EGG HARBOR TOWNSHIP PUBLIC SCHOOLS
CURRICULUM
General Music
Grades 3-5
Length of Course:
Full Year
Elective / Required:
N/A
Schools:
Elementary Schools
Student Eligibility:
Grades 3-5
Credit Value:
N/A
Date Approved:
TABLE OF CONTENTS
Mission Statement
3
Philosophy
3
Statement of Purpose
3
Introduction
3
District Curriculum Template
4
Guiding Principles
4
Intent of the Guide
5
Unit 1 – Expression
6
Unit 2 – History/Culture
11
Unit 3 – Literacy
15
Unit 4 – Performance
19
This curriculum guide was prepared by:
Christina Luthke, Dr. Joyanne D. Miller Elementary School
Lauren Schwiers, Slaybaugh Elementary School
Coordinated by: Thomas Weber - Supervisor of Fine and Performing Arts
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DISTRICT MISSION STATEMENT
Our mission in the Egg Harbor Township School District is to partner with the student,
family, school, and community to provide a safe learning environment that addresses
rigorous and relevant 21st Century standards and best practices which will develop
academic scholarship, integrity, leadership, citizenship, and the unique learning style of
students, while encouraging them to develop a strong work ethic and to act responsibly
in their school community and every day society.
FINE AND PERFORMING ARTS - PHILOSOPHY
It is our belief that it is in a child’s inherent nature to create. Experiences in creating in
the arts are essential to a well-rounded education. Furthermore, creative and artistic
exploration enhances critical thinking and problem solving skills. The arts also promote
an atmosphere that embraces cultural diversity. Children who are exposed to the art of
past and present cultures learn about themselves, the society in which they live, and
people throughout history.
FINE AND PERFORMING ARTS - STATEMENT OF PURPOSE
Education exists for the purpose of enabling each individual to realize and maintain
her/his full potential. Music/visual arts education, as a social, intellectual, and physical
discipline, specifically involves the development of each individual's aptitude,
understanding, and appreciation and serves as an essential element to the
developmental process.
The music and visual arts programs provide the opportunity for each individual to
develop a comprehensive foundation of basic knowledge, skills, and techniques and
serves not only as an arts specific course but also provides a vehicle by which
associated disciplines are enhanced and supported.
This curriculum guide has been designed to expose all students to the arts educational
experience outlined within. Each student will be offered thorough and analogous arts
instruction and will be fully prepared for the continuing education offered at the
secondary level. Additionally, through active participation, students will develop positive
individual and group behavioral patterns while exploring the vast cultural and ethnic
diversity reflective of our community and the art form itself.
Our school district provides an extensive arts program, which will enable students to
succeed and compete in the global marketplace using the New Jersey Core Curriculum
Content Standards in conjunction with the New Jersey Visual and Performing Arts
Curriculum Frameworks and technological exploration.
INTRODUCTION
The most precious resource teachers have is time. Regardless of how much time a
course is scheduled for, it is never enough to accomplish all that one would like.
Therefore, it is imperative that teachers utilize the time they have wisely in order to
maximize the potential for all students to achieve the desired learning.
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High quality educational programs are characterized by clearly stated goals for student
learning, teachers who are well-informed and skilled in enabling students to reach those
goals, program designs that allow for continuous growth over the span of years of
instruction, and ways of measuring whether students are achieving program goals.
THE EGG HARBOR TOWNSHIP SCHOOL DISTRICT CURRICULUM TEMPLATE
The Egg Harbor Township School District has embraced the backward-design model as
the foundation for all curriculum development for the educational program. When
reviewing curriculum documents and the Egg Harbor Township curriculum template,
aspects of the backward-design model will be found in the stated enduring
understandings/essential questions, unit assessments, and instructional activities.
Familiarization with backward-design is critical to working effectively with Egg Harbor
Township’s curriculum guides.
GUIDING PRINCIPLES: WHAT IS BACKWARD DESIGN?
WHAT IS UNDERSTANDING BY DESIGN?
“Backward design” is an increasingly common approach to planning curriculum and
instruction. As its name implies, “backward design” is based on defining clear goals,
providing acceptable evidence of having achieved those goals, and then working
‘backward’ to identify what actions need to be taken that will ensure that the gap
between the current status and the desired status is closed.
Building on the concept of backward design, Grant Wiggins and Jay McTighe (2005)
have developed a structured approach to planning programs, curriculum, and
instructional units. Their model asks educators to state goals; identify deep
understandings, pose essential questions, and specify clear evidence that goals,
understandings, and core learning have been achieved.
