nd edition d & d! and e 2 r e vis e teaching french ... › temp › teachingfrenchweb2.pdf ·...

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Teaching Frenchthrough Songs & Games…even if you can’t sing...or don’t speak French!

•includesanAudio-CDofallthesongsandpoems

•activitysheetstoreinforcelanguagelearning

•includesnon-musicalgamesthatencouragetheuseoforalFrench

•beginnerlevelFrenchsuitablefor:FrenchImmersion–DivisionOne

FrenchasaSecondLanguage–DivisionTwo

A Teacher Resource Guidewritten and performed by Denise Gagné Williamson

illustrated by Linda Bunn

Listening Voice Media Ltd

Teaching French through Songs and Games

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©2004DeniseGagnéWilliamsonFirstEdition©2007DeniseGagnéWilliamsonSecondEdition,RevisedandExpanded

2008Reprinted

Allrightsreserved.Nopartofthispublicationmaybereproduced,storedinaretrievalsystemortransmittedinanyformorbyanymeans—electronic,mechanical,photocopying,recording,scanningorotherwise—withoutthepriorwrittenpermissionofthePublisher.RequestsforpermissionsshouldbeaddressedtothePermissionsDepartmentattheaddressbelow.

For teaching purposes, limited permission is granted to purchasers of this book to make photocopies of all activity sheets found on pages 43–81 to share with their own students only.

ListeningVoiceMediaPOBox75032,CambrianRPOCalgary,AlbertaT2k1P0

Phone:(403)220•1166Fax:(403)220•1162

E-mail:[email protected]:www.listeningvoice.com

Library and archives Canada Cataloguing in publication

GagnéWilliamson,Denise,1961–

TeachingFrenchthroughsongsandgames[kit]:…Evenifyoucan’tsing…ordon’tspeakFrench!:ateacherresourceguide/writtenandrecordedbyDeniseGagnéWilliamson;illustratedbyLindaBunn.--2nded.,revised&expanded.

AccompaniedbyaCDISBN:978-0-9736911-6-0

1.Frenchlanguage—Studyandteaching(Elementary)—Englishspeakers.2.Children'ssongs,French.3.Frenchlanguage—Soundrecordingsforsecondlanguagelearners.I.Bunn,LindaII.Title.

PC2112.7.G332007 448.3'421 C2007–900317-6

TechnicalCredits:Illustrations:LindaBunnSecondeditioncoverdesignandlayout:SueImpey,ByDesignDesktopPublishingInc.PrintedbyBlitzprint,Calgary,Alberta

PRINTEDINCANADA

Denise Gagné Williamson

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Dedication......................................................................................................................................vAcknowledgments....................................................................................................................... viiForeword...................................................................................................................................... ix

Introduction....................................................................................................................................1 HowtoUsethisBookandCD...........................................................................................3

Tracks: 1–3 OCanada............................................................................................6 Tracks: 4–5 Pommedereinette..............................................................................8 Tracks: 6–12 Bonjour...............................................................................................9

Colour vocabulary 12 Track: 13 Rouge,rouge,rouge..........................................................................13 Track: 14–15 L’oiseaubleu.....................................................................................14 Track: 16 Lapoulettegrise...............................................................................16

Counting songs ..........................................................................................................................17 Track 17 Un,deux,trois,quatre,cinq,six,sept..............................................18 Track: 18 Troispetitspigeons...........................................................................19 Tracks: 19–20 Monmerle.........................................................................................21

Body part vocabulary ...............................................................................................................22 Track: 21 J’aidixdoigts....................................................................................23 Track: 22 Jefrappemesmains..........................................................................24 Track: 23 Latête,lesépaules............................................................................24 Tracks: 24–26 Savez-vousplanterleschoux?..........................................................25

days of the Week .......................................................................................................................26 Tracks: 27–28 Lundimatin.......................................................................................26

Hallowe’en vocabulary .............................................................................................................27 Track: 29 Labellecitrouille..............................................................................28 Tracks: 30–31 Vieillesorcière..................................................................................29 Track: 32 Ah!c’estl’hallowe’en!.....................................................................30

traditional songs ......................................................................................................................31 Tracks: 33–35 Auclairdelalune.............................................................................32 Tracks: 36–38 FrèreJacques....................................................................................33

Contents


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Christmas songs ........................................................................................................................34 Track: 39–40 LepèreNoël.....................................................................................35 Tracks: 41–43 Onuitdepaix...................................................................................36 Tracks: 44–46 D’oùviens-tu,bergère?....................................................................37

Challenging songs .....................................................................................................................38 Tracks: 47–48 Lachansonduloup(Promenons-nousdanslebois)........................39 Track: 49 L’arbreestdanssesfeuilles..............................................................41 Track: 50 Lachasseauxlions...........................................................................42 Tracks: 51–53 Napoléon...........................................................................................44

Games that encourage the use of oral French ........................................................................45 1.J’ai----,quia-------?....................................................................................................46 2.Dix................................................................................................................................47 3.Quisuis-je?...................................................................................................................48 4.Charades.......................................................................................................................49 5.Qu’est-cequiestchangé?.............................................................................................50 6.Jem’assois....................................................................................................................51 7.Laboîteàtrésor............................................................................................................52 activity sheets ...........................................................................................................................53 Sheet: 1 L’oiseaubleu.....................................................................................53 Sheets: 2a–b Lapoulettegrise...............................................................................55 Sheet: 3 Un,deux,trois,quatre,cinq,six,sept..............................................57 Sheets: 4a–b Troispetitspigeons...........................................................................59 Sheets: 5a–b Monmerle.........................................................................................63 Sheet: 6 Savez-vousplanterleschoux?..........................................................67 Sheet: 7 Lundimatin.......................................................................................69 Sheets: 8a–c Auclairdelalune.............................................................................71 Sheets: 9a–b FrèreJacques....................................................................................77 Sheet: 10 D’oùviens-tu,bergère?....................................................................81 Sheets: 11a–d Lachansonduloup(Promenons-nousdanslebois)........................83 Sheet: 12 L’arbreestdanssesfeuilles..............................................................87 Sheet: 13 Lachasseauxlions...........................................................................89 Sheet: 14 Napoléon...........................................................................................91


ListofCDTracks.........................................................................................................................93OrderForm...................................................................................................................................95


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DedicationThis resource guide is dedicated to Liz Ball, my last and best principal.

Liz gave me room to be the teacher I wanted to be,and encouraged me to be the person I dreamed of.


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AcknowledgmentsMyheartfeltthanksareextendedtothefollowingpeoplewhohelpedmebringmydreamtolife.

Music Credits:Thesimpleunisonandechosongsweresungby,inalphabeticalorder:ElizabethDuke,BaileyGingras-Hamilton,SoniaGomes,HaileyMizera,SaraandMichellePijanowski,andJ.T.Rice.DrumandtrianglewereplayedbyHaileyMizeraandJ.T.Rice.AllthesestudentshadcompletedGradesOne,TwoorThreebyJuneof2004.

The songs requiringpart singingor harmony, orwithmore challenging lyricswere sungby, inalphabeticalorder:ChristinaChumak,EliseaDeSomma,VictoriaDuke,CatarinaFonseca,CharlotteandHollyForbes,MelissaForsyth,Joannakocot,CaterinaMigliarese,AliciaPredy,CheyleneSullivan,GabrielleTaylorandMaggieYoung.ThebassxylophoneanddrumwereplayedbyLeighNielsen.OtherOrffinstrumentswereplayedbyChristina,MelissaandJoanna.

Most of these students had completedGradeSix by June of 2004.Charlotte andGabrielle hadcompletedGradeThree.HollyhadcompletedGradeFive.

JudyBuzoganyofAngelMusicarrangedandperformedthepianosolosof“ONuitdePaix”and“Lachansonduloup.”

PattyShortreedarrangedandperformedallotherpianosolos.AllsongswererecordedandmixedbyChrisDanielsandLeifGilbertsonofThe Audio Lab,inCalgary

withtheexceptionof“ONuitdePaix”and“Lachansonduloup”,whichwererecordedandmixedbyPeterBuzoganyatAngel MusicinCalgary.

AllSoloandleadpartsweresungbyDeniseGagnéWilliamson.

Technical Credits:Theskillsandabilitiesofthefollowingpeoplearegratefullyacknowledged.Theircombinedeffortshelpedmetopublishthisresourceguide:LindaBunncontributedthewonderfullysimpleandtouchingillustrations;SueImpeyofByDesignDesktopPublishingcreatedthestunningcoverforthesecondedition,aswellashandlingallthelayoutrevisions.ProofreadingoftheEnglishtextwasmeticulouslyhandledbyBert,AnneandPaulGagné,ShannonStrong;andEdnaGilbert;ProofreadingoftheFrenchtextandscoreswasdonebyBertGagné,AlietteBouchardandGéraldLévesque.Mysincerethankstoyouall.

Denise Gagné WilliamsonCalgary, AlbertaDecember 2006

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ForewordWhenIfirstwrotemybook“TeachingFrenchthroughSongs&Games”intheFallof2004,IwasbasingmyideasandstrategiesonmymanyyearsofexperienceteachinginschoolsinCalgary,Alberta.Afteralmosttwentyyearsintheclassroom,IcouldseetheendofthateraapproachingandIwantedtoleavealegacyofsomeofthebest,andmostfun,thingsI’deverdoneasateacher.Sincethisbookwaspublished,Ihavehadtheopportunitytospeakatmanyteacher’sconventionsbothinthisprovinceandelsewhereinCanada.Ihavedevelopedadifferentappreciationforthecommonchallengesofsecondlanguageteaching.Otherprovinceshavedifferentcurriculums,teachertrainingstandards,andstudentexpectations.However,allteacherswanttoseetheirstudentsusingthelanguageassoonaspossible.Mostrecognisethatthisisbestaccomplishedinarelaxed,engagingatmosphere.ThatisreallythepointofthisbookandCD.It’ssubtitlecouldhavebeen“HowtohavefunwithyourstudentsinyourFrenchclassroom”.Curriculumstandardscomeandgo.Requiredcontentchanges.Ofcourse,asprofessionals,wedoourutmosttoteachthesubjectassetoutbyourprovincialauthorities.Ofcoursewewillmaintainasafeanddisciplinedenvironment.Butitboilsdowntothis.French,unlikeMathorScience,isnotamandatorysubjectthroughoutallgradelevels.Atsomepoint,studentschoosewhetherornottheywishtocontinue.IfyourstudentsenjoylearningFrench,andfindituseful,theywillwanttopersevereatit.Promotingtheloveandcontinuedstudyofthismagnificentlanguageisaveryworthygoal,andjustasimportantasothercurriculumobjectives.

What has changed in the Revised Edition?

Mostofthesongsfromthefirsteditionhavestayedthesame.Therehavebeen2additionalsongsincludedandseveralofthepre-existingonesarepresentedinslightlydiffferentways.Mostofthexylophoneonlyaccompaniementtrackshavebeenreplacedwithpianoonlyaccompaniement,aspianoiseasiertofollowalongto.Twonewactivitysheetshavebeenadded.Twohavebeenremoved.Overall,thebookhasgonefrom84pagesto94pages.Thebiggestchangehowever,istheadditionofasectionof7non-musicalgamesthatpromotetheuseoforalFrench.Mostofthosegamesarehighlyadaptableandsoarenotidentifiedwithanyparticularthemeortopic.Ipersonallyhaveusedallofthesegameswithvariousgradelevels,fromkindergartentoJuniorHigh.Ihopeyouwillfindwaystointegratethemintoyourlessonplans.

