Sample Curriculum: Level II Musicianship

Level II Musicianship

Curriculum Compiled by Claire Bergen

2

Course Description: The Second-year Level II Musicianship course provides returning 2nd- and 3rd-grade students at YOLA at HOLA the opportunity to develop their skills in music notation; creative movement and dance; non-pitched and barred (Orff) percussion instrument technique; composition, improvisation, and singing. In an environment that supports their musical growth, social growth, and participation in the orchestra, students develop musical literacy, learn basic music theory concepts, practice more complex, multi-part performance pieces, compose and improvise short pieces, and perform folk songs, especially from cultures represented in the student population.

TABLE OF CONTENTS

Mission Statements and Applied National Music Standards 3

Musical Goals 4

Social Goals 7

Calendars

Class Schedules and Quarter Calendars

9

Rules & Procedures 10

Repertoire

List, Function, and Full Scores

11

Lesson Plans

Two Representative per Quarter, per Class

13

3

Mission Statements

HOLA Mission Statement: HOLA provides underserved youth with exceptional programs in academics, arts and athletics within a nurturing environment, empowering them to develop their potential, pursue their education and strengthen their communities. HOLA Core Values: Respect, Responsibility, Positive Communication, Support. YOLA Mission Statement: Through Gustavo Dudamel's Youth Orchestra LA (YOLA) program – inspired by Venezuela's revolutionary El Sistema – the LA Phil and its community partners provide free instruments, intensive music training, and academic support to students from underserved neighborhoods, enabling every child to contribute using their full potential.

Applied National Music Standards

1. Performing on instruments, alone and with others, a varied repertoire of music. 2. Improvising melodies, variations and accompaniments. 3. Composing and arranging music within specific guidelines. 4. Reading and notating music. 5. Listening to, analyzing, and describing music. 6. Evaluating music and music performances. 7. Understanding relationships between music, the other Arts, and disciplines outside the Arts. 8. Understanding music in relation to history and culture. 9. Singing, alone and with others, a varied repertoire of music.

4

Musical Goals

Year End (August)

1. Students read staff notation and understand basic music theory concepts

Objectives

● Identify solfege, fingerings of all notes in 1st position on their instrument

● Read dotted quarter and half notes, syncopation, and eighth note triplets

● Identify and compare ¾ and 4/4 time signatures

● Describe sharps, flats and naturals and identify C, D, G, F key signatures

● Use Roman numerals to represent scale degrees and identify basic intervals

Evaluation Methods

● Sing and play music from standard staff notation; observation in class

● Evaluation of this skill takes place in strings class/string ensemble as well

CA State Standards Met

1.3 Read, write and perform rhythmic notation, including sixteenth notes, dotted notes, and syncopation. (4th)

1.1 Read, write, and perform melodic notation for simple songs in major keys, using solfege. (4th)

1.1 Read, write and perform intervals and triads. (6th)

National Standards Met

4. Reading and notating music.

7. Understanding relationships between music, the other Arts, and disciplines outside the Arts. (Drawing connections between math and music for rhythms)

2. Students perform more complex pieces on recorder and barred instruments

Objectives

● Play accompaniments on barred instruments in major keys, w/chord changes

● Accompany songs with several simultaneous ostinati of 2 or more measures

● Read and perform melodies on recorder in C and D major in a 1 octave range

Evaluation Methods

● Observation of students during classes and performances; playing solos; student self-evaluation


2.2 Use classroom instruments to play melodies and accompaniments from a varied repertoire of music from diverse cultures, including rounds, descants, and ostinatos, by oneself and with others. (4th)

5.4 Evaluate improvement in personal musical performance after practice of rehearsal. (4th)

3.2 Sing memorized songs from diverse cultures. (3rd)

3.3 Play memorized songs from diverse cultures. (3rd)

5


Performing on instruments, alone and with others, a varied repertoire of music.

6. Evaluating music and music performances. (Students self-assess their performance as they learn the pieces)

8. Understanding music in relation to history and culture. (Use of folk songs, discussing the meanings of the songs and identifying the cultures they are from)

9. Singing, alone and with others, a varied repertoire of music.

3. Students can improvise, compose and perform short melodies

Objectives

● Freely improvise pentatonic melodies on barred instruments

● Improvise question-and-answer phrases with melodic movement

● Notate and perform 4-bar melodic compositions in 4/4 and ¾ time

Evaluation Methods

● Written composition assignments; student solos for improvisation


5.2 Identify what musicians and composers do to create music. (3rd)

2.3 Compose and improvise simple rhythmic and melodic patterns on classroom instruments. (4th)

2.4 Create short rhythmic and melodic phrases in question-and-answer form. (3rd)


2. Improvising melodies, variations and accompaniments.

● 3. Composing and arranging music within specific guidelines.

