Download pdf - Teachers manual Vol. III ESL in Song

Cantos Para Todos Volume III Teacher Manual ESL PAGE 1

Cantos Para Todos offers thanks to these and many others who contributed to thedevelopment of this special series on teaching English to speakers of other languages.

ResearchJaneen Howard, Mariana Murguía-Ferrer, Michelle Prieto, Brian Dunn, Roderick Grubbs, Socorro Herrera-Dávila, Jesús

Azúa, Roberto IbarraDevelopment

Dan Gómez, Roy E. Howard, Roy JonesProduction

Paul Carlos Anaya, Robert Hunter, Renee García, Marcos López, F.Andrea García, Anthony García, James BrownSound Engineering

David Gómez, Timothy J. Jones, Roy HowardAdministration

Saúl Ramos, Patty Alvarado, Sandra K. Young, Elizabeth Garza, Gloria Caudillo, Francisco Ferrer, Janeen Howard, PatriciaPalur

A special thanks to the teachers and students of Lubbock Independent School District, AlbuquerquePublic Schools, the Lubbock Private Industry Council, and the Joint Training Partnership Act. May you

keep singing, learning and growing. The Fourth Edition owes much to the inspiration of Colegio Ghandi, Mexico, D.F. where two languagesare valued, New Mexico ESL teacher Janeen Howard for teaching ideas, and Dawn of Pegasus Software

for technical support.This edition is dedicated to the English teachers of Colegio Ghandi.

Maps are from MacUSA, Broderbund Software, Inc. Permission is granted by the publisher to useportions of the software in publications if credit is given.

Tapes are in DBX stereo. Song words, stories, illustrations, and other items may be reproduced forclass members, but may not be copied for other teachers. If you need more copies please call.

Special Instructions to the teacher: This series is intended to supplement other materials used to teach English as a foreignor second language. The series progresses in complexity from Level One to Level Six. This method encourages communica-tive competence by presenting a song to develop context and practice fluency. Following exercises refer to the songs so thatlanguage concepts are develop in a meaningful context. Students are constantly reminded to search for similar constructs intheir other books and in real life. Maps, recipes, geographical, and economical information is given simply as context, orsomething to communicate about. The purpose of this book is to encourage communication. Teachers should extend thelearning by reading to the students, and encouraging conversation. References to "better using my textbook" refer to theregular English textbook, not this supplement. References to "your readings" refer to trade books and story books used in aliterature based program for learning English. This is very important to the method of Cantos Para Todos, because the shorttexts of the songs are only examples of language in use, and exercises in this series make reference only to these briefexamples. Refer to the Teachers Manual for additional information and teaching ideas.

CANTOS PARA TODOSMaterials with Multiworlds in Mind

Bilingual/Multicultural Education Publishers and ConsultantsP.O BOX 657 Silver City, New Mexico 88062-0657

(505) 388 4696 (and FAX)Mariana Murguía - Ferrer / Daniel P. Gómez / Roy E. Howard

PAGE 2 Cantos Para Todos Volume III Teacher Manual ESL

Contents

Songs for ESL

Learn English with Music

Prologue................................................................

Theoretical Foundations.....................................

Routines.................................................................LEVEL ONE

I Come in the DoorRow, Row, Row Your BoatGo In and Out the WindowLooby Loo

LEVEL TWOGood MorningThis Old ManA-Hunting We Will GoLondon Bridge

LEVEL THREEWhen You Meet SomeoneShe'll Be Coming 'Round the MountainBINGOBow Belinda

LEVEL FOURThe RulesBilly BoyShortning BreadThe Farmer in the Dell

Vocabulary and Syntax......................................LEVEL ONE

Show MeSkip to My LouEency, Weency SpiderThe Mulberry Bush

LEVEL THREEThere is a Boarding HouseHeather has a Magic FeatherWhen the Train Comes AlongOld MacDonald Had a Farm

LEVEL FOURBetty & Bill's Boarding House BluesI Love My RoosterThe HummingbirdBarnyard Song

LEVEL SIXRolling to SeattleRed Iron OreGoing to BostonOld Chisolm Trail

Literacy...............................................................LEVEL ONE

First Counting SongThree Blue PigeonsBaa, Baa, Black SheepHot Cross Buns

LEVEL TWOCount By TenFive Hundred MilesThree Blind MiceTen Little Children

LEVEL THREEMaking Shapes is EasyMichael Row the Boat AshoreThere's a Hole in My BucketJennie Jenkins

Time....................................................................LEVEL ONE

The Days of the WeekHickory Dickory DockThe Muffin ManTwinkle, Twinkle Little StarEarly to Bed

LEVEL TWOThe MonthsHappy BirthdayPolly Put the Kettle OnMother's Knives and Forks

LEVEL FIVEWhat Time is It?The Riddle SongThe Sleeping PrincessOh, How Lovely is the Evening


Emotions..............................................................LEVEL FIVE

EmotionsO SusannaPaper of PinsOh, My Darling Clementine

LEVEL SIXMy EmotionsDown in the ValleyPolly Wolly DoodleGreen Grow the Lilacs

Vocations.............................................................LEVEL FOUR

The PrincipalThe Little ShoemakerCotton Needs PickingNight Herding Song

LEVEL FIVEThe Bus DriverI Love the MountainsThe Blue Tail FlyOats, Peas, Beans

LEVEL SIXLaying PipeSixteen TonsThe BlacksmithErie CanalI've Been Working on the Railroad

Search for the song on the CD player bythe Track Number

Level One1 I Come in the Door2 Row, Row, Row Your Boat3Hoe, Hoe, Hoe Your Row4 Ho, Ho Ho5 Go In and Out the Window6 Looby Loo7 Show Me Roy Howard 8 Skip to My Lou9 Eency, Weency Spider10 The Mulberry Bush11 First Counting Song12 Three Blue Pigeons13 Baa, Baa, Black Sheep14 Hot Cross Buns15 The Days of the Week16 Hickory Dickory Dock17 The Muffin Man18 Twinkle, Twinkle Little Star19 Early to Bed

Level Two20 Good Morning21 This Old Man22 A-Hunting We Will Go23 London Bridge24 Count By Ten25 Five Hundred Miles26 Three Blind Mice27 Ten Little Children28 The Months29 Happy Birthday30Polly Put the Kettle On31 Mother's Knives and Forks

Level Three32 When You Meet Someone33 She'll Be Coming 'Round the Mountain34 BINGO35 Bow Belinda36 There is a Boarding House37 Boarding House Rap38 Heather has a Magic Feather39 When the Train Comes Along40 Old MacDonald Had a Farm41 Making Shapes is Easy42 Michael Row the Boat Ashore43 There's a Hole in My Bucket44 Jennie Jenkins

Level Four1 The Rules2 Billy Boy3 Shortning Bread 4 The Farmer in the Dell5 Betty & Bill's Boarding House Blues6 I Love My Rooster7 The Hummingbird 8 Barnyard Song9 The Principal10 The Little Shoemaker11 Cotton Needs Picking12 Night Herding Song

Level Five13 What Time is It?14 The Riddle Song15 The Sleeping Princess16 Oh, How Lovely is the Evening17 Emotions18 O Susanna19 Paper of Pins20 Oh, My Darling Clementine21 The Bus Driver22 The Blue Tail Fly23 Oats, Peas, Beans

Level Six24 Rolling to Seattle25 Red Iron Ore26 Going to Boston27 Old Chisolm Trail28 My Emotions29 Down in the Valley30 Polly Wolly Doodle31 Green Grow the Lilacs32 Laying Pipe33 Sixteen Tons34 The Blacksmith35 Erie Canal36 I've Been Working on the Railroad


PrologueProloguePrologueProloguePrologue

Every second language learning situa-tion is different, demanding a different kind ofteaching. The premise of Cantos Para Todos

Volume III is that music and stories can enhanceany method for any age of learner.

The learning of a second language canbe enhanced by writing stories and the lyricsfor songs. The basic method is thus: thestudents have a common experience, thenshare thoughts together with the teacherwriting what they say. Students participateactively, either by writing or dictating thestories. Stories written by students are linguis-tically, emotionally, experientially and devel-opmentally appropriate for the student be-cause they contain their own words based ontheir personal experiences. Such stories areused to encourage active learning about andsynthesis of the environment, and to provide aliterary base for reading practice and instruc-tion. When the stories are based on experi-ences in the English speaking culture, thestudents are able to communicate their im-pressions of the new culture to their teachersand classmates as the stories are translated.As they share even the simplest ideas in En-glish, they become able to communicate di-rectly with others through stories even beforethey are "fluent" in oral English. Also, thesequence of stories becomes a documentationof individual progress in language.

Each of the (original) songs in thisseries was developed in a classroom wherestudents were learning English as a secondlanguage (ESL), usually as part of a story oractual experience. You are encouraged to usethese as examples for your own creative cur-riculum development. Songs can enhance thelearning of the concepts and vocabulary of thestory.

In addition to the original songs devel-oped in ESL classrooms, many songs have beenincluded for their lasting value to representU.S. culture. You are encouraged to seek moresongs and stories, and use this series as amodel for ideas in adapting culturally authen-tic materials for language learning. The learn-ing of a second language can be enhanced byusing musical methods. Oral and aural par-ticipation of every student is encouraged bysinging. As students gain confidence in their

PrólogoPrólogoPrólogoPrólogoPrólogo

Cada clase en que se enseña un idiomanuevo es diferente, y require que un método deenseñanza especial. La filosofía de Cantos Para

Todos Volume III se basa en la creencia queparticipación en música y cuentos beneficiará atodos los estudiantes, sean niños o grandes.

Se puede facilitar el aprendizaje de unsegundo idioma por escribir cuentos y canciones.Se hace así: comparten una experiencia en común,el maestro escribe sus comentarios. Estudiantesparticipan activamente, al escribir o dictar loscuentos. Cuentos que utilizan las propias palabrasde los estudiantes son apropiados para losestudiantes por su contenido lingüístico,emocional, experimental, y por el nivel dedesarrollo, porque contienen las palabras e ideasde los estudiantes. Estos cuentos y canciones seusan para tener un aprendizaje activo y basecomprensiva del mundo conocido, y para proveeruna base literaria para enseñar y practicar lalectura. Cuando los cuentos se basan enexperiencias con la cultura de habla inglesa, losestudiantes pueden comunicar sus impresiones dela nueva cultura con sus maestros y compañerosal explicar los cuentos en español. Al compartirexperiencias, aunque sea en el inglés más simple,son más capaces de comunicarse directamentecon otros por medio de cuentos aún antes de serfluentes en el inglés oral. También, los cuentos ycanciones vienen siendo un registro del progresoindividual en el idioma.

Cada una de las canciones originales eneste tomo fue desarrollada en una clase donde losestudiantes aprendían el inglés como segundoidioma (ESL), usualmente como parte de uncuento, o una actividad normal del currículo. Seespera que usted utilice estos como ejemplos parasus propias creaciones. Los cuentos y lascanciones escritos por los estudiantes deben salirnaturalmente de las experiencias reales, y debenapoyar a los conceptos del currículo.

Adicional de las canciones desarrolladas enclases de inglés, se han incluído aquí muchascanciones por su valor de representar las culturasde habla inglés en los estados unidos. Se esperaque el maestro busque más canciones y cuentos,y que este tomo sea un modelo para ideas decomo se adaptan materias para la enseñanza deidioma que fielmente representan la cultura. Sepuede fomentar el aprendizaje de un segundoidioma por métodos músicales. La participaciónpor medio la expresión oral de todos los


language ability and can actively participate inthe creation of songs, the lessons become verypersonal, developmentally appropriate, andmotivational. Language learned while thestudents are functioning in the affective do-main will be retained. This collection is ex-pected to grow constantly as the studentslearn new concepts. The participation of thestudents in the creation of the songs will growas they gain skills of self expression.

The enclosed materials are organizedinto sections for classroom use: routines,vocabulary and syntax, time, literacy, emo-tions, vocations. Each section comes withrecommendations for language development.

Our experience indicates that secondlanguage learners need time to listen beforeproducing language. Listening, acting out,then singing songs is fun and productive.

Ideasfor Effective

English Teaching

A course was given at Colegio Ghandi, Mexico,D.F. that had to do with professional training forEnglish teachers about principles and theories of

second language acquisition, along with a demon-stration of teaching methods in the English classes.

The focus was on a literature and song basedapproach, and other approaches were mentioned.Thirteen of those in attendance turned in critiquesof the course, including these suggestions, whichare shared in this book to give the reader ideas for

English teaching and teacher training.

Identify ideas fom the conference that I can use inmy class.

•reinforce the teaching with items familiar to

estudiantes se fortalece al cantar; y al escuchar elinglés se desarrolla la confianza en su habilidad deusar el idioma, participando activamente en lacreación de una canción. Las lecciones deberíanser apropiados para el nivel de desarrollo de cadaestudiante y tendrían mucha motivación. Ellenguaje que se aprende cuando el estudiantegoza con una clase se va a mantener, no se olvidafacilmente. Se añadirán nuevas cancionescontinuamente al aprender nuevos conceptos. Laparticipación de los estudiantes en la creación delas canciones aumentará el grado de la habilidadpara expresarse.

Las materias aquí representadas seorganicen para uso en la clase: rutinas, vocabularioy syntaxis, tiempo, alfabetismo, emociones,vocaciones. Cada sección incluyerecomendaciones para desarrollar idioma.

Nuestra experiencia es que los que estánaprendiendo otro idioma necesitan un largo tiempode escuchar el idioma ante de producirlo.Escuchar, actuar y cantar canciones es divertido yproductivo.

IdeasPara la EnseñanzaEfectiva del Inglés

Se dió una conferencia en el Colegio Ghandi,México, D.F. que de orientación profesional paramaestros de inglés. Versó sobre los principios yteorías de la adquisición de un segundo idioma.Así mismo se dió una demonstración práctica demétodos de enseñanza en las clases. Se enfocabaen métodos con literatura y canción, y semencionaban otros. Trece de los asistentesentregaron una crítica del curso, inclusive estassugerencias incluídas para dar al lector ideas parala enseñanza del inglés y para el entrenemiento demaestros.

Identificar ideas de la conferencia que puedo usaren la clase.