Let the singing begin!

IntroductionThisbookandtheaccompanyingCDareintendedforallthosededicatedelementaryschoolteacherswhoteachFrenchinanycapacityandwhosefirstlanguageisnotFrench,andtothosewhoarefluentinFrench,butnotsofluentinsinging!

Mygoalismeanttosupportthosebravesoulswhowouldliketobuildaninteresting,funFSLprogram,butdon’tknowwheretostartlooking.

TheproblemwithalotofFrenchmusicresourcesisthatthey’remeantforafrancophoneaudience.ThismeansthattheleveloflanguageistoodifficultforstudentsjustbeingintroducedtoFrench.I’vespentmostofmy20yearsasaFrenchImmersionteacher(10ofthoseinkindergarten)andIknowhowdifficultitistofindresourcesatanappropriatelanguagelevelforbeginningstudents.ThematerialscomingoutofQuebecorFranceare,generally,toodifficultforelementaryImmersionorFSLstudents.Addtothisthechallengeofaddressingthosematerialstonon-Frenchspeakingteachers,andyoucanbegintoseethedifficultiesthatarise.

ManyteacherswhoareperfectlyateaseinFrenchandseetheeducationalvalueofusingsongasateachingmethod,arenotcomfortablesinging.Thisiswheremyloveofandexperiencewithvoicecanhelp.Itallcomesdowntolisteningattentivelyandusingappropriatemodeling.Theresourcepackageyouholdinyourhandsdoesexactlythat.Itprovidesyouwithclear,simplearrangementsofaccessiblevocabularysongstoguaranteesuccessfulclassroomuse.

Forthisreason,mostofthesongsontheCDarefirstsungaccapella(noinstruments).Suggestionsaremadeforintegratingbeatorrhythmonsomeofthem.Pianoaccompaniment,suitableforuseduringpresentationsorspecialevents,isincludedforaselectnumberofthesongs.

ThesongsonthisCDareorganizedroughlyinchronologicalorder,beginningwithsongsyoucoulduseinSeptemberandcarryingthroughtoJune.Suggestionsforhowtopresentthesongsandactivitiestosupportthevocabularyareincluded.Thisincludesblacklinemastersforsinglecoloringsheetsaswellasbooklet-makingactivitiesforthelongersongs.

BasicallyIhavetwogoalsinpreparingthisresource.First,tomakeFrenchlanguageinstructionslessintimidating.Second,tosupportmusiclearning.Thesetwoaspectsareweightedequally.It’salwaysfunandeffectivetoteachyourstudentsFrenchthroughsongs.It’salsojustasimportanttohelpthemlearntosingwell;todeveloptheirpitchawareness,listeningabilityandsingingvoices.

Anotherimportantaspectisthattheactivitiesbefun.Ibelievethateveryonelearnsbestwhenthey’rerelaxed andhappy.So, Iwarnyounow, your students are likely to enjoy these songs!Sometimes“enjoyment”maytranslateas“giddiness”or“goofiness.”Ifthat’ssomethingthatconcernsyou,IwouldsuggestsavingsomeofthemorerambunctioussongsforFridayafternoons,or justbeforerecessorlunch.Alternately,youcouldplantohavea“settledown”songfollowaveryactiveone.It’sgoodtoprepareforhowtobestchannelthehigherlevelofenergysomeofthesesongswillstimulate,andnottobesurprisedbyit.

Thematerialcontainedinthisresourcepackageisquiteeclectic.Therearesometraditionalfolksongs,afewcampsongsI’vetranslatedmyselfandevenacoupleoffavoritesongsfrommyownchildhood.Myprimarycriterionforchoosingtoincludeasongisthatitfullyengagesthestudentsbody,mindandheart.Afterall,ourjobisnotonlytoteachtheFrenchlanguage,butalsototeachthechildrentoloveFrench.Addingfun,easygamesandsongstoyourFSLprogramcangoalongwayinachievingthatgoal.

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How to Use this Book and CDIt’simportanttopointoutthat,withafewnotableexceptions,thisbookandCDpackageisintendedtobeateacherresource,andnotaclassroomresource.Inotherwords,it’sprimarilysomethingforteacherstoreadandlistentobeforetakingthematerialintotheclassroom.Therearehowever,selectionsontheCDthatyoumaywishtorecordfora“listeningcenter”resource,orthatyoumaywanttosharewithyourstudents.Istronglyencourageyoutosingwithyourstudents,whetherornotyourvoiceis“perfect”.Singingwithorforothersisagiftyouofferthem.Thesoundofyourvoice“resonates”inthebodiesandimaginationsofyourstudents,andcallsoutaresponsefromthem,onanentirelynon-academiclevel.

As teachers,weallknow that a student’s ability to learnor study isdirectlyproportional to theamountofattentionthey’rewillingtogiveatask.Thisistrueforourselvesaswell.Mybestsuggestiontoyouistofixyourselfanicecupofteaorcoffeeandsettleintoacomfortablechairwithinarms’reachofyourCDplayer.It’simportanttoreadalonginthemanualtohaveaclearideaofhoweachtrackontheCDmightbeusedinyourownclassroomsituation.Learnonesongatatime.Thetracksarevery,veryshort;manyarelessthanaminute,andyoumaywanttoreplaythetrackseveraltimestobesureitmakessensetoyou.Bepatientwithyourself.Itisnotuncommontohavetohearthesamemelody10ormoretimesbeforeyoucanbegintoreproduceityourself,particularlyifyou’relearningunfamiliarwordsatthatsametime!

HerearesomegeneralguidelinesinteachingFrenchthroughsongsandgames.First,ifyourgoalisonlytoteachyourstudentstosingasong,itwilltake5to10minutesandyou’llneedalotoftheminordertofillupyourclasstime.Mostofthesongsinthisbookhavesuggestionstosupportlanguagelearning,andtoextendtheactivity.Asteachers,weknowthatchildrenhavedifferentlearningstyles.Someareauditorylearnersandwillpickupthesongsquicklyandeasilysimplybylisteningtothemafewtimes.Othersneedvisualsupport,andwillappreciatethepicturesincludedinthismanual.Althoughmostofthestudentswillbenefitfromseeingthewordsofthesong,alongwiththepicturesastheyaresingingorplayingthegames,don’trushintopresentingthewrittenwordstothesongs.Giveyourstudentstheopportunitytoexperiencethepleasureofthesongsandgamesthroughtheirbodies,theirearsandtheirimaginationsBEFOREreducingittoanintellectualexercise.Oncethey’velearnedasongandarecomfortablewithit,theactivitysheetswillprovidethemwithwrittenorvisualremindersoftheirlearning,andsomethingconcretetoshareduringstudent-ledconferencesorparent-teacherinterviews.

MostofthesongsorpoemsinthisresourcecanbetaughtateithertheDivision1levelofImmersionortheearlyDivision2level(grades4&5)ofFSL.However,althoughthesetwotypesoflearnersaresimilarinleveloflanguageacquisition,theyareverydifferentinlearningstyle,simplybecauseoftheirrespectiveages.Howcanyoumakeasongorgamewithverysimplevocabularyapplicabletonine,tenorelevenyearolds,withoutteachingdowntothem?

Idon’tbelieveyouneedawholedifferentrepertoireofsongs,butyoudoneedtomodifyoradapttheactivitiestoaccommodatethestudents.Herearesomegeneralguidelinesforadaptingsongstoolderchildren:

1.Have them write more.Agradefourorfivestudentwouldhavenodifficultycopyingoutallthelyricsformostofthesesongs.Althoughit’ssosimpleforteacherstophotocopyeverythingandhanditout,manystudentsbenefitfromthephysicalactofcopyingoutinformationforthemselves.Thebrainengagesasthehandmovesacrossthepage.Thismeanscoveringupthe


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lyricsontheactivitysheetbeforephotocopyingit.Insomecase,itmayalsomeanreducingthesizeoftheillustration(verysimplewithtoday’sphotocopiers)inordertohaveenoughroomforallthelyricsonapage.

2.Let them work in partners or groups.DivisonTwostudentsneedandenjoyworkingwiththeirpeers.Theyarelessteacher-centredthantheiryoungerschoolmates.Theirgroupscouldbebehaviororco-operativegroupsyoualreadyhavesetupintheclassroom,oryoucouldallowthemtochoosetheirown.Frommyownexperience,Iconsiderlettingthestudentschoosetheirowngroupsaprivilege,andnotaright.Personally,Iwouldnotallowthemtochoosetheirowngroupsrightfromthestart,becausethatmakesithardertotakebackcontrolwhenyouseethattheirgroupsaren’tworking.

3.Give them movement, dramatic or musical challenges,andhavethempresenttheirwork.Assoonasstudentsknowtheywillbepresentingtheirwork,theirlevelofresponsibilityincreases.Theycarewhattheirpeersthinkofthem!Someexamplesofthesetypesofchallengesare:

•Hand-jives in groups of two.Thetermhandjivereferstotwopeoplewhoinventmoreorlesscomplicatedwaysofclappingtheirownandeachothershandsinrhythm.

•Bring in some simple percussion instruments.Mostofthesongsinthisbookarein2/4or4/4time.Thatmeansthetotalnumberofbeatsareeasilydivisiblebyfour.Withinstrumentsassimpleasdrums,sticksortriangles,ingroupsoffour,studentscaninventapatterntoaccompanyasong.YouastheteacherdoNOThavetohaveamusicalbackgroundtoallowyourstudentstoexplorethis.Allyouneedistheabilitytokeepasteadybeatandcounttofourortoeight.

•Have them dramatize or arrange the song or poem in small groups, rather than the large group activity suggested in this book.Studentsthisagehavelotsofcreativeideasandusuallyhaveacquiredenoughsocialskillstobeabletoorganizethemselves.Letthemhavethechancetodothat.Itmaybealittleunpredictable,butinthelongrun,they’llprobablylearnmore.RememberthegoalistogetthemusingtheFrenchlanguage.Ifthewaytoencouragethatistoletthemperform“FrèreJacques”asarap,thensobeit.

Manyoftheactivitiespresentedthroughoutthismanualaresuitableforallagegroups.However,activities that are specifically forDivisonTwo students are identified by thewords “division 2 Challenge.”



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Keeping French in the French ClassroomOneteachingtechniquethatisverywell-understoodintheImmersioncontextisthatitisveryimportantthatweNOTtranslatenewvocabularyforthestudents.Itisessentialtoprovideenoughvisualsupport,sothatthestudentscanassociatetheFrenchworddirectlywiththeimage,ortheaction,withoutaddingtheunnecessarystepoftranslating.IfyourepeateverythingyousayfirstinFrench,theninEnglish,youarereallyteachingyourstudentsthattheydon’tneedtolistenattentivelytotheFrench,becauseiftheywaitabitthey’llgetthe“easy”(English)version.

Thesameappliestostudentswhorepeat,orre-labelthingsinEnglish.It’simportanttodiscouragethathabit.Thiscanbeadifficultconceptforstrongstudentswhothinktheyarehelpingtheirclassmatesbytranslatingtheteacher’sinstructions.Theyneedtounderstandthat,bytranslatingaloud,theyaredeprivingtheirclassmatesoftheopportunitytolearnforthemselves.Ihavefoundthatagentleone-on-onediscussionofthisproblem,outsideofnormalclasstime,isusuallyenoughtohelpthesestudents(whojustwanttoshowtheirpeershowgoodtheirownFrenchis)whytranslatingisnotthebeststrategy.

