Q & A on Music Education

Blending

Wendy — Wed, 15 Feb 2012 17:50:08 +0000

I’ve had problems with several of my students sticking out, for different reasons:
1. Singer isn’t on pitch. Usually this is the case when a student hasn’t found his head voice so I work on that.
2. Singing louder than everyone else. If you have created a safe environment, you can probably tell someone gently (privately or even in the group setting, if they are not easily hurt) that you don’t need them as loud right there or tell the group to make sure they can hear those around them.
3. Strident voices. For some reason, two of my most talented boys stick out when they are on soprano even though it is fully within their vocal range. When I moved them to a lower harmony line, they blended in fine.
On Laudate Mennonite Ensemble this past fall, Ken worked on blend during warm up exercises. He’d have us all hum the melody line and walk around randomly while listening to others or stand in different voice groupings. I’m working on students mastering their part sufficiently that they can be independent, standing by people singing different parts. Moving singers around produces a beautiful, fuller sound.
I think singing with a straight tone is important for me personally to blend, but this probably isn’t an issue with school-age children.

Worksheets and Written Work

Wendy — Mon, 24 Oct 2011 02:05:39 +0000

Worksheets should be kept to a minimum, but they can be helpful on occasion for the teacher to assess what the students have mastered individually and as a group. They also can allow time for the teacher to meet students individually in the hall to check their range, pitch matching, or ability to sing a given tune. Some ideas for written work are for students to:
Write the rhythm of a given song under or inside hearts drawn on the handout.
Given a rhythmic line and meter, draw bar lines and write the subdivision, labeling form.
Write names of black and white notes on a paper piano keyboard.
Given ten hymn numbers, write the key, beginning melody note, and solfege of first note.
Write down hymn numbers written in a given key.

Websites for Worksheets

http://www.makingmusicfun.net/

http://learnmusictheory.net/fundamentals/index.asp

http://www.finalemusic.com/finale/features/educatortools/worksheets.aspx

Introducing Level Two Music Education Resource Kit

Wendy — Tue, 20 Sep 2011 15:22:15 +0000

• Level Two Music Education Resource Book
• 24 Lesson Plans Based on the Kodály Method
• Bible-centered for Christian Families and Schools

Get the Book and Instruction Kit for $175
(With Glad Voices Teacher’s Resource Book only: $42.95)

The kit includes all the following items:
With Glad Voices Teacher’s Resource Book (Ring Bound)
Set of Eight Curwen Hand Signs (9˝x 6˝)
Set of Ten Glissando Posters (12˝x 18˝)
Four Music Direction Hand Signs
Set of Thirty Heavy Cardstock Red Hearts (Magnetic)
Song Poster (17˝x 22˝)
Set of Twelve Song Cards (8.5˝x 8.5˝)
Mapping Paper
Four Mapping Markers
Two Form Books
Tone Ladder
I Sing the Mighty Power of God CD

Level Two Music Resource Book is written toward a Second grade level, but will be enjoyed up to the older levels if the students have had little prior study in the rudiments of music.

The music concepts included are a necessary foundation for a music student of any age, and the activities can be changed by creative teachers to suit the age level in their multi-grade classrooms. There is a 40 Song Collection in the back of the book which allows the teacher to adapt song choices in the lesson to the age level as well. The lesson plans are detailed enough for an uncertain music teacher to be able to teach with confidence and gladness.

There are 24 lessons. Each lesson contains melodic and rhythmic activities, along with learning independence in singing, disciplined listening, and inner hearing. Also included in the book are teaching ideas, reproducible worksheets, Rhythm Syllables Chart, musical games, Gathering songs, Name Songs and Exploration songs. Many of the materials suggested in the lessons are available here with the Resource
Book. If you need anything else, we are glad to check into ordering it for you.

Major Concepts in Level Two:
• to sing, inner hear, and create with pentatonic scale: Do, Re, Mi, Sol, La
• to notate with Do, Re, Mi, Sol, La
• to keep a steady beat while inner hearing, while singing, and while others sing.
• Mapping for early notation.
• to assign the rhythm syllables Ta, Ta-di, Ta-ki-da and Rest to the beat, half-beat, and silent beat in compound meter.
• to notate rhythm patterns of four beats using quarter note, eighth note, Triplets and rest.
• plotting L-S-M and D-R-M on the staff in C, F, or G
• to move with the phrases of a song
• to express the form of a song and its mood.
• to learn that lines and spaces indicate pitch, with line notes and space notes, through movement, handstaff, and visualization.
• pentatonic tone ladders… and more!

