Grade One Organizers

MUSIC CURRICULUM GUIDE: K - 6 49

GRADE 1 - ORGANIZERS

Grade 1

Rhythm and Metre

Melody / Pitch

Harmony

Form

Expression

Contexts

Organizers

MUSIC CURRICULUM GUIDE: K - 650




Rhythm and Metre

Students will be expected to

1. perform, listen to and create

• beat• rhythm• groupings of two, three,

and four beats• stepping/skipping songs

Melody/Pitch



• higher and lower• melodic contour• s m new• l s m new• in the keys of F, C, and G

2. develop, alone and withothers, in-tune andexpressive singing(prepare r d )

HarmonyStudents will be expected to


• simple ostinati(melodic/rhythmic)

Form



• like and unlike phrases orsections

• repeat sign

Expression


1. perform, listen to and createreflecting sensitivity tomoods/feelings

• louder/softer• faster/slower• sounds - vocal,

environmental, classroominstruments

Contexts


1. perform, listen to and createvaried selections representing

• their own and othercultures

• special occasions• seasons

Grade One



Suggestions for Teaching and LearningOutcomes

Organizer: Rhythm and Metre

Performing includes:singingplayingspeakingmovingreadingwriting/constructing

Listening includes:aurally identifyingresponding

Creating includes:improvisingcomposingdramatizing

Includes• using bar lines

Performing

• The students chant a poem and step in place to the beat, thenchant and walk anywhere in the room keeping the beat.

• One or two children play the beat on a drum or percussioninstrument while the rest of the class steps in place and/orwalks to the beat.

• Clap, tap on various parts of body, or play on percussioninstruments, the rhythm of the words while saying a chant orsinging a song. See Resources/Notes: Name Games andSound Ideas.

• Use the heart shape to represent the beat. Place eight on thedemo board and point to the beat as the students sing afamiliar song. The students may draw their own hearts or usetheir own staffs and heart shapes. Students point to theheartbeats as they sing.

• Use a beat chart (Composing With Boomwhackers - page 14).Reproduce so each child has a chart. Students point to thebeats while singing a known song or listening to a musicalexample.


• beat• rhythm• groupings of 2, 3, and 4 beats• stepping/skipping songs• ± new

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Resources/NotesSuggestions for Assessment


See pages 59 and 61. See pages 57, 59, and 61.




• Sing a song and tap the beat, then sing and clap the way thewords go (rhythm). On a given signal, switch back and forth.Use songs such as Snail Snail, Engine Engine #9 and CountingSong, Musicplay 1.

• Say a chant or sing a familiar song. Half the class keeps thebeat while the other half claps the rhythm.

• Sing songs and play games in simple and compound metres.Students may work in small groups to create and move withappropriate motions. See Simple and Compound Duple Metre,pages 26-27, The Kodály Method I.

• Sing a known song, step the beat and stamp on accentedbeats. Mark the beats on the board as students sing andplace accents over the strong beats. See pages 41-42 for theteaching procedure, Metre, Measure, and Bar Line, TheKodály Method I.

• Teachers should not neglect songs, games, echo clapping and

musical examples in ³¼. While singing or listening, studentssit and keep the beat. For example, tap floor on beat one,slap lap on beat two, and clap hands on beat three. Use abeat chart. See Composing with Boomwhackers, page 14.

• Play strong beats on one instrument, weak on another.Students may work in pairs or small groups.

• Start with a song beginning with four quarter notes, e.g.,Snail, Snail. Children sing the first phrase and keep the beat.How many beats are there? Place snail shapes to representthe beat on the teacher’s demonstration staff. Sing the phraseagain pointing to the beats. How many sounds do you hearfor each beat? The teacher identifies one sound on the beat as“ta” and places its symbol under the beats. “Let’s throw awaythe words and sing with our new name for one sound on abeat.” The students sing the melody to ta ta ta ta. Dividestudents into groups and make “people rhythms” for newrhythm patterns. Children construct the rhythm with sticksand sing the phrase while pointing to the pattern. SeeRhythmic Learning for Grade One, pages 36-40, The KodályMethod I.




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See pages 59 and 61. See pages 57, 59 and 61.





• The next rhythm taught should be Öµ .1. The class steps the beat of Clap, Clap Clap Your Hands or

Bee, Bee, Bumble Bee

2. Clap the rhythm.

3. Step the beat and clap the rhythm at the same time.

4. Draw the four heartbeats or place on the demonstrationstaff.

5. The class sings the first phrase and claps the rhythm as theteacher points to the beats.

Is there any beat with more than one sound? Which beathas more than one sound?

6. The teacher labels the two sounds as ti-ti and places thenotation on the board.

• Move quickly on to two eighth notes in other positions (e.g.,Bye Baby Bunting ± Öµ ± ± ).

• Introduce £ with a prepared known song such as Pease PorridgeHot. Follow the procedure above, but ask the question, “Isthere any beat without a sound?” Practise and reinforcethrough reading and writing.

• Use a poem such as Sitting on a Tin Can, An Orff Mosaicfrom Canada, page 261. After playing the game, ask thestudents to derive the rhythm of the first two lines. Vary theperformance by replacing a word(s) (we can or tin can) withan instrument played by some students.

• Students derive, say and sing the rhythms of known songsand phrases.

• Students construct a known phrase(s) with rhythm sticks andbar lines.

• Students read rhythms from flash cards/or chart songs.

