1 Differentiated Instruction in the Elementary Music Classroom Presented by BethAnn Hepburn Co-Author, Purposeful Pathways Possibilities for the Elementary Music Classroom Books I & II Session Sponsored by FMEA 2015
2 BethAnn Hepburn, Differentiated Instruction in the Elementary Music Class Planning for a differentiated instructional model is inherent in an active learning pedagogical approach to music education, growing from experiences and applying new knowledge. The end goal is to awaken the creative potential in each individual learner. There is no one size fits all, or one way street map to the learning. In differentiated instruction, teachers are encouraged and empowered to react to each child s learning in the moment, and change their course depending on that need, this sense of educational immediacy is present in the schulwerk. In Liess s 1966 biography Carl Orff, the author states, The child s natural inclination to growth and self-express by means of music making and improvisation is encouraged and developed. This is done entirely in terms appropriate to the child (p. 59). The teacher should mold a lesson with the students, there is an ebb and flow to the creative process as students imitate, and then create, yet, each lesson can use completely different media and process, and the creative products may look different for each child.
3 Piccadilly Travel: Modalities, Content, Creative Products, & Modifications Example From: Purposeful Pathways Book II Copyright 2013 MIE Publications, Used with Permission Piccadilly Travel PATHWAY TO Rhythm: Experiencing note values against the steady beat Students walk the tempo of the steady beat, which you establish with your left hand on temple blocks or piano. On a higher pitch, play changes using 4, h, and H. (In Dalcroze, these are called quick reaction changes.) The students respond to these rhythmic changes by clapping the rhythmic values you play, while maintaining the steady beat in their feet. Their task is to quickly respond to your rhythmic changes, striving to stay in sync with your right hand on the piano or temple blocks. Teacher Talk: Time, space and energy while clapping Quick Reaction exercises require total mental and kinesthetic awareness. Through these quick reaction experiences the students begin to understand how physical adjustments in energy, flow of body weight, and size of movement (space), need to occur in order to physicalize the music. This awareness of the relationship of time, space, and energy needs to be brought to the attention of the students. For example: the quarter note clap will rebound higher off the palm of the contact hand, physically showing a longer length of time through space than an eighth note, which requires less space but more energy. Sixteenth notes will utilize even less time and space, but significantly more energy. more space through time half the distance faster & smaller Quarter notes Eighth notes Sixteenth notes
4 Begin with the quarter note pulse and change to eighth notes, then sixteenth notes. Students respond by changing as quickly as possible to the new note values. Vary the rhythmic values in unpredictable places. Example: Students respond to the high-pitched rhythm by clapping the rhythm. Play the steady beat in your left hand to accompany changing Rhythmic values. Students keep this beat in their feet. Teacher Talk: Advanced challenge For an advanced challenge put the steady beat in the hands and the rhythm in the feet. If the class can master that challenge, consider alternating the rhythm between the hands and the feet using a word cue, such as switch. PATHWAY TO Creative Movement: Exploring Pathways Students can explore various floor pathways while experiencing the various note values used in the poem, and simultaneously hearing the poem. Begin with looking at an example of a pathway made from circles, lines, and squares. Have the students draw the pathway with their fingers in the air on where that pathway may take them across the floor. Travel that pathway following the quarter note pulse set by the teacher. Reverse the pattern and come back to their starting place. Explore the same pathway, can they change how they walked the path, perhaps sideways, backward, low, or high? Explore the same pathway again changing the tempo to the eighth note pulse, then sixteenth notes. Create a new pathway on the board with the class. Repeat the process, exploring traveling on the pathways different directions, heights, and tempi.
5 Next, let the students create their own individual pathways, and return to a quarter note pulse. While they are traveling their new pathway, the teacher chants the rhyme. Continue to let the students explore different pathways, and echo the rhyme by phrase while they are walking the steady pulse. When the students are able to recite the rhyme without the help of the teacher, ask them to travel the rhythm of the words in their feet. This will help kinesthetically prepare the latter labeling of H. Teacher talk The Piccadilly line is part of the London rail system, and the Piccadilly Circus is a circle off of the line, Leicester Square is another stop along the route. The Piccadilly Circus is a bustling area, cars and people going here to there. The term it s like a Piccadilly Circus refers to a lot of commotion. PATHWAY TO Partwork: Poem with BP/UTP ostinato Teacher performs BP ostinato. Students watch and join when ready (simultaneous imitation). Divide the class in half. Half performs BP ostinato. Half performs rhyme. Trade jobs. Transfer the BP to various vocal sounds or UTP.
