Kodály in 

the Second Grade Classroom

Kodály Today Handbook Series

Micheál Houlahan and Philip Tacka

Kodály Today: A Cognitive Approach to Elementary Music Education, second edition
Kodály in the Kindergarten Classroom: Developing the Creative Brain in the 21st Century
Kodály in the First Grade Classroom: Developing the Creative Brain in the 21st Century
Kodály in the Second Grade Classroom: Developing the Creative Brain in the 21st Century
Kodály in the Third Grade Classroom: Developing the Creative Brain in the 21st Century
Kodály in the Fourth Grade Classroom: Developing the Creative Brain in the 21st Century
Kodály in the Fifth Grade Classroom: Developing the Creative Brain in the 21st Century
Kodály in the Second
Grade Classroom
Developing the Creative Brain in the
21st Century

Micheál Houlahan
Philip Tacka

1
1
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Library of Congress Cataloging-in-Publication Data

Houlahan, Micheál, author.
Kodály in the second grade classroom / by Micheál Houlahan and Philip Tacka.
pages cm. — (Kodály today handbook series)
Includes bibliographical references and index.
ISBN 978–0–19–023579–6 (pbk); ISBN 978–0–19–024849–9 (hbk)
1.  School music—Instruction and study.  2.  Kodály, Zoltán, 1882—1967.  3.  Second grade
(Education)—Curricula—United States.  I.  Tacka, Philip, author.  II.  Title.
MT1.H8372 2015
372.87′049—dc23
2014032961

9 8 7 6 5 4 3 2 1
Printed in the United States of America
on acid-free paper
We are the music-makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams;
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.

Ode, by Arthur O’Shaughnessy

[. . .] eratque tam turpe Musicam nescire quam litteras

from De Musica, by Isidoris Hispalensis

“Legyen A Zene Mindenkié” [Music should belong to everyone]

Zoltán Kodály
Contents vii

Acknowledgments  •  ix
Introduction  •  xi

1 Framing a Curriculum Based on the Kodály Concept  •  1

The Kodály Concept  •  1
Multiple Dimensions of Music  •  2
Grade 2 Music Curriculum  •  4
Prompt Questions for Constructing a Music Curriculum  •  9
Lesson Planning  •  11
Key Components of Lesson Plan Design  •  12
2 Developing a Music Repertoire: Students as Stewards of Their Cultural and
Musical Heritage  •  18
Selecting Repertoire  •  18
Grade 2 Song Lists  •  19
Lesson Planning  •  43
3 Teaching Strategies  •  54
Introducing the Tonic Note of the Major Pentatonic Scale  •  54
Half Note  •  61
Trichord mi re do  •  67
Sixteenth Notes  •  73
Major Pentatonic Scale  •  78
Quadruple Meter  •  87
Developing a Lesson Plan Design Based on the Teaching Strategies  •  92
4 Students as Performers: Developing Musical Skills and
Creative Expression  •  108
Tuneful Singing Skills  •  108
Reading Skills  •  111
Inner-Hearing Skills  •  117
Writing Skills  •  118
Improvisation Skills  •  121
Musical Memory  •  124
Understanding Form  •  125
Part-Work Skills  •  130
Instrumental Performance Skills  •  134
Creative Movement Skills  •  137
 Contents

Listening Examples for Grade 2 Concepts and Elements  •  138

Lesson Planning  •  140
5 Unit Plans and Lesson Plans  •  147
viii Transitions in Lesson Plans  •  148
General Points for Planning Lessons  •  154
Evaluating a Lesson  •  155
Unit Plans  •  155
Unit 1: Grade 1 Review  •  155
Unit 2: Teaching do  •  166
Unit 3: Teaching Half Note  •  179
Unit 4: Teaching re  •  191
Unit 5: Teaching Four Sixteenth Notes  •  204
Unit 6: Teaching do Pentatonic Scale  •  216
Unit 7: Teaching Quadruple Meter  •  230
6 Assessment and Evaluation  •  243
Grade 2 Assessments  •  243

Notes  •  263
Index  •  265
Acknowledgments ix

We owe a debt of gratitude to the many individuals who inspired, encouraged, and helped
us along the way. Both of us were fortunate enough to study at the Franz Liszt Academy/
Kodály Pedagogical Institute in Hungary and at the Kodály Center of America with
world-renowned Kodály experts, many of whom were Kodály’s pupils and colleagues, who
shared their knowledge with us over many years. Among them were Erzsébet Hegyi, Ildikó
Herboly-Kocsár, Lilla Gábor, Katalin Komlós, Katalin Forrai, Mihály Ittzés, Klára Kokas,
Klára Nemes, Eva Vendrai, Helga Szabó, Laszlo Eősze, Peter Erdei, and Katalin Kiss. We are
especially indebted to Katalin Forrai for her support and encouragement for the research
contained in this publication. Our research is grounded in their many valuable insights and
research.
Special thanks are due to these individuals for critically reading portions of the man-
uscript, field-testing lesson plans, and insightful suggestions regarding this approach to
instruction and learning: Nick Holland, lower school music teacher at St. Paul’s School in
Baltimore, Maryland; Lauren Bain, elementary music specialist in the Northeast School
District of San Antonio, Texas; Georgia Katsourides, music specialist in the Lancaster City
School District, Pennsylvania; and Vivian Ferchill, retired music specialist from Round
Rock, Texas.
Special acknowledgment must be made to Patty Moreno, director of the Kodály
Certification Program at Texas State University, San Marcos, for her support and continued
encouragement of this project. We would also like to thank Holly Kofod and Lisa Roebuck
for their comments, which helped us bring this book to completion.
Many of our students in Kodály Certification Programs at Texas State University; Belmont
University in Nashville, Tennessee; and the Eastman School of Music in Rochester, New York
have all helped us shape our approach to instruction and learning presented herein. Kristopher
Brown, José Pelaez, Rebecca Morgan, Loren Tarnow, and Meredith Riggs deserve special men-
tion. Gratitude is due Rebecca Seekatz for her work on the game directions and the accompa-
nying glossary of terms. Our many years working together have not only contributed to the
information we present but also served as a continuing source of inspiration in working with
the pedagogical processes we have shaped.
Regarding practical matters, we would like to thank our students at Millersville
University of Pennsylvania for helping us with initial drafts of the manuscript. Special
thanks are due Jamie Duca for her technical and hands-on assistance.
This book would not be so complete in terms of pedagogy and educational content were
it not for readings and comments from Blaithín Burns, Kodály instructor at the Blue Coat
School. She provided invaluable assistance in the initial design of Kodály in the Second
Grade Classroom and field-tested many teaching strategies. Richard Schellhas deserves
 Acknowledgments

thanks for his personal patience and understanding as well as words of encouragement and
advice throughout the writing of this manuscript.
Research for this publication was supported by a grant from Millersville University,
the State System for Higher Education in Pennsylvania. The university’s library assistance,
x technical, administrative, and financial support, and overall encouragement for this project
allowed us to bring this volume to completion. We would like to express our gratitude to
Gabriella Montoya-Stier and Faith Knowles for their permission to include songs from their
collections El Patio de Mi Casa: Traditional Rhymes, Games and Folk Songs from Mexico and
Vamos a Cantar. We are very grateful to Katalin Forrai’s children, András Vikár, Tamás
Vikár, and Katalin van Vooren Vikár, for permission to use materials from their mother’s
book, Music in Preschool, edited and translated by Jean Sinor, Budapest, Hungary: Kultura,
1995 (original publication 1988).
We wish to thank Suzanne Ryan, Editor-in-Chief of Humanities and Executive Editor of
Music at Oxford University Press, for her encouragement and critical guidance. We thank
Lisbeth Redfield, assistant editor at Oxford University Press, and Molly Morrison, who over-
saw editing and production. Very special thanks are due our copy editor, Thomas Finnegan,
for his impeccable scrutiny and thoughtful editorial assistance with our manuscript.
Introduction xi

Purpose
The primary purpose of this handbook is to give music teachers a practical guide to
teaching second grade music that is aligned with information contained in Kodály
Today and with national standards in music that promote twenty-first-century music
learning. The foundational aspects of this book are a detailed guide for teaching chil-
dren to sing, move, play instruments, develop music literacy skills, enhance music lis-
tening, and promote creativity skills. The hallmark of this teaching pedagogy is that
it integrates the development of problem-solving, critical-thinking skills, and collab-
orative skills into music instruction and learning. The importance of this approach is
identified in the National Research Council’s July 2012 report, wherein the authors cite
these as “21st century skills” or “deeper learning.” 1 Our hope is that every teacher will
absorb the process of teaching as it is detailed in this publication and blend it with per-
sonal creativity, which will ultimately result in a lively and valuable musical experience
for students.
We have tried to give elementary music instructors a reference with information and
materials about adopting a teaching approach inspired by the Kodály philosophy of music
education. This second grade handbook should not be considered a substitute for read-
ing Kodály Today: A Cognitive Approach to Elementary Music Education; that volume is
a practical and detailed guide for teaching a music curriculum to children in the second
grade music classroom that is aligned with national and state content standards for music
education. Together, Kodály Today and this handbook for second grade offer teachers a
step-by-step roadmap for developing students’ love of music, musical understandings, and
metacognition skills.
Focus discussions and surveys with music teachers reveal their concern regard-
ing the lack of specificity relating to teaching music. Although many teachers have
acquired a number of techniques for use in music activities, many are concerned about
developing a more holistic approach to teaching music, one that moves beyond activ-
ities and toward developmental skill building. Teachers are looking for more direc-
tion on how to create an organic curriculum. They are looking for more guidance on
how to:

• Select music materials for teaching

• Enhance skills in singing and movement skills that are cognitively and
developmentally appropriate
• Build the foundations of music literacy skills
• Promote creativity skills
 Introduction

• Develop improvisation skills
• Teach active music listening lessons
• Implement evaluation and assessment tools

xii This text addresses these concerns. The ideas reflected here have been field-tested and
shaped over a more than a decade of collaborative work with music specialists. The innova-
tive approach of this book, like the collaboration of music teachers with a group of research-
ers to design the contents of this publication, is truly pioneering.
We spell out teaching procedures that are outlined in Kodály Today and demonstrate
how they can be used within lesson plans, in considerable detail. In this handbook, we
refer to chapters in Kodály Today that explain in greater detail the relevant techniques
adopted in lesson plans. The suggestions given should be used as a point of departure
for a teacher’s own creativity and personality and need not be taken entirely literally. It is
expected that teachers will apply these suggestions in a way that is responsive to the needs,
backgrounds, and interests of their own students. The lesson plans and sample curricu-
lums are not meant to be comprehensive, although they are quite detailed. We expect that
music instructors will infuse these ideas with their own national, state, regional, and local
benchmarks for teaching. We appreciate that teachers must develop their own philosophy
for teaching music and their own repertoire of songs, procedures, and processes for teach-
ing musical skills, as well as consider such factors as the frequency of music instruction,
the size of the class, the length of the class, and current music abilities of students.

Chapter Summaries
Here are summaries of the chapters in this Grade 2 Handbook.

Chapter 1: Framing a Curriculum Based on the Kodály Concept

This chapter presents a sample curriculum summary statement as well as curriculum goals
for second grade. The information in this chapter is aligned with Chapter 1 of Kodály Today
and the accompanying website.

Chapter 2: Developing a Music Repertoire: Students as Stewards

of Their Cultural and Musical Heritage
This chapter has a selection of music repertoire for teaching music performance, music
literacy skills, improvisation, and composition as well as listening skills. There is also a
detailed review summary of how to teach games and dances to children. The content in this
chapter is aligned with Chapter 2 of Kodály Today and the accompanying website.

Chapter 3: Teaching Strategies

This chapter presents teaching strategies for teaching all music concepts and elements,
based on the model of learning presented in Chapter 6 of Kodály Today for grade two.
More information related to Chapter 3 can be found on a new accompanying website for
the second edition of Kodály Today. Information in this chapter is aligned with Chapter 6
in Kodály Today.
 Introduction

Chapter 4: Students as Performers: Developing Music Skills and

Creative Expression
This chapter offers music teachers guidance on how to develop skill areas in second grade.
There are lists of music techniques for teaching the music skills of tuneful singing, read- xiii
ing, writing, improvisation, musical memory, understanding of form, part-work activities,
instrument performance, inner hearing, creative movement activities linked to games, and
music listening, The content in this chapter is aligned with Chapters 3 and 4 of Kodály
Today and the accompanying website.

Chapter 5: Unit Plans and Lesson Plans

The music curriculum for this grade is divided into units. Each unit focuses on the
preparation and presentation for teaching a new concept and element, and practice of a
known element. Each unit plan has three sections: the first furnishes a list of repertoire
for teaching five music lessons, the second includes a summary of music skill activities
to practice, and the third presents five sample lesson plans for teaching the music con-
cepts and skills, and practice of a known concept or element for each unit.
More information related to this chapter can be found on a new accompanying website
for the second edition of Kodály Today. The website will include more than twenty work-
sheets to be used for practicing reading, writing, and improvisation for music elements
related to the handbook for the second grade. Information in this chapter is aligned with
Chapter 10 in Kodály Today.

Chapter 6: Assessment and Evaluation

This chapter includes detailed assessment rubrics to assess singing, reading, writing, and
improvisation for this grade. These rubrics can form the foundation of any kind of assess-
ment that takes place in the music classroom.

Outstanding Features
Timely Publication
In July 2012, the National Research Council challenged teachers to cultivate approaches to
teaching that develop “deeper learning.” This second grade handbook supplies music teach-
ers with a model that promotes “twenty-first century skills.”

Transcending All Methods of Teaching Music

The researchers have used the Kodály philosophy as a pedagogical compass for this hand-
book. The foundation for the approach in this second grade handbook is focused on devel-
oping children’s knowledge of repertoire, performance skills (singing, moving, playing
instruments), reading and writing of music, listening, and improvisation and composition
skills—key components of any music curriculum. Teachers certified in Kodály, Orff, and
Dalcroze training piloted this handbook. Any teacher, regardless of personal philosophy
and particular pedagogy, can use this handbook.
 Introduction

Writing Style
The writing style of this handbook is accessible; it instantly engages the reader. The text is
filled with examples of activities as well as detailed lesson plans that translate a theoretical
xiv model for learning and instruction into a practical handbook for teaching music in the
second grade music classroom.

Organic Pedagogy
The authors use an organic approach to teaching music that begins with careful selection
of repertoire. This repertoire is then used to build students’ skills in singing, movement,
playing instruments, reading and writing, listening, and improvisation skills. This is accom-
plished through an “immersion” approach to teaching.

Sequential Pedagogy
The researcher outlines the process for presenting musical concepts and developing music
skills. Although several works describing Kodály-based techniques and curriculums exist,
few spell out in detail teaching procedures for presenting musical concepts and integrat-
ing them with musical skill development. Some educators familiar with Kodály-inspired
teaching may already know the teaching ideas presented in this text. However, we have
combined these ideas with current research findings in the field of music perception and
cognition to develop a model of music instruction and learning that offers teachers a map
to follow that will develop their students’ musical understandings and metacognition skills.
We have worked to present a clear picture of how one develops a second grade music cur-
riculum based on the philosophy of Kodály, the teaching and learning processes needed to
execute this curriculum, and assessment tools.

Vertical Alignment of Music Classes

Because of the pedagogy used in this publication, it offers a compelling example of how
to achieve vertical alignment in the elementary music curriculum. Like all other subject
areas in the elementary curriculum, this handbook develops routines and procedures that
are common to music lessons regardless of grade level and teaching philosophy. In this
teaching handbook, we delineate the teaching process by including thirty-five lesson plans
for second grade for teaching music according to the Kodály philosophy and based on the
Kodály Today text. This handbook presents a clear picture of how the teaching and learning
processes go hand in hand during the music lesson.

New Cognitive Model for Teaching Music

The series presents detailed instructions on how to present music concepts based on a
model of learning developed in Kodály Today. This model builds on the accepted pro-
cess of teaching music: prepare, make conscious, reinforce, and assess. The researcher has
adopted these phases of learning, but each phase is further broken down into stages that
allow sequential teaching of music concepts and elements as well as the means for their
 Introduction

assessment. This model of learning inspires the music curriculum, lesson plans, and assess-
ment rubrics for all the handbooks.

Who Should Read This Book? xv

This book will appeal to methods instructors, pre-service music teachers, beginning music
teachers, and practicing or veteran music teachers, for a number of reasons. This is a book
with a solid methodological foundation that focuses on creatively enhancing the learn-
ing environment of students. Therefore, it appeals to methods instructors who will use the
handbooks over the course of a semester to show the necessary elements of a comprehen-
sive music education. Effective methods instruction includes what to teach, how to teach,
and why to teach, and this book addresses all of these areas. Second, pre-service music
teachers will gravitate toward the sequencing and lesson planning included in the book, as
well as specific resources (songs, books), when practice-teaching during methods courses,
field experiences, and student teaching. Third, beginning teachers are often most concerned
with long-term planning for each grade level: unit and lesson plans contained in the hand-
books will appeal to these teachers. Finally, this book will appeal to practicing and vet-
eran music teachers because it can be used to refresh knowledge of teaching music. The
book updates traditional ideas and teaching practices associated with the Kodály concept of
music education and makes them accessible, practical, and relevant for today’s classrooms.
Kodály in the Second Grade Classroom
 Chapter  1
1

Framing a Curriculum Based on the

Kodály Concept

This chapter gives teachers an overview of the Kodály concept as it relates to curriculum devel-
opment, and it includes a sample of a grade two curriculum. Also included is a lesson plan design
that is used throughout this book to create sample lessons reflecting the content of each chapter.
Chapter 1 of Kodály Today offers teachers a biographical overview of Kodály’s life as well as an
introduction to the Kodály concept of music education.

The Kodály Concept

Zoltán Kodály’s philosophy of music education inspired the development of the Kodály method
or the Kodály concept of music education. The Kodály method was actually developed by his
students and colleagues. Simply stated, the method is a comprehensive approach to teaching
music skills. The composer stressed the need for all music teachers to be excellent musicians and
conductors, and to have a knowledge of music repertoire to successfully develop a music pro-
gram. This section identifies the essential hallmarks of the Kodály method as shaped by Kodály’s
philosophy of music education.

Singing
Singing is the essence of the Kodály concept, and tuneful singing is the foundation for developing
music skills. Generally speaking, singing should be taught before formal instrumental lessons.
Singing permits quickly internalizing music, and allows students to develop the skill of audiation.
Chapter 3 of this handbook offers a comprehensive overview for developing the singing voice in
the second grade curriculum.

Repertoire
Everyone needs to know and celebrate his or her cultural heritage. A key component of this cul-
tural heritage is folk music, which includes children’s songs and games. These songs and games
 Kodá ly in t he Se c ond G r a de Cl a ssro om

include the basic rhythmic and melodic building blocks of music that can be used to make
connections to all styles of music. A music curriculum should include these materials:

Traditional children’s songs and games

Folk songs and games of the American culture
Folk songs of other cultures
Art music (music of the masters)
Pedagogical exercises written by composers
2 Recently composed music written by excellent composers

In Chapter 2 of the handbook, we lay out a more comprehensive overview of the repertoire
that is used in the elementary music curriculum.

Reading and Writing

Musical reading and writing is another essential component of the Kodály method.
Practitioners of this method use a variety of musical tools to develop a student’s fluency
in reading and writing music. These tools are discussed in more detail in Chapter 4 of this
book. The teaching tools used include relative solmization, moveable do (where the tonic
note is do in major and la in minor), hand signs, and rhythm syllables.

Sequencing
Another vital component of the Kodály concept is the ability for teachers to sequence
materials along with presenting concepts and elements to students that are derived pri-
marily from singing repertoire musically. This is an experience-based approach to learning.
We present a thorough approach to curricular sequencing for grade two in Chapter 5 of
this book.

Multiple Dimensions of Music

Music education, to quote the author Daniel H. Pink, is “fundamental, not ornamental.”1
Learning music gives students many opportunities to perform music, become stewards of
their cultural heritage, develop critical-thinking skills (reading and writing music), be cre-
ative human beings, and be informed listeners and audience members. Through these mul-
tiple dimensions of their music education, students develop skills that not only will make
them more accomplished musicians but will also prepare them for life as citizens of the
twenty-first century.
When designing a curriculum based on the Kodály philosophy of music education, we
need to develop our students’:

• Performance skills through singing, playing an instrument, and movement

• Knowledge of music repertoire
• Knowledge of critical-thinking skills about music through the development of
reading and writing skills
• Ability to improvise music
• Ability to listen to music with understanding
 Framing a Curriculum Based on the Kodály Concept

Students as Stewards of Their Cultural Heritage

Students will continue to experience a repertoire of music that includes folk music from a
variety of cultures, art music, patriotic music, and recently composed music. This exposure
deepens students’ understanding of the various styles of music, giving them tools to under-
stand a number of music cultures and styles. The music teacher will give students a histori-
cal context for all repertoires being studied. The students relate music to history, to society,
and to culture (playing games, singing songs from diverse cultures of the United States and
neighboring countries), and should be able to connect music to the subject areas of reading,
writing, language, and math.
3

Students as Performers
A student’s music education should begin with singing music repertoire that is develop-
mentally appropriate for students. Students will sing while performing games, singing part
music, developing their knowledge of music literacy through singing, and using the voice to
create their own music. Singing is the glue that connects all of the music skills and knowl-
edge taught in the music classroom. Singing develops a primary key skill in music: the
ability to think in sound. This ability will lead to significant results in a student’s ability to
perform musically on an instrument. Only when students have the ability to think in sound
will they be able to play a musical instrument with musical understanding. Playing a musi-
cal instrument is not just about the technical aspects of learning an instrument. It involves
learning how to translate an aural image of a piece into an acoustic sound. Therefore, learn-
ing the technique of playing an instrument is only one part of the process necessary for
translating notation into sound. The aural image of the piece of music should always dictate
how to perform it.
On completion of the second grade music curriculum, students will be able to tunefully
sing folk songs, echo songs, canons, and simple two-part arrangements in a group and indi-
vidually. They will add to rhythmic and melodic knowledge and will read from hand signs,
standard notation and stick notation. They will conduct while singing in duple and qua-
druple meter, and accompany themselves with simple ostinati on classroom instruments.

Students as Critical Thinkers

In second grade, the students will using rhythm syllables for half notes, sixteenth notes, and
quadruple meter, and solfège syllables for do and re. As critical thinkers, students reason
effectively and learn to communicate and collaborate to solve music problems.

Students as Creative Human Beings

When students learn how to express themselves through improvisation and composition,
they learn more about who they are and what they are capable of accomplishing. The act of
writing a piece of music that no one else could have written gives a student a chance to use
his or her often-stifled creativity. Making good choices in a composition can lead to good
choices in life. We believe that it is important for students to develop their own creative
skills by manipulating rhythmic or melodic elements in a known composition before they
begin to create their own compositions.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Students will learn to be creative in a musical context. They should be furnished with
lots of improvisation exercises of varied types. These should include individual and class
improvisation or composition of movement, singing, and playing on classroom instru-
ments. Students will improvise short rhythmic and melodic patterns to create new versions
of repertoire studied.

Students as Informed Listeners

4 Students in the twenty-first century are surrounded every day by music from a variety of
mixed media sources. It is our responsibility as music educators to help our students become
critical listeners so that they can identify and understand the purposes of different kinds
of music. They need to understand that the music they listen to with their friends (social
music) can have a purpose different from music repertoire studied in music classes. Of
course, students must ultimately understand that all music can be put into two categories:
good or bad. It is our job as educators to train students to differentiate between good and
bad music and allow them to make their own choices as to which music they listen to. We
need to develop a student’s ability to listen to a variety of styles of music, and understand the
stylistic elements and historical background of this repertoire. It is also important to develop
a student’s critical-listening skills. But the music repertoire we choose to use in our music
curriculum should reflect the processes that literature teachers employ when they select a
book to be read in a literature class. Although there can certainly be disagreement as to what
constitutes quality repertoire, there is a general consensus as to what makes great literature.
Music education has the ability to affect students fundamentally because music is a holis-
tic discipline, reaching body, mind, and spirit. We move to the music, whether in games, or
feeling the beat and rhythm, or as performers. Students are taught tools of analysis as well
as tools of creativity, developing parts of their mind and spirit that the traditional academic
curriculum does not reach. They gain a rich sense of self-esteem from music education that
comes from the experiences of using their own creative talents, of finding their place within
a community, and of pure enjoyment of music.

Grade 2 Music Curriculum

Here we present a sample grade two curriculum that is shaped by our understanding of
Zoltán Kodály’s philosophy of music education. All the sections of the curriculum will be
discussed in greater detail in subsequent chapters. Of course, we offer only an outline of
music curriculum; the demands placed on music teachers differ from one school district to
the next. The goal of this curriculum is to make available a model for constructing your own
curriculum based on the Kodály philosophy of music education and on current successful
models of the Kodály method. Once you have an understanding of this philosophy, you will
be able to make modifications to suit your own particular teaching situations. Our goal is
to show how the major tenets of the Kodály philosophy, and current practices in teaching
music using techniques associated with the Kodály method, can shape a music curriculum.
This curriculum is provided as a starting point for creating engaging music lessons. It is
important to remember that, as we read in the Oxford Handbook of Music Education, “although
disciplined practice is part of the task, a young aspiring musician’s spirit can be deadened in the
face of a curriculum of tasks to be done and discriminations to be learned in a standardized
way, however ‘age appropriate’ its methods strive to be.”2 It is likely that the specific music skills
in the sample will need to be modified according to the frequency of instruction.
 Framing a Curriculum Based on the Kodály Concept

Students as Stewards of Their Cultural and Musical

Heritage: Repertoire
Students experience a repertoire of music that includes folk music from a variety of cul-
tures, art music, patriotic music, recently composed music, and seasonal music. This expo-
sure deepens students’ understanding of the various styles of music, giving them tools to
understand different music cultures and styles. Guided by a skillful teacher, they can relate
their music performance to history, to society, and to culture (playing games, singing songs
from an array of cultures, from the United States and neighboring countries), as well as
connect the music to other subjects—reading, writing, language, and math.
5
Students will grow to understand how many types of music share the same “musical build-
ing blocks,” as well as what makes every music composition unique. Understanding a partic-
ular music style will help them with developing their own creative style. This is an invaluable
and unique aspect of music education. Students in grade two will study a core of folk song rep-
ertoire music and subsequently expand their repertoire to add to their knowledge of songs and
games, folk music of neighboring and other cultures, art music, and recently composed music.

Students as Performers: Performance
A student’s music education should begin with singing. Students sing while performing
singing games and part music, as they develop their knowledge of music literacy along with
using the voice to create their own music. Singing is the glue that connects all of the music
skills and knowledge taught in the music classroom. It develops a primary skill in music:
the ability to think in sound. This leads to their ability to perform musically on an instru-
ment. Once students gain the ability to think in sound, they will be able to play a musi-
cal instrument with musical understanding. Playing an instrument is not simply about the
technical aspects of learning it; playing involves learning how to translate an aural image of
a piece into an acoustic sound. Therefore, learning the technique of playing an instrument
is only one part of the process necessary for translating notation into sound. The aural
image of the piece of music should always dictate how to perform the piece of music.
Students also learn how to develop their movement and conducting skills in this grade.
We believe that it’s essential to create an organic connection between singing, playing
instruments, movement, and conducting skills.
The curriculum will broaden performance skills:

1. Singing tunefully
A. Students sing songs independently and tunefully.
B. They increase repertoire by learning thirty to thirty-five new folk songs,
games, canons, and simple two-part song arrangements.
C. They perform music using tempo (including presto, moderato, and andante)
and dynamics (including fortissimo and pianissimo).
D. They are able to perform fifteen to twenty songs with rhythmic and melodic
solmization.
E. They learn five songs through sight singing.
F. They know and perform three to five canons, partner songs, or easy two-part
songs arrangements.
G. They perform all songs with accurate intonation, clear diction, clear head tone,
musical phrasing/breathing, and appropriate dynamics and tempi.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

2. Movement
A. Students perform choosing games.
B. They perform chasing games.
C. They perform a chasing game with a stationary circle, partner clapping games,
and body percussion games.
D. They improvise words and movement to known songs.
E. They explore games, activities, and movement in personal space or general space.
F. They move alone and with others to a varied repertoire of music using
6 gross-motor, fine-motor, locomotor, and nonlocomotor skills.
3. Instruments
A. Students play instruments independently or in a group.
B. They demonstrate second grade melodic and rhythmic concepts on classroom
instruments.
C. They accompany classroom singing on classroom instruments such as the
xylophone.
4. Part work
A. Students sing songs antiphonally.
B. They practice singing intervals simultaneously with solfège syllables and hand
signs, whether intervals are named (so, mi, la, do, and re) or are formed by
them from known songs.
C. They accompany a song with a rhythmic ostinato using quarter and eighth
notes, quarter note rests, half notes, whole notes and sixteenth notes.
D. They accompany a song with a melodic ostinato using la, so, mi, do, and re.
E. They chant simple rhythmic canons derived from the rhythms of
familiar songs.
F. They sing simple melodic canons derived from the melodic motifs of familiar songs.
G. They perform two-part rhythmic exercises based on rhythmic motifs of
known songs.
H. They perform two-part melodic exercises based on the rhythmic and melodic
motifs of known songs.
I. They perform simple folk songs in canon.
5. Conducting
A. Students conduct repertoire in duple simple, compound meter (in two), and
quadruple meter.

Students as Critical Thinkers and Problem Solvers:

Music Literacy
Learning how to read and write music is closely connected to understanding stylistic ele-
ments of music. To develop students’ music literacy skills, it is important that they study a
core repertoire of songs that share similar rhythmic and melodic characteristics. Each piece
of music studied is an opportunity for the teacher to share with students the commonali-
ties between pieces of music and also introduce them to new music elements. This can be
accomplished through developing students’ reading and writing of music.
Critical thinking is applied in music through reading and writing music to develop music
literacy skills. Second grade students will gain fluency using rhythm syllables for half notes,
 Framing a Curriculum Based on the Kodály Concept

sixteenth notes, quadruple meter, and solfège syllables for do and re. They will learn how to
read and write known rhythms and melodies, sight-read new melodies, and write unknown
songs using stick notation, traditional notation, and staff notation. They also develop their
inner hearing, knowledge of form, and memory skills while developing music literacy skills.

1. Reading and writing of rhythmic elements

A. Students know names and written symbols for half note, whole note, half note
rest, whole note rest, sixteenth notes, and quadruple meter. (This should be the
final step in learning rhythms; students need to sing repertoire fluently with 7
rhythm syllables before learning the technical names of notes.) Recognize and
perform. Read with rhythm syllables as well as counting with numbers.
B. They read well-known rhythmic patterns with stick notation and traditional
rhythmic notation.
C. They read a two-part rhythmic exercise.
D. They expand reading of rhythmic and melodic patterns from four to eight to
sixteen beats.
E. They write rhythmic patterns from memory or when dictated by the teacher in
stick notation and traditional rhythmic notation.
G. They write well-known rhythmic patterns with stick notation and traditional
rhythmic notation.
H. They expand writing of rhythmic and melodic patterns from four to eight to
sixteen beats.
I. They write rhythmic patterns from memory or when dictated by the teacher in
stick notation and traditional rhythmic notation.
2. Reading and writing of melodic elements
A. They know the names and written syllables for all solfège notes of the major
pentatonic scale.
B. They read well-known melodic patterns with traditional rhythmic notation
and solfège syllables as well as on staff notation.
C. They read a two-part melodic exercise from notation.
D. They write well-known melodic patterns with traditional rhythmic notation
and solfège syllables as well as on staff notation.
E. They write melodic patterns found in focus songs from memory or when
dictated by the teacher using stick and solfège syllables, traditional notation
and solfège syllables, or staff notation.
3. Inner hearing
A. They silently sing melodic motifs or melody from the teacher’s hand signs.
B. They silently sing known songs with rhythmic syllables.
C. They silently sing known songs with melodic syllables.
D. They silently read either full or partial rhythms or melodies written in
traditional notation with solfège syllables or staff notation.
E. They sing back short, known melodic or rhythmic motives from memory
using text (if the student recognizes the song it is abstracted from), rhythm
syllables, or solfège syllables.
4. Form
A. They recognize same, similar, or different phrases in a song either aurally or
through music reading.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

B. They use letters to describe a form.

C. They use repeat signs.
D. They learn to read music with first and second endings.
E. They recognize rhythmic and melodic variation.
F. They create simple forms showing phrase variants, for example, AA’ BA,
ABA’C.
5 . Musical memory
A. They echo four- and eight-beat rhythm patterns clapped by the teacher with
8 rhythm syllables.
B. They echo four- and eight-beat solfège patterns sung by the teacher with
solfège and hand signs.
C. They memorize short melodies through hand signs.
D. They memorize rhythm patterns of four or eight beats from known songs
from traditional rhythmic notation.
E. They memorize melodic patterns of four or eight beats from known songs
from traditional rhythmic notation with solfège syllables or from staff
notation.
F. They memorize simple two-part exercises.

Students as Creative Human Beings: Improvisation

and Composition
When students learn to express themselves through improvisation and composition, they
learn more about who they are and what they are capable of accomplishing. The initial act
of improvising and subsequently composing music gives a student a chance to engage cre-
ativity. We believe it is most valuable for students to develop creative skills by manipulating
known rhythmic or melodic elements before they begin to create their own compositions.
They should be given several types of rhythmic and melodic improvisation exercises, to
include individual and class improvisation/composition of movement, singing, and playing
on classroom instruments. The goal is to lead them to improvise with short rhythmic and
melodic patterns derived from known repertoire in creating new versions of their songs.

1. Rhythmic improvisation (based on the rhythmic building blocks of sung

repertoire)
A. Improvise rhythm patterns of four or eight beats by clapping and saying
rhythm syllables.
B. Improvise rhythm patterns of four or eight beats using rhythm instruments.
C. Improvise a new rhythm to one measure or more of a well-known song
written in traditional notation.
D. Improvise question-and-answer motives using known rhythm patterns.
E. Improvise to a given form.
2. Melodic improvisation (based on the melodic building blocks of sung repertoire)
A. Improvise melodic patterns of four or eight beats by singing with solfège
syllables and hand signs.
B. Improvise melodic patterns of four or eight beats using barred instruments.
C. Improvise short musical motives using notes from the major pentatonic scale
using hand signs, hand staff, or body signs.
 Framing a Curriculum Based on the Kodály Concept

D. Improvise pentatonic melodies to simple four- or eight-beat rhythms using the

voice or a barred instrument.
E. Improvise a melody to one measure or more of a well-known song.
F. Improvise question-and-answer motives using known melodic patterns.

Students as Informed Audience Members: Listening

Students are surrounded every day by music from a variety of media sources. It is our respon-
sibility as music educators to help our students become critical listeners so that they can iden- 9
tify and understand the purposes of many kinds of music. The music they listen to with their
friends (social music) can have a purpose different from that of music repertoire studied in
music classes. Of course, they must ultimately understand that all music can fall into two cat-
egories: good or bad. It is our job as educators to train students to differentiate between good
and bad music and allow them to make their own choices in music they listen to. We need to
develop students’ ability to listen actively to a variety of styles of music and understand the
stylistic elements of this repertoire. But the music repertoire we choose to use in our music
curriculum should reflect the processes that literature teachers use when they select books to
be read in a literature class. Although there can certainly be a disagreement as to what consti-
tutes quality repertoire, there is a general consensus as to what makes great literature.

1. Expand listening repertoire as well as reinforce second grade musical concepts

A. Identify choral voices, including unison versus ensemble.
B. Recognize and aurally identify musical instruments.
C. Recognize rhythmic motifs in classroom song repertoire, folk music, and
masterworks, including half note, whole note, half note rest, and whole note rest.
D. Recognize melodic motifs that include notes from the major pentatonic scale
in classroom song repertoire, folk music, and masterworks, including half
note, whole note, half note rest, and whole note rest.
E. Develop awareness of expressive controls, that is dynamics, tempo, timbre, and
their distinctive characteristics in masterworks of various historical periods.
F. Use known music terminology to explain musical examples of tempo
(including presto, moderato, and andante) and dynamics (including fortissimo
and pianissimo).
G. Recognize phrase forms in classroom song repertoire, folk music, and
masterworks.
H. Continue to recognize instruments from the instrument families of strings,
woodwinds, brass, percussion, and keyboard.
I. Respond verbally or through movement to short musical examples.
J. Practice appropriate audience behavior during live performances.

Prompt Questions for Constructing a Music Curriculum

These questions will help you tailor the sample curriculum to your own specific needs. It is
important that your curriculum reflect your own teaching philosophy and personality, as
well as your own content knowledge or expertise. Remember also to reinforce the vision
and mission of the school with your music programs, and to review your state standards for
music education.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Questions on Where You Are Coming From

1. What is your philosophy of music education?
2. What role does the Kodály concept of music play in the development of your
curriculum?
3. What is the mission and vision of your school?
4. How do you reinforce the mission of your school in your music curriculum?
5. How do you and your music students become advocates for music?
6. How do you develop the teaching of music in your school so that music is treated
10 as a core subject area?

Questions on Repertoire in the Classroom

1. How do you select music repertoire for your curriculum?
2. Do you use this repertoire to develop all the students’ music skills in performance,
playing instruments, literacy, improvisation, and composition as well as prepare
them to become critical consumers of music?
3. What melodic, rhythmic, singing, playing, and movement skills do you expect
students to master by the end of second grade?
4. How will you encourage students to use the known rhythmic and melodic
building blocks to create and build musical compositions, bolstering
critical-thinking skills and creativity?
5. How will music benefit a student’s overall academic achievement in the
second grade?
6. How does your classroom reinforce the core curriculum and the vision of the
campus?
7. How do you assess student growth in musicianship skills and music literacy
throughout the year?
8. How does your classroom embrace cultural diversity though songs?
9. What is the role of foreign folk, art, and popular music being brought in by
students of various cultures, and how do you use it to draw parallels with other
genres in your class?

Questions on Music Skills and Content in Grade 2

1. How will you find a balance among the skills of singing, creative movement,
playing instruments, reading and writing music, composing and improvising, and
listening to music?
2. How do you create music lesson plans that will develop all of a student’s music
skills?

Questions on Tailoring Your Teaching to Student Populations

1. What are some ways in which you meet the various needs of bilingual and
transitioning students to strengthen their primary language and promote
acquisition of the English language through repertoire?
2. How do you use a broad range of music genres and styles to reach various
populations of your campus and promote a lasting love and respect for
all music?
3. How do you use a broad range of learning styles to reach various populations of
your campus?
 Framing a Curriculum Based on the Kodály Concept

4 . What is the place of technology in the music classroom?

5. How do you ensure a safe environment that encourages learning?

Questions on Keeping Your Teaching Relevant

1. How do you incorporate modern styles and genres of music in the music
classroom?

Questions on Embracing Music Learning at Your Campus

1. How do you encourage your faculty, staff, and administration to support your 11
music program?
2. What steps will you take to ensure your philosophy of music learning is supported
by your campus?
3. How do you foster relationships with your school’s faculty?

Lesson Planning
Now that we have created a sample curriculum, we can develop lesson plan out-
comes and lessons for teaching music. We advise that your lesson focus on developing
students’:

• Knowledge of repertoire: teaching a new song

• Performance skills: learning to sing, play instruments, and move to music
• Critical-thinking skills: teaching music concepts and elements to students
according to their frequency of occurrence in the material they
are singing
• Creative skills: teaching students how to improvise and compose
• Listening skills: teaching students how to actively listen to music

We address all of these goals in detail throughout the book. Here we begin the process of
lesson planning. A primary task for music teachers is to teach basic rhythmic elements. To
accomplish this successfully, students need to be guided through a variety of experiential
activities (preparation activities) before learning how to identify sounds and label them
with rhythmic or melodic syllables or learning the notation of these sounds (practice activi-
ties). Once learned, this information (practice) can be applied to expand their musical skills
through reading, writing, and improvisation.
Lesson planning and acquiring music literacy skills are closely intertwined. Teaching a
musical element involves eight steps.

Preparation
1. Prepare the learning through kinesthetic activities.
2. Prepare the learning through aural activities.
3. Prepare the learning through visual activities.

Presentation
4. Present the solfège syllable or rhythm label for the new sound.
5. Present the notation for the new sound.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Practice
6. Incorporate the new element (now identified as a familiar element) into the
practices of reading.
7. Incorporate the new element (now identified as a familiar element) into the
practices of writing.
8. Incorporate the new element (now identified as a familiar element) into the
practices of improvisation and composition.

12 This is accomplished throughout a series of lessons.

To undertake these steps, there are two basic lesson plan designs: preparation/practice
lessons and presentation lessons.
In a preparation/practice lesson, we prepare one musical element and practice another.
For example, when preparing a new element B (steps 1, 2, and 3), we also practice a
familiar element A (steps 6, 7, and 8). Once we have taught steps 1, 2, and 3 for element
B in a preparation/practice lesson, we address steps 4 and 5 for element B in presentation
lessons.

Key Components of Lesson Plan Design

Table 1.1 is the basic preparation/practice lesson plan design we use throughout the book.
In each chapter, we will add to this basic lesson plan design to incorporate and reflect the
information in the chapter. We use a lesson plan structure that divides all lessons into
three sections: introduction, core activities, and closure. This design can be modified to
accommodate the learning objectives for developing students’ skills as performers, criti-
cal thinkers, improvisers, composers, listeners, and stewards of their cultural and musical
heritage.

Table 1.1  Components of the Basic Preparation/Practice

Lesson Plan Design

I N T ROD U C T I ON
Performance and
demonstration of known
musical concepts and elements
C OR E AC T I V I T I E S
Acquisition of repertoire
Preparation of a rhythmic or Element B: this section of the lesson is used for steps 1–3
melodic element of preparing a new element
Creative movement
Practice and performance of Element A: This section of the lesson is used for steps 6–8
musical skills
C L O SU R E
Review and summation
 Framing a Curriculum Based on the Kodály Concept

Table 1.2 explains the segments of a basic preparation/practice lesson plan design.

Table 1.2  Explanation of the Preparation/Practice Lesson Plan

L E S S ON SE C T I ON ON E :   I N T ROD U C T I ON
Demonstration of known This segment of the lesson includes vocal warm-up exercises,
musical concepts and singing known songs, developing tuneful singing, and singing
elements known songs with rhythmic or melodic syllables. During this 13
section of the lesson, we address music learning outlined in
the music curriculum under the title of “Students as Stewards
of Their Cultural Heritage: Repertoire” and “Students as
Performers: Performance.”
L E S S ON SE C T I ON T WO :   C OR E AC T I V I T I E S
This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of repertoire Teaching a new song serves two purposes. First, it expands
students’ repertoire, and second, the new song should also
include rhythmic or melodic concepts or elements that will be
addressed in upcoming lessons.
We present new repertoire for a variety of reasons. Sometimes we
wish to teach a song simply to develop students’ singing ability.
Sometimes a song may be taught because we need to provide a
musical context for teaching future musical concepts. The teacher
may need to teach repertoire for a future performance or concert.
During this section of the lesson, we address music learning
outlined in the music curriculum under the title “Students as
Stewards of Their Cultural Heritage: Repertoire.”
Preparation of a new Here activities focus on leading students to discover the
concept or element attributes of a new musical concept or element. The instruction
focuses on guiding students through kinesthetic (step 1), aural
(step 2), and visual learning (step 3) activities.
During this section of the lesson, we address music learning
outlined in the music curriculum under the title “Students as
Critical Thinkers.” Critical thinking is associated with literacy.
Through discovery-based learning children acquire music
literacy skills. In this section of the lesson, students are guided to
understand the basic rhythmic or melodic building blocks of the
song material as well as the formal music structures.
This first period of concentration is followed by a period of relaxation.
Creative movement Students learn singing games and folk songs. Activities focus
on the sequential development of age-appropriate movement
skills through songs and folk games.
A sequence for age-appropriate movement skill development is
provided in Chapter 3 of Kodály Today.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 1.2 (continued)

This period of relaxation is followed by a second period of concentration.

Practice and musical In this section, the teacher practices the music skills outlined
skill development in the music curriculum under the title “Students as Critical
Thinkers.” This section reinforces known musical elements
while focusing on a particular music skill such as reading (step
6), writing (step 7), or improvisation and composition (step 8).
14 (Of course, we use these skills as anchors for practicing all
other music skills, such as inner hearing, form, memory, part
work, and listening.)
L E S S ON SE C T I ON T H R E E :   C L O SU R E
Review and summation Review the lesson outcomes.
Review the new song.
Review the lesson content. Review the new song. Students
may review known songs or play a game. The teacher may also
perform the next new song that will be taught in a subsequent
lesson.

The next four tables elaborate on the basic presentation lesson plan designs we use
throughout the book; we use Tables 1.3 (components) and 1.4 (explanation) to label
sounds with syllables, and Tables 1.5 (components) and 1.6 (explanation) to present the
notation.

Table 1.3  Components of the Basic Presentation Lesson Plan

Design for Labeling Sounds with Syllables

I N T ROD U C T I ON
Performance and
demonstration of known
musical concepts and elements
C OR E AC T I V I T I E S
Acquisition of repertoire
Presentation of a new concept Element B
or element This segment of the lesson is used for step 4.
Creative movement
Presentation of a new concept Element B
or element This segment of the lesson is used for step 4.
C L O SU R E
Review and summation
 Framing a Curriculum Based on the Kodály Concept

Table 1.4  Explanation of Presentation Lesson Plan for Labeling

Sounds with Syllables

L E S S ON SE C T I ON ON E :   I N T ROD U C T I ON
Demonstration of known
musical concepts and
elements
L E S S ON SE C T I ON T WO :   C OR E AC T I V I T I E S
15
This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of repertoire
Presentation of a new Using a known song, the teacher presents the label for the
concept or element new sound with either rhythmic or melodic syllables.
Here the teacher will be presenting elements that
are outlined in the music curriculum under the title
“Students as Critical Thinkers.” Students are guided to
first label the sound of the new musical element and
second to learn the notation of the musical element. They
label the sound of the basic rhythmic or melodic building
blocks of the song material and subsequently learn the
notation.
This first period of concentration is followed by a period of relaxation.
Movement development
Creative movement
This period of relaxation is followed by a second period of concentration.
Presentation of a new Using another known song, the teacher presents the label
concept or element for the new sound of the newly learned element with either
rhythmic or melodic syllables.
Here the teacher will be presenting concepts that
are outlined in the music curriculum under the title
“Students as Critical Thinkers.” They label the sound of
the basic rhythmic or melodic building blocks of the song
material.
L E S S ON SE C T I ON T H R E E :   C L O SU R E
Review and summation Review the lesson outcomes
Review the new song
Review the lesson content. Review the new song. Students
may review known songs or play a game. The teacher may
also perform the next new song that will be taught in a
subsequent lesson.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 1.5  Components of the Basic Presentation Lesson Plan

Design for Notating a New Element

I N T ROD U C T I ON
Performance and
demonstration of known
musical concepts and elements
C OR E AC T I V I T I E S
16
Acquisition of repertoire
Presentation of a new concept Element B
or element This segment of the lesson is used for step 5.
Creative movement
Presentation of a new concept Element B
or element This segment of the lesson is used for step 5.
C L O SU R E
Review and summation

Table 1.6  Explanation of the Presentation Lesson Plan

Design for Notating New Elements

L E S S ON SE C T I ON ON E :   I N T ROD U C T I ON
Demonstration of known
musical concepts and
elements
L E S S ON SE C T I ON T WO :   C OR E AC T I V I T I E S
This section involves acquisition of repertoire and performance of new concepts or
elements.
Acquisition of repertoire
Presentation of a new Element B
concept or element Using a known song, the teacher presents the notation for the
new element.
Here the teacher will be presenting concepts that are outlined
in the music curriculum under the title “Students as Critical
Thinkers.”
This first period of concentration is followed by a period of relaxation.
Movement development
Creative movement
(Continued)
 Framing a Curriculum Based on the Kodály Concept

Table 1.6 (continued)

This period of relaxation is followed by a second period of concentration.

Presentation of a new Element B
concept or element Using another known song, the teacher presents notation for
the new element.
Here the teacher will be presenting concepts that are outlined
in the music curriculum under the title “Students as Critical 17
Thinkers.”
L E S S ON SE C T I ON T H R E E :   C L O SU R E
Review and summation Review the lesson outcomes.
Review the new song.
Review the lesson content. Review the new song. Students
may review known songs or play a game. The teacher may
also perform the next new song that will be taught in a
subsequent lesson.

Note that in this process, once we have presented the label and the notation for an element,
it becomes a known element. As we practice a known element, we will also be incorporat-
ing knowledge of all other known elements in practice activities.
 Chapter  2

Developing a Music Repertoire

18
Students as Stewards of Their Cultural
and Musical Heritage

This chapter presents an overview of basic repertoire for teachers to use in developing singing,
playing instruments, creative movement, improvisation, and listening. Included in this chapter
is an alphabetized list of songs with sources, as well as a pedagogical list of songs for teaching
rhythmic and melodic elements. It also includes sequenced directions for teaching singing games
and movement activities.

Selecting Repertoire
A student’s music education should begin with the folk music and rhymes of her own culture:

It is through the indigenous musics of their cultures that children receive the stories of
their people, those that ancestors pass down from generation to generation and others
that are contemporary and reflect new customs. Folk music is the treasure trove of
children’s values, beliefs, cultures, knowledge, games and stories. The music of chil-
dren’s own cultures must be given respect and status in the classroom, indirectly giv-
ing children a sense of their own values and status. Receptivity toward the music of
other cultures can be developed from this point of reference, thereby fostering cultural
awareness, tolerance and respect.1

We use folk music because it belongs to the oral tradition and “draws on the power of repetition
and the human urge to generate and create.”2 In the best folk songs, there is a unity between the
rhythm and melody; word and musical accents fall together logically.

The Kodály approach uses games songs that are highly repetitive and melodically simple
to help build “inner hearing” (aural) skills and accurate singing (oral) skills. Those music
 Developing a Music Repertoire

activities could be valuable to the development of social skills and self-confidence in

children, including those children with special needs, whereby language experience,
aural sensitivity and discrimination, and motor skills are cultivated in enjoyable and
purposeful music game settings.3

Take time to familiarize yourself with the primary sources for folk music referenced
in Chapter 2 of Kodály Today. Selecting age-appropriate repertoire for every grade
is important. Learning to sing this repertoire from memory will help students “own”
this music repertoire. The songs are easy to learn, and they will engage students in
the singing process if sung with enjoyment and artistry. Sometimes teachers find it
difficult to believe they can keep the imagination of a student engaged by singing
simple unaccompanied folk songs. If performed in an aesthetically pleasing manner,
the suggested songs will capture the imaginations of students. Of course, these songs
may also have tasteful piano accompaniments. Ruth Crawford Seeger’s collection of 19
American folk songs for children is a wonderful example of this kind of simple, taste-
ful piano accompaniment.
The repertoire selected for classroom use should be of high quality and include not
only songs that incorporate musical concepts for teaching but also songs to develop
the joy found in seasonal songs and multicultural songs. Sometimes music teachers
choose song material to help students remember classroom rules; or they can be used
as an aid in developing literacy skills or numeracy skills. Although these songs are
useful for developing students’ social skills, they should not be the primary singing
material of the elementary music program. We need to find ways to connect what
we are doing in the classroom with the community at large, as well as acknowledge
students’ own music interests. The Oxford Handbook of Music Education proposes
that “When children’s preferences and tastes in music are acknowledged and incorpo-
rated into the music curriculum, they can be helped to understand a wider range of
music through active involvement in listening.”4 Asking students to perform a song or
a movement they have developed or piece of music they have learned from the web,
television, or their parents is important. Finding ways to connect this repertoire to
music activities in the classroom can be powerful. Inviting musicians into the class-
room to perform live music for students is also a great way to make a musical connec-
tion with the community. In so doing, we come to understand “music as an activity to
be engaged in and made between people, rather than as a ‘thing’ to be learned, or set
of uniform skills to be imparted, and, moreover, to see how music and musical prac-
tices are ever-changing.”5
We present in this chapter, for the second grade:

• An alphabetical list of repertoire and sources for these songs

• Singing games and directions for playing these games
• A pedagogical list of songs suitable for teaching rhythmic and melodic elements

Grade 2 Song Lists

Alphabetized Song List
Table 2.1 has a core list of game songs for use in the second grade music class.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.1  Grade 2 Alphabetical Song List

Song Title Source

“All Around the Buttercup” Miss Mary Mack and Other Children’s Street
Rhymes
“Are You Sleeping? (Brother John)” Folk Songs North America Sings
“Aserrin, Aserran” El Patio de Mi Casa
“Blue” Sail Away (variant)
“The Boatman” 150 American Folk Songs
“Bobby Shafto” Simple Gifts, Resource Book I (variant)
“Bounce High, Bounce Low” Sail Away
20 “Bow Wow Wow” 150 American Folk Songs
“Button You Must Wander” The Kodály Method
“Bye, Baby Bunting” 150 American Folk Songs
“Bye, Bye, Baby” 150 American Folk Songs
“Chatter with the Angels” Simple Gifts, Resource Book III
“Chickalalelo” 150 American Folk Songs
“Clap Your Hands Together” The Kodály Context
“The Closet Key” 150 American Folk Songs
“Cobbler, Cobbler” 150 American Folk Songs
“Cocky Robin” Folk Songs from the Southern Appalachians
“Cumberland Gap” Folk Songs North America Sings
“Dale, Dale” El Patio de Mi Casa
“Dance Josey” 150 American Folk Songs
“Deedle Deedle Dumpling (rhyme)” Music in the Preschool
“Dinah” The American Play Party Song
“Do, Do Pity My Case” 150 American Folk Songs
“Doggie, Doggie” Music in the Preschool
“Down Came a Lady” 150 American Folk Songs
“Duerme Niño” Vamos a Cantar
“Duerme Pronto” Vamos a Cantar
“Fed My Horse” Folk Songs from the Southern Appalachians
“Fire in the Mountain” My Singing Bird
“Firefly” The New Haven Song Collection (additional verses
by Jill Trinka)
“Frog in the Meadow” Sail Away: 155 American Folk Songs
“Frosty Weather” So Early in the Morning: Irish Children’s Traditional
Songs
(Continued)
 Developing a Music Repertoire

Table 2.1 (continued)

Song Title Source

“Fudge Fudge” Let’s Slice the Ice
“Grandma Grunts” 150 American Folk Songs
“Great Big House” Sail Away: 155 American Folk Songs
“Green Gravel” Sail Away: 155 American Folk Songs
“Here Comes a Bluebird” 150 American Folk Songs
“Hop, Old Squirrel” 150 American Folk Songs
“Hot Cross Buns” 150 American Folk Songs
“How Many Miles to Babylon?” 150 American Folk Songs
21
“Hunt the Cows” Childhood Songs (perf. by Jean Ritchie)
“Hush, Baby, Hush” 150 American Folk Songs
“Hush, Little Minnie” 150 American Folk Songs
“Ida Red” 150 American Folk Songs
“It’s Raining, It’s Pouring” Traditional Nursery Song
“Johnny’s It” Music in the Preschool
“Juan Pirulero” Vamos a Cantar
“King’s Land” Folk Songs and Singing Games of the Illinois Ozarks
“Kookaburra” 150 Rounds
“Knock the Cymbals” The Song Garden, Book II
“Let Us Chase the Squirrel” 150 American Folk Songs
“Linda Pescadito” El Patio de Mi Casa
“Little Sally Water” 150 American Folk Songs
“Long Legged Sailor” My Singing Bird
“Lucy Locket” Sail Away: 155 American Folk Songs
“Mama, Buy Me a Chiney Doll” 150 American Folk Songs
“Matarile-rile-ro” El Patio de Mi Casa
“Michael, Row the Boat” Slave Songs of the United States
“Mother, Mother” The Skip Rope Book
“No Tengo Manita” El Patio de Mi Casa
“No Robbers Out Today” Sail Away
“Old Aunt Dinah” My Singing Bird
“Old Brass Wagon” The Handy Play Party Book
“Old Woman” 150 American Folk Songs
“Over in the Meadow” Music in the Preschool
“Paw Paw Patch” 150 American Folk Songs

(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.1 (continued)

Song Title Source

“Pease Porridge Hot” 150 American Folk Songs
“Plainsies, Clapsies” Performed by school children, West Hartford,
Conn., 1970s, and collected by Tom Alvord
“Phoebe in Her Petticoat” My Singing Bird
“Rain, Rain” 150 American Folk Songs
“El Reloj de la Calavera” El Patio de mi Casa
“Ring Around the Rosie” 150 American Folk Songs
“Rocky Mountain” 150 American Folk Songs
22
“A La Rueda de San Miguel” El Patio de mi Casa
“Sea Shell” Simple Gifts I (Composed by Pierre Perron)
“Seesaw” Kodály Today
“Shanghai Chicken” 150 American Folk Songs
“Snail, Snail” Sail Away: 155 American Folk Songs
“Star Light, Star Bright” Kodály Today
“Teddy Bear” Music in the Preschool
“Ten in the Bed” Kodály in the Kindergarten
“This Old Man” From Sound to Symbol
“Tideo” 150 American Folk Songs
“A Tisket, a Tasket” 150 American Folk Songs
“Two Rubble Tum” Sung by Sean Deibler in Chattanooga, Tenn., in 1997
at a Kodály Summer Course
“La Virgen de la Cueva” El Patio de Mi Casa
“Wallflowers” Sail Away: 155 American Folk Songs
“Walter Jumped a Fox” Some Representative Southern Illinois Folk Songs
(perf. by Lottie Hendrickson)
“We Are Dancing” Music in the Preschool
“Who’s That Tapping at the 150 American Folk Songs
Window?”

References for Table 2.1
Allen, William Francis, C. P. Ware, and Lucy McKim Garrison. Slave Songs of the United
States. 1867. Reprint. New York: Dover, 1995.
Bacon, Denise, Ida Erdei, and Faith Knowles. My Singing Bird. Columbus, OH: Kodály
Center, 2002.
Bolkavec, Edward, and Judith Johnson. 150 Rounds for Singing and Teaching.
New York: Boosey & Hawkes, 2000.
 Developing a Music Repertoire

Botkin, B. A. The American Play Party Song. New York: Frederick Ungar, 1963.