• Students read a set of four flash cards in scrambled order.Students arrange the cards to show the correct rhythm of aknown song.



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The Kodály Method IPages 24-26 - Long-Short, Beat, AccentPages 50-51 - A Suggested Song ListChapter 3 - Preschool and Grade 1

Roots and BranchesPages 16-17 - Yo, Mamana, Yo ( ³¼)Pages 100-103 - Uga Uga Uga (beat,

movement)Pages 130-131 - San Serení (beat, movement)Pages 136-137 - Serra, Serra, Serrador (beat,

rhythm)

An Orff Mosaic from CanadaPage 3 - Welcome (play your name)Page 104 - Northern Lights (creative movement)

Page 146 - Up Like a Rocket ( ± Öµ £ )Page 188 - Turkey in the Pan (poem)Pages 220-221 - Davey DumplingPage 224 - New ShoesPage 227 - Counting’s Easy (poem)Page 229 - Monday MondayPage 259 - Let’s Take a WalkPage 264 - Can You Clap Your Hands?Page 266 - Old Dog (movement)Chapter 19 - Move and DanceChapter 24 - Tips for Teachers

Teaching Towards Musical UnderstandingPage 86 - Ickle Ockle (rhythmic ostinato)Page 192 - Beat-movement teaching sequencePage 204 - Heart shape representation of

beatPage 216 - Classroom activities for highlighting

rhythmPage 219 - Activities for beat vs. rhythmPage 221 - Introducing rhythmic valuesPage 143 - Classroom activities during a

listening experiencePage 145 - Suggested recordings

See pages 59 and 61.





Listening

• Chant a known rhyme while stepping the beat around theroom. All freeze at the end of the chant. The teacher claps afour-beat rhythm and students echo without missing a beat.Resume chanting while stepping the beat. Each time theclass freezes in place, the teacher gives a different rhythm forthe class to echo. Also use student leaders to clap therhythm.

• Use Tracks 36 and 37 Listening Kit 1, for keeping steady beatand moving to compound duple meter. See suggestedmovement activities.

• Use listening examples for movement in differents metres,e.g., march, waltz.

• When deriving rhythms, children keep the beat, sing a givenphrase of a well known song and listen for the relationshipbetween sound and beat. How many sounds on each beat?

• Listen to a recorded example that focuses on known rhythms.See Resources/Notes: Listening Kit 1.

• Prepare for dictation by placing a rhythm on the board.Students copy. Place four hearts on the board to representthe beats. Clap the rhythm. As the students clap, point tothe beats. How many sounds on beat one? What will wewrite? Place answers on the board as students give them.Clap a new rhythm. Students echo clap as the teacher pointsto the heartbeats on the board. Guide them through thequestioning process, but students construct or write theirown answer.

• Students correctly aurally identify and notate rhythmsidentified and performed in known songs.

• Students echo four-beat patterns performed by the teacher orread from stick notation “mystery songs” (limit to two orthree known songs) and identify the song. Make a game of it.

• Teacher or student claps/plays pattern. Class echoes withrhythm syllables.



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Teaching Towards Musical Understanding(continued)Pages 157-160 - Finger Plays, Action Songs,

Singing Games, and Dances, Bow Wow Wow,Open Them, Shut Them, A Skeleton Jiggles HisBones, Sleep Baby Sleep, Bingo

Page 320 - Sample lesson plan, Grade 1Chapter 6 - Improvising and ComposingChapter 7 - ListeningChapter 8 - Moving with MusicChapter 10 - Beat, Tempo, MetreChapter 11 - RhythmChapter 16 - Daily and Long-Range PlanningChapter 17 - Assessment and Evaluation

120 Singing Games and DancesPages 15 and 29-30 - listing of songsHere We Go Round the Mulberry Bush

(compound duple metre)Oliver Twist (compound duple metre)Farmer in the Dell (compound duple metre)Little Sally Water (simple duple metre)LemonadeHow Many Miles to BabylonChapter 1 - Songs and Rhythms

Composing with BoomwhackersActivities 1, 2, 3 and 9. Boomwhackers may bereplaced with NPP (non-pitched percussion)instruments.

Name GamesGame 1- Name RhythmGame 2 - Name Phrases(speech, body percussion, inner hearing)

Sound Ideas#1 - Old King Glory#2 - Sally Go ‘Round the Sun#3 - Son Macaron (beat, choosing and playing

instruments)

Use a well known song such as Johnny Caught a Flea(Musicplay 1). Form a double circle and give eachchild a rhythm stick. Students tap partner’s sticksduring the singing of the song (either keeping thebeat or tapping the rhythm, as directed). On therest at the end of the song, the outer circle jumps oneperson to the left. Begin again with new partner.Observe and record individual performance of beatand/or rhythm during the game.

Observe and note individual responses - playing,moving, reading, writing/constructing, improvisinganswer phrases.





• Procedure for Teaching a Rhythmic Ostinato

The class performs a well known song while the teacher claps theostinato. The class discovers what the teacher is doing andidentifies the rhythm of the ostinato. The teacher sings the songand the class performs the ostinato. Divide the class. One halfsings and the other half performs the ostinato. Reverse. Followwith all children singing the song and performing the ostinato atthe same time.

Creating

• Use body movement to demonstrate strong and weak beats.Students may create this movement.

• Students create their own ostinato pattern. Perform or play onrhythm instruments while class sings . A small group may combinetheir ostinati and chose instrumentation. They perform theirarrangement as the class sings.

