Music Literacy
Rhythm
Musical literacy is as universally
possible as linguistic literacy and the
development of such literacy is an
Carol J. Krueger
Director of Choral Activities
Emporia State University
obligation of the schools.
Lois Choksy
[email protected]
Why Music Literacy?
One need not be able to read and write to make music.
Linguistic Literacy
Music Literacy
•  Those who are illiterate
are DEPENDENT upon
others; only oral – aural
communication;
•  Being able to read and
write allows us to function
in society; •  Those who are illiterate
are DEPENDENT upon
others; only oral – aural
communication. •  Ability to read and write
music notation makes for
an independent musician.
–  Becomes an independent
creator and learner of
stories, now able to
communicate across space
and time.
Don P. Ester
–  The restrictions on
communicating and
learning are removed;
horizons can expand
beyond previous limits. –  EMPOWER not ENABLE
Music Literacy
•  Music Literacy:
Ability to translate notation into vocal sound (reading)
and sound into notation (notating).
–  Singing voice is the fundamental instrument for all musicians.
•  If you can sing it, you can hear it; if you can hear it, you can sing it . –  Ability to sight-read notation on any instrument is an
important and valuable skill. However, being able to press
the correct keys on an instrument in response to notation does
not confirm that the performer can audiate the music. –  DECODING vs LITERACY
•  Audiation or thinking sound : –  the ability to hear the music internally, provides the
foundation for comprehensive music literacy.
Music Literacy Achievement
•  Connecting music making with reading and notating facilitates
musical understanding. –  When literacy skills fail to develop, students compensate for the lack of
integration in their training by substituting what they know about music
for what they hear (Davidson and Scripp, 1989, p. 77).
Why is Music Literacy Achievement so Limited?
•  External and self-imposed performance pressures. •  Teaching music literacy is simply not a priority for most music educators.
•  Music educators are more comfortable teaching about music rather than
teaching through music when it comes to literacy skills.
–  It is not unusual for teachers to focus almost exclusively on the visual elements of music
notation, drilling the students on the letter names of the staff and rhythmic note names, for
example, in lieu of developing the prerequisite aural skills that lead to true music literacy.
•  For over 60 years data indicates that –  most students lack basic music literacy skills, and –  participation in choral ensembles has little or no correlation with sightsinging achievement (Gaston, 1940; Ernst, 1957; May & Elliott, 1980).
•  Data indicates that a combination of vocal and instrumental
experience combined with approximately six years of piano
study constituted the best predictor of sight-singing achievement;
–  instrumental experience only , vocal experience only , and general
music experience only ranked above only no musical experience .
(Daniels, 1986; Demorest & May, 1995)
•  While sight-singing skills are weak, very few music programs even addressing
notating skills beyond the most perfunctory level (Ester, 2004). –  Most of the published materials for sight-singing instruction do not include any reference to
notating skills and they employ strategies that are essentially symbol first rather than sound
first, making it much more difficult to develop aural dictation skills. • 
The overwhelming majority of all American students are musically illiterate
and the great majority of school music students have only the most limited
comprehension of music notation. It is the rare student who is able to
proficiently transform notation into sound via the singing voice, and the even
rarer student who can notate what s/he hears.
Don P.
Ester
Music Aptitude
Music Aptitude
Potential or Capacity to Learn
Potential or Capacity to Learn
• 
• 
• 
• 
Developmental music aptitude stage: Birth to app. age nine
Born with a particular level of music aptitude. Spontaneous and primarily in the cells and genes
There is no evidence to suggest that heredity plays a role in determining
aptitude. •  Musical aptitude changes in accordance with the quality of the child’s
informal and formal music environment until the age of app. nine. –  Important to receive the highest quality informal music guidance and formal music
instruction while in the developmental stage as this will impact a child’s lifetime
potential for music achievement.
–  If environment does not cause the child to make use of his/her genetic indicators
during this stage, they are lost and can never be regained. It is believed that some
of the unused neurons and synapses move to support another sense or medium.
Aptitude vs Achievement
Musical Aptitude
Musical Achievement
Measure of student’s potential or capacity to Measure of what a student has already
learn music;
learned in music;
Intuition;
Insight;
Musical aptitude is hunger;
Achievement is satisfaction of the hunger;
Spontaneous and primarily in the cells and
genes;
Intellectual and primarily in the brain;
Everyone has some music aptitude;
More than 2/3’s are average;
Very few have exceptionally high music
aptitude; Only one in thousands have potential to
achieve as a genius.
Correlation between Aptitude and Achievement
•  Students with high music achievement must have high music aptitude.
•  The reverse is not true. Low level of achievement is not linked to low
level of music aptitude. It is common to find students with low music
achievement to have high music aptitude.
•  Some students with high music aptitude never achieve to their potential
because they have not had appropriate guidance or instruction.
•  Students with low music aptitude may, with appropriate instruction,
achieve more than students who have average levels of music aptitude
and are receiving inappropriate instruction.
•  No relationship between music aptitude and intellectual ability or
between music aptitude and academic achievement
(Musical aptitude is not an indicator of intelligence.)
•  A child with low aptitude and high motivation may reach a higher level
of musical achievement that a child with high aptitude and low
motivation.
•  Stabilized music aptitude stage: app. age nine onward
•  Regardless of the quality of a person’s music environment after age
nine, it will no longer have any effect on one’s level of music aptitude.
A person’s potential to achieve in music remains throughout life what it
was at age nine.
•  Neither nature or nurture is solely responsible for the child’s level of
music aptitude. Music aptitude is a product of both innate potential and
environmental influences. –  Much evidence on the detrimental effects of isolation from human contact.
Orphanages often result in below normal mentality.
