Vocal Ease 2w1o32

The NSW Department of Education and Training would like to thank the following for permission to reproduce copyright material:

Ann French for Cinderella and Summertime rap. © Ann French Therese Carthew for Dig a potato, an adaptation of Sink a potato. © Therese Carthew DipT, AMusA, BA (Mus) Educational Supplies Pty Ltd for Gary Galah. © Louise Pettinger Alison McKay for Jaws. Traditional adapted by © Alison McKay René Boyer-Alexander for Just gimme the beat. © René Boyer-Alexander Carol Richards for the melody of the traditional Sister Cindy. © Carol Richards Gary King and Audrey Klein for Syncopated Cyril. © Gary King and Audrey Klein 1988 Dominie Pty Ltd for Taba naba, traditional Darnley Island. © Frank A York, 1990 Ian Ross Williams for Underneath the mango tree. © Ian Ross Williams PO Box 180, Glasshouse Mountains Qld 4518 Cee and Cee, a division of Berandol Music Ltd for When I get mad I beat my drum by Sandy Offenheim. © Cee and Cee, a division of Berandol Music Ltd Scholastic Australia for Wind song by Lillian Moore. © 1969 Scholastic Magazines Yungha-Dhu (Beryl Carmichael) for Worms. © Yungha-Dhu (Beryl Carmichael)

Music scores: Resolution Music Cover design, graphic design, illustrations and desktop publishing: OTEN

© 1998 NSW Department of Education and Training Curriculum Directorate

ISBN 0 7313 5571 7 SCIS Number 952 364

Foreword Schools prepare our young people for future employment, study and life options by ensuring that students learn and acquire the educational basics, such as literacy and numeracy skills. They also play a key role in helping students to develop social, cultural and artistic understanding. Experiences in the arts provide opportunities for students to use their imagination and creativity to explore, respond to and learn about the world. As one of the four art forms along with drama, dance and visual arts, music plays an important role in the physical, intellectual, aesthetic, social and emotional development of the individual and the community. The New South Wales Government is committed to improving learning outcomes in the arts for all students in primary schools and has demonstrated this commitment in its for the Sing 2001 program, a major initiative in music education. The Sing 2001 program grew out of the need to re-establish singing as an Australian cultural practice. The voice is the one instrument common to all and singing is exhilarating, engendering self-confidence and self-esteem while building community ties. The program has two strands: developing the curriculum document, Vocal-Ease: A K-6 resource for the classroom and establishing 51 choirs throughout the State. Vocal-Ease will help teachers in primary schools to develop sequential vocal activities, from chanting to choral performance. It provides innovative ideas to the release of the Creative Arts K-6 Syllabus in 1999, with new strategies and techniques for planning and programming music. It gives students opportunities to be involved in music and equips them with the musical skills and training to participate in the Sing 2001 choirs. Vocal-Ease models classroom approaches and musical experiences that will extend beyond the classroom to foster a lifelong interest in singing.

John Aquilina, MP Minister

Contents

Introduction

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Module 2

From games to performance

Module 1

From speaking to singing

Singing games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 The telephone song

Warming up

. . . . . . . . . . . . . . . . . . . .40

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Syncopated Cyril

. . . . . . . . . . . . . . . . . . . . . . .42

Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Chants and raps Dig a potato

. . . . . . . . . . . . . . . . . . . . . . . . . . . .5

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

When I get mad I beat my drum Ms Sue

. . . . . .8

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Just gimme the beat Summertime rap

. . . . . . . . . . . . . . . . . . .13

. . . . . . . . . . . . . . . . . . . . . . .16

Three songs with movements . . . . . . . . .46 Funge alafia Tongo

. . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Taba naba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

A pair of songs

. . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Wearing my long wing feathers . . . . . . .58 The earth is our mother . . . . . . . . . . . . . . .60

Choral speaking

. . . . . . . . . . . . . . . . . . . . . . . . . . .18

Jaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Rounds

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Wind song

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

If you cross a mouse

Cinderella

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Underneath the mango tree

Singing and speaking . . . . . . . . . . . . . . . . . . . . .25 Peanut butter and jelly . . . . . . . . . . . . . . . . .26 Sister Cindy

. . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Stone ing games Mal mal mal Obwisana Uk alele

. . . . . . . . . . . . . . . . . . . . .31

. . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

. . . . . . . . . . . . . . . . . . .64

A song for performance Gary Galah

. . . . . . . . . .66

. . . . . . . . . . . . . . . .69

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

2

Introduction

Introduction

Vocal-Ease complements and s the music strand of the new Creative Arts K–6 syllabus.

The Curriculum Directorate, NSW Department of Education and Training, would like to acknowledge the project team who designed and developed this resource:

This curriculum material has been designed for primary teachers to teach music more effectively. The repertoire has been selected for its appeal and relevance across the primary stages of learning. Modules 1 and 2 provide for progression into Modules 3 and 4, to be published in 1999. Module 1 From speaking to singing: Chants and raps Choral speaking Singing and speaking Stone ing games Module 2 From games to performance: Singing games Songs with movements A pair of songs Rounds A song for performance This document encourages the development of knowledge and understanding of musical skills through sequenced activities. Rather than being a prescriptive manual, it provides strategies and techniques, and models classroom approaches to foster a lifelong interest in singing.

Judy Bedard Miranda North Public School Andrew Bee Performing Arts Unit Margaret Bradley Curriculum Directorate Joan Burtland Bald Face Public School Carol Coomber Curriculum Directorate Ann French Samuel Gilbert Public School Sharon Fulcher Creative Arts Consultant, Armidale Megan Garritty Auburn Public School Julie Montague Curriculum Directorate/Board of Studies Robyn Staveley University of Technology, Kuring-gai Maureen Stevens Creative Arts Consultant, Port Jackson Barbara Stacey Miranda North Public School Liz Strasser Faulconbridge Public School Jan Wood Bondi Public School

Module 1

From

speaking

to singing

4

Warming up

3.

vocalising • hum • sing a syllable softly, e.g. mah • vary dynamics (soft to loud) • vary pitch (low to high) • imitate known sounds, e.g. train in the distance, car alarm

4.

singing • speak or sing known chants and songs.

By warming up, vocalists gradually prepare the body and voice for singing and so focus attention on the task at hand. The warm-up sequence is: 1. relaxing 2. breathing 3. vocalising 4. singing. In classroom activities the warm-up session readily provides part of the lesson introduction. 1.

2.

relaxing • stand • roll shoulders gently • stretch arms • shake out arms • shake out legs breathing • empty the lungs of air • breathe in, filling the bottom of the lungs • release air steadily and silently. * Please note that the lungs are like balloons which get bigger when they fill up; the lungs are not located under the shoulders, so the shoulders should remain still when breathing.

Conducting Conducting provides guidance for the group so everyone can: start together keep together stop together. As there are many ways to do this, your direction needs to be clear to everyone. Hand signals work well; so can eye and head signals. Experiment with your group. Give students a chance to try conducting as there is no right or wrong way.

Chants, raps and choral speaking Repertoire

Outcomes for teachers By the end of these activities, teachers will be able to: 1. implement activities for students which will develop recognition and control of the speaking and singing voice 2. encourage the development of these skills through appropriate repertoire.

Skills

CD track 1.

Dig a potato

CD track 2.

When I get mad I beat my drum

CD tracks 3-4.

Ms Sue

CD tracks 5-6.

Just gimme the beat . . . . . . . . . . . . . . . . . . .13

Not on CD.

Summertime rap

. . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 . . . . .8

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

. . . . . . . . . . . . . . . . . . . . . .16

S P M OS L singing playing moving organising sound listening

By the end of these activities, students will be able to demonstrate that they can use the speaking and singing voice to reflect changes in pitch, rhythm patterns, dynamics and tone colour.

Chants and raps

Choral speaking CD tracks 7-8.

Jaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Not on CD.

Wind song

Not on CD.

Cinderella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Concepts

DP

Dy

T S

duration pitch dynamics tone colour structure

Outcomes for students

Key

Chants raps and

6

Dig a potato Therese Carthew

Tap knees (patsch)

44 œ

œ œ œ

Dig

a

Rub hands

j œ œ

Rub

po - ta

-

œ

j œ

œ

to

deep

in

j j œ œ œ

it

and

scrub

j œ

it

and

j œ

Œ

œ

the

ground

œ

œ

œ

œ

œ

peel

it

all

a - round

Œ

Mime stirring a pot and throwing on a plate

œ

œ

œ

œ

Cook

a

po -

ta

Pat chest

j œ

Whack

œ on

j œ the

-

Œ

œ

œ

œ

œ

œ

œ

to

throw

it

on

a

plate

Clap

œ but

-

œ

œ

ter

mate.

Œ

Snap

Snap

œ

œ

It's

great!

Œ

Purpose

Skills

Activities

S P M OS L

Concepts

DP

To model the chant.

Introduce the chant with students echoing one phrase at a time.

To reinforce chant with body percussion and actions.

Demonstrate actions for each line while saying the words.

To explore performance variations.

Continue actions while chanting in different ways such as softly, loudly, whispered, jerkily. Try the actions while the students are saying the words in their heads (so there is no vocal sound).

To perform a round.

Divide students into two groups. One group begins the chant. The second group begins the chant when the first group gets to the end of the first line. This is a round.

Dy

T S CHANT: See glossary.

Try a similar approach to the following chant written by Yungha-Dhu (Beryl Carmichael) from Broken Hill.

Worms Long creepy crawly worms

Try this round in three or four groups. To develop musical imagination.

Resources

Slithering over the sand

Try the round with actions only.