To place your order call Joseph Ebersole
Call: (717) 679-2390 • FAX (717) 866-7924
E-mail: listening@illustra-graphics.com

Worksheets and Written Work

Wendy — Tue, 14 Jun 2011 15:57:49 +0000

Worksheets should be kept to a minimum, but they can be helpful on occasion for the teacher to assess what the students have mastered individually. They also can allow time for the teacher to meet students individually in the hall to check their range, pitch matching, or ability to sing a given tune. Some ideas for written work are for students to:
Write the rhythm of a given song under or inside hearts drawn on the handout.
Given a rhythmic line and meter, draw bar lines and write the subdivision, labeling form.
Write names of black and white notes on a paper piano keyboard.
Given ten hymn numbers, write the key, beginning melody note, and solfege of first note.
Write down hymn numbers written in a given key.

Teaching Tips

Wendy — Tue, 14 Jun 2011 15:47:30 +0000

1. For larger classes of very young children (12 or more), it is helpful to have masking tape laid in a circle on the floor so that they can sit on the tape and be in a circle.
2. Time saver: when moving desks, the children can sing a song and predict how many times through the song it will take them until the task is completed.
3. The class should be fast-paced, alternating periods of concentration and relaxation (movement/fun). For example, a first grade sequence could be:
a. Enter with motions or object to go with the rhyme/song that will be used later for the game.
b. Rhythmic objective: rhythm/steady beat with movement
c. Show beat/rhythm written on board
d. Melodic objective: show so/mi on body
e. Demonstrate pitches written on board
f. Play game using the teaching song
g. Sing good-byes to individuals and/or groups to line up
h. Exit with entry song or rhyme
4. Use creative categories to line up: by clothes color, birth month, alphabetical names, etc.
5. Active listening: It is best if students have been introduced to a song before learning the game so they can join in the singing during the game. Some ways to encourage active listening so the teacher can teach a new song by rote are:
a. Students keep a steady beat, beat pattern, or ostinato
b. Students count how many….
1. times the song contains a given word (or two!)
2. beats are in the song
3. phrases are in the song
4. half notes or whole notes are in the song
5. high notes (do’) are in the song
c. Show a picture or pass around object to pique interest and/or discussion
d. Identify the form of the song
e. Students echo phrase by phrase (count breaths)
f. Omit words (students identify or agree ahead which words to omit)
g. Identify what word was sung on the highest or lowest note of the song (if there is just one)
h. Ask questions about the definition of certain words or discuss the song’s meaning
i. Stop/Go sign, Rhythm/beat sign
j. On board, use student pointers to indicate high/low (for rhymes), loud/soft (p/f), and fast/slow (allegro/moderato/andante/largo)

Steps in Teaching Part Singing: Difficulty of Music

Wendy — Mon, 13 Jun 2011 15:18:45 +0000

1.Unison, divide class into 2 groups. Only the group that the conductor directs toward sings. When the conductor directs toward the other group, that group sings at whatever point the other group left off. The entire class should be tapping a steady beat on their legs while they sing and while they don’t.
2.Melody with repeated ostinato: While one part sings the melody of “Jesus Loves Me,” another part repeats: “Jesus loves me” on “titi ta two” all sung on “do” then add another, “Je-sus loves me” on “ta ta ta ta” singing “so-mi-so-mi”.
3.Canon: One group starts and another echoes 2 or 4 beats later. This can be done on songs not traditionally sung as rounds. For this exercise, it’s OK if the harmony is dissonant at times. Try a 2-beat echo on “Jesus Loves Me.”
4.Follow teacher hand-signs: Both parts begin on do. T hand-sign group 2 up to “re”, then “mi”, and both parts hold out their notes and listen. Conductor moves each group independently with step-wise movement.
5.Melody with descant, words not sung at same time (“Silent Night”, “In Repentance and Rest”)
6.Melody with high tenor that parallels the words and notes of melody line (“I’ll Be List’ning”, “I Got Shoes”)
7.Melody with alto that has different rhythm (“Hide Thou Me”)
8.Two lower parts that parallel each other with descant (refrain of “The Music of Heaven” and “The Lord is My Light”)
9.Now the children are ready to sing traditional homophonic music (“How Can I Keep From Singing?”)

Steps in Teaching Part Singing for #5-9: Progressing through a Piece

Wendy — Mon, 13 Jun 2011 15:18:19 +0000

1.Children can echo teacher.
2.Children can sing through it with teacher.
3.Children can sing through it without teacher.
4.Children can sing through it while teacher sings different part quietly, dropping out if they falter and coming back in again when they are back on. (Don’t sing what I’m singing, you all are a team!)
5.Children can sing through it while teacher walks around loudly singing harmony part on front of each student.
6.Follow same steps with the harmony part.
7.Put both together.
I have all children learn both parts. This helps keep them involved during the rehearsal and teaches them to see how the parts go together rather than trying to block out the opposing line.

