Merton Music Programmes of Study

‘ SOUND IDEAS’ MMF Primary Music Programme

Songs and Exercises to Support Key Objectives and Outcomes

KS2 YEARS 3/4

1. Can You Tap This Rhythm For Me? Sound Ideas Song Pack

This is a helpful song for improving pitch –matching of the wider interval s-d (Major Scale steps 5 – 1)at the end of the last phrase. It also requires pupils to use thinking voices to ‘hold’ the‘s’ pitch whilst the 4 beat rhythm is performed. It develops aural memory as pupils must sing the response before clapping back the given rhythm pattern. It also offers a good opportunity to introduce visual and written representation of rhythm using bodies and simple stick notation initially using ‘ta’ (1 count crotchet) and ‘te-te’ (pair of ½ count quavers) sounds.

Pupils need plenty of chances to hear and ‘feel’ a 4 beat phrase before improvising confidently and successfully themselves. The activities below help pupils to understand that a 4 beat pattern can have more than 4 sounds within it because some pulse beats may have been divided. Equally a 4 beat pattern can have less than 4 sounds as it may include a longer sound or a rest.

 Give lots of examples of 4 beat phrases for pupils to copy back, starting with 4 even pulse beats - ta ta ta ta. Chant (speak) the pattern using the rhythm syllables for pupils to repeat in the same way, and then clap it for them to clap back – ‘Say it then play it’.

 Subdivide 1 pulse beat to make a pair of ½ count beats e.g. ta te-te ta ta or ta ta te-te ta

Chant each pattern, pupils chant in back, then clap the pattern for pupils to clap back. Ask which beat has been subdivided? How many different combinations can be made by dividing 1 pulse beat into 2 halves? (= 4)

 Once pupils have a feel for a 4 beat rhythm, develop this activity by including longer 2 beat sounds (ta-ah), adding a 1 beat rest (Z) - silently mark it by touching shoulders - or sub-dividing 1 pulse into 4 x ¼ beats (ti-ri-ti-ti) e.g. ta ta ta---ah // ta te-te ta Z // ta te-te ti-ri-ti-ri ta //

 Go on to chant 4 beat rhythms which pupils clap back and visa versa. Let each pupil have the chance to improvise patterns for others to copy, in pairs, small groups or round the circle. Remind pupils that the rhythms need to fit within a 4 beat phrase and to keep patterns simple at first.

 Further develop skills and understanding by transferring the rhythm patterns onto un-pitched percussion with the whole class using an instrument each (e.g. class set of claves) to play back each given rhythm, using the ‘Say it then play it’ method. Extension 1

 Extend this by asking individual children to improvise and copy back using a small hand held percussion instrument which is passed from one person to the next round the circle. Soloist 1 chants then plays a 4 beat rhythm and passes the instrument to Soloist 2 who chants then plays it back. Soloist 2 chants then plays a new rhythm and passes to Soloist 3 who chants then plays it back. Soloist 3 chants and plays a new rhythm etc…

 When introducing written rhythm notation, first use the ‘Body Works’ method to represent the rhythm of ‘Can you tap?’ (See ‘Rhythm – Introducing Simple Stick Notation’)Then use stick notation to write it down. Later, do the same with other songs which use combinations of ta and te-te e.g. Spinning Top Once a man fell in a well Naka naka hoi (includes a 1 beat rest)

Extension 2

 Rhythm represented as above can also be combined with the SOLFA hand signs to give a complete visual representation of the melody of ‘Can you tap’.

 Chant and then tap the rhythm (on palms) of ‘Can you tap’. Then sing it again using the pitch names (s-m-d) and hand signs. Arrange 14 pupils to make the rhythm with their bodies (see ‘Body Works’). Then place 14 pupils on the floor, 1 in front of each note of the rhythm to show the appropriate pitch hand sign. Any ‘spare’ pupils can sing the song, pointing to each sound as it happens

See also Teachers Tips

 Vocal Development - Strategies for Developing Part Work 3. Ding-Dong – Sound Ideas Song Pack

This uses the m-d (Major Scale steps 3 – 1) interval (not s-m, steps 5 – 1) and is a good warm-up activity with the focus on accurate pitch-matching of this interval. It will also help to strengthen understanding and use of thinking voice. Sing it first without actions, than add them in. Use thinking voice to replace the words ‘Ding Dong’ or ‘Hotdog’, keeping a steady pulse throughout. It includes an example of a ‘dotted’ note where a 1 beat ‘ta’ is extended to last 1 ½ beats followed by a ½ beat note.