Singingisaperfectsolutiontotheproblemoftranslating,becausethebeat,wordsandactionsarealllearnedtogetherasaunit—thestudentscannottranslateandstillmakeitsoundlikeasong.Also,therhythmicnatureofasongorpoemhelpstobreakdowndifficultFrenchsyllables,makingthelanguagemoreaccessible.And,asweallknowfromsongsthatstickinourbrainsallday,singingmakeslanguageeasiertoretain.So,comeon,tryit!Let’steachFrenchthroughsongsandgames.



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O CanadaThevariationsofO CanadaontheCDareexamplesofsongsyou’llwanttoplayforyourstudents.Duringmyyearsasateacher,Iwasofteninschoolswhereournationalanthemwaseitherplayedovertheintercomsystem,orwheretheteachernextdoorwouldplayarecordingforthechildrentosingalongwith.Ihavebeenconsistentlyappalledathowpoortheserecordingswereasmusicalmodels.O Canadaisadifficultsongforchildren.Thatdifficultyisincreasedwhentherecordingthey’reexposedtoisofamalebaritonevoice(toolowforthemtomatchpitch),orofachildren’sfour-partharmonychoir(generallytoohighandtoohardtoheartheprincipalmelody).Addtothattheissueoflearningitinasecondlanguage,whereitissoimportanttoclearlyheartheenunciationofeachword,andyoumightunderstandwhyimpropermodelingofournationalanthemcreatesunnecessaryobstacles.

OnmyCD,therearethreeversionsofO Canadaforyoutochoosefromasmodelsforyourclassroom.IfyouareteachingbeginnersingersorstudentsnewtoFrench,Iwouldsuggestusingthefirstversion(solovoice,noaccompaniment),untilthestudentsachievearoughapproximationofpitchandwords.(Ofcourse,asa“bestpractice”teacher,you’llalsohavethewordswrittenoutonchartpaperforthemtoreadalongwith,whetherornotallthestudentsinyourclassareabletoread!)

The secondversion, children’s unisonvoicewith simple accompaniment,wouldbe a stepmoredifficultforclarityoflanguage.Itwouldbebettersuitedtostudentsoncethey’vehadsomeexposuretothesongbeingsunginFrench.Theverysimpleaccompanimentissomethingthatolderstudentswillimmediatelywanttotryforthemselves.Allthat’srequiredisahanddrumandafewrhythmsticks.

Thepianoversioncanbeintroducedoncethestudentshavemasteredthemelodyandthelanguage.It’salsohandytohaveapiano-onlyversionforcelebrationsandassemblies.

track 1:Solovoice–Acapella.

track 2:Groupunisonvoicewithhanddrums.

track 3:Pianosolo.

NB:Theterm“unisonvoice”referstoagroupofpeoplesingingthesamethingatthesametime.


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O Canada

O Canada! Terre de nos aïeux,Ton front est ceint de fleurons glorieux!Car ton bras sait porter l’épée,il sait porter la croix!Ton histoire est une épopée des plus brillants exploits.Et ta valeur, de foi, trempée,protégera nos foyers et nos droits,protégera nos foyers et nos droits.


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Pomme de reinetteThissongdoesn’tfitwithanyparticularvocabularytheme,butissuchausefulthingtoknowthatitdeservestobepresentedhere.

ThisistheFrenchequivalentof“Eeny-meeny-miney-mo”.Itisusedinallthesamecontexts.Childrencatchontothepurposeofthisrightaway,andbecauseit’ssoeasy,canshowofftheirprowessinmanydifferentsituations.“Pommedereinette”isatypeofapplefoundinWesternFrance.“Pommed’api”isasmallwhiteandredapple,alsonativetoFrance.But,really,themeaningofthewordsisunimportant.ThisislessofavocabularysongandmoreanexcusetogetyourstudentsusingFrench!

Pomme de reinette et pomme d’api,Petit tapis rouge.Pomme de reinette et pomme d’api,Petit tapis gris.

track 4:Solovoice–chantedversion.

track 5:Solovoice–sungversion.

NB:Normally,the“e”attheendofawordisALWAYSpronouncedwhensungorchanted,evenwhenit’snotnormallypronouncedintheregularspokenFrench.(Averyclearexampleofthisruleistrack 16:“LaPouletteGrise”).Exceptionally,whenthe“e”isnotbeingpronounced,itisoftenseenwrittenasfollows:

Pomm’ de reinett’ et pomm’ d’api,Petit tapis rouge.

Throughoutthisbook,Ihavechosentowriteoutthelyricsofsongsintheirproperform,asaclearexampleofthecorrectFrench,whetherornotthefinal“e”ispronounced.


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BonjourEverythingbeginswith“Bonjour”.Itishowonesays“hello”inFrench.Althoughthismayappearextremelysimple,Icannotemphasizestronglyenoughthebenefitsofsinging“Bonjour”toyourstu-dents.Ifyouwantyourclasstimetobeginontimeandontaskeveryday,Ihighlyrecommendthatyoubeginwithsong.“Bonjour”issomethingyourstudentscanlearnquicklyanditestablishestheFrenchspeakingparametersforyourtimetogether.Ihavemanysuggestionsforhowtosing“Bon-jour”withyourstudents,dependingontheirage,singingability,thetimeofyearandtheclassroomcontext.

“Bonjour” as a signal that French has begun

IfyouarethetravellingFrenchteacherforseveralclasseswithinanEnglishschool,orifyouonlyteachFrenchtoyourownstudentsforafewperiodsaweek,youneedtohaveasignalthatit’stimetochangegears,takethe“Englishhat”offandputyour“Frenchhat”on.Sayingtoyourstudents“Ok,getyourFrenchduo-tangsout”justdoesn’tdothat.Singingisaveryclearsignalthatdoesnotrequireanyotherclassroommanagementtechniquestobeeffective.Youmaystillhave1-2studentswhodon’twanttosing,butyou’llalsohavethemajorityofyourstudentsgettingonboardandsing-ingalongwithyou.Thisinstantlycreatesafocusedcontext. Theeasiestandbestknown“Bonjour”songisasfollows:

Bonjour les amis, bonjour!Bonjour les amis, bonjour!Bonjour les amis, bonjour les amis, bonjour les amis, bonjour!C’est le français!*

*This last line could be replaced with other words, such as “Comment ça va?” I have heard many different versions of this, so just choose what you like best.

track 6: Solovoice

Onceyouhavesungthisgreeting,yousimplygoonwiththerestofyourlessonplan.Theredoesn’tneedtobeanyspecificfollow-up.Thepurposeofsingingthisistogetyourstudentspre-paredforlearning.Itisnotalessoninitself.ThissongworkswellwithanyelementarygradelevelnewtotheFrenchlanguage.Itallowsthemtoimmediatelybesuccessfulin“speaking”French,butsincetheysingasagroup,itdoesnotputanyonepersoninthelimelight.Astheschoolyearprogresses,youmaynotice,however,thatstudentsbe-cometoofamiliarwiththissimplegreeting.Yourcuethatit’stimetochangeiswhentherearefewerofthemsinging,andmoreofthemthatcontinuetochatwiththeirfriends.Aformof“bonjour”thatisabitmorechallenging,andrequiresmoreattentionontheirpartisthefollowing“Question-Response”greeting.Theteacher(orotherleader)singsthefirstphrase,andthestudentsrespondwiththesecondphrase,whichisslightlydifferent.(Ofcourse,youwoulduseyourownname,orsimply“Madame”/”Monsieur”inthesecondline!)


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track 7:Groupquestion-response.

Dependingontheinterestsandabilitiesofyourstudents,andyourowncomfortlevelwithmusic,afurtherchallengewouldbetoaddsimplepercussioninstrumentsasmusicalsupport.Division2studentslovethis!Itwilltakequiteafewclassesbeforeeveryonegetsaturntotryit.(Ifyou’renotsurehowtointroducethistothegroup,ask2ofyourstrongerstudentstolearnapercussivepatternwithyouduringrecessorlunchtime.Thisway,youdonotneedtoprovidecomplicatedinstructionsthatwouldrequireEnglishtranslationforthegroup.Theexampleofthestudentswillspeakvolumesforyou.)

track 8:Groupquestion-responsewithsimplepercussion.

“Bonjour” as a way of taking attendance

Takingattendanceisaresponsibilityteacherscannotignore.Youmaynothavetotakeattendancewitheverygroupyouteach,butyouwillhavetodoitsometimes.Inmyexperience,ifyoutakeattendanceinexactlythesamewayeveryday,notrequiringanythingmorefromyourstudentsthanasimple,mindless“Here”(or“ici”inFrench),thosefirstfewminutesofclasstimecarrythepotentialforstudentsgoofingoffordisconnecting.Don’twastetheirtimeoryours!Createachallengeforthem,rightfromthefirstsecondofclass,somethingtheyneedtoactivelylistenandrespondto.Ising“bonjour”tomystudents,whetherinkindergartenorGradeSix,adjustingthedegreeofdifficultyfortheleveloftheclass.Moststudentsenjoythis.Itdrawseveryone’sattentiontomeandcreatesalearningmoodintheclassroom.

AccordingtotheOrffmethodofMusicpedagogy,ourveryfirststeptowardssinginginvolvestwonotes;Sol-MiorG–E.

Thinkbacktoatimewhenyoustoodatyourbackdoor,callingyourchildorsiblinginforsupper.Yourvoicewouldtakeonaparticularcadence,somewhereinthevicinityofthesetwonotes.Forthatreason,theSol-Micombinationisoftenreferredtoasthe“callingvoice”.Ifyouneedtotakeattendancewithbeginnersingers,orifyouwanttosingtothemindividually,perhapstolearntheirnames,thisiswhereyoubegin.Sing“Bonjour”followedbyeachstudent’snameandaskthattheysingbacktoyouinecho.


11

“Echo”isaformwheretheleadersingssomethingandthestudentrepeatsexactlythemelodythatwassung.

track 9:Acappellavoicetwo-noteecho,steadypitch.

Onceyourstudentscanrespondonpitch,thenextdegreeofdifficultywouldbetouseatwo-noteechowherethepitchchanges,goingprogressivelyhigherorlower.

track 10:Acappellavoicetwo-noteecho,variedtwo-notepitch.

Thelastdegreeofdifficulty,usinganecho,istocreateamorecomplicatedmelody.Youdon’tneedtocreateanoperaonyourfirstdayout!It’senoughtoaddoneortwonotesatatime.Thisissomethingthatwillgrowovertimewithyourstudents.

track 11:Acappellavoice,simplemelodyecho.

The“Question-Response”formcanalsobeadaptedforattendancetaking,usinganypopularmelody.NB:Thestudentsmustknowthesongmelodybeforeyoucandothis!Beginwithsomethingverysimple,suchas“HappyBirthday.”

track 12:Acappellavoicequestion-responseusingknownsongs.