•  Music aptitude is multi-dimensional (at least 20 different music aptitudes).
–  Tonal and Rhythm are the core.
•  Rarely do children have high tonal and high rhythm aptitude. If one aptitude level is
high, the other is likely to be average or low.
Musical Aptitude Tests
•  A developmental music aptitude test should be administered at least once a
year to students who are from five to eight years old. Testing annually allows
you to monitor any changes in the students’ developmental music aptitudes.
A stabilized music aptitude test is administered only once to students who are
nine years old and older (grades 4-12).
•  Three developmental music aptitude tests are –  Primary Measure of Music Audiation [K-3], –  Intermediate Measures of Music Audiation [grades 1-6]
–  Audie [3-4 year olds]. •  Two stablized music aptitude tests are:
–  Musical Aptitude Profile (MAP) [grades 4-12] –  Advanced Measure of Music Aptitude (AMMA)
[grades 7-12 + undergraduate and graduate music majors and non-majors].
•  All of the above tests are available from GIA Publications, 7404 South Mason
Avenue, Chicago, Il 60638, (708) 496-3800
Music Educator must…..
•  be committed to improving the literacy level;
•  communicate enthusiastically the importance of music literacy;
•  believe in your students ability to learn to learn to read, write
and audiate;
•  develop a carefully sequenced instructional approach that
includes specific teaching strategies built on a foundation of
current research and learning theory. –  Usable at all levels (K-Collegiate) and in any setting (Elementary, General
Music, Secondary/Collegiate Instrumental and Choral Rehearsals,
Collegiate Aural-skills Courses). –  Must be taught in Methods Courses.
Pedagogy
Johann Heinrich Pestalozzi
•  Based on:
•  Swiss pedagogue
–  Johann Heinrich Pestalozzi s
Sound-Before-Sight-Before Theory
–  1746-1827
•  Instruction is based
on the logic of
‘sound before sight’
and
‘practice before theory’.
–  Jerome Bruner
Enactive-Iconic-Symbolic Mode
–  Zoltan Kodàly s four-step learning process Prepare—Present—Practice—Prove
–  Edwin Gordon s Music Learning Theory
Zoltán Kodály
(1882-1967)
•  Kodály once said,
“we should read music in
the same way that an
educated adult will read a
book: in silence, but
imagining the sound.” •  He believed that musical
literacy is the right of
every human being.
•  Hungarian teacher,
composer and philosopher;
•  Active music-making
approach;
•  Emphasizes singing,
artistry, literacy, reflective
practice and inquiry-based
learning;
•  Prepare-Present-PracticeProve Jerome Bruner
(1915)
Constructivism & Discovery Learning Modes of Representation
•  Symbolic (language)
–  Abstract representation via
symbol systems
•  Iconic (pictorial)
–  Set of images (visual or sensual)
that represent the concept
•  Enactive (action)
–  Singing, chanting, playing;
involves ‘doing’
Introduced the ideas of ‘readiness for learning’ and spiral curriculum.
Music is an aural art.
Edwin Gordon
Music Learning Theory
•  Sound
–  Hear, sing/chant through imitation before reading and writing
•  Widely known as a
researcher, teacher, author,
editor, and lecturer.
•  Music Learning Theory
provides the music teacher a
comprehensive method for
teaching musicianship
through audiation, Gordon’s
term for hearing music in the
mind with understanding. •  Major contributions in the
study of music aptitudes,
audiation, music learning
theory, tonal and rhythm
patterns, and music
development in infants and
children. •  Author of six music aptitude
tests, as well as numerous
books, articles, and research
monographs.
•  Sign
–  Sound + verbal association (syllable)
•  Symbol
–  Visual representation of the sound/sign
•  Theory
–  Give principles and theory only after practice and as they become relevant
Action will remove the doubt that theory cannot solve. – Petryl Hsieh
You can spend your whole life thinking and theorizing, but it is only through action that you gain clarity.
Theory can only take you so far. When you actually start taking action, things are much different than in theory.
Tools
Literacy Process
[facilitate cognitive processing]
Sound before Sight
Systems for Reading Rhythm
  Rhythm systems must serve the needs
of the learning approach used by the
teacher; they must not drive the
approach or be the approach. Systems for reading rhythm should:
  Promote extremely well-articulated rhythmic accuracy;
  Facilitate the generalization of identical patterns from one
meter to another. For example, half notes in 2/2 should be chanted the same as quarter notes in 2/4. Kodaly
Notation-Based Rhythm Syllables
  Modified French-Times-Names. Pattern-based rhythm-syllable system but without any
consideration of metric function; strongly notation-based syllables.
  Quarter note is always chanted the same (ta) whether it represents the beat in 2/4, the
beat division in 2/2, or two-thirds of a beat in common compound meters. Assigning
syllables to specific notation symbols, obstructs a sound-to- symbol strategy.   Assist in the aural identification, labeling, and accurate
performance of different meters;
  From a sound-first perspective, it s near impossible to apply syllables in aural contexts.
  Connect very efficiently with the aural syntax of music,
allowing learners to easily link syllables to patterns before
encountering notation;   Even some prominent Kodály educators (Phillip Tacka, Michael Houlihan) are
recognizing this and beginning to urge the use of a sound-based syllable system –
TAKADIMI .