 It is an example of canon. In canon, parts can begin at any point in the song. The closer together parts enter, the more complicated and demanding it becomes.

 Its AAAB melodic and rhythmic structure is quite unusual for a children’s song.

4. Have You Ever? – Sound Ideas Song Pack

This appealing call and response song offers pupils the chance to sing on their own and opens a discussion about vocal timbre. The soloist starts and sets the pitch which the class must then pitch-match. The actions move with the pulse and pupils can add their own imaginative ideas to replace ‘long-legged’ etc. The song also helps to build aural memory, coordination and muscle memory.

5. Naka Naka Hoi – Sound Ideas Song Pack

This is a good example of how a 1-beat pulse (ta) is divided into 2 shorter ½ beats (te-te) and where rest occurs in the rhythm. Its structure lends itself well to pupils writing the rhythm down using stick notation – phrases 1,2 and 4 are identical whilst 3 is different ( mark the rests as ‘Z’). All the actions are performed in time to the pulse with thinking voice replacing action in the rests. It requires good coordination!

6. Chest Chest Knees Toes - Sound Ideas Song Pack

The actions here mirror the pitch direction of the melody so it is a useful song in providing a visual and kinesthetic link to higher and lower. It’s a challenging activity for encouraging use of the ‘thinking’ voice to help with accurate pitch-matching as words are removed, especially for the large d-l jump (Major Scale steps 1 – 6).

 Use the pitch hand signs only to mark out a phrase from the song – which phrase is it? (1 and 2 are the same, 3 and 4 are different).

7. Oo-a-lay-lay – Sound Ideas Song Pack

This African call and response song encourages solo singing. It has 8 phrases. Counting the number of pulse beats in each phrase will help to show that the last 2 phrases are twice as long as the preceding 6, so the answering group must wait longer for their last entry. It also has an example of a ‘dotted’ rhythm pattern (see also ‘Ding Dong’). 8. Starlight – Sound Ideas Song Pack

This song requires a gentle well-controlled singing tone with careful attention to breathing and dynamics. Note that the last phrase is twice as long as the first two and needs to be sung in 1 breath, to make proper sense of the words. It works very effectively in canon, to develop part work skills.

9. There Was an Old Woman – Sound Ideas Song Pack

This is an example of 6/8 Compound Time, where the pulse beat has been subdivided evenly into 3 sounds (not 2). It uses a minor scale pitch pattern, where the ‘home’ note is ‘la’ not ‘doh’. It lends itself well to exploring the use of appropriate changes in dynamics and vocal timbre to tell the story. The addition of instrumental accompaniment opens further exploration of timbre and texture.

Extension

 By fixing ‘la’ as D, a pitched percussion drone can be added using the notes D and A (this could also be put onto open strings on a violin). Melodic ostinati can be also be added using combinations of D F A

 Suitable percussion for each verse can be fitted to the 4 pulse beats, followed by a maraca ‘shake’ on ‘Oo’ each time to reflect what is happening in the story e.g. V1 – scrape skin on a drum with fingertips (thin scratchy) V2 – tap drum (footsteps) V3 – triangle (church bell) V4 – claves or woodblock (hard bones) V5 – calabash or cabasa (swish of broom) V6 – guiro (creak) then all instruments together for BOO!

10. Once a Man Fell in a Well – Sound Ideas Song Pack

This uses the first 5 steps of the major scale pattern, d-r-m-f-s and provides an excellent example of changing phrase direction (up 3 times then down). Using the hand signs and pitch names reinforces the 4th step of the scale pattern –‘fah’ and its slightly awkward ‘thumbs down’ movement.

Analysing the structure of rhythm and melody show how these two elements are not necessarily used in the same way.

 Tap out the rhythm of each phrase using the rhythm syllables to support this. Phrases 1 and 3 are the same whilst Phrases 2 and 4 are the same – A B A B. If pupils are unsure, use 26 pupils to ‘make’ the rhythm with their bodies (see ‘Body Works’).

 Do the same for the melody, using pitch names and hand signs to clarify where the pattern changes to descend. The last phrase is different, giving a melodic structure of A A A B Extension

Singing the piece in canon provides an interesting example of how the different layering of harmony, when entries are placed further apart, creates a different effect.

 Placed at an interval of 1 phrase apart the first 3 phrases sound in unison (although the words are different). The resulting harmonic effect is rather ‘bare’. This makes the song quite easy to put into 3 or 4 parts.

 Entering at closer intervals of ½ phrase or 1 beat apart makes for a more challenging piece of part work and creates a much more interesting harmonic effect.