Brummitt, David, and Lois Choksy. 120 Singing Games and Dances for Elementary School.
Englewood Cliffs, NJ: Prentice-Hall, 1987.
Butler, Francelia, Haley Gail, and Phyllis McGinley. The Skip Rope Book. New York: Dial
Press, 1963.
Choksy, Lois. The Kodály Context. Englewood Cliffs, NJ: Prentice-Hall, 1981.
Choksy, Lois. Kodály Method. Englewood Cliffs, NJ: Prentice-Hall, 1988.
The Clancy Children (perf.). So Early in the Morning: Irish Children’s Songs, Rhymes, and
Games. Tradition Records, 1997. CD. (Recordings collected in the 1950s in Carrick-on-
Suir, Tipperary County, Ireland.)
Cole, Jeanna, and Stephanie Calmenson. Miss Mary Mack and Other Children’s Street
Rhymes. New York: HarperCollins, 1990.
Dallin, Leon, and Lynn Dallin. Heritage Songster. Dubuque, IA: Brown, 1966.
Eisen, Ann, and Lamar Robertson. An American Methodology. Lake Charles, LA: Sneaky 23
Snake, 2002.
Erdei, Peter, and Katalin Komlós. 150 American Folk Songs to Sing, Read and Play.
New York: Boosey & Hawkes, 1974.
Forrai, Katalin. Music in the Preschool. 2nd rev. and expanded ed. Clayfield, Qld.,
Australia: Clayfield School of Music, 1998.
Fulton, Eleanor, and Pat Smith. Let’s Slice the Ice: A Collection of Black Children’s Ring
Games and Chants. St. Louis: Magnamusic-Baton, 1978.
Heath, Carol. The Song Garden. Book II. Kodály Music Training Institute, 1985.
Johnston, Richard. Folk Songs North America Sings. Toronto: Caveat, 1984.
Knowles, Faith. Vamos a Cantar: 230 Latino and Hispanic Songs to Sing, Read, and Play.
Columbus, OH: Kodály Institute at Capitol University, 1986.
Locke, Eleanor G. Sail Away: 155 American Folk Songs to Sing, Read and Play.
New York: Boosey & Hawkes, 1988.
McIntosh, David. Folk Songs of the Illinois Ozarks. Carbondale: Southern Illinois
University Press, 1974.
Montoya-Stier, Gabriela. El Patio de Mi Casa. Chicago: GIA, 2008.
The New Haven Song Collection. Unpublished collection prepared by Kodály music
teachers in New Haven, CT, 1969; The Magic of Music, Book IV. Boston:
Ginn, 1967.
Ritchie, Jean (perf.). Childhood Songs. Greenhays Recordings, CD. 1991.
GR 90723.1991.B5.
Rohrbough, Lynn, and revised by Cecilia Riddell. Handy Play Party Book. Burnsville,
NC: World Around Songs, 1940 (rev. 1982).
Wyzga, Helen L. Simple Gifts: Resource, Books I and III. Pittsburgh: Volkwein Bros., 1976.
Zacuto, Melinda, and Jerry Silverman. Folk Songs of the Southern Appalachians as Sung by
Jean Ritchie. New York: OAK, 1965.

Singing Games and Sequenced Directions for Playing

Tables 2.2 and 2.3 list songs and game directions for teaching second grade music con-
cepts and elements. We also recognize that teachers may have better ideas and more cre-
ative ways to teach musical games; these game directions are intended to offer helpful
guidance.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.2  Grade 2 Games

Song/Game Title Source

“All Around the Buttercup” Let’s Sing Together
“Are You Sleeping? (Brother John)” Folk Songs North America Sings
“Bow Wow Wow” 150 American Folk Songs
“Button You Must Wander” The Kodály Method
“The Closet Key” 150 American Folk Songs
“Dance Josey” 150 American Folk Songs
“Dinah” The Kodály Context
“Do, Do Pity My Case” 150 American Folk Songs
24
“Doggie, Doggie” Music in the Preschool
“Down Came a Lady” 150 American Folk Songs
“Frog in the Meadow” Sail Away: 155 American Folk Songs
“Frosty Weather” So Early in the Morning: Irish Children’s
Traditional Songs
“Fudge Fudge” Let’s Slice the Ice
“Great Big House in New Orleans” Sail Away: 155 American Folk Songs
“Here Comes a Bluebird” 150 American Folk Songs
“Hunt the Cows” Recording-Marching Across the Green Grass
and Other American Children Game Songs by
Jean Ritchie.
“Hush, Little Minnie” 150 American Folk Songs
“Ida Red” 150 American Folk Songs
“King’s Land” Folk Songs and singing Games of the Illinois Ozarks
“Knock the Cymbals” The Kodály Method
“Let Us Chase the Squirrel” 150 American Folk Songs
“Little Sally Water” 150 American Folk Songs
“Long Legged Sailor” My Singing Bird
“Nanny Goat” An American Methodology
“No Robbers Out Today” Collection of North Carolina Folklore
“Old Brass Wagon” Kodály Today
“Old Woman” 150 American Folk Songs
“Over in the Meadow” Music in the Preschool
“Paw Paw Patch” Kodály Today
“Rain, Rain” 150 American Folk Songs
“Ring Around the Rosie” 150 American Folk Songs
“Rocky Mountain” 150 American Folk Songs
“Tideo” 150 American Folk Songs
(Continued)
 Developing a Music Repertoire

Table 2.2 (continued)

“Two Rubble Tum” An American Methodology

“Wallflowers” Sail Away: 155 American Folk Songs
“We Are Dancing” Music in the Preschool
“Who’s That Tapping at the Window?” 150 American Folk Songs

References for Table 2.2
Bacon, Denise. Let’s Sing Together! London: Boosey & Hawkes, 1971.
Bacon, Denise, Ida Erdei, and Faith Knowles. My Singing Bird. Kodály Center of
America, 2002. 25
Choksy, Lois. The Kodály Context. Englewood Cliffs, NJ: Prentice-Hall, 1981.
Choksy, Lois. Kodály Method. Englewood Cliffs, NJ: Prentice-Hall, 1998.
Eisen, Ann, and Lamar Robertson. An American Methodology. Lake Charles, LA. Sneaky
Snake, 1996.
Erdei, Peter (ed.), and Katalin Komlós. 150 American Folk Songs. London: Boosey &
Hawkes, 1974 (7th printing 1985).
Forrai, Katalin. Music in the Preschool. 2nd rev. and expanded ed. Clayfield, Qld.,
Australia: Clayfield School of Music, 1996.
Fulton, Eleanor, and Pat Smith. Let’s Slice the Ice: A Collection of Black Children’s Ring
Games and Chants. St. Louis: Magnamusic-Baton, 1978.
Houlahan, Micheál, and Philip Tacka. Kodály Today. New York: Oxford University
Press, 2008.
Locke, Eleanor G. Sail Away: 155 American Folk Songs. London: Boosey &
Hawkes, 1988.
McIntosh, David. Folk Songs and Singing Games of the Illinois Ozarks. Carbondale, IL:
Southern Illinois University Press, 1974.
O’Hanian, Phyllis Brown. Favorite Nursery Songs. New York: Random House, 1956.

Table 2.3  Grade 2 Game Directions

SU G G E ST I ON S

Select appropriate games: assess verbal content, game difficulty, content, and the musical
concept that will interest students at each age level.
Consider your goal for teaching the game song.
You may want to introduce the song and have the students learn the song prior to teaching
the game.
Demonstrate each new step or sequence, and then ask questions about the motions: “Watch
me … what did I do?”
Select appropriate games: assess verbal content, game difficulty, content, and the musical
concept that will interest students at each age level.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.3 (continued)

G L O S S A RY OF M OV E M E N T G A M E A N D DA N C E T E R M S
These terms often appear in dance and game directions. We thank our student Rebecca
Seekatz for contributing this glossary of terms.
Allemande: partners match right hands, touching from hands to elbow. Elbow is bent and
hands are up. Partners turn around once to the right so that they return to their original
position. The turn may also be done with left hands in the air, turning to the left.
Arch: partners join hands and raise arms to let other students through.
Bottom of the line: in a line or double line, the position furthest away from the head
couple, music source, or caller.
26 Cast off: in a double line, partners turn away from each other and walk toward the bottom
on the outside of the line. Other couples may follow.
Circle: students stand side by side in a circle, facing in toward the middle.
Circle left: students move clockwise, with hands joined if desired.
Circle right: students move counterclockwise, with hands joined if desired.
Corner: the person next to you who is not your partner.
Do-si-do: two students face each other, slightly offset. They walk forward, passing right
shoulders, and go around each other to move back to their original place. The students
should be facing the same direction during the entire movement.
Down: students move toward the bottom of the line, furthest away from the caller or music
source.
Double line: students form two parallel lines, with each student facing opposite the partner.
See Longways set.
Elbow turn: students link arms at the elbow with each other and turn around once. This
may be done to the right, linking right arms; or to the left, linking left arms.
Grand right and left: partners face each other, take right hands, and walk forward passing
right shoulders. Take left hands with the next person you meet and pass left shoulders. Right
to the next, left to the next, and so on. Take two steps forward for each change of hands.
Head couple: in a line dance, the couple closest to the head of the line, the caller, or the
music.
Left hand cross: partners face each other, take left hands, and walk forward, passing left
shoulders so they have switched places.
Longways set: students form two parallel lines, with each student facing their partner in the
opposite line. See Double line.
Promenade: partners walk forward side by side, holding each other’s hands, right in right
and left in left. Teachers should get students into position by saying, “Shake right, shake left,
turn forward.”
Right hand cross: partners face each other, take right hands, and walk forward, passing
right shoulders so they have switched places.
Sashay: partners hold hands and gallop or skip sideways.
(Continued)
 Developing a Music Repertoire

Table 2.3 (continued)
Strip the willow: in a line dance, the head couple does a right elbow turn once and a half
around so that they are facing the opposite line from which they started. They then each do
a left elbow turn once around with the next person in the line (from the line opposite their
original line). The head couple meets in the middle for a right elbow turn once around, and
then each turns the next person in the opposite line with a left elbow turn; and so on down
the line until they reach the bottom. May also be done by holding hands with your partner
and pulling inward rather than an elbow turn.
Wring the dishrag: partners face each other, holding hands. With hands held, partners
swing their hands forward, up, and over their heads as they turn underneath. Partners
should be in their original position, hands still held, at the end of the motion.
G A M E DI R E C T I ON S
27
“A L L A RO U N D T H E BU T T E RC U P ”
Classroom use—game: circle, choosing, marching on beat
Teaching process version 1: students begin walking to the right (counterclockwise). One student
is in the middle. That student may tap the beat for the moving students. A simple variation is
to have that student spinning with eyes shut. On the “Just choose me,” the student opens eyes
and is pointing to a student in the circle. The student who was selected can either walk in the
circle crouching down or can turn backwards and continue to walk with the group. The game
continues until all of the students are selected. The last student left becomes the new “chooser.”
Teaching process version 2: students walk around in a circle holding hands (to the right).
Another student is on the outside of the circle tapping the walkers on the head to the beat. On
the last beat of the song (a rest), the student who gets tapped steps to the outside of the circle and
walks in the opposite direction. The game concludes with a double circle. On “Just choose me,”
the students make a shape of a flower as directed by the student (a high flower or low flower).
“B OW WOW WOW ”
Classroom use—game: circle, facing partners
Game directions:
“Bow wow wow”
Motions: stomp three times.
“Whose dog art thou?
Motions: wave finger at partner.
“Little Tommy Tucker’s dog”
Motions: grab partner’s hands and switch places.
Or take right hands and switch places.
“Bow wow wow”
Motions: stomp three times
“Woof!” (This is actually a rest, but you can substitute a word here.)
Motions: students jump halfway around and face a new partner.
Teaching process: demonstrate the game in a single circle without partners. When the
students switch with their imaginary partner, they will step into the circle and turn out.
When they jump halfway, they will face back in.
To assign partners, teacher should go around the circle and turn two students toward each
other until all students are paired.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.3 (continued)

“BU T TON YOU M U ST WA N DE R”

Classroom use—game: choosing, circle, passing
Game directions variation 1: sitting circle with left hand facing up on left knee. Students
use the right hand to pass a “button” around the circle to the beat. A student in the center of
the circle will open his or her eyes on “bright eyes” and try to find the “button.”
Teaching steps variation 1: begin with the students facing the teacher. The students need
to raise their right hands. (Teacher raises his or her left.) Student places his or her left hand,
facing up, on the left knee. (Teacher places the right hand on the right knee.) Keep a steady
beat saying “mine, yours”; tap their left hand (mine) and their neighbor’s left hand (yours).
Teacher sings the song as the students do the motions. Next you may move to the circle.
28 Practice the motions “mine, yours” without the button while singing the song. Repeat with
the button. Now select a student to go to the middle and have fun.
Game directions variation 2: students stand in a circle, all holding a cord or string. The
button is passed on the cord as the students sing.
“C HA R L I E OV E R T H E O C E A N ”
Classroom use—game: choosing, chase, circle
Game directions version 1: students stand in a circle (if advanced, students may circle
right) while the leader skips to the left on the outside of the circle.
The leader begins the song and the class echoes each line.
On “Charlie caught a blackbird,” the leader touches one of the students in the circle and begins
to run around the circle as the student who is touched tries to catch the leader. If the leader
can get around the circle to the empty place, the other student becomes the leader. If not, he or
she remains on the outside. The song continues and all students take part as the leader.
Teaching process: initially, the teacher demonstrates the role of leader, and the circle remains stationary.
During repetitions of the game, the students in the circle begin skipping or walking to the right.
Game directions version 2: The leader is in the center of the circle, blindfolded. On “Charlie
caught a blackbird,” the circle squats and moves about from side to side, while the leader attempts
to find one of the students.
“C L A P YO U R HA N D S TO G E T H E R” ( C U T T H E C A K E )
Classroom use—game: circle, one person in middle
Game directions:
“Clap your hands together”
Motions: clap hands to beat.
“Give yourself a shake”
Motions: wiggle body.
“Make a happy circle”
Motions: students grab hands and make a circle.
“And then you cut the cake!”
Note: the final beat of the song is a rest. The student in the middle should “cut” the cake on
the rest.
Motions: one person in middle “slices” between two students. The “sliced” students skip or
run in opposite directions around the outside of the circle, passing each other. The first one
back wins and gets to be the next “slicer.”
(Continued)
 Developing a Music Repertoire

Table 2.3 (continued)

Teaching process: to help ensure that different students get to run, after the game begins, the
teacher groups the students who have run around the circle all together. All students should
get to run, but not all students will get to “cut the cake.”
“ T H E C L O SE T K E Y ”
Classroom use—game: choosing, circle
Game directions version 1: students are seated in a circle with their hands behind their
backs. Teacher walks around the outside of the circle and sings the first two stanzas. At the
end of the second verse, teacher places the key in a student’s hands.
Teacher sings the third verse. All students echo.
The student holding the key becomes the new walker. 29
Teacher sings until the students are comfortable joining. Afterward, students should sing
the phrases as solos or as a group.
Game directions version 2: one player is blindfolded and stands in the middle of the circle,
while the others hold their hands behind their backs.
Verse 1: one player walks around and places a “key” in someone’s hand.
Verse 2: the player in the middle leads the singing.
Verse 3: the person to whom the “key” has been given sings and the blindfolded player
tries to guess the name of the singer.
At the next repetition, the blindfolded player then passes the “key,” and the solo singer
chooses the next person to wear the blindfold and stand in the middle of the circle.
“DA N C E , JO SI E “
Classroom use—game: chase, double circle
Game directions: teacher begins the game by dividing the class into two circles, with the
inner circle smaller than the outer circle. Everyone sings the song and walks to the beat with
the two circles walking in opposite directions.
The teacher then picks two students from the inner circle, and two from the outer circle (they must
be standing next to each other) to be the “doors.” The class then sings the song and walks the beat;
at the end of the song, the “doors” raise their clasped hands to form a doorway into each circle.
Once the students are competent with that part, the teacher designates two additional
students to be the “farmers.” The “chicken” (a rubber chicken or other object) is placed in
the center of the smaller circle.
The farmers close their eyes (or leave the room) and the teacher appoints two different sets of “doors”;
the “doors” change each time the game is played. Then the farmers open their eyes. The singing begins
as the two circles walk in opposite directions. At the end of the song, the doors raise their arms.
The farmers find their way to the middle of the smaller circle and retrieve the chicken.
Whoever gets to the chicken first is the winner.
“D O, D O, P I T Y M Y C ASE”
Classroom use—game: acting out
Game directions:
“Do, do pity my case, in some lady’s garden”
“My clothes to wash when I get home, in some lady’s garden”
Motions: act out washing clothes, etc.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.3 (continued)

Teaching process: formation: circle

Have a student choose a chore he or she might perform (dog to walk, lawn to mow, dishes to
wash, etc.). Decide what movement will go with that chore. Substitute the chore in the song.
“D O G G I E , D O G G I E”
Classroom use—game: acting out, voice identification, choosing
Game directions: class sits in circle, or for a challenge, scattered formation.
Student A is in middle (or at the front of the class for scattered formation) with blindfold on
or eyes closed.
Student B has bone. (Teacher can use a rawhide chew bone.)
Class sings first two phrases of song.
30 Student A sings phrase 3: “Who has my bone?”
Student B sings phrase 4: “I have your bone.”
Student A has to guess who has the bone.
Student B then becomes the dog.
“D OW N C A M E A L A DY ”
Classroom use—game: circle, choosing, marching on beat
Game directions: students join hands in a small circle with one student in the center. (You
may want no more than eight to ten students in the circle.)
All sing, circling around the center student, who at the word “blue” points to one of the
other students and then substitutes the color of the chosen student’s clothing for the word
“blue.”
That student steps to the outside the circle and walks in the opposite direction when the
singing begins.
This continues until all the students are in the outside circle.
On the last verse, the students in the circle point to the last student left in the center (which
was the original circle) and sing the color of his or her clothing.
Teaching suggestion: have the students preselect their own color from what they are
wearing.
“F I R E I N T H E M OU N TA I N ”
Classroom use—game: circle
Game directions: half the students sit in a circle in chairs facing the middle; one student
sits on a chair in the middle holding a tambourine and the remaining students each stand
behind a chair on the outside of the circle.
During the singing of the song, students on the outside of circle walk to the beat from chair
to chair; the person in the middle keeps the beat with the tambourine.
As in musical chairs, when the person in the middle stops the tambourine, he or she runs
to try to get a chair to stand behind, forcing one of the students behind the chairs to be left
without a chair, thus being “It” for the next round.
“F RO ST Y W E AT H E R”
Classroom use—game: circle, marching on beat, improvisation of verses

(Continued)
 Developing a Music Repertoire

Table 2.3 (continued)

Game directions: all join hands in a circle and step the beat as they sing. On “They all get
together,” students take four steps in toward the center. Students may improvise additional
verses for different types of weather.
“F U D G E F U D G E”
Classroom use—game:
Game directions version 1: Hand Slap
“Fudge, fudge, call the judge, Mama’s gonna have a baby”
Motions: clap, clap right, clap, clap left, clap, clap right, etc.
“Not a boy, not a girl, just a plain old baby.”
Motions: clap, clap right, clap, clap left, clap, clap right, etc.
“Wrap the diaper up in tissue, throw it down the elevator” 31
Motions: roll arms and drop down.
“First floor stop”
Motions: clap, clap, clap partner’s hands.
“Second floor stop”
Motions: clap, clap, clap partner’s hands.
“Third floor, you better not stop ‘cause”
Motions: clap, clap, clap, clap.
“H-O-T spells HOT!”
Motions: partner tap palms twice, back of the hand twice, and front once.
Game directions version 2: Jump Rope
“G R E AT B I G H O U SE I N N E W OR L E A N S”
Classroom use—game: circle
Teaching process: teacher begins by asking the students to take small sideways steps to the
left by saying “step, together, step, together” to the beat. This practices the motion at the end
of the game once all the students are intertwined.
Verse 1: students circle left.
Count off around the circle 1 and 2.
Verse 2: “Went down to the old mill stream”
Motions: number 1 students take four tiny steps toward the center and join hands with
their group.
“To fetch a pail of water”
Motions: number 2 students walk in putting their hands in between the 1 students
and hold hands with other 2 students. It’s helpful to demonstrate this motion with
several students before asking all the 2 students to perform.
“Put one arm around my wife”
Motions: number 2 students raise their hands and put their arms around the back
of the 1 students, keeping hands held. Again, this should be demonstrated by the
teacher and a few students first.
“The other ’round my daughter”
Motions: number 1 students put their arms around the back of the 2 students, keeping
hands held. The teacher may have to discuss with the class how to duck under the
neighbor’s arms, especially if there are varying student heights.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.3 (continued)

Verse 3: all players do the “step together” motion to their left while still holding hands
behind each other’s backs. On the last phrase, they release their arms and step back to
begin singing again. (At this point you could have the 1s become 2s, etc.)
“H E A D A N D SH OU L DE R S , BA B Y ”
Classroom use—game: clapping
Teaching steps: touch head, touch shoulders, clap, right, clap, left, clap
Teacher sings and claps “Head (touch head) and shoulders (touch shoulders), baby (clap),
one (right), (clap), two (left), three (clap)”
Add ending with motions “head and shoulders, head and shoulders, head and shoulders,
baby one, two, three.”
32 Verse 2: shoulders waist
Verse 3: waist knees
Verse 4: knees ankles
Verse 5: throw the ball
Verse 6: milk the cow
“H E R E C OM E S A B LU E B I R D”
Classroom use—game: acting out, circle, choice, partners
Game directions version 1: students stand in a circle with hands joined and lifted to create
archways. As they sing, one student walks in and out of the arches. On “take a little partner,”
this student takes a partner, joining hands, and gallops in and out of the opening in the
circle or dances around inside the circle. The first student joins the ring, and the partner
becomes the new “bluebird.”
Game directions version 2: play as written above, except both the “bluebird” and the partner
move in and out of the arches when the song begins again. On “take a little partner,” both students
select partners to hop in the garden. The circle will shrink as more students become bluebirds.
“H U N T T H E C OWS”
Classroom use—game: acting out, circle (extension)
Teaching process: teacher sings first two phrases of song and instructs the students to
march or skip to the left. On the repeat of the first two phrases, students march or skip to
the right. On the third and fourth phrases of the song, the teacher acts out these motions,
and students imitate motions.
“The cows are lost”
Motions: kneel to the floor on one knee.
“The sun is hot”
Motions: without standing, add the other knee to the kneeling position, so students are
now kneeling on both knees.
“I think I’ll rest”
Motions: without standing, lean over, putting one elbow on the floor.
“Till they get home”
Motions: add the other elbow to floor, so that students are kneeling on both knees and
leaning on both elbows.
The teacher signals to stand and sing again. Students return to the circle to march or skip.
If students are not ready to skip around the circle during the first two phrases, replace
skipping with marching around the circle or marching in place.
(Continued)
 Developing a Music Repertoire

Table 2.3 (continued)

“H U SH , L I T T L E M I N N I E”
Classroom use—game: acting out, circle
Teaching process: the teacher sings entire song for students. The teacher sings the song
again, replacing the word hush with a silent motion. Students echo. Each time the teacher
sings, he or she replaces the next word with a silent motion until the end of the song.
Students echo after each new word has been replaced.
Motions:
“Hush”: back of hand covering mouth, with palm facing out
“Minnie”: hold arms as if cradling a baby
“Don’t”: finger to lips, as if saying “shhh”
“Buy”: slap thigh or pocket 33
“Mockingbird”: bird motion with hands, thumbs crossed with hands mimicking wings
“Whistle”: whistle
“Sing”: two fingers pointing as if sound is coming from your mouth
“Do most anything”: hands criss-cross back and forth in front of body, with palms facing down
“K I N G’ S L A N D”
Classroom use—game: choosing, chase
Game directions version 1: in an open play area, one side is the safety zone and one side
is the city limits of Boston. The king stands at one end of the playing area (in Boston) while
the others march from the safety zone across the middle of the space singing the song.
At a given signal, the king chases the servants to the opposite safety zone. If the king tags
anyone, he or she must stand in Boston with the king to help tag others after each repetition
of the singing and chasing.
Game directions version 2: two students are chosen to be guards. The remainder of
the students sing the song in a “nanny, nanny boo boo” style. At the end of the song, the
students run to the “base” while “guards” tag as many students as possible. Any student who
is tagged becomes a guard. The remaining students sing the song again and run back the
way they came, trying not to get tagged.
“K N O C K T H E C YM BA L S”
Classroom use—game: acting out, partner, circle
Game directions:
Verse 1: “Knock the cymbals, do, oh, do …”
Phrase 1: walk four small steps to the middle.
Phrase 2: walk four steps back to original place.
Repeat for phrases 3 and 4.
Verse 2: “Left hand cross, do, oh, do …”
Hold out left hand and walk around the circle counterclockwise.
Verse 3: “Right hand cross, do, oh, do …”
Hold out right hand and walk around the circle clockwise.
Verse 4: “Promenade around, do, oh, do …”
Option 1: put hands on hips and walk around the circle. (easy)
Option 2: partners promenade counterclockwise. (more complicated)
Option 3: partners promenade counterclockwise. On the fourth phrase, the inside
circle moves up one person so that they have a new partner for the next repetition.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.3 (continued)

“L E T U S C HASE T H E S QU I R R E L”
Tree Version
Classroom use—game: chase, partners
Teaching process: teacher should partner students and scatter them around the room as
“trees,” holding hands. One student is the “squirrel” inside each tree. There is one extra
“squirrel.” Initially, the teacher must sing for the students until they are comfortable with
the song.
Game directions: as song begins, “trees” raise arms to an arch and all of the “squirrels”
(including the extra) begin to run to find a new tree. On the final word “tree,” teacher plays
a tambourine or claps, the “trees” lower their arms, and “squirrels” must be in “trees.” The
34 “squirrel” without a “tree” begins in the middle for repeat.

Line Version
Classroom use—game: partner, double line
Teaching steps: the students form two parallel lines and hold hands with the person
opposite them. They raise their hands in an arch to form a tunnel. On the word “let,” two
students at the head of the line run through to the opposite end, forming a new arch and
extending the tunnel at the bottom. The teacher may clap hands each time on “let,” or an
extra student may play the tambourine each time on the word “let.” Repeat until all students
have run through the tunnel. Teacher may need to guide the tunnel to curve as space allows.
“L ON G L E G G E D S A I L OR”
Classroom use—game: acting out, partner
Game directions: partners are facing each other. Sing song and act out words with
each verse.
“Have you …”: partners hold hand and swing hands left and right
 + ~   ^  ~ (action) ~   +
“Ever, ever, ever in your long legged life”
~ (action) ~ (salute) ~ (action) ~ +
“seen a long legged sailor with a long legged wife?”
+ means to clap right hand to right hand
~ means to clap your own hands together
^ means to clap left hand to left hand
On the word “long” (the other words in the subsequent verses), you show through acting
out. On the word “sailor,” all should salute.
“Sailor”: salute (in every verse)
“Long legged”: arms extended horizontally
“Short legged”: hands close together
“One legged”: stand on one foot
“No legged”: jump
Teaching steps: all students face the teacher and pretend to be the teacher’s partner as he or
she performs clapping motions with song at a slow tempo so the students can clearly imitate
the motions.
(Continued)
 Developing a Music Repertoire

Table 2.3 (continued)

“NO ROB B E R S O U T TODAY ”

Classroom use—game: choosing, chase
Game directions version 1: the teacher selects five to six students to be the “travelers.” The
rest of the class is in a scattered formation (like a forest) in the room.
While the “travelers” hide their eyes, the teacher selects two students to be “robbers,” who
disguise themselves as trees with the rest of the students. The “travelers” walk through the
forest while everyone sings the song.
On the teacher’s signal, the designated “robbers” rush out and try to catch one “traveler.”
Those caught become “robbers.” Repeat as appropriate.
Game directions version 2: (like Sharks and Minnows)
One child in the middle of the room on hands and knees is “It.” All other students are in a line at 35
one end of the room, also on hands and knees. Students sing the song several times. After each
time the song is sung, the line of students must cross the room, at which time, the student in the
middle tries to tag them. Those tagged are out and the game continues until all have been tagged.
Game variation: use this as a movement exploration activity.
Students sing the song. A robber is designated. The teacher designates how the students and
the robber are allowed to move. Eventually ask the robber how he or she wants the students
to walk across the floor. Examples: put hands on knees and walk, march, twirl, skip, hop,
jump, crab walk, bear crawl, or duck walk.
“OL D B R AS S WAG ON ”
Classroom use—game: circle, square dance
Game directions:
“Circle to left, Old Brass wagon … you’re the one my darling.”
Motions: join hands and circle left until you get home again.
“Circle to the right, Old Brass Wagon … you’re the one my darling.”
Motions: join hands and circle right until you get home again.
“Do-si-do your partner, old brass wagon. Do-si-do your corner, old brass wagon.
Do-si-do your partner, old brass wagon, you’re the one my darling.”
Motions: take the full four phrases to complete these three instructions.
“Allemande your partner, allemande your corner … you’re the one my darling.”
Motions: allemande as noted. On the final “allemande your partner,” set up for
promenade with your partner.
“Promenade around, old brass wagon.”
Motions: promenade full circle, clockwise.
“Swing your partner, swing your corner … you’re the one my darling.”
Motions: right hand swing your partner, left hand swing your corner, right hand swing
your partner.
“PAW PAW PATC H ”
Classroom use—game: double line
Game directions:
Verse 1: head girl skips counterclockwise around the outside of both lines back to place.
Verse 2: head girl repeats movement as the entire boy line follows her.
Verse 3: head couple casts off to make an arch at the bottom; each line follows and goes
under the arch and back to place. The game repeats with new head couple.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.3 (continued)

Teaching steps:
Using tape on the floor, have students make two lines (six pairs is a good number).
Designate a girl line and a boy line. “Boys” should wear a tie. The head girl is “Suzie.”
Practice the “cast off ”. … Boys sit while the girls follow Suzie outside the line.
Suzie and teacher form a bridge and second girl leads the line back to the top staying in
line. Girls sit.
Head boy leads boy line in the opposite direction.
Teacher and head boy form a bridge and second boy leads line back to the top.
All students stand to sing. Using the same “head boy and Suzie,” play the game from the
beginning. Repeat until every girl is able to be “Suzie.”

36 “P I Z Z A P I Z Z A”
Classroom use—game: choosing, circle, call and response
Teaching steps: teacher demonstrates the motions of the feet by first patting on her or his
legs; the words are “Out, cross, out, cross, out.” Students should echo the words and motions
with their hands. Teacher sings the song while performing the above motions while students
move their hands out, crossed, out, crossed, out. On “Pizza, pizza daddy-o,” the teacher
stands and demonstrates how to jump and cross legs out and in, out and in. The students
perform the jumping motions with the song. Teacher may improvise some action words to
act out during the song. For example: “Let’s hop it. Hop it, hop it, daddy-o.”
Once the students understand the idea of improvising the actions, the teacher may ask
several students to come up with the next few motions. The teacher may also limit it with
categories like “sports” or “playground,” etc., so students pick the words more quickly. “Let’s
bat it, swim it, pitch it, swing it, jump it,” etc. To end the game, sing “Let’s end it, end it, end
it daddy-o,” clapping as you say the word “end.”
The teacher selects one student to go to the middle and be the leader. He or she gets to
choose the actions that the class will perform. On “end it,” the student points in a circle and
chooses the next person who will come to the center.
“WA L L F L OW E R S”
Classroom use—game: choosing, circle
Teaching steps: initially, teacher sings as students walk to the beat in a circle. Teacher
demonstrates how to “kick and point her toes” during the last phrase of the song.
On second singing, during “Let’s all go to Mary’s house,” the teacher substitutes another
student’s name for Mary. That student comes to the center of the circle and “kicks and
points” his or her toes during the last phrase.
On the third singing, that student remains in the center of the circle and chooses the next
student, substituting his or her name in the song.
“W H O’ S T HAT TA P P I N G AT T H E W I N D OW ? ”
Classroom use—game: choosing, voice identification
Game directions: students remain seated at their normal seats. One student, the seeker, is chosen
to turn around and stand with eyes closed at the board. One student is chosen by the teacher to
stand by the window (may be a picture of a window) and another student stands by the door.
(Continued)
 Developing a Music Repertoire

Table 2.3 (continued)

Everyone sings the first verse. On the second verse, the student at the window sings “I
am tapping at the window.” The student at the door sings “I am knocking at the door.”
The two students from the window and door run quietly back to their seats. The seeker then
opens his or her eyes and gets three guesses to determine who was at the window and who
was at the door.

Pedagogical Song List for Teaching Rhythmic and

Melodic Concepts and Elements
In Table 2.4, we present a list of songs for teaching core rhythmic and melodic concepts and 37
elements for grade two. Note that each element is taught in a basic four-beat pattern. We
suggest teaching a variety of patterns that contain any new element.

Table 2.4  Grade 2 Songs Listed

in Pedagogical Order

Two B e at Me ter Re v i e w

“Aserrin, Aserran”

“Bobby Shafto”

“Bounce High, Bounce Low”

“Button, You Must Wander”

“Clap Your Hands Together”

“Cobbler, Cobbler”

“Dale, Dale”

“Doggie, Doggie”

“Johnny’s It”

“Lucy Locket”

“Nanny Goat”

“Rain, Rain”

“Seesaw”

“Snail, Snail”

“Star Light, Star Bright”

(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.4 (continued)

“Teddy Bear”

“This Old Man”

“We Are Dancing”

smd

“Old Woman”

“Wallflowers”
38 “Mother, Mother”

“Bow Wow Wow” (third phrase)*

dms

“Dinah”

“Knock the Cymbals”*

“Michael, Row the Boat Ashore”

“Rocky Mountain”*

sd

“Hunt the Cows”

“Juan Pirulero”

“La Virgen de la Cueva”

drm

“Are You Sleeping? (Brother John)”

“The Boatman”

“The Closet Key”

“Long Legged Sailor”

smrd

“Blue”

“Bye, Bye, Baby”

“Frosty Weather”

drms
(Continued)
 Developing a Music Repertoire

Table 2.4 (continued)

“Dinah”

“Go to Sleep Now” (Duerme Pronto)

“Grandma Grunts”

“Let Us Chase the Squirrel”

“Matarile”

“Sammy Sackett”

“Who’s That Tapping at the Window?”

lsmrd 39
“Cocky Robin”

“Do, Do Pity My Case”

“Great Big House in New Orleans”

“Here Comes a Bluebird”

“Hush, Little Minnie”

“Rocky Mountain”

drmsl

“Bow Wow Wow”

“Button, You Must Wander”

“Juan Pirulero”

“Knock the Cymbals”

“No Tengo Manita”

“Sleep, Little One” (Duerme niño)

6*Meter

“Here We Go Round the Mulberry

Bush”

“No Robbers Out Today”

“No Tengo Manita”

“Down Came a Lady”

“Here Comes a Bluebird”

“Hot Cross Buns”

(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.4 (continued)

“Knock the Cymbals”

“Sammy Sackett”

“Who’s That Tapping at the Window?”

Whole Note

“Alabama Gal”

“Au Clair de la Lune”

“All God’s Children”

40 “I Got a Letter”

“May Day Carol”

“Tom Dooley”

“Over in the Meadow” (third phrase)

“Ring Around the Rosie”

“Sea Shell”

“Sleep, Little One” (Duerme niño)

“Two Rubble Tum”

md

“Bye, Bye, Baby”

ds

“Grandma Grunts”

“King’s Land”

“Who’s That Tapping at the Window?”

dmsl

“Michael, Row the Boat Ashore”

“Rocky Mountain”*

Half Note

“Are You Sleeping? (Brother John)”

“Let Us Chase the Squirrel”

“Bye, Bye, Baby”

“Blue”
(Continued)
 Developing a Music Repertoire

Table 2.4 (continued)

“Here Comes a Bluebird”*

“Sea Shell”

“Who’s That Tapping at the Window?”

“Linda Pescadito”

mrd

“A La Rueda de San Miguel”

“Frog in the Meadow”
41
“Hop, Old Squirrel”

“Hot Cross Buns”

“Ida Red”

“Ten in the Bed”

Sixteenth Notes

Sixteenth Notes on Beat One

“Dance Josey”

“Deedle Deedle Dumpling” (rhyme)

“Dinah”*

“Old Brass Wagon”

“Tideo”

Sixteenth Notes on Beat Three

“Cumberland Gap”

“Paw Paw Patch”*

“El Reloj de la Calavera”

Sixteenth Notes on Beat Two

“Paw Paw Patch”*

“Shanghai Chicken”

Sixteenth Notes on Beats One,

Two, or Three

“Walter Jumped a Fox”

(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.4 (continued)

do pentatonic d r m s l

“Bow Wow Wow”*

“Chatter with the Angels”

“The Cow Song”

“Fed My Horse”

“Firefly”

“Great Big House in New Orleans”

42
“Here Comes a Bluebird”

“Hunt the Cows”

“Ida Red”

“Knock the Cymbals”

“Mama, Buy Me a Chiney Doll”

“Rocky Mountain”*

4$Meter

“All Around the Buttercup”

“Are You Sleeping?

(Brother John)”

“Bow Wow Wow”

“El Reloj de la Calavera”

Introducing Songs Within a Lesson

Here are suggestions for introducing songs.

Movement
Associate a motion or game with a known song. Perform one motion or action associated
with the song; students join in singing when they recognize the song. Once the students
recognize the song, sing the starting pitch so everyone can join.

Visuals
Create pictures or assemble visuals associated with a particular song; students sing the song
once they recognize the visual clue.
 Developing a Music Repertoire

Introducing Songs to Students Using a Rhythmic Focus

• Teacher asks students to sing a song.
• Students recognize the song from rhythmic clapping.
• Students read the rhythm of a song written on the board; as soon as they
recognize it, they may begin to sing it with text as they clap the rhythm.
• Students write the rhythm of a song, but mix up the order of the phrases. Students
read the phrases and try to identify the song.
• Students recognize a song, hearing it performed on a percussion instrument.
• Students sing a song on a neutral syllable, as teacher performs a rhythm ostinato
on a percussion instrument.
• Students recognize a song by hearing an internal phrase (not the first phrase)
clapped by the teacher.
• Teacher claps the rhythm of a song and students perform in canon after two beats. 43

Introducing Songs to Students Using a Melodic Focus

• Teacher asks students to sing a song.
• Students recognize song by hearing the teacher sing using a neutral syllable.
• Students read from hand signs with solfège syllables once they recognize the song.
• Students read an internal phrase of music from teacher’s hand signs with solfège
syllables to recognize a song.
• Students read the teacher’s hand signs using inner hearing, and recognize a song.
• Students read an internal phrase of song from the teacher’s or another student’s
hand signs using inner hearing, and recognize a song.
• Students read in canon from teacher’s hand signs and recognize a song.
• Read from the tone ladder using solfège syllables and hand signs, and recognize a song.
• Read an internal phrase of the song from the tone ladder using solfège syllables
and hand signs, and recognize a song.
• Read from the tone ladder, using solfège syllables and hand signs, and recognize a song.
• Read an internal phrase of the song from the tone ladder, using inner hearing
with solfège syllables and hand signs, and recognize a song.
• Read from traditional rhythmic notation with solfège syllables beneath, using
solfège syllables and hand signs to recognize a song.
• Read an internal phrase from a song written in traditional rhythmic notation with
solfège syllables beneath, using solfège syllables and hand signs to recognize a song.
• Read from traditional notation with solfège syllables beneath, using inner hearing
to recognize a song.

Lesson Planning
In the accompanying handbooks for all grades, we have included an alphabetized repertoire
list of examples of materials that can be used for teaching singing, music literacy, music
skills, and listening. The lesson plans in this chapter and subsequent chapters emphasize the
sections of the lesson plan that can be expanded as a result of information presented in the
chapter. Our purpose here is to emphasize that everything we do in a music lesson is always
related to song material sung by students.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Creating a Preparation/Practice Lesson Plan

Before we label any element in a music lesson, we give students practical experiences that
guide them to make a connection with the new element through kinesthetic, aural, and
visual activities. This is always done in the context of performance. We call these prepara-
tion activities. Once we label an element, we practice it. In other words, we are develop-
ing lessons that focus on preparing a new concept as well as practicing known concepts.
Generally speaking, we try to address both rhythmic and melodic skills in each lesson.
Whenever we are preparing a rhythmic element in the first part of a lesson, we practice
a melodic element in the second part of a lesson. Conversely, if we prepare a melodic
element in the first part of a lesson, we practice a rhythmic element in the second part of
a lesson.
Table 2.5 shows a basic preparation/practice lesson plan template. Note that in the tem-
44 plate lesson, we used the wording “Performance and Demonstration of Known Musical
Concepts and Elements” as a generic terminology for all activities in the introduction. We
will continue to use this wording in lesson plan templates so that the reader can focus on
the core activities of the lesson.

Table 2.5  Basic Preparation/Practice Lesson Plan Template

I N T ROD U C T I ON
Performance and Ss demonstrate their prior knowledge of repertoire and
demonstration of known musical elements through performance of known songs
musical concepts and selected from the alphabetized repertoire list.
elements
C OR E AC T I V I T I E S
Acquisition of repertoire New song selected from the alphabetized repertoire list that
expands students’ repertoire and prepares for the learning
of a music rhythmic or melodic concept or element.
Instructional context: when we are preparing a rhythmic
element, the new song should be selected to prepare the
next melodic element; when we are preparing a melodic
element, the new song should be selected to prepare the
next rhythmic element.
Preparation and Learning activities in which Ss are taught a new musical
presentation of a rhythmic concept through known songs found in the alphabetized
or melodic element repertoire list. When preparing a rhythmic element, the
second part of the lesson practices a melodic element, and
when preparing a melodic element, the second part of the
lesson practices a rhythmic element.
Movement development Known song or game found in the alphabetized repertoire list
Creative movement or singing game list.
Focus on the sequential development of age-appropriate
movement skills through songs and folks games.
(Continued)
 Developing a Music Repertoire

Table 2.5 (continued)

Practice and performance Ss reinforce their knowledge of musical elements working on

of musical skills the skill areas of form, memory, inner hearing, ensemble work,
improvisation and composition, and listening through known
songs found in the alphabetized repertoire list. When practicing
a rhythmic element, the first part of the lesson prepares a
melodic element; when practicing a melodic element, the first
part of the lesson prepares a rhythmic element.
C L O SU R E
Review and summation Review of lesson content; T may perform the next new
Review the lesson outcomes song to be learned in a subsequent lesson found in the
Review the new song alphabetized repertoire list. 45

In the first section (preparation of a new concept) of a lesson, we guide students to discover
the concept behind a new element. For example, if we want to teach the musical elements
of quarter and eighth notes, students need to be guided to understand the concept of one
or two sounds on a beat.
In the second section (practice) of the lesson, the teacher reinforces and further develops
students’ understanding of preceding known musical elements through a variety of musical
skills. Of course, musical skills may also be practiced during any section of the lesson plan.
This section of the lesson may also include assessment activities to help the teacher identify
students who may require extra help.
Each preparation/practice lesson has an instructional context (preparation) and a rein-
forcement (practice) context. In this type of lesson, we continue to develop singing abilities,
teach new repertoire, and enhance movement and listening skills. During the preparation/
practice lesson, we do not name the new concept or element but create opportunities for
music students to discover the attributes of the new concept or element being studied. This
dual structure of the preparation/practice lesson gives students time to process their under-
standing of the new concept, while promoting further development of their musical skills
with the previously learned musical element. This is crucial for positive self-esteem and the
enjoyment needed for learning to take place.
Table 2.6 is an example of this type of a lesson plan where the teacher prepares a concept
through aural analysis and guides students to practice writing.
The outcomes for this lesson are:

• Preparation: analyzing repertoire
• Practice: writing melodies

Table 2.6  Grade 2, Half Note, Lesson 2

Outcome Preparation: analyzing repertoire that contains a sound that lasts

two beats by listening and singing to identify that sound
Practice: writing a melody with the solfège syllables la, so, mi, and do
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.6 (continued)

I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body Warm-up
• Beat Activity
Surprise Symphony, by Franz Joseph Haydn (1732–1809)
• Breathing: Ss practice blowing up a balloon and watch how
air is released when deflating the balloon.
• Resonance: Explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the
support muscles.
• Posture: remind Ss of the correct posture for singing.
46 Sing known songs “Sea Shell”
CSP: D
• Ss sing the song.
• Add a simple ostinato (2$qq\sdq>).
• Ss continue the ostinato into the next song.
Develop tuneful singing “Who’s That Tapping at the Window?”
Tone production CSP: D
• Ss sing the song while continuing the ostinato.
Diction • Ss lightly hum the song or sing using “noh” or “nah” while T
checks for proper resonance and tone.
Expression • Ss sing “Who’s That Tapping at the Window?” while T sings
in canon.
Review known songs “King’s Land”
and elements CSP: A
• T directs half of the class to continue the previous song
while the remaining sing “King’s Land.” Switch.
• Ss sing song with rhythm syllables and clap the rhythm.
• T sings phrases from this song and other known songs that
use known rhythms; Ss echo-sing using rhythm syllables as
they tap the beat.
• Ss count the song with numbers and conduct.
C OR E AC T I V I T I E S
Teach a new song “Button, You Must Wander”
CSP: D
• T sings the song while Ss show the phrases.
• Ss identify the number of phrases.
• T sings each phrase of the song, and Ss label the form. (ABCB)
• T sings A and C phrases, and Ss sing the B phrases. Switch.
• Ss sing the whole song with T.
• T demonstrates passing the button to the beat. Ss practice.
• T sings while Ss pass the button to the beat around the circle.
• Ss sing and play the game.
(Continued)
 Developing a Music Repertoire

Table 2.6 (continued)

Develop knowledge of “Here Comes a Bluebird”

music literacy concepts CSP: A
Describe what you hear • Review kinesthetic awareness activities.
• T and Ss sing phrase 2 on “loo” while keeping the beat
before each question:
• T: “Andy, how many beats did we tap?” (eight)
• T: “Andy, which beat has no sound?” (the last one, 8)
• T: “Andy, where did we sing the longest sound?” (at the beginning)
• T: “Andy, for how many beats did we sing the long sound?” (two)
• T: “Andy, on which beats did we sing the long sound?” (1 and 2)
• T and Ss sing phrase 2 on “loo” and pat the beat.
47
• T: “Let’s sing phrase 2 on ‘loo’ but use and sing the word
‘long’ for beats 1 and 2.”
• T: “Let’s sing and clap the whole phrase with rhythm
syllables and say ‘long’ for beats 1 and 2.”
Creative movement “Let Us Chase the Squirrel”
CSP: D
• Ss sing and play the game.
• Ss choose instruments and create an accompaniment for
the song.
Practice and “Bow Wow Wow”
performance of music CSP: D
literacy skills • Ss sing “Bow Wow Wow.”
Writing • Ss sing the target phrase (phrase 3) with solfège syllables
and hand signs.
• Ss sing the song while T distributes writing worksheet.
• Ss sing the song with rhythm syllables while pointing to the
beats on their paper.
• Ss sing the song with solfège syllables while pointing to the
rhythm on their paper.
• Ss identify which phrases have no solfège syllables.
(phrase 3)
• Ss fill in the blanks with solfège syllables.
• Ss write this phrase on the staff in different do
positions.
• Using xylophones, Ss create accompaniments for
this and other related songs using the notes do, mi, so,
and la.
SUM M A RY AC T I V I T I E S
Review lesson “Button, You Must Wander”
outcomes CSP: D

• Preparation: analyzing or describing repertoire

• Practice: writing melodies
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Creating a Presentation Lesson
There are two presentation lessons. In the first we associate solfège or rhythm syllables
with the new element and in the second we present the notation for the new lesson plan.
Throughout this book we identify specific songs for teaching specific elements. We refer
to these songs as focus songs: they contain core building blocks that we want students to
master. Sometimes we target a specific phrase in a focus song; we refer to this phrase as the
target phrase for the song.
As mentioned above, in the first presentation lesson we simply name or label the
concept or element studied during the preparation/practice lesson and continue
developing singing abilities, as well as movement and listening skills, and teach new
repertoire. In the second presentation lesson, we show students how to notate target
patterns.
48 Table 2.7 shows a basic presentation lesson plan template for labeling sounds.

Table 2.7  Basic Lesson Plan Template for Presenting Rhythmic or

Solfège Syllables

I N T ROD U C T I ON
Performance and Ss demonstrate their prior knowledge of repertoire and
demonstration of known musical elements, including the new musical element to be
musical concepts and presented through performance of songs selected from the
elements alphabetized repertoire list.
C OR E AC T I V I T I E S
Acquisition of repertoire New song selected from the alphabetized repertoire list that
expands Ss’ repertoire and prepares for the learning of a
music rhythmic or melodic concept or element. Instructional
context: when we are preparing a rhythmic element, the new
song should be selected to prepare the next melodic element;
when we are preparing a melodic element, the new song
should be selected to prepare the new rhythmic element.
Presentation of a rhythmic T labels the name of the new musical element with rhythm or
or melodic element solfège syllables for the focus pattern.
Creative movement Known song or game found in the alphabetized repertoire list.
Focus on sequential development of age-appropriate
movement skills through songs and folks games.
Presentation of a rhythmic T labels the name of the new musical element with rhythm or
or melodic element solfège syllables in a related pattern.
C L O SU R E
Review and summation Review of lesson content; T may perform the next new
song to be learned in a subsequent lesson found in the
alphabetized repertoire list.

Table 2.8 has a sample presentation lesson for labeling sounds with syllables.
 Developing a Music Repertoire

Table 2.8  Grade 2: Half Note, Lesson 4

Outcome Presentation: labeling the sound that lasts two beats with the
rhythm syllable ta-ah
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Symphony No. 40, by W. A. Mozart (1756–1791)
• Breathing: Ss practice blowing up a balloon and watch how
air is released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the
support muscles. 49
• Posture: remind Ss of the correct posture for
singing.
Sing known songs “Great Big House in New Orleans”
CSP: F#
• Ss sing the song and briefly play the game.
• T adds a simple ostinato.
Develop tuneful singing “Bobby Shafto”
Tone production CSP: A
Diction • Ss sing the song.
Expression • Ss sing the song with a staccato “doo.”
• Ss sing the song with a legato “loo.”
• Ss perform the rhythm of “Bye, Bye, Baby” while T quietly
sings the next song.
Review known songs “Rocky Mountain”
and elements CSP: D
• Ss sing the song and tap the beat.
• T sings phrases from “Rocky Mountain,” “Bow
Wow Wow,” and other known songs; Ss
echo-sing using rhythm syllables as they
tap the beat.
C OR E AC T I V I T I E S
Teach a new song “Ida Red”
CSP: D
• T sings the song as Ss move to the circle; demonstrate
game.
• After two or three cycles, T asks Ss to “be in charge” of
phrase 1.
• Ss sing “Ida Red” two times while T sings “Here Comes a
Bluebird” as a partner song.
• T plays last phrase of song on recorder as a melodic ostinato
to the next song.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.8 (continued)
Presentation of music “Here Comes a Bluebird”
literacy concepts CSP: A
Describe what you hear • Ss sing song and tap the beat.
with rhythm syllables • T reviews kinesthetic, aural, and visual awareness activities.
• T: “When we have one sound that lasts for two beats, we can
use our rhythm syllables and say ta-ah.”
• T sings the target phrase with rhythm syllables and Ss copy.
• T sings phrase 2 phrase on “loo,” and Ss echo with rhythm
syllables and keep the beat.
• T sings phrase 2 with text, and individuals echo-sing with
rhythm syllables while keeping the beat.
50 Creative movement “Let Us Chase the Squirrel”
CSP: D
• Ss sing and play the game.
• Ss choose instruments and create an ostinato to accompany
the game.
Presentation of music “Bye, Bye, Baby”
literacy concepts CSP: F-sharp
Describe what you hear • Ss sing the song and conduct.
with rhythm syllables • T reviews labeling the sound.
• T: “When we have one sound that lasts for two beats, we can
use our rhythm syllables and say ta-ah.”
• T sings with rhythm syllables and claps the rhythm, and
Ss copy.
• T sings related patterns with text; Ss echo-sing phrases with
rhythm syllables, clap the rhythm, and keep the beat.
○ “Who’s That Tapping at the Window?”
○ “Are You Sleeping?”
SU M M A RY AC T I V I T I E S
Review lesson outcomes “Ida Red”
Review the new song CSP: D

Table 2.9 is a basic lesson plan template for labeling sounds with rhythmic or melodic
syllables.

Table 2.9  Basic Lesson Plan Design for Notating Rhythmic

or Melodic Elements

I N T ROD U C T I ON
Performance and Ss demonstrate their prior knowledge of repertoire and
demonstration of known musical elements, including the new musical element to be
musical concepts and presented through performance of songs selected from the
elements alphabetized repertoire list.
(Continued)
 Developing a Music Repertoire

Table 2.9 (continued)

C OR E AC T I V I T I E S
Acquisition of repertoire New song selected from the alphabetized repertoire list that
expands Ss’ repertoire and prepares for the learning of a
music rhythmic or melodic concept or element. Instructional
context: when we are preparing a rhythmic element, the new
song should be selected to prepare the next melodic element;
when we are preparing a melodic element, the new song
should be selected to prepare the next rhythmic element.
Presentation of a rhythmic T presents the notation in the focus pattern.
or melodic element
Creative movement Known song or game found in the alphabetized repertoire list. 51
Focus on sequential development of age-appropriate
movement skills through songs and folk games.
Presentation of a rhythmic T presents the notation in related patterns.
or melodic element
C L O SU R E
Review and summation Review of lesson content; T may perform the next new
song to be learned in a subsequent lesson found in the
alphabetized repertoire list.

Table 2.10 is a sample of a presentation lesson.

Table 2.10  Grade 2: Half Note, Lesson 5

Outcome Presentation: notating one sound that lasts two beats with a half note
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Symphony No. 40, by W. A. Mozart (1756–1791)
• Breathing: Ss practice blowing up a balloon and watch how
air is released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the
support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known songs “Bobby Shafto”
CSP: A
• Ss sing and conduct the beat.
“Great Big House in New Orleans”
CSP: F
• Ss sing the song and play the game.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 2.10 (continued)

Develop tuneful singing “Button, You Must Wander”

Tone production CSP: D
Diction • Ss sing the song.
Expression • Ss sing the song on the syllable “noh.”
Review known songs “Bow Wow Wow”
and elements CSP: D
• Ss sing the song.
• Ss sing with rhythm syllables and conduct.
• T sings phrases from “Bow Wow Wow” and “Rocky
Mountain” as well as other known songs; Ss echo-sing using
52 rhythm syllables as they tap the beat.
C OR E AC T I V I T I E S
Teach a new song “Ida Red”
CSP: F
• T sings the song while Ss show the phrases.
• Ss identify the form of the song. (AA’BC)
• T sings and Ss add beat lines.
• T sings and Ss add bar lines and time signature.
• Ss sing the song using body motions to show strong and
weak beats.
Presentation of music “Here Comes a Bluebird”
literacy concepts CSP: A
Notate what you hear • Ss sing song and conduct.
• T reviews kinesthetic, aural, and visual awareness activities.
• T: “When we have one sound that lasts for two beats, we can
say ta-ah.”
• Ss sing the phrase using rhythm syllables and sing ta-ah
instead of “long.”
• Ss identify the meter and conduct and say the rhythm
syllables.
• T: “When the beat is a quarter note, we can use a half note
to represent a sound that lasts for two beats. A half note has
a head and a stem.”
• T: “When we read music, we use traditional notation (with
note heads). It looks like this”:
2$w\sdsd\qq\qQ|
• Ss sing with rhythm syllables while looking at the notation.
• T: “Stick notation is an easy way to write rhythmic notation.
Stick notation is traditional notation without the note heads.
Our second phrase of ‘Here Comes a Bluebird’ in stick
notation looks like this.”
(Continued)
 Developing a Music Repertoire

Table 2.10 (continued)

Creative movement “Ida Red”

CSP: D
• Ss sing and conduct.
• T directs part of the class to continue the ostinato while the
remainder sing the song. Switch.
• T briefly reviews the rules of the game.
• T and Ss sing and play.
Presentation of music “Bye, Bye, Baby”
literacy concepts CSP: F-sharp
Notate what you hear • Ss sing song and conduct.
• T reviews visual presentation. 53
• Ss sing with rhythm syllables and clap the rhythm.
• Ss sing with rhythm syllables while pointing to imaginary
beats below the rhythmic notation for the song.
• Ss draw the beats under the rhythmic notation.
SUM M A RY AC T I V I T I E S
Review lesson outcomes “Ida Red”
Review the new song CSP: F
 Chapter  3

Teaching Strategies

54 The goal of this chapter is to present teaching strategies for concepts and elements for sec­
ond grade. The teaching strategies are a sequence of teaching activities that guide students’
understanding of specific musical concepts and elements. They are presented according
to the Houlahan and Tacka model of instruction and learning. In other words, they follow
a specified order of instruction. Important components of the teaching strategies are the
guiding questions that follow the kinesthetic activities in the cognitive phase of instruc­
tion and learning. The questions provide the metacognitive scaffolding that allows stu­
dents to understand both the process and the product of teaching. Each component of
the model of instruction and learning also promotes many opportunities for developing
music skills. The teaching strategies are formulaic in structure; ultimately teachers will
infuse these strategies with their own creativity to accommodate the changing settings of
teaching situations.
We provide some of the most important techniques for preparing, presenting, and practicing
musical elements. The instructor may add to any of these suggestions during the three phases of
instruction.
These teaching strategies are presented in this chapter:

Introducing the Tonic Note of the Major Pentatonic Scale (Unit 2)

Half Note (Unit 3)
Trichord mi re do (Unit 4)
Sixteenth Notes (Unit 5)
Major Pentatonic Scale (Unit 6)
Quadruple Meter (Unit 7)

Introducing the Tonic Note of the Major Pentatonic Scale

Table 3.1 presents an overview of the important information required to teach do.
 Teaching Strategies

Table 3.1

Element Concept Focus Present Theory Traditional Practice Additional

Song Syllables Notation Songs
The tonic A pitch “Bow do Tonic 2$ “Wall­
note of a skip Wow note flowers,”
the major lower Wow” “Button,
pentatonic than mi; You Must
scale five steps Wander,”
lower “Dinah,”
than so “Rocky
and six Mountain,”
steps “Knock the
lower Cymbals”
than la

55
Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Bow Wow Wow” and keep the beat.
2. Sing “Bow Wow Wow” and point to a
representation (Fig. 3.1) of the melodic
contour of phrase 3 of “Little Tommy
Tucker’s Dog.”
3. Sing “Bow Wow Wow” and show the
FIG. 3.1
melodic contour.
4. Sing “Bow Wow Wow” with rhythm
syllables while showing the melodic contour.

Describe What You Hear

1 . Assess the kinesthetic awareness.
2. Students sing the song and clap the melodic contour of the target phrase. Students
mirror and clap the melodic contour with a partner.
3. Teacher and students sing phrase 3 on “loo” while keeping the beat before each
question.
4. Determine the number of beats in the target phrase.
T: “Andy, how many beats did we tap?” (four)
5. Determine which beat has the new musical element and determine the
characteristics of the new musical element on that beat.
T: “Andy, which beat has the lowest sound?” (fourth beat, last)
T: “Let’s sing the phrase on ‘loo’ but call the last pitch ‘low’.” (Teacher
demonstrates, pointing to the floor for “low.”)
6. Determine known musical elements within the phrase.
T: “Andy, which hand signs do we use for the two pitches on beat 3?” (so-mi)
T: “Andy, which hand signs do we use for the pitches on beats 1 and 2?”
(so-so-so-la)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

T: “Let’s sing with hand signs but on the fourth beat let’s sing ‘low’ for the new
note so so so la so mi ‘low.’”
7. Call on individuals to sing the phrase. (Model the hand signs when singing.)
T: “Let’s sing it again together.”

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. Teacher sings the target phrase with a neutral syllable and asks students to create
a visual representation of the melody of the target phrase. Students may use
manipulatives. T: “Pick up what you need to recreate what you heard,” or “Draw
what you heard.” Teacher assesses students’ level of understanding.
3. Students share their representations with each other.
4. The teacher 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 third phrase of “Bow Wow Wow” with a neutral syllable and
56 point to the representation, and then sing with known elements: so so so la so
mi low.
6. Determine and write the rhythm for “Bow Wow Wow”; add bar lines and a time
signature.

Associative Phase: Presentation
Label the Sound
Teacher presents new solfège syllables.

1 . Briefly review kinesthetic, aural, and visual awareness.

2. T: “We call the low sound do.” Present the hand sign:
y
3. Class and individual students sing phrase 3 of “Bow Wow Wow” with solfège
syllables and hand signs.
4. Teacher sings the words of phrase 3 of “Bow Wow Wow” and students echo-sing
using solfège syllables and hand signs.
5. Teacher echo-sings with at least eight individuals.
6. Students identify mi-do as a skip.