Onceyourstudentsarefamiliarwiththisformat,youcanuseanymelodytocreatemoreandmorechallenge.Theimportantthingisthatyouchoosesongstheywillbefamiliarwith.O Canada,yourschoolanthem,Christmassongs(e.g.:Jingle Bells,Rudolf the Red-Nosed Reindeer)orotherverywell-knownsongs(ie:Frère Jacques)areallverygoodchoices.Onceyou’vechosenasong,continuetosingituntiltheverseisfinishedbeforejumpingintoasecondchoice.Iusuallydon’tannouncemysongchoicebeforebeginning,althoughIwilltellthestudentswhetherwe’reusingan“echo”or“response”form.Thismethodisverychallenging,butalotoffun!


12

Colour Vocabulary

Grammar Tips

Whencolourwordsareusedasnouns,theyarealwaysinthemasculine.

•Example:J’aimelebleu.(Ilikeblue.)

Whencoloursareusedasadjectives,theymustagreewiththegenderofthenountheyaredescribing.NB:Notallcolourshaveafeminineform.

•Example 1:Latableestverte. “Table”inFrenchisfeminine,so“verte”iswritteninthefeminine. •Example 2:Lechandailestblanc. “Chandail”ismasculine,therefore“blanc”iswritteninthemasculine.

Lescouleurs:(masculine/feminine,whenapplicable)

Blanc/blanche whiteNoir/noire blackJaune yellowOrange orangeRouge redViolet/violette purpleBleu/bleue blueVert/verte greenGris/grise greyRose pink

Adarkervalueofacolouris“foncé.” •Example:Sarobeestrougefoncé.(Herdressisdarkred)

Alightervalueofacolouris“pâle” •Example:Monpantalonestbleupâle.(Mypantsarelightblue)


13

Rouge, rouge, rouge Thisisawonderfulsongtoteachchildreninthefirstweekofclass.Itisvery,verysimpleandithelpsyoutolearnalltheirnames!

Theideaisthatanyonewearingthespecifiedcolour(red,intheexample)wouldstandup.Inthesecondpart,theteachersingsthenameofeachchildstanding.

Besidesreinforcingvocabularyforcolours,thestudentsalsoneedtorespondtosimpledirections:“lève-toi”(standup)and“assois-toi”(sitdown).Studentslovetoheartheirownnamebeingsung…forsomeit’stheonlywordtheyunderstandinFrench!

track 13:Solovoice.

(Insertthecolourofyourchoice…)

Rouge, rouge, rouge, qui porte le rouge? Si tu portes le rouge aujourd’hui,Lève-toi maintenant.Rouge, rouge, rouge, lève-toi!

Ashley, Kaylee, Michael, BenPortent le rouge aujourd’hui.Rouge, rouge, rouge, assois-toi!

Jaune, jaune, jaune, qui porte le jaune?Si tu portes le jaune aujourd’hui,Lève-toi maintenant.Jaune, jaune, jaune, lève-toi!

Yvonne, Alex, Laura, Katie,Kirby, Jordan et MarikaPortent le jaune aujourd’hui.Jaune, jaune, jaune, assois-toi!

division 2 ChallengeOnceyou’vegonethroughthissongonceortwice,havethestudentssingbacktheirownnames.

Introducethisnewstepwith1–2whoyouknowwillenjoythechallengetryingitontheirown,andsinginginfrontoftheirclassmates.


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L’oiseau bleu Thisisawell-knownOrffsong.

Ihaveadapteditbothasagameandasalisteningactivity.Unlikethefirstcoloursong(“Rouge,rouge,rouge”),onlychildrenwhoarewearingmostlythecolournamedgettostandup,andbecomethebirdsofthesong.Inotherwords,eithermostoftheirpantsortheirshirtsmustcontainthecolourspecified.Asthesongprogressesthestandingstudentsfollowtheinstructions.Thisrequirescomprehensionoftheterms“garcon”(boy),“fille”(girl)andavarietyofbodyparts.Toencourageevengreaterlistening,theinstructiontotapherontheshouldersmaychangetorubhimonhisback,taphimonhishands,etc.Whentheverseends,the“birds”flybackhometotheiroriginalspots.

TousetheActivitySheet,havestudentscolourtheirpicture,eachchoosingtheirfavoritecolourforthebird.Onceyouhavecollectedafewofthesesamples,withavarietyofcoloursforthebirds,usetheseasvisualsupportforthesong.

track 14:Solovoice.

track 15:Pianosolo.

(Insertthecolouradjectiveofyourchoice…)

L’oiseau bleu, l’oiseau bleu à ma fenêtre,L’oiseau bleu, l’oiseau bleuà ma fenêtre.Prends une petite fille, (…youcanalsochangegender,ifdesired)tape-lui sur les épaules. (…andpickadifferentbodypart)Prends une petite fille, tape-lui sur les épaules.Ah! Je retourne chez nous!

Here’sanexampleofhowallthosechangescanbeincorporated.

L’oiseau jaune, l’oiseau jauneà ma fenêtreL’oiseau jaune, l’oiseau jauneà ma fenêtrePrends un p’tit garçon,frotte-lui le dos. Prends un p’tit garcon, frotte-lui le dos.Ah! Je retourne chez nous!

See Activity Sheet #1 on p. 53


15

L‘oiseau bleu

Voice

L'oi seau bleu, l'oi seau bleu, à ma fe nê tre, l'oi seau bleu, l'oi seau bleu, à ma- - - - - -

fe nê tre. Prends une pe tite fille, ta pe lui sur les é pau les. Prends une pe tite- - - - - - -

fille, ta pe lui sur les é pau les Ah! je re tourne chez nous!- - - -

L'oiseau bleuTraditional


16

La poulette grise Thissongreinforcesthegrammaticalconceptofagreementbetweenfemininenoun,lapoulette(thehen)andfeminineadjective.

Therearemanydifferentversionsofthissongaround,somewithmusic,somenot.MyfavoritemusicalversionisbyConniekaldorandCarmenCampagneontheir“LullabyBerceuse”album.However,thefollowingchantedversionishowmygrandfathertaughtittome.

“Coco”isacommonwordfor“egg”.“Dodoisacommontermfor“sleep”or“nap.”

C’est la poulette grise, Qui a pondu dans l’église.Elle va pondre un beau petit cocoPour son petit qui va faire dodo.

C’est la poulette blanche,Qui a pondu sur une branche.Elle va pondre un beau petit cocoPour son petit qui va faire dodo.

C’est la poulette brune ,Qui a pondu sur la lune.Elle va pondre un beau petit cocoPour son petit qui va faire dodo.

C’est la poulette verte Qui a pondu sous la couverte Elle va pondre un beau petit coco. Pour son petit qui va faire dodo.

Thesearenotallthepossibleverses,butIcautionyou,particularlywithDivision2students,againstteachingthemallthepossiblerhymesanddeprivingthemoftheopportunitytocreatetheirown.Asmoreandmoreresearchindicates,theabilitytounderstandandcreaterhymeisessentialforsupportingone’sabilitytoreadandwrite.Thisisanexcellent“comptine”(nurseryrhyme)toencouragestudentstoinventtheirownrhymes,whereonlytwowordsinthepoemwouldneedtochange.

To Use the Activity SheetPhotocopyback-to-backcopiesofthe2-sidedactivitysheetforeachstudent.Foldfirstalongline“A,”thenalongline“B.”Staplethecenterspineandcutopenalongthetopfold.

Studentscolourthefirsttwopages,andfillintheblanks.Theytheninventtheirownrhymeforthethirdpage,fillingintheblankswithappropriatewords.Finallytheydrawtheplacewherethelittlehenwilllayheregg.

track 16:Solovoice–chantedversion.

See Activity Sheets #’s 2a & b on p. 55 & 56


17

Counting Songs

Grammar TIpsAllnumbersaremasculine,exceptforanycontaining“un”(one),whichcouldbeeithermasculineorfeminine.

• Example:Ungarcon/unefille

Un/une oneDeux twoTrois threeQuatre fourCinq fiveSix sixSept sevenHuit eightNeuf nineDix ten

Onze elevenDouze twelveTreize thirteenQuatorze fourteenQuinze fifteenSeize sixteenDix-sept seventeenDix-huit eighteenDix-neuf nineteenVingt twenty

Whennumbersareusedtodescribemultipleobjects,theobjectandanyadjectives,mustbewritteninpluralform.

•Example: Unebellefleur,deuxbellesfleurs. Unpetitoiseau,troispetitsoiseaux


18

1,2,3,4,5,6,71,2,3,4,5,6,7violette, violette1,2,3,4,5,6,7violette en bicyclette

Thisisasongthatfrancophonechildrenusuallylearnattheirmother’sknee,muchlike“Pat-a-cake”or“ThisLittlePiggyWenttomarket”inEnglish.It’scharmliesnotsomuchinthevocabularyitteaches,asinitsadaptabilitytoawidevarietyofsituations.Withveryyoungchildren,onecouldactitout,byclappingone’shandsduringthecountingpart,andcyclingintheairwhilelyingonone’sbackduringthe“violetteenbicyclette”part.Alsowithyoungerchildren,thiscanbeusedforbodypercussionactivities.(“Bodypercussion”referstocreatingapatternofclappingandtappingone’sownbody.)Anexampleofthiswouldbetoclapyourhands,thentapyourknees,thentouchyourshoulders.Activitiesthatintegratebodypercussionsupportbodyawareness,eye-handco-ordination,andtheconceptofpatterningwithinakinestheticframework.Beginwithonlytwoactions,andgraduallybuildmorecomplicatedpatternssyourstudentsbecomesuccessfulwiththeeasierlevels.Overandaboveallthosepedagogicalconcerns,bodypercussionisfun!

division 2 Challenge

WithGrade4and5studentsIhaveusedthissongasareplacementforsinging“Bonjour”.Itstillfulfillsthesamepurposeofgatheringeveryone’sattention,andstartingFrenchclassquicklyandefficiently,butithasdifferentchallenges.ForDivision2students,Ipresentthisrhymeasahandjive(“Handjive”differsfrombodypercussioninthesensethatitreferstocreatingapatternofclappingandtappingvariousbodypartswith a partner.)Tobeginwith,Iaskeveryonetobemypartnersimultaneously.Thismeansthateveryoneisfacingmeandactingasthoughtheyareclappingmyhands.Oncetheyareabletokeepupwithme,usuallyafterafewdays,Iaskthemtotrythesamepatternwithapartner.Thosewhocansucessfullydothatareinvitedtopresentinfrontoftheirclassmates.Onceeveryoneiscomfortablewiththatdegreeofdifficulty,thenextstepistogetthemtoinventtheirownhandjivewithapartner,withthegoalofpresentingtheirpatterntotheirclassmates.Withthesedailyorweeklyadaptations,includingtheshowingoftheirwork,thissimplerhymecaneasilybeusedforseveralweeks!

N.B.Aswiththe“Bonjour”songs,thisisnotmeanttofillanentireclassperiod.ItisafiveminuteactivitytoestablishthelanguageparametersandtoremindthestudentshowmuchfunlearningFrenchis!

track 17:Solovoice-chanted-sung.

See Activity Sheet # 3 on p. 57


19

Trois petits pigeonsThisismyowntranslationofasongmyfavoriteAuntiesangtomysiblingsandme,whenwewereyoungchildren.AsfarasIknowsheinvented“ThreeBluePigeons.”I’venevermetachildagedthreetoeightwhodidn’tlovethissong.Itisasure-fireattentiongetter!ItisdedicatedtoClaraBryceand128fosterchildrenherlifetouched.