● 4. Reading and notating music. (composition tasks assess reading ability)

4. Students perform more complex singing games and folk dances of different cultures

Objectives

● Perform singing games requiring large group cooperation and coordination

● Folk dances in circle of pairs w/ longer movement sequences, changing partners

● Choreograph and perform simple dance sequences to specific music

Evaluation Methods

● Observation during class, student self-evaluation


5.3 Relate dance movements to express musical elements or represent musical intent in specific music. (4th)

4.2 Create developmentally appropriate movements to express pitch, tempo, form, and dynamics. (3rd)


● 7. Understanding relationships between music, the other Arts, and disciplines outside the Arts. (Students draw connections between dance and music)

● 5. Listening to, analyzing, and describing music. (Students move in response to elements in music they hear)

6

Fall Quarter (September–December)

1. Students expand range of notes they can read, and are introduced to sharps and meter

Objectives

● Identify solfege, fingerings of notes on G, D and A strings in their clef

● Read dotted quarter and half notes and triplets

● Aurally identify songs with duple and triple meter

● Identify F# and F in music notation and play on barred instruments

Evaluation Methods

Observation and discussion in class, reading songs on bars from the board

Composition assignments

Evaluation of this skill takes place in strings class/string ensemble as well

2. Students play melodies, 2-bar melodic ostinati on Orff inst.; notes G-D’ on recorder

Objectives

● Accompany songs with melodic ostinati in major keys

● Switch F and F# bars as needed according to key signature

● Accompany songs with three simultaneous ostinati/borduns (pitched/non)

● Read pentatonic melodies from notation on barred instr.

● Read and perform melodies on recorder with notes G to D’ (left hand)

Evaluation Methods


3. Students compose longer rhythms and improvise melodies

Objectives

● Notate and perform 4-bar compositions in 4/4 time

● Continue improvising question-and-answer phrases

● Notate longer melodies in a limited pitch range

Evaluation Methods


4. Perform partner hand-claps, simple social dances, movement sequences

Objectives

● Work with partners to learn and perform hand-clap patterns

● Perform simple social dances in longways sets

● As a class, choreograph a series of movements in 8-beat phrases

Evaluation Methods


7

Winter Quarter (January–March)

1. Students develop proficiency in reading and compose rhythms in duple and triple meter

Objectives

● Read notes on G, D and A strings on barred instruments in their clef

● Read dotted quarter and half notes, triplets, and syncopation

● Read and write music using modified time signatures in 3/4 and 4/4 meter

● Identify F/F#, B/Bb in music notation and play on barred instruments

Evaluation Methods

Observation and discussion in class, reading songs on bars from the board

Note-reading games with boomwhackers and large staff flashcards

“Mystery song” activity: identifying familiar repertoire from its notation

Evaluation of this skill takes place in strings class/string ensemble as well

2. Students play orchestra rep on barred instruments and songs in D major on recorder

Objectives

● Play songs in C, G, F major by ear and from notation on barred instruments

● Switch F/F# bars and B/Bb bars as needed according to key signature

● Read and perform melodies on recorder in D major in their instrument’s clef

● Students spend time in “studios” practicing their string instr. independently

Evaluation Methods


● “Mystery song” activity

● Observation during “Studio” time

3. Students notate and compose short melodies with support

Objectives ● Notate and perform 4-bar compositions in 4/4 and 3/4 time

● Add melody to rhythmic compositions within a limited range

Evaluation Methods

● Written composition assignments

4. Perform cooperative group games and more complex partner games

Objectives ● Work with partners to learn and perform more complex hand-clap patterns

● Perform group games/dances requiring cooperation as a class

Evaluation Methods


8

Spring Quarter (April–June)

1. Students read full range of the staff and are introduced to basic music theory concepts

Objectives

● Identify solfege, fingerings of notes on all 4 strings of the instrument

● Describe familiar rhythmic values using fractions, standard note names

● Introduction to standard time signatures

● Aurally identify half and whole steps and identify the major scale pattern

● Identify scale degrees using Roman numerals

●

Evaluation Methods

Observation and discussion in class, reading songs on from the board

Identify time signatures, sharps and flats in orchestra sheet music

Ear training games in class, (written assignments)

●

2. Students accompany with chord changes, longer osti., play in C major on recorder

Objectives

● Accompany songs on barred instruments with I, IV and V “chords” (I/V)

● Spend time in “studios” practicing music indepently

● Layer 3 different rhythmic ostinati including 4-bar ostinati

● Read and perform melodies on recorder in C major in their instrument’s clef

●

Evaluation Methods


● Observation during “studio” time ●

3. Students compose and perform short melodies

Objectives ● Compose and perform 4-bar melodic compositions

Evaluation Methods


4. Students perform more complex social dances

Objectives

● Perform social dances in circle of couples formation

● Switch partners smoothly with full-group cooperation

● Perform dosido, promenade (“skaters pose”), and grand right and left

Evaluation Methods

● Observation during class

9

Summer Quarter (July–August)

