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NINE WAYS TO INTRODUCE NEW SONGS

(Reprinted with permission. Grade 7 Music Guide, Middlesex County Board of Education.)

Interest in music lesson can be created through teaching new songs in a variety of ways andavoiding a straight rote approach. These various ways help strengthen musical skills while newsongs are being taught.

The skills that can be incorporated include:

! reading notation - both shorthand and staff! reading hand signs! writing in various keys! developing tonal memory

! improvising! form analysis! interval singing! rhythmic dictation! recognition of scale forms

1. Hand Signs, e.g., Good-bye Old Paint

! If the song has an unusual skip in it, practice that skip in a warm-up hand sign exercise.Gradually change the sequence of hand signs so that the final series of five or six is the firstline of the melody of the song to be taught.

! Write the syllables for each line on the blackboard as it is learned.

e.g., l s l d l l d m r d

! Write in the rhythms above the notes.

! Analyze the form as to where similarities and differences occur.

! Sing up to tempo and memorize the song.

! Sing with text.

2. Fill in the blanks (either shorthand or staff notation).

! Write parts of the song on the blackboard. Measures are left blank if a certain rhythm orinterval is to be reviewed. It would be a good idea if blank measures contain similar (oreven same) notation as ones which appear on the board. If the tasks are simple, success israpid and confidence is built up.

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! Have the students fill in the missing measures to complete. The teacher sings the notatedpart to syllables and hums the blank measures. It would be best to work on one line onlyat first until the class is able to do this quickly, then do half a song this way, and finally thefull song.

! Analyze the form.

! Memorize and then sing from the text in the music books.

3. Improvisation

! Sing part of the song by rote; then improvise several last lines to a song and then check tosee what the authentic one is.

! The class improvise a 'B' line in an AABA song.

4. Interval training, e.g., "En roulant ma boule roulant":

! The teacher sings the first syllables and writes the interval and direction of the notes tofollow:

mi 9 +2 9 +2 9 P4 9 +2 9 +2 9 +2 9 +2 etc.

! The class figures out the syllables and rhythm and then sings the melody slowly at first, thenfaster:

6 m r d s l s l s m r d s l t d8

! Time signatures and bar lines are added.

! Form analysis and memorize.

! Sing the text.

5. Rhythm dictation

! Write out the rhythm of the song, after reading the words rhythmically.

! Add syllables and sing. Sing with text

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6. Reading Practice

! Teacher sings aloud the first note of each measure while the class sings the whole songsilently.

! The class sings aloud only the first note of each measure.

! The class sings the whole song aloud, slowly at first, then faster.

Variations

! The teacher sings aloud a particularly difficult passage.

! The second time through the class sings aloud when the teacher says "now".

! Individual students sing each line aloud (third or fourth reading).

7. Reading practice

! Teacher writes a simplified version of the rhythm of a song on a blackboard. The classreads it and the teacher gradually makes the rhythm more difficult until it is the rhythm ofthe song to be learned.

! Do the same with melody. Be sure the task is not too long. If necessary, do this with onlyone line at first.

8. Ear training

! The teacher sings the first line to words or to "la". The class sings to "la" and then tosyllables.

! Add the phrase (or line) in the same manner as the above and then sing both phrasestogether.

9. Writing Practice

The class reads the first two lines from the blackboard. The last two lines are done with theteacher signing to "la", the class repeating to syllables, and a student writing the notation on theblackboard.

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THIRTY WAYS TO PRACTICE A SONG

(Reprinted with permission. Grade 7 Music Guide, Middlesex County Board of Education.)

First of all, teach the song well. The class should be able to sing it artistically, in tune, withcorrect rhythm, proper articulation, expressive words and with real enjoyment. To achieve this stage,add different "musical tricks" for the sake of:

! variety of practice! general musicianship training.

Do your best to avoid the mechanical "once more" attitude in practice. This reasonless repetitionkills the meaningful study of music.