Notate What You Hear

The teacher presents notation for new pitch.

l 1.  On the board place do on steps. (See Fig. 3.2.)

s 2.  Write the traditional rhythm notation with solfège syllables.

m
sdsdsd q
ssslsmd
d
FIG. 3.2
Write the phrase with traditional rhythmic notation with
solfège syllables beneath. The class sings the phrase with
 Teaching Strategies

solfège syllables and hand signs; individual students may come to the board, point
to the melody, and sing.
3. State the rule of placement using the finger staff. “If mi is on a line, do is on the
next line below. If mi is in a space, do is in the space below.”
4. Write the melody in the staff, using different do positions, and review the rule
of placement. Everyone points and sings. The class sings the phrase with solfège
syllables and hand signs; individual students may come to the board, point to the
melody, and sing. (See Fig. 3.3.)

FIG. 3.3 

Assimilative Phase: Practice Music Skills 57

Aural Practice
Singing Solfège Syllables and Hand Signs
• Teacher sings known melodies with words and students echo-sing with solfège
syllables.
T: “I sing the words; you sing the hand signs.”
T: “Little Tommy Tucker’s dog.”
Ss: “so so so la so mi do.”
T: “Let’s all go to Mary’s house.” (from “Wallflowers”)
Ss: “so so so la so mi do.”
T: “Wallflowers, wallflowers.” (from “Wallflowers”)
Ss: “so mi do so mi do.”
T: “Old Woman, Old Woman.”
Ss: “so mi do so mi do.”
T: “Bright eyes will find you, sharp eyes will find you.” (from “Button, You Must
Wander”)
Ss: “la la la so do la la la so do.”
T: “No one in the house by Dinah Dinah.” (from “Dinah”)
Ss: “do do do do do mi so mi so mi.”
T: “Rocky mountain, rocky mountain, rocky mountain high.” (from “Rocky Mountain”)
Ss: “do do do mi do do do mo do do mi so so.”
T: “Oh law Suzie gal.” (from “Knock the Cymbals”)
Ss: “la la so mi do.”
• Teacher sings known phrases on “loo” and students echo-sing with solfège
syllables and hand signs.
T: “I’ll sing on ‘loo,’ you echo solfège syllables.” Teacher sings motifs from known
songs and students sing back with solfège syllables and hand signs.

Singing Intervals
• Teacher sings the intervals between the notes of the tone set, and students sing the
intervals and identify whether it is a skip or a step.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• Teacher plays intervals on the piano melodically or harmonically and students

identify whether the interval is a skip or step.

Part Work
• Use the third phrase of “Bow Wow Wow” as an ostinato.
• Students echo-sing four beat patterns provided by the teacher with solfège
syllables and hand signs; begin singing at beat 3 of the teacher’s pattern.
• Sing the song in canon if it is a pentatonic song.
• Sing the song in canon with a rhythmic ostinato.
• Sing the song in canon with a melodic ostinato.
• Combine a phrase as an ostinato as well as another motif from the song so that
you are using two ostinatos at the same time. This works with pentatonic music.
• Students sing a major pentatonic song and teacher accompanies with a drone
made up of do or do-so played on an instrument.

Improvisation
• Teacher sings a music question with solfège syllables and hand signs and students
58 provide an answer. Question ends on so and after several activities ends on re.
Answer ends on do.
• Student sings a music question with solfège syllables and hand signs and another
student provides an answer.
• Student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.

Inner Hearing
• Recognize familiar songs from teacher’s hand signs.
• Teacher sings known phrases of songs and students sing back with solfège.

Visual Practice
Reading from Hand Signs
• Students sing known song from teacher’s hand signs, including the new solfège
pattern.
• Students sing known song from another student’s hand signs, which include the
new solfège pattern.
• Student reads a motif from the teacher’s hand sign and plays on a classroom
instrument. Teacher provides the starting place on the instrument.

Reading
• Read target motifs from the tone ladder.
• Read known melodies from the tone ladder.
• Read target motif from traditional rhythmic notation and solfège with solfège
syllables and hand signs.
• Read a known song from traditional rhythmic notation with solfège syllables and
hand signs.
• Read a known song with solfège syllables and conduct.
• Read a known song from staff notation with solfège syllables and hand signs.
• Read a known song from staff notation with solfège syllables and conduct.
 Teaching Strategies

• Transform target motif into a related pattern.

• Read an unknown song with solfège syllables and hand signs.
• Read an unknown song with solfège syllables and conduct.
• Teacher shows hand signs and students read after two beats
in canon with hand signs.
l
• Transform a known folk song into another folk song.
s
• Read phrases of known song, notated with traditional
rhythmic notation and solfège, and play on a classroom
instrument. m
• Read “Bow Wow Wow” from traditional rhythmic
notation and solfège.
• Read “Bow Wow Wow” from staff notation.
d
• Read and play selected target phrases on the xylophone FIG. 3.4
or tone bells. (See Fig. 3.4.)

Memory
• Read an unknown song with solfège syllables and hand signs. Teacher erases four
59
beats each time and students memorize.

Read in Two Parts from Teacher’s Hand Signs

• Students read in two parts from teacher’s hand signs.

Writing
• Write all of “Bow Wow Wow” using stick notation with solfège syllables.
• Write “Bow Wow Wow” in staff notation.
• Write well-known melodic patterns from hand signs using stick or staff notation.
• Once these patterns are written, play them on the xylophone or bells.
• Write the target pattern in stick or traditional rhythmic notation with solfège
syllables below.
• Write related patterns in stick and traditional rhythmic notation with solfège
syllables below.
• Write the tone set of a known song on the board as a student or the class sings a
known song using solfège syllables and hand signs.
• Write a known song in stick or traditional rhythmic notation with solfège
syllables below.
• Fill the missing measures of a known song with the correct solfège syllables. Teacher
may provide the rhythm but not the solfège syllables for the missing measure.
• Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms and solfège syllables.
• Students transcribe a song written in rhythmic notation with solfège syllables
below into staff notation.
• Write a scale on the staff.

Improvisation
• Teacher sings a question phrase with solfège syllables and hand signs and a
student chooses from four patterns written on the board to use as an answering
 Kodá ly in t he Se c ond G r a de Cl a ssro om

phrase. One of the phrases should be four beat bars to encourage students to
make up their own answers.
• The teacher writes a known folk song in traditional rhythmic notation and solfège
but leaves out four beats. Students read with solfège syllables and one student
improvises four-beat melody that uses the new melodic note.
• Students improvise a new folk song to a given form and scale. For example,
students compose a new melody using the form ABAB. Teacher provides students
with the A phrase and students musically improvise the B phrase and should
end on do.

Memory
• Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
• Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.

Inner Hearing
60 • Recognize familiar songs from teacher’s hand signs.
• Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
• The teacher provides students with four flash cards with rhythm and students
must identify the song and arrange flash cards in the correct order.
• Students sing known songs but inner-hear the phrase containing the new target
pattern.
• Students sing a song but have to inner-hear the song from a signal provided by the
teacher. Students sing the song aloud from a signal provided by teacher.

Part Work
• Divide the class into two groups. Group 1 sings the song with solfège
and hand signs and group 2 sings a rhythmic ostinato that is read from
notation.
• Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings a melodic ostinato that is read from notation.
• Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings a descant with solfège and hand signs that is read from
notation.
• Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
• Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
• Read a known song with solfège syllables while showing hand signs with the
left hand and conducting with the right hand. Divide the class into two groups;
group 1 performs the activity and group 2 claps rhythm in canon after two
beats.
 Teaching Strategies

• Students sing a known song and clap the rhythm of another well-known song
simultaneously.
• Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.
• Sing scales in canon.

Listening
• “Allegro,” from Symphony No. 1, by W. A. Mozart (1756–1791) (Fig. 3.5)

FIG. 3.5 

Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking:  Music for Sight-Singing and Ear 61
Training, Vol. 1 (New York: Boosey & Hawkes), p. 51, nos. 6–7.
Zoltán Kodály. Kodály Choral Library: 333 Elementary Exercises (London: Boosey &
Hawkes), 1963. These exercises explore the do-mi interval: nos. 7 and 15. Nos. 6, 16, 24, 25,
26, 27, 53, and 54 explore the so-mi-do intervals. The la-so-mi-do intervals are explored in
nos. 28 and 51.

Half Note
Table 3.2 presents an overview of the important information required to teach the half note.

Table 3.2 

Element Concept Focus Present Theory Tradi­ Practice Additional

Song Syllables tional Songs
Notation
Half A note “Here ta-ah Tie  w do “Are You
note that lasts Comes a  W Sleeping?”
for two Bluebird” “Who’s That
beats Tapping
at the
Window?”
“Let Us
Chase the
Squirrel,”
“Phoebe
in Her
Petticoat”
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Here Comes a Bluebird” and keep the beat.
2. Sing “Here Comes a Bluebird” and clap the rhythm.
3. Sing and point to a representation of phrases 2 and 4. (See Fig. 3.6.)

FIG. 3.6

4. Divide the class into two groups; group 1 performs the beat, and group 2 performs
the rhythm. Reverse.
5. Sing “Here Comes a Bluebird,” walk the beat, and clap the rhythm.

Describe What You Hear

1 . Assess the kinesthetic awareness.
2. Teacher and students sing phrase 2 on “loo” while performing the beat before
each question.
3. Determine the number of beats in phrase 2.
62 T: “Andy, how many beats did we keep?” (eight)
T: “Andy, which beat has no sound?” (the last one, 8)
4. Determine which beat has the new musical element.
T: “Andy, where did we sing the longest sound?” (at the beginning)
T: “Andy, on which beats did we sing the long sound?” (1 and 2)
5. Teacher and students sing phrase 2 on “loo” and keep the beat.
T: “Let’s sing on ‘loo’ and say long for beats 1 and 2.”
T: “Let’s sing and clap the whole phrase with rhythm syllables and say ‘long’ for
beats 1 and 2.” (See Fig. 3.7.)

FIG. 3.7

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. The teacher sings the target phrase with a neutral syllable and asks students to
create a visual representation of the target phrase. Students may use manipulatives.
3. T: “Pick up what you need to recreate what you heard” or “Draw what you heard.”
Teacher assesses students’ level of understanding.
4. Students share their representations with each other.
5. The teacher 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.
6. Students sing the second phrase of “Here Comes a Bluebird” with a neutral
syllable and point to the representation, then sing with known elements: “long” ta
di ta di ta ta ta (rest).

Associative Phase: Presentation
Label the Sound
Teacher presents new rhythm syllables.
 Teaching Strategies

1 . Quickly review kinesthetic, aural, and visual stage.

2. T: “When we hear one sound lasting for two beats we can call it ‘ta-ah’.”
3. Teacher sings the target phrase with “loo” and individual students echo-sing with
rhythm syllables.
4. Repeat this step with related patterns from known songs.

Notate What You Hear

Teacher will present notation for new sound.

1. T: “We can use a half note to represent a sound that lasts for two beats. A half note
has a note head and a stem.”
2. T: “Our second phrase of ‘Here Comes a Bluebird’ looks like this, and we can read
it using our rhythm syllables”:

2$w\sdsd\qq\qQ\

3. T: “When we write the target phrase we can write using traditional rhythm
notation or stick notation”: 63
2$w\sdsd\qq\qQ\

4. T: “We can read this rhythm pattern using our rhythm syllables.”
5. Teacher sings rhythm syllables while pointing to the heartbeats, and students
echo-sing using rhythm syllables while pointing to the heartbeats.
6. T: “We can count with numbers.”
7. Teacher may also explain the “tie” by writing two tied quarter notes to represent
the half note.

Assimilative Phase: Practice Music Skills

Aural Practice
Singing with Rhythm Syllables
• Teacher sings known melodies with words and students echo-sing with rhythm
syllables.
T: “I sing the words; you sing rhythm syllables.”
T: “Hey, diddledum a day day day.”
Ss: “ta—ah ta di ta di ta ta ta (rest).”
T: “Brother John, brother John.”
Ss: “ta ta ta—ah ta ta ta—ah.”
T: “Who’s that tapping at the window?”
Ss: “ta—ah ta—ah ta di ta di ta ta.”
T: “Who’s that knocking at the door?”
Ss: “ta—ah ta—ah ta di ta di ta (rest).”
• Teacher claps or sings known phrases on “loo” and students echo-sing with
rhythm syllables and keep the beat.
T: “I’ll clap a rhythm or sing with ‘loo’; you echo rhythm syllables.”
1. Students echo-sing four-beat melodic patterns, containing a new rhythm
provided by the teacher, with rhythm syllables and clapping the rhythm.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

2. Students echo-sing four-beat melodic patterns, containing a new rhythm

provided by the teacher, with rhythm syllables and conduct.
3. Students sing known melodies with rhythm syllables and keep the beat.
4. Students sing known melodies with rhythm syllables and conduct.
5. Teacher sings known and unknown motifs and students sing back with
rhythm syllables.

Part Work
1. Use the target phrase as an ostinato to accompany a known song.
2. 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.
3. Teacher claps a rhythm and students follow in canon after two beats.
4. Students perform a two-part rhythmic reading exercise. Group 1 performs the
upper part and group 2 the lower part. Switch.
5. Students perform a two-part rhythmic reading exercise. Perform the upper part
with right hand and lower part with left hand.

64 Improvisation
1. Improvise an ostinato that incorporates the new rhythmic pattern.
2. Teacher claps and says the rhythm syllables in a question phrase that uses a new
pattern, and a student provides an answer.
3. Student claps and says the rhythm syllables in a question phrase that uses a new
pattern and another S offers an answer.
4. Student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.

Inner Hearing
1. Teacher sings known phrases of songs and students sing back with rhythm
syllables and clapping.
2. Teacher sings known phrases of songs and students sing back with rhythm
syllables and conducting.

Visual Practice
Reading
• Change one song to another. Students read and clap the rhythm of the second phrase
of “Here Comes a Bluebird” (written on the board). Teacher changes one beat at
a time on the board and students clap each change until the eight-beat rhythm is
changed to the first eight beats of “Who’s That Tapping at the Window?” Students
clap and say the rhythm and identify the song. Sing with words and rhythm syllables.
(Keep in mind that at this stage, students are reading notation patterns and keeping
the beat or clapping the rhythm—not conducting. Duple and quadruple meter are
often fluctuating in performance practice. We choose not to introduce the concept of
quadruple meter until the end of second grade. You may choose otherwise.)
• Read in traditional notation. Have “Are You Sleeping?” rhythm on the board in
traditional notation and have students point and sing with rhythm syllables.
• Read in canon. Write the rhythm of “Are You Sleeping?” on the board; students
read and clap in canon simultaneously. Students perform in canon using two
different instruments.
 Teaching Strategies

• Match song titles to a matching rhythm. List the titles of four songs on the board.
Students match rhythms in stick notation to the song titles.
“Here Comes a Bluebird”
“Knock the Cymbals”
“Are You Sleeping?”
• A half note rest reading exercise may be found in the Kodály Choral Library:
333 Elementary Exercises (London: Boosey & Hawkes, 1963), no. 89.

Writing
• Echo-singing: teacher sings the first phrase of “Are You Sleeping?” and students
sing the phrase back to the teacher using rhythm syllables. A student writes each
rhythm on the board.
• Write the rhythm. Student identifies “Knock the Cymbals” from teacher’s clapping
and writes rhythm for each phrase. Teacher invites one student to write the last
phrase on the board.
• Sing “Who’s That Tapping at the Window?” on “loo”; teacher claps the rhythm
while a student pats the beat. Select four individuals to echo-sing an eight-beat
phrase with rhythm names. Direct all of those students to write their phrases on 65
the board.
• Write melodies using a tie instead of a half note.
• Introduce the half note rest.
• Dictation: a student writes the rhythm of a known listening example through
dictation. Students will review “In the Hall of the Mountain King,” from
Peer Gynt, by Edvard Grieg (1843–1907) and write the rhythm using this
procedure:
Play or sing the music to be written for dictation.
Students sing the phrase and tap the beat.
Students sing the phrase and clap the rhythm.
Students sing the phrase with rhythm syllables.
Students memorize the musical example.
Simultaneously sing and write the phrase using stick notation.

Improvisation
• Question and answer. Teacher uses the first eight beats of “Who’s That Tapping
at the Window?” as a rhythmic question on the board, and students clap
back any possible rhythmic answers. Their answers must contain at least one
half note.
• Students read flash cards in stick notation as a class. Individual students clap flash
cards, creating a new rhythm if they are presented with a blank card.
• Flash card improvisation. Teacher puts four flash cards on the board. Students are
asked to choose one and clap it as an answer to the teacher’s question. Eventually,
teacher takes away flash cards and students improvise an original answer.
• One student claps a question phrase and chants rhythm syllables, and another
student chooses from four patterns from the board to use as an answering phrase.
One phrase should just include four heartbeats.
• 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.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

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. Teacher erases four
beats each time and students memorize.

Inner Hearing
• Recognize familiar songs from teacher’s clapping
• Teacher sings known phrases of songs and students sing back with rhythm
syllables and keep the beat.
• Teacher supplies students with four flash cards with rhythm and they must
identify the song and arrange flash cards in the correct order.

Part Work
• Divide the class into two groups. Group 1 sings the song with solfège syllables 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
66 into two groups and perform the activity in canon after two beats.
• Read a known song with rhythm syllables and conduct. Divide the class into two
groups and perform the activity in canon after two beats.
• Students read a known song with rhythm syllables while tapping the rhythm with
their left hands and conducting with their right hands. Divide the class into two
groups and perform the activity in canon after two beats.
• Read a known song with rhythm syllables and clap the rhythm. 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 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.
• Students read a known song with rhythm syllables while tapping the rhythm with
their left hands and conducting with their right hands. Divide the class into two
groups. One group 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, tap a rhythm from traditional rhythmic notation
with the right hand and tap an ostinato with the left hand.

Listening
• “Aase’s Death,” no. 11 from Peer Gynt Suite, Op. 46, by Edvard Grieg (1843–1907).
The work uses the note values quarter note, eighth note, half note, and quarter rest.
• “Rondo No. 1” for piano, by Béla Bartók (1881–1945). Themes A, B, and C use
quarter notes, eighth notes, half notes, and quarter rest.
• “Allegretto” (Romanze), from Symphony No. 85, “La Reine,” by Joseph Haydn
(1732–1809).
• “The Great Gate of Kiev,” from Pictures at an Exhibition, by Modest Mussorgsky
(1839–1881).
 Teaching Strategies

• A Short Story, Op. 27, Book 1, No. 13, by Dimitri Kabalevsky (1904–1987).

Change the rhythm of “Blue” into the rhythm of A Short Story.
• Béla Bartók (1881–1945), For Children, eighty-five pieces originally in four
volumes (revised Boosey & Hawkes, 1947), “Study for Left Hand.” Uses a half
note tied to a quarter note and other half notes. Also uses half note rests in the
left hand.

Sight Singing
• Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-
Singing and Ear Training, vol. 1 (New York: Boosey & Hawkes, 1995),
pp. 33–56.
• Denise Bacon, 50 Two-Part Exercises, No. 4.
• Zoltán Kodály. Kodály Choral Library: 333 Elementary Exercises. No. 89 for
reading the half note rest.

Trichord mi re do
Table 3.3 presents an overview of the important information required to teach 67
mi re do.

Table 3.3 

Element Concept Focus Present Theory Traditional Practice Additional

Song Syllables Notation Songs
Trichord Three “Hot mi-re-do Trichord re on Half note “Bow Wow
mi-re-do pitches Cross mi-re-do different   w Wow,” “All
that Buns” staff Around the
move by placements Buttercup,”
step “Rocky
Mountain,”
“Ida Red,”
“Button,
You Must
Wander”

Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing song and keep the beat.
2. Play a kinesthetic game that sets the students up to show the melodic contour
with their bodies. Using these motions allows students to show high, medium,
and low as they’re playing a hand-clapping game:
A. “Hot”: clap partner’s hands
B. “Cross”: clap your own hands
C. “Buns”: pat
3. Sing and keep the beat.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

FIG. 3.8

4 . Point to a visual representation of the whole song (Fig. 3.8).

5. Show the melodic contour.
6. Sing “Hot Cross Buns” with rhythm syllables while showing the melodic contour.

Describe What You Hear

1 . Assess the kinesthetic awareness.
2. Sing the target phrase before asking each question.
3. Teacher and students sing phrase 1 of “Hot Cross Buns” on “loo.”
4. Determine the number of beats in the first phrase of “Hot Cross Buns.”
T: “Andy, how many beats did we keep?” (four)
Teacher and students sing on “loo.”
5. Determine the characteristics of pitches.
T: “Andy, how many different pitches did we sing?” (three)
T: “Andy, describe the three pitches.” (they move down)
68 T: “Andy, do our three pitches move in skips or steps?” (steps)

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. Teacher sings the target phrase with a neutral syllable and asks students to create
a visual representation of the target phrase. Students may use manipulatives.
T: “Pick up what you need to recreate what you heard” or “Draw what you heard.”
Teacher assesses students’ level of understanding.
3. Students share their representations with each other.
4. Teacher 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 “Hot Cross Buns” with a neutral syllable
and point to the representation, and then sing with known elements: “loo
loo loo.”
6. Determine the rhythm and perform the song with the melodic contour and
rhythm syllables.
7. Teacher and students identify the intervals between the notes of the trichord
as steps.

Associative Phase: Presentation
Describe What You Hear with Solfège Syllables
Teacher presents new solfège syllables.

1 . Quickly review kinesthetic, aural, and visual awareness.

2. T: “We call these three pitches that move in steps mi-re-do.” Show the hand signs.
3. Sing “mi re do” with hand signs.
 Teaching Strategies

4. Teacher sings phrase 1 of “Hot Cross Buns” with solfège syllables and hand signs
and students echo.
5. Perform the activity with at least eight students.

Notate What You Hear

State the rule of placement for re using the finger staff. T: “If mi is on a line and do is on the
line below, re is in the space between. If mi is in a space and do is in the space below, re is on
the line between.”
l
1. Teacher presents the steps on the board used to name s
solfège syllables. (See Fig. 3.9.)
m
2. Teacher presents the traditional rhythmic notation and r
solfège syllables. d

FIG. 3.9
  qqqQ
m  r d
69
Write the target melody with traditional rhythmic notation and solfège syllables beneath.
Individual students sing and point to the melody on the board as the class sings the song
with solfège syllables and hand signs.

3 . Teacher reviews the rule of placement.

4. Teacher presents the staff notation (Fig. 3.10).

FIG. 3.10

Write the target melody on the staff. Individual students sing and point to the melody
on the board written on the staff as the class sings the song with solfège syllables and
hand signs.

Assimilative Phase: Practice Music Skills

Aural Practice
Singing with Solfège Syllables and Hand Signs
• Teacher sings known melodies with words and students echo-sing with solfège
syllables.
T: “I sing the words; you sing the hand signs.”
T: “Hot cross buns.”
Ss: “mi re do.”
T: “Bow wow wow.”
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Ss: “mi re do.”
T: “One two three.”
Ss: “do re mi.”
T: “Just choose me.”
Ss: “mi re do.”
T: “Hang your head and cry.”
Ss: “mi mi re re do.”
T: “Do remember me.”
Ss: “mi mi re re do.”
T: “Never never die.”
Ss: “re re mi re do.”
T: “Are you sleeping, are you sleeping?”
Ss: “do re mi do do re mi do.”
T: “Frog in the meadow can’t get him out.”
Ss: “mi mi mi re do mi mi mi do.”
T: “Take a little stick and stir him about.”
Ss: “mi mi mi mi re do mi mi mi do.”
70 • Teacher sings known melodic patterns with “loo” and students echo-sing with
solfège syllables and hand signs.

Singing Intervals
• Teacher sings the intervals between the notes of the tone set, and students sing the
intervals and identify whether each is a skip or a step.

Part Work
• Use the target phrase as an ostinato.
• Students echo-sing four-beat patterns provided by the teacher with solfège and
hand signs but begin singing at beat 3 of the teacher’s pattern.
• Sing the song in canon if it is a pentatonic song.
• Sing the song in canon with a rhythmic ostinato.
• Sing the song in canon with a melodic ostinato.
• Combine a phrase as an ostinato as well as another motif from the song so
that you are using two ostinatos at the same time. This works with
pentatonic music.
• Students sing a major pentatonic song and teacher accompanies with a drone
made of up do or do-so played on an instrument.

Improvisation
• Teacher sings a music question with solfège syllables and hand signs and students
answer. Question ends on so and after several activities ends on re. Answer
ends on do.
• One student sings a music questions with solfège syllables and hand signs and
another student gives an answer.
• Student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.
 Teaching Strategies

Inner Hearing
• Students recognize familiar songs from teacher’s hand signs.
• Teacher sings known phrases of songs and students sing back
with solfège.

Visual Practice
Reading
• Practice reading mi-re-do and do-re-mi for a few lessons working in staff notation.
Consider using four-beat patterns from “All Around the Buttercup,” “Rocky
Mountain,” and “Tideo.”
• Write motives of “Rocky Mountain,” “Hot Cross Buns,” and “Mama, Buy Me a
Chiney Doll” on the board. Students must decide which pattern fits which song.
• Put the solfège steps on the board. Teacher points to various
notes and the students sing with hand signs. This activity is a
l
preparation for sight singing.
s
• Read “Frog in the Meadow” from staff notation and identify
the song. m
• Read “Closet Key” with staff notation using first and second 71
r
endings.
• Read and play four-beat patterns on the xylophone or bells. d
(See Fig. 3.11.) FIG. 3.11

Memory
• Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.

Read in Two Parts from Teacher’s Hand Signs

• Students read in two parts from teacher’s hand signs.

Writing
• Write the target pattern in stick or traditional rhythmic notation with solfège
syllables.
• Write related patterns in stick and traditional rhythmic notation with solfège
syllables.
• Write the tone set of a known song on the board as a student or class sings a
known song in solfège syllables.
• Write a known song in stick or traditional rhythmic notation.
• Fill the missing measures of a known song with the correct solfège syllables.
Teacher can furnish the rhythm, but not the syllables, for the missing
measure.
• Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms and solfège syllables.
• Students transcribe a song written in rhythmic notation and solfège syllables into
staff notation.
• Write a scale on the staff and mark the half steps.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Improvisation
• Teacher sings a question phrase with solfège syllables and hand signs, and a
student chooses four patterns from the board to use as an answering phrase. One
phrase should just include four heartbeats.
• Teacher writes a known folk song in traditional rhythmic notation and solfège
but leaves out four beats. Students read with solfège and one student improvises a
four-beat melody that uses the new melodic note.
• Students improvise a new folk song to a given form and scale. For example,
they compose a new melody using the form ABAB. Teacher gives students the
A phrase and students improvise the B phrase; it should end on do.

Memory
• Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
• Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.

72 Inner Hearing
• Recognize familiar songs from teacher’s hand signs.
• Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
• Teacher gives every student four flash cards with four-beat rhythmic patterns and
students must identify the song and arrange flash cards in the correct order.
• Students sing known songs but inner-hear the phrase containing the new target
pattern.

• Students sing a song but have to inner-hear the song from a signal given by the
teacher. Students sing the song aloud at a signal from the teacher.

Part Work
• Divide the class into two groups. Group 1 sings the song with solfège syllables and
hand signs and group 2 taps a rhythmic ostinato that is read from notation.
• Divide the class into two groups. Group 1 sings the song with solfège syllables and
hand signs and group 2 sings a melodic ostinato that is read from notation.
• Divide the class into two groups. Group 1 sings the song with solfège syllables and
hand signs and group 2 sings a descant with solfège and hand signs that is read from
notation.
• Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
• Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beats, group 1 singing and
group 2 clapping in canon.
• Read a known song with solfège syllables while showing hand signs with left
hand and conducting with right hand. Divide the class into two groups; group 1
performs the activity and group 2 claps rhythm in canon after two beats.
 Teaching Strategies

• Students sing a known song and clap the rhythm of another well-known song
simultaneously.
• Students sing a known song, tap a rhythm from traditional rhythmic notation
with the right hand, and tap an ostinato with the left hand.

Listening
• “Largo,” movement 2 from Symphony No. 9, “New World Symphony,” by Antonin
Dvořák (1841–1904).
• Listening to mi-re-do: Zoltán Kodály, Katalinka, choral work for treble voices.

Sight Singing
• Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and
Ear Training, vol. 1 (New York: Boosey & Hawkes), pp. 33–56.
• Kodály Choral Library: 333 Elementary Exercises (London: Boosey & Hawkes,
1963), nos. 50, 52, 53, 221, 222, 224, 232, 235, 244–245, 255, 257–258. Exercises 1,
2, 3, 5, 6, 10, 12, 16, 17, and 18 explore the do-re interval. For the mi-re-do
intervals, nos. 48–55. To explore the so-mi-re-do intervals, nos. 215–238.
• Denise Bacon, 50 Easy Two-Part Exercises: 8, 9, 18–21, 26, and 27. 73

Sixteenth Notes
Table 3.4 presents an overview of the important information required to teach sixteenth
notes.

Table 3.4 

Element Concept Focus Present Theory Traditional Practice Additional

Song Syllables Notation Songs
Four Four “Paw takadimi   xxxc   xxxc do “Dinah,”
sixteenth sounds Paw   xxxc penta­ “Dance
notes on a beat Patch”   zzzz tonic Josey,”
scale “Old Brass
Wagon,”
“Tideo,”
“Kookaburra”

Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Paw Paw Patch” and keep the beat.
2. Sing and clap the rhythm.
3. Sing and point to a representation of phrase 1 (Fig. 3.12).
FIG. 3.12
 Kodá ly in t he Se c ond G r a de Cl a ssro om

4 . Sing “Paw Paw Patch,” walk the beat, and clap the rhythm.
5. Two students perform beat and rhythm on two different instruments.

Describe What You Hear

1 . Assess the kinesthetic awareness.
2. Teacher and students sing phrase 1 and keep the beat.
3. Determine the number of beats in phrase 1 of “Paw Paw Patch.”
T: “Andy, how many beats did we keep?” (four)
4. Determine the number of sounds on each beat.
T: “Andy, which beat has the most sounds?” (beat 3)
T: “Andy, how many sounds are on beat 3?” (four)
T: “Andy, if beat 3 has four sounds, how many sounds are on each of the other
beats?” (two)
Teacher and students sing with rhythm syllables on the known beats and sing “loo”
on beat 3.

Create a Visual Representation of What You Hear

1. Assess kinesthetic and aural awareness by allowing the class to perform several of
74
the kinesthetic and aural awareness activities.
2. Teacher sings the target phrase with a neutral syllable and asks students to create
a visual representation of the target phrase. Students may use manipulatives.
T: “Pick up what you need to recreate what you heard” or “Draw what you heard.”
Teacher assesses students’ level of understanding.
3. Students share their representations with each other.
4. Teacher 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 “Paw Paw Patch” with a neutral syllable and
point to the representation, and then sing with known elements: ta di ta di “loo
loo loo loo” ta di.

Associative Phase: Presentation
Label the Sound
Teacher presents new rhythm syllables.

1 . Briefly review the kinesthetic, aural, and visual awareness activities.

2. T: “When we hear four sounds on a beat we call it ‘ta ka di mi.’”
3. Teacher and students sing whole song with rhythm syllables and clap the rhythm.
4. Teacher echo-sings with at least eight students.

Notate What You Hear

Teacher presents notation for new sound.

1. T: “We can use four sixteenth notes to represent four sounds on a beat.
A sixteenth note has a note head and a stem and two flags. Four sixteenth notes
have a double beam.”
 Teaching Strategies

2. T: “Our first phrase of ‘Paw Paw Patch’ looks like this:”

2$sdsd\xcccsd\

3. T: “We can read this rhythm pattern using our rhythm syllables.”
4. Teacher sings rhythm syllables while pointing to the heartbeats; students
echo-sing using rhythm syllables while pointing to the heartbeats.
5. T: “We can count with numbers.”
6. T: “Stick notation is an easy way to write rhythmic notation. Stick notation is
traditional notation without the note heads for quarter and eighth notes. Our first
phrase of ‘Paw Paw Patch’ looks like this in stick notation”:

2$sdsd\xcccsd\

Assimilative Phase: Practice Music Skills

Aural Practice
75
Singing with Rhythm Syllables
• Teacher sings known melodies with words and students echo-sing with rhythm
syllables.
T: “I sing the words; you sing rhythm syllables.”
T: “Where O where is pretty little Suzie.”
Ss: “ta di ta di ta ka di mi ta di.”
T: “No one in the house but Dinah Dinah.”
Ss: “ta ka di mi ta di ta di ta di.”
T: “No one in the house but me I know.”
Ss: “ta ka di mi ta di ta di ta.”
T: “Strumming on the old banjo.”
Ss: “ta ka di mi ta di ta (rest).”
T: “Chicken on the fencepost, can’t dance Josey.”
Ss: “ta ka di mi ta di ta di ta di.”
T: “Circle to the left, old brass wagon.”
Ss: “ta ka di mi ta ta di ta di.”
T: “Jingle at the window Tideo.”
Ss: “ta ka di mi ta di ta di ta.”
• Teacher claps or sings known melodies with “loo” and students echo-sing with
rhythm syllables.
T: “I’ll clap a rhythm, you echo rhythm syllables.”
• Students echo-sing four-beat melodic patterns, containing new rhythm
furnished by the teacher, with rhythm syllables and clapping the
rhythm.
• Students echo-sing four beat melodic patterns, containing a new rhythm supplied
by the teacher, with rhythm syllables, and keep the beat.
• Students sing known melodies with rhythm syllables and keep the beat.
• Students sing known melodies with rhythm syllables and conduct.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• Teacher sings known and unknown motifs and students sing back with rhythm
syllables.

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.
• Teacher claps a rhythm and students follow in canon after two beats.
• Students perform a two-part rhythmic reading exercise. Group 1 performs the
upper part and group 2 the lower part. Switch.
• Student performs a two-part rhythmic reading exercises. Perform the upper part
with right hand and lower part with left hand.

Improvisation
• Improvise an ostinato that incorporates the new rhythmic pattern.
• Teacher claps and says the rhythm syllables in a question phrase that uses new
pattern, and students give an answer.
76 • One student claps and says the rhythm syllables in a question phrase that uses
new pattern; another student provides an answer.
• Students change rhythm of a song and incorporate sixteenth notes.
• A student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.

Inner Hearing
• Teacher sings known phrases of songs and students sing back with rhythm
syllables and conducting.

Visual Practice
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 the left
hand and conducting with the 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 a classroom percussion
instrument.

Writing
• Write the target pattern in stick or traditional rhythmic notation.
• Write related patterns in stick and traditional rhythmic notation.
• Write a known song in stick or traditional rhythmic notation.
 Teaching Strategies

• Fill the missing measures of a known song with the correct rhythms.
• Teacher sings an unknown song and students fill in the missing measures with the
correct rhythms.
• Students notate rhythm patterns by teacher and add the bar lines and time
signature.

Improvisation
• Teacher claps a question phrase and chants rhythm syllables; 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 four patterns from the board to use as an answering phrase. One
phrase should just include four heartbeats.
• Teacher writes a known folk song in traditional rhythmic notation but leaves
out four beats. Students read and clap the rhythm, and one improvises four-beat
rhythms that use new rhythm pattern for the missing measure.

Memory 77
• Read an unknown song with rhythm syllables and clap the rhythm. Teacher erases
four beats each time and students memorize.

Inner Hearing
• Recognize familiar songs from teacher’s clapping.
• Teacher sings known phrases of songs, and students sing back with rhythm
syllables and keep the beat.
• Teacher gives students four flash cards with rhythm; they must identify the song
and arrange flash cards in the correct order.

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.
• Students read a known song with rhythm syllables and clap the rhythm. Divide
the class into two groups and perform the activity in canon after two beats.
• Students read a known song with rhythm syllables and conduct. Divide the class
into two groups and perform the activity in canon after two beat.
• Students read a known song with rhythm syllables while tapping the rhythm with
the left hand and conducting with the right hand. Divide the class into two groups
and perform the activity in canon after two beat.
• Students 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.
• Students read a known song with rhythm syllables and conduct. Divide the class
into two groups, one group performing the activity from the beginning and the
other from the end of the song.
• Students read a known song with rhythm syllables while tapping the rhythm
with the left hand and conducting with the right hand. Divide the class into two
 Kodá ly in t he Se c ond G r a de Cl a ssro om

groups; group 1 performs the activity from the beginning and group 2 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, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with the left hand.

Listening
• “Solfeggetto” for piano by C. P. E. Bach (1714–1788).
• “Prelude in C Minor,” from Book 1 of the Well-Tempered Clavier, by J. S. Bach
(1685–1750).
• “Knight Rupert,” from Album for the Young, no. 12 by Robert Schumann
(1810–1856).
• “Andante” (variation 3), from Symphony No. 94, by Joseph Haydn
(1732–1809).
• Rondo alla Turca, by W. A. Mozart (1756–1791), theme 1.

78 Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking: Music for Sight-Singing and Ear
Training, vol. 1 (New York: Boosey & Hawkes), pp. 57–70.

Major Pentatonic Scale
Table 3.5 presents an overview of the important information required to teach the major
pentatonic scale.

Table 3.5 

Element Concept Focus Present Theory Tradi­ Practice Addi­

Song Syllables tional tional
Notation Songs
Major Five “Rocky do, re, Major do-re- xxxc “Cut the
pentatonic pitches Moun­ mi, so, la pentatonic mi-so-la Cake,”
scale do re tain” scale written “Knock
mi so on the
la with different Cymbals,”
a skip staff Button,
between place­ You Must
mi and ments Wander”
so. Ends
on do.
 Teaching Strategies

Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1. Sing “Rocky
Mountain” and
keep the beat.
2. Sing “Rocky
Mountain”
and show the FIG. 3.13
melodic contour
of the fourth
phrase.
3. Sing the fourth phrase of “Rocky Mountain” and point to a representation of the
melodic contour at the board (Fig. 3.13).
4. Sing “Rocky Mountain” with rhythm syllables while showing the melodic contour.

Describe What You Hear

1 . Assess the kinesthetic awareness.
2. Sing the last phrase while keeping the beat before asking each question below.
79
3. Determine the lowest and highest notes in the fourth phrase of “Rocky
Mountain.”
T: “Andy, sing the lowest note of the phrase.” (do)
T: “Andy, sing the highest note of the phrase.” (la)
4. Determine the solfège syllables from the lowest to the highest pitch.
Teacher sings the last four beats of the phrase on “loo.”
T: “Andy, sing that with solfège syllables and hand signs.” (mi mi re re do)
Teacher sings first four beats on “loo.”
T: “Andy, sing that with solfège syllables and hand signs.” (do mi so la)
5. Teacher and students sing all pitches in the phrase from lowest to highest, the do
pentatonic scale.
T: “Andy, how many different pitches did we sing? (five)
T: “Andy, sing those five pitches with solfège and hand signs from the lowest to
the highest pitch.”
6. Teacher and students sing the five pitches with solfège syllables and hand signs;
teacher invites several students to echo the pattern with solfège syllables and
hand signs.

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. Create a visual representation of the major pentatonic scale. The teacher sings the
notes of the major pentatonic on a neutral syllable and asks students to create a
visual representation of the five-note scale. Students may use manipulatives or
pencil and paper.
3. Students share their representations with each other.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

4. The teacher 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 scale ascending and then descending (point backward) on a
neutral syllable and point to the representation, and then sing the known solfège
syllables do re mi so la.

Associative Phase: Presentation
Label the Sound
Teacher presents new solfège syllables.

1. Assess the kinesthetic, aural, and visual awareness activities with the focus song
“Rocky Mountain.”
2. Teacher identifies the solfège syllables of phrase 4 of “Rocky Mountain.”
3. Students perform with solfège syllables and hand signs.
4. Students perform with solfège syllables and conduct.
80 5. Students sing the notes of the fourth phrase from lowest to highest.
6. Teacher and students sing the five pitches of phrase 4 of “Rocky Mountain” and
label this as “a do pentatonic scale.” T: “This can also be termed a ‘pentatonic
scale’ because it has five different pitches with a skip between mi and so and
major pentatonic because the lowest note is do and the piece of music ends on
do. We can refer to this note as the tonic note of the major pentatonic scale.”
7. Teacher sings the major pentatonic scale from low to high; students echo and
identify the intervals as steps or skips.
8. Teacher sings the major pentatonic scale from high to low; students echo and
identify the intervals as steps or skips.

Notate What You Hear

Teacher presents notation for new sound.

1.  Present the notes of the major pentatonic scale on

the tone ladder. Students sing the target phrase with
l
s
solfège syllables. Teacher presents the notes on the
tone ladder. Identify the steps between the notes
of the phrase as steps or skips. Present the name of
m
r
the scale.
2.  Write the target melody with traditional rhythmic
d
notation and solfège. Individual students sing and
FIG. 3.14 point to the melody on the board as the class sings the
song with solfège syllables and hand signs. T: “The
major pentatonic scale looks like this on our steps
[Fig. 3.14]. Identify all steps and skips.”
3. Explain the rule of placement for the notes of the pentatonic scale using a finger staff.
4. Present the notation for the do pentatonic scale on the staff in different do
positions. Present the do pentatonic scale in staff notation (Fig. 3.15).
 Teaching Strategies

FIG. 3.15 

5. Write the target melody on the staff. Individual students sing and point to the
melody written on the staff as the class sings the song with solfège syllables and
hand signs.
6. Write the pentatonic scale on the staff in several staff placements, and identify the
intervals as steps or skips.

Assimilative Phase: Practice Music Skills

Aural Practice
Singing with Solfège Syllables and Hand Signs
• Teacher sings known melodies with words, and students echo-sing with solfège 81
syllables.
T: “I sing the words; you sing the hand signs.”
T: “Do do do do, do remember me.”
Ss: “do mi so la mi mi re re do.”
T: “Clap your hands together, then you cut the cake.”
Ss: “so mi so mi la so mi mi re re do.”
T: “Knock the cymbals do-o-do.”
Ss: “do mi so mi mi mi mi.”
T: “Knock the cymbals do-o-do.”
Ss: “do mi so mi re mi re.”
T: “Knock the cymbals do-o-do.”
Ss: “do mi so mi mi mi mi.”
T: “Oh laud Suzie gal.”
Ss: “la la so mi do.”
T: “Bright eyes will find you, sharp eyes will find you.”
Ss: “la la la so do la la la so do.”
T: “Button you must wander everywhere.”
Ss: “do do do re mi so re so do.”
• Teacher sings known melodies with “loo,” and students echo-sing with solfège
syllables.
T: “I’ll sing on ‘loo’; you echo solfège syllables.”
• Students echo-sing four beat melodic patterns, containing new
music element provided by the teacher, with solfège syllables and
hand signs.
• Students echo-sing four-beat melodic patterns, containing new music element
furnished by the teacher, with solfège syllables and conduct.
• Students sing known melodies with solfège syllables and keep the beat.
• Students sing known melodies with solfège syllables and conduct.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• Teacher sings known and unknown motifs and students sing back with rhythm
syllables.

Singing Intervals
• Teacher sings the intervals between the notes of the tone set; students sing the
intervals and identify whether it is a skip or a step.
• Teacher plays intervals on the piano melodically or harmonically and students
identify whether the notes are a step or skip apart.

Part Work
• Use the target phrase as an ostinato
• Students echo-sing four-beat patterns supplied by the teacher with
solfège syllables and hand signs, but begin singing at beat 3 of the teacher’s
pattern.
• Students sing the song in canon.
• Students sing the song in canon with a rhythmic ostinato.
• Students combine a phrase as an ostinato as well as another motif from the
82 song so that you are using two ostinatos at the same time. This works with
pentatonic music.
• Students sing a major pentatonic song and teacher accompanies with a drone
made of up do or do-so played on an instrument.

Improvisation
• Teacher sings a music questions with solfège syllables and hand signs and students
give an answer. Question ends on so and after several activities ends on re. Answer
ends on do.
• One student sings a music question with solfège syllables and hand signs and
another student answers.
• A student improvises a four-beat pattern. The next student begins a four-beat
improvisation with the last two beats of the first student.

Inner Hearing
• Recognize familiar songs from teacher’s hand signs.
• Teacher sings known phrases of songs and students sing back with solfège.

Visual Practice
Read from Hand Signs
• Student reads from teacher’s hand signs.
• Transform the target pattern into four-beat patterns found in the students’ song
material.
• Interval practice through echo-singing and hand signs:
T: “do re.”
Ss: “That’s a step.”
T: “re mi.”
Ss: “That’s a step.”
T: “mi so.”
Ss: “That’s a skip.”
 Teaching Strategies

T: “so la.”
Ss: “That’s a step.”
T: “la so.”
Ss: “That’s a step.”
T: “so mi.”
Ss: “That’s a skip.”
T: “mi re.”
Ss: “That’s a step.”
T: “re do.”
Ss: “That’s a step.”

Reading
• Read “Rocky Mountain” in stick notation and staff notation. Read the range of
notes from lowest to highest.
• Read “Knock the Cymbals” with first and second endings l
and identify the range of notes from lowest to highest. s
• Read and play the range of all known pentatonic songs on
the xylophone or bells. m 83
• Divide the class into two parts. The teacher shows different r
hand signs from the right and left hand; students read.
d
• Read and play the range of all known pentatonic songs on FIG. 3.16
the xylophone or bells. (See Fig. 3.16.)
• Read with absolute letter names.

Teaching Absolute Letter Names

1. After five notes of the major pentatonic scale (do re mi so la) are introduced, the
teacher may begin to teach absolute letter names. Most often, letter names are taught
in association with an instrument such as the recorder. Before reaching this point, the
students should be able to transpose solfège syllables to at least the keys of C, F, and
G do positions. The preparation period for teaching absolute letter names requires
considerable concentration on the part of the students. They must understand the
idea of transposing. For example, they should be able to modulate through the use of
hand signs. This is accomplished as follows:
2. The teacher leads the students as they sing in solfège syllables and shows hand
signs with the right hand.
3. At an arbitrary point in the singing, the teacher stops on a particular solfège
syllable and changes that hand sign to another hand sign with the left hand. From
this point the teacher leads the singing in another key (transposition). This will
need careful practice. For example:

Right hand, D = do: do re mi so (so = mi in left hand)

Left hand, F = do: mi re do do

This type of activity needs quite a bit of practice. The teacher should use familiar
melodic terms and patterns that may be taken from song material that is being
used in the classroom.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

4. The recorder, xylophone, or bells may be introduced before letter names. This is
done to have the students become used to a stabilized pitch. The tuning fork can
be used on the “a” staff line to show the actual pitch of A= 440. The point is to
make the students aware that one sound can have different names.
5. If appropriate, introduce the piano keyboard to students.
A. Introduce the letter names.
B. Play a note from the keyboard and write it on the board, do = C, D, or F. Use
this as an activity for finding the starting pitches of songs. This may be done
before showing the notation of all the pitches.
6. Working in various do positions must precede conscious learning of absolute
letter names. This is accomplished through singing, modulating, and writing. Just
before presenting letter names, the teacher must concentrate on one do area. It is
best to present at least three notes at a time. The teacher should work in the G-do
key area.
A. Sing “Hot Cross Buns” in G = do.
B. Write the tone set on the board for do re mi.
C. Introduce the treble clef and the note G.
84 D. Introduce A from the tuning fork.
E. Introduce the note B and identify the notes as G A B.
F. Sing “Hot Cross Buns” with hand signs and letter names in the key of G.
G. Transpose to the key of F and then the key of C, using solfège syllables and
letter names.
7. Here is a sequence that may be used to teach notes on the recorder:
A. Sing the song(s) with solfège syllables and hand signs.
B. Link the solfège syllables to fingering.
C. Link the solfège to absolute note names.
G A B = do re mi
A G E = la so mi
F G A = do re mi
G A B D = do re mi so
F G A C = do re mi so
G A B D E = do re mi so la
F G A C D = do re mi so la
Ultimately, the range of playing should be from middle C to E’ (a tenth). Use of these
ten notes is enough to secure all the pentatonic scales in the keys of C, F, and G.

Memory
• Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.

Read in Two Parts from Teacher’s Hand Signs

• Students read in two parts from teacher’s hand signs.

Writing
• Write “Rocky Mountain” in stick notation and staff notation. Write the range of
notes from lowest to highest and highest to lowest.
 Teaching Strategies

• Read or write well-known melodic patterns from hand signs, stick notation, or
staff notation. Write the letter names of the notes on the staff.
• Examples to read and write and use for improvisation activities from repertoire:
“Rocky Mountain,” “Great Big House in New Orleans,” “Wallflowers,” “Mama, Buy
Me a Chiney Doll.”
• Write melodic patterns found in song repertoire from memory or when dictated
by the teacher using stick or staff notation.
• Expand reading and writing of melodic patterns from four to eight to
sixteen beats.
• Sight-sing melodic phrases and songs with solfège syllables.
• Aurally identify solfège syllables from known motifs and write them in staff
notation.

Improvisation
• Teacher sings a question phrase with solfège syllables and hand signs and a
student chooses from four patterns on the board to use as an answering phrase.
One phrase should just include four beats.
• Teacher sings a question phrase with solfège syllables and hand sings, another 85
student chooses from four patterns from the board to use as an answering phrase.
One phrase should just include four beats.
• The teacher writes a known folk song in traditional rhythmic notation and
solfège syllables but leaves out four beats. Students read with solfège syllables,
and one student improvises a four-beat melody that uses the new
melodic note.
• Students improve a new folk song to a give form and scale. For example,
they compose a new melody using the form ABAB. Teacher provides
students with the A phrase and students improvise the B phrase and should
end on do.

Memory
• Read an unknown song with solfège syllables and hand signs. Teacher erases four
beats each time and students memorize.
• Read an unknown song with solfège syllables and conduct. Teacher erases four
beats each time and students memorize.

Inner Hearing
• Recognize familiar songs from teacher’s hand signs.
• Teacher sings known phrases of songs and students sing back with solfège
syllables and signs.
• Teacher gives students four flash cards each with rhythm patterns and students
must identify the song and arrange flash cards in the correct order.
• Students sing known songs but inner-hear the phrase containing the new target
pattern.
• Students sing a song but have to inner-hear the song from a signal provided by the
teacher. They sing the song aloud with a signal from the teacher.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

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.
• Divide the class into two groups. Group 1 sings the song with solfège
and hand signs and group 2 sings a melodic ostinato that is read from
notation.
• Divide the class into two groups. One group sings the song with solfège and hand
signs and the other group sings a descant with solfège and hand signs that is read
from notation.
• Read a known song with solfège syllables and hand signs. Divide the class into
two groups and perform the activity in canon after two beat, group 1 singing and
group 2 clapping in canon.
• Read a known song with solfège syllables and conducting. Divide the class into
two groups and perform the activity in canon after two beat, group 1 singing and
group 2 clapping in canon.
• Read a known song with solfège syllables while showing hand signs with the
86 left hand and conducting with the right hand. Divide the class into two groups,
one performing the activity and the other clapping rhythm in canon after
two beats.
• Students sing a known song and clap the rhythm of another well-known song
simultaneously.
• Students sing a known song, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with left hand.
• Sing scales in canon.

Listening
• “Largo,” movement 2 from Symphony No. 9, New World Symphony, by
Antonin Dvořák (1841–1904). The following solfège syllables may be sung to the
melody as students are listening, or they may do hand signs when they hear the
melody:

mi so so mi re do re mi so mi re mi so so mi re do re mi re do do

• “Goodbye, Old Paint,” from Billy the Kid Suite, by Aaron Copland
(1900–1990).
• The folk song “Goodbye, Old Paint” is a do pentatonic melody. Students should
learn the song and listen to the composition by Copland. The following solfège
syllables may be sung to the melody as students are listening, or they may do hand
signs when they hear the melody:

la so la do la la so mi re do la so la do la la so mi re do
 Teaching Strategies

Sight Singing
Micheál Houlahan and Philip Tacka. Sound Thinking:  Music for Sight-Singing and Ear
Training, vol. 1 (New York: Boosey & Hawkes), pp. 33–56.

Quadruple Meter
Table 3.6 presents an overview of the important information required to teach
quadruple meter.

Table 3.6 

Element Concept Focus Present Theory Traditional Practice Addi­

Song Syllables Notation tional
Songs
Time A “Are You bar 4$ do, re, “Knock
signature pattern Sleeping?” lines, e mi, so, the
of four mea­ E la, do Cymbals,” 87
beats, sures, penta­ “Button,
one double tonic You Must
strong bar scale Wander”
and lines,
three time
weak, signa­
within a ture
measure

Cognitive Phase: Preparation
Internalize Music Through Kinesthetic Activities
1 . Sing “Are You Sleeping?” and keep the beat.
2. Sing “Are You Sleeping?” and
clap an ostinato: clap pat pat FIG. 3.17
pat.
3. Students point to a
representation of strong and weak beats in phrase 1 (Fig. 3.17).

Describe What You Hear

1 . Assess the kinesthetic awareness.
2. Teacher and students sing phrase 1 and keep the beat with a pat clap clap clap
body ostinato.
3. Determine the number of beats in phrase 1 of “Are You Sleeping?”
T: “Andy, how many beats did we keep?” (eight)
4. Determine whether the students feel the stress in the strong beats.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

T: “Andy, are all the beats the same, or are some beats stronger?” (some are
stronger)
5. Determine which beats are strong and which are weak.
T: “Andy, which beats are stronger?” (1 and 5)
T: “If beats 1 and 5 are strong, all the other beats are ____.” (weak)
T: “Let’s sing and show our strong and weak beats.”
Teacher and students sing and keep the beat with an ostinato: pat, shoulders,
shoulders, shoulders; pat, shoulders, shoulders, shoulders.

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. The instructor sings the target phrase with a neutral syllable and asks students to
create a visual representation of the strong and weak beats. Consider using pencil
and paper for this representation.
3. Students share their representations with each other.
4. The instructor invites one student to the board to share a representation with the
88 class. If necessary, corrections to the representation can be made by reviewing the
aural awareness questions.
5. Students sing the first phrase of “Are You Sleeping?” with a neutral syllable and
point to the representation.
6. Sing with rhythm syllables and clap the rhythm.
7. Sing with solfège syllables and hand signs for phrase 1.

Associative Phase: Presentation
Label the Sound
Teacher will present new element.

1.  Briefly review the kinesthetic, aural, and

visual awareness activities.
2.  T: “In music we call the strong beats accents,
and we can show it by conducting.” Students
sing “Are You Sleeping?” and conduct. (See
Fig. 3.18.)
FIG. 3.18 2 1 4 3 Students perform the target pattern with rhythm syl­
lables and conducting. Individual students echo the
rhythm syllables and conduct. Perform this activity with the rhythm of the entire song.

Notate What You Hear

Teacher presents notation for new element.

1 . Sing song and keep the beat.

2. Sing song with rhythm syllables and conduct.
3. Teacher notates the rhythm of the song on the board without bar lines.
T: “Just as we do in 2$time, we put a bar line before each strong beat.”
T: “At the end we draw a double bar line.”
 Teaching Strategies

T: “Andy, how many beats are between the bar lines?” (four)

T: “At the beginning, we write the number of beats in each ‘measure.’ (A measure
is the distance between two bar lines.)”

4$qqqq\qqqq|

T: “When we had two beats in each measure, what number did we put at the
beginning?” (two)
T: “How many beats do we have in each measure now?” (four)
T: “There are four beats in each measure. So, we put a number 4 at the beginning. The
first beat in each measure is strong, and beats 2, 3, and 4 in each measure are weak.”
T: “Each beat is a quarter note long, so we can write 4$as our time signature.”
4. Teach students how to count using numbers and conduct in quadruple meter.
5. Introduce the whole note and whole note rest. Devise an exercise so students can
aurally identify one sound that last four beats. Do the same so students can aurally
identify a measure that has a whole note rest.

Assimilative Phase: Practice Music Skills 89

Aural Practice
Singing and Conducting
• Teacher sings known melodies with words and students echo-sing with
conducting:
“Are You Sleeping?”
“Knock the Cymbals”
“Button, You Must Wander”
• Students echo-sing four-beat melodic patterns, containing new rhythm provided by the
teacher, with rhythm syllables and conducting; include a whole note or a whole note
rest.
• Teacher sings known and unknown motifs, and students sing back with rhythm
syllables and conducting; include a whole note or a whole note rest.

Part Work
• Use a four-beat ostinato to accompany known songs in quadruple meter.
• 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.
• Teacher claps a rhythm and students follow in canon after four beats and conduct.
• Students perform a two-part rhythmic reading exercise in quadruple meter.
Group 1 performs the upper part and group 2 the lower part. Switch.
• Students performs a two-part rhythmic reading exercises in quadruple. Perform
the upper part with right hand and lower part with left hand.

Improvisation
• Teacher conducts and says the rhythm syllables in a question phrase that uses a
new pattern; students give an answer and conduct.
• One student conducts and says the rhythm syllables in a question phrase that uses
a new pattern, and another student answers while conducting.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• Students change meter of a known duple meter song to quadruple meter. It’s
important to change the tempo and accents when making this change.
• One student improvises a four-beat pattern and conducts. The next student
begins a four-beat improvisation with the last two beats of the first student and
conducts.

Inner Hearing
• Teacher sings known phrases of songs, and students sing back with rhythm
syllables as they conduct.

Visual Practice
Reading
• Read “Knock the Cymbals” from stick notation without bar lines on the board.
Select individual students to sing while the others put strong beats on their
imaginary tambourines, or play on real instruments (for example, louder
instrumentation on first beat and softer instrument on beats 2, 3, and 4).
• Using traditional notation, transform the first four beats of each phrase of “Are
You Sleeping?” into “Knock the Cymbals.”
90 • Read “Duerme pronto” and play it on an instrument. (See Fig. 3.19.)

FIG. 3.19 
“Duerme Pronto”

Source: Reprinted from Vamos a Cantar with permission of the Kodály Institute at Capital
University.

• Read a known song with rhythm syllables and conduct.

• Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand.
• Read an unknown song with rhythm syllables and conduct.
• Read a known song with numbers for counting and conduct.
• Read an unknown song with numbers for counting and conduct.
• Transform a known folk song in quadruple meter into another folk song in
quadruple meter.
• Read the rhythm of a known song in quadruple and play on classroom percussion
instruments.
• Read phrase of a known song with traditional notation and solfège or from the
staff in quadruple meter, and play on the xylophone or tone bells.

Writing
• After reading the rhythm of “Are You Sleeping?” on the board:
T: “Andy, circle the strong beats and then add bar lines.”
 Teaching Strategies

• Writing rhythms from “Button, You Must Wander”:

T claps a four-beat rhythm and students place magnets on the board to show each beat.
Ss then put the rhythm on the board one phrase at a time, and add bar lines.
T modifies the rhythm from “Button, You Must Wander” two beats at a time and
has Ss change rhythm themselves until entire song is changed to “Are You
Sleeping?” Then sing melody with rhythm syllables.
T, after a rhythmic improvisation exercise: “Andy, come to the board and write
your rhythm of the first phrase on the board.”
Complete the missing measures of a known song such as “Button, You Must
Wander” or “Are You Sleeping?”
• Formulate a worksheet where students have to add stems to notes and bar lines to
complete a selected song.
• Write “Duerme pronto” from memory.

Improvisation
• Teacher conducts a question phrase and chants rhythm syllables; students choose
from four patterns from the board to use as an answering phrase. One phrase
should just include four heartbeats. 91
• One student claps a question phrase and chants rhythm syllables; another chooses
from four patterns on the board to use as an answering phrase. One phrase should
just include four heartbeats.
• The teacher writes a known folk song in traditional rhythmic notation but leaves
out four beats. Students read and clap the rhythm, and one improvises four-beat
rhythms that use a new rhythm pattern for the missing measure.