• Create a rhythmic composition. See Composing withBoomwhackers, Activities 4 and 5.

• Use a poem (such as The Snowstorm, An Orff Mosaic fromCanada, page 117). Create a speech ostinato using word(s) in thepoem. Choose some students to perform the ostinato while theremainder of the class chants the poem.

• Use activity #2 and #3 Composing with Boomwhackers.Boomwhackers may be replaced in the activities with assortednon-pitched percussion instruments (NPP). Group the NPPinstruments according to types (e.g., metal, wood, drums, etc.).

• Use activity #9 Rhythmic Composition with Ostinato, Composingwith Boomwhackers, using known rhythmic elements. NPPinstruments maybe used.

• Use the poem, Here are Grandma’s Spectacles ( ± Öµ £ ), An OrffMosaic from Canada, page 265. Follow the teaching process.

• Students create and construct with rhythm sticks their own four-beat rhythm. Individuals can perform their pattern for the class(clapping or on an instrument) and then the class echoes therhythm. Use as an introduction or coda to a known song.

• Students choose a NPP classroom instrument. Using ± Öµ and £,the teacher plays a phrase and all the students improvise ananswer. Move to individual responses.



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Use checklists (Appendix A).

Provide opportunities for individual students andsmall groups to perform, create and improvise.

Rhythm worksheets (listening/aurally identifying)• write the rhythm that you hear• circle the rhythm that you hear(See Reproducibles)

Use “people rhythms” to perform or create rhythms.Written worksheets (See Reproducibles)Place four hearts on the board. Teacher claps arhythm. A student places an answer on the boardfrom available rhythms, i.e., ±, Öµ, £ .

Provide students with opportunities to create andnotate rhythmic patterns using popsicle sticks, pipecleaners, etc. (See Baggie Kits, Appendix B)

Musicplay 1Use #91 Appletree, to assess beatAssessment - pages x-xii

Use Chart Songs I and Flashcards to assess beat andrhythm.

Sound Ideasuse the variation for individual playing#2 - Sally Go ‘Round the Sun#3 - Son Macaron (observe beat competency)

Short written response or reflection to a question(Appendix A).

Musicplay 1Sample songs for beat and rhythm:#13 - Hickory Dickory Dock (compound metre)#32 - Starlight#36 - Lucky Locket#39 - Pease Porridge Hot#66 - I Like You#93 - Johnny Caught a FleaPages viii-ix - glossary of directions given in

sample lessons throughout the Teacher’sGuide

Listening Kit 1CD Track 2: What Keeps a Beat?CD Track 28: Ballet Musik (rhythm instrument

playalong using known rhythms)CD Track 29: Contradance II (rhythm

instrument playalong)CD Track 42: Marche (use for beat and

movement activities, and with Track 36 or37 for stepping and skipping music, also asa rhythm playalong)

Flashcards

Chart Songs, Book 1Use known songs to practise reading therhythm pattern - clap, tap on NPPinstruments. Sing in rhythm syllables.

Songs to Read, Write, Sing and PlayPractice rhythmic reading with songs used formelody/pitch (see next Organizer).

Music for Creative Dance#2 - Bee Beat

Reproducibles - worksheets related to writingand aural skills




Organizer: Melody/Pitch


• higher and lower• melodic contour• s m new• l s m new

in the keys of F, C, and G

Performing includes:singingplayingspeakingreadingwriting/constructing/diagramminginner hearing


Creating includes:improvisingcomposing

Includes• a varied repertoire with an expanded range

Performing

• Use a poem such as Three Little Monkeys (Musicplay 1, page9) to explore high, middle, and low voices.

• Prepare for s and m placement on the staff by introducing theorganization of the staff into five lines and four spaces. Afloor staff is very effective for introducing lines and spaces.See pages 44-45, The Kodály Method I. Demonstrate theplacement of line notes and space notes. Is this note on a lineor a space? Which line or space? Students work with theirown staffs placing notes on lines and spaces. Instructstudents to place a note on space 2, line 5, and so on.

• Sing a familiar song using only s and m, e.g., Star Light.Students move hands higher and lower to show melodiccontour. Place stars on board in higher and lower positions.Point as children sing. Introduce s and m placement on thestaff using the first phrase of a known song or game. Use thedemonstration staff. See pages 42-44, The Kodály Method I,for the teaching process to introduce s and m. Studentsshould sing the patterns, construct on their own staffs, readflashcards, sing with hand signs, and discover melodicpatterns in familiar songs. See pages 45-46, Reinforcing s m,The Kodály Method I.

2. develop, alone and with others,in-tune and expressive singing(prepare r d )






See pages 67 and 69. See pages 67 and 69.





• Practise writing the different placements on worksheets. SeeSongs to Read, Write, Sing and Play and Reproducibles.

• Sing a song in solfa and with hand signs.

• Students aurally identify l as being higher than s. Introduce l.Show the handsign. Students sing it correctly in tune fromhandsigns and then move to constructing s l s phrases fromknown songs (Lucy Locket). Next move to s m l s m turns andfollow the same process (Bye Baby Bunting). See Introducing lpages 46-47, The Kodály Method I.

• Students practise writing l on their individual staffs and usingworksheets.

• Visually reinforce l s and m using a tone ladder, a floor staff, orthe body [s - stand, m - kneel, l - stand (tall person)]. Teacherpoints and students sing the patterns. Groups may createtheir own patterns.

