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Contents CD Tracks Page

About the CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4About This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4About the Lessons and Arrangements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Sail Away, Ladies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1–2 . . . . . . . . . . 7Draw Them In: Provide a Little History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Get Them Singing: In Unison; In Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Get Them Playing: Hand Percussion; Mallet Percussion; Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Broaden Their Knowledge: Understanding Staccato and Legato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Extend Their Experience: Create Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Teacher to Teacher: Singing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Pourquoi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–4 . . . . . . . . . 16Draw Them In: Talk About Idioms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Get Them Singing: In Unison; In Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Get Them Playing: Hand Percussion; Mallet Percussion; Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Broaden Their Knowledge: Hearing Chord Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Extend Their Experience: Write Just-So Stories (Literature Connection) . . . . . . . . . . . . . . . . . . . . . . 19Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Teacher to Teacher: Playing Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

When I First Came to This Land . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–6 . . . . . . . . . 24Draw Them In: Present Different Versions of the Same Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Get Them Singing: In Unison; In Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Get Them Playing: Hand Percussion; Mallet Percussion; Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Broaden Their Knowledge: Looking at Theme and Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Extend Their Experience: Compose Additional Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Teacher to Teacher: Listening to Music and Comparing Styles . . . . . . . . . . . . . . . . . . . . . . . 32

Old Dan Tucker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7–8 . . . . . . . . . 34Draw Them In: Demonstrate How to Play the Spoons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Get Them Singing: In Unison; In Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Get Them Playing: Hand Percussion; Mallet Percussion; Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Broaden Their Knowledge: Playing and Reading Syncopation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Extend Their Experience: Compose New Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Teacher to Teacher: Reading Music Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

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I’s the B’y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9–10 . . . . . . . . 45Draw Them In: Tell a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Get Them Singing: In Unison; In Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Get Them Playing: Hand Percussion; Mallet Percussion; Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Broaden Their Knowledge: Reading Rhythms in meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Extend Their Experience: Add an Introduction and a Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Extend Their Experience: Create Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Teacher to Teacher: Assessing Students . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Drill, Ye Tarriers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11–12 . . . . . . . . 58Draw Them In: Tell a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Get Them Singing: In Unison; In Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Get Them Playing: Hand Percussion; Mallet Percussion; Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Broaden Their Knowledge: Analyzing Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Extend Their Experience: Create Sound Machines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Teacher to Teacher: Rehearsing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Sourwood Mountain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–14 . . . . . . . . 68Draw Them In: Show Experts Playing Folk Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Get Them Singing: In Unison; In Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Get Them Playing: Hand Percussion; Mallet Percussion; Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Broaden Their Knowledge: Singing Octaves and Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Extend Their Experience: Improvise or Compose Call-and-Response . . . . . . . . . . . . . . . . . . . . . . . . . . . 72Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Teacher to Teacher: Performing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Erie Canal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15–16 . . . . . . . . 76Draw Them In: Explore the History of the Erie Canal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Get Them Singing: In Unison; In Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Get Them Playing: Hand Percussion; Mallet Percussion; Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Broaden Their Knowledge: Comparing Major and Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Extend Their Experience: Create an Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Teacher to Teacher: Mari’s Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

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About the CDThe CD contains both recordings and data files. Each of the recorded songs uses a different form. Do not view these as the only ways to perform the songs, but rather as idea starters to help you consider the many options available to you and your students. Devising the form for each song is part of the process of putting the ensemble together. You may want to play these for your students so they can hear what they are aiming to accomplish, both in terms of vocal quality and instrumental competence, but the recordings are primarily intended for your own reference.

In addition, the CD includes printable data files for each of the songs. You will find student vocal scores, individual scores for each instrument (in standard and Alphanotes notation), the Recorder Licks, scores with guitar and ukulele tab, lyrics, and accompanying worksheets.

About This BookAs a less experienced teacher, I walked into the classroom in August with plenty of energy, solid musicianship, and absolutely no clue about what to do. I started each year (as I still do) taking stock of the room and its contents. After a couple of hours of organizing and then reorganizing, I sat at my freshly stocked desk with a clean notebook and stared at the page, wondering how to find enough activities to fill a whole year. After fifteen years on the job, my laptop has replaced the notebook, and instead, I wonder how I’ll fit so much curriculum into just one school year.