The following list is an attempt to assist in the realization of the above:

! Clap the rhythm! Sing silently + tap beat! Sing very slowly + tap beat! Sing faster + beat! Sing faster, starting to memorize. Look up from the music.! Analyze the form—smaller parts, similarities, differences, specialities, relationship of the

details, inner progression, etc.! Memorize consciously! After taking it apart, now put it together! Make it alive! Bring out the musical secrets from the dead paper, such as phrasing,

dynamics, accents, expressions, etc.! Fix breathing places. Write them into the music.! Group interchange

• class - teacher• left row - right row• boys - girls• alternate by: phrase, half phrase, bar, unexpectedly

! Silent - Aloud alternation! Melody - Rhythm alternation! Melody - One ostinato alternation! All of 11, 12, 13 but in two groups at the same time! Song + its own rhythm in canon! Walk to the song or "dance" simple patterns to it! Song + 1 bar ostinato! Song + 2 bar ostinati! Song + 3 or more ostinati, switching theme! Rhythmic instruments present simultaneously 3-4 ostinati to the song. Not more!

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! Inner hearing! "Living Piano/Xylophone"! Select only one rhythmic pattern and, when it occurs, clap it! Name all intervals of the song by singing! Sing with absolute note names and write down from memory; in the original key as well as

in transposition! "Interval Hunting"—how many M6 are in the song?! Compose a text to the melody—poem or prose! Sing and conduct yourself. This should be a regular habit.! Song + its own rhythm from the back

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PART SINGING

Children who experience the joy of singing beautiful music in two or three voices willsurely develop a love of music which will endure throughout their lives.

Choksy, The Kodály Method

To sing in tune and in parts is a major goal of a music program based on singing. It is often saidthat this is an impossible goal in the intermediate general musical class. This is not true. It is wellwithin the capabilities of all music classes—general, instrumental or choral—achieve this goal.

Part singing is a developmental skill. It is best achieved by following a learning hierarchy andsolidifying certain skills before attempting more challenging work. Many students entering theintermediate grades will have participated in part-singing in elementary school. The intermediatemusic teacher must assess the level of competence, reinforce those abilities, and challenge the classwith new experiences.

The following sequence of part-singing experiences is arranged from easiest to most difficult.Teachers should refer to pp. 124-142 in The Kodály Context for additional examples in eachcategory. The suggestions included here may be found either in the Appendix or in one of theRecommended Resources.

Ostinati - first, rhythmic; then, melodic.

! "An Ojibway Lullaby" - Reflections of Canada, Vol. 1! "Summer is A-Comin' In" - Canon Collection! "Ifca's Castle" - Canon Collection

Descants

! "Pine Tree Gently Sigh" - Reflections of Canada, Vol. 1! "Un Canadien errant" - Reflections of Canada, Vol. 1! "The Green Bushes" - Sing the Sea

Two-hand singing of known intervals

! Let Us Sing Correctly - Two Part Exercises in Intonation. Zoltán Kodály. London: Boosey &Hawkes, 1952.

Canons

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! first, rhythmic; then, melodic at the unison; later, melodic at other intervals or with rhythmicvariation (augmentation, diminution).

! See collection of Canons and Rounds in this guide! "Old Abram Brown" - Friday Afternoons (Benjamin Britten)

Root singing

! Sing the root of the I, IV, and V chords as second part. Use this technique with any folk songor composed song.

Two-part singing

! Two-part singing in which the voices are in contrary motion or are imitative of each other. Eachpart has a "tune".

! "Un, Deux, Trois" - Reflections of Canada, Vol. 1! "En roulant ma boule" - Reflections of Canada, Vol. 1

Three-part singing

! Three-part singing of music in which there are canonic or descant like parts.

Two-part singing

! Two-part singing based on thirds and sixths harmony.

Vocal chording

! Vocal chords used as accompaniments to songs and through hand signing.

Three-part singing

! Three-part singing with the upper voices in thirds and sixths harmony and the lower voicesinging the root of the chord.

! "The Cuckoo" - Sing the Sea

Part songs

! Part songs (two or three parts) in which the parts create unusual or dissonant harmonies.! "The Morning Dew" - Sing the Sea

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FOLK SONG ANALYSIS

When using folksongs in the classroom, sing them by rote first to provide the students with anaesthetic experience. Then, look at the notation, sing with syllables, and analyze.