1. Students read staff notation and understand basic music theory concepts

Objectives

● Identify solfege, fingerings of all notes in 1st position on their instrument

● Read dotted quarter and half notes, syncopation, and eighth note triplets

● Identify and compare ¾ and 4/4 time signatures

● Describe sharps, flats and naturals and identify C, D, G, F key signatures

● Use Roman numerals to represent scale degrees and represent basic intervals

Evaluation Methods

● Sing and play music from standard staff notation; observation in class

● Identify and describe key signatures and time signatures in orch music

● Evaluation of this skill takes place in strings class/string ensemble as well

2. Students perform more complex pieces on recorder and barred instruments

Objectives

● Play accompaniments on barred instruments in major keys, w/chord changes

● Accompany songs with several simultaneous ostinati of 2 or more measures

● Read and perform melodies on recorder in C and D major in a 1 octave range

Evaluation Methods


3. Students can improvise, compose and perform short melodies

Objectives

● Freely improvise pentatonic melodies on barred instruments

● Improvise simple pentatonic phrases on recorder

● Improvise question-and-answer phrases with melodic movement

● Notate and perform 4-bar melodic compositions in 4/4 and ¾ time

Evaluation Methods


4. Students perform more complex singing games and folk dances of different cultures

Objectives

● Perform singing games requiring large group cooperation and coordination

● Folk dances in circle of pairs w/ longer movement sequences, changing partners

● Choreograph and perform simple dance sequences to specific music

Evaluation Methods


10

Social Goals

Year End (August)

1. Students feel ownership of routines and engage in self-directed behavior

Objectives

● Students join in activities that have already started without disruption

● Students help latecomers get settled and caught up on the activity

● Students self-regulate needs for bathroom, water, rest

● Students take responsibility for setup/breakdown of the classroom

● Students practice during “studios” and do written work independently

Evaluation Methods


● Self-assessment and earning links

2. Students take on leadership roles at YOLA@HOLA and exhibit “team spirit”

Objectives

● Students can explain the role of their team in the orchestra as a whole

● Students fully participate in and describe the value of full-group activities

● Students contribute to group cooperation games and social dances

● Students demonstrate orchestra skills for younger students

Evaluation Methods

● Discussion with students

● Observation during class and in string ensemble

3. Students work in pairs and small groups, teaching and evaluating their progress

Objective

● Students independently practice and perform duets for the class

● Students self-evaluate music and behavior progress using specific criteria

● Students evaluate others’ music/behavior progress using specific criteria

● Students independently teach younger students musical and social skills

Evaluation Method


Fall Quarter (September–December)

1. Students follow and lead others in classroom routines

Objectives

● Students enter quietly when late and join in the activity when invited

● Students help others to follow routines without disrupting the activity

● Students take minimal bathroom/water breaks during class, ask for a break

● Students set up/put away own materials and help whole class clean up

● Students do written work (compositions) independently

11

Evaluation Methods

● Observation, self-assessment, clip chart

2. Students identify with their team, model skills for younger YOLA@HOLA students

Objectives

● Students know what groups make up an orchestra, and fully take part in it

● Students fully participate in whole-group dances and support group goals

● Students demonstrate orchestra skills while participating in full orchestra

Evaluation Methods

● Observation and discussion

3. Students work in pairs, teaching each other and learning to evaluate progress

Objectives

● Students practice duets in pairs and perform for the class

● Students learn how to self-evaluate what was good and what could improve

● Students teach younger and newer students familiar skills and procedures

Evaluation Methods


Winter Quarter (January–March)

1. Students take on ownership of routines and learn self-directed behavior

Objectives

● Students enter quietly when late and join in the activity with help

● Help others follow routines without disrupting or being asked

● Students get water/use bathroom during break time only, ask for breaks

● Students set up/put away their own and others’ materials

● Students learn to practice independently in “studios”

Evaluation Methods

● Observation, self-assessment, links

2. Students show “team spirit” and model skills for younger students

Objectives

● Students know how their team fits into the orchestra

● Students actively contribute to full-group dances and activities

● Students demonstrate and describe full orchestra skills in rehearsal

Evaluation Methods

● Discussion and observation

12

3. Students work in pairs, teaching and evaluating their progress

Objectives

● Students practice duets and perform for the class with less support

● Students self-evaluate, learning to use specific criteria for improvement

● Students learn to use constructive criticism to evaluate others’ progress

● Students teach music and social skills one-on-one, with less support

Evaluation Methods

● Observation

Spring Quarter (April–June)

