Do re mi [1965]

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PRODUCED BY
THE GEORGIA EDUCATIONAL TELEVISION NETWORK

TEACHER
BARBARA RUSTIN

STATE BOARD OF EDUCATION

James S. Peters, Chairman

Robert Wright, Vice-Chairman

Claude Purcell, Secret~ry

FIRST CONGRESSIONAL DISTRICT J. Brantley Johnson. SECOND CONGRESSIONAL DISTRICT Robert Byrd Wright THIRD CONGRESSIONAL DISTRICT Thomas Nesbitt, J r . FOURTH CONGRESSIONAL DISTRICT James S. Peters FIFTH CONGRESSIONAL DISTRICT David Rice SIXTH CONGRESSIONAL DISTRICToMcGrath Keen SEVENTH-CONGRESSIONAL DISTRICT Henry Stewart EIGHTH CONGRESSIONAL DISTRICT Lonnie E. Sweat NINTH CONGRESSIONAL DISTRICT Cliff C. Kimsey, Jr. TENTH CONGRESSIONAL DISTRICT Zack Daniel

FOREWORD
We are now providing more televised instruction that we hope will be of help to you in your classroom. YOU are the best authority on HOW it will help you and in what ways you wish to use it.
We are providing teacher guides like this one with suggestions that may Qe of service to you as you plan the best use of these lessons and fit them into the program that you have planned. These guides were written by our television teachers. We think of the television teacher and the classroom teacher as being partners in the best creative teaching for the children.
Television's dynamic power--long used in communicating other information--is now being made use of in education. It is making this a better educated world. None of us knows as much as we would like to know about it. It is a new medium and we are all learning together. We need your help and your suggestions as we seek to make the best use of our television facilities. our aim is to make the school program more meaningful in Georgia.
Our competent television teachers are well prepared to help you and the members of your class with lessons in science, mathematics, modern foreign language, music, and Georgia history. They have time to gather up visuals that may not be readily available to you or that you may not have time to collect. This relieves you of much planning and preparation and leaves you with more time to devote to the actual teaching of the child in the classroom, and your personal teaching-and-learning contact with
h~.
I hope you will find this teacher guide useful in your classroom work. We would be happy to have your suggestions about how our television teaching can be made more effective. If you have found some especially good ways to adapt these lessons to your pupils, let us know about it. Perhaps it would help other teachers. This is a cooperative venture: it is important that we all work together to make the best use of this new power that has come into our hands in this technological age, so that we may make learning more effective in Georgia schools.
Claude Purcell State Superintendent of Schools

PREFACE
This music series for the middle grades, DO RE MI, is based upon the philosophy and approach set forth in the Georgia Music Guide, PATHWAYS TO MUSIC, one copy of which is available to every Georgia elementary teacher. Dr. Frank Crockett, Music Consultant, State Department of Education, has assisted in the development of this television series which encourages active participation in music through singing, listening, moving to music, and playing rhythm and melody instruments.
In order to foster more effective participation in the television lessons, this teaching aid has been designed for your use in preparing for and following up each lesson. You are, of course, the only judge of how much and what kind of follow-up is suitable for your class. The extensive list of musical terms in the Glossary is for your ready reference and should be reviewed with your class according to the ability of the students to grasp the material presented on television. I do not presume to teach such concepts as "phrase" and "dotted notes" in one lesson and expect the boys and girls to know it forever after--no, the television lesson can be effective only iP conjunction with your help in carrying on the total music program.
Two things I hope you will do: (1) Let me know your feelings about the program as the year progresses, and (2) Remember each week to turn on DO RE MI!
Barbara Rustin Television Music Teacher

LESSON NO. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

LESSON TITLE

PAGE NO.

DO RE MI AND YOU!

1

ROLLIN' ON

2

FROM THE MOUNTAINS TO THE OCEANS

3

READY? BEGIN: ONE, TWO, THREE, HOP!

5

SING YE WELL? VERY WELL!

6

A CHANGE OF MODE, A CHANGE OF MOOD

7

SPOOKY

8

AMERICAN COMPOSERS' NEW MUSIC FROM OLD

9

IT'S SHUCKIN', PICKIN', AND PLUCKIN' TIME

10

THANKSGIVING TIME

11

FIRST SOUNDS OF CHRISTMAS

12

FLICKER LITTLE CANDLES

13

MUSIC OF CHRISTMAS

14

DANCE A SONG

15

DANCE THE POLKA

16

FOLLOW THE LEADER - GREEK STYLE

17

SA! LING FREE

18

SAILING FREE AND ADVENTURING WEST

19

THE BIG COUNTRY - COWBOYS, INDIANS AND SETTLERS

20

TAP YOUR TOE AND DO SI DO

22

21

GRIPE, GRIPE, ~RIPE!

23

22

WORK I WORK I WORK!

24

23

SHAKE, RATTLE, BOOM!

25

24

GOOD NEWS- CHARIOT'S A-COMIN'!

25

25

AIN'TA THAT GOOD NEWS

26

26

SPRING COMES IN

27

27

HALLELUIA!

28

28

SING, SING TOGETHER

29

29

MERRILY, MERRILY SING

30

30

THE INSECTS IN MUSIC

31

31

NEIGHBORING MUSIC

32

32

LOOKING BACK

32

33

LOOKING AHEAD

33

GLOSSARY OF MUSICAL TERMS

35

Teacher: Barbara Rustin

LESSON 1: ETV - DO RE MI (Music for the Middle Grades)

TITLE:

DO RE MI AND YOU!

MUSICAL OBJECTIVES:

To learn what melodies are made of. To learn the sounds of the intervals of the major scale
specifically the octave. To recognize repeated melodies. To be aware of producing appropriate tone quality in
singing. To feel the accented beat in all music.

CLASSROOM PREPARATION:

Provide as much moving area as possible beside each student's desk.

NATURE OF CONTENT:

Theme song: "Don't Be a Dodo" involves visual as well as aural perception of the scale when it is danced on the keyboard stairs and seen in notation.

"Two Wings", a lively spiritual, emphasizes the interval of an octave and evokes the rhythmic response to music which moves in twos. (MUSIC FOR YOUNG AMERICANS, p. 64, Book 5, American Book Company)

"Lovely Evening", a round, demands a sustained singing tone and clearly represents music which moves in threes. When sung as a round, it is a good introduction to part singing. (VOICES OF AMERICA, p. 25, Follett: THIS IS MUSIC, p. 27, Book 5, Allyn and Bacon: SINGING EVERY DAY, p. 121, Ginn)

SUGGESTED CLASSROOM FOLLOW-UP:

Sing other rounds such as "Three Blind Mice", "Row, Row, Row Your Boat", and "Are You Sleeping" -- all of which

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2. I want two gola-en shoes to put on my feet; I want two gold-en shoe a

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,k, cov-er my face; 0 Lord, I want two winga put on my feet; I want two gold-en shoes J

to cov-er my face, And the world can do me no to put on my feet, And the wo~ld can do me no

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4. I want a happy aong to sing in my heart, ETC.

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can also be sung simultaneously. Emphasize listening to each part ~ competing.

Review the sounds of the intervals by singing the syllable section of "Do Re Mi" from THE SOUND OF MUSIC.

Musical terms used today:

Melody

an organized succession of tones which

can be sung, whistled, or played on an

instrument.

Interval

the difference in pitch between two notes.

Phrase

divisions in music where the music seems

to pause or come to a close. A phrase

precedes a cadence.

Cadence

a harmonic pause in the flow of music;

the "the end" sound.

Rhythm

the beat or pulse of music.

Rhythm pattern a recurring grouping of long and short

notes.

Accent

emphasized or stronger beat; usually the
first in each measure. Indicated by >

or A above or below a note.

LESSON 2: ETV - DO RE MI

TITLE:

ROLLIN' ON

MUSICAL OBJECTIVES:

To recognize the contour of the melody by ear and by eye.
To learn to use the voice to sing expressively in keeping with the mood of the song.
To listen for the expressive qualities in music, specifically how the mood of a composition is affected by variance in dynamics and rhythm.

CLASSROOM PREPARATION:

Provide "arm swinging" room for each student.

NATURE OF CONTENT:

Listen to excerpts from Ferde Grofe's MISSISSIPPI SUITE ("Father of Waters" and "Huckleberry Finn") to discover

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the sight and sound sensations created by his usage of melody, rhythm, tempo, and dynamics. (Bow.mar Orchestral Library, BOL#61.)

Sing "Down the Ohio" to discover how the melody and rhythm combine to simulate the roundness of a paddle wheel or path of oars in the water. (MUSIC NEAR AND FAR, p. 36, Silver Burdett; p. 105, Summy-Bircharo, Book 4.)

Sing a banjo-pluckin' type of song by Stephen Foster, "The Glendy Burke", a typical of Riverboat entertainment. (MUSIC NEAR AND FAR, p. 112, Silver Burdett; VOICES OF AMERICA, p. 60, Follett; p. 146, Summy-Birchard Series, Book 5.)

Recognize the stepwise melodic patterns and heavily accented rhythms that give the rolling quality to "Roll On, Columbia". (VOICES OF AMERICA, p. 102, Follett; p. 118, Birchard Series, Book 5; MUSIC IN OUR LIFE, p. 4, Silver Burdett; THIS IS MUSIC, p. 154, Book 5, Allyn and Bacon; MAKING MUSIC YOUR OWN, p. 158, Book 5, Silver Burdett; and GROWING WITH MUSIC, p. 144, Book 4, Prentice-Hall, Inc.)

SUGGESTED CLASSROOM FOLLOW-UP:

Review songs learned today and practice singing "Down the Ohio" in two parts.

Read about the life of Stephen Foster and sing other songs which he composed--see how many your students know.

Musical terms used today:

Tempo Dynamics

the rate of speed of music. gradations of loud and soft.

(See Glossary of musical terms for a review of dynamic and tempo markings.)