One of the things I’ve learned is to find multiple ways to use a single song, and that is the crux of this book. Brain research shows that a balance of familiarity and novelty leads to learning. By using a familiar song to teach a new concept, we help students focus on the newness of the concept rather than the newness of the song.

For this book, I chose to use classic folk songs. These songs have staying power. Children have loved most of these songs for decades, and even though kids today may listen to very different music at home, these songs are still appealing. I have tested all the songs and lessons with my own students over the years and these experiences have guided my presentation of the material.

There are only eight songs, but each provides many opportunities for learning. It is my hope that by using the lessons in this book as a guide, you will find other songs to use in this manner.

While it is certainly possible to teach any of these songs as a complete unit with all its lessons taught concurrently or consecutively, this may lead to boredom. The students might simply get tired of the song and miss the subtleties. Instead, consider spreading the lessons out over the year (or several years) so that each song becomes an old friend with new surprises. When you revisit a song, the new element will add novelty to the familiar. By the end of the year, the students will truly own the song.

Though the printed page includes only a full score, the data files for each song include the following:• the two-part vocal score with all lyrics and chords (including separate files for ukulele tabs and

guitar tabs)• recorder scores (in standard and Alphanotes notation) and all of the recorder licks • percussion scores with pitched and non-pitched parts (available in standard notation

and Alphanotes notation)

Additional data files are included to support the lessons within the book.

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Sail Away, Ladies

Draw Them In: Provide a Little History There are recordings of “Sail Away, Ladies” going back to the early days of sound recording. Two that seem particularly authentic and well-loved are the ones by Uncle Dave Macon and by Odetta. Over 150 versions are available on iTunes, mostly using either banjo or fiddle or both. According to the annotation in Sail Away: 155 American Folk Songs to Sing, Read, and Play, edited by Eleanor G. Locke (New York: Boosey and Hawkes, 1988), the song was made popular by Uncle Dave Macon at the Grand Ole Opry.

Share the following information with your students. If you wish, encourage them to seek out recordings and more information about the Grand Ole Opry.

The Grand Ole Opry was originally a radio show that started in 1925 in Nashville, Tennessee. It became famous for finding, recording, and playing music from the best country musicians, a tradition that continues to this day. You can get more information from the Grand Ole Opry’s website (http://www.opry.com/).

Get Them Singing: In Unison The A section of “Sail Away, Ladies” is a classic call-and-response song, but in the B section, everyone comes together again for the refrain. The range is on the low side, but experienced fifth- or sixth-grade singers can get down to the low G without getting too chesty. In fact, the boys often appreciate the chance to stretch down a bit. For the sake of learning the song, you might consider teaching it in the key of D in order to keep the singing a little lighter.

1. Start by teaching the response, “Sail away, ladies, sail away” (measures 3–4). Explain that you are going to sing several phrases and that the class should always follow with the response. Sing the phrases of the A section in this fashion. (Do not sing the B section at all yet.)

2. Teach the B section, which acts as a refrain in this song. 3. Project or hand out the lyrics. Divide the class in half, instructing one half to sing the calls and the

other to sing the responses. Explain that everyone will sing the B section. If you feel comfortable with it, let the kids ham this up with a girl-boy call-and-response. Girls can sing the calls, and boys can sing the responses with a little “Get away from me, girls!” attitude.

Get Them Singing: In Harmony 1. Show the music for the B section of “Sail Away, Ladies” and ask the class to identify which notes

are staccato.*

“Sail Away, Ladies” is a well-loved, often recorded folk song that is ripe with opportunity. Students love the syncopated rhythms, the call-and-response section, and the wide variety of things they can do with the song.

* See the “Broaden Their Knowledge” section for this song (page 12) for a more thorough lesson on staccato and legato.

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2. Sing the B section of the Secondary Voice part as you point to the rhythms. Then ask the class to echo you. Practice the Secondary Voice part until the class is confident with the style and melody.