Even after the sun has set Worms are still around Their glowing brightness very bright Much better after a rainy night

OS

L

singing playing moving organising sound listening

S PM

Concepts

D P

Dy

T S

©Yungha-Dhu/Beryl Carmichael


Skills

7

Chants raps and

8

When I get mad I beat my drum Sandy Offenheim

When I get mad, I beat my drum. Dum da dum, dum da dum, dum da dum da da dum. I beat my drum till my arm gets numb. Dum da dum, dum da dum, dum da dum da da dum. I beat my drum right through the day. Dum da dum, dum da dum, dum da dum da da dum. Until that BAD MAD goes away. Dum da dum, dum da dum, dum da dum da da dum. When I get mad, I beat my drum. Dum da dum, dum da dum, dum da dum da da dum. When I get mad, I beat my drum. Dum da dum, dum da dum, dum da dum da da dum.

Purpose

Skills

Activities

S P M OS L

DP

To explore sound sources.

Experiment with making drumming sounds by using body percussion or by drumming on objects in the classroom.

To imitate accurately.

Select a leader to drum a pattern which the class echoes. Take turns with different leaders.

To develop aural awareness.

Game: Find the sound.

To maintain a steady beat.

Concepts

Everyone closes their eyes except for one person. He/she drums a pattern somewhere around the room and returns to sit with the group. The students then open their eyes and are invited to reproduce the drumming pattern using the same sound source.

Dy

Resources

T S BODY PERCUSSION: See glossary.

Read Bertie and the Bear by Pamela Allan.

Introduce the chant with students echoing one phrase at a time while patsching the beat with both hands. Repeat the chant and invite the students to in the “Dum da dum…” line each time it occurs.


Divide the class into small groups to work on ways of presenting the chant. Incorporate some of the ideas used in Dig a potato. • Groups perform for each other. • Invite the class to listen for the aspects of each group’s performance that they like. • Share positive responses.

To innovate in the text.

Make up new verses: When I get mad, I shake my fist Dum da dum… I shake my fist Right off my wrist. Change the instrument from a drum to something else, for example: When I get mad, I play my flute. Doo da doo, do da doo, doo da doo, da da doo I play my flute In my blue tracksuit.

Literacy link: Innovate on the text.

9

10

Chants raps and

Ms Sue Traditional

24 œj Ms

j œ

(œ œ ) ‰

Sue,

(clap)

j œ

Ms

(clap)

œ

œ

œ

Ma - gic

scoo-be - doo

œ

mea - sles,

œ

œ

ma - gic

œ œ œ œ œœœœœ h

i

j

k

l

m n

o p.

j œ

(œ œ ) ‰

Sue,

j œ œ œ

(œ œ)‰

you,

j œ

j œ

(clap)

Ms

œ flu.

œ œ Take a

Sue from

Par - ra

-

your ma-ma's got the mea-sles,

œ œ œ œ œ œ Take an

a

œ

œ

smooth

shot,

b

œ œ take a

c

d

mat - ta.

Hey

j œ œ œ œ œ œ‰

r œ œ œ œ œ œ œ

(œ œ )‰ . (clap)

j œ œ ‰ œ

œ œ œ œ

your

papa's got the flu.

œ œ.

œ

œ œ

e

g,

take a n

f

œ

œ œ

œ

smooth

shot. Now

freeze.

‰

Movement Stand upright and clap as indicated in the music.

(Ms Sue: clap clap, Ms Sue: clap clap).

(Hey you – clap clap, scoo bee doo – clap clap).

Hands on hips; lean forward to the right on mama’s.

Lean forward to the left on papa’s.

Lyrics

Ms Sue , Ms Sue Ms Sue from Parramatta Hey you, scoo bee doo Your mama’s got the measles Your papa’s got the flu.

Hands on hips; lean forward to the left and then, continuing to lean forward, move upper body around to the right until the word flu.

Magic measles, magic flu

Keep left hand on hip: with right-hand first finger, wag finger on each letter, moving arm with wagging finger across body to left side.

Take an a b c d e f g.

Put right hand on hip; wag with left-hand first finger across body back to the right side, wagging on each letter of the alphabet.

Take an h i j k l m n o p.

Slide both hands down sides of body while chanting the word smooth. Freeze in position on the word freeze.

Take a smooth shot, take a smooth shot. Now freeze!

11

12

Chants raps and Purpose

Skills

Activities

S P M OS L

Concepts

DP

Dy

T S

Recite chant for students or play the recording. During the second time through, invite students to add the clapped patterns that occur in the first lines.

To model the chant.

CD track 3

Teach all the words to the chant, phrase by phrase.

Create actions to accompany the chant. Emphasise the word “smooth” with a body movement.

To perform in unison.

Perform actions in unison. Everybody does exactly the same thing at the same time. Perform the chant for another class.

OS

L


S PM

Concepts

D P

Dy

T S


Skills

Resources

Just gimme the beat

René Boyer-Alexander

44 œj œ œ œj Just

gim - me

the

A

œ

‰ œj œ

beat,

‰ œj œ œ œ œ ‰ œj œ œ

the beat,

œ

œ

tune

(no

the

j œ ‰ œ œ œ œ tune).

Just

gimme the

B

œ œ œ rhy - thm

is

B - E - A - T.

œ œ œ œ something that will

œ œ œ œ œ œ œ œ bo - dy keeps on rock - in'

as

you

j œ œ.

Ain't got

‰ œj œ

œ beat,

no

œ

œ

words

the beat,

the

ain't

B - E - A - T.

œ œ

move,

from your

j œ œ.

œ.

j œ œ œ œ œ œ

rap and

rhyme.

You

(no words)

j œ œ got

œ no

‰ œj œ œ œ œ ‰ œj œ œ

œ

make you

‰

œ

œ œ œ œ head

al - ways feel

to your hips

it

best

You know that

œ

j œ œ.

down

to your

œ. shoes.

œ

j œ œ.

j œ

in

four- four

time.

j œ Your

13

14

Chants raps and Purpose

Skills

Activities

S P M OS L To maintain a steady beat and to develop feeling for 4-beat metre.

Concepts

DP

Dy

Resources

T S

All students perform the following body percussion: clap patsch

4 4 .. œ

œ

œ œ

..

NB Using both hands for a body percussion pattern is indicated by the use of double stems on the musical note.

œ To model the chant and to perform the chant accurately.

Perform the chant (or play the recording) while the class continues the body percussion and accompaniment. Teach the chant through echo; include response phrases (no words/no tune).

To devise appropriate movements to fit the 4-beat metre.

Divide the class into groups to devise suitable body percussion to accompany the second part of the chant: “You know that rhythm is something that will make you move.”

To perform within a set structure.

Perform chant in the following sequence: Section Section Section Section Section Section Section

A B A C A D A

Whole Group Whole Group Whole Group Whole

class performs “Just gimme the beat” section 1 performs “You know” section with body percussion class performs “Just gimme the beat” section 2 performs “You know” section with body percussion class performs “Just gimme the beat” section 3 performs “You know” section with body percussion class performs “Just gimme the beat” section.

Continue until all groups have performed in rondo form.

PATSCH: See glossary.

RONDO: See glossary.

Extension Perform the chant in the same rondo form as previously, but replace the “You know” section with new rhymes. • Each group selects a rhyme to chant (could be nursery rhymes such as “Humpty Dumpty” or “Hickory Dickory Dock”)

To use the voice to perform rhythm patterns and to fit word patterns to metre of chant. To use the voice to express pitch, duration, dynamics and tone colour. To develop structure for performance.

OS

•

Vary the performance through changes in dynamics (soft, loud, getting loud, etc), pitch (high voice, low voice etc), tone colour (ways of using the voice—growly voice, whispering voice etc)

•

Complete the performance by deciding as a class on a suitable beginning (Introduction) and ending (Coda).

Concepts

L


S PM

Practise performing it with the same (or modified) body percussion as your old “You know” section

D P

Dy

T S


Skills

•

15

Chants raps and

Summertime rap

16

Ann French

Movement

snap patsch

œ 4 .. 4 œ

(

Chorus

œ . . œ œ

œ œ . œa - boom œ boom œ chœ

Boom ch

)

Lyrics

Boom ch a-boom boom Hand roll on “busy”. Point index finger to the sky on “fizzy”. Snap fingers x 3 “zip, zop, zap”.

Busy, fizzy, zip, zop, zap Here we go with the Summertime rap Boom ch a boom boom ch.

snap patsch

œ 4 .. 4 œ

œ . . œ œ

œ 4 .. 4 œ

œ . . œ œ

Verse 1

snap patsch

4 .. 4 œ

œ

œ œ œ

Down to the beach with a bucket and spade, A big umbrella to give us shade. Slop on the sunscreen, slap on the hat Or you’ll burn to a crisp in no time flat.

X4

..

Verse 2

snap patsch

4 4 .. œ

œ

œ œ œ

Run to the water, dive in the waves Run down the sandhills, search the caves. Summer’s the time for outdoor fun. But Priority Number One Is slop on the sunscreen, slap on the hat Or you’ll burn to a crisp in no time flat.

X6

..

Hand roll on “busy”. Point index finger to the sky on “fizzy”. Snap fingers x 3 “zip, zop, zap”.

Chorus

Coda

Busy, fizzy, zip, zop, zap Suntime, fun-time, Summertime rap.

snap patsch

Purpose

Skills

Concepts

Activities

S P M OS L

DP

Dy

T S

Teach “boom ch” pattern. Body percussion:

4 4 .. œ

œ

Spoken:

4 4

œ. œ œ œ œ

œ Boom

To maintain an ostinato throughout a rap.

