vocal ease

The NSW Department of Education and Training would like to thank the following for permission to reproducecopyright material:

Ann French for Cinderella and Summertime rap. © Ann French

Therese Carthew for Dig a potato, an adaptation of Sink a potato. © Therese Carthew DipT, AMusA, BA (Mus)

Educational Supplies Pty Ltd for Gary Galah. © Louise Pettinger

Alison McKay for Jaws. Traditional adapted by © Alison McKay

René Boyer-Alexander for Just gimme the beat. © René Boyer-Alexander

Carol Richards for the melody of the traditional Sister Cindy. © Carol Richards

Gary King and Audrey Klein for Syncopated Cyril. © Gary King and Audrey Klein 1988

Dominie Pty Ltd for Taba naba, traditional Darnley Island. © Frank A York, 1990

Ian Ross Williams for Underneath the mango tree. © Ian Ross Williams PO Box 180, Glasshouse Mountains Qld 4518

Cee and Cee, a division of Berandol Music Ltd for When I get mad I beat my drum by Sandy Offenheim. © Cee and Cee, a division of Berandol Music Ltd

Scholastic Australia for Wind song by Lillian Moore. © 1969 Scholastic Magazines

Yungha-Dhu (Beryl Carmichael) for Worms. © Yungha-Dhu (Beryl Carmichael)

Music scores: Resolution MusicCover design, graphic design, illustrations and desktop publishing: OTEN

© 1998 NSW Department of Education and TrainingCurriculum Support Directorate

ISBN 0 7313 5571 7SCIS Number 952 364

ForewordSchools prepare our young people for future employment, study and life options by ensuring that studentslearn and acquire the educational basics, such as literacy and numeracy skills. They also play a key role inhelping students to develop social, cultural and artistic understanding.

Experiences in the arts provide opportunities for students to use their imagination and creativity to explore,respond to and learn about the world. As one of the four art forms along with drama, dance and visual arts,music plays an important role in the physical, intellectual, aesthetic, social and emotional development of the individual and the community.

The New South Wales Government is committed to improving learning outcomes in the arts for all students in primary schools and has demonstrated this commitment in its support for the Sing 2001 program, a majorinitiative in music education.

The Sing 2001 program grew out of the need to re-establish singing as an Australian cultural practice. The voiceis the one instrument common to all and singing is exhilarating, engendering self-confidence and self-esteemwhile building community ties. The program has two strands: developing the curriculum support document,Vocal-Ease: A K-6 resource for the classroom and establishing 51 choirs throughout the State.

Vocal-Ease will help teachers in primary schools to develop sequential vocal activities, from chanting to choralperformance. It provides innovative ideas to support the release of the Creative Arts K-6 Syllabus in 1999, with new strategies and techniques for planning and programming music. It gives students opportunities to beinvolved in music and equips them with the musical skills and training to participate in the Sing 2001 choirs.

Vocal-Ease models classroom approaches and musical experiences that will extend beyond the classroom to fostera lifelong interest in singing.

John Aquilina, MP

Minister

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Module 11 From sspeaking tto ssinging

Warming up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Chants and raps . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Dig a potato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

When I get mad I beat my drum . . . . . .8

Ms Sue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Just gimme the beat . . . . . . . . . . . . . . . . . . .13

Summertime rap . . . . . . . . . . . . . . . . . . . . . . .16

Choral speaking . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Jaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Wind song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Cinderella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Singing and speaking . . . . . . . . . . . . . . . . . . . . .25

Peanut butter and jelly . . . . . . . . . . . . . . . . .26

Sister Cindy . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Stone passing games . . . . . . . . . . . . . . . . . . . . .31

Mal mal mal . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Obwisana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Uk alele . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Module 22 From ggames tto pperformance

Singing games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

The telephone song . . . . . . . . . . . . . . . . . . . .40

Syncopated Cyril . . . . . . . . . . . . . . . . . . . . . . .42

Three songs with movements . . . . . . . . .46

Funge alafia . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Tongo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Taba naba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

A pair of songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Wearing my long wing feathers . . . . . . .58

The earth is our mother . . . . . . . . . . . . . . .60

Rounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

If you cross a mouse . . . . . . . . . . . . . . . . . . .64

Underneath the mango tree . . . . . . . . . .66

A song for performance . . . . . . . . . . . . . . . .69

Gary Galah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Contents

IntroductionVocal-Ease complements and supports the musicstrand of the new Creative Arts K–6 syllabus.

This curriculum support material has been designedfor primary teachers to teach music more effectively.The repertoire has been selected for its appeal and relevance across the primary stages of learning.Modules 1 and 2 provide for progression intoModules 3 and 4, to be published in 1999.

Module 1From speaking to singing:

Chants and rapsChoral speakingSinging and speakingStone passing games

Module 2From games to performance:

Singing gamesSongs with movementsA pair of songsRoundsA song for performance

This document encourages the development ofknowledge and understanding of musical skillsthrough sequenced activities. Rather than being a prescriptive manual, it provides strategies andtechniques, and models classroom approaches to foster a lifelong interest in singing.

IntroductionThe Curriculum Support Directorate, NSW Departmentof Education and Training, would like to acknowledgethe project team who designed and developed thisresource:

Judy BedardMiranda North Public School

Andrew BeePerforming Arts Unit

Margaret BradleyCurriculum Support Directorate

Joan BurtlandBald Face Public School

Carol CoomberCurriculum Support Directorate

Ann FrenchSamuel Gilbert Public School

Sharon FulcherCreative Arts Consultant, Armidale

Megan GarrittyAuburn Public School

Julie MontagueCurriculum Support Directorate/Board of Studies

Robyn StaveleyUniversity of Technology, Kuring-gai

Maureen StevensCreative Arts Consultant, Port Jackson

Barbara StaceyMiranda North Public School

Liz StrasserFaulconbridge Public School

Jan WoodBondi Public School

2

Fromspeaking

to singing

Module 1

Warming uupBy warming up, vocalists gradually prepare the bodyand voice for singing and so focus attention on thetask at hand.

The warm-up sequence is:

1. relaxing

2. breathing

3. vocalising

4. singing.

In classroom activities the warm-up session readilyprovides part of the lesson introduction.

1. relaxing• stand• roll shoulders gently• stretch arms• shake out arms• shake out legs

2. breathing• empty the lungs of air• breathe in, filling the bottom of the lungs• release air steadily and silently.

* Please note that the lungs are like balloonswhich get bigger when they fill up; the lungsare not located under the shoulders, so theshoulders should remain still when breathing.

3. vocalising• hum• sing a syllable softly, e.g. mah• vary dynamics (soft to loud)• vary pitch (low to high)• imitate known sounds, e.g. train in the

distance, car alarm

4. singing• speak or sing known chants and songs.

ConductingConducting provides guidance for the group soeveryone can:

start togetherkeep togetherstop together.

As there are many ways to do this, your directionneeds to be clear to everyone. Hand signals workwell; so can eye and head signals. Experiment withyour group. Give students a chance to tryconducting as there is no right or wrong way.

4

Outcomes for students

By the end of these activities, students willbe able to demonstrate that they can use the speaking and singing voice to reflectchanges in pitch, rhythm patterns, dynamicsand tone colour.

Outcomes for teachers

By the end of these activities, teachers willbe able to:1. implement activities for students which

will develop recognition and control ofthe speaking and singing voice

2. encourage the development of theseskills through appropriate repertoire.

Chants, rapsand

choral speakingRepertoire

Chants and raps CD track 1. Dig a potato . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

CD track 2. When I get mad I beat my drum . . . . .8

CD tracks 3-4. Ms Sue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

CD tracks 5-6. Just gimme the beat . . . . . . . . . . . . . . . . . . .13

Not on CD. Summertime rap . . . . . . . . . . . . . . . . . . . . . .16

Choral speakingCD tracks 7-8. Jaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Not on CD. Wind song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Not on CD. Cinderella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Key

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4

œ œ œ œ œ

Dig a po - ta - to

j

œ œ

j

œ œŒ

deep in the ground

j

œ œ

j

œ

j

œ œ

j

œ

Rub it and scrub it and

œ œ œ œ œŒ

peel it all a - round

œ œ œ œ œ

Cook a po - ta - to

œ œ œ œ œŒ

throw it on a plate

j

œ œ

j

œ œ œ œ

Whack on the but - ter mate.

Œœ œ

Œ

It's great!

Tap knees (patsch)

Rub hands

Mime stirring a pot and throwing on a plate

Pat chest Clap Snap Snap

Chants rapsand

Dig a potatoTherese Carthew

6

7

C o nc e p t s

LOSMPS STDyPDS k i l l sP u r p o s e Re s o u r c e sAc t i v i t i e s

To model the chant. Introduce the chant with students echoing one phrase at a time. CHANT: See glossary.

To reinforce chantwith body percussionand actions.

Demonstrate actions for each line while saying the words.

Try a similar approach to the following chantwritten by Yungha-Dhu(Beryl Carmichael) fromBroken Hill.

WormsLong creepy crawlyworms

Slithering over the sand

Even after the sun has set

Worms are stillaround

Their glowingbrightness very bright

Much better after a rainy night

©Yungha-Dhu/Beryl Carmichael

To perform a round. Divide students into two groups. One group begins the chant. The secondgroup begins the chant when the first group gets to the end of the firstline. This is a round.