  Link to musical symbols in a practical and intuitive manner;
  Be appropriate for all ages, womb to tomb .
ta
Kodaly
ti
ti
tri
o
la
ti
ka ti ka
McHose-Tibbs (Eastman System, 1945)
Notation-Based Rhythm Syllables
Gordon
Beat Function Rhythm Syllables
  Measure-based and beat-oriented: each beat is numbered based on its placement in the
measure; unique syllable combinations for any rhythmic patterns involving beat divisions in
simple and compound meter.   Uses the syllable ta for all subdivisions in both simple and compound meter. As a result, some very common patterns employ the same syllables.   Gordon modified McHose & Tibbs system. Since the initial publication of his
  From a sound-first perspective, counting systems such as McHose and Tibbs require
the presence and formal understanding of meter before the syllables can be applied, thus
limiting application in aural contexts (Hoffman, et al, 1996, p. 11).   Made an extremely powerful contribution to rhythm pedagogy by recognizing
the importance of syllable applications in variable-beat meters. McHose-Tibbs
1
2
te
3
la
le
4
ta
te ta
system, Gordon (2003) dropped beat numbers altogether: all beats are now
chanted using the syllable du , eliminating the need to make the additional and
unnecessary decision of which number to chant.
  Shares the same challenges related to the use of ta for all subdivisions as
does McHose & Tibbs.
Gordon
du
du
de
du
da
di
du ta de ta
TAKADIMI
Beat Function Rhythm Syllables
  Designed by three music theorists: Richard Hoffman, William Pelto, and John W.
White (1996). All downbeats are ta regardless of meter;
  Surpasses most other systems by assigning specific syllables to each subdivision – no
subdivision syllables are the same, even between simple and compound meter.
  Related subdivisions share the same vowel.   Each syllable begins with a consonant, optimizing rhythmic accuracy; the system varies
these consonants to ease enunciation.   Additional syllable for quintuplets and septuplets;   Syllables for variable-beat meters.   A coordinated mid-point in both simple and compound meter is labeled with the
syllable di .
Takadimi
ta
ta
di
ta
ki
da
TAKADIMI
Womb to Tomb   Womb to Tomb: Appropriate with the youngest and most novice learners
as well as the most advanced musicians, providing the necessary tool to
facilitate life-long, independent rhythm literacy.   The Takadimi rhythm system solves the problems associated with the
Kodály rhythm syllables. We believe that were Kodály alive today, he would
certainly encourage his students and colleagues to use the Takadimi
system (Phillip Tacka, personal communication, April 20, 2005).
 Ensemble directors are often strongly attached to the Counting or McHose
& Tibbs systems; Because each and every beat is chanted ta regardless of
meter, ta can easily be replaced with the number of the beat; makes for an
extremely simple transition.
ta ka di mi
Comparison of Rhythm Syllables
Simple Meter
Comparison of Rhythm Syllables
Compound Meter
Gordon
du
du da di
du
de
Takadimi
ta
ta
ta
di
Kodály
ta
ti
ti
ti
ti
ti
ti ka ti ka ti ka McHose-Tibbs
1
2
la le
3
te
4 ta la ta le ta
ki da
du ta da ta di ta
ta va ki di da ma
Gordon
du
du
de
du
da
di
du ta de ta
Takadimi
ta
ta
di
ta
ki
da
ta
Kodály
ta
ti
ti
tri
o
la
ti
ka ti ka
McHose-Tibbs
1
2
te
3
la
le
4
ta
ka di mi
te ta
The Three “M’s”
MICRO-BEAT
MACRO-BEAT
METER
Teach Physical Response
Internal Feeling of Pulse
Simple Meter
•  Beat (macro)
Compound Meter
•  Beat (macro)
–  Walk in place
–  Down-Up patsch
–  Walk in place
–  Circular motion patsch
•  Beat division (micro)
•  Beat division (micro)
–  Down-up Principle
–  Circular patsch
–  Down-up-up patsch
•  Beat subdivision
–  Two on down beat
–  Two on upbeat
•  Borrowed Beat
–  Circular motion
•  Beat subdivision
–  Two on each part of
division
•  Borrowed beat
–  Down-up Principle
Teach Physical Response
Internal Feeling of Meter
Meter serves as organizing principal of rhythm context
•  Duple Meter
–  Patsch—Touch
•  Triple Meter
–  Patsch—Touch—Touch
•  Quadruple Meter
–  Patsch—Touch—High Patsch—Touch
The Three “M’s”
MICRO-BEAT
TAKADIMI RHYTHM SYLLABLES
SIMPLE METER
MACRO-BEAT
METER
TAKADIMI RHYTHM SYLLABLES
TIES & EXTENSION DOTS
BEAT LEVEL
DIVISION
SUBDIVISION
BEAT LEVEL
DIVISION
SUBDIVISION
TAKADIMI-SYNCOPATION
BEAT LEVEL
DIVISION
SUBDIVISION
TAKADIMI-COMPOUND METER
BEAT
DIVISION
SUBDIVISION
TAKADIMI—COMPOUND METER
•  TIES & EXTENSION DOTS
•  SYNCOPATION
Musical Literacy Procedure
Rhythm Sequence
•  Phase I—Reading Readiness or Preparation
–  Develop a sound vocabulary
•  Neutral echoing: learn musical patterns; patterns have meaning in and of themselves. •  Syllable echoing: associate specific syllable labels with distinct patterns. •  Echo translating: aural-verbal translation (dictation)
•  Phase II—Symbolic Association
–  Reading:
–  Notating:
symbol  syllable  sound
sound
 syllable  symbol
•  Phase III—Melodic Reading
–  Integrating Tonal and Rhythm
Phase I Reading Readiness or Preparation
Purpose: develop a sound vocabulary
•  Train the ear
–  In the ear and out the mouth •  Process centers around rote learning (imitation)
Phase IA: Aural-Oral Skill Development
In the ear and out the mouth •  Rhythm Procedure: Neutral Echoing
–  Teacher chants rhythm patterns on neutral syllable
while patsching the beat.
–  Students echo on neutral syllable while patsching the
beat.
Students learn musical patterns; patterns have meaning in and of themselves.