œ œ œ

ch

Resources

See glossary: RAP PATSCH

..

Hey! This fits with PDHealthPE!

a- boom boom ch

Students continue body percussion accompaniment while a leader recites the verse. Whole class s in with the “boom ch” pattern and chorus. Teach coda and then perform.

CODA: See glossary.

Divide class into 5 groups. To transfer rhythm of body percussion to instruments.

Group 1

To devise appropriate movement patterns to accompany rap.

Group 2 & 3 Devise movements to accompany verse 1

To structure a work for performance.

Group 4 & 5 Devise movements to accompany verse 2.

L


OS

Non-melodic percussion instruments such as a drum and tambourine.

Concepts

D P

Dy

T S


Perform as a class.

Skills

S PM

Transfer “boom ch” pattern to non-melodic percussion instruments and repeat pattern for the duration of the rap. For example, snap = tambourine, patsch = drum.

17

Choral

speaking

18

Jaws

Traditional adapted by Alison McKay Movement click make scissor actions to the beat with your arms (from the shoulder) make bigger scissor actions

Lyrics

There was a story About Jaws

..............

doo doo doo doo doo

......................

doo doo doo doo doo

There was a papa

...............

doo doo doo doo doo

......................

doo doo doo doo doo

little scissor actions

And a baby

tired scissor actions

And a grandpa

..................

doo doo doo doo doo

pat your hairdo

There was a lady . . . . . . . . . . . . . . . . doo doo doo doo doo

make fists and move forearm up and down from elbow

And a man . . . . . . . . . . . . . . . . . . . . . . . doo doo doo doo doo

flex your muscles and move forearms up and down

A muscle man . . . . . . . . . . . . . . . . . . . doo doo doo doo doo

beckon and make swimming actions

She said

..........................

“Come to the water and go for a swim.”

little scissor actions

But there was Jaws

.............

doo doo doo doo doo (softly)

bigger scissor actions

But there was Jaws

.............

doo doo doo doo doo (louder)

biggest scissor actions hold your nose and with an arm in the air, pretend to sink flex your muscles, as above look around do the “swim” pretend to sink, as above click move two fingers like scissors

BUT THERE WAS JAWS There was a scream It was the man

doo doo doo doo doo (loud) Aaahh! doo doo doo doo doo

...........

doo doo doo doo doo

.................

doo doo doo doo doo

.........................

doo doo doo doo doo

She could swim

What’s next? Jaws II !

............

..................

“I’ll save you honey”

Not him!

......

....................

doo doo doo doo doo

...........................

doo doo doo doo doo

Purpose

Skills

Concepts

Activities

S P M OS L

DP

Dy

Resources

T S

Play the recording of “Jaws” for the class.

To perform demonstrated rhythm patterns.

Invite students to chant doo, doo, doo, doo, doo at the end of each line of the story.

4 4

Œ

Œ

click

click

œ

˙

doo

doo

Œ

Œ

click

j œ œ doo

Œ

click

doo

j œ ˙ doo

To enhance words with actions.

Add the actions.


Discuss ways of making the story really exciting for an audience. Experiment with different ways of speaking, chanting, whispering and shouting the words.

How about dramatising this!

Refine the performance by encouraging students to make constructive comments from an audience member’s point of view. When the whole group of students is satisfied with the way “Jaws” looks and sounds, perform it for another class.

OS

L


S PM

Concepts

D P

Dy

T S


Skills

19

Choral

speaking

20

Wind song Lillian Moore

When the wind blows the quiet things speak. Some whisper, some clang, Some creak. Grasses swish Treetops sigh. Flags slap and snap at the sky. Wires on poles whistle and hum. Ashcans roll. Windows drum. When the wind goes — suddenly then, the quiet things are quiet again.

Purpose

Skills

Activities

S P M OS L To respond to text.

Concepts

DP

Dy

Resources

T S

If appropriate, let students read the poem silently before hearing it. Otherwise, read the poem aloud. Discuss the meaning of words and the atmosphere created.

To explore onomatopoeia.

Identify all the verbs. Experiment with ways of saying the verbs, such as swish, sigh, slap.

As a class, read through the poem aloud, emphasising the sounds of the verbs. Use vocal sounds or body percussion to enhance these words. Literacy link: choral speaking Record a performance on cassette. Listen and discuss the effect created.

Cassette recorder

Extension activity: Using the audio tape recording as a soundtrack, devise movements to express the poem.

OS

L


S PM

Concepts

D P

Dy

T S


Skills

21

Choral

speaking

22

Cinderella Ann French

Cinderella was the drudge in the family home,

Poor Cinders, poor Cinders, ain’t life rough?

“Yipes!” Cinders cried in mortal fear,

She worked her fingers to the bone.

Those ugly crones are making it tough.

“So long, Prince — I’m outta here.”

Her Sisters (Step!) and Mum as well

Poor Cinders, poor Cinders, boo hoo hoo,

“No!” shrieked His Highness,“Stay, please do,

Gave that little Cinders hell.

A miracle’s needed to rescue you.

I can’t do much with one glass shoe.”

“Go Cinders, go Cinders, go, go, go,

With a zap and a flash came the

For days the Prince trudged up and down,

Scrub those floors till they’re white as snow.

Fairy Godmum,

He knocked on every door in town,

Go Cinders, go Cinders, wash and rinse,

“O.K. Cinders, here’s the drum.

Till, at last, feet sore with blisters,

We’re going to dance with the handsome

I’ll give you a coach, a gown and all,

He came to the home of the Ugly Sisters

Prince.”

Go kick up your heels at the palace ball.” And there, at last, he found his Bride,

Poor Cinders sobbed and tore her hair,

“Yippee! “ cried Cinders, “Yes! All right!

The church bells rang o’er the countryside,

“Drat!” she cried, “It isn’t fair!

I’ll rock ’n’ roll till broad daylight.”

The day was filled with joy and laughter

Those ugly crones get all the fun,

“Hang on!” warned the Fairy. “Not so fast!

And all lived happily ever after.

While I have zero, zilch and none!”

This spell doth end when midnight’s past.” Go Cinders, go Cinders, real cool cat, The Prince’ll be yours in no time flat. Twas true! The guy was bowled right over. Yes!” thought Cinders. “I’m in clover.” BUT — (clock strikes midnight).

Purpose

Skills

Activities

S P M OS L To develop feeling for telling a story.

Concepts

DP

Dy

Resources

T S

This is a choral speaking work. The aim is to develop the skill of speaking as a whole group in unison, with dramatic effect changing the way of speaking, depending on the character or the narrator. The group decides who does what.

Literacy link: variations on a narrative

Session 1 To experience performance suggestions.

Discuss fairy tales and specifically “Cinderella” stories in a range of cultures including those represented in the class. Present and compare two versions of “Cinderella”. Discuss the characters, traditional versus modern and other issues.

HSIE intercultural study

Session 2 and subsequent sessions To develop repertoire of movement to express dramatic ideas.

Identify the characters in the story of “Cinderella”.

To experiment with performance ideas.

Leader reads the poem while the characters portray their parts in mime.

To experiment with use of voice.

As a whole group, develop a performance which includes: • movements which enhance meaning • variation in vocal expression.

To practise speaking in an ensemble.

Performance suggestion

Costumes if desired.

Have three smaller groups within the big group to portray Cinders, Godmother and the Prince. This will still produce the effect of speaking in unison, but will also focus interest on where the sound is coming from

OS

L


S PM

Concepts

D P

Dy

T S


Skills

Have you read Roald Dahl’s “Revolting Rhymes”?

23

Singing and speaking Repertoire

Key

Peanut butter and jelly . . . . . . . . . . . . . . . . . . .26

By the end of these activities, students will be able to demonstrate that they can differentiate between the uses of the singing voice and the speaking voice.

CD track 10.

Sister Cindy

Outcomes for teachers By the end of these activities, teachers will be able to use repertoire which develops the speaking and singing voices.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Skills


CD track 9.

Concepts

DP

Dy

T S



Singing

and

26

speaking

Peanut butter and jelly Traditional

Movement

Lyrics Verse 1

22 œ . œ œ . œ œ . œ œ . œ For example: picking peanuts smashing peanuts spreading peanut butter

œ. œ œ. œ œ. œ œ. œ

First you get the pea - nuts and you

pick them and you pick them and you

Chorus



Pick them and you pick them and you

smash them and you smash them and you

œ.

œ œ.

œ œ.

Smash

them smash

them smash

œ œ. œ them and

you

j œ œ.

& 22 .. œ œ œ œ œ Pea - nut

butter and

œ ˙.

..

jel - ly.

Ó

spread 'em.

Chorus Verse 2 For example: picking berries smashing berries spreading jelly (jam)

Then you get the berries and you pick them and you pick them and you pick them, pick them, pick them. Then you smash them and you smash them and you smash them, smash them, smash them. Then you spread ‘em. Chorus Verse 3

For example: hold sandwich in two hands and bite it gulp sandwich

Then you get the sandwich and you eat it, and you eat it, and you eat it, eat it, eat it. Then you gulp it and you gulp it and you gulp it, gulp it, gulp it. Chorus

(Hum the tune as if your mouth is full) Coda

(Sing once only).

Purpose

Skills

Activities

S P M OS L

Concepts

DP

Dy

Resources

T S

Teach the chorus of “Peanut butter and jelly” and include the arm movements.

To demonstrate change of pitch with actions.

Tell the story of the peanut butter and jelly sandwich by chanting the verses with actions. Everyone s in with the chorus each time it occurs.

To contrast sung and spoken text.

