hoover music curriculum

Hoover City Schools

Elementary Music Course of Study

2007

Adaptation of the Alabama State Course of Study

Hoover City Schools Elementary Music Course of Study

2007

Contributing Writers

Natalie Evans, Riverchase Elementary School Beth Galloway, Trace Crossings Elementary School Erin Gray, South Shades Crest Elementary School Paula LeBlanc, Rocky Ridge Elementary School

Carlee Means, Gwin Elementary School Vicki Portis, Bluff Park Elementary School

Angela Roebuck, Shades Mountain Elementary School Mary Shaw, Green Valley Elementary School

Lisa Vines, Deer Valley and South Shades Crest Elementary Schools Betty Wilson, Deer Valley Elementary School Sara Womack, Greystone Elementary School

Andy Craig, Superintendent

Dr. Deborah Camp, Director of Elementary Curriculum

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Table of Contents

Philosophy of Music Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Elementary Music Course of Study Kindergarten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 First Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Second Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Third Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Fourth Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Fifth Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Correlation to MENC National Standards. . . . . . . . . . . . . . . . . . . . . . . 18 Elements Scope and Sequence Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Texture and Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Timbre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Expression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Suggested Teaching Timeline Kindergarten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 First Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Second Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Third Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Fourth Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Fifth Grade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Timeline at a Glance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Appendix Music History Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Cultural and Style Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Suggested Inventory of Instruments . . . . . . . . . . . . . . . . . . . . . . 65

Suggested Curriculum Resources . . . . . . . . . . . . . . . . . . . . . . . 66

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Hoover City Schools Philosophy of Music Education

“During the Gulf War, the few opportunities I had for relaxation I always listened to music, and it brought me great peace of mind. I have shared my love of music with people throughout this world, while listening to the drums and special instruments of the Far East, Middle East, Africa, the Caribbean, and the Far North, and all of this started with the music appreciation course that I was taught in a third-grade elementary class in Princeton, New Jersey. What a tragedy it would be if we lived in a world where music was not taught to children.”

General H. Norman Schwarzkopf, United States Army

The Hoover City Schools music education philosophy is grounded in the premise

that all students should be engaged in a challenging and effective music education.

Current legislation and research has proven the need and demand for music education.

The No Child Left Behind Act consistently uses language that embraces support for the

arts programs. The definitions section of the law lists arts as a core subject area, along

with English, reading or language arts, mathematics, science, history, geography, civics

and government, economics, and foreign languages. When pointing out how decisions

are to be made on funding, the law states that the expenditures are to be made to

support the core subjects and the curricula and instruction that are aligned with the state

course of study and student achievement standards. A 2003 Gallup Poll found 95% of

Americans believe that music is a key component in a child's well-rounded education.

Three quarters of those surveyed feel that schools should mandate music education.

Another study found the schools that produced the highest academic achievement in

the United States are spending 20% to 30% of the day on the arts, with special

emphasis on music. (International Association for the Evaluation of Educational

Achievement Test, 1988).

The Hoover City Schools philosophy of music education is built upon teaching

the five concepts of music – rhythm, melody, harmony, form, and expressive qualities.

The curriculum is spiral based and highly developmental. Conceptual learning is also a

focus in that each concept will be taught while utilizing a variety of music skills – singing,

playing instruments, moving, listening to and analyzing music, reading and notating

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music, and composing and improvising music. The National Standards, Alabama

Course of Study, and Hoover City Schools Course of Study will serve as a guide. The

philosophies of Carl Orff and Zoltan Kodály will be the center of most of the activities

completed in the classroom. Through these philosophies, students spend the majority

of instructional time creating and recreating music instead of simply discussing music.

Students experience all aspects of music before learning the associated terminology.

The purpose of the music program is to insure that students will value music

throughout their lives. In order for a continuous appreciation of music to occur, students

must have a fundamental understanding of music and realize that being an active

participant in music, whether as a performer or listener, is an enjoyable experience.

While comprehending the basic functions of music is central to the purpose of this

music program, the foremost consideration is whether the students are excited about

the music making process. If the students do not feel that the subject matter is relevant

or entertaining, music will not become a necessary part of their lives in their middle

school, high school, college, or post college years. Music is made relevant to students

of all learning styles by utilizing music of all cultures and a variety of teaching tools.

Because student excitement regarding music learning is the foremost concern,

student needs drive the curriculum of the music program. The use of consistent and

comprehensive assessment reveals the students’ needs and guides curriculum

decisions in order to meet those needs. Parent support is also a necessary component

of the program. Parent suggestions are encouraged. A high expectation of exceptional

behavior from all students insures an inviting learning environment for the

administration, teachers, parents, and students.

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Kindergarten

Most children enter kindergarten, the beginning of their formal education, with a repertoire of songs they may have learned from family members or from childcare or preschool experiences. These songs are the basis from which music educators begin, moving the student from the familiar to new learning experiences in the area of music. The learning environment in kindergarten incorporates active participation by students. Students learn basic music skills by singing and echoing short rhythm patterns. They learn to differentiate between singing and speaking voices, begin learning basic conducting cues, demonstrate understanding of basic rhythmic concepts, learn to play various rhythm instruments, and begin to recognize changes in the dynamics and tempo of music. They also begin to discern differences in phrases and to improvise simple four-beat melodies. Kindergarten students are able to sing pitch within the range of D below the staff to second space A. Through content standards for kindergarten, students develop knowledge of various songs and musical styles and learn to express themselves through movement. They are engaged in activities that allow them to experience an enjoyment of music while developing skills in the areas of speaking, singing, moving, and playing instruments. The foundation gained in kindergarten prepares students for the study of music at the next grade level.

Produce Students will:

1. Sing simple songs alone and with others following the contour of melody. • Memorize songs • Sing with good posture and diction maintaining a steady tempo • Demonstrate the difference between speaking and singing

Examples: whispering, calling, speaking, singing • Use their age-appropriate vocal range utilizing head tone • Vocal Range - C4-A4; Tessitura - D4-A4

2. Demonstrate responses to nonverbal conducting cues.

Examples: sit, stand, listen, sing, start, stop, sing or play louder or softer.

3. Imitate a steady beat while playing various rhythm instruments. • Recognize the presence or absence of a steady beat • Demonstrate steady beat on barred instruments using bilateral motions • Differentiate between steady beat and rhythm

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4. Echo short rhythm patterns consisting of quarter notes, quarter rests, and paired

eighth notes. • Respond to iconic notation, i.e. play instrument, move, read aloud • Play and create rhythm patterns on body percussion and unpitched

percussion instruments individually and in unison with others

5. Improvise four-beat melodies using la, so, and mi. Example: Improvising on barred instruments on a pentatonic scale

6. Create expressive movement to folk songs, folk games, lullabies, marches, and

other musical genres. Examples: skipping to “Skip to My Lou,” marching to “Yankee Doodle”

• Express musical ideas using creative movement and body percussion

7. Demonstrate appropriate audience and performance behavior.

8. Play pitched and unpitched instruments with appropriate techniques. • Play a steady beat using bilateral motions.

9. Acquire and develop a repertoire of non-locomotor and locomotor movements.

Respond Students will:

10. Identify similarities and differences in familiar songs, including fast or slow, loud or soft, short and long, and high and low.

Example: comparing a march to a lullaby

11. Identify like and unlike phrases presented aurally in a piece of music.

12. Identify solo or group performances by sound.

13. Identify sets of two and three beats.

Understand Students will:

14. Recognize differences between adult and children’s voices. 15. Demonstrate singing, speaking, whispering, and calling voices.

Example: singing and reciting the alphabet

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16. Recognize holiday songs and simple songs from the United States and other cultures and countries.

Examples: United States – “America” holiday – “Jingle Bells” other cultures and countries – “Frère Jacques”

17. Identify various rhythm and orchestral instruments by sight and sound. Examples: drums, piano, trumpet

18. Differentiate high and low vocal sounds through vocal exploration.

Example: producing aurally the sounds of a bird and a cow

19. Identify the seven letters of the musical alphabet.

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First Grade

In first grade, students’ listening skills are more refined, as is their ability to be expressive through singing. Fine motor skills are becoming more developed, and through active learning experiences, their cognitive skills increase. In the music classroom, first-grade students continue to develop skills in speaking, singing, listening, playing instruments, and in creating movement. Students learn to identify dynamic markings, clap rhythm patterns, and begin to recognize the difference between a note and a rest. Basic music reading abilities, such as identifying quarter notes and rests and determining melodic direction on a staff, are also addressed during this grade. First-grade students are able to sing pitches within the range of D below the staff to third line B. The classroom environment in Grade 1 is one of active participation and exploration by students. Therefore, music educators of first-grade students should incorporate a variety of instructional strategies that allow students to learn by doing.


1. Sing songs from various cultures and countries within an age-appropriate vocal range using clear vocal tones. • Sing short melodic passages that indicate upward and downward

movement in a melody Example: singing “Hot Cross Buns” • Sing expressively using appropriate dynamics, tempo, and rhythm

Examples: piano (p), forte (f) • Match pitch • Distinguish between accompanied and unaccompanied songs • Sing songs in various pentatonic and major and minor keys • Sing songs in various meters, i.e. duple and triple • Vocal Range - D4-D5; Tessitura - D4-B4

2. Improvise four-beat melodies using mi, re, and do.

• Improvise on barred instruments on a pentatonic scale

3. Sing, play or imitate melodic patterns, individually and in unison with others. Examples: “Che che koolay” and “Cookie”

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4. Demonstrate rhythm patterns by reading quarter notes, quarter rests, paired eighth notes and half notes, including playing them on various rhythm instruments. • Clap repeated rhythm patterns or ostinati in familiar songs • Perform accompaniments on pitched or unpitched percussion instruments

using a steady beat • Improvise a response to a simple rhythmic pattern, i.e. question-answer

5. Play pitched and unpitched instruments with appropriate techniques. • Play a simple bordun • Play a steady beat using bilateral and alternating motions • Play along with others

6. Compose, using sound and movement, backgrounds or settings for poems, stories, songs, and speech pieces.

7. Interpret icons representing beat/strong beat, long/short, and tempo and dynamic

changes.

8. Read notation using quarter notes, quarter rests, and paired eighth notes.


9. Demonstrate vocal responses to conductor cues for loud and soft.

10. Identify melodic direction on the musical staff. Examples: upward, downward, and same

11. Identify notes as being line note or space note on a musical staff.

12. Identify so, mi, and la on the staff

13. Identify by sight and sound the difference between a note and a rest.

14. Identify musical symbols and terms

Examples: quarter note, eighth notes, quarter rest, staff, treble clef

15. Identify musical phrases in a song presented aurally. Example: “Twinkle, Twinkle, Little Star”

16. Use creative movement to express the mood, dynamics and tempo of musical selections.

Examples: skipping happily, tiptoeing when scared

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17. Identify duple meter as strong-weak beat organization and triple meter as strong weak, weak.