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. Teacher erases four
beats each time and students memorize.

Inner Hearing
• Recognize familiar songs from teacher’s clapping.
• Teacher sings known phrases of songs and students sing back with rhythm
syllables and keep the beat.
• Teacher gives students four flash cards each with rhythm, and students must
identify the song and arrange flash cards in the correct order.

Part Work
• Divide the class into two groups. Group 1 sings the song with solfège and hand
signs and group 2 sings 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 after two beats.
• Read a known song with rhythm syllables and conduct. Divide the class into two
groups, and perform the activity in canon after two beats.
• Read a known song with rhythm syllables while tapping the rhythm with the left
hand and conducting with the right hand. Divide the class into two groups, and
perform the activity in canon after two beats.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• 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.
• Read a known song with rhythm syllables and conduct. Divide the class into two
groups, one performing 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 the left
hand and conducting with the right hand. Divide the class into two groups; group
1 performs the activity from the beginning and group 2 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, tap a rhythm from traditional rhythmic notation
with right hand, and tap an ostinato with left hand.

Listening
• “March,” from The Love for Three Oranges, by Serge Prokofiev (1891–1953).
• “Tortoises,” from Carnival of the Animals, by Camille Saint-Saëns (1835–1921).
92 • “Round Dance,” from For Children: eighty-five pieces originally in four volumes,
by Béla Bartók (1881–1945) (revised, London: Boosey & Hawkes, 1947).

Sight Singing
• Denise Bacon, 50 Easy Two–Part Exercises, no. 6.
• Kodály Choral Library: 333 Elementary Exercises (London: Boosey & Hawkes,
1963), nos. 61, 65, 68, 76, and 79.

Developing a Lesson Plan Design Based on the

Teaching Strategies
The goal of this section is to show how our model of instruction and learning incorporates
information for developing musical literacy into the preparation/practice and presentation
lesson plan designs.
In the cognitive phase of learning, students explore a music concept moving through
three stages of learning. In stage 1, they learn to internalize music and construct kinesthetic
awareness. In stage 2, they learn to describe the characteristics of the new concept by con­
structing aural awareness. In stage 3, they construct a representation of the new concept.
The stages of learning in this phase are explored in three lesson plans.
In the associative phase of learning, students learn how to describe the sounds of music
with rhythm or solfège syllables and how to translate these sounds into music notation.
Stage 1 is aural presentation of the new rhythmic or melodic syllables and hand signs using
known song material that contains the target pattern (the most frequent pattern that con­
tains the new element) and related patterns. Stage 2 is visual presentation of the target pat­
tern using traditional notation. Each stage of learning here is explored in a lesson plan.
In the assimilative phase of learning, students practice and gain fluency in integrating the
new element into their vocabulary of other known rhythmic and melodic elements. In stage
1, students aurally practice the rhythm or solfège syllables and hand signs for the new element
with music skills. In stage 2, students visually practice the new element with musical skills.
Aural practice should take place independently from visual practice, but visual practice should
 Teaching Strategies

never take place without recourse to aural practice. These stages of learning take place in a
concentrated manner over three lessons and may be practiced independently or combined.
Figure 3.20 demonstrates how the phases of learning are reflected in different types of
lessons.

FIG 3.20  Connecting Lessons Plans to Phases of Learning and

Instruction

P HASE ON E :   T H E C O G N I T I V E P HASE ( P R E PA R AT I ON )
Lesson 1
Stage 1: internalizing music through kinesthetic activities: constructing kinesthetic awareness
Ss listen to T sing the new song.
Ss perform the new song with movement.
Rationale: to match patterns of experience to patterns of music
Lesson 2
Stage 2: describing what you hear: constructing aural awareness by responding to questions
Ss aurally analyze the characteristics of the new musical element with T’s help.
93
Ss describe the characteristics of the new element.
Rationale: to verbalize what they perceive
Lesson 3
Stage 3: developing a representation from memory: constructing visual awareness
Ss create a visual representation based on their aural understanding.
Rationale: to visually represent what they have heard and verbalized

P HASE T WO :   T H E AS S O C IAT I V E P HASE ( P R E SE N TAT I ON )

Lesson 4
Stage 1: associate the sound of the new element with solfège or rhythmic syllables.
Lesson 5
Stage 2: associate traditional notation with the sound of the new musical element.
After lesson five, the new element is now referred to as a known element.

P HASE T H R E E :   AS SI M I L AT I V E P HASE ( P R AC T I C E )
After the fifth lesson, T begins with the introduction of another new element in preparation/
practice and presentation lesson plan cycle. During the practice segments of these lessons, T
assimilates the known element.
Stage 1: Ss aurally practice music skills, assimilating the new element, in familiar and
new songs.
Stage 2: Ss visually practice music skills, assimilating the new element, in familiar and new
songs.

The lesson plan designs and lesson plans below represent how students begin the process
of understanding the sounds of a new element before learning how to notate it. These plans
 Kodá ly in t he Se c ond G r a de Cl a ssro om

show where the various phases and stages of learning take place. We include after each plan
design a segment from an actual lesson plan so you can see how these ideas translate into
practical applications in the classroom. For the purposes of showing you examples of lesson
plans, we use these elements:

New element Grade 2, Unit 3, Teaching Half Note

Known element Grade 2, Unit 3, Practicing do
New element Grade 2, Unit 4, Teaching re
Known element Grade 2, Unit 4, Practicing Half Note

Lesson 1: Kinesthetic
Table 3.7 shows the lesson plan template for developing a preparation/practice lesson plan
framework for the cognitive phase of learning, stage 1.

94
Table 3.7 

Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and elements
C OR E AC T I V I T I E S
Teach a new song
Preparation of new concept Cognitive Phase, Stage 1
Develop knowledge of music literacy Ss listen to the instructor sing the focus song.
concepts Ss perform the focus song with a movement
Internalize music through kinesthetic that demonstrates the concept.
activities Rationale: to match patterns of experience to
patterns of music
Creative movement
Practice music performance and
literacy skills
Reading and listening
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
 Teaching Strategies

Table 3.8 shows a lesson plan for developing a preparation/practice lesson plan frame­
work for the cognitive phase of learning, stage 1.

Table 3.8  Grade 2: Half Note, Lesson 1

Outcome Preparation: internalizing a sound that lasts for two beats

through kinesthetic activities
Practice: reading and singing melodies with the solfège
syllables la, so, mi, and do
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
95
Review known songs and
elements
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge of “Here Comes a Bluebird”
music literacy concepts CSP: A
Internalize music through • Ss sing the song and briefly play the game.
kinesthetic activities • Ss sing “Here Comes a Bluebird” while keeping the beat.
• Ss sing “Here Comes a Bluebird” while tapping the
rhythm.
• Ss sing “Here Comes a Bluebird,” pointing to a
representation of phrases 2 and 4.

• T divides Ss into two groups. All sing “Here Comes a

Bluebird” while group A performs the beat and group B
performs the rhythm. Reverse the parts.
• Ss sings “Here Comes a Bluebird” while walking the beat
and tapping the rhythm. One S may play the beat on an
instrument while another plays the rhythm.
Creative movement
Practice and performance
of music literacy concepts
Reading
SUM M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Lesson 2: Aural
Table 3.9 gives a lesson plan template for developing a preparation/practice lesson plan for
the cognitive phase of learning, stage 2.

Table 3.9 

Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs
96 and elements
C OR E AC T I V I T I E S
Teach a new song
Preparation of new Cognitive Phase, Stage 2
concept Describe what you hear.
Develop knowledge of Ss aurally analyze the characteristics of the new musical
music literacy concepts element with T’s help.
Describe what you hear Ss describe the characteristics of the new element by
answering a series of carefully sequenced questions from T.
In this way, they can develop their audiation skills during
the process of answering questions. They must inner-hear
the focus phrase in order to be able to answer T’s questions.
Creative movement
Practice music
performance and
literacy skills
Writing
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song

Table 3.10 has a lesson plan for developing a preparation/practice lesson plan for the
cognitive phase of learning, stage 2.
 Teaching Strategies

Table 3.10  Grade 2: Half Note, Lesson 2

Outcome Preparation: analyzing repertoire that contains a sound

that lasts two beats by listening and singing to identify
that sound
Practice: writing a melody with the solfège syllables la,
so, mi, and do
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and
elements
C OR E AC T I V I T I E S
97
Teach a new song
Develop knowledge of music “Here Comes a Bluebird”
literacy concepts CSP: A
Describe what you hear • Reviews kinesthetic awareness activities.
• T and Ss sing phrase 2 on “loo” while keeping the
beat before each question:
• T: “Andy, how many beats did we tap?” (eight)
• T: “Andy, which beat has no sound?” (last one, 8)
• T: “Andy, where did we sing the longest sound?” (at
the beginning)
• T: “Andy, for how many beats did we sing the long
sound?” (two)
• T: “Andy, on which beats did we sing the long
sound?” (1 and 2)
• T and Ss sing phrase 2 on “loo” and pat the beat.
• T: “Let’s sing phrase 2 on ‘loo’ but use and sing the
word ‘long’ for beats 1 and 2.”
• T: “Let’s sing and clap the whole phrase with
rhythm syllables and say ‘long’ for beats 1 and 2.”
Creative movement
Practice and performance of
music literacy skills
Writing
SUM M A RY AC T I V I T I E S
Review lesson outcomes “Button, You Must Wander”
Review the new song
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Lesson 3: Visual
Table 3.11 presents a lesson plan template for developing a preparation/practice lesson plan
framework for the cognitive phase of learning, stage 3.

Table 3.11 

Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-ups
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and elements
98
C OR E AC T I V I T I E S
Teach a new song
Preparation of new concept Cognitive Phase
Develop knowledge of music literacy Stage 3: developing a representation from
concepts memory; constructing visual awareness
Create a representation of what you hear Ss create a visual representation of the focus
phrase based on their aural understanding.
Rationale: to visually represent what they have
heard and verbalized
Creative movement
Practice music performance and
literacy skills
Improvisation
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song

Table 3.12 shows a lesson plan for developing a preparation/practice lesson plan frame­
work for the cognitive phase of learning, stage 3.

Table 3.12  Grade 2: Half Note, Lesson 3

Outcome Preparation: Ss create a visual representation of a

sound that lasts two beats
Practice: Ss improvise with melodic motives
exercising the concept of do and based on “Bow
Wow Wow”
(Continued)
 Teaching Strategies

Table 3.12 (continued)

I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and elements
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge of music “Here Comes a Bluebird”
literacy concepts CSP: A
Create a visual representation of what • Ss sing the song and pat the beat.
you hear in performance of music • T reviews kinesthetic and aural awareness 99
literacy concepts activities.
• T sings the target phrase on a neutral syllable
and asks Ss to create a representation of the
target phrase. T may use pencil and paper,
Unifix cubes, or other materials.
• T may say “Draw what you heard” or “Pick up
what you need to show me what you heard.” Ss
share their representations with a neighbor.
• T chooses one S to come to the board to share
a representation. If necessary, corrections may
be made by reviewing the aural awareness
questions.
• Ss point to the representation of the second
phrase of “Here Comes a Bluebird” on the
board and sing on a neutral syllable.
Creative movement
Practice music performance and
literacy skills
Improvisation
SUM M A RY AC T I V I T I E S
Review lesson outcomes “Great Big House in New Orleans”
Review the new song

Lesson 4: Presentation
Table 3.13 has a lesson plan design for the associative phase of learning, stage 1, presenta­
tion. Label the sound.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 3.13 

Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-ups
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and elements
C OR E AC T I V I T I E S
Teach a new song
Presentation of music literacy concepts Phase Two: Associative Phase (Presentation)
Describe what you hear with solfège or Stage 1: associate the sound of the new element
100 rhythm syllables with solfège or rhythmic syllables with a
focus pattern
Creative movement
Presentation of music literacy concepts Phase Two: Associative Phase (Presentation)
Describe what you hear with solfège or Stage 1: associate the sound of the new element
rhythm syllables with solfège or rhythmic syllables with a
related pattern
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song

Table 3.14 shows a presentation lesson plan for the associative phase of learning, stage 1,
presentation. Label the sound.

Table 3.14  Grade 2: Half Note, Lesson 4

Outcome Presentation: labeling one sound that lasts two beats with the
rhythm syllable ta-ah
I N T ROD U C TORY AC T I V I T I E S
Warm-Up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
(Continued)
 Teaching Strategies

Table 3.14 (continued)

Review known songs

and elements
C OR E AC T I V I T I E S
Teach a new song
Kodaly Today
Presentation of music “Here Comes a Bluebird”
literacy concepts CSP: A
Describe what you hear • Ss sing song and tap the beat.
with rhythm syllables • T reviews kinesthetic, aural, and visual awareness
activities.
• T: “When we have one sound that lasts for two beats, we
can use our rhythm syllables and say ta-ah.”
• T sings the target phrase with rhythm syllables and
Ss copy.
• T sings phrase 2 on “loo,” and Ss echo with rhythm 101
syllables and keep the beat.
• T sings phrase 2 with text and individuals echo-sing with
rhythm syllables while keeping the beat.
Creative movement
Presentation of music “Bye, Bye, Baby”
literacy concepts CSP: F-sharp
Describe what you hear • Ss sing the song and conduct.
with rhythm syllables • T reviews labeling the sound.
• T: “When we have one sound that lasts for two beats, we
can use our rhythm syllables and say ta-ah.”
• T sings with rhythm syllables and claps the rhythm, and
Ss copy.
• T sings related patterns with text; Ss echo-sing phrases
with rhythm syllables and clap the rhythm and keep
the beat.
○ “Who’s That Tapping at the Window?”
○ “Are You Sleeping?”
SUM M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song

Lesson 5: Presentation
Table 3.15 gives a lesson plan template for a presentation lesson plan for the associative
phase of learning, stage 2, a new element.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 3.15 

Outcome
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs and
elements
C OR E AC T I V I T I E S
Teach a new song
Presentation of music literacy Phase Two: Associative Phase (Presentation)
102 concepts Stage 2: associate traditional notation with the sound
Notate what you hear of the new musical element in a focus pattern
Creative movement
Presentation of music literacy Phase Two: Associative Phase (Presentation)
concepts Stage 2: associate traditional notation with the sound
Notate what you hear of the new musical element in a related pattern
SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song

Table 3.16 shows a presentation lesson plan for the associative phase of learning, stage 2,
presentation. Present the notation.

Table 3.16  Grade 2: Half Note, Lesson 5

Outcome Presentation: notating one sound that lasts two beats with a half note
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful
singing
Tone production
Diction
Expression
(Continued)
 Teaching Strategies

Table 3.16 (continued)

Review known
songs and elements
C OR E AC T I V I T I E S
Teach a new song
Presentation of “Here Comes a Bluebird”
music literacy CSP: A
concepts • Ss sing song and conduct.
Notate what you • T reviews kinesthetic, aural, and visual awareness activities.
hear • T: “When we have one sound that lasts for two beats, we can say
ta-ah.”
• Ss sing the phrase using rhythm syllables and sing ta-ah instead
of “long.”
• Ss identify the meter and conduct and say the rhythm syllables.
• T: “When the beat is a quarter note, we can use a half note to represent
a sound that lasts for two beats. A half note has a head and a stem.” 103
• T: “When we read music we use traditional notation (with note
heads). It looks like this”:
2$w\sdsd\qq\qQ|
• Ss sing with rhythm syllables while looking at the notation.
• T: “Stick notation is an easy way to write rhythmic notation.
Stick notation is traditional notation without the note heads. Our
second phrase of ‘Here Comes a Bluebird’ in stick notation looks
like this.” T writes the pattern using stick notation.
Creative
movement
Presentation of “Bye, Bye, Baby”
music literacy CSP: F-sharp
concepts • Ss sing song and conduct.
Notate what you • T reviews visual presentation.
hear • Ss sing with rhythm syllables and clap the rhythm.
• Ss sing with rhythm syllables while pointing to beats below the
rhythmic notation for the song.
SUM M A RY AC T I V I T I E S
Review lesson
outcomes
Review the new
song

The assimilative phase, stages 1 and 2, takes place during the next units. Stages 1 and 2
are integrated into various sections of lessons of the next units. In our lesson plan structure,
we focus on the skills of reading, writing, and improvisation during the next three lessons
at the same time as we are preparing another new element to be mastered.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Lesson Segment for Practicing Reading

We use the preparation/practice lesson plan framework, but note how we focus on practic­
ing reading while preparing the next new element (Table 3.17).

Table 3.17  Grade 2: re, Lesson 1

Outcome Preparation: internalizing a pitch, re, between mi and do through

kinesthetic activities
Practice: reading rhythm patterns that contain a half note
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful
singing
Tone production
104 Diction
Expression
Review known songs
and melodic elements
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge
of music literacy
concepts
Internalize music through
kinesthetic activities
Creative movement
Practice and “Here Comes a Bluebird”
performance of music CSP: A
literacy skills • Ss sing the song.
Reading • Ss sing with rhythm syllables.
• Ss sing and clap the rhythm syllables.
• Ss read the song from standard rhythmic notation with
rhythm syllables:
2$qsd\qq\qsd\qq\
w\sdsd\qq\qQ\
sdsd\qq\qsd\qq\
w\sdsd\qq\qQ|
• Ss read the song from standard rhythmic notation with
numbers and conduct.
• Changes the notation step by step into the opening two
phrases of “Death of Ase,” movement 6 from Peer Gynt Suite
No. 1, Op. 46, by Edvard Grieg (1843–1907).
• Ss memorize the rhythm with rhythm syllables.
(Continued)
 Teaching Strategies

Table 3.17 (continued)

SUM M A RY AC T I V I T I E S
Review lesson
outcomes
Review the new song

Lesson Segment for Practicing Writing

We use the preparation/practice lesson plan framework, but note how we focus on practic­
ing writing while preparing the next new element (Table 3.18).

Table 3.18  Grade 2: re, Lesson 2

Outcome Preparation: analyzing repertoire that contains a pitch, re,

between mi and do 105
Practice: writing rhythm patterns that contain a half note
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful singing
Tone production
Diction
Expression
Review known songs
and melodic elements
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge of
music literacy concepts
Describe what you hear
Creative movement
Practice of music “Here Comes a Bluebird”
performance and CSP: A
literacy skills • Ss sing the song and keep the beat.
Writing • Ss sing the song with rhythm syllables and conduct the meter.
• Ss writes notation for rhythm of focus phrase on
worksheet.
2$ w\sdsd\qq\qQ|
• Ss add instrumental rhythmic accompaniments with half
notes to known songs. These can also be played on pitched
instruments as a tonic drone.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 3.18 (continued)

SU M M A RY AC T I V I T I E S
Review lesson outcomes
Review the new song

Lesson Segment for Practicing Improvisation

We use the preparation/practice lesson plan framework, but note how we focus on practic­
ing improvisation while preparing the next new element (Table 3.19).

Table 3.19  Grade 2: re, Lesson 3

Outcome Preparation: creating a visual representation of re, a pitch between

mi and do
106
Practice: improvise music with rhythm syllables using quarter,
eighth, and half notes and quarter rests
I N T ROD U C TORY AC T I V I T I E S
Warm-up
Sing known songs
Develop tuneful
singing
Tone production
Diction
Expression
Review known
songs and melodic
elements
C OR E AC T I V I T I E S
Teach a new song
Develop knowledge
of music literacy
concepts
Create a
representation of
what you hear
Creative movement

(Continued)
 Teaching Strategies

Table 3.19 (continued)

Practice and “Here Comes a Bluebird”

performance of CSP: C
music literacy skills • Ss sing the song.
Improvisation • Ss read the target phrase from the board with rhythm syllables
and pat the beat.
• T labels this as a “question” phrase.
• Ss clap the question phrase and T claps an eight-beat response.
Perform several times.
• T notates his or her “answer” phrase on the board.
2$w\w\sdsd\qq| (Who’s That Tapping at the
Window? phrase one)
• T asks the question; Ss perform the answer.
• Repeat with three or four other options:
2$qq\w\qq\w| (“Are You Sleeping?”
phrase 2)
2$sdsd\qq\sdsd\w| (“Let Us Chase the Squirrel,” 107
phrases 2 and 3)
• Ss perform the question and individual Ss perform an answer,
or they create their own answer using half, quarter, and eighth
notes and quarter rests. Ss can perform their answers with
rhythm syllables.
• Ss perform the question and individual Ss perform one of the
answers with rhythm syllables, or they create their own answer
without saying the rhythm syllables.
SUM M A RY AC T I V I T I E S
Review lesson “Paw Paw Patch”
outcomes
Review the new song
 Chapter  4

Students as Performers
Developing Musical Skills and Creative Expression

The goal of this chapter is to give a quick overview of techniques for developing tuneful singing,
reading, inner hearing, writing, improvisation, playing instruments, creative movement, and lis-
108 tening skills. You will find more detailed activities in Chapter 3 of Kodály Today. Here we also
present listening examples that can be used for development of movement as well as music liter-
acy skills. When possible, music skills should practice all of the rhythmic and melodic elements
outlined in the curriculum for each grade. Grade two elements include half notes and sixteenth
notes, as well as the melodic notes do, re, mi, so, and la.

Tuneful Singing Skills
Posture
1. Balance the head. To accomplish this, the face should look straight ahead. Try several
exercises, such as moving the head up and down and sideways to relax the head and
neck muscles. Stand with your back against a wall and make sure that your head and
the heels of your feet are touching the wall. The head should feel suspended as if you
are a puppet or a balloon. Keep the spine straight.
2. Explain the correct seating position:
Shoulders should be relaxed and rotated toward the back.
Neck muscles should be relaxed.
Tongue should be relaxed in the bottom of the mouth.
Spine should be extended.
Rib cage is lifted.
Be at the edge of your chair when singing.
Feet are on the floor.
Hands are on the legs.
Eyes are on the conductor.
 Students as Performers

3. Explain the correct standing position:

Shoulders should be relaxed and rotated toward the back.
Neck muscles should be relaxed.
Tongue should be relaxed in the bottom of the mouth.
Spine should be extended.
Rib cage is lifted.
Arms should dangle freely at the sides. Hands should be relaxed at the sides.
Knees should be relaxed and very slightly bent.
Feet should be firmly placed on the ground and roughly ten to twelve inches
apart.
Make sure the body is resting on the balls of the feet.
Eyes are on the conductor.

Body Warm-up
1. Body stretches. Teacher explains that students’ shoulders should be kept down, and
they should reach for the stars; each hand should alternate with the other.
2. Shaking arms. Extend arms in from of your body and shake each arm separately.
3. Shoulder roll. Roll each shoulder separately, making a circle.
4. Shrugging shoulders. Shrug your shoulders, hold position for several counts, and
then release.
5. Head rolls. Drop head to left shoulder and trace a half circle, moving chin toward
chest and right shoulder. 109
6. Neck stretch. Drop the right ear to the right shoulder and the left ear to the left
shoulder. Move the neck, making a yes-or-no motion.
7. Facial stretch. Ask students to act surprised. Try to drop your jaw and say mah,
mah, mah several times.
8. Knee flex. Arms should be extended forward and hands should be relaxed; bounce
the body by flexing the knees.
9. Wiggle toes. Wiggle toes inside your shoes.

Breathing
1. Correct breathing posture. Students lie on the floor with a book placed on their
abdominal muscles. When inhaling, the book rises, and when exhaling, the
book lowers. Students should stand and place a hand on the abdominal muscles.
They then exhale and inhale, paying attention to abdominal muscles and not
raising their shoulders. They need to be encouraged to take in a deep breath
through their nose and mouth and not a shallow one. Sometimes it is useful for
students to exhale air against the palm of the hand.
2. Awareness of the diaphragm and other abdominal muscles for breathing. These
exercises will help students understand use of the abdominal muscles for breathing:
Show students how to sip through a straw correctly and expand their waist.
Show students how to release air using a “sss” or hissing sound.
Show students how to release air using the word “ha.”
Tell the students to yawn, as this opens up the back of the throat and relaxes the
voice.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

3. Sighing. This is a gentle way of using a higher voice than students usually speak
with. Try having them sigh a few times, starting each sigh a little higher than
the last.
4. Practice breathing. Breathe in through the nose for four counts and exhale through
the mouth for four counts.
5. Consonants. Students echo four-beat patterns of consonants (k-k-k-k, ss-ss-ss-ss,
p-p-p-p, zz-zz-zz-zz, etc.).

Resonance
1. Use of sirens. Imitate the sound of a siren with the voice. Challenge the students to
make soft and loud, high and low, long and short sirens, and sirens that just go up,
just come down, or do both.
2. Falling off a cliff. Pretend you’re falling off a cliff and say “aaaahhhhhhhhhh!”
3. Use a ball. Teacher throws a ball from one student to another. Students have to
follow the movement of the ball with their voices.

Tone Production
1. Humming melodic patterns from folk songs. Students hum a pattern from a song,
but the last note should be shortened to take a breath and repeat the pattern.
2. Singing known songs with the word “yip.” Students sing known songs with a “yip”
110 sound.
3. Students speak with a “koo” sound. Students repeat “koo” to known rhythm
patterns.
4. Students sing with a “koo” sound. Students sing known melodies to a “koo” sound.
5. Pure vowel sounds. Sing with known solfège syllables and hand signs.
6. Combination vowels. Sing vocalizations that include combinations of vowels to the
melodic patterns in songs, for example, using “mi-oh” and “my.” If sung to “Snail,
Snail” we have this:
Phrase 1: “Mi-oh mi–oh,”
Phrase 2: “Mi-oh mi-oh mi-oh my.”

Diction
1. Tongue twisters sung. Students gain flexibility by singing tongue twisters on one
pitch and repeating at intervals of a minor second.
2. Tongue twisters sung with two voice parts. Students gain flexibility by singing
tongue twisters at the interval of a fourth or fifth.
3. Unvoiced consonants. Students say the unvoiced consonants p, t, and k using
rhythm patterns of songs.
4. Voiced consonants. Students sing songs using voiced consonants b, d, g, and j.

Tuneful Singing
1. so-mi. It is important to practice the so-mi minor third as well as patterns formed
with so-la-so mi combinations. Patterns formed with mi-so and la should also
 Students as Performers

be practiced, paying particular attention to the mi-la, perfect fourth interval. In

addition, the second grade introduces the new note do, and we should begin to
work with such patterns as so-mi-do, so-mi-re-do, la-so-mi-do, la-so-mi-re-do.
In this grade we can also work with the do-so and so-do perfect intervals. All of
these patterns can be practiced with a teacher using both hands to give hand sign
directions to two groups of students. To develop a student’s ability to hear and
sing in two parts, be mindful that we should, when possible, teach re using songs
that include the so-mi-re-do. Singing the so will allow students to sing the re in
tune as well as do. Another important interval to practice is so-re. Again, this may
be practiced singing pentatonic songs while the teacher gently hums a so drone
throughout the song, or it may be practiced with two-part hand sign singing.
2. Singing phrases of songs on “oh” sound. Students sing phrases of songs on “oh” and
make sure the tone is very light and relaxed.
3. Singing with dynamic markings. Students should sing known melodies using the
correct dynamic names and terms:
pp pianissimo
p   piano
mp   mezzo-piano
mf mezzo-forte
f   forte
ff   fortissimo
It is best to sing songs using two contrasting dynamics, as with f and p.
4. Sing songs using two-part hand signs. Students sing in two parts from a teacher’s 111
hand signs. Begin by using a sustained tone in one vocal part.
5. Tempo markings. Students should be taught the Italian terms and English meanings:
Largo very slow
Adagio  slow
Andante moderately slow
Moderato moderate
Allegretto moderately fast
Allegro  fast
Presto very fast
Students should begin singing known songs using two different types of tempi.

Reading Skills
Rhythmic activities in grade two will include half notes and sixteenth notes in duple and
quadruple meter depending on when the units are taught during the year.

Rhythm Reading Activities

Read traditional rhythmic notation from flash cards, the interactive SMART Board, or
worksheets. Read a known song from rhythmic notation that includes grade two elements.
The process:

1 . Sing the song and tap the beat.

2. Sing the song with rhythm syllables.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

3. Tap the beat as the students keep the beat and read the rhythm of the
complete song, or the rhythm of a specific phrase, using inner hearing
or aloud.

Transforming Rhythm of a Known Song into an Unknown Song

Transform a known song into an unknown song by sequentially changing rhythms that
include grade two elements. The process:

1 . Students sing a known song.

2. Teacher erases parts of the song.
3. Students clap the rhythm and say the new rhythm syllables.
4. Teacher transforms to a new rhythm entirely and sings new song.

Form
Present mixed-up phrases of the rhythm of a known song, to have students correctly rear-
range the form. The process:

1 . Teacher presents the phrases out of order.

2. Students identify the song.
3. They arrange the phrases in proper order.
4. Students sing the song.

112 Inner Hearing

Students can practice inner hearing using both aural and visual activities.

Aural Inner-Hearing Exercises

Students chant rhythm of a known melody and inner-hear specific rhythmic motifs sig-
naled or indicated by teacher. The process:

1 . Sing song with text.

2. Sing song with rhythm syllables and keep the beat.
3. Sing song with rhythm syllables; teacher signals which measures to chant silently.

Visual Inner-Hearing Exercises

Students read the rhythmic notation of a known melody and inner-hear certain motifs
indicated by teacher on the reading exercises. The process:

1 . Sing song with text.

2. Sing song with rhythm syllables and keep the beat.
3. Sing song with rhythm syllables from notation; teacher indicates which measures
to chant silently.

Students read the rhythmic notation of an unknown melody and inner-hear certain motifs
indicated by teacher on the reading exercises. The process:

1 . Sing song with text.

2. Sing song with rhythm syllables and keep the beat.
 Students as Performers

3. Sing song with rhythm syllables from notation; the teacher indicates which
measures to chant silently.

Matching
Match song titles to written rhythms that include grade two elements. The process:

1 . List the titles of four songs on the board.

2. Write a phrase from each of the four songs in rhythmic notation.
3. Students match the rhythm to the title of the song.

Error Identification
Students read the rhythm of a known song and identify rhythmic errors that are made by
the teacher. The process:

1 . Teacher or student writes a sixteen-beat rhythm pattern.

2. Teacher or student claps a slightly different pattern.
3. Another student must identify the phrases and the beats where the changes occur.

Retrograde
Read a rhythm of a known song in retrograde that includes grade two elements. The process:

1 . Sing song with text.

2. Sing song with rhythm syllables and keep the beat. 113
3. Sing song with rhythm syllables from notation.
4. Sing song backward with rhythm syllables from notation.

Two-Part Rhythm Reading

Students read the rhythm of multiple songs, and they sing one song while reading rhythm
of another. The process:

1 . Students sing known song A.

2. Divide class into two groups. One group claps rhythm of song B while the other
sings song A. Reverse.
3. Student sings song A and claps rhythm of song B.

Students read two-part rhythmic notation that includes grade two concepts. The process:

1 . Students speak each part all together on rhythm names.

2. Divide class into two groups. One group claps rhythm of upper part while other
claps rhythm of lower. Reverse.
3. Students chant the rhythm to the upper part and clap rhythm of lower part.

Canon
1 . Students say the rhythm syllables and clap the rhythm from notation.
2. Students think the rhythm syllables and clap the rhythm.
3. Students think and clap the rhythm while the teacher claps it in canon.
4. The teacher claps the rhythm while the students clap it in canon.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

5. Divide the class into two groups. One half claps the rhythm while the other half
claps in canon so that the teacher can observe any students who may be having
difficulty.
6. Individuals may then perform the rhythmic canon saying the rhythm syllables
while clapping them in canon.

Sight-Singing the Rhythm of an Unknown Song

Teacher places rhythm of unknown song on board for reading. The process:

1 . Students sing songs containing rhythmic motifs in the new reading activity.
2. Teacher hums these motifs and students identify with rhythmic syllables and clap
the rhythm.
3. Students clap and read rhythm of song with rhythm syllables with inner hearing.
4. Students clap and read rhythm of song with rhythm syllables.

Extensions:

• Play the rhythm on instruments.

• Read the rhythm backward (in retrograde).
• Change into an improvisation activity by erasing beats.

Reading Alternating Phrases for Rhythm

114 Read alternating phrases of a known song.

1 . Teacher writes rhythm of known song on board.

2. Teacher and students alternate reading phrases and then switch.

Melodic Reading Activities

Hand Signs
Sing a known and an unknown song from teacher’s hand signs, to include grade two con-
cepts. The process:

1 . Teacher sings on “loo” and shows hand signs for a phrase of music.
2. Students sing with solfège and hand signs.

Tone Ladder
Teacher points to a pattern on the tone ladder that includes grade two concepts.

1 . Teacher points to notes of a known song on the tone ladder.

2. Students can sing each note or wait to sing the melodic motif.
3. They sing with solfège and hand signs.

Reading Traditional Rhythmic Notation with Solfège Syllables

Students read known melodies from flash cards or from the SMART Board, to include
grade two elements. They sing known elements using solfège syllables and hand signs. The
process:
 Students as Performers

1 . Students sing the known song with rhythm syllables.

2. The teacher points to the notation, keeping the beat while the students read the
rhythm syllables and clap the rhythm.
3. The teacher points to the notation, keeping the beat while the students clap the
rhythm.
4. The students locate the highest and lowest notes.
5. The teacher provides the starting pitch and may have the students sing the tone
set.
6. Students read the melody from the teacher’s hand signs. The teacher may hum an
occasional note to help the students.
7. The students read and perform the exercise aloud singing with solfège syllables.
8. The students perform the exercise aloud, singing on a neutral syllable.

Flash Cards
Students read unknown melodies from flash cards or a white board that include grade two
elements. They sing known elements using solfège and hand signs. The process:

1. The teacher points to the notation, keeping the beat while the students read the
rhythm syllables and clap the rhythm.
2. The teacher points to the notation, keeping the beat while the students clap the
rhythm.
3. The students locate the highest and lowest notes. 115
4. The teacher provides the starting pitch and may have the students sing the tone set.
5. Students read the melody from the teacher’s hand signs. The teacher may hum an
occasional note to help the students.
6. The students read and perform the exercise aloud singing with solfège syllables.
7. The students perform the exercise aloud, singing on a neutral syllable.

Reading from Finger Staff
Sing a song while showing placement on finger staff, which can include grade two concepts.
The process:

1. Teacher sings with solfège syllables and shows placement on finger staff.

2. Students sing with solfège syllables and show placement on finger staff.

Reading from the Staff
Students read known melodies with solfège syllables and letter names from the staff includ-
ing grade two elements. Students sing using solfège syllables and hand signs.
Students read unknown melodies with solfège syllables and letter names from the staff to
include grade two elements. They sing using solfège syllables and hand signs.

1 . Students sing the known songs with rhythm syllables.

2. The teacher points to the notation, keeping the beat while the students read the
rhythm syllables and clap the rhythm.
3. The teacher points to the notation, keeping the beat while the students clap the
rhythm.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

4. The students sing the known song with solfège syllables.

5. The students locate the highest and lowest notes.
6. The teacher provides the starting pitch and may have the students sing the
tone set.
7. Students read the melody from the teacher’s hand signs.
8. Teacher reviews the rule of placement for the students, and they read the notes
of the melody from the tone set written on the staff.
9. The students show the hand signs and use their inner hearing while the teacher
points to keep the beat. The teacher may hum an occasional note to help the
students.
10. The students read the known song from the staff aloud, singing with solfège
syllables and hand signs.
11. The students perform the exercise aloud, singing on a neutral syllable.

Transform a Melody
Transform a known song into an unknown song by sequentially changing rhythms and
pitches. This can be accomplished using traditional rhythmic notation and solfège syllables
or from the staff. The process:

1 . Sing known song.

2. Teacher transforms parts of song.
3. Students clap rhythm, say new rhythm syllables, and sing with solfège syllables.
116 4. Teacher transforms additional parts of a new melody. Students sing new song.

Form
Present mixed-up phrases of a known song written with traditional rhythmic notation and
solfège or on the staff, and have students correctly rearrange the song. The process:

1 . Teacher presents phrases out of order.

2. Students identify the song.
3. They arrange in proper order.
4. Sing song.

Inner Hearing
Aural Activities
Students read a known song from the teacher’s hand signs with solfège syllables and “hide”
a specific melodic motif that is indicated by the teacher. Melodic notes include notes from
the grade two curriculum.
Students read an unknown song from the teacher’s hand signs and “hide” a specific
melodic motif that is indicated by the teacher. Melodic notes include notes from the grade
two curriculum. The process:

1 . Sing song with text.

2. Sing song with solfège syllables and hand signs.
3. Sing song with solfège syllables and teacher will signal which measures to sing
silently.
 Students as Performers

Visual Activities
Students read a known song from rhythmic notation and solfège, or staff, and hide a spe-
cific motif that includes notes of the grade two curriculum. Students read from the staff and
sing on solfège with hand signs.
Students then read an unknown song from rhythmic notation and solfège, or staff, and
hide a specific motif that includes notes of the grade two curriculum. Students read from
the staff and sing on solfège with hand signs. The process:

1 . Sing song with text.

2. Sing song with rhythm syllables and solfège syllables and hand signs.
3. Sing song with syllables from notation; teacher indicates which measures to sing
silently.

Matching
Match song titles to written melodies that include notes of the grade two curriculum. The
process:

1. Teacher writes phrases on board.

2. Students identify sections from known songs.

Error Identification
Students read a known song and identify rhythmic or melodic errors that include notes of 117
the grade two curriculum. The process:

1 . The teacher or a student writes a sixteen-beat melody on the board.

2. Teacher or student sings, changing the notes.

Another student must identify the phrases and the beats where the changes occur.

Inner-Hearing Skills
Hand Signs
1 . Students follow teacher’s hand signs of known songs and inner-hear solfège.
2. Students follow and sing teacher’s hand signs and inner-hear specific solfège
syllables.
3. Teacher shows hand signs for a whole known song, and students inner-hear and
recognize the song.
4. Students “sing” the indicated measures of a song using inner hearing.

Tone Ladder
1 . Students follow teacher’s pointing to tone ladder and inner-hear solfège.
2. Students follow and sing from the tone ladder and inner-hear specific solfège syllables.
3. Teacher points out a whole song on the tone ladder, and students inner-hear and
recognize the song.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Rhythmic Notation or Staff Notation

1 . Students recognize a song from inner-hearing rhythmic or staff notation.
2. Sight read and memorize a simple melodic pattern without hearing it aloud.

Flash Cards and SMART Board

1 . Students inner-hear from flash card patterns.
2. Students sing three of the four melodic flash cards and inner-hear the last card;
then they switch the last card to something new and repeat.

Rhythm Activities
1. Teacher claps rhythm for a known song and students inner-hear and recognize
the song.
2. Teacher sings part of a known song; students inner-hear solfège syllables and clap
the rhythm for the second phrase.

Melodic Activities
1. Students inner-hear solfège written out without rhythmic notation and recognize
the song.
118 2. Students inner-hear a song written with traditional notation and solfège syllables.
3. Students inner-hear a song written on the staff.

Additional Inner-Hearing Activities

1. Students sing a melody with solfège syllables, and teacher indicates where
students should sing the melody silently.
2. Students read from a score, but the teacher indicates where they should sing
silently with inner hearing.
3. Teacher sings or plays a melody and students have to remember the first note of the
melody played. This exercise can be extended from short to longer melodic motives.
4. Students sing a well-known song and teacher claps a four-beat ostinato. Students must
clap and sing known song. This activity can be extended to an eight-beat ostinato.
5. Students sing a series of notes and teacher plays a series of notes above or below
these. Students must identify the intervals of the solfège of the melody sung or
performed by the teacher.

Writing Skills
Rhythm
Manipulatives
Students use manipulatives to create a visual representation of a new concept. The process:

1 . Teacher sings focus pattern on neutral syllable.

2. Student uses Unifix cubes or SMART Boards to create representation.
 Students as Performers

Fill in the Blank
Fill in the blanks of a known song. The process:

1 . Teacher and students sing song.

2. Teacher sings song on “loo” and students echo-sing with rhythm syllables.
3. Teacher has written song with missing measure or measures and students fill in
missing measures.

Traditional Rhythmic Notation

Students write the rhythmic notation of known and unknown motifs that include notes of
the grade two curriculum. The process:

1 . Sing the song and keep the beat.

2. The students sing the phrase and clap the beat.
3. They sing the phrase and clap the rhythm.
4. They sing the phrase with rhythm syllables.
5. They can draw a representation of the rhythm.
6. Teacher reviews how to write different sounds on the beat.
7. Students write the phrase with stick notation.
8. They add note heads.
9. They read notation with rhythm syllables.

119
Writing Melody
Manipulatives
Students use manipulatives to create a visual representation of a new concept. The process:

1 . Teacher sings focus pattern on neutral syllable.

2. Student uses Unifix cubes or SMART Boards to create representation.

Tone Set
Write the tone set of a song on the board as it is being performed, to include elements of the
grade two curriculum. The process:

1 . Sing song with text.

2. Sing song with solfège.
3. Inner-hear the song.
4. One student goes to the board and writes down highest to lowest pitches in the
song.

Traditional Notation with Solfège Syllables

Students write the rhythmic notation with solfège syllables of a known or unknown song, to
include elements of the grade two curriculum. The process:

1 . Sing the song and keep the beat.

2. The students sing the phrase and clap the beat.
3. They sing the phrase and clap the rhythm.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

4. They sing the phrase with rhythm syllables.

5. They can draw a representation of the rhythm.
6. Teacher reviews how to write different sounds on the beat.
7. Students write the phrase with stick notation.
8. They add note heads.
9. They read notation with rhythm syllables.
10. They sing the known phrase with solfège syllables.
11. They sing the example and add solfège syllables.
12. Practice the example on the hand staff.
13. Teacher presents students with the note heads on the staff, and students add
the stems.
14. Teacher presents them with the rhythmic notation, and students add the solfège
syllables.
15. Teacher presents them with notes on the staff, and students must add the note
heads and stems.
16. Simultaneously sing and write the melodic phrase on the staff.

Fill in the Blank
Students complete the empty measures of a known song with traditional notation and
solfège or on the staff. The process:

1 . Teacher and students sing song.

120 2. Teacher sings song on “loo” and students echo-sing with rhythm and solfège
syllables while conducting.
3. Teacher has written song with missing measure or measures, and students fill in
missing measures.

Fill in the Blank: Staff Notation

Fill in the blanks of a known song, with students completing the empty measures of a
known song in staff notation. The process:

1 . Teacher and students sing song.

2. Teacher sings song on “loo” and students echo-sing with rhythm and solfège
syllables while conducting.
3. Teacher has written song with missing measure or measures on the staff, and
students fill in missing measures.

Staff Notation
Students write known song or unknown song using staff notation where do = F, G, C. The
process:

1 . Students echo-sing and keep the beat.

2. Students echo-sing with rhythm syllables.
3. Teacher guides students to determine the solfège syllables through questioning:
○ T: “What is the solfège syllable for the last pitch?”
○ T: “What is the solfège syllable for the first pitch?”
4. Students sing with solfège syllables and hand signs.
 Students as Performers

5. Teacher guides students with hand staff to determine placement of pitches on

the staff.
6. Students write the melody on the staff.

Writing a Memorized Melody from Hand Signs Using Staff Notation

1 . Teacher writes rhythm of known song on the board.
2. Teacher performs melody with hand signs and students memorize.
3. Teacher provides students with the melody on the staff but with incomplete
measures. Students complete the missing measures.

Improvisation Skills
Actions
Improvise actions to a known chant. The process:

1 . Teacher and students sing known song.

2. Teacher chooses student to improvise actions on the beat or to text.

Choose Alternate Ending
Students clap the rhythm of a known song and choose an alternate ending from four
choices containing the musical element being practiced in a four-beat pattern. The
process: 121

1 . Students sing a known song.

2. Students identify the form.
3. Students sing the song with rhythm syllables.
4. Students sing the song with rhythm syllables but choose an alternative rhythmic
ending from four choices.

Rhythm Chain
Students improvise rhythm patterns. The process:

1. Students clap a four-beat rhythm pattern, one after the other, without pause, using
known rhythmic patterns.
2. In another version, students clap a four-beat rhythm pattern, one after the other,
without pause, using known rhythmic patterns; but they must repeat the four
beats of the previous student.

Improvise Rhythmic Ostinato

Students create a rhythmic ostinato to known songs. The process:

1 . Students sing a known song.

2. Teacher demonstrates an improvised rhythmic ostinato.
3. Students create their own rhythmic ostinato using known rhythmic elements.
4. A student performs rhythmic ostinato on a classroom percussion instrument
while class sings known song.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Improvise Rhythmic Variation on a Known Song

Students are challenged to fill in the missing measures of known songs with improvised
rhythms. The process:

1. Students are given the rhythmic notation of a known song. (Some of the measures
contain only “heartbeats” or beat bars.)
2. They sing the song, performing the rhythm where it is notated and patting the
beat elsewhere.
3. They perform the rhythm where it is notated and improvise
elsewhere.

Question and Answer
Students create a rhythmic question and answer. The process:

1. Clap a four-beat rhythmic question to a student; he or she must respond by

clapping back a four-beat answer.
2. Students may do this exercise without naming any of the rhythms. Later, they can
clap their answer and say rhythm syllables. Question-and-answer conversations
can continue as a chain around the class.

Improvise New Rhythms for Phrases of Known Form

Improvise new rhythmic phrases to a known form. The process:
122
1 . Teacher assigns each student a phrase of the form ABA’C.
2. Student 1 claps the rhythm of the A phrase.
3. Student 2 improvises phrase B.
4. Student 3 improvises a variant for phrase A’.
5. Student 4 improvises phrase C.

Melody
Actions
Improvise actions to a known chant. The process:

1 . Teacher and students sing a known song.

2. Teacher chooses students to improvise actions on the beat or to text.

Improvise Melodic Ostinato

Students create a four- or eight-beat melodic ostinato with known melodic elements. The
process:

1 . Students sing known song with text.

2. They sing known song with solfège syllables and hand signs.
3. Teacher sings a melodic ostinato, and students sing known song with solfège and
hand signs.
4. Teacher sings song and students improvise a new melodic ostinato.
 Students as Performers

Choose Alternate Ending
Students sing a known song and choose an alternate ending from four options that contain
the musical element being practiced in a four-beat pattern. Teacher gives students a series
of choices with just the beginning note and ending note. The process:

1 . Students sing known song with text.

2. They sing known song with solfège syllables and hand signs.
3. They sing known song with solfège syllables and hand signs but only tap beats for
the last phrase.
4. They sing known song with solfège syllables and hand signs but
choose to complete the ending for the song from four options provided
by teacher.

Improvise New Phrases to Known Form

Improvise phrases in a known song. The process:

1 . Teacher assigns each student a phrase of the form ABA’C.

2. Student 1 sings phrase A.
3. Student 2 improvises phrase B.
4. Student 3 improvises a variant for phrase A’.
5. Student 4 improvises phrase C.

Improvise New Form 123

Improvise a new form for a known song. The process:

1 . Students sing known song.

2. They analyze the form of the known song.
3. They change the form by improvising new melodies.
4. They perform the song with a different form.

Question and Answer
Students create an answer to a question. The process:

1. Teacher establishes the beat and sings a four-beat melody; students respond with a
different four-beat melody.
2. Sing a pattern and ask the students to change one beat. (This can also be done
visually and may be easier for some students.)
3. As students become more proficient, teacher lengthens the phrase or
changes the tempo. This leads to performance of melodic conversations.
Question-and-answer conversations can continue as a chain around the
class. Remember that it is best to begin the exercise using forms with these
ending notes:
A ends on so; A’ ends on do
A ends on re; B ends on do
A ends on so; B ends on do
A ends on re; B ends on do
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Movement
Create Movement to Form
Create movements that correlate to the form of a song or piece of music. The process:

1 . Students sing known song.

2. Discuss the form.
3. Students create movements for each section of the song (i.e., verse,
refrain).
4. Students perform the song with movements.

Musical Memory
Memorizing by Reading Hand Signs
Show typical melodic and rhythmic patterns and ask the students to sing patterns back that
include elements of the grade two curriculum. The process:

1 . Select a melody and show it with hand signs.

2. Students sing from hand signs in solfège syllables.
3. Students sing in canon with hand signs with solfège syllables.
4. Students sing in canon with hand signs with letter names.
5. Students write the melody from memory.
124
Memorization from Rhythmic Notation
Students look at a rhythmic score and memorize it. The process:

1 . Students inner-hear the notation with rhythm syllables.

2. They identify the form.
3. They chant the rhythm syllables out loud.
4. They chant the example with rhythm syllables from memory.
5. They may write the rhythm using rhythmic notation.

Memorization from Rhythmic Notation with Solfège Syllables

Students memorize a new piece of music from notation. The process:

1. Students look at a score and memorize a phrase of the musical example by silently
singing in their heads using hand signs.
2. They identify the form.
3. They sing the example with hand signs from memory.
4. They may write the melody using rhythmic notation and solfège syllables.

Memorizing from Staff Notation

Students memorize a new piece of music from staff notation. The process:

1. Students look at a score and memorize a phrase of the musical example by silently
singing in their heads using hand signs.
 Students as Performers

2. If some phrases of the musical example are known and others unknown, the
students may sing the known phrases and the teacher may sing the unknown
phrases. They listen and learn the unfamiliar phrases.
3. They may write the melody using rhythmic notation and solfège
syllables.

Inner-Hearing Memorization
Students are given an unknown piece that contains known elements to learn without sing-
ing aloud. The process:

1 . Students inner-hear the example with rhythm syllables and keep the beat.
2. They inner-hear the example with solfège syllables and hand signs.
3. They identify the form of the example.
4. They write down the example from memory.

Memorizing by Ear
Teacher plays a musical phrase on the piano, and students memorize by ear by following
this process:

1 . Students identify the meter.

2. They sing the example with rhythm syllables.
3. They identify the solfège syllables for the ending and starting pitches. 125
4. They sing the example with solfège syllables and hand signs.
5. They sing the example with absolute pitch names and hand signs.
6. They write the exercise or play it back on the piano.

Understanding Form
Aural
Here is the process for aurally recognizing same, similar, or different phrases in a song:

1 . Teacher sings first phrase.

2. Students sing second phrase, alternating phrase by phrase until song
is complete.
3. Students verbally identify the form.

Aurally Identify the Form of a Known Folk Song

Teacher or another student performs a known folk song and students identify the form.

Aurally Identify the Form of an Unknown Folk Song

Teacher or another student performs unknown folk song, and students identify the form.

Demonstrate Knowledge of Form Through Aural Improvisation

1 . Teacher assigns individual students form letter names (A, A’, B, C, etc.).
2. Student 1 begins exercise by singing the A phrase.
3. Other students sing phrase variants in the order chosen by teacher (AA’BA;
AAA’A; ABA’C).
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Rhythmic Question and Answer

1. Teacher claps a four-beat rhythmic question and students answer with a different
four-beat pattern.
2. Students create a chain of four-beat rhythmic questions and answers.
3. Teacher sings one phrase from a song and students sing an answer to the phrase
with rhythm syllables.

Melodic Question and Answer

1. Teacher sings one phrase from a song and students sing an answer to the phrase
with solfège syllables and hand signs.
2. Students create a chain of four-beat melodic questions and answers.

Changing the Rhythmic Form of a Folk Song

1. Students label the rhythmic form of a folk song and create a different rhythm for
a phrase. If the form is ABAC, teacher erases the C and has students create a new
rhythmic pattern for C.
2. Students label the form of a folk song and change the song to reflect a new form.

Create the Form
1 . Students create sixteen-beat rhythmic composition using the form of a folk song.
2. Form game (“Form in a Bag”).
126 3. One student starts the game by creating a four-beat melodic or rhythmic pattern
that establishes the A phrase.
4. Second student draws from the AB bag so that they will either repeat the A phrase
or create a new B phrase.
5. Third and fourth students draw from the ABC bag, and they will repeat A, repeat
B, or create or repeat phrase C.

Movement
1 . Students label the form of a known folk dance.
2. Students create a dance to show the form of the music.
3. Students are in groups of four and stand in the shape of a diamond. They all face
the same direction, and the lead student improvises movement for phrase A,
which everyone copies. At the end of phrase A, students turn to the right, giving
the group a new leader. If the second phrase is the same as A, then the leader does
the same movement from A, and if it’s a new phrase, the leader will create a new
movement for all to follow. This pattern repeats until all students have been the
leader. Teacher leads the music by signing or playing an instrument.

Visual
Visually Identify the Form of a Known Folk Song
Students visually identify the form of known folk songs being performed.

Visually Identify the Form of an Unknown Folk Song

Students visually identify the form of unknown folk songs being performed.
 Students as Performers

Writing
Students write to demonstrate knowledge of form.

1 . Teacher sings song on “loo” while students draw phrases in the air.

2. Teacher draws arches to represent the phrases on the board while students sing
on “loo.”
3. Teacher chooses student to label the form on the board with letters (ABAA,
ABAB, etc.).

Students demonstrate knowledge of form through written improvisation (composition).

1 . Teacher writes the time signature and bar lines, leaving the measures empty.
2. Teacher writes a form pattern on the board (AA’BA; AAA’A; ABA’C).
3. Students write their compositions to the given form.

Creative Movement
Students portray form through creative movement.

1 . Teacher and students sing known song.

2. Students choose body motions to represent the phrases (different or same).

Rhythmic Question and Answer

1. Students read a rhythmic phrase from a known song, and one student sings an
127
answer to the phrase.
2. Students clap a four-beat rhythmic question written on board, and one student
answers with a different four-beat pattern.
3. Students create a chain of four-beat rhythmic questions and answers.

Changing a Folk Song
1. Students label the form of a folk song and create a new part using the form. For
example, for an ABAC form, teacher erases the C and has students create and
write a new C ending.
2. Students label the form of a folk song and change the song to reflect a new form.

Create the Form
1 . Students create a sixteen-beat rhythmic composition using the form of a folk song.
2. Form game (“Form in a Bag”).
3. One student starts the game by creating a four-beat melodic or rhythmic pattern
that establishes the A phrase.
4. Second student draws from the AB bag so that students will either repeat the
A phrase or create a new B phrase.
5. Third and fourth students draw from the ABC bag, and they will repeat A, repeat
B, or create or repeat phrase C.

Movement
1 . Students label the form of a known folk dance.
2. They create a dance to show the form of the music.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

3. Students are in groups of four and stand in the shape of a diamond. They all face
the same direction, and lead student improvises a movement for phrase A, which
everyone copies. At the end of phrase A, students turn to the right, giving the
group a new leader. If the second phrase is the same as A, then the leader does
the same movement from A, and if it’s a new phrase, the leader will create a new
movement for all to follow. This pattern repeats until all students have been the
leader. Teacher leads the music by signing or playing an instrument.

Listening Examples for Movement

The movement examples in Table 4.1 can be used as an introductory activity for every
lesson and are part of the “body warm-up” for students. We recommend choosing a move-
ment piece that connects to the next singing activity in the lesson. Look for examples that
are in the same meter, tempo, tonality, key, and dynamics as the next song in the lesson.
Recorded examples for movement may also include some of the listening repertoire that
students will later read and listen to in the music lesson. The table is a sample of exam-
ples that were developed by teachers in the Kodály Certification Program at Texas State
University in 2014.

Table 4.1

128 CLASSICAL
Title Composer/ Key/Style/Features
Performer
Canon in D Johann Pachelbel Major, legato movement, slower
(1653–1706) tempo
“Anvil Chorus,” from Il Giuseppe Verdi Major, contrasting styles, dynamic
Trovatore (1813–1901) contrast
“In the Hall of the Edvard Grieg Minor, accelerando
Mountain King” (1843–1907)
“Spring,” from The Four Antonio Vivaldi Steady beat, texture, major tonality,
Seasons (1678–1741) do
“March of the Toy Peter Ilyich Major, steady beat, orchestra
Soldiers,” from The Tchaikovsky families
Nutcracker (1840–1893)
JA Z Z
Title Composer/ Key/Style/Features
Performer
“In the Mood” Glen Miller Form, major, dynamics
Orchestra
(1904–1944)
“It Don’t Mean a Duke Ellington Scatting, improvisation, minor
Thing” (1899–1974)
“Sing, Sing, Sing” (with Benny Goodman Minor, form, fast
a Swing) (1909–1986)
(Continued)
 Students as Performers

Table 4.1 (continued)

Title Composer/ Key/Style/Features

Performer
“A Tisket, a Tasket” Folk Song/ Major and minor tonalities, form
Ella Fitzgerald
(1917–1996)
“All the Cats Join In” Benny Goodman Beat, movement improvisation
(1909–1986) with solo instrument features
beginning at 2:58
“Sonando” Pancho Sanchez Movement, Cuban jazz, variation
(b. 1951) on instruments and vocals
“Jump Jive an’ Wail” Louis Prima Movement, major, quadruple
(1910–1978) meter, walking bass
“Rhumba de Burros” Ignatius Jones Rhumba beat, Spanish, big band,
(b. 1957) percussion, major vocal and
instrumental sections
“My Favorite Things” John Coltrane Dynamics, triple meter
(1926– 1967)
P OP U L A R
129
Title Composer/ Key/Style/Features
Performer
“Apache” (Jump on It) Sugarhill Gang, Steady beat, rap, strong and weak
from the album beat
8th Wonder
(released 1981)
“I Like to Move Dreamworks Fast tempo throughout, high
It, Move It,” from film 2005; Reel energy
Dreamworks’ 2 Real (released
Madagascar 1993)
“Good Feeling” Flo Rida, from Strong beat, contrasting sections,
the album Good fast tempo, rap
Feeling (released
2012)
“Tribal Dance” 2 Unlimited, Rhythmic elements, strong beat,
from the album rap, high energy
No Limit
(released 1993)
“Pata Pata” Miriam Makeba Movement, African popular dance,
(1932–2008) major
“Three Little Birds” Bob Marley Major tonality, verse and refrain,
(1945–1981) quadruple meter
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 4.1 (continued)

“Thank God I’m a John Denver Major, duple and triple (mixed
Country Boy” (1943–1997) meter) allegro, folk style
“Roar” Katy Perry Body movement, major,
(released 2013) syncopation, quadruple meter,
dynamics
“Best Day of My Life” American Body movement, quadruple meter,
Authors D major, moderate tempo
(released 2013)
“Singin’ in the Rain” Gene Kelly Body movements, quadruple
(1912–1996) meter, F major, swing
“Ghost Busters” Charlie Parker Jr. Halloween, pop/rock, major,
(b. 1954) instrumental and vocal
F OL K
Title Composer/ Key/Style/Features
Performer
“Chilili” Bolivian folk song Good for form, fast-paced

130 “Carnavalito” Brazilian folk Good for form or beat, skip game
song
“Henehene Kou’Aka” Israel Hawaiian dance movements
Kamakawiwo’ole
(1959–1997)
“The Fox” Nickel Creek Folk orchestration, major
(released 2000)

Part-Work Skills
As you begin to implement these activities into your lessons, follow this teaching sequence.

1. Teacher and class.
2. Class and teacher.
3. Divide the class into two groups, each performing its own part. Switch.
4. Two small ensembles, each performing its own part.
5. Two students, each performing his or her own part.

This section gives techniques and activities that are divided between simpler and more
advanced part work. The activities are useful for helping students learn simpler repertoire.
Once they have mastered these activities with easier repertoire, the transition to perform-
ing more complex musical examples will occur more quickly.
 Students as Performers

Keep a Beat
Sing a folk song while marching, walking, or in some way moving to the beat. Performing a
song while keeping the beat requires students to concentrate on two tasks at the same time.
This activity is valuable in both the classroom and the choral rehearsal.

