teacher magazine K24U (Cheryl Lavender) Who Am I Thinkin’ Of?...... 28 What Am I Thinkin’ Of? ...... 29 BoomWhack Attack! Rockin’ Robin themes (J. Thomas/arr. Tom Anderson)...... 30 Assessment (Cristi Miller) ...... 32 On the Radio Making Connections...... 33 On the Radio (John Jacobson/ ComposeCreateConnect ...... 35 John Higgins) Dear John: Ask the Expert ...... 39 Lesson plan (Primary/Intermediate) ...... 8 Sub Survivor (Lynne Carlstein)...... 40 Piano accompaniment...... 46 Correlation to Macmillan/McGraw-Hill Share the Music...... 63 Ain’t We Got Fun? (Kahn/Egan/Whiting/arr. Anderson) Lesson plan (Primary/Intermediate) ...... 10 Piano accompaniment...... 49 student magazine Music Explosion! ...... 2 The Quest On the Radio ...... 4 The Quest (John Jacobson/Mark Brymer) Ain’t We Got Fun?...... 6 Lesson plan (Intermediate)...... 14 What Do You Love About Learning? ...... 8 Piano accompaniment...... 52 The Quest: Chapter 1 ...... 10 Music Explosion The Quest...... 12 Music Explosion! (John Jacobson/Roger Emerson) Plink, Plank, Plunk! (Anderson)...... 13 Lesson plan (Primary/Intermediate) ...... 6 Las polleras ...... 14 Piano accompaniment...... 42 Letter from John...... 16 Beat! Beat! Beat! (John Jacobson/Mark Brymer) Lesson plan (Primary)...... 20 compact disc Piano accompaniment...... 59 World Rhythms WITH VOCALS 1 Welcome (Jacobson) Las polleras 2 Music Explosion! • Jacobson/Emerson • The Bakery Singers Lesson plan (Primary/Intermediate) ...... 18 3 On the Radio • Jacobson/Higgins • The Bakery Singers Piano accompaniment...... 57 4 Ain’t We Got Fun? • arr. Anderson • The Bakery Singers 5 What Do You Love About Learning? • Page • The Bakery Singers Listening Activities 6 The Quest • Jacobson/Brymer • The WOW! Singers Plink, Plank, Plunk! (Leroy Anderson) 7 Las polleras • arr. Higgins • The Bakery Singers 8 Beat! Beat! Beat! • Jacobson/Brymer • The WOW! Singers Lesson plan (Primary/Intermediate) ...... 16 9 Who Am I Thinkin’ Of? • Lavender • The Bakery Singers Repro. Page ...... 17 10 What Am I Thinkin’ Of? • Lavender • The Bakery Singers 11 Ragtime B-A-G • Day 12 Rockin’ Robin • arr. Anderson • The Bakery Singers columns LISTENING LESSONS John Jacobson A Place in the Choir ...... 2 13 Nick Page Interview • John Higgins, producer Emily Crocker Coda...... 64 14 Fairest Lady • Nick Page • The Nick Page Songbook 15 The Quest: Chapter 1 • John Jacobson • Mark Brymer, producer 16 Conga Rhythm Practice • Andy Waterman, producer 17 Conga Advanced Rhythm Practice • Andy Waterman, producer spotlight article 18 Plink, Plank, Plunk! • Performed by Richard Hayman and his The All School Sing by Nick Page ...... 37 Orchestra • Courtesy of NAXOS USA • www.naxosusa.com What Do You Love About Learning? (Nick Page) INSTRUMENTAL TRACKS Lesson plan (Intermediate)...... 12 19 Music Explosion! • Jacobson/Emerson 20 On the Radio • Jacobson/Higgins 21 Ain’t We Got Fun? • arr. Anderson 22 What Do You Love About Learning? • Page features 23 The Quest • Jacobson/Brymer Teacher Chat Room...... 4 24 Las polleras • arr. Higgins The Recorder Report: Ragtime B-A-G 25 Beat! Beat! Beat! • Jacobson/Brymer (Scott Joplin/arr. Janet Day) ...... 22 26 Who/What Am I Thinking Of? • Lavender 27 Ragtime B-A-G • Day Sing/Say/Dance/Play! (Cristi Miller & Kathlyn Reynolds) ....25 28 Rockin’ Robin • arr. Anderson 29 Letter from John

August/September 2004 1 a place “After silence, that which comes nearest to expressing the inexpressible is music in the —Henry David Thoreau For that matter, even in the traditional American choirs place in this complex and confusing world. It is through students are singing in languages from all over the world. music that a child can learn to touch, listen, hurt, feel, choir Italian, French, German and Latin songs are a great part of celebrate and heal. It is through music that a child can learn by John Jacobson our choral tradition and a great way to begin to learn compassion, respect, honesty, responsibility, and courage. It another language. Also, with the intense interest these days is through music that a child can learn to be more human. in World Music, more exotic and even obscure languages are To explore music, is a Social Study. being sung and celebrated in our music classes everyday. So Well, what has happened here? I started off trying to Foreign Language cannot be on the list of things that make a list of all of the things that cannot be taught Things That Can’t Be Taught in Music Class cannot be taught in music class. Togliere esso l’elenco! through music and I find that I have no list at all. It may Nehmen Sie es ab der Liste. Le prendre de la liste! It’s gone! come to no surprise to most of you that in the end, there One more note about that English tirade. My sister indeed is no subject that cannot be taught or at least I decided to sit down and make up a list of all the things included in their program. History can indeed be taught teaches high school English. She tells me that one of her reinforced in an engaging music classroom. Do not that cannot be taught in music class. I was thinking that an through music. It’s off the list. most effective lessons of the year is when she has her misunderstand. I believe very strongly that the study of obvious place to start would be by going through the rest of Geography. There you go, geography cannot be taught students sing some of the great poems of the English music in itself is as valid as any other subject. Without a school day and examining the other required subjects. through music. Hmm. Yet I’ve heard children name all of Language to the tune of some well known song or TV theme music and the other arts, this world would indeed be a dull There must be a reason we have all these other classes. It the United States in that song about the Nifty Fifty. Surely, song. Once you’ve sung the Emily Dickinson’s “Because I place to live or learn. We need music—all of us. But, isn’t it must be that these are subjects that cannot be taught and it would not be a big step to assume that this would also Could Not Stop For Death” to the tune of “Gilligan’s Island” exciting to also recognize the potential that our chosen learned in the music classroom. That’s right, they must be lead them to a map and discover where these places are. Not I don’t think you ever forget it. She tells me she has students subject matter has to help young people discover knowledge outside of the music curriculum. only that, who would know anything about “Flagstaff, who have graduated many years hence, coming up to her at and expertise in all of the other subject matters of their life? I started with Math. But after careful consideration I Arizona. Don’t forget Winona! Kingman, Barstow, San reunions and singing all the verses with remarkable Math, History, Geography, English, Foreign Languages, realized, no that’s not really true. Math and music in many Bernardino” if they never sang the song “Route 66”? No, accuracy. I wonder if they can do the same with poems they Social Studies and so much more are what we teach when ways are not very far apart at all. In music we teach children Geography can certainly be taught through music. Strike it. memorized without the help of a song. English is definitely we teach music. about division every time we demonstrate that a whole note English cannot be taught through music. Of course, I do off the list. What are the things that cannot be taught in music is made up of two halves or four quarters, eight eighth notes remember an absolutely remarkable experience I had when Social Studies. Not a chance. Perhaps more than any class? My list is blank and I can’t wait to get started! and on and on. We teach how “one” can be divided by I visited the Hollywood High School in Hollywood, other subject the study of society can be taught “three” by the use of a triplet. We teach ratios and fractions, California. Most people know it by some of its most famous in the music classroom. Through our music addition and subtraction, multiplication and a slew of other graduates like Carol Burnett and James Garner. In more we can discover with remarkable accuracy “tions” everyday in music class. No, math cannot be on the recent years as the city has changed, it has become a home who we were at any point in our history list. Math can certainly be taught through music. for students from all over the world as the melting pot that and who we are today. Our passions, Okay, history. Nobody is using music class to teach about is America is lived out near Hollywood and Vine. I was hang-ups, hobbies, religious beliefs, history. But then again, that’s not actually the case, is it? privileged to work with the choirs of that school one day goals, dreams, frustrations and One of my favorite stories is the true story of the fourth and then spent an hour or so with the English as a Second party habits are celebrated in grade classroom teacher who cornered the music teacher in Language Chorus. I am not exaggerating when I tell you our music and have been the Smoking Lounge, I mean Teacher’s Room, and said, that there were 23 different languages counted as first for hundreds of years. In “What on earth are you singing about down there in that languages among the forty some students in the class. Still many ways, the study of boiler room you call a music facility?” they all came together in the ESL choir and had an our own society and the “What do you mean?” replied the coy music teacher. opportunity to practice their adopted English language social organization of “Well, I asked all of my fourth graders if any of them knew through song in a joyful, non-threatening environment. other societies are best anything about the explorers Lewis and Clark as we were They practiced diction. They expanded their vocabulary. examined through music beginning our unit on westward expansion. Without even a They broadened their understanding of our American and the other arts. It is count off the entire class sang ‘It was eighteen four, not a day culture and added to it with their effort and insight. Not through music that we can before they left their home and families…’ Complete with only that, they were teaching each other songs from their teach about who we were, choreography and suggestions for costuming!” own Native lands and in the languages of their people. So, are and might become. It is You see the fourth grade was presenting a musical called not only was English being learned and reinforced, but through music that a child “The Adventures of Lewis and Clark” and were already full other languages were being introduced and explored all can learn that they have a of historical facts they had learned through the songs through music. English has to be taken off the list.

2 August/September 2004 August/September 2004 3 Up For the Challenge! Have you ever had one of those “challenging” fifth or sixth teacher grade classes? Here’s another great idea from Donna Vojcsik. Music Fast Facts I began the year by passing out an index card to everyone and Here are some important dates when music “exploded” on asking them, “If you could ask one question about music, the scene and changed the course of Music History forever. what would it be?” Obviously, it had to be “school ch@t room ■ On August, 4, 1900 (some sources cite 1901), Louis appropriate.” Their questions that year led us to having a Armstrong was born. Known as both a trumpeter and guest speaker from a rock band, a sound technician to explain vocalist, Armstrong had hits with songs such as “What a how CDs work, and writing our own advertising jingles! It is Whether you are a past subscriber and would now like all of Wonderful World” and “Hello Dolly.” He was affec- You Asked For It – You Got It! amazing the questions that sixth graders can have! I planned these songs in one handy collection and CD, or a new fan of tionately known as Satchmo. Do a search on the Internet most of my year’s curriculum around their questions. Many of you have asked for the songs from Music Express Music Express and want more ME songs for your classroom, to find a picture and sample recording of Louis Armstrong Volume 1 (2000–2001) & Volume 2 (2001–2002). Well, we these song collections will provide spirit, energy, fun and Thanks for the great ideas, Donna! singing. How could the students identify his voice? listened and we responded! Introducing… education to your music program. Call your preferred music ■ September 12, 1910, Gustav Mahler’s Eighth retail store to purchase these Hal Leonard publications. Or ALL ABOARD THE Destination: America— Symphony (Symphony of a Thousand) premiered in BETTER YET, send in your Chat Room ideas and win one! MUSIC EXPRESS, Volume 1 Munich. An audience of 3,000 were so moved by the (See bottom of page 5.) A Big Hit in Appleton, Wisconsin Complete Songs of Music Express Magazine new piece they surged towards the stage. Play excerpts (2000–2001) Destination: of the Symphony for the class and identify some of the Contains: A la Rueda de San Miquel, The Music Express Workshop Kit America, the final components needed for its performance. program comprised Aeyay balano sakkad, Booker T., December Get your whole district to enjoy the benefits of Music ■ September, 1934, Decca Records, a European company, of Music Express hits Nights, December Lights, Flying Higher, Express! Tell your music supervisor that you have a great debuted in America. Its success was tied to their from issues through- Go Nellie!, Gong xi fa cai, Great New Day, Hamabe no Uta, idea for a music in-service workshop. You can receive a recording stars such as Bing Crosby and records that cost out this past year Harmony, I See With My Heart, If I Could Vote, It’s a Music Express Workshop Kit that includes a student 35 cents! Locate a hit recording by Bing Crosby and play was performed at Melody, Jesse, Jolly Jingle Bells, Let’s Sing, America!, Light magazine for every teacher at the workshop, plus one it for your class. Can they describe his vocal qualities? the Candle of Peace, Like a Mighty Stream, Music Express!, Sunrise Elementary teacher magazine/CD for the presenter. The issue will be ■ August 15-17, 1969, an estimated 400,000 people attended My Teacher, The Recycle Rap, Rhythm of the Heart, School in Appleton, WI this past spring. The concert was a relevant to the time of year the workshop is presented (i.e., the Woodstock Music and Art Fair in Bethel, New York. Singabahambayo, Think!, We Are Family, The Wren Song. big hit with over 200 music students participating. Here are a fall in-service will use the August/September issue). Then Performers included the Who, Janis Joplin, Sly and the 09970868 Song Collection some students featured in their costumes. Congratulations you or some other talented, energetic teacher (perhaps even Family Stone, and Jimi Hendrix, who performed “The Star- (with reproducible lyric sheets)...... $29.95 Sunrise music students for a great performance! the music supervisor) can introduce Music Express to all of Spangled Banner” to a few thousand stragglers on Monday 09970870 Performance/Accompaniment CD ...... $39.95 the teachers in your district. If your district purchases morning. Discuss that performance with your students. multiple subscriptions, you can receive the following Oklahoma Teachers Enjoyed How does it differ from most performances of the song? ALL ABOARD THE discounts: ■ August 1, 1981 MTV debuted by playing the video for MUSIC EXPRESS, Volume 2 10-24 yearly subscriptions ...... $185.00 per subscription Music Express Workshop “Video Killed the Radio Star” by the Buggles. Lead a Complete Songs of Music Express Magazine 25-49 yearly subscriptions ...... $175.00 per subscription Here is a photo from our Music Express Workshop held last discussion on how video has changed pop music since (2001–2002) 50+ yearly subscriptions...... $165.00 per subscription November 2003. Your materials and suggested lesson plans the early 1980s. Contains: The Best That I Can Be, Call Me, Regular single yearly subscription is $195.00 were so helpful. I am totally sold on Music Express. Thanks so Check It Out!, Child of the World, Cidade Contact Janet Day at Hal Leonard Corporation via e-mail at much to all the music professionals who contribute Maravilhosa, Dance Dance Dance!, Dok [email protected] or by phone at (414) 774-3630, ext. wonderful lessons and music for children. Ideas, Stories, Songs to Share? Djampa, Dream a Dream, Express Yourself, Goodbye, Good 316 for more information about this great opportunity. Linda Chapman Send in your successful program stories and photos, activities Friends, Got Form?, Heroes All, Honesty, I Need to Read, I’ll Whittier Elementary School, Lawton, OK that work in the classroom, and teacher tips to ease your busy Care, I’m a Lion, Invention, It’s Up to Me, Keep on Growin’, schedule. If we feature your contribution in our new Teacher Chat K’wejina ch’ing ch’ing nane, May Day Carol, Music and Me, Good Advice for the Room section, we’ll send you a copy of the new All Aboard the Music Express, Vol. 1 (a complete compilation of all of the songs from the Sankta Lucia, Shine, Swing Machine!, Take the Candy and First Day of Class first season of Music Express). If you already have it in your library, Run!, ‘Ulili E, Watch That Tone in Your Voice!, Wintertime Get them singing on the FIRST day and they will sing the we’ll send you Volume 2 (a compilation of all the songs from the Is Here. second season). Share your expertise and expand your music library! entire year. This advice always worked for me! Choose 09970869 Song Collection What could be easier? Chat Room submissions can be sent to: something patriotic that they know and give them a “taste (with reproducible lyric sheets)...... $29.95 Music Express, Chat Room Editor; Hal Leonard Corporation; test” of a new, cool song or show tune. They’ll come in on 09970871 Performance accompaniment CD ...... $39.95 P.O. Box 13819; Milwaukee, WI 53213; day two wanting to learn more! e-mail: [email protected]; fax: (414) 774-0747 Donna M. Vojcsik Don’t forget to include your name, address, phone number and e-mail address. Palm City Elementary School, Palm City, FL

4 August/September 2004 August/September 2004 5 3. Play the recording again and have students clap on 6. Direct students’ attention to the board or a solfége CLOSE music Explosion! beats 2 and 4 in all measures where there is no ladder and have them echo the melody which you 1. Discuss different sounds that are heard during fire- singing (introduction and interludes). Ask them to point out from mm. 24-31. (pitches utilized: do re works displays on the Fourth of July or other cele- lesson plan By John Jacobson and Roger Emerson sing along on each Refrain (e.g., mm. 11-20). mi fa sol) brations.

Lesson Plan by Darla Eshelman 4. Play the beginning of the CD track. ASK What 7. Guide students in reading the pitches as notated in 2. Guide the class in creating body movements to use classroom percussion instrument is played during their magazines and singing with solfége syllables. each time the work “explosion” is sung in the Page 42 Recommended for Primary/Intermediate the introduction? (tambourine) Invite students to Do this several times as needed for success and refrain of the song (i.e., sunburst or jazz hands, Student page 2 clap along to the tambourine’s rhythm (beats 2 understanding. three foot stomps at mm. 12, 15 and 20. and 4). Ask for a volunteer to write the rhythm on 8. Have students sing the verses again, this time with 3. Locate the choreography above the accompani- the overhead projector or board. the text. ment on pages 42-45. Introduce the movements to the students. Combine the choreography with the Objectives (with National Standards) Œ œ Œ œ EXTEND singing. • Sing a new song in tune (NS 1) 1. Place students in groups and guide them in com- 4. Perform entire song with and without recording; • Read notation (NS 5) 5. Continue playing the CD. ASK What is the next posing additional words to the verses of the song perform again as time allows. • Play rhythm on percussion instrument (NS 2) rhythm played on the tambourine? in mm. 24-31 (e.g., “it’s like a/an ______”). • Compose additional verses to an existing song (NS 4) Encourage them to create rhyming words for their ASSESS • Create body movements to accompany song lyrics œ œ œ œ œ œ œ œ verses, as demonstrated in the song. (NS 3) • Can students sing a new song in tune? 2. Place newly composed verses on overhead, board • Do students understand the poetic and song lyric MATERIALS Invite a student to write this rhythm on the over- or poster and sing through each one with the technique of rhyming words, and can head projector or board. After the students are able • Music Express magazines and CD recording and again with piano only. they create their own rhyming phrases to fit the to clap each rhythm, distribute tambourines and (August/September 2004) existing music? have the students play along with the introduction • Tambourines • Can they create and perform body movements as on the recording. • Solfége ladder or board they sing a song? • Overhead projector or board • Do students understand how to read pitch nota- tion and other symbols within the music? START 1. Have class listen as you read the text of the Verses Dr. Darla Eshelman is currently Associate Professor and Coordinator of Music Education at Oklahoma Baptist University from “Music Explosion!” as a poem (mm. 24-31). where she teaches elementary and secondary music education 2. Ask students what primary characteristic they courses and supervises student teachers. She also conducts the noticed about the poem (rhyming words: ocean, “Concert Choir,” a children’s community choir through the OBU motion; mountain, fountain; sky, July; etc.) Preparatory Department, which her college students use as a lab choir in their preparation for music teaching. 3. Discuss and recite nursery rhymes and other poems students are familiar with which have rhyming words.