LESSON 3: TITLE:

ETV - DO RE MI FROM OCEANS TO MOUNTAINS IN SONG

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MUSICAL OBJECTIVES:

To learn a song quickly by observing the contour of the melody and by "thinking" the sound of the intervals.
To learn a song quickly by observing the like and unlike phrases.
To develop a feeling for music which moves in fours.

CLASSROOM PREPARATION:

We will be moving in a double circle to learn the Schottische. If your room arrangement does not permit moving the desks, the directions can be adapted to moving up and down aisles.

NATURE OF CONTENT:

Listen to recording of "Hawaiian Rainbows" to discover where the sound of the octave occurs and check this with the notation. Discover the similarity between the movement of the music with the actual movement of the ocean (swelling and receding resembles ascending and descending melodies). (MAKING MUSIC YOUR OWN, p. 152, Book 3; AROUND THE WORLD IN SONG, recording and book, p. 24, Silver Burdett.)

Discover the wide intervals usually found in mountain music by learning the Swiss Walking Song, "From Lucerne to Weggis". Begin to learn the Schottische. (P. 64, Summy-Birchard, Book 4; SINGING TIME, Radio WABE Song Book, p. 27, Atlanta.)

SUGGESTED CLASSROOM FOLLOW-UP:

Encourage active review of the Schottische Step emphasizing the importance of feeling the even beats. A good playground activity is to take this rhythm step (run, run, run, hop or more slowly; step, step, step, hop) and play tag while doing the step.

Musical terms used today:

Meter

a regular pattern of accented and

unaccented beats.

Meter signature or time signature:

indicates the number of beats in a measure

(top number); bottom number tells what

kind of note gets one beat.

Measure

the music between two bar lines (vertical

lines).

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Ha - wai - ian rain-bowa,

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Reach from the moun - tain

Down to the sea.

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Teachers' Notes;

LESSON 4: ETV- DO.RE MI

TITLE:

READY? BEGIN: 1, 2, 3, HOP!

MUSICAL OBJECTIVES:

To learn to readily identify the meter of the music. To develop an awareness of the underlying beat in
music as contrasted with the accented beat and the melodic rhythm. To review note values and their corresponding rests.

CLASSROOM PREPARATION:

Have partners designated to dance the Schottische as we review it - these may be boy-girl couples or any way you (or they) decide.

NATURE OF CONTENT:

Through a review of the SWISS WALKING SONG, note the difference between the Schottische step (an even run, run, run, hop) and the melodic rhythm of the words sung.

To emphasize the understanding of the steady underlying beat, sing the spinning song SARASPONDA in two parts. Notice the octave interval in the melody. (VOICES OF THE WORLD, p. 63, Follett; MAKING MUSIC YOUR OWN, p. 49, Book 5, Silver Burdett; THIS IS MUSIC, p. 40, Book 5, Allyn and Bacon.)

SUGGESTED CLASSROOM FOLLOW-UP:

Find the underlying beat in America
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Contrast it with the melodic beat - in 1st, 3rd and 5th

measures the melodic rhythm is the same as underlying

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Study note values: (All show duration, and each decrease in value by one-half.)

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LESSON 5: ETV - DO RE MI

TITLE:

SING YE WELL? VERY WELL!

MUSICAL OBJECTIVES:

To review note values by using line notation (line

indication of short "__" or long "

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duration of notes).

To discover the difference between response singing

and two parts sung simultaneously.

CLASSROOM PREPARATION:

The movement today will be limited to that which can be fitted into the aisles although more stepping out room would be desirable.

NATURE OF CONTENT:

Learn a call and response song "The Keeper" (SummyBirchard, p. 4, Book 5; MAKING MUSIC YOUR OWN, p. 48, Book 4, Silver Burdett.)

Learn "The Hiking Song" in two parts by discovering through movement the rhythmic beat of the descant. (MUSIC NEAR AND FAR, p. 128, Silver Burdett - recorded.)

SUGGESTED CLASSROOM FOLLOW-UP:

Review the two-part hiking song by singing both the main melody and the descant separately until each part is securely learned.

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Study words: Descant

A second melody which harmonizes with the main melody.

LESSON 6: ETV - DO RE MI

TITLE:

A CHANGE OF MODE AND CHANGE OF MOOD

MUSICAL OBJECTIVES:

To discover the intervals of the minor scale. To experience bodily the rise and fall of the phrases
in the music. To develop a feeling for a spirited rhythmic pulse of
~ meter.

CLASSROOM PREPARATION:

"Stretching space" will be needed.

NATURE OF CONTENT:

Learn the minor song AUTUMN which is based on the minor scale and involves learning a most plaintive descant. (MUSIC THROUGH THE YEAR, p. 34, Follett -recorded.)
Learn the melody of WHEN JOHNNY COMES MARCHING HOME emphasizing the crispness of the dotted notes and the
m & change from minor to major and bac~ to minor. Add a
rhythmic chant as accompaniment. J'fl: J'" 1 1":1/
(AMERICAN BOOK COMPANY, p. 171, Book 5; THIS IS MUSIC, p. 116, Allyn and Bacon, Book 4.)
Learn the song HALLOWE'EN emphasizing the primary melody during this lesson in order to add the harmony parts and instruments during the next lesson. (MUSIC ROUND THE TOWN, p. 78, Follett.)
SUGGESTED CLASSROOM FOLLOW-UP:
Review the characteristics of the minor scale (the lowered third and sixth) in contrast with the sound of the major scale.

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o.~-"t.-. rnn'.J

h..~l re.

1 n"* '.2.1-leu -the Wire/ Ct>f'l-pla.in -i "'' All -tht! da.y it~ nz.; fl-i n,, sa a.-rwnd the f; re ; f you. Wish ijtJod c. hee.r.

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/

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'"' - --- - ~ne!iant 1 dh~r~J /ea.res 4.11 - -in fa.II - - ; n '

Da. -s rrM shorl. ftlt- -r-he' Ac.t - fu. nr rts here.

Gob-lins a.l-leyccds, Witches on brooms, Wind in -rhe "trees Sin1ij Se.o.r-y "Thnes
,, f JJ F JJ IJ 3 CJ l:r-J J 3 :J :! IJ :1 ~ II
f 1 J ~ :11: l 1 J l n :1 lhese a.re +I.e fh;nts tha.1are hea.rcl anti s~n, r, -the darK of n;'Jh1 on Ha.l-/ow-een J) J

Review the meaning of mode - the tonality that results when music is based primarily on tones from the major or from .the minor scales.

LESSON 7: ETV - DO RE MI

TITLE:

SPOOKY

MUSICAL OBJECTIVES:

To review the minor sounds associated with Hallowe'en. To develop instrumental accompaniment appropriate for
the music. To learn to observe the rests in music - to feel the
power of organized silence.

SPECIAL GUESTS:

Members of the Atlanta Contemporary Dance Group.

CLASSROOM PREPARATION:

Have available the rhythm instruments described below. DANSE MACABRE will be portrayed through movement during the program by members of the Atlanta Contemporary Dance Group. For those who are thoroughly familiar with the music it is hoped that space can be made available for participating during the television program. Encourage them to use their own movement ideas.

NATURE OF CONTENT:

Review the song HALLOWE'EN adding the chant-like harmony parts and appropriate instruments such as castanets and spoons (to simulate leaves rattling) and maracas and other shakers (to simulate wind sounds and swish of broomsticks).

Listen to HALLOWE'EN NIGHT (a song in two parts) to observe the pauses in the music as indicated by rests in the notation. (MUSIC FOR YOUNG AMERICANS, p. 34, American Book Company, Book 5 - recorded.)

Listen to excerpts from DANSE MACABRE by Saint Saens to learn how one composer expressed in music the mood when death tunes his fiddle and leads the dancing. We will be listening for the instruments that portray the rattling bones of the skeletons (Xylophone), the harp that strikes 12 o'clock and the oboe that crows the signal of the approach of dawn and the dance's end.

- 8-

of f k'e'f

f)tinor

, / ()

Mv5feriou.'l"

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Halloween
-

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7

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ff- '.'/ u
v

,'/itch-es pump-kin heads and black cats, scary spook and black bats oh it's Hallow-

- -- - - - - I .-1

.....

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r

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Eal-low-ecn's the night to dru.a up like a lilight to

_.
g!lve your

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friends a

n

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Witch.. , punp-kin heads & black cats, acar - J spooka; and

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fright, Look out! it'~ Hal-low-een

Hal-low-een night i the time when fearful thing a a:

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--- - tlack bats! Oh, it's Hal-low- eenl

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@/f6~ Amer;<:an Boof&mpan~

SUGGESTED CLASSROOM FOLLOW-UP:
Review the recording of DANSE MACABRE, giving everyone an organized chance to enact his interpretation of the music.

LESSON 8: ETV - DO RE MI

TITLE:

AMERICAN COMPOSERS' NEW MUSIC FROM OLD

MUSICAL OBJECTIVES:

To learn to listen actively to composed music - listening for such specific sounds as changes in mode, changes in tempo, the section of the orchestra or the instrument that is playing.
To discover how a change of mode and meter can drastically affect even the simplest of songs.
To develop awareness of the most natural harmonic interval (the 3rd).

CLASSROOM PREPARATION:

We will not need a moving area today but desks and room should be as free of distractions as possible - a listening lesson requires greater concentration.

NATURE OF CONTENT:

Sing WHEN JOHNNY COMES MARCHING HOME stressing the harmonic interval of thirds on the descending scale pattern. ( "the men will cheer, the boys will shout, the ladies they will all turn out".)

Listen to Morton Gould's AMERICAN SALUTE noticing particularly the changes of mode and the section of the arrangement where the drums maintain a heavy underlying beat while the melodic rhythm is broadly played above. (Bomar Orchestral Library, Album No. 65.)

Listen to another American composer's treatment of an equally familiar American tune as we hear excerpts from Virgil Thomson's Fugue and Chorale. (Bomar Orchestral Library, BOL No. 65.)

Arrange your own music by using some of the devices used in the pieces just heard.