• Use known songs in Chart Songs 1 and 2 containing l s m.Students read in solfa. Provide opportunities for small groupsto perform (e.g., one group sings line 1, the whole class line2). Practise different key placements.

• Use the Chart Songs to provide opportunities for students toplay songs in different key placements on pitched percussioninstruments such as bells, xylophones, and metallophones.This could be be done as an activity centre with small groups,pairs or individual students.

• Use instruments to reinforce melodic concepts.

• Students (small groups and individuals) can play a knownmelody in the different key placements while the remainingstudents sing in solfa, hand sign, or clap an ostinato.

• A child or two children, using a given rhythm pattern, createtheir own melody on the staff. Each child or pair plays themelody on an instrument(s) or sings to the class. The classechos in solfa. Sing a known song and between verses have adifferent child or group perform the melody. Repeat severaltimes so several children may perform (Rondo).

• Using a xylophone or metallaphone, students create anostinato to a song using l s and m.

• Students sing from hand signs.









See pages 67 and 69. Note: All students must practise melodiclearnings with their own individual staffs.These should be approximately 10x16 inchesand may be magnetic, felt or laminatedcardboard. Eight-ten notes must be included(felt, cardboard, plastic discs, etc.).

The Kodály Method IPages 50-55 - A Suggested Song ListChapter 3 - Preschool and Grade 1

Roots and BranchesPages 100-103 - Uga Uga Uga (melodic

contour, last line)Pages 136-137 - Serra, Serra, Serrador (s m)

An Orff Mosaic from CanadaPage 2 - Friendly Bear (tone matching)Page 3 - Welcome (change “play your name” to

“sing”)Page 5 - Hello, Hello (vocal improvisation)Pages 29-30 - Criteria for selecting songsPage 111 - The Weather SongPage 264 - Can You Clap Your Hands? (inner

hearing)Chapter 24 - Tips for Teachers




• Sing an echo song (#53 Oh, My Aunt Came Back, Musicplay1). Provide opportunities for small groups and individuals tosing the echo phrase.

• Play singing games where students have the opportunity tosing a line or phrase alone. (#40 Hello Game, #35 Cuckoo,#69 Doggie, Doggie, #58 Tommy Tiddlemouse, Musicplay 1).

• To practise individual singing, use a fake microphone. Ask,“Who would like to be a star today?” Individual studentsmay sing.

• Ask students to work in pairs to practise hand signs to a well-known song containing l s m, i.e., Bounce High. Inviteindividuals to lead while the class sings from his/her handsigns.

Listening

• Explore higher and lower sounds using classroominstruments. A student plays different pitches on aninstrument. Use physical actions. Students close their eyesand demonstrate the sound by stretching hands above theirhead, down to their feet, etc.

• Use CD Track 13, Listening Kit 1, to show melodic contourand higher and lower with movement.

• Play the hot and cold game; refer to Kindergarten, page 38.

• Listen to recordings with instruments that can be identifiedas playing high or low. Use Listening Kit 1, CD Track 20(flute-high) and Track 23 (bassoon-low).

• The teacher sings the song in higher key placements andlower key placements. Which is higher, which is lower?

• Use movement to show higher and lower contour of themelody - #15 Jack and Jill, Musicplay 1 and CD Track 5:High/Low, Listening Kit 1.

• Students echo sing melodic patterns in solfa. Extend tostudent writing on individual staffs in F, C or G.

• Use a puppet. “When you can see the puppet’s face, sing outloud. When his face is hidden, sing inside your head.”Students keep the beat in their feet, hands, fingers, etc. Conepuppets are particularly good for this activity (inner hearing).










Teaching Towards Musical UnderstandingPage 41 - Fill in the blank songsPages 44-47 - individual response songsPage 51 - inner hearingPage 52 - mystery tunePage 86 - Ickle Ockle (melodic ostinato)Page 143 - Classroom activities during a

listening experienceChapter 6 - Improvising and ComposingChapter 12 - Pitch, pages 233-245Chapter 17 - Assessment and Evaluation

120 Singing Games and DancesHere Comes a BluebirdA Tisket, a TasketLemonadeHow Many Miles to BabylonLondon BridgeSnail SnailTeddy BearOliver Twist

Use checklists (Appendix A and Musicplay 1)

Listen and observe individual students. Provideopportunities for individual and small groupresponse and performance.

Worksheets (See Reproducibles)• circle the correct answer, high or low• circle the melodic pattern that you hear• write the melodic pattern on the staff in the key

placement given• listen to the melodic pattern and fill in the blank

s __ ss m etc.




• Sing a familiar song. On a signal, sing “in your head”. Singaloud again at a second signal. Use red light and green lightfor signals.

• Give a starting pitch. Using hand signs, children sing aninterval or phrase inside their head and then out loud.

• From a starting pitch, the class identifies a song or phrase of asong by following the hand signs and singing in their heads.The class then sings the song or phrase. Limit to two or threesongs.

• Read hand signs or a song chart. Students “hide in theirheads” certain melodic elements. For example, hide all thems.

• Two students with melodic barred instruments sit back toback. One plays a pattern containing s m and l, and the otherplays back the pattern.

Creating

• Use scarves and/or movement to show melodic contour. Usesongs, recorded examples, and selections played on piano.

• See Composing with Boomwhackers activities 12 and 14.Adapt by using only l s and m. Pitched percussion can besubstituted for boomwhackers.