Choose individuals or a small group to chant the verses with the rest of the class singing the chorus. Alternatively, everyone performs chant and choruses.

Literacy link: innovate on the text; reading and writing procedures

Change the text by making up new words for the song, eg. tomato, cheese and lettuce or banana, ants and butterflies.

OS

L


S PM

Concepts

D P

Dy

T S


Skills

27

Singing

and

28

speaking

Sister Cindy Traditional with melody by Carol Richards

& 44 œ

œ.

She's

& œ dark

&œ up

& œ down

& œ round

& œ ground

li

œ œ. -

ving in

œ

œ.

dark

dres

œ. Sis

ter

œ. -

ses

Cin

ter Cin

-

-

-

ter Cin

ter

Cin

a -

Ten - nes - see,

bove

her

œ œ

j œ œ

dy from

Ten - nes

j œ œ

dy from

Ten - nes

œ œ

j œ œ

dy from

Ten - nes

-

œ œ -

dy from

œ

she wears

j œ œ

j œ œ

œ œ

œ œ. -

called

œ

up

œ œ.

œ. Sis

-

œ œ.

œ. Sis

œ œ.

j œ œ œ œ

j œ œ

œ

a place

œ œ. -

Sis

œ œ

œ

knees,

hands

j œ œ -

œ

see,

hands

j œ œ -

œ.

see,

turn

j œ œ -

see,

œ

Ten - nes

œ

œ

-

see.

œ a -

œ.

œ

touch

the

Chanted

I’ve never been to college and I’ve never been to school But when I came home I was an educated fool.

œ

Skills

Activities

S P M OS L

Concepts

DP

To use singing voice and to accompany song with movement reflecting structure of song.

Have the group stand in a circle. Teach the song, movement and chant (refer to chart of words and associated movements).

To explore using the voice expressively.

Perform movements in a circle while singing song and saying chant. During chanted section, a person in the middle covers eyes, turns around and points. The person pointed to on the word “fool” is the next soloist.

Dy

T S Chart of words and associated movements.

Why not read “Sister Madge’s Book of Nuns?”

Solo section (chanted) Soloist Class

My mother she sang Your mother she sang? (exaggerated questioning voice)

Soloist Class

She sang like this (soloist improvises, can add movement) Class echoes the soloist.

Resources

After the “fool” has performed the solo section, all the preceding “fools”, in descending order, redo their sections. e.g.

My mother she sang, My toothbrush he sang, My dog he sang etc.

After all the solos are performed, return to the singing section. Finish with: Teacher And where’s Sister Cindy singing? Class Who cares?

Skills

OS

L


S PM

Concepts

D P

Dy

T S


Purpose

29

Singing

and

30

speaking

Words and associated movements for each beat and bar of

Sister Cindy

Lyrics Movement

She’s ... living in a right foot step forward

dark, dark right foot forward, pat knees

up Sister right foot forward, hands up

down Sister

place called left foot forward, pat knees

dresses up a – left foot forward, hands up

Cindy from left foot forward, hands down

Cindy from

crouch, pat the ground

round Sister

Cindy from Cindy from

point to self

right foot back, pat knees

Tenness – right foot back, hands up

Tenness –

left foot step back

knees, hands left foot back, pat knees

ee, hands left foot back, hands up

ee, touch the left foot back, hands down

Tenness

ee, turn a –

Tenness –

ee. I’ve

1/4 turn

college and I’ve

never been to

1/4 turn

school, but when

point to left

point to right

I came home

bove her

ee, she wears

1/4 turn

1/4 turn

never been to

right foot step back

right foot back, hands down

right foot forward, hands down

ground Sister

Tenness –

I was an thumb point over shoulder

educated hands in book pose

fool. point to head

Stone ing games Repertoire

Key

Mal, mal, mal

By the end of these activities, students will be able to demonstrate that they can: 1. sing within a small pitch range 2. maintain a steady beat.

CD track 12.

Obwisana

CD track 13.

Uk alele

Outcomes for teachers By the end of these activities, teachers will be able to: 1. model a song accurately or use appropriate means to model a song accurately 2. teach a song using the echo method 3. use body percussion to maintain a steady beat 4. use a number of strategies to develop the singing voice 5. use a number of strategies to develop the musical imagination.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Skills


CD track 11.

Concepts

DP

Dy

T S



Stone

ing

32

games

Mal, mal, mal Traditional New Guinea

# 2 & 4 œ Mal

&

#

œ go

œ

œ

œ

mal

mal

œ Kal -

œ œ œ

œ

Kam - e - me

œ um

˙ -

bus,

œ œ œ

œ

œ go

œ Kal -

Kam - e - me

œ um

˙ -

bus.

Purpose

Skills

Activities

S P M OS L

Concepts

DP

Dy

Resources

T S

Learning the song To be able to hear an accurate model of a song and to maintain a steady beat.

Demonstrate the song while lightly patsching the beat. Teach the song by echo, while patsching to maintain the beat.

“Playing” with the song To reproduce modelled phrases of a song. To develop a feeling for phrasing.

Why not study New Guinea, one of our nearest neighbours?

Divide the class into two groups and sing alternate phrases. For example: Group Group Group Group Group

1 2 1 2 1

Mal, mal, mal Kameme go Kameme go Kalumbus Kalumbus

To develop the musical imagination.

Sing only the first sound of each phrase.

To associate sounds with beats.

Change the body percussion to patsch and clap and sing only the sounds which occur on the patsch or clap.

To develop a feeling for harmony using vocal ostinato and canon.

Maintain the body percussion but sing only on the first and last words of the song.

Make up a vocal ostinato by using a phrase of the song, for example, “Kalumbus”. If possible, sing in canon (the second part enters after “mal, mal, mal”).

(Continued on page 34)

33

Stone

ing

34

games

Purpose

Skills

Concepts

Activities

S P M OS L

DP

Dy

Resources

T S

Playing the stone ing game To maintain the beat through “ing” the beat.

Sit in a circle. Decide the direction in which the stones, sticks, bean bags or objects are going to be ed. With one hand behind back, practise picking up an imaginary object and to next person while chanting.

24 .. ˙

To be able to perform through singing and moving.

pick up

˙

˙

˙

pick up

..

Sticks or stones or other appropriate objects which can be ed easily.

Gradually introduce objects (start by just ing 1 or 2 objects, then increase according to ability of group). Replace chant with song.

Extension Divide class into 3 groups; rotate groups. To devise patterns using existing rhythm patterns within song.

1.

Devise a percussion accompaniment: Use some of the rhythm patterns of the words of the song to develop an ostinato on non-melodic percussion instruments, e.g. claves

24 .. œ œ Kal - um -

To devise ways of performing the beat through movement.

2.

˙

..

bus

Devise a new way of performing the stone ing game: stone in opposite direction stones around outside of circle using 2 stones, devise a different way of ing which includes tapping stones together.

Non-melodic percussion instruments.

Purpose

Skills

Concepts

Activities

S P M OS L

DP

Dy

Resources

T S

Obwisana is an African stone ing game which can be treated similarly to “Mal, mal, mal”.

Obwisana (“Oh gramma, I just hurt my finger on a rock.”) Traditional Ghana

## 2 X & 4 œ œ œ œ

O

Ob - wi - sa - na

sa

&

##

X

œ œ œ œ Ob - wi - sa - na

œ

O

œ

sa

na - na

œ œ -

œ œ œ œ

œ œ -

na - na

O

X

˙

Ob - wi - sa - na - sa.

X

œ œ œ œ Ob - wi - sa - na -

O

˙ sa.

Lyrics

A stone fell on my hand Movement

X O

Pick up stone stone

35

Stone

ing

36

games

Uk alele Traditional Pacific

j j œ œ

j & 24 œj ‰ ‰ œ œ Uk

Pronunciation

A -

Ook

le

-

le

a

Pe - re

ti - ke

Ah - lay

-

lay

ah

Pair - eh

tick - eh

j j & œj œ œ œj œ Ma - sse

œ œ œ œ

œ

j œ œ

j œ

j j œ œ

œ -

ba

a

tomb -

tom

ah

ah

34

j œ

j œ œ

Ma - sse

Ma

-

sse

U

A

-

lo

-

ah

A

-

lo

-

Mus - sah Mus- sah

Mus

-

sah

Oo

Ah

-

loh

-

ah

Ah

-

loh

-

& 34 œj œ ah ah

A

j œ œ -

lo - he.

Ah -

loh - ay.

..

Purpose

Skills

Activities

S P M OS L

Concepts

DP

Dy

Resources

T S

Learning the song Using a patsch and clap body percussion pattern, teach the song in a similar fashion to “Mal, mal, mal”.

To accurately reproduce pitch patterns. To maintain a steady beat.

clap

To develop a feeling for changing metre.

patsch

To experience changes in accent.

2 4 .. œ

œ

œ œ

Sticks, stones or other appropriate objects which can be ed easily.

..

Note: The last bar has 3 beats whereas every other bar has 2 beats. As a result, while your body percussion may have started with the patsch on the strong beat, the strong beat will be on the clap every alternate time through.

Playing the stone ing game Practise the ing as for “Mal, mal, mal”, then when secure, add song. Note: The metre change (from 2 to 3 beats) will add an interesting dimension to the feeling for ing the beat.

OS

L


S PM

Concepts

D P

Dy

T S


Skills

37

Module 2 From games to performance

Singing games Repertoire

Key

The telephone song

By the end of these activities, students will be able to demonstrate that they can: 1. move between their speaking and singing voices 2. perform answering phrases.

CD track 15.

Syncopated Cyril

Outcomes for teachers By the end of these activities, teachers will be able to implement activities which develop movement between the speaking and singing voices.