Keep a Beat and Demonstrate Music Comparatives

Once students can sing and perform the beat both accurately and musically, add the task of
altering tempo and dynamics. To accomplish this, the students will need a strong founda-
tion in being able to demonstrate music comparatives such as slow and fast, high and low,
loud and soft, duple meter beat (marching), and compound meter beat.

Call-and-Response or Antiphonal Singing

Although students perform only one phrase of music in a call-and-response song,
they must eventually learn to sing both phrases if they are going to be able to sing
rhythmically and musically. Developing this ability requires audiation practice (using
inner hearing). Call-and-response singing may be applied to folk songs (you may
also think of call and response as responsorial singing). Some simple examples of
call-and-response songs are “Skin and Bones,” “Charlie over the Ocean,” and “Pizza,
Pizza.”
131
Pointing to a Beat
Perform or point to a visual of the beat in a song while singing. This “tracking” ability pro-
motes more fluent music reading and reading in general. Students may also keep the beat
by performing it on a percussion instrument.

Clapping the Rhythm
Sing a song while clapping the rhythm. This can be accomplished in a number of ways.
Students need to perform this activity musically, and always according to the phrase.
They may sing while clapping (we suggest clapping with two fingers) the rhythm or
performing the rhythm on a percussion instrument. Two students may perform a sim-
ple folk song, one performing the beat while the other does the rhythm; use different
timbres for beat and rhythm. The teacher may write the rhythm of a known song on
the board and place the beat below the rhythmic notation. Two students can go to
the board and perform the song, with one pointing to the beat and the other to the
rhythm.

Tapping on Specified Beat
When students are singing familiar melodies, ask them to tap on the strong beats while
singing. Or they might tap on the rests in a known song or the beginning of each phrase.
This activity may also be done with a musical instrument.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Singing the Final Note of a Composition

The teacher sings a known melody but does not sing the final note; students must fill it in.
This activity helps them understand the tonal strength of each note. An interesting activity
is to have students explore alternative endings to known compositions. This strengthens
their understanding of harmonic functions and voice leading.

Finding the Tonic Note of a Composition

This exercise can be performed with known songs, known canons, or new songs. The
teacher sings a known song to the students and stops in the middle. Students must identify
the tonic of the melody. They sing a canon; the teacher signals a pause. Students then must
sing the tonic note.

Creating Organ Points on a Specified Beat

Guide students to sing the first note of each phrase of a known composition on a neutral
syllable or to sustain a note in phrase for the length of the phrase. This could be the tonic
note of the known melody. This activity is most successful when the students sing and the
teacher provides an accompaniment.

Rhythmic Ostinato
132
An ostinato is a repeated rhythmic or melodic motive used to accompany a song. Here we
offer a procedure for performing a rhythmic ostinato. Singing songs with hand-clapping
movements can also be included in this category. For example, the singing game “Four
White Horses” has specified hand-clapping movements to perform while singing the song.
Depending on the age of the students, you may use several ostinatos together.
The students sing the melody while the teacher claps a rhythmic ostinato or sings a
melodic ostinato. (It is important, when teaching students a knowledge of rhythm, that
the students do not develop their knowledge of rhythm on the basis of visual clues. The
teacher should always make sure the students hear the new rhythm pattern being clapped,
as opposed to it being seen.) Use this process:

1. The students sing the melody while the teacher claps a rhythmic ostinato or sings
a melodic ostinato.
2. The students and the teacher exchange parts.
3. Divide the students into two groups, one group to sing and the other to perform
the ostinato. Switch tasks.
4. Two students perform the work.
5. One student sings while performing the second part. More advanced students can
perform the ostinato on percussion.

Performing Rhythm Canons Based on Simple Rhythms

These canons are based on simple rhymes or rhythms of very simple melodies. Begin the
canon after one measure. Rhythm syllables can be used to perform the canons. It is useful
to practice both types of canons with familiar material before moving on to unknown rep-
ertoire. Although the rhythms of many folk songs can work well when performed in canon,
 Students as Performers

the best songs for this type of activity are those that have a rest at the end of every phrase. A
good example is “Bow Wow Wow.” Perform the canon with two timbres. The process:

1 . Teacher and class.

2. Class and teacher.
3. Divide the class into two groups; each performs its own part. Switch.
4. Two small ensembles, each performing its own part.
5. Two students, each performing one part.
6. Have the students begin to clap the rhythm of a simple song; the teacher can clap
in canon. Once they are comfortable with hearing the canon, the teacher and
students can reverse roles. Canons may be performed kinesthetically, aurally, and
visually, or using a combination of techniques.

Performing a Kinesthetic Canon
The teacher performs a rhyme with a beat motion for every four beats. The students follow
in canon, performing the rhythm as well as the beat motion. For example, say “Ali Baba
forty thieves” while tapping four beats. Now say it and tap the beats on different parts of
your body, and have students imitate. Once students are proficient at this activity, perform
it in canon after four beats with text. You could also perform a rhythm and have students
clap it back after two or four beats.

133
Performing a Visual Rhythm Canon with Rhythm Syllables
The goal of this activity is for students to read a rhythm in canon. The canon can be per-
formed by the teacher and students, or just by the students. To perform a rhythm canon
visually, have students read rhythm flash cards of the rhyme or melody to be used for the
canon. The teacher should keep a steady pulse but show the card quickly and move on to
the next card while the students are still performing the rhythm of the first card. In other
words, give the students a brief look at every card in succession. The speed of this process
may be increased so that the students are always saying something different from what they
are seeing. Students should perform the canon by reading with rhythm syllables.

Performing an Aural Rhythm Canon with Rhythm Syllables

Performing aural canons can be more challenging than visual canons. Aural rhythm canons
are performed without the aid of notation. If a motion is attached to a phrase, the exercise
is simple to perform. Echo clapping is a preliminary preparation for aural canon work. This
task can be made more complex by having students clap back the rhythm while chanting or
singing the rhythm syllables.

Performing Simple Rhythm Canons Based on Simple Folk Songs

These canons are based on the rhythms of very simple melodies. Rhythm syllables can be
used to perform the canons. Here is a procedure for performing a rhythmic canon.

1 . Perform the song with actions and words.

2. Sing the song with rhythm syllables and keep the beat.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

3 . Say rhythm syllables while clapping the rhythm.

4. Think the rhythm syllables and clap the rhythm.
5. Teacher taps the rhythm using a drum or wood block; students clap and say the
rhythm syllables beginning after four beats.
6. Teacher writes the canonic part below the notation of the song. T: “Where
should we begin writing the second part? What should be written in the empty
measures?”
7. Teacher and students may perform in canon after two beats.
8. Challenge a student to sing while pointing to the notation in canon.

Drones
Students sing a folk song as the teacher accompanies the students’ singing with a tonic
drone. As they gain fluency with this technique, they can sing a drone made up of the
tone and dominant notes to accompany known pentatonic melodies. Drones may be
sung as held notes to each phrase, or they may be sung on the strong beats of each
measure.
Sometimes a teacher might sing an accompanying melody primarily made up of
a dominant drone to accompany a pentatonic song. This is an excellent technique
for developing in-tune singing. Pentatonic and diatonic melodies provide a good
basis for the development of functional and harmonic thinking. For do-centered and
la-centered pentatonic songs, accompany the song by having a group of students sus-
134 tain the tonal center while the class performs the song. This pitch is the chord root
note of the tonic triad. These songs may also be accompanied by a drone made up
of do-so or do-mi-so (major tonic triad) for do pentatonic repertoire and la-mi or
la-do-mi (minor tonic triad) for la pentatonic repertoire. Be mindful that sustained
pitches tend to go flat.

Melodic Ostinato
Students accompany known songs with melodic ostinatos. Melodic ostinati should be based
on the melodic building blocks of known song repertoire. This activity is only appropriate
for classes that have a good number of independent, strong singers.

Combining Drones and Melodic Ostinatos

Divide the class into three groups. One group sings the folk song. A second group accom-
panies the folk song with a drone composed of the tonic note or tonic and dominant notes,
and a third group sings a melodic ostinato.

Instrumental Performance Skills
Students should be guided to recognize the timbre of all pitched instruments (xylophones,
wood instruments, metallophones, and glockenspiels) as well as nonpitched instruments
(tambourine, wood blocks, guiro, cowbell, triangle) both aurally and visually. Students
should be made aware of the wood versus metal nonpitched percussion instruments. As
always, instruments should complement singing rather than be an additive element.
 Students as Performers

Appropriate Instruments
Xylophone: for playing a moving drone, ostinato, and melodies; two mallets striking
Recorder: more extended range
Claves: rhythmic ostinatos
Rhythm sticks: rhythmic ostinatos
Guitar: for playing chords
Keyboard: accompaniment
Drums: emphasize the beat
Tambourine: beat and rhythm

Teaching Progression
1. Beginning music examples should be derived from known singing material. Sing
the song with text.
2. Perform the music with rhythm syllables and conduct.
3. Perform the music with solfège syllables and hand signs.
4. Connect the fingering to solfège syllables and perform.
5. Read the music with rhythm syllables and conduct.
6. Read the music solfège syllables and hand signs.
7. Sing the music with letter names and hand signs
8. Perform the example but inner-hear the solfège syllables.
135
Reinforce Concepts Using Instruments
• Beat. Use simple percussion instruments to keep the beat of a rhyme or folk song.
• Beat and rhythm. Use simple rhythm instruments to perform the beat and then
the rhythm of a folk song; then use them to perform the beat and rhythm of the
folk song simultaneously.
• Rhythmic ostinati. Use simple rhythmic instruments to perform a rhythmic
ostinato (a repeated rhythmic pattern) to a folk song. Then use them to perform
two simultaneously sounding ostinati to a folk song.
• Melodic ostinati. Use glockenspiels, xylophone, metallophones, and melody bells
to perform a melodic ostinato to a folk song.

Canons
Instruments may be used for playing canons in the classroom.

Rhythmic Canons
1. Teacher performs a known rhythmic pattern in canon with students clapping the
rhythmic pattern. Use simple rhythmic instruments.

Melodic Canons
1. Teacher performs a folk song in canon with students on a pitched percussion
instrument.
2. Teacher performs a folk song on a piano in canon with students.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

3 . Teacher performs a folk song on guitar in canon with students.

4. Teacher performs known melodic pattern on guitar and students echo with
solfège syllables.

Listening
These activities may be used with instruments for developing listening.

1 . Teacher performs or introduces a new song on a pitched percussion instrument.

2. Teacher performs an excerpt from a listening example on a nonpitched
instrument before playing the recording for the students.
3. Teacher performs an excerpt from a listening example on the recorder before
playing the recording for the students.
4. Teacher performs or introduces a new song on the recorder.
5. Teacher performs an excerpt from a listening example on an instrument before
playing the recording for the students.

Transitions
These activities put instruments to use in transitioning from one segment of a lesson to another:

1. Teacher performs a rhythmic ostinato on a classroom instrument to accompany a

136 folk song and maintains the ostinato to transition in to the next song in the lesson.
2. Teacher performs a melodic ostinato on a classroom instrument to accompany a
folk song and maintains the ostinato to transition in to the next song in the lesson.

Aural Rhythmic Practice

Teacher performs known rhythmic pattern on nonpitched percussion instrument and stu-
dents echo with rhythm syllables.

Aural Melodic Practice

1. Teacher performs known melodic pattern on pitched percussion instrument and
students echo with solfège syllables.
2. Teacher performs known melodic pattern on recorder and students echo with
solfège syllables.
3. Teacher performs known melodic pattern on piano and students echo with
solfège syllables.

Writing Rhythmic Practice

1. Teacher performs the focus pattern or related pattern of a rhythmic concept on
a nonpitched percussion instrument and students write missing beats or whole
pattern on the board.
2. Teacher performs the focus pattern or related pattern of the concept on piano and
students write missing beats or whole pattern on the board.
 Students as Performers

Writing Melodic Practice

1. Teacher performs the focus pattern or related pattern of a melodic concept on a pitched
percussion instrument and students write missing beats or whole pattern on the board.
2. Teacher performs the focus pattern or related pattern of a melodic concept on a
recorder and students write missing beats or whole pattern on the board.
3. Teacher performs the focus pattern or related pattern of a melodic concept on
guitar and students write missing beats or whole pattern on the board.

Creative Movement Skills
Improvisation
Students improvise a number of motions to a song.

1 . Teacher and students sing “Little Johnny Brown.”

2. One student chooses a movement and picks a friend for the next turn.
3. Students repeat the process.

Form
Students choose movements to the form of the song.

1 . Teacher and students sing “Cumberland Gap.”

137
2. Students choose locomotor movement for one phrase (jog, walk, march).
3. Students choose a nonlocomotor movement for a different phrase.

Ostinati
Students demonstrate creative movement through ostinato (body percussion).

1. Students create simple four-beat ostinato using two levels of body percussion
(snap, clap, pat, stomp).

Props
Students use props to show creative movement.

1. Students move to sung or recorded music using props, such as scarves or ribbons,
matching the mood of the piece.

Hand Games
Create hand games with a partner.

1 . Teacher and students sing “Long Legged Sailor.”

2. Students create movements with a partner on words, such as “short,” “long,”
“bow-legged,” etc.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Extensions
Create game extensions.

1. Students create different ways to play singing games other than how they have
learned them.

Square Dancing Concepts

“Do-Si-Do” Movement
1 . Teacher and students sing “Old Brass Wagon.”
2. Students learn to pass facing each other, right shoulder to right shoulder, back to
back, left shoulder to left shoulder, and end up face to face.

Stealing of a Partner

1 . Teacher and students sing “Old Betty Larkin.”
2. Students learn how to “steal” a partner from another student.
3. On the third verse, an extra student enters the circle by joining a couple, causing
another to be displaced and become the new “stealer.”

Side-Close Step
1 . Teacher and students sing “Great Big House in New Orleans.”
2. Students step to the side with their right foot on the strong beats and close with
138 left foot, ending with both feet together on the weak beats.
3. Students perform motions while singing and keeping the beat.

Double Circle
1 . Teacher and students sing “Fed My Horse.”
2. Students form two circles, inside and outside.
3. Students face partners.
4. Students in the outside circle perform a side-close step.

Listening Examples for Grade 2

Concepts and Elements
Listening examples will also include songs that the teacher sings to children and may not
include new element.

do
Live Performance
1. “The Darby Ram”
2. “Old Chisholm Trail”

Recorded Performance
1 . “Allegro,” from Symphony No. 1, by W. A. Mozart (1756–1791).
2. “Cuckoo,” from Carnival of the Animals, IX, by Camille Saint-Saëns (1835–1921).

Half Note
Live Performance
1. “Skin and Bones”
 Students as Performers

2 . “Old Betty Larkin”

3. “The Sailor’s Alphabet”

Recorded Performance
1. “Great Gate of Kiev,” from Pictures at an Exhibition, by Modest Mussorgsky
(1839–1881).
2. Violin Concerto in D, Movement 1, by Ludwig van Beethoven (1770–1827).
3. A Short Story, Op. 27, Book 1, No. 13, by Dimitri Kabalevsky (1904–1987).
4. “Death of Ase,” Movement 6, from Peer Gynt Suite, No. 1, Op. 46, by Edvard Greig
(1843–1907).
5. Three Rondos on Folk Tunes, No. 1, by Béla Bartók (1881–1945).

re
Live Performance
1. “Jubilee”
2. “Old Roger”
3. “The Longest Train”
4. “Give My Love to Nell”

Recorded Performance

mi-re-do 139

1. “Hot Cross Buns,” from Six Songs on Mother Goose, by Donald Draganski (1936–),
sung by Anita Rieder.
2. “Carillon,” from L’Arlésienne, Suite No. 1, by Georges Bizet (1838–1875).

la-so-mi-re-do

1. “Who’s That Tapping at the Door?” from the album American Folk Songs for
Children, sung by Mike and Peggy Seeger.

Sixteenth Notes
Live Performance
1 . “Sail Away, Ladies”
2. “Shady Grove”
3. “Pourquoi”
4. “The Derby Ram”

Recorded Performance
1. “Knight Rupert,” from Album for the Young, No. 12, by Robert Schumann
(1810–1856).
2. “Andante” (Variation 3), from Symphony No. 94, by Joseph Haydn
(1732–1809).
3. Rondo Alla Turca, for piano, by W. A. Mozart (1756–1791).
4. “Solfeggetto,” for piano, by C. P. E. Bach (1714–1788).
 Kodá ly in t he Se c ond G r a de Cl a ssro om

5. “Solfeggetto,” by C. P. E. Bach (1714–1788), sung by the Swingle Singers from the

album Anyone for Mozart, Bach, Handel, Vivaldi?
6. “Solfeggetto,” by C. P. E. Bach (1714–1788), performed by Vernizzi Jazz Quartet
and Corrado Giuffredi, Arts Crossing, 2006.
7. “Prelude in C Minor,” from Book 1 of the Well-Tempered Clavier, by J. S. Bach
(1685–1750)
8. “Paw Paw Patch,” from Folksongs and Bluegrass for Children, performed by Phil
Rosenthal, Rounderkids, 2000.

do Pentatonic Scale
Live Performance
1 . “The Cherry Tree Carol”
2. “King Kong Kitchie”
3. “Brave Boys”
4. “Mama, Buy Me a Chiney Doll”

Recorded Performance
1 . “Largo,” from Symphony No. 9, by Antonin Dvořák (1841–1904).
2. “Mexican Dance,” from Billy the Kid Suite, by Aaron Copland (1900–1990); this
uses the folk tune “Good Bye Old Paint,” which is a pentatonic melody.
3. Mikrokosmos, Vol. 3, No. 78, by Béla Bartók (1881–1945).
140
Quadruple Meter
Live Performance
1 . “Hush, Little Minnie”
2. “The Ballad of Springhill”
3. “The Avondale Mine Disaster”

Recorded Performance
1. “March,” from The Love of Three Oranges, by Sergei Prokofiev (1891–1953).
2. “Tortoises,” from Carnival of the Animals, by Camille Saint-Saëns (1835–1921).

Lesson Planning
Designing a Preparation/Practice Lesson Plan Design That
Includes Music Skills
In this chapter, we have presented activities for developing a student’s singing voice, move-
ment skills, and instrumental skills, as well as how the teacher can develop music literacy
skills. As a result of the information contained in this chapter, we can make certain modifi-
cations to our basic preparation/practice lesson plan, by developing appropriate:

• Creative movement activities for students

• Instrumental activities for them
 Students as Performers

• Reading, writing, and improvisation activities

• Inner-hearing activities
• Listening activities
• Part-work skills

Table 4.2 presents a preparation/practice lesson plan template that shows how the infor-
mation from this chapter can now be used to modify a lesson plan design. We have
bolded the sections of the lesson plan that can be modified to incorporate material from
Chapter 4.

Table 4.2  Preparation/Practice Lesson Plan Design

I N T ROD U C T I ON
Demonstration of known Body warm-ups and breathing exercises.
musical concepts and Ss demonstrate their prior knowledge of repertoire and
elements musical elements through performance of songs selected
from the alphabetized repertoire list.
These songs may be accompanied by rhythmic or melodic
instruments.
C OR E AC T I V I T I E S
Acquisition of repertoire Teach a new song by rote using an appropriate teaching 141
technique.
Preparation of a new Learning activities in which Ss are taught a new musical
concept concept through known songs found in the alphabetized
repertoire list.
Movement development Focus on sequential development of age-appropriate
movement skills through songs and folk games.
Practice and musical skill Ss reinforce their knowledge of musical concepts and
development elements working on the skill areas of reading and
writing, form, memory, inner hearing, ensemble work,
instrumental work, improvisation and composition, and
listening through known songs found in the alphabetized
repertoire list.
C L O SU R E
Review and summation Review of lesson content; and T may perform the next new
song to be learned in a subsequent lesson found in the
alphabetized repertoire list.

When repertoire and selected activities are applied to the preparation/practice lesson
framework, the lesson itself becomes more visible. The lesson plan in Table 4.3 includes
repertoire and several activities; some procedural portions of this lesson have been
removed.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 4.3  Grade 2: re, Lesson 3

Outcome Preparation: creating a visual representation of re, a pitch between mi

and do
Practice: improvise music with rhythm syllables using quarter, eighth,
and half notes, and quarter rests
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Star Wars Imperial March, by John Williams (1932–)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Rocky Mountain”
songs CSP: F
• Ss sing the song and show the phrases.
“Cumberland Gap”
CSP: A
• Ss sing the song and pat the beat.
142 Develop tuneful “Button, You Must Wander”
singing CSP: F
Tone production • Ss sing the song and then sing in canon after two beats.
Diction • Ss sing each phrase of the song as follows: mi-oh mi-oh mi mi mi
Expression mi mi mi
• Continue singing all phrases with mi-oh
Review “Bounce High, Bounce Low”
known songs CSP: A
and melodic • Ss sing the song.
elements • Ss sing the song with solfège syllables and hand signs.
• T sings phrases of the songs and Ss echo-sing with solfège syllables
and hand signs.
• T sings phrase 1 of “Rocky Mountain,” phrases 1, 2, and 3 of “Bow Wow
Wow,” and phrases 1 and 3 of “Here Comes a Bluebird,” or other known
songs that use the solfège syllables la so mi and do; Ss echo-sing using
solfège syllables and hand signs.
• Ss continue to sing the last phrase as an ostinato into the new song.
C OR E AC T I V I T I E S
Teach a new “Paw Paw Patch”
song CSP: F
• T sings while Ss pat the beat.
• T may briefly explain what a “paw paw” is.
• T sings; Ss play the game.
• After two or three cycles, Ss sing with T and play the game.
(Continued)
 Students as Performers

Table 4.3 (continued)

Develop “Hot Cross Buns”

knowledge of CSP: A
music literacy • Ss sing the song.
concepts • Review kinesthetic and aural activities.
Create a • T sings the target phrase on “loo” and asks the class to
representation of create a visual representation of the target phrase. Ss may use
what you hear manipulatives.
• T: “Pick up Unifix cubes and recreate what you heard.”
• Ss share their representations with each other.
• T invites one S 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.
• Ss sing the first phrase of “Hot Cross Buns” with a neutral syllable
and point to their representation.
• Ss identify the rhythm of the target phrase with rhythm syllables
and T notates this rhythm.
Creative “Let Us Chase the Squirrel”
movement CSP: F
• Ss sing and play the game. 143
Practice and “Here Comes a Bluebird”
performance CSP: C
of music • Ss sing the song.
literacy skills • Ss read the target phrase from the board with rhythm syllables and
Improvisation pat the beat.
• T labels this as a “question” phrase.
• Ss clap the question phrase and T claps an eight-beat response.
Perform several times.
• T notates his or her “answer” phrase on the board.
• T asks the question; Ss perform the answer.
• Repeat with three or four other options.
• Ss perform the question and individual Ss perform an
answer, or they create their own answer using half,
quarter, and eighth notes and quarter rests. They
can perform their answers with rhythm
syllables.
• Ss perform the question and one S performs an answer with
rhythm syllables, or they create their own answer without saying
the rhythm syllables.
SUM M A RY AC T I V I T I E S
Review lesson “Paw Paw Patch”
outcomes CSP: F
Review the new
song
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Designing a Presentation Lesson Plan Template that Includes

Music Skills
Table 4.4 is an example of a presentation lesson plan template. We want to show how the
information in this chapter can be incorporated into this lesson.

Table 4.4  Presentation Lesson Plan Design for Labeling Sounds

with Syllables

I N T ROD U C T I ON
Demonstration Body warm-ups and breathing exercises
of known Ss demonstrate their prior knowledge of repertoire and musical elements
musical concepts through performance of songs selected from the alphabetized repertoire list.
and elements These songs may be accompanied by rhythmic or melodic instruments.
C OR E AC T I V I T I E S
Acquisition of Teach a new song by rote using an appropriate teaching technique.
repertoire
Presentation of T presents the syllables for the new musical element in the focus pattern
new element of a known song.
Movement Known song or game found in the alphabetized repertoire list.
144 development Focus on sequential development of age-appropriate movement skills
through songs and folk games.
Presentation of T presents the syllables for the new musical element in a related pattern of
new element a known song.
C L O SU R E
Review and Review of lesson content; T may perform the next new song to be learned
Summation in a subsequent lesson found in the alphabetized repertoire list.

Again, when repertoire and selected activities are applied to in a lesson, the lesson plan-
ning process itself becomes more evident. The lesson plan in Table 4.5 includes activities
appropriate to a presentation lesson.

Table 4.5  Grade 2: re, Lesson 5

Outcome Presentation: notation strategies for re, a pitch between mi and do

I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Largo,” from Symphony No. 9,” by Antonin Dvořák (1841–1904)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: Explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
(Continued)
 Students as Performers

Table 4.5 (continued)

Sing known songs “Button, You Must Wander”

CSP: D
• Ss sing the song and keep the beat.
“Tideo”
CSP: F-sharp
• Ss sing the song.
• Ss sing the song and add a simple ostinato: 2$qQ\sdq>
Develop tuneful “Let Us Chase the Squirrel”
singing CSP: F
Tone production • Ss sing the song.
Diction • Ss sing song with solfège and hand signs and T hums a tonic drone.
Expression • T divides class into two groups: Group 1 sings a do drone and
Group 2 sings phrases from song with solfège and hand signs
from T’s hand signs.
Review known “Snail, Snail”
songs and melodic CSP: A
elements • Ss identify the song from T’s humming.
• Ss sing song with solfège and hand signs.
• T sings phrase 1 of “Rocky Mountain,” phrases 1, 2, and 3 of
“Bow Wow Wow,” and phrases 1 and 3 of “Here Comes a 145
Bluebird,” or other known songs that use the solfège syllables la,
so, mi, and do; Ss echo-sing using solfège syllables and hand signs.
C OR E AC T I V I T I E S
Teach a new song “Dinah”
CSP: F
• T sings the song.
• T sings the song and Ss show the phrases.
• T sings the song but Ss sing the words “Dinah.”
Presentation of “Hot Cross Buns”
music literacy CSP: A
concepts • T reviews aural presentation.
Notate what you • T presents re on the tone ladder.
hear l
s

m
r
d

• Ss sing the target phrase with solfège syllables, pointing to the

pitches on the tone ladder.
• T presents the song with standard rhythmic notation, time
signature, and solfège syllables.
• T presents the rule of placement for mi, re, do using the hand staff.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 4.5 (continued)

• T presents the target phrase in staff notation with F = do.

Ss read the melody with solfège syllables while pointing to the

notes on the staff.
Creative movement “Cumberland Gap”
CSP: A
• Ss create accompaniment through movement, rhythmic
elements, or melodic elements.
• Ss sing and play the game.
Presentation of “All Around the Buttercup”
music literacy CSP: A
concepts • Ss sing “All Around the Buttercup” with words and keep
Notate what you the beat.
hear • Ss sing with solfège syllables and hand signs.
• Ss read with solfège syllables and hand signs from rhythmic
notation.
• Ss place notes on the tone ladder.
• T reviews the placement of notes on the staff.
146 • T points to the notes of the song written on the staff and Ss sing
with solfège syllables and hand signs.
• T introduces absolute pitch names for do = G and do = F.
SU M M A RY AC T I V I T I E S
Review lesson “Dinah”
outcomes CSP: F
Review the new
song
 Chapter  5

Unit Plans and Lesson Plans

A primary objective of this text is to present teachers with a sequential series of lesson plans to
inspire the artistry inherent in every student. As is evident in all of our publications, we are also
involved with developing cognition, the “thinking” abilities that lead to a deeper understanding
and appreciation of music through performing, critical thinking, listening, literacy, composing,
and improvising. Kodály offers us a timely reminder concerning the importance of excellent
teaching techniques to enable the student to engage with music as a true artist: “It is not tech-
nique that is the essence of art, but the soul. As soon as the soul can communicate freely, without
obstacles, a complete musical effect is created. Technique sufficient for a free manifestation of the
child’s soul can easily be mastered under a good leader in any school.”1
This chapter furnishes teachers with a detailed series of lesson plans arranged according to 147
concept. With the exception of Unit 1 (review lessons), each unit is divided into three sections:

Section 1.  A summary overview of the repertoire used to prepare, present, and practice a
particular music element
Section 2.  A brief outline of the music skills that are to be developed in the unit plan
Section 3.  Five sequential lesson plans for preparing, presenting, and practicing a music
element

Consult Kodály Today for a more comprehensive overview of lesson planning.

These are the lesson plan units presented in this chapter:

Unit 1. Review of Grade 1 Concepts and Elements

Unit 2. Teaching do
Unit 3. Teaching Half Note
Unit 4. Teaching re
Unit 5. Teaching Sixteenth Notes
Unit 6. Teaching do Pentatonic Scale
Unit 7. Teaching Quadruple Meter (4$)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Remember that these lesson plans are only sketches of what can be accomplished in the
lesson. We have not included transitions between the sections of the lessons as we want
teachers to get an idea of the flow of the lesson plan. Teachers should infuse these lessons
with their own musicianship and creativity.
Our suggested five-lesson sequence allows students to engage and explore concepts
through music literature. Building on the numerous performance experiences within these
lessons, the teacher can guide students toward an understanding of musical elements and
concepts.
The five sequenced lessons are divided as follows. The first three are preparation/practice
lesson plans.

Lesson 1 is a plan for developing the kinesthetic awareness of a new melodic or rhyth-
mic concept and concentrated practice of known melodic or rhythmic elements
through reading. (Reading is normally connected to listening.)
Lesson 2 is a plan for developing aural awareness of a new melodic or rhythmic con-
cept and concentrated practice of known melodic or rhythmic elements through
writing.
Lesson 3 is a plan for developing visual awareness of a new melodic or rhythmic con-
cept and concentrated practice of known melodic or rhythmic elements through
improvisation and composition.

There are two presentation lessons in the associative phase.

Lesson 4 is the first presentation lesson; the goal is to label the new sound with rhythm
or solfège syllables.
Lesson 5 is the second presentation lesson; the goal is to present the notation for the
148 new element.

The objectives for each type of lesson are derived from activities proposed in the
teaching strategies (Chapter  4). Although the lessons will differ across the three
phases of learning, all preparation/practice lessons, regardless of the element being
prepared, are similar in structure. The same is true for all presentation lessons. You
will note that lessons 2, 3, and 3 focus on kinesthetic, aural, and visual preparation
of a new element respectively and practice of a familiar element through reading,
writing, and improvisation activities. Lessons 4 and 5 focus on presenting and initial
practice of the newly learned element. Chapter 10 of Kodály Today describes the types
of lesson plan structure as well as information on adapting these lesson plans for the
inclusive classroom.

Transitions in Lesson Plans
Transitions are the cement that holds the segments of a lesson together. Transitioning
between songs and activities can become an interesting means to help tie, and often
hold, the lesson together. They can be used to move students from one activity to
another in a music lesson. Here we present some sample transition activities that can
be used to enliven a creative music lesson plan. Transitions may be thought of as con-
scious and unconscious: with the former, the students are aware that they are moving
 Unit Plans and Lesson Plans

between songs or activities, and with the latter, the teacher guides students to different
activities. Spend time analyzing all of the repertoire and materials you will be using in
the lesson. This will allow you to see possible connections in the suggested repertoire.
Transitions should be logical. When they are properly planned, they add the elements
of surprise, creativity, and magic to a lesson. Many of the best transitions are musical.
If you are transitioning into a segment of a lesson where the focus is on rhythm, use
a rhythmic activity such as an ostinato to move to the next segment. If you are transi-
tioning into a melodic segment of the lesson, you could use a melodic ostinato to move
to the next segment.
Chapter 10 of Kodály Today includes many ideas for creating transitions in lesson plans.
Tables 5.1 and 5.2 show two versions of the same lesson plan: Table 5.1 is a lesson plan
with no transitions, and Table 5.2 has the same lesson plan with transitions. Transitions
should not detract from the lesson but should allow the teacher to move smoothly from
one segment of the lesson to another.

Table 5.1  Grade 2: Half Note, Lesson 1

Outcome Preparation: internalizing a sound that last for two beats through kinesthetic
activities
Practice: reading and singing melodies with the solfège syllables la, so, mi,
and do
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Allegro,” from Symphony No. 1, by W. A. Mozart (1756–1791)
• Breathing: Ss practice blowing up a balloon and watch how air is 149
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing “Are You Sleeping?”
known CSP: F
songs • Ss sing song.
• Ss sing song in canon with T, and then Ss sing in two-part canon.
“Bye, Bye, Baby”
CSP: F-sharp
• Ss sing the song.
Develop “Rocky Mountain”
tuneful CSP: D
singing • Ss sing the song while continuing the ostinato.
Tone • T guides Ss to repeat the last four beats of the song (mm rr d) on “loo.”
production • Τ guides Ss to repeat the last four beats on additional unified syllables [i]‌
Diction [Ԑ] [a] [o] [u].
Expression
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 5.1 (continued)

Review “King’s Land”
known CSP: A
songs and “Sea Shell” (phrase 1)
elements CSP: D
• Ss sing song.
• Ss identify the meter, sing song, and conduct.
• Ss sing song with rhythm syllables and clap rhythm.
• T sings phrases from these songs and other known songs that use known
rhythms; Ss echo-sing using rhythm syllables as they tap the beat.
• Ss sing “Knock the Cymbals” while T sings “Let Us Chase the Squirrel”
as a partner song.
C OR E AC T I V I T I E S
Teach a “Let Us Chase the Squirrel”
new song CSP: D
• T sings the song and Ss identify the number of phrases.
• T sings again and Ss identify the number of beats in each phrase.
• T sings again, pausing after each phrase for Ss to label the form of the
song. (ABAC)
• T and Ss sing and play the game.
Develop “Here Comes a Bluebird”
knowledge CSP: A
of music • Ss sing the song and briefly play the game.
literacy • Ss sing “Here Comes a Bluebird” while keeping the beat.
150 concepts • Ss sing “Here Comes a Bluebird” while tapping the rhythm.
Internalize • Ss sing “Here Comes a Bluebird,” pointing to a representation of phrases 2 and 4.
music
through
kinesthetic • T divides Ss into two groups. All sing “Here Comes a Bluebird” while group
activities A performs the beat and group B performs the rhythm. Reverse the parts.
• Ss sings “Here Comes a Bluebird” while walking the beat and tapping the rhythm.
One S may play the beat on an instrument while another plays the rhythm.
Creative “Wallflowers”
movement CSP: D
• T and Ss sing the song while walking the beat in a circle.
• Ss may suggest other categories to use in the song (i.e., birthday months,
favorite color, etc.).
• Ss sing and play the game.
Practice “Bow Wow Wow”
and perfor­ CSP: D
mance • Ss sing song.
of music • Ss sing with rhythm syllables and pat the beat.
literacy • Ss sing with solfège syllables and hand signs.
concepts • T presents “Bow Wow Wow” on the board with standard notation and solfège;
Reading Ss sing with solfège syllables. T shows hand signs and Ss memorize the main
theme of “Allegro,” from Symphony No. 1, by W. A. Mozart (1756–1791).
(Continued)
 Unit Plans and Lesson Plans

Table 5.1 (continued)

SUM M A RY AC T I V I T I E S
Review “Let Us Chase the Squirrel”
lesson CSP: D
outcomes
Review the
new song

Table 5.2  Grade 2: Half Note, Lesson 1

Outcome Preparation: internalizing a sound that last for two beats through kinesthetic
activities
Practice: reading and singing melodies with the solfège syllables la, so, mi, and do
I N T ROD U C TORY AC T I V I T I E S
Warm-up “Allegro,” from Symphony No. 1, by W. A. Mozart (1756–1791)
• Resonance: a low and a high voice. Make sure Ss are inhaling and
exhaling correctly with the support muscles.
• Use fingers to point to the sound Ss are creating.
• Posture: remind Ss of the correct posture for singing. Let this lead into
“Are You Sleeping?” (“Awake”: good posture; “Asleep”: poor posture).
“Are You Sleeping?”
CSP: E-flat
• T writes phrases 1 and 3 of “Are You Sleeping?” on board with rhythmic
151
notation.
• T writes phrases 2 and 4 with heartbeats.
• Ss clap rhythm on phrases 1 and 3 and tap beat on phrases 2 and 4.
• Repeat, this time with T humming melody on phrases 2 and 4, inviting Ss
to sing on words when song is recognized.
• Ss sing song, and T follows in canon. Reverse: T begins and Ss follow
in canon.
• Divide class in half to sing in canon, group A and group B. Reverse.
• Two Ss sing in canon.
Transition: rhythmic transformation
• T transforms rhythm of “Are You Sleeping?” into rhythm of “Rocky
Mountain.”
• Ss clap and recognize song.
Develop “Rocky Mountain”
tuneful CSP: F
singing • Ss sing the song while T performs the ostinato mm rr d on recorder.
Tone • T guides Ss to repeat the last four beats of the song (mm rr d) on “loo.”
production • T guides Ss to repeat the last four beats on additional unified syllables [i]‌
Diction [Ԑ] [a] [o] [u].
Expression
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 5.2 (continued)

Transition: melodic transition
• Class sings la so mi do, the last phrase of “Rocky Mountain.”
• T divides class; group A sings do drone, and group B sings la so mi
do again.
• Group B reads melody on solfège from T’s hand signs. Reverse.
• Group A keeps drone while group B reads melody to “King’s Land” from
T’s hand signs on solfège. Reverse.
• T shows hand signs and Ss “think” the pitches. Ss sing as they identify
the song.
Review “King’s Land”
known CSP: A
songs and • Focus: preparing a rhythmic element. Ss review known
elements rhythmic elements.
• T sings phrases on “loo,” and Ss respond in rhythmic syllables.
• Phrase by phrase, group A sings on “loo” and group B echoes rhythm
syllables. Reverse.
• T sings each phrase on “loo,” and several Ss perform on
rhythm syllables.
• Optional: Repeat with other known songs: “Bow Wow Wow,” “All Around
the Buttercup,” “Rocky Mountain.”
Transition: rhythmic transition
• T modifies the rhythm on the board to “Let Us Chase the Squirrel.”
• T assigns a number to each phrase and writes a new performance
sequence at the top of the board. (The sequence matches the rhythmic
152 form of “Let Us Chase the Squirrel”: 1 2 1 3.)
• Ss clap rhythm.
• On the repeat, T hums melody as Ss clap.
C OR E AC T I V I T I E S
Teach a “Let Us Chase the Squirrel”
new song CSP: D
• T sings the song and Ss identify the number of phrases.
• T sings again and Ss identify the number of beats in each phrase.
• T sings again, pausing after each phrase for Ss to label the form of the
song. (ABAC)
• T and Ss sing and play the game: squirrels in the tree hold hands and
catch the acorns as they pass through.
Transition: rhythmic transition
• T modifies rhythm on the board and assigns new letters to label
the form.
• T creates a new sequence with the letters at the top of the board; Ss
perform with rhythm syllables.
• T creates a new sequence to show the rhythm of “Here Comes a
Bluebird”; Ss clap the new rhythm with rhythm syllables.
• On the repeat, T sings melody on “loo” as Ss clap the rhythm.
(Continued)
 Unit Plans and Lesson Plans

Table 5.2 (continued)

Develop “Here Comes a Bluebird”

knowledge CSP: A
of music • Ss sing the song and briefly play the game.
literacy • Ss sing “Here Comes a Bluebird” while keeping the beat.
concepts • Ss sing “Here Comes a Bluebird” while tapping the rhythm in hands.
Internalize • Ss sing “Here Comes a Bluebird,” pointing to a representation of phrases
music 2 and 4.
through
kinesthetic
activities • T divides Ss into two groups. All sing “Here Comes a Bluebird” while group
A performs the beat and group B performs the rhythm. Reverse the parts.
• Ss sings “Here Comes a Bluebird” while walking to the beat and tapping
the rhythm. One S may play the beat on an instrument while another
plays the rhythm.
Transition: melodic transition
• T sings portions of “Here Comes a Bluebird” on “loo,” and Ss echo with
solfège syllables and hand signs.
• “I’m thinking of a song”: T shows melody of “Wallflowers” with hand
signs, and Ss “think” the sound: “When you know it, sing with text.”
• Ss read and sing phrases 1 and 3 of “Wallflowers” from T’s hand signs. T
sings phrases 2 and 4 on “loo” while Ss tap the beat.
Creative “Wallflowers”
movement CSP: D
• T and Ss sing the song while walking to the beat in a circle.
153
• Ss sing and play the game.
• Ss join hands and walk in a circle.
• One S stands in the center of the circle. That S points to a friend during
“Let’s all go to Mary’s house” (substitute the S’s name for Mary). That S
stays in the circle but turns around and faces the outside.
• The game continues until all Ss are facing out.
• Play the game in canon: create two distinct circles and sing in canon,
group B beginning one phrase (eight beats) after group A.
Transition: melodic transition
• T draws staff on board and hums the first phrase of “Wallflowers” (s m-d s
m-d). Ss echo with solfège. T writes s m d on the staff in F major. T hums
s-s l-s m, and Ss echo with solfège. T adds la to the staff.
• T points to the notes on the staff, leading Ss to sing the first phrase of
“Bow Wow Wow” with solfège syllables and hand signs.
Practice and “Bow Wow Wow”
performance CSP: D
of music • Ss sing and keep the beat.
literacy • Ss sing with rhythm syllables and pat the beat.
concepts • Ss sing with solfège syllables and hand signs.
Reading • T presents “Bow Wow Wow” in rhythmic notation with solfège syllables
underneath.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 5.2 (continued)

• T presents “Bow Wow Wow” on the board written in staff notation; Ss

sing with solfège syllables.
• Ss sing inside their heads while T plays it on the piano.
• Ss sing from T’s hand signs the theme of the “Allegro,” from
Symphony No. 1, by W. A. Mozart (1756–1791) with
movements.
SU M M A RY AC T I V I T I E S
Review “Let Us Chase the Squirrel”
lesson CSP: D
outcomes
Review the
new song

General Points for Planning Lessons

1. Goals for each lesson should come from the outcomes listed in the
concept plans; but singing in tune should always be a primary goal of each
lesson.
2. Work to select the best song material for each class and make sure
you enjoy this repertoire. We suggest three to eight songs in a thirty-to-
forty-minute lesson. Memorize all of the song material you are going
to use.
154 3. Every new song you teach should be introduced appropriately. Sometimes we
review a familiar song as we would a new song. This is an opportunity for the
teacher to spend more time polishing the song and making sure that students are
able to sing artfully.
4. When teaching a new element, is it surrounded by known rhythmic or melodic
patterns?
5. Our lessons contain both rhythmic and melodic elements, one for
preparation and the other for practice. Remember that when you abstract
a pattern or motif from a song, always sing the song again to put it back in
context and to give students the experience of enjoying the performance of
the song.
6. There should be a focus to each section of the lesson that you can assess
informally and formally.
7. Know your repertoire. Be able to analyze the materials for each lesson from an
analytical performance perspective and from a pedagogical one.
8. Try to find variety in the song material for the lesson.
9. Our lessons include periods of relaxation and concentration. The pace of a
lesson is critical. Veteran teachers always tell us that it is better to teach faster
than slower. Students will follow you if you’re moving.
10. Give the students plenty of individual experience in the classroom. It is
important to work from the group toward individual activities. You’ll notice that
 Unit Plans and Lesson Plans

students are attentive to their peers when they do things like go to the board or
perform on their own.
11. We have provided a comfortable starting pitch for each song. Feel free to
experiment with what works best for your classroom.

Evaluating a Lesson
1. Learning should stem from the enjoyment of singing songs, chanting rhymes,
and playing games. The overarching goals of a music lesson should be singing,
listening, and enjoyment of music. Musical concepts and elements are taught to
enhance this enjoyment.
2. We believe that reading and/or writing should be addressed during each lesson.
Even if students simply read or write a small motive from a song, they develop a
deeper understanding and appreciation of the song.
3. Include opportunities for both review and reinforcement of musical elements and
concepts.
4. A good lesson plan should reveal clear answers to these
questions:
A. Was the lesson presented musically?
B. What were the primary and secondary goals of the lesson?
C. How were the goals of the lesson achieved?
D. How many songs and games were used in the lesson?
E. What activities used in conjunction with the song material led students to an
understanding of the goals of the lesson?
F. Was there an emphasis on singing and making music?
G. Did the lesson use a variety of songs? 155
H. Were the goals of the lesson achieved?
I. Was new material prepared and presented in the lesson? What exercises were
used in the lesson? Did the musical exercises planned for the lesson help the
students achieve the goals?
J. Was there a logical sequence and pacing in the lesson?
K. Was the culmination of the lesson clear?
L. Were there periods of relaxation and concentration in the lesson?
M. What musical skills were developed in the lesson?
N. Were the students active collectively and individually during the lesson?
O. Did the lesson plan offer an opportunity to assess student progress?
P. Was the lesson enjoyable for the students?
Q. Did the lesson begin and end with singing?

Unit Plans
The units presented here give teachers lesson plans arranged according to concept.

Unit 1: Grade 1 Review

Sections 1 and 2
 156
Prepare: Review grade 1 songs and concepts     
Practice: review grade 1

Song Repertoire
Known Songs Songs for Songs to Songs to Songs for Creative Songs to Review Known
Tuneful Singing Review Prepare New Review Move­ment Concepts: 2$
Known Concepts
Elements
Lesson 1 “No Robbers “Bobby Shafto” “Snail, Snail” “Closet Key” “Bounce High, “Bow “Rain, Rain” (review notation
Out Today” (review so-mi) Bounce Low” Wow of la)
(review presen­ Wow”
tation of la)
Lesson 2 “Closet Key” “Lucy Locket” “Pease “Plainsies, “Bounce “King’s “Rain, Rain” (review writing
Porridge Hot” Clapsies” High, Bounce Land” of la)
(review rest) Low” (review
reading of la)
Lesson 3 “Plainsies, “Bow Wow “We Are “Knock the “Bobby Shafto” “Hunt the “Bounce High, Bounce Low”
Clapsies” Wow” Dancing in Cymbals” (review Cows” (review improvisation of la)
the Forest” kinesthetic and
(review la) aural awareness
of $
2 )
Lesson 4 “Knock the “Doggie, “Bounce High, “¡Que Llueva!” “Bobby Shafto” “Two “Rain, Rain” (review
Cymbals” Doggie” Bounce Low” (review visual Rubble presentation of 2$)
(review la) awareness of Tum”
2$)
Lesson 5 “¡Que Llueva!” “King’s Land” “We Are “Rocky “Bobby Shafto” “Two “Rain, Rain” (review notation
Dancing in Mountain” (review Rubble of 2$)
the Forest” presentation Tum”
of 2$)
 Unit Plans and Lesson Plans

Unit 1, Grade 1 Review, Lesson 1

Outcome Review aural presentation and notation of la

I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Fossils,” from Carnival of the Animals, Camille Saint-Saëns (1835–1921)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “No Robbers Out Today”
song CSP: A
• T and Ss sing the song and keep the beat.
• Ss sing and play game.
Develop “Bobby Shafto”
tuneful CSP: A
singing • Ss sing song.
Tone • Ss imitate the sound of a siren with the voice. Challenge Ss to make soft
production and loud, high and low, long and short sirens, and sirens that go up,
Diction come down, or do both.
Expression • Ss sing the song with text and show the phrases.
Review “Snail, Snail”
known CSP: A
songs and • Ss sing song. 157
elements • Ss sing with solfège syllables and hand signs.
C OR E AC T I V I T I E S
Teach a new “Closet Key”
song CSP: F
• T sings the song while Ss show the phrases of the song.
• Ss identify the number of phrases (four); Ss label the form (ABAB’).
• T and Ss switch singing phrases and may play the game, as time allows.
• Ss perform the rhythm of the last four beats of the song as a rhythmic
ostinato into the next song. (2$sdsd\qq>)
Review “Bounce High, Bounce Low”
known CSP: A
songs and • T and Ss sing the song.
elements • Review kinesthetic, aural, and visual awareness activities.
• T: “When we have a sound that is a step higher than so, we call it la.”
• T shows the hand sign.
• T sings “so la so mi” (phrase 1 of “Bounce High, Bounce Low”) to
individual Ss, who echo with solfège syllables and hand signs.
• T sings phrase 1 of the song with text; Ss echo with solfège and hand signs.
• T sings phrase 1 of the song with text, and individual Ss echo with
solfège syllables and hand signs; repeat with six to eight Ss.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Creative “Bow Wow Wow”

movement CSP: D
• Ss sing and play the game.
• Ss continue the beat into the next song.
Presentation “Rain, Rain”
of music CSP: A
literacy • Review aural presentation.
concepts • Present the position of la on the tone ladder.
Notate what l
you hear
s
la

• T sings the quality of each interval and Ss echo (sung: “la and so are a
step apart … so and mi are a skip apart …”)
• Present standard rhythmic notation with solfège syllables. T: “We can
write our phrase using rhythm notation and put our solfège syllables
under it.”
• Review the rule of placement.
• Notate “Rain, Rain” in staff notation.
SU M M A RY AC T I V I T I E S
Review “Closet Key”
lesson CSP: F
outcomes
158
Review the
new song

Unit 1, Grade 1 Review, Lesson 2

Outcomes Review reading and writing practice of la

I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Fossils,” from Carnival of the Animals, by Camille Saint-Saëns
(1835–1921)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
 Unit Plans and Lesson Plans

Sing known “Closet Key”

song CSP: F
• T and Ss sing the song and briefly play the game.
• Ss perform the last four beats of the song as a rhythmic ostinato into the
next song. (2$sdsd\qq>)
Develop “Lucy Locket”
tuneful CSP: A
singing • Ss sing song.
Tone • T asks Ss to try sighing a few times, starting each sigh a little higher
production than the last.
Diction • Ss echo four-beat patterns of consonants (k-k-k-k, ss-ss-ss-ss, p-p-p-p,
Expression zz-zz-zz-zz, etc.) to the melody of phrase 2 of “Lucy Locket.”
Review “Pease Porridge Hot”
known songs CSP: A
and elements • The rhythm of “Lucy Locket” is written on the board. T transforms it
into “Pease Porridge Hot.”
• Ss recognize the song and perform it with text and pat the beat.
• Ss perform the song with rhythm syllables and pat the rhythm.
• T sings individual phrases of “Pease Porridge Hot,” “Hot Cross Buns,”
and “Bow Wow Wow”; Ss echo-sing with rhythm syllables while tapping
the beat.
C OR E AC T I V I T I E S
Teach a new “Plainsies, Clapsies”
song CSP: A
• T sings the song and demonstrates the game.
• Ss sing and play the game. 159
• T “realizes” that phrase 1 of “Plainsies, Clapsies” sounds like
another song.
• T sings phrase 1 on a neutral syllable and Ss identify it as “Bounce
High, Bounce Low.”
Review “Bounce High, Bounce Low”
known songs CSP: A
and elements • T and Ss sing the song.
• Review aural presentation.
• T guides Ss in singing the song with solfège syllables and hand signs.
• Ss sing song with rhythm syllables and clap rhythm.
• Ss sing song with solfège syllables and hand signs.
• Ss read the song from standard rhythmic notation and solfège syllables
2$qq\qq\
  s  l   s m
sdsd\qq|
ss  l l  s  m
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Creative “King’s Land”
movement CSP: A
• Note: this will be a new song.
• T sings the song and directs Ss to move into position for the game.
• T sings and Ss play the game.
Review “Rain, Rain”
known songs CSP: A
and elements • Ss sing the song with solfège syllables and hand signs.
• Ss sing with solfège syllables and hand signs while pointing to the
standard rhythmic notation prepared on the board.
• Ss sing the song and point to their finger staff.
• Ss read the song from staff notation.
• Ss complete a la writing worksheet, filling in the missing notes on the
staff for “Rain, Rain.”
SU M M A RY AC T I V I T I E S
Review “Plainsies, Clapsies”
lesson “King’s Land”
outcomes CSP: A
Review the
new song

Unit 1, Grade 1 Review, Lesson 3

Outcome Review kinesthetic and aural awareness of 2$meter

Review improvisation of la.
160
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Fossils,” from Carnival of the Animals, by Camille Saint-Saëns (1835–1921)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Plainsies, Clapsies”
song CSP: A
• T and Ss sing the song with a simple ostinato: 2$sdq\sdq>
• Ss continue the ostinato into the next song.
Develop “Bow Wow Wow”
tuneful CSP: D
singing • Ss sing the song in canon after two beats.
Tone • Ss sing the song, following the expressive gestures in T’s conducting
production (crescendo and decrescendo, staccato and legato, etc.).
Diction • Ss sing “Bow Wow Wow” while T sings “Bounce High, Bounce Low” as
Expression a partner song.
 Unit Plans and Lesson Plans

Review “We Are Dancing in the Forest”

known songs CSP: A
and elements • T directs part of the class to continue “Bow Wow Wow”
while the remainder sing “We Are Dancing in the Forest.” Switch.
• Ss sing “We Are Dancing in the Forest” with rhythm syllables and clap
the rhythm.
• T sings individual phrases of “Bounce High, Bounce Low,” “Bow Wow
Wow,” and “Plainsies, Clapsies”; Ss echo-sing using rhythm syllables
while keeping the beat.
C OR E AC T I V I T I E S
Teach a new “Knock the Cymbals”
song CSP: D
• T sings the song and invites three or four Ss to come to the board to
trace the phrases.
• T sings the song, pausing after each phrase for Ss to label the form of
the song. (ABAC)
• Ss sing the A phrases, and T sings B and C. Switch.
• Ss sing all phrases without assistance from T.
• Ss perform the rhythm on the board while T sings the next song.
Develop “Bobby Shafto”
knowledge CSP: A
of music • Ss sing the song.
literacy • Ss sing “Bobby Shafto” with rhythm syllables.
concepts • Ss sing the song with an ostinato indicating the strong
Internalize and weak beats. (For example, pat, snap, pat, snap.)
music • T sings phrase 1 of the song while keeping the beat. 161
through • Ss identify the number of beats in the phrase. (four)
kinesthetic • Ss sing the first phrase, patting on beats 1 and 3, snapping
activities or clapping on beats 2 and 4.
Describe what • Ss identify whether all the beats feel the same. (no, some are
you hear stronger)
2$meter • Ss determine which beats are strong and which are weak.
• T: “Which beats are stronger?” (1 and 3)
• T: “If beats 1 and 3 are strong, beats 2 and 4 are ________.”
(weak)
• Ss sing and show the strong and weak beats by
conducting.
• Ss sing and inner-hear the weak beats.
Creative “Hunt the Cows”
movement CSP: A
• Note: this will be a new song.
• T sings and Ss play the game.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Review “Bounce High, Bounce Low”

known songs CSP: A
and elements • Ss sing the song and pat the beat.
• Ss sing the song with solfège syllables and hand signs.
• Ss read the song from standard rhythmic notation with solfège
syllables and hand signs:
2$qq\qq\
  s  l   s m
sdsd\qq|
ss l l   s   m
• T hums additional phrases to the song. Ss sing with solfège and hand
signs and T notates.
• T relabels phrase 1 as the “question” phrase.
• T sings the question phrase to individual Ss, who may
choose an answer phrase from the notated phrases on
the board.
• Ss may also create their own four-beat answer to include la.
SU M M A RY AC T I V I T I E S
Review “Knock the Cymbals”
lesson CSP: D
outcomes “Hunt the Cows”
Review the CSP: A
new song

162
Unit 1, Grade 1 Review, Lesson 4

Outcome Review visual awareness of 2$ meter

Review aural presentation of 2$ meter
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Fossils,” from Carnival of the Animals, by Camille Saint-Saëns
(1835–1921)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Knock the Cymbals”
song CSP: D
• T and Ss sing the song with a simple ostinato.
 Unit Plans and Lesson Plans

Develop “Doggie, Doggie”

tuneful CSP: A
singing • Ss sing the song.
Tone • T sings each phrase, and Ss echo with solfège syllables and hand signs.
production • Ss read from T’s hand signs (ss ll ss mm and variations of this pattern)
Diction but sing them on “loo” or “koo.”
Expression
Review “Bounce High, Bounce Low”
known songs CSP: A
and elements • Ss sing song and keep beat.
• Ss sing song with rhythm syllables and clap rhythm.
• Ss sing song with solfège syllables and hand signs.
• T supplies them with the traditional rhythm notation of the song, and
they fill in missing measures with solfège syllables.
C OR E AC T I V I T I E S
Teach a new “¡Que Llueva!”
song CSP: A
• T sings the song while Ss listen.
• T speaks the chant at the end of the song, and Ss echo.
• T sings the song and Ss perform the chant.
• T sings the song and demonstrates the game; T and Ss sing and play.
Review “Bobby Shafto”
known songs CSP: A
and elements • Ss sing the song.
• Review kinesthetic and aural awareness activities of duple meter.
• T sings the target phrase and asks Ss to create a visual 163
representation of the strong and weak beats (Ss may/should use
manipulatives).
• T: “Pick up what you need to recreate the strong and weak beats you
heard” or “Draw what you heard.”
• Ss share their representations with each other.
• T invites one S 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.
• Ss sing the first phrase of “Bobby Shafto” and point to the
representation.
• Ss sing the song with rhythm syllables while pointing to the
representation of strong and weak beats.
Creative “Two Rubble Tum”
movement CSP: A
• Note: this will be a new song.
• T sings the song and directs Ss to move into position for the game.
• T teaches the B section chant (“Hey old witch …”).
• T and Ss play the game.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Presentation “Rain, Rain”
of music CSP: A
literacy • Ss sing the song.
concepts • Ss sing the song and show the strong and weak beats.
Describe • Ss inner-hear the weak beats.
what you hear • Review kinesthetic, aural, and visual awareness activities.
with rhythm • T: “When we have beats in a strong weak pattern, we call this pattern
syllables duple meter. We can show it by conducting.”
2$meter • T demonstrates duple meter conducting, and Ss copy.
• Ss sing the song and conduct.
• Ss identify and sing other known songs that may be in
duple meter:
○ “Bounce High, Bounce Low”
○ “Cut the Cake”
○ “Doggie, Doggie”
○ “Fudge, Fudge”
○ “Good Night, Sleep Tight”
○ “Lucy Locket”
○ “Nanny Goat”
○ “Naughty Kitty Cat”
○ “Snail, Snail”
○ “We Are Dancing in the Forest”
SU M M A RY AC T I V I T I E S
Review “¡Que Llueva!”
lesson CSP: A
164 outcomes “Two Rubble Tum”
Review the CSP: A
new song

Unit 1, Grade 1 Review, Lesson 5

Outcome Review aural presentation and notation of 2$ meter

I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Fossils,” from Carnival of the Animals, by Camille Saint-Saëns
(1835–1921)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
 Unit Plans and Lesson Plans

Sing known “¡Que Llueva!”

song CSP: A
• T and Ss sing the song and play the game.
Develop “King’s Land”
tuneful CSP: A
singing • Ss sing the song.
Tone • Ss “sing” the song on unvoiced staccato consonants: [t]‌, [s], [k].
production • Ss lightly sing the song with a legato “loo.”
Diction
Expression
Review “We Are Dancing in the Forest”
known songs CSP: A
and elements • Ss sing “We Are Dancing in the Forest.”
• Ss sing with rhythm syllables and clap the rhythm.
• Ss sing with solfège syllables and hand signs.
• Ss identify the tone set of the song and one S writes it on the board on
the tone ladder.
• Ss write tone set in staff notation for several do placements.
C OR E AC T I V I T I E S
Teach a new “Rocky Mountain”
song CSP: D
• T sings the song while Ss keep the beat.
• T sings the song while Ss keep the beat with one hand and show the
phrases with the other.
• Ss identify the number of phrases (four); T sings A and B, and Ss sing C
and C’. 165
• T and Ss sing and perform the song.
Review “Bobby Shafto”
known songs CSP: A
and elements 1. Ss sing the song.
2. Ss sing the song and show the strong and weak beats.
3. Ss sing the song and conduct.
4. Ss inner-hear the weak beats.
5. T reviews aural presentation of duple meter.
6. T reveals the rhythm of the song without bar lines or time signature.
7. T: “We can show strong beats by writing bar lines.”
8. T: “We are going to draw a bar line after every strong beat.”
9. Ss fill in bar lines for the remaining phrases.
10. T: “When we get to the end of a song, we draw a double bar to show
that the song is finished.”
11. Ss identify the number of beats per measure. (two)
12. T: “Musicians call the space between bar lines a ‘measure.’”
13. T: “Musicians show the number of beats in each measure by writing a
time signature. When there are two beats in a measure and each beat is
a quarter note long, the time signature is 2$.” T draws 2$time signature
at the beginning of the song.
14. Ss sing the song with rhythm syllables and conduct.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Creative “Two Rubble Tum”

movement CSP: A
• T sings the song and directs Ss to move into position for the game.
• T teaches the B section chant (“Hey old witch …”).
• T and Ss play the game.
Review “Rain, Rain”
known songs CSP: A
and elements • Ss sing the song.
• Reviews aural presentation for duple meter.
• Ss sing and conduct the song.
• Ss sing the song with rhythm syllables and clap rhythm.
• T reveals the rhythm of the song without bar lines or time signature.
• T: “We can show strong beats by writing bar lines.”
• T: “We are going to draw a bar line after every strong beat.”
• Ss fill in bar lines for the remaining phrases.
• T: “When we get to the end of a song, we draw a double bar to show that
the song is finished.”
• Ss identify the number of beats per measure. (two)
• T: “Musicians call the space between bar lines a ‘measure.’”
• T: “Musicians show the number of beats in each measure by writing
a time signature. When there are two beats in a measure, the time
signature is 2$.” T draws 2$time signature at the beginning of the song.
• Ss sing song with rhythm syllables and conduct.
• Ss sing song with solfège syllables and hand signs.
• T presents the melody on the staff. Ss read with solfège syllables and
hand signs.
166 • T connects learning to other related song material:
○ “Bobby Shafto”
○ “Bounce High, Bounce Low”
○ “Doggie, Doggie”
○ “Lucy Locket”
○ “Naughty Kitty Cat”
○ “We Are Dancing in the Forest”
SU M M A RY AC T I V I T I E S
Review “Rocky Mountain”
lesson CSP: D
outcomes
Review the
new song

Unit 2: Teaching do
Sections 1 and 2
Prepare: do    
Practice: 2$
Focus song: “Bow Wow Wow”

Song Repertoire:
Known Songs Songs for Songs to Songs to Songs to Creative Songs to Practice
Tuneful Review Prepare New Prepare Movement Known Concepts: 2$
Singing Known Concept:  w Concept: do
Elements
Lesson 1 “Bobby “Closet Key” “Bounce High, “Who’s That Tapping “Bow Wow “Two Rubble “Rain, Rain,” “Bounce
Shafto,” “Rocky Bounce Low” at the Window?” Wow” Tum” High, Bounce Low,”
Mountain” “Seesaw,” “Snail, Snail”
Lesson 2 “Who’s That “King’s Land” “We Are “Here Comes a “Bow Wow “Two Rubble “Rain, Rain,” “Lucy
Tapping at the Dancing in the Bluebird” Wow” Tum” Locket”
Window?” Forest”
“Bounce High,
Bounce Low”
Lesson 3 “No Robbers Out “Rocky “Doggie, “Sea Shell” “Bow Wow “Doggie, “Bobby Shafto”
Today” Mountain” Doggie” Wow” Doggie”
Known Songs Songs for Songs to Songs to Prepare Songs to Creative Songs to Present
Tuneful Review Next New Concepts: Present Movement Element: do
Singing Known w Element: do
Elements
Lesson 4 “Doggie, Doggie” “Sea Shell” “We Are “Blue” “Bow Wow “King’s Land” “Rocky Mountain”
Dancing in the Wow”
Forest”
Lesson 5 “Lucy Locket,” “Here Comes a “We Are “Bye, Bye, Baby” “Bow Wow “King’s Land” “Rocky Mountain”
“Blue” Bluebird” Dancing in the Wow”
Forest”
167
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Here is a chart of the primary musical skills that are developed in the five lessons associ-
ated with teaching the concept of do. Remember, in the first three lessons, students practice
the previous musical element, which in this case is duple meter, learned at the end of grade
one.

Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Reading Ss read “Bounce Ss read
High, Bounce “Bow Wow
Low” and other Wow” with
duple meter hand signs
songs, reading from steps,
from traditional traditional
rhythm rhythm
notation with notation with
solfège, and solfège, and
then staff then staff
notation. notation.
Ss read and
conduct.
Writing Ss write Ss write
“Bounce phrase 3 of
High, Bounce “Bow Wow
Low” and Wow” in
other duple rhythmic
meter songs notation
in traditional with solfège
168 rhythm syllables and
notation with staff notation.
solfège, and
then staff
notation,
and indicate
duple meter.
Ss read and
conduct.
Improvi­ T sings a
sation question
phrase
written on the
board; Ss sing
an answer
phrase
written on the
board while
conducting in
duple meter.
 Unit Plans and Lesson Plans

Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Movement “Two Rubble “Here Comes “Two Rubble “King’s “Two Rubble
Tum” a Bluebird” Tum” Land” Tum”
Listening “Allegro
Assai,” from
Brandenburg
Concerto No.
2, by J. S. Bach
(1685–1750)

Unit 2, do, Lesson 1

Outcome Preparation: internalizing a pitch, do, a skip lower than mi through

kinesthetic activities
Practice: reading known melodies in duple meter
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Fossils,” from Carnival of the Animals, by Camille Saint-Saëns
(1835–1921)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore an animal sound using low and high voices.
169
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Bobby Shafto”
songs CSP: A
• T and Ss sing the song.
• Add an ostinato with hand drum or other unpitched instrument:
2$qq\sdq>
• Ss continue the ostinato while T sings the next song.
“Rocky Mountain”
CSP: D
• Ss sing the song with the ostinato.
• Ss sing and perform the motions of the song.
Develop “Closet Key”
tuneful CSP: D
singing • Ss sing the song.
Tone • T points to various Ss in the circle and the class sings
production their names.
Diction • Ss sing individually. After their name has been sung, they sing another
Expression S’s name in the next cycle of the song.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Review “Bounce High, Bounce Low”

known songs CSP: A
and melodic “Nanny Goat”
elements CSP: A
• Ss sing the song.
• T sings text, and Ss echo-sing with solfège and hand signs.
• T sings phrases from these songs and other known songs;
Ss echo-sing with solfège syllables and hand signs. Use phrases
from any of these songs:
○ “Lucy Locket”
○ “We Are Dancing in the Forest”
○ “Bobby Shafto”
○ “Doggie, Doggie”
○ “Star Light, Star Bright”

C OR E AC T I V I T I E S

Teach a new “Who’s That Tapping at the Window?”

song CSP: D
• T sings song with “tapping” and “knocking” motions; Ss copy.
• T begins substituting the names of Ss in the classroom (“Johnny’s
tapping at the window …”).
• T points to one S, the class sings the S’s name, and T finishes the
phrase.
• T and Ss sing several rounds of the song; in this way, T allows Ss to take
ownership of the singing.
170 • Ss sing while stepping the beat.

Develop “Bow Wow Wow”

knowledge CSP: D
of music • Ss sing the song and play the game.
literacy • Ss sing song and keep beat.
concepts • Ss sing and point to representation of the target phrase. (phrase 3)
Internalize • Ss sing and show the melodic contour using their bodies: head (la),
music shoulder (so), waist (mi), knees (do), etc.
through • Ss sing song and clap melodic contour of the target phrase.
kinesthetic • Ss sing and clap the melodic contour with rhythm syllables.
activities

Creative “Two Rubble Tum”

movement CSP: A
• T and Ss sing and play the game.
• After about two cycles of the game, Ss should sing the A section of the
song without help from T.
 Unit Plans and Lesson Plans

Practice “Rain, Rain”
music CSP: A
performance • Ss sing song.
and • Ss read “Rain, Rain,” “Seesaw,” and “Snail, Snail” with time signatures
literacy skills and bar lines.
Reading • T numbers the measures, and Ss perform the rhythms in a specified order.
• Read “Doggie, Doggie” from traditional rhythm.
• T erases rhythms and puts in two lines to represent the beats in each
measure.
• T plays music in duple meter and Ss point to beats.
• T plays music and Ss conduct. (We suggest “Allegro assai,” from
Brandenburg Concerto No. 2, by J. S. Bach (1685–1750) or “Finale,” from
Symphony No. 4, by Peter Ilyich Tchaikovsky (1840–1893).

SUM M A RY AC T I V I T I E S

Review “Who’s That Tapping at the Window?”

lesson CSP: D
outcomes
Review the
new song

Unit 2, do, Lesson 2

Outcome Preparation: aural awareness of a pitch a skip below mi

Practice: writing 2$meter 171

I N T ROD U C TORY AC T I V I T I E S

Warm-up • Body warm-up

• Beat activity
“Fossils,” from Carnival of the Animals, by Camille Saint-Saëns (1835–1921)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore animal sounds using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.

Sing known “Bounce High, Bounce Low”

songs CSP: A
• Ss sing the song in unison and conduct.
• Ss continue to sing “Bounce High, Bounce Low” while
T sings “Who’s That Tapping at the Window?” as a partner song.
“Who’s That Tapping at the Window?”?
CSP: D
• Ss sing the song.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Develop “King’s Land”
tuneful CSP: A
singing • Ss sing song and keep the beat.
Tone • Ss sing song and conduct.
production • Ss sing “King’s Land” in unison and inner-hear phrases selected
Diction by T.
Expression • Ss substitute selected words from the song with “zing” or “ling” to
practice consonant sounds.
Review “We Are Dancing in the Forest”
known songs CSP: A
and melodic • Ss sing the song.
elements • Ss sing with solfège syllables and hand signs.
• T sings phrases from this song and other known songs that
use so la mi patterns; Ss echo-sing with solfège
syllables.
• T sings phrases from these songs and other known songs;
Ss echo-sing with solfège syllables and hand signs. Use phrases
from any of these songs:
○ “Lucy Locket”
○ “Bobby Shafto”
○ “Doggie, Doggie”
○ “Star Light, Star Bright”
C OR E AC T I V I T I E S
Teach a new “Here Comes a Bluebird”
song CSP: D
172 • T sings the song while Ss show the phrases.
• T sings while two or three Ss trace the phrases on the
board.
• T sings and Ss label the phrases. (ABA’B)
• T and Ss sing and play the game.
• Ss sing the song and perform a simple ostinato:
(4$qqsdq>)
 Unit Plans and Lesson Plans

Develop “Bow Wow Wow”

knowledge CSP: D
of music • Review kinesthetic awareness.
literacy • Ss may briefly play the game.
concepts • Ss sing the song and clap melodic contour of phrase 3;
Describe Ss mirror and clap the melodic contour with a partner.
what you • T and Ss sing phrase 3 on “loo” and keep the beat
hear before asking each of these questions:
• T: “Andy, how many beats did we tap?” (four)
• T: “Andy, which beat has the lowest pitch?”
(fourth, last)
• T: “Let’s sing the phrase on ‘loo’ but call the last pitch ‘low.’” T
demonstrates.
• T: “Andy, which hand sign does our song start on?” (so)
• T: “Let’s sing with hand signs, but on the fourth beat we'll
sing ‘low.’” (so so so la so mi low)
• T calls on four to eight individuals to sing the phrase with
solfège syllables and hand signs individually after singing it
together.
• T: “Let’s sing it again, together.”
Creative “Two Rubble Tum”
movement CSP: A
• T and Ss sing and play the game.
Practice “Rain, Rain”
music CSP: A
performance “Lucy Locket” 173
and CSP: A
literacy skills • Ss sing the song and clap the rhythm.
Writing • Ss sing the song with rhythm syllables and pat the beat.
• Ss write the rhythm of the song on the board.
qq sdq
sdsd sdq
• Ss identify the strong and weak beats.
• Ss add bar lines and a time signature.
2$qq\sdq\
sdsd\sdq|
SU M M A RY AC T I V I T Y
Review “Here Comes a Bluebird”
lesson CSP: D
outcomes
Review the
new song
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Unit 2, do, Lesson 3

Outcome Preparation: creating a visual representation of a musical phrase that

contains a pitch a skip below mi
Practice: improvisation of 2$meter
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Washington Post March, by John Philip Sousa (1854–1932)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “No Robbers Out Today”
songs CSP: A
• T and Ss sing song and briefly play the game.
• Ss sing and step the beat.
• Ss continue the beat into the next song.
Develop “Rocky Mountain”
tuneful CSP: D
singing • Ss sing the song.
Tone • Ss lightly hum the song (T checks Ss’ tone production for proper
production resonant space).
174 Diction • T directs Ss to repeat the last four beats of the song (“do
Expression remember me”) as T hums the melody of the next song; Ss guess the
song.
Review “Doggie, Doggie”
known songs CSP: A
and melodic • Ss recognize song from T’s humming; they then sing text
elements with T.
• Ss sing the song with solfège syllables, reading from T’s hand signs and
then from the board.
• T sings phrases from this song and other known songs
that use so la mi patterns; Ss echo-sing with solfège
syllables.
• T sings phrases from these songs and other known songs; Ss echo-sing
with solfège syllables and hand signs. T uses phrases from any of
these songs:
○ “Lucy Locket”
○ “We Are Dancing in the Forest”
○ “Bobby Shafto”
○ “Star Light, Star Bright”
 Unit Plans and Lesson Plans

C OR E AC T I V I T I E S
Teach a new “Sea Shell”
song CSP: D
• T sings the song and Ss keep the beat.
• T sings the song and Ss trace the phrases in the air.
• Ss identify the number of phrases. (four)
• Ss trace the phrases on the board while T sings.
• Ss label the phrases while T sings (ABA’C).
• Ss sing phrase 1; T sings the remaining ones.
• Ss sing phrases 1 and 3, and T sings 2 and 4. Switch.
Develop “Bow Wow Wow”
knowledge of CSP: D
music literacy • Ss sing the song.
concepts • T reviews kinesthetic and aural awareness activities.
Create a visual • T hums the target phrase and asks Ss to create a visual representation
representation of the melody of the target phrase.
of what you • T: “Pick up what you need to recreate what you heard.”
hear • Ss share their representations with one another.
• T hums the third phrase of “Bow Wow Wow” and chooses one S to
show a visual representation of the melody of the target phrase. If
necessary, corrections to the representation can be made by reviewing
the aural awareness questions.
• Ss sing the third phrase of “Bow Wow Wow” with a neutral syllable
and point to their representation.
• Ss write the rhythm for “Bow Wow Wow”; Ss add bar lines and a time
signature. 175
Creative “Here Comes a Bluebird”
movement CSP: A
• Ss sing and play the game.
• Ss choose instruments and create an accompaniment for the song.
• Ss continue their accompaniment into the next song.
Practice “Bobby Shafto”
music CSP: A
performance • Ss sing the song with rhythm syllables and conduct.
and • Ss conduct and read the rhythm syllables of the song from the board.
literacy skills • T adds four blank beats after each phrase of the song.
Improvisation • T asks Ss to improvise a four-beat pattern using qsdQ after each
phrase in “Bobby Shafto”; they conduct while saying the rhythm.
• T says the rhythm of the first four beats and Ss improvise the next four
beats with rhythm syllables and conducting.
SU M M A RY AC T I V I T I E S
Review lesson “Sea Shell”
outcomes CSP: D
Review the
new songs
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Unit 2, do, Lesson 4

Outcome Presentation: labeling a pitch a skip below mi as do

I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Washington Post March, by John Philip Sousa (1854–1932)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Doggie, Doggie”
songs CSP: A
• Ss sing the song.
• Ss sing the song with a simple ostinato: (2$sdq\sdq>)
• Ss continue the ostinato into the next song.
Develop “Sea Shell”
tuneful CSP: D
singing • Ss sing the song, focusing on expressive singing. Ss sing song with the
Tone ostinato.
production • Ss sing the song on a hum.
Diction • Ss sing the song on “mah.”
Expression • Ss sing the song but inner-hear phrases 2 and 4.
176 Review “We Are Dancing in the Forest”
known songs CSP: A
and melodic • Ss sing the song.
elements • T sings text; Ss sing solfège syllables and hand signs.
• T sings phrases from this song and other known songs that use so la mi
patterns; Ss echo-sing with solfège syllables.
• T sings phrases from these songs and other known songs; Ss echo-sing
with solfège syllables and hand signs. Use phrases from any of
these songs:
○ “Lucy Locket”
○ “Bobby Shafto”
○ “Doggie, Doggie”
○ “Star Light, Star Bright”
C OR E AC T I V I T I E S
Teach a new “Blue”
song CSP: F-sharp
• T sings the complete song, accompanying on an instrument.
• Ss may pat the beat or show the phrases while listening.
• T sings verse 1 again, and Ss join.
 Unit Plans and Lesson Plans

Presentation “Bow Wow Wow”

of music CSP: D
literacy • T reviews kinesthetic, aural, and visual awareness activities.
concepts • T: “When we have a low sound a skip below mi, we can call it do.” T
Describe presents the hand sign and models phrase 3.
what you hear • Ss sing phrase 3 of “Bow Wow Wow” with solfège syllables and hand
with solfège signs. (so so so la so mi do)
syllables • T sings song with text; Ss sing with solfège syllables and hand signs.
• T sings song with text individual Ss sing with hand signs.
• T labels the interval between mi and do as a step.
Creative “King’s Land”
movement CSP: A
• T and Ss switch, Ss singing “King’s Land” while T sings “Bow Wow Wow.”
• All sing and play the game.
Presentation “Rocky Mountain”
of music CSP: D
literacy Continue to label the new pitch do.
concepts • Ss sing “Rocky Mountain” and keep beat.
Describe • Ss sing the first four beats of phrase 2 with solfège syllables and hand
what you hear signs. (la so mi do la so mi do)
with solfège • T sings the phrase with text, and Ss sing with solfège syllables and
syllables hand signs.
• T sings the first four beats of phrase 3 of “Wallflowers” with text; Ss
recognize that it’s the same as phrase 3 of “Bow Wow Wow.”
• T sings related songs with text; Ss sing with hand signs.
• T sings phrases from this song and other known songs that use so la mi 177
do patterns; Ss echo-sing with solfège syllables.
• Related songs:
“Old Woman”
“Rocky Mountain”
“King’s Land” (phrase 4)
2$sdsd\qQ|
  s s s s   d
“Sea Shell” (phrase 1)
2$qq\qq|
  d  s   d  s
“Knock the Cymbals” (phrase 1)
2$sdsd\sdq|
   dmsm mmm
SU M M A RY AC T I V I T I E S
Review “Blue”
lesson CSP: F-sharp
outcomes
Review the
new song
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Unit 2, do, Lesson 5

Outcome Presentation: notate do using rhythmic and staff notation

I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Washington Post March, by John Philip Sousa (1854–1932)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Lucy Locket”
songs CSP: A
• Ss sing the song and keep the beat.
• Ss continue the beat into the next song.
“Blue”
CSP: F-sharp
• T and Ss sing the song.
• T adds a simple ostinato (pat, snap, slide).
• Ss continue the ostinato into the next song.
Develop “Here Comes a Bluebird”
tuneful singing CSP: A
Tone • T and Ss sing the song while continuing the ostinato (pat, pat, slide).
production • Ss sing the target phrase on “loo” and “lah.”
178 Diction
Expression
Review “We Are Dancing in the Forest”
known songs CSP: A
and melodic • T shows hand signs while Ss inner-hear.
elements • T repeats the activity phrase by phrase; Ss echo with solfège syllables
and hand signs.
• T sings phrases from this song and other known songs that use so la
mi do patterns; Ss echo-sing with solfège syllables and hand signs.
○ “Bow Wow Wow” (phrases 1, 2, and 3)
○ “Wallflowers” (phrase 1)
○ “Knock the Cymbals” (phrase 1)
○ “Rocky Mountain” (phrase 1)
○ “Rocky Mountain” (phrase 3, first four beats)
○ “Rocky Mountain” (phrase 2, first four beat)
C OR E AC T I V I T I E S
Teach a New “Bye, Bye, Baby”
CSP: F-sharp
• Ss continue the ostinato while T sings song.
• Ss identify the song as a lullaby.
• Ss trace the phrases in the air as T sings the song.
 Unit Plans and Lesson Plans

• Ss trace the phrases on the board as T sings.

• Ss identify the number of beats in each phrase and add beat lines.
• Ss identify the placement of bar lines and time signature.
• Ss sing the song with T.
• Ss sing the song while T sings “Bow Wow Wow.”
Presen­tation of “Bow Wow Wow”
music literacy CSP: F
concepts • Ss sing the song.
Notate what • T reviews kinesthetic, aural, and visual awareness activities. T: “When
you hear we have a pitch that is a skip below mi, we can call the low sound do.”
T presents the hand sign.
• T sings song with text, and Ss sing with solfège and hand signs.
• T sings song with text, and individual Ss sing with hand signs.
T presents notation by showing the placement of do on the
musical steps.
• T writes traditional rhythm notation with solfège syllables on the
board.
2$sdsd\sdq|
   s  s  s  l s md
• Ss sing with solfège syllables and hand signs.
• T explains the rule of placement using the hand staff.
• T writes melody in staff notation on the board; class points and sings
with solfège syllables and hand signs.
Creative “King’s Land”
movement CSP: A
• T and Ss switch, Ss singing “King’s Land” while T sings “Bow 179
Wow Wow.”
• All sing and play the game.
Presen­tation of “Rocky Mountain”
music literacy CSP: D
concepts • T reviews the aural and visual awareness stages.
Notate what • Ss sing phrase 4 (first four beats) with solfège syllables and hand signs.
you hear • T notates using traditional rhythmic notation and solfège syllables.
• Ss read using solfège syllables and hand signs.
• T notates phrase 4 on staff in C, F, and G do positions with Ss writing
some of the notes.
• Ss read from staff notation using solfège syllables and hand signs.
SUM M A RY AC T I V I T I E S
Review lesson “Bye, Bye, Baby”
outcomes CSP: F-sharp
Review the new
song

Unit 3: Teaching Half Note

Sections 1 and 2
 180
Prepare:  w     Practice: do
Focus song: “Here Comes a Bluebird”

Song Repertoire:
Known Songs Songs for Songs to Review Songs to Songs to Creative Songs to Practice Known
Tuneful Known Elements: Prepare New Prepare Movement Concepts: do
Singing Rhythmic Concept: re Concept: w
Lesson 1 “Are You “Rocky “King’s Land” “Let Us Chase “Here Comes a “Wallflowers” “Bow Wow Wow”
Sleeping?” Mountain” the Squirrel” Bluebird”
“Bye, Bye,
Baby”
Lesson 2 “Sea Shell,” “Let “Who’s That “King’s Land” “Button, You “Here Comes a “Let Us “Bow Wow Wow”
Us Chase the Tapping at the Must Wander” Bluebird” Chase the
Squirrel” Window?” Squirrel”
Lesson 3 “Rocky “Blue” “All Around the “Great Big “Here Comes a “Button, “Bow Wow Wow”
Mountain,” Buttercup” House in New Bluebird” You Must
“Button, You Orleans” Wander”
Must Wander”
Known Songs Songs for Songs to Review Songs to Songs to Creative Songs to Present Element:
Tuneful Known Elements: Prepare New Present Movement w
Singing do Concept: re Element: w
Lesson 4 “Great Big “Who’s That “Rocky Mountain” “Ida Red” “Here Comes a “Let Us “Bye, Bye, Baby,” “Here Comes a
House in New Tapping at the Bluebird” Chase the Bluebird,” “Who’s That Tapping at
Orleans” Window?” Squirrel” the Window?” “Are You Sleeping?”
“Bobby Shafto” “Blue,” “Bye, Bye, Baby”
Lesson 5 “Great Big “Button, You “Bow Wow Wow” “Ida Red” “Here Comes a “Ida Red” “Bye, Bye, Baby,” “Here Comes a
House in New Must Wander” Bluebird” Bluebird,” “Who’s That Tapping at
Orleans” the Window?” “Are You Sleeping?”
“Blue,” “Bye, Bye, Baby”
 Unit Plans and Lesson Plans

Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of half note. Remember, in the first three lessons, students prac-
tice the previous musical element, in this case do.

Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Reading Ss read Ss read “Here
“Bow Wow Comes a
Wow” with Bluebird”
hand signs written in
from steps, traditional
traditional notation
notation with rhythm
solfège, and syllables.
then staff
notation.
Writing Ss write all Ss write all of
of “Bow “Here Comes
Wow Wow” a Bluebird”
in rhythmic in rhythmic
notation notation
with solfège with solfège
syllables or in syllables.
staff notation.
Improvi­ T sings a
sation question
phrase
181
written on
the board;
Ss sing an
answer
phrase that
ends on do
also written
on the
board.
Movement “Wallflowers” “Let Us Chase “Button, “Let Us “Ida Red”
the Squirrel” You Must Chase the
Wander” Squirrel”
Listening “Allegro,”
from
Symphony
No. 1, by
W. A. Mozart
(1756–1791)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Unit 3, Half Note, Lesson 1

Outcome Preparation: internalizing a sound that lasts for two beats through
kinesthetic activities
Practice: reading and singing melodies with the solfège syllables la, so, mi, and do
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Allegro,” from Symphony No. 1, by W. A. Mozart (1756–1791)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Are You Sleeping?”
songs CSP: F
• Ss sing song.
• Ss sing song in canon with T; then they sing in two-part canon.
“Bye, Bye, Baby”
CSP: F-sharp
• Ss sing song.
• Ss sing song in canon with T; then they sing in two-part canon.
Develop tune­ “Rocky Mountain”
ful singing CSP: D
Tone • Ss sing the song while continuing the ostinato.
182 production • Repeat the last four beats of the song (mm rr d) on “loo.”
Diction • Repeat the last four beats on additional unified syllables [i]‌ [Ԑ] [a] [o]
Expression [u].
Review “King’s Land”
known songs CSP: A
and elements “Sea Shell” (phrase 1)
CSP: D
• Ss sing song.
• Ss identify the meter and sing song and conduct.
• Ss sing song with rhythm syllables and clap rhythm.
• T sings phrases from other known songs; Ss echo-sing using rhythm
syllables as they tap the beat: “Bow Wow Wow,” “Rocky Mountain,” “All
Around the Buttercup.”
C OR E AC T I V I T I E S
Teach a new “Let Us Chase the Squirrel”
song CSP: D
• T sings the song and Ss identify the number of phrases.
• T sings again and Ss identify the number of beats in each phrase.
• T sings again, pausing after each phrase for Ss to label the form of the
song. (ABAC)
• T and Ss sing and play the game.
 Unit Plans and Lesson Plans

Develop “Here Comes a Bluebird”

knowledge CSP: A
of music • Ss sing the song and briefly play the game.
literacy • Ss sing “Here Comes a Bluebird” while keeping the beat.
concepts • Ss sing “Here Comes a Bluebird” while tapping the rhythm.
Internalize • Ss sing “Here Comes a Bluebird,” pointing to a representation of
music phrases 2 and 4.
through
kinesthetic
activities.
• T divides Ss into two groups. All sing “Here Comes a Bluebird” while
group A performs the beat and group B performs the rhythm. Reverse
the parts.
• Ss sings “Here Comes a Bluebird” while walking the beat and tapping
the rhythm. One S may play the beat on an instrument while another
plays the rhythm.
Creative “Wallflowers”
movement CSP: D
• T and Ss sing the song while walking the beat in a circle.
• Ss may suggest other categories to use in the song (i.e., birthday
months, favorite color, etc.).
• Ss sing and play the game.
Practice and “Bow Wow Wow”
performance CSP: D
of music • Ss sing song.
literacy • Ss sing with rhythm syllables and pat the beat.
concepts • Ss sing with solfège syllables and hand signs. 183
Reading • T presents “Bow Wow Wow” on the board with standard rhythmic
notation and solfège; Ss sing with solfège syllables.
• T puts the tone set on the staff and do on the first line,
and points to the notes of song; Ss sing with solfège syllables and
hand signs.
• T uses the tone set and points to the theme of the
listening example; Ss sing with solfège syllables and hand
signs. (The following notation is only for the
teacher.)
2$qq\xxxdxxxd\sdQ|
  d m  ssss ssss md
“Allegro,” from Symphony No. 1, by W. A. Mozart (1756–1791)
SUM M A RY AC T I V I T I E S
Review “Let Us Chase the Squirrel”
lesson CSP: D
outcomes
Review the
new song
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Unit 3, Half Note, Lesson 2

Outcome Preparation: analyzing repertoire that contains a sound that lasts two beats
by listening and singing to identify that sound
Practice: writing a melody with the solfège syllables la, so, mi, and do
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Surprise Symphony, by Franz Joseph Haydn (1732–1809)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Sea Shell”
songs CSP: D
• Ss sing the song.
• Add a simple ostinato: (2$qq\sdq>)
• Ss continue the ostinato into the next song.
Develop “Who’s That Tapping at the Window?”
tuneful singing CSP: D
Tone • Ss sing the song while continuing the ostinato.
production • Ss lightly hum the song or sing using “noh” or “nah” while T checks
Diction for proper resonance and tone.
Expression • Ss sing “Who’s That Tapping at the Window?” while T sings in
184 canon.
Review known “King’s Land”
songs and CSP: A
elements • T directs half of the class to continue the previous song while the
remainder sing “King’s Land.” Switch.
• Ss sing song with rhythm syllables and clap the rhythm.
• T sings phrases from this song and other songs that use known
rhythms; Ss echo-sing using rhythm syllables as they tap the beat.
• Ss count the song with numbers and conduct.
C OR E AC T I V I T I E S
Teach a new “Button, You Must Wander”
song CSP: D
• T sings the song while Ss show the phrases.
• Ss identify the number of phrases.
• T sings each phrase of the song and Ss label the form. (ABCB)
• T sings A and C phrases; Ss sing the B phrases. Switch.
• Ss sing the whole sing with T.
• T demonstrates passing the button to the beat. Ss practice.
• T sings while Ss pass the button to the beat around the circle.
• Ss sing and play the game.
 Unit Plans and Lesson Plans

Develop “Here Comes a Bluebird”

knowledge of CSP: A
music literacy • T reviews kinesthetic awareness activities.
concepts • T and Ss sing phrase 2 on “loo” while keeping the beat before each
Describe what question:
you hear • T: “Andy, how many beats did we tap?” (eight)
• T: “Andy, which beat has no sound?” (last one, 8)
• T: “Andy, where did we sing the longest sound?” (at the
beginning)
• T: “Andy, for how many beats did we sing the long sound?”
(two)
• T: “Andy, on which beats did we sing the long sound?”
(1 and 2)
• T and Ss sing phrase 2 on “loo” and pat the beat.
• T: “Let’s sing phrase 2 on ‘loo’ but use and sing the word ‘long’ for
beats 1 and 2.”
• T: “Let’s sing and clap the whole phrase with rhythm syllables and say
‘long’ for beats 1 and 2.”
Creative “Let Us Chase the Squirrel”
movement CSP: D
• Ss sing and play the game.
• Ss choose instruments and create an accompaniment for
the song.
Practice and “Bow Wow Wow”
performance CSP: D
of music • Ss sing “Bow Wow Wow.” 185
literacy skills • Ss sing the target phrase (phrase 3) with solfège syllables and
Writing hand signs.
• Ss sing the song while T distributes writing worksheet.
• Ss sing the song with rhythm syllables while pointing to the beats on
their paper.
• Ss sing the song with solfège syllables while pointing to the rhythm on
their paper.
• Ss identify which phrases have no solfège syllables.
(phrase 3)
• Ss fill in the blanks with solfège syllables.
• Ss write this phrase on the staff in different do positions.
• Using xylophones, Ss create accompaniments for this and other
related songs using the notes do, mi, so, and la.
SUM M A RY AC T I V I T I E S
Review lesson “Button, You Must Wander”
outcomes CSP: D
Review the new
song
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Unit 3, Half Note, Lesson 3

Outcome Preparation: Ss create a visual representation of a sound that lasts

two beats
Practice: Ss improvise with melodic motives exercising the concept of do
based on “Bow Wow Wow.”
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Surprise Symphony, by Franz Joseph Haydn (1732–1809)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Rocky Mountain”
songs CSP: D
• Ss sing the song.
• Add a simple ostinato: (2$sdq\sdq>)
• Ss continue the ostinato into the next song.
“Button, You Must Wander”
CSP: D
• Ss sing the song and perform the ostinato.
• Ss may choose instruments to play the ostinato.
186 Develop “Blue”
tuneful CSP: F-sharp
singing • Ss sing the song and pat the beat.
Tone • Ss sing the song on a staccato “doo.”
production • Ss sing the song on a legato “loo.”
Diction
Expression
Review known “All Around the Buttercup”
songs and CSP: F-sharp
elements • Ss sing song.
• Ss sing song with rhythm syllables and conduct.
• T sings phrases from this song and other known songs
with text; Ss echo-sing using rhythm syllables as they tap the
beat.
C OR E AC T I V I T I E S
Teach a new “Great Big House in New Orleans”
song CSP: F-sharp
• T sings the song while Ss move to the circle; teach the game.
• T and Ss sing and play the game.
 Unit Plans and Lesson Plans

Develop “Here Comes a Bluebird”

knowledge of CSP: A
music literacy • Ss sing the song and pat the beat.
concepts • T reviews kinesthetic and aural awareness activities.
Create a visual • T sings the target phrase on a neutral syllable and asks Ss to create a
representation representation of the target phrase. T may use pencil and paper, Unifix
of what you cubes, or other materials.
hear • T may say “Draw what you heard” or “Pick up what you need to show
me what you heard.” Ss share their representations with a neighbor.
• T chooses one S to come to the board to share a representation. If
necessary, corrections may be made by reviewing the aural awareness
questions.
• Ss point to the representation of the second phrase of “Here Comes a
Bluebird” on the board and sing on a neutral syllable.

Creative “Button, You Must Wander”

movement CSP: D
• Ss sing the song and move to the circle; play the game.

Practice music “Bow Wow Wow”

performance CSP: D
and • Ss sing “Bow Wow Wow.”
literacy skills • Ss sing target phrase with solfège syllables and hand signs.
Improvisation • T reveals the pattern on the board written with standard notation and
solfège syllables.
2$sdsd\sdq|
    s s s l smd 187
• T transforms this phrase to:
sdsd\sdq|
s s s l sms
• T reveals other phrases from known song material that can become
possible answers.
• T sings the “question” phrase and Ss reply with the “answer.” Ss can
either choose the answers provided by T or create their own answers
ending on do.
• T sings the “question” phrase and Ss reply with the “answer” on their
instruments. Ss can either choose the answers provided by T or create
their own answers ending on do.

SUM M A RY AC T I V I T I E S

Review lesson “Great Big House in New Orleans”

outcomes CSP: F-sharp
Review the
new song
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Unit 3, Half Note, Lesson 4

Outcome Presentation: labeling one sound that lasts two beats with the rhythm syllable
ta-ah
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Symphony No. 40, by W. A. Mozart (1756–1791)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Great Big House in New Orleans”
songs CSP: F-sharp
• Ss sing the song and briefly play the game.
• Add a simple ostinato.
Develop “Bobby Shafto”
tuneful CSP: A
singing • Ss sing the song.
Tone • Ss sing the song with a staccato “doo.”
production • Ss sing the song with a legato “loo.”
Diction
Expression
188 Review “Rocky Mountain”
known songs CSP: D
and elements • Ss sing the song and tap the beat.
• T sings phrases from “Rocky Mountain,” “Bow Wow Wow,”
and other known songs; Ss echo-sing using rhythm syllables as they tap
the beat.
C OR E AC T I V I T I E S
Teach a new “Ida Red”
song CSP: D
• T sings the song as Ss move to the circle; demonstrate game.
• After two or three cycles, T asks Ss to “be in charge” of phrase 1.
• T plays last phrase of song on recorder as a melodic ostinato to the
next song.
Presentation “Here Comes a Bluebird”
of music CSP: A
literacy • Ss sing song and tap the beat.
concepts • T reviews kinesthetic, aural, and visual awareness activities
 Unit Plans and Lesson Plans

Describe • T: “When we have one sound that lasts for two beats, we can use our
what you rhythm syllables and say ta-ah.”
hear with • T sings the target phrase with rhythm syllables and Ss copy.
rhythm • T sings phrase 2 on “loo,” and Ss echo with rhythm syllables and keep
syllables the beat.
• T sings phrase 2 with text and individuals echo-sing with rhythm
syllables while keeping the beat.
Creative “Let Us Chase the Squirrel”
movement CSP: D
• Ss sing and play the game.
• Ss choose instruments and create an ostinato to accompany the
game.
Presentation “Bye, Bye, Baby”
of music CSP: F sharp
literacy • Ss sing the song and conduct.
concepts • T reviews labeling the sound.
Describe • T: “When we have one sound that lasts for two beats, we can use our
what you rhythm syllables and say ta-ah.”
hear with • T sings with rhythm syllables and claps the rhythm, and
rhythm Ss copy.
syllables • T sings related patterns with text; Ss echo-sing phrases with
rhythm syllables and clap the rhythm and keep the beat.
○ “Who’s That Tapping at the Window?”
○ “Are You Sleeping?”
SUM M A RY AC T I V I T I E S
Review “Ida Red” 189
lesson CSP: D
outcomes
Review
the new
song

Unit 3, Half Note, Lesson 5

Outcome Presentation: notating one sound that lasts two beats with a

half note
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Symphony No. 40, by W. A. Mozart (1756–1791)

• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Bobby Shafto”
songs CSP: A
• Ss sing and conduct.
“Great Big House in New Orleans”
CSP: F-sharp
• Ss sing the song and play the game.
Develop “Button, You Must Wander”
tuneful CSP: D
singing • Ss sing the song.
Tone • Ss sing the song on the syllable “noh.”
production
Diction
Expression
Review “Bow Wow Wow”
known songs CSP: D
and elements • Ss sing the song.
• Ss sing with rhythm syllables and conduct.
• T sings phrases from “Bow Wow Wow” and “Rocky Mountain” as well
190 as other known songs; Ss echo-sing using rhythm syllables as they tap
the beat.
C OR E AC T I V I T I E S
Teach a new “Ida Red”
song CSP: F
• T sings the song while Ss show the phrases.
• Ss identify the form of the song. (AA’BC)
• T sings and Ss add beat lines.
• T sings and Ss add bar lines and time signature.
• Ss sing the song using body motions to show strong and weak
beats.
Presentation “Here Comes a Bluebird”
of music CSP: A
literacy • Ss sing song and conduct.
concepts • T reviews kinesthetic, aural, and visual awareness activities.
 Unit Plans and Lesson Plans

Notate what • T: “When we have one sound that lasts for two beats, we can
you hear say ta-ah.”
• Ss sing the phrase using rhythm syllables and sing “ta-ah” instead of
“long.”
• Ss identify the meter and conduct and say the rhythm syllables.
• T: “When the beat is a quarter note, we can use a half note to
represent a sound that lasts for two beats. A half note has a head and
a stem.”
• T: “When we read music we use traditional notation (with note heads).
It looks like this”:
2$w\sdsd\qq\qQ|
• Ss sing with rhythm syllables while looking at the notation.
• T: "Stick notation is an easy way to write rhythmic notation.
Stick notation is traditional notation without the note heads.
Our second phrase of ‘Here Comes a Bluebird’ in stick
notation looks like this.” T writes the pattern on the board using stick
notation.
Creative “Ida Red”
movement CSP: D
• Ss sing and conduct.
• T briefly reviews the rules of the game.
• T and Ss sing and play.
Presentation “Bye, Bye, Baby”
of music CSP: F-sharp
literacy • Ss sing song and conduct.
concepts • T reviews visual presentation. 191
Notate what • Ss sing with rhythm syllables and clap the rhythm.
you hear • Ss sing with rhythm syllables while pointing to beats below the
rhythmic notation for the song.
SUM M A RY AC T I V I T I E S
Review “Ida Red”
lesson CSP: F
outcomes
Review the
new song

Unit 4: Teaching re
Sections 1 and 2
 192
Prepare:     re Practice:  w
Focus song: “Hot Cross Buns”

Song Repertoire:
Known Songs Songs for Songs to Songs to Songs to Creative Songs to Practice Known
Tuneful Review Known Prepare New Prepare Movement Concepts:  w
Singing Elements: Melodic Concept:  xccc Concept: re
Lesson 1 “Bow Wow Wow,” “Rocky “We Are Dancing in “Dance Josey” “Hot Cross “Button, You “Here Comes a Bluebird”
“Ida Red” Mountain” the Forest” Buns” Must Wander”
Lesson 2 “Who’s That “Sea Shell” “Bobby Shafto” “Cumberland “Hot Cross “Button, You “Here Comes a Bluebird”
Tapping at the Gap” Buns” Must Wander”
Window?”
“Dance Josey”
Lesson 3 “Rocky “Button, “Bounce High, “Paw Paw Patch” “Hot Cross “Let Us Chase “Here Comes a Bluebird”
Mountain,” You Must Bounce Low” Buns” the Squirrel”
“Cumberland Wander”
Gap”
Known Songs Songs for Songs to Review Songs to Prepare Songs to Creative Songs to Present Element:
Tuneful Known Elements Next New Present Movement re
Singing Concepts: xxxc Element: re
Lesson 4 “Paw Paw Patch” “Rocky “Here Comes a “Tideo” “Hot Cross “King’s Land” “All Around the Buttercup,”
Mountain” Bluebird” Buns” “Hop, Old Squirrel”
Lesson 5 “Button, You “Let Us Chase “Snail, Snail” “Dinah” “Hot Cross “Cumberland “All Around the Buttercup,”
Must Wander,” the Squirrel” Buns” Gap” “Hop, Old Squirrel,”
“Tideo” “Bow Wow Wow,” “Rocky
Mountain”
 Unit Plans and Lesson Plans

Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of re. Remember, in the first three lessons, students practice the
previous musical element, in this case half note.

Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Reading Ss read “Here Ss read “Hot
Comes a Cross Buns” with
Bluebird” hand signs from
and steps, traditional
additional notation with
songs using solfège, and then
half notes staff notation.
written in
traditional
notation
syllables.
Writing Ss write all of Ss write phrase
“Here Comes 1 of “Hot
a Bluebird” or Cross Buns”
other songs in rhythmic
containing notation with
half notes solfège syllables
in rhythm and staff
notation notation.
with solfège
syllables.
193
Improvi­ T sings a
sation question
phrase
written on
the board;
Ss sing an
answer
phrase that
ends on do
also written
on the board.
Movement “Button, “Cumberland “Let Us “King’s “Cumberland
You Must Gap” Chase the Land” Gap”
Wander” Squirrel”
Listening “Great Gate
of Kiev,” from
Pictures at an
Exhibition,
by Modest
Mussorgsky
(1839–1881)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Unit 4, re, Lesson 1

Outcome Preparation: internalizing a pitch, re, between mi and do through kinesthetic

activities
Practice: reading rhythm patterns that contain a half note
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Star Wars Imperial March, by John Williams (1932–)
• Breathing: Ss practice blowing up a balloon and watch how air is released
when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing “Bow Wow Wow”
known CSP: D
songs • Ss sing and keep the beat.
“Ida Red”
CSP: D
• Ss sing the song and pat the beat.
• Ss sing the song with the following ostinato:
2$qq\sdq>
Develop “Rocky Mountain”
tuneful CSP: D
194 singing • Ss sing the song with the ostinato from the previous
Tone song.
production • Ss sing “Rocky Mountain” on the syllable “koo.”
Diction • Ss perform tongue twisters. Ss gain flexibility by singing tongue
Expression twisters: “Shall she shake the shawl” and “Fred found Fran five fine fat fish
for frying.”
Review “We Are Dancing in the Forest”
known CSP: A
songs and • Ss sing the song and conduct.
melodic • Ss sing the song with solfège syllables and hand signs.
elements • T sings phrases from this song and other known songs that
use so la mi do patterns; Ss echo-sing with solfège syllables and
hand signs.
○ “Bow Wow Wow” (phrases 1, 2, and 3)
○ “Wallflowers” (phrase 1)
○ “Knock the Cymbals” (phrase 1)
○ “Rocky Mountain” (phrase 1)
○ “Rocky Mountain” (phrase 3, first four beats)
○ “Rocky Mountain” (phrase 2, first four beats)
 Unit Plans and Lesson Plans

C OR E AC T I V I T I E S
Teach a “Dance Josey”
new song CSP: F
• T sings the song as Ss continue the ostinato.
• Ss show the phrases while T sings.
• Ss sing while T demonstrates the game.
• T sings as Ss play.
Develop “Hot Cross Buns”
knowledge CSP: A
of music • Ss sing the song.
literacy • Ss sing the song and keep the beat.
concepts • Ss play a kinesthetic game that represents melodic
Internalize contour:
music “Hot”: clap partner’s hand
through “Cross”: cross arms across chest
kinesthetic “Buns”: pat knees
activities • Ss sing and point to visual representations of the song.

• Ss perform the rhythm of “Hot Cross Buns” while T sings “Button, You
Must Wander.”
Creative “Button, You Must Wander”
movement CSP: D
195
• Ss sing and play the game.
Practice “Here Comes a Bluebird”
and perfor­ CSP: A
mance • Ss sing the song.
of music • Ss sing with rhythm syllables.
literacy • Ss sing and clap the rhythm syllables.
skills • Ss read the song from standard rhythmic notation with rhythm
Reading syllables:
2$qsd\qq\qsd\qq\
w\sdsd\qq\qQ\
sdsd\qq\qsd\qq\
w\sdsd\qq\qQ|
• Ss read the song from standard rhythmic notation with numbers and
conduct.
• T changes the notation step by step into the opening two
phrases of “Death of Ase,” movement 6 from Peer
Gynt Suite, No. 1, Op. 46, by Edvard Grieg
(1843–1907)
• Ss memorize the rhythm with rhythm syllables.
• Ss listen to a recording.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

SU M M A RY AC T I V I T I E S
Review “Dance Josey”
lesson CSP: F
outcomes
Review the
new song

Grade 2, Unit 4, re, Lesson 2

Outcome Preparation: analyzing repertoire that contains a pitch, re, between mi

and do
Practice: writing rhythm patterns that contain a half note
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Star Wars Imperial March, by John Williams (1932–)
• Breathing: Ss practice blowing up a balloon and watch how air is released
when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing
Sing “Who’s That Tapping at the Window?”
196 known CSP: F
songs • Ss sing the song and keep the beat.
“Dance Josey”
CSP: F
• Ss sing the song
• T adds an ostinato:
2$qq\sdq>
• Ss sing with ostinato.
Develop “Sea Shell”
tuneful CSP: F
singing • Ss sing the song and conduct.
Tone • Ss sing the song in canon after four beats.
production • Ss sing the song on “loo” or “noh” in unison.
Diction • Ss sing in unison with the musical inflection following
Expression T’s conducting (crescendo and decrescendo, ritardando and
accelerando, etc.).
 Unit Plans and Lesson Plans

Review “Bobby Shafto”

known CSP: A
songs and • Ss sing the song.
melodic • Ss sing the song with solfège syllables and hand signs.
elements • T sings each phrase on “loo” and Ss echo-sing with solfège syllables and
hand signs.
• T may also sing phrases from other known songs that use so la mi do
patterns; Ss echo-sing with solfège syllables and hand signs.
○ “Bow Wow Wow” (phrases 1, 2, and 3)
○ “Wallflowers” (phrase 1)
○ “Knock the Cymbals” (phrase 1)
○ “Rocky Mountain” (phrase 1)
○ “Rocky Mountain” (phrase 3, first four beats)
○ “Rocky Mountain” (phrase 2, first four beats)
C OR E AC T I V I T I E S
Teach a “Cumberland Gap”
new song CSP: A
• T sings the song.
• T sings the song, and Ss show the phrases.
• Ss identify the number of phrases in the song. (four)
• Ss draw the phrases on the board while T sings.
• T sings the song, and Ss draw in the beats beneath the phrases on
the board.
• T sings the song, pausing after each phrase for Ss to label the
form. (ABAC)
• Ss sing the A phrases; T sings B and C. 197
• Ss sing the A and B phrases; T sings C.
• Ss sing the whole song with T.
Develop “Hot Cross Buns”
knowledge CSP: A
of music • Ss sing the song.
literacy • T reviews kinesthetic activities.
concepts • T and Ss sing phrase 1 on “loo” before asking each of these questions:
Describe • T: “Andy, how many different pitches did we sing?” (three)
what you • T: “Andy, did our three pitches move up or down?” (down)
hear • T: “Andy, did our three pitches sound like they moved down by steps or
by skips?” (steps)
• T: “Andy, what is the hand sign for our first pitch?”(mi) “Andy, what is
then hand sign for our last pitch?” (do)
• T: “Andy, lets sing our first pitch with mi and hum our new pitch and then
sing the last pitch with do.”
• Repeat with all Ss.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Creative “Button, You Must Wander”

movement CSP: D
• Ss sing the song.
• T briefly explains the rules of the game.
• Ss sing and play the game.
• T selects Ss to create simple ostinato to accompany the song.
Practice “Here Comes a Bluebird”
of music CSP: A
perfor­ • Ss sing the song and keep the beat.
mance and • Ss sing the song with rhythm syllables and conduct the meter.
literacy • Ss writes notation for rhythm of focus phrase on worksheet.
skills 2$ w\sdsd\qq\qQ|
Writing • Ss add instrumental rhythmic accompaniments with half notes to known
songs. These can also be played on pitched instruments as a tonic drone.
SU M M A RY AC T I V I T I E S
Review “Cumberland Gap”
lesson CSP: A
outcomes
Review the
new song

Unit 4, re, Lesson 3

198 Outcome Preparation: creating a visual representation of re, a pitch between mi and
do
Practice: improvise music with rhythm syllables using quarter, eighth, and
half notes and quarter rests
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Star Wars Imperial March, by John Williams (1932–)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Rocky Mountain”
songs CSP: F
• Ss sing the song and show the phrases.
“Cumberland Gap”
CSP: A
• Ss sing the song and pat the beat.
 Unit Plans and Lesson Plans

Develop “Button, You Must Wander”

tuneful CSP: F
singing • Ss sing the song and then sing in canon after two beats.
Tone • Ss sing each phrase of the song as follows: “Mi-oh mi-oh mi mi mi mi
production mi mi.”
Diction
Expression
Review “Bounce High, Bounce Low”
known songs CSP: A
and melodic • Ss sing the song.
elements • Ss sing the song with solfège syllables and hand signs.
• T sings phrases of the songs and Ss echo-sing with solfège syllables and
hand signs.
• T may also sing phrases from other known songs that use so la mi do
patterns; Ss echo-sing with solfège syllables and hand signs.
○ “Bow Wow Wow” (phrases 1, 2, and 3)
○ “Wallflowers” (phrase 1)
○ “Knock the Cymbals” (phrase 1)
○ “Rocky Mountain” (phrase 1)
○ “Rocky Mountain” (phrase 3, first four beats)
○ “Rocky Mountain” (phrase 2, first four beat)
C OR E AC T I V I T I E S
Teach a new “Paw Paw Patch”
song CSP: F
• T sings while Ss pat the beat.
• T may briefly explain what a “paw paw” is. 199
• T sings, and Ss play the game.
• After two or three cycles, Ss sing with T and play the game.
Develop “Hot Cross Buns”
knowledge of CSP: A
music literacy • Ss sing the song.
concepts • T reviews kinesthetic and aural activities.
Create a • T sings the target phrase on “loo” and asks the class to create a visual
representation representation of the target phrase. Ss may use manipulatives.
of what you • T: “Pick up Unifix cubes and recreate what you heard.”
hear • Ss share their representations with each other.
• T invites one S 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.
• Ss sing the first phrase of “Hot Cross Buns” with a neutral syllable and
point to the representation on the board.
• Ss identify the rhythm of the target phrase with rhythm syllables and T
notates this rhythm.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Creative “Let Us Chase the Squirrel”

movement CSP: F
• Ss sing and play the game.
Practice and “Here Comes a Bluebird”
performance CSP: C
of music • Ss sing the song.
literacy skills • Ss read the target phrase from the board with rhythm syllables and pat
Improvisation the beat.
• T labels this as a “question” phrase.
• Ss clap the question phrase and T claps an eight-beat response.
Perform several times.
• T notates his or her “answer” phrase on the board.
• T asks the question; Ss perform the answer.
• Repeat with three or four other options.
• Ss perform the question and individual Ss perform an answer,
or they create their own answers using half, quarter, and eighth
notes and quarter rests. Ss can perform their answers with rhythm
syllables.
• Ss perform the question and individual Ss perform one of the answers
with rhythm syllables, or they create their own answers without saying
the rhythm syllables.
SU M M A RY AC T I V I T I E S
Review lesson “Paw Paw Patch”
outcomes CSP: F
Review the
200 new song

Unit 4, re, Lesson 4

Outcome Presentation: labeling a pitch between mi and do as re with solfège syllables

and hand sign
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Star Wars Imperial March, by John Williams (1932–)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
 Unit Plans and Lesson Plans

Sing known “Paw Paw Patch”

songs CSP: F
• Ss sing the song.
• Ss sing the song with an ostinato.
Develop “Rocky Mountain”
tuneful CSP: F
singing • Ss sing the song.
Tone • Ss sing the song in canon after four beats.
production • Ss sing the melody with the syllables “mi-oh,” focusing on tone
Diction production.
Expression
Review “Here Comes a Bluebird”
known songs CSP: C
and melodic • Ss sing the song.
elements • Ss sing the A phrase of song with solfège and hand signs and T sings
the other phrases on “loo.”
• T may also sing phrases from other known songs that use so la mi do
patterns; Ss echo-sing with solfège syllables and hand signs.
• “Bow Wow Wow” (phrases 1, 2, and 3)
• “Wallflowers” (phrase 1)
• “Knock the Cymbals” (phrase 1)
• “Rocky Mountain” (phrase 1)
• “Rocky Mountain” (phrase 3, first four beats)
• “Rocky Mountain” (phrase 2, first four beat)
C OR E AC T I V I T I E S
Teach a new “Tideo” 201
song CSP: F-sharp
● Ss move into a circle while T sings the song.
● T sings the song again and positions Ss into a double circle, facing a
partner; T sings and Ss practice the movement.
● T sequentially adds the game movements.
Presentation “Hot Cross Buns”
of music CSP: F-sharp
literacy • Ss sing and keep the beat.
concepts • T reviews kinesthetic, aural, and visual awareness activities.
Describe • T: “We call these three pitches that move in steps mi-re-do. Our new
what you hear note between mi and do is called re.” Show hand sign. u
with solfège • T sings “mi-re-do” with hand signs.
syllables • T sings phrase 1 of “Hot Cross Buns” with solfège syllables and hand
signs, and Ss echo with solfège syllables and hand signs.
• Ss echo-sing the pitches, with at least eight Ss.
Creative “King’s Land”
movement CSP: C
• Ss sing and play the game; they create simple ostinati as
accompaniment.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Presentation “All Around the Buttercup”

of music CSP: F sharp
literacy • Ss sing song and keep the beat or clap a simple rhythmic pattern to
concepts accompany song.
Describe • T reviews aural presentation and connects the text to the solfège
what you hear syllables for phrases 2 and 4.
with solfège • T sings phrases 1 and 3 with solfège syllables and hand signs and Ss
syllables sing phrases 2 and 4 with solfège syllables and hand signs.
• Ss sing song with solfège and hand signs.
• T connects the solfège syllables to these songs:
○ “Bow Wow Wow,” mrd
○ “Rocky Mountain” (hang your head and cry), m m r r d, and (do
remember me), m m r r d
• Patterns:
○ “Bow Wow Wow” (whole song)
○ “Knock the Cymbals” (whole song)
○ “Rocky Mountain” (whole song, four beats at a time)
SU M M A RY AC T I V I T I E S
Review “Tideo”
lesson CSP: F-sharp
outcomes
Review the
new song

202
Unit 4, re, Lesson 5

Outcome Presentation: notation strategies for re, a pitch between mi and do

I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Largo,” from Symphony No. 9, by Antonin Dvorak (1841–1904)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Button, You Must Wander”
songs CSP: D
• Ss sing the song and keep the beat.
“Tideo”
CSP: F-sharp
• Ss sing the song.
• Ss sing the song and add a simple ostinato: 2$qQ\sdq>
 Unit Plans and Lesson Plans

Develop “Let Us Chase the Squirrel”

tuneful CSP: F
singing • Ss sing the song.
Tone • Ss sing song with solfège syllables and hand signs and T sings a
production tonic drone.
Diction • T divides class into two groups: group 1 sings a do drone
Expression and group 2 sings phrases from song with solfège syllables and hand
signs.
Review “Snail, Snail”
known songs CSP: A
and melodic • Ss identify the song from T’s singing on a neutral syllable.
elements • Ss sing song with solfège syllables and hand signs.
• T sings phrases from other known songs that use so la
mi re do patterns; Ss echo-sing with solfège syllables and hand
signs.
○ “Bow Wow Wow” (phrases 1, 2, and 3)
○ “Wallflowers” (phrases 1, 2, and 3)
○ “Knock the Cymbals” (whole song phrase by phrase)
○ “Hot Cross Buns” (whole song phrase by phrase)
○ “Rocky Mountain” (whole song phrase by phrase)
○ “Who’s That Tapping at the Window?”
C OR E AC T I V I T I E S
Teach a new “Dinah”
song CSP: F
• T sings the song.
• T sings the song and Ss show the phrases. 203
• T sings the song but Ss sing the word “Dinah.”
Presentation “Hot Cross Buns”
of music CSP: A
literacy • T reviews aural presentation.
concepts • T presents re on the tone ladder:
Notate what
l
you hear
s

m
r
d

• Ss sing the target phrase with solfège syllables, pointing to the pitches
on the tone ladder.
• T presents the song with standard rhythmic notation, time signature,
and solfège syllables.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• T presents the rule of placement for mi, re, do using the

hand staff.
• T presents the target phrase in staff notation with
F = do.

• Ss read the melody with solfège syllables while pointing to the notes
on the staff.

Creative “Cumberland Gap”
movement CSP: A
• Ss create accompaniment through movement, rhythmic elements, or
melodic elements.
• Ss sing and play the game.

Presentation “All Around the Buttercup”

of music CSP: B
literacy • Ss sing “All Around the Buttercup” with words and keep
concepts the beat.
Notate what • Ss sing with solfège syllables and hand signs.
you hear • Ss read with solfège syllables and hand signs from rhythmic
notation.
• Ss place notes on the tone ladder.
• T reviews the placement of notes on the staff.
204
• T points to the notes of the song written on the staff and Ss sing with
solfège syllables and hand signs.
• T may introduce absolute pitch names for do = G and do = F.

