Grade Six Organizers

MUSIC CURRICULUM GUIDE: K - 6 275

GRADE 6 - ORGANIZERS

Grade 6

Rhythm and Metre

Melody / Pitch

Harmony

Form

Expression

Contexts

Organizers

MUSIC CURRICULUM GUIDE: K - 6276




Rhythm and MetreStudents will be expected to

1. perform, listen to and create

• beat/rhythm• metre signatures• upbeat•

Melody/PitchStudents will be expected to


• d 1 t l s f m r d t 1 l1 s1

in the keys of F, C, and G.( f t t1 new)

• E1 D1 C1 B Bb A G F F# ED C on the sopranorecorder.(E1 Bb C new)

HarmonyStudents will be expected to


• ostinati (melodic/rhythmic)• rounds/canons• selections in parts• tonic and dominant chord

roots (d and s1 ) (l and m1 )

Form

Students will be expected to

1. perform, listen to and createmore complex contrastingand repeating phrases andsections

• a b• A B• rondo• simple variations (new)

ExpressionStudents will be expected to

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

• tempo• dynamics• articulation• tone colours• notations• interpretation

2. identify instruments of theorchestra and their familiesand soprano, alto, tenor, bassvoices. (new)

Contexts

Students will be expected to

1. perform, listen to and createvaried selections representing

• cultures• time periods• composers/musicians

Grade Six

2 3 44 4 4

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2. use appropriate terminologyfor notes and rests

2. demonstrate in-tune andexpressive singing



Suggestions for Teaching and LearningOutcomesStudents will be expected to

Organizer: Rhythm and Metre


• beat/rhythm

• metre signatures ²¼ ³¼ ¦¼• upbeat• ± Öµ £ °

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Ä ± Ä ä tie

Ö¶» ¶»µ

å à

±. Ä new

Performing includes:singingplayingspeakingmovingconductingreadingwriting/constructinginner hearing

Listening includes:aurally identifyingresponding

Creating includes:improvisingcomposinginterpreting

Includes• experiencing Ö-µ ± Ä ±. and þ¾ time signature• varied musical styles, genres, cultures, time periods

Performing

• Continue with strategies found in previous grades.

• Continue to provide opportunities for students to conductand aurally identify simple metres using more complexmusical examples. This is a continuous development. Seestrategies for previous grades.

• Continue to provide opportunities to practise and reinforcerhythms and time signatures through reading and writingactivities and the use of worksheets.

• Students conduct (duple metre) a musical selection in þ¾metre. Follow with the performance of the ostinato Ö-µ .Introduce Ö-µ = ±. and the þ¾ time signature. See page 107-108 Compound Meter, The Kodály Method I.

• Practise and reinforce þ¾ rhythms through singing in rhythmsyllables and playing on recorder or classroom instruments.Use flashcards, notated examples, known selections intextbooks and rhythmic activities given in previous grades.

2. use appropriate terminology fornotes and rests



Resources/NotesSuggestions for Assessment


The Kodály Method I

Pages 82-83 - new rhythmic learning ±. Ä

120 Singing Games and DancesCoffee Grows on White Oak Trees (±. Ä )The Ryans and the Pittmans ( þ¾)The Slaves of Job (passing game, ±. Ä )Obwisana - passing game (use the more

challenging version, good for assessing beatand ostinati)

My LandlordChapter 9 - Creating Games and Dances

Let Your Voice Be Heard!Pages 42-45 - Sansa KromaPages 51-53 - Vamuroyi Woye ( ±. Ä , ostinato)Pages 72-75 - Chatigo Chingi (keep beat,

ostinato)Pages 76-79 - Chawe Chid Yo Chem ‘Chero

(ostinato)Pages 127-133 - Percussion Technique

An Orff Mosaic from CanadaPieces in þ¾ with ostinatos, movement and orcreating activities:Page 16 - An Objibway MelodyPage 30 - Cod Liver OilPage 32 - Lots of Fish in Bonavist HarbourPage 36 - I’se the B’yPages 62-63 - J’entends le moulin ( Ö¶» )Pages 66-67 - Un Canadien Errant (perform

and create rhythmic part)Page 88 - The Horsemen in the Cloud (creating a

drum rhythm)Page 99 - To Work Upon the RailwayPages 208-902 - Purim’s Here (includes

rhythmc ostinato, movement, and recorders)

See pages 283 and 285.





• Use a familiar known song containing ±. Ä , such as MusicAlone Shall Live, Vive La Musica, In the Bleak Midwinter(Teaching Towards Musical Understanding). Isolate the

phrase containing ±. Ä and make conscious. Practise andreinforce through singing, reading, writing, playing andaurally identifing. Include selections in different metres.Aural and performing activities can often be extended to aquick writing activity. See strategies for previous grades andpages 82-83, New Rhythmic Learning, The Kodály Method I.

• Use software programs for drill and reinforcement andpractice of terminology. Students work in teams of two orthree.

• Practise ±. Ä using worksheets. Students must circle therhythm that they hear. This is also good for assessment.

• Practise ±. Ä with playalongs in World Beat Fun.

• Play selections on recorder in þ¾ metre. If students cannotplay all the notes, isolate a phrase or verse to be played andsing the rest. For example, Feller From Fortune(Newfoundland and Labrador), sing the chorus and play theverses.

• Use appropriate terminology when facilitating performingactivities.

• Practise and reinforce terminology through reading andwriting activities. Include worksheets.

• Continue to express beat and rhythm through creativemovement and folk dance.

• Teach students body percussion rondos. Use a variety ofteaching techniques including speech, body movement, auralrepetition and notation. See The Body Rondo Book,Resources/Notes.


• beat/rhythm


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Teaching Towards Musical UnderstandingPages 100-101 - selections to play on recorderPages 126-130 - composition involving rhythmic

constructionPage 143 - classroom activities during a listening

experiencePages 172-177 - ten examples of movement

activities that help children achieve musicalunderstanding within the curriculumorganizers/strands

Pages 228-231 - classroom activities forhighlighting rhythmic patterns

Pages 246-247 - En Roulant Ma Boule ( þ¾)Pages 267-268 - The Lumber Camp Song and

Kelligrew’s Soiree ( þ¾)Page 280 - We’ll Rant and We’ll Roar ( þ¾)Pages 301 and 302 - Make New Friends and

Alleluia Canon (±. Ä )

Musicplay 6 Teacher’s Guide and Student Books#21 - Above the Plain (teaching process ±. Ä )#28 - Mozart Playalong ( ³¼metre)#44 - Christmas at the Hop (create movement)#45 - Christmas Line Dance (movement)#53 - Eine Kleine Nacht Music ( ±. Ä )#106 - Siyahamba (drum ostinati)See worksheet index for student worksheetsrelated to rhythm/metre

Composing with BoomwhackersComposing activities related to rhythm andmetreNote: NPP percussion instruments, classroominstruments and recorders may be used insteadof boomwhackers. Activites may be adjustedand adapted to meet classroom needs.






Listening

• Use listening examples that reflect a variety of musical styles,genres, cultures and time periods.

• If you are including ±. Ä in a dictation activity be sure tohave practised aurally first through reading or echo clapping.Students should be prepared aurally before taking dictation.

• Continue playalongs with Listening Kits and also usedirected listening sheets and Listening Log.