1. Students feel ownership of routines and practice self-directed behavior

Objectives

● Students join in activities that have started with minimal disruption

● Students independently help others follow routines/latecomes get settled

● Students learn to self-regulate needs for bathroom/water/rest

● Students setup/break down the classroom with minimal instruction

● Students practice in studios and do written work with minimal support

Evaluation Methods

● Observation, self-assessment, earning links

2. Students model “team spirit” and lead others at YOLA@HOLA

Objectives

● Students know and discuss their role in the orchestra

● Students describe the importance of their role in full-group activities

● Students participate in games/dances requiring cooperation of the group

● Students demonstrate orchestra skills for guests

Evaluation Methods

● Discussion, observation in class and string ensemble


Objectives

● Students practice duets and perform for the class with minimal support

● Students use specific criteria to evaluate their music/behavior progress

● Students use constructive criticism to evaluate others’ progress

● Students teach music and social skills to others with minimal support

Evaluation Methods

● Observation

13

Summer Quarter (July–August)

1. Students feel ownership of routines and engage in self-directed behavior

Objectives

● Students join in activities that have already started without disruption

● Students help latecomers get settled and caught up on the activity

● Students self-regulate needs for bathroom, water, rest without a playtime

● Students practice independently during “studio” time

● Students take responsibility for setup/breakdown of the classroom

Evaluation Methods


● Self-assessment and earning links

2. Students take on leadership roles at YOLA@HOLA and exhibit “team spirit”

Objectives

● Students can explain the role of their team in the orchestra as a whole

● Students fully participate in and describe the value of full-group activities

● Students contribute to group cooperation games and social dances

● Students demonstrate orchestra skills for younger students

Evaluation Methods

● Discussion with students

● Observation during class and in string ensemble


Objectives

● Students independently practice and perform duets for the class

● Students self-evaluate music and behavior progress using specific criteria

● Students evaluate others’ music/behavior progress using specific criteria

● Students independently teach younger students musical and social skills

Evaluation Methods


14

CALENDAR Concerts and Major Program Events (11/12)

September 19–20 Returning Student Orientation

September 21 New 1/3 grade Orientation

September 22 New 4th/5th grade Orientation

October 27 Team Mahler and Ravel Perform at the Convention Center

November 5 Paper Orchestra and YOLA at HOLA Fall Concert!

November 10 Holiday of the Heart Performance (Team Mahler and Ravel)

December 6 YOLA at HOLA Service Learning Project Performance at St. Barnabas Senior Center

December 10 Eli Epstein (former Cleveland Symphony Horn) Brass Clinic for YOLA at HOLA

December 12 YOLA at HOLA Winter Concert at La Fayette Park

January 23

Simon Bolivar Symphony Orchestra Winds Workshop and Park Performance with YOLA at HOLA Wind Students

January 27 Simon Bolivar Symphony Orchestra Strings Workshop and Park Performance with YOLA at HOLA String Students

January 30 YOLA at HOLA Winds and YOLA at EXPO Chamber Orchestra combined concert with Simon Bolivar Symphony Orchestra

February 14 Team Brahms and Strauss Special Valentine’s Day Performance

March 10 YOLA at HOLA Concert!

March 24 YOLA at HOLA and LACC Workshop

April 21

YOLA Neighborhood Project- First Congregational Church (W.6th and Commonwealth)

May 5 YOLA at HOLA performance at Walt Disney Concert Hall

June 16 YOLA at HOLA Spring Concert

June 22 YOLA at HOLA Team Mahler and Ravel play Hollywood Bowl

June 27 HOLA Graduation

15

Rules & PROCEDURES

Lower Elementary Rules: Corresponding Goal / Core Value

Have Fun!

Building community and friendship through music

● Positive Communication

● Support

Listen ● Respect

● Responsibility

Respect each other and our instruments ● Respect

● Responsibility

Quiet voices in the hall Respect

Try your best Responsibility

Work together

● Support

● Responsibility

● Positive Communication

Follow Directions ● Responsibility

● Respect

Musicianship Classroom Procedures: Corresponding Goal / Core Value

Wait to touch instruments until invited ● Responsibility

● Respect

When arriving late, enter quietly and ready to learn ● Respect

● Responsibility

Respond quickly to quiet signals and put instrument in rest position

● Respect

● Responsibility

Get water/snack/use bathroom before class starts ● Responsibility

Raise hand to speak ● Respect

Show “time out” sign if you need a break; stay in the TACET area, use the timer and return to the group when time is up

● Responsibility

Encourage others to participate non-verbally and without touching/with gentle touch

● Support

● Respect

● Positive communication

16

Repertoire (*=songs for performance)

Singing Games:

Name Function John Kanaka

● Partner hand-clap game, quarter/eighth/sixteenth notes

Don Martin ● Dia de los Muertos, partner hand-clap game

Al Citron ● Group cooperation, steady beat, Mexican children’s game

Eeyay ● Group cooperation, fun, Chinese and Korean culture

Paketumbeme ● Spanish partner hand-clap song

Soup, Soup ● Syncopation, call/response, improvisation, fun

Who Stole the Cookie from the Cookie Jar?