DEVELOP 1. Play the recording of the song (CD track 2) and have the class follow along in their magazines (pp. 2-3). 2. Stop the recording as needed and point out repeat signs, Coda, etc. so students can successfully follow along. Describe the musical road map. Sing the first section until you see a repeat sign on the right side of a measure (the dots of a repeat sign are within the measure), go back to the repeat sign that is on the left side of a meas- ure, sing that section again using the second set of lyrics. D.S. al Coda which means to go back to the sign (m. 12) and sing until it says “To Coda.” Go to the Coda and sing it. (EDITOR’S NOTE: The students have only the first four measures of the Coda in their music.) Then sing the Refrain in a new key which is one step higher.

6 August/September 2004 August/September 2004 7 DEVELOP 5. Ask for volunteers to say the rap section as a group (you may intersperse performances of songs that 1. Play the beginning of the vocal track for “On the (mm. 26-41). They may perform the choreography the students already know in between the spoken Radio” (CD track 3). written above the accompaniment on pages 46-48 sections). lesson plan lesson plan or create their own movements. Have those stu- ASK What does that sound like? (a radio being 2. Identify the four-note melody used with the call dents perform that section of the song. tuned from station to station) letters in “On the Radio.” 6. ASK What styles of music are mentioned in the 2. Invite students to open their magazines to pages 4 song? (rock, blues, country, salsa, jazz, hip-hop) w and 5. w Are there radio stations in our area that play those & w w Here is a song about the radio. Can anyone find styles of music? (answers will vary) What are their by John Jacobson and John Higgins the call letters for a radio station in the song? call letters? (answers will vary) (KYDZ) Lesson Plan by Lee Thomas Page 46 Invite students to play that melody on pitched Play the recording and invite students to sing along. EXTEND instruments. Experiment with changing the order Student page 4 Recommended for Primary/Intermediate 3. After singing the song, ask the following questions: 1. Create your own radio show. Invite students to of the pitches (create flash cards for each pitch to write their own news stories (happenings in and help with this process). Allow students to perform What does ASAP mean? (as soon as possible) Objectives (with National Standards) around school), weather (either accurate or created these variations and react to the new melodies. What does MVP stand for? (most valuable player) from wishful thinking), sports reports (scores and • Sing a song about the radio (NS 1, 8) 3. Create call letters for each class (typically, they are highlights from games played at school) and adver- • Identify different styles of music played on the Where do you often find MVPs? (at sporting events) made up of four letters beginning with either a K tisements (products created in music class or their radio (NS 6) 4. Practice the melody until the students can sing it or W). Combine the new call letters with melodies classrooms). (EDITOR’S NOTE: There will be a • Create melodies to match radio call letters (NS 4) confidently. For older students, they may sing the created by the students. Have one group of stu- series of songs for On the Radio in this season of harmony notes at mm. 6, 8, 14 and 45. Younger dents play the melodies as another group sings the Music Express. Compile the efforts of the students Materials students may sing the melody throughout. letters a la studio singers. Optional: record the stu- and present them with the performances of the • Music Express magazines and CD dents’ call letters for each class. (August/September 2004) songs.) If time allows, record the radio program 4. The students are to hold up the KYDZ call letters as • Radio part of the choreography at mm. 13-14 and 43-45. • Board or overhead projector Have each student select one of the letters and cre- • Paper atively draw and then color that letter on a piece • Recording device (optional) of paper. For younger students, you may outline START the letters on the paper before they are to color 1. As students enter the classroom, have a radio play- them. The students are to hold up their letters as ing in the background. If possible, select a station they sing them in the song. playing music with an obvious beat. For younger students, invite them to dance to the beat in their CLOSE own space and then take their places. Perform the song with harmony (optional), rap singers and choreography. Once the students know the song 2. Write the following on the board or overhead pro- well, perform it with the instrumental track (CD track jector. Invite students to answer the questions aural- 20). Invite students to read one of their news, weather, ly or by writing their answers on a piece of paper. sports stories or advertisements before and after the • Where is the music coming from? (the radio) performance of the song. Record the performances as if • What style of music is being played? being done at a radio station (optional). (answers will vary) • Do you think this is AM or FM? (answers will vary) • What are the call letters of this station? (answers will vary) Write their answers on the board or overhead pro- jector. 3. Invite a student to adjust the tuner on the radio until another station is heard. Have that student ask the previous questions. 4. Adjust the radio to at least three other radio sta- tions. Either lead a discussion or have the students write down their reactions to the various stations (what do they like about the music being played, what don’t they like, why?). 8 August/September 2004 August/September 2004 9 4. Once the students can sing Part I confidently, prac- EXTEND 4. The weak beats are in between the strong beats. Ain’t We Got Fun? tice Part II. Challenge the students by telling them 1. Collect various hats, gloves and scarves. Place these Have the students clap this rhythm. that you are going to sing Part I as they sing Part objects in a box at the front of the room. Invite lesson plan Words by Gus Kahn and Raymond B. Egan II. You may do this with the vocal track. the students to select something to wear as they C Œ ¿ Œ ¿ Œ ¿ Œ ¿ Music by Richard A. Whiting • Arranged by Tom Anderson 5. When the students know both parts, ask for volun- perform the song. Costumes may help transport the students to another time in history much like Lesson Plan by Tom Anderson teers to sing Part II in a small group. Have these students stand at the front of the room. They will putting on a play or musical. Transfer this rhythm to instruments that don’t ring Recommended for Primary/Intermediate Page 49 sing Part II as the rest of the class sings Part I. Ask 2. Ask for volunteers to perform each part with the such as tambourines and cabasas. This rhythm is all of the students if they can perform their parts played on the snare drum on the recording. Student page 6 choreography and costumes. They may do this in Objectives (with National Standards) with the instrumental only track (CD track 21). front of the class. 5. When the students can play this rhythm, combine • Sing a song in two parts (NS 1) 6. Locate the choreography above the piano accompa- 3. This arrangement is done in a two-beat feel. That it with the first. Have some students play on the • Identify a song from the 1920s (NS 6, 9) niment on pages 49-51. Introduce the students to means there are two strong beats in each measure strong beats as another group plays on the weak • Perform choreography while singing (NS 8) the movements which match Part I (again, younger with two weak beats immediately following the beats. When done correctly, they are playing in a • Play rhythm instruments in a 2-beat feel (NS 8) students may sing this part throughout). Combine stronger ones. Have the students tap their feet to two-beat feel (which was commonly used in the the choreography with the singing. Use the piano the strong beat. 1920s and ‘30s). Materials or instrumental track for the accompaniment. • Music Express magazines and CD CLOSE (August/September 2004) C ˙ ˙ ˙ Suggest that the students present a dramatic version of • Hats, gloves, scarves (optional) “Ain’t We Got Fun?” to their classroom teacher or • Hand drums, bongos, tambourines, cabasas principal. They may wear the articles of clothing and (optional) Transfer this rhythm to hand drums and/or bon- gos. This rhythm is played by the string bass on perform the choreography. There may also be a small START the recording. “band” made up of students playing instruments in a two-beat feel. Ask for a student volunteer to introduce 1. As students are finding their places greet them the song in the style of a 1920s radio announcer or and say: emcee at a concert. We are going to listen to a song that comes from many decades ago. Let’s pretend we’re listening to the radio and this song is playing. What decade are we in? I’ll give you a hint; it starts with 19____. (1920s) Play the vocal version of “Ain’t We Got Fun?” (CD track 4). 2. ASK What makes this music sound old fashioned? (instruments that were prominent almost a century ago: string bass, muted trumpets, banjo, piano played with an old-time feel)

DEVELOP 1. Invite students to open their magazines to pages 6 and 7. (EDITOR’S NOTE: When working with younger students, Part I may be used throughout.) Play the vocal track and have students sing along. 2. ASK How many vocal parts were sung? (two) What is it called when two or more parts are performed at the same time? (harmony, in this case it is a partner song) 3. Play Part I on the piano as the students sing along. Work on clear diction and rhythmic precision. The students may sing either note at m. 18 depending on their vocal range.

10 August/September 2004 August/September 2004 11 2. What is First Hand Music? (participating by 9. Play the song again and invite the students to sing 12. Close by saying, “I hope you have enjoyed getting to doing music “right now” whether singing, playing along. Encourage them to create new words along know Nick Page today and hearing some of his Meet Musician it or dancing to it) with their ideas of what they love about learning. songs. Maybe you’ll get to attend one of his Power lesson plan 3. Name a musician who influenced Nick Page. Have the students take turns being the leader. Sings someday.” Nick Page (Bobby McFerrin, Duke Ellington, Yo Yo Ma, 10. Ask the students why they think this is a Power Joseph Shabalala from Ladysmith Black Mabazo) Song. (because they are all joining together to sing EXTEND Lesson Plan by Lorain Trzyna-Baker the song powerfully) You may wish to use the following ideas for further Student page 8 Instead of having the students write the answers to extension: Recommended for Intermediate these questions, you may wish to use these ques- 11. Tell the students that Mr. Page is a versatile com- tions as points of departure for class discussion. poser who writes in many styles. “You may recall • Involve the classroom teacher and suggest that stu- Objectives (with National Standards) 7. Take a few moments to discuss the answers to the from the interview that Mr. Page has also written a dents conduct interviews of other teachers in the • Students will learn about a living composer (NS 9) previous questions. lullaby called ‘Fairest Lady.’” Play the part of the school or of someone they know, such as a relative • Students will learn how to conduct an interview interview in which Nick Page discusses this compo- or a neighbor. 8. Redirect the students' attention to the music of (NS 8) sition and his use of “London Bridge is Falling • Divide the students into teams of two. Allow each Nick Page by having them turn to “What Do You • Students will create new words to an existing song Down.” Play the song (CD track 14) and have the team to choose a famous performer or composer. Love about Learning?” in the student magazine (NS 3) students raise their hands when they hear the use (Make sure you approve of the person chosen as (page 8). Play the vocal version of the song (CD of “London Bridge” in the song. When the song is some characters may not be appropriate for track 5). (EDITOR’S NOTE: There is a musical Materials over, play “London Bridge” on the piano and school.) Arrange for one music day to be spent in “joke” in this song. It sounds like there are missing • Music Express magazines and CD demonstrate how it sounds, right-side-up as well as the library doing research on the composer or per- notes and words in the 2/4 measure–”way” for (August/September 2004) upside-down. Write the term retrograde inversion on former. Each team should develop a set of ques- Verse 1 and “cool” for Verse 2. See if the students • Paper the board or overhead projector. tions to interview this person. They will then con- • Pens or pencils can determine these missing words.) duct an interview, with one person assuming the • Board or overhead projector role of the performer or composer and the other • Video camera (optional) the role of interviewer. Students may use costumes and props to portray their chosen person. Plan an START interview day having each team present their proj- Ask the students, “Have you ever wondered where the ect. Videotape the interviews for later viewing and songs you listen to in music class or on the radio come self-assessment. from?” Then ask the students, “Has anyone ever met a composer? Today we are going to meet the composer ASSESS Nick Page. We will listen to an interview as well as two • Did the students answer the questions asked? of his songs.” • Were the students able to be creative and make up different words in “What Do You Love About DEVELOP Learning?” 1. Have the students open their magazines to the • Were the students able to create an interview? Nick Page interview on page 9. 2. Play the interview (CD track 13). 3. When the interview is over, pass out paper to each student. Ask the students to number their papers one to three and list the things from the interview that they found interesting. 4. Take a few minutes to allow the students to share their lists. 5. Ask the students again to number from one to three and tell them to write three questions they would like to ask Mr. Nick Page. 6. After several students have shared their questions, ask the students yet again to number from one to three on their paper. Ask them to answer the fol- lowing questions: 1. What is a Power Sing? (singing with power in groups of people) www.nickmusic.com

12 August/September 2004 August/September 2004 13 History: Mankind’s desire for peace on earth, 7. At the end of the song, ask the students how they CLOSE The Quest Science/Medical: a cure for cancer. Once they get think the music goes with the story. Use this Explain to the students that each Music Express issue going, the students most likely will come up with moment to discuss how music enhances a storyline will bring a new chapter to The Quest. Inform the stu- lesson plan many quests. This would also be a good place to in a movie or musical. Point out how background by Mark Brymer and John Jacobson dents that before television, people would listen to suggest research topics. Make it a challenge to find music adds to the suspense or excitement of a their favorite radio shows such as The Shadow, The Lesson Plan by Lorain Trzyna-Baker Page 52 other quests to go under the categories. Each stu- movie. Students can probably give examples of Inner Sanctum, and Little Orphan Annie. They would dent may choose which topic they want. their favorite movies and musicals. be sure to tune in each week for the next chapter. Recommended for Intermediate Student page 10/12 5. After the excitement settles down, explain to the 8. During the next read-through, possibly during the Daytime soap operas are similar to this. So be sure to students that “The Quest” is part of a series which next music class, present the actors playing Jason stay tuned for the next chapter in The Quest. Objectives (with National Standards) will ultimately result in a musical. “Let's read and Boliver, with the idea that they can create their • Students will perform a musical implementing Chapter One of this series, In the Blink of an Eye. own dialogue based on the concept in the written EXTEND narration and songs as well as creating dialogue There are three characters in this first part: the script. Let the students go to a separate part of the 1. Have students interview a grandparent or senior (NS 1,8) Narrator, Jason (an eleven-year-old boy) and his room to think on this idea while you go through adult about the radio shows they listened to when • Students will integrate music with history, geogra- dog, Boliver.” For this first read-through, divide the the song with the rest of the class. Bring everyone they were growing up. This is a wonderful way to phy, art, and science (NS 8) text among the students. (EDITOR’S NOTE: The together and go through the script, allowing the get children to talk with older adults and to find • Students will do a self-assessment of their perform- author, John Jacobson, will read each chapter as actors to try their parts Give the actors an assign- out what life was like before television, videos, and ance (NS 7) well–CD track 15.) ment to write out what they plan to say. Ultimately computers. they will need to memorize their part. Materials 6. At the end of the reading, segue into the song in 2. Classroom teachers often welcome new ideas for order to show the connection between the story • Music Express magazines and CD creative writing. You may wish to involve them in and the music. (August/September 2004) a writing assignment. Have students write about • Three large pieces of paper or poster board labeled what kind of quest they will go on. Compile the separately; history, geography, science/medical. ideas the students gave about what the quest • Video camera might be and let them choose a topic for their writing project. This would be a good place to START involve the cooperating teacher. Present this project to the classroom teachers and invite 3. Once the students have written their story about them to integrate the ideas into their curriculum. their own quest, have each student draw a picture 1. Begin by asking the students, “If you were going to illustrate their ideas. Perhaps the art specialist on a quest, what would you be doing?” After sever- would like to be involved in this project. al guesses, tell the students that they would be searching for something of value or importance. ASSESS 2. Tell the students, “We will be going on a quest in Videotape the completed performance of The Quest. music class today so get ready, here we go!” Have the students watch and evaluate the performance.

DEVELOP 1. Tell the students to think about what this quest, as mentioned in the song, might be. Play the vocal version of the song (CD track 6). 2. When the song is over, lead a discussion on their ideas about the quest. Write their ideas on the board or on paper to use for future reference in a creative writing project. 3. Ask students to turn to “The Quest” in their maga- zines (page 12). "Let's listen again and try singing along. 4. “Throughout the history of humankind, there have been many quests.” Direct their attention to the posters. Ask them to think of a quest to put under the various categories. Write their answers on the posters. You may need to get things started with an example or two; Geography: Lewis and Clark,

14 August/September 2004 August/September 2004 15 (snare enters at 0:16. Point to snare picture as music Plink! Plank! Plunk! plays, pausing CD at 0:28, end of A section.) A Great American Composer NOTE: For lower elementary, this might be a good lesson plan “stopping point” for the listening lesson, moving by Leroy Anderson on to a song or movement activity, continuing the Leroy Anderson Student page 13 Lesson Plan by Wesley Ball lesson at another time. 1908–1975