See Ilona Bartalus' analysis of folksongs in Sing, Silverbirch, Sing, especially her discussion of theunique features.

The following analysis is appropriate for student analysis of folk songs. The answers are for "UnCanadien errant", No. 23 (Sing, Silverbirch, Sing).

Scale

! What scale is used for this folk song? (F) Is it do centred or la centred? (do)

! What note is do? (F)

! What is the key signature (1 flat - Bb)

! What notes are found in this song? Sing in solfa and note the different notes that are used.

(do - so1 - mi - re - fa - la)

! Arrange these notes from the lowest to the highest pitch.

(so1 - do - re - mi - fa - so - la)

! Therefore the range found in this song is from so to la.

Form

! How many phrases can be identified in this song? (Four)

! Are all phrases the same length? (Yes)

! How long is each phrase? (6 measures long)

! Are any of the phrases alike? (Yes - the first and second phrases are alike).

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! How about the third and fourth phrase? Are there any ways in which these two phrases arealike? (The last three bars are identical melodically and the rhythm of the first two bars is thesame).

! Using letters to designate phrases, show the form of this folk song. (A A B Bv)

Rhythm

! What is the meter for this folk song? ( 3 )4

! Tap the rhythm. (Teacher establishes beat and class taps the rhythm).

! What do you notice about the rhythm of the four phrases? (Each phrase has the same rhythm).Therefore, the rhythm is isorhythmic.

Paraphrase Text

! What is this folk song telling us about? (A Canadian boy who was exiled from Canada).

! How does this boy feel? (Sad, lonely, homesick)

! What words or phrases tell you this? (Alone, sad, thoughtful, tell them how much I wish thatI could be once more in my beloved land).

Performance Style

! What do you need to think of in performing this song? (Mood, phrasing, dynamics, tempo)

COLLECTING FOLK SONGS

The forms on the next two pages can useful in collecting and analyzing folk songs from thecommunity. They can also be used by the teacher for analyzing folk songs for pedagogical purposes.

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Song Title

Source/Origin

Tone set

Scale

Key Signature

Range

Form

Meter

Theme

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Performance Style

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Title: Type/Style:

Source / page #: Roles:

Author(s) / Publisher: Ethnic origin:

Research notes: Geog. origin:

Musical Analysis Classroom Use

Tone set:

Scale:

Range: Form:

Meter: Cadences:

CSP: Key: Harmony:

Rhythm:

Syllables:

Podia:

Rhythm patterns:

Melodic patterns:

Rhythmic concept(s):

Melodic concepts(s):

Other concept(s):

Readability (melody): K 1 2 3 4 5 6 7 8 SH

Suitability (text): K 1 2 3 4 5 6 7 8 SH

Game: Movement: Dance:

Make Conscious: Y N Element:

Pedagogical Use:

Theme(s):

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Anacrusis: (initial) (interior) (none)

BACKGROUND INFORMATION

Title and Sources

! If field recording title/who sings/when/where

! If print source author/title/date and place of publication/publisher/page reference

! If recorded source author/title/date and place of publication/publisher

Type/Style

General categories: work, emotional, symbolic/protest, children's, ballad, patriotic, historical, mouthmusic, call and response, cumulative, spiritual, partner song, quodlibet, humorous, singing game,sea shanty.

Roles

WHO is the subject of the song or 'about whom', 'by whom', or 'for whom' is the song written orsung. Do not limit roles to occupations, but include such categories as mothers, babies, slaves,lovers, soldiers, gypsies, outlaws, miners, grandfathers, etc.

Ethnic Origin

Ethnic background of singer or folk culture of the song, e.g., French-Canadian, Afro-American,Native people, Canadian, Irish, etc. Also identify the language, if not English.

Geographical Origin

Place where the song was collected, with pertinent notes, such as 'isolated setting', urban setting', etc.

Research Notes

Information about the song given by the singer, or coming from other research, such as when or howit was first used, changes it has undergone, etc. Indicate that the song is a variant or of fragment ofanother song, if known.

MUSICAL NOTATION

Write in G-clef with the last note (final/finalis) on the 2nd line G.Use a new line for each phrase. Upbeats begin the phrase they introduce.