Phase IB: Verbal Association
Phase IC: Generalization
Sound + Syllables = Sign
•  Rhythm Procedure: Syllable Echoing
–  Teacher chants rhythm patterns on rhythm syllables while
quietly patsching or walking (heel march) to the beat;
–  Students echo on rhythm syllables while quietly patsching
or walking (heel march) to the beat.
•  Rhythm Procedure: Echoing Translation
–  Teacher chants rhythm patterns on neutral
syllable;
–  Students echo on rhythm syllables while
patsching the beat.
Simple Meter: Beat division use down-up motion.
•  Application to Literature
–  Aurally recognize rhythm patterns in familiar
pieces of music
National Standard
Students should sing alone and with others.
Pattern Sequence-Simple Meter
Level I
•  Teaching Technique—Edwin Gordon
–  Teaching Mode:
Teacher performs pattern in duet with student or
three to five students simultaneously echo pattern.
Level II
–  Evaluation Mode:
pattern alone. Teacher chants pattern and student echoes the
Pattern Sequence-Compound Meter
Level I
Rhythm and Phrasing
•  Not every downbeat
has the same weight
–  1 → 2, 3, 4
–  1, 2 → 3, 4
–  1, 2, 3 → 4
Level II
–  1, 2, 3, 4 → 1
Rhythm and Phrasing
•  Long time values can
NOT be static; they
need direction.
•  Similar options for
phrasing.
Rhythm and Phrasing
Beat Division
•  Shorter times values are
always weak and create
forward motion:
–  Both eighth notes move
forward (A);
–  Both eighth notes move
away (B);
–  Combination ( C)
Rhythm and Phrasing
Dotted Rhythms
• 
The shorter notes should feel as though
they belong to the next note; –  Silently patsch using a large motion
from the upper body;
–  Silently tap division on thigh, hand,
neighbor s shoulders, neighbor s
hands, etc.;
–  Incorporate forward sweep
conducting gesture, Hand the
Gift , or Hurl the Hog ;
–  Use TAKADIMI rhythm syllable
system. Rhythm and Phrasing
Beat
Subdivision
Slight accents
are placed at
forward motion
points.
Phase I Activity
Beat/Anacrusis
Phase I Activities
•  Aurally differentiate between:
– 
– 
– 
– 
W = WALK
Beat vs Rhythm
Meter: Simple vs Compound
Tempo: Fast vs Slow
Same vs Different Rhythm Patterns
•  Play Ball Game –  Catch and Pass
•  Play Family Feud –  Aural / Oral
–  Verbal Association
–  Generalization
•  Improvise using rhythm patterns
C = CLAP
W
W
W
W
W
W
W
W
C
C
C
C
C
C
C
C
W
W
W
W
W
W
W
C
C
C
C
C
C
C
C
W
W
W
W
W
W
W
C
C
C
C
C
C
C
C
W
W
W
W
W
W
W
C
C
C
C
C
C
C
C
W
W
W
W
W
W
W
C
C
C
C
C
C
C
C
W
W
W
W
W
W
W
C
C
C
C
C
C
C
C
W
W
W
W
W
W
W
C
C
C
C
C
C
C
C
W
W
W
W
W
W
W
C
C
C
C
C
C
C
W
W
W
W
W
W
W
C
BEAT AND ANACRUSIS TO THE BEAT
Phase I Activity
Beat vs. Rhythm
•  Locomotor realization of space —Dalcroze; –  work for continual motion;
•  Walk the rhythm, use hand on long notes;
•  Walk the beat, make 90 degree turn on each phrase;
•  Tap beat, beat division, beat subdivision, borrowed
beat, long notes, rhythm of song, etc.;
–  Pairs, groups of fours, circles, etc.;
•  Patch meter, macro-beat or micro-beat while singing
song;
Notation of Rhythm
Simple Meter
Phase II: Symbolic Association
•  Visually associate symbols (notation) with the sign (syllables + sound)
•  Read patterns learned during the reading readiness phase
Associate Sign (Sound + Syllable) with Symbol
•  Notes
•  Read exercises
–  Drill
–  Silent Reading, Audiation, Canon, Retrograde Canon
–  Error Detection
•  Rests
•  Dictation
– 
Symbolically fluent individuals ... have internalized the properties that symbols
embody (cited in Colwell & Richardson, p. 290). This is the goal of aural dictation:
representing a musical event symbolically and abstractly. If students learn to notate what
they hear, they will be able to notate the music of others as well as their own creations. Don P. Ester
•  Create and compose
Notation of Rhythm
Compound Meter
Parts of a Note
Associate Sign (Sound + Syllable) with Symbol
•  Notes
•  Rests
Whole Note
Simple Meter
Relationship of Notes
w
is equal to:
˙
œ
œ
˙
œ
Compound Meter
Relationship of Notes
Dotted Half Note
is equal to:
2 half notes
œ
œ œ œ œ œ œ œ œ
2 dotted quarters
4 quarter notes
6 eighth notes
8 eighth notes
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 16 sixteenth notes
Meter Signatures
12 sixteenth notes
Reading-Rhythm in Simple Meter
•  Basic Beat Categories
•  Rhythm Pattern: Determine meter, set an appropriate tempo, establish
meter, chant pattern. Silently patsch beat with dominant hand.
•  Suggested Meter Signatures: more accurately represents the aural experience. At first, the echoing process is still employed: the teacher models a known pattern on syllables
while showing the correlated symbols and the students echo on syllables.
•  Rhythm Exercise
Audiation Skills
Reading-Rhythm in Compound Meter
•  Silent Reading
•  Rhythm Pattern: Determine meter, set an appropriate tempo, establish
a.
meter, chant pattern. Silently patsch beat with dominant hand.
