T2W6 to W10

Guided PowerPoint lessons (refer to PowerPoints)

Singing and rhythm assessment

T2W5

See 'Doh A Deer' PowerPoint.

T2W4

STRUCTURE II

What you need:

• Music book (blue)
• Pencil case
• Tho Tho Naai Kutty PowerPoint (given to you)

Objectives:

• Sing Tho Tho Naai Kutty and Enjit Enjit Semut with their accompanying games
• Analyse Tho Tho Naai Kutty's structure as ABAB
• Play structure games in groups 

Experience & Concept

Tho Tho Naai Kutty

• Pupils watch MTV of Tho Tho Naai Kutty (known henceforth as Tho Tho) and guess the animal (Answer: Dog).

• Pupils recite Tho Tho with actions (see PowerPoint for transcription).
• Pupils sing Tho Tho with actions (e.g. hopping and running action for 'hop and run, puppy', etc.).
• Divide the class into two big groups. The first big group will sing Tho Tho with actions; the second group will bark in rhythm (e.g. dotted quaver + semiquaver + a crochet) at the '4-count rest' bars to imitate a dog.

Application I

Tho Tho Naai Kutty (Structure)

• In colour groups, decide who is A and who is B, based on commonalities (e.g. boys vs girls, bespectacled vs non-bespectacled).
• Each group to select a percussion instrument (e.g. A selects castanets, B selects guiros).

• Perform the song in this order:
  1. Recite
  2. Recite and play rhythm on percussion instruments
  3. Sing and play rhythm on percussion instruments

Application II

Enjit Enjit Semut

• Watch the MTV and guess the animal (Answer: Ant).
• Find out the meaning of the song (see PowerPoint).
• Play a game
  - Sit in a circle in your colour groups.
  - Pinch your thumb and index finger together.
  - Stretch out your right hand in the middle. Your pinched fingers should rest on the back of your friend’s hand, one on top of the other, like a stacko game.
  - Move your hand to the top of the stack in steady beat to the beat of the song.
  - The last hand on the top wins!
• Sing with actions.

• Analyse and identify the structure of the song (Answer: ABAB).
  

T2W3

ORFF TEXTURES

What you need:

• Music book (blue)
• Pencil case
• Resonator bars / Orff pitched percussion
• Betsy Sachs' The Boy Who Ate Dog Biscuits

Objectives:

• Listen to a literary serialisation of a related chapter book, The Boy Who Ate Dog Biscuits
• Perform Bow Wow Wow in three-part texture (rhythm, beat and ostinato)
• Clap and chant rhythm mnemonics (e.g. ta, ti-ti) of Bow Wow Wow
• Sing Bow Wow Wow in solfege

Experience & Concept

The Boy Who Ate Dog Biscuits (EL)

• Tuning-in literary serialisation: Teacher reads a chapter (or half a chapter) from Betsy Sachs' The Boy Who Ate Dog Biscuits to whet pupils' appetite for the lesson to come.

Bow Wow Wow

(See given score)

Two-Part (Beat, Ostinato)

• Chant the beat (dog gy dog gy) and ostinato (bad dog stop that bar-king) consecutively as a class.
• Divide the class into two groups to chant in two-part texture. First try: The ostinato can come in one bar after the beat. Second try: Beat and ostinato together in unison.
• Question I (recap): Which is the steady beat (Answer: Dog gy)? Why? 
• Question II: Which is the pattern that keeps repeating (Answer: bad dog stop that bar-king)?
• Introduce the term "ostinato" as "repeated pattern" to pupils.
• Remind pupils that this two-part chanting is a form of texture, as it involves layers.

Three-Part (Beat, Ostinato, Rhythm)

• Teach rhythm to pupils (bow wow wow, whose dog art thou, lit-tle tom-my tuc-ker's dog, bow wow wow).
• Divide the class into three groups to chant in three-part texture. First try: The rhythm can come in one bar after the ostinato; the ostinato can come in one bar after the beat. Second try: Beat, ostinato, rhythm together in unison.
• Question I (recap): What is this third part called (Answer: Rhythm)? Why?
• Question II (recap): What is the structure of this rhythm (Answer: AABA)?

.

Application I

Bow Wow Wow (Rhythm Mnemonics)

• Chant all three parts - in rhythm mnemonics!
• If the above is too difficult, chant the 'rhythm' in mnemonics first.

Application II

Bow Wow Wow (Solfege)

• Sing all three parts - in solfege!
• Beat: Do all the way
• Ostinato: Mi all the way
• Melody: Do Do Do, Mi Mi Mi Mi, So So So La So Mi Do, Mi Re Do

Application III

Bow Wow Wow (Lyrics)

• Sing all three parts - in melody with lyrics!