. . . . . . . . . . . . . . . . . . . . . .40

. . . . . . . . . . . . . . . . . . . . . . . . .42

Skills


CD track 14.

Concepts

DP

Dy

T S



Singing

40

games

The telephone song Traditional

Group

Soloist

& 44 œ

œ

"Hey

‰ œj œ œ

œ

A - dam!"

"I

think

j œ œ

bœ œ J

I

hear

Group

my

œ

name."

"Hey

Soloist

&œ A

-

dam!"

& œ wan

‰

œ

œ -

on

& œ rick

& œ rick

Re

-

-

-

tick

tel

I'm

œ

tick - e -

bœ

œ -

tick

œ

œ

ty

tack

œ -

bœ hear

bœ J

bec - ca

bœ

tick

I

think

œ œ œ

œ -

"I

the

&œ œ œ is - n't

œ

œ

œ

ted

Group

j œ œ

e

-

œ

œ

it

a - gain."

e

-

phone."

bœ J

œ

not

at

œ

ty

tack

œ

œ

œ

"Well

if

it

Group

home."

œ

œ "you're

j œ œ

œ

œ

œ Soloist

j œ œ

œ -

œ

‹

‹

‹

Oh

yeah!

‹

‹

Oh

yeah!

œ

œ

With

a

œ

œ

With

a

‹

Purpose

Skills

Activities

S P M OS L To maintain a steady beat with body percussion.

Concepts

DP

Dy

Resources

T S

Present the song accompanied by body percussion. Students in with body percussion. clap patsch

To develop pitch matching.

4 4 .. œ

œ

œ œ

That rings a bell! Communications is a great unit of work to include!

..

Teach the song through echo or by question and answer.

Perform with the whole class singing the response. Provide the beat on a tambour while the class is singing.

Tambour

Teacher: “Hey (Year Three)” Whole class: “ I think I hear my name”

To develop confidence in the individual’s use of the voice.

Perform using students’ own names or those from a variety of cultures, with individual students singing the response. Younger children find it easier to think of the “next person” if sitting in a circle where they can see each other’s face.

OS

L


S PM

Concepts

D P

Dy

T S


Skills

41

Singing

42

games

Syncopated Cyril Gary King and

œœ

Swing

=

j œœ 3

& 44 œ œ œ œ œj œ . Syn - co - pa - ted

j œ œ.

j & œ œ watch

& œ once

&œ

his

œ a -

gain

œ œ

cop - y - ing

and

j œ œ. Wan - da,

to

œ

œ

down

the

street;

j œ œ watch

his

œ

œ

j œ œ

the

œ end

œ

feet.

œ

fol - low - ing

œ œ œ œ Cy - ril

œ

walk - ing

j œ

hands

œ

œ

Cy - ril,

Œ

œ

œ

Here comes

œ

œ

Œ

be - hind;

œ

œ

œ

of

the

line.

Chant

Cross the street, cross the street, to the other side; Turn around, turn around on the other side. Go back, go back, to your own side; Turn around, turn around, on your own side.

œ

Œ

Audrey Klein

Purpose

Skills

Activities

S P M OS L

Concepts

DP

Dy

Resources

T S

Introducing the sung section To maintain a steady beat.

Introduce the sung section of “Syncopated Cyril” while patsching lightly on the knees. Students imitate patsching while listening to the song.

To match pitch accurately.

Teach song by echo while maintaining patsching.

PATSCH: See glossary

Introducing the chanted section To accurately learn rhythm of the chant.

Demonstrate the chant “Cross the street…” with a different body percussion accompaniment. clap patsch

4 4 .. œ

œ

œ œ

..

Students echo the chant.

To consolidate quality and style of movement from previous movement lessons.

Students explore different movement styles to perform with the chant, for example, moving in a variety of ways around the room; changing on a given signal; exploring high and low levels.

Learning “the game” To contrast sung and spoken text.

Perform sung section followed by spoken section, while maintaining the beat with body percussion. Repeat several times. (Continued on page 44)

43

Singing

44

games Purpose

Skills

Activities

S P M OS L To devise ways of reinforcing beat and rhythm through movement.

DP Explain to the class that the “game” is about copying a leader. With students standing in their own space, the teacher improvises a walking style for the class to copy. Select a student to improvise a walking style while the class sings: “Syncopated Cyril, walking down the street; Watch his hands and watch his feet”.

To imitate movement and respond to the structure of the song.

Students imitate leader’s walk and perform the second part of the song: “Once again Wanda, following behind, copying Cyril to the end of the line.”

Performing the “Syncopated Cyril” game To contrast sung and spoken text.

Concepts

Students stand in two lines, opposite and facing a partner. Section A: Leader of line 1

improvises a walk to the other end of the line while class sings bars 1–4 (“Syncopated Cyril, walking down the street; watch his hands and watch his feet”).

Leader of line 2

copies Cyril while class sings bars 5–8 (“Once again Wanda, following behind; copying Cyril to the end of the line”).

Section B: While performing the chant (“Cross the street…”) and imitating Cyril, lines cross over and swap positions, and then return to their original positions. Repeat with a new leader.

Dy

T S

Resources

Extension To identify known rhythm patterns and use them as ostinato accompaniments.

Clap some of the rhythms from the chant for the students to identify.

Play the rhythms on other percussion instruments such as drums, tambourines and claves and use them to accompany Section B. For example: claves “cross the street, cross the street” drum “other side”.

Use tuned percussion instruments such as xylophones and glockenspiels in C pentatonic (CDE GA as indicated in the resources column). Select a small group of students to improvise an accompaniment to Section A.

OS

L


S PM

Concepts

D P

Dy

T S


Skills

45

Three songs with movement Repertoire

Key

CD track 16.

Funge alafia . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Skills

By the end of these activities, the students will be able to demonstrate that they can: 1. sing three simple children’s songs 2. perform a call and response song 3. respond to variations in dynamics and tone colour.

CD tracks 17-18.

Tongo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

S P M OS L

By the end of these activities, teachers will have implemented strategies to teach simple songs and encouraged the exploration of dynamics and tone colour through the voice.

naba

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Concepts

DP

Dy

T S


Outcomes for teachers

CD tracks 19-21. Taba



Funge alafia Traditional Ghana

& 44 œJ & œJ

j œ œ

œ

Fun - ge

a

œ

j œ œ

Fun - ge

a

-

-

la

la

-

-

œ

j œ œ

j œ œ

fia

a

a -

-

sche

sche.

œ

j œ œ

j œ œ

fia

a

a -

-

sche

Œ Œ

sche.

to head

to heart

to L arm

to R arm

L step

close

L step

close

Hands

Feet

47

48

Three with songs movement Purpose

Skills

Activities

S P M OS L To familiarise students with the actions and meaning of the song.

Concepts

DP Teach actions for head, heart and sleeves without speaking the words. Discuss what the students think the actions might mean.

Dy

Resources

T S Actions marked on the music for “Funge alafia”.

Demonstrate the song with the actions and then explain the lyrics: “I greet you with my head, my heart and I have nothing up my sleeves.” which means “I respect you, I care for you and I am an honest person.” To echo pitch accurately.

Teach the song by echoing phrases and then add the step-wise movement as indicated on the music above.

To use movement to reinforce beat.

Add step-wise movement as outlined in the music.

To identify same and different pitches.

The song has two phrases. Have the class listen again to the pitch of the two phrases and identify if they are the same. If not, how are they different?

With the class standing in a circle, perform the song with movement and actions.

Trace the pitch contour of each phrase, first in the air and then using graphic notation. Divide class into two groups and perform “Funge alafia” as a call and reponse. Group 1: sings phrase one (“Funge alafia asche asche”) Group 2: answers with phrase two. To develop aural imagination.

Movements explained on the music.

Repeat, singing words in your head, not out loud while performing actions.

See glossary: PHRASE GRAPHIC NOTATION PITCH CONTOUR

To develop skills in the use of the voice for both speaking and singing.

Explore different spoken ways to greet people in English, for example: Hi, how are you? Great to see you!

What’s new? Welcome.

How do you do?

In other languages, for example: Bonjour.

Chukran.

Konichiwa.

To develop confidence in vocal improvisation.

Explore variations in dynamics and tone colour of spoken greetings.

To use movement to reinforce structure.

Develop a structure for performance which includes the spoken greetings. For example: Section A Whole class performs “Funge alafia” with actions and movement Section B Selected student performs own spoken greeting which class echoes Section A Repeat Section C Another student performs spoken greeting which the rest of the class echoes Section A Repeat

See glossary: RONDO (This structure is called rondo form). Another version of “Funge alafia” appears in “Songs From Around the World” by Gary and Carol Crees 2/12 George Street Manly NSW 2095

Extension To add simple accompaniments to a song.

Add instruments to accompany the song. Non-melodic instruments (i.e. drum)

Melodic instruments (i.e. alto xylophone)

To experiment with performance ideas.

44 .. œ

œ

& 44 .. œ œ

œ œ œ

œ œ

œ

..

œ œ

..

Devise an introduction and coda (ending) for the piece.