6 Vocal sounds can be imitative of automobiles or other transportation. (Honk, beep, doors closing etc.) Each body percussion level becomes a different vocal sound. BP to UTP. Stamp=drum. Snap=triangle. Clap=woodblock. Perform poem with UTP ostinato. PATHWAY TO Composition: a a b c form using H Do a form analysis of the rhyme, labeling each 4-beat motive: aa bc For purposes of our composition project we re going to work with aabc. (Students may choose to make an a at the very end of the project if they wish.) Brainstorm possibilities for 2-beat building bricks using the following 1-beat words: MODIFICATIONS Utilizing assessments thoughtfully, the teacher can modify CONTENT, PROCESS, and PRODUCT Student Readiness is Key: Readiness is a student s entry point relative to a particular understanding or skill. Students with less-developed readiness may need: Someone to help them identify and make up gaps in their learning, in order to move ahead. more opportunities for direct instruction or practice activities or products that are more structured, or more concrete, with fewer steps, closer to their own experience or calls upon simpler skills. a more deliberate pace of learning Students with less-developed readiness may need: Skip practice with previously mastered skills & understandings activities and products that are quite complex, open-ended abstract, or multifaceted A brisk pace of work, or a slower pace for further, deep exploration This task can be changed in complexity by adding a complementary ostinato, or even modified by lowering the difficulty of choices for students with Individualized Education Plans, perhaps they have fewer cards and only one with the new rhythmic figure to help them find the rhythm more successfully. H 4 Piccadilly Stop h 4 Travel Stop 4 h Stop Travel H h 4 $ h H Piccadilly Travel Stop Travel Piccadilly Elemental Phrase Choices: a a b a a b b a a b a c
7 Content Modalities Product/Modifications Assessments What do we differentiate? Author Diane Heacox states in Differentiating Instruction in the Regular Classroom How to Reach and Teach All Learners, Grades 3-12 states these three overarching areas must be at the core of preparing for a differentiated instructional model: 1. Content: concentration on the essential, 2. Process: addressing the learning style, and 3. Product: Synthesis and Critical Thinking. 1 1 Diane Heacox, Ed.D., Differentiating Instruction in the Regular Classroom; How to Reach and Teach All Learners, Grades 3-12 (Minneapolis, MN Free Spirit Publishing Inc., 2002),.
8 What Do We Differentiate? Content Process Product Curriculum The How of teaching Reflect Application Concepts Modality (Multiple Intelligences) Tangible results (change) Topics Delivery Allow for modification/stretch *Concentration on the Essential *Addresses Learning Styles *Synthesis/Critical Thinking Adapted from Differentiating Instruction in the Regular Classroom How to Reach and Teach All Learners, Grades 3-12, Diane Heacox. Differentiated Instruction Responds to the individual learner Addressing: needs, styles and interests Rigorous- Challenges that promote intrinsic motivation for students, the teacher recognizes & plans for individual student differences and sets goals based on each student. Not too hard.not too easy.just like porridge.it s just right! Relevant- Focus on the essential learning within the discipline: for example not just singing to sing.or because it s fun. Choosing literature with purpose. Flexible and Varied- Group may change: individual, partners, whole group, small groups. Teacher employs many different instructional strategies. Examples today: meeting the same concept goal by utilizing eurhythmics, Orff Schulwerk, and Kodaly. Complex-No surface skimming : Challenge thinking, actively engage the student, and opportunities for use of academic language and demonstration of skills and concepts through construction/demonstration.