Recommended for Primary and Intermediate DEVELOP Leroy Anderson was born in Cambridge, Mass, to Swedish immigrant parents. His mother was a 1. “Let’s listen again to the three-note intro and the A church organist and gave him his first piano lessons. At age eleven, he began studying piano at the New Objectives (with National Standards) theme. Raise your hands when the music changes England Conservatory of Music. For his high school graduation, he composed and conducted the class • Listen and respond to timbre, dynamics, to a new melody!” Play recording, pointing to song. Leroy attended Harvard University, majoring in music, playing both trombone and double bass tempo/beat, and form (NS 6) board info. (B theme is heard at 0:29-0:41) Assess in the orchestra. He also sang in the glee club and joined the marching band as drum major, arranging • Learn about a famous American composer and to see if students notice the change; write the letter music for the band. After graduation, he taught music at Radcliffe College, serving as organist and choir “pops” orchestral music (NS 8) B on the board. Let music continue. At 0:42, the A theme returns. Write the letter A on the board; at director at a church in Milton. His big break came in 1936, when he was asked to arrange a piece for Materials 0:54, write the letter B; at 1:07, write the letter A, the Boston Pops Orchestra. Conductor Arthur Fiedler then asked Anderson to compose original works • Music Express magazines and CD pausing CD at 1:19. for the orchestra. Jazz Pizzicato was the first hit, in 1938, followed by Jazz Legato. (August/September 2004) 2. Call attention to the board info. Anderson’s musical career was interrupted by World War II, when he enlisted in the armed services. • Rhythm sticks, hand drums, maracas (or small Being fluent in Swedish and German, he served as an intelligence agent. While working at the shakers), temple blocks, and “noise makers” (nov- PLINK Pentagon in 1945, Leroy composed one of his best-known tunes, The Syncopated Clock. After the war, elty instruments) PLANK A B A B A he moved to Woodbury, Connecticut. and assumed the post of orchestrator/arranger for the Boston • Rhythm patterns for A, B, C (board info.) from PLUNK student magazine Pops. In 1950, he toured with his own orchestra, performing and recording such hits as Fiddle-Faddle, • Picture of string instruments; picture of snare drum “After the three-note intro., the A and B themes Sleigh Ride, The Typewriter, The Waltzing Cat, and Plink, Plank, Plunk! In 1951-1952, Blue Tango became alternate. Next, we’ll hear a brand new melody. the first pop-style orchestral piece to sell one million copies. START What letter in the alphabet will we use to describe Anderson’s compositions can be described as tuneful and popular. Most feature novelty this theme?” (letter C) (Play music, theme C, “We are going to listen to a composition, written by a instruments, such as slide whistles, whips, and wood blocks to create humorous sound effects. Many adding letter C to the board info; pause CD at 1:46). famous American composer, Leroy Anderson (who of his compositions are short—only three or four minutes long. Plink, Plank, Plunk! is 2 minutes and composed Sleigh Ride and other orchestral hits). This 3. Listen to the C section again, counting the times 51 seconds. Listen to the music! Can you identify some of the “novelty” instruments, used to create work has a humorous title: Plink, Plank, Plunk! The first that sound effects are heard (six). By rote, teach humorous sound effects? three notes of the music almost tell us the name of the the “cha cha cha” vocable. Repeat, adding sounds composition. Let’s listen!” with the recording. Board info: Intro. = PLINK 4. Teachers need to be familiar with the recording, Name one “novelty” instrument: ______PLANK – A Theme calling out letters: Intro 0:00-0:02 PLUNK A four times 0:03-0:28 Is the music mainly loud or soft? ______1. (Play the intro. and A section—0:00 to 0:28, CD B two times 0:29-0:41 track 18). Ask students to reflect on what they A two times 0:42-0:53 B two times 0:54-1:06 heard. “Was this music mostly loud or soft? (soft) A two times 1:07-1:19 The first three notes of the music suggest the title, Plink, Plank, Plunk! The string players are using Were the sounds mostly short and fast, or were C two times 1:20-1:45 their fingers to pluck the strings. This technique is called pizzicato. they long and smooth? (short and fast). Discuss Intro (repeat) 1:46-1:49 musical terminology used to describe this sound A two times 1:50-2:02 quality: staccato means short and detached. “Which B two times 2:03-2:15 What was the name of Anderson’s first composition, written in 1938? ______instruments of the orchestra were playing the A four times 2:16-2:39 melody?” (strings—show picture) Explain that Ending 2:40-2:51 ______string instruments can be played with a bow, or 5. Listen to entire composition, assisting students in they can be played by plucking the strings with fin- following the map. Add sound effects for the C sec- ger tips. The plucking technique is called pizzicato. tion. Tell students to listen very carefully to the What was the name of the orchestra that performed this composition? ______2. “In addition to the strings, there was another instru- “ending.” When they hear the slide whistle in the ______ment heard in the music. Did anyone notice?” (show recording, there will be a two-note ending—THE picture of a snare drum). “Normally this instrument END. Invite student to play their “sound effects” plays loudly, but in this music, it’s played very softly. with the final two notes! Where did Anderson attend college? ______Let’s listen again! Quietly raise your hands, when you hear the snare drum begin to play with the strings.” The original subscriber to Music Express magazine has permission to reproduce this page for educational use only. Any other use is strictly prohibited. 16 August/September 2004 August/September 2004 17 Everybody DEVELOP part rushes, it will “talk over” the other part. EXTEND 1. Have students read the Spanish and the English 11. When students are comfortable with the shaker Below are the first three rhythm patterns followed by lyrics to “Las polleras.” (If you have Spanish-speak- and conga parts together, add the cowbell rhythm. intermediate-level patterns that may accompany “Las lesson plan conga! ing students in the class, ask them to help with (Remember to begin at a slower tempo and polleras.” (EDITOR’S NOTE: There will be two levels of pronunciation.) Guide them in speaking the rhythm patterns for all of the songs in the World Page 57 progress to the tempo of the recording. Students Lesson Plan by Brad Shank Spanish words phrase by phrase. may also enjoy working in small groups.) Rhythms series—beginning and intermediate. Use your Student page 14 best judgment for what is appropriate for your stu- Recommended for Primary and Intermediate Va pasando la conga las polleras. Bah pah-sahn-doh lah koan-gah lahs poh-yay-rahs ASSESS dents.) If you have students who quickly command Observe whether students are able to continue to play the beginning rhythm patterns on the student pages, Objectives (with National Standards) A los acordes de su ritmo tropical. introduce these patterns to them. As an alternative, ah los ah-kor-days day soo reet-moh trow-pea-cal rhythm patterns while new patterns are introduced. • Learn about a style of Cuban music (NS 9) They should find the shaker and conga patterns easier have these students be leaders on the beginning parts • Sing a Cuban conga song (NS 1) Y pasarán por las calles habaneras. to play than the cowbell pattern. while you or another adult play one of the intermedi- • Play three different rhythm patterns to accompany ee pah-sah-rahn por lahs kah-yays ah-bah-nay-rahs ate patterns. a conga song (NS 2) Alegrando nuestro lindo carnaval. CLOSE Intermediate Rhythm Patterns ah-lay-grahn-doh noo-es-tro leen-doh car-nah-vahl Materials 1. Once students are secure with the patterns, ask for Alternate Conga This pattern is the easiest of the four • Music Express magazines and CD 2. Direct students to echo you as you sing the volunteers to sing the song along while a group of intermediate rhythms. Spanish lyrics phrase by phrase. instrumentalists play. Begin with a slow tempo and (August/September 2004) Bass Drum/Surdo This pattern is the lowest pitched • World map 3. Lead them in singing the song until they are com- work towards performing at the tempo on the recording. pattern in the conga de comparsa. It is usually played • Congas, bongos, bass drum, cowbell (or agogo), fortable with the words and melody. on a bass drum, like those in marching bands. This shakers, maracas 4. Play the instrumental track for “Las polleras” (CD 2. Invite your class to perform their piece at a school pattern is often the first played when a conga begins. assembly or in the halls of the school. Wherever START track 24) again for your students and ask them to Optional Cowbell (Agogo Bells) This pattern can be listen for the instruments. your performance, encourage students to invite 1. Once students arrive in the classroom, invite them audience members to join the conga line dance. played on a cowbell or agogo. It is the most complicat- all to form a line. Tell them you are going to play a ASK What instruments do we have in our class- ed pattern here, but it adds an essential flavor of the 3. Using cardboard boxes, assign a group of students piece of music, and they need to figure out how to room that we could use to play this song? (conga conga to the mix. to create miniature floats that can remain station- dance to it. drum, bongos, cow bell, shakers, maracas, etc.) ary or be pulled through the halls. Advance Conga This is a repetitive rhythm pattern. Pay 2. Play “Las polleras” (CD track 7). If they are not 5. Have students echo-clap the patterns found on particular attention to the placement of the accents. familiar with the conga style, move to the front of page 14. Begin with the shaker and the progress to the line and begin walking in 4/4 time while the cowbell and the conga rhythms. Large shaker . Percussion 1 ã c œ Œ œ Œ œ Œ œ Œ . speaking “uno, dos, tres, kick!” until the song is 6. Transfer these patterns to instruments. (You may 16 / 17 finished. use the recorded demonstration on CD track 16 to 3. Have students share their thoughts on the dance introduce these patterns.) Cow Bell . they just performed. 7. Explain that the cowbell (or agogo, if you have Percussion 2 ã c y y y Œ y y y y y Œ y y . ASK What dance did we just perform? (the conga) one) pattern has two sounds. The cowbell should be hit near the open end for the low sound and 4. Share with students that they are going to learn near the closed end for the high sound. (Remind >Lead Conga > > > > > about a music style from Cuba that they may have . . . students that notes below and above the line indi- Percussion 3 ã c œ œ œ œ œ œ œ œ œ œ œ œ œ œ . heard of before. Display a world map on the top of cate low or high sounds.) a table in your classroom and invite students to gather around. 8. Introduce the conga pattern and share that it also Agogo Bells (opt.) has two sounds. The slap sound (S) is made by . ASK Where is the country of Cuba found? (in the ã c y y y. y y y y y y y y y. y y y y y y . slapping with the fingers together near the edge of Percussion 4 Caribbean south of the United States) the drum, while the open sound (O) is made by What state is Cuba closest to? (Florida) hitting and letting the drum head ring. Let stu- What continent is Cuba found in? (North America) Bass> Dr./Surdo (opt.) > > > dents experiment playing these sounds. c œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ . 5. Ask if any of your students are from or have family Percussion 5 ã 9. Divide the class in two with one group playing or from Cuba or another Latin American country. clapping the shaker part and the other playing or Explain that people speak Spanish in Cuba. Alt. Conga (opt.) clapping the conga part. S S O O S S O O 6. Have students read the article found on page 14 of c Œ œ œ Œ œ œ Œ œ œ Œ œ œ . ASK Do the two parts sound differently when they Percussion 6 ã their magazines silently, in pairs, or as a class, are played together? (It sounds like they are hav- (S = slap) (O = open) depending on their reading levels. ing a conversation.) Adv. Conga (opt.) > > > > > > . 10. Remind students that these two parts need to keep Percussion 7 ã c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . their “conversation” with a steady tempo. If one

18 August/September 2004 August/September 2004 19 Hop ’Til beat! beat! beat! Words and Music by You Drop John Jacobson and Mark Brymer Movement and Page 59 CHORUS: Activity Songs for K-3 There’s a beat in me Mama, it makes me wanna dance! I got a beat in me Daddy, it makes me wanna dance! Step Hop: These step hops are like Truckin’ from the 1940s. I wanna boogie to the left, woogie to the right! beat! beat! beat! 8 / 25 As you step left, you hop on that same foot. The right foot Wanna kick up my heels ev’ry Saturday night! is off the ground with a bent knee at 90 degrees. When you ‘Cause the beat, beat, beat, Mama, makes me wanna dance! step right, the left leg does the same 90 degree lift. When Are you ready to move those dancing feet!? you do the three hops in a row, you can travel a short Come on everybody get off your seat! distance the way you re stepping. Ev’ry Sunday it starts way down deep, and I just cannot sit still. We call this section Hop ‘Til You Drop, Present High: Just lift your hands over your head with On Monday I don’t oversleep, ‘cause it gives me such a thrill. Because once you get started you never want to stop! spread fingers so that you look like an “X” or a “Y.” There’s Tuesday, Wednesday, Thursday, too. Sometimes we’re silly, It really doesn’t matter what I do. Sometimes we’re sweet! Get Set… By Friday I’m a Total Dance Machine! Do you know what I mean? And today we’re moving to the If you want to have even more fun, you can make one of BEAT! BEAT! BEAT! the dancers a leader. When you get to the bridge section (measures 45–52), that person could lead a dance that they There’s a beat in me Mama, it makes me wanna dance! make up. Then the other singers and dancers try to imitate I got a beat in me Daddy, it makes me wanna dance! Get Ready… that person as they echo the singing line and the creative I wanna boogie to the left, woogie to the right! dance moves. Just like the kids on the recording. To get ready you just need to give yourself plenty of Since we’re a talking about the “Beat” in this song, the Wanna kick up my heels ev’ry Saturday night! room so that when you boogie and woogie you don’t knock addition of any kind of rhythm instruments would be a ‘Cause the beat, beat, beat, Mama, makes me wanna dance! into anybody or anything. There are some movement great plus. suggestions over the score of the music itself on pages 59–62. You probably know all of these moves already, but to Feel the beat! help you out, here are a few refresher definitions. Go… Feel the beat, beat, Boogie fingers: Simply extend your index fingers into the Get at it and let’s have some fun! Remember, in a Hop In your feet! air alternatingly, just above head level. When your right ‘Til You Drop song it rarely matters if we all do the same Feel the beat, beat, beat, finger is up, your left hip sticks out to the left, when your thing. If I boogie and you choose to woogie, go for it. If I go In your feet! right finger is up, your right hip is extended to the right. left and you go right, who cares! This is a chance to get your Twist on the Balls of your Feet: Pick up your heels and wiggles out. twist your feet like you are squishing something. You might All is sweet There’s a beat in me Mama, it makes me wanna dance! call this a Sugar Foot. In this particular instance it works to When you’re on the street, I got a beat in me Daddy, it makes me wanna dance! twist your heels L, R, L as you move to the L. Follow that And you move your feet I wanna boogie to the left, woogie to the right! with R, L, R as you move to the R. To the BEAT! BEAT! BEAT! Wanna kick up my heels ev’ry Saturday night! Churn Traveling Arms: This means to circle your fists ‘Cause the beat, beat, beat, Mama, makes me wanna dance! around each other many times like a referee calling a Wanna dance! Wanna dance! (Shout) Yeah! traveling violation in basketball. Home Alone: Both palms on your face and mouth open like you are surprised, worried, aghast, etc. Like the kid from the movie of this name. Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved

The original subscriber to Music Express magazine has permission to reproduce this page for educational use only. Any other use is strictly prohibited. 20 August/September 2004 August/September 2004 21 Ragtime B-A-G THE ENTERTAINER By Scott Joplin the Arranged by Janet Day # Ragtime (Œ = 100-120) 4 ˙ ˙ ˙ Œ œ Œ recorder Mallets & 4 ˙ ˙ ˙ œ f report 11 / 27 By Janet Day # . ˙ ˙ . & . ˙ n˙ w ˙. Œ G A B F ˙ ˙ 5 1st time f 2nd time The Recorder Reporter says this is what you need to4 know to play “Ragtime B-A-G”: # • Recorder fingerings for G, A, B • 4 time signature ˙ ˙ ˙ ˙ ˙. Œ & ˙ n˙ w ˙ ˙ ˙. • Ó. Ó ŒÂ Ô •Tie 9 • (forte)• (mezzo forte) • repeat signs • first and second endings # ˙ ˙ ˙ ˙ ˙ ˙ 1˙. Œ . 2˙. Œ HELPFUL HINT: Play measure 7 without the tie (as two eighth notes), then add the tie by & ˙. . ˙. holding through the second note. ˙ ˙ ˙ ˙ ˙ ˙ 13 Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved Ragtime B-A-G THE ENTERTAINER By Scott Joplin Ragtime (Œ = 100-120) Arranged by Janet Day g # 4 Ragtime B-A-G THE ENTERTAINER 4 . Ragtime (Œ = 100-120) By Scott Joplin Recorder & 4 . ˙ ˙ ˙œ. œ Arranged by Janet Day Tambourine F1st time 4 œ ŒÓ œ ŒÓ œ ŒÓ œ Œ œ Œ f Percussion /4œ œ œ œ œ # 2nd time f œ œ œ œ œ . Œ ˙ ˙ . œ Hand Drum & œ œ ˙ ˙œ Œ Œ Œ . œ œ œ œ œ œ œ Œ wœæ œ œ œ œ Œ 7 / Œ Œ ŒŒ Œ Œ 5 # F1st time & œ œ œ œ œ œ œ ˙œ. œ œ œ œ œ œ œ œ œ f 2nd time Œ œ Œ œ Œ œ œ wæ œ œ œ 11 / œ Œ œ Œ œ ŒŒŒ œ Œ œ Œ œ œ œ Œ # 1 2 9 & œ œ œ œ œœ œ œ œ œ œ œ œ œ œ ˙. Œ . ˙. Œ wæ wæ wæ 1œ œ œ . 2œ œ œ 14 / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ . œ œ œ Œ Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved 13

Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved The original subscriber to Music Express magazine has permission to reproduce this page for educational use only. Any other use is strictly prohibited. The original subscriber to Music Express magazine has permission to reproduce this page for educational use only. Any other use is strictly prohibited. 22 August/September 2004 August/September 2004 23 Ragtimeg B-A-G THE ENTERTAINER sing/say/dance/play! Ragtime (Œ = 100-120) By Scott Joplin By Cristi Miller and Kathlyn Reynolds √ Arranged by Janet Day # œ œ œ œ œ œ œ œ œœ œœ 4 œ œ œ œ Œ œœ for the Lower Grades & 4 œ œ œ œ œbœ œ œ Radio By CRISTI CARY MILLER f œ #œ and KATHLYN REYNOLDS Piano œ œ F 1 # œ œ œ œ œ œ œ ## 4 . œœ Œ 4 œ œ ? œ œ œ œbœ œŒ Œ Voice & 4 . œœœ œ œ œ œ œ œ & 4 œ œœ œœ œ œ œ œ Ra - di - o, oh, ra - di - o, lis - ten to the # Change the sta - tion with a throw. # 4 . œ œ œ œ œ œ œ Œ Recorder# & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ & . ˙ ˙ ˙œ. œ œ œ œ œ œ œ œ ˙. Œ œ ? # 4 œ œ œ. œ œ F1st time # 4 . œŒ Œœ œ. œ œ œ œ ŒŒœ f 2nd time J œ œ GG7 C GD7G # . œ œ œ & . j œ j œ œ ˙œ. œ œ œ œ œ ˙. 2 œ œ œ œ œ œ œ œ œ œ œ œ ˙. ## Œ . œ œ Œ œ #œ & œœœ œ . œ œ œ œ œ œ F1st time f ra- di-o. One through six a - way we go! ? # 2nd timeœ nœœ œ ˙ œ œ œ ˙ # . œ œ œ ˙ œ œ œ ˙ # œ œ Œ . œ œ œ Œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ 5 œ œ œ œ œ œ œ ? ## œ ŒŒœ . œ Œ œ Œ Œ œ # œ œ œ œ œ & ˙ ˙ ˙œ. œ œ œ œ œ œ œ œ ˙œ. œ 4

Copyright © 2004 by HAL LEONARD CORPORATION # G7 C GD7G International Copyright Secured All Rights Reserved & j œ j œ œ ˙œ. œ œ œ œ œ œ œ œ ˙. œ œ Teaching Suggestions: #1 KSING (“la la”) #4 KLAUGH (“ha ha”) œ œ œ œ œ œ œ 1. Have the children echo-sing the song in two-meas- #2 KHOP (hop) #5 KCLAP (clap) œ œ œ œ œ œ ˙. œ ure phrases. Discover like phrases (1 and 3). œ œ œ ˙ œ œ ˙ #3 KPLAY #6 KTALK (“blah blah”) ? # œ nœœ œ ˙ œ œ œ ˙ 2. Sing the song until words and melody are secure. (play rhythm sticks) œ œ œ œ 3. Add this ostinato on a tambourine to accompany 3. Have the children practice each station’s correspon- 9 œ œ the song: ding sound/activity using the four-measure rhythm 4 Œ Œ Œ Œ . shown above. Hint: encourage students to use “cre- # 1 2 4 ¿ ¿ ¿ ¿ . ative” voices with stations #1, #4, and #6. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. Œ . ˙. Œ “Radio” Game “Radio” Game Preparation 1. Ask the students to make a standing circle and give G7/F E m7 Em(maj7) G/D D7 G G each a pair of rhythm sticks to place on the floor. # œ œ œ œ 1. Display the following rhythm pattern for the stu- & œ œ œœ œœ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ ˙. . ˙ œŒ dents to read and learn: (For your younger children, 2. Explain to the children you will roll a die to deter- œ œ œ œ œ œ teach only the last two measures) mine which unique station they will perform (#1 œ œ œ œ œ œ œ œ œ œ œ #œ through #6). Have them use this spoken chatter to œ ˙ 4 introduce each station: ? # œ œ nœ œ œ œ bœ œ œ œ œ œ œ ˙ . Œ 4 œ œœœœœœ œ œ œ œ œ œœœœ œ œ œ Œ œ . œ “Hey there, listeners, what do you say? 13 œ (KSING) station comin’ your way!” œ 2. Write these “Radio Stations” on the board with their coordinating numbers and performance Continued on page 27 Copyright © 2004 by HAL LEONARD CORPORATION descriptions: International Copyright Secured All Rights Reserved 24 August/September 2004 August/September 2004 25 Teaching Suggestions: 6. Present the woodblock and ratchet parts as one pat- for the Upper Grades 1. Have the children echo-clap the song’s rhythm in tern. Do the same for the cowbell and slide whistle. Play in ensemble until secure. Charleston By CRISTI CARY MILLER two-measure phrases. Add the words and clap again. and KATHLYN REYNOLDS 2. Ask the students to look at a visual of the song as “Charleston” Dance 4 j j you sing the melody. Have them discover like & 4 œ. œ œ Œ œ œ œ œ œ œ œ. œ œ Œ œ œ œ œ œ œ phrases. (The dance steps presented below are to be performed in the “Charleston” style. All dancers should be in line(s) forma- Charles - ton! It’s the dance for you! Charles - ton! It’s the rage to do! 3. Spend time looking at mm. 5-6 and discussing the tion, a la “line dance.”) j j accidentals found there. 4 j j mm. 1-4: Tap rt. foot forward/tap rt. foot home; tap & 4 œ. œ œ Œ œ. œ œ Œ œ. œ œ Œ œ. œ œ Œ 4. Sing the song together until words and melody are SG œ. œ œ œ. œ œ œ. œ œ œ. œ œ left foot backward/tap left foot home; secure. Think:“Charles - ton, Charles - ton, Charles - ton, Charles - ton, repeat. Do all of this while swinging arms in opposition. (Basic“Charleston” step) 4 œ. œ œ Œ œ. œ œŒ œ. œ œ Œ œ. œ œŒ Orff Teaching Suggestions AG & 4 J J J J (Prepare a visual of the Orff patterns for the students to use.) mm. 5-6: Jazz hands up to right (2 x’s); jazz hands up to left (2 x’s) œ œ œ œ Have the children: 4 Œ Œ Œ Œ Œ Œ Œ Œ 1. Patschen the BX pattern using alternating hands m. 7: Both jazz hands make one big counterclock- AX/SX & 4 œ œ œ œ while speaking the “think” words. Transfer to wise circle Think: “Low, high, high, low, low, high, high, low” instruments and play. m. 8: Make a fast quarter turn on your right foot; 4 2. Play the AX/SX pattern in the air while speaking add a pat, cross pat, pat on the words “turn & 4 ŒŒ œ ŒŒœ ŒŒ œ ŒŒœ the “think” words. Transfer to instruments and play and start” BX œ œ œ œ against the BX part. (Repeat dance three more times, returning to the start- Think:“C C GGCCGG 3. Clap the AG/SG patterns while speaking the “think” ing position. To end the song, have the children sing 4 œ. j Œ œ. j Œ words. Transfer to instruments, making certain they and play m. 1.) & 4 œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ are aware of the note changes. œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ Feel free to present this activity using any form appro- 4. Practice all instruments together until secure. Play priate for your eager learners. ?4 j j again while singing the song. 4 j œ. œ œ œ j œ. œ œ œ “Whoop-dee-doo,” it’s turn and start again! œ. œ œ œ œ. œ œ œ 5. Use the following percussion pattern as an introduc- tion to the song. Play the piano accompaniment while this part is performed.