• A child uses the rhythm of his/her name (e.g., Ma-ry) tocreate an ostinato on a xylophone or resonator bells usingtwo or three notes (e.g., G, E, and A).

• Sing questions to students (using l s m). Individualstudents improvise an answer using the three pitches. Seepages 47-48, Improvising in the Classroom, The KodályMethod I.

• The class sings a known song. Individual students use voicesor melodic instruments to improvise a short melody on l sand m (four or eight beats). The class sings again andanother student (or students) improvises. Continue (alsoRondo form).

• Students create a melodic pattern on their individual staffs.Use as an introduction to a known song.










Musicplay I#4 - Snail, Snail#9 - Engine, Engine#12 - Counting Song#15 - Jack and Jill (contour)#32 - Starlight, Starbright#33 - Bounce High#35 - Cuckoo (individual singing)#36 - Lucy Locket#37 - The Bear Hunt (echo song)#46 - Lemonade#69 - Doggie, DoggiePoems - pages 22 and 63Page x - Ideas for in-tune singingLesson plans throughout the guide

Composing With Boomwhackers

Listening Kit 1CD Track 5: High/LowCD Track 13: Personages with Long Ears (high/

low)

Chart Songs 1Use to practise deriving and reading melodicpattern. Sing in solfa.

Melodic Flashcards

Songs to Read, Write, Sing, and Play (writingpractice)

Reproducibles - worksheets - writing and auralskills

Music for Creative Dance

Provide opportunities for children to notate l s mpatterns on the staff in different key placements.

Observe performance to show contour. (See “SingingStrings”, Appendix B)

Students notate and perform their own composition -a four-beat melodic pattern and/or ostinato.

Students sing melodic patterns from flashcards.

Students practise singing a favourite song with apartner. Listen to them together and alone and noteability to reproduce the melody and sing in-tune.This could also be a peer assessment.

Observe and note when students are improvisating -singing and playing answer phrases, moving.

Musicplay 1Assessment - pages x-xiiPage 42 - No. 1, individual singing

Reproducibles - worksheets - writing and aural skills

Listening Kit IUse for higher and lower - see reproducible sheet,page 9

Short written response or reflection to a question(Appendix A).

Songs to Read, Write, Sing and Play (reproducibleworksheets)




Organizer: Harmony

Performing includes:singingplayingspeakingmovingreadingwriting/constructing



Performing

• Sing known songs using a simple rhythmic ostinato. Thefour easiest to perform are (from The Kodály Method I):

± £ ± £

± ± ± £± ± Öµ ±Öµ Öµ ± ±

Add l s or m to any of these to create a melodic ostinato.

• Rhythmic ostinati may be clapped, tapped, performed asbody percussion, or on classroom instruments. Combine twoostinati, each performed on different instruments or as bodypercussion, while singing a known song.

• Sing songs with simple pedal tone accompaniments. Useresonator bells, xylophones, metallaphones, andboomwhackers.

• See strategies for ostinati under Rhythm and Metre, andMelody/Pitch.







Organizer: Harmony

See page 73. See page 73.




Organizer: Harmony

Listening

• Practise ostinati by playing with a recording (use Track 28 or29, Listening Kit 1, or Roots and Branches).

• While students are singing a known song, the teacherperforms a rhythmic ostinato. Students derive the rhythm.Students sing the song again. The teacher plays a melodicostinato (l s m) on a melodic instrument using the samerhythm pattern. Students derive the pitch. Students mayalso create the ostinati.

Creating

• Chant a verse of a poem. Students work in pairs or smallgroups to create a simple speech ostinato using word(s) fromthe poem. The class chants the poem as each group performsits ostinato. Students transfer their speech ostinato to NPPinstruments and perform. Extend by adding l s m. Studentsuse their speech ostinato and these pitches to create a melodicostinato.

• Use the same strategy, but pairs or small groups create asimple rhythmic ostinato to a known song (e.g., Lucy LocketLocket or Bounce High). Use known rhythmic elements.Students may write in stick notation.

• Use the same strategy but students create a melodic ostinatousing l s and m.

• A small group creates a movement ostinato to be performed toa known song.

• The class sings a known song. At the end of the song, onestudent improvises a simple ostinato using ± Öµ or £ . Theclass echoes. The class sings and claps the pattern as anostinato. Repeat with another child improvising the patternfor the ostinato.

• A small group creates a rhythmic ostinato. The class playswith a recording (Listening Kit I, Roots and Branches).






Organizer: Harmony


Observe and note individual performances andresponses.

Provide opportunities for small groups andindividual children to

• perform the ostinato• aurally identify ostinati• create an ostinato

Musicplay 1Assessment pages x-xii

Listening Kit 1Observe and note ability to play ostinato.

The Kodály Method IPage 40 - Introducing OstinatoChapter 3 - Preschool and Grade 1

Roots and BranchesSee listings under Rhythm and Metre, Melody/Pitch (listen and perform ostinato)

An Orff Mosaic from CanadaPage 115 - Fall is FunPage 135 - Bear Comes Knockin’Page 141 - Bees (speech ostinati)Page 146 - Up Like a Rocket (speech with body

percussion ostinato)Page 150 - Train RidePage 229 - Monday, Monday (ostinati)Pages 333-335 - Accompaniments

Teaching Towards Musical UnderstandingPages 85-88 - Pedal tones or drones and

bordunsPage 299 - Sequence for Introducing Harmony

and TextureChapter 15 - Harmony and Texture, pages 296-

300

120 Singing Games and Dances(good for using ostinato)

Composing with Boomwhackers

Musicplay 1

Listening Kit 1(ostinato playalong)

Other:

The Orff Source (Themes and Variations)Simple pedal tone and bordun accompaniments(correlates with Musicplay)

Poems from Language Arts Program




Organizer: Form

Performing includes:singingplayingspeakingmovingreadingwriting/constructing/diagramming



Performing

• Step the beat walking clockwise; change direction at eachphrase ending.

