GRADE 2 - ORGANIZERS
Grade 2
Organizers
Rhythm and Metre Melody/Pitch Harmony Form Expression Contexts
MUSIC CURRICULUM GUIDE: K - 6 89 GRADE 2 - ORGANIZERS
90 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Grade Two
Rhythm and Metre Melody/Pitch Harmony Students will be expected to Students will be expected to Students will be expected to
1. perform, listen to and create 1. perform, listen to and create 1. perform, listen to and create • beat • l s m r d • simple ostinati • rhythm in the keys of F, C, and G (melodic/rhythmic) • groupings of two, three, (r d new) • rounds/canons and four beats • two-part rhythmic • ± exercises Öµ 2. develop, alone and with £ others, in-tune and ° new expressive singing (prepare d 1 )
Form Expression Contexts Students will be expected to Students will be expected to Students will be expected to
1. perform, listen to and create 1. perform, listen to and create 1. perform, listen to and create like and unlike phrases and reflecting sensitivity to varied selections representing sections moods/feelings • their own and other • a b • fast/slow (tempo) cultures • A B • louder/softer (dynamics) • time periods • simple rondo new • gradually louder/softer (cresc. decresc.) • smooth/choppy (articulation) • sounds • notations
2. identify basic percussion instruments and the four families of the orchestra
MUSIC CURRICULUM GUIDE: K - 6 91 GRADE 2 - ORGANIZERS
Organizer: Rhythm and Metre
Outcomes Suggestions for Teaching and Learning Students will be expected to 1. perform, listen to and create Performing includes: • beat singing • rhythm playing • groupings of 2, 3, and 4 beats speaking • ± moving Öµ conducting (simple/compound duple) new £ reading ° new writing/constructing
Listening includes: aurally identifying responding
Creating includes: improvising composing
Includes • bar lines • prepare Ö-µ
Performing • Continue with activities from previous grades to reinforce beat. Singing games with movement are excellent for beat. • Play a “passing game”. See page 180, Obwisana, An Orff Mosaic from Canada, for an excellent passing game. • Provide students with a beat chart. Students point to the beat as they sing or chant a poem. See Listening Kit 2, page 16 (reproducible). • Keep the beat to recorded music. See Listening Kit 2, Track 14: Sleighride (triple metre) and Track 31: Contradance (quadruple metre). • Using a known song, students put the beat in the feet and then clap the rhythm. On a given sign, students alternate between the beat and rhythm, then perform both together. • The class or different groups echo the teacher’s rhythm pattern without losing a beat. Do several patterns in succession. Individual students may echo the teacher. Individual students or groups may create and perform a rhythm pattern, which the class echoes. The patterns may vary in length.
92 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Rhythm and Metre
Suggestions for Assessment Resources/Notes
See pages 99 and 101. Note: The teacher should regularly use dual terminology to familiarize students with proper note names, (i.e., ta is a quarter note).
The Kodály Method I Page 73 - Songs for presenting ° Prepare ¶==» for Grade 3 - pages 212-213 Chicken on a Fence Post, Golden Ring Around Susan, Old Brass Wagon Chapters 3 and 4 - Grade 1 and 2, teaching procedures, song material
Roots and Branches Pages 14-17 - Yo Mamana, Yo (³¼, body percussion) Pages 28-31 - Hao Peng You (movement/game) Pages 46-49 - Ha’Kyo Jung (rhythmic movement, instruments) Pages 64-67 - Cheki Morena (game, ostinato) Pages 100-103 - Uga Uga Uga (Öµ Öµ ± ±, movement) Pages 142-143 - El Juego Chirimbolo (movement)
An Orff Mosaic from Canada Page 124 - Signs of Spring (speech rhythms, ostinati) Pages 135-137 - Bear Comes Knockin’ (¶==», ostinati, instruments) Page 141 - Bees (speech) Page 215 - Breakfast Song Page 222 - On the Ball Page 229 - Monday, Monday Page 267 - One Two Three Page 280 - The Shoemaker Chapter 24 - Tips for Teachers
MUSIC CURRICULUM GUIDE: K - 6 93 GRADE 2 - ORGANIZERS
Organizer: Rhythm and Metre
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Students echo patterns using classroom instruments. • beat • Extend echo activities to writing/constructing activities. • rhythm Students may work alone or in pairs. Use baggie kits. • groupings of 2, 3, and 4 beats • Using a drum or technology, alternate between duple, triple, • ± and quadruple metre. Students demonstrate through Öµ movement. When the drum stops, students “freeze” in place. £ Vary the tempi. ° new • Use CD Track 7: Wild Horsemen, Listening Kit 2, for movement and beat (compound duple). See teaching suggestions. • Students perform (clapping or using classroom instruments) ostinati of two and three subdivisions of the beat while singing or listening to a recorded example. • Introduce the conducting pattern for duple metre. The whole class conducts together while singing or listening to selections in simple or compound duple metre. Individual students may conduct the whole class. Divide the class into small groups with student conductors. See Conductor of the Day, Listening Kit 2, page 15. • Students keep the beat while singing a song containing the half note (Who’s That Tapping At My Window), preferably at end of the phrase. Students will derive how many beats for this sound. Make the half note conscious. Practise and reinforce in other familiar songs. See The Kodály Method I, pages 67-68. • The teacher claps the rhythm pattern and students echo the pattern. Students then say to rhythm syllables, and alone or in pairs, write/construct the pattern. • Use Chart Songs I or a score on an overhead, to speak and perform (clap, tap, play etc.) the rhythm patterns of songs (containing ± Öµ £ or ° ). • Practise keeping steady beat and performing rhythm patterns with the several “Playalongs” suggested in Listening Kit 2. Try Track 13: Fig Leaf Rag.
94 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Rhythm and Metre
Suggestions for Assessment Resources/Notes
See pages 99 and 101. Teaching Towards Musical Understanding Page 54 - London’s Burning (triple metre) Pages 115-119 - Examples of improvisation strategies Pages 155-157 - Exploratory activities using movement Pages 192-201 - Seventeen Step Beat/ Movement Teaching Sequence Page 212 - Ton Moulin (duple, triple metre) Chapter 11 - Rhythm Songs to prepare Grade 3 learnings ( ¶==» °. ¬ )
120 Singing Games and Dances All these games are good for beat, rhythm pattern, movement, ostinato: Amasee Here Comes a Bluebird ( ° ) Great Big House in New Orleans ( ° ¦¼ ) Billy Billy Circle Round the Zero Long Legged Sailor Weavily Wheat Old Roger is Dead (þ¾) Rocky Mountain ( ° )
Composing with Boomwhackers Activities 2, 3, 4 and 5. Note: NPP instruments may be substituted for Boomwhackers. Use only known rhythms. Pages 15-16 - Two- and three-part rhythmic exercises using known rhythms.