•  Rhythm Exercise
b.
•  Ensemble Exercise or Exercise for One Person
•  Ensemble Exercise or Exercise for One Person
a.
a.
b.
b.
Simple Meter
HALF NOTE = BEAT UNIT
•  Meter Signature
•  Notation
•  Comparison of Notation
Simple Meter
HALF NOTE = BEAT UNIT
Asymmetrical Meters
1.
2.
3.
Asymmetrical Meters
Patterns
s
Apply Skills to Literature
•  Read rhythm only in literature
Angel Song
Mary Goetze, AMP 0439
Exercises
• 
Out-of-Sequence Skills
Simple Meter-Super Triplets
Apply Skills to Literature
From Where I Stood , Joshua Shank, page 11, measure 43
•  Read rhythm only in literature
O Music, Thou Most Lovely Art
• 
Retention is dependent upon immediate and consistent use of skill.
Johann Jeep (1532-1650)
Retention is dependent upon immediate and consistent use of skill.
If we re growing, we re always going to be out of our comfort zone. – John Maxwell
Apply Knowledge to Literature Score Search
•  Find and circle the new and out-of-sequence patterns;
•  Identify and define all terms:
– 
– 
– 
– 
Dynamics
Articulation
Tempo Markings
Interruptions in beat
Phase II Rhythm Activities
•  Use Rhythm Flash Cards
•  Identify Rhythm Patterns
•  Draw down and up beat arrows [  ];
•  Indicate a(n): – 
– 
– 
– 
– 
– 
– 
U for a singleton eighth note on an upbeat, D for a singleton eighth note on a downbeat, BD for a triplet (Borrowed Division)
ED for an extension dot, S for slur, T for tie, A for anacrusis.
•  Rhythm Bingo
•  Rhythm Tap
–  Rhythm is tapped on
student s back; student
echoes pattern on rhythm
syllables;
–  Rhythm is tapped on
student s back; student
writes rhythm in shorthand
and then chants on syllables
–  Student read rhythm from
card, taps rhythm on next
student s shoulder; use
process above.
•  Tic-Tac-Toe
Rhythm Scramble
•  SWAT: Rhythm
‰ œj œ œ
j
œ ‰
•  Simple Meter: 3 X 5 Cards—on Board
œ
•  Compound Meter: 3 X 5 Cards—on Board
œ œ œ
j
œœ
j
œ œ
œ.
Rules for Treble Trek
Rhythm Scramble
•  Divide class into 2 teams
•  Teacher sings/chants patterns; a
student from each team notates
pattern.
•  1st student correct, team moves
2 spaces
•  2nd student correct, team
moves 1 space.
•  Only 1 student correct, team
moves 3 spaces.
•  Only 2 chances per round.
•  If no one is correct, each team
moves back one space.
•  Class should read correctly
notated pattern
Jeopardy
Some
The Long
En chanted
and
Evening Short of It Short
Lived Do You
Hear What
I Hear? Terms of
Endearment 100
200
300
100
200
300
100
200
300
100
200
300
100
200
300
400
400
400
400
400
500
500
500
500
500
Dirk Myers
Use Game Format for Bulletin Board
Concentration
Flashcard
#1A
Flashcard
#3B
Flashcard
#4A
Flashcard
#5B
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Aural Skills
•  Error Detection—Include
A. 
B. 
C.
D. 
negative ear training exercises
Listen and follow the notation of the example below. Determine if
the performance and the notation are the same or different.
Listen and follow the notation below. Circle the incorrect measure(s).
Listen and follow the notation below. Circle the incorrect rhythm(s).
Listen and follow the notation below. Identify the incorrect
rhythm(s) and then notate the correct rhythm(s).
• 
• 
• 
• 
Musical Memory Skills
•  Students echo rhythm in canon one measure
later;
•  Game: Add a two-beat rhythm pattern
Same or Different
Determine incorrect measures.
Determine incorrect beats;
Correct the errors.
•  Four measure rhythm, erase one measure
after each repetition.
•  Musical Memory Skills
•  Musical Memory Skills
•  Musical Memory Skills
•  Musical Memory Skills
•  Musical Memory Skills
–  Four measure rhythm, erase one measure after
each repetition.
•  Musical Memory Skills
•  Musical Memory Skills
•  Musical Memory Skills
•  Musical Memory Skills
•  Musical Memory Skills
•  Musical Memory Skills
•  Musical Memory Skills
•  Musical Memory Skills
•  Musical Memory Skills
Rhythm Dictation—Option 1
•  Popsicle Sticks
Rhythm Dictation—Option 2
w
•  3 X 5 Cards—Simple Meter ˙
Œ
Rhythm Dictation—Option 2
j
œ ‰
•  3 X 5 Cards: Simple Meter j
œ
œ
j
œ
‰ œj
Rhythm Dictation—Option 3
•  Dictation Shorthand
j
œ ‰
•  3 X 5 Cards: Simple Meter œ
œ œ
Rhythm Dictation—Option 2
œ œ
j
œ
œ
j
œ
‰ œj
Rhythm Dictation—Option 2
œ.
Œ.
œ œ œ
j
œœ
•  3 X 5 Cards—Compound Meter ˙.
j
œ œ
Rhythm Dictation—Option 3
•  Dictation Shorthand—Multi-Meter
Rhythm Dictation—Option 3
•  Dictation Shorthand—Compound Meter
•  Dictation Shorthand—Compound Multi-Meter
Composition/Writing Skills
•  Rhythm—Phase II
• 3 X 5 Cards
• Popsicle Sticks
Composition/Writing Skills
•  Select four of the patterns and then create your own composition.