18. Identify AB and ABA form in a musical selection.

19. Identify long and short musical sounds.

Example: One sound per beat, two sounds per beat, no sound


20. Distinguish between low and high sounds produced by voices or instruments.

Examples: low pitch – kettledrum, man’s voices; high pitch – triangle, woman’s voice

21. Identify the number of lines and spaces on the treble clef staff. 22. Describe how vibrations produce musical sounds. 23. Identify ways in which music relates to other subjects. 24. Describe in simple terms how elements of music are used in music examples

from various cultures of the world and historical periods. 25. Devise and implement criteria for evaluating performances using

developmentally appropriate musical terms. 26. Classify rhythm instruments by method of tone production, including striking,

shaking, scraping, and ringing.

27. Develop awareness of tone color categories: woods, metals, shakers, scrapers, and skins.

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Second Grade

Students in second grade are beginning to exhibit more independence in their thought processes and are able to understand more complex concepts. They exhibit independence in using acquired knowledge to form opinions and personal choices. However, they continue to need teacher guidance and monitoring.

In the music classroom, second-grade students are refining their musical skills by accomplishing increasing rigorous standards. Aural skills needed to identify phrases, dynamics, form, and tone color are further developed, as are basic music reading skills.

Second-grade students are able to sing pitches within the range of D below the staff to third line B. They classify rhythm instruments by sound produced and use pitched instruments to perform accompaniments. They also explore components of music through listening, playing instruments, and discovering “found sounds” in their environments.

Produce

Students will:

1. Sing on pitch using good posture. • Sing simple melodic ostinati and patterns in call and response form • Engage in vocal exploration, blending chest and head voice throughout

the vocal range to produce uniform tonal quality in each register • Practice production of head voice sounds in the upper register and

sustaining tones • Expand vocal range upward • Develop aural perception of home tone or tonal center • Vocal Range - C4-D5; Tessitura - D4-B4

2. Improvise eight-beat melodies using la, so, mi, re, and do ending on home tone or tonal center.

3. Perform accompaniments to poems, rhymes, stories, dramatizations, and songs using pitched instruments.

• Demonstrate rhythm patterns by reading quarter notes, quarter rests, paired eighth notes, and half notes

• Select appropriate classroom instruments to create musical accompaniments

• Sing songs representative of other cultures and countries • Perform folk dances appropriate for age level to music from various

cultures Example: Chinese ribbon dance

• Play simple rhythmic ostinati by rote and from notation

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4. Develop basic mallet techniques.

5. Compose introductions and codas for songs and speech pieces.


6. Identify music terms related to tempo changes in music, including accelerando, ritardando, and fermata.

7. Identify ABA and verse-refrain form in a musical selection.

Examples: using shapes to illustrate patterns, comparing musical forms to visual arts

8. Identify steps, leaps, and repeated notes in printed music.

9. Recognize and use standard notation and terms.

Examples: repeat signs, accent, p, f, whole, note, half note, slurs, ties, introduction, coda, D.C.


10. Identify American patriotic songs. Examples: “Star Spangled Banner,” “America,” “God Bless America”

11. Identify letter names of lines and spaces on the treble clef staff.

12. Identify the difference between a verse and a refrain in a familiar musical

selection. 13. Identify dynamic markings of forte (f), piano (p), crescendo (cresc. and <), and

decrescendo (decresc. and >). 14. Distinguish between various vocal and instrumental timbres.

Example: male and female voices, simple classroom instruments.

15. Identify the four families of instruments in an orchestra. • Identifying and classifying individual instruments by sight.

16. Identify melodic sequences in a melody.

Example: motif from first movement of Ludwig von Beethoven’s Symphony No. 5

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Third Grade

Students in third grade are active, curious, and eager to learn. They need greater independence as they progress in cognitive, social, emotional, and physical development. Students remain primarily concrete learners, acquiring knowledge through visual and auditory stimulation as well as hands-on experiences.

The learning environment of the third-grade music classroom is one that reflects the energy and enthusiasm of its students. Students work together as a community of learners in an atmosphere in which their ideas and contributions are valued. This environment promotes self-confidence, and is one in which students are more receptive to suggestions for improvement.

Content standards in Grade 3 emphasize the development of proper vocal technique; performance of simple melodic, rhythmic, and chordal accompaniments; and identification of instruments by sight and sound. Third-grade students are also able to sing pitches within the range of D below the staff to fourth line D. These skills, along with others, continue to serve as the foundation for the advanced content in subsequent grades.

Produce

Students will:

1. Demonstrate proper vocal technique by using pure head tone, good posture, and correct rhythm.

• Use appropriate dynamics while singing expressively • Sing rounds • Sing songs of other cultures and countries • Vocal range - B3-E5; Tessitura - D4-D5

2. Sing melodic ostinati, canons, partner songs, and echo songs to create harmony.

3. Improvise eight-beat melodies using la, so, mi, re, and do and quarter note and eighth note rhythms.

• Improvise contrasting B and C sections in rondo form using sound and movement

• Improvise answers to given rhythmic and melodic phrases • Express musical ideas using creative movement, body percussion,

classroom instruments, and vocal sounds • Improvise simple melodies based on the pentatonic scale

4. Play rhythm patterns, including whole notes, dotted half notes, dotted quarter notes, sixteenth notes, and simple syncopation using pitched or unpitched instruments or by clapping.

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5. Perform rhythmic ostinati while others are singing a melody.

6. Develop crossover mallet technique for playing borduns and ostinati.

7. Create and compose music within specified guidelines. • Create AB, ABA, ABACA, using speech, instruments, voices, and

movement • Compose rhythmic and melodic patterns


8. Demonstrate melodic contour through creative movement. Example: using gestures or drawings to indicate upward and downward direction of melody

9. Recognize conductor cues in @ and $ meter signatures meter signatures.

10. Identify ABC form in musical selections.

11. Identify meter according to strong and weak beat organization.

Examples: strong, weak = @; strong, weak, weak, weak = $

12. Recognize and use standard notational symbols and terms. Example: dotted half note, single eighth note, eighth rest, staccato, legato,

musical alphabet, fermata, barline, measure, $, @, #, pitch names


13. Identify music symbols found on the staff, including the treble clef, meter signatures, bar lines, measures, double bar line, and repeat signs.

• Defining terms associated with printed music, including fermata, slur, legato, staccato, and da capo (D.C.)

14. Identify music terms related to dynamics in music, including fortissimo (ff), mezzo forte (mf), mezzo piano (mp), and pianissimo (pp).

15. Identify the musical alphabet ascending on lines and spaces from middle C to G above the staff.

16. Demonstrate perceptual skills by moving, by answering questions, and by describing aural examples of music of various styles representing diverse cultures.

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Fourth Grade Students in fourth grade are becoming more expressive. They are developing both socially and emotionally and often look to their peers for social acceptance. Fourth-grade students are intrigued with the varied sounds they make with their voices and find opportunities to use their speaking and singing voices with proper pitch, phrasing, pace, modulation, and gestures. To nurture their interest, the classroom environment promotes the active engagement of students in their own learning through independent and group projects. These experiences prepare student for new content found in the music curriculum. Content standards in Grade 4 continue to build upon prior knowledge. Additional concepts, techniques, and vocal requirements are added to those already mastered by students. At this grade level, students perform a varied repertoire of music, sing expressively, echo rhythmic and melodic pitches within the range of middle C to fourth line D. Through these musical experiences students continue to develop cognitively, physically, socially, and emotionally.


1. Perform a varied repertoire of music using vocal technique, pure head tone, good diction, good posture, proper pitch and rhythm, and breath control.

• Sing intervals within the major pentatonic scale

• Respond to conducting patterns of @, #, and $ meter signatures

• Sing legato and staccato • Sing songs of other cultures and countries • Sing using a variety of dynamics • Practice blending chest and head voice throughout the vocal range to

produce uniform tonal quality in each register • Sing with sensitivity to blend in a group or choral ensemble, responding to

cues from a conductor • Develop aural perception and inner hearing skills • Develop correct intonation • Vocal Range - A3-G5; Tessitura - C4-D5

2. Sing in rounds or canons to create harmony.

• Sing partner songs

3. Improvise eight-beat melodies using so, mi, la, re, and do with half notes, quarter rests, and syncopation.

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4. Perform simple chord progression on pitched instruments.

Example: I, V

5. Perform simple melodies on pitched instruments.

6. Perform rhythm patterns, including syncopation and eight and sixteenth-note combinations on various rhythm instruments.

• Play melodic and rhythmic ostinati

7. Recognize and label phrases.

8. Create and compose music within specified guidelines. • Create, notate, and perform a pentatonic melody • Create and perform speech, movement, and/or rhythm canons

9. Practice patterned locomotor movements in singing games and circle, line, and

folk dances.


10. Improvise pentatonic melodies using a variety of sound sources including recorder and pitched percussion.

11. Improvise pentatonic melodies using a variety of sound sources, including electronic sources.

12. Identify ledger-line notes C and B below the treble staff.

13. Identify theme and variations in musical selections.

Understand

Students will:

14. Classify orchestral instruments by family • Identify individual instruments by sound

15. Recognize styles of twentieth-century music Example: jazz, pop, country, folk

16. Explain personal preferences for specific musical works and styles using appropriate music terminology.

17. Identify by sound and describe roles of musicians and the elements of music in various music settings and cultures.

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Fifth Grade Students in fifth grade are experiencing rapid growth in their emotional and social development. As they become more aware of their immediate surroundings, students’ interest in the expanded environment begins to emerge. Students need guidance to recognize relationships between music and other disciplines as they develop a more sophisticated sense of music, using it to reflect their feelings and emotions. The fifth-grade music classroom provides a positive learning environment that encourages students to participate in classroom activities while using good posture, intonation, correct rhythm, and breath control. Content standards in Grade 5 offer opportunities for students to become engaged in singing, notating, and composing, while musically defining techniques and process. They are able to play rhythm patterns and begin to recognize instruments in the orchestra by sight and sound. Fifth-grade students are also able to sing pitches within the range of middle C to fourth line D. These skills enable students to transition smoothly into Grade 6-8 Music or into Level I of either Vocal or Instrumental Music.