SU M M A RY AC T I V I T I E S

Review “Dinah”
lesson CSP: F
outcomes
Review the
new song

Unit 5: Teaching Four Sixteenth Notes

Sections 1 and 2
Prepare:  xccc Practice: re
Focus song: “Paw Paw Patch”

Song Repertoire:
Known Songs Songs for Songs to Songs to Songs to Creative Songs to Practice Known
Tuneful Review Known Prepare New Prepare Movement Concepts: re
Singing Elements: Rhythm Concept: do Concept:  xccc
Pentatonic
Lesson 1 “Are You “Tideo” “Let Us Chase the “Frosty “Paw Paw “Cumberland “Hot Cross Buns,” “Knock
Sleeping?”, “Dinah” Squirrel” Weather” Patch” Gap” the Cymbals”
Lesson 2 “Are You “Cumberland “Sea Shell” “Hush, Little “Paw Paw “Great Big “Hot Cross Buns”
Sleeping?” “Frosty Gap” Minnie” Patch” House in New
Weather” Orleans”
Lesson 3 “Tideo,” “Hush, “Dance “Rocky Mountain” “Mama, Buy “Paw Paw “Ida Red” “Hot Cross Buns”
Little Minnie” Josey” Me a Chiney Patch”
Doll”
Known Songs Songs for Songs to Review Songs to Songs to Creative Songs to Present Element:
Tuneful Known Elements: Prepare New Present Movement xxxc
Singing re Concepts: do Element: xxxc
Pentatonic
Lesson 4 “Sea Shell,” “Dance “Hot Cross Buns” “Cocky Robin” “Paw Paw “Ida Red” “Dinah,” “Tideo,” “Dance
“Mama, Buy Me a Josey” Patch” Josey,” “Cumberland Gap”
Chiney Doll”
Lesson 5 “Here Comes a “Tideo” “Bye, Bye, Baby” “Green Gravel” “Paw Paw “Cut the Cake” “Dinah,” “Tideo,” “Dance
Bluebird,” “Cocky Patch” Josey,” “Cumberland Gap”
Robin”
205
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of four sounds on a beat. Remember, in the first three lessons,
students practice the previous musical element, in this case re.

Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Reading Ss read Ss read “Paw Paw
“Hot Cross Patch” written
Buns” with in traditional
hand signs notation rhythm
from steps, syllables.
traditional
notation with
solfège, and
then staff
notation.
Writing Ss write Ss write all of
all of “Hot “Paw Paw Patch”
Cross Buns” in traditional
in rhythmic rhythm notation
notation with solfège
with solfège syllables.
syllables
or in staff
notation.
Improvi­ T sings a
sation question
206
phrase
written on
the board;
Ss sing an
answer
phrase that
ends on do
also written
on the board.
Movement “Cumberland “Great “Ida Red” “Ida Red” “Cut the Cake”
Gap” Big House
in New
Orleans”
Listening “Carillon,”
from
L’Arlésienne
Suite No. 1, by
Georges Bizet
(1838–1875)
 Unit Plans and Lesson Plans

Unit 5, Four Sixteenth Notes, Lesson 1

Outcome Preparation: internalizing four sounds on a beat through kinesthetic

activities
Practice: reading melodies which contain re
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Rondo alla Turca, by W. A. Mozart (1756–1791)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Are You Sleeping?”
songs CSP: F
• Ss sing the song.
• Ss sing the song in two-part canon.
“Dinah”
CSP: F
• Ss sing the song.
• T adds an ostinato: 2$w\sdq>
• Ss sing and play the ostinato on an unpitched instrument.
Develop “Tideo”
tuneful CSP: F-sharp
singing • Ss sing the song. 207
Tone • T imitates the sound of a siren with the voice. Challenge Ss to make
production soft and loud, high and low, long and short sirens, and sirens that go
Diction up, come down, or do both.
Expression • Falling off a cliff. Pretend you’re falling off a cliff and say
“aaaahhhhhhhhhh!”
• T throws a ball from one S to another and Ss have to follow the
movement of the ball with their voices.
• Ss sing “Tideo” and pat the beat.
Review “Let Us Chase the Squirrel”
known songs CSP: F
and rhythmic • Ss sing the song.
elements • Ss sing song with rhythm syllables and conduct.
• T sings each phrase of the song on “loo,” and Ss sing back with
rhythm syllables and conduct.
• T sings phrases from “All Around the Buttercup,” “Bow Wow Wow,”
“Here Comes a Bluebird,” and other songs that use rhythms; Ss echo-
sing using rhythm syllables as they tap the beat.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

C OR E AC T I V I T I E S
Teach a new “Frosty Weather”
song CSP: C
• T sings the song and demonstrates the movements for each phrase.
Ss copy.
• Ss sing phrases 1 and 2; T sings phrases 3 and 4 while performing the
movements.
Develop “Paw Paw Patch”
knowledge of CSP: F
music literacy • Ss sing the song and keep the beat. T may select one S to keep the
concepts beat on an instrument.
Internalize • Ss sing and clap the rhythm. T may select one S to play the rhythm
music through on an instrument.
kinesthetic • T directs part of the class to keep the beat while the remainder
activities perform the rhythm. Switch.
• Ss sing and point to a representation of phrase 1:

• T selects six to eight Ss to come to the board to point or tap the

representation.
• Ss sing phrase 1 while walking the beat and clapping the rhythm.
• Ss sing and point to the representation, in other ways suggested
by the S doing the activity (pointing with their elbow, nodding,
flicking, etc.).
• Ss inner-hear the song while stepping the beat and clapping the
208 rhythm.
• Repeat the previous step with Ss in canon after two beats.
Creative “Cumberland Gap”
movement CSP: A
• Ss sing and play the game.
• Ss choose instruments and create short ostinati as accompaniment.
Practice “Hot Cross Buns”
of music CSP: A
performance • Ss sing the song.
and • Ss sing the song with solfège syllables and hand signs.
literacy skills • Ss read “Hot Cross Buns” from the board with solfège syllables and
Reading hand signs.
• Ss place notes on the tone ladder.
• Ss read from the staff with solfège syllables and hand signs.
• If appropriate, Ss read from the staff with absolute pitch names and
hand signs.
• T points to notes and Ss read with solfège syllables and hand signs.
• Ss listen to “Carillon,” from L’Arlésienne Suite No. 1, by Georges Bizet
(1838–1875).
• Ss perform the hand signs when they hear the musical theme.
 Unit Plans and Lesson Plans

SUM M A RY AC T I V I T I E S
Review lesson “Frosty Weather”
outcomes CSP: C
Review the
new song

Unit 5, Four Sixteenth Notes, Lesson 2

Outcome Preparation: analyzing repertoire that contains four sounds on a beat

Practice: writing melodies that contain re
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Rondo alla Turca, by W. A. Mozart (1756–1791)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Are You Sleeping?”
songs CSP: F
• Ss sing the song as a two-part canon.
209
Develop “Cumberland Gap”
tuneful CSP: F-sharp
singing • Ss sing song.
Tone • T imitates the sound of a siren with the voice. Challenge Ss to make
production soft and loud, high and low, long and short sirens, and sirens that go
Diction up, come down, or do both.
Expression • Falling off a cliff. Pretend you’re falling off a cliff and say
“aaaahhhhhhhhhh!”
• T throws a ball from one S to another and Ss have to follow the
movement of the ball with their voices.
Review known “Sea Shell”
songs and CSP: D
rhythmic • Ss sing song.
elements • Ss sing song with rhythm syllables and conduct.
• T sings phrases from “All Around the Buttercup,” “Bow
Wow Wow,” “Here Comes a Bluebird,” and other songs that use
known rhythms; Ss echo-sing using rhythm syllables as they tap the
beat.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

C OR E AC T I V I T I E S
Teach a new “Hush, Little Minnie”
song CSP: D
• T sings song while Ss keep the beat.
• T echo-sings each phrase with Ss.
• Ss sing the song.
• T selects significant words in the song to be replaced with motions,
so that Ss must inner-hear pieces of the song.
Develop “Paw Paw Patch”
knowledge of CSP: F
music literacy • Ss sing the song.
concepts • T reviews kinesthetic activities.
Describe what • T sings phrase 1 on “loo” and keeps the beat. T asks each of these
you hear questions:
• T: “Andy, how many beats did we tap?” (four)
• T: “Andy, how many sounds did we sing on beat 4?” (two)
• T: “Andy, which beat had the most sounds?” (3)
• T: “Andy, how many sounds did we sing on beat 3?” (four)
• T: “Andy, if beat 3 has four sounds, how many sounds are on each of
the other beats?” (two)
• T: “Let’s sing phrases 1, 2, and 3 with rhythm syllables, and sing ‘loo’
on beat 3. It will sound like this: ‘tadi tadi looloolooloo tadi’. Tap the
beat as we sing.”
Creative “Great Big House in New Orleans”
movement CSP: A
210 • Ss sing the song while continuing the ostinato.
• Ss sing and play the game.
Practice “Hot Cross Buns”
of music CSP: A
performance • Ss sing “Hot Cross Buns.”
and • Ss sing the song with solfège syllables and hand signs.
literacy skills • T shows Ss the traditional rhythmic notation and solfège syllables
Writing (or the melody written on the staff) for “Hot Cross Buns,” with
incomplete measures.
• Ss complete the missing measures.
• Ss sing with solfège syllables and hand signs.
• If appropriate, Ss sing with absolute names and hand signs.
• Ss play the mi re do motive on xylophones as an accompaniment to
songs they know.
SU M M A RY AC T I V I T I E S
Review lesson “Hush, Little Minnie”
outcomes CSP: D
Review the
new song
 Unit Plans and Lesson Plans

Unit 5, Four Sixteenth Notes, Lesson 3

Outcome Preparation: creating a visual representation of four sounds on a beat

Practice: improvising melodies that include re
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Rondo alla Turca, by W. A. Mozart (1756–1791)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Tideo”
songs CSP: F-sharp
• Ss sing the song and briefly play the game.
“Hush, Little Minnie”
CSP: D
• Ss sing the song.
• T selects significant words in the song to be replaced with motions, so
that Ss must inner-hear pieces of the song.
• Ss sing with an ostinato:
2$xxxcq\qQ>
Develop “Dance Josey”
tuneful CSP: F
singing • Ss sing the song with the text. 211
Tone • Ss sing song with the word yip to develop tone production.
production • Ss sing song with the word koo to work on tone production.
Diction
Expression
Review “Rocky Mountain”
known songs CSP: F
and rhythmic • Ss sing “Rocky Mountain.”
elements • Ss sing “Rocky Mountain” with rhythm syllables and
conducting.
• T sings phrases from “All Around the Buttercup,” “Bow Wow Wow,”
“Here Comes a Bluebird,” and other known songs; Ss echo-sing using
rhythm syllables as they tap the beat.
C OR E AC T I V I T I E S
Teach a new “Mama, Buy Me a Chiney Doll”
song CSP: A
• T sings the song while Ss conduct.
• T sings each phrase; Ss identify the form.
• Ss sing the song.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Develop “Paw Paw Patch”

knowledge of CSP: F
music literacy • Ss sing the song.
concepts • T reviews kinesthetic and aural awareness activities.
Create a visual • T sings phrase 1 on a neutral syllable.
representation • Ss create a representation of phrase 1 with Unifix cubes or another
of what you manipulative.
hear • Ss sing phrase 1 and tap their representation. They may make
corrections if necessary.
• Ss share their representations with one another.
• T invites one S to the board to recreate a representation.
If necessary, corrections can be made by reviewing aural awareness
questions.
• Ss sing phrase 1 while pointing at the representation on the
board.
• Ss sing phrase 1 while pointing to their representations.
• Ss identify the solfège syllables and sing with solfège syllables and
hand signs.
Creative “Ida Red”
movement CSP: F
• Ss create an accompaniment through movement, rhythmic elements,
or melodic elements.
• Ss sing and play the game.
Practice “Hot Cross Buns”
of music CSP: A
212 performance • Ss sing the song.
and • Ss read the song from the board with solfège syllables and hand
literacy skills signs.
Improvisation • T erases phrases 1, 2, and 3 from the board. T sings known
four-beat patterns with solfège syllables and hand signs (question). Ss
sing the last phrase of “Hot Cross Buns” (answer) each time
T sings a question. T can notate the questions on the
board.
• Ss respond by choosing a question from the ones written on the
board and T sings the answer. Ss can choose from questions on the
board, or they can create their own.
SU M M A RY AC T I V I T I E S
Review lesson “Mama, Buy Me a Chiney Doll”
outcomes CSP: A
Review the
new song
 Unit Plans and Lesson Plans

Unit 5, Four Sixteenth Notes, Lesson 4

Outcome Presentation: label four sounds on a beat with the rhythm syllables

takadimi
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Rondo alla Turca, by W. A. Mozart (1756–1791)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Sea Shell”
songs CSP: F
• Ss sing the song and keep the beat.
• Ss sing the song in canon after four beats.
“Mama, Buy Me a Chiney Doll”
CSP: A
• Ss sing song.
• Ss perform the song with an ostinato.
Develop “Dance Josey”
tuneful CSP: F
singing • Ss sing the song with the ostinato.
Tone • Ss sing song with the word “yip” to develop tone production. 213
production • Ss sing known songs with the word “koo” to develop tone production.
Diction • Ss sing the song in canon after two beats.
Expression
Review “Hot Cross Buns”
known songs CSP: A
and rhythmic • Ss sing the song with an ostinato. Ss may play the ostinato on an
elements instrument as accompaniment.
• Ss sing song with rhythm syllables.
• T sings phrases from “All Around the Buttercup,” “Bow Wow Wow,”
“Here Comes a Bluebird,” and other known songs; Ss echo-sing using
rhythm syllables as they tap the beat.
C OR E AC T I V I T I E S
Teach a new “Cocky Robin”
song CSP: A
• T sings the song while Ss play a simple rhythmic ostinato.
• T sings and Ss quietly clap the ostinato written on the board.
• Ss join T in singing the song.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Presentation “Paw Paw Patch”

of music CSP: F
literacy • Ss sing the song.
concepts • Briefly review kinesthetic, aural, and visual awareness.
Describe • T labels the sound (“When we hear four sounds on a beat we call it
what you hear ‘takadimi’”).
with rhythm • T and Ss sing the whole song with rhythm syllables and clap the
syllables rhythm.
• T echo-sings individual phrases from the song with four to eight Ss;
they echo-sing using rhythm syllables.
Creative “Ida Red”
movement CSP: F
• Ss sing the song while performing a rhythmic ostinato.
• Ss compose additional ostinati to accompany the song.
Presentation “Dinah”
of music CSP: D
literacy • Ss sing the song.
concepts • T reviews the new rhythm syllables.
Describe • Ss sing with rhythm syllables and keeps the beat.
what you hear • T repeats the process with these songs:
with rhythm ○ “Tideo”
syllables ○ “Cumberland Gap”
○ “Dance Josey”
○ Ss create ostinati that use sixteenth notes on xylophones to
accompany their songs.
214 SU M M A RY AC T I V I T I E S
Review lesson “Cocky Robin”
outcomes CSP: A
Review the
new song

Unit 5, Four Sixteenth Notes, Lesson 5

Outcome Presentation: notate melodies with four sixteenth notes using standard
rhythmic notation
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
Surprise Symphony, by Franz Joseph Haydn (1732–1809)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
 Unit Plans and Lesson Plans

• Resonance: explore a cow sound using low and high voices.

Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Here Comes a Bluebird”
songs CSP: A
• Ss sing and step the beat.
• Ss sing the song in canon after eight beats.
Develop “Tideo”
tuneful CSP: F-sharp
singing • Ss sing the song with the ostinato.
Tone • Ss sing with a “koo” sound.
production • Ss sing with a “yip” sound.
Diction • Ss sing the song with the syllables “mi-oh.”
Expression
Songs to “Bye Bye, Baby”
review known CSP: D
elements • Ss sing the song.
• Ss sing song with rhythm syllables and conduct.
• Ss sing song in canon.
• T sings phrases from “All Around the Buttercup,” “Bow
Wow Wow,” “Here Comes a Bluebird,” and finally “Paw
Paw Patch”; Ss echo-sing using rhythm syllables as they tap
the beat.
C OR E AC T I V I T I E S
Teach a new “Green Gravel”
215
song CSP: D
• Ss continue the melodic ostinato while T sings the song.
• T sings the song while Ss show the phrases.
• Ss sing the song.
• Ss sing the song and T demonstrates how to play the
game.
• Ss sing and play the game.
Presentation “Paw Paw Patch”
of music CSP: F
literacy • Ss sing the song.
concepts • T briefly reviews kinesthetic, aural, and visual awareness
Notate what activities.
you hear • T reviews aural presentation.
• T: “When the beat is a quarter note, we can use four sixteenth
notes to represent four sounds on a beat. A sixteenth note has
a note head, a stem, and two flags. Four sixteenth notes have a
double beam.”
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• T: “This is how the first phrase of ‘Paw Paw Patch’ looks with standard
rhythmic notation”:
2$sdsd\xxxcsd|
• T: “We can read this rhythm pattern using our rhythm
syllables.”
• T sings rhythm syllables while pointing to the rhythm on the board.
Ss echo T using rhythm syllables while pointing to an imaginary beat
written under the rhythm.
• T repeats the previous three steps with stick notation.
Creative “Clap Your Hands Together” (Cut the Cake)
movement CSP: C
• T sings the song while Ss continue the rhythmic ostinato.
• Ss may choose an instrument to perform the
rhythm.
• T will also choose one S to play the beat on a drum.
• Ss sing and play the game.
Presentation “Dinah”
of music CSP: F
literacy • Ss sing the song.
concepts • Ss sing with rhythm syllables.
Notate what • T reviews visual presentation. (“We can use four sixteenth
you hear notes to represent four sounds on a beat. A sixteenth note has a
note head, a stem and two flags. Four sixteenth notes have a double
beam.”)
• Ss read the rhythm of “Dinah” written in traditional rhythmic
216 notation on the board with rhythm syllables and keep the
beat.
• T shows Ss how to count with numbers.
• T transforms the song into other known songs containing four
sixteenth notes:
○ “Dance Josie”
○ “Tideo”
SU M M A RY AC T I V I T I E S
Review lesson “Green Gravel”
outcomes CSP: D
Review the
new song

Unit 6: Teaching do Pentatonic Scale

Sections 1 and 2
Prepare: do pentatonic   
Practice:  xxxc

Song Repertoire
Known Songs Songs for Songs to Review Songs to Prepare Songs to Creative Songs to Practice Known
Tuneful Known Melodic New Concept: 4$ Prepare Movement Concepts: xccc
Singing Elements Concept: do
Pentatonic
Lesson 1 “Button, You Must “Knock the “Dinah” “Chatter with the “Rocky “Ida Red” “Paw Paw Patch”
Wander,” “Green Cymbals” Angels” Mountain”
Gravel”
Lesson 2 “Frosty Weather,” “Button, You “Dinah,” “Tideo” “Bluebird Through “Rocky “Great Big House “Paw Paw Patch”
“The Cow Song” Must Wander” My Window” Mountain” in New Orleans”
Lesson 3 “Bluebird Through “Ida Red” “Cumberland “Firefly” “Rocky “Bow Wow Wow” “Paw Paw Patch”
My Window” Gap” Mountain”
Known Songs Songs for Songs to Review Songs to Prepare Songs to Creative Songs to Present Element:
Tuneful Known Melodic Next New Concepts: Present Movement do Pentatonic
Singing Elements 4$Meter Element:
do Pentatonic
Lesson 4 “Ida Red” “Cut the Cake” “Tideo” “Firefly” “Rocky “Button, You “Knock the Cymbals,” “Rocky
Mountain” Must Wander” Mountain,” “Bow Wow Wow,”
“Frosty Weather,” “Ida Red”
Lesson 5 “Are You Sleeping?” “Great Big “Paw Paw Patch” “Firefly” “Rocky “Cut the Cake” “Great Big House in New
House in New Mountain” Orleans,” “Rocky Mountain,”
Orleans” “Bow Wow Wow,” “Knock
the Cymbals,” “Frosty
Weather,” “Ida Red”
217
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of do pentatonic. Remember, in the first three lessons, students
practice the previous musical element, in this case four sounds on a beat.

Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Reading Ss read “Paw Ss read “Rocky
Paw Patch” Mountain” with
with rhythm hand signs from
syllables steps, traditional
written in notation with
traditional solfège, and then
rhythm staff notation.
notation.
Writing Ss write Ss write phrase
“Paw Paw 4 of “Rocky
Patch” in Mountain”
traditional in rhythmic
rhythm notation with
notation. solfège syllables
and staff
notation.
Improvi­ T sings a
sation question
phrase
written on
the board,
218
and Ss sing
an answer
phrase that
contains
four
sixteenth
notes.
Movement “Ida Red” “Great “Bow Wow “Button, “Cut the Cake”
Big House Wow” You Must
in New Wander”
Orleans”
Listening “Andante,”
variation
3, from
Symphony
No. 94, by
Franz Joseph
Haydn
(1732–1809)
 Unit Plans and Lesson Plans

Unit 6, do Pentatonic, Lesson 1

Outcome Preparation: internalizing the do pentatonic scale through kinesthetic

activities
Practice: reading melodies with four sixteenth notes
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
The Thunderer, by John Philip Sousa (1854–1932)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Button, You Must Wander”
songs CSP: D
• Ss sing the song with a simple ostinato: 2$w\sdq>
“Green Gravel”
CSP: D
• Ss sing song.
• Ss sing with a melodic ostinato.
Develop “Knock the Cymbals”
tuneful CSP: D
singing • Ss sing and tap the beat.
Tone • Ss sing and read the rhythm from the board. 219
production • Ss sing with the syllable yip to develop tone production.
Diction • Ss sing with the syllables mi-oh to develop tone production.
Expression • Ss practice the tongue twisters “Shall she shake the shawl?” and “Fred
found Fran five fine fat fish for frying.”
Kodály Choral Library, Let Us Sing Correctly, no. 24
Review “Dinah”
known songs CSP: D
and melodic • Ss sing the song and conduct.
elements • Ss song with solfège syllables and hand signs.
• T hums motifs and Ss sing with solfège and hand signs.
• T sings phrases of other known songs that use the solfège
syllables la, so, mi, re, and do; Ss echo-sing using solfège syllables and
hand signs.
○ “Wallflowers” (phrases 1, 2, and 3)
○ “Knock the Cymbals” (whole song, phrase by phrase)
○ “Hot Cross Buns” (whole song, phrase by phrase)
○ “Rocky Mountain” (whole song, phrase by phrase)
○ “Who’s That Tapping at the Window?”
 Kodá ly in t he Se c ond G r a de Cl a ssro om

C OR E AC T I V I T I E S
Teach a new “Chatter with the Angels”
song CSP: C
• T sings the song.
• Ss identify the meter and form.
• T sings and Ss conduct.
Develop “Rocky Mountain”
knowledge CSP: F
of music • Ss sing song and conduct.
literacy • Ss sing the song in canon after eight beats.
concepts • Ss sing phrase 4 and show the melodic contour with their bodies.
Internalize • Ss sing phrase 4 and point to a representation on the board.
music
through
kinesthetic
activities

• Ss figure out the solfège syllables for the phrase without looking at the
representation.
Creative “Ida Red”
movement CSP: F
• Ss sing the song in unison.
• Ss sing and play the game.
Practice “Paw Paw Patch”
music CSP: F
220
performance • Ss sing song and conduct.
and • Ss read the rhythm of the song from the board.
literacy skills 2$sdsd\xxxcsd\
Reading sdsd\xxxcsd\
sdsd\xxxcsd\
sdxxxc\sdq|
• T modifies beat phrases 1 and 2.
2$sdsd\xxxcq\
sdsd\xxxcq\
sdsd\xxxcsd\
sdxxxc\sdq|
• T modifies beat 3 of phrase 3.
2$sdsd\xxxcq\
sdsd\xxxcq\
sdsd\sdsd\
sdxxxc\sdq|
• T modifies beat 2 of phrases 1, 2, and 4.
2$sdq\xxxcq\
sdxxxc\xxxcq\
sdsd\sdsd\
sdsd\sdq|
 Unit Plans and Lesson Plans

• T modifies beat 1 of phrases 1 and 2.

2$xxxcq\xxxcq\
xxxcxxxc\xxxcq\
sdsd\sdsd\
sdsd\sdq|
• Ss memorize the rhythm.
• Ss identify the new rhythm in Rondo alla Turca for piano by W. A.
Mozart (1756–1791).
2$xxxcq\xxxcq\
xxxcxxxc\xxxcq\
sdsd\sdsd\
sdsd\sdq|
• Ss listen to recording.
SUM M A RY AC T I V I T I E S
Review “Chatter with the Angels”
lesson CSP: C
outcomes
Review the
new song

Unit 6, do Pentatonic, Lesson 2

Outcome Preparation: analyzing repertoire composed of the notes of the do

pentatonic scale 221
Practice: writing melodies with four sixteenth notes
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Mexican Dance,” from Billy the Kid Suite, by Aaron Copland
(1900–1990)
• Breathing: Ss practice blowing up a balloon and watch how air
is released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Frosty Weather”
songs CSP: A
• Ss sing the song.
• Ss sing the song with an ostinato:
2$Qq\Qq>
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Develop “Button, You Must Wander”

tuneful CSP: D
singing • Ss sing song and conduct.
Tone • Ss sing song with syllables mi-oh.
production • Ss sing the melody from “Button, You Must Wander”
Diction to the tongue twister “Fred found Fran five fine fat fish
Expression for frying.”
Kodály Choral Library, Let Us Sing Correctly, nos. 25, 26, 27
Review “Dinah”
known songs CSP: D
and melodic Tideo
elements CSP: F-sharp
• Ss sing song.
• Ss sing with solfège syllables and hand signs, and Ss place notes on
the tone ladder.
• T sings phrases of “Rocky Mountain,” “Bow Wow Wow,”
“Here Comes a Bluebird,” and other known songs that use the solfège
syllables la, so, mi, re, and do; Ss echo-sing using solfège syllables and
hand signs.
○ “Wallflowers” (phrases 1, 2, and 3)
○ “Knock the Cymbals” (whole song phrase by phrase)
○ “Hot Cross Buns” (whole song phrase by phrase)
○ “Rocky Mountain” (whole song phrase by phrase)
○ “Who’s That Tapping at the Window?”
C OR E AC T I V I T I E S
222 Teach a new “Bluebird Through My Window”
song CSP: A
• T sings the song and Ss keep the beat.
• T sings the song and Ss move into a circle.
• T sings and Ss show the phrases with their bodies.
• Ss identify the number of phrases in the song.
(four)
• T sings and demonstrates the game.
• Ss sing with T and play the game.
• After two or three cycles, Ss must sing without assistance in order to
continue playing.
• After two or three additional cycles, Ss sing with rhythm syllables in
order to continue playing the game.
Develop “Rocky Mountain”
knowledge of CSP: D
music literacy • Ss sing “Rocky Mountain” while T sings “Bluebird Through My
concepts Window.”
Describe what • Ss sing the song and conduct.
you hear • T reviews kinesthetic awareness activities.
 Unit Plans and Lesson Plans

• T and Ss sing phrase 4 on neutral syllables before asking each

question.
• T: “Andy, How many different pitches did we sing?” (five)
• T: “Andy, sing the lowest note of the phrase.” (do)
• T: “Andy, sing the highest note of the phrase.” (la)
• T sings the five different pitches in the song on “loo” (do re mi
so la)
• T: “Andy, sing those five pitches with solfège syllables and
hand signs from the lowest to the highest pitch.” (la so mi
re do) Repeat the activity singing ascending. (do re mi
so la)
• T: “Andy, describe the intervals between the notes as steps or
skips.”
• T guides singing as follows. T: “d r”; Ss respond “that’s a
step.” T: “r m”; Ss respond “that’s a step.” T: “m s”; Ss respond
“that’s a skip.” T: “s l”; Ss respond “that’s a step.” Repeat the activity
descending.
• Ss sing phrase 4 with solfège syllables and hand
signs.
Creative “Great Big House in New Orleans”
movement CSP: F-sharp
• Ss choose classroom instruments to play the ostinato as
accompaniment for the song.
• Ss may create an additional ostinato and select an unpitched
instrument to use as accompaniment.
• Ss sing and play the game.
223
Practice “Paw Paw Patch”
music CSP: F
performance • Ss sing the song.
and • Ss sing the song with rhythm syllables.
literacy skills • Ss sing the rhythm syllables of the target phrase while pointing to
Writing blank beats on the board: 2$ \ |
• Ss fill in the blank beats with the correct rhythm.
• T erases the rhythm on the board, and Ss complete the writing
worksheets.
• Ss create a rhythmic accompaniment using sixteenth
notes to perform on rhythm instruments and a drone
to play on xylophones as an accompaniment to known
songs.
SUM M A RY AC T I V I T I E S
Review lesson “Bluebird Through My Window”
outcomes CSP: A
Review the
new song
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Unit 6, do Pentatonic, Lesson 3

Outcome Preparation: creating a visual representation of the notes of the do

pentatonic scale
Practice: improvising melodies containing rhythm patterns with four
sixteenth notes

I N T ROD U C TORY AC T I V I T I E S

Warm-up • Body warm-up

• Beat activity
“Largo,” from Symphony No. 9, by Antonin Dvorak (1841–1904)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.

Sing known “Bluebird Through My Window”

songs CSP: A
• Ss sing the song.
• Ss play the game.

Develop tuneful “Ida Red”

singing CSP: D
Tone production • Ss sing the song.
224 Diction • T directs Ss to sing the song with contrasting musical expression
Expression (forte and piano, legato and staccato, etc.).
• Ss sing the song on the word yip.
Kodály Choral Library, Let Us Sing Correctly, nos. 28, 29

Review known “Cumberland Gap”

songs and CSP: A
melodic elements • Ss sing the song and conduct.
• T and Ss sing with solfège syllables and hand signs for the first
three phrases. T guides the activity; Ss sing text for the last
phrase.
• T sings phrases of “Rocky Mountain,” “Bow Wow Wow,” “Here
Comes a Bluebird,” and other known songs that use the solfège
syllables la, so, mi, re, and do; Ss echo-sing using solfège syllables
and hand signs.
○ “Wallflowers” (phrases 1, 2, and 3)
○ “Knock the Cymbals” (whole song phrase by phrase)
○ “Rocky Mountain” (whole song phrase by phrase)
 Unit Plans and Lesson Plans

C OR E AC T I V I T I E S

Teach a new song “Firefly”

CSP: A
• Ss keep the beat while T sings the song.
• Ss identify how many “sections” are in the song. (two)
• Ss read each section from T’s hand signs.
• T sings each section with words. Ss echo-sing.

Develop “Rocky Mountain”

knowledge of CSP: D
music literacy • Ss sing the song in canon.
concepts • T reviews kinesthetic and aural awareness activities.
Create a visual • Ss use manipulatives to create a visual representation of the last
representation of phrase.
what you hear • Ss point to and sing their own representations.
• Ss share their representations with each other
(point and sing).
• Ss use manipulatives to create a visual representation of the tone
set of the last phrase showing the distance between the notes.
• Ss point to and sing their own representations.
• Ss share their representations with each other
(point and sing).
• One S recreates a representation on the board.
• Ss sing phrase 4 with solfège syllables and hand signs.

Creative “Bow Wow Wow” 225

movement CSP: D
• T and Ss sing the song.
• Ss create a rhythmic accompaniment to play during the game.
• T and Ss sing and play the game.

Practice music “Paw Paw Patch”

performance and CSP: F
literacy skills • Ss sing song and conduct.
Improvisation • Ss sing the song with rhythm syllables.
• Ss read the rhythm syllables from the board.
• T modifies phrase 1, and Ss read the changes.
• T modifies other phrases of the song, for example, phrase 2, and
Ss read the changes.
T modifies phrase 3, and Ss read the changes.
• T labels phrase 1 as a “question” and modified phrases 2, 3, and 4
as “answers.”
• T performs the question and individual Ss choose an answer,
or create their own four-beat rhythmic patterns containing four
sixteenth notes.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

SU M M A RY AC T I V I T I E S

Review lesson “Firefly”

outcomes CSP: A
Review the new
song

Unit 6, do Pentatonic, Lesson 4

Outcome Presentation: label the five pitches do, re, mi, so, and la as the do
pentatonic scale, a scale made up of steps and skips

I N T ROD U C TORY AC T I V I T I E S

Warm-up • Body warm-up

• Beat activity
“Largo,” from Symphony No. 9, by Antonin Dvorak (1841–1904)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.

226 Sing known “Ida Red”

songs CSP: D
• Ss continue to keep the beat while they sing.
• Ss sing the song with an ostinato.
“Go Tell Aunt Rhody”
CSP: A
• Ss continue to keep the beat while they sing
• Ss sing the song with an ostinato.

Develop tuneful “Cut the Cake”

singing CSP: A
Tone production • Ss sing song.
Diction • Ss sing the song on the syllable “koo.”
Expression • Ss sing the song in canon after four beats.

• Ss isolate the second phrase and identify the solfège

syllables.
• Create an ascending vocalise around this motif.
Kodály Choral Library, Let Us Sing Correctly, no. 31
 Unit Plans and Lesson Plans

Review known “Paw Paw Patch” or “Button, You Must Wander”

songs and CSP: D
melodic elements • Ss sing song.
• T guides Ss to sing phrases 1, 3, and 4 with solfège syllables (sing
phrase 2 with text).
• T sings phrases of “Rocky Mountain,” “Bow Wow Wow,” “Here
Comes a Bluebird,” and other known songs that use the solfège
syllables la, so, mi, re, and do; Ss echo-sing using solfège syllables
and hand signs.

C OR E AC T I V I T I E S

Teach a new song “Firefly”

CSP: A
• Ss keep the beat while T sings the song.
• Ss identify how many “sections” are in the song. (two)
• Ss reads each section from T’s hand signs.
• T sings each section with words. Ss echo-sing.

Presentation of “Rocky Mountain”

music literacy CSP: F
concepts • T reviews kinesthetic, aural, and visual awareness
Describe what you activities.
hear with solfège • T: “Sing the five pitches in the last phrase of ‘Rocky
syllables Mountain’ from the lowest to the highest.” (do, re, mi,
so, la)
• T: “When we put these five pitches together, it is called the do 227
pentatonic scale.”
• T: “We call this a do pentatonic scale because it starts on
do and penta-tonic means ‘five tones’ or five notes! We
can also call it a major pentatonic scale because the lowest
note is do, and the song [“Rocky Mountain”] starts and ends on
do. We call this note (do) the tonic note of the major pentatonic
scale.”
• T sings from low to high and Ss echo.
• T sings from high to low and Ss echo.
• Individual Ss sing the do pentatonic scale up and down.
• Ss identify the intervals on the notes of the pentatonic scale as
steps or skips.
• T: “I’m going to mix up the notes of the do pentatonic scale. Sing
what I show.”
• Ss read the next song from T’s hand signs.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Creative “Button, You Must Wander”

movement CSP: D
• Ss identify the tone set of the song.
• Ss sing the song and play the game.
• Ss may create simple ostinati and choose instruments to
accompany the song.
• Ss continue their accompaniment into the next song.

Practice music “Knock the Cymbals”

performance and CSP: D
literacy skills • Ss sing the song.
Describe what you • T reviews aural presentation.
hear with solfège • T and Ss identify and sing other known songs built on
syllables the do pentatonic scale; Ss sing with solfège syllables
and hand signs and one S writes the tone set on the tone
ladder.
○ “Bow Wow Wow”
○ “Button, You Must Wander”
○ “Great Big House in New Orleans”
○ “Ida Red”

SU M M A RY AC T I V I T I E S

Review lesson “Firefly”

outcomes CSP: A
Review the new
228 song

Unit 6, do Pentatonic, Lesson 5

Outcome Presentation: notating the d pentatonic scale, a scale made up of steps and
skips
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Largo,” from Symphony No. 9, by Antonin Dvorak (1841–1904)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
 Unit Plans and Lesson Plans

Sing known “Are You Sleeping?”

songs CSP: F
• Ss sing the song and keep the beat; they sing the song in two-part canon.
“Chatter with the Angels”
CSP: F
• Ss sing the song and perform an ostinato.
Develop “Great Big House in New Orleans”
tuneful CSP: A
singing • Ss sing the song.
Tone • Ss sing song on the syllable “koo.”
production Kodály Choral Library, Let Us Sing Correctly, nos. 51, 52
Diction
Expression
Review “Paw Paw Patch”
known songs CSP: F
and melodic • Ss sing song with ostinato.
elements • Ss sing phrases 1, 3, and 4 with solfège syllables, reading from T’s
hand signs.
• T sings phrases of “Rocky Mountain,” “Great Big House in New
Orleans,” “Here Comes a Bluebird,” or other known songs that use
the solfège syllables la, so, mi, re, and do; Ss echo-sing using solfège
syllables and hand signs.
C OR E AC T I V I T I E S
Teach a new “Firefly”
song CSP: A
• T sings the song and accompanies on an instrument. 229
• T sings and Ss draw the phrases in the air, and then on the board.
• Ss label the form. (ABC)
• Ss sing A; T sings B and C.
• Ss sing A and B; T sings C.
• Ss sing A, B, and C while T accompanies on an instrument.
• Ss identify the solfège syllables of phrase 1 (so mi so mi do re mi). Use
this as an ostinato for the next songs.
Develop “Rocky Mountain”
knowledge of CSP: D
music literacy • Ss sing the song.
concepts • T reviews kinesthetic, aural, and visual awareness activities.
Notate what • T: “When we put these five pitches together, it is called the do
you hear pentatonic scale.”
• T: “We call this a do pentatonic scale because it starts on do and
penta-tonic means ‘five tones’ or five notes! We can also call it a major
pentatonic scale because the lowest note is do, and the song (“Rocky
Mountain”) starts and ends on do. We call this note (do) the tonic
note of the major pentatonic scale.”
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• T sings from low to high and Ss echo.

• T sings from high to low and Ss echo.
• Several Ss sing the do pentatonic scale up and down.
T: “Let’s see how we can show the do pentatonic scale on
the tone ladder and the staff.”

l
s

m
r
d

• T and Ss identify the intervals as steps or skips.

• T presents the rule of placement with the hand staff.
• T presents the pattern for the do pentatonic scale on the staff and
identifies the steps and skips. (keys without accidentals: C, F, G)
• If appropriate, T can practice absolute pitch names with Ss.
• T points to the melody of the next song on the staff; Ss sing.
Creative “Cut the Cake”
movement CSP: A
• Ss sing the song.
• Ss create ostinati to accompany the song.
• Ss sing and play the game.
Develop “Knock the Cymbals”
230 knowledge of CSP: D
music literacy • Ss sing the song.
concepts • Ss write the tone set on the board and staff.
Notate what • Ss create ascending and descending pentatonic
you hear accompaniments on xylophones to accompany any or all of the
songs.
SU M M A RY AC T I V I T I E S
Review lesson “Firefly”
outcomes CSP: A
Review the
new song

Unit 7: Teaching Quadruple Meter

Sections 1 and 2
Prepare: 4$   Practice: do pentatonic
Focus song: “Are You Sleeping?”

Song Repertoire:
Known Songs Songs for Songs to Review Songs to Songs to Prepare Creative Songs to Practice Known
Tuneful Known Rhythmic Prepare New Concept: 4$ Movement Concepts: do Pentatonic
Singing Elements Concept:  sxc
Lesson 1 “Tideo,” “Blue” “Great Big House “Fed My Horse” “Are You “Tideo” “Rocky Mountain,” “Knock the
“Firefly” in New Orleans” Sleeping?” Cymbals,” “Great Big House in
New Orleans”
Lesson 2 “Dinah,” “Fed “Bluebird “Bow Wow Wow” “Chickalalelo” “Are You “Fed My “Rocky Mountain”
My Horse” Through My Sleeping?” Horse”
Window”
Lesson 3 “Paw Paw “Button, “Here Comes a “How Many “Are You “Hunt the “Rocky Mountain”
Patch,” You Must Bluebird” Miles to Sleeping?” Cows”
“Chickalalelo” Wander” Babylon?”
Known Songs Songs for Songs to Review Songs to Prepare Songs to Present Creative Songs to Present Element: 4$
Tuneful Known Rhythmic Next New Element: 4$ Movement Meter
Singing Elements Concepts: sxc Meter
Lesson 4 “Cumberland “Chatter “Great Big House “Fire in the “Are You “Fed My “Button, You Must Wander,” Are
Gap,” “How with the in New Orleans” Mountain” Sleeping?” Horse” You Sleeping?” “Blue,” “Firefly,”
Many Miles to Angels” “Bluebird Through My Window,”
Babylon?” “Chatter with the Angels,”
“Button, You Must Wander”
Lesson 5 “Dance Josey,” “Firefly” “Rocky Mountain” “Oh, Fly Around” “Are You “How “Button, You Must Wander”
“Fire in the Sleeping?” Many
Mountain” Miles to
Babylon?”
231
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Here is a chart of the primary musical skills that are developed in the five lessons associated
with teaching the concept of quadruple meter. Remember, in the first three lessons, students
practice the previous musical element, in this case do pentatonic.

Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Reading Ss read “Rocky Ss read “Are
Mountain” You Sleeping?”
with hand written in
signs from traditional
steps, notation with
traditional bar lines
rhythm and a time
notation with signature while
solfège, and conducting.
then staff
notation.
Writing Ss write Ss write “Are
phrase 4 You Sleeping?”
of “Rocky in rhythmic
Mountain” notation with
in rhythmic bar lines and a
notation time signature
with solfège in quadruple
syllables meter.
and staff
notation.
232
Improvi­ T sings a
sation question phrase
written on the
board Ss sings
an answer
phrase with the
notes la so mi re
do that ends on
do and is written
on the board.
Move­ment “Tideo” “Fed My “Hunt the “Fire “How Many
Horse” Cows” in the Miles to
Mountain” Babylon?”
Listen­ing “Mexican
Dance,” from
Billy the Kid, by
Aaron Copland
(1900–1990)
uses the
folk melody
“Goodbye Old
Paint”
 Unit Plans and Lesson Plans

Unit 7, Quadruple Meter, Lesson 1

Outcome Preparation: internalizing four beat meter through kinesthetic

activities
Practice: reading melodies with the do pentatonic scale
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
The Thunderer, by John Philip Sousa (1854–1932)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Tideo”
songs CSP: F-sharp
• Ss sing and briefly play the game.
• Ss sing and keep the beat.
“Firefly”
CSP: A
• Ss sing the song with an ostinato.
Develop “Blue”
tuneful CSP: F-sharp
singing • Ss sing and perform the ostinato.
Tone • Ss sing the song on “koo,” focusing on tone production. 233
production Kodály Choral Library, Let Us Sing Correctly, no. 53
Diction
Expression
Review “Great Big House in New Orleans”
known CSP: F-sharp
songs and • Ss sing song with words.
rhythmic • Ss sing with rhythm syllables and tap the beat.
elements • Ss sing and conduct.
• T sings phrases from “Dance Josey,” “Tideo,” “Here Comes a Bluebird,”
and other known songs; Ss echo-sing using rhythm syllables as they
conduct.
C OR E AC T I V I T I E S
Teach a new “Fed My Horse”
song CSP: F-sharp
• T sings the song while Ss move into position for the game.
• T sings the song while Ss perform a simple ostinato.
2$sdsd\qq>
• T sings the song again while Ss perform another ostinato.
2$w\xxxcq>
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• T sings the song while demonstrating the game (beginning with a

single circle).
• Ss sing and play the game with T.
Develop “Are You Sleeping?”
knowledge CSP: F
of music • Ss sing the song.
literacy • Ss sing the song in two-part canon.
concepts • Ss sing the song and perform an ostinato showing
Internalize the strong and weak beats (step, clap, clap, clap, or something
music similar).
through • Ss perform a “strong” and “weak” ostinato with a partner (pat together,
kinesthetic snap, snap, snap).
activities. • Ss sing and point to a representation of the strong and weak beats on
the board.
• Six to eight individual Ss come to the board to tap the representation
while the class sings and points.
Creative “Tideo”
movement CSP: F-sharp
• T directs part of the class to continue the ostinato while the remainder
sing the song. Switch.
• Ss choose instruments and create an accompaniment for
the song.
• Ss sing and play the game.
Practice “Rocky Mountain”
music CSP: F
234 performance • Ss sing the song.
and literacy • Ss sing song with rhythm syllables and conducting.
skills • Ss sing the song with solfège syllables and hand signs.
Reading • Ss read from traditional rhythmic notation and hand signs.
• Ss read from staff notation with solfège syllables and
hand signs.
• Ss place tone set on the staff. Ss read with letter names.
• T points to notes on the staff and Ss read the “Largo” theme from the
New World Symphony by Dvorak.
• T plays a recording of the “Largo” of the New World Symphony by
Dvorak. Ss identify the melody and sing quietly with solfège syllables
and hand signs as they listen.
SU M M A RY AC T I V I T I E S
Review “Fed My Horse”
lesson CSP: A
outcomes
Review the
new song
 Unit Plans and Lesson Plans

Unit 7, Quadruple Meter, Lesson 2

Outcome Preparation: analyzing repertoire composed in quadruple meter

Practice: writing melodies with the do pentatonic scale
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Mexican Dance,” from Billy the Kid Suite, by Aaron Copland
(1900–1990)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices.
Make sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Dinah”
songs CSP: D
• Ss sing the song.
• Ss sing the song with an ostinato.
“Fed My Horse”
CSP: F-sharp
• T directs part of the class to continue “Dinah” while the remainder
sing “Fed My Horse.” Switch.
Develop “Bluebird Through My Window”
tuneful CSP: A
singing • Ss sing the song. 235
Tone • Ss sing the song with the syllables mi and koo.
production Kodály Choral Library, Let Us Sing Correctly, no. 54
Diction
Expression
Review known “Bow Wow Wow”
songs and CSP: D
rhythmic • Ss sing the song and keep the beat.
elements • Ss sing with rhythm syllables and keep the beat.
• T sings phrases from “Dance Josey,” “Tideo,” “Here Comes a
Bluebird,” and other known songs; Ss echo-sing using rhythm
syllables as they tap the beat.
C OR E AC T I V I T I E S
Teach a new “Chickalalelo”
song CSP: F
• T performs the song, with all verses, and accompanies on an
instrument.
• T performs the song again and Ss sing all of the “chickalalelos.”
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Develop “Are You Sleeping?”

knowledge of CSP: F
music literacy • Ss sing the song in canon. T accompanies with a rhythmic ostinato
concepts that emphasizes the accent on beat 1 of four beats.
Describe what • T reviews kinesthetic awareness activities.
you hear • T and Ss sing phrase 1 and keep the beat before asking each
question:
• T: “Andy, how many beats did we keep?” (eight)
• T: “Andy, do all of the beats feel the same?” (no, some are
stronger)
• T: “Andy, which beats feel stronger?” (beats 1 and 5)
• T: “Andy, if beats 1 and 5 are strong, then the other beats are
_____.” (weak)
• T: “Let’s sing again and clap the strong beats and quietly tap the weak
beats with our fingers on our knees.”
Creative “Fed My Horse”
movement CSP: A
• Ss sing song.
• Ss choose classroom instruments to play the ostinato as
accompaniment for the song.
• Ss may create an additional ostinato and select an unpitched
instrument to use as accompaniment.
• Ss sing and play the game.
• Ss continue their accompaniment into the next song.
Practice music “Rocky Mountain”
236 performance CSP: D
and • Ss sing the song.
literacy skills • Ss sing song with solfège syllables and hand signs.
Writing • Ss write the tone set of the song on the tone ladder.
• Ss write the notes of the tone set on the staff.
• Ss sing “Rocky Mountain” with solfège syllables and point to the
notes on the staff.
• Ss write the last phrase of “Rocky Mountain” on the staff.
• Repeat that activity with “Great Big House in New Orleans,”
“Button, You Must Wander,” “Dinah,” and other known do
pentatonic songs.
SU M M A RY AC T I V I T I E S
Review lesson “Chickalalelo”
outcomes CSP: F
Review the new
song
 Unit Plans and Lesson Plans

Unit 7, Quadruple Meter, Lesson 3

Outcome Preparation: creating a visual representation of quadruple meter

Practice: improvising melodies with the do pentatonic scale
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Mexican Dance,” from Billy the Kid Suite, by Aaron Copland (1900–1990)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Paw Paw Patch”
songs CSP: F
• Ss sing the song.
• Ss sing the song with an ostinato.
“Chickalalelo”
CSP: D
• Ss sing the song with an ostinato.
• Ss sing the song with a simple bordun (D and A) on a pitched
instrument.
Develop tuneful “Button, You Must Wander”
singing CSP: D
Tone production • Ss sing the song. 237
Diction • Ss sing and follow the musical expressions in T’s conducting
Expression (crescendo and decrescendo, accelerando and ritardando, legato
and staccato, etc.).
• Ss sing using the syllables mi-oh.
Kodály Choral Library, Let Us Sing Correctly, nos. 6 and 7
Review known “Here Comes a Bluebird”
songs and CSP: A
rhythmic • T directs part of the class to continue “Button, You Must Wander”
elements while the remainder sing “Here Comes a Bluebird.” Switch.
• Ss sing both songs with rhythm syllables while patting the beat.
• T sings phrases from “Dance Josey,” “Tideo,” “Here Comes a
Bluebird,” and other known songs; Ss echo-sing using rhythm
syllables as they tap the beat.
C OR E AC T I V I T I E S
Teach a new “How Many Miles to Babylon?”
song CSP: F-sharp
• T sings the song while Ss keep the beat.
• T: “Listen to the words of the song and tell me if it should be sung
by one person or more than one person.”
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• T sings the song and Ss identify the “calls” and the “responses.”
• T sings the song and demonstrates the game.
• After every repetition of the game, Ss must sing an additional
response.
Develop “Are You Sleeping?”
knowledge of CSP: F
music literacy • Ss sing the song in canon.
concepts • T reviews kinesthetic and aural awareness activities.
Create a • T sings the target phrase with a neutral syllable and asks Ss to
representation of create a visual representation of the strong and weak beats of the
what you hear target phrase.
• Ss pick up manipulatives to create their representations.
• Ss share their representations with each other.
• T invites one S 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.
• Ss sing the first phrase of “Are You Sleeping?” with a neutral
syllable and point to the representation on board.
• T reveals the beat pattern of the whole song on the board.
• Ss point to the beats and sing the song with rhythm syllables while
T writes in the rhythm on top of the representation.
• Ss perform the rhythm from the board and sing the next song.
Creative “Hunt the Cows”
movement CSP: A
• Ss sing and play the game.
238 Practice music “Rocky Mountain”
performance CSP: D
and literacy • Ss sing the song.
skills • Ss read the song from standard rhythmic notation and solfège
Improvisation syllables.
• T isolates phrase 3 and modifies it to end on so and Ss sing with
solfège syllables.
• Ss sing this phrase as a “question” and T sings an “answer” from
known song material and notates it on the staff.
• Ss repeat, and each time T answers with a variation of the question,
though always ending on do. T writes the questions on the board.
• T sings the questions and selects individual Ss to choose
an answer.
• Ss may also improvise their own answers using pitches from the do
pentatonic scale.
SU M M A RY AC T I V I T I E S
Review lesson “How Many Miles to Babylon?”
outcomes CSP: F-sharp
Review the new
song
 Unit Plans and Lesson Plans

Unit 7, Quadruple Meter, Lesson 4

Outcome Presentation: label the metric pattern of one strong beat followed by

three weak beats as quadruple meter
I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
“Mexican Dance,” from Billy the Kid Suite, by Aaron Copland
(1900–1990)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make
sure Ss are inhaling and exhaling correctly with the support
muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Cumberland Gap”
songs CSP: A
• Ss sing the song and keep the beat.
“How Many Miles to Babylon?”
CSP: A
• T sings the “calls” and Ss sing the “responses.”
• Ss sing the song with a simple ostinato (they may choose
instruments to perform it).
Develop tuneful “Chatter with the Angels”
singing CSP: F
239
Tone production • Ss sing the song and keep the beat.
Diction • Pretend you’re falling off a cliff and say “aaaahhhhhhhhhh!”
Expression • T throws a ball from one S to another and Ss have to follow the
movement of the ball with their voices.
• Ss sing the song again.
Kodály Choral Library, Let Us Sing Correctly, no. 16
Review known “Great Big House in New Orleans”
songs and CSP: F-sharp
rhythmic • Ss sing song.
elements • Ss sing song with rhythm syllables.
• T sings phrases on a neutral syllable; Ss echo-sing with rhythm
syllables. Perform the same activity with “Dinah,” “Paw Paw Patch,”
and “Chatter with the Angels.”
C OR E AC T I V I T I E S
Teach a new “Fire in the Mountain”
song CSP: A
• T sings the song while Ss keep the beat.
• T sings the song while Ss trace the phrases in the air.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• Ss identify the number of phrases. (four)

• Two or three Ss trace the phrases on the board while T sings.
• T sings the song, pausing after each phrase for Ss to label the form.
(ABA’B)
• Ss sing the A phrases and T sings the B phrases. Switch.
• Ss sing the song.
Presentation of “Are You Sleeping?”
music concepts CSP: F
Describe what • Ss sing the song in canon.
you hear with • T reviews kinesthetic, aural, and visual awareness activities.
rhythm or • T: “In music, we call the strong beats accents. We can show accents
solfège syllables by conducting.”
• T sings and demonstrates a four-beat conducting pattern. Ss copy.
• T: “Our pattern of strong and weak beats is in groups of
four: strong-weak-weak-weak … one, two, three, four; so we can
call this ‘four-beat meter’ or ‘quadruple meter.’”
• T shows Ss how to conduct in quadruple meter. Ss sing with
rhythm syllables and conduct the song.
• Ss sing the song with text and conduct the song.
Creative “Fed My Horse”
movement CSP: F
• Ss sing and T demonstrates the game.
• Ss sing and play the game.
• Ss continue the beat of the drum into the next song.
Presentation of “Button, You Must Wander”
240 music skills CSP: F
Describe what • Ss sing the song and show the strong and weak beats on their bodies.
you hear with • T reviews aural presentation.
rhythm or • Ss sing song and conduct.
solfège syllables • Ss identify other known songs that may be in quadruple meter and
conduct.
○ “Firefly”
SU M M A RY AC T I V I T I E S
Review lesson “Fire in the Mountain”
outcomes CSP: F-sharp
Review the new
song

Unit 7, Quadruple Meter, Lesson 5

Outcome Presentation: notation of 4$meter

I N T ROD U C TORY AC T I V I T I E S
Warm-up • Body warm-up
• Beat activity
 Unit Plans and Lesson Plans

“Mexican Dance,” from Billy the Kid Suite, by Aaron Copland (1900–1990)
• Breathing: Ss practice blowing up a balloon and watch how air is
released when deflating the balloon.
• Resonance: explore a cow sound using low and high voices. Make sure
Ss are inhaling and exhaling correctly with the support muscles.
• Posture: remind Ss of the correct posture for singing.
Sing known “Dance Josey”
songs CSP: F
• Ss sing the song and keep the beat; Ss continue the beat into the
next song.
“Fire in the Mountain”
CSP: A
• Ss sing the song.
• Ss sing the song with a simple ostinato (they may choose instruments
to perform it): 2$qq\sdq>
Develop “Firefly”
tuneful CSP: A
singing • Ss sing the song and keep the beat.
Tone • Ss sing the song on the syllable “koo.”
production • Ss sing the song with solfège syllables reading from T’s hand signs.
Diction • Ss sing the song in canon after eight beats.
Expression Kodály Choral Library, Let Us Sing Correctly, no. 24
Review “Rocky Mountain”
known songs CSP: D
and rhythmic • Ss sing the song.
elements • Ss sing with rhythm syllables and conduct. 241
• T sings phrases from “Dance Josey,” “Tideo,” “Here Comes a Bluebird,”
and other known songs; Ss echo-sing using rhythm syllables as they
tap the beat.
C OR E AC T I V I T I E S
Teach a new “Oh, Fly Around”
song CSP: D
• T sings the song while Ss keep the beat.
• T performs the song, accompanying on an instrument.
• T sings while Ss show the phrases.
• T adds a simple ostinato.
2$qq\sdq>
• Ss continue the ostinato and sing the song.
Presentation “Are You Sleeping?”
of music CSP: F
concepts • Ss sing the song in canon.
Notate what • T reviews awareness activities and aural presentation.
you hear • T: “In music, we call the strong beats accents. We can show accents by
conducting.”
• T sings and conducts a quadruple pattern; Ss copy.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

• T: “Our pattern of strong and weak beats is in groups of

four: strong-weak-weak-weak … one, two, three, four; so we can call
this ‘four beat meter’ or ‘quadruple meter.’”
• T: “To write a song in four beat meter, we need to add bar lines. We’ll
place our bar lines at the end of each group of four beats: ‘strong,
weak, weak, weak, bar line.’”
• T adds bar lines to the rhythm on the board:
qqqq\qqqq\
qqw\qqw\
sdsdqq\sdsdqq\
qqw\qqw\
• T: “To show that it is the end of the song, we put a double bar line.”
• T adds the double bar line to the end of the song.
• T: “To show how many beats and the value in each measure and
the length of each beat, we need to add a ‘time signature’ to the
beginning.” T adds a 4$.
• Ss sing and conduct the song.
• Ss continue conducting while T sings the next song.
Creative “How Many Miles to Babylon?”
movement CSP: A
• T and Ss review the song and the rules of the game.
• Ss sing and play the game.
• Ss choose instruments and create an ostinato to accompany the song.
Presentation “Button, You Must Wander”
of music skills CSP: D
242 Notate what • Ss sing the song.
you hear • T: “How do we show strong and weak beats when we write?”
(bar lines)
• T reviews presentation of notation.
• T presents the notation of “Firefly” without bar lines and time
signature.
• Ss sing with rhythm syllables and conduct.
• Ss add in the bar lines, double bar lines, and time signature.
• T connects new learning to other related songs:
○ “Chatter with the Angels”
SU M M A RY AC T I V I T I E S
Review “Oh, Fly Around”
lesson CSP: A
outcomes
Review the
new song
 Chapter  6

Assessment and Evaluation

The purpose of assessment in the classroom is to evaluate the work of both students and
teacher. This chapter contains examples of assessments for evaluating each musical con-
cept and element taught in second grade. By assessing a student’s skill development and
the teacher’s classroom teaching, we can develop strategies to improve music learning and
teaching. Effective assessments lead to development of a more effective music program.
There are five steps to developing assessment rubrics in the second grade classroom:

1 . Decide on the areas of assessment.

2. Determine the activities you will use to assess these areas.
3. Create assessment rubrics for each area.
4. Create a class profile that summarizes the children’s scores.
5. Have the teacher review the results of assessments and decide
how to modify the teaching to help students develop their knowledge
of music.
243
For a more comprehensive view of assessment, consult Kodály Today.
We have included assessment rubric samples for units two through six for grade two. The
assessments for each unit cover singing, reading, writing, and improvisation. The teacher can
select some or all of the assessment activities for the unit being taught.

Grade 2 Assessments
Assessments for do
Tuneful singing assessment for do is for a student’s singing of “Bow Wow Wow” (see
Table 6.1).
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 6.1  Tuneful Singing Assessment for do

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student sings the text of “Bow Advanced
Wow Wow” with accurate 4
intonation, pure vowel
sounds, clear pronunciation,
and tall, balanced posture,
giving a musically sensitive
performance that shows
evidence of excellent vocal
technique.
Student sings the text of “Bow Proficient
Wow Wow” with mostly accurate 3
intonation, primarily pure
vowel sounds, some use of clear
pronunciation, and balanced
posture, giving an overall musical
performance.
Student sings the text of “Bow Basic
Wow Wow” with some accurate 2
intonation, few pure vowel
sounds, unclear pronunciation,
and generally poor posture,
giving a performance that lacks
musicality.
Student sings the text of “Bow Emerging
Wow Wow” without accurate 1
244 intonation, pure vowel sounds,
clear pronunciation, or tall
posture, giving a performance
that lacks musicality and
shows evidence of poor vocal
technique.