• Use simple movements that change for an unlike phrase (e.g.,tapping, clapping, marching, turning, etc.).

• Sing the song phrase by phrase. Use “inner hearing” onalternate phrases.

• Add instruments to show like and unlike phrases. Certaininstruments play a and the others b.

• Use poetry to illustrate like and unlike phrases (Jelly in theBowl).

• Diagram the form with shapes and pictures to show like andunlike phrases. See page 29, The Kodály Method I.

• The class sings a two-phrase song. One-half of the class singsthe first phrase and the other responds with the second. Forexample, Bow Wow Wow. A poem may also be used.

• Read phrases or flashcards containing repeat signs.

• Use flashcards to creates like and unlike phrases, whichstudents perform.

• Use chart songs to perform two-phrase songs in solfa. Lead adiscussion through questioning. Are they alike or different?How are they different?



• repeat sign





Organizer: Form

Note: Reinforce repeat sign and relate to formwhen students are creating rhythmic ormelodic phrases (see other organizers).

See listings for songs and games under otherorganizers. Use opportunities as they arise toreinforce/practise form.

The Kodály Method IPages 27-29 - Phrase and FormChapter 3 - Preschool and Grade 1

Roots and BranchesSee listings under other organizers

An Orff Mosaic from CanadaPage 5 - Hello, HelloPages 220-221 - Davey Dumpling (sectional

form)See listings under Rhythm/Metre and Melody/

Pitch

Teaching Towards Musical UnderstandingPage 45 - Doggie DoggiePage 46 - We Are Dancing in the ForestChapter 6 - Improvising and ComposingChapter 14 - Form, Pages 283-287

120 Singing Games and DancesHere Comes a BluebirdA Tisket, A TasketHow Many Miles to Babylon (question/answer)London Bridge (question/answer)

Composing with Boomwhackers

See page 77.




Organizer: Form

• Provide opportunities for students to use repeat signs whennotating (See Rhythm/Metre and Melody/Pitch).

• Use the repeat sign to reinforce like and unlike phrases.

Listening

• Students draw the phrases in the air with their arms. Usescarves to show the shape of the phrase. Use the samemovements for “like” phrases.

• Count the number of beats in each phrase of a known songand compare each phrase length. Diagram the form (withshapes).

• Use varied listening examples to aurally identify and respondto phrases and sections.

• Sing a simple two-phrase song (unknown) to the class.Students derive if the phrases are alike or different.

Creating

• Using a musical selection, students in groups createcontrasting movements to show like and unlike phrases orsections. (Also good for assessment).

• The class performs a rhythmic phrase (either created orborrowed from a known song). An individual creates arhythm response and performs as body percussion or on aclassroom instrument. The response may be guided withdirections as to the number of beats and/or types of rhythmsto be used (question and answer).

• Individual students improvise the response in call andresponse songs. The class sings the opening phrase and anindividual improvises a response. A guided response maysuggest a four-beat phrase using s and m. Melodicinstruments may be set up with only two or three pitches fora response (l s m ).

• Give students the opportunity to work in groups of two usingmelodic instruments. Set guidelines: e.g., four beats usingthree pitches (remove bars on the melodic instruments). Onestudent creates a melodic question; the other responds with amelodic answer.



• repeat sign




Organizer: Form

Musicplay 1#23 - Hey Betty Martin (like phrases)#42 - Fais Do DoPage 18 - Form

Listening Kit 1CD Track 17: Fossils - form, movement,

listening mapCD Track 40: Valse - like and unlike sections,

uses movement

Chart Songs 1Use notation of known songs to visuallyreinforce like and unlike phrases. EngineEngine, Lucy Locket, Counting Song (likephrases), Snail Snail, Doggie Doggie, ApplePeaches (unlike). Diagram using shapes orpictures.

Melodic FlashcardsCombine cards to create phrases. Use repeatsigns.

Songs to Read, Write, Sing and PlayUse worksheets 1-7 to derive and/or reinforcelike and unlike phrases.

Music for Creative DanceUse to practise/reinforce like and unlikesections, using movement.


Observe and note individual responses - performance,improvisation (question and answer phrases), verbal,creating movement or phrases.

Use pictures on worksheets to accompany a listeningactivity. Students aurally identify and circle thecorrect picture to indicate like and unlike phrases orsections.

Use simple shapes or pictures to diagram like andunlike phrases. Ask individual students to placeshapes on the board to indicate like and unlikephrases.

Observe how students draw the phrases in the air.

Provide opportunities for small groups to performfrom flashcards, some of which have repeat signs.Note individual responses.

Musicplay 1Assessment pages x-xii




Organizer: Expression

Performing includes:singingplayingspeakingmovingreadingwriting/constructing/diagramming


Creating includes:improvisingcomposingdramatizing

Performing

• Sing well-known songs softer/louder, faster/slower, as a group,and as individuals. Discuss which sounds best.