Application IV

Bow Wow Wow (Resonator Bars/Orff Pitched Percussion)

• Play all three parts on Orff pitched percussion or resonator bars!
• Beat: C all the way
• Ostinato: E all the way
• Melody: C C C, E E E E, G G G A G E C, E D C

T2W2

TEXTURE

What you need:

• Music book (blue)
• Pencil case
• Resonator bars

Objectives:

• Sing and move to Funga Alafia in two-part canon
• Recap Dua Mata Saya in Malay, and Chinese if time permits
• Perform Dua Mata Saya with song and single bass-note accompaniment

Experience

Funga Alafia (Canon)

I greet you with my thoughts (tap on head twice)

I greet you with my words (tap on mouth twice)

I greet you from my heart (tap on heart twice)

With nothing up my sleeves (brush side of both arms, one at a time)

• Recap Funga Alafia from last week.
• Recap Funga Alafia with actions.
• Canon (Teacher-Class): Class sings first, Teacher tells class to keep on singing and not get confused by her, before coming in one bar later (i.e. start singing only after the class has finished singing 'Funga Alafia' and is moving on to 'Ashay Ashay')
• Canon (Class): Break the class into two groups. Last week's girl-boy groups is OK; your discretion is definitely good. Have one group sing first, while you lead the other group in two-part canon.
• Canon (Class with Actions): Add in actions now, so that the canon will take visual form and the class can see what's going on.

Concept

• Teacher asks pupils to describe their rendering of the song just now. How many parts are there? Who sings first and who sings later? Is it the same song or is it a different song?
• Teacher introduces the words "canon" and "texture", like layers of the same cake. 
• Pupils write 'Canon = Same song sung in parts at different times' and  'Texture = Layers' in their logbooks.

Application I

Funga Alafia (Movement Canon)

• Circle formation. Boy-girl-boy-girl positioning.
• Practise in unison: Sing song at least two times. Walk two steps into the circle at 'Funga Alafia'. Walk two steps out of the circle at 'Ashay Ashay'.
• Boy-girl canon: Boys start first, girls start a bar after, in two-part canon (singing and movement), at least two times. If done correctly, pupils will be able to see the girls walking into the circle as the boys walk out, and vice versa.
• Girl-boy canon: Swap parts so that each pupil gets an equal chance to practise.
• Add in actions if all goes well.

Application II

Dua Mata Saya (Melody & Accompaniment)

在我的脸面上

有鼻子和双眼

在我的双脚下

穿着我新鞋子

我还有两只手-

左手和右手

张开大嘴巴-

吃也吃不停

Dua mata saya,

Hidung saya satu.

Dua kaki saya,

Pakai sepatu baru.

Dua kuping saya,

Yang kiri dan kanan.

Satu mulut saya,

Tidak berhenti makan!

• Recap the Malay version of Dua Mata Saya with actions.
• Sing the Chinese version with actions. 
• Teacher tells class that they will now try singing Dua Mata Saya and accompanying themselves on resonator bells or xylophones/metallophones. 
• This type of texture is called 'melody and accompaniment'. 

1. Sing the accompaniment in steady beat together with pupils.
2. Sing the melody to pupils' accompaniment.
3. Get into groups of three. Number pupils one to three. Distribute resonator bells. Everyone chants the letter-name accompaniment while they take turns to play (e.g. 1 to play first, then 2, then 3).
4. Remember to sing in G major.

• Extension: Sing this song in Chinese, with melody and accompaniment, if all goes well.

      G       G       G      G
Du-a ma-ta sa-ya,

         G        G       D      D
Hi-dung sa-ya sa-tu.

      D      D      D
Du-a ka-ki sa-ya,

D    D           D       G      G
Pa-kai sepa-tu ba-ru.

      G        G         G      G

Du-a ku-ping sa-ya,
          G       G         D      D

Yang ki-ri dan ka-nan.
      D         D      D

Sa-tu mu-lut sa-ya,
D    D              D         C      C

Ti-dak berhen-ti ma-kan!

T2W1

STRUCTURE

What you need:

• Music book (blue)
• Pencil case

Objectives:

• Sing and move to Funga Alafia and Dua Mata Saya, with solfege and actions
• Describe that a song is made up of groups of notes, or phrases (demarcated by breathing points)
• Identify the phrases in Funga Alafia and Dua Mata Saya
• State that phrases make up a song's structure, like body parts forming the main skeleton, and identify the structure of both songs through music and movement
• Listen to and watch related videos and describe the structure of the songs 

Experience

Funga Alafia 

(Acknowledgement: http://www.slideshare.net/clasedemusica/funga-alafia-2545671)

• Action: Tap head, mouth, heart, brush side of arms, twice each, to steady beat.
• Action and words: Do above, while saying these lines to accompany each set of actions:

I greet you with my thoughts (tap on head twice)

I greet you with my words (tap on mouth twice)

I greet you from my heart (tap on heart twice)

With nothing up my sleeves (brush side of both arms, one at a time)

• Action and chant words of song:

Funga alafia (tap on head twice)

Ashay ashay (brush side of both arms, one at a time)

Funga alafia (tap on mouth, then heart)

Ashay ashay (brush side of both arms, one at a time)

• Action and sing song:

Funga alafia (tap on head twice)

Ashay ashay (brush side of both arms, one at a time)

Funga alafia (tap on mouth, then heart)

Ashay ashay (brush side of both arms, one at a time)

Concept

• Prompting for 'phrase', "If we can break this song into parts, like how you are seated in your colour groups as a class, which parts will go together? Why?" or " Which parts of the song do you find yourself taking a breath?"
• Teacher draws four small phrases on the board, for "funga alafia" and "ashay ashay", and calls a phrase a "group of notes" (see photo below).
• Prompting for 'structure': "Which words or melodies sound the same? How many times do they repeat?"
• Teacher writes 'A' for "funga alafia" and 'B' for "ashay ashay", making the pattern 'ABAB', calling it the "structure" or "skeleton" of the song.
• Teacher explains that phrases make up a song's structure, like body parts forming the main skeleton. This is how they are related.
• Pupils write 'Phrase = Group of notes' and  'Structure = Skeleton, pattern' in their logbooks.