• Students use appropriate terminology when responding totheir own work or the work of others.

• Use listening examples to highlight rhythmic elements. Askstudents to aurally identify these elements and discuss theircontribution to the effectiveness of the music. For example,the beat is strong and driving, and this contributes to anupbeat mood, etc. Include contemporary examples.


• beat/rhythm


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Listening Kit 4Track 9: Hallelujah Chorus ( ±. Ä , use the score

for reading)Track 14: Variation II ( þ¾ rhythms)Track 19: Ode to Joy ( ±. Ä , play from score on

the recorder)

Listening Kit 5CD Track: Radetsky March - play the cupgame/create patterns

Recorder Resource Kit 1 and 2Take opportunties to identify rhythmic valuesusing proper terminology.Ode to Joy and O Canada - (Kit 2 ±. Ä )

The Body Rondo BookI. - Alpha FourV. - Las Vegas Rondo ( þ¾)VI. - Red Hot RondoVIII. - Cape Canaveral Rondo ( ±. Ä )

World Beat FunDesert ThemeAfrican DanceAmerica RocksNative American Song3-2 Cuban Salsa

Sound Ideas#10 - Echo Rhythm#13 - Simultaneous Canon#22 - Four-level Canon#21 - Middle Eastern Durm#33 - Back Drumming#35 - Accompanying Dances

Use checklists (Appendix A).

Observations of individual performance/improvisation,alone and in small groups. For example• performing notated rhythms• reading unknown song charts• reading flash cards• conducting metre• improvising rhythms/body percussion• moving to beat/rhythm• performing body percussion

Quizzes/tests• names of notes• musical terms & symbols• rhythmic/metre identification• dictation

Worksheets/activity sheets• rhythmic identification• metre identification• dictation• time signatures/barlines/double barlines• worksheetsSee Reproducibles.





Creating

• Continue with strategies in previous grades.

• See strategies for composition using simple metre, found inpervious grades. Include new rhythmic learnings.

• Students create simple ostinatos in þ¾ and play on recorder,boomwhackers and Orff and/or classroom instruments, or usetechnology.

• Continue with composition activities in Composing withBoomwhackers.

• When creating and performing their own music, students useappropriate musical terminology.

• Use software programs for composition activities.

• Interpret through movement, and create movement anddances.

• Create a “fruit salad”. Place the names of several fruits in abowl. Students pick a name. Each student (or pair ofstudents) creates a movement as he/she speaks the name inrhythm. Students may explore vocal sounds for the name.Each student (or pair of students) performs for the rest of theclass. Create a composition in ¦¼ time. Begin with one group.Every four beats, another group joins in, adding another layerto the sound, until all students are performing. Graduallytake away layers until there is one chant left and then none.This activity can be extended in several ways. Appoint astudent conductor who will control who enters and when(texture), and explore tempo and dynamics. Ask each student(or pair) to create a variation (reinforce form). Lead adiscussion after the “composition” or ask students to do a

written reflection (see Appendix A and Reproducibles).


• beat/rhythm


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å à

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Name GamesGame 8 - Spelling Game (metre)Game 14 - First and Last NameGame 15 - Full Name and BirthdayGame 18 - Rhymed Couplets (improvisation)

Shenanigans Dance Music for ChildrenSee listings for previous grades

Multicultural Folk Dance Treasure ChestHakilauLes SalutsTanko Bushi

Music for Creative Dance#8 - Skippy Ska#11 - Caribbean Leaps#12 - Little Bolero

Folk Songs of Newfoundland and Labrador

Note Name Flashcards

Other:

Musicanada Teacher’s Guide 6Page 41 - Fish and Chips ( ±. Ä )Page 183- Song Sung Blue (compound metre)Page 203 - Pussy Willows, Catails ( ±. Ä )

Ostinato/composition projects - individual or group.This may involve notation. See Reproducibles.

Written reflections, self and peer assessment. SeeAppendix A and Reproducibles.

Projects in Composing with Boomwhackers

Listening Kits 4 and 5WorksheetsListening LogResponse JournalRubrics and suggestions for assessment (page 70

Kit 4 and page 68 Kit 5)




Organizer: Melody/Pitch


• d 1 t l s f m r d t 1 l1 s1

in the keys of F, C, and G.(f t t1 new)

• E1 D1 C1 B Bb A G F F# E DC on the soprano recorder.(E1 Bb C new)

Performing includes:singingplayingreadingwriting/constructinginner hearing



Includes• a varied repertoire• an expanded range• major and minor tonalities

Performing

• See strategies for previous grades.

• See The Kodály Method I pages 111-116 and 116-120 forthe make conscious process, for fa and ti and introducing thehalf step. Practise and reinforce. (See strategies for previousgrades).

• Use the child scale (page 113, The Kodály Method I) topractise and reinforce whole steps and half steps.

• Continue with strategies found in previous grades to practiseand reinforce melodic patterns and tones, and the newmelodic tones of f and t . Include practice writing the newtones.

• Isolate phrases from known songs that contain the newmelodic elements in stepwise patterns e.g., Laugh Ha! Ha!Music Alone Shall Live, Vive La Musica, The Kelligrew’s Soiree,EnRoulant Ma Boule (Teaching Towards MusicalUnderstanding).






See pages 293 and 295. Tone Ladders

d lt sl fs mf rm dr td l

Major Minor

The Kodály Method IPages 120-122 and 157-160 - Improvising and

Composing6 - major and minor scale, pattern of

whole steps and half stepsChapter 9 - The Songs

Let Your Voice Be Heard!Pages 51-53 - Vamuroyi Woye (call and response)Pages 68-71 - Zangaiwa Chakatanga Pano (call

and response)





• Use songs found in The Complete Recorder Resource thatcontain f t or t1 . Sing in solfa and/or absolutes beforeplaying.

• Students sing patterns containing f t t1 from hand signs.Also use tone ladders or discs which show the half steps. Thiscan be a quick warm-up activity at the beginning of the class.

• See page 253, The Pitch Concepts of Major and Minor Scales(Teaching Towards Musical Understanding). (Studentsshould have an understanding of whole steps and half stepsbefore following this procedure). It is best to use a majorsong in F, C, or G. Students derive where the whole and halfsteps occur.

• Students step the major or minor scale around the classroomchanging the size of the step as necessary. Chant whilemoving: d to r whole step, r to m whole step etc.

• Write the letters of major scale (F, C, or G) as a tone ladder,showing the half steps. Point as the students sing in absolutenote names.

• Use the staff for visual reinforcement. Point as students singmajor scales in absolute note names (in the keys of F, C, orG). Use as a warm-up activity at the beginning of the class oras preparation for singing known songs or learning new songs.Students can also sing the scales in absolute note names whilethe teacher hand signs. Extend by asking the students to singa melodic pattern in absolute note names, from hand signs.

• Use the “hand staff”, page 120, The Kodály Method I, topractise staff placement.

• Use a song based on the major scales of F, C, and G or therelated minors. Assist the students to collect all the tones inthe song. Identify the tonal centre and write the tones on thestaff in a stepwise scale. Sing the scale in solfa and absolutenote names. After working through the process with the class,assign another song. Students work independently in pairs orsmall groups, following the above process.