• Sing a familiar song using different emotions (happy, angry,fearful, sad). Discuss how to musically create the emotion.

• Students play classroom instruments loudly or softly.

• See Chapter 21, pages 303-311, An Orff Mosaic fromCanada, for excellent suggestions and strategies for sensoryawareness.

• Perform songs and games which provide opportunities forstudents to create movement and/or dramatize/act out. SeeAn Orff Mosaic from Canada and 120 Singing Games andDances.

• Perform and listen to a selection from Roots and Branches,and discuss the mood and feeling created.

• Provide many opportunities for students to play instruments.See strategies outlined in Sounds Ideas.

1. perform, listen to and createreflecting sensitivity to moods/feelings

• louder/softer• faster/slower• sounds - vocal, environmental,

classroom instruments






See page 83. See pages 81 and 83.





Listening

• Read a poem or story where the voices and/or sounds can beloud or soft or reflect different moods/feelings (happy, sad,afraid). Discuss and perform.

• Students pass a ball around the circle while listening to aselection on the piano. When the tempo changes, the ballchanges direction.

• Students listen to recorded music. The teacher leads adiscussion concerning the mood of the music. See ListeningKit 1, Track 34: Dance of the Sugar Plum Fairy, Track 35:Largo, Winter, Track 39: Flight of the Bumblebee. These arealso good for instrumental timbre. Use the reproduciblesheet on page 15.

• Sing Skins and Bones (The Kodály Method I). Question thestudents as to the mood/feeling created in the song. Discussappropriate movements to express the text. Act out whilesinging.

• Play short examples with different moods, tempi, etc. and askthe students how the music makes them feel. Ask for sometitles to the music. Listen again. How does the title fit?Students create movement to show the mood.

• Listen to a short recorded example. Students draw a pictureto reflect the feeling in the music, Listening Kit 1, CD Track35: Largo, Winter.

• See Listening Kit 1, Cd Track 41: Scaramella for male andfemale voices. Also use contemporary examples and folkmusic.

• Students explore sound sources in the environment. What arethe sounds we hear in the school, the playground, at home?What sounds can we make in this classroom? Make a game ofit with the help of the students.

• Use call and response games. An individual child respondsand another child identifies who is singing by the timbre ofhis or her voice. Do the same using classroom instruments.

• Use Carnival of the Animals (Listening Kit I) for manyopportunities to make connections between the mood/feelingcreated by instruments, tempo, dynamics, etc. Use also forcreating expressive movement. Follow with the video.








The Kodály Method IPages 21-24 - Loud-Soft, Fast-Slow, TimbreChapter 3 - Preschool and Grade 1

Roots and BranchesPages 130-131 - San Serení (acting out)

An Orff Mosaic from CanadaPages 104-105 - Northern Lights (creative

movement)Pages 111-112 - The Weather Song (add

instruments)Page 132 - The Little Brown Tulip Bulb

(dramatizing story, creating sound effects)Page 154 - Neighbourhood NoisesPage 193 - Shell Out, Shell Out (poem)Page 195 - Hanukkah (dramatization)Page 269 - Copy Cat (creative movement)Page 265 - Here Are Grandma’s Spectacles (body

percussion transferred to instruments)Page 313 - This is My Voice

Teaching Towards Musical UnderstandingChapter 5 - Playing Classroom InstrumentsChapter 13 - Dynamics, Timbre, and

Expressive ElementsPages 72-73 - poems, using NPP instruments:

Doctor Foster, Jingle at the Window, The LooseTooth, The Lion and the Mouse (story usingNPP)

Page 125 - Composition Involving TimbreConstruction, examples 1 and 2

120 Singing Games and DancesSongs and games to act outSee suggestions under Rhythm/Metre and

Melody/Pitch

See page 83.





• Assign a movement to each classroom instrument. Forexample, shake when you hear the tambourine, walk for thedrum. The teacher hides the instruments from view. Whenthe teacher plays a particular instrument, the studentsidentify by performing the appropriate movement. A studentmay play the instruments instead of the teacher.

• The teacher sings Well You Walk (120 Singing Games andDances) in various ways as students listen. As the teachersings, students use appropriate movement according todirections (walk, run, hop, skip). The teacher can varydynamics and tempo to complicate the game. If studentsmake an incorrect movement or move after stopping, they’reout.

• Play calming recorded music as children enter or leave themusic room.

Creating

• Use interpretive movement, e.g., running, skipping,tiptoeing, walking, to musical examples played on piano orrecordings (Listening Kit I and Music for Creative Dance).

• See Chapter 19, Move and Dance, An Orff Mosaic fromCanada, for excellent suggestions and strategies usingmovement.

• Listen to recorded music and act out the story, or create ashort story or scene to be dramatized. See above suggestions.

• Act out the words of a song. Individuals can dramatizeassigned character roles while all the students sing.

• Read a story or poem, and at specific words or phrases,characters, or events, ask students to explore and createsounds using the voice, body sounds, environmental sounds,and available classroom instruments, that will reflect theappropriate mood or effect. Discuss their choices.

• Play a musical example. Each student creates his/her ownmovement as he/she moves to another place in the room. Forexample, move from a circle position to small groups, or tomaking a line.

• Students play classroom instruments in the traditionalmanner and explore unusual ways to produce new sounds.









Observe and note individual student responses.

Observe and note creation and/or performance ofmovement or soundscapes.