Application I

Funga Alafia (ABAB = Girl/Boy/Girl/Boy)

• Visual representation of 'structure': Pupils break into two groups of girls and two groups of boys. Each girl group will sing, with actions, "funga alafia" and each boy group will sing "ashay ashay", making it ABAB.
• Solfege representation of 'structure': Teacher teaches pupils the solfege for 'Funga Alafia'. Now, pupils sing with solfege. Pupils are to realise that even though "ashay ashay" have different solfege, the rhythm is exactly the same in both occurrences, and its purpose is like an 'answer' to "funga alafia", justifying ABAB.

Application II

Bridging (Africa)

 

• Pre-video teaser questions for pupils: 1) Which musical element is this choir trying to explore with their body percussion introduction (Answer: Timbre)? 2) In the song itself, what patterns do you see? What skeleton does it have (Answer: Verse-chorus, or an approximate ABAB)?
• Pupils watch this MTV by Perpetuum Jazzile, featuring a choreographed body percussion prelude to Toto's 'Africa', and answer teacher's questions at the end.

Dua Mata Saya

•  Teacher does each action in accordance to each body part description in steady beat while reciting the following: 

I have two eyes,
I have one nose.
I have two feet,
To wear new shoes.

I have two ears,
One left, one right.
I have one mouth,

That eats and eats!

• Pupils watch video below once, repeating the actions they have learnt: 

 

• Pupils now sing along to the Malay words while doing the actions:

Dua mata saya,

Hidung saya satu.

Dua kaki saya,

Pakai sepatu baru.

Dua kuping saya,

Yang kiri dan kanan.

Satu mulut saya,

Tidak berhenti makan!

• Teacher and pupils figure out the phrases of the song. If pupils are receptive, teacher can introduce this song as a Malay poem, or a pantun (in ABAB form based on rhyme scheme).
• Groupwork: Pupils figure out the structure of the song by dividing their group into smaller groups of A and B to sing. After five minutes, they are to perform. Teacher can flash the lyrics of the song for groups' convenience, throughout this process.
• Chinese version: Pupils watch a teaser video of the song sung in two different languages, Malay and Chinese, if time permits:

(From http://www.youtube.com/watch?feature=player_embedded&v=yzU-7g6P9Sg)

Weeks 9 & 10

FINISH, STRENGTHEN, RECAPITULATE

• Continue lessons that have not been finished (e.g. Tempo lesson)
• Pick hands-on extension activities in previous weeks' lesson plans for strengthening of concepts
• Vary Tepuk Amai-Amai with the different elements of music, for pupils to remember this song in a fun way for Term 2 testing
• Have a jamming session of past weeks' favourites
• Creative groupwork: Pick a favourite song of the class (chosen from past weeks' repertoire). Write different game cards using the elements of music that we have learnt (e.g. tempo, dynamics, pitch, timbre, rhythm). Each group will pick a card and perform the song twice, once in its original form, once in its varied form (e.g. a group that chooses 'tempo' might choose to perform the song faster).
• Videos: Visit http://muse-its.blogspot.sg/p/cool-vids.html for cool and inspirational videos involving pitch (first video, featuring Nick Pitera doing a one-man Disney movie with male and female voices), timbre (body percussion and second last video titled 'Cello Timbres') - and more!
• Other ideas that come to mind :)

Week 8

TEMPO

What you need:

• Music book (blue)
• Pencil case
• Access to Teachers Sharing folder > 2013 - P1 Term 1 Tracks > Highway No. 1 and Highway No. 1 (minus one)
• Piano / Keyboard
• Tempo - Fast and Slow lesson plan
• Aesop's Fable: The Tortoise and the Hare (http://www.authorstream.com/Presentation/emphoto2003-290714-tortoise-hare-entertainment-ppt-powerpoint/)

Objectives:

• Move and create to Highway No. 1 to recapitulate timbre and steady beat, and use it as a segueway to explore tempo
• Distinguish different tempos - fast and slow - of a given piece of music
• Use body movements to express music using the theme of animals
• Listen to an Aesop's Fable (The Tortoise and the Hare) and deduce the moral of the tale (NE/SEL element)
• Create and think critically using the theme of animals

Acknowledgement: Tempo Lesson Plan by Guan Xiaoting

Experience

Bridging activity (Highway No. 1)

• Pupils are told that they should march in steady beat to the following song and pretend to be driving a car (hands in 'steering wheel' position).
• Teacher plays Highway No. 1, a guided music and movement track, for pupils to participate (Teachers Sharing folder > 2013 - P1 Term 1 Tracks > Highway No. 1 and Highway No. 1 (minus one).
• Teacher plays Highway No. 1 (minus one) for pupils to create their own movements, to facilitate the subsequent main activity.
• Teacher asks pupils what element of music they have explored (Answer: Timbre).
• Teacher asks pupils which element of music they think they are going to learn today, something that cars do all the time on the road (Answer: Tempo).