● Swing rhythm, steady beat, call/response

Rhymes:

Name Function

Fudge, Fudge ● Rhythmic notation, improvisation on rhythm of the words

Where’s Your Turtle Shell? Eve Kodiak ● Focus, awareness of the core, movement from the core

X Marks the Spot Eve Kodiak ● Safe touch, develop proprioceptive sense

Boom Chick-a Boom ● Swing rhythm, call/response, fun

Songs accompanied/played on barred instruments:

Name Function

“Fishing” (8. Spielstucke) Gunild Keetman

● Transferring a melody from singing to instruments ● Sight-reading a melody on instruments ● Problem-solving (melody moves below the tonic)

*Toraji ● Korean folk repertoire ● Ostinati in ¾ time, layering and arranging 3 ostinati ● F major (switching F and F# bars on instruments)

*African Noel arr. Kriske and DeLelles

● Dotted quarter note and syncopated rhythms ● Non-pentatonic ostinati ● 3 ostinati

“Banana Canon” (46. Funf Kleine Kanons) Gunild Keetman

● Transferring a rhythm from body percussion and melody from singing to instruments

● Instrumental canon

Ode to Joy, Aunt Rhody, Finlandia, Blue Danube, Eine Kleine

● Sight-reading repertoire from the staff that is familiar from having played it on violin/viola

● Playing in major keys with all bars on

*Bahay Kubo ● Filipino folk repertoire ● Chord changes

*I like the Flowers ● Chord changes

17

Recorder repertoire:

Name Function The Cuckoo ● First song on recorders – notes A and C’

C Jam Blues ● Jazz, improvisation ● New note D’

Improvise Your Own Song Richard Sher

● New note G, swing rhythm

*Jingle Bells ● First performance, holiday repertoire

Who has Seen the Wind? ● New note E/right hand

*Twinkle, Twinkle ● New notes D and F#

Ode to Joy ● Reinforce orchestra repertoire, reading

*Finlandia ● New notes C and F natural; reinforce orchestra repertoire

Songs accompanied/played on non-pitched percussion:

Name Function

Xolotl Michael Heralda

● Repertoire based on Aztec culture ● Layering 3 rhythmic ● ostinati

What’s Your Name Tiny Surfer This is the Part for the conga drums... Jim Solomon

● Drum circle activities: call/response, “jam” rhythms

*Ahrirang ● Korean folk repertoire ● Four-measure ostinati ● Three layers of ostinato

Jazz Repertoire:

Name Function

*Step Back, Baby Arrangement by Doug Goodkin

● Performance piece with cellos, recorders, barred and non-pitched percussion, singing, movement, improvisation.

● Elements of jazz and African American music

Dances and pieces for listening/movement:

Name Function

Body Music Keith Terry

● Perform complex rhythms using body percussion

● Layer two different rhythms simultaneously

Blue Danube (waltz) ● Feel ¾ time, learn basic social dance step, support string ens. rep

Chinese Dance Tchaikowsky

● Choreography; feeling 8-beat phrases

Heel and Toe Polka ● Social dance, circle of partners, switching partners

La Bastringue ● Social dance steps (do si do), circle of partners

Lucky Seven ● Social dance, changing partners in more complex pattern

18

Lesson Plans I. Moving in 3

Moving, playing and composing in duple and triple meter

Aim: Students will be able to accompany a song and compose rhythm patterns in ¾ time

Materials: pocket chart, rhythmic notation cards, recording of Blue Danube, barred instruments

Assessment: Students accompany a song with a 3-beat bordun; aurally identify new songs as having a 3-beat or 4-beat pattern, and compose and perform short rhythmic phrases in ¾.

Procedure week 1: 1. Students learn to dance a basic waltz “box step”: All facing the teacher, step in the same direction in a pattern of big-small-small, big-small-small, or left-small-small, right-small-small. Play music to Blue Danube (students are also playing this in string ensemble); students dance to the piece.

2. Discuss our dance step pattern, determine that it is a pattern of 3 steps/3 beats. Show modified time signature for ¾ time (with a drawing of a quarter note instead of a 4: Ta is a beat and this is a 3 beat pattern.)

3. Sing Toraji, which we have been learning, and pat a bordun of left-right-crossover while singing. Discuss what is missing from the pattern we previously learned (the clap on the 4th beat). Determine that this song also has a 4. 3 beat pattern and write the modified time signature.