3. Instruct the class to sing the Secondary Voice part while you sing the Primary Voice part. Ask for a few students to join you on the Primary Voice part, and sing the song again. Continue in this manner until you have half the class singing the Primary Voice part. Switch roles and repeat the process so everyone has the opportunity to sing both parts in harmony with your assistance.

4. Practice singing the A section followed by the Secondary Voice part in the B section. Draw the class’s attention to the starting pitch of the Secondary Voice part. It is the same as the starting pitch of the response. Once the students can sing the A section with either part of the B section, they will be ready to combine the parts independently, without assistance from you.

Get Them Playing: Hand Percussion The Tambourine and Triangle parts support the call-and-response aspect of the A section: the tambourine plays the call and the triangle plays the response.

In the B section, the triangle should be held tight and played with a dead sound, mimicking the staccato of the recorder and voice. The tambourine plays the same rhythm as in the A section, but as a continuous ostinato throughout the B section.

Get Them Playing: Mallet Percussion The B section has a repeating rhythm, but the pitches change each time to accommodate the chord progression. The students are more likely to be successful if they have some form of the written music to use as reference. There are scores available in the data files.

Shifting between the A and B sections and back again will require some practice. Initially, you may need to stop for four beats between sections to let the students’ brains shift gears.

1. Have two students sit at each instrument. Assign one child (the one on the higher side of the instrument) to Part 1 and the other to Part 2. Challenge them to figure out how to play the melody in the A section. Explain that the child playing Part 1 should figure out the call and the child playing Part 2 should figure out the response. You might warn them that they will both play the C in the middle of the instrument, but not at the same time. Remind them to stay out of each other’s way. (You may want to put Part 1 on soprano instruments and Part 2 on alto instruments if you decide to perform the piece.)

2. Teach Part 3 to all students. Draw attention to the fact that during the call the part stays on the low C, and on the response it outlines the chords.

3. Assign students to each of the parts. Rehearse the entire A section.4. Teach the B section, beginning with Parts 1 and 2. Teach the parts phrase by phrase. Ask the

students to notice which hand moves and how far it moves. For example, Part 2 always keeps the hands a third apart, but sometimes moves by step and sometimes by skip. Part 1 sometimes keeps the hands a third apart and sometimes a fourth.

5. Next, add the B section of Part 3. Point out the difference in how each phrase ends. The first phrase ends with F–E–D–C and the second ends with G–F–E–D–C. Keeping this straight will be challenging, so again, some form of the written part will be helpful, along with plenty of repetition.

6. Slowly practice playing through the entire piece. As students show proficiency, select a small group to accompany the rest as they sing the song.

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Get Them Playing: Recorders There are two licks on which you should focus your teaching before teaching the entire recorder part to your classes. These licks are available as visuals, both in and out of rhythm, on the CD.

This lick is not difficult, but it does require accurate aim with the right hand. Remind the kids to keep their right-hand fingers low so they can hit the target on the Es. Some recorders come with a Velcro spot to stick under the right thumb. This can help ensure the right hand is correctly placed.

This lick should be practiced in rhythm. It is not difficult, but it does require quick movement. Again, keeping fingers low and close to the holes will help with accuracy.

Broaden Their Knowledge: Understanding Staccato and Legato The Secondary Voice part combines legato and staccato singing, so before you move from singing in unison to singing in harmony, broaden the class’s knowledge with an explanation of the two styles.

1. Draw an abstract design on the board that includes both lines and dots. For example:

2. Ask the students to imagine how they could sing this drawing using a neutral syllable, then either ask for volunteers or ask the whole class to sing as you point to each line or dot.

3. Explain how we use the Italian terms staccato (for detached, or short, sounds) and legato (for connected, or long, sounds) and that there are symbols to indicate each.

4. Draw quarter notes under each of the lines and dots on the board and ask the class to identify which are staccato and which are legato. If possible, use a piano, recorder, or other instrument to play the pattern so that the students hear the difference when played by an instrument.