Main lesson - Introduction  

• Teacher plays a piece of music on the piano (e.g. Row Row Row Your Boat) with the tempo getting gradually faster. Pupils are to clap/stamp the steady beat of the music.
• Teacher asks, "Do you feel any change while you are clapping/stamping the steady beat?"
• Pupils now stand up and walk according to the steady beat of the song. They can walk anywhere in the music room, and have to walk back to their original position when the music ends.

Main lesson - Snail, Snail

Snail, snail, crawling near       C C CD E 

Snail, snail, with his shell         D D DE F

Snail, snail, let him rest           E E EF G

Slow down, slow down            F D E C

• Teacher asks, "What feature does a snail have? (Shell) How does the snail move? (Crawls) What is a snail's speed? (Slow)"
• Teacher sings the above song with pupils, with actions (up to Teacher). Teach the song phrase by phrase for pupils to follow.
• Teacher sings the song as a whole for pupils to follow.
• Pupils think while they are singing the song. What is the tempo of the music? Pupils are to clap the steady beat.
• Pupils use their feet to tap the beat while singing the song, 'Snail, Snail'.
• Finally, pupils move around the classroom with the slow speed of a snail while singing the song.

Concept

• Teacher writes 'Tempo = Fast / Slow' for pupils to jot down in their Music Books.

Application I

Aesop's Fable: The Tortoise and the Hare

• Pupils name one animal that moves faster than a snail (Answer: Rabbit).
• Pupils demonstrate the beat and movement of a rabbit.
• Teacher screens a narrated PowerPoint story (of only 16 slides) for pupils to watch and deduce the moral of: http://www.authorstream.com/Presentation/emphoto2003-290714-tortoise-hare-entertainment-ppt-powerpoint/
• Questions: Can we make a choice about our speed? Does it mean that a 'fast' person will always be 'fast' and a 'slow' person will always be 'slow'? What school value does this fable teach us? (Answer: Resilience; Aspiration is acceptable too).

Application II

Group Work

• In groups of 5, pupils think of two types of animals, one fast, one slow.
• They are given 5 minutes to think of a suitable steady beat and movements/actions for each of these animals.
• After 5 minutes, each group performs the steady beat with movements in front of the whole class (reinforce concert and performer's etiquette here), using their foot to stamp the beat. The class guesses the type of animal based on each of the movements, slow and fast, and claps the steady beat that the group has used.
• At the end of each performance, gather feedback and comments.

Week 7

DYNAMICS

What you need:

• Music book (blue)
• Pencil case
• Tepuk Amai-Amai, Here is the Baby and Sleep Baby Sleep scores 
• Percussion instruments (e.g. triangle, tambourine, guiro, all in Mozart Manor)

Objectives:

• Sing and clap Tepuk Amai-Amai in different dynamics (papa, mama, baby clap)
• Use voices in different dynamic levels (and timbres), i.e. whispering voice and singing voice, to recite and sing a lullaby-related rhyme (Here is the Baby) and song (Sleep Baby Sleep)
• Sing along to an English and Malay lullaby medley in whispering and singing voices, snapping their fingers in steady beat
• Play a dynamics game with percussion instruments and a 'baby animal' soft toy, discussing why a soft voice has to be used around babies (SEL)

Teacher resource: Tepuk Amai-Amai, Here is the Baby and Sleep Baby Sleep scores, http://www.mamalisa.com/blog/englishmalay-lullaby-medley-sung-by-zee-avi/ 

Experience

Bridging activity from previous lesson (Tepuk Amai-Amai)

• Pupils present their chosen claps from last week's pair work to their classmates, e.g. one Papa, one Mama, one Baby clap.
• Teacher asks pupils what they notice about each clap, apart from sounding weak or strong. Which clap is the loudest? Softest? 
• Pupils now clap each of the claps in different dynamic levels, e.g. Papa clap in different dynamic levels, according to Teacher's expressions/gestures (e.g. stand up really straight and open your mouth wide to mimick a lion for loud; hunch and get into foetal position for soft).
• Teacher asks which clap is suitable to be used around real-life babies. Why?

Concept

• Teacher writes 'Dynamics = Loud (f) and soft (p)' for pupils to jot down in their Music Books.

Application I

(Acknowledgement: 'Here is the Baby' handout)

Here is the Baby

Here is the baby ready for a nap:           Hold index finger of left hand up.

Put him down on Mummy's lap:             Lay finger across palm of right hand.

Cover him up so he won't peep:             Cover with fingers of right hand.

And rock him gently till he sleeps:          Rock hands back and forward.