•reforzar la enseñanza con lo que esté alalcance de los niños en la escuela y en el hogar

•exigir la participación física en el proceso de


the children that I can find at school and home•have the children participate physically in the

process of acquiring English•use songs to teach English•use materials like library books, student made

books, and materials you can acquire in the city•establish a clear context for each new concept•practice language structures many times in the

class, with small groups and individuals•introduce songs to the class so the children

lower the affective filter and and become enthusedabout learning

•read stories with more enthusiasm so thestudents pay more attention and the class is moreinteresting and active

•change words to songs to focus on particularconcepts

•develop many activities from a single storyaccording to the objectives your are working on

•have the students converse among themselvesabout the material

•have the students write their experiences witha story or activity, and share what they write withother students

•play games that reinforce the curriculum•create plays from the readings•show the illustrations in the book as you read•the use of the overhead projector and 35mm

slides to teach in the classroom•ask the children to predict what will happen in

the story•work with small groups while others work

alone•go outside to see things and talk about com-

mon experiences•show more pictures of the concepts•use direct questions to promote sharing of

opinions

adquirir el inglés•usar canciones para enseñar el inglés•usar materiales como libros de la biblioteca,

libros hechos por los estudiantes, y materiales queconsigan en la ciudad

•establecer un claro contexto para cadaconcepto nuevo

•practicar las estructuras del lenguaje muchasveces con la clase, con grupos pequeños y conindividuos

•introducir la canción a la clase para que losniños bajen su filtro de afectivo y se animen aaprender

•leer cuentos con más ánimo para que los niñospongan más atención y que la clase sea másinteresante y activa

•cambiar la letra de las canciones para enfocaren conceptos particulares

•desarrollar muchas actividades a partir de unsolo cuento de acuerdo con los objectivos del día

•hacer que los alumnos conversen entre siacerca del material visto

•hacer que los alumnos escriban de susexperiencias con una lectura o actividad, y quecompartan lo que escriben con otros estudiantes

•participar en juegos que refuerzan elprograma

•crear obras dramáticas derivadas de la lectura•mostrar las fotos al leer en voz alto a los niños•el uso del retroproyector y diapositivas para la

enseñanza en la clase•pedir que los niños predigan lo que puede

suceder en un cuento•trabajar con grupos pequeños mientras los

demás trabajan solos•salir afuera para ver las cosas y conversar de

ellas•mostrar más fotos de los conceptos•promover discusión de opiniones con

preguntas directas


Instructions for Teachers: For use in workshops when teachers gather together to discuss teaching English to speakers of other languages.

Do not fill this out for yourself. Another person must fill this out for you. Interview your partner.

My name is _____________________________

I live in ___________________________________________________________________________

I like to ___________________________________________________________________________

At school I like to __________________________________________________________________

My students are _________________ years old.

My students like to _________________________________________________________________

My students need English to ___________________________________________________________________________________________________________________________________________

In English class my students mostly ___________________________________________________

The parents of my students speak English ______________________________________________

I have lived in _____________________________________________________________________

I have traveled to _____________________________________________________________________________________________________________________________________________________

I speak English with ________________________________________________________________

I write in English to ________________________________________________________________

What I read in English: ________________________________________________________________________________________________________________________________________________

Who speaks to me in English: __________________________________________________________________________________________________________________________________________

Classes I have taken in English: ________________________________________________________________________________________________________________________________________

How I feel about teaching English: ______________________________________________________________________________________________________________________________________

Classes I have taken in teaching English: ________________________________________________________________________________________________________________________________

Today I hope to learn: ________________________________________________________________________________________________________________________________________________


Instructions for students: Do not fill this out for yourself. Another person must fill this out for you. Interview your partner.

What is your name? _____________________________

Where do you live?_________________________________________________________________

What do you like to do?_____________________________________________________________

What do you like to do at school?_____________________________________________________

How old are you? _________________

What do you like to do with your friends?_____________________________________________

Why do you want to learn English? ____________________________________________________________________________________________________________________________________

What do you do in English class? ___________________________________________________

What is your teacher's name? _________ ______________________________________________

What is your mother's name?________________________________________________________

When in your birthday?_____________________________________________________________

What is your address?______________________________________________________________

What is today's date? ______________________________________________________________

What I read in English: ________________________________________________________________________________________________________________________________________________

Who speaks to you in English? __________________________________________________________________________________________________________________________________________

Tell me the days of the week.___ ________________________________________________________________________________________________________________________________________

Tell me five things that you like ________________________________________________________________________________________________________________________________________

Tell me three things you do not like _____________________________________________________________________________________________________________________________________

What do you want to learn today?______________________________________________________________________________________________________________________________________


ADVICE FOR THE NEW ESLTEACHER

from practicing ESL teachersAdvice collected from ESL teachers in Texas.

Some of these resources may not be available in countries outsidethe United States. Conditions for foreign language teaching aredifferent than those of the ESL teachers who gave the following

advice; however, every language teacher needs to carefully considereach of these categories.

KNOWLEDGE BASE

You can teach English using anytopic, or knowledge base.Choose a theme that interestsyou, is useful or fascinating toyour students, and for whichyou can find materials andinformation.

MATERIALS

Supplement instruction with materials from:

The service center Other ESL teachers in the district Resource Center at the university Create your own, based on the curriculumand a personalized needs assessment of yourstudents Visit other schools.

ASSESSMENT (Thought)

Based on the purpose of the instruction,test before and after teaching in order to find outwhat you need to teach next, and to make deci-sions about the style of instruction.

Consider sociocultural factors not assessed bythe standard tests. Investigate by interviewingfamily, friends, other teachers, etc.

Don't consider any of the assessments youuse as a thorough description of the student.Consider the student as able to rise above any

CONSEJO PARA EL MAESTRO NUEVO

de parte de maestros de inglés como segundo idiomaen el estado de Tejas.

Los maestros hablan de recursos que se pueden conseguir en Texas.Condiciones para maestros de inglés en otros países van a ser

diferentes; sin embargo,cada maestro de idioma ha de considerarcuidadosamente cada tópico del bosquejo.

TÓPICOS DE ENSEÑANZA

Se puede enseñar el inglés de base decualquier conocimiento o tópico.Escógese un tema de interés,utilidad, o que fascina a susestudiantes, y para lo cual sepuede hallar materias einformación.

MATERIALES

Materias se pueden conseguir de:

El Centro de Servicios EducativosOtros maestros de inglésCentro de Recursos de la universidadFabríquense sus propias materias

basadas en el currículo y una evaluaciónpersonal de sus estudiantes.

Visite otras escuelas.

EVALUACIÓN (Pensamiento)

La evaluación se debe de hacer antesde la instrucción para saber que necesitansaber los estudiantes, y después para saberque más se tiene que enseñar, y para decidirel estilo de la instrucción.

Considere factores socioculturales queno se identifiquen en pruebas. Aprenda másacerca de sus estudiantes de la familia, losamigos, y otros maestros.

No se confíe en las pruebas paraconocer a todas las necesidades de susestudiantes. El estudiante puede sobresalir


disability. Conversly, some tests may overesti-mate a students readiness.

METHODS (Action)

Students will learn the soundsand patterns of the new language ifthe meaning is clear. Act out, illus-trate, or contextualize the languageinput. Observe how the studentsreact to the teaching, and adjust sothat all do learn.

READ ABOUTrecognized methods

"TPR" (Total Physical Response) - Asher andSegall

Language Experience Approach

Natural Approach - Terrel, Krashen

Experience-Text Relationship (known to un-known)

Input Hypothesis (I+1), Affective Filter - Krashen

See the director of Migrant or ESL or BilingualEducation in your school district

Attend workshops of the service center in yourdistrict

Join and participate in activities of the professionalorganizations:

National Association for Bilingual Education(NABE)

Teachers of English to Speakers of Other Languages (TESOL)

and others

ATTITUDE (Feeling)

de cualquier disabilidad. Al contrario, otrosexamenes le dan al maestro la impresión deque el estudiante está listo para seguiradelante cuando no és.

MÉTODOS

Si los estudiantes comprendenel sentido de la comunicación,aprenderán los sonidos y síntaxis.Junto con el idioma, demuestren elsentido con acciones, ilustraciones ocontexto claro. Cámbiese los métodos

de acuerdo con la reacción de losestudiantes.

ESTUDIARlos métodos conocidos

"TPR" (Idioma con Acción)

Experimentar y Compartir

Método Natural

Estudiantes leen acerca de lo conocido

Idioma receptiva al nivel apropiadoEl filtro de afecto

Converse con los líderes de educación deidiomas de su comunidad o sistema escolar

Participe en talleres en su vecindad que setraten de enseñanza de idiomas

Pertenezca y participe en actividades de lasorganizaciones profesionales

National Association for Bilingual Education(NABE)

Teachers of English to Speakers of Other Languages (TESOL)

y otros


The attitude of the students towardthe instruction is a greater factor in theirlearning than your teaching style. Secondlanguage learners filter the instructionthrough their feelings about the languageand their self concept with regard tolearning the language. You can helplower this affective filter by making the learningexperiences enjoyable. In other words, peopledon't learn when under the gun, they rememberwhat they learn when having fun.

Be open minded about differences in culturalorientation and learning styles of the students.Study the literature and the best books about crosscultural interactions. Know your students, theirfamily situations, their neighborhoods first hand.Go there. Don't depend on what the other teacherstell you.

Be prepared for varying attitudes from otherteachers, administrators, and parents. Some maybe negative about the ESL program or its students.Be aware of the political dynamic in your schooland community with regard to the ESL program.Talk to the former ESL teacher to get a feel forhow people have reacted. Don't set your expecta-tions for support too high. Try to get parentsinvolved.

Take extra measures to be sure the studentssense that you like them. They may be expectingyou to be negative towards them like others are.They may try to make you react the way theyexpect you to react (by misbehaving).

THEMES

ATITUD (Sentimientos)

La atitud de los estudiantes hacia lainstrucción es un factor de aprendizajemás significativo que el método deinstrucción. Instrucción para estudiantesde u segundo idioma puede serbloqueado por los sentimientos acerca

del idioma y su autoestima con respeto a sushabilidad de aprender. El maestro puedebajar este "filtro de afecto" por teneractividades de instrucción que sonagradables. No aprended bajo presión, sinocuando el ambiente es divertido.

Hay que estar abierto a las diferenciasen orientación cultural y maneras de aprenderde los estudiantes. Estudie acerca deinteracciones culturales. Conozca susestudiantes, familias, barrios. Visítelos. Nose confíe en el testimonio de los otrosmastros.

Hay que estar preparado parareacciones emocionantes de otros maestros,administradores y padres. Algunos noaprecian al programa de inglés. Hay queconocer el dinámico político de la escuela ycomunidad con respeto al programa. Hablecon maestros anteriores para ver como letrataban los otros. Solicite la participación delos padres.

Asegure que los estudiantes sabenque usted los quiere. Algunos supondrán queusted los maltratará igual que los demás.Puede ser que se portarán mal para queusted se porte como los demás.


of Volume III

The musical examples and literature sug-gestions in Volume III are all related to the threeprocesses of language learning: cognition(thought), psychomotor (action) and affect (feel-ing). Teachers should keep in mind that languageinput (listening and reading) gives students infor-mation and models of language and that languageoutput (speaking and writing ) helps studentsacquire essential communication skills, and thatusing the new language for thought helps under-stand and solve problems from a new point ofview.

Purposes of Volume III

Knowledge - Thought: learn about listening,speaking, reading, writing, thinking,learn to integrate knowledge across thecurriculum, contextualize languageinstruction, and study the new lan-guage with concepts already known.

Experience - Action: listen, speak, read, write,think, relating language with action so thatit is understandable, and plan assessmentsbased on the reason for learning the lan-guage.

Application: Feeling: lesson plans forlistening, speaking, reading, writing, andthinking will be motivational based onauthentic, enjoyable communication.

TEMASde Volumen III

Los ejemplos de música y literatura enVolumen III están relacionados a los tresprocesos de aprendizaje de idiomas:pensamiento, acción, y sentimiento. Losmaestros deben tener en cuenta de querecepción de idioma (escuchar y leer) da a losestudiantes información y modelos deinformación, y que expresión de idioma(hablar y escribir) les da a los estudianteshabilidad de comunicación, y que utilizar elidioma nuevo para pensar ayuda acomprender y resolver problemas de unnuevo punto de vista.

Propósitos de Volumen III

Conocimiento - Pensamiento : aprenderacerca de hablar, leer, escribir, pensar, yla integración de conocimientos en todosaspectos del currículo, poner en contextoa la instrucción, y estudiar el nuevo

idioma con conceptos conocidos.

Experiencia - Acción : escuchar, hablar,leer, escribir, pensar, relatar idioma conacción para que se entienda, planearpruebas basada en la razón para aprenderel idioma.

Aplicación - Sentimientos : planes deinstrucción en escuchar, hablar, leer, yescribir considerarán motivación basada encomunicación que es auténtico, y divertido.


ThoughtEach time that this cloud

symbol appears, the text andexamples refer to processes ofinstruction and learning thatinclude cognitive processes suchas the following (and manymore):

cognitionknowledge

contextcontent

academic languageprediction

problem solvinglanguage structure

compare and contrastcurrent issues

Action FeelingEach time that this heart

symbol appears, the text andexamples refer to processes ofinstruction and learning thatinclude affective domain pro-cesses such as the following (andmany more):

affective domainnot stressful

funmultisensory

social languageemotionsculturesong

gamesmoralstales

Each time that this actionsymbol appears, the text andexamples refer to processes ofinstruction and learning thatinclude psychomotor processessuch as the following (and manymore):

psychomotorinteractiveL2 friendly

authentic languageexperience

survival languageact out

creative writinglanguage experience

approachbookmaking

gamesread and follow in-

structions



The Input Hypothesis, by StephenKrashen, suggests that individuals acquire alanguage if the input they receive is comprehen-sible. Children acquiring their first language needno special instruction for the pronunciation, se-mantics or syntax. If they understand, sooner orlater they will speak like those around them.Second language acquisition is the same way. Nomatter how much special instruction may be given,the rules of the language are acquired over time,given comprehensible input. In the model above,"I" means the level of "input" (listening or read-ing) that the learner is ready for. The blocksrepresent different steps, or levels of languageinput. If the actual input is too low, the learnermay become bored. If the level is too high, thelearner may become frustrated. Language acquisi-tion takes place when the formula is "I+1", theinstructional level.

The Input HypothesisThe Input HypothesisThe Input HypothesisThe Input HypothesisThe Input Hypothesis

Humans Humans Humans Humans Humans acquireacquireacquireacquireacquire language language language language languageonly one way:only one way:only one way:only one way:only one way:

by understanding messagesby understanding messagesby understanding messagesby understanding messagesby understanding messages

Comprehensible InputComprehensible InputComprehensible InputComprehensible InputComprehensible Input

I+1

El Tésis de Recepción de Krashen,surgiere que idioma se adquiere si seentiende. Niños no necesitan instrucciónespecial para la pronunciación, vocabulario osíntaxis. Si entienden, tarde or tempranohablarán como los en su alrededor. Laadquisición de un segundo idioma essemejante. No importa cuanta instrucciónespecial se da, las reglas se adquieren sobretiempo con recepción comprensible. En elmodelo arriba, "I" representa el nivel derecepción (escuchar o leer) que el estudiantepuede comprender. Los bloques de laescalera representan niveles de recepción deidioma. Si el nivel es muy bajo, el estudiantese aburre. Si el nivel es muy alto, se frustra.El idioma se adquiere cuando la recepción es"I+1", el nivel apropiado de instrucción.