44
˙
4
4w
œ œ
44
œ œ ˙
4
4˙
˙
44 Œ
œ œ œ
44 Œ
œ œ œ
Composition
4
4
ASSESSMENT
•  Why?
–  Determine the teacher’s instructional effectiveness;
–  Diagnose students’ strengths and weaknesses;
–  Monitor students’ progress.
•  How?
–  Gather information about:
•  where the student has been, •  where the student is now, and •  where the student should be relevant to your academic and
musical expectations.
Assessment, Phase I, Rhythm
National Standard
Students should sing alone and with others.
•  Teaching Mode: –  Teacher chants a rhythm pattern and teacher echoes in duet with
student or three to five students simultaneously echo pattern.
•  Phase IA, Aural-Oral: Neutral Echoing
•  Phase IB, Verbal Association: Syllable Echoing
•  Phase IC, Generalization: Echo Translating
•  Evaluation Mode: –  Teacher chants a rhythm pattern and student echoes the pattern
alone. •  Phase IA, Aural-Oral: Neutral Echoing
•  Phase IB, Verbal Association: Syllable Echoing
•  Phase IC, Generalization: Echo Translating
Phase I Assessment
Phase I Assessment
(Aural-Oral)
(Aural-Oral)
Listen as two patterns are
performed and then determine if
they are the same or if they are
different.
1. 
2. 
3. 
4. 
5. 
Same
Same
Same
Same
Same
Different
Different
Different
Different
Different
Listen as a rhythm pattern is
performed and then determine if
the pattern contains an upbeat
eighth note or a downbeat eighth
note.
⇑ beat e
⇑ beat e
⇑ beat e
⇑ beat e
⇑ beat e
1. 
2. 
3. 
4. 
5. 
⇓ beat e
⇓ beat e
⇓ beat e
⇓ beat e
⇓ beat e
Part A.
Listen as a rhythm pattern is
performed and then determine if
the pattern contains a dotted
quarter—eighth pattern.
Part B.
If yes, circle the beat number on which
the pattern began.
1. 
2. 
3. 
4. 
5. 
1.  Beat 1
2.  Beat 1
3.  Beat 1
4.  Beat 1
5. Beat 1
Yes
Yes
Yes
Yes
Yes
No
No
No
No
No
Beat 2
Beat 2
Beat 2
Beat 2
Beat 2
Beat 3
Beat 3
Beat 3
Beat 3
Beat 3
Beat 4
Beat 4
Beat 4
Beat 4
Beat 4
Phase II Assessment Phase I Assessment
(Symbol-Visual Only)
(Aural-Oral)
•  Matching: Match the rhythm notation to the corresponding syllables.
Listen as two patterns are
performed and then determine if they share the same meter.
Listen as a rhythm pattern is
performed and then determine if
the pattern is in simple meter or
compound meter.
1. 
2. 
3. 
4. 
5. 
1. 
2. 
3. 
4. 
5. 
Same
Same
Same
Same
Same
Different
Different
Different
Different
Different
Simple
Simple
Simple
Simple
Simple
Compound
Compound
Compound
Compound
Compound
4
4˙
Notation
___1.
___2.
___3.
___4.
44 Œ Œ
œ
œ
44
˙ Œ œ
___4.
c.
Ta (Shh) Too -oo
d.
Ta (Shh) (Shh) Ta
Phase II Assessment (Symbol-Visual Only)
44
˙
Match the rhythm notation to the corresponding shorthand.
Notation
___3.
b.
Too-oo Ta Ta
(Symbol-Visual Only)
•  Matching:
___2.
a.
Too –oo (Shh) Ta
Phase II Assessment ___1.
œ œ
44 Œ
œ ˙
Rhythm Syllables
œ œ
44 Œ
œ ˙
44 Œ Œ
œ
œ
4
4˙ Œ œ
•  Complete each of the missing sections.
Rhythm Shorthand
1.
b.
2.
R
c.
1
R
d.
44
˙
Notation
R
a.
3.
R
4.
œ œ
Rhythm Syllables
Short Hand
Tah - Tah - Too-oo
44
˙
Œ œ
R
Phase II Assessment (Symbol-Visual Only)
Phase II Assessment (Symbol-Visual Only)
Write the rhythm syllable for each of the notes and rests below.
In each measure, convert the note-head into the
indicated type of note, making all necessary changes. Part A. Quarter note = beat unit
1.___
Part B.
2.___
3.___ 4.___
5.___ 6.___
7.___ 8.___
Identify the type of note or rest. Remember, the stem is drawn up from the right side if the note-head is placed
below the center line of the staff or down from the left side if the note-head is
placed on or above the center line of the staff.
Select from: whole note (WH), whole rest (WR),
half note (HN), half rest (HR),
quarter note (QN), or quarter rest (QR).
Phase II Assessment (Symbol-Visual Only)
Consult the meter signature and then add bar lines and a double bar at the appropriate places.
Phase II Assessment (Symbol-Visual Only)
Complete the meter signature for each example.
Phase II Assessment
(Symbol-Visual Only)
•  In the following exercise indicate a:
– 
– 
– 
– 
– 
– 
– 
U for a singleton eighth note on an upbeat; D for a singleton eighth note on a downbeat; ED for an extension dot; S for slur;
T for tie;
A for anacrusis; and BD for a triplet (Borrowed Division).
Phase II Assessment (Symbol-Visual Only)
Circle the letter of the equivalent rhythm for each example.
Phase II Assessment (Symbol & Aural-Oral)
Phase II Assessment
Aural-Oral & Symbolic Association
•  Error Detection
A.  Listen and follow the notation of each example.
Determine if the performance and the notation are the
same or different.
•  Listen as a pattern is
performed on a neutral
syllable. Circle the letter
of the music notation that
corresponds to the pattern
performed.