œ œ bœ œ œ œ bœ œ ‹‹‹ ‹Œ . ‹ ‹~ & œ œ 4 ~ ~ . œ œ œ œ Slide /4 ∑ ∑ ∑ ∑ ∑ ∑ Œ ‹ ~ Œ Œ ~ ‹ Œ . Whistle ~ Raise your hands up in the air and "Whoop - dee - doo!" Turn and start a- gain! & œ ŒÓ ∑ ∑ ∑ . œ 4 ‹ŒŒ‹ ‹ŒŒ‹ ‹ŒÓ . Cowbell /4 ∑ ∑ ∑ ∑ ∑ . stop!" & œ ŒÓ ∑ ∑ ∑ . 4 Ratchet /4 ∑ OŒ. ∑ OŒ. ∑ ∑ ∑ ∑ . œ œ~ (Tambourine) ∑ ∑ Œ ~~ Œ Œ Gliss.~~ Œ . & œ ~Gliss.~ ~ œ . 4 ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ . Woodblock /4 J J ∑ J J ∑ ∑ ∑ ∑ ∑ & ŒÓ ŒÓ . œ œ œ œ œ œ #œ œ œ œ CCE E F F Sharp Sharp G G” œ œ œ bœ œ ŒŒ œ œ œ . & œ œ œ œ œ œ #bœ œ nœœ œ . Continued from page 25 œ œ œ œ œ 3. To play the game, have the children sing the 4. Sing the song between each roll of the die. ? ŒŒ . “Radio” song. Roll the die, letting all see the num- Continue playing until all stations have been per- ˙ #˙ œ œ ber and have the students introduce and perform formed many times. ˙ ˙ bœ nœ the selected station. 5 œ œ This activity is sure to “turn on” your students Copyright © 2004 by HAL LEONARD CORPORATION to station KFUN! International Copyright Secured All Rights Reserved 26 August/September 2004 August/September 2004 27 Teaching Tips: “Who Am I Thinkin’ Of?” 5. Continue game in same fashion until four “mys- k2 1. Display a visual of the alphabet. tery” children are identified. Teaching Strategies and Activities for 2. Choose six children whose first names begin with 6. At end of song, the two “decoy” children remain in 4u six different letters to form a small group facing small group. Add four new children, so the group Grades K-2 remaining children. (The song uses four children, has six children to begin the next round of the By Cheryl Lavender and the other two children act as “decoys.”) game. 3. Teacher leads the singing of each verse. During the 7. Gradually, all children will want to join in and sing four-measure interlude following each verse, the verses, and the teacher or a designated child can Music: Teach and Reach remaining children guess the correct name of the call out the “mystery” letters. child whose first name begins with the “mystery” Welcome to K24U, where the spotlight shines on our Music—the greatest brain booster of all—is a core subject letter in that verse. musical little ones in grades K-2. Each year while hopping in American schools (Goals 2000: Educate America Act, 4. For visual reinforcement, the “mystery” child points aboard the Music Express, I think of my parents and family 1994). We teach music to children first and foremost for its to his/her letter in the displayed alphabet (with of ten children, and how natural it was for me to transition intrinsic and academic values, yet neurological research assistance if needed). from the family room to the classroom. Growing up in our presents powerful evidence indicating that music also

home was like being in a virtual “multi-age classroom!” And “rewires” our students’ brains for maximum learning in 10 / 26 being the eldest daughter, I often found myself being the other subjects as well – reading, math and science. What(y Am I Thinkin’ ) Of? “teacher” of my young siblings. For this inherited Our two featured songs, “Who Am I Thinkin’ Of?” and Words and Music by (The Syllable Game) CHERYL LAVENDER internship, I am beyond grateful. “What Am I Thinkin’ Of?” are offered as games primarily to D A7 Years later, as an American public school music teacher, I develop musical knowledge and skills: verse/interlude, basic # (Œ = 68) Fine # 2 . 4 œ œ œ œ œ ‰ j find myself and my colleagues engaged in a new and rhythms, call/response, and finding the singing voice. & 4 œ œ œ œ œ œ different educational mission—the “No Child Left Behind Secondarily, these songs are offered to reinforce reading (Intro. is also interlude after each verse Tell me, tell me, what am I think - in’ of? It Act of 2001.” (NCLB is a federal law that mandates the knowledge and skills: the alphabet, beginning/ending when children guess objects: piano, guitar, drum, maracas) 1, 2, 3, 4 annual testing of students in grades three through eight in consonant/vowel sounds, and syllables. With music, no # claps D reading, math and science. Federal funding is determined reader is left behind! So, as music teachers, let’s continue to & # œ œ œ œ œ œ œ œ œ œ ¿ ¿ ¿ . by test results.) For today’s teachers, this charge means not teach and reach all children. œ œ œ œ only educating our students to become successful life-long All aboard for the best school year ever! 9 “P” “O,” (ti - ti ta.) learners in the subjects we happen to teach, but also starts with a “G” and it ends with an “R,” and it sounds like: (ta ta.) {}“D” {}“M,” { (ta.) reaching the annual, national goal of all students achieving “M” “S,” (ti - ti ta.) proficient test results. Invariably, we teach and reach more Copyright 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved goals than ever before. Teaching Tips: “What Am I Thinkin’ Of?” 6. There isn’t time during the interlude to match the 1. Display a visual of basic rhythm patterns: ta, ta ta, aural clapped syllables with the visual display of the ti-ti ta, ti-ti ti-ti). rhythms. So, after the game is done, echo clap/chant the syllables of the “mystery” objects, and have chil- Who Am I Thinkin’ Of? 2. Explain to children that anything seen in the room dren discover the corresponding visual rhythms. (The Name Game) Words and Music by might be a “mystery” object in the game. 9 / 26 CHERYL LAVENDER 7. Play game many times, each time choosing new 3. Practice echo clapping/chanting the syllables (word D A7 “mystery” objects such as: car-pet, ceil-ing, desk, # (Œ = 68) Fine parts) of any “mystery” object, including words with # 2 . 4 ‰ j chalk-board, tel-e-vi-sion, etc. & 4 . œ œ œ œ œ œ œ œ œ œ œ only one syllable, ex: pi-an-o (clap ti-ti ta), gui-tar (clap ta ta), drum (clap ta), ma-ra-cas (clap ti-ti ta). 8. Gradually, all children will want to join in and sing (Intro. is also interlude after each verse the verses, and the teacher or a designated child can when children guess names: Tell me, tell me, who am I think - in’ of? It’s 4. Teacher leads the singing of each verse. During the call out the beginning/ending letters, and clap the Violette, Eric, Marissa, Jordan) 1, 2, 3, 4 four-measure interlude following each verse, chil- syllables of the “mystery” objects. ## D . dren guess the correct word for the “mystery” object & œ œ œ œ œ œ œ œ œ œ Œ . by sounding out the beginning/ending letters and œ œ œ œ œ œ Cheryl Lavender is an internationally recognized master clapping the syllables. music educator, composer and clinician. She has published 9 girls a “V.” ”E.” 5. Continue game in same fashion until all four “mys- over 30 invaluable resources or the elementary music one of the boys and it starts with an Who am I think - in’ of? {}girls {an ”M.”} tery” objects are identified. classroom including games, song collections and teaching boys a “J.” strategies. Having taught music for 30 years at the elementary, middle school, high school and university levels,

Copyright © 2004 by HAL LEONARD CORPORATION she is presently teaching in the Elmbrook School District, International Copyright Secured All Rights Reserved Brookfield, WI.

28 August/September 2004 August/September 2004 29 BoomWhack Rockin’ Robin Words and Music by J. THOMAS There is a two-measure intro. on track. Handclaps Arranged by TOM ANDERSON By Tom Anderson Bright Rock Shuffle (Œ = 162) (ŒÂ = ŒÇ‰) C9 ATTACK! Handclaps on beats 2 and 4 f % Œ‹‹ Œ ‹ 4 7 j Notes Used: &4 Ó Œ‰œ . bœ œ œ œ œ œ ‰ œ w w J 12 / 28 & w w He rocks in the tree - top all w Ev - 'ry lit - tle swal - low, ev - C9 Name: H. C. cont. j Color: & œ bœ œ œ œ ‰ œ œ bœ œ œ œ œ ‰ bœ J œ œ œ œ œ œ J 10 the day long. Hop - pin’ and a-bop - pin’ and a-sing - in’ his song. All Rockin’ Robin - ’ry chick - a - dee ev - ’ry lit - tle bird in the tall oak tree. The C9 C9 There is a two-measure intro. on track. Words and Music by Aœ bœ œ œ œ œ bœ œ ‰ œ œ bœ œ œ J. THOMAS & œœ. J œ J œ œ œ œ Bright Rock Shuffle (Œ = 162) (ŒÂ = ŒÇ‰) Arranged by TOM ANDERSON 13 the lit - tle birds on Jay - bird street, love to hear the rob - in go 4 œ ŒÓ ∑ œ ŒÓ ∑ œ ŒÓ ∑ œ Œ œ ŒŒœ œ Œ wise old owl the big black crow, flap - pin’ their wings sing - in’ Boomwhackers &4 F13 C9 œ œ œ œ œ œ œ end H.C. ŒÓ Ó Œ ŒÓ F & œ œ œ œ œ œ œ œ bœ œ œ 16 "Tweet, tweet, tweet!" % } Rock-in’ Rob - in, Rock-in’ Rob - in, . œ ŒÓ ∑ œ ŒÓ ∑ œ ŒÓ ∑ œ ŒÓ ∑ "Go, bird, go!" & . 1 œ œ œ œ G13 F13 To Codafi C9 & ∑ œœœ œ œ œ œ œ œ œ œ bœ ŒÓ 9 f fi œ œ œ To Coda 20 blow, Rock - in’ Rob - in ’cause we’re real - ly gon - na rock to - night. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ G13 C9 F œ œ œ œ œ œ œ œ & ∑ . ŒÓ Ó Œ‰j 17 œ œ 24 A 1œ œ œ œ . 2œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ & œ œ œ œ . F13 j C9 ˙ ˙ ˙ ˙ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ F & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 23 27 pret - ty lit - tle ra - ven at the bird band - stand, taught him how to do the bop and D.S. al Coda ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ŒÓ ∑ F13 & ˙ ˙ ˙ ˙ œ ‰ j œ j ˙ ˙ ˙ ˙ & œ œ œ œ œ œ œ œ œ œ œ œ œ. œ 29 fi 30 it was grand. They start - ed go - in’ stead - y and bless my soul, he CODA G13 D.S. al Coda cresc. j f œ œ œ œ œ œ œ œ œ ŒÓ ∑ ‰ bœ ‰ j & œ œ œ œ œ œ œ œ œ & œœœ œ œ œ œ œ œ œ 33 35 F out bopped the buz - zard and the o - ri - ole! He fiCODA Handclaps on beats 2 and 4 U C9 Whistle & œ ŒÓ ∑ œ ŒÓ ∑ œ Œ œ Œ œ ŒÓ & ŒÓ 8 Œ ‹ O œ œ œ œ œ œ 35 39 The original subscriber to Music Express magazine has permission to reproduce this page for educational use only. Any other use is strictly prohibited. The original subscriber to Music Express magazine has permission to reproduce this page for educational use only. Any other use is strictly prohibited. Copyright © 2004 by HAL LEONARD CORPORATION Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved International Copyright Secured All Rights Reserved 30 August/September 2004 August/September 2004 31 “We never play anything the assessment making same way once.” —Jazz Drummer Shelly Manne By Cristi Miller Practical Tips connections for Measuring Researched by Charyl Granatella Student Progress

Welcome back, Music Express readers! For those of you This column is designed to give you assessment materials The “Making Connections” feature will offer cross- THEME — RADIO new to this magazine, you’re going to love the resources to help identify and define your students’ musical skills. curricular ideas and lesson enhancement suggestions to (On the Radio, Ain’t We Got Fun?) found in this wonderful music periodical. Being a classroom They are aimed at your younger children, but don’t hesitate correlate with the themes and songs in each issue. These ideas teacher myself, I find this magazine to be a valuable and to try some of them on those older students as well! This may also provide you instructional entry points to introduce “Are you looking for “Anticipatory Set,” or that hook that powerful resource for supplementing my music teaching. It year, in addition to the assessment idea, there will be a the music lessons or you may pass on an idea to the general gets your students excited about a new unit? How about offers great ideas in so many areas! rubric to use in marking the scores for each child. So grab a classroom teacher for their extension activities. This will allow asking them to list great feats of the 20th Century? With hold and let’s get this year “spinning in the right direction.” the content of each issue of Music Express to become little prompting they should be able to recognize that air connected to the larger school-learning environment. Enjoy flight, beginning with the famous Wright Brothers first experimenting with these connection ideas and materials! flight in December of 1903 began an era of exploration Words and Music by Spin Around CRISTI CARY MILLER and communitcation that continues to mold our FEATURED CONNECTIONS civilization even today. The book, One Fine Day: A Radio Play by Elizabeth Van Steenwyk, Bill 4 œ œ œ œ œ œ œ œ • Back to School & b 4 œ œ œ œ œ œ œ œ œ • Radio Farnsworth (Illustrator), is a great way • The Quest to dramatize the beginning of this Spin, spin, spin a - round. Keep your feet up - on the ground. Spin, spin, spin a - round. • Plink, Plank, Plunk! – Anderson era. Written as a radio play, this book • Cuba is an exciting introduction of how to (Solo student) dramatize a story. Specific & b œ œ œ œ œ œ œ œ œ œ œ œ œ THEME — BACK TO SCHOOL suggestions as to sound effects and background will help students understand the art of story- 4 Lis - ten to this mus - ic sound. (Yoo Hoo! How do you do?) (Music Explosion!) telling and listening during the Golden Age of the Radio.