1. Sing intervals on pitch within a major diatonic scale. • Further establish deep breathing skills and breath control • Vocal Range - A3-G5; Tessitura - C4-D5

2. Improvise eight-beat melodies using la, so, mi, re, and do with a variety of rhythms and phrases.

• Improvise extended phrases in question/answer form • Improvise melodies using various scales

3. Play rhythm patterns, including triplets and dotted eighth and sixteenth-note combinations on pitched and non pitched instruments

• Perform melodic and rhythmic patterns and songs in @, #, $, and P meter

signatures

• Notate rhythms in @, #, and $ meter signatures

• Identify tempo markings such as allegro, presto, largo, and andante

4. Perform simple melodies on recorders.

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5. Improvise melodies in a major diatonic scale by singing or using a pitched instrument.

6. Compose melodies and accompaniments to songs, poems, stories, and

dramatizations, using AB, ABA, and rondo forms.

7. Sing partner songs to create harmony. • Sing descants and two-part songs

8. Demonstrate appropriate use of legato and staccato in a song. 9. Compose, notate and perform compositions.

10. Perform creative movements while exploring concepts of space: level, direction,

size, place, pathways, focus.


11. Recognize conducting patterns of @, #, and $ meter signatures.

12. Identify ledger-lines notes A, B, and C above the treble staff.


13. Identify whole and half steps of the major diatonic scale in printed music. • Identify intervals of the diatonic scale in printed music • Recognize the difference between major and minor tonality

14. Recognize vocal timbre as soprano, alto, tenor, or bass.

15. Identify eras of music.

Examples: Baroque, Classical, Romantic, Contemporary • Identify composers of each era of music

16. Compare in two or more arts how the characteristic materials of each art can be

used to transform similar events, scenes, emotions, or ideas into works of art. 17. Describe ways in which the principles and subject matter of other disciplines

taught in the school are interrelated with those of music.

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Correlation to MENC National Standards

Standards and Skills

Kindergarten 1st Grade 2nd Grade 3rd Grade 4th Grade 5th Grade

National Standard #1- Singing, alone and with others, a

varied repertoire of music.

Vocal Range Vocal Range- C4-A4; Tessitura D4-

A4

Vocal Range- D4-D5; Tessitura- D4-

B4

Vocal Range- C4-D5; Tessitura- D4-

B4

Vocal range- B3-E5; Tessitura- D4-

D5

Vocal Range- A3-G5; Tessitura- C4-

D5

Vocal Range- A3-G5; Tessitura- C4-

D5

Main Point

Sing simple songs alone and with others following the contour of

melody.

Sing songs from various cultures and countries within an age-

appropriate vocal range using clear

vocal tones.

Sing on pitch using good posture.

Demonstrate proper vocal

technique by using pure head tone,

good posture, and correct rhythm.

Perform a varied repertoire of music

using vocal technique, pure head tone, good

diction, good posture, proper

pitch and rhythm, and breath control.

Sing intervals on pitch within a major

diatonic scale.

Types of Songs

/ Melody -Memorizing songs

-Singing short melodic passages

that indicate upward and down ward movement in

a melody

-Singing simple melodic ostinati

-Singing rounds -Singing intervals within the major pentatonic scale

-Sing partner songs to create

harmony.

-Demonstrating the difference between

speech and singing.

Example: singing “Hot Cross Buns”

-Singing melodic patterns in call and

response form

-Singing songs of other cultures and

countries

-Singing songs of other cultures and

countries

-Singing descants and two-part songs

Examples: whispering, shouting,

speaking, singing

-Singing songs in various pentatonic

and major and minor keys

-Singing simple drones and

melodic ostinati

-Sing melodic ostinati, canons,

partner songs, and echo songs to

create harmony.

-Sing in rounds or canons to create

harmony.

-Singing songs in

various meters, i.e. duple and triple

-Singing songs representative of

other cultures and countries

-Singing partner

songs

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Expression

Singing with good posture and diction

maintaining a steady tempo

-Singing expressively using

appropriate dynamics, tempo

and rhythm

Developing aural perception of

home tone or tonal center

-Using appropriate dynamics while

singing expressively

-Responding to conducting

patterns of 2/4, !, 4/4 meter signature

Examples: piano

(p), forte (f)

-Express musical ideas using vocal

sounds

-Singing legato and staccato

-Demonstrate vocal responses to conductor cues for

loud and soft.

-Singing using a

variety of dynamics

Vocal

Technique

Using their age-appropriate vocal

range utilizing head tone

-Matching pitch

-Engaging in vocal exploration,

blending chest and head voice

throughout the vocal range to

produce uniform tonal quality in each register

-Practice blending chest and head voice throughout

the vocal range to produce uniform tonal quality in each register

Improve deep breathing skills

and breath control

-Sing melodic patterns,

individually and in unison with others.

-Practicing production of head

voice sounds in the upper register

and sustaining tones

-Sing with sensitivity to blend

in a group or choral ensemble,

responding to cues from a conductor

-Expanding vocal

range upward

-Develop aural perception and

inner hearing skills

-Develop correct

intonation

20

National Standard #2- Performing on instruments, alone and with others, a

varied repertoire of music.

Main Point

Play pitched and unpitched

instruments with appropriate techniques.

Play or imitate melodic patterns, individually and in unison with others.

Perform accompaniments

to poems, rhymes, stories,

dramatizations, and songs using

pitched instruments.

Play rhythm patterns, including

whole notes, dotted half notes,

dotted quarter notes, sixteenth

notes, and simple syncopation using

pitched or nonpitched

instruments or by clapping.

Perform simple chord progression

on pitched instruments.

Example: I, V, I

Play rhythm patterns, including triplets and dotted

eighth and sixteenth-note

combinations on pitched and non

pitched instruments

Instrument Technique

Play a steady beat using bilateral

motions.

-Play pitched and unpitched

instruments with appropriate techniques.

Develop basic mallet techniques.

Develop crossover mallet technique

for playing borduns and ostinati.

-Play a steady beat using bilateral

and alternating motions

21

Rhythm

-Echo short rhythm patterns consisting of quarter notes,

quarter rests, and paired eighth

notes.

-Play a simple bordun

-Demonstrating rhythm patterns by

reading quarter notes, quarter

rests, paired eighth notes, and half

notes

Playing rhythmic

ostinati

Perform rhythmic patterns and songs in 2/4, !, 4/4, and

6/8 meter signatures

-Playing and creating rhythm patterns on body percussion and

unpitched percussion instruments

individually and in unison with others

-Demonstrate rhythm patterns by

reading quarter notes, quarter

rests, paired eighth notes and half

notes, including playing them on various rhythm instruments`

-Playing simple rhythmic ostinati by

rote and from notation

-Clapping repeated rhythm patterns or ostinati in familiar

songs

-Performing accompaniments

on pitched or nonpitched percussion

instruments using a steady beat

22

Expression

Play in combination with

each other (Example: ensemble)

-Selecting appropriate classroom

instruments to create musical

accompaniments

-Perform rhythmic ostinati while

others are singing a melody.

-Express musical ideas using body percussion and

classroom instruments

Melody

-Perform simple melodies on

pitched instruments.

-Perform melodic patterns and songs in 2/4, !, 4/4, and

6/8 meter signatures

Examples:

recorders and barred instruments

-Perform simple melodies on

recorders

-Playing melodic

ostinati

23

National Standard #3- Improvising

melodies, variations, and

accompaniments.

Melody

Improvise four-beat melodies

using “la,” “sol,” and “mi.”

Improvising on barred instruments

on a pentatonic scale

Improvise eight-beat melodies using “la,” “so,”

“mi,” “re,” “do,” and quarter-note and

eighth note rhythms.

-Improvise eight-beat melodies

using “sol,” “mi,” “la,” “re,” and “do”

with half notes, quarter rests, and

syncopation.

-Improvise eight-beat melodies

using “la,” “sol,” “mi,” “re,” and “do”

with a variety of rhythms and

phrases.

Example: Improvising on

barred instruments on a pentatonic

scale

-Improvise answers to given

rhythmic and melodic phrases

-Improvise pentatonic

melodies using a variety of sound

sources including recorder and

pitched percussion.

-Improvise melodies using various scales

-Improvise simple melodies based on

the pentatonic scale

-Improvise pentatonic

melodies using a variety of sound

sources, including electronic sources.

-Improvise melodies in a major diatonic

scale by singing or using a pitched

instrument.

Rhythm

Improvising a response to a

simple rhythmic pattern, i.e.

question-answer

Improvise answers to given rhythmic

and melodic phrases

24

Form

Improvise contrasting B and

C sections in rondo form using

sound and movement

Improvise extended phrases in question/answer

form

National Standard #4- Composing and

arranging music within specified

guidelines.

Melody

Compose introductions and codas for songs

and speech pieces.

-Create and compose music within specified

guidelines.

-Create and compose music within specified

guidelines.

Compose melodies and

accompaniments to songs, poems,

stories, and dramatizations, using AB, ABA,

and rondo forms.

-Compose melodic

patterns

-Create, notate, and perform a

pentatonic melody

Rhythm Compose melodic

patterns

Create and perform speech, movement, and rhythm canons

Form

Create AB, ABA, ABACA, using

speech, instruments, voices, and movement

Compose melodies and

accompaniments to songs, poems,

stories, and dramatizations, using AB, ABA,

and rondo forms.

25

Accompaniment

Compose, using sound and movement,

backgrounds or settings for poems, stories, songs, and

speech pieces.

National Standard #5- Reading and notating music.

Rhythm Responding to iconic notation, i.e.read aloud

Read notation using quarter notes, quarter

rests, and paired eighth notes.

Recognize and use standard notation and

terms.

Recognize and use standard

notational symbols and terms.

Examples: repeat signs, accent, p, f, whole, note, half note, slurs, ties,

introduction, coda, D.C.

Example: dotted half note, single

eighth note, eighth rest, staccato, legato, musical

alphabet, fermata, barline, measure, 2/4, !, 4/4, pitch

names

Meter Notate rhythms in 2/4,3/4, and 4/4 meter signatures

26

Notation

-Identify by sight and sound the

difference between a note and a rest.

-Identify steps, leaps, and

repeated notes in printed music.

-Identify music symbols found on the staff, including

the treble clef, meter signatures,

bar lines, measures, double

bar line, and repeat signs.

Identify ledger-line notes C and B

below the treble staff.

-Identify whole and half steps of the major diatonic scale in printed

music.

-Identify notes as being line note or space note on a

musical staff.

-Identify letter names of lines and

spaces on the treble clef staff.

-Identify the musical alphabet

ascending on lines and spaces from

middle C to G above the staff.

-Identify intervals of the diatonic scale in printed

music

-Identify so, mi,

and la on the staff

Example: naming the spaces on a blank treble clef

staff

-Identify melodic direction on the musical staff.

Examples: upward, downward, same

Expression -Identify musical

symbols and terms

Defining terms associated with printed music,

including fermata, slur, legato,

staccato, and da capo (D.C.)

Recognize and label phrases.

27

National Standard #6- Listening to, analyzing, and

describing music.