9 Content The first step in planning for a differentiated instruction is to state clear curricular goals which illustrate what students will learn as a result of a lesson. Stating clear curricular goals illustrating what students will learn as a result of a lesson is the first step. Tomlinson and McTighe (2006) state, Curricular goals are the springboard from which differentiation ought to begin. If, as a teacher, I am foggy about precisely what students should know, understand, and be able to do as the result of a unit or lesson, I may differentiate instruction, but I am likely to generate multiple versions of fog. Sequencing Music Learning Organizing Your Thoughts with clear Music Objectives (SLO s) Elements of Music Rhythm Melody Harmony Form Expression Timbre Genres Process Experience Analyze/label Practice Create Media Speak Sing Move BP Instruments Repertoire Folk Songs Folk rhymes Composed Elemental
10 Making the Case for Multiple Modalities in the Music Classroom With the focus determined, the teacher must reflect on how to deliver the content. In Wormell's Fair Isn't Always Equal workshop on May 9, 2014, the presenter defined, Differentiating instruction is doing what s fair for students. It s a collection of best practices strategically employed to maximize students learning at every turn, including giving them the tools to handle anything that is undifferentiated. It requires us (the teachers) to do different things for different students some or a lot of the time. It s whatever works to advance the student. Ideally, the lesson meets the needs of all learners and transforms the teacher from model to facilitator. At the onset, a teacher who plans for DI addresses the needs of auditory, visual, and tactile/kinesthetic learners (Sarasin, 1998).[Active Music Approaches and DI achieve this by allowing individual and co-operative groups to synthesize material and demonstrate their knowledge through different modalities. ) Engine, Engine Number Nine Scaffolding the Teaching Process: Breaking down conceptual understanding is key in differentiation, assess, and move forward when the students are ready. This can also happen from grade to grade. In Kindergarten PATHWAY to PULSE: Kinesthetic awareness of beat/subdivision Teacher plays the 4 steady beat. Students walk the beat. Change the quarter note pulse to h and students tip toe. Teacher speaks the rhyme while the students are traveling on the h Iconic Notation of Long and Short
11 Iconic Notation of High and Low In First Grade PATHWAY to LITERACY: 4, h, Sol, Mi 4 4 h 4 Teacher leads 4-beat echo patterns using hand signs. Read rhythm. Aurally identify Mi and move on the staff Read melody using solfege and hand signs Add text. Everyone says, Yes. No. Maybe so, then claps the rhythm. Notate the rhythm together Engineers lead train to new station during the A PATHWAY to PULSE: Moving echo pattern game section by locomoting the steady beat, while chanting the rhyme. Arrange multiple train stations around the room. Stations are free-standing drums, or instruments on chairs. Students form trains of 6-8 people Trains locomote around the room to the eighth note pulse while singing the song, stopping at a train station by the start of the B Section. Everyone says, Yes. No. Maybe so. Leaders echo the rhythm on the drums.
12 After the engineer (leader) has had a turn to play the big drum, s/he goes to the end of the train and a new engineer takes over leading the train around the room, arriving at a new train station in time for the B Section. Repeat, giving all students an opportunity to lead. PATHWAY to ENSEMBLE: Steady beat chord bordun with ostinato Pat steady beat while singing. Transfer the pat to the BX/BM on chord bordun. Prepare ostinato with body percussion & speech. Transfer to guiro. $ $ h 4 wave wave * scrape scrape scrape wait wait for the train $ $ h 4 Put BX/BM, guiro and singing together. Rotate children through all three parts, as time permits. Teacher Talk *Prepare the guiro part with a two-finger scrape up and down the arm. Shake Them Simmons Down PATHWAY TO Movement Play: Play party with student created variants Students learn the song by rote as they play the singing game. Students stand in a circle and travel to the right until the phrase Shake them simmons down. On that phrase they put their hands in the air and shake them down. (With younger students you may simply walk around the circle following each other. With older students join hands to travel around the circle.) The second verse is the same as the first, except you circle to the left. Students trace the melodic contour by drawing in the air as you sing each phrase. Students repeat each phrase, singing and tracing. Sing the song together, tracing the melodic contour. Ask for suggestions on new ways to perform the song. Everyone performs new ideas in a large group. (jump around, in and out, backwards walk, spin around, hop on one foot, etc.) After trying new ways as a class, the students create new versions in small groups. The students sing their new lyrics as they perform their version of the song. Allow time for each group to share with the class.
13 PATHWAY TO Literacy: Reinforcing low la Warm up utilizing the solfa tone ladder. Lead 4-beat solfa echo patterns empasizing low so and low la. Utiziling the SMARTboard, identify so, and la, in the song. Sing song with solfa. Sing with solfa while reading notation. NOTE: The rhythm of the last measure is simplified. TEACHER TALK: G=do pentatonic on the staff Note that this song is in the key of G=do pentatonic. This is not a key that the students are very familiar with. You re going to need to take the time to acclimate the students to the staff. If do is on a line, then mi and so are also on a line. Etc. Add text and show the new final rhythm, but don t make a really big deal of it. PATHWAY TO Composition: 8-beat rhythmic compositions Students are given fruit manipulatives (or cards) to create patterns. Model an example of an 8-beat rhymic phrase: h h H 4 H h h 4 pumpkin apple watermelon squash watermelon apple pumpkin squash Speak the pattern first, then pat the pattern with the speech. Model how to transfer each one of the items to a different level of BP. o Clap on pumpkin. o Snap on apple. o Pat on watermelon.