Name Games Game 5 - Syllable Grouping Game 8 - Spelling Name (metre) Game 16 - Birthday Groups
MUSIC CURRICULUM GUIDE: K - 6 95 GRADE 2 - ORGANIZERS
Organizer: Rhythm and Metre
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Students clap or play from flashcards in succession. Provide • beat opportunities for different individuals or pairs of students to • rhythm perform one of the succession of flashcards. Note: The • groupings of 2, 3, and 4 beats teacher, or a student, should maintain a steady beat (on a • ± hand drum for example) throughout this activity. Öµ • Students play accents, beats, and rhythm patterns on £ classroom instruments. Small groups may create an ° new arrangement with one group of instruments playing the accents, another the beats, and another the rhythm patterns. Each group performs its arrangement. Lead a discussion to focus on their choices. Extend to a reflection. See Appendix A and Reproducibles. • Rhythm erase: Write a four-measure rhythmic exercise on the board which the class then performs while saying the rhythm syllables or clapping/tapping. The exercise may be simplified by repeating one measure. Erase one measure. The students perform and say the rhythm syllables for the whole exercise (you may point to the empty measure and mark the beats). Continue until all the bars have been erased and the students perform the whole exercise from memory. Invite individual students to write the rhythm in the empty measures on the board, or all students may construct the rhythm with sticks or write in their books. • Sing known songs to rhythm syllables.
Listening • Keep the beat to recorded music. See Listening Kit 2, CD Track 14: Sleighride (triple metre) and Track 31: Contradance (quadruple metre). • Students in pairs or small groups derive the metre of a familiar song and then the rhythm. Write/construct the rhythm using bar lines. • Provide opportunities through singing and listening for students to move to and derive metre. Use a variety of musical examples • Isolate a measure from a known song to use for rhythmic dictation.
96 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Rhythm and Metre
Suggestions for Assessment Resources/Notes
Page 99 and 101. Sound Ideas #6 - Passing Sounds - Beats #7 - Passing Sounds - Metre #18 - Percussion Poems - Son Macaron Two #31 - Rhythmic Notation
Musicplay2 #4 - Engine, Engine - use to review beat and rhythm #16 - Time to Play - Students create their own rhythms #22 - Birds and Bats (compound duple) #35 - On Top of Spaghetti (triple metre) #54 - Pass the Stick (passing game) #63 - I’se the B’y (compound duple) #87 - Row Row Row Your Boat (compound duple) Icka Backa, See Teacher’s guide page 23, #3 for procedure explaining accents and measures. Page 38, No. 1 - procedure for rhythmic Page 40, No. 3 - dance the Hora (beat) Page 61 - Cinnamon Heart Listening Activity (beat and metre)
MUSIC CURRICULUM GUIDE: K - 6 97 GRADE 2 - ORGANIZERS
Organizer: Rhythm and Metre
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Place four flashcards on floor; put on a pocket chart or display • beat for all the class to see. Clap in mixed up order. An individual • rhythm will place them in correct order. The class performs. • groupings of 2, 3, and 4 beats • Use listening examples to focus on the beat. Is the beat strong • ± or weak? How does the strong (or weak) beat affect the Öµ mood? Are the rhythms mostly long sounds or short sounds? £ How does this contribute to the mood of the music? ° new Students may derive the metre. Use examples of different cultures and time periods.
Creating • The teacher and the students use NPP instruments. The teacher performs a rhythm pattern to which the class responds all together, each student creating his/her own pattern. Eventually progress to individual responses. The student’s individual response may vary in length; it does not have to be the same number of beats as the teacher’s. • The class derives the metre of a short recorded musical example. Repeat the example as students mark the accents and perform the beats. Using body percussion, classroom instruments or technology, students create a timbre for the accents and another for the beats. Students can also create different movements to show the strong and weak beats. See Listening Kit 2, Track 14: Sleighride (triple metre) and Track 20: Minuet in G (triple metre), and Music for Creative Dance. • Working in small groups, students create rhythmic ostinati and accompaniments using known elements. Perform on traditional instruments or use technology. • Create a rhythmic composition using Activity #4, Composing with Boomwhackers. “Note Squares” may be found on page 10. • See page 69, The Kodály Method I, My Rhythm Composition. • Provide opportunities for students to improvise short rhythmic and melodic phrases. See pages 68-70, The Kodály Method I. • See suggestions in Sound Ideas and Name Games.
98 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Rhythm and Metre
Suggestions for Assessment Resources/Notes
Use checklists (Appendix A). Listening Kit 1 and 2 Page 16 - Beat Chart (reproducible) Use a well known song such as Johnny Works With Beat/Metre, rhythm pattern One Hammer (Teaching Towards Musical Rhythm Playalongs Understanding). Form a double circle and give each CD Track 3: Gigue - bounce balls to beat. child a rhythm stick. Students tap partner’s sticks CD Track 4: Crane - listen for long sounds, during the singing of the song (either keeping the weak beat. beat or tapping the rhythm, as directed). On the rest at the end of the song, the outer circle jumps one Music for Creative Dance person to the left. Begin again with new partner. #4 - Weavers (¦¼) Observe and record individual performance of beat #6 - Pharaoh’s Waltz (³¼) and/or rhythm during the game.
Observe and note individual responses - playing, moving, reading, writing/constructing, alone or in small groups. For example • notating with sticks • written worksheets. See Reproducibles. • conducting • performing an unknown rhythm pattern • identifying a mystery song from the rhythm • passing or bouncing a ball on the first beat to show metre • moving to the beat Provide opportunities for the creation of simple rhythmic compositions (performance and written). See Reproducibles and Composing with Boomwhackers.
Students write a short reflection. See Appendix A.
Use Chart Songs 1 and 2 and Flashcards to assess rhythmic reading.
Musicplay 2 See reproducible sheets, pages 112-119. These correlate with the student book (circle the rhythm that your teacher claps). Assessment - page x. Page 78 No. 1. See Checklists in back of book.
MUSIC CURRICULUM GUIDE: K - 6 99 GRADE 2 - ORGANIZERS
Organizer: Rhythm and Metre
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Use a rhythm pattern found in the song for an ostinato or use • beat words for a speech ostinato. Students may create their own • rhythm ostinato either individually or in pairs. See An Orff Mosaic • groupings of 2, 3, and 4 beats from Canada for selections with ostinati. • ± • Improvise the missing measure. Place a four-measure rhythm Öµ in ¦¼ time containing known rhythms on the board, leaving £ the second or third measure blank. The whole class practises ° new the given measures. Then, all perform with one child improvising the missing measure by clapping or playing a classroom instrument. Restrictions may be given i.e., types of rhythms to be used. See pages 68-69, The Kodály Method I. • The students perform four quarter notes together as a class. An individual student improvises by changing one of the quarter notes to Öµ or £ . The whole class performs the four quarter note pattern again. Another student then improvises by changing one of the quarter notes. This is followed again by the class. Continue to allow several students to improvise (Rondo form).
100 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Rhythm and Metre
Suggestions for Assessment Resources/Notes
Teaching Towards Musical Understanding Chart Songs 1 and 2 Chapter 17 - Assessment and Evaluation Use for reading and reinforcement of beat, metre, rhythm, bar lines. Provide opportunities for individual improvisation when playing games. Also see Sound Ideas. Rhythm Flashcards
Use a game such as Rhythmic Tic Tac Toe. Place Songs to Read, Write, Sing and Play nine rhythm cards on the floor and divide students Use in conjunction with Melody/Pitch to into two groups. As each child performs his/her reinforce beat, rhythm, metre, bar lines. rhythm, assess and record. Reproducibles Listening Kit 2 Worksheets related to rhythm. Use playalongs to assess beat and the performance of rhythms. Other:
Songs to Read, Write, Sing and Play reproducible French Songs Children Love worksheets Note: Use a variety of songs and games from different cultures and time periods.