Try this round in three or four groups.

To explore performancevariations.

Continue actions while chanting in different ways such as softly, loudly,whispered, jerkily. Try the actions while the students are saying thewords in their heads (so there is no vocal sound).

To develop musicalimagination.

Try the round with actions only.

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When I get madI beat my drum

Sandy Offenheim

When I get mad, I beat my drum.

Dum da dum, dum da dum, dum da dum da da dum.

I beat my drum till my arm gets numb.


I beat my drum right through the day.


Until that BAD MAD goes away.






Chants rapsand

8

9

C o nc e p t s


To explore soundsources.

Experiment with making drumming sounds by using body percussion orby drumming on objects in the classroom.

BODYPERCUSSION:See glossary.


Divide the class into small groups to work on ways of presenting thechant. Incorporate some of the ideas used in Dig a potato. • Groups perform for each other.• Invite the class to listen for the aspects of each group’s performance

that they like. • Share positive responses.

To imitate accurately. Select a leader to drum a pattern which the class echoes. Take turns withdifferent leaders.

To develop auralawareness.

Game: Find the sound.

Everyone closes their eyes except for one person. He/she drums a patternsomewhere around the room and returns to sit with the group. The studentsthen open their eyes and are invited to reproduce the drumming patternusing the same sound source.

Read Bertie and the Bear by Pamela Allan.

To maintain a steady beat.

Introduce the chant with students echoing one phrase at a time whilepatsching the beat with both hands.

Repeat the chant and invite the students to join in the “Dum da dum…”line each time it occurs.

To innovate in the text. Make up new verses: When I get mad, I shake my fistDum da dum…I shake my fistRight off my wrist.

Change the instrument from a drum to something else, for example:When I get mad, I play my flute.Doo da doo, do da doo, doo da doo, da da dooI play my flute In my blue tracksuit.

Literacy link:Innovate on the text.

4

2j

œ

Ms

j

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j

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Sue, (clap) Ms

j

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j

œ

Sue, (clap) Ms

œ œ œ œ

Sue from Par - ra -

œ œ‰

j

œ

mat - ta. Hey

j

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œ œ

you, (clap) scoo-be -

j

œ (œ )œ‰ .

r

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doo (clap) your

œ œ œ œ œ œ œ

ma-ma's got the mea-sles, your

œ œ œ œ

j

œ‰

pa-pa's got the flu.

œ œ œ œ

Ma - gic mea - sles,

œ œ œ œ œ

ma - gic flu. Take an

œ œ œ œ

a b c d

œ .œ œ œ œ

e f g, take a

œ œ œ œ

h i j k


l m n o p. Take a

œ œ œ œ

smooth shot, take a

œ œ œ

smooth shot. Now

œ‰

freeze.

Chants rapsand

Ms SueTraditional

10

n

(Ms Sue: clap clap, Ms Sue: clap clap).

(Hey you – clap clap, scoo bee doo – clap clap).

Hands on hips; lean forward to the right on mama’s.

Lean forward to the left on papa’s.

Hands on hips; lean forward to the left and then, continuingto lean forward, move upper body around to the right until

the word flu.

Keep left hand on hip: with right-hand first finger, wagfinger on each letter, moving arm with wagging finger across

body to left side.

Put right hand on hip; wag with left-hand first finger acrossbody back to the right side, wagging on each

letter of the alphabet.

Slide both hands down sides of body while chanting the word smooth.

Freeze in position on the word freeze.

Ms Sue , Ms Sue

Ms Sue from Parramatta

Hey you, scoo bee doo

Your mama’s got the measles

Your papa’s got the flu.

Magic measles, magic flu

Take an a b c d e f g.

Take an h i j k l m n o p.

Take a smooth shot, take a smooth shot.

Now freeze!

Stand upright and clap as indicated in the music.

LyricsMovement

11

12

C o nc e p t s


Recite chant for students or play the recording. During the second timethrough, invite students to add the clapped patterns that occur in thefirst lines.

CD track 3

To model the chant. Teach all the words to the chant, phrase by phrase.

Create actions to accompany the chant. Emphasise the word “smooth”with a body movement.

To perform in unison. Perform actions in unison. Everybody does exactly the same thing at thesame time.

Perform the chant for another class.

Chants rapsand

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Just gim - me the

A

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j

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j

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beat, the beat, the

œ œ œ œ‰

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B - E - A - T. Ain't got no

œ œ œ‰

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words (no words) ain't got no

œ œ œ‰

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tune (no tune). Just gimme the

œ‰

j

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j

œ

beat, the beat, the

œ œ œ œ‰

j

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B - E - A - T. You know that

B


rhy - thm is something that will

j

œ .œ œ œ œ

make you move, from your

œ œ œ œ œ

head to your hips down

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j

œ

to your shoes. Your

œ œ œ œ œ œ œ œ

bo - dy keeps on rock - in' as you

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rap and rhyme. You

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al - ways feel it best in

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four- four time.

Just gimmethe beatRené Boyer-Alexander

13

Chants rapsand

14

C o nc e p t s


To maintain a steady beatand to develop feeling for4-beat metre.

All students perform the following body percussion:

.

...

œ

œ

œ

œ

œ

œ

œ

œ

4

4

clap

patsch

NB Using both hands for a body percussionpattern is indicated bythe use of double stemson the musical note.

PATSCH:See glossary.

œœ

RONDO:See glossary.

To model the chant andto perform the chantaccurately.

Perform the chant (or play the recording) while the class continues thebody percussion and accompaniment.

Teach the chant through echo; include response phrases (no words/no tune).

To devise appropriatemovements to fit the 4-beat metre.

Divide the class into groups to devise suitable body percussion to accompany the second part of the chant: “You know that rhythm is something that will make you move.”

To perform within a set structure.

Perform chant in the following sequence:

Section A Whole class performs “Just gimme the beat” sectionSection B Group 1 performs “You know” section with body percussionSection A Whole class performs “Just gimme the beat” sectionSection C Group 2 performs “You know” section with body percussionSection A Whole class performs “Just gimme the beat” sectionSection D Group 3 performs “You know” section with body percussionSection A Whole class performs “Just gimme the beat” section.

Continue until all groups have performed in rondo form.

15

To use the voice toperform rhythm patternsand to fit word patternsto metre of chant.

To use the voice to express pitch,duration, dynamics and tone colour.

To develop structure for performance.

Extension

Perform the chant in the same rondo form as previously, but replace the“You know” section with new rhymes.• Each group selects a rhyme to chant (could be nursery rhymes such

as “Humpty Dumpty” or “Hickory Dickory Dock”)

• Practise performing it with the same (or modified) body percussionas your old “You know” section

• Vary the performance through changes in dynamics (soft, loud,getting loud, etc), pitch (high voice, low voice etc), tone colour(ways of using the voice—growly voice, whispering voice etc)

• Complete the performance by deciding as a class on a suitablebeginning (Introduction) and ending (Coda).

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Hand roll on “busy”.Point index finger to the sky

on “fizzy”.Snap fingers x 3 “zip, zop, zap”.

snappatsch

Summertime rapAnn French

.

...

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œ

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Boom ch a - boom boom ch

( )

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Chants rapsand

16

Boom ch a-boom boom

Busy, fizzy, zip, zop, zap

Here we go with the Summertime rap

Boom ch a boom boom ch.

Down to the beach with a bucket and spade,

A big umbrella to give us shade.

Slop on the sunscreen, slap on the hat

Or you’ll burn to a crisp in no time flat.

Run to the water, dive in the waves

Run down the sandhills, search the caves.

Summer’s the time for outdoor fun.

But remember Priority Number One

Is slop on the sunscreen, slap on the hat

Or you’ll burn to a crisp in no time flat.

Busy, fizzy, zip, zop, zap

Suntime, fun-time, Summertime rap.

CodaChorus

Verse 2

Verse 1

Chorus

snappatsch

snappatsch

snappatsch

Hand roll on “busy”.Point index finger to the sky

on “fizzy”.Snap fingers x 3 “zip, zop, zap”.

snappatsch

Movement Lyrics

17

C o nc e p t s


Teach “boom ch” pattern.

Body percussion:

Spoken:œ .œ œ œ œ œ

Boom ch a- boom boom ch

4

4

.

...

œ

œ

œ œ

œ

œ

œ

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œ4

4

See glossary:RAPPATSCH

Hey! This fits withPDHealthPE!

To maintain an ostinatothroughout a rap.

Students continue body percussion accompaniment while a leader recitesthe verse. Whole class joins in with the “boom ch” pattern and chorus.

Teach coda and then perform.

Divide class into 5 groups.

CODA: See glossary.

To transfer rhythm of body percussion to instruments.

Group 1 Transfer “boom ch” pattern to non-melodic percussioninstruments and repeat pattern for the duration of the rap. For example, snap = tambourine, patsch = drum.

Non-melodic percussioninstruments such as adrum and tambourine.

To devise appropriatemovement patterns to accompany rap.

Group 2 & 3 Devise movements to accompany verse 1

To structure a work for performance.

Group 4 & 5 Devise movements to accompany verse 2.

Perform as a class.