14 o Stamp on squash. Place the students in groups of 3-5. Small groups create their own BP patterns. Remind them of the steps in the process: o Create a pattern using fruit/vegetable manipulatives or cards. o Practice saying and patting the words. o Transfer to levels of BP for practice, and then transfer to UTP. ** Students Notate their rhythms after the kinesthetic & aural practice. PATHWAY TO Ensemble: Broken bordun, color part, UTP ostinato Prepare BX broken bordun, by patting and singing: Transfer to BX and perform with the song. Prepare GL color part with alternating finger snaps while singing song. Transfer to GL. Perform the song, broken bordun and GL color part. Add BP or UTP ostinato. (We ve written one into the score, but we d prefer that you use the patterns that the students created using fruits and vegetables.) Have one group perform their BP ostinato or play it on temple blocks or other UTP while the rest of the class performs the arrangement. Each level of BP can be a different timbre.
Hand Drums, Rhythm Sticks, And Other Untuned Percussion Roger Sams Director of Publications and Music Education Specialist Music Is Elementary www.musiciselementary.com firstname.lastname@example.org Play
A Collection of Music Lessons Using Hand Drums and Rhythm Sticks by Music Is Elementary s Music Education Consultant, Roger Sams. A free gift to you from Hand Drums. Rhythm Sticks Teacher recites poem.
National Standard: 2c, 6c Music Target 5th: Music Target 6th: Respond to common metric patterns Explore the use of percussion to create textural accompaniment Part 1-Double, Double, This, This Objectives:
Music Curriculum Guidelines Diocese of Arlington 2011-2012 Philosophy, Methodology and Usage Philosophy Music instruction continues to be cited as a profoundly positive element of educating young students.
Cathy Benedict, Ed.D Florida International University NAfME Nashville, 2013 Doing Away With Classroom Management: Teaching for Musical Transitions The following can be made appropriate for 1st-5th grade
Framework for Lesson Plans It is important that students are always being presented with new concepts or elements while simultaneously practicing known concepts in each lesson. In your introductory lecture,
The Rhythm of Language Grade Level: Written by: Length of Unit: Kindergarten Music Claudia J. Horn, Frontier Charter Academy, Calhan, CO Five lessons, 30 minutes each I. ABSTRACT In this kindergarten music
Music Standards of Learning for Virginia Public Schools Board of Education Commonwealth of Virginia April 2006 Music Standards of Learning for Virginia Public Schools Adopted in April 2006 by the Board
Lesson Plans: Stage 3 - Module One TM Music Completes the Child 1 Stage Three Module One Contents Week One Music Time Song 2 Concept Development Focus: Tempo 4 Song Clap Your Hands 5 George the Giant Pitch
Music Policy & Curriculum 2015 Overview This policy reflects the requirements of the national curriculum framework; the Areas of Learning and Early Learning Goals within the Foundation Stage Curriculum
An Orff Teacher Comes to Choir Roger Sams 3148 West Blvd. Cleveland, OH 44111-1849 (216) 476-0583 email@example.com Sponsored by: Where Go the Boats by Roger Sams Crooked River Choral Project. Volume 1
Indiana Academic Standards for Music August, 2010 Courtney Cabrera Fine Arts Specialist Curriculum and Instruction Indiana Department of Education 151 West Ohio Street Indianapolis, IN 46204 Phone (317)
- FAVORITE SONGS AND MUSIC ACTIVITIES FOR ELEMENTARY TEACHERS AND THEIR STUDENTS Sponsored by the FINE ARTS division of the Utah State Office of Education Featuring practical music lessons coffelated to
North Carolina s Kindergarten Music Note on Numbering/Strands: ML Musical Literacy, MR Musical Response, CR Contextual Relevancy Musical Literacy K.ML.1 Apply the elements of music and musical techniques
Students will: Personal Choice and Vision: Students construct and solve problems of personal relevance and interest when expressing themselves through A. Demonstrate how musical elements communicate meaning
Year 9 Unit 1 Chords into jazz Unit summary Title Key objective Musical ingredients Features of musical elements Development of skills Outcomes Chords into jazz Learning how jazz musicians use chords as
ENGAGING STUDENTS FOSTERING ACHIEVEMENT CULTIVATING 21 ST CENTURY GLOBAL SKILLS Content Area: Orchestra Unit Title: Music Literacy / History Comprehension Target Course/Grade Level: 3 & 4 Unit Overview
National Standards for Music Education 1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising
FIRST GRADE CURRICULUM OBJECTIVES MUSIC I. Rhythm 1. interpret notational symbols for rhythm (26.A.1d) 2. recognize and respond to steady beat with movements, games and by chanting (25.A.1c) 3. respond
A Correlation of Silver Burdett Making Music Model Content Standards for Music INTRODUCTION This document shows how meets the Model Content Standards for Music. Page references are Teacher s Edition. Lessons
Lesson Plans: Stage 4 - Module One TM Music Completes the Child 1 Stage 4 Module One Contents Module Plan and Curriculum Focus 2 Week One Fáthach Mór Buí 5 Conor Murphy Pitch Echoes 7 Clap It Back 9 Subjective
Expressive Singing Independent Singing : Grade 4 Product Performance GLE 1: Develop and apply singing skills to perform and communicate through the arts : knowledge of process and techniques for the production,
Catch the Calypso Beat and Put it in Your Feet! A Smithsonian Folkways Lesson Designed by: Katie Wood Seattle Public Schools, Seattle WA Summary: In this lesson students will travel to the island of Trinidad
Te Puna Puoru National Centre for Research in Music Education and Sound Arts (MERC) invites you to contribute to the national database of research in music education and sound arts. Fill in the template
Washington Educator Skills Tests Endorsements (WEST E) TEST SUMMARY AND FRAMEWORK TEST SUMMARY MUSIC: INSTRUMENTAL Copyright 2014 by the Washington Professional Educator Standards Board 1 Washington Educator
Guidance from HMI for teachers, headteachers, and music hub leaders when observing musical teaching and learning Schools, all other funded providers of music education, and providers of Continuing Professional
DANCE, MUSIC, VISUAL ARTS, THEATRE ARTS DANCE CREATION AND PERFORMANCE 1. Use choreographic principles, structures, and processes to create dances that communicate ideas, experiences, feelings, and images.
Elementary, Adopted 2013 117.D. Chapter 117. Texas Essential Knowledge and Skills for Fine Arts Subchapter D. Elementary, Adopted 2013 Statutory Authority: The provisions of this Subchapter D issued under
Programme of Study and Success Criteria for Key Stage 3 - MUSIC Programmes of Study Year 7 Unit 1 Understanding the elements of music Learn about each element of and how it works in a piece of music Develop
FINE ARTS EDUCATION GEORGIA PERFORMANCE STANDARDS Piano (Elementary and Grades 6-12) September 16, 2010 Page 1 of 21 Piano Georgia Performance Standards Section Page I. Acknowledgements 3 Music Advisory
This document is designed to help North Carolina educators teach the Essential Standards (Standard Course of Study). NCDPI staff are continually updating and improving these tools to better serve teachers.
The street is the setting for this unit of buskers and flash mobs. The children explore Ravel s Boléro through rhythmical mime, learn songs with instrumental accompaniments, and create a dance to build
A Story, A Song and We re Moving Along: Theme- based Learning in Early Childhood Roger Sams Friday, January 11, 2013. 7:45 8:45 am Sponsored by Music Is Elementary www.musiciselementary.com Small choices
CânSing top ten warm-up exercises The single most important thing you can do for vocal health is to start off any singing activity with a good warm up. These are the top ten recommended warm-up exercises
MONROE TOWNSHIP PUBLIC SCHOOLS CURRICULUM MAP Grade 5 Music 2010-2011 School Year New Jersey Core Curriculum Content Standards for Arts Education in the 21 st Century INTRODUCTION Creativity is a driving
Grade 6 Band This elective course is open to all students in grade six that have completed one previous year of band instruction, or can demonstrate an equivalency at the discretion of the director. The
MUSIC DOK 1 Students at DOK 1 are able to recall facts, terms, musical symbols, and basic musical concepts, and to identify specific information contained in music (e.g., pitch names, rhythmic duration,
Lesson 14 purple magic Twinkle, Twinkle; Away in a Manger; Jingle Bells Materials Needed: Theory Test for each child BINGO cards pencils for each student colored counters Purple Magic Theory Quiz & Semester
SAMPLE COURSE OUTLINE MUSIC GENERAL YEAR 11 Copyright School Curriculum and Standards Authority, 2014 This document apart from any third party copyright material contained in it may be freely copied, or
Singing Lessons for Little Singers Level A Lesson Plans These lessons plans have been created as a guide to help teachers pace and balance their lessons with the skills being taught. It is especially important
CMP Unit Plan Claire Burns Grade Level: Fourth Grade Class: General Music School: Kleven Boston Elementary School, Cherokee county, GA The Ostinato: Basis for Musical Experience Conceptual Focus: The Ostinato.