Thissongmaynotbeappropriateforchildrenolder thanGradeThree,but thatdependsonyourstudents.

Itbeginswiththreepigeonssittingonafence.Thiscouldbeillustratedeitherbyholdingthreefingersupright,withafingerfromtheotherhandhorizontallybeneathtoactasthefence.Alternatively,makeonecopyoftheActivitySheetsandholditupfortheappropriateverse.Ateachverseonepigeonfliesaway.Whentherearenomoreleft,thepigeonsreturnonebyone.

Trois petits pigeons, trois petits pigeons, trois petits pigeonsAssis sur la clôture.Oh! regarde! Un s’est envolé!

(Ourvoiceisalittlebitsadder)

Deux petits pigeons, deux petits pigeons, deux petits pigeonsAssis sur la clôtureOh! regarde! Un autre s’est envolé!

(Nowwe’requitesad.)

Un petit pigeon, un petit pigeon, un petit pigeon Assis sur la clôture.Oh! regarde! Il est parti aussi!

(Ourheartsarereallybroken.)

Pas de petits pigeons, pas de petits pigeons, pas de petits pigeonsAssis sur la clôture!

(Suddenly,ourspiritsareliftedabit!)

Oh! regarde! Un est revenu!Un petit pigeon, un petit pigeon, un petit pigeonAssis sur la clôture.



20

(Ourvoicebecomesevenhappier!)

Oh! regarde! Un autre est revenu!Deux petits pigeons, deux petits pigeons, deux petits pigeons Assis sur la clôture.

(Finally,joyofjoys!Ourthreelittlepigeonsarereunitedoncemore!)

Oh! regarde! Le dernier est revenu aussi!Trois petits pigeons, trois petits pigeons, trois petits pigeonsAssis sur la clôture!

track 18:Solovoice.


21

Mon merleInDivisionOne,theActivitySheetsareintendedtocreateateacher-madeproduct.Colourandlaminatethebird(youcouldaddsomekindofbackgroundaswell)andeachofitsfivefeathersindividually.GlueVelcrotabsonthebackofeachfeatherandnearthebird’srump.Eithertheteacherorchosenhelperscouldremoveonemoreofthefeathersasthesongprogresses.Ifnumbersarewrittenoneachfeather,thechildholdingitcouldholdthefeatherupagaininreverseorderthrougheachverse.

Mon merle a perdu une plumeMon merle a perdu une plume, plume, plumeIl ne chantera plus, mon merleIl ne chantera plus.

Mon merle a perdu deux plumesMon merle a perdu deux plumes, une plume, plume, plume.Il ne chantera plus, mon merleIl ne chantera plus.

Mon merle a perdu trois plumes,Mon merle a perdu trois plumes, deux plumes, une plume, plume, plume.Il ne chantera plus, mon merleIl ne chantera plus!

Mon merle a perdu quatre plumes,Mon merle a perdu quatre plumes, trois plumes, deux plumes, une plume, plume, plume.Il ne chantera plus, mon merleIl ne chantera plus!

Mon merle a perdu cinq plumes,Mon merle a perdu cinq plumes, quatre plumes, trois plumes, deux plumes,

une plume, plume, plume.

track 19:Solovoice.

track 20:Pianosolo

division 2 Challenge Havethestudentsworkingroups,witheachonecreatingtheirownbirdpuppetandtailfeathers.

Theactivitywouldculminateineachgrouppresentingtheirsong.Caution!Thissongistrickierthanitappears,particularlywhenyou’reusingmanipulativesandtryingtomaintaintheorderofit!



22

Body Part Vocabulary

Latête headLesyeux eyesLenez noseLabouche mouthLesdents teethLalangue tongueLesoreilles earsLescheveux hairLesépaules shouldersLecou neck

Ledos backLesbras armsLesmains handsLesdoigts fingersLesfesses bumLeshanches hipsLesjambes legsLesgenoux kneesLespieds feetLesorteils toes


23

J’ai dix doigtsThisisjustalittlepoemtogeteveryone’sattention.Thediagramillustratesthehandmovementsthataccompanyit.

track 21:Solovoice.

1.J’aidixdoigts (Ihavetenfingers)

3.Jelesouvre (Iopenthem)

5.Etjelescache (AndIhidethem)

7.Jelesmetsenbas (Iputthemlow)

J’ai dix doigts, ils sont tous à moi.Je les ouvre, je les ferme, et je les cache.Je les mets en haut, je les mets en bas.Je les croise comme ca.

2. Ilssonttousàmoi (Theyallbelongtome)

4. Jelesferme (Ishutthem)

6.Jelesmetsenhaut (Iputthemhigh)

8.Jelescroisecommeça (Ifoldthemjustso!)


24

Je frappe mes mainsThisisanotherpoemIuseasanattention-getter.Itsadvantageisthatitcansmoothlyshiftthestudentsfromstandingandmillingabouttosittingdownquietly.

Je frappe mes mains, je touche mon nez, je saute au plafond.Je frappe mes mains, je touche mon pied, et je tourne en rond.Je frappe mes mains, je touche mon nez, je m’assois tout seul.Je frappe mes mains, je touche mon pied, je ne fais plus de son.

I clap my hands, I touch my nose, I jump up from the ground.I clap my hands, I touch my toes, I turn myself around.I clap my hands, I touch my nose, I sit myself back down.I clap my hands, I touch my toes, I do not make a sound.

track 22:Solovoice.

La tête, les epaulesThissongisveryeasy.Tocreatechallengeforyourstudentsoncethey’velearnedit,Iliketodoitfasterandfaster.It’sagoodsongtoenergizeyourstudentsononeofthose“blah”days.Pleasenote,themelodyforthissongisslightlydifferentfromitsEnglishcounterpart,whichyourstudentsmaybefamiliarwith.Onceagain,thisdifferenceinrhythmandmeterhelptoavoidthetranslationtrap.Thesongisperformedstandingup.NB:Wetoucheachbodypartaswesingit.

La tête, les épaules, les genoux, les pieds.La tête, les épaules, les genoux, les pieds.La tête, les épaules, les genoux, les pieds.Les yeux, le nez, la bouche, les oreilles.

track 23:Solovoice.


25

Savez-vous planter les choux?Thistraditionalsongcanbeapproachedinseveralways.It’sanexcellenttoolforteachingbodypartvocabulary.Furthermore,Ioftenuseittoexplorevocaldynamicswithyoungsingers.

teaching vocabulary:

Refrain: Savez-vous planter les choux, à la mode, à la mode, Savez-vous planter les choux, à la mode de chez nous?

verse: On les plante avec les mains, à la mode, à la mode. On les plante avec les mains, à la mode de chez nous!

Foreachsuccessiveverse,thehighlightedwordisreplacedbythenameofadifferentbodypart.Iusuallyhavethestudentsmakethesuggestions,aslongastheysaythewordinFrench.(WithearlykindergartenorGradeOne,ImayallowthemtomakethesuggestioninEnglish,andthenrepeatitfortheminFrench,askingthemtoalsorepeatitafterme.However,bythefifthorsixthtimewe’vedonethesong,IwouldinsistthattheysaythewordinFrench.)

Dependingonyourlevelofcomfortwithmovement,andtheageofthestudent,thesingerscouldindicatethebodypartnamedusingtheirhandsonly,forinstancebytappingtheirheadinbeatwhilesinging“onlesplanteaveclatête,”etc.Forthosebraversouls,andforyoungerstudents,Isuggestusingthenamedbodyparttotaponthefloordirectly.Inthisinstance,ofcourse,inordertotapone’shead,itwouldmeanbeingsomewhatupsidedown!

teaching vocal dynamics:Vocaldynamicsreferstoeverythingthatisnotstrictlypitch-related.Itcanrefertovolume,key,style,etc.Theimportanceofvaryingvocaldynamicsisthatitencouragessingerstoexercisetheirvocalchords,andtoexplorethepotentialoftheirvoicesindifferentways.Italsoaddsinteresttothesong.

Exploringone’svocaldynamicsistheoppositeofthemonotone.

track 24:Solovoice.

track 25:Groupecho.

track 26:Pianosolo


Voice

Sa vez vous plan ter les choux, à la mo de, à la mo de? Sa vez vous plan ter les- - - - - -

choux, à la mo de de chez nous?-

Savez-vous planter les choux?Traditional

G D G

D G


26

Lundi matinThisisasongtoteachthedaysoftheweek.

Lundi matin, le roi, sa femme et son p’tit prince,Sont venus chez moi, pour me serrer la pince.Mais, comme j’etais pas làLe petit prince a dit “Puisque c’est comme ça, nous reviendrons mardi!”

Witheachverse,thewordinbolditalicschangestobecomethenextdayoftheweek,sothesecondversebecomes:

Mardi matin, le roi, sa femme et son p’tit prince,Sont venus chez moi, pour me serrer la pince.Mais, comme j’etais pas làLe petit prince a dit “Puisque c’est comme ça, nous reviendrons mercredi!”

ThewayIintroducethissongtostudentsistofirsttodoareviewofthedaysoftheweek:

Lundi, mardi, mercredi, jeudi, vendredi, samedi, dimanche.

UsuallyIwouldhavethisvocabularywrittenoutonachartoronflashcards.

Whenthesongbegins,Istandaloneandsing,illustratingthesongwithhandsignals.Atthephrase“pourmeserrerlapince”Iwouldshakehandswithsomeone,whowouldthenstand

andjoinmeinsinging.Eachtimethephrase“pourmeserrerlapince”comesaround,everyonestandingchoosesonepersontoshaketheirhand,causingthemtostandupandjointhesong.Dependingonthenumberofstudentsintheclass,usuallybyFridayorSaturday,everyoneisstandingandsinging.Atthatpointwejustmarcharoundtheclassroom,shakinghandswithwhomeverwelike,andtryingtoendupbackatourownspotforthelastlineofthesong,whichends:

“Puisquec’estcommeça,nousreviendronsjamais!”atwhichpointeveryonesitsbackdown.

Yousee,sincetheking,queenandprincehadtriedtocomevisiteverysingledayoftheweek,onthelastdaythey’vegivenupanddecidedto nevercomebackagain!

track 27:Solovoice.

track 28:Voicecrescendo(voicesprogressivelyaddedon).



27

Hallowe’en VocabularyLasorcière thewitchLacitrouille thepumpkin(alsojack-o-lantern)Lefantôme theghostLachauve-souris thebatUnearaignée thespiderLemonstre themonsterLechatnoir theblackcatLesquelette theskeletonLesbonbons candyLecostume costumeLehibou theowlLemaisonhantée thehauntedhouseLalune themoonLesac thebagQuêter totrickortreat


28

La belle citrouille(Sungtothetuneof“Alouette”)

Buildalargepumpkinheadwithremovableparts(eyes,nose,mouth),outofpaper,feltorsomeothermaterial.Asthesongprogressesandwe“eat”thevariousparts,weremovethemfromthepumpkinhead.

Refrain:La citrouille, la belle citrouilleLa citrouille, je vais la manger!

Theversesaredoneinecho.Thisisindicatedbyparentheses.

Je vais lui manger les yeux, (je vais lui manger les yeux.)Et les yeux, (et les yeux),La citrouille (la citrouille) Oh!