Programs based on backward design use desired results to drive decisions. With this
design, there are questions to consider, such as: What should students understand,
know, and be able to do? What does it look like to meet those goals? What kind of
program will result in the outcomes stated? How will we know students have achieved
that result? What other kinds of evidence will tell us that we have a quality program?
These questions apply regardless of whether they are goals in program planning or
classroom instruction.
The backward design process involves three interrelated stages for developing an entire
curriculum or a single unit of instruction. The relationship from planning to curriculum
design, development, and implementation hinges upon the integration of the following
three stages.
Stage I: Identifying Desired Results: Enduring understandings, essential questions,
knowledge and skills need to be woven into curriculum publications, documents,
standards, and scope and sequence materials. Enduring understandings identify the
“big ideas” that students will grapple with during the course of the unit. Essential
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questions provide a unifying focus for the unit and students should be able to answer
more deeply and fully these questions as they proceed through the unit. Knowledge and
skills are the “stuff” upon which the understandings are built.
Stage II: Determining Acceptable Evidence: Varied types of evidence are specified to
ensure that students demonstrate attainment of desired results. While discrete
knowledge assessments (e.g.: multiple choice, fill-in-the-blank, short answer, etc…) will
be utilized during an instructional unit, the overall unit assessment is performance-based
and asks students to demonstrate that they have mastered the desired understandings.
These culminating (summative) assessments are authentic tasks that students would
likely encounter in the real-world after they leave school. They allow students to
demonstrate all that they have learned and can do.
To demonstrate their
understandings students can explain, interpret, apply, provide critical and insightful
points of view, show empathy and/or evidence self-knowledge. Models of student
performance and clearly defined criteria (i.e.: rubrics) are provided to all students in
advance of starting work on the unit task.
Stage III: Designing Learning Activities: Instructional tasks, activities, and experiences
are aligned with stages one and two so that the desired results are obtained based on
the identified evidence or assessment tasks. Instructional activities and strategies are
considered only once stages one and two have been clearly explicated. Therefore,
congruence among all three stages can be ensured and teachers can make wise
instructional choices.
At the curricular level, these three stages are best realized as a fusion of research, best
practices, shared and sustained inquiry, consensus building, and initiative that involves
all stakeholders. In this design, administrators are instructional leaders who enable the
alignment between the curriculum and other key initiatives in their district or schools.
These leaders demonstrate a clear purpose and direction for the curriculum within their
school or district by providing support for implementation, opportunities for revision
through sustained and consistent professional development, initiating action research
activities, and collecting and evaluating materials to ensure alignment with the desired
results. Intrinsic to the success of curriculum is to show how it aligns with the overarching
goals of the district, how the document relates to district, state, or national standards,
what a high quality educational program looks like, and what excellent teaching and
learning looks like. Within education, success of the educational program is realized
through this blend of commitment and organizational direction.
INTENT OF THE GUIDE
This guide is intended to provide teachers with course objectives and possible activities,
as well as assist the teacher in planning and delivering instruction in accordance with the
New Jersey Core Curriculum Content Standards. The guide is not intended to restrict or
limit the teacher’s resources or individual instruction techniques. It is expected that the
teacher will reflectively adjust and modify instruction and units during the course of
normal lessons depending on the varying needs of the class, provided such modified
instruction attends to the objectives and essential questions outlined below.
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UNIT
Expression
Unit Summaries
In this unit students will express themselves through music. This will be done through the elements of
music. The tempo and dynamics will affect how the music feels. Students will express themselves
through singing, playing musical instruments and movement.
Unit Resources
Internet Resources Links:
STAGE ONE
Goals And Standards
Standard State: NJ
1.4.5.A.3 Demonstrate how art communicates ideas about personal and social values and is inspired by
an individual's imagination and frame of reference (e.g., personal, social, political, historical context).
1.4.5.A.2 Make informed aesthetic responses to artworks based on structural arrangement and personal,
cultural, and historical points of view.
1.4.5.B.1 Assess the application of the elements of art and principles of design in dance, music, theatre,
and visual artworks using observable, objective criteria.
Goals:
By the end of this unit students will be able to recognize that music is a form of expression. They will
have the opportunity to express themselves through creating, moving, playing and singing. Students will
express themselves through past compositions as well as improvisation.
Enduring Understanding
• Music is communicated through the use of expressive qualities: dynamics, tempo, tonality and
articulation.
