his musical influences?, Have you noticed those influences in Serenade Andalouse?, In which way? 2 Ask a student to read out the instruction and correct his/her pronunciation if necessary. Ask the