Note for students: This lesson plan template matches the model that is recommended in Preparing to Use Technology: A Practical Guide for Technology Integration. For support, consult your book to develop
Code Content Statement Item Specifications Depth of Knowledge Essence S1C1-1 Singing rounds on pitch with an appropriate tone quality. Performance based assessment only Total physical response assessment:
I ve Got The Blues! Grade 7 Music Contents Purpose of Unit How to Use this Resource Curriculum Instructional Trajectory Summary of Literacy Strategies I ve Got The Blues! Grade 7 Music Purpose of the Unit
NATIONAL STANDARDS for MUSIC EDUCATION 1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising
GCSE Music Unit 4 (42704) Guidance (There are recordings to accompany this document.) The Task Students will be required to compose one piece of music which explores two or more of the five areas of study.
Florida Performing Fine Arts Assessment Item Specifications 1302500_Jazz_Ensemble_1_Responding FRONT MATTER - SECONDARY Stimulus Attributes Response Attributes Written questions should be at grade level
MUS 101 MUS 111 MUS 121 MUS 122 MUS 135 MUS 137 MUS 152-1 MUS 152-2 MUS 161 MUS 180-1 MUS 180-2 Music History and Literature Identify and write basic music notation for pitch and Identify and write key
Lesson ideas and concepts aims at providing educators with dance lesson plans. In the past, there has been a lack of written resources in dance curriculum, samples of lesson plans, unit plans, and other
GRADE K Los Angeles Unified School District Arts Education Branch Elementary Music Instruction Guide Module 1: Making Music with Singing and Playing Module 2: Learning the Written Language of Music Module
Introduction Music is a subject with its own unique skills and knowledge, a respected repertoire of quality literature, an advanced system of notation and literacy, and a challenging form of cognition.
Music Standards FINAL Approved on May 5, 2000 Copyright 2003 Texas State Board for Educator Certification MUSIC STANDARDS Standard I. Standard II. Standard III. Standard IV. Standard V. Standard VI. Standard
Curriculum Mapping Electronic Music (L) 4202 1-Semester class (18 weeks) Week Standard Skills Resources Vocabulary Assessments Students sing using computer-assisted instruction and assessment software.
Educational Innovation July, 2013 Dear Educators, On behalf of all of MCESA, we are excited that you are using our content specific assessments in your school or district. We sincerely hope that the assessments
HOWARD COUNTY PUBLIC SCHOOLS GUITAR I, II, and III / IV GOALS AND OBJECTIVES GOAL I: PERCEIVING, PERFORMING, AND RESPONDING: AESTHETICS The student will demonstrate the ability to perceive, perform, and
1 MUSIC 265. Music in Elementary Education. (2-0) Cr. 2. F.S. Prereq: HD FS 102 or PSYCH 230Experiencing and understanding the fundamentals of music through singing, playing classroom instruments, body
Episode 8 The Musical Alphabet The ABC s of notes 1 OVERVIEW Musical notation is based on the musical alphabet using the letters A to G. Repairman comes to the rescue when Quaver s PianoWriter repeatedly
Deal Parochial CE Primary School Music Policy Values Statement At Deal Parochial Primary School the curriculum is firmly rooted in its Christian foundation: enabling every child to grow spiritually and
GRADE 5 Los Angeles Unified School District Arts Education Branch Elementary Music Instruction Guide Module 1: Making Music with Singing and Playing Module 2: Learning the Written Language of Music Module
Music Programme of study for key stage 3 and attainment target (This is an extract from The National Curriculum 2007) www.qca.org.uk/curriculum Crown copyright 2007 Qualifications and Curriculum Authority
Name: Class: WORKSHEET ACTIVITIES UNIT 3 Worksheet activity 1 ( Passerby ) 1 What instruments and voices are heard in the song? 2 Which instrument is featured in the introduction? 3 Which instruments are
School Name: AVIATION HIGH Unit title: HIT IT KLA(s): ARTS - Music Strand Year level(s): 8 Duration of unit: 10 weeks Ways of working Duration, beat, time values and metre are used to create rhythm e.g.