Expression

-Identify similarities and differences in

familiar songs, including fast or

slow, loud or soft, short and long,

and high and low

Identify musical phrases in a song presented aurally.

-Identify music terms related to

tempo changes in music, including

accelerando, ritardando and

fermata

Identify music terms related to

dynamics in music, including fortissimo

(ff), mezzoforte (mf), mezzopiano

(mp), and pianissimo (pp).

-Identifying tempo markings such as

allegro, presto, largo, and andante

Example:

comparing a march to a lullaby

Example: Twinkle, Twinkle, Little Star”

-Identify dynamic markings of forte

(f), piano (p), crescendo (cresc.

and <), and decrescendo

(decresc. and >).

-Recognizing the difference between

major and minor tonality

-Identify like and unlike phrases

presented aurally in a piece of

music.

-Identify long and short musical

sounds.

-Demonstrate appropriate use of

legato and staccato in a song.

-Differentiate high and low vocal

sounds through vocal exploration.

-Distinguish between low and

high sounds produced by

voices or instruments.

Example: producing aurally the sounds of a bird and a cow

Examples: low pitch- kettle drum, man's voices; high

pitch- triangle, woman's voice

28

Form Identify AB and ABA form in a

musical selection.

-Identify ABA and verse/refrain form

in a musical selection.

Identify ABC form in musical selections.

Identify theme and variations in

musical selections.

Examples: creating pictures that use

shapes to illustrate patterns,

comparing musical forms to visual arts

-Identify the difference between

a verse and a refrain in a familiar musical selection.

-Identify melodic sequences in a

melody.

Example: motif from first

movement of Ludwig von Beethoven’s

Symphony No. 5

29

Meter Identify sets of two and three beats.

-Identify duple meter as strong-

weak beat organization and triple meter as

strong weak, weak

-Recognize conductor cues in 2/4 and 4/4 meter

signatures.

Recognize conducting

patterns of two-four, three-four,

and four-four meter signatures.

-One sound per

beat, two sounds per beat, no sound

-Identify meter according to strong

and weak beat organization.

Examples: strong, weak 2/4; strong, weak, weak, weak

4/4

Instruments

Identify various rhythm and orchestral

instruments by sight.

Classify rhythm instruments by method of tone

production, including striking, shaking, scraping,

and ringing.

Identify the four families of

instruments in an orchestra.

Classify orchestral

instruments by family

Examples: drums,

piano, trumpet

Identifying and classifying individual

instruments by sight.

30

Timbre

-Identify solo or group

performances by sound.

Develop awareness of tone color categories: woods, metals,

shakers, scrapers, and skins

Distinguish between various

vocal and instrumental

timbres.

Identifying individual

instruments by sound (timbre)

Recognize vocal timbre as soprano,

alto, tenor, or bass.

-Recognize differences

between adult and children’s voices.

Example: male and female voices, simple classroom

instruments.

-Demonstrate singing, speaking, whispering, and calling voices.

Example: singing and reciting the

alphabet

-Identify various rhythm and orchestral

instruments by sound.

Examples: drums,

piano, trumpet

31

Staff Identify the seven

letters of the musical alphabet.

Identify the number of lines

and spaces on the treble clef staff.

National Standard #7- Evaluating

music and music performances.

Devise and implement criteria

for evaluating performances

using developmentally

appropriate musical terms.

Explain personal preferences for specific musical works and styles using appropriate

music terminology.

National Standard #8- Understanding

relationships between music, the

other arts, and disciplines outside

the arts.

-Describe how

vibrations produce musical sounds.

-Compare in two or more arts how the

characteristic materials of each art can be used to transform similar events, scenes,

emotions, or ideas into works of art.

-Identify ways that music is related to

other subject matter

-Describe ways in which the

principles and subject matter of other disciplines

taught in the school are

interrelated with those of music.

32

National Standard #9- Understanding music in relation to history and culture.

History Recognize styles

of twentieth-century music

-Identify eras of music.

Example: jazz,

pop, country, folk

Examples: Baroque, Classical, Romantic,

contemporary

-Identifying

composers of each era of music

Culture

Describe in simple terms how

elements of music are used in music

examples from various cultures of

the world and historical periods.

Demonstrate perceptual skills by

moving, by answering

questions, and by describing aural

examples of music of various styles

representing diverse cultures.

Identify by sound and describe roles of musicians and the elements of music in various

music settings and cultures.

33

Songs

Recognize holiday songs and simple

songs from the United States and other cultures and

countries.

Identify American patriotic songs.

Examples: United States "America," Holiday- "Jingle

Bells," other cultures and

countries- "Frere Jacques"

Examples: “Star Spangled Banner,”

“America,” “God Bless America”

Performance

Behavior

Demonstrate appropriate

audience and performance

behavior.

Movement

Acquire and develop a

repertoire of non-locomotor and

locomotor movements.

Use creative movement to

express the mood, dynamics and

tempo of musical selections.

Performing folk dances

appropriate for age level to music from

various cultures

Express musical ideas using

creative movement

Practice patterned locomotor

movements in singing games;

circle, line, and folk dances.

Perform creative movements while

exploring concepts of space.

Examples: skipping happily, tiptoeing when

scared

Example: Chinese ribbon dance

Demonstrate melodic contour through creative

movement.

Example: using gestures or drawings to

indicate upward and downward

direction of melody

34

Rhythm Scope and Sequence

K 1 2 3 4 5

Steady Beat

Long and short sounds

Longer/shorter

One and two sounds per beat

Silent beat

Simple rhythm patterns

Beat / Rhythm

Sets of two and three beats (strong beat/ weak beat)

Duple meter (strong, weak) /

triple meter (strong, weak, weak)

2/4 and 3/4 meter signatures

4/4 meter signature 6/8 meter signature; experience meter in

5/4

Recognize conductor cues in 2/4 and 4/4 meter

signatures

Recognize conductor cues in

3/4 meter signature

Sound/silence

Identify by sight and sound the

difference between a note and a rest .

Combinations including quarter

note, paired eighth notes and quarter

rests

Identify and label notes as quarter

notes, paired eighth notes, quarter rests

and half notes

Tie: Two tied quarter

notes/rests=half note/rest, two half notes/rests=whole

note/rest

Combinations including all

previous notes and sixteenth notes,

dotted half notes, half rests and

simple syncoptaion


previous notes and sixteenth note

combinations and dotted half note


previous notes and dotted eighth and

sixteenth note combinations

Ostinato Ostinati by rote and

notation

Identify bar lines, measures, double bar lines, repeat

signs

35

Melody Scope and Sequence

K 1 2 3 4 5

High/low

Higher/Lower

Upward/Downward

Identify melodic direction on the musical staff:

Upward, downward, and the same

Identify notes so, mi and la on the staff

Low to high

High to low

So, mi, la Pentatonic, major and minor songs

Perception of home tone or tonal center

Do and La centered pentatonic

(major/minor)

Same and different Melodic patterns

using: la, so, mi, do

Melodic patterns using: la, so, mi,re, do ending on home tone or tonal center

Melodic patterns using: la, so, mi,re, do, High do, Low la and Low so, ending

on home tone or tonal center

Melodic patterns using: ti, la, so, fa, mi,re, do, High do, Low la and Low so,

ending on home tone or tonal center

Melodic contour

Identify the seven letters of the

musical alphabet

Line note or space note on a musical

staff

Identify the musical alphabet ascending on lines and spaces from middle C to G

above the staff

Ledger-line notes C and B below the

treble staff

Steps, skips and repeated pitches

Steps, leaps and repeated pitches

Intervals, unison and octave

Simple melodic

ostinati and drones

Whole and half steps

36

Texture and Harmony Scope and Sequence

K 1 2 3 4 5

One sound/more than one sound

Accompaniment/ no accompaniment

Thick/thin Rounds

Ostinato Partner songs

Bordun

Major/minor

Chord changes including I-V7

Chord changes including I-V7, I-IV-

V

2-part singing

Chord, intervals,

root

37

Timbre Scope and Sequence

K 1 2 3 4 5

Speak, sing, shout, whisper

Vocal production

Solo/group A Capella singing

Child and adult voices

Individual: Male,

female, child

Individual: Soprano, Alto, Tenor, Bass

Body percussion Group: small and

large vocal ensembles

Unpitched percussion

Scrapers, Shakers, Woods, Metals and

Skins

Strings, Percussion, Woodwinds and

Brass Keyboards

Pitched percussion

Flute, trumpet, snare drum, guitar,

piano

All previous instruments

including: trombone, violin, timpani,and

clarinet

Group: Large and small instrumental

ensembles

Group: Concert Band and Symphony Orchestra

Nature and Environmental

sounds

Instrumentation from diverse

cultures

Synthesized sounds

38

Form Scope and Sequence

K 1 2 3 4 5

Like/unlike phrases

Echo

Phrase forms ab

and aba

Phrase forms ab, aba, aaba,

and aabb

Introduction Introduction and

coda Solo/chorus

Introduction and coda

Same and different sections

Cumulative song

D.C. al fine

(ABA)

Verse/Refrain:

AB

First and second ending

Section forms

including AB and ABA

Section forms including AB, ABA, AABA,

ABC and ABACA (rondo)

Theme and variations

39

Expression Scope and Sequence

K 1 2 3 4 5

Loud / Soft

Dynamics and dynamic markings

including p, f, crescendo and decrescendo

All previous dynamic markings

and: sudden

changes (subito, p, f), mezzo (mp, mf),

pp, ff

Getting louder / Getting softer

Sudden changes in

dynamics Dynamic contrasts

Dynamics as an

expressive choice

Fast / Slow

Tempo markings including

accelerando, ritardando, and

fermata

Tempo markings including allegro, moderato, and

adagio

Tempo markings including presto,

andante and subito

Tempo markings including allegretto,

lento, and largo

Getting faster / Getting slower

Tempo as an

expressive choice Sudden changes in

tempo

Changes in tempo Appropriateness of

tempo choices

Legato

Articulations and articulation

markings including legato, staccato,

and accents

Articulations and articulation

markings including various slurs and

marcato

Staccato Articulation as an expressive choice

Phrasing

Variety of moods

40

Kindergarten Suggested Timeline

New Concepts Listed in Red

First Nine Weeks Second Nine Weeks Third Nine Weeks Fourth Nine Weeks

Rhythm sing, speak, and move with locomotor and non-locomotor movement to the steady beat

with a variety of recorded music, rhymes, chants,

fingerplays, and circle games

play unpitched instruments to the steady beat while speaking

and singing

respond to iconic notation with steady beat

play pitched instruments to the steady beat while speaking and singing using proper

mallet technique

experience sound versus silence

demonstrate and identify long/short, longer/shorter

sounds

demonstrate and identify one and two sounds per beat and silent beat with iconic notation

echo, play, and move to simple rhythm patterns including

quarter notes, paired eighth notes and quarter rests

identify sets of 2 and 3 beats

Melody experience and identify sounds as high/low, higher/lower

experience and identify upward and downward melodic contour while following iconic notation

sing and memorize songs from a varied repertoire using

appropriate head voice in a limited range using good

posture and diction

sing and memorize a varied repertoire of patriotic and

holiday songs using appropriate head voice in a

limited range using good posture and diction

sing melodies using so and mi sing melodies with so, mi, & la improvise four-beat melodies using so, mi, & la on barred instruments in a pentatonic

identify the seven letters of the musical alphabet

Form echo rhythmic and melodic phrases with body percussion

and unpitched percussion

identify a song's introduction

identify same and different phrases and sections

41

Tone Color (Timbre)

demonstrate and identify differences between singing,

speaking, calling, & whispering voices

identify by sound the differences between childrens' voices and adults' voices; solo

and group; body percussion sounds; unpitched percussion

demonstrate and identify sounds from nature and the

environment

identify by sight and sound i.e. flute, trumpet, drum, guitar,

and piano

create, using sound and movement, backgrounds or settings for poems, stories, songs, and speech pieces