MUSIC CURRICULUM GUIDE: K - 6 101 GRADE 2 - ORGANIZERS
Organizer: Melody/Pitch
Outcomes Suggestions for Teaching and Learning Students will be expected to
1. perform, listen to and create Performing includes: • l s m r d singing in the keys of F, C, and G playing (r d new) moving reading writing/constructing inner hearing
Listening includes: aurally identifying responding
Creating includes: improvising composing
2. develop, alone and with others, Includes in-tune and expressive singing • a varied repertoire with an expanded range in both major (prepare d 1 ) and minor tonalities
Performing • See suggestions for high/low in Kindergarten and Grade 1. • See Teaching Towards Musical Understanding for nine sequenced activities, High vs. Low (pages 235-238). • Use #8 I Can Sing a High Note, Musicplay 2 for higher/lower. • Sing songs and use activities to reinforce melodic direction and contour. • Sing familiar songs containing s - m - d pattern (I See the Moon and Fuzzy Wuzzy, The Kodály Method I). Identify and make d conscious, and show handsign. • See The Kodály Method I, pages 57-63 for introducing and making conscious d and r. • Make r conscious in songs containing mrd pattern. Use a known song such as Bow Wow Wow (120 Singing Games and Dances).
102 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Melody/Pitch
Suggestions for Assessment Resources/Notes
See page 107. Note: Students continue to practise melodic learnings on their own individual staff. See Grade 1, Melody/Pitch.
See pages 105, 107, and 109.
MUSIC CURRICULUM GUIDE: K - 6 103 GRADE 2 - ORGANIZERS
Organizer: Melody/Pitch
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Students sing from hand signs and write in the key • l s m r d placements of F, C and G. in the keys of F, C, and G • Practise writing in the three key placements using (r d new) reproducible worksheets. See Reproducibles. • Teacher sings melodic patterns in solfa from familiar songs and 2. develop, alone and with others, the class echoes. Progress to small groups and individuals. in-tune and expressive singing Use students to present a melodic pattern. Students construct 1 (prepare d ) on their own staffs or staff paper. • Class sings patterns from teacher or student’s hand signs. • Class sings melodic flash cards and Chart Songs in solfa (the whole class, small groups, pairs, individuals). • Set up available pitched percussion instruments in F, C, or G pentatonic. Each student is given a flashcard in one of these key placements which they play on the corresponding instrument. Repeat. • Sing well-known songs in solfa. • Students read patterns from tone ladders. • Students memorize a short pattern read from the tone ladder or from hand signs. They write the pattern from memory, on the staff in F, C, or G. • Students play patterns on boomwhackers, resonator bells, xylophones, glockenspiels, metallophones. • Demonstrate melodic direction through body movement (Fuzzy Wuzzy). • Sing songs in minor tonalities. Discuss the feeling/mood. • Focus on good breathing techniques. Provide opportunities for students to sing songs purely for the joy of singing. Provide opportunities to introduce elements of expressive singing (phrasing, shaping, blending). • Provide opportunities for individual singing. • Use Chart Songs and overheads, for practice reading in solfa.
Listening • See Listening Kit 2, Track 6, for higher/lower.
104 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Melody/Pitch
Suggestions for Assessment Resources/Notes
See page 107. Note: The teacher may introduce some absolute note names (such as AGF) as they arise in song phrases or Orff accompaniments.
The Kodály Method I Pages 50 and 72 - Suggested Song Lists (make conscious r and d and prepare d 1 ) Chapters 3 and 4 - Grade 1 and 2
Roots and Branches Pages 46-49 - Ha’ Kyo Jung (l s m r d ) Pages 100-103 - Uga Uga Uga (m r d ) Pages 142-143 - El Juego Chirimbolo (l s m r d )
An Orff Mosaic from Canada Page 114 - Fall is Fun (mrd ) Page 142 - Five Fat Fleas (inner hearing) Page 150 - Train Ride (melodic contour) Page 187 - Gobble Gobble (solo singing) Page 189 - Here We Go Trick or Treat (solo singing) Page 287 - Can You Play? (improvisation) Chapter 1 - Hello Songs Chapter 24 - Tips for Teachers
Teaching Towards Musical Understanding Pages 29-30 - Criteria for Selecting Songs Pages 37-50 - Fifteen strategies to facilitate development of in-tune singing Pages 235-238 - Nine sequenced activities High vs. Low Pages 238-241 - Eight activities for melodic contour Pages 244-245 - Seven steps for introducting and labeling pitch r d etc. Chapter 4 - Singing, pages 25-56 Chapter 17 - Assessment and Evaluation
MUSIC CURRICULUM GUIDE: K - 6 105 GRADE 2 - ORGANIZERS
Organizer: Melody/Pitch
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Class identifies, from a set of four flash cards, the pattern they • l s m r d hear. Note: Choose two or three flashcards with the same in the keys of F, C, and G rhythm. Otherwise, students will identify through the (r d new) rhythm, not the melody. • Teacher sings, or plays on an instrument, a melodic pattern 2. develop, alone and with others, from a known song, identifying for the class only the starting in-tune and expressive singing pitch (in solfa). Students echo on ooh and then individually (prepare d 1 ) or in groups, derive the pattern. Extend by writing the pattern on their individual staffs in one (or more) of the three key placements. Play on melodic instruments. • Using a tone ladder or the flying note, point out melodic patterns from the first phrase of familiar songs and have students recognize and identify songs by inner hearing. • Place, on the board, a four-beat rhythm pattern with solfa syllables underneath. One beat is blank with no solfa. Sing the pattern, “humming” the blank. Students echo, and working with a partner, derive the missing solfa (see Reproducibles). • Provide frequent opportunities for students to listen to musical examples in minor tonalities. Make connections between tonality and mood/feeling. • When practising inner hearing, students show the hand signs of the hidden phrase. • Write short reflections/responses (see Appendix A). • Use Chart Songs to sing in solfa, such as #25 Old Witch or #27 Starlight. Sing the first two bars out loud, the next two silent, etc. Next, try alternating one bar apart (inner hearing). • Use Chart Songs, melodic flashcards, or an overhead. Sing in solfa. Sing all the s’s silently. Continue with m (inner hearing).