• Provide opportunities for individuals and small groups to singphrases of known songs.


• d 1 t l s f m r d t 1 l1 s1








An Orff Mosaic from CanadaChapters 2-9 - Songs (and some poetry) in

different tonalities from the First Nationsand provinces of Canada.

Pages 20-21 - Spirit of the SunPage 24-27 - She’s Like the SwallowPage 49-51 - Nova Scotia SongPages 54-57 - A La Claire Fontaine (singing

and recorders in parts)Pages 66-67 - Un Canadien Errant (recorders

in parts)Pages 161-163 - The Elders are Watching (minor

tonality)Page 178 - Lachen (C major)Page 196 - Count the Candles and Hanukkah

Song (minor mode, stepwise with t)Pages 208-209 - Purim’s Here (recorders using

Bb, includes movement and rhythmicostinato)

Pages 292-297 - pieces for recorders andinstruments

Pages 298-300 - Ungaresca (recorders,instruments, movement)

See page 293 and 295.





• Use a song such as Au Claire de la Lune (page 106, TeachingTowards Musical Understanding). Students may clap therhythm, sing in solfa, sing in absolute note names, sing withthe words, play on the recorder, or create an accompanimentpart by playing chord tones.

• Place a short phrase on an overhead or board in the key of F.With the assistance of the class, write the solfa underneatheach note. Sing in solfa. Next, review and write on an emptystaff, the notes of the G major scale in preparation for atransposition activity. Students working in pairs are given aworksheet with the same phrase done on the board in F, withthe solfa underneath. On a blank staff, students will writethe same phrase in G doh. (Write the first note on the staff).

• Use software programs for drill and reinforcement of notenames, time signatures, rhythmic and metre work.

• Continue to sing the major and minor scales in solfa.

• Use opportunities as they arise in songbooks and recordermaterials to reinforce the three major scales. Direct studentsto look at the key signature and the last note to determine thekey.

• Use known songs to practise note reading. Alternate (verses orphrase)singing in absolute note names and playing on therecorder.

• Select some musical selections for the recorder to be playedand enjoyed purely as a musical experience. They may beaccompanied by the piano or a CD. Focus on good tone andexpressive playing.

• Focus on breathing and the role of breath control inproducing good tone on the recorder.

• Ask individual students to demonstrate expressive playing onthe recorder - phrasing, tone, breathing etc.

• Use Don Muro recorder materials or the Recorder ResourceKit 2. These require students to count the number of beatsfor the introduction, before playing.

• Use scores, to follow melodies in two or more parts.


• d 1 t l s f m r d t 1 l1 s1








Teaching Towards Musical UnderstandingPages 95-112 - The Recorder and musical

selections for the recorderPages 130-131 - composition involving melodic

construction.Page 142 - Petty Harbour Bait SkiffPage 143 - classroom activities during a

listening experiencePages 172-177 - Ten examples of movement

activities that help children achieve musicalunderstanding within the curriculumorganizers/strands

Pages 249-252 - fifteen activities to practiseand reinforce pitch and how pitches arecombined to make melodic patterns

Pages 252-258 - absolute pitch and the trebleclef, major and minor scales.

Chapter 12 - PitchChapter 17 - Assessment and Evaluation

Musicplay 6 Teacher’s Guide and StudentBooks#6 - Hymn to Freedom#46 - Coffee (F doh, f and t)Page 70, #56 - review major and minorStudent Worksheet 8 - Key Signatures






• Ask individuals or small groups of students to demonstrateexpressive singing. Focus on qualitites of in-tune andexpressive singing - phrasing, breathing, good tone, etc.

• Sing songs purely for enjoyment and aesthetic response.

Listening

• Prepare a melodic activity or dictation. Point to the staff(visual reinforcement) as students sing the scale of the exercise(F, C, G) in absolute note names. (Mark the half steps on thestaff).

• Students listen to varied musical examples (recordings orperformed on Orff/melody instruments, recorder, piano) andderive the tonality as being major or minor. Relate thetonality to mood and expression.

• Use flashcards or short songs. Students sing every othermeasure silently in solfa. Do with the whole class, smallergroups, pairs, and individuals.

• Give a starting pitch for a set song or melodic exercise. Theclass sings the first half silently and then sings out loud.Increase the level of difficulty with these activities.

• Use worksheets containing melodic phrases with some pitchesleft vacant. Sing the pattern in solfa, humming the missingpitch. The student fills in the blank. Use to practise/reinforce t f and t1 .

• Use Listening Kit 5 Track 8: Pianists, Carnival of the Animals.The class sings the opening in solfa from notation. Choosesome students to play on Orff or melody instruments.Students listen to the example. Students sing along in solfa asthey listen.

• Students listen to CD Track 12: Es Ist Ein’ Ros’ (Listening Kit5). In the next lesson pass out the melody with the solfawritten in. Prepare by reviewing the C tonal placement andsinging the scale in solfa. Students sing along in solfa as theylisten. Play on the recorder (good for Bb).

• Use Listening Kit 4 Track 1: Jesu Joy of Man’s Desiring andTrack 19: Ode to Joy. Students sing in solfa from the score topractise f before listening. Also use Track 9: HallelujahChorus. Students sing in solfa to practise and reinforce old andnew ( f t ) learnings.


• d 1 t l s f m r d t 1 l1 s1









Provide opportunities for individuals and smallgroups to sing, or play on recorder, a phrase or verseof a known song. The class may join in on the chorus.Teacher records through use of a checklist, assessmentof student progress.

Reflective writing. Students complete a writtenreflection of live or recorded music as related toelements of expressive singing (Teaching TowardsMusical Understanding, p. 329, No. 4).

Students evaluate classroom singing with the help ofa rubric. See Reproducibles.

Note student’s ability to identify melodic patternswhen given the beginning pitch. Patterns may befrom known songs or created to assess auralcomprehension. Responses may be presented aurallyor in writing.

Students label notated patterns using solfa names.See Reproducibles.

Observe individual singing of scales and melodicpatterns from flash cards, song charts, and handsigns. Teacher records through use of a checklist.This is also applicable for inner hearing.

Use written sheets to assess reading and writing, andaurally identifying performed melodic patterns. Seesamples in Reproducibles.

Improvisation - record through use of a checklist.Use for singing or recorder playing.

Aural identification of melodic patterns (dictations,fill in the blank) and major and minor tonality.

Self assessment of expressive singing. Include tone,phrasing, and breath support.

Composing with BoomwhackersNote: Recorders and other classroominstruments may be substituted forboomwhackers. Activities may be adjusted andadapted to meet individual classroom needs.Page 22 - Whacky Music (t)Activity #14 - Create a Three Note Melody - use

recorders and add more notes, for example,D1 BAGED

Activity #17 - Play and Create a Diatonic Melody

Name GamesGrade 14 - First and Last Name (create

pentatonic melody)

Listening Kits 4 and 5Examples of major and minor tonalitiesBach, Mozart, Beethoven

The Recorder Resource Kit 2

150 Rounds for SingingPage 4 - All Things Shall Perish (f and t1 )Page 7 - Brother Martin (compare with Frére

Jacques in major)Page 9 - Coffee (f and t1 )Page 46 - The Swan (C major, f and t)Page 27 - If You Dance (minor, t)Pages 56-57 - (Sing or play in F, C, or G)





• Students aurally identify an incorrect pitch in a major scaleperformed by the teacher or a student.