Independent level I, I-1, or lower. If astudent works at or below ability, there may becomfort, or the student may be bored or evenoffended. If comfortable, the student may domuch work very well, but is not learning.

Instructional level I+1. The students arereceiving input (listening or reading or instruction)at the next logical level above what they know.They are building upon that they know. They arelearning, and acquiring language at the same time.

Frustrational level I+2 or above. If thestudent does not understand the language ofinstruction, there is no learning, only frustration.

Implications for teaching. Pretest beforeteaching to determine the Independent, Instruc-tional and Frustrational levels. Adjust your teach-ing to address each student's Instructional levelduring the course of a lesson.

Input modelof

Second Language Acquisition,Learning, and Production

The Acquisition/Learning Hypothesis: Secondlanguage learners have two distinctive ways ofdeveloping competencies in a second language -

ACQUISITION - involves using languagefor real communication: Pass me the pencil

LEARNING - knowing about a language,study the rules to monitor your output:

Pass - a verb meaning to pick up and handto someone, as the first word, is an imperative

me - a first person indirect object pronounthe - an article used before a nounpencil - a noun referring to a writing tool

containing graphite

Nivel de Independencia, I, I -1, o másbajo. Si la instrucción está a su nivel dehabilidad o menos, sentirá o cómodo oaburrido, o ofendido. Si está cómodo, tal vezhará bien el trabajo, pero no aprende.

Nivel de Instruccion, I+1. Instrucciónconsiste de recepción (escuchar o leer) a soloun nivel de instrucción más alto de lo quesabe el estudiante. Así se basa la instrucciónen lo que sabe. Aprende y adquiere idioma ala vez.

Nivel de Frustración, I+2. Si noentiende, no aprende.

Implicaciónes para instrucción. Daruna prueba antes de enseñar para saber paracada estudiante su nivel de instrucción,independencia y frustración. Enseñe deacuerdo con el nivel de instrucción de cadaestudiante durante alguna parte de la lección.

Modelo de Recepciónen Adquisición, Aprendizaje,

y Producción de Idioma

Adquisición/Aprendizaje: Hay dos manerasde ser competentes en un segundo idioma -

ADQUISICIÓN - la persona utilizaidioma para comunicación verdadera:

Pass me the pencil

APRENDIZAJE - aprender acerca deun idioma, estudiar las reglas

Pass - un verbo que quiere decir pasara otra person, un imperativo

me - primera persona pronombreindirecto

the - un artículo que va con un nombrelápiz - un nombre que refiere a un

herramiento para escribir que contiene grafite


The NaturalApproachto a Second Language

CARETAKER SPEECH•context embedded•synctactically simple•other alterations that insure comprehen-

sion as evidenced by feedback from the listener

THE SILENT PERIOD•building of competence by listening•waiting for comprehensible input•acquiring the rules of the grammar (pho-

nology, syntax, morphology, semantics)

OLDER LEARNERS•have a larger semantic script

YOUNGER LEARNERS•have a lower affective filter

EXPOSURE TO THE LANGUAGE•is worthless if not understood•is the key to acquisition if comprehensible

THE MONITOR•The language rules you learn form a

system of information referred to by the learner tomonitor speech and writing

SECOND LANGUAGE TEACHINGMETHODS THAT WORK

Total Physical ResponseRelate the language to the action:

Sit down - you sit, the students sitPlace the language in context:

Go outside to talk about the trees

Second Language ImmersionThe students hear only the new language in classNative speakers of the new language are in the classStudents model language and culture to each other

Sheltered English Content ClassTeach content subjects in English with special ESL/

EFL methods so all students understand


MULTICULTURAL EDUCATION:

A LINGUISTICPERSPECTIVE

This paper contemplates perspectives ofmulticultural education based on articles in Read-ings in Applied English Linguistics by Allen andLinn (1982). The articles included in the book areintended to represent current thought in the scienceof linguistics that may apply to the teaching ofEnglish. The data and opinions reported supportthe concept that educational methods should beculturally and linguistically appropriate to thestudent population and that multicultural attitudescan be taught to all the students through the studyof languages and dialects.

HISTORY

Philologists trace the history of the Englishlanguage to approximately the 6th and 7th centu-ries in England. Nurtured by isolation from themainland, it originally developed from the interac-tion of the Germanic Angles, the Saxons and theJutes on the British island of the Celts (Wilson, p.3). The evolution of this early blend to the presentforms of English used around the world is tied tothe cultures of the people who have used thelanguage. All speakers of the language during thepast 1300 years of its existence have been influ-enced in dialect by the events and especially theculture and speech of the people around them.Vocabulary, phonology (pronunciation), morphol-ogy (spelling), and syntax (word order) have beeninfluenced by English speakers' interaction with amultitude of nations.

The complexity of these elements in the En-glish language leads Wilson (p. 17) to suggest thatstudents of the English language should learn touse a variety of dictionaries to provide insightsinto the history of the language and thus under-stand it better. Whorf (p. 58) suggests that sincelanguage is used to categorize concepts accordingto a cultural view, each language can give different

perspectives of the world. It is no wonder thenthat English continues to develop and grow as theEnglish speakers increasingly interact with all theworld. Whorf concludes (p. 67) that scientists andphilosophers should be humbled by the knowledgethat every culture provides such differing views oflife and truth that their own limited perspectivemay be only a dim view of the whole truth. Stu-dents should be introduced to ideas of the worldfrom differing cultural perspectives.

CURRENT PERSPECTIVES

Chomsky (p. 84) emphasizes the dynamicproperty of language. Each speaker of a languageis capable of creating new forms and changing the"rules" while being completely understood. Heargues against the validity of "rules" which de-scribe or even prescribe the grammar of a lan-guage. He advocates as the best system of lan-guage acquisition one which teaches the generativequalities of the language rather than one whichdescribes the grammar. Actually, we know littleabout the rules that govern our use of sounds toform meaning. He suggests a process of discoverythat should be an exciting adventure for languagelearners.

Akmajian, Demers, and Harnish (p. 119)state that children are born with the biologicallyinherited disposition to acquire spoken language.They are prepared to acquire any set of phonemesand phonological rules. Smith and Wilson illus-trate the fact that language acquisition occurs mostefficiently in early years (p. 86). They also (p. 92)explain that speakers will develop competence thatis not always reflected in performance. Lakoffstresses the value of the study of the principles ofconversation in languages to learn about variancesin cultures. All these points would seem to sup-port the concepts of bilingual education thatcompetence in the first language should be devel-oped even if it is not the "lingua franca" of thegreater society, that second languages should beintroduced early to children to take advantage oftheir biological disposition for language acquisi-tion, and that the study of languages can give


valuable insights into other cultures.

Linn (pp. 131-139) gives added impetus to theargument for special concern for second languageinstruction and first language maintenance in hisarticle describing the loss of first language and theincomplete mastery of the second language inentire societies through pidginization andcreolization. Miller's (p. 144) description of thevariances in non-verbal communication acrosscultures suggests the importance of native speakersas teachers in bilingual classrooms.

LANGUAGE ACQUISITION

Moskowitz (p. 179) stresses the importance ofthorough development of the first language as aprerequisite to success in learning the second. Shealso states that a second language is much easier tolearn before puberty. Both facts are importantarguments for the value of universal bilingualeducation in the elementary schools. Her explana-tion of the prerequisites and processes of languageacquisition (p. 167) speaks for the importance ofinteraction in the acquisition process. The fact thatlanguage is not acquired either by listening to it ortalking about it implies that language instruction inthe schools should be rich in two-way meaningfulconversation.

REGIONAL AND SOCIAL VARIATION

The editors note (p. 189) that every language isspoken in a variety of dialects. Such variationswere formerly thought of as aberrations until 19thcentury linguists explained that the so-calledstandard language of a country was simply aregional dialect that had become prestigious fornon-linguistic reasons. Atwood (p. 200) mentionsthe value of the developing body of linguisticatlases to the appreciation of culture differencesand settlement history. Fischer (202-209) reportsthat people choose to vary speech patterns in orderto express differences in formality. The ability toadjust to a variety of situations may affect anindividual's status in the eyes of others. Theimportance of an individual's range of speech

patterns (lexical, grammatical and phonological) isbrought out by Allen's (p. 210-220) discussion oflinguistic variation within a region based on levelof education. Such findings suggest that a com-plete multicultural curriculum should include thestudy of variations within a culture as well asstudying varied cultures. The knowledge oflanguage differences and how they affect one'splace in the community may help students adjustto the realities of the marketplace (Fraser, p.226).Burling (p. 256) cautions that it is important forstudents whose dialect is different than that of theschool should receive culturally and linguisticallyappropriate teaching methods that support thevalidity and status of the local dialect as well asteach the dialect that will be useful in obtainingwork and progressing economically.

LINGUISTICS AND TEACHING

Teachers must be sensitive to the attitudes ofthe students' cultural group toward reading(DeStefano, pp. 397-400). Some groups place ahigher emphasis on oral proficiency. One solutionmentioned is to accept and encourage the oralstyles and write them down. These transcriptionsbecome important, high status resources for thereading instruction program. Caution should betaken to continue to encourage the oral tradition.In many instances in the past oral traditions havebeen replaced by literacy rather than comple-mented by literacy.

Teachers must be sensitive and knowledgeableof the uses and misuses of language varieties incomposition (Baron, p. 442). The focus of theteacher should be on the requirements of theprestige dialect in specific types of writing withoutattacking the student's personal use of language.

Garcia (p. 444) reports that some bilinguals mixphonic, lexical and grammatical elements of thetwo languages. He states that the teacher whowould regard this natural phenomena as a seriousdefect of the student's English is "ignorant, biasedor linguistically insecure". He suggests that theteacher should learn to recognize the source of the


"interference", identify the variations and utilizethem in creative writing exercises. Acosta-Belen(p. 463) cautions educators that there is a finebalance in learning and appreciating local dialects.Such a study may result either in unrealisticsterotyping and self- consciousness or in encourag-ing students to have a positive self-image andsuccess in school. Teachers should definitelyavoid criticizing children because of languagevariance. The teacher should be prepared toclearly understand language differences in order toestablish more productive communication with thestudents. Oral proficiency in the home languageor dialect should be encouraged by the schoolsover mediocre achievement in the prestige dialectand retardation of developement of the homedialect (Kochman, p. 464). Students will learn thenew dialect only if they feel it is important.

SUMMARY

The study of language teaching is still develop-ing and much remains to be learned (Spolsky, p.449). There remains a lively debate on the meth-ods, the grammars and the philosophies. Onetheme seems recurrent in the literature: teachersshould be sensitive to the culture and linguisticproficiency of the students. Teachers should learnways to take advantage of students' abilities andencourage the development of skills in otherlanguages and dialects in addition to the prestigedialect.

BIBLIOGRAPHY

Each of the referenced articles appears in thefollowing publication:

Allen, Harold B., and Michael D. Linn. Readingsin Applied English Linguistics. 3rd Edition. NewYork: Alfred A. Knopf. 1982.

ARTICLES REFERENCED

Acosta-Belen, Edna. "'Spanglish': a Case of Languages in

Contact", pp. 458-463.Akmajian, Adrian, Richard A. Demers, and Robert M.Harnish. "Phonology: The Structure of Sounds", pp. 102-119.Allen, Harold B. "The Linguistic Atlas of the UpperMidwest as a Source of Sociolinguistic Information", pp.210-220.Atwood, E. Bagby. "Grease and Greasy", A Study ofGeographical Variation", pp. 193-201.Baron, Dennis E. "Non-Standard English, Composition, andthe Academic Establishment", pp. 436-443.Burling, Robbins. "Black English", pp. 246-258.Chomsky, Noam. "The Current Scene in Linguistics:Present Directions", pp. 76-84.DeStefano, Johanna S. "Language and Reading", pp. 388-404.Fischer, John L. "Social Influences on the Choice of aLinguistic Variant", pp. 202-209.Fraser, Bruce. "Some 'Unexpected' Reactions to VariousAmerican-English Dialects", pp. 221-226.Garcia, Ricardo L. "A Linguistic Frame of Reference forCritiquing Chicano Compositions", pp. 444-448.Linn, Michael D. "Language Change as Reflected in Pidginsand Creoles", pp. 131-140.Kochman, Thomas. "Social Factors in the Consideration ofTeaching Standard English", pp. 464-471.Miller, George A. "Nonverbal Communication", pp. 141-147.Moskowitz, Breyne Arlene. "The Acquisition of Language",pp. 164-180.Smith, Neil, and Deirdre Wilson. "Knowledge of Lan-guage", pp. 85-95.Spolsky, Bernard. "Contrastive Analysis, Error Analy-sis, Interlanguage, and Other Useful Fads", pp. 449-457.Wilson, Kenneth G. "The English Language: Past andPresent", pp. 3-19.Whorf, Benjamin Lee. "Science and Linguistics", pp. 59-67.


How to Use This BookThere are many well established, graded

materials for teaching English. This book does notintend to compete with or replace such curricula.The songs and ideas in Cantos Para Todos

Volume III were developed in ESL classrooms inNew Mexico and Texas as supplements to meth-ods in use. This greatly expanded 1995 versionwas conceived at the suggestion of English teach-ers in Mexico City who felt they needed ideas forsupplementing their current text. Therefore, theapproach taken, is to give a few samples of typesof songs, stories or other resources, then to modelideas that can be used with these, the regulartextbook, or with library books. The six levelswere conceived with elementary school grades onethrough six in mind, but ideas in each book may beadapted for any age level of students, includingsecondary school and adults.

This Teacher Manual for Cantos Para

Todos Volume III serves volumes 1-6:

Level One: I Come in the Door17 songs on Tape 1, side A

for beginners in English as young as age 6

Level Two: Good Morning12 songs on Tape 1, side B

Level Three: When You Meet Someone11 songs on Tape 2, side A

Level Four: The Rules13 songs on Tape 2, side B

Level Five: What Time is It?13 songs on Tape 3, side A

Level Six: Rolling13 songs on Tape 3, side B

Prologue, page 4. The teacher should readthis to understand the purpose and philosophy ofthese materials.

Advice and technical information about

second language teaching, page 5-20. Advicefrom the point of view of ESL teachers may be ofinterest to EFL teachers as well.

Page 7 & 8, survey. Teachers should fillout page 7 when in a workshop with other teachersin order to get acquainted and to help the facilita-tor of the inservice get to know the teachers. Apage similar to page 8 is in the student manual.Students can reveal much information to theteacher as they help each other fill out this form.

Teacher Directed Activity:_______. This section may give the teacherideas for extending the objectives of a song orstory in fun ways.

Journal Ideas. References to sources inthe professional literature are given to stimulateinterest in teachers to study about language teach-ing. If you cannot acquire the reference item,perhaps you can glean ideas from the vignette.

Literature Ideas. Books mentioned arecommonly available in libraries. If you cannot getthe specific book mentioned, perhaps you can getideas for types of activities that can be done withbooks you do have.