Creating • Students create patterns and/or ostinati using ls mrd to be played on melodic instruments or boomwhackers while singing a known song. • Ask a small group to sing the ostinato they created. • Pairs or individual students can work at an activity centre to
106 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Melody/Pitch
Suggestions for Assessment Resources/Notes
Use checklists (Appendix A). 120 Singing Games and Dances Charlie Over The Ocean (individual singing) Observe, listen to, and record student responses, Mousie Mousie ( sd ) individually and in small groups. For example Rocky Mountain ( lsmrd ) • create a melodic contour map of a familiar song. The Mill Wheel See Musicplay 2, page 55 Bow Wow Wow ( mrd ) • demonstrate higher and lower through movement Ring Around The Rosy ( sd ) • complete written worksheets (see Reproducibles - writing, aural identification) Composing with Boomwhackers • sing individual response, echo, or phrase. See Activity: Resources/Notes. #12 - Orchestrate a poem • create, improvise/perform simple ostinati and #13 - Play a Three Note Melody melodies #14 - Create a Three Note Melody • improvise answers to questions These should be adapted to Grade 2 outcomes • identify mystery tunes and capability. • read Flashcards and Chart Songs Musicplay 2 ( mrd ) Teaching Towards Musical Understanding #17 - I am the Fastest Turkey (individual Pages 42-49 (several good songs for individual singing) singing) #21 - What’s That Creature (minor tonality) Chapter 17 - Assessment and Evaluation #24 - Witches Stew (individual singing) #28 - Sing for Peace and #29 - Make a Composing with Boomwhackers Difference (expressive singing) Activity #14: Create a Three Note Melody (see #32 - Doggie Doggie (individual singing) asessment rubric page 33) #41 - Who’s That (individual singing) #45 - Jolly Old St. Nicholas Written reflection/response to creating activities and #54 - Pass the Stick ( smd ) performance (Appendix A and Reproducibles). #59 - I See the Moon ( smd ) #82 - Johnny One Hammer ( dms ) #88 - Bought Me a Cat ( mrd ) #95 - Here Comes a Bluebird ( mrd ) Student Reproducible Pages Page 38 - Present d teaching procedure using #37 Johnny Caught a Flea Songs to prepare d 1
NOTE: r is not “made conscious”in the Musicplay 2 curriculum, but it is easily introduced through the many songs in the teacher’s guide.
MUSIC CURRICULUM GUIDE: K - 6 107 GRADE 2 - ORGANIZERS
Organizer: Melody/Pitch
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create create their own melodies using l s m r d. Set up melodic • l s m r d percussion instruments in the pentatonic scale (C, F or G). in the keys of F, C, and G Students play their melody for the class (may be extended to (r d new) writing). • Set up available melodic instruments in the pentatonic scale 2. develop, alone and with others, of a known song. The whole class sings the known pentatonic in-tune and expressive singing song. The teacher then taps eight beats on the drum while (prepare d 1 ) the students at the instruments improvise (keeping with the beat). The class sings the song again (ABA form). Repeat with different students. It is important to provide frequent opportunities for students to improvise. Students will become more comfortable as time goes by. When they are improvising with others, they will feel less threatened. See activity #3, Composing with Boomwhackers. • See three examples for melodic improvisation, pages 118-119, Teaching Towards Musical Understanding. Improvise with voices and pitched percussion instruments. • Students write a simple melody to a known rhyme such as “Jelly in a Bowl”. See three examples for melodic construction, pages 130-131, Teaching Towards Musical Understanding. • Students play a known melody on pitched instruments and using the same pitches and tone set, create a short contrasting melody. • There are a number of excellent activities for composing and creating using melody, in Composing with Boomwhackers. See Resources/Notes. These can be adapted to different levels and situations and the use of pitched percussion instruments. • Small groups each create a melodic phrase. Class sings by using body representation of pitches on staff. See Grade 1. • See page 70, The Kodály Method I, for improvising an answer phrase to a question phrase. • Provide opportunities for small groups to sing known songs for the class. Focus on expressive singing.
108 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Melody/Pitch
Suggestions for Assessment Resources/Notes
Musicplay 2 Listening Kit 2 Reproducibles at the end of book may be used to Correlate with suggestions in the Teacher’s assess writing l s m r d on staff. Guide Melodic Concepts/Singing checklist Page 47 - Assessing a Song Song Charts 1 and 2
Songs to Read, Write, Sing and Play reproducible Melodic Flashcards worksheets See suggestions for teaching in this resource
Worksheets to assess writing l s m r d (see Songs to Read, Write, Sing and Play Reproducibles). reproducible sheets
Listening Kit 2 - reproducibles page 10. Other:
Play a game such as Melodic Tic Tac Toe. Place nine Practice and Reinforcement of d melodic cards on the floor and divide students into Fuzzy Wuzzy two groups. As each student sings his/her melodic I See The Moon pattern, assess and record. French Folk Songs Children Love
MUSIC CURRICULUM GUIDE: K - 6 109 GRADE 2 - ORGANIZERS
Organizer: Harmony
Outcomes Suggestions for Teaching and Learning Students will be expected to
1. perform, listen to and create Performing includes: • simple ostinati singing (melodic/rhythmic) playing • rounds/canons speaking • two-part rhythmic exercises moving reading writing/constructing
Listening includes: aurally identifying responding
Creating includes: improvising composing
Includes • partner songs
Performing • Students sing a known song while performing a rhythmic ostinato drawn from the song. Continue with some students singing or playing a melodic ostinato (Pease Porridge Hot). • Use a simple pentatonic melody to create an ostinato that can be sung or played as an accompaniment to a song. • Students sing and play repeated notes on melodic instruments, such as pedal tones or borduns, while singing a known song. Use tonal centres such as doh and lah. • Children should be confident singing a round in unison at first. The class begins singing the round and the teacher begins after and sings all the way through regardless of the students’ reaction. Explain what a round is. Next the teacher will begin and the class will enter after the teacher as instructed. Divide the class in half and sing in two parts. Reverse. Two smaller groups may sing the round. Gradually move from large groups to smaller groups, to pairs. See Resources/Notes for suggested canons. • Sing a song as a round. Add actions to each phrase. Sing the round with words and in solfa, while doing the actions. The actions provide a visual reinforcement.
110 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Harmony
Suggestions for Assessment Resources/Notes
See page 115. See pages 113 and 115.
MUSIC CURRICULUM GUIDE: K - 6 111 GRADE 2 - ORGANIZERS
Organizer: Harmony
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Sing two pentatonic songs together as a partner song. • simple ostinati • Sing a simple pentatonic song as a round. Pease Porridge Hot, (melodic/rhythmic) Bounce High, etc. • rounds/canons • Make two rows of flashcards (rhythmic or melodic). The class • two-part rhythmic exercises performs each row. Divide the class in two and perform both rows together. Switch parts. Note: establish steady beat throughout. • Perform two- and three-part exercises on NPP instruments. Perform with boomwhackers to create harmony or with pitched percussion instruments. For example, part one play the rhythm on E, part two on C. • When introducing aural rhythmic canons alternate from the left to the right side of the body (i.e., one measure on the left and then one measure on the right) to provide visual reinforcement. The teacher begins, followed by the class one bar later. It is better to alternate simple measures with more difficult measures. For example, ° followed by Öµ ±. • Students read a rhythmic pattern from notation or flashcards. Divide the class in half and perform as a canon. Try in four parts. Each group will decide on a tone colour (timbre) e.g., slapping legs, clapping hands, playing wood blocks, etc. • Read melodic flashcards and perform as a canon. Maintain a steady beat throughout. Chart Songs and exercises on overheads may also be performed in canon (rhythmic and melodic). • Students form an inner and outer circle. Sing a two-part canon. Part one begins moving clockwise, the second part, counter-clockwise
Listening • The class sings a well known song and the teacher sings/ performs a melodic or rhythmic ostinato. The class derives the pattern of the ostinato. Half the class sings the song; the other half sings the ostinato. Move to smaller groups.
