Two Sixteenth Notes Followed by an Eighth Noteighth Note
able 3.3 presents an overview of the important information required to teach two six- teenth notes followed by an eighth note.
Table 3.3
Table 3.3
E
Elleemmeenntt CCoonncceepptt FFooccuuss Song Song Present Present Syllables Syllables T
Teeoorryy rraaddiittiioonnaall Notation Notation
P
Praractcticicee AAddddititioionanall Songs Songs wo sixteenth notes followed by an eighth note Tree sounds on a beat. Not evenly distributed; the first two sounds being shorter than the last sound “Hogs in the Cornfield” taka di wo sixteenth notes followed by an eighth note
xcd low la “Over the River” (Charlie), “Hop, Old Squirrel,” “Jim Along Josie,” “Skipping Rope Song,” “Sailing o’er the Ocean”
Cognitive Phase: Preparation
Cognitive Phase: Preparation
Internalize Music Trough Kinesthetic Activities
1. Sing “Hogs in the Cornfield.”
2. Sing phrase 2 of “Hogs in the Cornfield” and pat the beat. 3. Sing phrase 2 of “Hogs in the Cornfield” and clap the rhythm.
4. Sing phrase 2 of “Hogs in the Cornfield” and point to a representation of the rhythm (Fig. 3.4).
5. Sing phrase 2 of “Hogs in the Cornfield” while stepping the beat and clapping the rhythm.
Fig. 3.4 Fig. 3.4
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6. Split the class into two groups. Te first group pats the beat for phrase 2 and the other claps the rhythm. Switch.
7. Sing “Hogs in the Cornfield.” Step the beat and clap the text.
Describe What You Hear
1. Assess kinesthetic awareness.
2. Sing phrase 2 of “Hogs in the Cornfield” singing “loo” while keeping the beat before asking each question.
3. Determine the number of beats in the phrase.
: “Andy, how many beats did we keep?” (four) 4. Determine the number of sounds on each beat.: “Andy, which beats have two sounds?” (beats 1 and 4)
: “Andy, how many sounds did we sing on beat 3?” (three sounds)
: “Andy, describe these sounds using the words long and short .” (long, short, short)
: “Andy, what rhythm syllables would we use?” (ta dimi) 5. Determine the number of sounds on the target beat.
: “Andy, how many sounds did we sing on beat 2?” (three)
: “Andy, describe these sounds with the words long and short .” (short, short, long)
Sing the phrase as follows:
ta di short short long ta dimi ta di
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. eacher hums the target phrase with a neutral syllable and asks students to create a visual representation of the target phrase. Students may use manipulatives.
: “Pick up what you need to recreate what you heard” or “Draw what you heard.” eacher assesses students’ level of understanding.
3. Students share their representations with each other.
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 “Hogs in the Cornfield” with a neutral syllable and point to the representation, and then sing with known elements: ta di short short long ta di mi ta di.
Associative Phase: Presentation
Associative Phase: Presentation
Label the Sound
eacher presents new rhythm syllable.
1. : “When we hear three sounds on a beat where the first two sounds are short and the third sound is long, we call it taka di.”
2. eacher sings the target phrase of “Hogs in the Cornfield” on “loo,” and students echo with rhythm syllables while clapping the rhythm.
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Notate What You Hear
eacher presents notation for new sound.
1. : “When the beat is a quarter note, we can use two sixteenth notes followed by an eighth note to represent three sounds on the beat: two short and one long.”
2. : “We can read this pattern using our rhythm syllables.” Students read rhythm with rhythm syllables and keep the beat.
2
$sdxcd\sxc sd\
3. : “We can write this pattern using stick notation.” 2
$sdxcd\sxc sd\
4. : “We can count with numbers.” Students conduct and count with numbers.
: “Remember that four sounds on a beat can be counted as ‘1-e-and-a’.”
Assimilative Phase: Practice Music Skills
Assimilative Phase: Practice Music Skills
Aural Practice
Singing with Solfège Syllables and Hand Signs Singing with Solfège Syllables and Hand Signs
• Teacher sings known melodies with words and students echo-sing with rhythm syllables.
: “I sing the words; you sing rhythm syllables.”
: “ell them pretty gals I’m coming over.” Ss
Ss: “ta di taka di ta di mi ta di.”
: “Over the river to feed my sheep.” Ss
Ss: “taka di taka di.”
: “Hop, Old Squirrel, ei-dle dum ei-dle dum.” Ss
Ss: “taka di taka di.”
: “Hey Jim along, Jim along Josie.” Ss
Ss: “ta dimi ta di taka di ta di.”
T : “Up jump Ella to open the door.” Ss
Ss: “ta di taka di taka di ta.”
: “You will find a pretty girl, by and by.” Ss
Ss: “ta ka di mi ta ka di ta di ta.”
• Students echo-sing four-beat melodic patterns containing new rhythm provided by the teacher, with rhythm syllables and clapping the rhythm.
• Students echo-sing four-beat melodic patterns containing new rhythm provided by the teacher, with rhythm syllables and conducting.
• Students sing known melodies with rhythm syllables and keep the beat. • Students sing known melodies with rhythm syllables and conduct.