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make scissor actions to the beat with your arms (from the shoulder)

make bigger scissor actions

little scissor actions

tired scissor actions

pat your hairdo

make fists and move forearm up and down from elbow

flex your muscles and move forearms up and down

beckon and make swimming actions

little scissor actions

bigger scissor actions

biggest scissor actions

flex your muscles, as above

look around

do the “swim”

pretend to sink, as above

click

move two fingers like scissors

hold your nose and with an arm in the air, pretend to sink

JawsTraditional adapted by Alison McKay

There was a story . . . . . . . . . . . . . .

About Jaws . . . . . . . . . . . . . . . . . . . . . .

There was a papa . . . . . . . . . . . . . . .

And a baby . . . . . . . . . . . . . . . . . . . . . .

And a grandpa . . . . . . . . . . . . . . . . . .

There was a lady . . . . . . . . . . . . . . . .

And a man . . . . . . . . . . . . . . . . . . . . . . .

A muscle man . . . . . . . . . . . . . . . . . . .

She said . . . . . . . . . . . . . . . . . . . . . . . . . .

But there was Jaws . . . . . . . . . . . . .

But there was Jaws . . . . . . . . . . . . .

BUT THERE WAS JAWS . . . . . .

There was a scream . . . . . . . . . . . .

It was the man . . . . . . . . . . . . . . . . . .

“I’ll save you honey” . . . . . . . . . . .

She could swim . . . . . . . . . . . . . . . . .

Not him! . . . . . . . . . . . . . . . . . . . . . . . . .

What’s next? . . . . . . . . . . . . . . . . . . . .

Jaws II ! . . . . . . . . . . . . . . . . . . . . . . . . . . .

doo doo doo doo doo

doo doo doo doo doo

doo doo doo doo doo

doo doo doo doo doo

doo doo doo doo doo

doo doo doo doo doo

doo doo doo doo doo

doo doo doo doo doo

“Come to the water and go for a swim.”

doo doo doo doo doo (softly)

doo doo doo doo doo (louder)

doo doo doo doo doo (loud)

Aaahh!

doo doo doo doo doo

doo doo doo doo doo

doo doo doo doo doo

doo doo doo doo doo

doo doo doo doo doo

doo doo doo doo doo

click

Choralspeaking

18

LyricsMovement

19

C o nc e p t s


Play the recording of “Jaws” for the class.

To performdemonstrated rhythmpatterns.

Invite students to chant doo, doo, doo, doo, doo at the end of each lineof the story.

To enhance words with actions.

Add the actions.


Discuss ways of making the story really exciting for an audience.

Experiment with different ways of speaking, chanting, whispering andshouting the words.

Refine the performance by encouraging students to make constructivecomments from an audience member’s point of view. When the wholegroup of students is satisfied with the way “Jaws” looks and sounds,perform it for another class.

How aboutdramatising this!

Œ

Œ

click click

Œœ ˙

doo doo

Œ

Œ

click click

j

œ œ

j

œ ˙

doo doo doo

4

4

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Wind songLillian Moore

When the wind blows

the quiet things speak.

Some whisper, some clang,

Some creak.

Grasses swish

Treetops sigh.

Flags slap

and snap at the sky.

Wires on poles

whistle and hum.

Ashcans roll.

Windows drum.

When the wind goes —

suddenly

then,

the quiet things

are quiet again.

20Choralspeaking

21

C o nc e p t s


To respond to text. If appropriate, let students read the poem silently before hearing it.Otherwise, read the poem aloud.

Discuss the meaning of words and the atmosphere created.

To exploreonomatopoeia.

Identify all the verbs. Experiment with ways of saying the verbs, such as swish, sigh, slap.

As a class, read through the poem aloud, emphasising the sounds of theverbs. Use vocal sounds or body percussion to enhance these words.

Literacy link:choral speaking

Record a performance on cassette. Listen and discuss the effect created. Cassette recorder

Extension activity:

Using the audio tape recording as a soundtrack, devise movements to express the poem.

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CinderellaAnn French

Cinderella was the drudge in the family home,

She worked her fingers to the bone.

Her Sisters (Step!) and Mum as well

Gave that little Cinders hell.

“Go Cinders, go Cinders, go, go, go,

Scrub those floors till they’re white as snow.

Go Cinders, go Cinders, wash and rinse,

We’re going to dance with the handsome

Prince.”

Poor Cinders sobbed and tore her hair,

“Drat!” she cried,“It isn’t fair!

Those ugly crones get all the fun,

While I have zero, zilch and none!”

Poor Cinders, poor Cinders, ain’t life rough?

Those ugly crones are making it tough.

Poor Cinders, poor Cinders, boo hoo hoo,

A miracle’s needed to rescue you.

With a zap and a flash came the

Fairy Godmum,

“O.K. Cinders, here’s the drum.

I’ll give you a coach, a gown and all,

Go kick up your heels at the palace ball.”

“Yippee! “ cried Cinders,“Yes! All right!

I’ll rock ’n’ roll till broad daylight.”

“Hang on!” warned the Fairy.“Not so fast!

This spell doth end when midnight’s past.”

Go Cinders, go Cinders, real cool cat,

The Prince’ll be yours in no time flat.

Twas true! The guy was bowled right over.

Yes!” thought Cinders.“I’m in clover.”

BUT — (clock strikes midnight).

“Yipes!” Cinders cried in mortal fear,

“So long, Prince — I’m outta here.”

“No!” shrieked His Highness,“Stay, please do,

I can’t do much with one glass shoe.”

For days the Prince trudged up and down,

He knocked on every door in town,

Till, at last, feet sore with blisters,

He came to the home of the Ugly Sisters

And there, at last, he found his Bride,

The church bells rang o’er the countryside,

The day was filled with joy and laughter

And all lived happily ever after.

22Choralspeaking

23

C o nc e p t s


To develop feeling for telling a story.

This is a choral speaking work. The aim is to develop the skill ofspeaking as a whole group in unison, with dramatic effect changing theway of speaking, depending on the character or the narrator. The groupdecides who does what.

Session 1

Literacy link:variations on a narrative

To experienceperformance suggestions.

Discuss fairy tales and specifically “Cinderella” stories in a range ofcultures including those represented in the class. Present and comparetwo versions of “Cinderella”. Discuss the characters, traditional versusmodern and other issues.

Session 2 and subsequent sessions

HSIEintercultural study

To develop repertoire of movement to expressdramatic ideas.

Identify the characters in the story of “Cinderella”. Costumes if desired.

To experiment withperformance ideas.

To experiment with use of voice.

To practise speaking in an ensemble.

Leader reads the poem while the characters portray their parts in mime.

As a whole group, develop a performance which includes:• movements which enhance meaning• variation in vocal expression.

Performance suggestion

Have three smaller groups within the big group to portray Cinders,Godmother and the Prince. This will still produce the effect of speakingin unison, but will also focus interest on where the sound is coming from

Have youread Roald Dahl’s“Revolting Rhymes”?

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By the end of these activities, students will be able to demonstrate that they can differentiate between the uses of the singing voice and the speaking voice.


By the end of these activities, teachers willbe able to use repertoire which develops the speaking and singing voices.

Repertoire

CD track 9. Peanut butter and jelly . . . . . . . . . . . . . . . . . . .26

CD track 10. Sister Cindy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Key

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Singing andspeaking

For example:

picking peanutssmashing peanuts

spreading peanut butter& 2

2..

.

.œ œ œ œ œ

Pea - nut butter and

œ.˙

jel - ly.

2

2

.œ œ .œ œ .œ œ .œ œ

First you get the pea - nuts and you


pick them and you pick them and you


Pick them and you pick them and you


smash them and you smash them and you


Smash them smash them smash them and you

j

œ .œÓ

spread 'em.

Singing speaking

Peanut butter and jellyTraditional

and26

For example:

picking berriessmashing berries

spreading jelly (jam)

For example:

hold sandwich in two hands and bite it gulp sandwich

Chorus

Verse 1

LyricsMovement

Then you get the berries and you pick them and you pick them and you pick them, pick them, pick them.

Then you smash them and you smash them and you smash them, smash them, smash them.

Then you spread ‘em.

Then you get the sandwich and you eat it, and you eat it, and you eat it, eat it, eat it.

Then you gulp it and you gulp it and you gulp it, gulp it, gulp it.

(Hum the tune as if your mouth is full)

(Sing once only).

Coda

Chorus

Verse 3

Chorus

Verse 2

Chorus

27

C o nc e p t s


Teach the chorus of “Peanut butter and jelly” and include the armmovements.

To demonstrate changeof pitch with actions.

Tell the story of the peanut butter and jelly sandwich by chanting the verses with actions. Everyone joins in with the chorus each time it occurs.

To contrast sung andspoken text.

Choose individuals or a small group to chant the verses with the rest of the class singing the chorus. Alternatively, everyone performs chantand choruses.

Change the text by making up new words for the song, eg. tomato,cheese and lettuce or banana, ants and butterflies.

Literacy link:innovate on the text;reading and writingprocedures

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4

œ

She's

.œ œ .œ œœ œ

li - ving in a place called

j

œ œ

j

œ œ œ œ

Ten - nes - see, she wears

& œ œ.œ œ .œ œ

dark dark dres - ses up a -

j

œ œ

j

œ œ œ

bove her knees, hands

& œ .œ œ.œ œ œ

up Sis - ter Cin - dy from

j

œ œ

j

œ œ œ

Ten - nes - see, hands


down Sis - ter Cin - dy from

j

œ œ

j

œ œ .œ œ

Ten - nes - see, turn a -


round Sis - ter Cin - dy from

j

œ œ

j

œ œ .œ œ

Ten - nes - see, touch the


ground Sis - ter Cin - dy from

œ œ œœ œ

Ten - nes - see.