11. Good News! - Sound Ideas Song Pack

The melody of this black American spiritual only uses three pitches, m-r-d (Major Scale steps 3, 2, 1). Phrase 2 is subtly different from P1 so melodic structure could be described as A B A C. Its rhythmic structure is not the same!

 Use pitch names, signs and thinking voices to distinguish between the very similar phrases 1 and 2.

 Adding harmony placed a 3rd above the melody (starting on ‘s’ - step 5 - and copying exactly the shape of the tune) will help to develop the ability to hold an independent line of harmony.

 Watch that the 6 claps (3 pairs) are accurate - practice this using thinking voice for the melody.

 Analyse the rhythmic structure to establish whether it is the same or different from the melodic structure (different – A A A B)

12. Janey, You See Nobody Pass Here? Sound Ideas Song Pack

This humorous Caribbean call and response song and encourages solo and group singing. It uses a jump from d – s and has a catchy syncopated rhythm.

 Ask pupils to work in groups to devise a simple hiding game, to accompany the song, suitable for KS1 pupils, using objects or small percussion instruments. These could then be taught by the pupils to KS1 children.

13. A Goblin Lives in Our House – Sound Ideas Song Pack

This tune is unusual as the use of low ‘la’ (low step 6, below step 1) in the second half of the song gives this section the ‘feel’ of minor key. It provides an opportunity to explore instrumental timbre and texture.  Choose an instrument to mark the pulse (beats 1 2 3 4) throughout (e.g. claves) and a contrasting sound to mark just the strong beats 1 and 3 (e.g. triangle).

 Add suitable percussion to each sound / action mentioned in the second half of the song - bumps, jumps etc. Each instrumental sound only happens once to coincide with its word, so players have to stay alert and play very precisely.

 Doing this would involve 18 players with the rest of the group singing. Swop round so everyone gets a chance to play.

14. Walk Daniel – Sound Ideas Song Pack

Walking the pulse successfully with this African ‘Ring Shout’ requires use of thinking voice to feel pulse internally. Listen carefully to make sure that other rhythmic actions chosen (particularly tap and clap) keep to the pulse and don’t echo the rhythm by mistake. The melody jumps around between m-d-low l, ( steps 3 – 1 – low 6 )and is quite tricky to pitch-match accurately so practise it carefully before adding any actions.

15. We Can Sing High – Sound Ideas Song Pack

This uses high and low gestures to mark higher and lower pitches and is useful for clarifying any confusion between high or low and loud or soft (pupils sometimes identify a phrase that is increasing in dynamic as ‘getting higher’ rather than ‘getting louder’). The jumps up from d – s and down from d – low s, both require careful pitch-matching.

 Experiment with different ‘me’ starting pitches to explore vocal range – what feels uncomfortably high or low? Note that this will be different from person to person.

 Use thinking voices for everything except the higher ‘s’ or lower ‘s,’ to help focus on pitch-matching. The last phrase is particularly tricky!

16 Lickety-Split – Singing Sherlock 2 P16

This lively chant makes a great warm-up piece with the focus on clear articulation and the setting and maintaining of a steady pulse. It is written in 6/8 Compound Time, where the pulse is divided into 3 even beats. This gives the rhyme a flowing ‘skipping’ feel. The rap also offers a chance to explore and control changes in dynamics and tempo.

17. Grandma, Grandma - SS2 P19

This very popular rhyme has a catchy syncopated rhythm. Really expressive use of vocal timbre and the addition of actions mirroring the words (‘hands up’ etc) adds a fun dramatic touch. 18. Step Back Baby – SS2 P23

Here, the voice needs to be used expressively to tell the story effectively and the addition of the movements to the pulse makes it quite a feat of coordination! Using thinking voice for the chorus will also help to focus on and improve pitch matching.

19. Heads and Shoulders – SS2 P18

This is quite unusual as it contains a change of metre, with some bars organised within a metre of 3 (3/4 Simple Time) and others 4 (4/4 Simple Time). The addition of actions in pairs and movement around the circle (‘Change your partner, baby’) makes this a good exercise for aural memory and recognising and performing sequences of movement. It requires good coordination and the ability to set, feel and maintain a very steady pulse so is probably more suitable for Y4 pupils.

 A pupil who may find the actions challenging could be given the job as ‘Changer’, using an instrument to indicate when the new verse ‘Change your partner, baby’ is needed. This gives such a child an important leadership role so they feel involved and in control.