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MUSICAL ANALYSIS

Tone Set

List solfa (from the lowest to the highest in lower case) with spaces for missing tones.Circle the last note in the song (finalis).

Scale

Name the scale:

a. Set of 2-6 consecutive notes (any consecutive notes), use root -CHORD.. bichord dr. trichord drm. tetrachord drmf. pentachord drmfs major pentachord: s1 drmfs. hexachord drmfsl major hexachord(s): drmfsl d

s1l1t1drm

b. Set of 2-5 tones with at least one skip/leap and no semitones, use root + TONIC.. bitonic ms. tritonic msl. tetratonic rmsl. pentatonic drmsl pentatonic scales are named according to the finalis:

. do pentatonic

. re pentatonic

. mi pentatonic .....

c. Diatonic scale - set of 7 consecutive tones. major d - d1

. natural minor l - l1

. harmonic minor l (si) l1

. melodic minor l (fi si) l1 ascendingl1 - l descending

d. Modes - diatonic scales with Greek names. ionian d - d1 (major). dorian l - l1 + fi. phrygian l - l1 + ta

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. lydian d - d1 + fi

. mixolydian d - d1 + ta

. aeolian l - l1 (natural minor)

Types of scales

a. Authentic - tones above the finalis are used in the melody (1-8).

b. Plagal - tones above and below the finalis are equally used (V-5).

If a scale is incomplete, indicate "incomplete ..." e.g., "incomplete major scale".If there is a chromatic inflection, indicate "with chromatic inflections."If the scale is modal, add the Greek prefix HYPO- ("beneath") to the name of the mode.e.g., plagal hypo-ionian (s1l1t1drmfs)

Range

Highest and lowest notes of the song.Notes above the finalis (last note) are shown with Arabic numerals.Notes below the finalis are shown with Roman numerals.

.....III IV V VI VII 1 2 3 4 5 6 ....

Form

Label each line with a capital letter.Use v for variant, e.g., AAv.Transposition is indicated by a superscript numeral, e.g., A2 A5.Identify any strong similarity in smaller units by lower case letters, e.g., A = a + a.

Partial repetition from earlier lines is indicated by subscript lower-case letter of the line from whichthe material is borrowed., ABa. Always mention any significant reminiscence, even one measure.

Dome form - 4 line form in which the two inner lines are in a higher register. This form illustratesthe fundamental compositional principles of symmetry - repetition and return. See Sing, Silverbirch,Sing, p. 29.

Meter

2 3 4 6 also, changing meters

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4 4 4 8

Cadences

The cadence is the last note in each line - use the system to describe range to indicate.Remember that the last note of the song, the finalis, is 1.

Indicate the musical first half of the song by circling the cadence number that closes it, e.g., 1 5 55. When eighth notes are the last note(s) of a line, use the last accented beat.

CSP - Comfortable Starting Pitch

This can be critical in songs with wide ranges.

Key

This is probably the least needed of all the categories, but it can be used as a place to note:. the key in which the song was originally sung (should that be significant). the key in which it can be sung comfortably with children (should match CSP). the key in which it is easiest to play a guitar accompaniment

Rhythm

Compare the rhythm of the lines.

SAME - isorhythmicDIFFERENT - heterorhythmic

Syllables

Count the number of syllables in each line.

If each line has the same number - isosyllabicIf each line has a different number - heterosyllabic

Put the number of syllables in parenthesis after the term, e.g., heterosyllabic (12, 12, 12, 11).

Podia

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Count the number of measures in each line.

SAME - isopodic; also indicate the 'number' in each line (is isopodic) - bipodic, tripodic, etc.DIFFERENT - heteropodic (no number)

Podia is the Greek word for 'feet'. You are really counting the strong accents or the "feet' as in poetry- the number of stresses in each phrase line of the song.

Rhythm Patterns

Prominent rhythmic elements and rhythmic groupings.

Melodic Patterns

Indicates the combinations of intervals or short melodic motives which are in prominent positionsand thus good for extraction and conscious knowledge work. This type of analysis is very helpfulin locating several songs with the same motives, which is often needed in lesson planning.

Anacrusis: initial, interior, none

Indicates the presence of initial and inner upbeats.