- 9-

Discover. how a "plain as a mud fence" tune can be dressed up fit for a symphony orchestra as we listen to: Robert McBride's PUMPKINEATER'S LITTLE FUGUE. (Bowmar Orchestral Library, BOL No. 65.)

SUGGESTED CLASSROOM FOLLOW-UP:

Obtain recordings of the favorites in today's lesson for review and repeated hearing - familiar music is best loved music, therefore, let's strive to make more worthwhile music familiar.

Musical terms used today:

Pizzicato Fugue

method of playing stringed instruments by plucking rather than bowing. a form of music wherein a theme is stated by one voice and then imitated by other voices.

LESSON 9: ETV - DO RE MI

TITLE:

IT'S SHUCKIN', PICKIN' AND PLUCKIN' TIME

MUSICAL OBJECTIVES:

To become thoroughly familiar with the major keys of C F and G in order to provide accompaniments on the autoharp.
To learn how to find DO or the key note of any major scale (this should be just a review for most students.)

CLASSROOM PREPARATION:

The appendix of this book includes a diagram of the autoharp chords as do many of the music textbooks. Such a chart, if drawn by every student, would facilitate becoming familiar with the arrangement of chords.

NATURE OF CONTENT:

Sing the rollicking SHUCKIN' OF THE CORN emphasizing its play-party mood. Find DO and explore the chords in the key of C. (THIS IS MUSIC, p. 19, Book 4, Allyn and Bacon.)

- 10 -

--

P; II
Co t ton JYe e cls

k; n 1

c

''

Cot-ton need pickin' so bad, Cotton need1 pickin' 10 bad, Cot-ton needs pickin 1
$' r r-tr E.llx 3. ;~J JIJ. r11 .rJ J J J J I01 El I
so bad, 1 1m gon-na pick all o-ver this field. Planted thil cotton in A- pril,

by !PAchers l=dtfion by Wtlst>n fl te era/ RebrDcft;lced

perth$Sion

'

'

I

OH, LEMUEL by Stephen Foster furthers our mood of gaiety while providing a study of the Key of G. (MAKING MUSIC YOUR OWN, p. 192, Book 5, Silver Burdett; MUSIC FOR YOUNG AMERICANS, p. 10, Book 5, American Book Company.)
We will PICK A BALE OF COTTON in the Key of G. (MUSIC NEAR AND FAR, p. 11, MAKING MUSIC YOUR OWN, p. 14, Book 5, Silver Burdett; GROWING WITH MUSIC, p. 29, Prentice Hall, Book 3.); because the COTTON NEEDS A PICKIN' SO BAD. (THIS IS MUSIC, p. 99, Book 4, Allyn and Bacon; GROWING WITH MUSIC, p. 80, Book 5, Prentice Hall.) This song is also in the Key of F.
Hog callin' sound effects are recorded in Edna Doll's RHYTHMS TODAY.
SUGGESTED CLASSROOM FOLLOW-UP:
Consult the glossary of terms for the definition of key signature and the rules for finding DO in order to review this procedure with the students as you use your music books.

LESSON 10: ETV - DO RE MI

TITLE:

THANKSGIVING TIME

MUSICAL OBJECTIVES:

To discover the range of sounds as well as moods that the violin can produce.
To become more adapt at sight reading.

SPECIAL GUEST:

Mrs. Anna Lambros, Violinist with the Emory Chamber Quartet and Orchestra.

NATURE OF CONTENT:

Listen to SUNSET SONG, a Zuni Indian song of thankfulness, recorded by Ataloa of the Chickasaw Nation using only a Tom-Tom accompaniment. (VOICES OF AMERICA, p. 80, Book 5, Follett.)

- 11 -

'=if Jj r-1 J J IEJ rIr rIr r J IJ J Id :J IJ ~ I

f* Ia Ir r r Ir Jl r r I Ir r vIe I We praiae Thee and bleaa Thy name. De-fend ua with Thy Al- might - y power

1EJ 3 E

cJ.

Grant to all Thy peo-ple Thy peace. Yic prain Thy mm. Lord, make Uil free!

:

I~ all do extol Tbu 1 Tbou leader triumphant, And pray that Thou atill m'r rlaofcnrier nilt bt'.

Let lhy con~n~at]on ucapt tr3bjJlatjpp. 'l'h;.r name he ever pr.;dsed, 0 T.ord, m11k 111 tree!

(From Book 5 ~.AKING MUSIC YOUR OWN, Silver Burdett Company, Copyright 1965) Used with permi~sion.

To Thee, 0 Lord, Humbly we pray;Grant ua Thy blea~-ing on thia Thankir,ivine Lay.



Listen to violin's flowing tone and strive for the same quality as we sing FOR THE BEAUTY OF THE EARTH, (MUSIC NEAR AND FAR, p. 1, Silver Burdett) and WE GATHER TOGETHER (MAKING MUSIC YOUR OWN, p. 60, Book 5, Silver Burdett). The descant part will be played by Mrs. Lambros.

A change of pace for a different sound made by the violin.

Sight read the THANKSGIVING ROUND and sing it expressively as the violin makes it into a round. (SINGING TOGETHER, Enlarged Edition, p. 207, Ginn and Company.)

SUGGESTED CLASSROOM FOLLOW-UP:

Sing todays song, remembering to be conscious of the kind of tone quality you are trying to produce.

Musical terms used today:

Legato Staccato

smoothly and sustained. a separated or detached effect indicated by a dot under or ~ver a note.

LESSON 11: ETV - DO RE MI

TITLE:

FIRST SOUNDS OF CHRISTMAS

MUSICAL OBJECTIVES:

To develop a keen awareness of the harmonic Intervals and rhythm patterns that give flavor to the music of this holiday season.

CLASSROOM PREPARATION:

If they are available, have handy such rhythm instruments as finger cymbals, maracas and small drums.

NATURE OF CONTENT:

! Learn the spiritual GO TELL IT ON THE
this rhythmic descant accompaniment If:

MOUNT~ith
.I J f.l. 2 ~.1..1 J :fJ

(MUSIC NEAR AND FAR, p. 165, Silver Burdett.)

- 12 -

l' The Hurotl Carol''

Jesuit 5ong from Canaca Wordli by Lr. J.E. Jdddhtor

~-. 'Twas in the moon of Tiintertime when all the birda had fled, That mighty Git-chi ~ 2 0"/ith-in lodg of brokon bark the ton-do r babo a found. ,\ ra ggod rob< of

$

Man - i -tau sent an-gel choira in-stead. rab-bit okin n-rapp'd hia buuty !~

b~-fore their light the atars grew dim and And ao th< huntor bravu dr.r. nigh tho

wa.nd'ring hunters heard the h:ymn: -n-gel song ranz loud and high:

nJe-&ua, your Kin~ is born,Jeaua ia born! In ex-

FF F
cel-si1 glo-ri- - a!" .i''rom !.look ) 'l'~IS IS nJSIC, All;vn and F'acon Company Copyright 1962

Oakvi 11 e, Ont.;;r] o, Canrd.a.

2/ - J Jl r r r r IJ n J- J Ir J Id J 31 J i :1 Jl
Willie, bring your little dr~ Robin, bring ;your fife and com~ On the instruments .te 'll

,,.

phy, Tu-re-lu-re-lu, Pa.t-a-pat-a
r -I

p;~.n, On then inatrumenta "'11 play making music

all the day.

Chri stmo..s Ro<And -'/

J J 3 7~1t\ r r u crlf r

God bleaa all good friend her~ A rnerr;r merry Chriatmaa And a Hap-py New Ye~r.

.-

(From book Teacher1 1

L_~ GRONING Eai tion by

!;lifTilHso1n-i,USHIC.Jt.t.P, reent tiacle.-IR-ie:p.lrlo, duIncecd.

bCy opp~ylrliglhit.a1~96 4)

Listen to an Indian version of the Christmas message in THE HURON CAROL. The minor tonality gives it a plaintive mood - drastically changed if it is transposed into major. (THIS IS MUSIC, p. 21, Book 5, Allyn and Bacon; MUSIC FOR YOUNG AMERICANS, p. 85, American Book Company; Summy-Birchard, p. 163, Book 5; MAKING MUSIC YOUR OWN, p. 78, Book 5.)

Learn the French carol PAT A PAN observing the almost hypnotic effect of the repeated rhythm pattern in the accompaniment. (GROWING WITH MUSIC, p. 200, Book 5, Prentice Hall; p. 133, Book 4, Summy-Birchard; VOICES OF AMERICA, p. 193, Follett.)

SUGGESTED CLASSROOM FOLLOW-UP:

Review the songs included today and investigate other early ways of communicating the Christmas message.

Musical terms used today:

Syncopation
Dotted notes Slur

a rhythmic effect in which the accented note falls on a normally unaccented beat or part of a beat. a dot beside the note adds half the value of the note itself. Connects notes on different lines or spaces.

LESSON 12: ETV- DO RE MI

TITLE:

FLICKER LITTLE CANDLES

MUSICAL OBJECTIVES:

To be aware of the minor mode used so frequently in Hebrew music.
To become aware of the melodic contour and recurring rhythm patterns in the music by means of creative movement.

CLASSROOM PREPARATION:

Provide room to step in a circle or sideways the length of an aisle while still being able to see the television.

- 13 -

,,
l' \,..Jho Can F?etell?

;Vho c:..n re-tell the thing& tht befell us? Who cn count th~r,?In ev 1 ry iilg!l h11-ro or

~ge c~mr to our id!

H~rlc!

In d01ya of yore in I-rel 1 a ancient lnd, brave

!.:2c-c-b~-U; l~d the faithful band. But now .all Is-rael r;ust as one .a-riu,

re-

deem it-sdf thruU[l'. d8ed nd &iilcrifice.

)
I r.;,.--h,
~
1:

hock of A-ges let our song praise Thy s.aving pow- er;

- ' ~1~", 0u midst the raging foes ' 1Y3.St our &helt 1 ring to"'lf-er.