5. Sing Toraji accompanied by the 3-beat bordun on barred instruments.

Procedure week 2: 1. Review the big-small-small step we learned to the waltz. Get in partners and dance the step together (to the door-small-small, to the piano-small-small, etc.) Dance to Blue Danube.

2. Review the Toraji 3-beat bordun. Play a 4-beat bordun (i.e. from Hakkyo Jong) for the students and discuss the difference. Play a variety of ostininati/borduns and ask students to identify whether they are 3-beat or 4-beat patterns.

3. Go to the rhyhmic notation chart and place a card with the modified ¾ time signature on it at the beginning of the line. Ask students to take turns placing cards next to it that equal 3 beats.

4. Clip a clothespin (“bar line”) after 3 beats and ask students to continue adding beats. Ask if they can figure out where to put the next clothespin (after 3 beats).

5. Switch to a modified 4/4 time card and do the same.

Procedure week 4

1. Students compose 2- or 4-measure rhythmic compositions in ¾ and 4/4 time, on sheets with modified time signatures marked at the beginning of each line.

II. The Cuckoo and C Jam Blues

First songs on recorder and early improvisation

Aim: Students will be able to play the notes A, C’ and D’ on the recorder and improvise short rhythmic patterns

Materials: Recorder CD by Richard Sher, recorders, recorder fingering charts, recording of Miles Davis’ C Jam Blues

Assessment: Play The Cuckoo and C Jam Blues as a class, all students taking turns at solos

19

Procedure week 1:

1. Students can already play short rhythms on the recorder on the note B. (Ideally students played the singing game to The Cuckoo in their first year). Play a rhythm for them on A with fingering charts on the board. Ask students to identify the note and echo. Play a “cuckoo clock” sound on C’-A. Ask students to echo, and discuss how I did it (picking up/putting down index fingers).

2. Slow down the pattern and teach by echo the song The Cuckoo (“cuckoo, where are you?”) Students practice individually, play solos. Play accompanied by the recording, waiting during the solo section.

Procedure week 2:

1. Play the song again with the recording. During the solo section, “twiddle” for the students. (fast C-A trill). Ask students to try it, play solos. Play with the recording again, this time taking turns playing “twiddle” solos during the solo section.

2. Introduce C Jam Blues by playing the original Miles Davis recording, discussing jazz and some of the patterns the students hear, including the main “riff” (sing it on “da da”).

Procedure week 3:

1. Teach the main “riff” of C Jam Blues (in D) by echo. When we get to the D, discuss how I did it (removing index finger and thumb). How did I do it without dropping the recorder? Discuss importance of using both hands to hold the recorder.

2. Play the “riff” with the recording in D. After students are proficient with it, start improvising short rythmic patterns on D’ during the rest on the last bar of the phrase. Discuss how I did it (only on D, short, making up my own rhythm).

3. Students demonstrate making up short rhythms on D. Play again with the recording, pointing to students one at a time to “solo” on the last bar of the riff.

III. Mystery Songs

Practicing reading staff notation by “decoding” the notation of familiar songs

Aim: Students will be able to identify familiar melodies by reading their standard notation.

Materials: “Mystery Song” handouts, xylophones/glockenspiels and mallets, pencils, (boomwhackers)

Assessment: Discuss our answers on “mystery song” handouts.

Procedure: 1. Review the staff and name notes within the range students are familiar with (D and A strings, G string?)

2. Write the notation of the first 4 bars of a familiar song (i.e. Ode to Joy) on the board in the students’ instruments’ clef and label it “mystery song”

3. Take students’ guesses as to what the song might be. If some already know, ask how they figured it out (singing the solfege in their head? Clapping the rhythm?)

4. With students, figure out and write the solfege of the first few notes on the board. Sight-sing the solfege with the students. If they still don’t figure out the song, they can get xylophones and glockenspiels and work in pairs. Ask them to figure out on their own what the song is.

5. Discuss what strategies they used: clapping rhythm; sight-singing solfege; figuring out the solfege by counting up from Do or Re; playing the solfege on a xylophone; finding the notes on the xylophone that look the same (each bar has its notation painted on it).

20

6. Hand out “Mystery Song” handouts with 3-4 songs on a page, have student get pencils and work independently or with a partner to “decode” all of the songs.

Follow-Up: Students can try this activity using boomwhackers. In future lessons, songs with different key signatures can be included on the same page, and students must change the bars on their xylophones (F/F#, etc) depending on the key of the song.

IV. Notation Challenge

Reading notes on the staff by using boomwhackers

Aim: Students will be able to identify staff notation of notes on the G, D and A strings using Boomwhackers.

Materials: boomwhackers, large cards with notation of notes on the G, D and A strings

Assessment: Students play the notation challenge game

Procedure: 1. Divide students in 2 teams (violins/violas if applicable). Each team has a full set of boomwhackers to work with. Teacher has a set of 8 ½ x 11 cards with one note on a staff per card.