Texture & Harmony

identify differences between one sound and more than one sound; accompaniment and no

accompaniment

identify thick or thin textures

Expression demonstrate and identify differences between loud/soft,

louder/softer

demonstrate and identify differences between fast and

slow

demonstrate and identify changes in tempo including

getting faster and getting slower

identify differences between a march and a lullaby

identify various moods in music

Other identify ways that music is related to other subject matter

demonstrate appropriate audience and performance

behavior

describe how vibrations make musical sounds

experience music from a variety of time periods and

cultures

42

First Grade Suggested Timeline



Rhythm sing, speak, and move with locomotor and non-locomotor movement to the steady beat

with a variety of recorded music, rhymes, chants,

fingerplays, and circle games

recognize beat / no beat

respond to and notate rhythm patterns

identify by sight and sound the difference between a note

and a rest

play steady beat and rhythm while speaking and singing

echo, play, and move to simple rhythm patterns including quarter notes, paired eighth notes and

quarter rests

clap and move to a repeated rhythm pattern

sing and read a song with words and rhythm syllables

experience 2/4, 3/4, and 4/4 meters

read notation and sing a song written in duple meter

move to show strong and weak beats

Melody experience and identify leaps and upward and downward

melodic contour

identify steps, skips, and repeated pitches

play melody on pitched percussion to show melodic

direction

read and sing so and mi from iconic notation

read and sing pitch patterns that include so, mi, and la on

the staff

show hand signs for so and mi

experience mi, re, and do

identify note as line or space on a treble staff

identify the number of lines and spaces on a treble staff

43

Form recognize the refrain section of the song

perform locomotor and non-locomotor movements to like and different phrases in a call

and response song

play unpitched instruments to show difference in call and

response

move to show ABA section form of a song

identify ABA section form perform contrasting rhythms to show the sections of a

song in ABA form

identify phrase forms ab and aba

move to show verse and refrain in a song

move to show introduction and coda

play and move to contrasting sections, introduction and

coda

perform contrasting rhythms to show the sections of a

song in AB form

recognize and sing a cumulative song

Tone Color (Timbre)

demonstrate and identify differences between singing,

speaking, calling, & whispering voices

identify shakers, scrapers, woods, metals, and skins by

sound

play and identify shakers, scrapers, woods, metals, and

skins by sound production

identify pitched percussion instruments by sound

identify the different sounds of various percussion

instruments

follow instruments featured in a piece on a listening map

Texture & Harmony

play a simple bordun using proper mallet technique

experience ostinato sing a song with a spoken or instrumental accompaniment

44

Expression demonstrate and identify changes in tempo including


demonstrate and identify changes in tempo including


move to show louder and softer dynamics

sing and move to a song incorporating legato and

staccato

Other describe how vibrations make musical sounds


cultures

45

Second Grade Suggested Timeline



Rhythm read and play to quarter note, paired eighth notes, and

quarter rest

read and play to quarter note, quarter rest, and half note

read and play whole notes and rests

recognize single eighth notes recognize two quarter notes/rests equal a half

note/rest

practice writing rhythms and counting beats in measures

echo, play, and move to simple rhythm patterns including

quarter notes, paired eighth notes and quarter rests

play and move to songs written in duple meter

Melody read, sing, and notate pitch patterns that include so, mi,

and la in different staff location

read and notate so, mi, and do identify, read, sing, and move to mi, re, and do

read and sing re with hand signs

notate and sight sing do, re, mi, so, and la melodies

sing, play, and improvise do-centered and la-centered

pentatonic songs

sing and play simple melodic ostinato

compose melody on pitched percussion to show melodic

direction

identify steps, skips, and repeated pitches

identify note as line or space and the number of lines and

spaces on a treble staff

identify letter names of lines and spaces on the treble staff

Form sing and move to show difference between call and

response

46

Form (continued)

identify, sing, and move to a song in aab phrase form

identify, sing, and move to a song in aaba phrase form

identify verse-refrain as AB section form

move to show A, B, and coda sections in music

listen and identify D.C. al fine in ABA form

experience rondo form

Tone Color (Timbre)

identify vocal (male/female, adult/child), instrumental, and

body percussion sounds

play with proper technique and identify shakers, scrapers,

woods, metals, and skins by sound production

identify the different sounds of various percussion instruments

identify and describe bowed, plucked, struck, and electronic string instrument by sight and

sound

identify and describe woodwind and brass

instruments

experience instrumentation from diverse cultures

Texture & Harmony

identify thick or thin textures

perform ostinato perform ostinato by rote and notation

perform rhythmic and melodic ostinati by rote and notation

play layered accompaniment

play bordun

Expression sing, move, and play loud and soft

play, sing, and move to crescendo and decrescendo

identify p and f perform fermata, p, and f

demonstrate and identify changes in tempo including accelerando and ritardando

move to show accented beats sing and move to legato and staccato

identify American patriotic songs


cultures

47


Rhythm read and play quarter notes/rests, paired and single

eighth notes/rests, half notes/rests, and whole

notes/rests

read and play dotted half note (three quarter notes equal a

dotted half note)

read and play sixteenth notes

perform rhythm patterns in an accompaniment

read and play syncopated rhythms

differentiate between beat and rhythm

identify bar lines, measures, double bar lines, and repeat

signs

play and move to songs written in triple meter (strong,

weak, weak)

play and move to songs written in duple and triple

meter

recognize conductors cues in 2/4

recognize conductors cues in 4/4

Melody identify and perform on mallet instrument phrases that move

up, down, and repeat

sing songs from diverse cultures

sing pentatonic songs compose eight-beat melody in pentatonic scale

sing pentatonic songs with pitched syllables and hand

signs

identify and sing low la and low so

sing song following notation on the treble staff

sing song following notation using letter names B, A, and

G

identify and sing octave leap low do to high do

Third Grade Suggested Timeline

New Concepts in Red

48

Form identify and move to show AB/ verse-refrain form

identify, move, and play songs in AABA form

perform a piece in rondo form

sing, play, and move to show difference between call and

response

improvise question and answer rhyhmic and melodic

phrases

listen and identify D.C. al fine and first and second ending

create introduction and coda

Tone Color (Timbre)

sing using proper breathing techniques, good tone

quality, and diction

identify string instruments by sight and sound

identify brass instruments by sight and sound

explore alternative ways for playing pitched percussion,

i.e. xylophone, piano

Texture & Harmony

sing and play rhythmic and melodic ostinati

experience harmony, i.e. ostinato, bordun

sing partner songs and canons/ rounds

Expression sing and identify pp, p, mp, mf, f, ff

sing and play with appropriate dynamics

play, sing, and move to crescendo and decrescendo

demonstrate and identify changes in tempo

review terms for tempo i.e. allegro, adagio

compare and move to legato and staccato


cultures

49

Fourth Grade Suggested Timeline

New Concepts in Red


Rhythm move to show strong and weak beats

perform and move to songs in triple meter

recognize conductor cues in 3/4 meter

perform rhythm patterns using quarter notes, quarter rests, paired eighth notes,

half notes, half rests, sixteenth notes, dotted half

notes, and syncopated rhythms

perform from notation quarter notes, paired eighth notes,

and sixteenth notes

create a composition using familiar rhythm patterns

Melody place pitch syllables on the staff

sing pentatonic song from notation with pitch syllables

read ledger line C and B below the treble staff

read and use hand signs to a do, re, mi, so, la melody from

notation

sing and play short melodic patterns using ti

sing and read from notation a song including do, re, mi, fa,

so, la, ti, do (diatonic)

show melodic contour identify melodic sequence

Form sing, play, and move to show difference between call and

response

identify and perform phrases marked with slurs

improvise question and answer rhyhmic and melodic

phrases

identify and move to show AB verse-refrain form

determine and demonstrate ABA form

create and perform a piece in rondo form (ABACA)

experience theme and variations

Tone Color (Timbre)



distinguish vocal tone colors, i.e. soprano, alto, tenor, bass

identify string instruments by shape, sight, and sound

identify and describe percussion tone colors

identify a variety of instrumental and vocal

ensembles i.e. concert band, symphony orchesta, choir,

duet

50

Texture & Harmony

play ostinato accompaniment play I, V accompaniment

sing in harmony i.e. counter melody

sing and move to canons/rounds

listen and describe a recorded song's texture

Expression sing and identify dynamics and dynamic changes

move to show tempo and tempo changes

sing and move to legato and staccato

identify and perform accents where appropriate


cultures

51

Fifth Grade Suggested Timeline

New Concepts in Red


Rhythm perform rhythm patterns using quarter notes, quarter rests, paired eighth notes,

half notes, half rests, variations of sixteenth notes,

dotted half notes, and syncopated rhythms

identify and practice 2/4, 3/4, and 4/4 conducting patterns

play and move to songs written in 6/8 meter

experience 5/4 meter

identify, read, and play sixteenth note patterns i.e. ti-

tika, tika-ti

read from notation and perform dotted-rhythm

patterns

Melody sing, identify, and play pentatonic song from notation

with pitch syllables

play recorder

sing and read notation including do, re, mi, fa, so, la

sing and play short melodic patterns using low ti

recognize the difference between low ti and do is a

half step

identify whole and half steps in a major diatonic scale in

printed music

sing and perform in minor keys

Form recognize, sing, and move to call and response form

sing song in AB verse-refrain form

perform pieces in ABA form create and perform piece in rondo form (ABACA)

Tone Color (Timbre)



distinguish vocal tone colors, i.e. soprano, alto, tenor, bass

differentiate sounds in flute and recorder

52

Texture & Harmony

discover how harmony is created by combining two

different melodies

sing partner songs identify and perform three part round

sing in two-part harmony

identify major versus minor tonality

recognize chord changes including I, IV, and V

Expression sing using crescendo and decrescendo

identify and describe dynamics and articulation i.e.

pp,p, mp,mf,f ff, legato, staccato, crescendo,

decrescendo

differentiate between slurs and ties


cultures

53

Timeline at a Glance

Kindergarten

1st Nine Weeks 2nd Nine Weeks 3rd Nine Weeks 4th Nine Weeks

Rhythm steady beat long/short one sound, two sounds,

silence

Melody high/low upward/downward

Form echo same/different

Tone Color voice types

Texture & Harmony

one sound/more than one sound;

accompaniment/ no accompaniment

thick/thin

Expression loud/soft fast/slow march/lullaby

First Grade


Rhythm q n Q!