.. /

\..

Furious theJ Oils-sailed us,

- - - -- - -.. - - .., - I I I

I T
'-.;.....,

.J

C)

....... I _,

-, I I

T

' ' ' ...

~

~ir~or~~~wn -

-------us, An'd Thy lYord broke

strength

failed us.

(e '"' n6 r) I

s c ~\ h l I 0 m hQ ve r i m ,,

;tr] J fJ J ji.J fj rfiE F ICJ al f'sQ:t:PI.

I JS.
"' u.L. I~
~ '7
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Far8-well mJ good friends Farewell my good frlenai Farewell Farewell Tlll ~e meet .ar,aln tll] Sha-lom Ch:o-ve-rim! Sha-lom cha-ve-rim! Sha-lom, Sha-lom! Le - hit-ra---ot Le- ~

meet a---gain hit--ra----ot

I

1-

I
...J.. '-'
Fare-nell,
Sha-lom,

-~ r ~ "':"
Fare---nelll Sha----lom!

ronounce : Sh:>

,
lnm rh!> h-u!>v. _.,. ,.;

luh-heet-rah-ot)

From VOICES OF THE WORLD, Follett Publishing Co. Copyright 1963 Used with permission.

NATURE OF CONTENT:

using the lighted candle as a theme, learn the following Hanukkah music, observing the music specifics indicated with each song:

"Eight Nights of Hanukkah" is an example of the use of first and second endings and is also in the minor mode. (MUSIC IN OUR TOWN, p. 150, Silver Burdett.)

"Who Can Retell?" offers the opportunity to accompany the recording percussively using the established drum beat. (MUSIC IN OUR LIFE, p. 82, Silver Burdett.)

"Chanukah" - notice the reference to the Hora, a national Hebrew dance. {MUSIC AROUND THE WORLD, p. 82, Silver Burdett.)

"Rock of Ages", a traditional Hanukkah song. (THIS IS MUSIC, p. 199, Book 5, Allyn and Bacon.) It includes
fl the use of the repeat sign :

SUGGESTED CLASSROOM FOLLOW-UP:

Review the music heard today and add further improvisation on rhythm instruments.

Musical terms used today:

Repeat

the portion of music to be repeated, as

indicated by repeat sigs :II

There may

be a different ending the second time

which is indicated by placing brackets

over the first ending ( 11

second ending ( r~

) .

) and

LESSON 13: ETV -DO RE MI

TITLE:

MUSIC OF CHRISTMAS

MUSICAL OBJECTIVES:

To observe and listen carefully to the demonstration of harmony by a guest choral group.
To become aware of voices' parts and the vocal range of each section of the choir (soprano, alto, tenor, and bass).

- 14 -

NATURE OF CONTENT:

Listen to arrangements of favorite Christmas music such as "Birthday of a King" and "Go Tell It On The Mountain".

Notice the dynamics of the music as the choir sings the quiet "Still, Still, Still", a lovely poem set to the music of an Austrian folk melody.

SUGGESTED CLASSROOM FOLLOW-UP:

Play fine recordings of seasonal music, directing the students' attention to the music specifics mentioned in today's lesson.

Musical terms used today:

Harmony

a musical element based on the simultaneous combination of tones.

LESSON 14: ETV - DO RE MI

TITLE:

DANCE A SONG

MUSICAL OBJECTIVES:

To learn to respond to music creatively through large free movements.
To become aware that dance movements should be as varied as music itself and that limitations are only in the physical ability of the dancer, his immediate environment, and the scope of his imagination.

SPECIAL GUEST:

Mrs. JoAnn McGhee, Director of the Atlanta Contemporary Dance Group.

CLASSROOM PREPARATION:

If possible, try to arrange ample moving space for the students while keeping the television within viewing range. The purpose of the lesson is to inspire creative movement--both during and following the program.

NATURE OF CONTENT:

Kinds of movement will be demonstrated by Mrs. Jo Ann McGhee, Director of the Atlanta Contemporary Dance Group.

- 15 -

1

They can.be divided into two categories: Locomotor (walk, run, hop, jump, leap, skip, gallop) and Axial (twisting, turning, spiral, pendulum swing). Emphasis will be placed on the correlation of music and musical terminology with the three dimensions of dance: (1) Time (the duration of notes as well as movement, (2) Space (the size of the movement, and (3) Force (the energy factor--the intensity or dynamics of a movement.

Ways in which these movements can be used to "make up a dance" will be demonstrated by dancing three American folk songs: "The Leather-Winged Bat", "Buckeye Jim", and "Mr Rabbit".

SUGGESTED CLASSROOM FOLLOW-UP:

I

The songs used are delightfully singable and should be

I

repeated as both singing and dancing activities:

"Mr. Rabbit" GROWING WITH MUSIC, p. 138, Prentice-

Hall, Inc.

SINGING TOGETHER, p. 172, Ginn & Co.

MUSIC NOW AND LONG AGO, p. 17, Silver

Burdett Company

"Buckeye Jim" MUSIC NEAR AND FAR, p. 33, Silver Burdett

"Leather-Winged Bat" (also called the "Bird's Courting

Song")

THIS IS MUSIC, p. 31, Book 5, Allyn & Bacon

LESSON 15: ETV- DO RE MI

I

TITLE:

YOU CAN DANCE THE POLKA

I

MUSICAL OBJECTIVES:

To establish a definite feeling for music which swings in twos and contains dotted note rhythm patterns.
To develop a dance step in keeping with the music.

CLASSROOM PREPARATION:

Provide the maximum moving area possible. We will move

in a circle formation (a small circle inside a larger

one affords good use of the space at hand).

I

- 16 -

I

NATURE OF CONTENT:
Listening to discover how the music swings, listen to: Shostakovich's "Pizzicato Polka" (Adventures in Music, RCA Victor, Grade I) and Straus' "Tritsch-Tratsch Polka" (Bowmar Orchestral Library, BOL No. 56).
From a basic gallop, develop the polka step. (For additional instruction, RHYTHMS TODAY, by Edna Doll and Mary Jarman Nelson, Silver Burdett Company, gives detailed directions about doing the polka on pp. 110-112).
Keep the steps as free and unemcumbered as possible, using a German Polka for accompaniment.
A Polka-based dance may be made-up to the music of the "Cumberland Mountain Bear Chase" (MUSIC IN OUR COUNTRY, p. 54, Silver Burdett) or to "Can't You Dance The Polka," (MUSIC FOR YOUNG AMERICANS, p. 39, Book 5, American Book Company)
SUGGESTED CLASSROOM FOLLOW-UP:
Review the Polka step using a recording or other accompaniment that is in a moderate tempo--most ballroom dance polkas are recorded too fast for the beginner and this proves to be most frustrating.

LESSON 16: ETV - DO RE MI

TITLE:

FOLLOW THE LEADER - GREEK STYLE

MUSICAL OBJECTIVES:

To review the minor tonality often associated with Greek music.
To discover the difference between ~ meter and the more common ~ meter.
To become familiar with the Bouzouki (a stringed instrument that resembles a lute).

CLASSROOM PREPARATION:

Insure freedom of movement space in the desk area.

- 17 -

SPECIAL GUESTS:
Atlanta Greek School Dancers under the supervision of Mrs. Georgia Sotus, Chairman of the Atlanta Greek School Board.
The Bouzouki Band under the direction of Mr. John Demos of the Georgia state College Music Department Faculty.
NATURE OF CONTENT:
Listen and tap out the 87 meter of the Greek song "Donkey Cart". Feel the way the music swings in sets of threes and twos. (MUSIC AROUND THE WORLD, p. 12, Silver Burdett.)
Observe the demonstration of the Atlanta Greek School Dancers under the supervision of Mrs. Georgia Sotus, Chairman of the Atlanta Greek School Board.
As they step through traditional Greek dances, compare their movements with the Schottische steps we have learned.
The Bouzouki Band accompanying them is under the direction of Mr. John Demos of the Georgia State College Music Department Faculty.
SUGGESTED CLASSROOM FOLLOW-UP:
Try to do the simplest and stately Greek dance to the music of "The Sponge Diver" (MUSIC IN OUR COUNTRY, p. 170, Silver Burdett Company).

LESSON 17: ETV - DO RE MI

TITLE:

SAILING FREE

MUSICAL OBJECTIVES:

To feel two swings in meter as well as in ~ and ~

meter. To recognize that

can replace

in ~ meter.

To acquire the vigorous tone quality of the chanteys

and the contrasting mournful quality of the sea

ballads.

CLASSROOM PREPARATION:

The students will need room to reach up, out, and pull.

- 18 -

e th~ an-chor i weir,hed /!.. the saili th('J 01re r.>et;A-way for H.i-0!

Th~

l

-

toTin tht l'le 1 re le::~ving we'll never fo1r,et, For we're bound for F!io Grmde.

~
So a-

4? 1I.D' f .iiJ__) J ltr7tklr CD :ot~ ..a J

And aye for H.io!

Sing fare ye well for man-y

" I 3 :t :J :J. II .J 7 :f)
-- c"y; for Ne dl"~ to~nd

1\.
~
Hi- 0

\
\

j 7

Grande!

11-;n') r~rh pend ~

- $4(4 t 13 J j l.There ':"las 01 ship

ll The Golden

--d. Fj IJ~ J

from the far coun-try,and

name of the ship was the

lit-tle ca-bin boy, and

skip}!er fii;:tat

n_jl-
JJ
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.1 ~
~ r;.t
l

- - - - - - Vn" civ~

nito

~ "'I

t

v
,

'

And

me ..... if

_I

they ~ .('eared ahe might

I
I'

swim ..a...lons:r
r

a:i de-.

...J

I

be of

the
r

by the Turkish en~my,that saila Turk-iah en-e~-T. and sink her
r..

upon th~ in the

..J

' .

I ....... 7

Lowland, Lowland that saila upon the Low-l<~.nd sea.