• Play examples of expressive singing. How can we identify thesinging as being expressive?

• Use live performances - at school or in the community - as anopportunity for students to critique or discuss theexpressiveness of singing.

• Video tape a rehearsal by the class or school choir for aconcert and use for discussion/analysis. Use the GroupSinging Reflection in Reproducibles.

• Provide opportunities for students to reflect and respondwhen engaged in musical activities.

Creating

• Continue with composition and creating work given inprevious grades.

• Use software for simple composition activities.

• Students work in teams of two or three. Incorporate newlearnings. See Activity #17: Play and Create a DiatonicMelody. Composing with Boomwhackers. Include the use ofrecorders and classroom instruments.

• Use singing to improvise answers to musical questions. Seethe Kodály Method I.

• Use the recorder for improvisation of question and answerphrases. Use a set tone set to allow for the practice of newnotes.

• Students working in small groups set a poem or text to musicusing a known major or minor scale.

• Students should focus on in-tune and expressive singing whencreating/performing their own compositions/phrases.

• Assign a short song to groups of students. The groups workindependently of the teacher to interpret the song and createexpressive singing. Each group performs. Follow withdiscussion, and/or peer/self assessment. See Appendix A andReproducibles.

• Do the above activity but assign a piece for the recorder.

• Create movement to reflect the melody.


• d 1 t l s f m r d t 1 l1 s1








Written tests: dictations, note naming, scales in F, C,and G.

Student portfolios: Samples of student workincluding projects and compositions.

Recorder performance tests or projects (seeReproducibles). For example• perform, alone or in a small group, assigned

compositions that have been prepared in class.• play back a melodic pattern performed by the

teacher• identify in solfa the pattern heard• sight read melodic phrases• improvise answers to melodic questionsAssessment reports should reflect technique andmusical understanding.

Self/peer assessment and reflection questions relatingto creating/performing (see Appendix A andReproducibles).

Listening Kits 4 and 5Work sheetsListening LogResponse JournalRubrics and suggestions for assessment (page 70

Kit 4 and page 68 Kit 5)

The Complete Recorder Resource Kit and TheComplete Recorder Resource Kit 2Recorder Solo Assessment RubricRecorder Composition Assessment RubricReproducible Sheets

Songs of Newfoundland and Labrador

Songs of Peace

Advanced Melody Flash Cards

Note Name Flash Cards

Website: www.mymusicclass.com (recorder)

Other:

Recorder materials (see Appendix F)

Musicanada 5 Teacher’s GuidePage 51 - C major scalePage 72 - Czech Walking Song (f)Page 79 - Halloween (f and t)

Musicanada Teacher’s Guide 6Pages 37-43 - lessons associated with pitch,

major and minor scalesPage 203 - Pussy Willows, Cat Tails (expressive

singing)




Organizer: Harmony

1. perform, listen to and create:



Performing includes:singingplayingspeakingmovingreadingwriting/constructing


Creating includes:improvisingcomposing

Includes• major and minor tonalities• two and/or three-part melodic and rhythmic selections

Performing

• Continue strategies from previous grades.

• Perform canons and add movement. See Notes/Resources forsuggestions.

• Provide opportunities for individuals, pairs and/or smallgroups to perform ostinatos, canons, exercises, part songs, andchord tones.

• Choose three students, one to play the tonic note, one thesubdominant and one the dominant. Choose a song whichhas the three chord symbols I, IV and V written in the score.The students play the correct notes as the class sings or playson recorder. Repeat, but the students play all three chordtones on their own instruments, as indicated by their score.

• Students sing the chord roots (d and s1 and l and m1 ) to knownsongs.

• Introduce vocal chording for major tonalities. See The KodályMethod I pages 140-143 for the teaching process for buildingthe chords and using them with the songs. Note the practicefirst of the I chord with the simple song Frére Jacques and thenmoving to the use of the I and V chords. If the class is ready,this may be extended to include IV chord.




Organizer: Harmony

The Kodály Method IPages 160-163 - part singing in Grades 5 and 6Pages 165-166 - listing of canons and songs

that outline chord in the melody

Roots and BranchesPage 13 - Hashewie (call and response)Pages 60-61 - Qua Cau Gio BayPages 66-67 - Cheki Morena (two-chord song)Page 111 - Bonjour, Mes Amis (two-chord song)

Let Your Voice Be Heard (songs in parts)Pages 51-53 - Vamuroyi WoyePages 68-71 - Zangaiwa Chakatanga PanoPages 76-69 - Chawe Chid Yo Chem ‘CheroPages 133-138 - Voices Fitting Together

An Orff Mosaic from CanadaCanons and RoundsPage 16 - An Ojibway MelodyPage 110 - Nature CanonPage 181 - Early in the MorningPage 319 - Neesa (includes movement)

Part Songs (voices or recorders)Page 51 - The Song of the Irish MossPage 66 - Un Canadien Errant (voices and

recorders)Page 68 - Land of the Silver Birch (singing and

recorders)Page 291 - No Money (three parts)

Chord AccompanimentPage 32 - Lots of Fish in Bonavist HarbourPage 36 - I’se the B’yPages 54-57 - A la Claire Fontaine (recorders)Page 89 - Riel’s FarewellPages 99-100 - To Work Upon the Railway

(rhythmic ostinato, chord tones)Pages 161-163 - The Elders are Watching

(bordun accompaniment)Page 200 - Il Est NéPage 202 - Christmas Polka

See page 303.




Organizer: Harmony

• Introduce I and V chords for minor (see The Kodály MethodI page 143). Practise with known selections.

• Students practise building the chords on barred melodicinstruments or recorders. Relate to the three scales of F. Cand G. Write the scale in letters, and assist students to buildthe I and V chords (write letter names). Divide the class inthree and sing/play on recorder the notes of the I and Vchord. Perform a simple chord progression in three parts - I -V - I. (See page 142, The Kodály Method I). Play a two-chord piece on the piano while the students play the chordson the recorder.

• Use flashcards for rhythmic and melodic canons. Includethose in þ¾ metre.







Organizer: Harmony

Teaching Towards Musical UnderstandingChapter 15 - Harmony and TexturePage 53 - Canoe Song - play/sing as a canon,

add ostinato and/or chord tonesPage 55 - 61 Rounds and canonsPage 76 - Land of the Silver Birch with tonic

chord accompanimentPages 89-95 - I, IV and V chord tone

accompaniments using voices, recorders andclassroom instruments for I’se the B’y and UnCanadien Errant

Pages 109-111 - three Rounds for RecorderPage 143 - classroom activities during a

listening experiencePage 175, Example 9: Texture (strategy to

create movement to the round Dona NobisPacem)

Page 302 - Alleluia CanonPages 303-308 - The Huron Carol, Lukey’s Boat

and Acadian Lullaby (arrangements withchordal accompaniment)

120 Singing GamesObwisana - passing game (use the challengingversion with rhythmic ostinato)

Musicplay 6 Teacher’s GuideSee song index for rounds and part songs#3 - Rufus Rutus (partner song)#16 - Fish and Chips (part song)#43 - Snowflakes (partner song)#102 - Siyahamba (part song)

See page 303.