• People use music to express their values and describe their experiences.
Essential Questions
• How does music make you feel?
• How do dynamics, tempi and the use of articulation affect the way you feel about music?
• How can you express yourself through music?
• How is music communicated?
• How does tonality affect the expressive qualities of a musical piece?
Knowledge and Skills
• Students will be able to express themselves through music.
• Students will use an element of music to express themselves.
• Students will use movement to express themselves.
• Students will use singing to express themselves.
• Students will use improvisation to express themselves.
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STAGE TWO
Performance Tasks
Grade 3
• Students will create, improvise, move, play and sing.
• Listen to an excerpt and respond to different aspects of the music. For example: create a dance,
draw a illustration, improvise
• Play phrases or ostinati using Orff instruments or rhythmic instruments.
• Study an element of music.
• Students will be able to identify and perform: p, pp, f and ff and will be introduced to mezzo
piano (mp), mezzo forte (mf) and crescendo/descrescendo.
• Students will be able to demonstrate singing using head voice, proper posture and breathing.
Grade 4
• Students will create, improvise, move, play and sing with increased rigor.
• Students will create contrasting movements to show understanding of the elements of music.
• Listen to an excerpt and respond to different aspects of the music. For example: create a dance,
draw a illustration, improvise
• Play phrases or ostinati using Orff instruments or rhythmic instruments.
• Study elements of music.
• Students will be able to identify with appropriate terminology and perform on classroom
instruments: p, pp, f and ff and will be introduced to mezzo piano (mp), mezzo forte (mf) and
crescendo/descrescendo.
• Students will explore ensemble singing.
• Students will be able to recognize changes in tempo and will begin applying tempo terminology.
Grade 5
• Students will create, improvise, move, play and sing with increased rigor.
• Students will create contrasting movements to show understanding of elements of music. Listen
to an excerpt and respond to different aspects of the music. For example: create a dance, draw a
illustration, improvise
• Play phrases or ostinati using Orff instruments or rhythmic instruments
• Study elements of music.
• Students will be able to identify with appropriate terminology and perform on classroom
instruments: p, pp, f, ff, mp, mf and crescendo/descrescendo and will be introduced to sffz.
• Students will continue ensemble singing through age-appropriate repertoire.
•
Students will be able to recognize changes in tempo and will be able to identify using tempo
terminology.
Other Evidence
• Students will observe other student performances.
• Students will discuss peer performances.
Movement/Improvising (Silver Burdett Resource Book 2005)
• Fluent - The student plays with fluency and ease. There are few errors. The performance is
confident, beautiful and expressive.
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•
•
Competent - The student plays with relative ease but several errors or hesitations are present.
The performance is confident and expressive
More Practice Needed - The students have difficulty performing evenly and in time. Hesitations
and errors are clearly evident. The performance does not convey the expressive intent of the
piece performed.
Composition (Silver Burdett Resource Book 2005)
• Fluent - The composition or arrangement is expressive, beautiful and consistent with the intent
of the composer or arranger.
• Competent - The composition or arrangement is well organized and consistent with the intent of
the composer or arranger
• More Practice Needed - The composition or arrangement is somewhat organized and may not be
consistent with the intent of the composer or arranger
STAGE THREE
Learning Activities
Grade 3
Train Is A-Comin'
Silver Burdett 2005
Grade 3
Making Music
Pages 48 -51
(3 – 5 lessons)
1. Introduce song
2. Sing the song
3. Learn ostinati using cabasa, vibraslep and the drum
4. Have students sing the song while playing the ostinato
5. Introduce adagio, moderato, allegro, accelerando and ritardando
6. Have students perform the song using different tempi
7. Listen to Choo-Choo Joubert and follow the listening map as it goes through various tempi
Superfragilisticexpialodocious
Silver Burdett 2005
Grade 3
Making Music
Pages 6 – 7
(3 -5 lessons)
1. Refresh the student’s memory of Mary Poppins
2. Have the students identify the dynamics in the sheet music
3. Ask students what they think mf and mp mean
4. Ask what dynamics add to a piece of music
5. Sing the song while focusing on the dynamics
6. Create movement that reflects the dynamics
Grade 4
Put a Little Love In Your Heart
9
Silver Burdett 2005
Grade 4
Making Music
Pages 6 – 9
(3 - 5 lessons)
1. Write dynamics, piano, mezzo piano, mezzo forte, forte, crescendo, decrescendo on the board
and discuss
2. Have students demonstrate the dynamics by patting the steady beat, using instruments or using
body percussion
3. Listen to the recording and discuss the dynamics heard
4. Sing “Put a Little Love In Your Heart”
5. Divide the students into two groups and ask them to create their own dynamics
Oh, Danny Boy
Silver Burdett 2005
Grade 4
Making Music
Pages 48 – 51
(3 - 5 lessons)
1. Introduce the song.
2. Students will listen and follow the sheet music.
3. Describe the tempo including any changes.
4. Students will sing using good tone quality and proper posture interpreting the tempo
appropriately.