Sister CindyTraditional with melody by Carol Richards

28

I’ve never been to college and I’ve never been to school

But when I came home I was an educated fool.

Chanted

Singing speakingand

29

C o nc e p t s


To use singing voice andto accompany song withmovement reflectingstructure of song.

Have the group stand in a circle. Teach the song, movement and chant(refer to chart of words and associated movements).

Chart of words and associatedmovements.

To explore using thevoice expressively.

Perform movements in a circle while singing song and saying chant.During chanted section, a person in the middle covers eyes, turns aroundand points. The person pointed to on the word “fool” is the next soloist.

Solo section (chanted)

Soloist My mother she sangClass Your mother she sang? (exaggerated questioning voice)

Soloist She sang like this (soloist improvises, can add movement)Class Class echoes the soloist.

After the “fool” has performed the solo section, all the preceding“fools”, in descending order, redo their sections.

e.g. My mother she sang,My toothbrush he sang,My dog he sang etc.

After all the solos are performed, return to the singing section.

Finish with:

Teacher And where’s Sister Cindy singing?Class Who cares?

Why not read “Sister Madge’s Bookof Nuns?”

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She’s ...

living in a

dark, dark

up Sister

down Sister

ground Sister

round Sister

never been to

I came home

place called

dresses up a –

Cindy from

Cindy from

Cindy from

Cindy from

college and I’ve

I was an

Tenness –

bove her

Tenness –

Tenness –

Tenness

Tenness –

never been to

educated

ee, she wears

knees, hands

ee, hands

ee, touch the

ee, turn a –

ee. I’ve

school, but when

fool.

right foot step forward

right foot forward, pat knees

right foot forward, hands up

right foot forward, hands down

crouch, pat the ground

1/4 turn

point to right

point to self

left foot forward, pat knees

left foot forward, hands up

left foot forward, hands down

1/4 turn

thumb point over shoulder

right foot step back

right foot back, pat knees

right foot back, hands up

right foot back, hands down

1/4 turn

point to left

hands in book pose

left foot step back

left foot back, pat knees

left foot back, hands up

left foot back, hands down

1/4 turn

point to head

30

Words and associated movements for each beat and bar of SisterCindy

Lyrics

Movement

Singing speakingand


By the end of these activities, students willbe able to demonstrate that they can:1. sing within a small pitch range2. maintain a steady beat.


By the end of these activities, teachers willbe able to:1. model a song accurately or use

appropriate means to model a songaccurately

2. teach a song using the echo method3. use body percussion to maintain a

steady beat4. use a number of strategies to develop

the singing voice5. use a number of strategies to develop

the musical imagination.

Stone passinggames

Repertoire

CD track 11. Mal, mal, mal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

CD track 12. Obwisana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

CD track 13. Uk alele . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

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&

#

4

2

œ œ

Mal mal

œœ

mal

œ œ œ

Kam - e - me

œœ

go

œ œ œ

Kam - e - me

&

#

œœ

go

œœ

Kal - um -

˙

bus,

œœ

Kal - um -

˙

bus.

Stone gamespassing

Mal, mal, malTraditional New Guinea

32

33

C o nc e p t s


To be able to hear an accurate model of a song and to maintain a steady beat.

Learning the song

Demonstrate the song while lightly patsching the beat.Teach the song by echo, while patsching to maintain the beat.

Why not studyNew Guinea, one of ournearest neighbours?

To reproduce modelledphrases of a song.

To develop a feeling for phrasing.

“Playing” with the song

Divide the class into two groups and sing alternate phrases. For example:

Group 1 Mal, mal, malGroup 2 Kameme goGroup 1 Kameme goGroup 2 KalumbusGroup 1 Kalumbus

To develop the musicalimagination.

Sing only the first sound of each phrase.

To associate sounds with beats.

Change the body percussion to patsch and clap and sing only the soundswhich occur on the patsch or clap.

Make up a vocal ostinato by using a phrase of the song, for example,“Kalumbus”.

If possible, sing in canon (the second part enters after “mal, mal, mal”).

To develop a feeling forharmony using vocalostinato and canon.

Maintain the body percussion but sing only on the first and last words of the song.

(Continued on page 34)

34

C o nc e p t s


Gradually introduce objects (start by just passing 1 or 2 objects, then increase according to ability of group).

Replace chant with song.

To devise patterns usingexisting rhythm patternswithin song.

Extension

Divide class into 3 groups; rotate groups.

1. Devise a percussion accompaniment:

Use some of the rhythm patterns of the words of the song to developan ostinato on non-melodic percussion instruments, e.g. claves

4

2..

.

.œ œ

Kal - um -

˙

bus

Non-melodicpercussioninstruments.

To devise ways ofperforming the beatthrough movement.

2. Devise a new way of performing the stone passing game:

pass stone in opposite directionpass stones around outside of circleusing 2 stones, devise a different way of passing which includestapping stones together.

To maintain the beatthrough “passing” the beat.

Playing the stone passing game

Sit in a circle. Decide the direction in which the stones, sticks, bean bagsor objects are going to be passed. With one hand behind back, practisepicking up an imaginary object and pass to next person while chanting.

To be able to performthrough singing andmoving.

4

2..

.

.

pick up

˙

pass

˙

pick up

˙

pass

˙

Sticks or stones orother appropriateobjects which can be passed easily.

Stone gamespassing

&

#

#

4

2

X

œœ œ

œ

Ob - wi - sa - na

O

œœ

œ

sa - na - na

X

œœ

œœ

Ob - wi - sa - na -

O

˙

sa.

&

#

#

X

œœ œ

œ

Ob - wi - sa - na

O

œœ

œ

sa - na - na

X

œœ

œ

œ

Ob - wi - sa - na -

O

˙

sa.

Obwisana(“Oh gramma, I just hurt my finger on a rock.”)

Traditional Ghana

35

C o nc e p t s


Obwisana is an African stone passing game which can be treatedsimilarly to “Mal, mal, mal”.

A stone fell on my hand

X Pick up stoneO Pass stone

Movement

Lyrics

& 4

2j

œ

‰ ‰

j

œ

Uk

Ook

A -

Ah -

œ

j

œ

j

œ

le -

lay -

le

lay

a

ah

œ œœ

œ

Pe -

Pair -

re

eh

ti -

tick -

ke

eh

œ

j

œ

j

œ

tom -

tomb -

ba

ah

a

ah

& 4

3j

œ

j

œ

j

œ

j

œ

Ma -

Mus-

sse

sah

Ma -

Mus-

sse

sah

œœ

Ma -

Mus -

sse

sah

j

œœ

j

œ

U

Oo

A -

Ah -

lo -

loh -

j

œ œ

j

œ

ah

ah

A -

Ah -

lo -

loh -

& 4

3..j

œ œ

j

œ œ

ah

ah

A -

Ah -

lo -

loh -

he.

ay.

Uk aleleTraditional Pacific

36Stone gamespassing

Pronunciation

37

C o nc e p t s


To accurately reproducepitch patterns.


To develop a feeling forchanging metre.

To experience changes in accent.

Learning the song

Using a patsch and clap body percussion pattern, teach the song in a similar fashion to “Mal, mal, mal”.

Note: The last bar has 3 beats whereas every other bar has 2 beats. As a result, while your body percussion may have started with the patsch on the strong beat, the strong beat will be on the clap everyalternate time through.

.

...

œ

œ

œ

œ

œ

œ

œ

œ2

4

clap

patsch

Sticks, stones orother appropriateobjects which can be passed easily.

Playing the stone passing game

Practise the passing as for “Mal, mal, mal”, then when secure, add song.

Note: The metre change (from 2 to 3 beats) will add an interestingdimension to the feeling for passing the beat.

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Fromgames to

performance

Module2


By the end of these activities, students willbe able to demonstrate that they can:1. move between their speaking and singing

voices2. perform answering phrases.


By the end of these activities, teachers willbe able to implement activities whichdevelop movement between the speakingand singing voices.

Singing gamesRepertoire

CD track 14. The telephone song . . . . . . . . . . . . . . . . . . . . . .40

CD track 15. Syncopated Cyril . . . . . . . . . . . . . . . . . . . . . . . . .42

Key

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4

Group

œ

"Hey

œœ

‰

Soloist

j

œœ

œ

A - dam!" "I think I

J

œbœ

j

œ œ

Group

œ

hear my name." "Hey

&œ

œ‰

Soloist

j

œœ

œ

A - dam!" "I think I

œbœ

œœ œ

Group

œ

hear it a - gain." "you're

&œ

œœ

œ

wan - ted on the

J

œbœ

j

œ œ

Soloist

œ œ œ

tel - e - phone." "Well if it

&œ œ

œœ œ

œ

is - n't Re - bec - ca I'm

J

œbœ

j

œ œ

Group

œ œ

not at home." With a

&œ

œœb

œœ

œ

rick - tick - tick - e - ty tack

œ ‹ ‹ ‹ œ œ

Oh yeah! With a

&œ

œœb

œœ

œ

rick - tick - tick - e - ty tack

œ ‹ ‹ ‹

Oh yeah!