Behavior, Classroom Discipline. Ideasare given for management of students in highaffective activities. Do not be discouraged if ittakes you time and practice before you can managea classroom full of students who are learning in afun activity. It will be worth the effort in the longrun.

Grammar. As the students becomefamiliar with the songs, and understand them, theywill be acquiring patterns of language in a naturalway. Reinforcement of the concepts by reviewingwhat they have learned and explaining the rules,can give them a valuable language monitor.

How to Teach considering the problemsthey bring from home: Ideas to help the teacher


reach all of the students.

Topics: Routines, Vocabulary, Syntax,Literacy, Time, Emotions, Vocations. TheTeacher Manual is divided by topics rather thanlevels, because teachers may use songs and activi-ties from any level to make a point or reinforce aconcept.


RoutinesRoutinesRoutinesRoutinesRoutines

I come in the Door&&&&& Roy Howard ©1990 Cantos Para Todos (Level One)

When studentsget to my class, theycome in the door, walkacross the room to theirchairs, sit down, pick uptheir pencils, write theirnames on the paper,write the date, and listento the teacher. As they come in, we all sing"I Come in the Door". We do this everyday. As we associate the words to theactions, the students gradually acquire thesounds and meanings. Eventually, they cansing the words, and even use the words increative sentences of their own.

Journal Ideas

BUILDING AN AIRPORT AND OTHER FUN ESLLEARNING ACTIVITIES: Grammar

Petrimouix, J., ERIC ED 283 406, June, 1986. re-viewed by Dalton Freeman.

As ESL teachers strive to create and utilizenatural, interesting and understood L2 learningactivities, many such activities now exist in theavailable literature. Petrimouix defines 13 classroom activities used tohighlight grammar structures, problem solving (groupand individual), focus upon LSRW skills, variable levelsof difficulty, and Q-A: creative/generative processing. The activities include: airport planning/construc-tion, desert survival, courtroom drama, cartooncaptioning, missing picture reasoning, travellingcomposition tales, paragraph building, mysterysolving, last letter recognition searches/applications,alibi responses, Jeopardy game, and 20 questions. Just used as starter activities, these can bemodified and lead to original offshoots by teacherand student.

Literature Ideas

Udry, Janice May (illustrated by Maurice Sendak).The Moon Jumpers. NY: The Trumpet Club 1959.

As the teacher reads, the students act outevery line they understand, for example;

The sun is tired, it goes down the sky into thedrowsy hills.

The sunflowers lean. They fall asleep to dream oftomorrow's sun.

The warm night-wind tosses our hair.We all dance, barefooted over and over the grass!

We play tag in and out.we jump and jump, over and over, and higher and

higher; but nobody has touched the moon.

Teacher Directed Activity: Listen-i n g

Simon SaysS imon SaysS imon SaysS imon SaysS imon Says

The teacher calls out a command such as,"stand up", "sit down", "turn around", etc. Studentsonly act out the command if the teacher precedes thecommand with: "Simon says". For example:

"Simon says, smile" (students smile)"Frown" (those who frown are out of the game

and must sit and watch until the last student is left)

Before playing this game, the teacher shouldtrain the students to react to commands. This listeningand acting out commands is also called, "Total PhysicalResponse" (TPR).

TPR consists of first, a command demonstratedby the teacher, then modeled by the class, then byselected students, then by the class without teachermodeling, then eventually, by anyone, on command."Simon Says", makes it a game.


This Old ManKey of C (Do) , 2/4

Change keys each verse if desired:1. C, Em, Dm, G7, C, G7, C2.F, Am, Gm, C7, F, C7, F3.G, Bm, C, D7, G, D7, G

4. C, Em, Dm, G7, C, G7, C

1.This old man, he played one

He played knick knack on this thumb.Knick knack patty whack, give the dog a bone.

This old man came rolling home.2.

This old man, he played two,He played knick knack on this shoe.

Knick knack patty whack, give the dog a bone.This old man came rolling home.

3.This old man, he played three,

He played knick knack on this knee.Knick knack patty whack, give the dog a bone.

This old man came rolling home.4.

This old man, he played four,He played knick knack on this door.

Knick knack patty whack, give the dog a bone.This old man came rolling home.

•Behavior, classroom discipline: keeping handsand voices busy by acting out and singing togethermight help students stay on task.

This is an activity in which students act outwhat they are singing:

line one: Hold up the number of fingerscalled for (he played four, means four fingers)

line two: tap on the object mentionedline three: knick touch left knee, knack,

touch right knee, patty whack clap hands twiceline four: revolve hands around each other

Grammarmorphology-phonology-syntax-semantics-spellingTeachers may use these ideas to construct similar exercisesaccording to what you are studying and what students need.

•morphology: he played - give examples of otherpast tense verbs with -ed, such as stay - stayed,pay - paid, tie - tied, cry - cried, etc.

•phonology: DIsold m@n kem rolI$ homBe sure the students voice the th in the join the s to the o in this oldpronounce the d in oldpronounce the ng in rolling

hi pled nIk n@k an mai T^mHe played knick knack on my thumb.

Note that some of these words have silent letters.

•syntax: Be sure students understand the alterna-tive syntax in the first sentence:

This old man, he played oneThis old man played one

Note that when the he is added tothe first alternative, a comma is required.•semantics: knick knack, patty whack: these arenonsense syllables (vocables) which have nomeaning, they only are in the song, because theysound fun.•spelling: Many words in English have silentletters. Practice examples that you find in yourliterature and other textbooks. Spelling wordsshould come from the literature being studied.

How to teach considering the problems theybring from home: If students do not participatein the activities and singing due to a high affectivefilter (they do not want to be seen by the other kidshaving fun in school), do not force them. Let themwatch until they are ready to have fun.

Additional Songs to teach these concepts.All these integrate action with language.

Level One

Row Row Row Your BoatGo In and Out the Window

Here We Go Looby LooLevel Two

Good MorningThis Old Man

A Hunting We will GoLondon Bridge


Good Morning&&&&& Roy Howard ©1990 Cantos Para Todos (Level One)

My students sing "Good Morning"every day when they come to class. Therepetition in that particular context rein-forces the pronunciation and aids theirfluency. When they are ready, we say"good morning" to each other, and they canbe encouraged to say it to others they greetas appropriate. The key to successfullylearning what to say when you greet some-one, is to have opportunities where they usethese for real communication with realpeople.

Good Morning, good morning, howare you today?

Good Morning, good morning, I'mfine, thank you, and you?

Yes, I am just fine too.

Teacher Directed Activity

Paper Cup TelephonePaper Cup TelephonePaper Cup TelephonePaper Cup TelephonePaper Cup Telephone

Materials needed: Four 5 inch paper cups perpair of students; 30 feet of string per pair of students;scissors or a sharp pencil.

Directions: Poke a small hole in the bottom ofeach cup. Cut the string into tow ezual lengths. Tomake a pair of telephones, thread one end of the stringthrough each of two cups. Pull the strings up abouteight inches and tie a large knot in the end of thestring. pull the strings back so the knot is up againstthe bottom of the cup.

The students walk apart until the string is taut,but not touching anything, with care not to pull thestring through the hole in the cup. one cup serves andthe earpiece and the other as the mouthpiece. Thevoices will carry through the string as long as the stringis taut.

Sample conversation:

Hello, this is Tom.Hello, this is Jan.Good morning, good morning, how are you

today?Good morning, good morning, I'm fine, thank

you, and you?Yes, I am just fine too.

Literature IdeasA folk tale adapted for Level One

Chicken Little.One day Chicken Little was walking in the

woods when - KERPLUNK! - an acorn fell on her head."Oh my goodness!" said Chicken Little. "The

sky is falling! I must go and tell the king."On her way to the king's palace, Chicken Little

met Henny Penny."Good morning, Chicken Little, how are you

today? I'm going into the woods to dig for worms.""You can't go into the woods", said Chicken

Little. "I was there and the sky fell on my head. Comewith me to tell the king."

So Henny Penny joined Chicken Little and theywent along as fast as they could. Soon they metCocky Locky.

"Good Morning, good morning, how are youtoday", said Cocky Locky. "I'm going into the woodsto hunt for seeds." They were so upset, they did noteven say, I'm fine thank you, and you?

"The sky is falling there", said Henny Penny."Come with us to tell the king."

So Cocky Locky joined Henny Penny andChicken Little, and they went along as fast as theycould. Soon they met Goosey Poosey.

"Good Morning, good morning, good morning,how are you today", said Goosey Loosey. "I'm goinginto the woods to look for berries." They were soupset, they did not even say, I'm fine thank you, andyou?

"Oh no, you don't", said Cocky Locky, "the skyis falling there. Come with us to tell the king." SoGoosey Poosey joined Cocky Locky, Henny Penny andChicken Little, and they went along as fast as theycould. Then who should appear on the path but sly oldFoxy Woxy.

"Good Morning my fine feathered friends. Howare you today?" asked Foxy Woxy politely.

"We are not well today! We are frightened.The sky is falling, and we must tell the king."

"I know a shortcut to the palace", said FoxyWoxy sweetly. "Come, follow me."

But wicked Foxy Woxy did not lead ChickenLittle and the others to the palace. He led them rightup to the entrance to his fox hole. Once they wereinside, Foxy Woxy was planning to gobble them up!Just as Chicken Little and the others were about to gointo the fox's hole, they heard a strange sound andstopped. It was the king's hunting dogs, growling andhowling. How Foxy Woxy ran, across the meadows andthrough the forests, with the hounds close behind. Heran until he was far, far away, and never dared to comeback again.

After that day, Chicken Little always carried anumbrella with her when she walked in the woods. Theumbrella was a present from the king, and if -KERPLUNK - an acorn fell, Chicken Little did not mind abit. In fact, she didn't notice it at all.


She’ll be Comin’‘Round the Mountain

Level ThreeKey of G (Sol) , 4/4

G, D7, G, G7, C, G, D7, G

1.She’ll be comin’ ‘round the mountain when she comes

Toot, tootShe’ll be comin’ ‘round the mountain when she comes

Toot, tootShe’ll be comin’ ‘round the mountain, she’ll be comin’‘round the mountain she’ll be comin’ ‘round the moun-

tain when she comes, Toot, toot.2.

She’ll be drivin’ six white horses when she comesWhoa, back, Toot, toot

She’ll be drivin’ six white horses when she comesWhoa, back, Toot, toot

She’ll be drivin’ six white horses, she’ll be drivin’ sixwhite horses, she’ll be drivin’ six white horses when she

comes, whoa, back, toot, toot.3.

She’ll wear her red pajamas when she comesWhistle, Whoa, back, Toot, toot

She’ll wear her red pajamas when she comesWhistle, Whoa, back, Toot, toot

She’ll wear her red pajamas, she’ll wear her red paja-mas, she’ll wear her red pajamas when she comes

Whistle, Whoa, back, Toot, toot.4.

And we’ll all go out to meet her when she comesHi, babe Whistle, Whoa, back, Toot, toot

And we’ll all go out to meet her when she comes.Hi, babe Whistle, Whoa, back, Toot, toot

And we’ll all go out to meet her, and we’ll all go out tomeet her, and we’ll all go out to meet her when she comes

Hi, babe Whistle, Whoa, back, Toot, toot.5.

And we’ll kill the old red rooster when she comesHack, hack, Hi, babe Whistle, Whoa, back, Toot, toot

And we’ll kill the old red rooster when she comesHack, hack, Hi, babe Whistle, Whoa, back, Toot, toot

And we’ll kill the old red rooster, and we’ll kill the oldred rooster, and we’ll kill the old red rooster, when she

comesHack, hack, Hi, babe Whistle, Whoa, back, Toot, toot.

6.And we’ll all have chicken and dumplings when she

comes, Yum, yum, Hack, hack, Hi, babe Whistle, Whoa,back, Toot, toot

And we’ll all have chicken and dumplings when shecomes, Yum, yum, Hack, hack, Hi, babe Whistle, Whoa,

back, Toot, tootAnd we’ll all have chicken and dumplings, and we’ll all

have chicken and dumplings, , and we’ll all have chickenand dumplings when she comes, Yum, yum, Hack, hack,

Hi, babe Whistle, Whoa, back, Toot, toot.Actions while singing:

Verse 1, Toot, toot - pull the handle ofthe steam whistle of the train and make thesound of the whistle

Verse 2, Whoa, back - pull back on thereins and tell the horses to stop

Verse 3, Whistle- as when whistling tocomplement a pretty face

Verse 4, Hi, babe - Wave while saying itVerse 5, Hack, hack - Make chopping

motion as in killing the roosterVerse 6, Yum, yum - rub stomach in

satisfaction

Variations: Sing only the verses without theactions or the sounds. Do the sounds andactions only at the end of the verse.

Objectives:•Practice repetition of patterns•Methods of fostering conversation

1. Where will she be coming? Who do you thinkshe is? Has she been here before?2. How will she get here? What do you think thehorses pull? Who might be with her?3. What kind of pajamas does she wear? Whatmight she wear during the day? What might shewear when she comes?4. Are we glad to see her? Who do you think willgo out to meet her? What will she say?5. What will we eat? Where do we get the food?6. What else will we eat? Which meal haschicken and dumplings? How long will she stay?How long will we be glad she is here?

*

Other Level Three Routine SongsWhen You Meet Someone

BingoBow Belinda



LEVEL FOUR ROUTINE SONGS

The RulesBilly Boy

Shortning Bread

The Farmer in the Dell

Billy BoyLevel Four Routines

Key of C, (Do) 2/2

C, G, D7, G, G7, C, G7, C

1.Girls

Oh, where have you been, Billy Boy, Billy Boy,Oh, where have you been charming Billy?

Boys

I have been to seek a wife, She’s the joy of mylife

She’s a young thing and cannot leave hermother.

2.Girls

Did she bid you to come in, Billy Boy, Billy Boy,Did she bid you to come in, charming Billy?

Boys

Yes, she bade me to come in, There’s a dimple in her chin


3.Girls

Did she set for you a chair, Billy Boy, Billy Boy,Did she set for you a chair, charming Billy?

Boys

Yes, she set for me a chair,she has ringlets in her hair,


Grammar :morphology-phonology-syntax-semantics-spelling

•morphology: To make the verb, to charm, intoan adjective, add -ing: Charming. To make it anoun, add -er Charmer. Add the diminuitive -y, tomake the story cute for children: Fox, Foxy. Bill,Billy. The extra word makes it more familiar:Foxy Loxy, Billy Boy. Find other words in yourreadings that add suffixes or prefixes.

•phonology: WEr h@v yu bIn bIli boiWEr h@v yu bIn bIli boiWEr h@v yu bIn bIli boiWEr h@v yu bIn bIli boiWEr h@v yu bIn bIli boiai h@v bIn to sik e waifai h@v bIn to sik e waifai h@v bIn to sik e waifai h@v bIn to sik e waifai h@v bIn to sik e waif

Where have you been, Billy BoyI have been to seek a wifeCompare and contrast minimal pair vow-

els: been = bInbInbInbInbIn, with short i (IIIII)not (iiiii) as in seek.