112 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Harmony
Suggestions for Assessment Resources/Notes
See page 115. Note: See strategies under Rhythm/Metre and Melody/Pitch which support outcomes for Harmony.
The Kodály Method I Page 40 - Introducing Ostinato Chapter 3 and 4 - Grade 1 and 2
Roots and Branches Page 45 - Kaeru No Uta (ostinato and canon)
An Orff Mosaic from Canada Page 117 - The Snowstorm Page 124 - Signs of Spring Page 218 - Diddle Diddle Dumpling (combining speech patterns) Page 267 - One Two Three (create body percussion ostinato) Page 314 - Pond Song (combining ostinati) Pages 333-335 - Accompaniments
Teaching Towards Musical Understanding Pages 54-56 - Rounds Page 85 - Harmonic Accompaniments on the Xylophone (pedal tones, drones, borduns) Page 296-301, Bounce High, First Nations Song, Johnny Works with One Hammer, Make New Friends Page 299 - Teaching Sequence for Harmony and Texture Chapter 15 - Harmony and Texture Chapter 17 - Assessment and Evaluation
MUSIC CURRICULUM GUIDE: K - 6 113 GRADE 2 - ORGANIZERS
Organizer: Harmony
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Introduce a movement/rhythmic canon using body • simple ostinati percussion. Start simply, using only quarter notes, and (melodic/rhythmic) change the movement after eight beats. For example, tap • rounds/canons eight beats on your shoulders, then switch to tapping eight • two-part rhythmic exercises beats on the floor, then clap eight beats, and stamp eight beats with your feet. Students begin after the first eight beats. The visual reinforcement helps students see the “switch”. You can also say the word “change” or “switch”. When the canon is secure, divide the class in half and perform with two groups. Try with four groups. • Use the same principles for melodic canons using imitation. The teacher begins singing and the class enters two or four beats later. Start with only two pitches, s and m. Hand signs may also be used as visual reinforcement. • Students keep the beat while chanting a poem. Perform as a canon in two or three parts. See An Orff Mosaic from Canada. • Try canons with smaller groups. The remaining students listen for the entrance of the next voice. Note: Students are listening and responding when performing and singing ostinati and/or part work. Include a short written/ reflection/response with performing or creating activities.
Creating • Pairs or small groups create simple rhythmic ostinati to be performed on a percussion instrument or as body percussion, to accompany a song or recorded music. • Students create, and sing or play on classroom instruments, ostinati and borduns, using known elements. • Students work in pairs to create rhythmic and melodic (pentatonic) phases. Each group sings or plays as a canon. Provide parameters - e.g., two, four-beat measures using known rhythmic and melodic elements. The activity can be extended to a writing activity (students notate) and a reading activity (read and perform another group’s canon).
114 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Harmony
Suggestions for Assessment Resources/Notes
Use checklists (Appendix A). Composing with Boomwhackers Pages 15-16 - two- and three-part rhythmic Observation of and listening to small groups and exercises individuals, performing/creating ostinati, canons, exercises, and movement canons. Name Games Game 3 - Layering Name Rhythms Provide opportunities for pairs of students to work together to create and perform ostinati and canons. Musicplay 2 #18 - Falling Leaves (round) Students aurally identify a melodic or rhythmic #27 - Starlight (accompaniment) ostinato. #42 - Holiday Round (round) #69 - A Pizza Hut (round) Written reflection, self assessment, peer assessment of #85 - Japanese Frog Song #87 - Row Row Row Your Boat (round) a creating and/or performance activity. See Appendix A and Reproducibles. Melodic and Rhythmic Flashcards Use for canons or combine for part work
Other:
The Orff Source (Themes and Variations) See Songs with simple pedal tone or bordun accompaniments
Ride with Me (See Resources Appendix)
MUSIC CURRICULUM GUIDE: K - 6 115 GRADE 2 - ORGANIZERS
Organizer: Form
Outcomes Suggestions for Teaching and Learning Students will be expected to 1. perform, listen to and create like Performing includes: and unlike phrases and sections singing • a b playing • A B speaking • simple rondo (new) moving reading writing/constructing/diagramming
Listening includes: aurally identifying responding
Creating includes: improvising composing
Includes • exploration of question and answer phrases
Performing • See suggestions for Grade 1. • Students derive and the teacher diagrams with shapes on the board (to show a or b ), the phrases for a well known song (Hot Cross Buns). (The students can keep the beat as the teacher marks the beats for each phrase. How many beats in a? In b?) Use poetry as well. • Diagram the melodic contour of each phrase. I See the Moon, Musicplay 2, pages 61-62. Students may show with mapping. Ask students to compare to determine like and unlike phrases. • Draw different melodic contours on a board or chart. The students pick the correct contour for a song. • Students use scarves and/or movement to show melodic contour and like/unlike phrases or sections. • See Resources/Notes for examples of rondos, phrase and sectional forms using songs and poems/chants.
116 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Form
Suggestions for Assessment Resources/Notes
See page 121. Note: Outcomes related to form can be addressed when students are engaged in performing, listening, and creating activities found in the other organizers. Note: Diagram phrases with lower case letters (a, b) and sectional forms with upper case letters (A or B).
The Kodály Method I Pages 68-70 - Improvising and Composing
Roots and Branches Pages 54-55 - Tépok Amai-amai (a b a b - two question and answer phrases) See listings under Rhythm/Metre and Melody/ Pitch
An Orff Mosaic from Canada Page xix - Places in Canada (speech rondo) Page 3 - Welcome (speech rondo) Page 5 - Hello, Hello (speech rondo) Pages 60 - Dos à Dos (ABA) Page 135 - Rockets (speech rondo) Page 150 - Train Ride (ABA or rondo) Page 188 - Turkey in the Pan (speech rondo) Page 260 - On the Mountain (movement rondo) Page 332 - Question and answer/phrase completion
Teaching Towards Musical Understanding Pages 117-119 - Rhythmic and melodic conversations (strategies for question and answer phrases) Chapter 14 - Form, pages 283-289 - includes examples of phrase form and sectional form Chapter 17 - Assessment and Evaluation
MUSIC CURRICULUM GUIDE: K - 6 117 GRADE 2 - ORGANIZERS
Organizer: Form
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create like • Use a poem or rhyme for the A section which the whole class and unlike phrases and sections chants while keeping the beat. B, C, and D sections may • a b consist of a simple rhythm pattern (four or eight beats long), • A B performed/improvised on a classroom instrument by an • simple rondo (new) individual student or small group. The class keeps the beat all the way through as each section is performed. Alternate the instruments for each section, e.g., B is performed on a drum, D on a tambourine, and C on rhythm sticks. Perform all as a rondo. • Use the same procedure but the B, C and D sections will use movement (or body percussion). Small groups/individuals will create a simple movement while the remainder of the class taps the beat. • See page 221 An Orff Mosaic from Canada, for the chant I Love to Read. Follow procedure for rondo form. • Sing simple question and answer phrases using Chart Songs 1. Half the class sings the question, the others the answer. Sing with words and solfa. See #20 - Apples, Peaches, #22 - Pease Porridge Hot, #23 - Apple Tree, #21 - Icka Backa.