• Discuss how the rhyme should be told - in a whispering voice. Why?

Application II

Sleep Baby Sleep

  

 F#      E  E   D -

Sleep Ba-by sleep.

F#   F#    E    E    D -

Fa-ther tends the sheep.      

 G    G       E      E       A    A      F#   F#                         

Mo-ther shakes the dream-land tree and        

 G        G     E  E      A      A    F#

down come all the dreams for thee.              

 F#       E E   D- 

Sleep Ba-by sleep.      

• Pupils listen to the attached YouTube and describe the dynamics and how they feel after listening to this song.
• Teacher sings this song through with the children in a quiet singing voice, and let them pretend they are holding something or rocking something to sleep.
• Explain the importance of singing in a very quiet voice and rocking the baby to sleep. Try singing again in a very quiet singing voice.
• Teacher introduces the genre, 'lullaby = sleep song', to pupils.

• Pupils watch 'Baby Mine' from Disney's Dumbo, to get the feel of a quiet singing voice and the act of rocking a baby to sleep.

Application III

EL and Malay Lullaby Medley

Teacher opens this URL and increase the zoom to 150-200%: www.mamalisa.com/blog/englishmalay-lullaby-medley-sung-by-zee-avi/ 

Pupils sing along to the English and Malay lullaby medley in: (1) a whispering voice; then (2) a quiet singing voice, snapping their fingers in steady beat.

Application IV

Dynamics Game

Play a dynamics game with percussion instruments and a 'baby animal' soft toy.

First, get a child to cover his/her eyes. Hide the soft toy in a selected part of the Music Room.

Get the child to come in. Everyone will play this game together. The objective is for the child to find the hidden soft toy. Select one of these situations:

• When the baby is asleep (class to diminuendo when the child is approaching the baby soft toy)
• When you wish to wake the baby (class to crescendo to an acceptable volume when the child is approaching the baby toy)

Discuss why we have to lower or increase our volume in these different scenarios, and the loudest permissible threshold of 'loud' when a baby's eardrums are involved (SEL).

Week 6

TIMBRE

What you need:

• Music book (blue)
• Pencil case
• Buster Buster, Clap Your Hands and Tepuk Amai-Amai scores 
• Percussion instruments (e.g. triangle, tambourine, guiro, all in Mozart Manor)

Objectives:

• Experience body percussion as different timbres in songs 
• Sing Tepuk Amai-Amai, a traditional Malay clapping song, and accompany the song with claps
• Create at least two different timbres from given percussion instruments 

Teacher resource: Buster Buster, Clap Your Hands and Tepuk Amai-Amai scores 

Experience

Tuning-in activity (Buster Buster)

Buster, Buster, climb the tree,     (Climb four branches)

Buster, Buster, slap your knee;    (Slap knee four times)

Buster, Buster, blow a kiss,         (Blow four kisses)

Buster, Buster, do not miss.         (Point finger four times)

• Each action is to be done four times to a steady beat.
• Substitute the actions with instrument-playing. Choose four pupils to transfer the steady beats to four different percussion instruments, e.g. triangle, tambourine, guiro, castanet.

Clap Your Hands

Clap, Clap, clap your hands,      (G G GG E)

Clap your hands to- ge ther.       (GG EA G E)

• Clap your hands quietly to the beat while singing this song, and get pupils to follow you.
• Substitute hand-claps with other actions, all performed to a steady beat:
• March, march, march along, march along together.
• Cluck, cluck, cluck your tongue...
• Nod, nod, nod your head...
• Blink, blink, blink your eyes...
• Jump, jump, jump up high...
• Tap, tap, tap your foot...
• Wave, wave, wave your hands...

• Get pupils to suggest new actions. A pupil-leader might also be chosen to lead.

Concept

• Teacher asks pupils to describe the different sounds they had made earlier. Do they all sound the same? How are they produced? 
• Teacher writes 'Timbre = Quality of sound' for pupils to jot down in their Music Books.

Tepuk Amai-Amai

English Translation:

Clap together, grasshopper, butterfly,

Clap till you're clever, Mum will give you milk;

Milky and sweet milk, from a coconut,

Younger sibling, don't cry, Mum has work.

Application I

• Teacher sings half of Tepuk Amai-Amai and plays the cross-hand clapping game with a pupil volunteer.
• Teacher gets pupils to guess what this song is about (Answer: Clapping). If pupils are receptive, Teacher enlightens pupils on the background of the song, i.e. a clapping song sang by an older sibling to soothe a younger sibling's cries when their mother is busy working.
• A small discussion can ensue on the responsibilities an older sibling has towards his younger siblings. "How many of you are older siblings? Which (school) value should you show towards your young sisters or brothers, especially when your parents are busy?"
• Pupils learn three different claps from Teacher of different timbres, i.e. Papa Clap (with all five fingers), Mama Clap (with four fingers) and Baby Clap (with two fingers). 
• Pupils describe how each clap sounds like, e.g. Papa Clap has a strong and loud timbre, Mama Clap is not so strong, Baby Clap sounds weak and soft. 
• Pair work: Pupils get into pairs, choose one of the above three claps, and practise clapping in tandem with half of Tepuk Amai-Amai, as steady beat accompaniment. 
• Performance: Pupils stand up and perform to their peers, singing and clapping their chosen clap. 
• Extension: Pupils create their own clapping game, with their own unique claps/clapping patterns.