49

50

Three with songs movement

Tongo Traditional Polynesian

# # 2Leader & 4 œ

Group

œ œ

Ton -

&

##

go,

Ton -

&

&

&

&

##

bye

œ œ

œ

oh,

Ton

j œ œ

Leader

j œ de

j œ

œ. -

a

œ œ

œ

go,

Leader

Ooh

Ton -

go,

œ œ

œ Ton -

go,

œ. œ œ œ Jim - nee bye

œ œ œ bye

oh,

Group

Oom - ba

##

œ œ œ

Leader

-

œ œ

œ Group

œ. œ œ œ

Ton

##

go,

Leader

Jim - nee bye

##

œ œ

œ

-

go,

œ œ

œ Ton

-

go,

œ œ œ kim

bye

œ

oh,

Œ

lay,

j œ œ

Oom - ba Group

œ. Ooh

ka - ah - lo

œ œ œ œ

œ œ

way. Mah- le - ka - ah - lo

j œ de

j œ -

Group

œ œ œ

Ton

Group

˙ way.

a

œ œ

œ -

go,

œ œ œ kim

bye

oh, Leader

œ lay,

..

œ œ Mah - le Ocean sounds

8 bars

..

D.C.

Purpose

Skills

Concepts

Activities

S P M OS L To develop awareness of the structure of the song.

DP

T S

Play the recording of “Tongo” and discuss the three-part structure: Section A: sung Section B: instrumental Section A: the song is repeated. Play the recording again. Discuss the effects used in the instrumental (sea soundscape) section. Students add rowing actions on the 1st beat of the bar during the sung section and improvise movements during the instrumental section. Encourage the students to vary the movements with the dynamics of the music.

To become aware of call and response structure.

Dy

Resources

See glossary: DYNAMICS CALL AND RESPONSE

Discuss the use of the voices in the sung section, the use of a leader who “calls” and a group who answer or “respond”. Learning the song

To echo rhythm patterns and accurate pronunciation.

CD track 17

Clap and chant the following patterns for the students to echo.

24 .. . œ œ œ œ Jim - nee bye

Ooh

bye

j œ

24 .. œ . -

œ œ œ

a

œ

..

oh

Œ

lay

24 .. œj œ

j œ

Oom - ba

..

de

24 .. œ œ Mah - le

œ -

ka

To echo pitch accurately.

Sing or demonstrate the call “Tongo”. Students echo.

To perform a call and response song.

Divide class into two groups. Group 1 performs call Group 2 performs response

..

œ œ œ

-

kim

bye

oh

œ

œ

œ

ah -

lo

way

..


51

52

Three with songs movement Purpose

Skills

Concepts

Activities

S P M OS L To develop individuals’ confidence in using the voice.

DP

Dy

Resources

T S

Select a student to perform the call with actions. The rest of the class responds, copying the leader’s actions. Clap some of the rhythms from the song and ask students to identify the phrase. For example:

24 .. œj œ Oom - ba

j œ de

œ œ œ kim

bye

oh

..

j œ

24 .. œ . Ooh

-

a

œ

Œ

lay

To accompany song with rhythmic ostinato, using body percussion and instruments.

Transfer the rhythms to percussion instruments and perform as an ostinato to accompany the song.

To create a soundscape using a variety of sound sources.

Create a sea soundscape. Discuss sounds you may hear near the sea and make a class list. Ask students to suggest ways to recreate the sounds of the sea using voices, body percussion, environmental material, melodic or non-melodic instruments. Divide class into small groups of 4–6. Each group creates its own water soundscape. Encourage students to graphically notate their soundscape.

To perform a rondo.

Invent a rondo. For example, with the class divided into two groups: Section A Section Section Section Section

B A C A

..

Group 1 performs the call and Group 2 the response from “Tongo”. Group 1 performs its soundscape. Call and response. Group 2 performs its soundscape. Call and response.

Continue until all groups have performed their soundscapes.

Tambour, claves, tambourines etc.

Taba naba

Darnley Island Torres Strait Islands

G

C

# 4 ‹ ‹ ‹ ‹ & 4 œ œ œ œ Ta - ba Pronounced Tah - buh Pronunciation

na - ba, nah - buh,

G

&

#

na - ba nah - buh

C

D

œ œ œ œ œ

din - ghy dihn - gee

em em*

Ta - ba Tah - buh

œ œ œ œ œ

tu - gei too - geh

œ œ œ

pe peh

nai - sir nye - sihr

mi mee

Mi ko Mee koh

Rh to L Sh

kei mi keh mee

Lh to R Sh

Lh to Fl at R

œ œ œ œ œ ˙ sir - ir sihr - ihr

em em*

nar - ba - re. nahr- buh - reh.

G BH touch Shs

œ J

œ

na - ba nah - buh

BH on Wst & sway (rock side to side) . . . . . . . . . . . .

œ œ œ no noh

-

Lyrics

Taba naba naba norem. Come, let us go to the reef.

C

œ œ œ œ

œ

Rh to L Sh & hold

Translation

Rh to Fl at L

na - ba - tre. nah - buh- treh.

BH up High

# j œ œ

Rh to Fl at L

G

D

&

‹

no - rem, noh- rem,*

Lh to R Sh

Lh to Fl at R

œ

D

‹ ‹ ‹ œ œ œ ˙ J J

Br.

w

∑

rem. rem.* *The "e" is pronounced as in "yet".

Tugei penaisir mi dinghy em nabatre. Get into the dinghy when the morning tide is low Mi ko keimi serer em narbare. Let us row to the edge of the reef. Taba naba norem. Come, let us go to the reef. This song is ed from long ago, the composer is not known but it is definitely of Erub origin. The dance actions, according to Erub (Darnley Island) elder and historian, George Myre, may be attributed to one of Erub’s foremost dancers, Sweeney George Morseu. It celebrates reef travel via “the taxi of the Torres Strait”, the dinghy. The sung was originally sung for Frank York by Dalassa Pau.

53

54

Three with songs movement

Taba naba

(continued)

3

Melody

# 4 & 4 # 4 & 4

3

Harmony

‹ ‹ ‹ ‹ .. œ œ œ œ

Br.

Ta - ba

Movements with lyrics

.. œ œ œ œ

Students sit cross legged in a circle:

Bars 1–2 Brush hands together

Bar 3 Point right hand to floor at left (beat 1) then place right hand on left shoulder (beat 3) and hold

Bar 6 Point left hand to floor at right (beat 1) then place left hand on right shoulder (beat 3)

&

#

&

din - ghy

Bar 5 Point right hand to floor at left (beat 1) then place right hand on left shoulder (beat 3)

# j & œ œ &

&

œ œ œ œ œ œ

na - ba

tu - gei pe nai - sir

na - ba,

Rh to Fl at L

œ

œ

#

#

na

-

ba

œ -

tre.

no - rem,

Rh to L Sh

mi

Lh to R Sh

Lh to Fl at R

œ œ œ œ

œ œ œ œ œ ˙

Mi

sir - ir

ko

kei

mi

em

nar - ba - re.

œ œ J

œ œ œ

Ta - ba

na - ba

no

j œ œ

j œ œ

œ

Ta - ba

na - ba

no

-

# w rem.

œ œ œ œ œ ˙

Mi

sir - ir

ko

kei

mi

∑ ∑

em

nar - ba - re.

BH on Wst & sway (rock side to side) . . . . . . . . . . . .

w

∑

..

∑

..

rem.

∑

2. BH on Wst and sway . . . . . . . . . . . . . . . .

w

œ œ œ œ

1.

BH touch Shs

rem.

&

mi

Ta - ba

na - ba - tre.

œ œ œ œ

Bar 7 Both hands up above head, then on both shoulders

Bars 8–9 Both hands on waist and sway from side to side.

tu - gei pe nai - sir

no - rem,

œ œ œ œ œ œœœ

#

BH up High

Bar 4 Point left hand to floor at right knee (beat 1) then place left hand on right shoulder (beat 3)

na - ba

Rh to L Sh & hold

j œ œ œj ˙

œ œ œ œ œ œ em

Rh to Fl at L

Sing Part A 1st time

Lh to R Sh

Lh to Fl at R

din - ghy

na - ba,

‹ ‹ ‹ ‹ œ œ œ ˙ J J

Purpose

Skills

Activities

S P M OS L

Concepts

DP

Dy

Resources

T S

Learning the song To develop listening skills.

Read the phonetic pronunciation phrase by phrase, for the students to echo.

To accompany the song with a steady beat.

Play the recording of the song and accompany by playing the beat on your knees for the class to imitate. Transfer to another body part or to non-melodic instruments.

To match pitch accurately.

Demonstrate the song, phrase by phrase, for the students to echo. Perform the song with the recording.

CD track 19

Learning the dance This song comes from Darnley Island and is a “sit-down” dance. The actions are written beside the music. Learn the dance to accompany the song.

To observe the gradual build of dynamics.

Divide the class into four or more groups.

Skills

OS

L


S PM

Group 1 Group 2 Group 3 Group 4 Continue

performs song with actions s in second time through s in third time through s in fourth time through. until all students are singing.

Discuss the effect of adding voices cumulatively.

Have you thought of linking this with a HSIE unit?

Concepts

D P

Dy

T S


To learn a sit-down dance from the Torres Strait Islands.


55

56

Three with songs movement Skills

Concepts

Activities

S P M OS L To add simple accompaniments to a song.

DP

Dy

T S

Extension Add the following patterns to accompany the song Shaker

4 .. 4 œ œ œ œ œ œ œ œ ..

Tambour (low)

4 .. œ 4

Œ

œ

Œ

..

Guiro

4 .. Œ 4

œ

Œ

œ

..

High drum

4 .. œ 4

œ

œ

œ

..

Try adding the second vocal part.

To experience simple harmony singing.

Skills

OS

L


S PM

Concepts

D P

Dy

T S


Purpose

Resources

A pair

of

songs

Repertoire

Key

CD track 22.

Wearing my long wing feathers . . . . . .58

Skills

By the end of these activities, students will be able to demonstrate that they can use: 1. the singing voice within a restricted pitch range 2. singing techniques to sing on pitch 3. singing techniques to develop tonal quality of the singing voice.