•syntax: Oh, where have you been? (question) I have been... (answer)

Notice that in the question, thepronoun comes between the parts of the verb: haveyoubeen. In the answer the pronoun comes beforeall parts of the verb: I have been. Find otherexamples of syntax changes involving pronounsand complex verbs in your readings.

•semantics: Kerplunk- the sound of the acornlanding on his head.

Locky, Poosey, Penny, Woxy - vocablesthat rhyme or sound good with Cocky, Goosey,Henny and Foxy.

gobble - to swallow whole, without chew-ing very much, like a dog eats meat.

•spelling: ck - functions to change the quality ofvowels. Cocky Locky. Without the c, the syllableis open Coky Loky instead of closed, so the soundis o instead of a. Find other examples of words inwhich the pronunciation rule is a clue to thespelling.

•methods of fostering conversation: practiceconversations based on the Good Morning song,the Paper Cup Telephone, the Chicken Little story,or the boys- girls dialogue in Billy Boy.


Show Me&&&&& Roy Howard ©1990 Cantos Para Todos (Level One)

¿Dónde está el pencil? Sí, ese es elpencil. Now where is the pen? Yes, thatis the pen. Show me where's the desk.Yes, that is the desk. Show me where's thebook. Yes, that is the book...

More than a simple vocabularyexercise, this song insures comprehensibleinput. The tape helps because the line is,"Show me where's the ________." You fillin the blank according to what is at hand,and what is known by the student.


Cleanup t imeCleanup t imeCleanup t imeCleanup t imeCleanup t ime

Materials needed: Long strip of laminatedpaper with numbers on it from 1 to 10; washcloth,comb, brush, toothpaste, toothbrush, shampoo, shoepolish, nail clipper, nail file, or other. Teacher says:

1 2 3 4 5 6 7 8 9 10

a. Take everything out of the shoe box.a. Take everything out of the shoe box.a. Take everything out of the shoe box.a. Take everything out of the shoe box.a. Take everything out of the shoe box.b. Take out the number l ine.b. Take out the number l ine.b. Take out the number l ine.b. Take out the number l ine.b. Take out the number l ine.c. Put the soap on number one.c. Put the soap on number one.c. Put the soap on number one.c. Put the soap on number one.c. Put the soap on number one.d. Put the washcloth on number two.d. Put the washcloth on number two.d. Put the washcloth on number two.d. Put the washcloth on number two.d. Put the washcloth on number two.e. Put the comb on number three.e. Put the comb on number three.e. Put the comb on number three.e. Put the comb on number three.e. Put the comb on number three.f. Put the brush on number four.f. Put the brush on number four.f. Put the brush on number four.f. Put the brush on number four.f. Put the brush on number four.g. Put the toothpaste on number f ive.g. Put the toothpaste on number f ive.g. Put the toothpaste on number f ive.g. Put the toothpaste on number f ive.g. Put the toothpaste on number f ive.h. Put the toothbrush on number six.h. Put the toothbrush on number six.h. Put the toothbrush on number six.h. Put the toothbrush on number six.h. Put the toothbrush on number six.i . Put the shampoo on number seven.i . Put the shampoo on number seven.i . Put the shampoo on number seven.i . Put the shampoo on number seven.i . Put the shampoo on number seven.j . Put the shoe pol ish on number eight.j . Put the shoe pol ish on number eight.j . Put the shoe pol ish on number eight.j . Put the shoe pol ish on number eight.j . Put the shoe pol ish on number eight.k. Put the nai l c l ippers on number nine.k. Put the nai l c l ippers on number nine.k. Put the nai l c l ippers on number nine.k. Put the nai l c l ippers on number nine.k. Put the nai l c l ippers on number nine.l . Put the nai l f i le on number ten.l . Put the nai l f i le on number ten.l . Put the nai l f i le on number ten.l . Put the nai l f i le on number ten.l . Put the nai l f i le on number ten.

Point to the names of the items as IPoint to the names of the items as IPoint to the names of the items as IPoint to the names of the items as IPoint to the names of the items as Ispeak.speak.speak.speak.speak.

one - soap; two - washcloth; three-comb;one - soap; two - washcloth; three-comb;one - soap; two - washcloth; three-comb;one - soap; two - washcloth; three-comb;one - soap; two - washcloth; three-comb;four - brush; f ive- toothpase; s ix-tooth-four - brush; f ive- toothpase; s ix-tooth-four - brush; f ive- toothpase; s ix-tooth-four - brush; f ive- toothpase; s ix-tooth-four - brush; f ive- toothpase; s ix-tooth-brush; seven - shampoo; eight - shoebrush; seven - shampoo; eight - shoebrush; seven - shampoo; eight - shoebrush; seven - shampoo; eight - shoebrush; seven - shampoo; eight - shoepol ish; nine - nai l c l ippers; ten - nai l f i le.pol ish; nine - nai l c l ippers; ten - nai l f i le.pol ish; nine - nai l c l ippers; ten - nai l f i le.pol ish; nine - nai l c l ippers; ten - nai l f i le.pol ish; nine - nai l c l ippers; ten - nai l f i le.

Say the names of the items after me: oneSay the names of the items after me: oneSay the names of the items after me: oneSay the names of the items after me: oneSay the names of the items after me: one- soap; two - washcloth; three - comb;- soap; two - washcloth; three - comb;- soap; two - washcloth; three - comb;- soap; two - washcloth; three - comb;- soap; two - washcloth; three - comb;

etc .etc .etc .etc .etc .

Point to the item in the sentence:Point to the item in the sentence:Point to the item in the sentence:Point to the item in the sentence:Point to the item in the sentence:

We wash with soap. We wash with soap. We wash with soap. We wash with soap. We wash with soap. We wash with a washcloth. We wash with a washcloth. We wash with a washcloth. We wash with a washcloth. We wash with a washcloth. We comb our hair with a comb. We comb our hair with a comb. We comb our hair with a comb. We comb our hair with a comb. We comb our hair with a comb. We brush our hair with a brush. We brush our hair with a brush. We brush our hair with a brush. We brush our hair with a brush. We brush our hair with a brush. We put toothpase on the toothbrush. We put toothpase on the toothbrush. We put toothpase on the toothbrush. We put toothpase on the toothbrush. We put toothpase on the toothbrush. We brush our teeth with a toothbrush. We brush our teeth with a toothbrush. We brush our teeth with a toothbrush. We brush our teeth with a toothbrush. We brush our teeth with a toothbrush. We wash our hair with shampoo. We wash our hair with shampoo. We wash our hair with shampoo. We wash our hair with shampoo. We wash our hair with shampoo. We shine our shoes with shoe pol ish. We shine our shoes with shoe pol ish. We shine our shoes with shoe pol ish. We shine our shoes with shoe pol ish. We shine our shoes with shoe pol ish. We cut our f ingernai ls with a nai l c l ip- We cut our f ingernai ls with a nai l c l ip- We cut our f ingernai ls with a nai l c l ip- We cut our f ingernai ls with a nai l c l ip- We cut our f ingernai ls with a nai l c l ip-per .per .per .per .per . We clean our f ingernai ls with a nai l f i le. We clean our f ingernai ls with a nai l f i le. We clean our f ingernai ls with a nai l f i le. We clean our f ingernai ls with a nai l f i le. We clean our f ingernai ls with a nai l f i le.

Now l isten to these questions and pointNow l isten to these questions and pointNow l isten to these questions and pointNow l isten to these questions and pointNow l isten to these questions and pointto the objects that answer them.to the objects that answer them.to the objects that answer them.to the objects that answer them.to the objects that answer them.

What can you brush your teeth with? What can you brush your teeth with? What can you brush your teeth with? What can you brush your teeth with? What can you brush your teeth with? What can you wash your hair with? What can you wash your hair with? What can you wash your hair with? What can you wash your hair with? What can you wash your hair with?

etc .etc .etc .etc .etc .

The teacher may conduct additional activities withthis topic, or any other topic being studied.

Journal Ideas

WHAT'S IN A WORD?by R'Evelyn Childers

How many ways are there to learn a word? 1. Visualize the word spelled out in bright pink as

they spell orally with eyes shut. 2. Spell orally while writing with a finger on the

desk. 3. Break it up into syllables and sound it out. 4. Look up and define in a dictionary race.

5. Sketch the word in the air and let a partnerguess the word.

6. Pantomime the word. 7. Make long, sentences with one to three of the

words. 8. Find small words in a word (pen man ship)

9. Mark the words phonetically.

Level One Vocabulary SongsLevel One Vocabulary SongsLevel One Vocabulary SongsLevel One Vocabulary SongsLevel One Vocabulary Songs

Show MeSkip to My Lou

Eency Weency SpiderMulberry Bush


I Love My RoosterLevel Four

Key of C (Do), 3/4C, Dm7, G7, C, C7, F, C, G7, C

1.I love my rooster, my rooster loves me;I feed my rooster on a cottonwood tree;

My little old rooster goes cock-a-dee-doo,Dee-doo-dle-dee, doo-dle-dee, doodle-dee-doo.

2.I love my hen, my hen loves me;

I feed my hen on a cottonwood tree;My little old hen goes cluck, cluck, cluck,My little old rooster goes cock-a-dee-doo,

Dee-doo-dle-dee, doo-dle-dee, doodle-dee-doo.3.

I love my pig, my pig loves meI feed my pig on a cottonwood tree;

My little old pig goes oink, oink, oink,My little old hen goes cluck, cluck, cluck,My little old rooster goes cock-a-dee-doo,


I love my cow, my cow loves meI feed my cow on a cottonwood tree;

My little old cow goes moo, moo, mooMy little old pig goes oink, oink, oink,

My little old hen goes cluck, cluck, cluck,My little old rooster goes cock-a-dee-doo,


I love my horse, my horse loves meI feed my horse on a cottonwood tree

My little old horse goes neigh, neigh, neigh,My little old cow goes moo, moo, mooMy little old pig goes oink, oink, oink,



I love my dog, my dog loves meI feed my dog on a cottonwood tree

My little old dog goes woof, woof, woof,My little old horse goes neigh, neigh, neigh,

My little old cow goes moo, moo, moo,

My little old pig goes oink, oink, oink,My little old hen goes cluck, cluck, cluck,My little old rooster goes cock-a-dee-doo,


I love my cat, my cat loves meI feed my cat on a cottonwood tree

My little old cat goes meow, meow, meow,My little old dog goes woof, woof, woof,

My little old horse goes neigh, neigh, neigh,My little old cow goes moo, moo, moo,My little old pig goes oink, oink, oink,



I love my mouse, my mouse loves meI feed my mouse on a cottonwood treeMy little old mouse goes eee, eee, eee,





I love my baby, my baby loves meI feed my baby on a cottonwood tree

My little old baby goes waa, waa, waa,My little old mouse goes eee, eee, eee.




Dee-doo-dle-dee, doo-dle-dee, doodle-dee-doo.


ACTIVITIES

Make a drawings or obtain a picture ofeach. Have the students point when the pictureis referred to.

OBJECTIVES

The repetition and patterning reinforcesthe language. The vocabulary and syntacticpatterns will be learned if the students under-stand.

LEVEL FOUR VOCABULARY SONGS

Betty and Bill's Boarding House BluesI Love My RoosterThe Hummingbird

Barnyard Song

Grammar:morphology-phonology-syntax-semantics-spelling

•morphology: Search the books and stories youare reading for compound words such as wash-cloth, toothpaste, toothbrush, fingernails, cotton-wood and contrast with nouns with adjectives suchas shoe polish, nail clippers, nail file.

•phonology: Here is the pronunciation of theanimal sounds:eee, eee, eee, (i i ii i ii i ii i ii i i) as in seemeow, meow, meow, (miaumiaumiaumiaumiau)woof, woof, woof, (wUfwUfwUfwUfwUf) as in woodneigh, neigh, neigh, (neineineineinei) as in paymoo, moo, moo, (mumumumumu) as in twooink, oink, oink, (oinkoinkoinkoinkoink)cluck, cluck, cluck, (kl^kkl^kkl^kkl^kkl^k) as in pluckcock-a-dee-doo, (ka'k1diduka'k1diduka'k1diduka'k1diduka'k1didu)Dee-doo-dle-dee, doo-dle-dee, doodle-dee-doo (di du d1l di du d1l di du d1l di dudi du d1l di du d1l di du d1l di dudi du d1l di du d1l di du d1l di dudi du d1l di du d1l di du d1l di dudi du d1l di du d1l di du d1l di du)

•syntax: Show me where's the ______. (Repeatthis Verb-Pronoun-Noun pattern with other sen-tences: Give me the ______. Throw him the ____.Hand her the ____. Loan me the _____.

•semantics: Vocabulary building in this lesson:Show Me, Cleanup Time, What's in a Word, I LoveMy Rooster.

•spellling: What's in a Word gives ideas forimproving spelling. Don't worry about spelling ofvocables such as doodle-dee-doo. Concentrate onwords in context that have meaning to the stu-dents.

•methods of fostering conversation:CleanupTime shows the appropriate sequence of teachingconversation: Act out commands then increase thecomplexity of the commands before asking stu-dents to speak. Ask questions about the animals inI Love My Rooster.


Literature Ideas

Van Allsburg, Chris. Just a Dream. Boston:Houghton Mifflin, 1990.

Your students may have dreamed abouttravelling; if not, it may be time that they do.

Walter went to bed wishing he lived in thefuture. He couldn't wait to have his own tiny plane, arobot to take out the trash, and a machine thatcould make jelly doughnuts by the thousands. Whenhe fell asleep, his wish came true. That nightWalter's bed travelled to...the future...

In Walter's dream he travels to many places.Your students may participate in the followingactivity after hearing the story, or even if they donot hear the story. An alternative type of story toprepare students for this activity may be any thattalks about travel to interesting places.

Ask the students about places they mayhave wanted to travel to, but haven't. Why do theywant to travel to that place? How would they getthere? What would they bring back? You may say:

I wish I could go to. . .I wish I could go to. . .I wish I could go to. . .I wish I could go to. . .I wish I could go to. . .

I wish I could l ive in . . .I wish I could l ive in . . .I wish I could l ive in . . .I wish I could l ive in . . .I wish I could l ive in . . .

I wish I could be a. . .I wish I could be a. . .I wish I could be a. . .I wish I could be a. . .I wish I could be a. . .

I wish I could dr ive a. . .I wish I could dr ive a. . .I wish I could dr ive a. . .I wish I could dr ive a. . .I wish I could dr ive a. . .

I wish I could sa i l to. . .I wish I could sa i l to. . .I wish I could sa i l to. . .I wish I could sa i l to. . .I wish I could sa i l to. . .

I wish I could get some.. .I wish I could get some.. .I wish I could get some.. .I wish I could get some.. .I wish I could get some.. .

I wish I could go see. . .I wish I could go see. . .I wish I could go see. . .I wish I could go see. . .I wish I could go see. . .