$, @, #!

Melody SM step, skip, repeated

pitches

SML

Form ab, aba AB, ABA

Tone Color shakers, scrapers,

woods, metals, skins pitched percussion

Texture & Harmony

bordun

Expression legato, staccato

Second Grade


Rhythm e E! h H!

w W!

Melody SMD MRD DRMSL

Form aab aaba ABACA

Tone Color strings woodwind, brass

Texture & Harmony

ostinato

Expression p, f «¬, º»

54

Third Grade


Rhythm syncopation d D! y!

beat/rhythm

Melody octave, low L, & low S

Form AABA

Tone Color

Texture & Harmony

partner songs, canons

Expression pp, p, mp, mf, f, ff allegro, adagio

Fourth Grade


Rhythm

Melody T DRMFSLTD

Form phrases with slurs theme and variations

Tone Color SATB ensembles

Texture & Harmony

counter melody I, V

Expression

Fifth Grade


Rhythm m M!

dotted rhythms %!

P!

Melody recorder low T whole and half steps

Form

Tone Color

Texture & Harmony

major/minor three-part round

I, IV, V

Expression slurs/ties

55

Glossary

A Cappella – Vocal music performed without instrumental accompaniment.

A tempo – Return to previous tempo.

AB – Form of music that incorporates two parts. Also referred to as binary or verse-refrain form.

ABA – Three-part form in which the middle section is different from other sections. Also referred to as ternary form.

Accelerando – Grow gradually faster.

Accent ( >) – Placed above a note to indicate stress or emphasis.

Accidental – A sharp, flat, or natural placed before a note, used to alter the pitch of the note within a measure.

Accompaniment – A part, usually played by one or more instruments, that supports a main melody.

Adagio – Indicating a slow tempo.

Aesthetics – A philosophy dealing with the nature and expression of beauty, as in the fine arts.

Allegro – Indicating a fast, running tempo.

Alto – Low treble voice.

Andante – Indicating a moderate tempo.

Arrangement – An adaptation of a piece of music for a medium different from that for which it was originally composed.

Arranger – A person who makes decisions about how style, instrumentation, tempo, harmony, and dynamics can be changed in a piece of music.

Articulation – In performance, the characteristics of attack and release of tones and the manner and extent to which tones in sequence are connected or disconnected.

Balance – An appropriate arrangement of musical elements and sections.

Ballad – Song, usually slow, which tells a story.

Bar line – Vertical line placed on the staff to separate sets of beats into measures.

Bass – Lowest singing voice or instrumental range.

Beat – Pulse of the music.

Blend – Quality of sound that gives an ensemble its own distinctive sound.

Body percussion – Rhythmical use of snaps, claps, pats, and stomps.

Bordun – A repeated open fifth pattern used to accompany music.

Brass Instruments – Instruments which are made of a brass or silver tube and have cupped mouthpieces, including trumpet, horn, trombone, tuba and their families.

Call and Response – A form of choral singing. The call is sung by a leader. The response is usually sung by a group.

Canon – Composition where the melody is sung or played at staggered times.

Changed Voice – Adult singing voice.

Chord – Combination of two or more tones simultaneously.

Chord Progression – A series of chords used to harmonize a song or piece of music.

Chromatic – Moving by half steps.

Classroom instruments – Instruments typically used in the general music classroom. For example, percussion instruments, recorders, keyboards.

Clef – Symbol placed at the beginning of the staff to indicate the pitch of the notes on the staff. The most commonly used clefs in choral music are the G, or

treble clef (G) and the F, or bass clef

(?).

Coda – An added ending to a composition.

Compose – To write music.

Conductor - The leader of a musical ensemble who indicates through gestures or conducting patterns how the music should be interpreted by the musicians.

Countermelody – A different melody that is played or sung at the same time as the main melody.

Crescendo («¬) – Gradually louder.

Cut Time (!!or C) – A meter signature in which

there are two beats in a measure and a half note one beat.

Da capo, D. C. – Return to the beginning.

Da capo, al fine – Return to the beginning and continue until the end is indicated.

56

Decrescendo (º») – Grow gradually softer;

synonymous with diminuendo.

Descant – Countermelody, usually above the principal melody, to be sung by a few voices.

Diaphragm – Muscular area that separates the chest cavity and the abdomen; an important muscle in the inhalation-exhalation cycle.

Diatonic – The notes in a major or minor scale.

Diction – Degree of clarity and distinctness of pronunciation in singing.

Diminuendo – Decrescendo

Double bar – A pair of bar lines, one thick and one thin, used to mark the end of the song.

Downbeat – The strong beat.

Duration – The length of time per note.

Dotted Note – A dot to the right of a note head adds one half the length of the note.

Dynamics – Varying degrees of loud and soft.

Elements of music – Basic units that on their own or when combined make up music, including Expression, Form, Harmony, Melody, Rhythm, Texture and Timbre.

Expression, expressive, expressively –

Appropriate articulation, phrasing, style, and interpretation and appropriate variations of dynamics and tempo.

Fermata – The note of a composition as long as the conductor allows.

Fine – The end of a piece of music.

Flat (b) – Symbol that lowers the pitch of a

note one-half step.

Folk song – A song that has been preserved by oral tradition.

Form – Design or structure of a musical composition.

Forte ( f ) – Loud.

Fortissimo ( ff ) – Very loud.

Genre – Type or category of music such as sonata, opera, art song, gospel, work song, lullaby, spiritual, jazz, or march.

Half step – The interval between two adjacent pitches.

Harmony – Sounding of two or more tones simultaneously; the vertical aspect of music.

Head tone – The upper register of a voice because the sound seems to vibrate in the head of the singer; a flute-like quality in a young child.

Improvise – Art of playing or inventing music that has not already been composed.

Interval – Distance between two pitches.

Intonation – Degree to which pitch is accurately produced in performance, particularly among the players in an ensemble.

Introduction – Music that is played before the words are sung or the actual piece begins.

Key signature – Indication of sharps or flats to be played or sung.

Largo – Indicating a very slow tempo.

Ledger Line – An added short line to indicate pitch above or below the staff

Legato – Smooth and connected.

Literature – A musical composition.

Major scale – An arrangement of 8 tones ascending in the following pattern of steps or intervals: whole, whole, half, whole, whole, whole, half.

Mallet Technique – Control of the mallets to produce characteristic musical tones on barred instruments.

Measure – Group of beats containing a primary accent and one or more secondary accents, indicated by the placement of bar lines on the staff.

Melodic contour – The shape of the melody, moving higher, lower, or staying the same.

Melody – In general, a succession of musical tones; represents the linear or horizontal aspect of music.

Meter – Systematically arranged and measured rhythmic pulses or beats indicated by a meter signature at the beginning of a work.

Meter signature – Numbers placed at the beginning of a composition to indicate the meter of the music; the upper number indicates the beats in a measure; the lower number tells which kind of note receives one beat.

Mezzo – Moderately

Mezzo forte ( mf ) – Medium loud.

Mezzo piano ( mp ) – Medium soft.

57

MIDI (Music Instrument Digital Interface) – Standard specifications that enable electronic instruments, such as the synthesizer, sampler, sequencer, and drum to communicate with one another and with computers.

Minor – Designation for certain intervals and scales; a key based on a minor scale (La-based with half steps between 2

nd

and 3rd,

and 6th

and 7th

) is called a minor key.

Moderato – At a moderate pace.

Natural – Musical symbol that cancels a previous sharp or flat.

Nonpitched – Containing no pitch; usually describes instruments such as tambourines, triangles, or claves; also referred to as unpitched.

Notation – Term for a system of expressing musical sounds through the use of written characters called notes.

Note Values – See duration.

Octave – Eighth tone above a given pitch.

Orchestra – Group of instruments that includes brass, woodwind, string, and percussion sections.

Ostinato – Repeated melodic or rhythmic pattern.

Ostinati – More than one ostinato pattern

Partner Song – Two or more different songs that can be sung at the same time to create harmony.

Pentatonic scale – A scale composed of five notes in an octave typically consisting of do, re, mi, sol, and la.

Percussion Instruments – Instruments that are sounded by striking, shaking, plucking, or scraping.

Periods of Music – Historical periods of musical styles including Baroque (1600-1750), Classical (1750-1820), Romantic (1820-1900), and Contemporary (1900-present). See appendix.

Phrase – Relatively short portion of a melodic line that expresses a musical idea, comparable to a line or sentence in poetry.

Pianissimo (pp) – Very soft.

Piano (p) – Soft.

Pitch – Vibrations in sound.

Rallentando – Gradual slowing.

Range – The scope of notes that an instrument or a voice can produce. Also, the scope of a composition, from the lowest note to the highest.

Recorder – Straight end-blown flute, as opposed to side-blown or concert flute. Notes can be played by opening or closing eight holes in the instrument with the fingers.

Refrain – The song part that is sung the same way every time when a song has two or more verses.

Repeat Sign ( } ) – Repetition of a section or

a composition as indicated two vertical dots to the left of a double bar.

Rest – Symbol used to denote silence in

music.

Rhythm – Term that denotes the organization of sound in time; the temporal quality of sound.

Ritardando (Rit.) – Slowing down.

Rondo – Form of music that incorporates a recurring theme (as in ABACA).

Scale – Succession of tones. The scale generally used in Western music is the diatonic scale, consisting of whole and half steps in a specific order.

Sforzando – Loud or accented, then immediately softer.

Sharp (B)– Symbol that raises the pitch of a note one-half step.

Skip – Intervallic movement from one pitch to another, skipping the pitches in between.

Slur – A curved line indicating need to connect notes smoothly, legato.

Silent Beat – A rest.

Solfège – Vocal exercise sung on vowels or syllables. The practice of singing using syllables, do, re, mi, fa, sol, la, ti, and their association with specific pitches, especially in regard to the indication of intervals.