Application II

• Pupils get into groups of four, where they are given two different percussion instruments per group. 
• Activity I: Explore at least two different timbres they can produce from their given instruments. Peer sharing will ensue after three minutes, e.g. Group A to Group B, and vice versa.
• Activity II: Perform the rhythm of Tepuk Amai-Amai using these two different timbres. 

Weeks 4 & 5

RHYTHM MNEMONICS (TA, TA-A, TI-TI)
PITCH (D, R, M)

Further revised as of 8 Feb 2013 (Melody)

What you need:

• Music book (blue)
• Pencil case
• Rhythm mnemonic placards for 'ta', 'ta-a', 'ti-ti' (see LH corner of Mozart Manor's cabinet top)
• Solfege placards for 'doh', 're', 'mi'

HOT CROSS BUNS

Teacher resource: Lemon Lime, Come Butter, Hot Cross Buns handouts

Objectives:

• Recite basic rhythm mnemonics - 'ta', 'ta-a', 'ti-ti' - while clapping the equivalent beats in 'Hot Cross Buns' (concrete)
• Visually link crotchet to 'ta', minim to 'ta-a', quaver to 'ti' (pictorial)
• Create own actions to the above rhythmic beats in 'Hot Cross Buns' (creative ownership)
• Recite 'Button You Must Wander' and 'Cho-co-la-te' in rhythmic mnemonics (revision/application)
• Sing 'Hot Cross Buns' in solfege
• Change lyrics of 'Hot Cross Buns' to own language (NE cultural ownership)
• Sing 'Button You Must Wander' and 'Cho-co-la-te' in solfege (revision/application)

Experience

Tuning-in activity (Lemon Lime)

Le-mon lime. Keep in time.

Make it neat. Feel the beat.

Not too fast. Not too slow.

Keep it stea-dy, go, go, go!

• Teacher chants 'Lemon Lime' once while keeping a steady beat through finger snapping. Class to follow.
• Teacher adds in actions while chanting (tap knees for quaver beats, clap for crotchet beats).
• Pupils partner up and get into two concentric circles, facing each other. They chant the lyrics while doing the same actions, albeit they have to clap their partner's hands this time for crotchet beats. At the end 'go, go, go', everyone in the outside circle will move to their left to the next partner without losing a beat.
• Pupils to do it until they are moving in rhythm to a steady beat.

Concept

• Teacher asks pupils if their actions are in steady beat or rhythm (Answer: Rhythm).
• Teacher tells pupils they will be learning 'rhythm names' today.

Hot Cross Buns

Rhythm

Experience

• Teacher does three different actions for 1 beat, 2 beats and half beat in the rhythm of 'Hot Cross Buns', for pupils to follow, e.g. half beat = touch knees, 1 beat = pat shoulders, 2 beats = top-down comb hair action
• Do the actions again in tandem with the rhythm mnemonics this time, e.g. 'ta ta ta-a', etc. 
• March in steady beat to the above.

Concept

• Teacher asks pupils to list the three different actions from shortest to longest. 
• Teacher introduces 'ti', 'ta' and 'ta-a' from shortest to longest, as well as the standard clapping actions for these rhythm mnemonics. Pupils to clap and chant along with Teacher. 
• Teacher shows flash cards of quaver = ti, crotchet = ta, minim = ta-a for pupils to copy into their Music Books.

Application

• Teacher gets pupils to create their own body percussion in groups of 4, for the rhythm mnemonics they have learnt. Pupils are reminded of shorter and longer actions in tandem with the duration of each note. 
• Before this, Teacher should have written the 4 bar rhythm of 'Hot Cross Buns' on the whiteboard. She will allocate each colour group to a bar to set their body percussion to, e.g. Red Group = Bar 1, Purple Group = Bar 2, Yellow Group = Bar 3, Green Group = Bar 4.
• After 5 minutes, each group will start with their number from bars 1 to 4 and continue in that sequence until the end
• Extension 1: Recite 'Button You Must Wander' and 'Cho-co-la-te' in rhythmic mnemonics after Teacher flashes the scores via the visualiser. 
• Extension 2: Do in different tempo and dynamics.

Melody

Experience

• Teacher leads class in Hot Cross Buns rhythm with body actions, i.e. touch head for 'mi', touch shoulders for 're', touch hips for 'doh' (in correspondence with the respective pitches of each solfege).
• Now, Teacher does the same actions while singing the song in solfege.
• Apply standard Kodaly handsigns while singing the same song:

             Mi re doh -

             Mi re doh -

             Doh doh doh doh re re re re

             Mi re doh -

• Add in lyrics to the song while doing solfege handsigns:

             Hot cross buns,

             Hot cross buns,

             One a penny two a penny

             Hot cross buns. 