I wish I could have. . .I wish I could have. . .I wish I could have. . .I wish I could have. . .I wish I could have. . .

I w ish I could. . .I w ish I could. . .I w ish I could. . .I w ish I could. . .I w ish I could. . .

I wish I could be on. . .I wish I could be on. . .I wish I could be on. . .I wish I could be on. . .I wish I could be on. . .

I wish I could be. . .I wish I could be. . .I wish I could be. . .I wish I could be. . .I wish I could be. . .

I wish I could c l imb. . .I wish I could c l imb. . .I wish I could c l imb. . .I wish I could c l imb. . .I wish I could c l imb. . .

I wish I could see. . .I wish I could see. . .I wish I could see. . .I wish I could see. . .I wish I could see. . .

I wish I could do. . .I wish I could do. . .I wish I could do. . .I wish I could do. . .I wish I could do. . .

I wish I could run. . .I wish I could run. . .I wish I could run. . .I wish I could run. . .I wish I could run. . .

I wish I could eat. . .I wish I could eat. . .I wish I could eat. . .I wish I could eat. . .I wish I could eat. . .

There are many other possibilities.


Memory Game: I 'm Going on a Tr ipMemory Game: I 'm Going on a Tr ipMemory Game: I 'm Going on a Tr ipMemory Game: I 'm Going on a Tr ipMemory Game: I 'm Going on a Tr ip

Directions: the teacher says -

I 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take mysu itcase.su i tcase.su i tcase.su i tcase.su i tcase.

The next student says:I 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take mysuitcase and toothbrush.su itcase and toothbrush.su itcase and toothbrush.su itcase and toothbrush.su itcase and toothbrush.

The next student says:I 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take mysuitcase and toothbrush and comb.suitcase and toothbrush and comb.suitcase and toothbrush and comb.suitcase and toothbrush and comb.suitcase and toothbrush and comb.

The next student says:I 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take myI 'm going on a tr ip and I 'm going to take mysuitcase and toothbrush and comb and dog.suitcase and toothbrush and comb and dog.suitcase and toothbrush and comb and dog.suitcase and toothbrush and comb and dog.suitcase and toothbrush and comb and dog.

...and so forth, adding an additional item witheach person. This can be adapted for students ofvarying English proficiency by having them work ingroups to take the next role.

Rolling&&&&& Roy Howard ©1990 Cantos Para Todos (Level Six)

I wrote this songwhile on a trip to Seattleduring the time of theWorld's Fair. I was soexcited to be going, Istudied everything aboutSeattle and added versesas I learned more. I have since learned thatthe verses can be adapted to fit any town.For example:

2. Gila River, Black Range, copper in themountain (Silver City)

or2. Llano Estacado, Caprock, cotton,

cowboys (Lubbock)or

As you wish for any place, as long as it has12 syllables.

Level Six Vocabulary Songs: Rolling,Red Iron Ore, Going to Boston, OldChisolm Trail


Grammar:morphology-phonology-syntax-semantics-spelling

morphology: The imperfect subjunctive is usedin an "I wish" clause, such as "I wish I could go..."The opposite is, I can go... "I wish I could livein... I can live in...

•phonology: Boom-de-ah-da is a series ofvocables: bum di a da

DIs l@nd IZ yor l@ndthis land is your land

Note that the s in this is unvoiced,and the s in is is voiced.

e vois w^z saundi$a voice was sounding

Note that the s in voice and sound-ing are unvoiced, and the s in was is voiced.

ai w^z stroli$ wIT D1 Wit fildz wavi$@n D1 d^st klaudz rolI$

I was strolling with the wheat fields wav-ing and the dust clouds rolling

•syntax:I'm going on a Trip, and Just a Dreamhave enough repetition of patterns to drill thesyntax of those types of sentences.

•semantics: The exercises in this lesson are allrich with vocabulary development, which will belearned if the teacher insures understanding byproviding and understandable context.

•spelling: Students may practice spelling wordswhich are used often in understandable contexts.Start by having them find correct spellings offamiliar words, then having them write.

•methods of fostering conversation: I'm Goingon a Trip is a preconversation exercise. After thepatterns are secure, conduct creative conversationson a similar topic.

•better using my textbook: Have students searchfor patterns in your text and in the literature youread that have imperfect subjunctives or otherdistinctive patterns.you may be studying.

I Love the MountainsLevel Five

Round, Key of E (Mi), 6/8:E, C#m, F#m, B7

+ The next group starts singing from the beginning

+ I love the mountains,I love the rolling hills.+ I love the flowers,I love the daffodils+ I love the fireside,

when all the lights are low.+ Boom-de-ah-da, boom-de-ah-da,boom-de-ah-da, boom-de-ah-da.

Level Five Vocation Songs

The Bus DriverI Love the Mountains

The Blue Tail FlyOats, Peas, Beans


Betty and Bill'sBoarding House Blues

&&&&& Traditional U.S. Level Four

Betty Botter bought some butterBut, she said, this butter's bitter

If I put it in my batterIt will make my batter bitter.So she bought a bit of butterBetter than the bitter butter

And it made her batter better.Thus, 'twas better Betty BotterBought a bit of better butter.

Bill had a billboardBill had a board bill

Bill's board bill bored Bill;so, bill sold his billboard

to pay his board billNow Billy's board billno longer bores Bill.

There is a boarding housefar, far away.

Where they serve ham and eggsthree times a day.

Oh, how the boarders yellwhen they hear the dinner bell.

Oh, how the eggs do smellthree miles away.

Literature Ideas

Betty and Bill's Boarding House Blues.

Deep in the high mountains and tall trees,somewhere long ago and far away, there was a houseof many rooms. The owner began to rent rooms toindividuals, who also paid extra for board, whichmeans food. A cook named Betty was hired, and theboarders, who paid for room and board, got whatthey paid for.

Betty, the cook, did not have much imagina-tion. She only knew how to prepare one meal: hamand eggs. For breakfast she served ham and eggs,for lunch she served ham and eggs, for dinner sheserved ham and eggs. The boarders knew that thedinner bell was about to sound, because the odor ofthe eggs was so strong, people could smell themthree miles away!

Bill, one of the boarders, was depressed. Hewas in the advertising business, and they lived so faraway and long ago, that no one had anything toadvertise. With no advertising sold, it was very hardfor him to pay his bill for room and board. Then itocurred to him that if he sold his bill board, he wouldhave the money to pay his room and board bill.

Will the boarders survive meal time? WillBetty ever bake better biscuits? Will Bill ever pay hisboard bill? Listen to this song. Try to repeat.

Literature Ideas

Brown, Marcia. Stone Soup. NY: Aladdin Books,Macmillan Publishing, 1986.

This is an old French tale that you may be ableto find in many sources or retell you own way. Here isthe plot:

Three hungry soldiers pass through a village.The people are concerned that the soldiers would takefood that they needed; so as they approached, thepeople hid the food. The soldiers went from door todoor asking for food, but no one had any for them.Finally, they asked for a pot and water and threestones, to make "stone soup". As the curious peoplegather around to see the miracle, they get ideas ofwonderful ingredients that could be added. The finalresult is full of spices, vegetables and meat brought bythe people from hiding. All are amazed at how such awonderful feast could be made from stones. For suchwize and splendid men, a great party was made withfood for the whole village. After sleeping as honoredguests in the best homes in the village, they depart asheroes. "Such men do not grow on every bush".

Activity: retell or act out the storymake stone soupmake butter from cream (it changes)


make popcorn (it changes into something else)Talk about nutrition and food groups.

Level Four Vocabulary Songs

Betty & Bill's Boarding House BluesI Love My RoosterThe Hummingbird

Barnyard Song

Heather’s Magic FeatherSometimes I take the group outside and

demonstrate how to use this song to predict theweather: "The ancient people of this land had toknow the weather in order to plan their dailyactivities and sacred events. I will teach you aceremony, then I will explain how it works."

First, we place a stick with a featthe at-tached into the ground, and form a circle around it.

Then, I teach the chorus: red leather,yellow leather. This is supposed to be a verydifficult tongue twister, because of the minimalphonemic difference between r and l; d and th.While they sing, they walk in a circle around thestick.

Next, I teach the first part of the song, andthey sing while circling the stick. The chorus issung faster and faster until all drop out. The lastverse is done the same way. Change direction inthe circle after every sentence.

Here is how the feather predicts theweather: I look at the feather.

if it is moving, it is windyif it is wet, it is rainingif it covered with white, it is snowingif the stick is moving, there is an earthquakeif I can't see it, it is darkif it has a short shadow, it is mid dayif a long shadow is pointing west - morningif a long shadow is pointing east - afternoon

Heather’s MagicFeather

Tongue Twister, Key of D, 2/4:D, A7, D, A7, D, A7, D, A7, Dchorus: A7, then A7, D, A7, D

Red leather, yellow leather,Heather has a magic feather

With it, she predicts the weatherwhether it will be fair weather

whether it will rain, saying:

Red leather, yellow leatherRed leather, yellow leather,Red leather, yellow leather,Red leather, yellow leatherRed leather, yellow leather,Red leather, yellow leather,Red leather, yellow leatherRed leather, yellow leather,Red leather, yellow leather,

I know it sounds insane,but with a feather,

Heather does predict the rain.I know it sounds insane,

but with a feather,Heather does predict the rain.

I know it sounds insane,but with a feather,

Heather does predict the rain.I know it sounds insane,

but with a feather,Heather does predict the rain.


Writing Level Two

BigAction words are not the only words that you should choose carefully. Descriptive words are justas important.

Big is a general word. Tall is more specific; so is fat. Each of these words tells in what waysomething is big. A word like monstrous tells us even more. Something monstrous is frighten-ing as well as big.

Think of different words you might use to describe a house. Spacious might fit, or substantial,or huge. What about imposing? That could be used, too. But a word like fat would not work.

However, if you were describing a person, fat might be a better word than huge . The correctword will depend on the particular thing you are writing about.

Specific Words for Big

great hulking substantial

fat vast bulky

imposing gigantic massive

spacious monstrous heavy

huge tremendous strapping

Find the words in a dictionary Find the words in your readings

Write new sentences with these words Use the words in your story writing


BIGDate__________________

Name_________________

The word "big" fits in all of these sentences.However, another word can more explicitlydescribe the person, place, or thing. See thefour choices, pick the best word.

1. Esa casa es espaciosa That is a big house. wide | spacious

That is a large | huge house.

2. Ese hombre es altísimo. That is a big man. tall | fat

That is a large | muscular man.

3. Siéntate en esa silla más grande. larger | big

Sit on that tall | fat chair.

4. Esa lluvia es fuerte. That is a big rainstorm. fast | longtime

It is raining hard| heavily.

5. Está nevando mucho.That is a big snowstorm.

fast | longtime

It is snowing hard | heavily.

6. Ese hombre está panzón.That man has a big belly.

fat| large

That man has a big |round belly.

Fill in the blank with the best word:

fat spaciousmonstrous bulky imposing

1. The inside of the church is___________________.

2. The oversize package is too___________________ for the mail slot.

3. The skyscraper commands an____________________ view over the city.

4. The man is very ______________________,and can't get out of bed.

5. King Kong seems _____________________,even next to the Hulk.

6. Their mansion has a ___________________,interior.

7. (write your own)_______________________________________________________________

8.______________________________________________________________________________


BIGFree Association Writing Technique , Big

Step 1.Read from any literature at least until childrenare in the mood for fantasy.

Step 2.Read a story that uses the key words:

I stepped through the wall into a land ofgiants. Of course, I did not realize at first thatthe "forest of trees" I walked through wasreally an expansive lawn with gigantic blades ofgrass. It first struck me when I climbed a tallsturdy stalk of grass and sensed a huge shadow,like a cloud pass over me. I looked up in timeto see a huge butterfly. Its substantial wingsspead over six feet in each direction. The bodywas at least as large as myself. My heart wentfrom shock and surprise to panic, when I hearda sharp snap, saw a long sticky tongue flick outand the butterfly disappear into the gapingjaws of a monstrous toad. My heart nearlystopped when I noticed that his huge, peeringeyes had caught sight of me! As he repositionedhis hulking frame for the attack, I leapedhastily to the ground.

Step 3.Students write freely, anything that comes tomind with key words to stimulate thought:

A. Words1. fat 2. spacious 3. huge 4. hulking 5. vast6. gigantic 7. monstrous 8. massive

1. _________________________________

2. _________________________________

3. _________________________________

4. _________________________________

5. _________________________________

6. _________________________________

B. Sentences1. He lowered the heavy crate into the ship'shold.2. The mountain was massive, but he was braveenough.3. The box was too bulky to fit under the tree.4. He had a substantial breakfast today.5. It was an imposing task, but he climbed thesteep mesa.6. He met the hulking bear in the path.

1.__________________________________________________________________________________

2.__________________________________________________________________________________

3._________________________________________________________________________________

4.__________________________________________________________________________________

5._________________________________________________________________________________

6._______________________________________________

Step 4.Read a paragraph. The students write a story.

The raging storm kept on through thedark night. We worried about the possibility ofsome flooding, but never dared imagine theworst. High in the steep canyon, behind themassive dam, the waters accumulated farbeyond flood stage. Bulky flood gates had beenopen all week, but the tons of earth and rockwere no longer enough for the vast waters theyheld. With a tremendous crashing, crunchingsound that could be heard for many miles, thewaters broke through. The surging, churningwave of water, mud, and rock crashed throughthe canyon, poring and gouging and rippingeverything in its path.



LiteracyLiteracyLiteracyLiteracyLiteracyTeacher Directed Activity

ESL LANGUAGE ARTS ACTIVITIESby Dora L. Salazar

Magician - On the board list word such as these: big,bus, back, thank, came, him, game, let, make, than,sun. Give a child a magic stick (chalk) and ask him tobe the magician, changing big to pig; bus to but;back to tack; thank to think; him to hit; game toname; let to led; make to brake; than to then; sun torun. You may want to emphasize initial, medial, orfinal sounds or any combination.

Making Shapes is Easy&&&&& Dan Gómez

©1990 Cantos Para Todos

Level Three

This sectionrefers all types ofliteracy, includingshapes and num-bers, as well asreading and wriitng. The songs may be used topromote prereading skills of identifying shapesand numbers, or to simply teach vocabulary toliterate individuals. As the students sing "MakingShapes is Easy", they may touch objects in theseshapes, point to drawings, or form the shapes withtheir hands. This song may also be adapted forother shapes. Six are mentioned on the tape:circle, square, triangle, rectangle, oval and dia-mond.

Literacy Ideas

What a person understands from print depends on acombination of factors. In the model shown, theinput is the text as decoded by the student (whethernumbers, shapes, or words). Based on the reader'sprevious knowledge of the subject, personal experi-ences with related concepts, and feelings about thesubject (or emotional reactions thereto), a degree ofunderstanding is acquired. If reading in a secondlanguage, the language is also being acquired if theinput is comprehensible.