WELCOME AND INTRODUCTION This Curriculum Guide is designed to prepare, reinforce, and extend learning concepts and ideas from the MPR Class Notes video Finding the Right Instrument for You: The Percussion
MP 1 Sing more difficult tunes as the past years work continues on going Extend the techniques of singing to a higher art form Continue to increase permanent repertoire, recordings, 1.2 Responding to Expand
Singing Singing is a fundamental and universal form of expression that requires active listening skills. sing, alone and with others, a varied repertoire of music. demonstrate an understanding that singing
Music Programmes of study for Key Stages 1-3 February 2013 Contents Purpose of study 3 Aims 3 Attainment targets 3 Subject content 4 Key Stage 1 4 Key Stage 2 4 Key Stage 3 5 2 Purpose of study Music is
Ceol_Module1_13.qxd:Layout 1 19/02/2008 11:52 Page 1 1 Module One Contents Week One Hello So, Mi Echoes 2 Rhyme Open Them, Shut Them 3 Sol Fa Focus Tic Toc 4 Song focus Big Green Frog So, Mi Echoes: Pulse
Greenwich Public Schools Electronic Music Curriculum 9-12 Overview Electronic Music courses at the high school are elective music courses. The Electronic Music Units of Instruction include four strands
GCSE Music Unit 3 (42703) Guidance Performance This unit accounts for 40% of the final assessment for GCSE. Each student is required to perform two separate pieces of music, one demonstrating solo/it skills,
The Benefits of Action Songs - Action songs such as Head Shoulders Knees and Toes, If you re Happy and you Know It and The Hokey Pokey help children to develop concentration, sequencing, and high order
Singing in Orff Schulwerk! Presented to the Texas Gulf Coast Chapter Of the American Orff-Schulwerk Association August 22, 2015 Julie Scott, Presenter firstname.lastname@example.org www.juliekscott.com c. 2015 Julie K.
This unit embarks on a musical journey through the solar system, exploring how our universe inspired composers including Debussy, Holst and George Crumb. The children learn a song, and compose pieces linked
Step-by-Step Classroom Music II 7 Teacher Manual emc notes inc. Dear Educator, Thank you for taking the time to peruse Step-by-Step Classroom Music. This grade music curriculum has been created for a classroom
Judge Instructions Packet Judges instructions should be reviewed in advance of contest by each adjudicator. This packet can be copied and mailed to your judges at least ten days prior to your contest or
The children explore movie music in this unit from 1920s animated films to present day movies. They learn techniques for creating soundtracks and film scores, and compose their own movie music. Click here
Music Standards of Learning for Virginia Public Schools Board of Education Commonwealth of Virginia April 2006 Music Standards of Learning for Virginia Public Schools Adopted in April 2006 by the Board
Lesson 9 Chord Progressions and The Standard Harmony Rule (DVD 2) In This Lesson: In this lesson you'll learn the standard harmony rule and how to put chord progressions together in minutes. A Chord Progression
HOWARD COUNTY PUBLIC SCHOOLS PIANO I, II, and III / IV Honors COMPETENCIES GOALS AND OBJECTIVES GOAL I: PERCEIVING, PERFORMING, AND RESPONDING: AESTHETICS The student will demonstrate the ability to perceive,
The Szilvay Foundation Colourstrings Music Kindergarten Teacher Training Prospectus What is Colourstrings? INTRODUCTION to the Colourstrings Approach Colourstrings is an approach to music teaching, which
-1- Instructor: Dr. Marie Miller Spring, 2011 Office: BH 109 & PH 404 Office Hours: As posted or by appointment Office Phone: 620-341-5540 E-mail: email@example.com Course Description This is an elementary
Singing Folk Songs in the Classroom For the Musically Challenged By Lynn Arthur Koch Originally published as Choosing and Using Folk Songs with Children: Keeping the Children in Mind in Folk Song in the