Organizer: Harmony

Listening

• Teacher accompanies a two-chord song on the autoharp,guitar, etc. Students raise their hands when they hear thechord change. Provide opportunities for individual studentsto play the chords on the autoharp.

• Students use large body movements to show chord changes,for example, sit for the tonic, stand for the dominant.

• Extend the above to the I, IV and V chords.

• Students accompany two- and three-chord songs on barredmelodic instruments or recorder, changing the chord tonewhere appropriate.

• Students aurally identify the numbers of voices in a round,canon or part song.

• Students aurally identify melodic or rhythmic ostinati,created by classmates.

• Provide opportunities for students to reflect and respond,when engaged in music activities.







Organizer: Harmony

Composing With BoomwhackersActivity #14 - Create a Three Note Melody, use

with recorders and use BAGED.Activity #16 - Play and Create Pentatonic

Melodies(pentatonic melodies can be played as rounds)Page 41 - Tulip Round and Scale RoundNote: sing rounds in solfa and absolute names

before singing as a round. Sing and playrounds on recorders, or other melodicinstruments.

Listening Kit 5Examples of instrumental canons:Track 25: Canzona Prima (brass)Track 22: La Strangetta (recorder)

Shared Harmony Canons and Ostinato Songsfor Part SingingCanon of JoySimi YadehWater Come-a Me EyeBwana Awabariki

150 Rounds for SingingPage 2 - AlleluiaPage 4 - All Things Shall Perish ( f and t1 )Page 9 - Christmas is Coming ( f and t )Page 9 - Coffee ( f and t1 )Page 13 - Debka Hora - If You DancePage 41 - Poor TomPage 42 - Rise Up, O Flame

Grab Another Partner! (partner songs)#1 - Come Back Liza#8 - Phone Tag#11 - Sierra Love Song

See page 303.




Organizer: Harmony

Creating

• Students, working in teams of three or four, orchestrate arhythmic canon. Perform. Follow with discussion and/orreflection.

• Use Activity #11: 3 and 4 Part Rhythmic Compositions,(Composing with Boomwhackers) with small groups. Performin parts.

• Use Whacky Music, page 22 (Composing with Boomwhackers)(I, IV and V chord accompaniment). Other instrumentsmay be used in place of boomwhackers.

• Create texture through the layering of drumming patterns orspeech patterns. See Name Games and Sound Ideas.

• Pairs of students create a melodic ostinato for a canon.

• Students in a small group (three or four) create a shortmelodic canon using simple rhythms (give a rhythm bank)and the doh or lah pentatonic scales (give pitches). Set thelength - four measures of triple metre. Each group performson recorders and/or melodic instruments. Place each canonon an overhead. Ask the whole class to perform the canon intwo or three parts. Repeat with the other canons. Acomposition in parts may be created by asking all groups toperform their composition at the same time. Discuss. Varyby bringing each group in one bar apart. Relate to texture. Isit thick or thin? Students may also add a rhythmic ostinato.Extend to a self/peer assessment or short reflection.

• Using a known song, students in a small group create thechordal/rhythmic accompaniment.

• Use the activity for creating a “fruit salad” found underRhythm and Metre (layering ostinati, thin/thick texture).

• Create movement sequences and perform in canon.

• Students in groups create a sixteen-beat body percussion, andperform in canon.







Organizer: Harmony

Name GamesGame 7 - Positive and Negative (texture)Grade 14 - First and Last NamesGrade 15 - Full Name and Birthday

Sound Ideas#22 - Four-Level Canon#13 - Simultaneous Canons#15 - Full Name and Birthday (layering,

texture)#33 - Back Drumming

Rhythmic and Melodic Flashcards

The Complete Recorder Resource 2Selections in more than one part

Other:

A Medieval Feast II: Children’s MenuChordal accompaniment, singing, playing,

movement(Recorder resource)

Holiday Songs for Recorder (Theme &Variations)

Musicanada 6 Teacher’s GuideSee page 309, Singing Skills for a listing ofrounds, songs with descants and more than onepart, and songs with chord roots


Observe individual and small group performancesand rate for accuracy, steadiness, blend, andexpression.

Note students’ responses during discussion.

Assess composition and performance projects.

Self/peer assessment and reflections of their own and/or their group’s composition/performance. SeeAppendix A and Reproducibles.

Written/oral reviews of student performances.

Identification of the number of voices in a round orcanon.

Aurally identify chord changes.

Create a chordal accompaniment.

Written reflections on creating/performing activities/projects.




Organizer: Form

1. perform, listen to and createmore complex contrasting andrepeating phrases and sections


Performing includes:singingplayingspeakingmovingreadingwriting/constructing/diagramming



Performing

• Use strategies found in previous grades.

• Use visual examples (student texts, recorder selections) tovisually identify a and b phrases and A and B sectional form,when performing. Use varied examples, i.e., aba, aabb, ABA,AABB, etc.

• Use movement/dance CD or songs with movement, toreinforce form (repetition and constrast).

• Connect musical examples to art works to reinforce conceptsthat are common to both, such as contrast and repetition (a bor a b a etc.)

• Put a simple tune on the board, for example:

The class performs. Take students through the process of howto create variations (see Example 1, page 133, TeachingTowards Musical Understanding). Work with the class to alsowrite one of the variations.

• Using Listening Kit 5, introduce Theme and Variations usingpage 25 (Twinkle Twinkle Little Star). Sing the theme in solfa.Discuss how musical elements can be used to provide contrastor vary the theme. Sing the two variations in solfa and followwith the recorded example. (Listening Kit 3, CD Tracks 22 -26).

4 ± ± ± ° ± ± ° ± ± ° ± ± ±4 s 1 d r m m f s d1 l s m r d




Organizer: Form

See page 311. See pages 307, 309, and 311.




Organizer: Form

• Teach the students a folk dance that contains variations in themovement and follow with discussion. (See Resources/Notes).Perform a known dance and instead of repeating a movementask students to create a variation.

• Teach the class a phrase of simple body percussion. Discusswith the class ways to vary the phrase. Perform.

• Perform body percussion rondos. See The Body Rondo Book.

Listening• Continue with strategies from previous grades but use new

musical examples to aurally identify phrases and forms.

• Select musical examples of different musical styles, genres,eras and cultures to identify (visually and aurally) andreinforce form and phrase identification.

• Use examples and lead a discussion on theme and variations,using things found in their environmnet such as Russiandolls, a patchwork quilt, teddy bears, Easter eggs, cups, twins,eyes, etc.

• Use a food example to illustrate the theme and variation, suchas a turkey sandwich or a pizza. What would be in the basicturkey sandwich? What ways could it be varied?

• Use other art forms to illustrate theme and variation - such asvisual art or architecture. Use a local artist or example ifpossible.

• Use the art activity for theme and variations found inListening Kit 5, CD Track 5.

• See Listening Kit 5, CD Track 3, 4, and 5 for lessons ontheme and variations.

Creating

• See strategies in previous grades for rondo, using speech,movement, and body percussion.

• Students working in pairs use the recorder to improvisequestion and answer phrases.

• Students working in pairs write a question and answer phrasein the keys of F, C, or G. Follow with performance,discussion and reflection. See Appendix A andReproducibles.






