External Upbeat
able 3.7 presents an overview of the important information required to teach external upbeat.
Table 3.7
Table 3.7
E
Elleemmeenntt CCoonncceepptt FFooccuuss Song Song Present Present Syllables Syllables T
Teeooryry rraaddiittiioonnaall Notation Notation
P
Praractcticicee AAddddiititioonnalal Songs Songs An eighth note external upbeat wo eighth notes as external upbeat Quarter note as external upbeat Sound or sounds preceding the strong beat at the beginning of a composition “I Lost the Farmer’s Dairy Key” External upbeat Quarter and paired eighth notes and single eighth note high do “Aquaqua Del A Omar,” “Shoes of John,” “Band of Angels,” “Oh, No, John,” “Te Tree Rogues”
Cognitive Phase: Preparation
Cognitive Phase: Preparation
Use dierent kinds of external upbeats; consider upbeats beginning with an eighth or two eighths or a quarter note. Te process for teaching will always remain the same, as outlined below. Our one caveat is that students must know how to conduct in duple and quadruple meter and understand that the strong beat in conducting is the downbeat.
Internalize Music Trough Kinesthetic Activities
1. Sing “I Lost the Farmer’s Dairy Key” and trace the phrase in air.
2. Students perform the beat by clapping the first beat of each phrase and patting the subsequent seven beats.
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3. Students perform the beat by bending their knees on the first beat of each phrase and patting the subsequent seven beats.
4. Sing “I Lost the Farmer’s Dairy Key” and point to the representation of the beat and the phrases on the board.
5. Students sing and conduct the beat.
Describe What You Hear
1. Review kinesthetic activities.
2. Before asking each question, students and teacher should sing and conduct each phrase.
: “Andy, on what word does the first phrase begin?” (I)
: “Andy, what word do we sing when we pat the first beat?” (lost)
: “Andy, does the ‘I’ve’ fall on the strong part of the beat or the weak part of the beat?” (weak part)
Create a Visual Representation of What You Hear
1. Assess kinesthetic and aural awareness by allowing the class to perform several of the kinesthetic and aural awareness activities.
2. Te instructor hums the target phrase with a neutral syllable and asks students to create a visual representation of the words of the target phrase indicating the first word in each phrase and the word that falls on the strong beat. “Draw what you heard.” eacher assesses students’ level of understanding.
3. Students share their representations with each other. (Students will write the words with an accent mark or bar lines as well as a phrase mark.)
4. Te instructor invites one student to the board to share a representation with the class. If necessary, corrections to the representation can be made by reviewing the aural awareness questions.
5. Students sing the first phrase of the song with a neutral syllable and point to the representation, then sing with rhythm syllables. Add the bar lines and time signature to the piece of music.
Associative Phase: Presentation
Associative Phase: Presentation
Label the Sound
eacher presents new element.
1. : “We call a phrase that begins with a weak beat an upbeat. Because the upbeat occurs at the beginning the piece of music, we call it an external upbeat.” 2. eacher sings “I Lost the Farmer’s Dairy Key” and conducts; students echo-sing
and conduct. Repeat this activity but use rhythm syllables. 3. eacher and students identify the eighth note upbeat.
Notate What You Hear Te teacher presents notation for upbeat. Explain how to write the last measure of the song.
4
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Students read the notation with rhythm syllables while clapping the rhythm. Students read the notation with rhythm syllables and conduct.
Assimilative Phase: Practice Music Skills
Assimilative Phase: Practice Music Skills
Aural Practice
Singing with Rhythm Syllables Singing with Rhythm Syllables
• Teacher sings known melodies with words and students echo-sing with rhythm syllables or conducting.
: “I sing the words; you sing rhythm syllables.”
: “I’ve lost the farmer’s dairy key I’m in some lady’s garden Ss
Ss: “di ta di ta di ta di ta di ta di ta di ta ta.”
: “I am standing in the shoes of John.” Ss
Ss: “ta di ta di ta di ta ta ta-ah.”
: “Tere was one, there were two, there were three, little angels.” Ss
Ss: “ta di ta ta di ta ta di ta ta di ta di.”
• Teacher hums known melodies with words and students echo-sing with rhythm syllables or conducting.
Part Work Part Work
• Teacher claps a rhythm and students follow in canon aer two beats. • Students perform a two-part rhythmic reading exercise. Group 1 performs the
upper part and group 2 the lower part. Switch.
• Students perform a two-part rhythmic reading exercise. Perform the upper part with right hand and lower part with le hand.
Improvisation
Improvisation • Teacher claps and says the rhythm syllables in a question phrase that uses external
upbeat and students give an answer.
• One student claps and says the rhythm syllables in a question phrase that uses external upbeat and another student answers.
• One student improvises a four-beat pattern. e next student begins a four-beat improvisation with the last two beats of the first student.
Inner Hearing Inner Hearing
• Teacher hums known fragments of songs and students sing back with rhythm syllables and clapping.
• Teacher hums known fragments of songs and students sing back with rhythm syllables and conducting.
Visual Practice Reading Reading
• Read “I Lost the Farmer’s Dairy Key” in rhythmic notation, with the upbeats beginning each phrase.
• Read “e Shoes of John” in rhythmic notation, with the upbeats beginning each phrase.
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• Read “Band of Angels” in rhythmic notation, with the upbeats beginning each phrase.
• Read from Denise Bacon’s publication, 50 Easy wo Part Exercises, nos. 43, 44, and 48.
Writing Writing
• Write the target pattern in stick and/or traditional rhythmic notation. • Write related patterns in stick and traditional rhythmic notation. • Write a known song in stick and/or traditional rhythmic notation. • Fill in the missing measures of a known song with the correct rhythms.
• Teacher sings an unknown song and students ll in the missing measures with thecorrect rhythms. • Students notate rhythm patterns by teacher and add the bar lines and time
signature.
Improvisation Improvisation
• Teacher claps a question phrase and chants rhythm syllables, and students choose from four patterns on the board to use as an answering phrase. One phrase should just include four heartbeats.
• One student claps a question phrase and chants rhythm syllables, and another student chooses from four patterns on the board to use as an answering phrase. One phrase should just include four heartbeats.
• e teacher writes a known folk song in traditional rhythmic notation but leaves out four beats. Students read and clap the rhythm and one student improvises four-beat rhythms that use a new rhythm pattern for the missing measure. • Begin with the rhythm of a song the students know well and write it on the board.
For example, consider “Dance Josey” and “Sailing o’er the Ocean.” Students then improvise a variation of the srcinal using external and internal upbeats. Te upbeat can be a single quarter note, two eighth notes, or an eighth note. Ask a student to write the answer on the board.
Listening Listening
• Appalachian Spring , by Aaron Copland (1900–1990). Section A of the Shaker Hymn begins with an upbeat.
• “e Happy Farmer,” from Album or the Young , by Robert Schumann (1810–1856).
• “Toccatina,” from Tirty Children’s Pieces, Op. 27, Book 1, No. 7, for piano, by Dimitri Kabalevsky (1904–1987).
• “Bandinerie,” from Suite No. 2 in b minor, by J. S. Bach (1685–1750). 2
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“Sleepers Wake,” from Cantata No. 140, by J. S. Bach (1685–1750). 1. 4$a\xsd sd sd sd \xsd sd sd Q\
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Sight Singing
Micheál Houlahan and Philip acka. Sound Tinking: Music or Sight-Singing and Ear raining , vol. 1 (New York: Boosey & Hawkes, 1995), pp. 87–109.For two-part sight singing, see Denise Bacon’s50 Easy wo Part Exercises, nos. 43, 44, 48.