Singinggames

The telephone songTraditional

40

41

C o nc e p t s


To maintain a steady beatwith body percussion.

Present the song accompanied by body percussion. Students join in withbody percussion.

.

...

œ

œ

œ

œ

œ

œ

œ

œ

4

4clap

patsch

That rings a bell!Communications is agreat unit of workto include!

To develop pitchmatching.

Teach the song through echo or by question and answer.

Perform with the whole class singing the response. Provide the beat on a tambour while the class is singing.

Teacher: “Hey (Year Three)”Whole class: “ I think I hear my name”

Tambour

To develop confidence in the individual’s use of the voice.

Perform using students’ own names or those from a variety of cultures,with individual students singing the response. Younger children find it easier to think of the “next person” if sitting in a circle where theycan see each other’s face.

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4

œ œœ œ

j

œ

.œ

Syn - co - pa - ted Cy - ril,

œ œœ œ

œ

Œ

walk - ing down the street;

&

j

œ œ

j

œ .œ

j

œ

watch his hands and

j

œœ

j

œ œ œ œ

watch his feet. Here comes

&

œ œœ

j

œ

.œ

once a - gain Wan - da,

œ œœ œ

œ

Œ

fol - low - ing be - hind;

& œ œ œ œ œ œœ

cop - y - ing Cy - ril to the

œœ

œœ œ

Œ

end of the line.

Swing œ œ

3œ

j

œ=

Syncopated CyrilGary King and Audrey Klein

42

Cross the street, cross the street, to the other side;

Turn around, turn around on the other side.

Go back, go back, to your own side;

Turn around, turn around, on your own side.

Chant

Singinggames

43

C o nc e p t s



Introducing the sung section

Introduce the sung section of “Syncopated Cyril” while patsching lightlyon the knees. Students imitate patsching while listening to the song.

PATSCH:See glossary

To match pitchaccurately.

Teach song by echo while maintaining patsching.

To accurately learnrhythm of the chant.

Introducing the chanted section

Demonstrate the chant “Cross the street…” with a different bodypercussion accompaniment.

Students echo the chant.

.

...

œ

œ

œ

œ

œ

œ

œ

œ

4

4clap

patsch

To consolidate qualityand style of movementfrom previous movementlessons.

Students explore different movement styles to perform with the chant,for example, moving in a variety of ways around the room; changing on a given signal; exploring high and low levels.

To contrast sung and spoken text.

Learning “the game”

Perform sung section followed by spoken section, while maintaining the beat with body percussion. Repeat several times.


44

C o nc e p t s


To devise ways ofreinforcing beat andrhythm throughmovement.

Explain to the class that the “game” is about copying a leader.

With students standing in their own space, the teacher improvises a walking style for the class to copy.

Select a student to improvise a walking style while the class sings:

“Syncopated Cyril, walking down the street;Watch his hands and watch his feet”.

To imitate movement andrespond to the structureof the song.

Students imitate leader’s walk and perform the second part of the song:

“Once again Wanda, following behind, copying Cyril to the end of the line.”

To contrast sung andspoken text.

Performing the “Syncopated Cyril” game

Students stand in two lines, opposite and facing a partner.

Section A:

Leader of line 1 improvises a walk to the other end of the line whileclass sings bars 1–4 (“Syncopated Cyril, walking downthe street; watch his hands and watch his feet”).

Leader of line 2 copies Cyril while class sings bars 5–8 (“Once againWanda, following behind; copying Cyril to the end of the line”).

Section B:While performing the chant (“Cross the street…”) andimitating Cyril, lines cross over and swap positions,and then return to their original positions.

Repeat with a new leader.

Singinggames

45

To identify knownrhythm patterns and use them as ostinatoaccompaniments.

Extension

Clap some of the rhythms from the chant for the students to identify.

Play the rhythms on other percussion instruments such as drums,tambourines and claves and use them to accompany Section B.

For example:

claves “cross the street, cross the street”drum “other side”.

Use tuned percussion instruments such as xylophones and glockenspielsin C pentatonic (CDE GA as indicated in the resources column).

Select a small group of students to improvise an accompaniment to Section A.

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By the end of these activities, the studentswill be able to demonstrate that they can:1. sing three simple children’s songs2. perform a call and response song3. respond to variations in dynamics

and tone colour.


By the end of these activities, teachers willhave implemented strategies to teach simplesongs and encouraged the exploration ofdynamics and tone colour through the voice.

Three songs with movementRepertoire

CD track 16. Funge alafia . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

CD tracks 17-18. Tongo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

CD tracks 19-21. Taba naba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Key

LOSMPSS k i l l s

singi

ng

play

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mov

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sound

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enin

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C o nc e p t s

STDyPD

dura

tion

pitc

h

dyn

amic

s

tone

colo

ur

stru

cture

& 4

4

J

œ œj

œœ

œ

Fun - ge a - la - fia

j

œœ

j

œœ

Œ

a - sche a - sche.

&J

œ œj

œœ

œ

Fun - ge a - la - fia

j

œ œ

j

œœ

Œ

a - sche a - sche.

Funge alafiaTraditional Ghana

47

Hands

Feet

to head

L step

to heart

close

to L arm

L step

to R arm

close

48

C o nc e p t s


To familiarise studentswith the actions andmeaning of the song.

Teach actions for head, heart and sleeves without speaking the words.Discuss what the students think the actions might mean.

Actions marked on the music for“Funge alafia”.

Demonstrate the song with the actions and then explain the lyrics:

“I greet you with my head, my heart and I have nothing up my sleeves.”

which means

“I respect you, I care for you and I am an honest person.”

To echo pitch accurately. Teach the song by echoing phrases and then add the step-wise movementas indicated on the music above.

Movements explainedon the music.

To use movement to reinforce beat.

Add step-wise movement as outlined in the music.

With the class standing in a circle, perform the song with movement and actions.

Divide class into two groups and perform “Funge alafia” as a call and reponse.

Group 1: sings phrase one (“Funge alafia asche asche”)Group 2: answers with phrase two.

To identify same anddifferent pitches.

The song has two phrases. Have the class listen again to the pitch of the two phrases and identify if they are the same. If not, how arethey different?

Trace the pitch contour of each phrase, first in the air and then using graphic notation.

See glossary:PHRASEGRAPHIC NOTATIONPITCH CONTOUR

To develop auralimagination.

Repeat, singing words in your head, not out loud while performingactions.

Three withsongs movement

49

To develop skills in theuse of the voice for bothspeaking and singing.

Explore different spoken ways to greet people in English, for example:

Hi, how are you? What’s new? How do you do?Great to see you! Welcome.

In other languages, for example:

Bonjour. Chukran. Konichiwa.

To develop confidence in vocal improvisation.

Explore variations in dynamics and tone colour of spoken greetings.

To use movement toreinforce structure.

Develop a structure for performance which includes the spoken greetings.For example:

Section A Whole class performs “Funge alafia” with actions andmovement

Section B Selected student performs own spoken greeting which class echoes

Section A RepeatSection C Another student performs spoken greeting which the

rest of the class echoesSection A Repeat

See glossary:RONDO(This structure is calledrondo form).

Another version of“Funge alafia” appearsin “Songs FromAround the World” byGary and Carol Crees2/12 George StreetManly NSW 2095

To add simpleaccompaniments to a song.

Extension

Add instruments to accompany the song.

Non-melodic instruments (i.e. drum)

Melodic instruments (i.e. alto xylophone) & 4

4..

.

.œ œ œ œ

œ œ œ œ

4

4..

.

.œ œ œ œ

To experiment withperformance ideas.

Devise an introduction and coda (ending) for the piece.

&

#

#

4

2

Leader

œœ

œ

Ton - go,

œœ

œ

Ton - go,

Group

œœ

œ

Ton - go,

œœ

œ

Ton - go,

&

#

#

Leader

.œ œ œœ

Jim - nee bye

œœ

œ

bye oh,

Group

.œ œ œœ

Jim - nee bye

œœ

œ

bye oh,

&

#

#

Leader

œœ

œ

Ton - go,

œœ

œ

Ton - go,

Group

œœ

œ

Ton - go,

œœ

œ

Ton - go,

&

#

#

Leader

j

œ œ

j

œ

Oom - ba de

œ œœ

kim bye oh,

Group

j

œ œ

j

œ

Oom - ba de

œ œœ

kim bye oh,

&

#

#

Leader

.œ

j

œ

Ooh - a

œ

Œ

lay,

Group

.œ

j

œ

Ooh - a

œ

Leader

œœ

lay, Mah - le -

&

#

# ..

.

.

œœ

œ

ka - ah - lo

œ

Group

œœ

way. Mah- le -

œœ

œ

ka - ah - lo

˙

way.

Ocean sounds

8 bars

D.C.

TongoTraditional Polynesian

50Three withsongs movement

51

C o nc e p t s


To develop awareness ofthe structure of the song.

Play the recording of “Tongo” and discuss the three-part structure:

Section A: sungSection B: instrumentalSection A: the song is repeated.

Play the recording again. Discuss the effects used in the instrumental(sea soundscape) section. Students add rowing actions on the 1st beat of the bar during the sung section and improvise movements during the instrumental section. Encourage the students to vary the movementswith the dynamics of the music.