Implications for teachers: your students will acquireEnglish as they read if they understand. Understand-ing depends upon the knowledge, experience andaffect with which they interact with the print.

Preteaching ideas:prepare students for thereading experience byinsuring that they knowas much as possibleabout the setting, thecharacters, situationsand concepts of thetext. Input that isrelevant, familiar andinteresting will result inlanguage acquisition.

Literature Ideas

Grifalconi, Ann. The Village of Round and SquareHouses. Boston: Little, Brown & Co. 1986.

A grandmother explains to her listeners why intheir village on the side of a volcano the men live insquare houses and the women in round ones.

Students may interact with the ideas ofshapes by making paper or clay or block houses thatare round, square, or other shapes. They may searchfor shapes in the illustrations of this, or other books.They may point out shapes in the environment of theclassroom. Take the students outside to talk aboutshapes in the neighborhood. Language that is used inthe immediate context of things seen with othersenses, is remembered

Listening and discussing. As students hearthe story, they should be asked to remember recog-nizable words and discuss how the words are used inthis story, or may be used in other contexts.


There’s a Hole in My BucketLEVEL THREE

Key of G, 3/4D7, G, C, D7, G, C, D7, G

1. Boys:There’s a hole in my bucket, dear Liza, dear

Liza,there’s a hole in my bucket, dear Liza, a hole.

Girls:Then fix it dear Willie, you silly, dear Willie,

Then fix it dear Willie, you silly, fix it!

2. Boys:With what shall I fix it, dear Liza, dear Liza,with what shall I fix it, dear Liza, with what?

Girls:With straw, dear Willie, you silly, dear Willie,with straw, dear Willie, you silly, with straw!

3. Boys:The straw is too long, dear Liza, dear Liza,the straw is too long, dear Liza, too long.

Girls:Well, cut it, dear Liza, dear Liza,

Well, cut it, dear Liza, cut it.

4. Boys:With what shall I cut it, dear Liza, dear Liza,with what shall I cut it, dear Liza, with what?

Girls:With a knife, dear Willie, you silly, dear Willie,with a knife, dear Willie, you silly, with a knife!

5. Boys:The knife is too dull, dear Liza, dear Liza,

the knife is too dull, dear Liza, too dull.

Girls:Then sharpen it, dear Willie, you silly, dear

Willie,then sharpen it, dear Willie, you silly, sharpen

it!

6. Boys:With what shall I sharpen it, dear Liza, dear

Liza,with what shall I sharpen it, dear Liza, with

what?

Girls:With a stone, dear Willie, you silly, dear Willie,with a stone, dear Willie, you silly, with a stone!

7. Boys:The stone is too dry, dear Liza, dear Liza,

the stone is too dry, dear Liza, too dry.

Girls:Then wet it, dear Willie, you silly, dear Willie,

then wet it, dear Willie, you silly, wet it!

8. Boys:With what shall I wet it, dear Liza, dear Liza,with what shall I wet it, dear Liza, with what?

Girls:With water, dear Willie, you silly, dear Willie,with water, dear Willie, you silly, with water!

9. Boys:With what shall I fetch it, dear Liza, dear Liza,with what shall I fetch it, dear Liza, with what?

Girls:With a bucket, dear Willie, you silly, dear

Willie,with a bucket, dear Willie, you silly, a bucket!

10. Boys:There’s a hole in my bucket, dear Liza, dear

Liza,there’s a hole in my bucket, dear Liza, a hole.

Girls:THEN FIX IT!


Level Three Literacy Songs

Making Shapes is EasyMichael Row the Boat AshoreThere's a Hole in My Bucket

Jennie Jenkins


First Counting Song&&&&& Roy Howard

©1990 Cantos Para Todos

Level One

This type of songis simple enough for allto learn, and fun enough to sing every dayas part of a routine. The 12 numbers willbe understood only if repeated in a contextthat is clear. Students should point to thenumbers on a clock, a number line, or to aset of objects as they sing.

Level One Literacy Songs

First Counting Song, Three Blue Pigeons,Baa, Baa, Black Sheep, Hot Cross Buns

Count by Ten&&&&& Roy Howard ©1990 Cantos Para Todos Level Two

Counting by ten, two, 7 or any other,is no harder than counting by one, if it isdone regularly, and in a comprehensiblecontext. Provide bundles or sets of 10s andpractice this song, and the students willalways remember.

Level Two Literacy Songs

Count By TenFive Hundred MilesThree Blind MiceTen Little Children


Five Hundred MilesLevel TwoHedy West

Key of G, 4/4G Em C Am7 D7 G

1.If you miss the train I’m on

you will know that I am goneYou can hear the whistle blow a hundred miles.

A hundred miles, a hundred miles,a hundred miles a hundred miles,

you can hear the whistle blow a hundred miles.

2.Lord I’m one, Lord, I’m two,Lord I’m three, Lord I’m four

Lord I’m five hundred miles away from home.A way from home, away from homeaway from home, away from home

Lord I’m five hundred miles away from home.

3.Not a shirt on my back,not a penny to my name

Lord, I can’t go back home this a-way.This a-way, this a-way, this a-way, this a-way

Lord I can’t go back home this a-way.

Literature Ideas

Hoban. Tana. Circles, Triangles & Squares. Macmillan.1974.

Real life photographs clarify concepts relatedto shape.

Ashanti to Zulu.Ideas for teaching the alphabet by refering to

another language. African style illustrations.Owl Moon.

Three Little Pigs.Compare and contrast the traditional

version with that told by the wolf.

Down in the ValleyLevel Six Emotions

Key of G, 9/8G, D7, G, D7, G

1.Down in the valley, the valley so low

Hang your head over, hear the wind blow.Hear the wind blow dear

hear the wind blow.Hang your head over, hear the wind blow.

2.If you don’t love me, love whom you please;Throw your arms ‘round me, give my heart

ease.Throw your arms ‘round me before it’s too

late;Throw your arms ‘round me, feel my heart

ache.3.

Build me a castle forty feet highSo I can see him as he goes by.

Roses love sunshine, violets love dew;Angels in heaven know I love you.Literature

I d e a s

Silverstein, Shel. The Giving Tree. Harper & Row.1964. A story of a little boy and his favorite tree,and the tree loved the boy, very much. They hadmany happy times together, but as the boy grew

older he wanted more and more from the tree, untilthe tree could give no more. A story of giving and aserene acceptance of another's capacity to love in

return. All ages. Tenderly written, an excellent storythat can be develope into a moral lesson for children.Simple black and white drawings, easy to read pages.

DramatizeRead for pleasure

Discuss giving and caringModel the rhythms and patterns of language

The Black Snowman. B

Viorst, Judith. Alexander and the Terrible,Horrilble, No Good, Very Bad Day. NY: Anthenum.1972. this story is well explained in the title!Alexander relates why his day was so bad. A storythat children can identify with, becasue they are thetypes of things that could really happen to a child,especially ages preschool to grade 3. All ages willenjoy the story. The repetition is wonderful for ESLstudents.


Have students tell what kind of bad days theyhave.

What makes a good day?Pleasure reading.

There is a Monster Under my Bed.

Level Six Emotion Songs

My EmotionsDown in the ValleyPolly Wolly Doodle

Green Grow the Lilacs

Sixteen TonsLevel Six Vocations

Merle TravisKey of Em, 2/2Em, Am, C, Em

Em, Am, Em

Chorus:You load sixteen tons, what do you get?Another day older and deeper in debt

Saint Peter don’t you call me ‘cause I can’t goI owe my sould to the company store.

1.Some people say a man is made out of mud

A poor man’s made out of muscle and blood.Muscle and blood and skin and bones,

A mind that’s weak and a back that’s strong.2.

I was born one mornin’ when the sun didn’tshine

I picked up my shovel and I walked to the mineI loaded sixteen tons of number nine coal

And the straw boss said, “Well a-bless my soul”3.

I was born one mornin’ it was drizzling rain,A fightin’ and trouble are my middle name,

I was raised in a canebrake by an ole mama lionCain’t no high-toned woman make me walk the

line4.

If you see me comin’ better step asideA lotta men didn’t and a lotta men died.

One fist of iron, the othter of steelIf the right one don’t a-get you

then the left one will.

Level Six Vocation Songs

Laying PipeSixteen Tons

The BlacksmithErie Canal

I've Been Working on the Railroad


TimeTimeTimeTimeTime

Literature Ideas

A Carp for Kimiko. B

Ginsburg, Mirra. How the Sun Was Brought Back tothe Sky NY: Macmillan. 1975.

Adapted from a Sovenian Folk Tale. The gray cloudscovered the sun one day, and the sun didn't come outfor 3 days. Some baby chicks wanted to find the sunand bring it back. They set out on their journey tobring back the sun. The story tells of theirexperiency. The chicks and their friends clean up thesun, and he came out to shine once again.

Grades K-2Pleasure reading to the classDramatizationArt: draw the animals and their journey to the sun.

Aardema, Verna. Why Mosquitos Buzz in People'sEars. NY: Dial Press. 1975.

A West African Tale. It all started with theIguana putting stickes in his ears because he did notwant to hear the mosquitos foolish talk. when he

does not speak to the python (because he did not hearhim) this starts a series of assumjptions by otheranimals in the jungle Mother owl won't make the sunrise, and it is dark in the forest. The animals have ameeting, and finally realize it its the mosquito's faultwith all his foolishness. When they buzz in people'sears to see if everyone is still mad at them, KPAO!Age: 3-10Good use of repetition, necessary for ESLSounds that each insect or animal makes is needed byESL students.

McDermott, Gerald. Arrow to the Sun. NY: VikingPress. 1974.

A Pueblo Indian myth explaining how the sun came tothe earth.Native American cultureCreative Writing

What Time is It?&&&&& Dan Gómez ©1990 Cantos Para Todos

Level Five

Level Five Songs forTime

What Time is It?I Gave My Love a Cherry

The Sleeping princessOh How Lovely is the Evening

Literature Ideas

Funny Little Woman. B

After her traumatic experience, she takes what shelearned and uses it to make a living. This old Japanesewoman loved to laugh. She made rice dumplings all thetime. She dropped one and it rolled down the hill. She

follows it to where it falls into a crevass. She falls downto where the gods (oni) live. She becomes their cook.They have a magic paddle which makes a potful of ricefrom one grain of rice. She escapes, taking the paddlewith her. Using the magic paddle to make rice patties,

she becomes the richest woman in Japan.

Have a rice cooking class, including different ways tocook rice.

Have each child design a different "oni".Discuss another fantasy story of Japan (or anothercountry) and compare with this one, including the

gingerbread man, the pancake boy, etc.

In My Mother's House.


ESL compared to EFL

Most second language teachers in theU.S. believe that there is a difference be-tween teaching English as a second lan-guage (ESL) and teaching English as aforeign language (EFL). One major differ-ence is the reason for which the language isbeing learned. "ESL" implies that thestudent must learn to survive, and that theenvironment outside of the classroomreinforces the need for English literacy andfluency over any other language. Englishmust be acquired as a second language withan equal or greater proficiency than thefirst language. ESL prepares students tolearn in English with native speakers."EFL" may imply that English is used andheard mainly in the classroom, and that themethods focus more on learning about thelanguage than in being able to participate inreal communication with native speakersand in academic instruction in English.

May 1994. Bilingual teachers in New Mexicoschools near the border with Mexico were asked,“What is the difference between teaching Englishhere and in Mexico City?”

What is the main difference be-tween your job as an Englishteacher in New Mexico and that ofan English teacher in Mexico City?

The students here are exposed to English dailyoutside of the classroom.

We teach English for survival, in Mexico it isenrichment.

The students need English here. In Mexico it is aforeign language.Students are motivated differently. In Mexico City

it is a choice, so they would be more motivated.Our students have to do it, so they don’t try.

In the U.S. they have to learn English well enoughto learn all subjects in English. In Mexico theystudy English as a seperate subject.

What methods might be most effective for teach-ing English in Mexico City?

They should use the same methods we do, teach incontext with Total Physical Response.

They should learn survival English, but the stu-dents will have a better attitude if aNatural Approach is used rather thanrote and repetition. The goal should becommunicative skills. Methods shouldinclude music, TPR, literature andlanguage with context. Classroomsubjects should be taught with a Sheltered Englishapproach.

English should be taught with real life scenariossuch as taking the students to a restaurant to ordera meal, etc. Materials used in teaching should bepurposeful and the meaning of the language shouldbe made clear by the situation.

The goals should be geared to learning the funda-mentals of survival English. Students should beable to function in real situations as well as learnthe grammar.

Students should be able to acquire the languagewith total communication (ESL) rather than usingforeign language methods of drill and repetition.Teachers should model language in the way thatthe language is used for real communication.

I suppose that in Mexico City, English instructionfocuses on survival skills such as memorization,minimal conversations and simple requests. Ibelieve they should focus on the fundamentals ofgrammar and pronunciation in realistic contexts.


They should make every effort to make learningenjoyable. Students should learn survial skills thatwould help them in real situations and preparethem to be in our classrooms here. Instructionshould focus on being able to communicate.Words should be learned in association with theconcepts they represent.

Methods should focus on the basics, using a lot ofTPR, visuals, and repetition in the context of whatthey are learning.

Communicative competence should be the goalusing hands on material, TPR, and context to teachthe grammar.

Start with the vowels, work into survival skills andreal communication, studying the language as awhole.

They should probably teach English as an aca-demic subject.

Teachers should model the language that thestudents will need through role playing, oraldiscussions, lots of pictures, a controlled vocabu-lary and sheltered English.

What do you think of encouraging the MexicoCity teachers to model and teach academiclanguage, or language that could be used inteaching subjects in English?

English time could be used totalk and discuss what occuredduring the day. Read to thestudents to model the languagethey will need.

Since knowledge transfers from one language tothe other, a solid foundation in a subject matter intheir native language prepares them to learn thenext language. Students should be familiar andcomfortable with the subject matter in order to feelsuccess in the second language.

Although survival English and building a founda-

tion comes first, acadamic language will be ac-quired if they understand the concepts associatedwith the new words.

Teaching the English that is associated withsubjects they already know helps them learntheEnglish, and it also reinforces what they learnedearly.

If they understand the concept already, thendiscussing the concept in the new language en-sures that the new language is comprehensible andtherefore, they will acquire the new language.

Students acquire a new language if the input iscomprehensible. Studying a new language in thecontext of what they already know makes the newinput comprehensible.

The English lesson should enhance what thestudent learned in other subjects in Spanish. Thiswould make the student comprehend Englishbetter and also understand the other subject materbetter. For example, my professor wrote a para-graph on the board in the International PhoneticAlphabet, which I was easily able to decipher dueto my familiarity with the subject. However, I didvery poorly in trying to read the words in thatalphabet in isolation.

Teaching English in the context of what theystudied earlier in the day in Spanish would rein-force that knowledge plus help their Englishbecause it allows for a broader picture and appliesthe new to the known.