Students listen to a musical example and circle thecorrect word on their worksheet:

• loud soft• fast slow

Circle the correct picture to indicate mood.

Response/reflection - write a sentence to describehow the song or music makes you feel.

Students aurally identify instruments/sounds.

Musicplay 1Assessment - page x-xii

Listening Kit 1Reproducibles pages 7, 8, 9, 15 and 16 (auralidentification, reflection).

Musicplay 1Goldilocks and the Three Bears (See suggestions

on page 37 for using this story - high/lowvoice, instruments)

#50 - The Bells on the Sleigh - families ofunpitched instruments.

Sound IdeasSee Section I: Games for Choosing Instruments

(also instrument exploration)#16 - Nursery Rhyme - Bow Wow

Listening Kit 1Note: Carnival Of the Animals is to be studiedin Grade 1 by all students.

CD Track 1-4: Environmental SoundsCD Track 6: Royal March of the LionCD Track 8: Wild DonkeysCD Track 12: AquariumCD Track 13: Personages with Long EarsCD Track 17: The FossilsCD Track 18: The SwanCD Track 42: March (harpsichord)Many of these are excellent for movement. See

suggested activities.Peter and the Wolf (See Appendix B). Use for

instruments.

VideosCarnival of the Animals - use in conjunctionwith Listening Kit I

Music for Creative DanceNumbers 1-3 (use scarves or ribbons ifapplicable)

Other:

Poems and stories found in the Language ArtsProgram

See book listings Appendix F




Organizer: Contexts

Performing includes:singingplayingmovingreadingwriting/constructing/diagramming



Includes• songs and games related to their own enviroment - home,

family, events• orchestral music

Performing

• Sing songs that celebrate events, seasons, celebrations. Discussthe traditions associated with each.

• Use opportunities when singing songs and games or listeningto music from another culture to focus on an aspect of theculture. Is it connected to a special occasion? Is it a dance? Isthe song describing life in that culture? Discuss.

• Students perform playalongs with musical selectionsrepresenting art music of various time periods (Listening Kit1).

• Include songs and games from Roots and Branches. Play theCD so that students will hear an authentic performance.Include the cultural and historical background.

Listening• Students share thoughts and feelings about musical events in

the school and in their community.

• Students listen to and reflect upon musical selectionsassociated with seasonal celebrations and special events.Explore the traditions associated with the celebration or event.


• their own and other cultures• special occasions• seasons





Organizer: Contexts

Note: Make connections to other curriculumareas, particularly social studies. Seesuggestions in Listening Kits, Musicplay 1Teacher’s Guide, An Orff Mosaic from Canada.

The Kodály Method IPage 50 - Suggested Songs and GamesPage 190 - The Songs

Roots and BranchesPages 14-17 - Yo Mamana, Yo (Mozambique)Pages 100-103 - Uga Uga Uga (Israel)Pages 182-131 - San Serení (New Mexico)Pages 134-137 - Serra, Serra, Serrador (Brazil)

An Orff Mosaic from CanadaSongs, games, chantsPage 154 - Neighbourhood NoisesChapter 10 - The WeatherChapter 15 - Holidays

Teaching Towards Musical UnderstandingPage 10 - Selecting Musical Styles

120 Singing Games and DancesSee songs for special occasions

Musicplay 1Seasonal, Special Occasion Songs and Songs of

Other Cultures#19 - Kye Kye Koolay (Ghana)#45 - My Candles (Hebrew)#61 - Chinese New Year Song#63 - Git Sagakomim#78 - St. Patrick’s Day Jig#99 - Jugemos En El Bosque (Mexican)#100 - Japanese Frog SongSongs from Newfoundland and Labrador,

Canada, and other countries

See page 87.




Organizer: Contexts

• Use songs and games from Roots and Branches. Play the CDso that students may hear the authentic version. Discuss thecontext of the song, the singing voices, etc.

• Focus on an instrument from a culture or historical period.Play a musical example. Show pictures and discuss how theinstrument is made. Compare to an instrument from ourculture e.g., similarities/differences.

• Students respond through movement when listening torecorded examples (e.g., march) from their own and othercultures.

• Provide opportunities for students from other cultures toshare information about special holidays and occasions.

Creating• Using known elements, students create an ostinato and use as

a playalong to an orchestral selection or a selection fromanother culture or time. (Listening Kit I, Roots andBranches, Musicplay I).

• Students create movement to varied musical selectionsrepresenting their own and other cultures.

• Create movement/dramatize a song, game, or musicalselection depicting an occasion or situation.


• their own and other cultures• special occasions• seasons




Organizer: Contexts


Discuss and note individual’s reaction, verbalresponses when performing or listening to musicfrom a different culture.

Students draw a picture representing a special event,occasion or culture that was found in a song, game ormusical example.

Observe and note appropriate movement for variedmusical selections.

Students write a short response to a posed question,such as

• describe an event with your family or friendswhere there was music

• why does this music sound different or strange?

Observe student engagement when performing songsand games of their own and other cultures.

Musicplay 1Assessment pages x and xi

Listening Kit 1Use selections from different periods of music

history, for example:CD Track 36: Gigue (Baroque dance)CD Track 41: Scarmella (Renaisance)CD Track 42: Marche (Baroque, Harpsichord)

Other:

French Songs Children Love (Theme andVariations)

Recordings of children’s songs and contemporaryselections



Documents

Grade One Organizers