See glossary:DYNAMICSCALL ANDRESPONSE

To become aware of calland response structure.

Discuss the use of the voices in the sung section, the use of a leader who“calls” and a group who answer or “respond”.

To echo rhythm patterns and accuratepronunciation.

Learning the song

Clap and chant the following patterns for the students to echo.

4

2..

.

.œ œ

Mah - le -

œ œ œ

ka - ah - lo

œ

way

4

2..

.

..œ

j

œ

Ooh - a

œŒ

lay

4

2..

.

.

j

œ œ

j

œ

Oom - ba de

œ œ œ

kim bye oh

4

2..

.

..œ œ œ œ

Jim - nee bye

œ œ œ

bye oh

CD track 17

To echo pitch accurately. Sing or demonstrate the call “Tongo”. Students echo.

To perform a call andresponse song.

Divide class into two groups.

Group 1 performs callGroup 2 performs response


52

C o nc e p t s


To develop individuals’confidence in using the voice.

Select a student to perform the call with actions. The rest of the classresponds, copying the leader’s actions.

Clap some of the rhythms from the song and ask students to identify the phrase. For example:

4

2..

.

..œ

j

œ

Ooh - a

œŒ

lay

4

2..

.

.

j

œ œ

j

œ

Oom - ba de

œ œ œ

kim bye oh

To accompany song with rhythmic ostinato,using body percussionand instruments.

Transfer the rhythms to percussion instruments and perform as anostinato to accompany the song.

Tambour, claves,tambourines etc.

To create a soundscapeusing a variety of soundsources.

Create a sea soundscape. Discuss sounds you may hear near the sea and make a class list.

Ask students to suggest ways to recreate the sounds of the sea using voices, body percussion, environmental material, melodic or non-melodic instruments.

Divide class into small groups of 4–6. Each group creates its own water soundscape.

Encourage students to graphically notate their soundscape.

To perform a rondo. Invent a rondo. For example, with the class divided into two groups:

Section A Group 1 performs the call and Group 2 the response from “Tongo”.

Section B Group 1 performs its soundscape.Section A Call and response.Section C Group 2 performs its soundscape.Section A Call and response.

Continue until all groups have performed their soundscapes.


&

#

4

4

Br.

œœ

œœ

G

Ta -Tah -

babuh

na -nah -

ba,buh,

‹ ‹ ‹ ‹

J

œ œ

J

œ˙

C

na -nah -

babuh

no -noh-

rem,rem,*

‹ ‹ ‹ ‹

Rh to Fl at L

œ œ œœ

Rh to L Sh & hold

œœ

œœ

D

tu -too -

geigeh

pepeh

nai -nye -

sirsihr

mimee

&

#

Lh to Fl at R

œ œœ

œ œ

Lh to R Sh

œœ

G C D

din -dihn -

ghygee

emem*

na -nah-

ba -buh-

tre.treh.

Rh to Fl at L

œœ

Rh to L Sh

œœ

G

MiMee

kokoh

keikeh

mimee

Lh to Fl at R

œ œ œœ œ

Lh to R Sh

˙

C

sir -sihr -

irihr

emem*

nar -nahr-

ba -buh-

re.reh.

&

#

BH up High

j

œ œ

J

œ

BH touch Shs

œœ

œœ

D

Ta -Tah -

babuh

na -nah -

babuh

no -noh -

BH on Wst & sway (rock side to side) . . . . . . . . . . . .

w

G

rem.rem.*

∑

Pronounced

*The "e" is pronounced as in "yet".

Taba nabaDarnley IslandTorres Strait Islands

53

Taba naba naba norem.

Tugei penaisir mi dinghy em nabatre.

Mi ko keimi serer em narbare.

Taba naba norem.

This song is remembered from long ago, the composeris not known but it is definitely of Erub origin. Thedance actions, according to Erub (Darnley Island)elder and historian, George Myre, may be attributed toone of Erub’s foremost dancers, Sweeney George Morseu.

It celebrates reef travel via “the taxi of the TorresStrait”, the dinghy. The sung was originally sung forFrank York by Dalassa Pau.

Come, let us go to the reef.

Get into the dinghy when the morning tide is low

Let us row to the edge of the reef.

Come, let us go to the reef.

Lyrics

Translation

Pronunciation

&

&

#

#

4

4

4

4

.

.

.

.

3

3

Br.

œœ

œœ

Ta - ba na - ba,

‹ ‹ ‹ ‹

Sing Part A 1st time

œ œ œ œ

Ta - ba na - ba,

J

œ œ

J

œ˙

na - ba no - rem,

‹ ‹ ‹ ‹

j

œ œ

j

œ ˙

na - ba no - rem,

Rh to Fl at L

œ œ œœ

Rh to L Sh & hold

œœ

œœ

tu - gei pe nai - sir mi

œ œ œ œ œ œ

tu - gei pe nai - sir mi

&

&

#

#

Lh to Fl at R

œ œœ

œ œ

Lh to R Sh

œœ

din - ghy em na - ba - tre.

œ œ œ œœ

œ

din - ghy na - ba - tre.

Rh to Fl at L

œœ

Rh to L Sh

œœ

Mi ko kei mi

œ œ œ œ

Mi ko kei mi

Lh to Fl at R

œ œ œœ œ

Lh to R Sh

˙

sir - ir em nar - ba - re.

œ œ œœ œ ˙

sir - ir em nar - ba - re.

&

&

#

#

.

.

.

.

BH up High

j

œ œ

J

œ

BH touch Shs

œœ

œœ

Ta - ba na - ba no -

j

œ œ

j

œ œ œ

Ta - ba na - ba no

1.BH on Wst & sway (rock side to side) . . . . . . . . . . . .

w

rem.

∑

∑

∑

&

&

#

#

2.BH on Wst and sway . . . . . . . . . . . . . . . .

w

rem.

w

rem.

∑

∑

Taba naba(continued)

54

Bars 1–2Brush hands together

Bar 4Point left hand to floorat right knee (beat 1) then place left hand onright shoulder (beat 3)

Bar 5Point right hand to floorat left (beat 1) thenplace right hand on left shoulder (beat 3)

Bar 6Point left hand to floorat right (beat 1) then placeleft hand on right shoulder(beat 3)

Bar 7Both hands up above head,then on both shoulders

Bars 8–9Both hands on waist andsway from side to side.

Melody

Harmony

Students sit cross legged in a circle:

Movements with lyrics


Bar 3Point right hand to floorat left (beat 1) then place right handon left shoulder (beat 3)and hold

55

C o nc e p t s


To develop listening skills.

Learning the song

Read the phonetic pronunciation phrase by phrase, for the students to echo.

To accompany the songwith a steady beat.

Play the recording of the song and accompany by playing the beat on your knees for the class to imitate. Transfer to another body partor to non-melodic instruments.

To match pitchaccurately.

Demonstrate the song, phrase by phrase, for the students to echo.Perform the song with the recording.

CD track 19

To learn a sit-downdance from the TorresStrait Islands.

Learning the dance

This song comes from Darnley Island and is a “sit-down” dance. The actionsare written beside the music. Learn the dance to accompany the song.

Have you thoughtof linking this with aHSIE unit?To observe the gradual

build of dynamics.Divide the class into four or more groups.

Group 1 performs song with actionsGroup 2 joins in second time throughGroup 3 joins in third time throughGroup 4 joins in fourth time through.Continue until all students are singing.

Discuss the effect of adding voices cumulatively.


LOSMPSS k i l l s

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56

C o nc e p t s


To add simpleaccompaniments to a song.

Extension

Add the following patterns to accompany the song

Shaker

Tambour (low)

Guiro

High drum..

.

.œ œ œ œ

4

4

.

...

Œœ

Œœ

4

4

.

...

œŒ

œŒ

4

4

.

...

œ œ œ œ œ œ œ œ4

4

To experience simpleharmony singing.

Try adding the second vocal part.


LOSMPSS k i l l s

singi

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play

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mov

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orga

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C o nc e p t s

STD yPD

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By the end of these activities, students willbe able to demonstrate that they can use:1. the singing voice within a restricted

pitch range2. singing techniques to sing on pitch3. singing techniques to develop tonal

quality of the singing voice.


By the end of these activities, teachers willbe able to use appropriate repertoire as wellas teach skills and techniques to develop thesinging voices of students.

A pairof

songs

Repertoire

CD track 22. Wearing my long wing feathers . . . . . .58

CD tracks 23-25. The earth is our mother . . . . . . . . . . . . . .60

Key

LOSMPSS k i l l s

singi

ng

play

ing

mov

ing

orga

nis

ing

sound

list

enin

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C o nc e p t s

STDyPD

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pitc

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dyn

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s

tone

colo

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stru

cture

Step sideways around the circle, to the left

Walk in a circle on the spot, to the right

Walk in a circle on the spot, to the left

Stand on the spot facing inside the circle; cross armsin front of your body, lifting them above your head

and then open them out to bring them back down tothe sides of your body.

&

#

4

4j

œœ

j

œ œœ œ œ

Wear - ing my long wing fea - thers

œœ

œœ

Œ

as I fly.