Refrain:

Je vais lui manger le nez (je vais lui manger le nez)Et le nez, (et le nez)Et les yeux (et les yeux)La citrouille (la citrouille) Oh!

Refrain:

Je vais lui manger la bouche (je vais lui manger la bouche)Et la bouche, (et la bouche)Et le nez, (et le nez)Et les yeux (et les yeux)La citrouille (la citrouille) Oh!

Refraintoend.

track 29:Groupecho.

division 2 ChallengeHavethestudentsworkingroupstocreate,outofconstructionpaper,theirownpumkinwithremovable

eyes,noseandmouth,oranyotherappropriatebodyparttheychoose.Haveeachgrouppresentthesongfortheclass,usingtheirpumpkintoillustrateit.


29

La citrouille

Vielle sorcière(Sungtothetuneof“FrèreJacques”)

Vieille sorcière, vieille sorcièreque fais-tu ? que fais tu?Je mange une citrouille, je mange une citrouille.Cric, crac, croc! Cric, crac, croc!

track 30:Solovoice.

track 31:Pianosolo

Forsuggestionsonhowtomakethissongmorechallenging,pleasereferto“FrèreJacques”onpage33.


30

Ah! c’est l’hallowe’en!(Sungtothetuneof“LondonBridges”)

Thisisanactionsong,performedstanding.Whentheskeletondancesthetwist,sodowe!

Le squelette danse le twist, danse le twist, danse le twist.Le squelette danse le twist.Ah! C’est l’hallowe’en!

(Theghostraiseshisarmsabovehisheadeachtimehesays“Ooouu!)

Le fantôme fait “Ooouu! Ooouu! Ooouuu!”Le fantôme fait “Ooouu!”Ah! C’est l’hallowe’en!

(Theblackcatwasheshiswhiskerseachtimehesays“Meeow”)

Le chat noir fait “Miaou, miaou, miaou. Miaou, miaou, miaou. Miaou, miaou, miaou.”Le chat noir fait “Miaou, miaou, miaou,”Ah! C’est l’hallowe’en!

(Thewitchclimbsontoherbroomandfliesthroughtheair)

La sorcière sur son balai, son balai, son balai.La sorcière sur son balai.Ah! C’est l’halowe’en!

OnceI’vetaughtthissongtoaclass,andtheyunderstandtheconcept,IwillhavethemsuggesttheirownHallowe’encharacters,whichwealsoactout.Ofcourse,youneverknowwhatthey’llcomeupwith!

division 2 ChallengeHaveeachstudentdrawaHallowe’encharacter.Whencomplete,eachstudentwouldpresenttheir

characterandsuggestactionsorsoundsappropriatetothecharacterthatwouldfitthesong.Iftheydon’tknowhowtonametheircharacterinFrench,theywouldneedtofindthewordinaFrench-Englishdictionary,andwriteitontheirpicture.

track 32:Solovoice.


31

Traditional SongsThetraditionalsongsincludedinthisbookaresongsthat,veryoften,existedfortwoorthreehundredyearsintheoralcontextbeforebeingwrittendown.Itisimportanttorealize,becauseoftheoralhistory,thatmanytraditionalsongshaveseveralversions.Asanexample,IhavethreeseparateanddistinctversionofwhatIcall“LaChansonduLoup”(“TheWolfSong”)inmypersonalmusiccollection.Somehavedifferentwords,somehaveadifferentmelody,somehaveadifferenttitle.IhavemadechoicesregardingwhichversionofasongIwouldinclude,butthatdoesn’tmeanit’stheonlychoice.

Itispossible,asyouteachyourstudentsasong,thatoneofyourcolleagues,oraparenthelper,willsay“Ilearntthatsongdifferently”.There’snothingwrongwiththat!Iknowhowintimidatingitis,whenyou’relearninganynewskill,tohavesomeonesay“That’snothowIlearntit.”Justasweunderstandandtoleratethatnoteverystudentwillpaint theirskyblue,weneedtounderstandandtoleratethatsongsarisingfromanoraltraditionmayexistinmorethanoneform.AfrancophonecomingfromNewBrunswickmayknowaversionof“L’arbreestdanssesfeuilles”(“Thetreeleavesareinblossom”)thatisdifferentfromtheonepresentedhere.Notbetterorworse,justdifferent.


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Au clair de la lune

IfirstsawtheideaofsupportingthevocabularyofthissongwithpicturesinthebookMa Chanson, Ma Musique,bySr.ThérèsePotvin.ThisisanexcellentresourceforpeoplewithagoodmasteryofFrenchandfamiliaritywithkodalymusicpedagogy.

TherearemanywaystoincorporatethepicturesandlyricsontheActivitySheetsinyourteaching.Withyoungerchildren,Ispreadthepicturesoutinajumbled-uporder.Aswesingthesong,Istopateachlineandaskachildtofindthepictureneeded.Thisisgoodforassociatingapicturewithvocabulary.Youcouldalsophotocopythesesheets,andhaveeachchildproducetheirowncopyofthestory,eitherleavingthewordsprintedintheirentirety,orblankingoutsomeofthemandhavingthemchoosefromalist.

division 2 Challenge Witholderchildren, Iwouldhave themwork ingroups,working toseewhocanput thecorrect

picturewiththeproperwordsfirst.Alternately,Iwouldwritethelyricmodelontheblackboardoronanoverhead,givethegroupsonlycopiesoftheillustrations,andhavethemcopyoutthesongandputthepicturesinorder.

Au clair de la lune,mon ami Pierrot,Prête-moi ta plume,pour écrire un mot.Ma chandelle est morte,je n’ai plus de feu.Ouvres-moi ta portepour l’amour de Dieu.

track 33:Solovoice.

track 34:Groupunisonvoice.

track 35:Xylophonesolo

See Activity Sheets #’s 8a, b & c on p. 71, 73 & 75


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Frère JacquesFrère Jacques isprobablyoneofthebestknowntraditionalfolksongsintheworld.Itisveryeasytolearn.Becauseofitsmusicalsimplicity,itisagoodchoiceforaddinganinstrumentalbeatto,orforarrangingasacanon.Also,thetuneofthissongisoftenborrowedtocreateothersimplevocabularysongs.(See“VeilleSorcière”onpage28.)

Frère Jacques, frère JacquesDormez-vous? Dormez-vous?Sonnez les matines, sonnez les matines.Ding-Dang-Dong, Ding-Dang-Dong.

Thevocabularyofthissongisabitantiquated,asitreferstoamonkwhohasforgottentowakeupintimetoringthebellsformorningprayers.

Foreachstudent,photocopyseparatelybothofActivitySheets.NB:DoNOTphotocopybacktoback!StudentscolourandcutoutpicturesfromActivitySheet#9aandgluetheminthecorrectorderontoActivitySheet#9b.Theyalsoprintintherepeatedwordsforeachpicture.

division 2 Challenge – Musical optionsThisisoneofthesongsthatworkswellwiththe4/4beatintroducedinTrack9.Threesteadydrumbeatsfollowedbyonetriangletaponthefourthbeat.

Thissongalsoworkswellasacanon.(A“canon”isasongformwhereonegroupbeginsthesong,withasecondgroupbeginningthesamesongalittlebitlater.)Besurethatyourstudentscanallsingthissongwellinunison,beforeattemptingpart-singing!

Theeasiestformofcanoninvolveshavingtwogroupsofchildren.Ifinditworkswelltohaveoneofthestrongerchildrentaketheroleofstudent-leaderforeachgroup.Thisfreesmeuptohelpwhichevergroupneedsitandtokeepthingsflowing.Thefirstgroupbeginssingingthesong.Thesecondgroupbeginssinging,fromthebeginning,whenthefirstgroupreachestheendofthefirstline.

Ifyou’reworkingwithanoldergroup,oronethatismusicallystrong,youcanincreasethelevelofdifficultybyhavingmoregroupsperformthecanon,orbyhavingeachgroupcreatedifferentinstrumentalsupport.EachCDtrack31–34increasesindifficulty.

track 36:Solovoice.

track 37:Twopartvocalcanon.

track 38:Pianosolo.



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Christmas Songs

Le père Noël

LepèreNoël SantaClauslescadeaux presents/giftscharmant charming

O nuit de paix

lapaix peaceleciel theskyl’astreluit thestarisshiningleschamps thefieldstoutrepose alliscalml’airpuretfrais thepure,crispairlebrilliantchoeurdesanges thebrightchoirofangelsauxbergersapparaît appearstotheshepherds

D’où viens-tu, bergère?

D’oùviens-tu? whereareyoucomingfrom?bergère shepherdess(afemaleshepherd)l’étable thestablelacrèche themangerlapaillefraîche clean(fresh)strawchantantleslouanges singingthepraisesof


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Le père NoëlThissongborrowsaveryoldmelodycalled“CadetRoussel”thatwasasongmeanttoinspiresoldiersduringthebuildingoftheRepublicofFrance.Theoriginalsongwasratherlongandsillyandhadquitedifficultlyricsthattoldthestoryof“CadetRoussel”havingthreehouses,threesuitsofclothing,threehats,threewives,etc.However,thenewlyricsareeasyenoughforthissongtobeusedbyveryyoungDivisionOnestudentsatChristmastime.

Threeofthelinesarerepeatedinthissong.Onewaytoaddinterestmusicallywouldbetodivideyourstudentsintotwogroupsandhaveonegroupsingeachoftheselinesthefirsttime,andthesec-ondgroupsingthe“echo”ofthem.

Le père Noël a trois cadeaux, Le père Noël a trois cadeaux.Un grand et deux petits cadeaux Un grands et deux petits cadeaux.Le grand cadeau et pour Papa,Et les deux autres pour Maman.Ah! ah! ah! oui vraiment, le père Noël est bien charmant!Ah! ah! ah! oui vraiment,le père Noël est bien charmant!

track 39:Solovoice.

track 40:Pianosolo.

Voice

Le Père No ël a trois ca deaux, le Père No ël a trois ca deaux.- - - -

Un grand et deux pe tits ca deaux, un grand et deux pe tits ca deaux.- - - -

Le grand ca deau est pour pa pa et les deux au tres pour ma ma an. Ah! ah!- - - - - -

ah! oui vrai ment, le Père No ël est bien char mant!- - -

Le Père NoëlTraditional


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O nuit de paixSilent Night, holy night,All is calm, all is bright.Round yon Virgin, Mother and child.Holy Infant so tender and mild.Sleep in Heavenly Peace.Sleep in Heavenly Peace

O nuit de paix! Sainte NuitDans le ciel l’astre luit.Dans les champs tout repose en paixMais soudain dans l’air pur et fraisLe brillant choeur des angesAux bergers apparaît.

IhaveoftenhadmyChristmaschoirsperformthissongwiththreeverses,witheitherthefirstorthethirdbeinganentireverseof“Oouu.”

track 41:Solovoice–Frenchverseonly.

track 42:Groupunisonvoices–3verses,EnglishandFrench.

track 43:Pianosolo–3verses.


D’où viens-tu bergère?Soloist: D’où viens-tu bergère? D’où viens-tu? Group: D’où viens-tu bergère? D’où viens-tu? Je viens de l’étable, de m’y promener J’ai vu un miracle, ce soir arrivé.

S: Qu’as-tu vu, bergère? Qu’as-tu vu? G: Qu’as-tu vu, bergère? Qu’as-tu vu? J’ai vu dans la crèche un petit enfant. Sur la paille fraîche, mis bien tendrement.