Listening • The class derives the form (e.g., ABA) for a known song. Create a different movement for the contrasting sections. Diagram with shapes. Perform. • Use Listening Kit 2, CD Track 8: Hungarian Dance No. 5 as an example of rondo and to create constrasting movements for each section. • Sing/play simple songs for the class. Students aurally identify the form. Discuss with the class. • Students respond/reflect on activities related to form (creating movement, rhythms, melodies)
Creating • Show the phrases through movement. Students keep the beat with their feet and make a quarter turn at the end of each phrase. Students create simple contrasting movements for each phrase.
118 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Form
Suggestions for Assessment Resources/Notes
See page 121. 120 Singing Games and Dances Walk and Stop (“Statues” game) See suggestions given for this resource in Rhythm/Metre and Melody/Pitch
Sound Ideas #12 - Question/Answer #23 - Poetic Structure
Composing With Boomwhackers Activity #6: Sing and Play a B Section (ABA Form) Activity #7: Sing and Play A B Section (AABA Form) Activity #8: Sing and Play a Rondo These activities can be adapted to NPP and PP instruments and to fit grade 2 outcomes.
Musicplay 2 #10 - Bounce High - create a rondo using a ball #24 - Witches Stew - speech rondo #36 - Bluebells - speech rondo See page 49, Question and Answer improvisation #37 - Johnny Caught a Flea (phrase form) #55 - Love Grows Under the Wild Oak - page 58, poem, ABA sectional form #61 - Ham and Eggs - page 64, create a food rondo
MUSIC CURRICULUM GUIDE: K - 6 119 GRADE 2 - ORGANIZERS
Organizer: Form
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create like • The teacher creates a movement “question” phrase. The and unlike phrases and sections students create an answer phrase. • a b • Use rhythm instruments to create question and answer • A B phrases. See Sound Ideas. • simple rondo (new) • Create a simple movement rondo. Teach the class the A movement and, with their assistance, create the B and C. Show visually on the board with shapes and then perfom. • Students work in pairs to create a two-phrase melody using voice or classroom instruments. The phrase should be four or eight beats long and the second phrase should end on doh. Provide direction as to what pitches and rhythms may be used. One student creates the a phrase, the other the b (question and answer phrases). • The teacher sings/plays a very simple four-beat phrase using known elements e.g., l s m or s m d and quarter and two eighth notes. If playing instruments, all students in the class can improvise and respond together with a contrasting b, even though their responses will vary. The teacher can gradually move to individuals improvising a response by singing or playing. • The above can also be done using NPP instruments. • See Activities 6, 7 and 9 Composing With Boomwhackers for creating sectional forms and rondo.
120 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Form
Suggestions for Assessment Resources/Notes
Use checklists (Appendix A). Listening Kit 2 CD Track 12: Fossils - ABA sectional form Observe individual student responses through CD Track 13: Fig Leaf Rag - rondo with movement, answering questions, diagramming with rhythm instrument playalong to highlight shapes, performing or creating a contrasting phrase the constrasting sections or section. CD Track 14: Sleighride - Use the listening map to reinforce repetition and constrasting Use worksheets - aurally identify and circle the sections. correct answer. Chart Songs 1 and 2 Students draw the melodic contour of two phrases Use for like and unlike phrases (a b) and determine if phrases are the same or different. Overheads may also be used
Students pick the correct contour from those given. Melodic and Rhythmic Flashcards Use to show like and unlike phrases
Music for Creative Dance #1 - Whales (ABABA) #5 - Pizz. Ah! - use to reinforce length and repetition
MUSIC CURRICULUM GUIDE: K - 6 121 GRADE 2 - ORGANIZERS
Organizer: Expression
Outcomes Suggestions for Teaching and Learning Students will be expected to 1. perform, listen to and create Performing includes: reflecting sensitivty to moods/ singing feelings playing • fast/slow (tempo) speaking • louder/softer (dynamics) moving • gradually louder/softer (cresc. reading descresc.) writing/constructing/diagramming • smooth/choppy Listening includes: (articulation) aurally identifying • sounds responding • notations Creating includes: improvising composing interpreting
Includes • traditional and non-traditional sounds and notations
Performing • See strategies for previous grades and under Creating. • Perform expressive elements in familiar songs (Hey Betty Martin). Students experiment and discuss what is appropriate for a particular piece. • Fans are excellent for the reinforcement of crescendo and decrescendo. The leader/teacher controls the dynamic levels by opening and closing the fan. Use with the whole class in a short classroom song or in a choral piece. You can also divide the class in two, each having a leader and a fan. The leaders control the dynamic levels with the fan. The two groups may have different dynamics at the same time. For example, one can be doing a crescendo, the other a decrescendo. Provide the opportunities for many students to have a turn as the leader. • Use a poem such as those found in Musicplay 2. Discuss the mood and feelings evoked in the poem. Explore with the class the use of dynamics, crescendo/decrescendo, tempo, articulation and vocal timbres, to most appropriately express the mood. Appropriate instrumental effects, including electronically generated sounds, could also be considered. Extend the activity by recording the final performance. The teacher plays the recording and leads a discussion on the effectiveness of the expressive devices.
122 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Expression
Suggestions for Assessment Resources/Notes
See page 129. See pages 125, 127, and 129.
MUSIC CURRICULUM GUIDE: K - 6 123 GRADE 2 - ORGANIZERS
Organizer: Expression
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create Listening reflecting sensitivty to moods/ • Listen and identify dynamics, articulation, and tempo in feelings recorded music, poems, songs, and pieces played on classroom • fast/slow (tempo) instruments. Use Track 25: Spring, Listening Kit 2. • louder/softer (dynamics) Reproduce listening map (page 44) for loud and soft. See • gradually louder/softer (cresc./ Resources/Notes for other selections. descresc.) • Students draw a picture to reflect the mood of the music that • smooth/choppy they hear. Display all the pictures and provide time for all (articulation) students to view them. Provide the opportunity for students • sounds to discuss the pictures, and to ask and respond to questions. • notations (Listening Kit 2 - CD Track 22: Claire de la Lune). • Students write a sentence or two in their journal to describe how a known or unknown piece of music makes them feel. (Listening Kit 2 - CD Track 26: Summer). • Students make a list of words to describe the feeling in a piece of recorded music. Students can also enter their words in their journal. Be sure to use musical examples from other cultures. (Listening Kit 2 - CD Track 22: Claire de la Lune). • Using a short recorded example, small groups interpret and create a movement sequence to reflect the mood and feeling of the music. Use scarves and ribbons. • Provide students with opportunities to suggest what classroom instrument(s) can be used to enhance the mood or feeling when singing a particular song or game. Give students lots of opportunities to play available classroom instruments. • Make connections to expression when working with other organizers.