•  All of the following
patterns will be
performed in a random
order. Listen and
determine the order in
which they were
performed.
1. Same
2. Same
Different
Different
3. Same
4. Same
Different
Different
B.  Listen and follow the notation of each example.
Circle the incorrect measure(s).
C.  Listen and follow the notation of each example.
Circle the incorrect rhythm(s).
D. Listen and follow the notation of each example.
Identify the incorrect rhythm(s) and then notate the
correct rhythm(s).
Assessment Phase II: Rhythm Reading
(Symbol & Aural/Oral)
Literacy Process
Sound before Sight
Musicianship Skills
Ensemble Skills
Musicianship Skills
Ensemble Skills
Literature
Vocal/Instrumental Skills
Vocal/Instrumental Skills
Chorus Rehearsal Lesson Plan
Date:________
! Posture
! Registration
! Phonation
! Vowel Shapes
! Flexibility
! Breathing
! Resonance
! Articulators
! Consonants
! Relaxation
Meter
!
Q = 1 beat
!
!
Exercises:
!
E = 1 beat
!
!
!
H = 1 beat
!
!
! Ties/Slurs
! Extension Dots
!
!
!
!
! Simple
! Compound
! Mixed
! Asymmetrical
Musicianship Skills
! Aural Skills
! Musical Memory
! Composition
! Listening
! Improvisation
! Other:
Rehearsal of Literature
_____________________________________
Selection
Student Objectives: Students will…
_____________________________________
Selection
Student Objectives: Students will…
___________________________
Page(s)/measures to be rehearsed
! Correct pitches
! Correct rhythms
! Part-singing
! Balance
ESE/ESOL Modification:
Materials Needed:
! A-Peer partner assigned ! C-Oral test administered ! E-___________________
! B-Extended test time
! D-Seat in front of room ! F-___________________
(See back of lesson plan for specific modifications on each student)
! Music folder & pencil
! Embouchure
! Articulation
Exercises:
!
E = 1 beat
!
!
H = 1 beat
!
Key Signature
! Minor:___
Melodic Movement
! Major:___
Meter
! Steps ! Skips _____________
! Simple
! Compound
Solfege Syllables Used:
Di Ri
Fi Si Li
Do Re Mi Fa So La Ti Do
Ra Me
Se Le Te
! Mixed
! Asymmetrical
! Phrasing
! Diction
! Text (word
and syllabic
stress)
! Phrasing
! Diction
! Text (word
and syllabic
stress)
! Phrasing
! Diction
! Text (word
and syllabic
stress)
! Sight-reading book
! Tempo
(changes)
! Rhythmic
Integrity
! Tempo
(changes)
! Rhythmic
Integrity
! Tempo
(changes)
! Rhythmic
Integrity
! Theory book & pencil
! Articulations
! Dynamics
! Artistry
! Choir/director
response
! Articulations
! Dynamics
! Artistry
! Choir/director
response
! Articulations
! Dynamics
! Artistry
! Choir/director
response
! Aural Skills
! Musical Memory
! Composition
! Listening
! Improvisation
! Other:
Rhythms
!w
œ
Œ
‰
j
œ
! Ties/Slurs
j
œ
j
œ
!
j
œ ‰
∑
œ.
j
!œ
œ
!
œ
œœœœœ
!
!œ
!
! Unison
! Parts: ___________________
œ
˙.
Key Signature
! Minor:___
Melodic Movement
! Major:___
! Steps ! Skips/Leaps _______
! Extension Dots
!œ
!œ
.
!œ
Solfege Syllables Used:
3
œ œ
œœœ
œ œ œ.
Di Ri
Fi Si Li
Do Re Mi Fa So La Ti Do
Ra Me
Se Le Te
Student Objective: Students will…_______________________________________________________
Student Objective: Students will…_______________________________________________________
Student Objective: Students will…_______________________________________________________
! Other:
J aime La Galette
___________________________
Page(s)/measures to be rehearsed
! Correct pitches
! Correct rhythms
! Balance
! Intonation
! Fingering
! Phrasing
! Articulations
! Dynamics
! Tone
! Tempo (changes)
! Rhythmic
Integrity
! Artistry
! Band/director
response
_____________________________________
Selection
Student Objectives: Students will…
___________________________
Page(s)/measures to be rehearsed
! Correct pitches
! Correct rhythms
! Balance
! Intonation
! Fingering
! Phrasing
! Articulations
! Dynamics
! Tone
! Tempo (changes)
! Rhythmic
Integrity
! Artistry
! Band/director
response
_____________________________________
Selection
Student Objectives: Students will…
___________________________
Page(s)/measures to be rehearsed
! Correct pitches
! Correct rhythms
! Balance
! Intonation
! Fingering
! Phrasing
! Articulations
! Dynamics
! Tone
! Tempo (changes)
! Rhythmic
Integrity
! Artistry
! Band/director
response
ESE/ESOL Modification:
Materials Needed:
! A-Peer partner assigned ! C-Oral test administered ! E-___________________
! B-Extended test time
! D-Seat in front of room ! F-___________________
(See back of lesson plan for specific modifications on each student)
! Instrument & Equipment ! Music Folder ! Band Method Book
! Theory Book
! Pencil
! Paper
! Other: _____________________________________
Homework:
Lift Up Your Voice and Rejoice
!
""!#$%&'(!)*+",-!
!"#$"%&'($$)*+,&
"#$%!
."!/01!#$%234'5"6+7-!
A. Rhythm Patterns
C. Tonal Patterns
"#$%!&'(')'*+!
!
!
!
!
!"#$%&'(#)*&
8'9*5:;!<':!*=!>!
!
D. Tonal Lines by Phrase
!
8'9*5:;!<':!*=!?!