5. Compare and contrast the tempi of two arrangements of the same song or piece.
6. Improvise rhythm ostinati using body percussion.
7. Allow students to transfer ostinati to non-pitched percussion instruments.
8. Play ostinati at fast and slow tempi.
9. Choose one ostinato for everyone to play.
10. Follow a listening map that outlines the changes in tempi.
11. Discuss the tempo changes. Invite students to interpret the tempi though movement.
The Planets Chant
Silver Burdett 2005
Grade 4
Making Music
Pages 376 – 377
(3 -5 lessons)
1. Invite the students to chant “The Planets Chant”
2. Have the students use body percussion to perform “The Planets Chant”
3. When the students are confident conduct them and add an accelerando
4. Ask the students what happened - accelerando
5. Have students create their own chant based on nature and perform it for the class
6. Have the students perform their chant for an accelerando
10
Grade 5
Get On Your Feet
Silver Burdett 2005
Grade 5
Making Music
Pages 6-9
(3- 5 lessons)
1. Play the recording and have the students keep the steady beat while listening.
2. Encourage students to explore movements that reflect changes in dynamics.
3. Move to Get on Your Feet showing the changes in dynamics.
4. Play Gloria Estefan’s recording of Get on Your Feet.
5. Encourage students to explore movements that reflect changes in dynamics.
6. Play the recording of Dance at the Gym.
7. Have the students figure out how the composer created a contrast between loud and soft
8. Play the recording of Samba.
9. Have the students point to either subito p or subito f when they hear sudden dynamic changes in
the music.
10. Plan a 30 second composition that includes changes in dynamics.
11. Allow students to choose one of the recordings from the lesson to move to show the dynamic
changes they hear.
I Believe I Can Fly
Silver Burdett 2005
Grade 5
Making Music
Pages 170-173
(3 -5 lessons)
1. Ask the students to follow the notation in their books as they listen to the recording of I Believe I
Can Fly.
2. Ask the students to sing along with the recording during the refrain.
3. Have the students find and identify markings in the music that indicate the order of the sections.
4. Identify the differences between ties and slurs.
5. Have the students listen for accents in the listening map-Infernal Dance.
6. Divide the class into groups. Have the groups take turns singing I Believe I Can Fly with accurate
articulation. Have the other groups listen and evaluate the group that is performing.
11
UNIT
History/Culture
Unit Summary
In this unit students will learn how people use music to express their values and describe their
experiences. They will understand how music, history and culture influence each other.
Unit Resources
Internet Resource Links:
STAGE ONE
Goals and Standards
Standard State: NJ
1.2.5.A.1 Recognize works of dance, music, theatre, and visual art as a reflection of societal values and
beliefs.
1.2.5.A.2 Relate common artistic elements that define distinctive art genres in dance, music, theatre, and
visual art.
1.2.5.A.3 Determine the impact of significant contributions of individual artists in dance, music, theatre,
and visual art from diverse cultures throughout history.
1.4.5.B.3 Use discipline-specific arts terminology to evaluate the strengths and weaknesses of works of
dance, music, theatre, and visual art.
1.4.5.B.5 Distinguish ways in which individuals may disagree about the relative merits and effectiveness
of artistic choices in the creation and performance of works of dance, music, theatre, and visual art.
Goals:
By the end of this unit students will recognize how music has shaped the lives of people throughout
history. They will be able to appreciate and understand a variety of historical musicians and styles.
Students will be able to recognize the impact music has on culture.
Enduring Understandings
• History and culture influence music.
• Music is a universal language.
• Music expresses human experiences and values.
• Music expands understanding of the world, its people and one’s self.
Essential Questions
• What is the role of music in history and culture?
• How does music impact our life?
• How does music shape history and culture?
• How does a musician's life influence his/her music?
Knowledge and Skills
Students will demonstrate accurate knowledge of history and culture through verbal and written
responses and activities.