Creating • Divide the class into groups. Assign each group a simple phrase, sentence or chant. Students experiment by altering their voices to explore dynamics, articulation, pitch, tempo and/or tone colour. Each group performs for the class. Lead a discussion. How did each group’s choices affect the overall mood? Refer directly to the use of expressive devices.
124 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Expression
Suggestions for Assessment Resources/Notes
See page 129. Roots and Branches Pages 16-17 - Yo Mamana, Yo Where appropriate, use selections listed under Rhythm/Metre and Melody/Pitch.
An Orff Mosaic from Canada Page 43 - Acadian Lullaby Pages 135-137 - Bear Comes Knockin’ (instruments) Pages 104-105 - Northern Lights (creative movement, instruments) Page 148 - Rockets (creating sound effects) Page 225 - Loose Tooth (instruments) Page 268 - Little Robot (sound exploration) Page 269 - Copycat (creative movement) Page 313 - This is My Voice Page 314 - Pond Song (voice, instruments, movement) Chapter 21 - Listening Awareness and Music Appreciation
Teaching Towards Musical Understanding Page 261 - Hey Betty Martin Page 266 - Closet Key (crescendo and descrescendo) Pages 271-272 - Five activities for NPP (non- pitched percussion timbres) Pages 274-278, Instruments of the Orchestra Chapter 5 - Playing Classroom Instruments, pages 65-74. Chapter 13 - Dynamics, Timbre, and Expressive Elements Chapter 17 - Assessment and Evaluation
120 Singing Games and Dances
MUSIC CURRICULUM GUIDE: K - 6 125 GRADE 2 - ORGANIZERS
Organizer: Expression
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Students in small groups explore and create suitable sounds reflecting sensitivty to moods/ from available sound sources, to create an effect, for example: feelings sunshine, rain, thunderstorm, spring, winter, a busy street, or • fast/slow (tempo) to express a feeling: angry, sad, joyful, scary, or represent a • louder/softer (dynamics) picture. Sound sources may include the use of traditional and • gradually louder/softer (cresc. non-traditional instruments, midi key boards, synthesizers, descresc.) software, environmental sounds, and voices. Diagram/notate • smooth/choppy the sounds. Each group performs its effect. The remaining (articulation) groups try to guess what is being expressed. Another • sounds variation is to exchange the notated/diagrammed “score” with • notations another group. Each group then attempts to perform from the notated score. Both activities should be followed with discussion/reflection. • Small group work should provide opportunities for students to work with available technologies to explore and create sound scapes, use dynamics, tempo, and articulation. • Students in small groups can create a musical representation of a picture. This could include traditional and non- traditional sounds, voices, lyrics and so on. • In small groups, using barred melodic instruments, students improvise a melody using a given tone set and rhythm pattern. The group will chose its own tempo, dynamics and articulation. Notate the melody in traditional or non- traditional notation. Students may title their composition and perform for the class. Lead a discussion with the class concerning their musical choices. Does the title fit? • Dramatize a text through movement to show the mood, expression or story of the music, e.g., Carnival of the Animals, Peter and the Wolf. Add dramatization and movement to songs and games. • Choose a story or create a story. Use available sound sources, instruments, and/or voice to accompany the telling of the story. Include movement and dramatization. • Use Listening Kit 2 to create movement to express the mood of the music. Use scarves and ribbons where appropriate. See CD Track #28: Butterfly, CD Track 9: Autumn, CD Track 22: Claire de la Lune. Note: You may wish to use only a portion of the listening example.
126 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Expression
Suggestions for Assessment Resources/Notes
See page 129. Sound Ideas Selections that use percussion instruments #6 - Passing Sounds - Beat #7 - Passing Sounds - Metre #9 - Instrumental Grouping/Group Improvisation #18 - Percussive Poems
Musicplay 2 #6 - Poor Little Bug (fast/slow/louder/softer) #11 - John Jacob Jingleheimer Schmidt (dynamics) #14 - Tony Chestnut (tempo - fast and slow) #19 - I am a Fine Musician (instruments) #28 - Sing for Peace and #29 - Make a Difference (expressive singing) Pages 99-100, No. 3 - Ooey Gooey Marshmallows (create sound effects to accompany the poem)
Listening Kit I Note: All students in Grade 2 are to study Peter and the Wolf. Carnival of the Animals (including video) may be re-visisted from Grade 1.
Listening Kit 2 CD Track 5: Galliard (loud/soft) CD Track 8: Hungarian Dance (fast and slow) CD Track 9: Autumn (tempo) CD Track 11: Fossils (xylophone) CD Track 13: Fig Leaf Rag (brass) CD Track 14: Sleighride (bells, timpani) See page 4, for more information on selections reproducibles and student sheets.
Music for Creative Dance #1 - Whales #2 - Bee Beat #3 - Checkerboard (interpretive movement with contrasting tempos, dynamics, and articulations)
MUSIC CURRICULUM GUIDE: K - 6 127 GRADE 2 - ORGANIZERS
Organizer: Expression
Outcomes Suggestions for Teaching and Learning Students will be expected to 2. identify basic percussion Includes: instruments and the four • aurally families of the orchestra • visually
• Use Peter and the Wolf (Listening Kit I) to identify and study instruments of the orchestra. • Use recorded examples that feature families and their instruments. Reinforce with pictures. Discuss the mood or feeling evoked by percussion instruments or instrumental families in these examples. See Resources/Notes, Listening Kit 2. • Display posters of the families of instruments and individual instruments. See Listening Kit 2. • Use Carnival of Animals (Listening Kit I) and Peter and the Wolf to identify and study instruments of the orchestra. • Use videos (see Resources/Notes). Where possible invite an instrumentalist to perform and present the instrument to the class.