CD tracks 23-25.

The earth is our mother . . . . . . . . . . . . . .60

S P M OS L

By the end of these activities, teachers will be able to use appropriate repertoire as well as teach skills and techniques to develop the singing voices of students.

Concepts

DP

Dy

T S


Outcomes for teachers



A pair

of

58

songs

Wearing my long wing feathers Native American

Movement

Lyrics

Step sideways around the circle, to the right

Wearing my long wing feathers as I fly

Step sideways around the circle, to the left

Wearing my long wing feathers as I fly

Walk in a circle on the spot, to the right

I circle around,

Walk in a circle on the spot, to the left

I circle around,

Stand on the spot facing inside the circle; cross arms in front of your body, lifting them above your head and then open them out to bring them back down to the sides of your body.

# 4 & 4 œj œ

j œ œ œ œ œ

Wear - ing

&

#

Wear - ing

&

#

my long wing fea - thers

j œ œ œ œ œ

j œ œ

œ œ œ œ Œ

my

as

I

fly.

œ œ œ œ ‰ œj

long wing fea - thers

as

I

fly.

‰ œj ‰ œj œ œ œ œ œ œ œ œ œ œ cir - cle

a- round,

I

cir - cle

a- round,

the

The bound’ries of the sky.

&

#

I

œ

œ

bound - 'ries

œ œ œ of

the

˙. sky.

Œ

Purpose

Skills

Activities

S P M OS L

Concepts

DP

Dy

Resources

T S

Introduction To establish cultural setting and purpose of musical work.

Discuss how different peoples develop their world views and express themselves through their stories, music and ceremonies. Find examples of Australian Aboriginal Dreaming stories and Native American stories. Discuss the similarities you can see within Australian Aboriginal Dreaming stories and Native American stories.

Learning the song To develop the atmosphere of music.

Speak the words.

To learn song accurately.

Teach the song using echo, phrase by phrase.

HSIE link: Aboriginal Dreaming stories: Mumbulla, P. & Bancroft, B. The Whalers (collected by Roland Robinson). Angus & Robertson. 1996. Trezise, P. Land of the Dingo People. Angus & Robertson. 1997.

Practise movements which enhance the song.

Teach the movements simultaneously.

To experience harmony created through song and drone on E.

Add beat on tambour or other suitable drum and then transfer beat onto low E on xylophone, metallophone or chime bar.

Native American stories: Erdoes,R. & Obtiz,A. American Indian Myths & Legends. Pimlico, London. 1997.

59

A pair

of

60

songs

The earth is our mother Native American

# & 44 œj œ œ œ œ œ œ œ The

earth

# & 44 œJ & &

# #

is

our mo

-

‰ œj œ œ œ œ œ œ

ther,

œ œ œ œ œ œ œ

we must take care

is

our mo

-

ther,

her. The

‰ œ œ œ œ #œ œ œ J

‰ œj œ œ œ œ œ œ œ œ œ œ œ earth

of

we must take care

w

of

her.

œ œ œ œ œ œ œ œ ‰ Jœ œ œ œ

w

Lyrics

Verse 2

Her sacred ground we walk upon, With every step we take. Her sacred ground we walk upon, With every step we take. Chorus

Verse 3 Chorus

&

#

œ

œ

Hey

&

&

# œ

#

œ

yan - na,

œ

œ

œ

œ

œ

ho

œ

œ

œ

yan - na,

œ

œ

yan - na,

ho

yan - na,

# œ œ œ œ œ œ œ œ

œ œ œ hey

œ

œ œ œ œ œ œ œ œ Hey

&

œ

yan

œ œ œ

œ œ œ hey

yan

œ œ œ

˙ yan.

˙

œ. yan.

œ.

The earth is our mother, She will take care of us. The earth is our mother, She will take care of us. Chorus

Purpose

Skills

Activities

S P M OS L To maintain steady beat and perform rhythm pattern to accompany song.

Concepts

DP All perform body percussion softly while teacher sings song (or plays the recording): knee floor

Dy

Resources

T S CD track 23

œ œ œ œ . 4 . 4 .. œ œ

To practise breath control, keeping mouth open but relaxed, using the tongue rather than jaw to change sounds, maintaining long sounds.

Teach the “Hey yanna” phrases softly, encouraging students to have their mouths open wide, making the “y” sound with the tongue rather than the jaw, and using an even flow of volume and long “aa” sounds.

To develop a feeling for harmony.

Teach the verse phrase by phrase through echoing. When secure, teacher sings harmony softly over the student part (or sings along with the CD, where the harmony is added from verse 3 onwards).

CD has harmony included from verse 3 on tracks 23 and 25

Extension To devise movements which can be performed while singing and reflect the ideas in the song.

Encourage students to develop their own simple movements to accompany the song. Make sure the movements do not detract from their ability to sing. Fast or large movements or hands over the heads for extended periods of time are not suitable as the singing voice would be restricted.

Scarves to enhance movements if desired

To use the singing voice to reinforce instrumental parts.

Perform percussion accompaniment to the song. Teach the parts through singing and body percussion before transferring to percussion instruments.

Percussion arrangement on page 62.

To develop independent singing skills.

Try performing “Wearing my long wing feathers” and “The earth is our mother” as partner songs. This is demonstrated on the CD on track 23.

Melodic and non-melodic percussion instruments.

61

A pair

of

62

songs

“The earth is our mother” Percussion accompaniment Body percussion patterns

Melodic and non-melodic percussion instruments

Use these patterns to teach the percussion parts.

R

R

#œ œ œ œ ˙ & 44 .. L

#œ œ œ œ ˙

R

œ #œ œ œ

4 & 4 .. ˙

L

R

˙

..

œ # œ œ œ ..

˙

j j j œ œ œ œ œ ˙ œ J J j j œ œ œ œ œ œ œ J J œœœ œœœ œœ >œ >œ

..

& 44 .. œ œ œ œ œ œ œ œ

œ œ œ

..

4 & 4 .. œ œ œ œ œ

œ œ œ œ œ

..

clap

4 .. œj œ œj œJ 4 œ J J j j œ œ œ œ 4 .. 4 œ J J 4 .. œ œ œ œ 4 œ > >œ

44 .. œ œ œ œ œ œ œ œ > >

. >œ œ œ œ >œ œ œ œ .

clap

4 .. Œ 4

œ

..

4 .. Œ Verse only œ 4

Œ

R floor R leg L leg R leg L leg

shake in air

chest patsch

patsch R patsch L

œ

Œ

Œ

œ

Œ

œ

œ œ œ œ œ œ œ œ . 4 .. . 4 œ œ œ œ 4 4

.. œ w LH

œ

˙

œ w LH

œ

˙

..

œ

Chorus only

44 .. œ

œ

Œ œ

œ œ œ

4 .. w 4 & 44 .. œw

œ

œ

˙

œ w

..

..

œ

œ

œ œ . . ..

w œ

œ

Œ

œ œ œ

..

œ

˙

..

Rounds Repertoire

Key

If you cross a mouse . . . . . . . . . . . . . . . . . . .64

By the end of these activities, students will be able to demonstrate that: 1. they can sing simple rounds 2. they are aware of other parts while singing.

CD tracks 26-27.

Underneath the mango tree

Outcomes for teachers By the end of these activities, teachers will be able to implement a variety of strategies for teaching rounds.

. . . . . . . . .66

Skills


Not on CD

Concepts

DP

Dy

T S



64

Rounds

If you cross a mouse sung to “Row, row, row your boat”

Movement

Lyrics

stamp

If you cross a mouse (Row, row, row your boat)

patsch

With an elephant (Gently down the stream)

clap

You’ll get big holes (Merrily, merrily, merrily, merrily)

snap

In your skirting boards (Life is but a dream)

Purpose

Skills

Activities

S P M OS L

Concepts

DP

Dy

Resources

T S

Learning the song To revise a well known melody.

Demonstrate the song with body percussion illustrated above.

To experiment with dynamic variations.

Repeat song until students are familiar enough to in.

Sung to the melody of “Row, row, row your boat”.

Sing whole song varying the dynamics of each line. Perform the actions while singing the words silently (in your head). Preparing to sing the round

To develop the ability to hold a part. To develop skills in ensemble singing.

Divide the class into four groups: Group Group Group Group

1 2 3 4

sing line 1 as an ostinato add line 2 as an ostinato add line 3 as an ostinato add line 4 as an ostinato.

Encourage students to listen and blend with the other parts. Experiment with varying the dynamics. Select a student to signal the entry and exit of parts. To sing song as a round.

Standing in a circle, divide class into four groups. Perform song as a round with body percussion accompaniment. Extension

To perform a more complex round.

Try performing as a round of up to eight parts.

To develop vocal independence and listening skills.

Divide class into the same four groups as before. When the groups are confident, students move around the room singing their ostinatos. The object is to up with one member from each of the other groups.

65

66

Rounds

Underneath the mango tree Ian Ross Williams

Dm

1

& b 44 œ œ œ œ œ œ Un - der- neath the man - go

Am

Dm

&b œ œ œ ˙

oh

tree were we,

Hid- ing in the tree

œ œ

Look out down be - low

for

Am

œ œ

Rain - ing down be - low

&b ˙

œ œ œ œ œ ‰ œj

œ œ ˙

œ œ œ œ œ

&b œ œ œ œ œ Am

Dm

was

Am

2

Tar - ni - ki - ni.

Am

œ œ ˙

the

Dm

ripe

3

œ œ ˙

from the

ripe

Dm

man - go.