12
STAGE TWO
Performance Tasks
Grade 3
Students will study the background of the composer. They will listen to various excerpts and discuss
common elements such as ascending and descending pitches. Students will also learn how various
instruments can communicate different ideas.
Grade 4
Students will learn about various composers and historical periods of music. They will also learn about
the music of various cultures.
Grade 5
Students will learn about various composers and historical periods of music. They will also learn about
the music of various cultures.
Other Evidence
Listening (Silver Burdett Resource Book 2005)
• Fluent - All aspects of the music are accurately described and the observations about the music
are informative and interesting.
• Competent - Most aspects of the music are accurately described. The observations about the
music are informative.
• More Practice Needed - Aspects of the music are described but some important information is
inaccurate or omitted.
STAGE THREE
Learning Activities
Grade 3
I Don’t Care If the Rain Comes Down
Silver Burdett 2005
Grade 3
Making Music
Pages 24 – 27
(3 -5 lesson)
1. Have students warm up by using siren sounds from low to high
2. Find where the pitches ascend and where the pitches descend
3. Show understanding through movement
4. Share information about Frederic Chopin
5. Listen to Raindrop Prelude and discuss
6. Have students listen to Prelude in E Minor and follow the listening map
Make New Friends
Silver Burdett 2005
Grade 3
Making Music
Pages 36 – 39
13
(3 – 5 lesson)
1. Sing the song Make New Friends
2. Have the students hold up their hand when it is being sung as an unaccompanied round
3. Accompany the song using Orff instruments
4. Have students listen to Bourree 1 played by Yo-Yo Ma
5. Describe the sound of a cello
6. Have students listen to Mit Humor from 5 Stucke im Volkston and discuss
7. Describe the sound of the cello in this piece
Grade 4
Strings and Things
Silver Burdett 2005
Grade 4
Making Music
Pages 110-113
(3-5 lessons)
1. Introduction: Instruments are found in almost every culture
1.
2.
3.
4.
5.
6.
Can you mention the name of a string instrument?
Ask the students to look at the pictures of each instrument
Read the Cultural Connection from the Teacher’s Textbook
Read about Wolfgang Amadeus Mozart
Can you hum back the melody of “Eine Kleine Nachtmusik?”
Identify what you hear?
Tina Singu
Silver Burdett 2005
Grade 4
Making Music
Pages 300-301
(3-5 lesson periods)
1.
2.
3.
4.
5.
6.
7.
8.
Introduction
Share the Cultural Info with the students
Ask a student to read the background information on “Tina Singu”
Can you name songs from the US that are used during sporting events?
Follow along with your music and listen to “Tina Singu.”
Have the students take turns speaking the Zulu lyrics
Rehearse all the parts separately and then them together
Invite a small group of students to perform the rhythm of the melody on a non pitched
percussion instrument while the other students sing “Tina Singu,” and pat the steady beat.
Grade 5
Day O
Silver Burdett 2005
Grade 5
Making Music
Pages 18-21
(3-5 lesson periods)
1. Invite students to join you in echoing rhythms.
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1. Clap various calls and have the students clap the responses.
2. Listen to Day-O. Identify the Call and Response.
3. Invite the students to create one movement to perform during the response and improvise
individual movements during the call.
4. Stand in a circle. Have individuals move (in the center) during the calls and everyone else move
during the responses.
5. Listen to Harry Belafonte’s version of Day-O.
6. Ask them to compare it to the one they already know.
7. Have the students learn the instrumental parts for Day-O
8. Invite students to choose one of the rhythm parts presented in the text.
9. To reinforce the call and response form of the song, have one player act as the leader (call) while
the others play the response.
10. Observe the student’s ability to accurately perform the rhythm parts while singing the song.
Sing! Sing! Sing!
Silver Burdett 2005
Grade 5
Making Music
Pages 340-343
(3-5 lesson periods)
1. Have the students listen to Sing, Sing, Sing.
2. Read about Ella Fitzgerald.
3. Identify the scat syllables in Sing, Sing, Sing.
4. Sing the scat syllables along with the recording of Sing, Sing, Sing.
5. Can you identify the repeated sections of Sing, Sing, Sing?
6. Encourage all the students to learn the higher followed by the lower part of the refrain.
7. Have the students attempt the sing the refrain in two part harmony.
8. Divide the students into groups. Have them choose a song they know.
9. Experiment with melodic ornamentation and scat singing.
10. Present the performance to the class. Observe that the members of each group understand
melodic ornamentation and scat singing.