Organizer: Form

The Kodály Method IPages 157-160

Roots and Branches

Let Your Voice Be Heard!See listings under other organizers

An Orff Mosaic from CanadaPage 20 - Spirit of the Sun (ABA)Page 27 - Newfoundland RondoPage 57 - Ah! Si Mon Moine (AABA)Page 183 - Hill and Gully Rider (form/repeating

phrases/movement)Page 315 - In the Hall of the Mountain King

Teaching Towards Musical UnderstandingPage 133 - composition involving form (theme

and variations)Page 134 - writing a complete composition

including text and movementPage 291 - three examples of simple ways to

create rondo forms, also short discussion oftheme and variations

Chapter 14 - Form

150 RoundsPage 27 - If You Dance (create movement toshow form)

Musicplay 6 Teacher’s Guide#40 - Haydn (listening, theme and variations)

See page 311.




Organizer: Form

• Introduce theme and variations through the use of a poem orverse. Take students through the process of creatingvariations. Variations may be created by changing:

the tempothe rhythm of the wordsthe dynamicsthe articulation (legato, staccato, accents)the texture (perform as a round, add an ostinato with bodypercussion)spoken speech to melody

Assign students to groups and ask them to create/performtheir own variations using another verse or poem.

• See page 133-134 Towards Musical Understanding for theteaching process to create variations using Twinkle TwinkleLittle Star. Do some variations together with the class andthen allow students working in pairs to explore making someof their own variations. After having gone through thisprocess, assign each group (two or three students) a theme(created or a known song like Frére Jacques). They may userecorders or melody instruments to create their variations.Give students parameters: for example, create three variations(designate the types or the group may choose their own).Groups must decide how to present their variations - whatmelodic instruments to use, will they add NNP instruments,etc. Each group presents their variations to the class. Thisactivity provides opportunities for class discussion, responsefrom the group and others in the class, and peer evaluation.See Reproducibles.

• See page 157- 160 The Kodály Method I for compositionaltechniques.






Organizer: Form

Composing with BoomwhackersActivities related to formActivity # 18 - Create a Melody and #20 - Write

a Song. Both of these activities can addguidelines related to form. Activities in thisbook can be adapted to suit grade-leveloutcomes. Boomwhackers may be replacedwith recorders or other classroominstruments.

Listening Kit 3, 4 and 5Selections to identify and reinforce form

Listening Kit 5CD Track 3, 4, and 5 (theme and variations)CD Track 14: Radetsky MarchPlay the cup game for ABA form

Shenanigans Dance Music for ChildrenCherkassia (variations)Savila Se Bela Loza (variations)Le Torototelle (variations)

Music for Creative Dance

Multicultural Folk Dance Treasure Chest

The Body Rondo BookI. Alpha FourII. Alpha SixV. Las Vegas Rondo

VI. Red Hot Rondo ( þ¾)

See page 311.




Organizer: Form

• Discuss variation and take students through the process ofcreating variations using movement. Vary, for example

- tempo (speed)- articulation (flowing, jagged)- shape/level (high, low, standing, crouching, bending,

sitting, turning, front on, back on)- type of movement (walking, running, tiptoeing, slinking,

marching, skipping, dancing)- direction (forward, backward, sideways)- space (big, little)- body (arm(s), leg(s), finger, head, foot etc.)

After working on these with the whole class, give the class abasic movement sequence. In small groups, students create avariation or variation(s). Each group may perform itsvariation for the class, while the other students derive what isbeing varied.

• See Activity #13, Composing with Boomwhackers. Use thethree-note melodies as a starting point to introduce themeand variations. Note: boomwhackers may be replaced byother instruments and melodies may be pentatonic.

• See Activity #19 - Write Variations on a Theme, Composingwith Boomwhackers. Note: other instruments may replaceboomwhackers (also good for assessment).

• See The Complete Recorder Resource Student’s Book page 7for a theme and variation activity using recorders and HotCross Buns.

• See suggestions for compositions using theme and variationsin Teaching Towards Musical Understanding, pages 133 -134.

• See the strategy under Rhythm and Metre for creating a “fruitsalad”. Use for variation, rondo or phrase/sectional form.






Organizer: Form


Observation/checklists of individual creation and/orperformance, alone and in a small group, as related toform.

Aural and visual identification of phrase form,sectional forms, rondo, and theme and variations inmore complex musical examples. This may involveuse of worksheets.

Demonstrate A and B sections and/or a and bphrases, or variation, through movement.

Observation during the composition/creatingprocess. Verbal responses and dialogue withstudents. Written reflections and self assessment.See Appendix A and Reproducibles.

Writing and performance of a variation.

Self/peer assessment for variation compositionproject. See Appendix A and Reproducibles.

Name GamesGame 11 - Dramatic AlliterationGame 12 - Name and GestureGame 15 - Full Name and BirthdayGrade 17 - Personal Favourite (cumulative form)

Sound Ideas#23 - Poetic Structure

World Beat FunAll selections (sectional form)

FlashcardsCreate phrases

The Complete Recorder Resource

The Recorder Resource Kit 2Songs of Newfoundland and Labrador

Other:

Musicanada Teacher’s Guide 6Page 103-105 - Theme and Variations

A Medieval Feast II: Children’s MenuExamples of phrase and sectional forms,movement related to form (recorder and Orffinstruments).

Holiday Songs for Recorder




Organizer: Expression


• tempo• dynamics• articulation• tone colour• notations• interpretation




Note: When performing, listening, and creating there is anintegration of many elements. Strategies related to the otherorganizers i.e., rhythm, melody, harmony, form, and contextsprovide many opportunities to highlight the components ofmusical expression.

Performing


• Always emphasize and discuss expressive performance whenstudents are working on the recorder - appropriate phrasingand shaping, breathing, good tone. Provide opportunities forstudents to have a satisfying musical experience that involvesmore than learning or playing new notes.

• Discuss the use of expressive devices and interpretation whenlearning to sing a new song. Experiment with the class tomake appropriate decisions.

• Continue to use movement to express tempo, dynamics,articulation, and mood.

• Provide students with singing selections (Newfoundland andLabrador, other cultures, contemporary, folk, pop, moviethemes) which require expressive singing and provide amusical and aesthetic experience.





Note: Always include musical examples ofvarious cultures, styles, and time periods.

Roots and Branches, Let Your Voice Be Heard!,Shenanigans Dance Music for Children, andMulticultural Folk Dance Treasure Chest(voices and instruments from other countries,related to outcomes under contexts)

An Orff Mosaic from CanadaSelections with dances and movement activities

as well as sound exploration (see previousgrades)

Page 106 - The Rain (poem, creating soundeffects)

Page 131 - Clouds (poem, creating soundeffects)

Pages 161-162 - The Elders are Watching(creating a sound carpet for a poem,expressive devices)

Pages 309-311 - Sound ExplorationChapter 17 - Stories, Fables, Music and Drama

Teaching Towards Musical UnderstandingPage 125 - Composition involving timbre

constructionPage 171 - Creating DancesPages 267-269 and 278-281 - songs involving

expressive devicesChapter 8 - Moving with Music

Musicplay 6 Teacher’s GuidePage 67 - She’s Like the Swallow (student

worksheet 24: Mood in Music)#18 - Joy#27 - In Flanders Fields#61 - Hymn to Freedom#71 - Gypsy Rover (vocal interpretation)Worksheet Index - student worksheets related

to Expression

See page 319.