• Teacher hums known and unknown motifs and students sing back with rhythm syllables.
Part Work Part Work
• Use the target phrase as an ostinato to accompany a known song.
• Combine the target phrase as an ostinato as well as another motif from the song so that you are using two ostinatos at the same time.
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• 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
• Improvise an ostinato that incorporates the new rhythmic pattern.
• Teacher claps and says the rhythm syllables in a question phrase that uses a new pattern and students provide an answer.
• Student claps and says the rhythm syllables in a question phrase that uses a new pattern and another student provides an answer.
• Students change rhythm of a rst or second grade song and substitute the taka di rhythm for two eighth notes.
• Student improvises a four-beat pattern. e next student begins their four-beat improvisation with the last two beats of the first student.
Inner Hearing Inner Hearing
• Teacher sings known phrases of songs and students echo-sing with rhythm syllables as they clap the rhythm.
• Teacher sings known phrases of songs and students sing back with rhythm syllables as they conduct.
Visual Practice
Reading from Hand Signs Reading from Hand Signs
• Students sing a known song with solfège syllables and hand signs reading from teacher’s hand signs. Be certain that the song includes the new rhythm pattern.
• Students sing known song from another student’s hand signs that include the new rhythm pattern.
Reading Reading
• Read target motif from traditional rhythmic notation with rhythm syllables. • Read a known song with rhythm syllables and clap the rhythm.
• Read a known song with rhythm syllables and conduct.
• Read a known song with rhythm syllables while tapping the rhythm with le hand and conducting with right hand.
• Transform target motif into a related pattern.
• Read an unknown song with rhythm syllables and clap the rhythm. • Read an unknown song with rhythm syllables and conduct. • Transform a known folk song into another folk song.
• Read the rhythm of a known song and play on classroom percussion instruments. • Read the rhythm of a known song in two or three parts. For example, students can
sing the rhythm syllables using notes of the tonic chord in major or minor. • Read the rhythm of a known song in two or three parts. For example, students can
play the rhythm patterns using notes of the tonic chord in major or minor. • Have two students perform the rhythm of “Hogs in the Corneld” and “Hop, Old
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Writing Writing
• Write the text of “Hogs in the Corneld.” Have students write the correct rhythm notation above the text.
• Write phrases 1 and 2 of “Hogs in the Corneld” with rhythmic notation. • Write the rhythm of “Ida Red” and perform it on rhythm instruments. • Add bar lines to the rhythm notation of a known song.
• 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; students choosefrom four patterns written on the board to use as an answering phrase. Use four- beat phrases.
• Student claps a question phrase and chants rhythm syllables; another student chooses from four patterns on the board to perform as an answering phrase. Use four-beat phrases.
• e instructor 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.
Memory Memory
• Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases four beats each time and students memorize.
• Read an unknown song with rhythm syllables and conduct. e teacher erases four beats each time and students memorize.
Inner Hearing Inner Hearing
• Recognize familiar songs from teacher’s clapping.
• Teacher sings known fragments of songs on a neutral syllable and students sing back with rhythm syllables while keeping the beat.
• Teacher provides students with four ash cards with rhythm and students identify the song and arrange ash cards in the correct order.
• Students read the rhythm of a known song but inner-hear the new pattern.
Part Work Part Work
• Divide the class into two groups. Group 1 sings the song with solfège and hand signs and group 2 taps a rhythmic ostinato that is read from notation. • Read a known song with rhythm syllables and clap the rhythm. Divide the class
into two groups and perform the activity in canon aer two beats.
• Read a known song with rhythm syllables and conduct. Divide the class into two groups and perform the activity in canon aer two beats.
• Read a known song with rhythm syllables while tapping the rhythm with le hand and conducting with right hand. Divide the class into two groups and perform the activity in canon aer two beats.
• Read a known song with rhythm syllables and clap the rhythm. Divide the class into two groups; one performs the activity from the beginning and the other from the end of the song.
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• Read a known song with rhythm syllables and conduct. Divide the class into two groups; one group performs the activity from the beginning and the other from the end of the song.
• Read a known song with rhythm syllables while tapping the rhythm with le hand and conducting with right hand. Divide the class into two groups; one performs the activity from the beginning and the other from the end of the song. • Students sing a known song and clap the rhythm of another well-known song
simultaneously.
• Students sing a known song and tap a rhythm from traditional rhythmic notation with right hand and tap an ostinato with le hand.
Listening Listening
• “Badinerie,” from Sonata in B minor, BWV 1067, by J. S. Bach (1685–1750) (entire work).
• “Comedians Gallop,” Op. 26, No. 2, “Presto,” by Dimitri Kabalevsky (1904–1987). • “Musette in D,” from Anna Magdalena’s Notebook, by J. S. Bach
(1685–1750).
• “Circa Mea Pectora,” from Carmina Burana, by Carl Or (1895–1982).
Sight Singing
Micheál Houlahan and Philip acka. Sound Tinking: Music or Sight-Singing and Ear raining , vol. 1 (New York: Boosey & Hawkes, 1995), pp. 57–70.