Teachers could limit the vocabulary, use a clearcontext and visual aids, and thus “shelter” theEnglish experience.

English time could be used to discuss subjectssuch as science, social studies, etc. to reinforce thecurriculum, and make the English more meaning-ful because they understand the concept. If theyunderstand what is going on it is easier to learn thevocabulary.


What is your recommendation about usingrealia, visuals, field trips, manipulatives, etc.?

Every student learns a different way, soteachers should vary the methods andmaterials to reinforce learning by all.

Concrete examples are necessary for alllevels of learners.

Students of every learning style need a chance.

Many students are visual learners and require suchmaterials.You must have a vast amount of visualsand hands on activities for students to have totalcomprehension. TPR methods are very importamt.

Touching, seeing,smelling, acting out and anythingwith hands on training reinforces learing.

Many people learn more quickly with hands onexperiences.

Newspapers, comic books, and anything theywould like to read and would understand wouldhelp.

What is your advice on how to teach Englishgrammar (semantics, syntax, phonology, or-thography, etc.)?

You teach grammar by reading andwriting a lot, inlcuding newspapers,books, maps, etc.

Read to them a lot, and give themlots of opportunities to read inter-esting materials.

They must hear you reading, and be able to readon their own, and hear tapes and videos for lan-guage models.

Student made books should be used in addition tomuch reading and being read to.

Students should read real materials including

cereal boxes, instructions, anything that communi-cates as a model for the grammar.

Reading good literature to the students teachesthem to read. Comprehensible reading teachesthem grammar.

What advice do you have for the MexicanEnglish teachers whose students may eventuallyenroll in your classroom?

Don’t worry, I will work hard to teachthem when they are in my classroom.

I will welcome any student entering myclassroom and I will do my very best toteach them the things they need to know and opentheir minds to new horizons.

Our classrooms are receptive to all students and allstudents are expected to achieve. In my bilingualclassroom I would hope students would arrive withbasic reading skills in Spanisish, and at least anacquaintance with English.

Should a student from Mexico come to my class-room they would need to know the alphabet inEnglish, numbers, basics and be ready to continuelearning in English.

Their native language is the stepping stone to avast body of knowledge in my classroom.

When your student comes into my bilingualclassroom, she or she wwill be a success if theyhave a strong foundation in Spanish. I will takecare of the English part of their studies

.I hope the student has a strong foundation inEnglish, which will help me build up his founda-tion in English.

I hope the student comes to school having beenread to.Your student will be successful if a hardworker prpared in the foundations. Basic survialEnglish is needed for success in a U.S. classroom.


English with MusicCantos Para Todos Volume III

Cassette Tape Song ListTapes are recorded in DBX stereo. Most

songs have the voice only on the left channel; youmay delete the voice by turning the balance to theright. Some songs are responsive or have a partfor boys and another for girls; you will hear theboys on the left and the girls' part on the right.Some songs are the same on both channels.

Song words, stories, illustrations, and otheritems may be reproduced for class members, butnot for distribution to other teachers. If you needmore copies please call.

The CD version is not divided by channels. However, itis much easier to find the songs on the CD. The CD track list is onpage 53. The index of songs in alphabetical order is on page 52.

Tape 1aLevel One

I Come in the Door Roy Howard, ©Cantos Para Todos

Row, Row, Row Your Boat U.S. Traditional

Go In and Out the Window U.S. Traditional

Looby Loo U.S. Traditional

Show Me Roy Howard, ©Cantos Para Todos

Skip to My Lou U.S. Traditional

Eency, Weency Spider U.S. Traditional

The Mulberry Bush England Traditional

First Counting Song Roy Howard, ©Cantos Para Todos

Three Blue Pigeons U.S. Traditional

Baa, Baa, Black Sheep England Mother Goose Rhyme, French Tune

Hot Cross Buns England Traditional

The Days of the Week Roy Howard, ©Cantos Para Todos

Hickory Dickory DockEngland Mother Goose Rhyme, Music J. W. Elliot 1744

The Muffin Man England Traditional

Twinkle, Twinkle Little Star France Traditional

Early to Bed Poor Richard's Almanac

Tape 1bLevel Two

Good Morning Roy Howard, ©Cantos Para Todos

This Old Man England Traditional

A-Hunting We Will Go England Traditional

London Bridge England Traditional

Count By Ten Roy Howard, ©Cantos Para Todos

Five Hundred Miles ©Hedy West, U.S.

Three Blind Mice England Mother Goose Rhyme

Ten Little ChildrenU.S. Traditional

The Months Roy Howard, ©Cantos Para Todos

Happy Birthday U.S. Traditional, Music by Mildred & Patty Hill

Polly Put the Kettle OnMother Goose Rhythme, Music of England, Scotland or Germany

Mother's Knives and Forks U.S. Traditional, Music Janet Gaynor

Tape 2aLevel Three

When You Meet Someone Dan Gómez, ©Cantos Para Todos

She'll Be Coming 'Round the Mountain U.S. Traditional

BINGO Scotland 1780

Bow Belinda U.S. Traditional

There is a Boarding House U.S. Traditional

Heather has a Magic Feather ©Cantos Para Todos

When the Train Comes Along U.S. Traditional

Old MacDonald Had a Farm U.S. Traditional

Making Shapes is Easy Dan Gómez, ©Cantos Para Todos

Michael Row the Boat Ashore U.S. Traditional

There's a Hole in My Bucket U.S. Traditional

Jennie Jenkins U.S. Traditional

Tape 2bLevel Four

The Rules ©Cantos Para Todos

Billy Boy England Traditional

Shortning Bread U.S. Traditional

The Farmer in the Dell England Traditional

Betty & Bill's Boarding House Blues U.S. Traditional

I Love My Rooster U.S. Traditional

The Hummingbird Australia, Edwin Star Belknap

Barnyard Song U.S. Traditional

The Principal Roy Howard, ©Cantos Para Todos

The Little Shoemaker U.S. Traditional Janet Gaynor, Alice Riley

Cotton Needs Picking U.S. Traditional

Night Herding Song U.S. Traditional Harry Stephens


Tape 3aLevel Five

What Time is It? Dan Gómez, ©Cantos Para Todos

The Riddle Song U.S. Traditional

The Sleeping Princess Traditional Story, Swedish Melody

Oh, How Lovely is the Evening U.S. Traditional

Emotions Dan Gómez, ©Cantos Para Todos

O Susanna U.S. Stephen Foster

Paper of Pins England Traditional

Oh, My Darling Clementine U.S. Traditional

The Bus Driver Roy Howard, ©Cantos Para Todos

I Love the Mountains U.S. Traditional

The Blue Tail Fly U.S. Dan Emmett, 1840s

Oats, Peas, Beans U.S. Traditional

Tape 3bLevel Six

Rolling to Seattle Roy Howard, ©Cantos Para Todos

Red Iron Ore U.S. Traditional

Going to Boston U.S. Traditional

Old Chisolm Trail U.S. Traditional

My Emotions Roy Howard, ©Cantos Para Todos

Down in the Valley U.S. Traditional

Polly Wolly Doodle U.S. Traditional

Green Grow the Lilacs U.S. Traditional, Irish Melody

Laying Pipe Roy Howard, ©Cantos Para Todos

Sixteen Tons U.S. Merle Travis 1947

The Blacksmith W. A. Mozart

Erie Canal U.S. Traditional

I've Been Working on the Railroad U.S. Traditional

Cantos Para Todos is pleased to present the authors of eachissue and make them available for presentations and consulta-tions in your school. The principal author of Volume III is Dr.Howard. Please call upon Cantos Para Todos for your teacherdevelopment and multicultural materials needs.

Roy E. Howard, Ph.DP.O. Box 657 Silver City, New Mexico 88062

PhD University of New Mexico, 1987: Bilingual Education/MusicEducation

MA University of New Mexico, 1985, Multicultural Education/Music Education

MA Eastern Washington University, 1982, Music EducationBA Brigham Young University, 1974, Elementary Education/Music

Since 1992 - Associate Professor of Bilingual Education atWestern New Mexico University

1987-1992 - Assistant Professor of Bilingual Education at TexasTech University

1986-1987 - Lecturer, bilingual education teacher training,University of New Mexico

1982-1986 - Teacher, bilingual education and ESL, New Mexicoelementary schools

1982 - graduate assistant (music teaching), Eastern WashingtonUniversity

1978-82 - Full Time Piano tuner-technician1982 - present - Piano tuner-technician

1974-1978 - Chief of Administration, Caswell Air Force Station

Music ExperiencePerformer: bands, choirs, orchestras since 1958.

Folklorist: U.S. and Mexican folk instruments and stylesArranger and Composer of hundreds of pieces

Teacher: private lessons, performing groups, children, youth, adultsTechnician: piano tuner since 1967

Researcher/lecturer: Most publications and presentations are onusing traditional styles of music to support other subjects in the

curriculumPublisher: Published a series of 20 books and CDs of over 400

original and researched historical songs for classroom usehttp://www.cantos.org


INDEX

CD One: Levels 1, 2, 3. CD Two Levels 4, 5, 6

A-Hunting We Will Go Level Two CD Track 22Baa, Baa, Black Sheep Level One CD Track 13Barnyard Song Level Four CD Track 8Betty & Bill's Boarding House Blues Level Four CDTrack 5Billy Boy Level Four CD Track 2BINGO Level Three CD Track 34Boarding House Rap Level Three CD Track 37Bow Belinda Level Three CD Track 35Cotton Needs Picking Level Four CD Track 11Count By Ten Level Two CD Track 24Down in the Valley Level Six CD Track 29Early to Bed Level One CD Track 19Eency, Weency Spider Level One CD Track 9Emotions Level Five CD Track 17Erie Canal Level Six CD Track 35First Counting Song Level One CD Track 11Five Hundred Miles Level Two CD Track 25Go In and Out the Window Level One CD Track 5Going to Boston Level Six CD Track 26Good Morning Level Two CD Track 20Green Grow the Lilacs Level Six CD Track 31Happy Birthday Level Two CD Track 29Heather has a Magic Feather Level Three CD Track38Hickory Dickory Dock Level One CD Track 16Ho, Ho Ho Level One CD Track 4Hoe, Hoe, Hoe Your Row Level One CD Track 3Hot Cross Buns Level One CD Track 14I Come in the Door Level One CD Track 1I Love My Rooster Level Four CD Track 6I've Been Working on the Railroad Level Six CDTrack 36Jennie Jenkins Level Three CD Track 44Laying Pipe Level Six CD Track 32London Bridge Level Two CD Track 23Looby Loo Level One CD Track 6Making Shapes is Easy Level Three CD Track 41Michael Row the Boat Ashore Level Three CD Track42Mother's Knives and Forks Level Two CD Track 31My Emotions Level Six CD Track 28

Night Herding Song Level Four CD Track 12O Susanna Level Five CD Track 18Oats, Peas, Beans Level Five CD Track 23Oh, How Lovely is the Evening Level Five CDTrack 16Old Chisolm Trail Level Six CD Track 27Old MacDonald Had a Farm Level Three CD TrackOh, My Darling Clementine Level Five CD Track 20Paper of Pins Level Five CD Track 19Polly Put the Kettle On Level Two CD Track 30Polly Wolly Doodle Level Six CD TrackRed Iron Ore Level Six CD Track 25Rolling to Seattle Level Six CD Track 24Row, Row, Row Your Boat Level One CD Track 2She'll Be Coming 'Round the Mountain Level ThreeCD Track 33Show Me Level One CD Track 7Shortning Bread Level Four CD Track 3Sixteen Tons Level Six CD Track 33Skip to My Lou Level One CD Track 8Ten Little Children Level Two CD Track 27The Blacksmith Level Six CD Track 34The Blue Tail Fly Level Five CD Track 22The Bus Driver Level Five CD Track 21The Days of the Week Level One CD Track 15The Farmer in the Dell Level Four CD Track 4The Hummingbird Level Four CD Track 7The Little Shoemaker Level Four CD Track 10The Months Level Two CD Track 28The Muffin Man Level One CD Track 17The Mulberry Bush Level One CD Track 10The Principal Level Four CD Track 9The Riddle Song Level Five CD Track 14The Rules Level Four CD Track 1The Sleeping Princess Level Five CD Track 15There is a Boarding House Level Three CD Track 36There's a Hole in My Bucket Level Three CD Track43This Old Man Level Two CD Track 21Three Blind Mice Level Two CD Track 26Three Blue Pigeons Level One CD Track 12Twinkle, Twinkle Little Star Level One CD Track 18What Time is It? Level Five CD Track 13When the Train Comes Along Level Three CD Track39When You Meet Someone Level Three CD Track 32


CD ONE

Search for the song on the CD player by the Track Number

Level One1 I Come in the Door

2 Row, Row, Row Your Boat3Hoe, Hoe, Hoe Your Row

4 Ho, Ho Ho5 Go In and Out the Window

6 Looby Loo7 Show Me Roy Howard

8 Skip to My Lou9 Eency, Weency Spider10 The Mulberry Bush11 First Counting Song12 Three Blue Pigeons

13 Baa, Baa, Black Sheep14 Hot Cross Buns

15 The Days of the Week16 Hickory Dickory Dock

17 The Muffin Man18 Twinkle, Twinkle Little Star

19 Early to Bed

Level Two20 Good Morning21 This Old Man

22 A-Hunting We Will Go23 London Bridge24 Count By Ten

25 Five Hundred Miles26 Three Blind Mice

27 Ten Little Children28 The Months

29 Happy Birthday30 Polly Put the Kettle On

31 Mother's Knives and Forks

Level Three32 When You Meet Someone

33 She'll Be Coming 'Round the Mountain34 BINGO

35 Bow Belinda36 There is a Boarding House

37 Boarding House Rap38 Heather has a Magic Feather

39 When the Train Comes Along40 Old MacDonald Had a Farm

41 Making Shapes is Easy42 Michael Row the Boat Ashore43 There's a Hole in My Bucket

44 Jennie Jenkins

CD TWO

Search for the song on the CD player by the Track Number

Level Four1 The Rules2 Billy Boy

3 Shortning Bread 4 The Farmer in the Dell

5 Betty & Bill's Boarding House Blues6 I Love My Rooster7 The Hummingbird

8 Barnyard Song9 The Principal

10 The Little Shoemaker11 Cotton Needs Picking12 Night Herding Song

Level Five13 What Time is It?14 The Riddle Song

15 The Sleeping Princess16 Oh, How Lovely is the Evening

17 Emotions18 O Susanna

19 Paper of Pins20 Oh, My Darling Clementine

21 The Bus Driver22 The Blue Tail Fly23 Oats, Peas, Beans

Level Six24 Rolling to Seattle

25 Red Iron Ore26 Going to Boston

27 Old Chisolm Trail28 My Emotions

29 Down in the Valley30 Polly Wolly Doodle

31 Green Grow the Lilacs32 Laying Pipe33 Sixteen Tons

34 The Blacksmith35 Erie Canal

36 I've Been Working on the Railroad