CLASSROOM USE

Rhythmic Concepts

Rhythmic patterns that can be extracted for conscious knowledge presentation, either prepare, makeconscious, or reinforce.

Melodic Concepts

Melodic tones or turns that are good for extraction and conscious knowledge work.

Other Concepts

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These could include repeat signs, 1st and 2nd endings, fermata, ties, slurs, etc.

Readability (Melody)

Where does this best fit into your curriculum to be used as a 'teaching song.'

Suitability (Text)

What grades levels is this text appropriate for? Difficulty of text? Age appropriateness?

Game - Movement - Dance

Describe the type of game, movement, or dance. Indicate whether it is large or small motormovement, how many people may be involved and in what form (circle, square, line, etc.), otherrequirements.

Make Conscious

How is the song best used in the classroom? with which element(s)?

Pedagogical Use

Prepare - Make Conscious - Reinforce - Assess

Rhythm patternsMelodic motives or melodic turnsIntervallic specialitiesUseful grade levelPerformance style (mood)Other - dynamics, terminology, harmony, D.C. al Fine, grace notes, modulation, etc.

Themes

WHAT is the subject of the song: animals, food, love, war, flowers, death, transportation,lumbering, fishing, counting, occupations, weather, historical events, holidays, etc.

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FOLK SONG RESOURCES

The Canadian Folk Music Bulletin de musique folklorique canadienne

The Canadian Society for Musical Traditions (formerly Canadian Folk Music Society) exists toencourage the study, appreciation and enjoyment of the folk music of Canada in all its aspects. Italso strives to promote publication and performance of this music and to stimulate national andinternational understanding through a common interest in folk music.

The Canadian Society for Musical Traditions has five publications yearly: four Bulletins and oneJournal. The organization also operates a Mail Order Service which distributes Canadian recordingsof folk songs as well as publications about Canadian folk music.

The Canadian Society for Musical Traditions CSMT Mail Order ServiceBox 4232, Station C 510, 1701 Centre Street NWCalgary, AB Calgary, ABT4T 5N1 T2E 8A4

Folksong in the Classroom

Folksong in the Classroom is a newsletter representing a network of teachers of English, history,music, and the humanities, that is published three times a year. Its purpose is to make available tothe educational community the folk music which is our heritage and which many teachers believeall young people should have access to. The newsletter discusses the nature and the origin of thisheritage, offering suggestions about its classroom use, reviewing books and recordings whereappropriate, and providing supplementary material such as bibliographies, discographies andsongsheets. Materials published in the newsletter may be reproduced for educational purposeswithout permission provided that Folksong in the Classroom and the given sources are credited.Each issue focuses on a specific theme, e.g., Fowls of the Air: Wild and Domesticated, Songs of theSoldiers, Irish Immigration through its Songs and Ballads.

Diana Palmer, Assistant Editor433 Leadmine RoadFiskdale, MA 01518

Research and Retrieval: Music Teacher's Guide to Folk Song Material Selection and Collection.Floice R. Lund. Pro Canto Press, 1981.

Available from:Support Services221 Milk Street

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Westboro, MA 01581

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FOLK SONG COLLECTIONS

Newfoundland and Labrador

Catch ahold this one - Songs of Newfoundland and Labrador, Vol. 1. ed. Eric West (Vinland Music, 1991)

Come and I Will Sing Youed. Genevieve Lehr (University of Toronto Press, 1985)

Songs of the Newfoundland OutportsKenneth Peacock (National Museum of Canada, 1965)

Labrador SongbookTim Borlase and Libby Anderson (Goose Lane Editions, 1993).Contact the Labrador East Integrated School Board for more information.