&

#

j

œœ

j

œœ

œ œ œ

Wear - ing my long wing fea - thers

œœ

œœ

‰j

œ

as I fly. I

&

#

œœ

œœ œ

‰j

œ

cir - cle a- round, I

œœ

œœ œ

‰j

œ

cir - cle a- round, the

&

#

œ œœ

œœ

bound - 'ries of the

.˙

Œ

sky.

A pair songsof

Wearing mylong wing feathers

Native American

58

Wearing my long wing feathers as I fly

Wearing my long wing feathers as I fly

I circle around,

I circle around,

The bound’ries of the sky.

Step sideways around the circle, to the right

Movement Lyrics

59

C o nc e p t s


To establish culturalsetting and purpose of musical work.

Introduction

Discuss how different peoples develop their world views and expressthemselves through their stories, music and ceremonies.

Find examples of Australian Aboriginal Dreaming stories and NativeAmerican stories.

Discuss the similarities you can see within Australian AboriginalDreaming stories and Native American stories.

HSIE link:

Aboriginal Dreamingstories:Mumbulla, P. & Bancroft, B.The Whalers (collectedby Roland Robinson).Angus & Robertson. 1996.

Trezise, P. Land of theDingo People. Angus &Robertson. 1997.

Native Americanstories:Erdoes,R. & Obtiz,A.American IndianMyths & Legends. Pimlico, London. 1997.

To develop theatmosphere of music.

Learning the song

Speak the words.

To learn song accurately. Teach the song using echo, phrase by phrase.

Practise movements which enhance the song.

Teach the movements simultaneously.

To experience harmonycreated through song and drone on E.

Add beat on tambour or other suitable drum and then transfer beat onto low E on xylophone, metallophone or chime bar.

&

&

#

#

4

4

4

4

j

œ

The

J

œ

œœ œ œ

œœ œ

earth is our mo - ther,

œœ œ œ

œœ œ

‰j

œœ

œœ

œœ œ

we must take care of her. The

‰

J

œœ

œœ

œ#œ œ

&

&

#

#

œœ œ œ

œœ œ

earth is our mo - ther,

œœ œ œ

œœ œ

‰j

œœ

œœ

œ

we must take care of

‰

J

œœ

œœ

œ

w

her.

w

&

&

#

#

œœ œ œ

œœ œ œ

Hey yan - na, ho yan - na,

œœ œ œ

œœ œ œ

œœ œ ˙

hey yan yan.

œœ œ ˙

&

&

#

#

œœ œ œ

œœ œ œ

Hey yan - na, ho yan - na,

œœ œ œ

œœ œ œ

œœ œ .œ

hey yan yan.

œœ œ .œ

Chorus

The earth is our motherNative American

60

Her sacred ground we walk upon,

With every step we take.

Her sacred ground we walk upon,

With every step we take.

The earth is our mother,

She will take care of us.

The earth is our mother,

She will take care of us.

Chorus

Verse 3

Chorus

Verse 2

Lyrics

A pair songsof

61

C o nc e p t s


To maintain steady beatand perform rhythmpattern to accompanysong.

All perform body percussion softly while teacher sings song (or plays the recording):

.

...

œ

œ œ

œ

œ œ4

4

knee

floor

CD track 23

To practise breathcontrol, keeping mouthopen but relaxed, usingthe tongue rather thanjaw to change sounds,maintaining long sounds.

Teach the “Hey yanna” phrases softly, encouraging students to have theirmouths open wide, making the “y” sound with the tongue rather thanthe jaw, and using an even flow of volume and long “aa” sounds.

To develop a feeling for harmony.

Teach the verse phrase by phrase through echoing.

To devise movementswhich can be performedwhile singing and reflectthe ideas in the song.

Extension

Encourage students to develop their own simple movements to accompanythe song. Make sure the movements do not detract from their ability tosing. Fast or large movements or hands over the heads for extendedperiods of time are not suitable as the singing voice would be restricted.

Scarves to enhancemovements if desired

To use the singing voice to reinforceinstrumental parts.

Perform percussion accompaniment to the song. Teach the parts throughsinging and body percussion before transferring to percussioninstruments.

Percussionarrangement on page 62.

To develop independentsinging skills.

Try performing “Wearing my long wing feathers” and “The earth is ourmother” as partner songs. This is demonstrated on the CD on track 23.

Melodic and non-melodic percussioninstruments.

When secure, teacher sings harmony softly over the student part (or sings along with the CD, where the harmony is added from verse 3 onwards).

CD has harmonyincluded from verse 3on tracks 23 and 25

&

&

&

&

&

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

Rœ#

œœ

œ˙

L

˙

Rœ

œ#œ

œ

œœ œ œ

œœ œ œ

œœ œ œ œ œ

œ

>

œ œ œ œ

>

œ œ œ

Œ œ Œ œ

œ

œ œ

œ

œ œ

w

œ œ ˙

w

Rœ#

œœ

œ˙

L

˙

Rœ

œ#œ

œ

œœ œ ˙

œœ œ œ œ œ

œ

>

œ œ œ œ

>

œ œ œ

Œ œ Œ œ

œ

œ œ

œ

œ œ

w

œ œ ˙

w

“The earth is our mother” Percussion accompaniment62A pair songs

of

Verse only

Chorus only

Body percussion patterns Melodic and non-melodic percussion instruments

Use these patterns to teach the percussion parts.

R floorR legL leg

.

...

J

œ

j

œ

J

œ

j

œJ

œj

œ

J

œ

j

œ

J

œ

j

œ œ ˙4

4

R leg

L leg..

.

.

J

œ

j

œ

J

œ

j

œ œ œ

J

œ

j

œ

J

œ

j

œ œ œ4

4

shake in air

clap..

.

.

œ

>

œ œ œ

œ

>

œ œ œ

œ

>

œ œ œ

œ

>

œ œ œ4

4

clap ..

.

.Œ œ Œ œ Œ œ Œ œ

4

4

chest

patsch..

.

.

œ

œ œ

œ

œ œ

œ

œ œ

œ

œ œ4

4

patsch R

patsch L..

.

.

œ œ ˙

LHw

œ œ ˙

LHw

4

4


By the end of these activities, students willbe able to demonstrate that:1. they can sing simple rounds2. they are aware of other parts

while singing.


By the end of these activities, teachers willbe able to implement a variety of strategiesfor teaching rounds.

Rounds

Repertoire

Not on CD If you cross a mouse . . . . . . . . . . . . . . . . . . .64

CD tracks 26-27. Underneath the mango tree . . . . . . . . .66

Key

LOSMPSS k i l l s

singi

ng

play

ing

mov

ing

orga

nis

ing

sound

list

enin

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C o nc e p t s

STDyPD

dura

tion

pitc

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s

tone

colo

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stru

cture

If you cross a mousesung to “Row, row, row your boat”

Rounds 64

stamp

patsch

clap

snap

Movement Lyrics

If you cross a mouse

(Row, row, row your boat)

With an elephant

(Gently down the stream)

You’ll get big holes

(Merrily, merrily, merrily, merrily)

In your skirting boards

(Life is but a dream)

65

C o nc e p t s


To revise a well known melody.

Learning the song

Demonstrate the song with body percussion illustrated above. Sung to the melodyof “Row, row, rowyour boat”.To experiment with

dynamic variations.Repeat song until students are familiar enough to join in.

Sing whole song varying the dynamics of each line.

Perform the actions while singing the words silently (in your head).

To develop the ability to hold a part.

To develop skills inensemble singing.

Preparing to sing the round

Divide the class into four groups:

Group 1 sing line 1 as an ostinatoGroup 2 add line 2 as an ostinatoGroup 3 add line 3 as an ostinatoGroup 4 add line 4 as an ostinato.

Encourage students to listen and blend with the other parts. Experimentwith varying the dynamics. Select a student to signal the entry and exitof parts.

To sing song as a round. Standing in a circle, divide class into four groups. Perform song as a round with body percussion accompaniment.

To perform a morecomplex round.

Extension

Try performing as a round of up to eight parts.

To develop vocalindependence andlistening skills.

Divide class into the same four groups as before. When the groups areconfident, students move around the room singing their ostinatos. Theobject is to join up with one member from each of the other groups.

&b

4

4

1

œœ

œœ

œ œ

Dm

Un - der- neath the man - go

œ œ˙

Am Dm

tree were we,

œœ

œœ

œ

‰ j

œ

Hid- ing in the tree was

&b

œ œ œ˙

Am Dm

Tar - ni - ki - ni.

2

œœ

œœ

œ œ œ

Look out down be - low for the

œ œ˙

Am Dm

ripe man - go,

&b

œœ

œœ

œ œ œ

Rain - ing down be - low from the

œ œ˙

Am Dm

ripe man - go.

3

˙ ˙

Oh no,

&b

˙˙

Am Dm

oh no,

˙ ˙

oh no,

œœ

œœ

˙

Am Dm

go man - go, man - go!

Rounds

Underneath themango tree

Ian Ross Williams

66

Tarnikini is flying fox (Tiwi language of Bathurst and Melville Islanders, Northern Territory).

67

C o nc e p t s


Learning the song

Listen to the song and discuss what the song is about. Explain “Tarnikini”which means flying-fox in the Tiwi language of Bathurst and MelvilleIslanders, Northern Territory.


Listen again and add following body percussion to accompany the song.

.

...

˙ ˙˙ ˙

œ œ

˙

œ œ

˙

4

4

floorknees

To develop a feel forsinging in a minor key.