Lowlanc, Lowland, and aink her in the Low - land s;;~a~"

= :

). 110h, I 71 :i'l give you ail.'ITer >n;,,d I 1'iill gi" you ~old, acd IIIJ ocly dmghter yovr bride vU l:e' I f JUU 'll swim ~longsldt of tht Turkish ell!DIJ' And sink he! in the

!.owl ;;nd, I owl O?~J.d, mJ.d sick her ic Ute LowlO?I:lU ua 11 ,

=

4. Then the boy mde tim ready and overboard s;;prang he, And he ~am aloncside of the
Turkish enemy; And with his auger sharp, in her side he bored holes three; And sank Lei in the Louland, Louland, and sank het in the Louland sea.
5. 'fhe boy turned :~rot.nd aM oacll:: ag:l1n aw:~m ne, .0.nd he crHd out to the a:kipper or tht
Go] c<cc. Vanity, But the wki pper d:i d cot bud, for h:i s pro~:ir. he would cud
And he left hirr. in th5 Lor1l:md, Lowland, he left him in the Lol'lland ~t-a. 6. Hi$ mewsmatew took him up, but on the deck he died, And th~y wewed him in his h~~mocl:
th<~.t raw ao large and l'lide; Then they lowered him overboard, but h drifted l'li tl th~ tid~, And ~=nk b~ncath the Lowland, Lowland, And s~~k beneath th~ Lowlnd Sea.

NATURE OF CONTENT:
Learn the call and response song, "Away for Rio" which was sung while weighing anchor when outward bound. (MAKING MUSIC YOUR OWN, p. 36, Book 4, Silver Burdett; VOICES OF AMERICA, p. 158, Follett).
"The Cook" uses the same type of response singing and there is the same response throughout of "says he!"-it is intended to entertain rather than set a work rhythm. (MAKING MUSIC YOUR OWN, p. 127, Book 2, Silver Burdett.)
"The Golden Vanity" gives a change of mood as it is appropriately in the minor to fit the tragic take of a cabin boy who saves his ship from a pirate vessel. (Music follows this lesson.)
"One More Day" represents the homeward bound chantey in which the crew respond: "one more day!" to the mate (or chanteymans solo parts. (MUSIC NEAR AND FAR, p. 108, Silver Burdett.)
SUGGESTED CLASSROOM FOLLOW-UP:
Review the favorite songs in todays lesson and provide related listening such as the Sea Shanties recorded by the Robert Shaw Male Chorus (RCA Victor LM 2551) or "Songs of the Sea" by the Norman Luboff Choir (Columbia CL948).

LESSON 18: ETV - DO RE MI

TITLE:

SAILING FREE AND ADVENTURING WEST

MUSICAL OBJECTIVES:

To review sight reading by intervals. To point out illustrated music specifics such as the
fermata and dynamic markings.

CLASSROOM PREPARATION:

Those who provide the rhythmic accompaniment should have rhythm sticks or other clip-clop sounding instruments; we will use coconut shells during the lesson.

- 19 -

......

$t1 ctsGJ J 1.1 ct IL.GJ J I Jcrl ..FJ ..FJ r r I

noll
~ r r .J

on, i'Hlg-ons, Roll_ _on

West.

sun in aft-er - noon ~-

n i J J J IJ J J J I~c:J

Rolling t'i'l'ard the ::~tting

- - - l'iacons won 1 t :-.ou t;;;.ke me to m:r new home soon

?

HCOn''s~~dBowoKith') 3~e1n0!'3l~sIsS~?gnl.fSiC, Allyn and Ba~oi'J., r,p;yrigl:lt 1962

Elow the winds southerlJ, aouth-er-l;r, south-~r-l:r, Blow the ~inds o-v~r the s~a.

th rroa; Book sea wi

1pheIrSm~JsSs jlol!nS.IC 1 All;rn and Eacon 1 Copyright 1963

NATURE OF CONTENT:

Sing and read the round "Blow the Winds Southerly" feeling the swaying motion of two slow beats to each measure. (THIS IS MUSIC, p. 25, Book 5, Allyn and Bacon.)

Compare the rhythm of the first song to that of "Red
Iron Ore" which is also in meter. (GROWING WITH
MUSIC, p. 138, Book 5, Prentice-Hall; THIS IS MUSIC,
p. 139, Book 5, Allyn and Bacon; MUSIC NEAR AND FAR,
p. 100, Silver Burdett.)

The swaying motion continues despite a meter change in the song "Roll On Wagons" which includes both a rhythmic and melodic descant. (THIS IS MUSIC, p. 115, Book 5, Allyn and Bacon.)

Listen to a part of Leroy Anderson's IRISH SUITE: "The Girl I Left Behind Me" observing the many forms which this traditional tune can take. (RCA Victor Adventures In Music, Grade 5, Volume 2.)

SUGGESTED CLASSROOM FOLLOW-UP:

There is a natural correlation with United States History in this lesson which could be further explored to include learning songs of the Mormons and the Gold Rush.

Musical terms used today:

fermata

a sign r.'\ over a note indicating that it is to be held.

LESSON 19: ETV- DO RE MI

TITLE:

THE BIG COUNTRY--COWBOYS, INDIANS AND SETTLERS

MUSICAL OBJECTIVES:

To discover some ways of creating music through careful listening and "heart and foot" responses.
To discover ways in which a composer achieves the mood he desires.

- 20 -

._______

CLASSROOM PREPARATION:

Set aside a moving area where the students can experiment with movement to the music after we have listened and talked about it.

NATURE OF CONTENT:

Identify new and recurring themes in music by listening and then listening and moving as the music moves. Using the following selections, identify the familiar songs that provide the musical themes:

Aaron Copland 1 s BILLY THE KID SUITE, "Street in a Frontier Town" - uses "Goodbye Old Paint". (RCA Victor ADVENTURES IN MUSIC, Grade 5, Volume 2.)

Virgil Thompsons "Cattle" from THE PLOW THAT BROKE THE PLAINS -uses "My Homes in Montana", "Streets of Laredo" and "I Ride an Old Paint". (Bowmar orchestral Library, BOL No. 65, MUSIC USA.)

Edward MacDowell 1 s "In Wartime" from the INDIAN SUITE NUMBER TWO - uses the melodies of an Iroquois Scalp Dance and a Kiowa Song of Mourning. (RCA Victor, ADVENTURES IN MUSIC, Grade 5, Volume 1.)

SUGGESTED CLASSROOM FOLLOW-UP:

The most successful "Listening and Moving" lessons occur when the music is familiar; therefore, the more repetition of the music, the better the results.

The music for the folk songs included in this orchestral music may be found as follows:

"Goodbye Old Paint" "Streets of Laredo" "My Homes In Montana"

MUSIC ACROSS OUR COUNTRY, p. 55; GROWING WITH MUSIC, p. 16, Book 3, Prentice-Hall; SINGING EVERY DAY, p. 38, Ginn. MUSIC AROUND THE WORLD, p. 116, Silver Burdett; PROUDLY WE SING, p. 80, Follett. SINGING EVERY DAY, p. 39, Ginn; MUSIC NOW AND LONG AGO, p. 56, Silver Burdett.

- 21 -

LESSON 20: ETV - DO RE MI

TITLE:

TAP YOUR TOE AND DO SI DO

MUSICAL OBJECTIVES:

To learn to respond to the rhythmic directions of a square dance caller and to move with the phrases.
To recognize the square dance flavor in other American music.

SPECIAL GUEST&:

Mr. Bill McVey, President, Atlanta Area Callers Association and four couples representing the Greater Atlanta Federation of Square Dancers.

CLASSROOM PREPARATION:

If your class has previously square danced quite a bit,

they will enjoy walking through and dancing the free

I

calls which the dancers on television will be demonstrating.

If. the class is just beginning, it would be more beneficial to them to watch the demonstration more carefully from their desks.

NATURE OF CONTENT:

Listen to David Guion's "Turkey in the Straw" to discover "another tune all dressed up in symphonic clothes". (RCA Victor RHYTHM PROGRAM, Volume 5)

Follow Mr. McVey's calls as he directs a square through the basics of square dancing. This instruction will be o~ material similar to that available in your music !>ooks; "Turkey in the Straw", MAKING MUSIC YOUR OWN, p. 17, Book 4, Silver Burdett: "The Girl I Left Behind Me", THIS IS MUSIC, p. 76, Book 5, Allyn and Bacon: and "Captain Jinks", SINGING TOGETHER, p. 35, Sinn and Co.

The dancers will demonstrate the fundamen~als of square dancing and show how even the simplest of pattern combinations can be made to look and feel like finished dances.

22

,

SUGGESTED CLASSROOM F9LLOW-UP:
Use this lesson as a basis for further dance instruction. Complete square dance teaching and accompaniment records are available. Check with a record shop.

LESSON 21: ETV - DO RE MI

TITLE:

GRIPE, GRIPE, GRIPE!

MUSICAL OBJECTIVES:

To recognize ways in which the dynamics of the music help to give the idea of working.
To recognize the importance of rhythm and melody patterns in setting the mood and pace of the workers.

CLASSROOM PREPARATION:

Provide room for free-swinging-hand-clapping.

NATURE OF CONTENT:

Learn "complaining" songs of the cowboys, lumbermen, and railroad workers--noting the musical similarities in all of them:

"Lone Star Trail" (Old Chisholm Trail)
"Timbrr" (a foot-tappin' hand clappin' song) "Drill Ye Tarriers"
"Roll On The Ground" (Work On The Railroad)

GROWING WITH MUSIC, p. 88, Book 4, Prentice-Hall: MUSIC IN OUR TOWN, p. 120, Silver Burdett: MUSIC ACROSS OUR COUNTRY, p. 47, Follett. MUSIC IN OUR LIFE, p. 16, Silver Burdett. SINGING TOGETHER, p. 52, Ginn: p. 69, Book 5, SummyBirchard. MUSIC NEAR AND FAR, p. 122, Silver Burdett: SINGING TOGETHER, p. 53, Ginn and Co.