20. My Dog – SS2 P14

The syncopated (‘off beat’) nature of the rhythm and the ‘alternative ‘ lyrics make this version of a traditional gospel song very catchy and appealing. It is written in a metre of 4 in 12/8 Compound Time, where each pulse is divided into 3 ½ - count (quaver) beats. This gives the rhythm a fluid but ‘laid back’ feel. It is a good introduction to gospel style music and offers an opportunity to discuss something about the origins of black American church music and the influence of traditional African music mixed with Christian hymns on the development of other forms of music like blues and jazz.

 Clapping to Gospel music is more usually placed on the weaker 2 and 4th beats of each bar. Movement first to the left, then to the right is added on beats 1 and 3 (L, clap, R clap / L, clap, R, clap etc). Take time to practise moving L then R to the strong pulse, then clapping on the ‘in between’ beats 2 and 4 before trying the two things together!

21. Many Shades of Blue – SS2 P34

This song offers an opportunity to focus on singing with a controlled, ‘un-broken’ vocal tone. Particular attention should be paid to breathing so phrases are ‘sung through’ with the feel of setting out and returning on a musical journey.

 When teaching more substantial new songs ask pupils to read the lyrics as poetry before learning to sing it. Breaths should be taken in places which help to make sense of the words (this is not necessarily at the end of each natural melodic phrase) 22. The Magic Travel Machine – SS2 P37

This song has a marked difference in tempo and style between the verse and chorus. A focus on articulation will help to make the lyrics clear.

 The rhythm of the first phrase of each verse differs. Chant each of these 4 phrases before singing them. Chant then tap out the 4 different rhythms before asking pupils to listen as you (or another pupil) taps 1 of them – can pupils identify which phrase the rhythm matches?

 The last chorus needs to be practised carefully so that all pupils remember that the rhythm of the last phrase is stretched out, with the last three syllables held for 4 beats each (‘e---ver---seen---‘).

Extension

 The addition of percussion means this song makes a good focus for a class performance with some pupils providing an ostinato accompaniment. Build this up part by part, only adding a new one when the preceding ones are secure.

e.g. For the Chorus:

Instrument Beat 1 Beat 2 Beat 3 Beat 4 1. Triangle * 2. Tambourine * * 3. Maracas * * 4. Woodblock * * * *

 For Verses 1 and 2 add a suitable sound to mark the 8 beats leading into the repeat of the chorus. For V4 all the instruments can play those 8 beats whilst the rest of the class makes a terrible animal din!

23. Shadow – SS2 P43

This is an effective song for moving from 1-2-3 parts as the opening section works in canon. The pitch jump from m-low l, (Minor Scale steps 5 – 1 on ‘hind me’) needs careful placing to avoid it ‘scooping’ downwards. It contains a change of key, from the E minor verse to G major chorus. When singing using a minor scale pattern, the ‘home’ note, or tonic is ‘la’ not ‘doh’

 Start by singing Phrase 1 and use thinking voice to hear the answering echo (the third vocal line) – excellent for pitch matching. Sing the 1st and 3rd parts and when really secure add the 2nd part, which enters after ½ a phrase. 24. Tina Singu - SS2 P60

This spirited African 2 part song is great for warming up and encouraging very clear articulation.

 When the two parts (‘Tina’ main melody and sustained ‘Watsha’ in B9) are secure together, make the part work more complex by bringing in a third group singing the ‘Tina’ main melody in canon, first 2 phrases then 1 phrase behind the first. The ‘Watsha’ group continue to repeat their part concentrating on keeping a sense of steady pulse so they don’t speed up.

Additional Material

Singing Sherlock Book 4 (brown)

The following songs are particularly suitable for older Y3s ( summer term) and Y4s, mainly because of their extended pitch-range, the use of wider pitch- jumps (intervals), the introduction of vocal part singing and more complex lyrics and song structures. Please look at the Sound Ideas Y3/4 Overview to check the main skills and concepts covered by:  Grand Old Duke of York  Toboggan  Sing a Little Song  Hoi Mache Peter  Listen to the River  Tramps Paradise  Feel the groove  Spuds  Amani Utupe  Young Rider

Other Recommended Resources

VOCAL MATERIAL  Vocal exercises, warm-ups and songs from the national ‘Sing Up’ site: www.singup.org  ‘Voiceworks’ series by OUP, including Junior Voiceworks 1 and 2

COMPOSITION and USE of PERCUSSION  Three Rapping Rats ( A and C Black)

DANCE and MOVEMENT  Let’s go Shoolie-Shoo (A and C Black)