• Teach students a new song. Discuss how to perform andinterpret expressive markings on the score. If the score has nomarkings, discuss what would be appropriate expressivedevices.

• Provide a score with expressive markings for students in smallgroups to interpret.

• Provide opportunities for students to interpret/perform non-traditional notation.

Listening

• Provide listening examples which model expressive singing orplaying. Discuss.

• Use listening examples from various cultures (including ourown), genres, and eras to discuss and analyze how the musicis expressive. Include selections where use of a particularinstrument adds to the expressive qualities.

• Use videos of a performance which highlight a musically-expressive performance.

• Focus on how vocal tone can be expressive. Use a recording toillustrate. Discuss. Include singers of contemporary music.Also include singers from other cultures.

• Introduce the word timbre and connect to musical examples.Include contemporary examples using non-traditional sounds.Can students identify the sound sources? Do they find thistype of music expressive? Discuss.

Creating

• Continue with strategies from previous grades. Students maycreate soundscapes, original melodies and notations, whichfocus on appropriate dynamics, tempi and tone colours, toexpress mood and feeling.

• When working on creating activities found in other strands,focus on the expressive elements to convey feeling and mood.Students complete an assessment of another group’s use ofexpressive elements in their composition/performance.







Composing with BoomwhackersActivity #18: Create a Melody for a PoemActivity #20: Write a SongComposing activities include discussion,

experimentation, musical decision making,reflection and assessment concerning the use ofexpressive devices - tempo, dynamics, timbre,articulation, and expressive performance.

Listening Kit 5Pages 68-69 - examples of assessment and

rubricsExamples to focus on connections betweenmusical elements and expressive devices and thefeeling or mood created:

CD Track 12: Es ist Ein’ Ros’CD Track 13: William Tell OvertureCD Track 15: Favourite RagCD Track 19: March of the DwarftsCD Track 21: Toreador’s March (recorder)Track 22: La Strangetta

Reproducible sheets - dynamics, tempo,articulation, response journal.

Listening Kit 3, 4 and 5Examples of historical periods, instruments,instrument families, voices, mood and feeling

Worksheets, listening logs, directed listening

See page 319.





• Students work in small groups. Provide the group with amidi file containing a given melody. Using synthesizedsounds, software programs or a digital piano, students canexplore combinations of voices and/or instruments to producean expressive arrangement. Include the use of dynamics,tempo, articulation.

• Create/interpret movement to accompany music ofconstrasting mood and character.

• Use music software and technology. Individual/pairs ofstudents can explore and manipulate voices and instrumentsto create arrangements.

• Use the activity under Rhythm and Metre for creating a “fruitsalad”. Explore tempo, dynamics, articulation, and vocaltimbre. Extend to adding instruments.







Songs of Newfoundland and Labrador

The Recorder Resource Kit 2

150 Rounds for Singing

Name GamesGame 9 - Sound of the First Letter (voice

exploration)Game 11 - Dramatic Alliteration (dramatic

improvisation)Game 15 - Full Name and Birthday (voice, body

percussion, movement, instruments)Game 20 - Rumplestiltskin (dramatic

interpretation)

Sound Ideas#20 - Percussive Poems#29 - Graphic Notation#30 - Kinesthetic Graphic Notation

World Beat FunTrip to the Amazon and the Ocean (sounds of therain forest)

Music for Creative Dance#13-19 - Travel Notes (instruments, movement)#20 - Circular Journey (create a movement

story)#21 - Potpourri (create movement reflecting

thoughts/feelings)

See page 319.





2. identify instruments of theorchestra and their families, andsoprano, alto, tenor and bassvoices. new

Includes• aurally• visually

• Use listening examples from various cultures, genres, and erasto identify instruments and voices. Dicuss how a particularinstrument, for example, contributes to the mood/feeling ofthe music.

• Use recordings of singers from students’ own and othercultures to identify voices. Include singers of different styles -pop/rock, country, jazz, classical, etc.

• Use orchestral web sites for identification and reinforcementof instruments or voices, or for student projects (seeResources/Notes).

• Play authentic recordings collected from the outports ofNewfoundland and Labrador to identify voices. Connectwith the organizer, Contexts. See the website http://collections.ic.gc.ca/leach/ for information and recordings.

• Use reproducible sheets (Listening Kit 5) for instruments.

• Avail of any opportunities to ask live singers orinstrumentalists to perform for the class or to listen to liveperformances.

• Use an example of Bobby McFerrin to illustrate and discusshow the voice may be used.






Observation of performances to assess application ofexpressive elements, terms, and symbols. Singing,playing instruments, dramatization and movementmay be used as performance media.

Written reviews and reflections, self assessments ofperformance and compositional activities. SeeAppendix A and Reproducibles.

Verbal responses through discussion.

Written or verbal responses to unknown musicalselections. Identification of musical elements and/orexpressive devices that contribute to the mood andfeeling of the selection.

Projects /assignments - creating and performing ashort composition, demonstration of expressiveperformance, use of original notations.

Worksheets/Quizzes/tests• identification and classification visually and

aurally of orchestral instruments according tofamilies

• aural identification of voices

Listening Kits 4 and 5WorksheetsListening LogResponse JournalRubrics and suggestions for assessment (page 70 Kit

4 and page 68 Kit 5)

VideosAmazing Music Videos - Volume 3Families of the Orchestra

Composer Special Videos(instruments, voices, expressive performance)

Interactive WebsitesNational Arts Centre - www.artsalive.ca - video

clips (pictures), musical examplesNew York Philharmonic - www.nyphilkids.orgDallas Symphony Orchestra - www.dsokids.comComposers, instruments, expressive terms -

www.classicsforkids.comRecorder - www.mymusicclass.com

Website for original music of Newfoundlandand Labrador and Atlantic Canadahttp://collections.ic.gc.ca/leach/

Other:

Musicanada 5 Teacher’s GuidePages 245 -251 - Barbershop Days (voices and

expression)Pages 263 - Coves (uses Newfoundland and

Labrador place names) poem using speechand instruments to focus on timbre

RecorderDon Muro Publications




Organizer: Contexts


• cultures• time periods• composers and musicians


Listening includes:aurally identifyingrespondingdiscussing


Includes• the use of technology• connections to dance, visual art, drama, poetry/literature

Performing


• Perform and/or listen to the music of Newfoundland andLabrador. Examine the contributions of artists to our ownculture. If possible choose songs that the class can performand then listen to on a recording. (See Songs ofNewfoundland and Labrador).

Consider some of these questions:

How is Newfoundland/Labrador reflected in the music?

How does the music influence our feeling aboutNewfoundland/Labrador?

How do we respond when we hear a song about our love forNewfoundland/Labrador?

• Use the above strategy with music from other parts ofCanada/and other countries.

• Perform selections on the recorder reflecting varied times,places, and composers.




Organizer: Contexts

See page 327. Note: Bach, Mozart, and Beethoven are to bestudied by students during the elementaryyears.

See pages 323, 325, and 327.