Reading assessment is for a student’s reading of a four-beat melodic motive that includes
do (Table 6.2).
 Assessment and Evaluation

Table 6.2  Reading Assessment for do

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student reads the third phrase of Advanced
“Bow Wow Wow” with solfège 4
syllables and hand signs from
the staff or traditional notation,
making no errors.
Student reads the third phrase of Proficient
“Bow Wow Wow” with solfège 3
syllables and hand signs from
the staff or traditional notation,
making only a few errors that do
not detract from the performance.
Student reads the third phrase of Basic
“Bow Wow Wow” with solfège 2
syllables and hand signs from
the staff or traditional notation,
making errors that detract from the
performance.
Student does not read the third Emerging
phrase of “Bow Wow Wow” 1
with solfège syllables and hand
signs from the staff or traditional
notation.

Writing assessment is for a student’s writing of a four-beat melodic motive with tradi-
tional notation that includes do (Table 6.3). 245

Table 6.3  Writing Assessment for do

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student writes a four-beat Advanced
melodic motif with solfège 4
syllables underneath the
traditional notation of the third
phrase of “Bow Wow Wow,”
making no errors.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 6.3 (continued)

Student Name: _______________ Date: _____ Class: _______________________

Student writes a four-beat melodic Proficient

motif with solfège syllables 3
underneath the traditional
notation of the third phrase of
“Bow Wow Wow,” making only a
few errors that do not detract from
the writing activity.
Student writes a four-beat melodic Basic
motif with solfège syllables 2
underneath the traditional notation
of the third phrase of “Bow Wow
Wow,” making errors that detract
from the writing activity.
Student does not write a Emerging
four-beat melodic motif with 1
solfège syllables underneath the
traditional notation of the third
phrase of “Bow Wow Wow.”

Improvisation assessment is for a student’s improvising of a four-beat melodic motive

with solfège syllables that includes do (Table 6.4).

Table 6.4  Improvisation Assessment for do

Student Name: _______________ Date: _____ Class: _______________________

246 Criteria Levels Comments
Student improvises a four-beat Advanced
melodic motif with solfège 4
syllables that includes do, making
no errors.
Student improvises a four-beat Proficient
melodic motif with solfège 3
syllables that includes do, making
only a few errors that not detract
from the performance.
Student improvises a four-beat Basic
melodic motif with solfège syllables 2
that includes do, making errors that
detract from the performance.
(Continued)
 Assessment and Evaluation

Table 6.4 (continued)

Student Name: _______________ Date: _____ Class: _______________________

Student does not improvise a Emerging

four-beat melodic motif with 1
solfège syllables that includes do.

Assessments for Half Note
In tuneful singing assessment, a student sings “Here Comes a Bluebird” using half notes
(Table 6.5).

Table 6.5  Tuneful Singing Assessment for Half Note

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student sings the text of “Here Advanced
Comes a Bluebird” with accurate 4
intonation, pure vowel sounds, clear
pronunciation, and tall, balanced
posture, giving a musically sensitive
performance that shows evidence of
excellent vocal technique.
Student sings the text of “Here Proficient
Comes a Bluebird” with mostly 3
accurate intonation, primarily pure
vowel sounds, some use of clear
pronunciation, and balanced posture,
247
giving an overall musical performance.
Student sings the text of “Here Basic
Comes a Bluebird” with some 2
accurate intonation, few
pure vowel sounds, unclear
pronunciation, and generally poor
posture, giving a performance that
lacks musicality.
Student sings the text of “Here Comes a Emerging
Bluebird” without accurate intonation, 1
pure vowel sounds, clear pronunciation,
or tall posture, giving a performance
that lacks musicality and shows
evidence of poor vocal technique.
 Kodá ly in t he Se c ond G r a de Cl a ssro om

In reading assessment, a student reads an eight-beat rhythm pattern that includes a half
note (Table 6.6).

Table 6.6  Reading Assessment for Half Note

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student reads the second phrase Advanced
of “Here Comes a Bluebird” from 4
traditional notation, speaking and
clapping rhythm syllables, making
no errors.
Student reads the second phrase Proficient
of “Here Comes a Bluebird” from 3
traditional notation, speaking and
clapping rhythm syllables, making
only a few errors that do not detract
from the performance.
Student reads the second phrase Basic
of “Here Comes a Bluebird” from 2
traditional notation, speaking
and clapping rhythm syllables,
making errors that detract from the
performance.
Student does not read and clap the Emerging
rhythm of “Here Comes a Bluebird.” 1

In writing assessment, a student writes an eight-beat rhythm pattern with traditional

248 notation that includes a half note (Table 6.7).

Table 6.7  Writing Assessment for Half Note

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student writes an eight-beat rhythm Advanced
pattern with traditional notation of 4
the second phrase of “Here Comes a
Bluebird,” making no errors.
Student writes an eight-beat rhythm Proficient
pattern with traditional notation of 3
the second phrase of “Here Comes a
Bluebird,” making only a few errors
that do not detract from the writing
activity.
(Continued)
 Assessment and Evaluation

Table 6.7 (continued)

Student Name: _______________ Date: _____ Class: _______________________

Student writes an eight-beat rhythm Basic

pattern with traditional notation of 2
the second phrase of “Here Comes
a Bluebird,” making errors that
detract from the writing activity.
Student does not write an eight-beat Emerging
rhythm pattern with traditional 1
notation of the second phrase of
“Here Comes a Bluebird.”

In improvisation assessment, a student improvises an eight-beat rhythm pattern that

includes a half note (Table 6.8).

Table 6.8  Improvisation Assessment for Half Note

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student improvises an eight-beat Advanced
rhythm pattern that includes a half 4
note on rhythm syllables, making
no errors.
Student improvises an eight-beat Proficient
rhythm pattern that contains a half 3
note on rhythm syllables, making
only a few errors that do not detract 249
from performance.
Student improvises an eight-beat Basic
rhythm pattern that contains a half 2
note on rhythm syllables, making
errors that detract from the overall
performance.
Student does not improvise an Emerging
eight-beat rhythm pattern that 1
contains a half note.

Assessment for re
In re tuneful singing assessment, a student sings “Hot Cross Buns” (Table 6.9).
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 6.9  Tuneful Singing Assessment for re

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student sings the text of “Hot Cross Advanced
Buns” with accurate intonation, 4
pure vowel sounds, clear
pronunciation, and tall, balanced
posture, giving a musically sensitive
performance that shows evidence of
excellent vocal technique.
Student sings the text of “Hot Proficient
Cross Buns” with mostly accurate 3
intonation, primarily pure
vowel sounds, some use of clear
pronunciation, and tall, balanced
posture, giving an overall musical
performance.
Student sings the text of “Hot Basic
Cross Buns” with some accurate 2
intonation, few pure vowel sounds,
unclear pronunciation, and
generally poor posture, giving a
performance that lacks musicality.
Student sings the text of “Hot Emerging
Cross Buns” without accurate 1
intonation, pure vowel sounds,
clear pronunciation, or tall posture,
giving a performance that lacks
250 musicality and shows evidence of
poor vocal technique.

In reading assessment, a student reads a four-beat melodic motif that includes re

(Table 6.10).

Table 6.10  Reading Assessment for re

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student reads the first phrase of Advanced
“Hot Cross Buns” with solfège 4
syllables and hand signs from
the staff or traditional notation,
making no errors.
(Continued)
 Assessment and Evaluation

Table 6.10 (continued)

Student Name: _______________ Date: _____ Class: _______________________

Student reads the first phrase of Proficient

“Hot Cross Buns” with solfège 3
syllables and hand signs from
the staff or traditional notation,
making only a few errors
that do not detract from the
performance.
Student reads the first phrase of Basic
“Hot Cross Buns” with solfège 2
syllables and hand signs from
the staff or traditional notation,
making errors that detract from
the performance.
Student does not read the first Emerging
phrase of “Hot Cross Buns” with 1
solfège syllables and hand signs
from the staff or traditional
notation.

In writing assessment, a student writes a four-beat melodic motif with traditional nota-
tion that includes re (Table 6.11).

Table 6.11  Writing Assessment for re

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

251
Student writes a four-beat Advanced
melodic motif with solfège 4
syllables underneath the
traditional notation of the first
phrase of “Hot Cross Buns,”
making no errors.
Student writes a four-beat Proficient
melodic motif with solfège 3
syllables underneath the
traditional notation of the first
phrase of “Hot Cross Buns,”
making only a few errors that
do not detract from the writing
activity.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 6.11 (continued)

Student Name: _______________ Date: _____ Class: _______________________

Student writes a four-beat melodic Basic

motif with solfège syllables 2
underneath the traditional
notation of the first phrase of “Hot
Cross Buns,” making errors that
detract from the writing activity.
Student does not write a Emerging
four-beat melodic motif with 1
solfège syllables underneath the
traditional notation of the first
phrase of “Hot Cross Buns.”

In improvisation assessment, a student improvises a four-beat melodic motif with solfège

syllables that includes re (Table 6.12).

Table 6.12  Improvisation Assessment for re

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student improvises a four-beat Advanced
melodic motif with solfège syllables 4
that includes re, making no errors.
Student improvises a four-beat Proficient
melodic motif with solfège 3
252 syllables that includes re, making
only a few errors that do not
detract from the performance.
Student improvises a four-beat Basic
melodic motif with solfège 2
syllables that includes re, making
errors that detract from the
performance.
Student does not improvise a Emerging
four-beat melodic motif with 1
solfège syllables that includes re.

Assessments for Sixteenth Notes
In tuneful singing assessment, a student sings “Paw Paw Patch” (Table 6.13).
 Assessment and Evaluation

Table 6.13  Tuneful Singing Assessment for Sixteenth Notes

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments
Student sings the text of “Paw Paw Advanced
Patch” with accurate intonation, pure 4
vowel sounds, and tall, balanced
posture, giving a musically sensitive
performance that shows evidence of
excellent vocal technique.
Student sings the text of “Paw Proficient
Paw Patch” with mostly accurate 3
intonation, primarily pure vowel
sounds, and balanced posture, giving
an overall musical performance.
Student sings the text of “Paw Basic
Paw Patch” with some accurate 2
intonation, few pure vowel sounds,
and generally poor posture, giving a
performance that lacks musicality.
Student sings the text of “Paw Paw Emerging
Patch” without accurate intonation, 1
pure vowel sounds, or tall posture,
giving a performance that lacks
musicality and shows evidence of
poor vocal technique.

In reading assessment, a student reads a four-beat rhythm pattern that includes four six-
teenth notes (Table 6.14).
253

Table 6.14  Reading Assessment for Sixteenth Notes

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student reads the first phrase of Advanced
“Paw Paw Patch” from traditional 4
notation, speaking and clapping
rhythm syllables, making no errors.
Student reads the first phrase of Proficient
“Paw Paw Patch” from traditional 3
notation, speaking and clapping
rhythm syllables, making only a few
errors that do not detract from the
performance.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 6.14 (continued)

Student Name: _______________ Date: _____ Class: _______________________

Student reads the first phrase of Basic

“Paw Paw Patch” from traditional 2
notation, speaking and clapping
rhythm syllables, making
errors that detract from the
performance.
Student does not read and clap the Emerging
rhythm of the first phrase of “Paw 1
Paw Patch.”

In writing assessment, a student writes a four-beat rhythm pattern that includes four six-
teenth notes (Table 6.15).

Table 6.15  Writing Assessment for Sixteenth Notes

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student writes a four-beat rhythm Advanced
pattern with traditional notation of 4
the first phrase of “Paw Paw Patch,”
making no errors.
Student writes a four-beat rhythm Proficient
pattern with traditional notation 3
of the first phrase of “Paw Paw
254 Patch,” making only a few errors
that do not detract from the writing
activity.
Student writes a four-beat rhythm Basic
pattern with traditional notation of 2
the first phrase of “Paw Paw Patch,”
making errors that detract from the
writing activity.
Student does not write a four-beat Emerging
rhythm pattern with traditional 1
notation of the first phrase of “Paw
Paw Patch.”

In improvisation assessment, a student improvises a four-beat rhythm pattern that

includes four sixteenth notes (Table 6.16).
 Assessment and Evaluation

Table 6.16  Improvisation Assessment for Sixteenth Notes

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student improvises a four-beat Advanced
rhythm pattern that includes four 4
sixteenth notes on rhythm syllables,
making no errors.
Student creates a four-beat rhythm Proficient
pattern that includes four sixteenth 3
notes on rhythm syllables, making
only a few errors that do not detract
from performance.
Student creates a four-beat rhythm Basic
pattern that includes four sixteenth 2
notes on rhythm syllables, making
errors that detract from the
performance.
Student does not create a four-beat Emerging
rhythm pattern that includes four 1
sixteenth notes.

Assessment for Major Pentatonic

In tuneful singing assessment, a student sings “Rocky Mountain” (Table 6.17).

Table 6.17  Tuneful Singing Assessment for Major Pentatonic

255
Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student sings the text of “Rocky Advanced
Mountain” with accurate 4
intonation, pure vowel sounds, clear
pronunciation, and tall, balanced
posture, giving a musically sensitive
performance that shows evidence of
excellent vocal technique.
Student sings the text of “Rocky Proficient
Mountain” with mostly accurate 3
intonation, primarily pure
vowel sounds, some use of clear
pronunciation, and balanced posture,
giving an overall musical performance.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 6.17 (continued)

Student Name: _______________ Date: _____ Class: _______________________

Student sings the text of “Rocky Basic

Mountain” with some accurate 2
intonation, few pure vowel sounds,
unclear pronunciation, and generally
poor posture, giving a performance
that lacks musicality.
Student sings the text of “Rocky Emerging
Mountain” without accurate 1
intonation, pure vowel sounds, clear
pronunciation, or tall posture, giving
a performance that lacks musicality
and shows evidence of poor vocal
technique.

In reading assessment, a student reads a four-beat melodic motif that derives from the
major pentatonic scale (Table 6.18).

Table 6.18  Reading Assessment for Major Pentatonic

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student reads the last phrase of “Rocky Advanced
Mountain” with solfège syllables and 4
hand signs from the staff or traditional
notation, making no errors.
256
Student reads the last phrase of Proficient
“Rocky Mountain” with solfège 3
syllables and hand signs from the
staff or traditional notation, making
only a few errors that do not detract
from the performance.
Student reads the last phrase of Basic
“Rocky Mountain” with solfège 2
syllables and hand signs from the staff
or traditional notation, making errors
that detract from the performance.
Student does not read the last phrase Emerging
of “Rocky Mountain” with solfège 1
syllables and hand signs from the
staff or traditional notation.
 Assessment and Evaluation

In writing assessment, a student writes a four-beat melodic motif that derives from the
major pentatonic scale (Table 6.19).

Table 6.19  Writing Assessment for Major Pentatonic

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student writes a four-beat melodic Advanced
motif with solfège syllables 4
underneath the traditional notation
of the last phrase of “Rocky
Mountain,” making no errors.
Student writes a four-beat melodic Proficient
motif with solfège syllables 3
underneath the traditional notation
of the last phrase of “Rocky
Mountain,” making only a few
errors that do not detract from the
writing activity.
Student writes a four-beat melodic Basic
motif with solfège syllables 2
underneath the traditional notation
of the last phrase of “Rocky
Mountain,” making errors that
detract from the writing activity.
Student does not write a four-beat Emerging
melodic motif with solfège syllables 1
underneath the traditional notation
of the last phrase of “Rocky
257
Mountain.”

In improvisation assessment, a student improvises a four-beat melodic motif that derives

from the major pentatonic scale (Table 6.20).

Table 6.20  Improvisation Assessment for Major Pentatonic

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student improvises a four-beat Advanced
melodic motif with solfège syllables 4
that derives from the major
pentatonic scale, making no errors.
(Continued)
 Kodá ly in t he Se c ond G r a de Cl a ssro om

Table 6.20 (continued)

Student Name: _______________ Date: _____ Class: _______________________

Student improvises a four-beat Proficient

melodic motif with solfège syllables 3
that derives from the major
pentatonic scale, making only a few
errors that do not detract from the
performance.
Student improvises a four-beat Basic
melodic motif with solfège syllables 2
that derives from the major
pentatonic scale, making errors that
detract from the performance.
Student does not improvise a Emerging
four-beat melodic motif with 1
solfège syllables that derives from
the major pentatonic scale.

Assessments for Quadruple Meter
In tuneful singing assessment, a student sings “Are You Sleeping?” (Table 6.21).

Table 6.21  Tuneful Singing Assessment for Quadruple Meter

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

258
Student sings the text of “Are Advanced
You Sleeping?” with accurate 4
intonation, pure vowel sounds, clear
pronunciation, and tall, balanced
posture, giving a musically sensitive
performance that shows evidence of
excellent vocal technique.
Student sings the text of “Are Proficient
You Sleeping?” with mostly 3
accurate intonation, primarily
pure vowel sounds, some use of
clear pronunciation, and balanced
posture, giving an overall musical
performance.
(Continued)
 Assessment and Evaluation

Table 6.21 (continued)

Student Name: _______________ Date: _____ Class: _______________________

Student sings the text of “Are You Basic

Sleeping?” with some accurate 2
intonation, few pure vowel sounds,
unclear pronunciation, and
generally poor posture, giving a
performance that lacks musicality.
Student sings the text of “Are Emerging
You Sleeping?” without accurate 1
intonation, pure vowel sounds,
clear pronunciation, or tall posture,
giving a performance that lacks
musicality and shows evidence of
poor vocal technique.

In reading assessment, a student reads a four-beat rhythm pattern in quadruple meter

(Table 6.22).

Table 6.22  Reading Assessment for Quadruple Meter

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student reads the first phrase Advanced
of “Are You Sleeping?” from 4
traditional notation, speaking and
clapping rhythm syllables, making
no errors.
259
Student reads the first phrase Proficient
of “Are You Sleeping?” from 3
traditional notation, speaking and
clapping rhythm syllables, making
only a few errors that do not detract
from the performance.
Student reads the first phrase Basic
of “Are You Sleeping?” from 2
traditional notation, speaking
and clapping rhythm syllables,
making errors that detract from the
performance.
Student does not read and clap the Emerging
rhythm of the first phrase of “Are 1
You Sleeping?”
 Kodá ly in t he Se c ond G r a de Cl a ssro om

In writing assessment, a student writes a four-beat rhythm pattern in quadruple meter

(Table 6.23).

Table 6.23  Writing Assessment for Quadruple Meter

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student writes a four-beat rhythm Advanced
pattern with traditional notation of 4
the first phrase of “Bounce High,
Bounce Low,” making no errors.
Student writes a four-beat rhythm Proficient
pattern with traditional notation of 3
the first phrase of “Bounce High,
Bounce Low,” making only a few
errors that do not detract from the
writing activity.
Student writes a four-beat rhythm Basic
pattern with traditional notation of 2
the first phrase of “Bounce High,
Bounce Low,” making errors that
detract from the writing activity.
Student does not write a four-beat Emerging
rhythm pattern with traditional 1
notation of the first phrase of
“Bounce High, Bounce Low.”

In improvisation assessment, a student improvises a four-beat rhythm pattern in quadru-

260 ple meter (Table 6.24).

Table 6.24  Improvisation Assessment for Quadruple Meter

Student Name: _______________ Date: _____ Class: _______________________

Criteria Levels Comments

Student improvises a four-beat Advanced
rhythm pattern that emphasizes a 4
strong beat followed by a weak beat
on rhythm syllables, making no
errors.
(Continued)
 Assessment and Evaluation

Table 6.24 (continued)

Student Name: _______________ Date: _____ Class: _______________________

Student improvises a four-beat Proficient

rhythm pattern that emphasizes a 3
strong beat followed by a weak beat
on rhythm syllables, making only a
few errors that do not detract from
the performance.
Student improvises a four-beat Basic
rhythm pattern that emphasizes a 2
strong beat followed by a weak beat
on rhythm syllables, making errors
that detract from the performance.
Student does not improvise a Emerging
four-beat rhythmic pattern that 1
emphasizes a strong beat followed
by a weak beat.

261
Notes

Introduction
1. “Education for Life and Work Developing Transferable Knowledge and Skills in the
21st Century.” Report Brief. July 12, 2012. National Research Council. http://www8.
nationalacademies.org/onpinews/newsitem.aspx?RecordID=13398

Chapter 1
1. Pink, Daniel H. A Whole New Mind:  Why Right Brainers Will Rule the Future.
New York: River Head Trade, 2006.
2. Trevarthen, Colwyn, and Stephen Malloch. “Musicality and Musical Culture: Sharing
Narratives of Sound from Early Childhood.” The Oxford Handbook of Music Education,
vol. 1, ed. Gary E. McPherson and Graham F. Welch, chap. 2.3 p. 254. New York: Oxford
University Press, 2012.

Chapter 2
1. David J. Elliott. Praxial Music Education: Reflections and Dialogues. New York: Oxford
University Press, 2005, p. 258.
2. Margaret S. Barrett. “Commentary: Music Learning and Teaching in Infancy and Early
Childhood.” In The Oxford Handbook of Music Education, ed. Gary E. McPherson and
Graham F. Welch, vol. 1, chap. 2.1, p. 228. New York: Oxford University Press, 2012.
3. Lily Chen-Hafteck and Esther Mang. “Music and Language in Early Childhood
Development and Learning.” In The Oxford Handbook of Music Education, ed. Gary
E.  McPherson and Graham F.  Welch, vol. 1, chap. 2.4, p.  274. New  York:  Oxford
University Press, 2012.
4. Neryl Jeanneret and George M. Degraffenreid. “Music Education in the Generalist
Classroom.” In The Oxford Handbook of Music Education, ed. Gary E. McPherson and 263
Graham F. Welch, vol. 1, chap. 3.6, p. 404. New York: Oxford University Press, 2012.
5. Susan Young and Beatriz Ilari. “Musical Participation from Birth to Three: Toward
a Global Perspective.” In The Oxford Handbook of Music Education, vol. 1, ed. Gary
E.  McPherson and Graham F.  Welch, vol. 1, chap. 2.5, p.  281. New  York:  Oxford
University Press, 2012.

Chapter 5
1. Kodály, ”Children’s Choirs,” Selected Writings, pp. 121–122.
Index

absolute letter names, 83–84 for major pentatonic scale, 81–87

“All Around the Buttercup” preparation/practice lesson plan for, 103–8t
directions for playing, 27t for teaching half note, 63–67
in four sixteenth notes unit plan, 207t, 211t, 213t for teaching quadruple meter, 89–92
in half note unit plan, 180t, 182t, 186t for teaching sixteenth notes, 75–78
in re presentation lesson plan, 146t for teaching trichord mi re do, 69–73
in re unit plan, 192t, 202t, 204t associative phase
and teaching trichord mi re do, 67t, 71 connecting lesson plan to, 93fig.
“Allegretto (Romanze), from Symphony No. 85, defined, 92
“La Reine” (Haydn), 66 in introducing tonic note of major pentatonic
“Allegro,” from Symphony No. 1 (Mozart) scale, 56–57
as do listening example, 138 for major pentatonic scale, 80–81
in half note lesson plan, 149t, 151t for teaching half note, 62–63
in half note unit plan, 181t, 182t, 183t for teaching quadruple meter, 88–89
in introducing tonic note of major pentatonic scale, 61 for teaching sixteenth notes, 74–75
“Allegro Assai,” Brandenburg Concerto No. 2 (Bach), for teaching trichord mi re do, 68–69
169t, 171t aural practice
alternate ending, and developing improvisation skills, and introducing tonic note of major pentatonic
121, 123 scale, 57–58
“Andante,” Symphony No. 94 (Haydn), 78, 139, 218t and teaching half note, 63–64
antiphonal singing, 131 and teaching major pentatonic scale, 81–82
“Are You Sleeping?” and teaching quadruple meter, 89–90
in assessment for quadruple meter, 258–59 and teaching sixteenth notes, 75–76
in do pentatonic scale unit plan, 217t, 229t and teaching trichord mi re do, 69–71
in four sixteenth notes unit plan, 205t, 207t, 209t aural rhythm canon, 133
in half note lesson plan, 149t, 151t “Avondale Mine Disaster, The,” 140
in half note unit plan, 180t, 182t
in preparation/practice lesson plan for cognitive Bach, C.P.E., “Solfeggetto” for piano, 78, 139–40
phase, 101t Bach, Johann Sebastian
in quadruple meter unit plan, 231t, 232t, 234t, “Allegro Assai,” Brandenburg Concerto No. 2,
236t, 238t, 240t, 241t 169t, 171t
and teaching half note, 61t, 64, 65 “Prelude in C Minor,” Well-Tempered Clavier,
and teaching quadruple meter, 87–88, 89, 90–91 78, 140
assessment, 243 “Ballad of Springhill, The,” 140
for do, 243–47 Bartók, Béla
for half note, 247–49 “Rondo No. 1,” 66
of lessons, 155 “Round Dance,” For Children, 92
for major pentatonic scale, 255–58 “Study for Left Hand,” For Children, 67
265
for quadruple meter, 258–61 Three Rondos on Folk Tunes No. 1, 139
for re, 249–52 beat
for sixteenth notes, 252–55 and part work, 131, 132
assimilative phase reinforcing, using instruments, 135
connecting lesson plan to, 93–94fig. Beethoven, Ludwig van, Violin Concerto in D,
defined, 92–93 Movement 1, 139
in introducing tonic note of major pentatonic Bizet, Georges, “Carillon,” L'Arlésienne, Suite No. 1,
scale, 57–61 139, 206t, 208t
 Index

“Blue” in preparation/practice lesson plan for cognitive

in do unit plan, 167t, 176t, 177t, 178t phase, 97t
in half note unit plan, 180t, 186t in quadruple meter unit plan, 231t, 236t, 237t,
in quadruple meter unit plan, 231t, 233t 240t, 242t
“Bluebird Through My Window” in re preparation/practice lesson plan, 142t
in do pentatonic scale unit plan, 217t, 222t, 223t, 224t in re presentation lesson plan, 145t
in quadruple meter unit plan, 231t, 235t in re unit plan, 192t, 193t, 195t, 198t, 199t, 202t
“Bobby Shafto” and teaching major pentatonic scale, 78t
in do unit plan, 167t, 169t, 172t, 174t, 175t, 176t and teaching quadruple meter, 87t, 89, 91
in grade one review, 156t, 157t, 161t, 163t, and teaching trichord mi re do, 67t
165t, 166t “Bye, Bye, Baby”
in half note presentation lesson plan, 49t, 51t in do unit plan, 167t, 178t, 179t
in half note unit plan, 180t, 188t, 190t in four sixteenth notes unit plan, 205t, 215t
in re unit plan, 192t, 197t in half note lesson plan, 50t, 53t, 149t
“Bounce High, Bounce Low” in half note unit plan, 180t, 182t, 189t, 191t
in assessment for quadruple meter, 259–60t in preparation/practice lesson plan for cognitive
in do unit plan, 167t, 168t, 170t, 171t phase, 101t, 103t
in grade one review, 156t, 157t, 159t, 161t, 162t,
164t, 166t call-and-response singing, 131
in re preparation/practice lesson plan, 142t canon(s)
in re unit plan, 192t, 199t and developing instrumental performance
“Bow Wow Wow” skills, 135–36
in assessment for do, 243–46 and developing rhythm reading skills, 113–14
as canon, 133 and part work, 132–34
directions for playing, 27t and teaching trichord mi re do, 70
in do pentatonic scale unit plan, 217t, 218t, “Carillon,” L'Arlésienne, Suite No. 1 (Bizet), 139,
225t, 228t 206t, 208t
in do unit plan, 167t, 168t, 170t, 173t, 175t, 177t, “Charlie Over the Ocean”
178t, 179t as call-and-response song, 131
in four sixteenth notes unit plan, 207t, 209t, 211t, 213t directions for playing, 28t
in grade one review, 156t, 157t, 160t “Chatter with the Angels”
in half note lesson plan, 150t, 152t, 153–54t in do pentatonic scale unit plan, 217t, 220t,
in half note preparation/practice lesson plan, 47t 221t, 229t
in half note presentation lesson plan, 52t in quadruple meter unit plan, 231t, 239t, 242t
in half note unit plan, 180t, 181t, 182t, 183t, 185t, “Cherry Tree Carol, The,” 140
187t, 190t “Chickalileeo,” in quadruple meter unit plan, 231t,
and introducing tonic note of major pentatonic 235t, 236t, 237t
scale, 55, 59 “Clap Your Hands Together” (Cut the Cake)
in quadruple meter unit plan, 231t, 235t directions for playing, 28–29t
in re unit plan, 192t, 194t, 197t, 199t, 201t, in four sixteenth notes unit plan, 216t
202t, 203t “Closet Key”
and teaching trichord mi re do, 67t directions for playing, 29t
“Brave Boys,” 140 in do unit plan, 167t, 169t
breathing, 109–10 in grade one review, 156t, 157t, 159t
“Button, You Must Wander” and teaching trichord mi re do, 71
directions for playing, 28t cognitive phase
in do pentatonic scale unit plan, 217t, 218t, 219t, connecting lesson plan to, 93fig.
266
222t, 227t, 228t defined, 92
in half note preparation/practice lesson plan, 46t in introducing tonic note of major pentatonic
in half note presentation lesson plan, 52t scale, 55–56
in half note unit plan, 180t, 184t, 185t, 186t, for major pentatonic scale, 79–80
187t, 190t preparation/practice lesson plan for, 94–99t
and introducing tonic note of major pentatonic for teaching half note, 62
scale, 55t, 57 for teaching quadruple meter, 87–88
 Index

for teaching sixteenth notes, 73–74 and introducing tonic note of major pentatonic
for teaching trichord mi re do, 67–68 scale, 55t, 57
composition, 8–9 in quadruple meter unit plan, 231t, 235t, 236t
conducting in re presentation lesson plan, 145t, 146t
in grade two curriculum, 6 in re unit plan, 192t, 203t, 204t
and teaching quadruple meter, 89 and teaching sixteenth notes, 73t
Copland, Aaron do
“Goodbye, Old Paint,” Billy the Kid Suite, 86 assessment for, 243–47
“Mexican Dance,” Billy the Kid Suite, 140, 221t, listening examples for, 138
232t, 235t, 237t, 239t, 241t teaching strategies for, 54–61
“Cow Song, The,” 217t unit plan for, 166–79
creativity, in Kodály concept, 3–4. See also “Do, Do, Pity My Case,” 29–30t
composition; improvisation; movement “Doggie, Doggie”
critical thinking. See also music literacy directions for playing, 30t
in grade two curriculum, 6–7 in do unit plan, 167t, 171t, 172t, 174t, 176t
in Kodály concept, 3 in grade one review, 156t, 163t, 164t, 166t
“Cuckoo,” Carnival of the Animals (Saint-Saëns), 138 do pentatonic scale
cultural heritage, students as stewards of, 3, 5 listening examples for, 140
“Cumberland Gap” unit plan for, 216–30
in do pentatonic scale unit plan, 224t “Down Came a Lady,” 30t
and form and creative movement, 137 drones, 134
in four sixteenth notes unit plan, 205t, 206t, “Duerme pronto,” 90
208t, 209t Dvořák, Antonin, “Largo,” movement 2 from
in quadruple meter unit plan, 231t, 239t Symphony No. 9, “New World Symphony”
in re presentation lesson plan, 146t as do pentatonic scale listening example, 140
in re unit plan, 192t, 193t, 197t, 198t, 204t in do pentatonic scale unit plan, 224t, 226t, 228t
curriculum in quadruple meter unit plan, 234t
for grade two, 4–9 in re presentation lesson plan, 144t
in Kodály concept, 1–3 in re unit plan, 202t
and lesson plan design, 11–17 and teaching major pentatonic scale, 86
prompt questions for constructing, 9–11 and teaching trichord mi re do, 73
“Cut the Cake” dynamic markings, 111
in do pentatonic scale unit plan, 217t, 218t, 226t, 230t
in four sixteenth notes unit plan, 205t, 206t ear, memorizing by, 125
in grade one review, 164t error identification, 113, 117
and teaching major pentatonic scale, 78t evaluation. See assessment
“Dance, Josie”
directions for playing, 29t “Fed My Horse”
in four sixteenth notes unit plan, 205t, 211t, and double circle concept, 138
213t, 216t in quadruple meter unit plan, 231t, 232t, 233t,
in quadruple meter unit plan, 231t, 233t, 235t, 234t, 235t, 236t, 240t
237t, 241t fill in the blank, and developing writing skills,
in re unit plan, 192t, 195t, 196t 119, 120
and teaching sixteenth notes, 73t “Finale,” Symphony No. 4 (Tchaikovsky), 171t
final note, and part work, 132
“Darby Ram, The,” 138 finger staff, and developing melodic reading skills, 115
“Death of Ase,” movement 6, Peer Gynt Suite No. 1, “Firefly”
267
Op. 46 (Grieg), 66, 104t, 139, 195t in do pentatonic scale unit plan, 217t, 225t, 226t,
“Derby Ram, The,” 139 227t, 228t, 229t, 230t
diction, 110 in quadruple meter unit plan, 231t, 233t, 241t
“Dinah” “Fire in the Mountain”
in do pentatonic scale unit plan, 217t, 219t, 222t directions for playing, 30t
in four sixteenth notes unit plan, 205t, 207t, in quadruple meter unit plan, 231t, 232t, 239t,
214t, 216t 240t, 241t
 Index

flash cards Grieg, Edvard
and developing inner-hearing skills, 118 “Death of Ase,” movement 6, Peer Gynt Suite No. 1,
and developing melodic reading skills, 115 Op. 46, 66, 104t, 139, 195t
focus songs, 48 “In the Hall of the Mountain King,” from Peer
folk songs and music Gynt, 65
in repertoire, 18–19
simple rhythm canons based on, 133–34 half notes
and students as stewards of cultural heritage, 3, 5 assessment for, 247–49
and understanding form, 125, 126, 127 example preparation/practice lesson plan for, 45–47t
form listening examples for, 138–39
and developing creative movement skills, 137 preparation/practice lesson plan for cognitive
and developing melodic reading skills, 116 phase, 95t
and developing rhythm reading skills, 112 presentation lesson plan for, 49–53t
in grade two curriculum, 7–8 teaching strategies for, 61–67
improvisation of new, 122, 123 transitions in lesson plan for, 149–54t
techniques for developing understanding unit plan for, 179–91
of, 125–30 hand games, 137
“Fossils,” Carnival of the Animals (Saint-Saëns) hand signs
in do unit plan, 169t, 171t and developing inner-hearing skills, 117
in grade one review, 156t, 158t, 160t, 162t, 164t and developing melodic reading skills, 114
“Four White Horses,” 132 and developing musical memory, 124
“Frog in the Meadow,” 71 and developing writing skills, 121
“Frosty Weather” in introducing tonic note of major pentatonic
directions for playing, 30–31t scale, 57, 58
in do pentatonic scale unit plan, 217t, 221t, 228t and teaching major pentatonic scale, 81–83, 84
in four sixteenth notes unit plan, 205t, 208t, 209t and teaching trichord mi re do, 69–70, 71
“Fudge, Fudge” Haydn, Franz Joseph
directions for playing, 31t “Allegretto (Romanze), from Symphony No. 85,
in grade one review, 164t “La Reine,” 66
“Andante,” Symphony No. 94, 78, 139, 218t
games. See singing games Surprise Symphony, 46t, 184t, 186t, 214t
“Give My Love to Nell,” 139 “Head and Shoulders, Baby,” 32t
“Goodbye, Old Paint,” Billy the Kid Suite “Here Comes a Bluebird”
(Copland), 86 in assessment for half notes, 247–49
“Good Night, Sleep Tight,” 164t directions for playing, 32t
“Go Tell Aunt Rhody,” 226t in do pentatonic scale unit plan, 227t, 229t
grade one review, 155–66 in do unit plan, 167t, 169t, 172t, 173t, 175t, 178t
“Great Big House in New Orleans” in four sixteenth notes unit plan, 205t, 207t, 209t,
directions for playing, 31–32t 213t, 215t
in do pentatonic scale unit plan, 217t, 218t, 223t, in half note lesson plan, 150t, 153t
228t, 229t in half note preparation/practice lesson plan, 47t
in four sixteenth notes unit plan, 205t, 206t, 210t in half note presentation lesson plan, 50t, 52t
in half note presentation lesson plan, 49t in half note unit plan, 180t, 181t, 183t, 185t, 187t,
in half note unit plan, 180t, 186t, 187t, 188t 188t, 190–91t
in preparation/practice lesson plan for cognitive in improvisation preparation/practice lesson
phase, 99t plan, 107t
in quadruple meter unit plan, 231t, 233t, in preparation/practice lesson plan for cognitive
268
236t, 239t phase, 95t, 97t, 99t, 101t, 103t
and side-close step concept, 138 in quadruple meter unit plan, 231t, 233t, 235t,
and teaching major pentatonic scale, 85 237t, 241t
“Great Gate of Kiev, The” (Mussorgsky), 66, in reading preparation/practice lesson plan, 104t
139, 193t in re preparation/practice lesson plan, 143t
“Green Gravel” in re unit plan, 192t, 193t, 195t, 198t, 200t, 201t
in do pentatonic scale unit plan, 217t, 219t and teaching half note, 61t, 62, 64, 65
in four sixteenth notes unit plan, 205t, 215t, 216t in writing preparation/practice lesson plan, 105t
 Index

“Hop, Old Squirrel,” 192t techniques for developing, 121–24

“Hot Cross Buns” and understanding form, 125
in assessment for re, 249–52 inner hearing
in do pentatonic scale unit plan, 219t, 222t and developing melodic reading skills, 116–17
in four sixteenth notes unit plan, 205t, 206t, 208t, and developing musical memory, 125
210t, 212t, 213t and developing rhythm reading
as re listening example, 139 skills, 112–13
in re preparation/practice lesson plan, 143t in grade two curriculum, 7
in re presentation lesson plan, 145t importance of, 3
in re unit plan, 192t, 193t, 195t, 197t, 199t, 203t in introducing tonic note of major pentatonic
and teaching major pentatonic scale, 84 scale, 58
and teaching trichord mi re do, 67–69, 71 and teaching half note, 64, 66
“How Many Miles to Babylon?,” in quadruple meter and teaching major pentatonic scale, 82, 85
unit plan, 231t, 232t, 237t, 238t, 239t, 242t and teaching quadruple meter, 90, 91
“Hunt the Cows” and teaching sixteenth notes, 76, 77
directions for playing, 32t and teaching trichord mi re do, 71, 72
in grade one review, 156t, 161t, 162t techniques for developing, 117–18
in quadruple meter unit plan, 231t, 232t, 238t instruments
“Hush, Little Minnie” appropriate, 135
directions for playing, 33t in grade two curriculum, 6
in four sixteenth notes unit plan, 205t, 210t, 211t and inner hearing, 3
as quadruple meter listening example, 140 teaching progression, 135
techniques for developing performance
“Ida Red” skills, 134–37
in do pentatonic scale unit plan, 217t, 220t, 224t, intervals
226t, 228t in introducing tonic note of major pentatonic
in four sixteenth notes unit plan, 205t, 206t, scale, 57–58
212t, 214t and teaching major pentatonic scale, 82
in half note presentation lesson plan, 49t, 52t, 53t and teaching trichord mi re do, 70
in half note unit plan, 180t, 188t, 189t, 190t, 191t “In the Hall of the Mountain King,” from Peer Gynt
in re unit plan, 194t (Grieg), 65
and teaching trichord mi re do, 67t
improvisation “Jubilee,” 139
assessment for do, 246–47
assessment for half notes, 249 Kabalevsky, Dimitri, Short Story, A, Op. 27, Book 1,
assessment for major pentatonic scale, 257–58 No. 13, 67, 139
assessment for quadruple meter, 260–61 kinesthetic activities
assessment for re, 252 in introducing tonic note of major pentatonic
assessment for sixteenth notes, 254–55 scale, 55
and developing creative movement skills, 137 for major pentatonic scale, 79
in do pentatonic scale unit plan, 218t for teaching half note, 62
in do unit plan, 168t for teaching quadruple meter, 87
in four sixteenth notes unit plan, 206t for teaching sixteenth notes, 73–74
in grade two curriculum, 8–9 for teaching trichord mi re do, 67–68
in half note unit plan, 181t kinesthetic canons, 133
in introducing tonic note of major pentatonic “King Kong Kitchie,” 140
scale, 58, 59–60 “King's Land”
269
preparation/practice lesson plan for, 106–7t directions for playing, 33t
in quadruple meter unit plan, 232t in do unit plan, 167t, 169t, 172t, 177t, 179t
in re unit plan, 193t in grade one review, 156t, 160t, 165t
and teaching half note, 64, 65 in half note lesson plan, 46t, 150t, 152t
and teaching major pentatonic scale, 82, 85 in half note unit plan, 180t, 182t, 184t
and teaching quadruple meter, 89–90, 91 in re unit plan, 192t, 193t, 201t
and teaching sixteenth notes, 77 “Knight Rupert,” Album for the Young, no. 12
and teaching trichord mi re do, 70, 72 (Schumann), 78, 139
 Index

“Knock the Cymbals” in four sixteenth notes unit plan, 206t

directions for playing, 33t in grade two curriculum, 9
in do pentatonic scale unit plan, 217t, 219t, 222t, in half note unit plan, 181t
224t, 228t, 230t instruments and developing, 136
in do unit plan, 177t, 178t in introducing tonic note of major pentatonic
in four sixteenth notes unit plan, 205t scale, 61
in grade one review, 156t, 161t, 162t in Kodály concept, 4
and introducing tonic note of major pentatonic in quadruple meter unit plan, 232t
scale, 55t, 57 in re unit plan, 193t
in quadruple meter unit plan, 231t and teaching half note, 66–67
in re unit plan, 194t, 197t, 199t, 201t, 202t, 203t and teaching major pentatonic scale, 86
and teaching half note, 65 and teaching quadruple meter, 92
and teaching major pentatonic scale, 78t, 83 and teaching sixteenth notes, 78
and teaching quadruple meter, 87t, 89, 90 and teaching trichord mi re do, 73
Kodály concept, 1–4, 18–19 literacy, in grade two curriculum, 6–7. See also
“Kookaburra,” 73t reading; writing
“Little Johnny Brown,” 137
labeling sounds “Longest Train, The,” 139
in introducing tonic note of major pentatonic “Long Legged Sailor,” 34t, 137
scale, 56 “Lucy Locket”
presentation lesson plan for, 14–17, 144t in do unit plan, 167t, 172t, 173t, 174t, 176t, 178t
and teaching half note, 62–63 in grade one review, 156t, 159t, 164t, 166t
and teaching major pentatonic scale, 80
and teaching quadruple meter, 88 major pentatonic scale
and teaching sixteenth notes, 74 assessment for, 255–58
“Largo,” movement 2 from Symphony No. 9, “New teaching strategies for, 78–87
World Symphony” (Dvořák) teaching strategies for tonic note of, 54–61
as do pentatonic scale listening example, 140 “Mama, Buy Me a Chiney Doll”
in do pentatonic scale unit plan, 224t, 226t, 228t as do pentatonic scale listening example, 140
in quadruple meter unit plan, 234t in four sixteenth notes unit plan, 205t, 211t,
in re presentation lesson plan, 144t 212t, 213t
in re unit plan, 202t and teaching major pentatonic scale, 85
and teaching major pentatonic scale, 86 and teaching trichord mi re do, 71
and teaching trichord mi re do, 73 manipulatives, and developing writing skills, 118, 119
lesson plan(s). See also preparation/practice lesson “March,” The Love for Three Oranges (Prokofiev),
plan; presentation lesson plan; unit plan(s) 92, 140
developing, 11–17, 92–107 matching
evaluating, 155 and developing melodic reading skills, 117
general points for, 154–55 and developing rhythm reading skills, 113
transitions in, 148–54 melodic canons, and developing instrumental
letter names, 83–84 performance skills, 135–36
“Let Us Chase the Squirrel” melodic concepts and elements
directions for playing, 34t and lesson plan design, 11–12
in four sixteenth notes unit plan, 205t, 207t pedagogical song list for teaching, 37–42t
in half note lesson plan, 47t, 50t, 150t, 151t, reading and writing, in curriculum, 7
152t, 154t melodic ostinato
in half note unit plan, 180t, 182t, 183t, 185t, 189t and developing improvisation skills, 122
270
in re preparation/practice lesson plan, 143t and part work, 134
in re presentation lesson plan, 145t reinforcing, using instruments, 135
in re unit plan, 192t, 193t, 200t, 203t melody
and teaching half note, 61t and developing improvisation skills, 8–9, 122–24
listening and developing rhythm reading skills, 114–17
in do pentatonic scale unit plan, 218t and developing writing skills, 119
in do unit plan, 169t introducing songs using melodic focus, 43
 Index

memory. See musical memory and teaching half note, 63

“Mexican Dance,” Billy the Kid Suite (Copland) and teaching major pentatonic scale, 80–81
as do pentatonic scale listening example, 140 and teaching quadruple meter, 88–89
in do pentatonic scale unit plan, 221t and teaching sixteenth notes, 74–75
in quadruple meter unit plan, 232t, 235t, 237t, and teaching trichord mi re do, 69
239t, 241t
mi re do, teaching strategies for, 67–73 “Oh, Fly Around,” 231t, 241t, 242t
movement “Old Betty Larkin,” 138, 139
and developing improvisation skills, 124 “Old Brass Wagon,” 35t, 73t, 138
in do pentatonic scale unit plan, 218t “Old Chisholm Trail,” 138
in do unit plan, 169t “Old Roger,” 139
in four sixteenth notes unit plan, 206t “Old Woman,” 177t
in grade two curriculum, 6 ostinati. See also melodic ostinato; rhythmic ostinato
in half note unit plan, 181t and developing creative movement skills, 137
in introducing songs, 42 and developing improvisation skills, 121, 122
listening examples for, 128–30 and part work, 132, 134
in quadruple meter unit plan, 232t and teaching half note, 64
in re unit plan, 193t and teaching sixteenth notes, 76
techniques for developing, 137–38 and teaching trichord mi re do, 70
and understanding form, 126, 127–28
Mozart, Wolfgang Amadeus part work
“Allegro,” from Symphony No. 1, 61, 138, 149t, and developing rhythm reading skills, 113
151t, 181t, 182t, 183t in grade two curriculum, 6
Rondo alla Turca, 78, 139, 207t, 209t, 211t, in introducing tonic note of major pentatonic
213t, 221t scale, 58, 60–61
Symphony No. 40, 49t, 51t, 188t, 190t and teaching half note, 64, 66
musical memory and teaching major pentatonic scale, 82, 86
in grade two curriculum, 8 and teaching quadruple meter, 89, 91–92
in introducing tonic note of major pentatonic and teaching sixteenth notes, 76, 77–78
scale, 59, 60 and teaching trichord mi re do, 70, 72–73
and teaching half note, 66 techniques for developing, 130–34
and teaching major pentatonic scale, 84, 85 “Paw Paw Patch”
and teaching quadruple meter, 91 in assessment for sixteenth notes, 252–54
and teaching sixteenth notes, 77 directions for playing, 35–36t
and teaching trichord mi re do, 71, 72 in do pentatonic scale unit plan, 217t, 218t, 220t,
techniques for developing, 124–25 223t, 225t, 227t, 229t
music comparatives, 131 in four sixteenth notes unit plan, 205t, 206t, 208t,
music literacy, 6–7. See also reading; writing 210t, 212t, 214t, 215t
Mussorgsky, Modest, “The Great Gate of Kiev,” 66, in improvisation preparation/practice lesson
139, 193t plan, 107t
in quadruple meter unit plan, 231t, 237t
“Nanny Goat,” 164t in re preparation/practice lesson plan, 142t, 143t
“Naughty Kitty Cat,” 164t, 166t in re unit plan, 192t, 199t, 200t, 201t
“No Robbers Out Today” as sixteenth notes listening example, 140
directions for playing, 35t and teaching sixteenth notes, 73–75
in do unit plan, 167t, 174t “Pease Porridge Hot,” 156t, 159t
in grade one review, 156t, 157t performance
271
notation in grade two curriculum, 5–6
and developing inner-hearing skills, 118 in Kodály concept, 3
and developing melodic reading skills, 114–15 “Phoebe in Her Petticoat,” 61t
and developing musical memory, 124 Pink, Daniel H., 2
and developing writing skills, 119–21 “Pizza Pizza,” 36t, 131
in introducing tonic note of major pentatonic “Plainsies, Clapsies,” 156t, 159t, 160t
scale, 56–57 posture, 108–9
 Index

“Pourquoi,” 139 in grade two curriculum, 6–7

“Prelude in C Minor,” Well-Tempered Clavier (Bach), in half note unit plan, 181t
78, 140 in introducing tonic note of major pentatonic
preparation/practice lesson plan scale, 58–59
basic template for, 44–45t in Kodály concept, 2
components of, 12 preparation/practice lesson plan for, 104–5t
creating, 44–47 in quadruple meter unit plan, 232t
example, 45–47t in re unit plan, 193t
explanation of, 13–14t and teaching half note, 64–65
including music skills, 140–43 and teaching major pentatonic scale, 83
lesson plan template for assimilative and teaching quadruple meter, 90
phase, 103–8t and teaching sixteenth notes, 76
lesson plan template for cognitive phase, 94–99t and teaching trichord mi re do, 71
presentation lesson plan techniques for developing, 111–17
components of, 14t, 16t repertoire
creating, 48–53t alphabetized song list, 19–22
explanation of, 15t, 16–17t appropriate, 3
including music skills, 144–46 in grade two curriculum, 5, 10
lesson plan template for associative phase, in Kodály concept, 1–2
99–103t selecting, 18–19
Prokofiev, Serge, “March,” The Love for Three singing games, 23–37
Oranges, 92, 140 resonance, 110
props, 137 retrograde, 113
rhythm
quadruple meter and developing improvisation skills, 8, 121–22
assessment for, 258–61 and developing reading skills, 111–14
listening examples for, 140 and developing writing skills, 118–19
teaching strategies for, 87–92 introducing songs using rhythmic focus, 43
unit plan for, 230–42 and part work, 131
“¡Que Llueva!,” in grade one review, 156t, 163t, reinforcing, using instruments, 135
164t, 165t rhythm canons
question and answer and developing instrumental performance
and developing improvisation skills, 122, 123 skills, 135
and understanding form, 126, 127 and part work, 132–34
rhythmic concepts and elements
“Rain, Rain” and lesson plan design, 11–12
in do unit plan, 167t, 171t, 173t pedagogical song list for teaching, 37–42t
in grade one review, 156t, 157t, 160t, 164t, 166t reading and writing, in curriculum, 7
re rhythmic ostinato
assessment for, 249–52 and developing improvisation skills, 121
listening examples for, 139 and part work, 132
preparation/practice lesson plan for, 142–43t reinforcing, using instruments, 135
presentation lesson plan for, 144–46t rhythm syllables
unit plan for, 191–204t lesson plan template for presenting, 48t
reading rhythm canons with, 133
assessment for do, 244–45 and teaching half note, 63–64
assessment for half notes, 248 and teaching sixteenth notes, 74, 75
272
assessment for major pentatonic scale, 256 “Rocky Mountain”
assessment for quadruple meter, 259 in assessment for major pentatonic
assessment for re, 250–51 scale, 255–57
assessment for sixteenth notes, 253–54 in do pentatonic scale unit plan, 217t, 218t, 219t,
in do pentatonic scale unit plan, 218t 220t, 222t, 224t, 225t, 227t, 229t
in do unit plan, 168t in do unit plan, 167t, 169t, 174t, 177t, 178t, 179t
in four sixteenth notes unit plan, 206t in four sixteenth notes unit plan, 205t, 211t
 Index

in grade one review, 156t, 165t, 166t and teaching sixteenth notes, 75–76

in half note lesson plan, 49t, 149t, 151–52t techniques for developing tuneful, 108–11
in half note unit plan, 180t, 182t, 186t, 188t singing games
and introducing tonic note of major pentatonic directions for playing, 25t, 27–37t
scale, 55t, 57 glossary of terms, 26–27t
in quadruple meter unit plan, 231t, 232t, 234t, list, 23–25
236t, 238t, 241t sixteenth notes
in re preparation/practice lesson plan, 142t assessment for, 252–55
in re unit plan, 192t, 194t, 197t, 198t, 199t, 201t, listening examples for, 139–40
202t, 203t teaching strategies for, 73–78
and teaching major pentatonic scale, 78t, 79, 80, unit plan for four, 204–16
83, 84–85 “Skin and Bones,” 131, 138
and teaching trichord mi re do, 67t, 71 “Snail, Snail”
Rondo alla Turca (Mozart) in do unit plan, 167t, 171t
in do pentatonic scale unit plan, 221t in grade one review, 156t, 157t, 164t
as four sixteenth notes listening example, 139 in re presentation lesson plan, 145t
in four sixteenth notes unit plan, 207t, 209t, in re unit plan, 192t, 203t
211t, 213t solfège syllables
and teaching sixteenth notes, 78 and developing melodic reading skills, 114–15
“Rondo No. 1” (Bartók), 66 and developing musical memory, 124
“Round Dance,” For Children (Bartók), 92 and developing writing skills, 119–20
and introducing tonic note of major pentatonic
“Sail Away, Ladies,” 139 scale, 57
“Sailor's Alphabet, The,” 139 lesson plan template for presenting, 48t
Saint-Saëns, Camille and teaching major pentatonic scale, 81–82
“Cuckoo,” Carnival of the Animals, 138 and teaching trichord mi re do, 68–70
“Fossils,” Carnival of the Animals, 156t, 158t, 160t, “Solfeggetto” for piano (Bach), 78, 139–40
162t, 164t, 169t, 171t so-mi, and developing tuneful
“Tortoises,” Carnival of the Animals, 92, 140 singing skills, 110–11
Schumann, Robert, “Knight Rupert,” Album for the songs
Young, no. 12, 78, 139 alphabetized list, 19–22
“Sea Shell” introducing, 42–43
in do unit plan, 167t, 175t, 176t, 177t list for teaching rhythmic and melodic concepts
in four sixteenth notes unit plan, 205t, and elements, 37–42t
209t, 213t sounds, labeling. See labeling sounds
in half note lesson plan, 46t, 150t Sousa, John Philip
in half note unit plan, 180t, 182t, 184t The Thunderer, 219t, 233t
in re unit plan, 192t, 196t Washington Post March, 174t, 176t, 178t
seating position, 108 square dancing concepts, 138
“Seesaw,” 167t, 171t standing position, and developing tuneful singing
sequencing skills, 109
in Kodály concept, 2 “Star Light, Star Bright,” 172t, 174t, 176t
for part work, 130 Star Wars Imperial March (Williams)
“Shady Grove,” 139 in re preparation/practice lesson plan, 142t
Short Story, A, Op. 27, Book 1, No. 13 (Kabalevsky), in re unit plan, 194t, 196t, 198t, 200t
67, 139 “Study for Left Hand,” For Children (Bartók), 67
sight-reading, 114 Surprise Symphony (Haydn)
273
singing. See also tuneful singing skills in four sixteenth notes unit plan, 214t
in grade two curriculum, 5–6 in half note preparation/practice
importance of, 3 lesson plan, 46t
in Kodály concept, 1 in half note unit plan, 184t, 186t
and teaching half note, 63–64 Symphony No. 40 (Mozart)
and teaching major pentatonic scale, 81–82 in half note presentation lesson plan, 49t, 51t
and teaching quadruple meter, 89 in half note unit plan, 188t, 190t
 Index

Tchaikovsky, Peter Ilyich, “Finale,” Symphony for half note, 179–91

No. 4, 171t for quadruple meter, 230–42
teaching strategies, 54 for re, 191–204t
developing lesson plan based on, 92–107
for half note, 61–67 Violin Concerto in D, Movement 1 (Beethoven), 139
for introducing tonic note of major pentatonic visual practice
scale, 54–61 and introducing tonic note of major pentatonic
for major pentatonic scale, 78–87 scale, 58–61
for quadruple meter, 87–92 and teaching half note, 64–67
for sixteenth notes, 73–78 and teaching major pentatonic scale, 82–86
for trichord mi re do, 67–73 and teaching quadruple meter, 90–92
tempo markings, 111 and teaching sixteenth notes, 76–78
Three Rondos on Folk Tunes No. 1 (Bartók), 139 and teaching trichord mi re do, 71–73
Thunderer, The (Sousa), 219t, 233t visual representation
“Tideo” and introducing tonic note of major pentatonic
in do pentatonic scale unit plan, 217t scale, 56
in four sixteenth notes unit plan, 205t, 207t, 211t, and teaching half note, 62
215t, 216t and teaching major pentatonic scale, 79–80
in quadruple meter unit plan, 231t, 232t, 233t, and teaching quadruple meter, 88
234t, 235t, 237t, 241t and teaching sixteenth notes, 74
in re unit plan, 192t, 201t, 202t and teaching trichord mi re do, 68
and teaching sixteenth notes, 73t visual rhythm canon, 133
and teaching trichord mi re do, 71 visuals, in introducing songs, 42
tone ladder
and developing inner-hearing skills, 117 “Wallflowers”
and developing melodic reading skills, 114 directions for playing, 36t
tone production, 110 in do pentatonic scale unit plan, 219t, 222t, 224t
tone set, 119 in do unit plan, 177t, 178t
tongue twisters, 110 in half note lesson plan, 150t, 153t
tonic note of major pentatonic scale in half note unit plan, 180t, 183t
and part work, 132 and introducing tonic note of major pentatonic
teaching strategies for, 54–61 scale, 55t, 57
“Tortoises,” Carnival of the Animals (Saint-Saëns), in re unit plan, 194t, 197t, 199t, 201t, 203t
92, 140 and teaching major pentatonic scale, 85
transitions warm-up exercises, 109
instruments and developing, 136 Washington Post March (Sousa), 174t, 176t, 178t
in lesson plans, 148–54 “We Are Dancing in the Forest”
trichord mi re do, teaching strategies for, 67–73 in do unit plan, 167t, 172t, 174t, 176t, 178t
tuneful singing skills in grade one review, 156t, 163t, 164t, 165t, 166t
assessment for do, 243–44 in re unit plan, 192t, 194t
assessment for half notes, 247 “Who Killed Cocky Robin?,” 205t, 213t, 214t
assessment for major pentatonic scale, 255–56 “Who's That Tapping at the Door?,” 139
assessment for quadruple meter, 258–59 “Who's That Tapping at the Window?”
assessment for re, 250 directions for playing, 36–37t
assessment for sixteenth notes, 252–53 in do pentatonic scale unit plan, 219t, 222t
techniques for developing, 108–11 in do unit plan, 167t, 170t, 171t
“Two Rubble Tum” in half note preparation/practice lesson plan, 46t
274
in do unit plan, 167t, 169t, 170t, 173t in half note unit plan, 180t, 184t
in grade one review, 156t, 163t, 164t, 166t in preparation/practice lesson plan for cognitive
phase, 101t
unit plan(s), 147–48. See also lesson plan(s) in re unit plan, 192t, 196t, 203t
for do, 166–79 and teaching half note, 61t, 64, 65
for four sixteenth notes, 204–16 Williams, John, Star Wars Imperial March, 142t, 194t,
for grade one review, 155–66 196t, 198t, 200t
 Index

writing in introducing tonic note of major pentatonic

assessment for do, 245–46 scale, 59
assessment for half notes, 248–49 in Kodály concept, 2
assessment for major pentatonic scale, 257 preparation/practice lesson plan for, 105–6t
assessment for quadruple meter, 260 in quadruple meter unit plan, 232t
assessment for re, 251–52 in re unit plan, 193t
assessment for sixteenth notes, 254 and teaching half note, 65
in do pentatonic scale unit plan, 218t and teaching major pentatonic scale, 84–85
in do unit plan, 168t and teaching quadruple meter, 90–91
in four sixteenth notes unit plan, 206t and teaching sixteenth notes, 76–77
in grade two curriculum, 6–7 and teaching trichord mi re do, 71
in half note unit plan, 181t techniques for developing, 118–21
instruments and developing, 136–37 and understanding form, 127

275