S: Est-il beau, bergère? Es-t-il beau? G: Est-il beau, bergère? Es-t-il beau? Plus beau que la lune, aussi le soleil Jamais dans le monde, on vit son pareil.

S: Rien de plus, bergère? Rien de plus? G: Rien de plus, bergère? Rien de plus? Y a trois petits anges descendus du ciel. Chantant les louanges du Père éternel.

S: Allons-y, bergère. Allons-y G:Allons-y, bergère. Allons-y Portons-lui des langes, aussi des drapeaux Et pour sa couchette, un petit berceau.

track 44:Solovoice.

track 44:Groupunisonvoicewithxylophone.

track 46:Pianosolo.

NB:SeeChristmasSongsonpage34foranexplanationofthevocabulary.


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Challenging SongsIfworkingwithDivision1students,thelastthreesongsarebettersuitedforafterChristmaseitherbecauseoftheirthemeorbecauseoftheirdegreeofdifficulty.Division2studentswouldbereadytotrythemmuchearlierintheyear,aslongasthey’reupforachallenge.Allfourofthesesongshavealotofwords.ForthesongLa chasse aux lions,childrenarerequiredtoinventtheirownobstacles,somethingthatrequiresacertainvocabularybaseasaprerequisite,ortheabilitytouseaFrench-EnglishDictionary.

However,onceyourstudentshavelearnedthesesongs,theycanberevisitedthroughouttheyear.Forexample,whenIhavestudentscreatetheirownmapsforLa chasse aux lions,Iwouldkeepthose,choosingoneortwomapstouseeachdaythatwesingthesong.Inanaverageclassof30students,thismeansitwouldtakeatleast15daysinordertoalloweveryonetopresenttheirmap!


La chanson du loup (Promenons-nous dans le bois)Thisisatraditionalfolksongandseveralvariationsinbothwordsandmelodyexistforit.Itisasongthatreinforces“clothing”vocabulary.

Refrain:Promenons-nous dans le bois, pendant que le loup n’y est pas.Si le loup y était, il nous mangerait.Si le loup n’y est pas, il nous ne mangera pas!

We’re walking through the woods, while the wolf is not there.If the wolf was around, he would surely eat us.But since he’s not, he cannot eat us.

Loup y-es-tu?OUILoup que fais-tu?

1.Je me réveille (I’m waking up) 2.Je mets ma chemise (I’m putting on my shirt) 3.Je mets mes pantalons (I’m putting on my pants) 4.Je mets mes souliers (I’m putting on my shoes) 5.Je mange! (I’m eating!)

Playing the GameThewayIorganizethisgamedependsonthespaceavailableandsometimesonthecharacterofthe

groupIamteaching.Inalarge,openspace(thegymorthemusicroom),I’llchoosethreetofiveofthestudentstobe

wolves.Theyliedown,pretendingtobeasleep,whiletheothersformastandingcirclearoundthem.Duringeachrefrainthestandinggroupdanceinacirclearoundthewolves.Ioftenvarythespeedofthesongandmeansoflocomotionforinterestandtomaintainclasscontrol.So,sometimeswegallopandsingwithfullvoices,sometimeswewalkontippy-toeandwhisper.

Aftereachrefrain,thecirclestopsinordertoaskthewolf:ifhe’sthere(Loup y-es tu?)andwhathe’sdoing(Loup que fais-tu?).Thewolvesrespondwiththeanswers(1–5)indicatedabove.InkindergartenandGradeOneitmaytakeawhilebeforethechildrenrememberthevocabulary,sountilthen,Imaygivetheresponsesandthestudentsrepeatthemafterme.Havingthestudentscreatetheirownstorybooksofthesongwillhelp.

Whenwegettothefifthresponse(“jemange!”)eachofthewolvesisallowedtocatchoneoftheirclassmateswho,inturn,becomethenewwolves.Theoriginalwolvesreturntothecirclewiththeirclassmates.

See Activity Sheets #’s 11a, b, c & d on p. 83, 84, 85 & 86

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Game VariationsInsmallerspaces,orwitholdergroupsthataretoorambunctious,playingthegameasdescribedabove

isnotfeasible,unlessyoudecidetoletthemplayitoutsideasaspecialactivity.Analternatewaytoplayistohavethewolvesmovearound,whiletheotherchildrenstandstillasthetreesintheforest.Inthiscase,the“trees”remaininacirclewhilethe“wolves”weaveinandoutaroundthem.

Finally,ifyou’reteachingthissonginaregularclassroomwithdesks,thewolvescouldremainseatedattheirdesks,whiletherestoftheclassgoesupanddowntherows.Whenitcomestimeto“eat”,thewolveswouldtagtheperson,eithertotheirrightortheirleft,whoisstandingclosesttotheirdesk.

Creating the BookPhotocopyeachofthesheetsasback-to-backcopies,liketheoriginals.Eachstudentwillneedboth

pages.TheywillfoldeachpageindividuallyfirstalonglineA,thenalonglineB.Staplealongtheinnerspine.Cuttheupperfoldsofeachpage.

Thepagesreproducedherehavesomewordsleftblankthroughoutthebook.Thisenablesstudentstofillintheblanksandassociatethecorrectwordwiththecorresondingimage.

track 47:Groupecho.

track 48:Pianosolo.

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L’arbre est dans ses feuillesThissongisverysimilartotheEnglishsongThe Green Grass Grew All Around.Aftereachoftheverses,whicharedoneasechoes,yougothroughtheentiresongcumulatively.WithDivison2students,thisisagreatsongtoaddspoonsto,asinstrumentalaccompaniment.Evensoupspoonsfromthestaffroomwillwork.

Thewords “maridon,mariden”donotmean anything.They aremusical “filler,” just as singing“shooby-doo”wouldfillanEnglishsong.

Refrain: L’arbre est dans ses feuilles, maridon, mariden (The tree leaves are in blossom) L’arbre est dans ses feuilles, maridon, don, den.

1. Et dans l’arbre, il y a une branche (echo) 1. On the tree, there’s a branch. La branche est dans l’arbre!

2. Et dans la branche il y a un trou (echo) 2. In the branch, there’s a hole. Le trou est dans la branche, La branche est dans l’arbre.

3. Et dans le trou, il y a un nid (echo) 3. In the hole, there’s a nest. Le nid est dans le trou, Le trou est dan la branche, La branche est dans l’arbre.

4. Et dans le nid, il y a un oeuf (echo) 4. In the nest, there’s an egg. L’oeuf est dans le nid Le nid est dans le trou Le trou est dans la branche La branche est dans l’arbre.

5. Et dans l’oeuf, il y a un oiseau (echo) 5. In the egg, there’s a bird. L’oiseau est dans l’oeuf,

6. Et dans l’oiseau il y a un coeur (echo) 6. In the bird, there’s a heart. Le coeur est dans l’oiseau,

7. Et dans le coeur, il y a de l’amour (echo) 7. In the heart, there’s love. L’amour est dans le coeur,

track 49:Solovoice.


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La chasse aux lionsThisismyowntranslationofthepopularcampsong“Goin’onalionhunt.”Iintroduceittomystudentsthefirstfewtimeswithoutvisualsupport,butactingoutthesong.Oncethey’refamiliarwithhowthesongworks,Ishowthemhowwecancreateamapusingaspiralshape.Weencounterdangersalongthewaytofindthelion,butweneedtoretraceourfootstepstogetbackhome,sowegothroughallthedangersagain!Thesuggested“dangers”listedbelowaretoillustratehowthesongandthepicturegotogether.

Dependingonyourcomfort levelwithnoiseandmovement,youcouldhavethechildrenactouttheobstaclesusingonlytheirhandsandarms,whilesitting.Or, ifyouhaveaccess toa largespace(gymormusicroom),youcouldleadthechildreninactingoutthesongusingtheirwholebodies,inmovement.

Professor: Je chasse des lionsElèves: (je chasse des lions)

P:Moi, je n’ai pas peur E:(Moi, je n’ai pas peur)

P:J’ai un beau fusil, E:(J’ai un beau fusil)

P: Et des balles à mon côté E:(Et des balles à mon côté)

P: Oh! Oh! E:(Oh! Oh!)

P: Qu’est-ce que je vois? E:(qu’est-ce que je vois?)

1.Je vois un grand lac. 2.Je vois une montagne. 3.Je vois des grands arbres. 4.Je vois une caverne (wherethelionishiding).

Qu’est-ce qu’il y a dans la caverne?Je ne peux rien voir, car il fait trop noir.Je vais allumer une allumette….Aie!

See Activity Sheet # 13 on p. 89

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Anydangersorobstaclescanbeusedinthissong,andthechildrenlovecreatingtheirownmaps.Withsomegroups,Iallowwhoevermadethemaptobetheleader.ThisreallyencouragesthemtousetheiroralFrenchinfrontoftheclass.Eventheshyestchildwillwanttobetheleaderofthissong.WithkindergartenorGradeOnestudents,IwouldwritetheFrenchwordsfortheirobstaclesforthem.Witholderstudents,theyneedtolabelthemapthemselves.ThisgivesDivision2studentstheopportunitytousetheirFrench-Englishdictionaries.

track 50:Groupecho.

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grass

lion

lake

trees

mountains


Napoléon(NapoléonBonaparte,EmperorofFrance1804-1815)

Thewordsofthissongareveryeasytolearn.IttalksaboutNapoleonmarchingofftowarwithhis500soldiers,whoareallwalkinginperfectstep.

Napoléon avait cinq cents soldats.Napoléon avait cinq cents soldats.Napoléon avait cinq cents soldats,Marchant du même pas. Tra-la-la!

Thechallengeofthesongsinvolvesphysicalco-ordination.Onceyourstudentscansingthesong,havethemstand.Thiswillworkevenifdoneinaclassroomwithdesks.Everyonemarchesinplace,keepingaverysteadybeatwiththeirfeet.(ThisisindicatedbythedrumontheCD).Thesongissungrepeatedly,butwitheachsuccessiveverse,wereplaceoneword,beginningattheendwith“soldats”,withclapping.Now,thehandsarekeepingtherhythmofthesongwhilethefeetkeepthebeat.

track 51:Solovoice–1verseonly.

track 52:Groupunisonvoice,withdrumandclapping.

track 53:Pianosolo

Game VariationsDependingonthespaceyou’reworkingin,Ioftenaskforthefrontrowofstudentstowalkaround

tothebackoftheirrowduringthephrase“marchantdumêmepas.Tra-la-la!”andforeveryoneelsetoadvanceonestep.Whatthisdoesisallowmetoobserveallthestudents,butfocusingonlyonthefourorfiveattheheadofeachcolumnforeachverse.

division 2 ChallengeWitholderstudentsthiscouldbedoneasaneliminationgame.Thosethatareattheheadoftheir

rowareobservedtoensurethattheycancoordinatetheirfeetandhandsandmarchinsynchwiththeirhandsclappinginrhythm.Iftheycan’tdothatorlosetheirrhythm,they’reaskedtositdown.Eventuallyyou’llendupwithonlyafewwhoaredeclaredthewinners.


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Games that encourage the use of oral FrenchIntroducing New Vocabulary

Thegamesincludedinthefollowingsectionaregamestopractise familiarvocabulary,nottopresentnewvocabulary.