Organizer: Contexts

• Perform and compare an older song (I’se the B’y, Bonavist’Harbour) to a modern song (Saltwater Joys, Song forNewfoundland, This is My Home, Empty Nets). What emotionis present in each? Lead a discussion to assist students to seehow change is reflected in the text of each song.

• Perform singing games and folk dances from Newfoundlandand Labrador and other cultures.

• Where appropriate, connect musical examples to art works toreinforce concepts that are common to both, such as form, orcontrast and repetition.

Listening

• Use a musical example based on a traditional tune butperformed by a contemporary group such as Great Big Sea.Illustrate and discuss the pop/rock influences found in thearrangement but also how the traditional influences may bemaintained.

• There are a number of traditional selections that have beenrecorded in recent years. Ask students to listen to a selectionperformed in the traditional manner by an older artist andcompare/contrast to a newer version in the pop/rock style.How does each version reflect the musical styles and trends ofits time? What aspects of our culture are common to eachversion regardless of the time period?

• Play an authentic recording of a musical selection from thearchives of Newfoundland and Labrador which tells a story.Discuss the role of story telling and music in Newfoundlandand Labrador.

• Listen to authentic recordings collected from the outports ofNewfoundland and Labrador. See the website http://collections.ic.gc.ca/leach/ for information and recordings.

• Play popular musical examples that have many culturalinfluences - Latin music, jazz, country, reggae, hip hop, rap,etc. Lead a discussion to allow students to explore andarticulate these influences. Include examples that illustratethe role that technology is playing in the production ofmusic.

• Provide opportunities for students to reflect and respondwhen engaged in music activities.






Organizer: Contexts

World Beat Fun (multicultural)

Roots and Branches (multicultural)

Let Your Voice Be Heard!Song and dances of other culturesPages 42-45 - Sansa KromaPages 51-53 - Vamuroyi WoyePages 68-71 - Zangaiwa Chakatanga PanoPages 72-75 - Chatigo ChingiPages 76-79 - Chawe Chid Yo Chem ‘CheroUse selections to study cultural contexts, listenand respond

An Orff Mosaic from CanadaSelections from Canada and other culturesChapter 17 - Stories, Fables, Music and DramaSee listings under other organizers for Grade 6

Teaching Towards Musical UnderstandingPage 134 - writing a complete composition

including text and movementSongs from Canada and other countries

Musicplay 6 Teacher’s Guide#26 - La Bamba#52 - Hockey Song#62 - Wai Bamba (Africian)#69 and #70 - Celtic 1 and 2 (create

movement)Listening examples:#28 - Minuet Mozart#53 - Eine Kleine Nacht Music (Mozart)#66 - String Quartet, Beethoven#93, 94, and 95 - Greek instruments#98 - Senviak Fanfare for Winds and Percussion

(contemporary)#103-107 - percussion instruments from other

countriesSee pages iv-v for listings of songs and listening

examples from varied cultures, time periods,and composers

See page 327.




• Use available cultures represented in your school or assigngroups of students a country to research. Have a nationalanthems week. Each morning the student(s) from aparticular country prepare a text concerning an aspect of theirculture, ie., food, celebrations/holiday, national dress (whichthey may wear) etc. This is read over the PA and then theanthem is played. All students stand when the anthem isplayed. Follow with a discussion in the music class. How isthe anthem different from O Canada? Do the voices soundlike ours etc? A bulletin board near the office or entrancecould feature a display of the different countries, maps,pictures, flags, etc.

• Use the interest generated from the above to assign a shortresearch project on an anthem or dance of a country.Students can work in small groups.

• Feature the life and the musical example of a composer/musician. The composer/musician may also be part of a shortresearch project assigned to students. (This may be inconjunction with the Language Arts program). Use books,listening kits, pictures, video, and web sites. Makeconnections between the time, place, and influences. Seestrategies in previous grades.

• Present a short unit dealing with a particular style,connecting to time and place, for example, jazz.

• Avail of opportunities to expose students to live performances,particularly to music of their own or other cultures, andfollow with discussion in class.

• When listening to or performing musical examples toillustrate time periods or place, make connections to art worksfrom the same time period or place. Lead a discussion thatwill allow students to explore how all the arts reflect times,places, and influences.

• Use composer videos to listen to art music and to connect tocontexts, influences. Compare/contrast with a present daycomposer/musician.

• Use a contemporary artist such as Bobby McFerrin toillustrate the influences/styles found in his music.

Organizer: Contexts






Organizer: Contexts

Composing with BoomwhackersComposition activities

Listening Kit 5Track 22, 23, and 24 - Music of theRenaissanceBach, Mozart, Beethoven

Listening Kit 3, 4 and 5Selections focusing on historical periods,

instruments, composers, styles and genresWorksheets, listening logs, directed listeningBach, Mozart, Beethoven

Music for Creative Dance#13-19 - Travel Notes (represents differentregions, styles)

Shenanigans Dance Music for Children(multicultural)

Multicultural Folk Dance Treasure ChestHaikuli (Hawaii)Les Saluts (Canada)Tanko Bushi (Japan)Tinikiling (Philippines)

Songs of Newfoundland and LabradorMussels in the CornerOut from St. Leonard’sSalt Water JoysPetty Harbour Bait SkiffYour Last Good ByeTickle Cove Pond

150 Rounds for Singing

Shared Harmony Canons and Ostinato Songsfor Part SingingSimi Yadeh (Israeli)Water Come-a Me Eye (American)Bwana Awabariki (Swahili)

See page 327.




Organizer: Contexts

• Continue to use authentic examples of music from othercultures (Roots and Branches, World Beat Fun, Let Your VoiceBe Heard!). Compare and contrast examples with our ownculture when opportunities arise.

Creating

• Using technology, individuals or pairs of students create anew arrangement of an older traditional Newfoundland orLabrador song.

• Provide opportunities when students are creating shortcompositions (see other organizers) to connect thecomposition to a context - what will be the function of thismusic? How has technology influenced what we can do?

• Use software and technology to allow students to manipulatea set piece and change the style and the context.

• Create ostinati for a piece from another culture.

• Create a rap. See Musicplay 6. Create movement or bodypercussion to accompany it.

• Create movement, body percussion, or a dance to accompanymusic from their own or other cultures.

• Create a dramatization of a story that considers the context -time, place, situation. Add instruments, sound sources,melodies, movements, props, visual effects. Let studentsguide the process. Extend with discussion and reflection.






Organizer: Contexts


Observation and checklists of individualperformance/response, alone and/or in small groups

Journal entries/written reflections

Presentations/projects

Creative projects involving music, dramatization,movement, visual arts.

Self assessment/peer assessment (see Appendix A andReproducibles).

Quizzes

Aural identification of music from varied timeperiods and cultures

Composer Special Videos

Website for original music of Newfoundlandand Labradorhttp://collections.ic.gc.ca/leach/

Website: www.classicsforkids.com (composers,instruments)

Other:

Musicanda Teacher’s Guide 6Pages 249-271 - Songs of Homeland - a unit of

national and patriotic songs from around theworld.

Pages 273-279 - Musical Theatre and selectionsfrom Anne of Green Gables.

Page 309 - index of materials connected to theother arts

Local Musicians - Recordings

See Appendix F for listing of Public LibrariesBoard - Videos, and websites

Grade Six Organizers

Documents

Transcript of Grade Six Organizers