SUGGESTED CLASSROOM FOLLOW-UP:

Review the songs by clapping the distinguishing rhythm pattern to see if the class can identify each. Try this identification of rhythm pattern with any of the students' favorite songs.

- 23 -

1

" WorK

on

the

'I
Rail road

I ...
3 J

J

c rl

k r

~

J

J

nl :r J" --t-.-

;vork on the r;;~il-road' lYOrk all u--.~ ;._;.,._:,' Eat ::o-dy CI'O.Ck"'r!" <:nC: Lhe ... Lv.i tlon I ~t

a - way.

doll out your blan - k~tb, sl~ep on the ~round, :toll out your tl~nk~ts

J JI

Frcr.1 Sir.;ir!.l:_ Togeth~r, OUH Sii~GING ;c;;il.Jj Series (c:) JCi)l, 1S'S7 a:

::;leep on the ground.

Used nith permis~ion.

l9)Y.

~ ...
Goober Peas''

co>il Chatting wi tr. :Gy r.:~umc.te1,.
Y the "Yank ar'

pau-int; time a- way. Hear titeir rifles noTI!"

the ~had-c1:

under -neath tl1e trees

"on-del' lYhat do ?Ole think he sel"s? A

Good-n~~s, hon de- li-cious
I .1 J I m band of Georgia sol-diers

eat-inr, eat-inr,
JJ I j

r,co-ber pea~. Goo-ber peas.
F Ic- ~ cxl; r 'il

J
/ '"'\ \,. J
v

P~as! peas! pea~!peaa! 1at-ing

,.
1v1. 7 I/

.....
y, '"[ v

. p .
~

~at-ing coo-ber p~a$!

goo-ber peas!

Goodnes~, hon d~-li-cious,

.rrom ~: .nf": _nQ' ae 1er s 'I' 0. [H; _[; .i .ti.Li ::JerH~
Copyright 1951, 1957, 1959. Used with permission.

'

LESSON 22: ETV -DO RE MI

TITLE:

WORK, WORK, WORK!

MUSICAL OBJECTIVES:

To recognize recurring rhythm patterns. To recognize the solo-chorus form used in many work
songs.

CLASSROOM PREPARATION:

Have a variety of rhythm instruments available which would express working sounds.

NATURE OF CONTENT:

Learn a variety of work songs, noting the following specifics about each:

"Eric the Lumberman" -minor mode, 'answering phrase' form, duple meter. (MUSIC FOR YOUNG AMERICANS, p. 145, Book 5, American Book Company.)

. t "Don't Let Your Watch Run Down" - phrases of syncopated
rhythm pattern: J .f , followed by phrases with
regular rhythm. (SINGING TOGETHER, p. 63, Ginn; MUSIC IN OUR COUNTRY, p. 92, Silver Burdett.)
n "Choppin I II - syncopated rhythm pattern of: ,J
(MUSIC IN OUR COUNTRY, p. 65, Silver Burdett.)

"Hold On" - minor mode, slower tempo, syncopated rhythm
pattern of: J"'l J";{_j . (MUSIC NOW AND LONG AGO, p. 104,
Silver Burdett.)

SUGGESTED CLASSROOM FOLLOW-UP:

Review the favorite songs learned today and be alert for other songs with "working" rhythm patterns. You could also let the class invent rhythm patterns to accompany occupations or tasks in our present day world, such as computers' beeps and whirr, squeak, plop of an assembly line.

- 24 -

~$11'~1 F I~;t:r:h~1uls~;r;;~ u In n

Er-ic works in a lumber camp, lJo"n in J.lin-ne- so - ta;Through the rain and the sno" he'll

tj J I Ehi IU In PI I J .~.rf;J [J F ::

.4,.

C
3 ! lP R,.iiin

1

~ ~
F

Amln

~t?ramp,

,
1

.t F 1

Lmvn in t:in - ne - so- ta, Hey, loo-lee-a ee - la-la, \'le 111 be home next sum-mer;

~ E . i ~

~r

Hey, loo-l~e-a

ee - la - la, Look for us next sum -mer!

Book

American Book Com a .

Teac. hers' Notes

r

LESSON 23: ETV - DO RE MI

TITLE:

SHAKE I RATTLE I BOOM!

MUSICAL OBJECTIVES:

To discover the scope of the percussion section of the orchestra.

SPECIAL GUEST:

Mr. Ken Krause, Percussionist, Composer, and Director of the Lakeside High School Band, DeKalb County, Georgia.

NATURE OF CONTENT:

Mr. Krause will demonstrate the performance media of the orchestral percussion section (timpani, snare, and bass drums, zylophone, orchestra bells, cymbals, tambourine, triangle, wood block, castanets, maracas, and claves), using his own compositions, symphonic pieces of music, and familiar songs.

CLASSROOM PREPARATION AND SUGGESTED FOLLOW-UP:

Have available selected percussion instruments for firsthand experimentation immediately following the lesson.

Playing during the program should be controlled to the point that it does not overpower the sounds made by Mr. Krause.

LESSON 24: ETV - DO RE MI

TITLE:

GOOD NEWS - CHARIOT Is COMIN I !

MUSICAL OBJECTIVES:

To feel the subtle syncopation in the rhythm of the Spirituals.
To recognize the ABA form in music.

- 25 -

CLASSROOM PREPARATION:

All activities can easily be handled in the desk area today.

NATURE OF CONTENT:

Sing a variety of Spirituals, noticing their characteristic rhythm patterns and ABA form:

"Good News"

P. 7~, Book 5, Summy-Birchard.

"Swing Low, Sweet Chariot" THIS IS MUSIC, p. 147, Book 5,

Allyn and Bacon; MUSIC FOR

YOUNG AMERICANS, p. 97, Book 5,

American Book Company.

"Now Let Me Fly"

MAKING MUSIC YOUR OWN, p. 38 I

Book 4, Silver Burdett.

"Ezekiel Saw The Wheel" MAKING,MUSIC YOUR OWN, p. 39,

(Chorus only)

Book 4, Silver Burdett; MUSIC

FOR YOUNG AMERICANS, p. 126,

Book 5, American Book Company.

SUGGESTED CLASSROOM FOLLOW-UP:

Review these and other favorite Spirituals noticing the music specifics discussed today.

Musical terms used today:

Form Da Capo
Fine

(D.C.)

the structure of a musical composition. al Fine repeat from the beginning to the place marked "Fine" (pronounced "Fee-nay"), an Italian word meaning "The End".

LESSON 25: ETV- DO RE MI

TITLE:

AIN'TA THAT GOOD NEWS!

MUSICAL OBJECTIVES:

To sense the 'oneness' of melody and harmony and the fervor of the Spirituals.
To develop awareness of a choir's attention to dynamic and tempo changes as indicated by their director.

- 26 -

SPECIAL GUESTS:
Guests from the Laudisti Chorale of the Audobon Forrest Methodist Church under the direction of Mr. Tom Callahan.
CLASSROOM PREPARATION:
There will be a minimum of moving today, for it is more important for this lesson that the students be seated compactly in order to get the best possible view of the television screen.
NATURE OF CONTENT:
The choir will sing both for us and with us as we explore further the subject of Spirituals. They will sing such selections as "Ain'ta That Good News" and "Ezekiel Saw The Wheel" and then a change of pace and mood as they sing a quiet, thoughtful Spiritual.
SUGGESTED CLASSROOM FOLLOW-UP:
There are many excellent recordings of Spirituals which would provide the listening experiences necessary to really understand and appreciate Spirituals: some of these are:
"Deep River and Other Spirituals" - Robert Shaw Chorale (LM-2247 - RCA Victor)
"He's Got the Whole World In His Hands" -Marian Anderson (LM-2592 - RCA Victor)
"My Lord What A Mornin'"- Belafonte Folk Singers (LM-2022 - RCA Victor)
"Swing Low Sweet Chariot" - Leontyne Price (LM-2600 - RCA Victor)

LESSON 26: ETV - DO RE MI

TITLE:

SPRING COMES IN

MUSICAL OBJECTIVES:

To relate the aesthetic feeling of the coming of Spring to the major mode usually used with this subject.

- 27 -

... n - ~

/

... II '::.I J

1'-"

lr'\ v
'J

/ --,

0

Spring - -

,,

s c pr-int:J I ornes n

- - t-

I



\

I

l'""
I

,. I
I

- tin:e,

:Sreezes

so

freah and cl,.an,

I JJ ')
I nJ
I "'J" /1
1C

- - ~
_J -..

~
I

,_
r 1 _..:;;;..-

,.
r- _T,
.......

-,.

...... I

~

-~ 1Ll =~r

-I l

Sprinb comes in sinr,ing Brisk breezes win~ing Sweeping the countryaide fr~sh and clean.

/n II "'k.l'

-t-'

'I

I

I r--

- - - I

l

\"

\


-

II
II
II

t:

- 1:orn -- -

ing,

ahim - mer - ing

green.

)
u
"' / :\r ;
'"

~

- -I

I

.J ~

-,...--_,
I
r
I

- ,. I

./"

-.I .... ~

- r ,.

~

_l

-..::::!

... I

iioTI sweet the morning,NeTI le-.vca -dorning V-.lleys nd hills with shim - mer-ing gl'een.

FF F

I j j r r

Strems rip-ple

on,

Mur - mur - ing

liOnp:s,

c: J Ir A c.:r I J D JI

Streams ripple throuGh the woods to the se-., 1:ur-mur-ing songs to you and to n:e.

r

I r

I J j J d ~ II

iiinds

sigh

Spring' mel- 0

dy.

:J n n Ir u c:J Ir c;;; J:I I cH L

Elue-birda -.re fly-ing, Soft ninds are sighing Spring'~ haunting mel - o - dy.

From 1;AKING MUSIC YOUR ONN, Book 5, Cop;vri~ht 1965 Silver Burdett Company Used with permission.

Tze - na, l:loe - ing,

T II

-r

,,

zena, 1zena

hand.