Teach the song by echo, phrase by phrase.

Transfer body percussion patterns to melodic percussion.

Perform melodic percussion with recorded version.

& 4

4..

.

.

˙ ˙

D D

œ œ

˙

A A D

To develop a sense ofphrasing in singing.

Sing song through in unison. Discuss where students felt they needed to breathe. Sing again, breathing at the end of each two-bar phrase.

To develop appropriatebreathing and anawareness of long andshort notes when singing.

Play the recorded version and ask students to raise their hands whenthey hear a long note held at the end of each phrase and on “oh no, oh no”.

Sing the song again with correct breathing and holding the long notesfor their full value.

Unison section of“Underneath theMango Tree”,track 26


68

C o nc e p t s


To be familiar with thestructure of the song.

Introducing the round

Introduce the round by discussing the structure used on the recording:introduction, unison (x1), instrumental, round (x2), coda.

Play the introduction again. Discuss how it is like section 3, ”Oh no, ohno, oh no, go mango, mango”

To accompany a songwith vocal ostinato.

Try singing section 3 as an ostinato to accompany the song. Sing it softly with the recording of the unison section.

Transfer section 3 to xylophone, recorder or another melodic instrumentand accompany the song in unison.

&b

4

4..

.

.˙ ˙

Oh

A

no,

A

˙˙

oh

G

no,

F

˙ ˙

oh

F

no,

F

œœ

œœ

˙

go

E

man-

G

go,

F

man-

E

go.

D

Xylophone, keyboard,recorder or anothermelodic instrument.

To perform as a round in three parts.

Divide the class into three groups and sing as a three-part round with the CD.

To use a melodic ostinatoto maintain pitch andtonality.

To develop vocal blendand harmony.

Try performing the round using melodic instruments to play theaccompaniment from the chords on page 66.

Record the class version of the round and discuss the blend of voices,dynamics, long notes, breathing and ways to improve the performance.

Record it again and compare the two versions.

Cassette player for recording classcompositions.

Rounds


By the end of these activities, students willbe able to demonstrate that they can:1. interpret the words of a song2. develop a simple song into

a performance.


By the end of these activities, teachers willhave implemented strategies which develop a song into a performance piece.

A songfor

performance

Repertoire

CD tracks 28-29. Gary Galah . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Key

LOSMPSS k i l l s

singi

ng

play

ing

mov

ing

orga

nis

ing

sound

list

enin

g

C o nc e p t s

STDyPD

dura

tion

pitc

h

dyn

amic

s

tone

colo

ur

stru

cture

& 4

4..

œœ

œœ

œ

C

1.Way out west where the

j

œ œ

j

œ ˙

Dm7 G

gum- trees are

œ œœ œ

œ œœ

C

Lives a funny fellow called

&œ œ œ

œ œ œ œ

Bb G

Gar - y Ga - lah And the

œœ œ

œ

œ

C C7/Bb

one thing that Gar - y

œ œ œœ œ œ

F/A F

likes do - ing best Is

& œ œ œ œ œœ

G

fly - ing a- round in

1,2,3

œœ œ œ

œœ

œ

C

fan - cy dress. He wears a

4.

œœ œ ˙

C

fan - cy dress.

&œ

œœ

œœ

G

bow - tie, sun- glas - ses,

J

œœ

j

œ ˙

cowboy hat,

œ œœ œ

œ œœ

œ

C

Knick- er - bock- ers, bra - ces and a

&J

œœ

j

œ ˙

pair of spats,

œ œœ

œ œœ œ

G

Vel - vet cloak, fril - ly shirt and

J

œœ

j

œ ˙

tar - tan vest,

&

.

...œ œ œ œ œ œ

D

All the things he needs to

1,2

J

œ

œ

j

œ .œ

j

œ

G

look his best. 2.His

3.

J

œ

œ

j

œ ˙

G

look his best.

& œ œ œ œ œœ

G

Fly- ing a- round in

œœ œ ˙

C

fan - cy dress,

œ œ œ œ œœ

G

Fly- ing a- round in

œ œ œ ˙

F C

fan - cy dress.

Verse

to Chorus to CODA fi

Chorus

fi CODA

A song performancefor

Gary GalahLouise Pettinger

70

Way out west where the gum trees are

Lives a funny fellow called Gary Galah,

And the one thing that Gary likes doing best

Is flying around in fancy dress.

His wardrobe is a hollow tree

Where he keeps a variety

Of costumes fit for any star.

Yes, a fancy dresser is Gary Galah.

The other birds think he’s somewhat mad

To spend his lifetime being a cad

But Gary doesn’t mind ’cause he’s perfectly fine

Flying around just looking divine.

repeat verse 1

Flying around in fancy dress,

Flying around in fancy dress.

Coda

Verse 4

Chorus

Verse 3

Chorus

Verse 2

Verse 1

71

He wears a bowtie, sunglasses, cowboy hat,

Knickerbockers, braces and a pair of spats,

Velvet cloak, frilly shirt and tartan vest,

All the things he needs to look his best.

Chorus

Lyrics

72

C o nc e p t s


To develop listening skillsand interpret the wordsof the song.

Introducing the song

“Gary Galah” is about a colourful character. Ask the students to listen for any information they can discover about the character. Each time the chorus occurs, perform actions to reflect the articles of clothingdescribed. Encourage students to join with the actions while listening to the song (they will probably join in singing as well).

Discuss what they found about Gary Galah’s clothes.

Discuss how the actions reflect his costume. Explanation of some itemsmay be necessary.

To recognise recurringsections and observecontrast betweensections.

Talk about the structure of the song:

IntroductionVerse 1ChorusVerse 2ChorusVerse 3ChorusVerse 1

Coda

To echo pitch accurately.

Learning the song

Teach chorus with actions. Students echo.

To practise articulation of consonants to improve diction.

Perform the following patterns for the students to echo:

.

...

œ œ œ œ

whoo - wit, whoo - wit.

4

4

.

...

œ œ œ œ

C C C C

4

4

.

...

œ œ œ œ

sh sh sh sh

4

4

.

....œ œ .œ œ .œ œ .œ œ

Re - par- ti - ca, Re - par- ti - ca

4

4

A song performancefor

73

Discuss the importance of articulation (so the audience will understandthe lyrics and the humour in the song).

Practise saying the words of the song, emphasizing the consonants. For example:

knickerbockers bow tie vest best hat spats cloak

Repeat with words from the verses.

Play the recording and encourage the class to snap their fingers on the2nd and 4th beat of each bar during the verses and to join in the chorus.

To develop a sense of musical phrase.

Play the recording again and ask the students to move freely around the room, changing direction at the end of each line of the verse (this is a musical phrase). Sing during the chorus.

To develop appropriatebreathing techniques.

To listen critically andimprove performance.

To develop a song for a performance item.

Sing the song, ensuring that students breathe at the end of each phrase.

Perform the whole song and record the performance. Discuss how it canbe improved.

Dress it up. Create some choreography for your own galah chorus.Experiment with the dynamics to add contrast in the verses. Try singingthe chorus softly and loudly.

Perform the song at assembly or for a special occasion.

LOSMPSS k i l l s

singi

ng

play

ing

mov

ing

orga

nis

ing

sound

list

enin

g

C o nc e p t s

STD yPD

dura

tion

pitc

h

dyn

amic

sto

ne

colo

ur

stru

cture

Glossaryanacrusis

an unstressed note at the beginning of a phrase

barthe divisions of beats in music

beatthe steady pulse in music

body percussionnon-melodic sounds made by some part of the body

bridgea short section of music which links two

important sections of a piece of music

call and responsewhen a phrase sung by one musician is answered

by another musician or by a group

chantreciting in a musical way

chorusthe part of a song often repeated after a verse

chromaticone or more notes which do not belong to a

diatonic scale or mode

codaa section which rounds off or ends a piece

Glossarycontour

see “melodic contour” below

crescendogradually getting louder

diminuendogradually getting softer

durationthe length of sounds

dynamicsthe loudness or softness of sound

echoimitate

glissandosliding between notes, either vocally orinstrumentally

graphic notationany arrangement of visual symbols to show music

harmonytwo or more pitches sounded together

improvisationmaking up the music as it is being performed or,in some cases, with no beat

intervalthe “distance” between two notes; the differencein pitch

74

melodythe tune or arrangement of pitched sounds

melodic/pitch contourthe shape made by a musical phrase or group of notes

metrethe division of beats marked by accents

ostinatoa constantly repeated pattern

patschslap thighs

phrasea short segment of a melody

pitchrelative highness or lowness of sounds

ragtimea popular style of composition for piano in the late 19th and early 20th century, with a syncopated melody line against a strict bass or accompaniment

raprhythmical speaking

riffa repeated musical pattern

rhythmpatterns of short and long sounds and silencesfound in music

rondo a set structure (ABACA), where section A recursbetween alternating sections

rounda part song in which the voices sing the samemelody but enter one after the other

soundscapean atmosphere created by using sounds, often environmental

syncopationshifting the normal accent from a strong beat to a weak beat

tamboura frame drum, like a tambourine, without the jingles

tone colourthe timbre or quality of sound

unisonall playing or singing the same melody together

versea section of a song usually alternating with the chorus

vocalisingusing the voice

75

vocal ease

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