Solo – Singing or playing alone.

Soprano – Highest singing voice or instrumental range.

Spiritual – Type of religious folk song or hymn developed by Americans in the eighteenth and nineteenth centuries.

Staccato – Short and separated

58

Bibliography

Alabama Course of Study: Arts Education. Montgomery, Alabama: Alabama Department of Education, 2006. Beethoven, J., Brumfield, S., Campbell, P. S., Connors, D. N., Duke, R. A., Jellison, J. A., et al. (2005) Silver-

Burdett: Making Music. Glenview, Illinois: Pearson/Scott Foresman.

Bond, J., Boyer-White, R., Campbell-duGard, M., Davidson, M. C., de Frece, R., Goetze, M., el al. (1998). Share the Music. New York, New York: Macmillan/McGraw-Hill.

Virginia Polytechnic Institute and State University (2007). Virginia Tech Multimedia Music Dictionary.

Retrieved June 6, 2007, from http://www.music.vt.edu/musicdictionary.

Staff – Horizontal lines (usually five) used to notate pitches.

Step – Intervallic movement by whole step.

String Instruments – Any musical instrument that produces sound by means of vibrating strings.

Style – Distinctive or characteristic manner in which the elements of music are treated including country, gospel, jazz, pop, rock, and swing. See appendix.

Subito – Suddenly.

Syncopation – Accent on the weak beat.

Technique – Ability to perform with appropriate timbre, intonation and diction; to play or sing the correct pitches and rhythms.

Tempo – Rate of speed in a musical work.

Texture – Term used to describe the way in which melodic lines are combined either with or without accompaniment. Types include monophonic, homophonic, polyphonic, and contrapuntal.

Tenor – Singing voice or instrumental range between alto and baritone.

Tie – A curved line drawn over or under the heads of two notes of the same pitch indicating that there should be no break between them but they should be played as a single note.

Timbre – Characteristic quality of a voice or instrument.

Tonal Center – The home tone of a song.

Tonality – Term used to describe the organization of the melodic and harmonic elements; a feeling that one pitch, the tonic, is the pulling force or center.

Triple meter – Meter based on three beats, or a multiple of three, in a measure.

Triplet – Group of three notes performed in the time of two of the same kind.

Unison – Singing or playing the same notes by all singers or players, either at exactly the same pitch or in a different octave.

Upbeat – One or more notes before the first strong beat of a phrase.

Unpitched – Containing no pitch; usually describes instruments such as tambourines, triangles, or claves; also referred to as unpitched.

Verse – Words and music that make up the body of a song and that may alternate with the refrain.

Verse-Refrain Form – A song in which the words of the verse change following each repetition of the refrain; the verse and refrain usually have different melodies. Also referred to as AB or binary form.

Vocal technique – Control of the voice and vocal sounds; method of producing and phrasing notes with the voice.

Whole step – Pitch interval made by two half steps.

Woodwind Instruments – Instruments that are made of wood and sounded by means of air. All utilize reeds except for the flute family. Single reed instruments include the clarinet and saxophone families. The double reed instruments include the oboe family.

59

Music History Overview

Renaissance (Pre 1600)

Baroque (1600-1750)

Classical (1750-1825)

Romantic (1825-1900)

Contemporary (1900- )

Melody graceful arching contours, singable

motivic, ornamented, elaborate

singable, symmetrical, antecedent/consequent

tuneful, overly emotional, longer phrases, highly chromatic, expanded ranges

large leaps, highly dissonant intervals, de-emphasized, not singable

Harmony modes major/minor tonalities are used more than modes, basso continuo

major/minor tonalities, strong cadences, modulations are more common, Alberti bass, definite beginning, middle, and end

more dissonance, more frequent modulations, high chromaticism, dense harmonies, lush orchestrations, weakened sense of beginning, middle, and end, harmony enhances expression

weakening traditional harmonies, random harmonies in serialism, microtonal intervals

Rhythm simple very metrical, first use of bar lines and time signatures

more flexible, less predictable

more frequent changes in meter, fermata

polyrhythmic, loss of rhythmic structure, frequent meter changes

Texture monophony (chants, plainsong), polyphony (motets), homophony (chanson)

polyphonic from counterpoint

homophonic homophonic homophonic in pop music, polyphonic in art music

Dynamics no markings because music was hand copied

terraced dynamics graduated dynamics wider range (pppp, ffff) wider range, frequent changes

Tempo free some markings rubato, invention of the metronome, first use of metronome markings

more frequent changes in tempo

frequent tempo changes

60

Composers DuFay, Hildegard, Palestrina

Bach, Handel Haydn, Mozart, Beethoven

Berlioz, Brahms, Dvorak, Tchaikovsky, Strauss, Schubert, Schumann, Chopin, Mahler, Liszt

Copland, Orff, Debussy, Gershwin, Cage, Babbitt

Culture patronage of music, increased interest in exploration

upper class rule, Age of Great Contrasts, composers had to produce large quantities of music in a short period of time

Age of Enlightenment, rise of the middle class

fascination with nature, the macabre, Gothic, and supernatural, mass printing

widening gap between art music and pop music

Vocal mass (Kyrie, Gloria, Credo, Sanctus, Agnus Dei)

opera, oratoria, cantata, passion, mass

opera, oratorio, passion, mass

opera (Wagner, Rossini, Verdi), lied (Schubert, Schumann), mass, song cycle

vocal slides, large ranges, uncommon dissonances, nontraditional vocalizations

Instrumental dances, sonata harpsichord, concerto grosso, suite, fugue

piano, small orchestra (strings, woodwinds, some brass), sonata, symphony, concerto, string quartet

large orchestra, programatic music (idée fixe), nationalism, symphony, piano works

electronic instruments

Other intellectual, structured emotional, natural, form shaped expression

expression shaped form, virtuoso performers

serial music places much demand on the musicians, impressionists, neoclassicists, serialists, aleatoric

61

World Music Overview

Continent Melody Harmony Rhythm Instruments Vocal Function

Africa pentatonic, tritonic, heptatonic, Western

intervals

not as important as melody, important in

S. African choral music, polyphonic

texture

polyrhythmic, each drum plays one

rhythm repeatedly, highly accented

djembe, mbira, talking drum, musical bow, harp, lute, log

drum, shekere, metal bells, xylophones, instruments are

vehicles of speech

middle voice, call and response, songs inflected like spoken word, songs teach traditions, ululation,

unison

integrated into everyday life, music for all occasions and

events, communication,

secular and sacred

Asia/China

based on pentatonic or heptatonic scale,

pure tones, each tone has a mystical significance, music rooted in melody

drones on zithers, melody more

important duple meters

qin (most important solo instrument),

flute, sheng (mouth organ), metal

percussion, gongs

opera - main male sings baritone,

secondary male sang falsetto, heroines

sang with high nasal quality

early music meant to purify one's thoughts, sound influenced the

harmony of the universe, separation

of vocal and instrumental, art

music most appreciated

Asia/Japan

same scales, melodic contour not

as important, heterophony, microtones

melody more important

duple meters koto (most important

solo instrument, shakuhachi (flute)

evolved into middle range, some

improvisation on melody

separation of vocal and instrumental, art

music most appreciated

Asia/Indonesia

five-tone or seven-tone scale, not tuned to Western intervals,

melody broken between instruments,

little improvisation

heterophony produced by

elaborations of melody

duple or quadruple divisions, 4th beat

most important

gamelan is considered one

instrument, all tuned to one scale,

metallophones, gongs, 30-40 instruments

vocal music tends to be highly

ornamented

Bali - outdoor religious ceremonies

to inspire trances, Java - royal court music, music not

notated

62


Asia/India

ragas - sequence of pitches related to

certain time of day or night, mood, deity,

event, or sex, 7 basic tones that represent

a mood

drone of tonic, fifth, and octave

talas - rhythmic cycles of a fixed number of beats

grouped together in an orderly

arrangement, players free to improvise,

three tempos - solo, moderate, fast

sitar (plays melody, 7 strings, 13

sympathetic strings), tabla (right hand

drum), banya (left hand drum), tambura

(4-6 strings, plays drone)

singer improvises on raga

music intimately connected to spiritual word, music reflects inherent order of the universe, ragas and talas are memorized, very intense training

Australia overblowing creates

harmonics

breathing creates rhythm, tongue taps

on mouthpiece

didgeridoo (made from limbs or trees

hollowed out by termites, circular

breathing produces constant drone as

player hums or vocalizes, beeswax

mouthpiece)

originally a sacred instrument used in tribal rituals, only played by males,

gaining secular use

Asia/Russia (throat

singing)

imitates the sounds of nature

one person sings 2-4 pitches by singing

overtones

khoomii sung by males, also found in

the singing of the women in the Xhosa tribe in South Africa

pastoral music connected with

animism, the belief that natural objects

have souls

Asia/Russia folk melodies,

religious chants

balalaika (developed from the dombra of Siberia, triangular body, small sound hole, long narrow neck, 3 strings, 6

sizes from piccolo to contrabass,

organized into orchestras

traditional dance music, played along to accompany songs

and dance

63


Europe/Ireland

melody, rhythm, and harmony closely

resemble music of western Europe

bodhran (goatskin drum), fiddle, tin

whistle, accordion

oral folk tradition, music for dancing

Europe/ Scotland

melody, rhythm, and harmony closely

resemble music of western Europe

bagpipe (originally came from Egypt),

fiddle, harp

jigs, reels, marches, retreats

Europe/ Eastern

harmonic minor scale, augmented

2nd chordal harmony

steady duple meter, heavily accented

klezmer band combines wind and string instruments,

clarinet, saxophone, accordion, drum,

shofar

religious, transmit history, melismatic,

nasal ululations

performed for social occasions, religious

prayer

Europe/ Switzerland,

Austria

intervallic leaps, 4th, 6th, and 7th most

common, 2-6 sections

major scale oriented regular beat rapid alternation of

registers, legato communication in mountain areas

South America/

Brazil (folk)

Portuguese heritage, European modes

European heritage African origin, polyrhythmic

guitar, cuica, guiro, cabasa, drums

Iberian polyphony celebrations, dance

music, Carnaval, samba

Central America/

Mexico (folk) text is important

flutes, maracas, drums, slit drums

high pitched dance, festivals, drama, poetry

Central America/ Mexico

(mariachi)

European models, text in couplets

European heritage triple rhythms guitars, bass guitar,

2 trumpets entertainment

Trinidad/ Tobago (folk)

call and response from Africa

polyrhythms conga drum,

calabash, rattle primarily vocal music

combining cultures and religions

Trinidad/ Tobago

(calypso)

call and response, short phrases,

European major scale oriented

duple meter, syncopation

steel drum bands primarily male social criticism, satire

64


Cuba/Puerto Rico (salsa)