Extend Their Experience: Create Movement Once your students understand the form of “Sail Away, Ladies,” encourage them to create movement. This can range from using traditional folk dance steps to using props such as rhythm sticks or a parachute, working in partners, small groups, or as a whole group. Be sure you decide on the parameters and demonstrate acceptable movement and dance ideas before setting the students to the task.

1. Review the form and phrases of the A section. Then instruct the students to create movement to reflect the call-and-response section. Discuss and explore how each movement should last for four beats to reflect the music. For example, step away four beats, step forward four beats, repeat.

2. Explore and discuss how the B section consists of two longer phrases rather than four short ones, and explain that the movement should last for two eight-beat phrases. Point out that the movements at the end of the B section should prepare them for the beginning of the A section and vice versa.

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Recorder

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Part 3

Tambourine

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œ œ œ œAin’t no use to

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Sail Away, LadiesTraditional

Arr . Mari Schay

1 2Perf. Acc.

Note: Lyrics for all verses are available in the Student Vocal Scores and Lyrics Pages in the data files.

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œ œ œ œDon’t you rock ’em

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.œ œ œ œdi dee oh, don’t

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C

-

- -

*Dampen the triangle by grasping the metal to give it a dead metallic ‘clunk’ sound. Let it ring again when you return to the A section.

*

13

&

&

&

&

&

?

ã

ã

PV

SV

Rec.

P1

P2

P3

Tamb.

Tri.

13

œ œ œ œyou rock ’em

œ. œ.Don’t you

œ. œ.

œ œ œ œ

œ œ œ œ

œ œ

œ œ

œ œ

C

.œ œ œ œdi dee oh, don’t

œ. œ œrock ’em, don’t

œ. œ.

œ œ œ

œ œ œ

œ œ

œ œ œ

œ œ

G 7

œ œ œ œyou rock ’em

œ œ œ œyou rock ’em

œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ

œ œ

G 7

.œ œ œdi dee oh!

.œ œ œdi dee oh!

œ œ

œ œ

œ œ

œ œ

œ œ œ

œ œ

C

-

- -

14

Teacher to Teacher: Singing

Singing should be at the heart of every elementary music curriculum because it prepares the musical mind for every aspect of music. Not only does it give students a firm grounding in pitch, melody, harmony, and rhythm, but it also brings the class together to create something as a community, which is the foundation of all ensemble music.

Despite the importance of singing for musical and social development, you may face negative attitudes about singing when you teach, particularly in the upper grades and particularly with boys. If your students balk at singing, you may need to be patient. It may take several years to shift their attitudes, but this is time and energy well spent.

If you face this situation, continue to give your upper-grade students plenty of opportunities to sing, but focus on creating a singing culture in your younger grades so that as they grow up, the students have both an expectation that they will sing (and sing well) and a joy in singing. Sing every day in every class and, initially, acknowledge effort over accuracy.

Choose songs your students will love and will be able to sing successfully. Songs that are fun, funny, or a little gross are always motivating. Songs with a natural energy will help keep the enthusiasm going. Look for songs with a range of D to B for less experienced singers (and A below middle C to E an octave and a half above for experienced singers).

Avoid songs with too many lyrics so that the music remains the focus, rather than the effort it takes to remember lots of words. Also avoid songs with too many flowers and butterflies so you don’t alienate your boys. Eventually, they will not feel their manhood is questioned when they sing, and they will sing anything you give them.

Remember, too, that while we may have different natural inclinations or abilities, singing is a skill that can be developed with time, practice, and instruction. With a thoughtful curriculum based on gradual skill development, anyone can learn to sing accurately. (The exception is an unusual neurological impairment called amusia, in which the brain does not process pitch.)

Melody to Harmony: Strategies for Developing Singing SkillsBefore you even consider asking your students to sing in harmony, they must be very solid unison singers. Here is the progression I follow.

Inexperienced or Hesitant Singers• Help students explore their singing voices through imagery and imitation: ask them to hoot like

an owl, make monkey sounds with a puppet, vocally follow a loop-de-loop drawn on the board, vocally follow a flashlight around the room with the lights turned off, echo a slide whistle, or sing silly sol–mi patterns.