15
UNIT
Literacy
Unit Summary
In this unit students will begin their journey to music literacy. They will be able to read quarter notes,
eighth notes, quarter rests, half notes and sixteenth notes. They also will explore pitch using Solfège and
call and response.
Unit Resources
Internet Resource Links:
STAGE ONE
Goals and Standards
Standard State: NJ
1.1.5.B.1 Identify the elements of music in response to aural prompts and printed music notational
systems.
1.1.5.B.2 Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and
harmonic progressions, and differentiate basic structures.
1.3.5.B.1 Sing or play music from complex notation, using notation systems in treble and bass clef, mixed
meter, and compound meter.
1.3.5.B.4 Decode how the elements of music are used to achieve unity and variety, tension and release,
and balance in musical compositions.
1.4.5.A.1 Employ basic, discipline-specific arts terminology to categorize works of dance, music, theatre,
and visual art according to established classifications.
Goals:
Students will continue their journey to music literacy. They will be able to read and perform from
complex musical notation.
Enduring Understanding
• Music is organized sound.
• Structure creates order and clarity in music.
• Layering two or more simultaneous sounds creates harmony.
• Producing a series of sounds of repeated or varied duration creates rhythm.
• Timbre adds color and variety to sound.
Essential Questions
• What is music?
• How is music analyzed and understood?
Knowledge and Skills
• Students will be able to read and write music.
• Students will be able to independently read rhythm.
16
STAGE TWO
Performance Tasks
Grade 3
Students will be able to distinguish between beat and rhythm. They will pat the steady beat and use
body percussion and non-pitched instruments to perform rhythmic patterns. Students will also be
introduced to Solfège and Curwin hand signs.
Grade 4
Students will be able to accurately pat the steady beat. They will be able to clap and say a variety of
rhythmic patterns. They will also be able to conduct simple meters. Students will be able recognize
melodic contour. Students will be able to read and sing pitches accurately. They will implement Solfège
and Curwin hand signs where needed.
Grade 5
Students will be able to accurately pat the steady beat. They will be able to clap, say and play a variety of
rhythmic patterns. They will also be able to conduct simple meters. Students will be able recognize
melodic contour. Students will be able to read, sing and play pitches accurately. They will implement
Solfège and Curwin hand signs where needed.
Other Evidence
The teacher will observe the students performance.
Students will assess each other using exit slips, thumbs up/down or red/green.
Reading (Silver Burdett Resource Book 2005)
• Fluent - The student plays with fluency and ease. Their are few errors. The performance is
confident, beautiful and expressive.
• Competent - The student plays with relative ease but several errors or hesitations are present.
The performance is confident and expressive
• More Practice Needed - The student have difficulty performing evenly and in time. Hesitations
and errors are clearly evident. The performance does not convey the expressive intent of the
piece performed.
STAGE THREE
Learning Activities
Grade 3
Name, Name, What’s Your Name?
Silver Burdett 2005
Grade 3
Making Music
Pages 10 – 11
(3 -5 lessons)
1. Introduce terms: beat and rhythm
1. Perform “Name, Name, What’s Your Name”
2. Present examples of how to say various names using rhythmic patterns
3. Pat the steady beat while performing “Name, Name, What’s Your Name”
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4. Have students perform the rhythmic patterns presented in the text
5. Divide the students into three groups and perform the selection
6. Have students perform “Name, Name, What’s Your Name” while three groups perform the
rhythmic patterns presented in the book
Gypsy in The Moonlight & Alligator Pie
Silver Burdett 2005
Grade 3
Making Music
Pages 12 – 13
(3 – 5 lessons)
1. Introduce song
2. Have students read the rhythmic syllables and use body percussion to perform
3. Have students perform Alligator Pie
4. Have students create 4-phrase rhythmic compositions
Grade 4
Soldier, Soldier
Silver Burdett 2005
Grade 4
Making Music
Pages 10-11
(3-5 lessons)
1. Play Soldier, Soldier for the students.
2. Have the students pat the steady beat while listening to the song.
3. Remind the students that in 4/4 time, there are four beats per measure and the quarter note
gets the beat.
4. Have the students analyze several measures of this song to find 4 beats per measure.
5. Teach the students the 4/4 conducting pattern and conduct the song.
6. Have the students clap and say each rhythmic pattern on the “rhythm road”
7. Have individual students perform the “rhythm road” rhythmic patterns as counter rhythms while
the rest of the class sings Soldier, Soldier.