2. Choose 4 students on each team to come to the front of the room and face their teammates. Give each student a card to hold, with the back to their teammate.

3. On “go”, the 4 students in front of their teammates flip their cards, creating a 4-note melodic pattern. The rest of the team must find the 4 corresponding boomwhackers and sit in the same order as the cards, facing the cards. The first team to sit down with 4 correct boomwhackers wins the round and gets a point. When both teams are done, they play their melodies.

4. Continue, giving the 4 students in front of their teammates different sets of cards, until one team wins by getting to a predetermined number of points.

Follow-Up: When first played, the notes on the staff cards can be color-coded to match the boomwhackers (i.e. Do is red). When students are comfortable with this, switch to black notes. Discuss strategies for finding the note (i.e. memorizing where Do is and “counting up”).

V. Ear Training: “Jaws” vs. “Are You Sleeping”

Identifying whole and half steps by ear and in written notation

Aim: Students will be able to aurally identify whole and half steps and name notes that are a whole step or half step apart.

Materials: xylophones, glockenspiels, mallets

Assessment: Students play a major scale on an instrument and name all of the whole and half steps they play

Procedure:

1. Play the theme from “Jaws” on a xylophone. Ask students where they have heard this (the movie; Dvorak Symphony No. 9.) Play and sing “Are You Sleeping” with the students. Explain that some notes that are next to each other sound like “Jaws” and are called ½ steps. Other notes that are next to each other sound like “Are You Sleeping” and are called whole steps.

2. Quiz them by playing two adjacent notes, asking them if it “sounds like Jaws” or “sounds like Are You Sleeping.” If they are unsure, play the two notes over and over as in the “Jaws” theme and ask if it “sounds right.” Play the first phrase of “Are You Sleeping” and ask if that “sounds right.” For a whole step, if students are still not sure, play “Jaws” on two notes that are a ½-step apart and ask them which one “sounds better.”

21

3. Have students come up to the bass xylophone and play examples of adjacent notes for each other, quizzing each other.

4. Ask students to work with a partner and get a xylophone. With their partner, “test” out pairs of notes that are next to each other by playing the two songs starting with those 2 notes and listening for which one “sounds right”. Find at least one example of a half step and one example of a whole step. Share with the class what you found.

Follow-Up: Once students are quite familiar with the intervals, start calling them half-steps and whole steps (occasionally reminding them which is which by playing the songs). With the students, write all of the notes in a major scale that they are familiar with (and can be played on a xylophone; i.e. C, F, G). With the students, figure out what the interval is between each of the notes. Do this with several scales until they can find the pattern. From here, key signatures can be discussed. (If we want to keep the same pattern and start on D, which notes will be sharp?) Students can find half and whole steps on their instruments and discuss how their fingers are slightly further apart when they play whole steps, how a sharp makes a notes a half step higher/a flat makes a note a half step lower.

VI. Chords and scale degrees

Accompanying a song with chord changes: Bahay Kubo

Aim: Students accompany a song with changing chords, playing the 1st and 5th of I, IV and V chords in the song. Students understand how Roman numerals can be used to describe scale degrees, and can find the 5th note in a key or chord when given the tonic.

Materials: xylophones, glockenspiels, sheet music with space for students to write in chords

Assessment: Students perform Bahay Kubo in a concert using “sheet music” where they have written in the solfege for the I, IV and V chords in the song

Procedure:

1. Write the notes of a do/C major scale on the board. Explain that we are going to give each note a number, writing a Roman numeral I under the 1st note. Ask students to identify the Roman numerals as we write each one next to a solfege syllable.

2. Erase the scale and write only I, IV and V. Explain that these are the numbers (“scale steps”) that we need to know for our song, and give them I (sol, in this case). Ask them how we can figure out IV and V, using our fingers to count up from the first note (make sure we count the first one as “I”), singing the solfege as we go, until we get to IV and V.

3. Try this on several days, with different notes as I. Use xylophones to help, asking students to name different notes as I and then finding IV and V by counting up on their instrument.

4. Once students are familiar with finding scale steps I, IV and V, explain that we are going to make chords. Students are familiar with playing borduns (accompanying a song with a steady beat on scale steps I and V). Name the note that is going to be “I” and ask them to identify the note that “goes with” the I, IV and V notes and write these on the board. Say “I”, “IV” or “V” and ask them to tap the corresponding notes of the “chord” on their instrument.

5. Meanwhile students have been learning to sing the song (Filipino folk song “Bahay Kubo”). Hand out sheet music with the words and the Roman numerals for the chord in each measure. After giving them I (sol) and reviewing on the board which notes will go in the I, IV and V chords, ask them to write in the notes that go in each measure.

6. Practice playing and singing the song, using the students’ notation.

Follow-Up: Continue to practice the song to bring it to performance level.