Tze-na, tze - na, building a new na-tion, toiling Lu~ily all

rrJ?irvJ.sln n J J Jl r v lJ

ciay_ _ _ __ Soon we'll dance and have a eel - e - br<~-tion, But first we'll work ;;nd

'3 Ie ~ I

then ne'll play.

From 1:.AKING ~IUSIC YC'U:l C:i~, rook 5, Copyrir,ht 1965 Silver 2urciett Company, Used with permission.

CLASSROOM PREPARATIO~:
Moving area will be important today and should be large enough to permit the boys and girls to slide and hop in circle formation. Inasmuch as the steps should be free and vigorous, if yours are close quarters, it would be best to limit the number dancing at the same time.
NATURE OF CONTENT:
In order to discover if the sounds we associate with Spring are repeated in music, hear and learn the round "Halleluia" (MUSIC IN OUR LIFE, p. 31, Silver Burdett) and the melody of "Spring Comes In" (MAKING MUSIC YOUR OWN, p. 200, Book 5, Silver Burdett).
Compare the mood of "Spring Comes In" with that of the folk song, "Tzena, Tzena" (MAKING MUSIC YOUR OWN, p. 132, Book 5, Silver Burdett). Discover the movement inherent in this song by experimenting with such body movements as running lightly, hopping, and sliding.
SUGGESTED CLASSROOM FOLLOW-UP:
Provide ample space and opportunities for the students to move with today's music (or music similar) letting the phrases indicate the change of direction and kind of movement.

LESSON 27: ETV - DO RE MI

TITLE:

HALLELUIA

MUSICAL OBJECTIVES:

To listen for the blend of voices when singing rounds and descants.
To learn to pay careful attention to the correct singing of the melodic line.

CLASSROOM PREPARATION:

The desk area offers adequate space today.

- 28 -
j

NATURE OF CONTENT:
Review the "Halleluia" round and begin to learn "Music Alone Shall Live" listening to each other. (MAKING MUSIC YOUR OWN, p. 183, Book 4, Silver Burdett; p. 10, Book 5, Summy-Birchard Series.)
Begin to learn the descant part for "Spring Comes In" noticing that it does not contain the rushing quality of the melody. (MAKING MUSIC YOUR OWN, p. 132, Book 5.)
Listen to a Spring song with a Spanish flavor in ~ meter.
(MUSIC FOR YOUNG AMERICANS, p. 180, Book 5, American Book Company. )
SUGGESTED CLASSROOM FOLLOW-UP:
Offer the students many opportunities for singing ~ounds and descants, being careful that they listen to not try to beat the other parts.

LESSON 28: ETV - DO RE MI

TITLE:

SING, SING TOGETHER

MUSICAL OBJECTIVES:

To learn to sing and read more difficult rounds and descants.

CLASSROOM PREPARATION:

Have clip-clop instruments available for use by the students at their desks.

NATURE OF CONTENT:

To learn the basic melody and rhythm patterns of these songs:

"Sing, Sing Together" (GROWING WITH MUSIC, p. 10, Book 5, Prentice-Hall, Inc.)

"Giddap, Old Dobbin" (MUSIC ACROSS OUR COUNTRY, p. 92, Follett). This is a song in three sections, all of which may be sung simultaneously.

- 29 -

.Jri~JJJ

The
&J

wind in the trees will sing, Ay, ay, ay,

To nelcome the ~unny days of

spring A carpet of green will cling, Ay, ay, ay To cov-er the earth;once more i~

' :t y

J Prlr-r

spring. A bird will sing as h~ flies by,

A flash of r~d in a blue sky. The

J JJ JJ r:!l.r::D :J '7 ;-I] n --

soft southern breeze warms ev'rything Ay,ay,ay, The wtol~ world awak~ns in the spring.

.tl.J, ay, ay, ay l

From MUSIC FOR YOUNG A~iERICANS, Book 5 Copyright 1963, American Book Company
Ileed njtb permissdpn.

\' Tadd le Dadd le ,,

c

~

I've got a song that I can sing, oh;I'm not bashful,no such a thing oh,I've got a son~

~

F

~

that'

Jingo, Listen to the melody that I can sing-o,Taddle daddle,taddle daddle Oh by Jine;o, it' righ~

catchy ~nd g heap of fun.

From MUSIC FOR YOUN8 .'\l 'RLANS, Fook 5,
CopJright 1963, American Eook Company
Used with permission.

A-bove the plain of gold and green, A young boy's head i& plain-ly seen. A
$~ _g J J r:J f I-1J n J 1 :1l J J J 3 _r:J

$ ? I n J II~';.~P~Y/);"."'..-~~. hu-ya, hu-ya, hu - ya - ya Swiftly flon-ing riv-er, A hu - ya, hu-ya, hu-ya-

j j

_t

G::'t'2WrTh/T/im

ya, Sr.iftly flow-ing riv - er.
from ~~The ~- y.W. C,A.

~\ G;dd ap, Old Dobb;n ''

q F; cJ p13 :1 as: ~;b 11:1 :1 :1 :JI>d 1::ril

Gid - d-.p, old lJobbin,we 1 re goin' to tonn,

- Let'& get those nheel11 -turr.in' around, Let's

~

c

f

get tho&e 11heels a turnin' around, There's miles to go be-fore aun - conn. I like to

$~

J :J J

J I :1 J 7 ~ t

v 3 1

3 :1

3 1<J

'1

err::J 1-'

J

drive the hor&e :;md buggy, When I go 'trav'ling to the tonn;
J J: J IJ :~ , r rr:;; I 3

I like to he:ilr- old

Company, Used nith

Clip clop, clip clop, clip clop, clip clop, clip clop,clip clop clip clop, clip clop,

Clip clop, clip clop,clip clop, clip clop, clip clop, clip clop clippety clop.

"Above the Plain" (MAKING MUSIC YOUR OWN, p. 131, Book 5, Silver Burdett; GROWING WITH MUSIC, p. 50, Book 6, Prentice-Hall, Inc.).
SUGGESTED CLASSROOM FOLLOW-UP:
Review the melodies of the rounds in todays lesson in order to have them learned and ready to be sung in parts during the next lesson.

LESSON 29: ETV - DO RE MI

TITLE:

MERRILY, MERRILY SING

MUSICAL OBJECTIVES:

To be aware of but not overpowered by another melodic line which is sung with the first melody.

SPECIAL GUEST:

Mrs. Rose Mary Kolpatzki, Music Television Teacher of the SING AND PLAY program and Music Supervisor of the DeKalb County Schools.

CLASSROOM PREPARATION:

Have stepping-room in the desk area.

NATURE OF CONTENT:

Mrs. Kolpatzki will provide the "other part" as we review rounds and descants:

"Sing, Sing Together" (GROWING WITH MUSIC, p. 10, Book 5; Prentice-Hall, Inc.).

"Giddap, Old Dobbin" (MUSIC ACROSS OUR COUNTRY, p. 92, Follett).

"Above the Plain" (GROWING WITH MUSIC, p. 50, Book 6, Prentice-Hall; MAKING MUSIC YOUR OWN, p. 131, Book 5, Silver Burdett).

"Spring Comes In" (MAKING MUSIC YOUR OWN, p. 200, Book 5, Silver Burdett).

- 30 -

SUGGESTED CLASSROOM FOLLOW-UP:
Provide part singing opportunities. If your class is unable to maintain pitch and tempo, practice singing rounds with a good recording as a stabilizer.

LESSON 30: ETV - DO RE MI

TITLE:

THE INSECTS IN MUSIC

MUSICAL OBJECTIVES:

To recognize the ballad form in music. To discover the form of a composition through careful
listening and movement exploration. To discover the tonality of a song aurally and find the
proper accompanying chords on 'the autoharp.

NATURE OF CONTENT:

Sing two familiar ballads -- "The Boll Weevil" (P. 105, Summy-Birchard, Book 7; SINGING TOGETHER, p. 54, Ginn and Co.) and "The Blue-Tail Fly" (THIS IS MUSIC, p. 93, Book 5, Allyn and Bacon; p. 2, Book 4, Summy-Birchard; MUSIC AROUND THE WORLD, p. 53, Silver Burdett) discovering that a ballad tells a story in successive verses, each of which is followed by the refrain or chorus.

Listen to Liadov's "Dance of the Mosquito" and excerpts from Rimsky-Korsakov's "Flight of the Bumblebee" to discover how the desired mood of a piece is created by the composer's use of instruments. (Bowmar Orchestral Library, BOL No. 52.)

Hear and move-to the "Sicillian Tarantella" discovering that it has three distinct sections which can be designated ABC.

CLASSROOM PREPARATION AND SUGGESTED FOLLOW-UP:

For the last selection in today's lesson, the boys and girls will need tambourines (not one apiece) and plenty of room! If this is possible during the viewing time, please provide some time during the week when it is possible for them to experiment with such activities as finding their own accompaniments on the autoharp and moving freely to music while using small percussive instruments.
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LESSON 31: ETV - DO RE MI

TITLE:

NEIGHBORING MUSIC

MUSICAL OBJECTIVES:

To play a variaty of rhythm instruments in the correct style and rhythm of the music.
To respond rhythmically and creatively with movement in keeping with the music.

CLASSROOM PREPARATION:

Have available as many as possible of the instruments mentioned below. Rhythm sticks, jingle clogs, and bean pods from the poinciana tree make good substitutes for the puili sticks.

NATURE OF CONTENT:

Sing a ballad with a Mexican flavor: "Don Gato" while playing castanets and tambourines. (MAKING MUSIC YOUR OWN, p. 174, Book 4, Silver Burdett.)

Learn to use puili sticks with Hawaiian music such as the "Heeia Stick Dance" (PROUDLY WE SING, p. 100, Follett; P. 129-136, directions and recording in RHYTHMS TODAY by Edna Doll and Mary Jarman Nelson, Silver Burdett; also available on Folkraft record).