Am

˙

˙

˙

no,

oh

no,

Dm

man - go,

˙

˙

Oh

no,

Dm

œ œ œ œ ˙ go

man - go,

man - go!

Tarnikini is flying fox (Tiwi language of Bathurst and Melville Islanders, Northern Territory).

Purpose

Skills

Concepts

Activities

S P M OS L

DP

Dy

Resources

T S

Learning the song Listen to the song and discuss what the song is about. Explain “Tarnikini” which means flying-fox in the Tiwi language of Bathurst and Melville Islanders, Northern Territory.

To maintain a steady beat.

Listen again and add following body percussion to accompany the song. floor knees

To develop a feel for singing in a minor key.

4 4 .. ˙

œ œ

˙

..

˙

Teach the song by echo, phrase by phrase.

Transfer body percussion patterns to melodic percussion.

& 44 .. ˙

˙

œ œ ˙ ..

D

D

A

A

D

Perform melodic percussion with recorded version.

To develop a sense of phrasing in singing.

Sing song through in unison. Discuss where students felt they needed to breathe. Sing again, breathing at the end of each two-bar phrase.

To develop appropriate breathing and an awareness of long and short notes when singing.

Play the recorded version and ask students to raise their hands when they hear a long note held at the end of each phrase and on “oh no, oh no”. Sing the song again with correct breathing and holding the long notes for their full value.

Unison section of “Underneath the Mango Tree”, track 26 (Continued on page 68)

67

68

Rounds Purpose

Skills

Concepts

Activities

S P M OS L

DP

Dy

Resources

T S

Introducing the round To be familiar with the structure of the song.

Introduce the round by discussing the structure used on the recording: introduction, unison (x1), instrumental, round (x2), coda. Play the introduction again. Discuss how it is like section 3, ”Oh no, oh no, oh no, go mango, mango”

To accompany a song with vocal ostinato.

Try singing section 3 as an ostinato to accompany the song. Sing it softly with the recording of the unison section.

Transfer section 3 to xylophone, recorder or another melodic instrument and accompany the song in unison. A

& b 44 .. ˙

Oh

A

G

F

F

F

E

G

F

E

˙

˙

˙

˙

˙

œ œ œ œ ˙

no,

oh

no,

oh

no,

go mango, mango.

To perform as a round in three parts.

Divide the class into three groups and sing as a three-part round with the CD.

To use a melodic ostinato to maintain pitch and tonality.

Try performing the round using melodic instruments to play the accompaniment from the chords on page 66.

To develop vocal blend and harmony.

D

Record the class version of the round and discuss the blend of voices, dynamics, long notes, breathing and ways to improve the performance. Record it again and compare the two versions.

Xylophone, keyboard, recorder or another melodic instrument.

..

Cassette player for recording class compositions.

Repertoire Outcomes for students By the end of these activities, students will be able to demonstrate that they can: 1. interpret the words of a song 2. develop a simple song into a performance.

Outcomes for teachers By the end of these activities, teachers will have implemented strategies which develop a song into a performance piece.

CD tracks 28-29.

Gary Galah

Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Skills


for

performance

Concepts

DP

Dy

T S


A song

A song

for

performance

70

Gary Galah Louise Pettinger

Verse

C 4 . . &4 œ œ œ

Bb

G

Ga - lah

gum- trees

are

œ œœ œ œ œ œ

Lives a funny fellow called

one

thing that Gar - y

1,2,3

G

fly - ing

a- round

œ

in

G

& œ œ œ œ

pair

of

œ

cowboy

j œ ˙

hat,

G

œ œ œ

spats,

Vel - vet cloak,

&œ œ œ œ œ

œ

the things he needs

to

likes do - ing best 4.

He wears a

fan - cy dress.

œ œ œ œ œ œ œ œ

C

œ œ œj ˙ J

fril - ly

tar - tan

shirt and

œ œ œj œ . J best.

3.

j G j œ .. œJ œ œ ˙ .. 2.His

look his

best.

Fly- ing a- round

in

œ œ œ œ œœ œ œ œ ˙

C

G

fan - cy dress,

Fly- ing a- round

&œ œ œ œ œœ œ œ œ ˙

a

vest,

ﬁ CODA G

ﬁ

œ œ œ ˙

œ œ œ œ

G

look his

to CODA

C

œ œ œ

Is

Knick- er - bock- ers, bra - ces and

1,2

D

All

cy dress.

œ œ œj ˙ J

bow - tie, sun- glas - ses,

& œJ œ

œ œ œ

fan -

Chorus

F

œ œ œ œ œ œ

to Chorus

C

œ

&œ œ œ œ œ

F/A

œ œ œ œ

œ

And the

C

C7/B b

C

& œ œ œ œ œ œ œ Gar - y

G

œ œ

1.Way out west where the

j œ ˙

j œ œ

Dm 7

F

in

C

fan - cy dress.

Lyrics

Verse 1

Way out west where the gum trees are Lives a funny fellow called Gary Galah, And the one thing that Gary likes doing best Is flying around in fancy dress. Chorus

Verse 3

The other birds think he’s somewhat mad To spend his lifetime being a cad But Gary doesn’t mind ’cause he’s perfectly fine Flying around just looking divine. Chorus

He wears a bowtie, sunglasses, cowboy hat, Knickerbockers, braces and a pair of spats, Velvet cloak, frilly shirt and tartan vest, All the things he needs to look his best.

Verse 4

repeat verse 1 Coda

Verse 2

His wardrobe is a hollow tree Where he keeps a variety Of costumes fit for any star. Yes, a fancy dresser is Gary Galah.

Flying around in fancy dress, Flying around in fancy dress.

Chorus

71

A song

for

72

performance Purpose

Skills

Concepts

Activities

S P M OS L

DP Introducing the song

To develop listening skills and interpret the words of the song.

“Gary Galah” is about a colourful character. Ask the students to listen for any information they can discover about the character. Each time the chorus occurs, perform actions to reflect the articles of clothing described. Encourage students to with the actions while listening to the song (they will probably in singing as well). Discuss what they found about Gary Galah’s clothes. Discuss how the actions reflect his costume. Explanation of some items may be necessary.

To recognise recurring sections and observe contrast between sections.

Talk about the structure of the song: Introduction Verse 1 Chorus Verse 2 Chorus Verse 3 Chorus Verse 1 Coda Learning the song

To echo pitch accurately.

Teach chorus with actions. Students echo.

To practise articulation of consonants to improve diction.

Perform the following patterns for the students to echo:

4 4 .. œ . œ œ . œ œ . œ œ . œ .. Re - par- ti - ca, Re - par- ti - ca

4 4 .. œ

œ

œ

œ

C

C

C

C

..

4 4 .. œ

œ

œ

œ

sh

sh

sh

sh

4 4 .. œ

œ

œ

œ

whoo - wit,

whoo - wit.

.. ..

Dy

T S

Resources

Discuss the importance of articulation (so the audience will understand the lyrics and the humour in the song). Practise saying the words of the song, emphasizing the consonants. For example: knickerbockers

bow tie

vest

best

hat

spats

cloak

Repeat with words from the verses. Play the recording and encourage the class to snap their fingers on the 2nd and 4th beat of each bar during the verses and to in the chorus. To develop a sense of musical phrase.

Play the recording again and ask the students to move freely around the room, changing direction at the end of each line of the verse (this is a musical phrase). Sing during the chorus.

To develop appropriate breathing techniques.

Sing the song, ensuring that students breathe at the end of each phrase. Perform the whole song and record the performance. Discuss how it can be improved.

To listen critically and improve performance.

Dress it up. Create some choreography for your own galah chorus. Experiment with the dynamics to add contrast in the verses. Try singing the chorus softly and loudly.

To develop a song for a performance item.

Perform the song at assembly or for a special occasion.

OS

L


S PM

Concepts

D P

Dy

T S


Skills

73

74

Glossary

Glossary

anacrusis

contour

an unstressed note at the beginning of a phrase

bar the divisions of beats in music

beat

see “melodic contour” below

crescendo gradually getting louder

diminuendo gradually getting softer

the steady pulse in music

duration body percussion non-melodic sounds made by some part of the body

bridge a short section of music which links two important sections of a piece of music

call and response when a phrase sung by one musician is answered by another musician or by a group

the length of sounds

dynamics the loudness or softness of sound

echo imitate

glissando sliding between notes, either vocally or instrumentally

graphic notation chant reciting in a musical way

chorus the part of a song often repeated after a verse

chromatic one or more notes which do not belong to a

any arrangement of visual symbols to show music

harmony two or more pitches sounded together

improvisation making up the music as it is being performed or, in some cases, with no beat

diatonic scale or mode

interval coda a section which rounds off or ends a piece

the “distance” between two notes; the difference in pitch

melody the tune or arrangement of pitched sounds

melodic/pitch contour the shape made by a musical phrase or group of notes

metre the division of beats marked by accents

ostinato a constantly repeated pattern

patsch slap thighs

phrase a short segment of a melody

pitch relative highness or lowness of sounds

ragtime a popular style of composition for piano in the late 19th and early 20th century, with a syncopated melody line against a strict bass or accompaniment

round a part song in which the voices sing the same melody but enter one after the other

soundscape an atmosphere created by using sounds, often environmental

syncopation shifting the normal accent from a strong beat to a weak beat

tambour a frame drum, like a tambourine, without the jingles

tone colour the timbre or quality of sound

unison all playing or singing the same melody together

verse a section of a song usually alternating with the chorus

vocalising using the voice

rap rhythmical speaking

riff a repeated musical pattern

rhythm patterns of short and long sounds and silences found in music

rondo a set structure (ABACA), where section A recurs between alternating sections

75

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