Canadian

Singing Our History - Canada's Story in SongEdith Fowke and Alan Mills (Doubleday Canada, 1984)

Folksongs of the Maritimes ed. Kaye Pottie and Vernon Ellis (Formac Publishing)

Folk Songs North America SingsRichard Johnston (E.C. Kirby, 1984)

Folk Songs of Canada, Volumes 1 and 2Edith Fowke and Richard Johnston (Waterloo Music, 1954, 1978)

The Penguin Book of Canadian Folk SongsEdith Fowke (Penguin Books, 1973)

Sally Go Round the SunEdith Fowke (McClelland and Stewart, 1969)

Ring Around the MoonEdith Fowke (McClelland and Stewart, 1977)

Sing, Silverbirch, Sing - a collection of Canadian folksongs with analysis

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Ilona Bartalus (Boosey & Hawkes, 1980)

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North American

150 American Folk Songs to Sing, Read and PlayPeter Erdei (Boosey & Hawkes)

Sail Away - 155 American Folk Songs to Sing, Read and PlayEleanor G. Locke (Boosey & Hawkes)

Sing It Yourself - 220 Pentatonic American Folk SongsLouise Larkins Bradford (Alfred Publishing, 15335 Morrison Street, Sherman Oaks, CA 91403,

1978)

Circle Round the Zero - Play Chants and Singing Games of City ChildrenMaureen Kenney (Magnamusic-Baton, St. Louis, MO 63132, 1975)

Vocal/Choral Arrangements of Folk Songs

Sing the Sea - 10 Songs from Newfoundland for Junior/Intermediate ChoirsDonald F. Cook (Waterloo Music, 3 Regina Street North, Waterloo, ON N2J 4A5)

Twelve Songs of Newfoundland (Student Book and Teacher's Guide) - creative projects for unisonchoir and classroom instrumentsDonald F. Cook (Waterloo Music)

15 Folk-Songs from Newfoundland - unison settingscollected and edited by Maud Karpeles; piano accompaniments by R. Vaughan Williams(Oxford University Press)

Reflections of Canada! "Pine Tree Gently Sigh" - two-part! "The Raftsmen" - three-part! "'Twas in the Moon of Wintertime" - four-partJean Anderson, Kenneth Bray, Nancy Telfer, Gerhard Wuensch - ed. by John Barron(Frederick Harris Music, Oakville, ON L6K 2G4)

Sourwood Mountain - 28 North American and English Songs (Two Voices)Philip Tacka and Susan Taylor-Howell (OAKE)

The Owl Sings - 22 Folksongs arranged for 2 or 3 voices ed. Susan Taylor-Howell (OAKE)

Bicinia Americana - 22 Traditional American Children's Songs (Two -Part)

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Erzsébet Szönyi (Boosey & Hawkes)

46 Two-Part American Folk Songs for Elementary GradesDenise Bacon (Kodály Center of America)Distributed by Support Services, 221 Milk Street, Westboro, MA 01581

Bicinia on European Songs, Set One and Set TwoEasy Bicinia on Known Songs, Set One and Set TwoBicinia on American Songs, Set One and Set Two

arranged by Alfred Young (Pro Canto Press)Distributed by Support Services, 221 Milk Street, Westboro, MA 01581

Folk Songs of Canada, Choral Edition - 60 folk songs from Folk Songs of Canada in a varietyof settings, from unison through 2, 3, and 4 partsEdith Fowke and Richard Johnston (Waterloo Music)

Audio/Video Cassettes

An Audio Visual History of Canadian Folk MusicAvailable from the Learning Resources Distribution Centre.

Rufus GuinchardThis video begins with Rufus' reflections about his early life and proceeds with lively scenes ofhis fiddle playing, as well as scenes which tell his story in words and pictures. A teacher's guidecontains suggested activities and background information specifically for Intermediate Music aswell as other levels of the curriculum. Available from the Learning Resources DistributionCentre.

Labrador: A Proud Heritage. This filmstrip kit includes three filmstrips and two cassette tapes. It focuses on the people ofLabrador, past and present, and their relationship to the sea and the land. The music and art ofLabrador are highlighted. This kit was produced by the Labrador East Integrated School Boardand is available from the Learning Resources Distribution Centre.

Folk Songs in The Atlantic Edge.This cassette tape and teacher's guide was produced by the Department of Education to presentthe folk songs in The Atlantic Edge (Grade 5 Social Studies text) in a social and natural context.However, it is appropriate to use at the intermediate level as well. The songs are recorded byAnita Best and the guide contains teaching suggestions, notes on the songs, and bibliographicaland discographical information. Available from Learning Resources Distribution Centre.

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