• Change lyrics to Malay while doing solfege handsigns:

             Kueh pisang,

             Kueh pisang,

             Satu dua tiga empat

             Kueh pisang

Concept 

• Teacher quizzes pupils on the different handsigns for different pitches, asking them to list 'mi', 're', 'do' in terms of highest to lowest.
• Each pupil can volunteer to stand up while showing each handsign correctly and confidently.
• Pupils write 'pitch = high and low (mi, re, do)' in their Music Books. The first 5 pupils who are the fastest, neatest and most correct (in copying) can be rewarded with an 'Aspiration' chop.

Application

• Get children to brainstorm food and numbers in a different language, e.g. Tamil:
             
*Mur-ta-bak (or Ro-ti John)
Mur-ta-bak (or Ro-ti John)
**Onne rande moone nalle
Mur-ta-bak (or Ro-ti John)

*Murtabak = Moo-tar-bark
**Onne = ooon-ner, rande = run-der, moone = moon-er, nalle = naall-er


• Culture bearers: Identify international pupils in your class (e.g. Korean, Japanese, Bengali, Sinhalese, etc.). Get them to recite 'one, two, three, four' in their own language. Get them also to name a three-syllable food from their culture. String them in song, for the whole class to follow (show PowerPoint photos of the food mentioned below, or prepare your laptop with an internet connection):

          Bi-bim-bab
          Bi-bim-bab
          Hanna **dul set-set net-net
          Bi-bim-bab

          ***dul = do-ool

         Ta-ma-go
         Ta-ma-go
         Ichi ni-ni san-san yon-yon
         Ta-ma-go

• Extension 1: Pupils to perform their own version of 'Hot Cross Buns' while doing solfege handsigns. 
• Extension 2: Perform 'Hot Cross Buns' on resonator bells and percussion instruments (e.g. in groups of 4, 1 pupil will play the melody on resonator bells and 3 pupils will play the rhythm on percussion instruments), singing along.
• Extension 3: Perform 'Hot Cross Buns' on xylophones and metallophones, in rhythm and steady beat respectively: 

          Drone (metallophone): C -  C - C -  C -  C    -     C     -     C -  C - 

          Melody (xylophone):    E D C - E D C - CC CC DD DD E D C -

• Extension 4: Sing 'Button You Must Wander' and 'Cho-co-la-te' in solfege after Teacher flashes the scores via the visualiser. 

Music Book

• See words in blue above.
• Teacher to devote last 4-5 min of lesson or real time to the awarding of CIRA stamps to exemplary pupils/pairs.

Week 3

RHYTHM & STEADY BEAT
- CONSOLIDATION & CREATION -

What you need:

• Music book (blue)
• Pencil case

CHO-CO-LA-TE

A Chilean children clapping game

Teacher resource: Cho-co-la-te handout

Objectives:

• Keep a steady beat through movement (coordination)
• Chant the rhythm of 'Cho-co-la-te' to steady beat actions (psychomotor)
• Create own words and steady beat actions to the rhythm of 'Cho-co-la-te' (ownership) 

Experience 

Action

• In 4, 3, 2, 1 pattern, Teacher pats head, shoulders, knees in steady beat.
• In the same pattern, Teacher now claps front, claps back and fist-punches the air in front of her, in steady beat.

Action + Words

• Teacher adds words in rhythm to these two sets of steady beat actions. Each action will correspond to one syllable respectively, e.g. 'cho-co' = pats head / claps front, 'la' = pats shoulders / claps back, 'te' = pats knees / fist-punches the air.

             Cho-co cho-co la la

             Cho-co cho-co te te

             Cho-co la cho-co te

             Cho-co la te.

• Stop only when pupils have got into a rhythmic and steady groove while chanting.

Pair practice

• Pupils practise the above in pairs.

Concept

• Teacher asks pupils: Which is steady beat? Which is rhythm? Action or words?
• Pupils should also explain why.

Application

Showcase (Change words)

• Teacher models changing words to a set of actions (e.g. the clap front clap back set), on the theme of food. An example:

             Ro-ti ro-ti pra pra

             Ro-ti ro-ti ta ta

             Ro-ti pra ro-ti ta

             Ro-ti pra ta 

• Teacher briefly introduces the word 'syllables' as 'sounds a word has', and gets pupils to guess how many syllables 'cho-co-la-te' and 'ro-ti-pra-ta' have (Answer: 4).
• Pupils brainstorm on their favourite food. Teacher (re)writes pupils' favourite food in the form of four syllables, e.g. if pupil says "chic-ken rice", teacher writes "roast chic-ken rice".
• Children now get into pairs and do the following: (1) Choose a food; (2) Choose one set of actions given by Teacher earlier (e.g. either the clap front clap back or head shoulders set); (3) Practise breaking up the words to their chosen set of actions.
• After 5 minutes, children to perform in front of peers. Teacher to emphasise concert etiquette while performing: (1) Sit up straight; (2) Eyes on performers; (3) Mouths closed; (4) Clap when finished.
• Teacher might also share 'feedback etiquette' with class: (1) 1 positive comment; (2) 1 constructive comment for improvement, in the tone of helping their classmates improve, not to criticise, in line with school values.