8. Have the students conduct in a 4/4 pattern and say each pattern as you call out its number.
Riquarran
Silver Burdett 2005
Grade 4
Making Music
Pages 66-67
(3-5 lessons)
1. Discuss the melodic contour: steps, leaps & repeats for the melody
2. Discuss the music alphabet and pitch for the exercise presented in the text
3. Learn the lines and spaces of the Treble Clef
4. Go back and listen to the tune of “Riquarran.”
5. Have the class break into groups and analyze the melodic contour.
6. Bring the class back together to share their findings.
7. Have the group analyze the lines/spaces of the treble clef pitches of the measure.
18
Grade 5
Bound for South Australia
Silver Burdett 2005
Grade 5
Pages 22-23
(3-5 lessons)
1. Discuss the map, sailing ships and text
2. Play the recording of Bound for South Australia.
3. Invite the students to sing the song while moving as they were pulling a rope to raise the sail on
the ship.
4. Play the recording again and have the students listen to the call and move to the response.
5. As a class, find and name the pitch syllables in the response section
6. Assign the students with a partner to figure out how to play their melody on bells/xylophones.
7. Play the responses with the recording while the class sings the song.
8. Have half the class sing the calls of the song using letter names while the other half of the class
sings the responses.
Da pacem, Domine
Silver Burdett 2005
Grade 5
Pages 62-63
(3-5 lesson)
1. Have the students listen to Da pacem, Domine.
2. Divide the class into groups. Give each group two measures to analyze of the 12 measure song.
3. Figure out the names of the rhythmic symbols in your measures and discuss.
4. Figure out how to clap and say the rhythm of your measures.
5. Within your own group, create a circle and move to show the rhythmic values of your measures.
6. Figure out the pitches of your measures and discuss.
7. Within your own group, create a circle and move to show the rhythmic values of your measures
while also singing the pitch syllables.
8. Translate the letter names of the pitches into solfege.
9. Teach each group the Kodaly hand signs for their measures.
10. Within your own group, move to the rhythm, while singing and signing the solfege syllables.
11. Bring the class back together to perform the song one last time.
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UNIT
Performance
Unit Summary
Students will be able to sing in their head voice using proper singing posture and good breath control.
Students will also be able to play Orff instruments and non-pitched instruments with good technique.
Unit Resources
Internet Resource Links:
STAGE ONE
Goals and Standards
Standard State: NJ
1.3.5.B.1 Sing or play music from complex notation, using notation systems in treble and bass clef, mixed
meter, and compound meter.
1.3.5.B.3 Improvise and score simple melodies over given harmonic structures using traditional
instruments and/or computer programs.
1.3.5.B.4 Decode how the elements of music are used to achieve unity and variety, tension and release,
and balance in musical compositions.
1.3.5.B.2 Sing melodic and harmonizing parts, independently and in groups, adjusting to the range and
timbre of the developing voice.
1.4.5.B.2 Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of
critiques by peers.
1.4.5.B.4 Define technical proficiency, using the elements of the arts and principles of design.
Goals:
By the end of this unit students will be able to sing in their head voice using proper singing posture and
good breath control. Students will also be able to play Orff instruments and non-pitched instruments
with good technique.
Enduring Understandings
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•
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Students will understand how to develop listening skills and critical judgment in
differentiating vocal classifications and apply knowledge learned in practicing efficient
vocal techniques.
Students will understand healthy and efficient vocal techniques that a student needs to
practice to develop range and accuracy in matching pitches and expanding range.
Creating and performing music are forms of self expression.
Everyone can perform, create, and respond to music in meaningful ways.
Essential Questions
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•
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How does performing allow you to communicate?
How does creating and performing music differ from listening to music?
Why do people create music?
How does singing play a role in a community?
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Knowledge and Skills
What is the authentic evidence that students have achieved the targeted standards/unit objectives?
Individual Performance Group Performance
Performance Task
Third Grade
Students will be able to sing in their head voice using proper singing posture and good breath control.
Students will also be able to play Orff instruments and non-pitched instruments with good technique.
Four Grade
Students will be able to sing in their head voice using proper singing posture and good breath control.
Students will also be able to play Orff instruments and non-pitched instruments with good technique.
Students will be able to evaluate peers and other performances.
Fifth Grade
Students will be able to sing in their head voice using proper singing posture and good breath control.
They will also be able to play Orff instruments and non-pitched instruments with good technique.
Students will be able to evaluate peers and other performances. They will be able to communicate their
ideas through vocal and instrumental performance.