• Sing game songs for the kids as they play, then ask them to join you.• Read stories with different vocal characteristics (e.g., “Three Billy Goats Gruff”).• Sing high-interest songs with limited range (a fifth or less is fine).• Combine new songs with familiar songs.• Acknowledge effort and participation over skill.

15

Developing Singers• Regularly utilize echo and call-and-response songs.• Include many unison, high-interest songs with simple structures (ABA).• Stretch the range to an octave, mostly with stepwise movement or small intervals.

Confident Singers• Include many unison songs with a variety of forms, languages, styles, and meters.• Keep the range about an octave, but with wider intervals.• Introduce partner songs (two different songs sung at the same time).• Introduce rounds and canons (start with two-part pieces).

Experienced Singers• Utilize traditional choral warm-ups.• Include some unison songs with a wide variety of styles and musical elements.• Include many rounds and partner songs.• Introduce choral octavos, initially with minimal parallel harmonies.

Incentives to Improve SingingI use two incentives for singing in my classroom to encourage kids to sing with confidence. Such incentives should initially be used to acknowledge effort. Once your students have developed confidence, use them to acknowledge effort, improvement, and skill, depending on the student.

Superstrong SingerStudents who show marked improvement or who consistently sing with confidence and accuracy go on the “Superstrong Singer” bulletin board. I write the student’s name on a die-cut music note and staple it to a bulletin board. If a child’s name is already on the board, but I want to acknowledge his singing, I ask him to find another superstrong singer to add to the board. By the end of the year, the board is completely covered.

Achievement CardsCreate achievement cards to hand out when students show an improvement in effort, a change in the quality of their singing, or when they show leadership as singers. These are especially helpful with students who move into the building with little singing experience or a negative attitude about singing. Sometimes, instead of giving a child one card, I give him/her two and ask him/her to find another student who is demonstrating the same skill. There is no tangible reward such as a sticker or a pencil, but just acknowledging effort seems to make everyone sit a little taller and sing a little stronger. You will find a master copy of this card in the data files.

Recommended Resources Inside the Elementary School Chorus: Instructional Techniques for the Non-Select Children’s Chorus, by

Patricia Bourne (Dayton, OH: Heritage Music Press, 2009)Interactive Now: Lessons and Activities for the Elementary Music Classroom, Volumes 1–8, by Phyllis

Thomas and Debbie Anderson (Dayton, OH: Heritage Music Press, 2011–2013)

Way to go!

I noticed you working hard today:

Keep up the good work!

© 2013 Heritage Music Press, a division of The Lorenz Corporation. The original purchaser of Sing, Drum, Play,

and Strum: A Comprehensive Approach to Teaching Musicianship Through Folk Songs (75/1016H) by Mari Schay

has permission to reproduce this page for use in his or her classroom setting.

____ singing

____ playing

____ reading

____ other

Way to go!

I noticed you working hard today:

Keep up the good work!

© 2013 Heritage Music Press, a division of The Lorenz Corporation. The original purchaser of Sing, Drum, Play,

and Strum: A Comprehensive Approach to Teaching Musicianship Through Folk Songs (75/1016H) by Mari Schay

has permission to reproduce this page for use in his or her classroom setting.

____ singing

____ playing

____ reading

____ other

Way to go!

I noticed you working hard today:

Keep up the good work!

© 2013 Heritage Music Press, a division of The Lorenz Corporation. The original purchaser of Sing, Drum, Play,

and Strum: A Comprehensive Approach to Teaching Musicianship Through Folk Songs (75/1016H) by Mari Schay

has permission to reproduce this page for use in his or her classroom setting.

____ singing

____ playing

____ reading

____ otherWay to go!

I noticed you working hard today:

Keep up the good work!

© 2013 Heritage Music Press, a division of The Lorenz Corporation. The original purchaser of Sing, Drum, Play,

and Strum: A Comprehensive Approach to Teaching Musicianship Through Folk Songs (75/1016H) by Mari Schay

has permission to reproduce this page for use in his or her classroom setting.

____ singing

____ playing

____ reading

____ other