Lesson Planning Checklist

Wendy — Fri, 10 Jun 2011 20:41:49 +0000

1.Do they have the prior knowledge they need for the concepts I want to teach? (No more than one or two news songs per lesson.)
2.Do my objectives prepare them for the practical skills they’ll need to sight read a new song in church?
3.Did I alternate periods of concentration and relaxation during the lesson?
4.Am I relating solfege to staff periodically?
5.Did I choose age-appropriate games? Are there some students not being picked by other students? If so, why? Depending on the reason, I may be able to favor these!
6.Did I choose a game that goes with a concept I taught to reward their hard work and so they can sing during the game?
7.Does my material list match my procedure and my procedure match the material list?
8.Have I ensured for their success by preparing them adequately, especially for solos?
9.Am I waiting for a majority of children to raise hand before calling on someone? (If more than a few S do not understand, you have not taught the concept adequately. Do not move to more advanced concepts until 80% are successful or they will perceive music as hard or confusing.)

Lesson 27, Grades 1-2

Wendy — Fri, 18 Feb 2011 00:18:44 +0000

Objectives: Given do, S will place mi, re on staff.
S will distinguish between and clap beat and rhythm.
S will sing loud and soft and see musical symbols for each, f and p.
Alleviate problem of S scrambling to sit beside teacher.

Materials: Key
Staff on board, chalk
Bean bag for “hoecake”
Slips of paper and pen

Procedure:
1.Enter: “Snake Baked a Hoecake.” pg. 25 My Little Rooster. Keep steady beat in pattern of 2.
2.Ask C questions, “Who baked a hoecake?” “Who watched it?” “What did the frog do?” “Who stole it?” “What name did they call the lizard?”
3.Act out the story, three characters for each time through.
4.S raise hand if they want a turn to sit beside the teacher. Write on slips of paper. Draw two names for first two S.
5.T sing, “I Have Lost the Closet Key”and show key.
6.S clap steady beat. S clap rhythm. Ask S what rhythm is (the way the words go).
7.Staff on board: T draw do. S draw mi, S draw re. T draw do in different location. S draw mi, S draw re.
8.T write f and p on board, explaining they mean loud and soft.
9.Game: Guesser goes outside room. Hider places key anyplace that nothing has to be moved to find it. Guesser comes in and class sings, louder as guesser gets closer to hidden key and quieter as guesser gets further from hidden key.
10.Goodbyes: T: “Goodbye, Isaac.” Isaac: “Goodbye, Teacher.” S lines up after echoing goodbye to T.

Lesson 26, Grades 1-2

Wendy — Fri, 18 Feb 2011 00:14:54 +0000

Objectives: The students will place mi, re, and do on staff.
S will identify and clap meter of 2 in pattern: thighs for strong, clap for weak and conduct it in a J shape in the air.

Materials: Drum
Large staff for each student
5 plastic bears and 4 note heads for each student

Procedure:
1.Enter: “Fire in the Mountain.”
2.S identify meter of 2. Keep pattern on legs/clap, then conduct shape of J in air.
3.S count how many times the song says, “Run” and “fire.”
4.Ask C what kind of fire the song is talking about (take many guesses). From song, what is mostly likely kind of fire? (gunfire, cannons) What war had the redcoats in it? (Revolutionary war) What holiday celebrates America’s independence? (4th of July)
5.Game: Half of C sit in circle on floor. Other half of C each stand behind a seated S. There should be one extra person in outside circle, so T can play if needed to make an odd person. One person sitting in inside circle plays drum with steady beat while outside circle marches around. When inside person stops drumming, outside circle tries to stand behind a seated C. Whoever is extra is “out.” If small class, that person can be next drummer until all have had a turn to be drummer.
6.Hand out floor staves and bears/note heads to each S. Put up 4 space notes. Number from bottom up, C pointing to bear and saying number. Put up 5 lines notes. Number from bottom up, pointing to bear and saying number. Alternate line and space notes from bottom space to top line. Sing scale do-do’ ascending and descending while pointing to notes. Clear board.
7.S put bear on second line. If this is Mi, put up re and do (sing pitches for “Fire in the Mountain” using the Me-Re-Do pattern. If some C have difficulty, have C who is finished to help them.
8.Put bear on 3rd line. If this is Mi, put up re and do.
9.Whoever gets this last one right can line up. Put Mi on 4th space. If this is Me, put up re and do. As S get it correct, they can bring their supplies to T and line up.