Go calypso! Improvise bodily and instrumentally (maracas, claves, bongos, cow bell, and guiro) using such calypso songs as "Hill and Gully" or "Hosanna" (MAKING MUSIC YOUR OWN, p. 177-178, Book 5, Silver Burdett Company).

SUGGESTED CLASSROOM FOLLOW-UP:

The usual response to a lesson using the music and instruments outlined for today is: "Let's do it again!" LET S DO!

LESSON 32: ETV -DO RE MI

TITLE:

LOOKING BACK

- 32 -

r : J . I vI J N 1--:~ I.t vI ~- vE

c~, s~ - nor Don G:.- to r;:.s

c:.t,

- ~ - doro yo>!" nrote the la-d;; c:.t,

F
DW J=J I 3 _,e-3 I~Pj J

On a Who waa

Ga-to sat,

He went there to re:.d let-t~r meow,meow,m~ow wher~ the

nic~ and f~t,

There was not a ~et-er kit-ty

In the

,r--,___ __..J~~=-t-~-=--~~J?J---t-t---:1~;;;t-,n J~J--+---~\1-+-~~JJ JE--=--J

-+-JtJ.....J-+1-=-:l--+3'=---+--el

- - r~'c-ing
coun-try

light was bet-ter or the cit-:r

~Ia& a meow, m~on,~~on And she

love said

note for Don Ga-to she'd wed Lon Ga-to!

l1. Then the doctor:;; all came on t.be rllDrTUst to ue i f something coJllC h dcne,
And they held a ccnsultati~'~ mecw, meow, meow, About how to aave their patient 1!eow, ml!cw, meow, How to saYe Senor Don Gato!
6. When if.~ f~.meral pas&ed the market square, Such a smell of fih ws in the n.i!' Though hia buril was slated, meow, meow, meow, He became re-animated! meo~,rreow,meow, He Cel.Jr,e back to life, Don Gato!
From li:AKING r,;usrc YOUR OWN, Book 4,. Copyright 1965, Silvsr Burdett Company
Used nith :p.::rmi&sion.

MUSICAL OBJECTIVES:
To review the high points of the year, including some of the favorite songs as well as the "how to's" and "what are's" of music.
CLASSROOM PREPARATION:
Provide plenty of "elbow room" for each student.
NATURE OF CONTENT:
A review of such favorites as:
"Sarasponda" (VOICES OF THE WORLD, p. 63, Follett; THIS IS MUSIC, p. 40, Book 5, Allyn and Bacon; MAKING MUSIC YOUR OWN, p. 49, Book 5, Silver Burdett)
."Eric the Lumberman" (MUSIC FOR YOUNG AMERICANS, p. 145, Book 5, American Book Company).
"Don't Let Your Watch Run Down" (MUSIC IN OUR COUNTRY, p. 92, Silver Burdett; SINGING TOGETHER, p. 63, Ginn and Company).
"Above the Plain" (MAKING MUSIC YOUR OWN, p. 131, Book 5, Silver Burdett; GROWING WITH MUSIC, p. 50, Book 6, Prentice-Hall, Inc.).
highlighting some of the music specifics learned this year: underlying beat, form in music, syncopated rhythm, and harmony (singing of rounds).
SUGGESTED CLASSROOM FOLLOW-UP:
Review the definitions of music specifics about which your class may have seemed vague and repeat songs which illustrate these specifics--learning definitions is useless if-there is no attached musical experience.

LESSON 33: ETV - DO RE MI

TITLE:

LOOKING AHEAD

- 33 -

MUSICAL OBJECTIVES: To challenge each student to be aware of the melodies
I
rhythms, and harmonies in music and in the world around him. CLASSROOM PREPARATION: Desk area will provide adequate space. NATURE OF CONTENT: A whimsical look at melody and rhythm of such fun songs as "When Sammy Put The Paper On The Wall" (GROWING WITH MUSIC, p. 186, Book 5, Prentice-Hall). A look at the harmony of a camp song such as "Tell Me Why" (MUSIC IN OUR LIFE, p. 151, Silver Burdett; THIS IS MUSIC, p. 20, Book 6, Allyn and Bacon). A round of goodbyes: "Shalom Chaverim" (VOICES OF THE WORLD, p. 135, Follett; MAKING MUSIC YOUR OWN, p. 87, Book 5, Silver Burdett). SUGGESTED CLASSROOM FOLLOW-UP: LISTEN - SING - MOVE!
- 34 -

-

ll

J.lf?

(When 3 1

Sar..-r.::.'

lHill, nall,

He put the parlor ra-pr i-1~ soilled ;: 'lot of ::lue :m-

J :rl EJ.

j

a. r; i:J Jfi2ll. in the h;:ll,

l:~r

ra!Jered up the stairs,

,,J. J ~0.,; J.J ~ J J .I

J

3 ..r J 1 ~ J IF ~ F vr r j 1' If II

Like tirds of a featl:er

Since S<?r.Jmy put tf;~ r:..-p~r on the n:.ll.

Hirr,-mel unci Er - - de musa - en ver-gehn, A- b~r die Mu - :.i - ci,
FF FI :i.
0<-bcr die .Mu - liii - ci, A - ber die .Mu- ai - ci, blei-ben be-aotehn. l'rom cook 5 (j,(CiilN\} ,/,;,.:.~; CSlC, 'Ieecber's '.dltlon by idlson, S.fi., ~t ,il
ik;ll'cc1ll ced rd tb permi :.;i on.

$ x

' 'Woodchuck Round ..

B.f?s1ln

fl =:t :11 :r J ~ I::1 :11 :1 _1 :1IJ Jl J Jh:;zr I

'

:Jow roue'> cod would nood chuck chuck i f a nood chuck could chuck wood (Hu.m,,,j

~ r r IJ J I J J IJ J J1J J IJ JI::t f:."::r '7

Would a wood chuck chuck ltOOd chuckin 1 to eat chuck-rrg-on food (Hn;nrmn:rr)

t ::r;

A R0 <And for 5 ma II W; nd J_ nd-rumenis

7I.

GLOSSARY OF MUSICAL TERMS
General Information: The Staff -- five lines and four spaces.

G clef or treble clef locates G onthe second line. In music only the first seven letters of the alphabet are used -- A through G. The names of the lines, counting from the bottom or first line, are:

0

o

0
G

8

0
0

The names of the spaces, counting from the bottom, are:

Scale

0

0

0

A

F

A succession of eight notes arranged in steps. The major scale has five whole steps and two half steps; the half steps occur between tones 3 and 4 and 7 and 8.

Musical Terms Explained in the Television Lessons:

Melody

An organized succession of tones which can be sung, whistled, or played on an instrument.

Interval The difference in pitch between two notes.

Phrase

The divisions in music where the music seems to pause or come to a close. A phrase precedes a cadence.

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-------------------------------------------------------

Cadence Rhythm Rhythm pattern Accent Tempo
Dynamics
Meter Duple meter Triple meter Meter or time signature

A harmonic pause in the flow of music; the "the end" sound.

The beat or pulse of music.

A recurring grouping of long and short notes.

The emphasized or stronger beat; usually the first in each measure. Indicated by or above or below a note.

The rate of speed of music. Some indications which are often used are:

Presto - very fast Allegro - brisk; lively Moderato - moderately Andante - slow but flowing Adagio - slowly

Some tempo markings which change the rate of speed within a composition are:

accelerando - gradually becoming faster ritardando - gradually becoming slower

The gradations of loud and soft. Most often used dynamic markings are:

p (piano) pp (pianissimo) f (forte) ff (fortissimo) mf (mezzo forte) crescendo diminuendo

soft very soft loud very loud moderately loud gradually becoming louder gradually becoming softer

A regular pattern of accented and unaccented beats.

Music that swings in twos.

Music that swings in threes.

Indicates the number of beats in a measure (top

number); the bottom number tells what kind of

<4 note gets one beat.

means three beats in

each measure; and a quarter note gets one beat.)

- 36 -

Measure

The music between two bar lines (vertical lines}.

Note values and their corresponding rests

All of these symbols show duration and each decreases in value by one-half.

Whole note and rest

Half

Quarter

Eighth

Sixteenth

Descant

A second melody which harmonizes with the main melody.

Minor scale

A succession of eight tones which has five whole steps and two half steps with the half steps occurring between tones 2 and 3 and 5 and 6. (The major scale differs in that its half steps are between tones 3 and 4 and 7 and 8.}

Mode

Refers to the selection of scale tones from the major or minor scales which give a composition a major or minor tonality (sound}.

Sharp ( }

Raises a tone one-half step.

Flat ( }

Lowers a tone one-half step.

Natural ( }

Cancels a sharp or flat for one measure.

Fugue

A style of music wherein a theme is stated by one voice and then imitated by other voices.

Pizzicato

The method of playing stringed instruments by plucking rather than bowing.

Key Signature

Flats or sharps placed at the beginning of a composition to indicate the Key in which it is written and the location of the Keynote (DO}. To locate DO when a key has one or more sharps, go to the next line or space above the sharp farthest to the right (since this last sharp is TI, we find DO one half step above it}.
- 37 -

Tq locate DO when the key has more than one flat, the next to the last flat is always DO. One flat in the key signature indicates the Key of F.

Legato

Smoothly and sustained.

Staccato

A separated or detached effect indicated by a dot under or over a note.

Syncopation

A rhythmic effect in which the accented note falls on a normally unaccented beat or part of a beat.

Dotted note

A dot beside

) the note adds half the value

of the note itself.

Slur

Connects notes on different lines or spaces.

Tie

Connects notes on the same lines or spaces; the

note is held for the duration of the tie.

Harmony

Two or more tones sounding simultaneously.

Fermata

A sign over a note, indicating that it is to
be held.

Form

The structure of a musical composition.

Repeat

The portion of music to be repeated, as indicated:

Da Capo (D.C.) al Fine

Repeat from the beginning to the place marked 11Fine ...

Fine

(pronounced 11:fee-nay 11 ) An Italian word meaning
THE END.

- 38 -