128 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Expression
Suggestions for Assessment Resources/Notes
Use checklists (Appendix A). Interactive Websites National Arts Centre - www.artsalive.ca - video Students circle the correct answer when the music clips (pictures), musical examples example is played: faster/slower, louder/softer, New York Philharmonic - www.nyphilkids.org smooth/choppy, strings/brass/woodwind/percussion. Dallas Symphony Orchestra - www.dsokids.com Vary the examples: recordings (instrumental and Composers, instruments, expressive terms - vocal), available classroom instruments, (pitched and www.classicsforkids.com nonpitched), unaccompanied singing by the teacher. Musicplay 2 See worksheets in Reproducibles. page xv web sites related to instruments Students circle the picture: the family of instruments, or percussion instrument that they hear Videos or see. (Listening Kits) Carnival of the Animals Tune Buddies - Strings, Woodwinds, Brass, Observe and note the creating and performance of Percussion expressive elements by students alone, and in small groups. Performance may include singing, playing, Other: moving, speaking. Scarves and ribbons are excellent to use with creative movement Note students’ verbal responses through discussion. Poems and stories found in the Language Arts Program Sing a song or play a short piece twice on a classroom instrument or piano. Change an element the second Peter and the Wolf (See Appendix B for time - dynamics, articulation, tempo. Can they name teaching strategy) the element that was changed? Which version did they feel was most suitable? Why? Listening selections from Peer Gynt Note written, verbal, and movement responses to Books mood and feeling in the musical selections. Orchestranimals Zin Zin Zin, a Violin Reflection questions/response journal writing. See Listen to the Rain Appendix A and Listening Kits. Jelly Belly See Appendix F Musicplay 2 See end of Teacher’s Guide for Assessment checklists Musicanada 2 (Expressive Concepts/Creative/Communicate) The Percussion Family The Brass Family Music Man
MUSIC CURRICULUM GUIDE: K - 6 129 GRADE 2 - ORGANIZERS
Organizer: Contexts
Outcomes Suggestions for Teaching and Learning Students will be expected to 1. perform, listen to and create Performing includes: varied selections representing singing • their own and other cultures playing • time periods speaking moving reading writing/constructing/diagramming
Listening includes: aurally identifying responding
Creating includes: improvising composing
Includes • selections related to their own environment - home, family, school, seasons, celebrations, events • the use of technology
Performing • Continue to build a repertoire of songs and games with movement, including those from their own and other cultures. • Perform songs related to Thanksgiving, Remembrance Day and other special celebrations. Sing songs related to special holidays and seasons. Explore how music enhances these occassions. • Teach the class a simple Newfoundland and Labrador folk dance (I’se the B’y). Make connections between music and dance. Explore the text of the song with the class. What in the text reflects our Newfoundland and Labrador culture? Perform with a simple dance. • Make connections where possible between music, culture and life experiences. For example, perform and discuss how a song may reflect the life, traditions, and practices of a place or country, in particular Newfoundland and Labrador (e.g., Saltwater Joys). Introduce the idea that time and place influences the resulting music.
130 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Contexts
Suggestions for Assessment Resources/Notes
See page 135. See pages 133 and 135.
MUSIC CURRICULUM GUIDE: K - 6 131 GRADE 2 - ORGANIZERS
Organizer: Contexts
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Sing songs/play games and listen to authentic musical varied selections representing examples from other cultures. See Roots and Branches. • their own and other cultures Make connections between the time, place, and community. • time periods • Sing songs about the world in which they live, see Resources/ Notes. Make connections with other subject areas where possible.
Listening • Lead a discussion about where music might be found in the school or the community and what it contributes. For example, at the mall, a wedding, a church, a parade, a party, a skating rink. Is the music produced by live musicians? Is it electronically generated, or is it a combination of both? Discuss what type of music would be used. Play examples. How is the music at a store different from music at a parade? • Explore with the class the types of sounds that can be generated by a synthesizer or midi keyboard. • Ask a community member or grandparent to sing songs from “the old days” and talk about traditions of the past in Newfoundland and Labrador. Discuss the influences of time and place. • Discuss the technologies used when making music in the old days. Contrast the technologies of music making of the past, with those of the present and future. For example, accordions, spoons, ugly stick, electric guitar, synthesized sounds. Play musical examples. • Provide opportunities for students from other cultures to share with their classmates - a song, a dance, “show and tell”. Students may invite a family member to speak to the class about their culture. • Listen to authentic recordings from other cultures (Roots and Branches). • Take a nature walk, real or imagined, and list all the sounds you hear. This could be done as a class or in small groups.
132 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Contexts
Suggestions for Assessment Resources/Notes
See page 135. Note: Make connections to time, place, and community whenever opportunities arise. See strategies for other organizers.
The Kodály Method I Songs and games
Roots and Branches Pages 14-17 - Yo Maman (Mozambique) Pages 28-31 - Hao Peng You (China) Pges 46-49 - Ha’ Kyo Jung (Korea) Pages 64-67 - Cheki Morena (Puerto Rico) Pages 100-103 - Uga Uga Uga (Israel) Pages 140-143 - El Juego Chirimbolo (Ecuador)
An Orff Mosaic from Canada Pages 104-105 - Northern Lights Page 172 - African Children’s Clapping Song Page 179 - Kagome (Japanese) Chapters 2-9 - Music from Canada Chapter 10 - Weather and Seasons Chapter 13 - Our World Chapter 15 - Holidays Chapter 17 - Stories, Fables, Music and Drama
Teaching Towards Musical Understanding Numerous songs from Canada and other cultures as well as traditional children’s songs
120 Singing Games and Dances I’se the B’y Songs and games listed under other Organizers
MUSIC CURRICULUM GUIDE: K - 6 133 GRADE 2 - ORGANIZERS
Organizer: Contexts
Outcomes Suggestions for Teaching and Learning
1. perform, listen to and create • Avail of opportunities for live performances and presentations varied selections representing in the school that reflect our own and other cultures. • their own and other cultures • Play authentic recordings of traditional performers singing the • time periods music of Newfoundland and Labrador. • Use the Daily Intercom Listening Kit for music and musicians from different historical periods.
Creating • Students dramatize the story of program music or create movement to music. See pages 176-177 Teaching Towards Musical Understanding and An Orff Mosaic from Canada for suggestions. • When students are engaged in creating/composition activities found in other organizers connect to a context. Create a sound scape, melodic phrase, or ostinato for a season like spring, an event such as Halloween or Christmas. • Take a nature walk, real or imagined, and list all the sounds that are heard. What could be used in the classroom to create these sounds? Explore creating the sounds made by rustling leaves, wind in the trees, sticks hitting each other, a crow calling, etc. Connect how the sounds created are affected/influenced by the time and place. For example, would the same sounds be heard in February as November? Would the same sounds be found in the city as the country? Relate to creating activities found under the organizer, expression.
134 MUSIC CURRICULUM GUIDE: K - 6 GRADE 2 - ORGANIZERS
Organizer: Contexts
Suggestions for Assessment Resources/Notes
Use checklists (Appendix A). Musicplay 2 #7 - Okkitokiunga Note students’ verbal responses through discussion. #28 - Sing for Peace #29 - Make a Difference Observe students’ performance/composition work. #34 - Lukey’s Boat (Nova Scotia version) Songs of other cultures - #12 Obwisana Observe student engagement when performing songs #48 - Japanese New Year Song and games of their own and other cultures. #63 - I’se the B’y See song List for more songs of Canada, Native Students write a short paragraph, or draw a picture peoples, and other cultures. that demonstrates how music is found in their daily See page xv for web sites related to Holidays/ lives. Multicultural
Keep a journal for one day (the student will record Listening Kit 2 each time he/she hears music). Follow with a Examples from historical periods discussion. Was the music live or recorded? Other: Identify through songs and games, and recordings, music from Newfoundland and Labrador, Canada, French Folk Songs Children Love and other cultures. Books: Encourage questioning and discussion during visits or Famous Children Series (Composers) presentations by guests. Students can write a short reflection focusing on • two things they learned • what they liked about the music presented • contrasting one aspect of the culture/time presented, to their own culture/time e.g., singing style, instruments, technology, dance, clothing, food etc.
Musicplay 2 See end of Teacher’s Guide for Assessment Checklists (Expressive Concepts/Creative/Communicate).
MUSIC CURRICULUM GUIDE: K - 6 135 GRADE 2 - ORGANIZERS
136 MUSIC CURRICULUM GUIDE: K - 6