Copyright © 2004 by HAL LEONARD CORPORATION BOOK A Golden Age: The Golden Age of International Copyright Secured All Rights Reserved Back to School by Maya Ajmera, John Radio, A Smithsonian Odyssey by Martha Wickham, Dan Brown Teaching Suggestions: For a rhythm assessment, have a child play the following D. Ivanko is a pictorial collection of children on their first day of school. How (Illustrator) will also grab your students’ 1. Have the children echo-sing the melody on “loo” one bourdon on a pitched instrument as the song is being sung: imaginations. Emma, a young African- measure at a time. (Leave out measure 5 during this many excited eyes, nervous smiles, and 4 joyous giggles there must be on that American girl, is on a field trip with her process.) Ask them to move their hands high and low b œ œ œ Œ . to show the melodic direction as they echo. & 4 œ œ œ eventful day that rolls around yearly? class when she passes by an old-time radio like the one her grandfather has. She 2. Continue singing the song until the melody is secure. Children from 37 countries are shown in full color Think: "Spin a - round." photographs. For children Pre-K to third. Even parents! sits down to watch an old fashioned television and falls 3. Add the words and sing once again. asleep, only to awake as a youngster during World War II. 4. Direct the students to make a standing circle. Select WEB SITES Children will enjoy hearing the story told on audio “SPIN AROUND” RUBRIC one child to stand in the center blindfolded. Many back-to-school activities are listed at cassette, with actual broadcast recordings of Big Band 5 – Sings melody in tune with good pitch and tone 5. As the song is sung, the center student spins around, http://www.dltk-kids.com/school/songs.htm. There are music, news casts, and reporters telling of such news stopping at the end of the song. 4 – Sings melody but does not quite match all pitches poems and even a song parody for your first day back. events as the bombing of Pearl Harbor and the flight of 6. Point to a child in the circle to sing the melody at meas- 3 – Sings correct melody but in a different key Teachers, start the year off with a great online support Charles Lindberg. ure 5.* (Assess: Is this child able to sing the correct pitches 2 – Sings melody using head voice but does not match system at http://www.lessonplanspage.com. There are and rhythm?) The center child tries to guess the singing RADIO HISTORY pitches voice. If correct, this student remains in the center. If lesson plan formats, tons of topical suggestions, a chat On February 8, 1922, President Warren G. Harding has a incorrect, the singing child becomes the new “it.” Play 1 – Sings using a chest voice room and unit plans for everything under the sun. radio installed in the White House. It wasn’t until Calvin the game until all have had a chance to be assessed. School House Rock has a great web site. You can Coolidge was president that the White House had its first *At the beginning of the year it would be a good idea to download free software, learn about the history of the radio broadcast. Franklin Roosevelt first used the radio to have the singing child echo your pitches as you first sing television program, and order free software relating to deliver regular “fireside chats” to listeners. To this day we measure 5. grammar, multiplication, science, and America. Go to have weekly radio addresses by our president. http://www.school-house-rock.com. 32 August/September 2004 August/September 2004 33 WEB SITE works for orchestra. You can watch a three-minute clip of w Do you know about the Library of Congress website the video featuring Leroy Anderson explaining how he compose “The way to write American music is simple. All you have to do is be an America’s Story from America’s Library? You can hear composed “Sleigh Ride” with wonderfully edited views of w the orchestra, sleigh bells, and the “whip that cracks!” American and then write any kind of recordings of music from the past that were broadcast on create music you wish.” the radio. Click on “See, Hear, and Sing” at Other audio clips include composer Anderson explaining w —Virgil Thompson www.americaslibrary.gov. how he came to write “Syncopated Clock.” Go to connect http://www.pbs.org/sleighride. By Janet Day HOW TO INCREASE YOUR AVAILABLE RESOURCES. BOOK Welcome to ComposeCreateConnect! In this new FOR THE STUDENT… Do you have your computer connected to your classroom Busy music teachers won’t need to practice a lot to play feature, we will give you the stepping-stones to composition stereo? You can increase your media resources by having major symphonic themes for their classes on the piano. in Finale Notepad on your computer. These activities may ASSIGNMENT #1 – C Major Scale • Computer internet access through a classroom computer. Connecting Try Leroy Anderson by John Brimhall. This collection also be done as hand-written assignments on manuscript speakers to your computer will allow your classes to hear includes all the famous tunes, including “Plink, Plank, paper if computers are not available to you. Just follow the 1. Open the NotePad application by double clicking the so much better. At www.barnesandnoble.com you can find Plunk!,” “Sleigh Ride,” “The Syncopated Clock,” “A step-by-step guide featured on the Music Express website at NotePad icon. Hit continue on the upgrade page. Then sections of famous big band and swing band performances Trumpeter’s Lullaby,” “The Typewritter,” “The Waltzing www.musicexpressmagazine.com to download a FREE Finale you will see a Document Set-up Wizard. Select Cancel when you find the recording, “Big Band Greatest Hits.” Cat” and more. NotePad application and you and your students will enter a to by-pass this. Playing just one 60-second clip will give your kids world of composition possibilities! 2. Pull down the File Menu and select Open. listening experiences without having to buy so many THEME — CUBA FOR THE TEACHER… 3. Select Assignment #1 TEMPLATE. This will open your recordings. Try “In the Mood” as an entry piece and your (Las polleras) teacher’s template as an untitled document. After you have downloaded Finale Notepad on your students will be jumpin’ and jivin’. BOOKS 4. On the Simple Entry Palette, select quarter note. computer, open the application by double clicking the 5. Create an ascending C Major Scale on quarter notes in THEME — THE QUEST Two collections of short stories for application icon. You will see the Document Set-up Wizard the first two measures. The first note is given to you. (The Quest) intermediate-age kids to read or to have read that will automatically guide you through setting up your to them are Under the Royal Palms: A 6. Then create a descending C Major Scale using quarter REAL KIDS REAL ADVENTURES is an Emmy-nominated first manuscript. However, for this first time in the program, Childhood in Cuba and Where the Flame notes in the last two measures. weekly television series on the Discovery Channel, based hit cancel. Trees Bloom by Alma Flor Ada. Set in upon true stories. There are also adventure books and Next, go to the Help pull-down menu and select tutorials. 7. Select the lyric tool, click on the second note and num- Postwar Cuba during the 1940s, each videos and a super web site for Intermediate Level kids. You may choose to read this on your computer screen by ber each scale degree. The first one has been done for selection tells of a young Alma Flor, her There are books written by Deborah Morris, the creator of scrolling down or you may print it for further reference as you. family and life in her community. Older the series, that will excite pre-teens by their drama. For all you open your first manuscript. 8. Select the Text Tool and enter Your Name and change children will appreciate the values, joys, and the information needed about “Real Kids Real Adventures” After you have familiarized yourself with the tutorial, the title from Assignment #1 to C Major Scale. sorrows described in each of the stories. go to www.realkids.com. practice opening a document using the set-up wizard and 9. Check your work by using the playback controls. input your favorite children’s song. THEME — LISTENING RECORDINGS 10. Save & Print. You will use this page for your next ASSIGNMENT #1 assignment, MYSTERY SONG. (Plink, Plank, Plunk!) The “conga line” is more than a fun way to celebrate at weddings! This kind of marching or processional music • On Computer • Hand-Written Download the Assignment #1 TEMPLATE from the Music WEB SITE developed in Cuba and, along with the rhumba, can be 1. Write an ascending C Major Scale using quarter notes in Express web site and place it where it is easily accessible to The internet has come a long way since MIDI synthesizer traced historically to a blend of Afro and Cuban heritage the first two measures. The first note is given to you. all the students on their computers (shared file, etc.). Or you song collections were first posted. Now you can hear real in the 1930s. Be enchanted by these dancey rhythms by 2. Then create a descending C Major Scale using quarter may use this as a homework assignment to be done on their orchestral recordings. If you want to access more of Leroy listening to the music of Tito Puente, the great King of notes in the last two measures. home computers. With your guidance, have the students Anderson’s familiar tunes go to the official Leroy Anderson Latin Music. His CD Cuban Carnival is one of his earliest follow the instructions for input. 3. Number each note with its scale degree. Website at http://www.leroy-anderson.com/index.html. You and still on of the best. can hear fully orchestrated versions of his famous “Sleigh TITO PUENTE is internationally renown as composer, MYSTERY SONG Download the MYSTERY SONG TEMPLATE from the Ride,” “The Typewriter,” and “Jazz Pizzicato,” plus many arranger and performer of Latin music. His secret to his Music Express web site and place it where it is easily others. This site is appropriate for kids and teachers as award winning music? He always thought of the dances accessible to all the students. With your guidance, have the classroom research. It includes a complete biography, first. You can read more about Tito Puente at students follow the instructions for input. discography, and his portrait. http://www.titopuenteonline.com. Check amazon.com for (ANSWER: Mystery Song is “Twinkle, Twinkle, Little Star”) PBS (Public Broadcasting Service) has a fabulous video more recordings and audio clips of his music. • Hand-Written available on the life of Leroy Anderson entitled “Once WEB SITE Both of these assignments can be hand-written by Upon a Sleighride” with interviews by several living music Teachers can read more about the music traditions and photocopying the student page and following the legends. John Williams, as composer and former conductor history of Cuban music at instructions for the hand-written assignment. of the Boston Pops Orchestra, labels Leroy Anderson on of http://itc.uci.edu:16080/~rgarfias/latino/cuba1.html. the first “crossover” composers, writing popular and light 34 August/September 2004 August/September 2004 35 Nick Page Assignment #1 Your Name &44 œ The All School Sing By Nick Page 1 Students at Bob Kidd’s elementary school in Norman, But all-school sings present a special challenge. When I Oklahoma can’t wait to get to school. Every day they begin visit schools to lead sings I almost always meet resistance to with an all-school sing led by Bob or a classroom teacher or singing, particularly from the super cool older kids. In a MYSTERY SONG 3. When you have completed the entire song, save your an enthusiastic student. They may sing a patriotic song or a matter of minutes, I turn them into happy singers by Decode the following notes in the song below using this work. Then hit playback to hear your composition. song appropriate for a theme that a class or grade level is making it cool to feel emotions and even cooler to express guide. Does this tune sound familiar? Can you name this studying. There are some announcements and then emotions. This is what singing is—the vocalizations of one’s song? Change the title of the song from MYSTERY Number = scale degree note from Assignment #1 (for students go off to their classes. Something amazing happens emotions. SONG to the name of the song by using the text tool. example, 1 = Middle C) in those first few minutes. As an icebreaker, I love bringing super cool volunteers up Also in the Text Tool, enter Your Name. Q = Quarter note When a child’s work of art is proudly displayed on a to the front. I have them play a tambourine or help with 4. Save and print out your work with the correct title. classroom wall, that child helps to create the school. The movements or sometimes simply smile. The room changes— H = Half note • Hand-written child takes ownership of the school. It becomes their school. smiles are infectious as is laughter. The super cool volunteer • Computer 1. Write the correct note according to the guide below the In the same way, when an entire school gathers to sing and has given everyone permission to let it out—to feel. I then 1. Open the file named MYSTERY SONG TEMPLATE. staff. Use Assignment #1 as a guide. celebrate together, it becomes their community. Their encourage other volunteers to take the next step, to make 2. Then enter the notes according to the guide below the 2. When you are finished, sing the melody. Does this tune identity changes. Together, they make their school what it is. respectful changes to the music—changing the lyrics, making staff. Use Assignment #1 as a guide. The first note is sound familiar? Can you name this song? Fill in the given to you. Remember to switch to the Half Note blank after the title with the name of the song. icon in the Simple Tool Palette when you see an H below the scale degree.

Mysteryyy Song g Your Name &44

1 1 5 5 6 6 5 4 4 3 3 2 2 1 5 5 4 4 3 3 2 Q Q Q Q Q Q H Q Q Q Q Q Q H Q Q Q Q Q Q H &

5 5 4 4 3 3 2 1 1 5 5 6 6 5 4 4 3 3 2 2 1 Q Q Q Q Q Q H Q Q Q Q Q Q H Q Q Q Q Q Q H

Photo courtesy of Nick Page

36 August/September 2004 August/September 2004 37 dear Additional Resources The Nick Page Songbook CD Available from CD Freedom (www.cdfreedom.com) (800-937-3397) John: Sing and Shine On! An Innovative Guide to Leading Multicultural Song by Nick Page published by World Music Ask the Expert Press (www.worldmusicpress.com) Get America Singing Again (Books I & II) songbooks edited by Will Schmid, published by Hal Leonard the difference between a soprano and a (fill in the Nick Page’s website, www.nickmusic.com, contains essays on What are some quick, easy ways to build up blank)? Join the choir and find out!” multiculturalism, resource lists, and info on Nick’s choral Q enrollment in choir? • Make your choir visible early. Have them performing compositions, recordings, and books. Pay your members and include family health benefits. around school or in the community early and often. If Nick Page is a Boston based composer, conductor and song leader. He A Okay, if you can’t do that, maybe you can try some of you are able to get the singers excused from school leads his ZESTFEST and SING WITH US programs throughout North the following ideas that I have gleaned from some of early one day to go sing for the Rotary Club or America and Great Britain. Nick’s web site, www.nickmusic.com, my successful teacher friends. Disclaimer; what’s good for Retirement Center make sure that the early dismissal Photo by Susan Wilson, www.susanwilson.com contains essays on multiculturalism, resource lists, and information on one program and philosophy isn’t necessarily the best for announcement is made so the entire school knows that up movements, adding a vocal groove drum beat, doing a Nick’s choral compositions, recordings, and books. another. Here are some ideas that have worked in certain the choir gets to do special things. hip-hop version of a well known song, making up an operatic situations. Take ‘em or leave ‘em. • Have some of your students start a choir newsletter or dialogue, or singing some scat improvisation. The room can • Let your current choir members be your primary web site that will feature the wonderful things about explode with energy. It’s what I call POWER SINGING, where recruiters. Encourage them to bring at least one new being in chorus. Make sure they share it with all of the power doesn’t come from me the leader, but from the friend to choir rehearsal next week. In all ways their friends. students themselves and because it comes from them, they possible, empower your students to take responsibility • Have a big special event planned for the spring of the take ownership of this transforming power. for recruitment. Talk to them about how greater year, or maybe one per semester. Go to a festival. A Children need celebration. If administrators, who are numbers might enhance their own experience in choir. Competition. A Theme Park. Do a choral exchange with rightly concerned with testing results, are reluctant to allow Ask them for ideas of how they might get their friends another choir from another town. Sing the national all-school sings, tell them the story of Bob Kidd’s students to join the fun. anthem at a sporting event. Choose an event that is who can’t wait to get to school each day, • Along the same lines, have your older students make visible and that will be a goal worth joining the chorus whose identities are changed by the all appearances in the classrooms of the younger students. to take part in. A part of your yearlong activity will be school sing. Who are they? They are Have them give testimonials as to the positive working toward that goal and goals can be exciting for listeners. They are learners. They are full experience that being in choir has been in their lives. all involved. You could put up one of those participants in a dynamic educational • Try to get teachers in other disciplines to help in your thermometers in the hallway or front yard of the school environment. recruitment. Athletic coaches for instance know a lot showing how the fundraising is progressing while also My SCHOOL SONG (“What Do You about recruiting. Enlist their help in talking up the reminding everyone that the chorus is a happening Love About Learning?”) was commissioned choral program so that the students see the importance place to be. by the Loring Elementary School in and possibility of doing both. I know one teacher who • Send a letter home to all of the parents of your school Sudbury, Massachusetts where David Ieung stands right outside the locker room at sporting events telling them about your philosophy and goals for the leads weekly all-school sings. The song is and gets to know the students and their interests. Then, choir. Ask them to encourage their youngster to join on my Nick Page Songbook CD. You can she gently twists their arm to get them to give chorus a the parade to the choir room. Remind them especially have different classrooms lead individual try. Be ready to return the favor by speaking favorably how music is the one thing that is shared and inherent verses with everyone joining in on the of other disciplines. in every culture of the world. Encourage them not to let “and celebration” lines. Encourage them to • Have your students make signs, banners and posters their son or daughter miss out on this wonderful own the song, making up hand signs, that you can place around the school encouraging opportunity to connect as an individual to the global movements, adding instruments, or others to join the choir. The signs can be funny or just brotherhood of man. writing new lyrics. plain simple such as “Got Choir?” “Real Men Sing in • Give treats at rehearsal. Chorus,” “Altos Rule!” “Feeling lonely? Make a friend for life in Choir” “Singers Do It In Harmony!” “What’s

Photo courtesy of Nick Page

38 August/September 2004 August/September 2004 39 Step 6 has been going for weeks out on the playground? Did Jim’s team finally win? Ask the gym teacher who had the fastest Beyond the music room! sub times in the mile run. Get in touch with the gym teacher in your building. Let them know about this lesson. They might be able to come Develop an Arts Alive Report: Is the third grade putting on survivor up with some fun activities that children can do without a play this week? Is the Talent Show coming up? Is there art spending a lot of money. This could be the content of a gym work on display in the halls that you want to advertise? By Lynne Carlstein class some day or a combined gym and music class! And speaking of Advertisements, you might want to This lesson could go throughout the building. Can the advertise the school lunches or perhaps the upcoming There is danger all around you… the missing lesson plan, the unruly student, the bathroom that is Visual Art teacher come up with a “found object” or Yearbook sale. nowhere to be found! Who will be alive at the end of the day? The Sub with SURVIVAL SKILLS! recyclable materials art lesson? This lesson also brings in the Step 4 The halls are shiny, the chalk boards are clean, Step 2 community. What about your local library? There is a lot of classroom materials are actually still in the places they fun to be had if you have a library card! Plan the broadcast The Discussion should be! It’s the first week of school and already you’ve Give your students a time limit for their broadcast, and be We tend to think that we need new things to play with, or gotten The Call. On the Air! sure to allow time for the station theme song,” On The that we need to spend money to have fun. Brainstorm! Can If you have read Sub Survivor before, you are For the Upper Grades Radio.” Fifteen minutes is a good length. Now, the students you come up with a list of things you can do that are fun professional, polished and organized. Your supplies are Materials: must plan and problem solve...how much time do they that don’t require money? What about using old toys? at hand and you are ready to go. The only thing you have for each item they wish to include? They may have to Fixing something that is broken? Using things that you • Music Express Recording of “On the Radio” need now to improve your Sub Survivor skills is... take out some information. This requires active teacher • pencils and lined paper for writing and planning already have? Are there things your family does together, guidance! more lesson ideas! using things you already have, to have fun without • a tape recorder and blank tape or CD recording system. How do the students want to include the information? Does New lesson ideas keep your teaching fresh and your spending money? their favorite radio show include a separate time for each students interested. Especially if you sub in a few schools Step 1 See how many ideas you can gather. Then, have the report of news break, or does the disc jockey include some consistently, you want to be sure that you are presenting The Song students join the model and sing along with the song to information between favorite songs? Make a choice for your new material with each visit. This strategy will keep your Listen through “On the Radio.” As the students listen, have review the text. broadcast, then, practice! students challenged and give you the Sub Survivor edge. them maintain the steady beat by tapping one finger on This year, Sub Survivor will focus on providing lessons, Step 3 their knee. Take a moment to talk about the musical Step 5 lessons and more lessons. Find the ones that will work character of the song. What is the style of this song? What Picture this! for you and add them to your carefully filed store of makes it sound like “rock” music? Then have the students On the Air! Distribute the plain paper and colored pencils or crayons. musical treasures. Let’s get started with a Primary level listen again. What is this song saying? Record the show! Use “On The Radio,“ sung by the whole Have your students draw a picture of an activity of their lesson on “Ain’t We Got Fun?” and an Intermediate class, to start the “broadcast.” You will need sound effects choice based on the discussion you just had. As they draw, lesson for “On The Radio.” Step 1 people, people with cue cards, singers for the hit songs, etc. have them listen to the song once or twice more. They will Have a great school year, everyone! The Discussion The teacher must be actively involved in assigning duties be singing along as they draw. and making sure everyone is included in this effort. What is your favorite radio station? Get a list going on the Fun, fun, fun! board. Step 4 Lesson Notes For the Lower Grades Besides those great hit songs, what do these stations include Tell them about it. For your broadcast “hit songs,” you could use the songs Materials: in a broadcast day? What information can you get from the Using the pencils and lined paper, have the students write a from music class that students have enjoyed. I suspect, radio? (News? Weather? Sports? Celebrity reports?) • Music Express Recording of “Ain’t We Got Fun?” description of how they or their family or friends might however, that the students will ask to include songs they • Colored pencils or crayons, pencils and pens have fun without spending money. You might wish to have like from the radio. the students share their responses. Step 3 • Drawing paper and lined paper. Rather than including recordings of the hits on the radio, Collect Broadcast Ideas have your students sing them. Singing the song a capella Step 1 Step 5 Develop your own school centered radio show! You could would be great. Remember to keep them short...you only do this as a class, or break into small groups. The Song Ain’t we got displays? have fifteen minutes. So perhaps only singing one verse, or A song about ...fun! If you are in a long-term subbing situation, you can create a Develop a School News Break, including items that are news the chorus to a favorite is a good idea. Listen through “Ain’t We Got Fun?” As the students listen, hall display, by putting out the drawings and writings of in your school: Did Ms. Jones just have a baby? Did Susie One note of caution: Some of the songs our students are have them maintain the steady beat by tapping one finger your students. Be sure to include a description of the lesson Smith win the local spelling bee? Include items such as listening to are certainly not school appropriate in content. If on their knee. Take a moment to talk about the musical activity you did with the students. these in your news section. your students wish to include popular songs in the broadcast, character of the song. Is it upbeat or slow? Are the rhythms Develop a School Sports Report: Did the 5th Grade Baseball they must perform them for you first. No foul language or smooth or bouncy? Then, have the students listen again. team win this week? What about that kick ball game that questionable lyrics are permitted! This is a kid-friendly show! What is this song saying? What are the problems with which these people have to deal?