!
!
!
!
!
-.+(/&'($$)*+,&
,!-.*+'/0!
12!-&*3'+$+%45#(#+%60!
,1!-57849*3'+$+%0!
B. Two-Part Rhythm
!
@6(7!11!
!
!
!
!
!
!
Sanctus
Zither, Zinga, Zing!
Tonal Lines
Beat
Beat Division
Rhythm Patterns
Extension Dots
Tonal Line—Voice Part II
Tonal Patterns
Tonal Line—Voice Part I
Tonal Line—Voice Part I
Rhythm Patterns
! Relaxation
Voicing
Ó
˙
! Flexibility
_____________________________________
Selection
Student Objectives: Students will…
Rehearsal of Literature
Homework:
!
! Resonance
Q = 1 beat
! Dictation
! Theory
! Correct pitches
! Correct rhythms
! Part-singing
! Balance
! Tone
! Breathing
!
Student Objective: Students will…_______________________________________________________
___________________________
Page(s)/measures to be rehearsed
! Fingering
Student Objective: Students will become independent readers on rhythmic, tonal, and
melodic exercises.
Musicianship Skills
_____________________________________
Selection
Student Objectives: Students will…
! Registration
Music Literacy
!
! Intonation
! Vowel
unification
! Diphthongs
! Consonants
! Intonation
! Vowel
unification
! Diphthongs
! Consonants
! Intonation
! Vowel
unification
! Diphthongs
! Consonants
! Posture
Voicing
Student Objective: Students will…_______________________________________________________
! Correct pitches
! Correct rhythms
! Part-singing
! Balance
___________________________
Page(s)/measures to be rehearsed
!
! Unison
! TB
Instrumental Technique
Student Objective: Students will consistently reinforce the characteristics of healthy
instrumental tone and continue to demonstrate them throughout the rehearsal
Exercises:
! SA ! SSA
! SAB ! SATB
Rhythms
Student Objective: Students will become independent readers on rhythmic and melodic
exercises.
Class Period: ________________
Musical Focuses
Warm-Ups
Vocal Technique
Music Literacy
Date:________
Activity
Musical Focuses
Student Objective: Students will consistently reinforce the characteristics of healthy
vocal tone and continue to demonstrate them throughout the rehearsal
Exercises:
! Dictation
! Theory
Instrumental Rehearsal Lesson Plan
Class Period: ________________
Activity
Vocal Warm-Ups
Tonal Line—Voice Part III
Tonal Line—Voice Part IV
Tonal Line—Voice Part II
Tonal Patterns
Tonal Line—Voice Part III
Fare Ye Weel
!
Domaredansen
!
Beat and Beat Division
"#$%&!'($)*!
!"#$"%&'($$)*+,&
Beat Subdivision
Syncopation
Tonal Patterns
+$(*#$!",)-&)!
Interval from vi chord.
!
!
Intervals from V and vi chord.
",)-&)!.!
Intervals from V chord.
Intervals from V chord.
!
!
!
",)-&)!..!
Interval from V chord.
!
!
!
!
!
Interval from V chord.
-.+(/&'($$)*+,&
!
!
!
!
Interval from iii chord.
",)-&)!...!
Interval from V chord.
!
!
!
!
!
!
!
!
Interval from V chord.
!
Interval from V chord.
!
!
Interval from V chord.
!
Oxford University Press
Progressive Sight Singing
Second Edition
ISBN 0195386043
Behold the turtle. . .
He makes progress only when
he sticks his neck out.
Companion Website
http://www.oup.com/us/krueger
E-Mail
James Bryant Conant
US chemist, diplomat, & educator
(1893 - 1978)
[email protected]
Teaching Tool Websites
 Free positive feedback postcards
http://www.Vistaprint.com
 Free Web-based Music Notation Program
www.noteflight.com
 Main Website with all sorts of teacher tools
http://www.murray.k12.ga.us/teacher/kara%20leonard/
TeacherTools.htm
 Game show templates and sound byte
http://www.murray.k12.ga.us/teacher/kara%20leonard/
MiniT/Games/Games.htm#gameshows
Resources
 Smart Moves: Why Learning Is Not All In Your Head,
Carla Hannaford, ISBN 0-915556-37-5
 The Dominance Factor,
Carla Hannaford, ISBN 0-915556-31-6
 The Ways Children Learn Music, An Introduction and
Practical Guide to Music Learning Theory,
Eric Bluestein, GIA Publications, G 5440
 Music Play: The Early Childhood Music Curriculum
Guide; Valerio, Reynolds, Bolton, Taggart and Gordon.
GIA Publications, G-J236
 Jump Right In Song Collections
David Woods and Edwin Gordon,
GIA Publication, G-J13
  June 4-8, Emporia State University, Emporia, KS
http://www.emporia.edu/music/music_ed_workshop.htm
  June 11-13, Morningside College, Sioux City, IA
Jill Wilson: [email protected]
MUSIC LITERACY   June 18-22 and June 25-29,
Montreat Presbyterian Worship and Music Conference
&
Website: http://www.presbymusic.org/montreat.html
CHORAL
  July 9-10, Southwest Plains Regional Service Center,
Sublette, KS
W
Belinda Miller: [email protected]
O
Website: http://www.swprsc.org/
R
  July 17-18, Bay Port High School, Green Bay, WI
K
Robbie Doelger: [email protected]
S
  July 23-25, Shenandoah University, Winchester, VA
H
O
Joanna Claycomb: [email protected]
P
Jeffrey Marlatt: [email protected]
S
  July 30-August 2, Meredith College, Raleigh, NC
Jane Bruer: [email protected]
Website: http://www.ncmusicworkshop.com
CAROL J. KRUEGER
Summer
2012