Showcase (Change words and actions)

• Now, Teacher models changing actions to the pupils' chosen words, on the theme of food. An example:

             Ro-ti ro-ti pra pra

             Ro-ti ro-ti ta ta

             Ro-ti pra ro-ti ta

             Ro-ti pra ta 

            Ro-ti = twirl RH in the air

            pra = press RH palm down on floor

            ta = press RH palm up on floor

• Children get into pairs and practise changing their actions.
• After 5 minutes, children to perform in front of peers. Teacher to emphasise concert etiquette while performing: (1) Sit up straight; (2) Eyes on performers; (3) Mouths closed; (4) Clap when finished.
• Teacher also shares 'feedback etiquette' with class: (1) 1 positive comment; (2) 1 constructive comment for improvement, in the tone of helping their classmates improve, not to criticise, in line with school values.

Extensions

• Peer teaching: Two pairs get together. One pair teaches the other pair his/her words and actions, and vice versa.
• Check for understanding: Each pair showcases a different pair's words and actions.

Music Book

• If Teacher hasn't already done so, she writes 'rhythm = long and short beats' on whiteboard for pupils to copy into their blue music jotter-manuscript books.
• Teacher to devote last 4-5 min of lesson or real time to the awarding of CIRA stamps to exemplary pupils/pairs.

N.B.: It will suffice for pupils to just write the word 'rhythm', with verbal explanation of 'rhythm', due to pupils' developmental struggle with writing. While waiting for pupils to copy, as a musical/auditory interlude, playing the rhythm and steady beat on the piano on any note with both hands will help pupils internalise what they have learnt in a different musical context. A steady beat can be played with your LH; rhythm, your RH. I've tried this with 'Button You Must Wander' in previous lessons and found pupils humming the melody while copying, even subsequently while walking out of the music room.

Week 2

STEADY BEAT

What you need:

• Music book (blue)
• Pencil case
• 1 button / eraser

1. BUTTON YOU MUST WANDER

Teacher resource: Button You Must Wander handout

Experience 

• To teach song, *first, chant lyrics of song in rhythm, then chant in rhythm and clap in steady beat, and finally, clap in steady beat and sing in melody.
• Now add actions. Sit in a circle. RH clenched on floor in front of you or stretch out LH with RH clenched on it.
• Sing song and move hand in steady beat like this:

             Front        >      Right               >      Front        >      Right...

      or   My LH     >      Friend's LH    >       My LH    >       Friend's LH... 

             But-ton            you must                  wan                  der...

• Stop only when pupils have become familiar with the steady beat groove while singing.

N.B.: Orff-Schulwerk principles of 'Say > Say and Do > Do'.

Concept

• Now, Teacher puts 1 button / eraser on floor in front of her. She explains that they are now going to do the same actions with the button being passed around this time.
• However, no one should be able to tell where the button is.
• Teacher asks pupils why, and introduces the concept of 'steady beat'.

Application

• Game starts. Teacher starts passing the button to the right in steady beat. Everyone's right hand should be in the same steady motion, passing the button from front to right.
• Introduce one 'catcher'. His/Her eyes must be closed while pupils start singing and passing the button, opening his/her eyes from "bright eyes will find you" to locate the button.
• The catcher makes his guess after three rounds of the song OR the song ends immediately as soon as the catcher catches the 'victim' with the button, who will take over as catcher.
• Extension (psychomotor): Change hands (left hand) and play again.

Music Book

• Teacher writes 'steady beat = does not change' on whiteboard for pupils to copy into their blue music jotter-manuscript books.
• Teacher also gets pupils to divide the centre pages into CIRA, if time permits, and explains rationale.

2. ENGINE ENGINE NO. 9

Teacher resource: Engine Engine No. 9 handout

Objectives: Practise steady beat through movement

                     Bridging activity for next lesson's 'rhythm'

Experience 

• Line game in 'train' formation. Walk to a steady beat.
• Start reciting rhyme (below). After reciting the rhyme, they all clap hands to the rhythm of the response YES, NO, MAYBE SO! YES, NO, MAYBE SO!

Engine engine number nine,
Going down the East West Line.
If the train goes off the track,
Will I get my money back?
YES, NO, MAYBE SO!
YES, NO, MAYBE SO!

Concept

• Teacher introduces the response as 'rhythm', also known as 'a series of long and short beats'.

Application

• Psychomotor: Now, pupils try keeping time to the rhythm of the words with their feet, instead of walking to a steady beat.
• Inner audiation: If pupils can accomplish the above, get them to say the whole rhyme in their heads while keeping the rhythm with their feet. They only say out loud the response YES, NO, MAYBE SO!
• Instruments: Divide class into two groups, A and B, with one leader each. A will play the rhythm of the rhyme up till 'money back'; B will play the response. Both leaders will keep a steady beat on the instrument. Xylophones and metallophones can be used; 'C' can be the steady beat, 'E' can be the rhythm; 'G' can be the response.

Music Book

• Teacher writes 'rhythm = long and short beats' on whiteboard for pupils to copy into their blue music jotter-manuscript books.