40 August/September 2004 August/September 2004 41 Student page 2 Resume shoulder drops Point to audience on “you,” clap on “like,” Page 6 Music Explosion! Thumbs to self on “me” reach over audience’s head on “star” b 2 / 19 b b œ Œ‰j œ œ œ ‰ j œ œ œ ‰ j Words and Music by & nœ œœ bœ œ œœ bœ œ œœœ JOHN JACOBSON and ROGER EMERSON - sion! Like a bolt from the blue, rock - ing me, shock - ing you, like a star Step clap on beats 1 and 3 b b b Driving Rock (Œ = 138) b b b b b b b b b E> G 6 A A /E E A /E E A /E E b œ ˙~ w w b 4 j j j & b b Œ‰œ ˙ ~~ bw w & b b 4 ∑ ‰ œ œ œ œ œ œ œ œ œ œ œ. ‰ œ œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ drums f ? j j ? 4 ˙ œ œ w bb ‰ j ‰ j ‰ j ‰ j ‰ ‰ bbb 4 ∑ ∑ œ œ b œ œ œ œ œ œ bœ œ œœœ œ œ œ œœœ œ ˙ œ w 16

Burst R hand high to low Step claps (3rd time)To Coda fi Half the cast double time the claps so that you are clapping on each beat b b b b b b b b b b b b b b & b b œ bœ œ œ œ œ œ œ œ nœ ŒÓ ∑ ∑ A /E B /E A j/E E A /E j E A j/E E bb ‰ ‰ 2 & b œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ 4 im - plod-ing, mu- sic ex-plo - sion! œ. œ ˙ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ b b b b b b b b b b . BB Aœ/Eœ œ Eœ Aœ/Eœ œ œ Eœ A /E E b # #˙ n n˙ œ œ œ œ œ œ œ œ œ. ? b ˙ œ œ w ˙ œ œ w 2 & b b n ˙ b ˙ Œ œ ‰ œ Œ œ œ œ œ b b ˙ œ œ œ w ˙ œ œ œ w 4 œ œ œ œ 5 j j

? piano accompaniment bb nœ œ ‰ œœb œ ‰ œ w ˙ œ œ œ œ w With feet apart face downstage R b w ˙ œ w Do a fancy spin, ending up facing On beats 1 and 3 bend knees 19 downstage R with elbows in and f and drop R shoulder down b 2 4fingers ready to snap % 1st time: Taking small baby side steps L, fists straight down at sides, & b b 4 ∑ 4 ∑ Œ œ œ œ œ œ œ . œ œ Œ‰j œ drop shoulders down on beats 1 and 3 œœ 2nd time: Slap legs Put arms out Point R hand high on “like” to sides like wings It’s a mu-sic ex-plo - sion go-ing on b Fj b b b b b b b ∑ ‰ œœœ œ œ œ œ œ œ Œ A /E B sus B^ E & œ œ b 2 4 j >œ ˙~ piano accompaniment & b b 4 œ œ 4 œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ . Œ‰œ ˙ ~~~ It’s like an o-cean set in - to mo - tion. œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ It’s like a jet plane read - y to take off. œ. J b b b b b b b b b A /E E A j/E E A /E j E j j ^j bb ‰ ‰ ? b 2 œ. œ 4 ‰ œ œ œ œ œ œ œ œ ‰Œ Ó . ‰ j ‰ j & b œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. b b 4 œ. 4 œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. 9 œ œ œ œ œ œ œ œ œ F ? bb ˙ œ œ œ œ w ˙ œ œ œ œ Continue shoulder drops and Continue shoulder drops and hold heart in Burst R hand b ˙ œ w ˙ œ hold head in both hands both hands. Clap on “like,” point R hand high to low 23 b over audience’s head on “rock” b b œ œ ‰ j œ œ œ ‰ j œ œ œ œ & bœ œ œœ bœ œ œœœ œ bœ œ œ Reverse baby steps and shoulder drops to move R in my head, com - ing out of my heart, like a rock - et. It’s a mu - sic ex - plo - b Pull fists toj heart Clap burst b b b b b ‰ œœœ œ Œ b G 6 A #BB˙ n˙ & œ œ œ œ œ œ b b w w #n ˙ nb ˙ & bw It’s like a storm that’s gon - na let go. Ab b fi - re crack - erb readb b - y to fly!b b ? j j j j j j b A j/E E A /E B /E bbb ‰ ‰ œ œ ‰ œœœ ‰ œ nœ œ ‰ œœb œ ‰ œ b b ‰ œ œ œ œ bœ œ œœœ œ & œ œ œ œ œ œ œ œ œ ˙ 13 œ œ. œ ˙ ? b w ˙ œ œ b b w ˙ œ œ œ The original subscriber of Music Express has permission to reproduce this song for instructional use only. 26 Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved 42 August/September 2004 August/September 2004 43 Point R hand low to high, then lower it open like a “rain hand” Fists at sides, feet together, slowly plié Hold head Hold heart Clap Point R hand b Step clapsj Point R jhand high 2 b œ Œ‰j œ œ œ ‰ j œ œ œ ‰ j & b b ‰ œœœ œ œ œ œ œ œ œ œ Œ ‰ œœœ œ œ œ 4 & œ œœ bœ œ œœ bœ œ œœœ

sion go - ing on in my head, com - ing out of my heart, like a rock - It’s like a moun - tain, a might-y foun - tain. A new vol - ca - no b b It’sb bso e-lec - tric,b sob b py - ro - tech - nic,b justb blike the sky onb the F> A 6 B A /E E A /E E A /E E œ ˙~ w w b j j j & b Œ‰œ ˙ ~~ bw w & b b ‰ œ œ œ œ œ œ œ œ œ œ œ. ‰ œ œ œ œ œ 42 J œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ ƒ j j j j ? w ˙ œ œ w 2 ? ‰ j ‰ j ‰ ‰ ‰ ‰ bbb œ œ 4 b œ œ œœœ œ bœ œ œœœ œ œ œ œœœ œ w ˙ œ w 40 28

Do a little jump rippling it from the front Burst R hand high to low Resume shoulder drops Thumbs of the choir to the back, fists still at sides to self Face downstage R Clap bursts and peel from front to back f (3rd time) D.S. al Coda b œ bœ œ œ œ œ œ œ œ nœ Œ‰j œ œ œ bœ ‰ j œ bb 2 4 w . & œœ œ œœ & b 4 œ œ œ œ 4 Œ œ œ œ œ œ œ . - et. It’s a mu - sic ex - plo - sion! Like a bolt from the blue, rock - ing me, read - y to blow! b b } It’s a mu - sic ex - plo - bD˙ C˙ F> A 6 Fourthb b of Ju - bly! b b ˙ ˙ œ ˙~~~ w A /E B sus B^ & b Œ‰œ ˙ bw b 2 4 j J b b œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ . & 4 œ œ œ œ 4 œœ œ œ œ œ œ œ œ œ piano accompaniment œ. œ œ œ œ œ œ œ œ œ ? j j j . f b bœ œ ‰ œ œ œ ‰ œ ‰ j ‰ j bœ œ ‰ œœœ ‰ œ ? 2 j 4 ^j J œ œ œœœ œ b œ. ‰ ‰Œ Ó . 43 b b 4 œ. œ 4 œ œ œ œ œ œ œ œ 31 œ œ œ œ œ œ œ œ œ Point to Clap Reach R jazz hand Burst R hand high to low audience Lunge to the L in a 4-group peel off Lunge to the R in a 4-group peel off fiCODA① ② ➂ ➃ ➃ ➂ b œ œ ‰ j œ œ œ œ œ ŒÓ b cresc. & bœ œ œœœ œ bœ œ œ nœ & b b ˙ ˙ ˙ ˙ n˙ shock - ing you, like a star im - plod-ing, mu - sic ex - plo - sion! piano accompaniment ˙ b b Ah ah B bD˙ C F> b b b b b b w b ˙ ˙ œ ˙~~ b B B /A B /G B /F CC/B & b w ˙ Œ‰œ ˙ & b b ˙ J ˙ ˙ ˙ ˙ n˙ cresc. ? j j j ? b œ œ ‰ œœœ ‰ œ bœ œ ‰ œ œ œ ‰ œ ‰ j ‰ j bb œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œœœ œ b œ œ œ œ œ œ œ œ œ œ œ œ 46 34

Step claps Continue Reach R hand from Everyone jump like there As before: step claps shoulder to over the ② ① b has been an explosion ƒ Dip R shoulder b Œ œ œ œ œ œ ŒÓ Œ œ œ œ œ œ œ audience’sŒÓ head & b b ˙ ˙ ∑ Œ œ œ œ œ œ œ b & bœ œ nœ bœ œ nœ It’s a mu- sic ex-plo - sion! It’s a mu -sic ex-plo - sion! It’s a mu - sic ex - plo - b b b C/A C/G C A 6 B bD˙ C F5 ^ w w b ˙ ˙ j j b j & b bw w ˙ Œ‰ ‰Œ b ˙ œ ‰Œ Ó Œ œ œ œ œ œ œ b œ œ & b ˙ nœ œ œ œ > > j j j j j ^ ? b ‰ ‰ œ œ ‰ œœœ ‰ œ bœ œ ‰ œ œ œ ‰ œ Œ‰ j ‰Œ ? bb j ‰Œ Ó ∑ b bœ œ œœ œ œ J œ œ œ b nœ œ œ œ œ œ œ œ 49 >>> 37 œ

44 August/September 2004 August/September 2004 45 Student page 4 Page 8 On the Radio 3 / 20 Words and Music by Pretend to steer a car with R hand Wipe a la “safe” in baseball Pretend to hold a boom box on R shoulder JOHN JACOBSON and JOHN HIGGINS # L R L R and bounce 4 times by bending knees j ( = j Driving Rock 116) 1 bœ œ œ œ œ œ bœ œ œ Œ œ œ œ During the introduction, everyone should incorporate favorite hip-hop moves in a free-style fashion & œ œ œ œ œ nœ œ # E m7 E5 C sus2j D sus2j E m7 E5 C sus2j Dsus 4 j ‰ j ‰ œ œ Œ j ‰ j ‰ j Œ . play it in the car. It’s nev - er out of reach. Take a - long the boom box, lis - & 4 œ œ œ œ œœ œœ œœ œœ œ œ œ œ œœ œœ œ œ b œ œ œ œ œ œ œ œ œ œ B /C A m/C G m/C B/Cj A m/C G m/C Fmaj7 G m/F F Fmaj7j œ œ # bœ ‰ œ œ Œ & n œ œ œ œ œ œ œ œ œ nœ ‰ œ ? # 4 j ‰ j j j ‰ j j . œ œ bœ œ œ œ bœ œ bœ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ j ? # œ œ œ œ ‰ œ œ œ œ œ Œ ‰ j Feet apart, pretend to hold nœ œ œ œ œ a radio to R ear, tilt head Point L hand at audience Repeat head tilts 2 % 16 œ œ œ œ œ œ œ # L R j j L R nœ œ œ œ & Ó Œ . œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Lunge L with L hand to ear Grab air with R fist at head level Shrug On the ra - di - o, it’s your fav -’rite song. On the ra - di - o, you’ll be # ‰ j E5 E m7 E5 C sus2 D sus2 E m7 E5 & œ œ œ œ bœ œ œ œ œ œ bœ œ œ # œ j j nœ œ nœœ nœ bœ œ & œ ŒŒ . œ j ‰Œ œ œ œ œ œ j ‰Œ œ œ œ œ œ œ œ œ œ œœ œœœ œ œ œ œ œ ten at the beach. And you can catch the news no mat - ter where you are. But the œ œ œ œ b b b b b b b b # G m/F F A /B G m/B F m/B A j/B G m/B F m/B ? # œ ŒÓ . ‰ œ ‰ œ ‰ j bœ ‰ œ œ œ . j j j & œ nœ œ œ nœ œ nœ œ piano accompaniment œ œ. œ œ ‰ œ œ. œ œ ‰ œ œ bœ œ b œ bœ œ œ œ bœ œ bœ 5 œ. œ œ œ œ b œ b œ ? # j Pulll hands to opera hands Step Clap Point both hands Œ bœ œ œ œ ‰ œ œ bœ œ œ Œ # with feet together L R at audiencej j Thumbs to self œ nœ œ œ œ œ 19 bœ œ œ œ œ bœ œ & œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ Drop shoulders 2 times L 2 sing - in’ a - long. It’s the sta - tion that plays the ones for you and me, and it’s Step clap Point R hand high to low then 2 times R as leaning at the audience that way a la “Music Express” sus2 m7 # L R j j # C D5 E A Gsusj Gj & œ œœœ œ œ œ œ ˙ Ó Œ . ∑ ¿Œ ¿Œ piano accompaniment & œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ #œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ best part’s hear-ingyour fav- ’rite star! On the K! Y! b b ? # œ j j Œ E maj7 Dsusj Dj F/G Gj B /C C j œ œ œ œ. œ œ # œ œ œ . œ œ Œ bœ Œ œ œ. œ œ œ œ. & œ œ œ œ œœ œœ œ ˙ œ . nœ. œ œ n œ œ Œ 9 bœ œ œ œ œ œ œ ˙ œ œ œœ œ. œ œ œ fi j (3rd time) To Coda Stand with feet together and cup R hand over R ear ? # œ œ. j œ œ œ Œ . j œ ‰ œ œ Œ One Cabbage Patch L Four people could hold up the call letters as they are sung 1 j œ . # bœ œ œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œœœ œ Œ œ w Ó Œ œ 22 & œ œ œ Step Slap Show both thumbs to # Repeat m. 26 L R audience from high to low Repeat m.26-29 all on Ra - di - o K-Y-D - Z! You can ¿‰¿Ó ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Ó ¿Œ ¿Œ # Dsus DDsus2 D Gmaj7 j F/G Gj & œ œ œ œ Œ œ œ. œ ˙ œ. œ œ œ J & œ œ œœ œ œ œ œ. œ ˙ nœ. œ œ œ œ D!b Z! We’ll be there to rock with you A-S-A-P! K!b Y! # B /C Cj G G7 B /C C ? # œ œ œ œ w j ‰ j bœ ‰ œ Ó nŒÓœ œ œ œ œ Ó bœ Œ œ Œ œ. œ œ ‰ œ. œ œ œ & n œ œ œ nœ œ œ œ n œ œ 12 œ œ œ œ w œ ? # j j j j œ ‰ œ œ Œ œ ŒÓ œ ‰ œ ‰ œ œ œ œ ‰ œ œ Œ 27 œ œ œ œ The original subscriber of Music Express has permission to reproduce this song for instructional use only.

Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved 46 August/September 2004 August/September 2004 47 Student page 6 Page 10 Ain’t We Got Fun? 4 / 21 Words by GUS KAHN and RAYMOND B. EGAN Music by RICHARD A. WHITING In 4 groups, each spell out Arranged by TOM ANDERSON # one letter with body & ¿‰¿Œ. ¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Ó ¿Œ ¿Œ Bouncy 2-beat (Ó = 100) Shrug L hand J J J J b Part II . Optional 2nd time & b C ∑ ∑ ∑ ∑ . w D!b Z! For blues and coun - try, it’s the M-V - P! K!b Y! # B Cj G G7j j E /F F bœ ‰ œ Ó nŒœ Ó œ œ œ Ó bœ Œ œ Œ morn - & n œ œ œ nœœ œœ œœ œ nœ b Part I All unison first time œ œ œ œ œ œ b œ & b C ∑ ∑ ∑ ∑ . Œ j j œ. œ #œ œ. ? # ‰ Œ ŒÓ ‰ j ‰ œ ‰ j Œ œ œ œ œ œ œ œ œ Ev-’ry morn-in’, œ œ J nœ œ œ b b (# ) b 31 nœ b B 6 j G 9 j C m7 œ. F 13 j B 6 rF 7 5 B 6 j . b C ‰. œ. #œ œ. ‰. nœ. #œ œ. ‰. bœ. nœ œ œ œ‰. . . ‰. œ. #œ œ. Punch side of R fist across front & œ œ œ œ. œ œ œ œ. œ œ J œ œ œ œ œ bœ œ œ œ n œ œ. 2 times then L fist 2 times . œ œ #œ œ. œ # Wipe a la “safe” Spell the letters with body F œ œ œ & ¿‰¿Œ. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Ó ¿Œ ¿Œ J J J J ? b C Œ Œ Œ œ Œ œ Œ Œ . Œ Œ b œ œ œ œ œœ œ œ œ œ D! Z! For sal-sa, jazz or hip-hop, it’s nev- er off key! K! Y! b b E /F F G m9 E /F F # j Make 2 opposite circles per measure Wipe like safe bœ ‰ œ Ó ŒÓ Ó bœ Œ œ Œ with both jazz hands in front of chest in baseball & b œ nœ nœ nœ œ œ œ b œ nœ bShrug R hand j Shrug both hands b œ b œ œ œ œ œ œ w w piano accompaniment & b w Œ œ œ œ J œ œ œ ? # j ‰ j Œ ŒÓ ‰ ‰ œ bœ ‰ j Œ in’, ain’t we got fun? Don’t have much mon - ey, nœ œ œ œ œ œ J œ nœ œ œ b 35 nœ œ nœ & b Œ j Œ j j Ó j j Clap on Both fists to œ. œ #œ œ. œ œ œ œ ˙ œ œ œ œ. œ œ œ œ. Step Slap rest shoulders then present high jazz hands # L X R X X D.S. al Coda ev-’ry eve-nin’, ain’t we got fun? Not much mon -ey, oh, but hon- ey, ¿‰¿Œ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ ¿ · ~ Ó Œ & ~~~ œ j F7 J ~ œ b œ. #œ œ. œ. œ œ nœ œ. œ œ œ œ. œ. œ œ. œ. œ. œ œ. & b ‰.œœ. œ œ œ. ‰.œœ.œœ œ .œœ.œ œ œ . œ . œ œ œ. . œ . œœ œ. piano accompaniment D! Z! And the best thing a - bout it is: It’s FREE! On the . J J J b J E /F Fj Dsus # œ œ œ œ œ & bœ ‰ œ Ó œœ œœ œœ œœ œ ŒÓ Ó Œ ? b Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ b œ nœ œ œ œ œ œ œ œ b œ œ œ œ œ œ 6 ? # ‰ j Œ œ ŒÓ œ œ œ œ Pretend to put hands in Pull out empty nœ œ œ œ œ œ œ œ œ œ œ œ bRepeat circles in opposite directions pockets (or really do) pockets Wipe like safe 39 nœ b Œ œ œ #œ œ ˙ Ó ∑ ∑ ∑ fi All scoop both jazz hands & J J Coda Stop with hands palms out from low to high Letter holders hold up the letters End in a present high # to sides Uw ain’t we got fun? & Ó ˙ ˙ w ∑ b j ˙ w b Œ j Ó Œ j . œ‰j Œ & œ œ nœ œ ˙ œ #œ œ œ œ œ K-Y-D - Z! œ ˙ œ œ # N.C. œ œ Gmaj7U N.C.^ b ain’t we got fun? b b The rent’s un - paid, dear, b b we have-n’t a car. œ w B 6 B 7 E 6 œ j E m6 B 6/F & Ó Œ œ Œ œ Œ ww ŒÓ b œ. œ #nœ œ œ. œ. nœ œ #œ œ. œ œ & b ‰.œ œJ œ œ œ. œ œ. œb œ œœ Œ œ œ œ. ‰ bœ ˙ Œ œ œ J J œ ˙ œ œ œ œ œ ? # U ^ ŒÓ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ bb œ Œ Œ œ Œ œ œ œ Œ œ Œ Œ œ w 43 w œ œ œ bœ œ Œ œ Œ 11

The original subscriber of Music Express has permission to reproduce this song for instructional use only.

Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved 48 August/September 2004 August/September 2004 49 Wipe hands off four times moving them from Hold face in L hand Add R hand to R cheek Shrug L Shrug R stage L to R Thumbs to self b bb ∑ ∑ ∑ ∑ Œ & b ∑ Œ œ w w & œ œ œ œ œ So in the mean - time, We owe the b j bb œ bœ œ œ Œ j Œ j b Ó Œ j œ ‰ œ ˙ Œ ŒÓ & œ. œ œ & ˙ œ nœ œ. œœ œ nœ œ œ œ œ œ. œ #œ œ. œ. œ #œ œ. œ ˙ rich get rich and the poor get poor - er. In the mean - time, in be -tween time, But an - y - way, dear, we’ll stay where we are. b b b b b (b ) (b ) E 6 E dim7 B 6/F G m7 E m6/G B 6 j G 9 j B 6 G m7 D m Dœm7 j G 9 E m7 5 A7 9 D m C m9/F F 7 b œ œ œ. #œ œ. œ. #œ œ. bb œ #nœ œ. nœ œ œ œ & b œ œ œ œ œ œ bœ ‰. œ œ. œ œ œ. ‰. œnœ. œ œ œ. & ˙ Ó Œ œ œ œ. ‰ œ ˙ Œ œ œ œ nœ œ œ œ œ bœ nœ œ œ . . ˙ ˙ J nœ ˙ bœ œ œ œ bœ ? b œ nœ œ œ bœ œ ? b w Œ Œ œŒ ˙ œ œ b Œ Œ Œ Œ Œ Œ œŒ b œ œ œ œ œ #œ˙ œ œ œ œ œ œ nŒœ Œ œ œ 31 16 Slap thighs Slap thighs with both with both Four opposite circles with jazz hands R “money” hands Circle jazz hands 4 times 1 2 Chug L hands Chug R hands Shrug L Shrug R as before from L to R j Optional j b j bb Œ œ œ Œ . ˙Ó Œ œ œ ˙Ó & b Œ œ œ œ œ œ œ œ w & œ œ J œ œ œ œ J w w J œ œ piano accompaniment ain’t we got fun? Oh, ev - ’ry Ain’t we got fun? gro - cer, don’t we have fun? He’s get - tin’ clos - b bb Œ j Ó . Ó Œ j Ó b Œ j Œ j Œ j j Ó Œ j & œ œ j . œ œ j & œ. œ #œ œ. œ. œ #œ œ. œ œ œ œ ˙ œ. œ œ œ. nœ œ ˙ ˙ œ œ ˙ E - ven if we owe the gro-cer, don’t we have fun? Tax col-lec-tor’s ain’t we got fun? b (# ) b Ain’t we got fun? b b b C m7 F 13 B 6 C m9/F F 7 5 B 6 G7j C m7 F 13 B 6 D 9 B 6 F 7 F7 œ. j œ. œ b j j œ œ œ œ œ œ bb ‰. bœ. nœ œ œ œ œ œ œ . œ œ. œ nœ. ‰. bœ. œ ‰ Œ œ bbœœ œ b ‰. œ. #œ œ. ‰. œ. #œ œ. ‰. œ. œ œ nœ œ. œ. œ œ ‰. œ. œ œ. & œ œ J œ œ œ œ œ . œ œ œ œ. œ œ œ œ œœ œ bœ & œ œ œ œ. œ œ œ œ. œ œ J J œ œ œ œ J œ œ œ J piano accompaniment ? œ . ? b bb œ Œ Œ œ Œ . œ Œ Œ œ Œ œ œ Œ Œ b œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ œ œ œ bœ œ œ œ œ œ 35 21 Present “L” arms facing 4 circle jazz hands as before Burst both hands, palms out high to low Clap, slap thighs, clap stage L Home Alone hands to face Repeat circles Wipe like safe b Spoken b œ œ œ ˙ j ˙ b ˙ ˙ w ∑ Œ ¿ ¿ ¿ ¿ ¿Œ · & b w Œ J #œ J Ó Œ œ œ œ. œŒ & w J J Ain’t we got fun? Ain’t we got fun? Yeah! er, still we have fun. There’s noth- ing sur - er. b bb Œ j Œ j j Ó Œ j œ. nœ & b w ˙ ˙ ∑ Œ ¿ ¿ ¿ ¿ ¿Œ · & œ. œ œ œ. œ œ nœ œ ˙ œ #œ œ. ˙ J w J J Ain’t we got fun? Ain’t we got fun? Yeah! get -tin’ clos- er, still we have fun. There’s noth- ing sur - er, the b b b b b b b C m7 C m7/F F 13 B 6 Bœ6/Dœ Eœ9 œ E dim7œ #œ. nCœm7œ /F Bœ6 B 6 B 7 E 6 D 7 Gœm7 œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ b œ. œ œ. œ nœ œ œ. . œ #œ œ. #˙ œ bb nœ ‰‰œ Œ œ ‰ œ ‰‰ œ Œ œ ‰ œ ‰Œ œ œ ‰ bœ #nœ œ œ. b œ ŒÓ Ó œŒœ b ‰. œ. œ œ. ‰. œ œ # œ œ œ. œ. bnœ œœ Œ œ œ œ. ˙ œ Œ & œ œ œ œœ œœ œœ œ J & œ œ J œ œJ J œ œ J J J J ? ? b ŒÓ Ó Œ bb œ Œ Œ œ Œ Œ œ Œ œ œ œ Œ œ Œ œŒ Œ b œ œ œ œ œ œ œ nœ œ œ œ œ œ œ 40 œ nœ œ œ œ œ œ œ 26

50 August/September 2004 August/September 2004 51 Student page 12 In a 3-group peel off from L to R step out L and punch R fist into air, left fist on hip Page 14 The Quest ① ② ➂ All change to a point 6 / 23 Words and Music by b w œ .(Œ = 152) and point high to low JOHN JACOBSON and MARK BRYMER & b Œ ˙ . j œ ˙. Œ Arranged by MARK BRYMER œ. œ œ With mystery (Œ = 144) Standby position with heads down turn! So On we go! N.C. œ œ œ œ œ œ b b œ œ œ œ œ œ œ œ œ œ E m6/F F7sus B (add9) bb 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bœ œ ˙˙ & 4 J & b bww œ œ ˙˙ . w ˙ ww ww œ œ œ. œ ˙ w w ? 4 œ. œ œ œ ˙. œ œ. œ ˙ j j j j bb 4 ∑ œ ˙ . œ œ ˙ ? b j Œ j . ‰ Œ‰ ‰ ‰ j ‰ J J b œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ 17 œ. œ œ œ. œ œ œ œ œ

Lift chins slowly to look at audience b (Œ = 132) (Œ = 138) Repeat mm. 19-20 Bring feet together & b ∑ ∑ ˙. ‰ j b j œ j œ œ œ œ œ œ œ & b œ. œ œ œ ˙Œœ œ œ œ œ ‰ œ œ œ Deep in my heart I yearn For b b b b b On we go! On this mar - vel - ous QUEST, we’ll give it G b(add9)œ. Bmaj7bœœ A m7 B 7sus ˙ E 2 B /D b b b b b b œ œ œ œ Ó r E (add9)/B F/B E /B & b œ. œ œ bœ bbœ bww œ ˙ w w b J ww ww w & b w w ˙ Œ œ bœ œ œ w w ww ww ˙ œ bœ. b œ œ w w ˙ œ piano accompaniment ? b œ. bœ w bb J w w ? j j j j j bb œ ‰ œ Œ‰œ œ ‰ œ ‰ œ j ‰ œ. œ Œ œ 5 œ 21 œ œ œ œ œ. œ œ

b Bring R fist Present R hand, palm up from L to R Repeat mm. 19-20 & b œ œ œ ˙ Œ ˙ œ to heart then lower the hand to side œ œ œ œ œ œ œ œ œ œ œ bb ‰ j ∑ j & œ œ œ w œ all the truth I can learn. My des - tin - y is to see what might œ œ œ. œ œ piano accompaniment b b b Cm11 B (add9) A 2 D 6 our best, we’re on our own! On we go! b 9 b b b b b b & b ww w œ ˙˙ œ œ E maj7/F F7( 9) B (add9) A (add9) D maj7 F 7sus B (add9) w œ œ ˙ bww w bb œ Œ œ œ œ œ J J w w & œ œ w œ œ ˙ œ œ œ œ œœ w ? b œ œ bœ wœ œœ œ œ œ ww b w w bw œ œ wJ J w bbw j j j j 9 ? b ‰ ‰ œ. j ‰ Œ‰ b œ œ œ œ œ œ œ œ œ bœ. œ œ œ œ œ œ 24 œ œ œ œ œ œ bœ œ œ œ b (Œ = 148) j Faster (Œ = 152) & b ‰ œ w œŒœ œ Wipe like “safe” w œ œ œ Repeat mm. 19-20 in baseball b j j be. This is my chance! It’s my & b Œ œ œ œ ˙Œœ œ œ œ œ œ ‰ œ œ b ˙. œ. œ E /F œ bb œ ˙ w œ œ ˙ On we go! Not a mo-ment of rest while we’re on & ww œ œ ˙˙ w œ ˙˙ b b b b b w œ ˙ b E (add9)/B F/B E /B & b w w ˙ Œ œ ? b j Œ j j Œ j ww ww ww ˙ œ b œ. œ œ œ. œ œ œ œ. œ œ œ. œ œ œ w w w ˙ œ 13 œ. œ œ œ. œ œ. œ œ œ. œ ? b ‰ j ‰ j j ‰ ‰ j Œ‰j ‰ j ‰ j j ‰ j Œ b œ œ œ œ œ œ œ œ œ œ œ œ. œ œ The original subscriber of Music Express has permission to reproduce this song for instructional use only. 28 œ œ œ œ œ œ œ. œ œ Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved 52 August/September 2004 August/September 2004 53 R fist to Point R hand from L to R Repeat mm. 19-20 R fist to heart Point R hand R fist to b heart then lower it b j j L to R shoulder & b œ ‰ j ∑ & b œ œ œ ˙ œ œ œ œ ‰ œ ˙ Œ œ œ œ œ œ w œ. œ œ œ the QUEST to parts un - known. On we go! Come a - long if you dare, and we’ll share The b b b b b b b b b b b b b b b E maj7/F F7( 9) B (add9) Fm7 A maj7/B B E (add9) Cm7( 5) E m6/G E /F F/E E maj7/B E m6/F j bb œ Œ œ b œ ˙ j œ œ & œ ˙ . œ bœ œ œ œ & b ˙ . œœ ˙˙ . œ Œ œ œœ. œœ œœ Œ œ œ œ ˙˙. œ bœ œ ˙œ œ ˙˙. bœ ˙ b˙˙ nœ. œ œ bœ . œ œ œ bœ ˙ . . J ˙ . ˙ œ. ? j j œ œ j j bb œ œ ‰ œ œ ‰ œ œ œ. œ œ œ ? bb œ ‰ œ Œ œ ‰ œ œ j Œ œ j Œ œ œ œ œ. J œ b˙ œ. œ nœ œ. œ œ 32 œ œ œ œ œ œ 45 œ œ œ œ œ b˙ œ. œ nœ œ. œ œ Step back with R foot facing More 3-group peel offs, step with R foot slightly forward and look downstage L downstage R Raise R jazz hand from shoulder slowly up, then grab the Raise R jazz hand from shoulder slowly up, then grab the b ① ② ➂ ① ② air in a fist as though seizing the day on beat 1 of m. 50 air in a fist as though seizing the day on beat 1 of m. 52 b œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ 1 2 Hand & œ œ œ œ b (Œ = 148) (Œ = 148) n(Œ = 152) down J J & b ˙Ó ∑ . ˙Ón ∑ Seek - ing the an - wers to what life is a-bout. Seek -ing ad-ven - ture with - Wind-b mills or moun - tains won’t stand in our way. In ev - ’ry bat - tle we’ll QUEST! QUEST! E (add9) Gm9 Cm11 b b b b B (add9) E (add9)/F B (add9) F/Gj G & b œœ œœ œœ œ œ œ œœ œœ œœ b œ œ ˙ . œ n œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ & b œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ n œœ œœ œœ œœ ‰ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ piano accompaniment ? œ bb ‰ j ‰ j ‰ j ˙ œ œ ˙ œ œ ? b . . . n ‰ j 35 ˙ œ œ b ˙ œ ˙. œ ˙ œ n œ œ œ œ œ œ 49 ˙. œ ˙. œ œ œ œ œ œ œ

➂ Bring feet together and face front R fist to R shoulder bb œ Œ œ œ œ œ œŒ œ œ œ œ œŒ Repeat mm. 19-20 Repeat mm. 19-20j & œ œ œ œ & j œ ˙. Œ œ œ œ ˙ Œ œ œ œ. œ œ œ. piano accompaniment in and with - out. Want - ing to learn! Want - ing to shout! On we go! On we go! On this carb - ry the day. bO-ceansb to cross! Dra - gons to slay! b B /D B sus/G j j Bmaj7 j j C(add9) F(add9)/C b ˙ ‰ œ œ ‰ ˙ ‰ œ œ ‰ w w & œœ œ œ ˙˙ œœ œœ b˙ œ œ & ww ww ww ww œ œ œ œ œ œ ˙ œ œ ˙ œ œ w w w w ? b ‰ ‰ j j ‰ ‰ ‰ j j j j j j j j b j b˙ œ œ b˙ j j ? œ ‰ œ Œ‰œ œ ‰ œ ‰ œ j ‰ œ ‰ œ Œ‰œ œ ‰ œ ‰ œ j ‰ 38 ˙ œ œ b˙ œ œ œ œ b˙ œ œ 53 œ œ œ œ œ œ œ œ

Repeat mm.j 19-20 Repeat mm. 19-20 Feet together R fist to heart Present R hand L to R palm up, b ˙ j then lower to side & b œ. œ œ œ Ó j œ ˙. Œ œ œ œ œ ‰ œ œ œ ‰ j œ. œ œ & œ œ œ œ œ w On we go! On we go! b b b b mar - vel - ous QUEST, we’ll give it our best, we’re on our own! Cm7 Dm7 E E /F E m(maj7)/F B (add9) b b j ˙ ˙ G/C F/C Fmaj7/G G7( 9) C(add9) & b nœ. œ œ œ ˙ b˙ w w œ œ œ. œ œ œ ˙ ˙ ww ww & ˙ Œ œ œ Œ œ w œ œ ˙ w w ˙ œ œ œ bœ wœ j j j j œ œ wJ J ? b j ‰ Œ‰ ‰ ‰ j ‰ ? j j j b œ ˙ œ œ œ œ œ œ œ œ œ œ. œ Œ œ œ œ ‰ œ œ ‰ œ œ 41 nœ. œ œ œ œ œ œ œ œ œ 57 œ. œ œ œ œ œ œ œ œ

54 August/September 2004 August/September 2004 55 Student page 14 Repeat mm. 19-20 Repeat mm. 19-20 Page 18 Las polleras j j œ & ∑ œ ˙. Œ œ. œ œ 7 / 24 Panamanian Folk Song œ. œ œ English lyrics by JOHN HIGGINS b b On we go! On we go! Cuban Conga style (
= 120) B (add9) E maj7 G 7sus C(add9) F(add9)/C b Cœm œ œ œ œ Gœ7 œ œ œ œ Cœm œ œ œ œ Gœ7 œ œ œ Cœm œ œ œ œ Gœ7 œ œ œ œ œ œ œ œ w & b b 4 œœ œ œ ≈ œnœ œ œ ≈œ œ œ œ œ ≈ œnœ œ œ ‰ œœ œ œ ≈ œnœ œ œ ≈œ & œ œ œ œ œœ w ww ww J œœ œ œ œ ww w w ? œ. j j j j j j j ? 4 bœ. œ œ œ ‰ œ Œ‰œ œ ‰ œ ‰ œ j ‰ œ ‰ œ Œ‰œ bbb 4 bœ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ 60 œ œ œ œ œ œ œ. nœ œ œ. nœ œ œ. nœ œ

1 2 % Wipe like “safe” R fist to heart Point R hand b Instrumental break 3rd time L to R b ∑ . Ó Œ œ . inœ baseball j j & b . œ . œ. œ œ œ œ œ œ œ & ˙ Œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ 1. Va pa - san - do la con - ga las po - b con - ga, in line with hap - py Not a mo - ment of rest while we’re on the QUEST to parts un - C m œ œ G 7 œ œ Aœ. œ œ œ œ G C m G 7 b œ œ œ œ œ œ G/C F/C F/G G7 b b œ œ œ ≈ nœ œ œ ‰ . œ. œ œ œ œ n‰œ œ . . & œ œ J Jœ œ œ. œ œ œ œ œ œ & ww ˙ Œ œ œ Œ œ œœ w ˙ œ œ œ œ ? b . j ‰Œ . j j j j b b œ œ piano accompaniment ? œ ‰ œ ‰ œ j ‰ œ œ Œ œ œ œ ‰ œ œ. œ œ œ œ œ œ. œ œ œ œ œ . œ œ 4 œ. nœ œ œ. œ œ œ. nœ œ 64 œ œ œ. œ œ œ œ œ b j Slowly scoop R jazz hand from low to high with palm down and & b b ‰ œœœ œ. œ œ œ œ œ œ œ ˙ ‰ œ then out toward the audience. On the final cut off grab the the œ. J œœ air overhead with R hand as if your are seizing the day. œ œ Hand down Focus high and hold that pose lle - ras. A los a-cor - des de su rit - mo tro - pi - cal. Y pa - sa - w ˙ Œ œ ˙ Ó ∑ peo - ple. Oh, you can dance to all the rhy - thms in the air. And as you & C m j C7 F m b œ œ œ œ j piano accompaniment & b b œ . œ œ ‰ œ œ œ œ œ ˙ ‰ œ known. On the Quest! œœ. œ œ œ œ œ nœ œ œ œ ˙ œœ Fm6/C Fm6/G N.C.œ œ œ œ œ œ œ œ ˙ . œ œœ œœ œœ œœ œ œ œ œ œ œ œ œ ? & bœ˙ . b œ œ œ œ Ó bbb œ. œ œ œ œ œ œ ˙˙. œ. œ œ œ œ œ œ œ. nœ œ œ œ. œ œ œ œ. œ. . 7 ? j œ. œ œ œœ œ ‰ œ œ œ œ œ œ œ Ó ∑ J 67 œ œ œ œ œ œ œ bb œ œ Œ œ œ nœ œ œ & b œ. œ œ œ œ œ œ. œ œ nœ œ bœ œ œ & ∑ ∑ ∑ ∑ rán por las ca - lles ha - ba - ne - ras. A-le - gran - do nues- tro lin - do car-na- sway through the streets of old Ha - va - na, you’ll be spread-ing joy and friend-ship ev- ’ry- C m G 7 b œ œ œ œ C(add9) N.C. b b œ. œ œœœ . Œ nœ nœ œ bœ œ œ bœ œ. ˙ w & œ. œ œ œ œ œœ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ. ˙ w & œ œ w ŒÓ J ww œ ? b œ. w b b œ œ œ œ œ œ œ. . nœ œ œ . œ œ œ . œ. œ. œ œ œ œ œ œ œ œ ˙. œ œ œ bœ œ. ˙ w 10 ? ˙˙. œœ œ w ŒÓ J w œ 71 w œ The original subscriber of Music Express has permission to reproduce this song for instructional use only.

Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved 56 August/September 2004 August/September 2004 57 Page 20 8 / 25 Beat! Beat! Beat! Words and Music by b œ JOHN JACOBSON and MARK BRYMER b ‰ j œ œ Œ œ Arranged by MARK BRYMER & b œ œ. œ œ œ. Sway clap ˙ œ œ œ œ œ œ œ 3 = val. Y pa - sa - ran por las ca - lles ha - ba - ne - ras. A-le - 40’s Swing (Œ = 160) ( qq qe) b 6 b where. And as you sway through the streets of old Ha - va - na, you’ll be B m9 j j j j j j j F7( j9) b C m F m C m bb 4 ‰ bœ Œ œ ‰Œ bœ ‰‰œ Ó ‰ bœ Œ œ ‰Œ bœ ‰‰œœ Ó b b ‰ j œ. œ œœœ . Œ œ œ & 4 bœœ œœ bœœ œœ bœœ œœ bœœ bœ & ˙ œ œ œ œ. œ œ œ œ œœ. œ œ œ ? b 4 ‰ j ? bb œ. œ œ œ. b 4 œ œ bœ œ œ b œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ œ nœ œ bœ œ 13 œ. œ.

fi bb ∑ ∑ ∑ Ó Œ To Coda & œ œ bbb nœ œ nœ œ bœ Ó & œ œ œ ˙ b # # There’s a B m6 C7( 9 5) F 9 3 3 gran - do nues - tro lin - do car - na - val. j j j j œ spread - ing joy and friend - ship ev - ’ry - where. bb ‰ bœ Œ œ ‰Œ bœ ‰‰œ Ó Aœ œ œ œ bœ œ Ó G7 C m œ œ & n œœ œœ œœ œœ # œ œ œ œ œ œ b œ œ œ œ œ œ bœ œ bœ œ nœ œ œ œ bœ œ œ & b b nœ nœ œ œ bœ œ œ œ œ œ ‰ œ œ œ œ œ ˙ 3 3 ˙ J piano accompaniment ? bb œ œ œ œ œ Ó ? b œ œ œ œ nœ œ bœ bœ œ œ œ œ œ bœ œ œ œ œ b b nœ œ œ œ 5 œ œ. œ. . œ œ œ . œ œ œ œ 16 œ œ Sway clap Boogie both index fingers and wiggle hips % L R L R bb . œ œ ‰ j œ ŒÓ Ó j & œ œ œ œ œ œ œ œ œ ‰ œ œ œ b 1 2 3 D.S. al Coda b b Ó Œ œ . ∑ . Ó Œ œ beat in me Ma-ma, it makes me wan - na dance! Igota & œ œ b b piano accompaniment B 6 j B 7 2. 4. b j j j Join the Va pa b . ‰ œ Œ œ Œ œ ‰ œ Ó ‰ bœ Œ œ Œ bœœ ‰ œœ Ó (repeat 1st verse) & œœ œœ œœ œœ œœ œœ œ œ Gœ. œ œ œ œ œ Gœ. œ œ œ œ œ Gœ. œ œ œ œ œ bb nœ. œ œ œ œ œ ‰ œ . nœ. œ œ œ œ œ ‰Œ . nœ. œ œ œ œ œ ‰ œ & b œ. œ œ œ œ œ œ . œ. œ œ œ œ œ . œ. œ œ œ œ œ œ ? J J J bb . œ œ œ nœ œ bœ bœ œ œ œ œ nœ œ bœ bœ œ ? b j ‰Œ . j ‰Œ . j ‰Œ 9 b b œ œ œ . œ œ œ . œ œ œ œ œ œ Sway clap Boogie fingers again and wiggle hips 18 œ. œ œ. œ œ. œ L R LR fi bb œ œ ‰ œ bœ œ œ ŒÓ Ó ‰ j Coda & œ œ œ J œ œ œ œ œ œ b & b b Ó ∑ beat in me Dad-dy, it makes me wan - na dance! I wan-na ˙ b b # b E 9 B 7( 9)j B 7 b j j bœ j val. & b ‰ œœ Œ œœ Œ œœ ‰ œœ Ó ‰ b œ Œ œœ Œ bœœ ‰ œœ Ó C m F m C m N.C.^ ^ ^ bœ œ bœ œ nœ œ œ œ bbb œ œ œ œ. œ œ œ œ œ ‰ Œ & œ œ œ œ œ. œ œ œ œ œ ? œ œ œ œ bb œ œ bœ œ œ œ ^ ^ ^ œ œ œ œ œ nœ œ bœ bœ œ ? b œ ‰ œ œ œ Œ 13 b b œ œ œ œ. œ œ 21 œ. œ œ œ œ

The original subscriber of Music Express has permission to reproduce this song for instructional use only.

Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved 58 August/September 2004 August/September 2004 59 Start the Hand Jive Churn traveling Present jazz Pretend to count on fingers Twist on the balls of feet and move L Twist on the balls of feet and move R Kick one foot at a time straight ahead Pat legs twice, then clap twice hands low to high hands high j R L bb œ œ ‰Œ œ œ j ‰ œ œ bb œ œ œ j Œ & œ œ œ œ œ œ œ œ œ œ œ œ & J œ œ ˙ œ bœ œ œ œ boo - gie to the left, woo - gie to the right! Wan - na kick up my heels ev - ’ry gives me such a thrill. There’s Tues - day, Wednes - day, b b # b b F9 E 9 F9 b B 6 F7( 9) E (add9)/G & b nœœ ŒŒœœ œœ ŒŒœœ œœ ŒŒœœ & b ww œœ œœ œ œœ Œ bœ œ œ œ œ œ bœ œ œ œ bw nœ œ œ œ œ ? ? bb ŒŒ Ó ŒŒ bb bœ œ œ œ œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ 17 31

Wipe like "safe" Bring both hands to self Clap on each "beat" fiBoogie fingers and wiggle hips R L X X X To Coda j b bœ œ bb j Œ œ œ œ œ œ œ œ Œ & b œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ & bœ œ œ œ œ ˙ œ Sat - ur - day night! ’Cause the beat, beat, beat, Ma - ma, makes me wan - na dance! Thurs-day, too. It real - ly does- n’t mat - ter what I do. By b b b # b b b b # E 7 B E Edim F7( 5) E /F B 6 A m6 F9/Aj B /Dj C dim7 j Cm7 F7 b bœ bœ b j œ œ & b œ ŒŒœ œ œœ œ œ œ œœ Œ œ œ œœ & b bœœ œ nœœ œœ œ ‰ œœ Œ‰œ Œ œ œ œ Œ œ œ œ œ nœ bœ œ œ b œ n œ œ œ #nœ bœ œ piano accompaniment ? ? j j bb Ó œ Œ œ bb bœ œ nœ œ œ œ #œ œ nœ Œ œ œ œ œ nœ œ œœ œ œ œ œ 20 œ 34 Start Hand Jive Slice twice R over L Churn traveling Clasp hands in front of chest Plie' up Pat legs twice Clap twice then twice L over R arms low to high Present high Shrug 1 b b œ ˙ & b ˙Œ. Ó Œ œ j j Œ œ & b œ œ œ œ œ Œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ œ œ œ nœ piano accompaniment Fri - day I’m a To - tal Dance Ma - chine! Do you know what I mean? Ev - ’ry Sun - day it starts way down deep, and I b # b b b # b b b B Cm7 C dim7 B /D E maj9 D 9 D 13( 11) B /C Cm7( 5) C7 F9sus F7 b j B 6 b j j œ b ∑ œ . œ Ó Ó b œ œ œœ œœ œœ Ó œœ Œ & œœ. œœ ww j j & œ œ nœ œ œœ n#œœ bbnœœ œ œ bœ nnœ bœœ œ œœ œ w œ œ œ œ œ œ œ œ œ j j ? b ‰ j Œ Œ j Ó ? b œ #œ œ œ œ bœ œ œ œ œ Ó j ‰‰ j Œ b œ œ œ. œ œ b œ œ œ œ œ œ œ œ œ œ nœ œ nœ bœ œ bœ œ œ œ 23 . 37 œ

Move hips side to side Shrug Wipe like “safe” in baseball Hands to cheeks a la “Home Alone” b j j b 2 j & b œ bœ ˙ Œ œ j j Œ œ & b Ó Œ œ œ . ∑ ∑ Ó ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ just can - not sit still. On Mon - day I don’t ov - er - sleep, ’cause it There’s a Feel the b b b Fm7( 5) F7 b B 9j j E 9 j j b bœœ œœ œœ nœœ . & b ww bœ œ œ Ó ww Ó & b b œ œ œ n œ Ó . ∑ ∑ ∑ w œœ œœ œœ bw œ œ œ j j j ? b bœ ? b Ó . Ó ‰ Œ Œ Ó b œ œ œ œ œ œ œ b œ œ œ œ œ. œ œ œ œ. œ œ œ nœ œ nœ bœ œ œ œ œ œ œ œ œ 27 41 œ . .

60 August/September 2004 August/September 2004 61 The Great Come and Get It Day, 6, HL2 The Greatest American Hero, Theme from, 5, HL14 Step clap L twice R twice Trail to Mexico, 4, 59 X b L XXR X j RLXXX X j correlation Tubby the Tuba (excerpt) (listening), 1, T80, T339 b œŒÓ Ó ‰ œ œÓ Ó ‰ We Are Playing in the Forest, 2, 351 & œ œ œ œ We Shall Be Free, 5, 118 Woke Up This Morning, 3, 338 beat! Feel the beat, beat, in your Year-Naming Race, The (Chinese folk tale), 2, 331 Listening Lesson: Plink, Plank, Plunk bb ‰ Œ Œ Ó ‰ Œ Œ Ó by Leroy Anderson & j j j j Correlation to Sing a Song of Peace, 4, 301 Pizzicato Polka by J. Strauss (listening), K, T306 œ œ œ. œ œ œ œ. œ Macmillan/McGraw-Hill’s Sing When the Spirit Says “Sing,” 2, 13 Sing!, 2, xvi World Music Feature: Las Pollera - ? j j j j SHARE THE MUSIC Singin’ in the Rain, 4, 100 Conga Music from Cuba b ‰ Œ Œ Ó ‰ Œ Œ Ó Song Time, 2, 15 b œ œ œ. œ œ œ œ. œ La comparsa (listening), 2, 123 (music from Cuba) Following is a list of music resources in Step in Time, K, T2 45 œ œ œ. œ œ œ œ. œ the SHARE THE MUSIC text series that Swing Up High, 3, 10 Latino Music (pop and folk) Take a Bite of Music, 2, 56 correlates to the themes in this issue of A be ce, K, T87 To Music, 5, 410 Music Express. Grade and page number Ambos a dos (Two by Two), 1, T104 Voices of the World (poem), 4, 8 A Zinga-a Za, 6, 21 are referenced. Way to Start a Day, from The (poem), 2, 10 Step hop L Step hop R Step hop L 3 times Step hop R L R 3 times D.S. al Coda Amores hallarás (listening), 6, 211 We Are the Music Makers (excerpt) (poem), 6, 9 b j Baile en Tehuantepec (fine art), 4, 141 b ŒÓ Ó ‰ œ œ œ Œ Œ Back to School We Go Together, 5, 10 & œ œ œœœ œ œ Bienvenidos (Welcome), K, Txvi Accentuate the Positive, 6, 16 We Want to Sing, 5, 1 œ Brinca la Tablita (Hop on the Tablita), 2, 353 All Join In, 5, 66 What’s Your Name?, 1, T330 feet! Feel the beat, beat, beat, in your feet! There’s a Buenos dias, amigo (Good Day, Friend), 2, 105 Alphabet Song (II), K, T84 Wonto Dwom (Let’s Sing), K, T285 Caballito blanco (Little White Pony), 1, T248 Alpine Song, 3, 2 You Sing for Me, 6, 36 C7 F7 Canten, señores cantores (Sing, Gentlemen Be My Friend, 1, T218 b œœ Singers), 5, 295 œ œ œ Bonefish, Bluebird (speech piece), 3, 13 Music from the 1920s & b ‰ j Œ Œ j Ó Œ œ œ Œ œ Ó Chacarera (Chatterbox), 6, 406 nœ œ œœœ Buenos días, amigo (Good Day, Friend), 2, 105 1920s Medley, 6, 274 œ œ Counting Song, K, T54 œ œ œ. œ Bus, The, K, T135 Recorded Lesson: A Sound Capsule: The 1920s, Cuequita de los Coyas (listening), 3, 213 Calendar (poem), 3, 305 6, 272 De allacito carnavalito (The Carnival Is ? j j Chorus of the World (poem), 5, 9 b ‰ Œ Œ Ó Œ Œ Ó Coming), 6, 367 b œ œ œ. œ œ œ Circle of Friends, A (story), K, T70 Loving to Learn œœœ De colores (Many Colors), 6, 362 Clap Your Hands, K, T4 Alphabet Song (II), K, T84 œ œ œ. œ œ œ Duérmete mi niño (Go to Sleep, My Baby), 1, T84 49 Come and Sing Together, 4, 115, 138 Getting to Know You from The King and I (lis- œ œ El barquito (listening), 1, T190 Dancin’ on the Rooftop, 6, 12 tening) K, T310 El florón (The Flower), K, T232 Don’t Let the Music Stop, 4, xvi, 380 Go, My Son, 5, 284 El jarabe tapatío (listening), 6, 102 fi Boogie fingers and wiggle hips Step clap Ev’rybody’s Welcome, 2, 2 Rhythm of Life, The, 5, 80 El juego chirimbolo, 1, T219 Coda L R First Day of School (poem), K, T9 El quelite (The Village), 6, 104 b bœ j Good Friends, 2, 104 Kids Adventures b œ œ œ ˙Œ. Ó ‰ œ ˙Œ. El tambor (The Drum), 6, 164 & œ œ œ Hakyo Jong (School Bells), K, T43 Animal Fair, 2, 210 El tren (The Train), 3, 78 Happy Children, K, T43 Bear Hunt (speech piece), K, T20 Flower Festival (fine art), K, T233, T326 Harmony, 6, 110 Circus!, 2, 54 piano accompaniment makes me wan - na dance! Wan- na dance! Gualdalquivir (listening), 4, 163 Hello Song (I), K, T13 Don’t Ever Give Up, 5, 424 # b b 6 Jarabe tapatío (listening), 6, 362 F7( 5) E /F B m9 j j j Hello, 1, T12 and T14 Fierce Creature, The (folktale), 5, 114 j j j Juan Pirulero, 1, T49; 3, 366 b Hello, There!, K, T300; 1, Txvi Fortune Favors the Brave, 6, HL16 b bœ Œ œ Œ ‰ bœ Œ œ ‰Œ bœ ‰‰œ Ó ‰ bœ Œ œ ‰Œ La bamba, 5, 228 & œœ œ œ œ œ œ œ œ Hey, Children, Who’s in Town! (speech piece), Four in a Boat, 2, 150 bœ œ œ œ œ œ œ œ La cumbia, 5, 102 bœ œ bœ œ bœ œ 1, T15 Ghost Ship, The, 6, 330 La golondrina by F. Serradell (listening), 5, 156 I Believe I Can Fly, 6, xvi Go, My Son, 5, 284 La pájara pinta (The Speckled Bird), 4, 110 I Believe in Music, 6, 68 Great Outdoors, The, 2, HL2 ? La raspa (listening), 1, T229; 4, 134 b Œ Œ I Shall Sing, 6, 34 Gunnywolf, The (story), 2, T174, T183 b œ œ Las chiapanecas, 6, 103 œ œ œ bœ I’d Like to Teach the World to Sing, 3, xvi Hero, 5, HL8 œ œ nœ bœ œ œ œ nœ Latin American harp music, 3, 108-109 œ œ If You Need a Buddy, 2, 28 John B. Sails, 6, 4 53 Los colores, K, T207 If You’re Happy, K, T6 LaSoMi Bird, The (song and story), 1, T207 Los mariachis (listening), 3, 193 In the Name of All Our Children, 2, 8 Let’s Think of Something to Do, K, HL4 Churn traveling Los pollitos (Little Chickens), K, T293; 1, T321 Jambo (Hello), 3, 12 Michael Finnigin, 2, 205 Start Hand Jive hands low to high María Blanca, K, T248 Just Like Me, K, T10 Of a Tailor and a Bear from Forgotten Fairy Tales L twice R L R twice Pat legs twice Clap twice Present high Matarile, 3, 363 Shout Laugh, Ha, Ha!, 5, 1 (listening), 1, T62 b j Mi chacra (My Farm), 1, T315 b Ó ‰ œ ˙Œ. ∑ ∑ Œ‰¿Ó Let Music Surround You, 4, 3 Oh, A-Hunting We Will Go, K, T176 & œ Mi gallo (My Rooster), 5, 384 œ More We Get Together, The, 2, 361 Old Bull Moose Who Dreamed He Could Fly J Música indígena by M. Ponce (listening), 6, 361 Music Alone Shall Live (Himmel und Erde), 4, 231 (poem), 2, 273 One, Two, Three!, 3, 212 Wan -na dance! Yeah! Music Brings Us Together, 5, 15, 50 Orion, 6, 60 # b b6 Preparing mole, 3, 114-115 F7( 5) 3 B B Music Is You, The, 5, 220 Part of Your World, 2, HL12 j j j 9 Qué bonito es (How Wonderful It Is), 2, 55 j j j 3 Music, Music, Music, 6, 7 Possibilities, 5, 418 b bœ bœ bœ œœ œœ œœ œœ œ bœ ¡Qué llueva! (It’s Raining), 3, 380 b ‰‰œ Ó ‰ Œ œ ‰Œ ‰‰œ Ó # œ œ œ œ œ œœ Ó O musique, 4, 371 Reach Out and Touch, 5, 58 & œ œ œ œ œ œ œ œ œ œ œ Sad Family (fine art), 3, 259 œ œ œ œ œ œ œ œ œ œ œ œ œ One Song, 6, 308 Relativity (fine art), 5, 143 bœ œ bœ œ bœ œ bœ œ nœ Sambalelê, 1, T316 Playground Marching Band, The, 1, T56 Sailor Went to Sea, Sea, Sea, A, 2, 115 Señor Don Juan de Pancho, 3, 278 Rhythm of Life, The, 5, 80 Sally Go Round the Sun, 2, 164, 172 3 3 Somos el barco (We Are the Boat), 4, 4 ? Rockin’ Robin, 3, 5 Sidewalk Racer (poem), 5, 116 b Ó Star and Starfish (listening), K, T99 b œ œ Rope Rhyme, 3, 9 So Long, 5, 310 œ bœ œ bœ nœ œ œ œ œ Story of Epaminondas, The (story), 1, T108 bœ œ œ œ nœ bœ œ œ bœ ‘Round in a Circle, K, T14 Someone (poem), 2, 305 57 œ œ œ Vals de la escoba (listening), 1, T173 Say Your Name (game), 2, 16 Spider Weaver, The (Japanese folk tale), 2, 248 nœ œ œ œ Vamos a la mar (Let’s Go to the Sea), 2, 153 Shake My Sillies Out, K, T1 Story of Epaminondas, The (story), 1, T108, T128 Veinte y tres (Twenty Three), 3, 126

62 August/September 2004 August/September 2004 63 Many teachers like the thematic grouping of songs that allow students to present programs or initiate further study. Many teachers use Music Express as a supplement to their textbook or other curriculum, or when they have a coda substitute teacher. By Emily Crocker As a teacher, I ultimately discovered my own philosophy of education by asking myself what I wanted students to know when they went to middle school. My goals were to educate students to: • Have a good attitude about music and music class and to be open to many different styles of music. • Enjoy singing and to be able to sing in tune and in at Don’t Know Much least two simple parts. • Be able to read simple rhythms and melodies and to About Philosophy… understand basic music notation. • Have experiences with classroom instruments and to consider further instrumental study. It’s been a while since I filled out a job application for a • Be good listeners and audience members. teaching position, but I can still remember the anxiety- provoking turmoil that it produced! And what’s more, when Of course now we are lucky enough to have the National you need a job, you REALLY, REALLY need that job, so Standards to help guide us in our teaching choices, but if we adding a postscript giving your personal critique of the job are really honest with ourselves, we know that we have to “buy application is probably not a good idea. in” on a very deep level to the particular standard and we have When I applied for my first job, I was required to give my to have the commitment to find our personal teaching style age, gender, race, marital status, number of children, and strategy to make it happen in our own classrooms. religious preference, and I was required to sign a morality What’s your style? clause and loyalty oath to the State of Texas and the United States of America. I’m truly interested in what our subscribers think is important These questions would never be included on applications enough to teach. I would really love it if you would send your today, even though I’m sure most of us agree that teachers thoughts in writing to: [email protected]. should be moral leaders and they should be loyal to their state All responses will held in confidence. I’d really like to know: and country. We now know that the questions on those • How do you choose song material? applications were designed to exclude groups and • What type of curriculum do you follow? Did you create individuals. If the teacher is certified and otherwise qualified, it, is it from a textbook, is it from your state or district? why should they not be considered for employment? • How often do your students perform? But the most anxiety-producing question on the application • What types of teaching units do you choose and where was the one that asked for one’s philosophy of education! do you find them? What do we teach and why? • Anything else you want to share. Many of our Music Express subscribers filled out the If that doesn’t work… survey in our March issue. As I read those surveys, I was I once read a statement in an educational journal that struck with the realization that there must be as many everyone has an educational philosophy, even if it is teaching philosophies as there are teachers. unarticulated. The simple fact is, whatever you do, that’s While the Orff and Kodály methods have some following your philosophy. So, let’s set a goal for ourselves this year: among music educators, Music Express subscribers tend to be What do we truly value in our classroom? How can we more eclectic. This is probably why you are subscribers, since our achieve our personal goals? magazine offers a variety of lessons, activities and approaches. And if that doesn’t work, I read on the internet that you Most teachers like good song material that motivates can buy a “powerful, truthful, and unique” philosophy of students, with layered lessons that allow you to return to education for only $125. the song on subsequent days to explore additional aspects of the music. Ah…progress!

64 August/September 2004