European derived, improvisations

simple 4-bar or 8-bar progressions of primary chords

West African rhythms interlocking with rhythmic ostinati

vocals, piano, bass, trumpet, trombone, saxophone, bongos,

conga drums, timbales, claves, cymbals, cowbell,

maracas, woodblock, guiro

based on Cuban dance styles and

elements of jazz and rock

North America/

Blues European

12-bar blues form using pattern of primary chords

duple meters rhythm section solo self-expression

North America/

USA/Ragtime

European, 3 or 4 sections

European heritage duple meter, syncopation

piano listening

entertainment

North America/ USA/

Dixieland

European phrases, call and response,

group improvisation European heritage syncopation

Dixieland band (trumpet, trombone, tuba, clarinet, piano, string bass, banjo,

drum set

entertainment at weddings, funerals, political rallies, night clubs, originated in red light district of

New Orleans

North America/

USA/Swing

melody played by one section of band,

one person improvises at a time

European heritage less syncopated

big band (4 saxophones, 4

trumpets, rhythm section - piano,

drums, string bass, guitar)

dancing and listening

North America/ USA/

Bebop

melody obscured by rapid scalar

improvisation European heritage syncopation

small combo, lead instrument

(saxophone or trumpet), rhythm

section

listening to virtuosic

performances

65

Suggested Inventory of Instruments

Barred Instruments Soprano Glockenspiel Alto Glockenspiel Soprano Xylophone Alto Xylophone Bass Xylophone

Soprano Metallophone Alto Metallophone Bass Metallophone Bass Bars

Auxiliary Instruments

African Pods Agogo Bells Autoharp Bass Drum Bell Tree Bird Call Bongos Cabasa Castanets Claves Congas/Tubanos Cowbell Cricket Call Djembe Egg Shakers Finger Cymbals Flexatone Gankogui Goat Hoof Rattle Gong Guiro Hand Drums Jingle Bells Kalimba Keyboard Kokoriko Log Drum Maracas Mini Steel Drum

Music Stand Ocean Drum Piano Piccolo Temple Blocks Pow Wow Drum Rain Stick Ratchet Rhythm Sticks Sand Blocks Shaekere Slapstick Slide Whistle Snare Drum Sound Shapes Spoons Stir Xylophone Suspended Cymbal Tambourine Temple Blocks Thunder Sheet Thunder Tube Timpani Tone Blocks Train Whistle Triangles Vibraslap Washboard Wind Chimes Wood Blocks

66

Suggested Curriculum Resources

Title Description Author/Artist

120 Singing Games and Dances Book Choksy, Brummitt

150 American Folk Songs Book Ed. by Peter Erdel

150 Rounds for Singing and Teaching Book Bolkovac and Johnson

2nd Rhyme Around Book Randy DeLelles and Jeff Kriske

3rd Rhymes the Charm Book Randy DeLelles and Jeff Kriske

All About Bongos Book & CD Kalani

All About Congas Book & CD Kalani

All About Jembe Book & CD Kalani

Amazing Jamnasium Book/CD-ROM & CD Kalani

Any Jig or Reel CD Davis, Amidons, Brass

As American As Apple Pie Book Randy DeLelles and Jeff Kriske

Assessing the Developing Child Musician Book Tim Brophy

Bach's Fight for Freedom DVD

Backwoods Heritage Book/CD/DVD Martha Riley

Beethoven Lives Upstairs DVD

Beginning Folk Dances Videos 1-5 Phyllis S. Weikart

Bizet's Dream DVD

Bought Me A Cat 2 Book/CD Jill Trinka

Changing Directions CDs (6) Phyllis S. Weikart

Chimes of Dunkirk Book/CD Davis, Amidons, Brass

Chimes of Dunkirk: Teaching Dance DVD Davis, Amidons, Brass

Classroom Instrument Bingo Game Harper

Come Join In! Book Elizabeth Gilpatrick

Conga Town Book Jim Solomon

D.R.U.M. Book Jim Solomon

Discovering Orff Book Jane Frazee

Down in the Valley Book/CD Davis, Amidons, Brass

Encore! Book Randy DeLelles and Jeff Kriske

English Country Dances Book/CD/DVD Martha Riley

Exploring Orff Book Arvida Steen

Feel It! Book/2 CDs Abramson

Game Plan Grade One Charts & Visuals Randy DeLelles and Jeff Kriske

Game Plan Grade One Curriculum Book Randy DeLelles and Jeff Kriske

Game Plan Grade Three Charts & Visuals Randy DeLelles and Jeff Kriske

Game Plan Grade Three Curriculum Book Randy DeLelles and Jeff Kriske

Game Plan Grade Two Charts & Visuals Randy DeLelles and Jeff Kriske

Game Plan Grade Two Curriculum Book Randy DeLelles and Jeff Kriske

Gameboard Components Randy DeLelles and Jeff Kriske

67

GASA Strategies for Teaching Set A Book Published by MENC

GASA Strategies for Teaching Set B Book Published by MENC

Get America Singing…Again! Vol.1 Book Published by MENC

Get America Singing…Again! Vol.1 P/A CD 3-CD set Published by MENC

Get America Singing…Again! Vol.1 Singers Ed.-30 Published by MENC

Get America Singing…Again! Vol.2 Book Published by MENC

Get America Singing…Again! Vol.2 P/A CD 3-CD set Published by MENC

Get America Singing…Again! Vol.2 Singers Ed.-30 Published by MENC

Hand Drums on the Move Book Chris Judah-Lauder

Handel's Last Chance DVD

Highlighting the Holidays Book Randy DeLelles and Jeff Kriske

Homespun Book Shirley W. McRae

I Sing, You Sing Book/CD Pack Sally K. Albrecht and Jay Althouse

I Sing, You Sing: Holiday Songs Book/CD Pack Sally K. Albrecht and Jay Althouse

In All Kinds of Weather, Kids Make Music! Book Lynn Kleiner

In All Kinds of Weather, Kids Make Music! CD Lynn Kleiner

Instrument Bingo Game Cheryl Lavender

It's Elemental Book Don Dupont and Brian Hiller

It's Elemental 2 Book Don Dupont and Brian Hiller

John, the Rabbit 3 Book/CD Jill Trinka

Jump Jim Joe Book/CD Davis, Amidons, Brass

Kids Can Listen, Kids Can Move! Book/CD Pack Lynn Kleiner

Kids Make Music, Babies Make Music Too! Book Lynn Kleiner

Kids Make Music, Babies Make Music Too! CD Lynn Kleiner

Las Vegas Writes I Book Nevada's Desert-Valley Chapter

Las Vegas Writes II Book Nevada's Desert-Valley Chapter

Las Vegas Writes III Book Nevada's Desert-Valley Chapter

Lines & Spaces Bingo Game Cheryl Lavender

Listen to the Mockingbird Book/CD Davis, Amidons, Brass

Listening Resource Kit - Level 1 Book Denise Gagne





Liszt's Rhapsody DVD

Little Black Bull 4 Book/CD Jill Trinka

Making the Most of the Holidays Book Randy DeLelles and Jeff Kriske

Marsalis on Music: Listening for Clues Video

Marsalis on Music: Sousa to Satchmo Video

Marsalis on Music: Tackling the Monster Video

Marsalis on Music: Why Toes Tap Video

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Melody Bingo Game Cheryl Lavender

Monkey Business Book Jim Solomon

Music and Feelings DVD Mister Rogers

Music K-8 Periodical Plank Road Publishing

Music Styles Bingo Game Cheryl Lavender

Music Symbol Bingo Game Cheryl Lavender

Musical Instrument Bingo Game Cheryl Lavender

Musicplay for Kindergarten Book/CD Pack Denise Gagne

My Little Rooster 1 Book/CD Jill Trinka

One, Two, Three, Echo Me Book/CD Loretta Mitchell

One, Two, Three, Echo Me Orff Companion Book Dirksing

Orff Schulwerk Today Book Jane Frazee

Other Side of the Tracks CD Davis, Amidons, Brass

Peter and the Wolf DVD Prokofiev

Peter Ustinov Reads The Orchestra DVD

Playtime Instrumental Pieces Book Shirley W. McRae

Reading Rainbow: Barn Dance DVD

Reading Rainbow: Follow the Drinking Gourd DVD

Reading Rainbow: Zin! Zin! Zin! A Violin DVD

Recorder Routes I Book Carol King

Rhythm Bingo Level 1 & 2 Game Cheryl Lavender

Rhythmically Moving CD Set CDs (9) Phyllis S. Weikart

Round the Seasons Book Elizabeth Gilpatrick

Round We Go Book Elizabeth Gilpatrick

Sesame Street: Let's Make Music Video

Sesame Street: Zoe's Dance Moves Video

Simply Sung Book Mary Goetze

Sing Round the World Vol. 1 Book Shirley W. McRae

Sing Round the World Vol. 2 Book Shirley W. McRae

Sing with Me! Learn With Me! Book Elizabeth Gilpatrick

Singing Round the Year Book Robert deFrece

Solfege Bingo Game Cheryl Lavender

Sound Ideas Book Doug Goodkin

Sound Shape Playbook Book/CD Pack Lynn Kleiner

Strauss: The King of Three-Quarter Time DVD

Strike It Rich! Book Randy DeLelles and Jeff Kriske

Teaching Folk Dance Book Phyllis S. Weikart

Teaching Folk Dance Videos (Vol. 1&2) Phyllis S. Weikart

Teaching Movement and Dance Book Phyllis S. Weikart

The Amazing Jamnasium Book/CD Kalani

The Complete Recorder Resource Kit Book/CD Denise Gagne

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The Complete Recorder Resource Kit 2 Book/CD Denise Gagne

The Kodaly Method I Book Choksy

The Kodaly Method II Book Choksy

The Little Black Bull 4 Book Jill Trinka

The Magic Circle Book Isabel Carley

The Nutcracker DVD Tchaikovsky (Royal Ballet)

The Sound of Music DVD

The Tropical Recorder Book Jim Solomon & Mary Helen Solomon

The Tropical Recorder Student Packs Jim Solomon & Mary Helen Solomon

To Drum Book Chris Judah-Lauder

Together in Rhythm Book/DVD Kalani

Tops in Pops Book Arr. Marilyn Copeland Davidson

Tutoring Tooters Book Shirley W. McRae

Tyme for a Rhyme Book Randy DeLelles and Jeff Kriske

Where's Your Drum? CD Bloom

World Instrument Bingo Game Cheryl Lavender

World Music Drumming Book Will Schmid

World Music Drumming-New Ensembles Book/CD Pack Will Schmid

hoover music curriculum

Documents