Other Evidence
Singing
5 - Sings melody in tune with good pitch and tone
4 - Sings melody but does not quite match all pitches
3 - Sings correct melody but in a different key
2 - Sings melody using head voice but does not match pitches
1 - Sings using chest voice
Playing (Silver Burdett 2005)
· Fluent - The student plays with fluency and ease. There are few errors. The performance is
confident, beautiful and expressive.
· Competent - The student plays with relative ease but several errors or hesitations are present.
The performance is confident and expressive
· More Practice Needed - The student have difficulty performing evenly and in time. Hesitations
and errors are clearly evident. The performance does not convey the expressive intent of the
piece performed.
STAGE THREE
Learning Activities
Grade 3
I’m On My Way
Silver Burdett
Grade 3
Making Music
Pages 76 – 77
21
(3 - 5 lessons)
1. Introduce the song as a call and response song
2. Teach the song through call and response
3. Divide the class into two groups
a. One group will sing and clap the call
b. The other group will sing and clap the response
4. Instruments
a. Divide the class into two groups
b. One group will play the rhythm of the call on wood instruments
c. The other group will play the response on the drums
Kingston Market
Silver Burdett
Grade 3
Making Music
Page 90 – 91
(3 - 5 lessons)
1. Introduce the song
2. Read the syncopated rhythm and write the syncopated rhythm on the board and find it in the music
3. Divide the class into two groups
4. Assign each group a rhythmic pattern that is presented in the text
5. Use two different drums
6. Perform on percussion while singing the song
Grade 4
Haul Away Joe
Silver Burdett
Grade 4
Making Music
Pages 12-13
(3-5 Lesson)
1. Demonstrate the meter of 6/8 on a hand drum.
2. Play Haul Away Joe ask the students to choose motions that demonstrate the strong and weak
beats in the song.
3. Have them perform the motion as they listen to the song.
4. Have the students pat the steady beat with you and speak the words of the song.
5. Group students in pairs and have them discuss what kids of work they see in the photos
and think of other types of work that use repetitive motion.
6. Come back as a class and the let the pairs share their ideas with the class.
7. Have class members, individually or as groups, create movements representing different
types of work that demonstrate strong beat-weak beat.
8. Have the class select three of these movements for performance.
9. Divide the class into three groups and have each group perform one of the movements with a verse
from Haul Away Joe.
10. Invite the students to sing Haul Away Joe using larger and smaller steady beat movements to
demonstrate stronger and weaker beats. Observe student’s ability to successfully perform this
task.
22
Limbo Like Me
Silver Burdett
Grade 4
Making Music
Pages 18-19
(3-5 lessons)
1. Play Limbo Like Me and encourage students to sing along with the words limbo like me when they
are ready.
2. Which parts are sung by the soloist (call) and which parts are sung by the group (response)?
3. Have the students clap the rhythm of the response.
4. Can you create your own two bar rhythmic phrase for the call?
5. Have the students sing the song once again with the recording, with the teacher singing the calls
and the class singing the responses.
6. Observe the students’ performance to assess their understanding of the call and response form.
7. Have the students sing both the call and responses to Limbo Like Me while doing the limbo.
Grade 5
Away to America
Silver Burdett
Grade 5
Making Music
Pages 56-57
(3-5 lessons)
1. Pass out pictures of Immigrants
2. Listening: “What story does the song tell?”
3. Singing: “Where are the words repeated?” “What is this section called?”
4. Singing: “Where are the words not repeated?” What is this section called?”
5. Study verse and refrain
6. Feel two beats per measure
7. Have students work in groups to create contrasting movements for the verse/refrain.
8. Bring the groups back together. Have each group perform the contrasting movements for the other
groups to watch and evaluate.
Ama Lama
Silver Burdett
Grade 5
Making Music
Pages 142-143
(3-5 Lesson)
1. Review ABA form by having the students arrange those five objects to represent ABA.
2. Review ABACA form by having the student arrange those five object to represent ABA.
3. How are ABA & ABACA different?
4. Play Ama Lama
5. Have the students identify rondo form in the song.
6. Invite student to listen to Ama Lama again following the song notation and then sing the song
7. Have the class work together to create movements to differentiate the A, B and C sections from
one another.
8. Rehearse the instrumental parts in the A, B, C and Coda section.
9. Divide the class into two groups. Have both groups perform Ama Lama with the percussive parts
for one another.
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10. The groups will evaluate each other’s performances on these three areas:
o Rhythmic Accuracy
o Ensemble Balance
o Rondo Accuracy