Explore the use of percussion to create textural accompaniment

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1 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: Materials: Students will respond to a rhyme in 4/4 time. Students will play instruments on thebeat as the rhyme is performed. variety of rhythm instruments such as woods, drums, shakers Lesson Procedures: Doub- le, doub - le this, this Doub - le, doub - le that, that Doub - le this, doub - le that, Doub - le, doub - le this, that 1. Teach the following beat hand-jive game. Hand jive game: Make fists with your hands and hold them pointing up Tap partners with both fists on the word Double Tap the back of partners hands on the word this Tap the palm of partners hands on the word that

2 2. Repeat until students know the rhyme really well. It s fun to try to increase the tempo with each repetition. 3. Have students trade turns choosing a different instrument for each word in the rhyme and play the rhythm of the word when it occurs in the rhyme. 4. Play the instruments without the words and discuss what sounds worked well together. Adaption: Students perform the entire rhythm of rhyme on one instrument. Assessment: Students are able to perform the rhythm of the rhyme on instruments while others speak the poem.

3 Part 2-Double, Double, This, This National Standard: 4a Music Targets 5th: Students will create a melody to accompany a familiar chant Use repeating and contrasting phrases to create a melody to a familiar chant Music Target 6th: Compose an original song using lyrics from a current experience Objective: Materials: The student will create a melody to a familiar chant melody instruments such as barred instruments, resonator bells, or recorder, chart of the rhythm of Double, Double, This, This Lesson Procedures: 1. Have students tap and say in rhythm ( ti-ti, ti-ti, tah, tah) or rhyme on the board. Ask if they recognize the pattern. 2. Tap again and ask them to pat the quarter notes on their laps and clap the eighth notes in their hands. 3. Ask the students what is needed to make this rhyme a song. (Melody or pitch) 4. Using one of the following pitch combinations, create a class melody. C D E Do- Re- Mi C pentatonic C D E G A Do Re Mi Sol La C diatonic C D E F G A B C Do Re Mi Fa So La Ti Do Remind students that good melodies are singable. Don t have a lot of jumps going to a different note all the time. Repeated ideas with some contrasting ideas are important. It is important to end on Do. It is the home tone and makes a song sound finished and complete. Give some examples. Ask students for suggestions. Help guide them with repeated ideas. For example, the words Double, double could have the same melodic idea with a different ending. 5. Using a barred instrument for a tonal guide, create a melody as a class that is agreeable. If some students don t care for a particular idea, remind them they will get to write their own ideas later.

4 Extensions: Divide class into small groups and have them create a melody of their own. Perform them for each other. Evaluate if they have repeated ideas and contrasting ideas. Students could notate their melodies. Refer to day three lesson. Evaluation: The students create a class or small group melody that uses the idea of repetition and contrast within the phrasing of the song.

5 Part 3- Double, Double, This, This National Standard: 5c Music Target 5th: Music Target 6th: Objective: Materials needed: Create a simple melody Compose an original song The student will notate an original composition. staff paper for each student, run off master for Notation Practice Worksheet. pencil and writing board Lesson Procedure: 1. Go through the notation rules on Notation Practice Worksheet as a class and allow time for students to practice each one. 2. Pass out the staff paper to notate Double, Double, This, This rhyme 3. Allow students ample time to carefully notate the song they composed in lesson from Part 2. Evaluation: Students apply notation rules to their written composition.

6 NOTATION PRACTICE WORKSHEET Name Date Teacher 1. Write the letter name of each note on the line below the staff. & 2. Stem Rules: RULE # 1 If a note head is placed on or below the third line the stems go UP on the RIGHT Draw a stem for the following note heads below the third line RULE #2 If a note head is placed on or above the third line the stem goes DOWN on the LEFT Draw a stem for the following note heads above the third lin RULE # 3 If the notes are connected with a beam (eighth notes or sixteenth notes) the connecting beam should show the direction of the notes. You may have to break the above rules when connecting notes with beams. Draw the stems and beams for the following notes.

7 3. Apply the following rules to a song that you have composed on a separate piece of staff paper. Remember to do the following checklist: Center the title of your piece above the first staff. Place the time signature 4/4 on the staff. Write the text, centered between the staff, in a small print. Draw a bar line after each phrase of the song. Place the note head on the correct line or space on the staff above the correct syllable or word. Neatness is very important. There should be no question as to what line or space the note is on. Draw the stems and beams in the correct direction. Place a double bar line at the end of your song. 4. When you have completed your notation, ask a friend to read it and see if he/she can sing or play your song.

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