22

VII. Building a Jazz Band

Creating an arrangement of the song from an African American singing game using basic elements of jazz

Aim: Students will create an arrangement of “Step Back, Baby” using multiple layers of instruments, singing and movement, incorporating jazz elements

Materials: Xylophones, glockenspiels, cellos, cymbals, tambourines, large drums that can be played with mallets/drum sticks, full drum kit, recordings of jazz

Assessment: In-class performance of “Step Back, Baby” arranged by students and incorporating as many elements of jazz as possible

Procedure week 1:

1. Sing “Boom chick-a boom”, which students are already familiar with, with a swing rhythm.

2. Listen to a recording of big band jazz and see if students can hear the “chick-a-boom chick-a-boom” swing rhythm. Ask them to lightly tap the rhythm with their hands. Turn off the recording and give a students who are “in the groove” small cymbals with mallets to play the rhythm, still saying the words “chick-a-boom chick-a-boom” aloud.

3. Sing and play “Soup, Soup”, pat-clapping the beat. When students are comfortable with it, take out the pat and clap the off-beats. (more on the game under “Jazz improvisation.”)

4. Ask students to tap “chick-a-boom” again and choose a few more to play the rhythm on cymbals.

5. When they are secure, clap the off beats, invite students to join, and give tambourines to a few students who have solid off-beats. Continue saying “chick-a-boom” aloud and evaluate how we did at combining two elements of jazz.

6. Sing “Step Back Baby” as a call-response song, with movements. When students have learned the response, sit down again with instruments and choose students to play the two rhythmic ostinati. Evaluate how we did at combining the two elements of swing rhythm and off-beats to the song.

Procedure week 2:

1. Explain that we are learning to be a jazz band and ask students to recall what parts we learned to play last week. List “rhythm” (swing), “off-beats,” and add “percussion.” Add other elements of jazz to the list from Langston Hughes’ The First Book of Jazz: improvisation, riff, syncopation, bass line, and joy of playing. At the beginning of each class, note which elements we have learned so far.

2. Sing “Step Back Baby” again, this time accompanying on bass xylophone with a simple bass line. Students help figure out by watching and listening what the bass line is, and notate it on the board. Students choose xylophones or cellos to play the bass line, and all accompany the song. Assign students to off-beats and swing rhythm. Evaluate progress.

Procedure week 3:

1. Review elements of jazz we have learned. Present notation of the riff (from Now’s The Time by Doug Goodkin) from Blackbird’s Party. Students learn the riff on xylo/glock, recorder or string instruments.

2. Combine off-beats, swing rhythm, bass line, riff and the words of the song. Evaluate progress.

Follow-Up: At this point, students can begin adding improvisation (see below). A syncopated rhythm can also be added by playing the rhythm of the words “Soup, Soup” or adding another eighth note for “Soup-y soup” on a low-pitched drum. Students can be exposed to more examples of jazz (especially swing era), older students in a jazz band, and more. All of the elements above can be combined and arranged by the students into a final performance of “Step Back, Baby” with jazz band accompaniment.

23

VIII. Jazz Improvisation

Improvising call-and-response phrases with jazz phrasing and rhythm

Aim: Students will be able to improvise short phrases in question-and-answer and call-response form using a limited range of pitches and jazz phrasing and rhythm.

Materials: xylophones, glockenspiels, string instruments, non-pitched percussion

Assessment: Students take turns improvising phrases in class.

Procedure:

1. Students learn and become familiar with singing and playing “Soup, Soup” and “Step Back Baby”. In “Soup, soup”, students go around the circle taking turns improvising kinds of soup, followed by the class response “soup, soup”. In the game, if you are late or you repeat a kind of soup, you are out.

2. Students learn the “riff” (in the above jazz lesson) on the notes A, C and D, on xylophone, recorder or their string instrument. Ask students to echo short, 4-beat phrases, first only on A, then A and C, then all three notes.

3. Ask students to “answer my question,” using any of the notes A, C and D. Play 4-beat phrases and let all students respond simultaneously. Choose individual students to respond. Go back and forth, keeping 4-beat phrases.

4. If possible, ask students to play off-beats, swing rhythm and the bass line while we take turns improvising.

5. Sing “Soup, soup”, and when it comes time to improvise soups, students take turns playing 4-beat phrases, with all playing the “soup, soup” rhythm on A as the response. Go around the circle as in the game.

6. Try the same process with 8-beat phrases, and sing “Step Back, Baby”, improvising 8-beat phrases as the call and singing/playing “step back, baby” as the response.

Follow-Up: Incorporate the question-and-answer/call-response improvisations into a student-created arrangement of Step Back, Baby. Try improvising lyrics to the song.

Documents

Sample Curriculum: Level II Musicianship