Therearemanywaystointroduceunfamiliarvocabularywithoutrelyingontranslation.Ioftenbringineitheritemsorillustrationsoftheitemsoractions,andpresenttheminitiallyinaverysystematicandstraightforwardway.Forinstance,ifwewereworkingon“winterclothing”,Imaybringinatuque,mittens,bootsandacoat.Or,Imayhaveillustrationsofthesesameitemswiththewordswrittenonthem.*Iwouldholduponeitematatimeandsay“Voiciunetuque”,thenaskthestudentstorepeatthatphraseafterme.

Aftergoingthroughallofthenewwords(notmorethan5-8atatime),Iwouldaskindividualstudents“Montre-moilatuque”.Afterreviewingthenewvocabulary,wemaydoavarietyofthingstoreinforcetheconcept;readastorythattargetsthevocabulary,watchavideooraDVD,learnasong.Olderstudentsmaybeaskedtowriteoutthewordsandillustratethem,youngerstudentsmayhaveamodifiedversionofthatactivity.

Initiallytheteacherisdoingmostofthemodellingofthepronunciationanduseofthewords.Even-tually,though,youwillwantthestudentstobeginusingthetargetlanguage.Structuringthatrequire-mentwithinthecontextofagamegoesalongwayingettingpastself-consciousnessandshyness,particularlywithDivision2students.

Youwillnoticethatthegamesarenotpresentedaccordingtotheme.That’sbecausetheyareeasilyadaptabletosupportthepractiseofANYtheme.

*Thereareseveralfactorstotakeintoconsiderationbeforedecidingwhetherit’smoreappropriatetouserealitemsorillustrations.

•Areyouteachingyoungerorolderstudents?•Areyoustayinginoneclassroomandhavingstudentscometoyouforinstruction,orareyoua“travelling”Frenchteacher,pushingacartfromoneclassroomtothenext?

•DoyouhaveanavailablebulletinboardconsecratedtoFrench?

Eachteacherisinthebestpositiontounderstandtheopportunitesandrestraintsoftheirownteachingsituation,andtoknowthedevelopmentallevelsandinterestsoftheirstudents.InanycaseIwouldalwayseventuallyhaveflashcards,posters,photographsorotherillustrationsthatincludethewrittenwords.Itisnicehowever,tosometimestocatchstudentsoff-guardalittlebyus-ingrealitems.

N.B.Idonotclaimtohaveinventedthesegames.Usually,Ilearnedthesebyplayingthemmyself.SomeareadaptationsofDramagamesIlearnedaspartofmydegree.WhenpossibleInotedthesource.

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46

IwasfirstintroducedtothisgamebymygoodfriendDianeMartel,whouseditwithherGrade7lateimmersionstudentsinordertohavethempractisesayingtheirnumbers.AlthoughIwillde-scribeitherewiththeexampleofnumberwords,itcanbeadaptedforothertypesofvocabulary.

Materials: Cardspreparedinadvance,oneforeachstudent.Eachcardhasthewords“J’ai(anum-ber).Quia(anothernumber)?writtenonthem.(Seeexamplebelow)It’simportantthatthenumbersdonotfollowthenormalcountingorder.Notknowingthenextnumbertobecalledhelpstokeepstudentsontheirtoes!

J’ai 1 Qui a 23?

J’ai 23

Qui a 7?

J’ai 7

Qui a 15?

J’ai 15

Qui a 3?

Makingthecardscanbealittletricky.Here’sonetechniquethatworkswell.Writethefirstpart“J’ai---”forallthenumbers,inorder,ofyourtargettedrange(ex:1-20,1-30).Spreadthemout,inorder,onatable.Asyoupickupone,finishwritingthequestion“Quia----?”andthenimmediatelycompletethatcardnext,placingitinaspearatepileaseachisfinished.Inthisway,youwon’trepeatanynumbersorskipany.Forthelastremainingcard,youcouldeitherwrite“J’aifini”or“quia1?”forthesecondphrase.

playing the game:Shufflethecardsanddealoutoneforeverystudent.Thepersonholdingthecardthatsays“J’ai1”willalwaysbethefirstpersontostart.Thepersonstandsupandreadsthestatementandthequestion,thensitsdown.Whoeverhasthecardwiththerequestednumberstandsupandreadstheirstatementandquestion.Thiscontinuesuntileveryonehashadachancetoreadtheircard.

alternate ways to play:

small group:Thisgamecouldalsobeplayedwithinasmallergroupof4-6students.Inthatcase,everypersonwouldhavemorethanoneopportunitytoreadacard,andtheywouldneedtolistenmoreattentivelyforallthenumberstheyholdintheirhand.

Using other vocabulary: Ratherthannumbers,youcouldcreatesetsofcardsthatreinforceanyoth-erthemevocabularyyourstudentsarelearning;food,clothingoranimalsallworkwell.WiththosetypesofthemesIalwaysincludeanillustrationofthewordoneachcard,aswellasthewrittenwords.

Note:Whenmakingnumbercards,becauseofthemixeduporder,eachtimeyouwanttoexpandtherange,you’llneedtocreateanewset.Ex;1-20,1-50,etc.

J’ai -----, qui a --------

DixThisgameisdeceptivelysimple.Thereisacertainamountofstrategyinvolved,soitisbestsuitedtoDivision2students,althoughyoungerstudentsenjoythemorestraightforwardversions.

Materials:None

playing the game: Studentsareinvitedtoeitherstandbesidetheirdesks,ortoactuallysitontopofthem.Astheyareeliminated,theywilltaketheirseat.Thegoalistobethelastpersonstanding,andtohelpyourfriendsremainstandingaslongaspos-sible.Oneaftertheother,followingapre-establishedorder(easiesttoaccomplishifthestudentsareinstraightrows),eachstudentcountsupwardsfrom1.Theymaysayeither1-2numbersatatime.Thepersonwhoseturnitisatthenumberten(“dix”)iseliminated.Astheyearprogressesandstudentsbecomefamiliarwithmorenumbervocabulary,theycanalsobeeliminatedatanymultipleoften.Atthebeginning,it’sacceptabletocountfrom1-10overandover.

alternative ways to play:

•Studentsmayworkinpartnersorteams,thegoalthenbecomestobethelastteamstanding.•Youmaychoosetoworkwithmultiplesof5.Thegamesbecomesmuchfasterwiththisadapta-tion.•Replacethenumberwordsformultiplesof5or10withnonsensewords.Example:anymultipleof5isreplacedbytheword“flûte”,andallmultiplesof10become“poof”.Inthisversion,studentsareonlyeliminatediftheymakeanerror.Itrequiresfullattentivenessandisverychallenging,butalotoffun!(Mythankstotheanonymousteacherparticipantwhodemonstratedthisvariationatthe2007MightyPeaceteacher’sconvention.)

n.B. Whatever version of this game you choose to explore with your students, it is absolutely imperative that the order of players be pre-determined and does not change over the course of the game. that is relatively straightforward if your students are in rows, but will need to be discussed and clarified if your students are in groups.

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Qui suis-je?Materials: Cardswithpicturesoffamiliarpeoplegluedontothem,andlabelledwithappropriatedescriptivevocabulary.Thesecardscouldbecreatedbystudentsorbytheteacher.Photographscutsoutfrommagazinesworkwellforfamouspeople.Usingphotographsofschoolpersonnelwouldbeanotheroption,dependingonthethemebeingexplored.

playing the game: Eachstudentoutofasmallgroupgetonerandomlychosencard,butisnotal-lowedtolookatit.Ifthecardsarepre-threadedonstrings,thestudentshangthecardontheirbackinsuchawaythateveryoneelsecanseethepicture.Theirjobistotrytoguesstheidentityofthepersonwhosepicturethey’rewearing.

version one:Thepersonwearingthecard(“theplayer”)asksquestionsthatcanonlybeansweredby“Oui”or“Non”Ex:Est-cequejesuisunefille?Est-cequejesuiscanadien?Est-cequejesuischanteur?Est-cequejesuispoliticien?

version two:Theplayeraskesquestionsthathavetobeansweredincompletesentences.Ex:Est-cequejesuisungarçonouunefille?Réponse:Tuesungarçon.

Ex:Quelleestmacarrière?Réponse:Tuescomédien.(You’reanactor) Ex:Qu’est-cequejefais?Réponse:Tutravaillesdansunbureau.

Withbeginningstudents,itmightbeagoodideatopreparealistofquestionswiththemaheadoftime,appropriatetothethemeyou’relearningtogether.Thisactivitywouldworkwellwiththemesrelatingtofamilymembers,schoolpersonnel,careers,orsimplytoreinforcedescriptiveadjectives.


Thefirsttimeyouintroducethisgameyoumaywishtohaveonlyonestudentdemonstrateinfrontoftheclass.Oncethegameisunderstood,itcanbestructuredinmanydifferentways.•inpartners,whereonepersonistheplayerorwherebothpeoplearesimultaneouslytheplayer.•giveonlyhalfthestudentscards.Eachsubgroupwillgettobeaplayerinturn.Insteadofputtingthepicturesonstrings,eachstudentcouldwearasimplepaperheadbandandtuckthepictureintothefrontofit.Inthiswayeachstudentcanseethepictureofthepersonstandingbeforethem.

Thisgamealsoworkswellwithanimalvocabulary.

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CharadesThisisanadaptationofthepopular,traditionalgamethatintegratesverystrongvisualcuesandcanbeaddedto,ormademorechallengingasthetheschoolyearprogresses.

Materials:Cardswithimagesthatreinforcecurrentvocabularyandaredividedintopilesofnouns,verbsandadverbsoradjectives.Familytheme:Lamaman,lepapa,lafille,lebébé,lagrand-maman,etc.Wintersportstheme:faireduski,patiner,jouerauhocky,faireduluge,etc.

Creatingthecardsforthisgameisagoodtaskforstudents.Providethemwithmagazines,andpre-cutoutconstructionpapercards,andalistofvocabularytheyneedtofind.Eachcardmayonlyhaveoneimageonit.Studentsshouldlabeltheimagesotheintentionisclear.Teachersmayneedtosupervisethatpartoftheactivityasclarityisimportant.

playing the game:Dividethecardsintopilesofnouns,verbsandadjectivesoradverbs,orsubject,verb,object.Astudent(“theplayer”)picksonefromeachpileandhastoactitoutinsuchawaythattheirclassmatescanguessthesentence.Eachtimesomeoneguessescorrectly,thatcardgetsturnedovertoshowtheimageandword.Theplayerisnotallowedtospeakatall.theaudiencemembersmustguessinFrench.WhoevercansaytheentiresentenceinFrenchattheendbecomesthenextplayer.


Tointroducethisgame,orwithyoungerstudents,itmaybebestforoneplayertoactoutthecharadefortheentireclass.Whenthestudentsaremorefamiliarwithhowthegameworks,theycouldplayinteams;witheachpersonoftheteamgettingaturntoactoutacharaderegardlessofwhoguessesthesentence.

Asyouworkthroughvariousthemes,itiseasytocreatemorecardsandaddtothevocabularybankavailableforthecards.Ifyouprefer,youcouldkeepeachthemeseparate.Ex:onesportstheme,onefoodtheme,oneschoolvocabularytheme,etc.

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Qu’est-ce qui est changé?ThisgameisanexcellentwaytogetstudentspractisingusingdescriptivelanguagedealingwithposiThisgameisanexcellentwaytogetstudentspractisingusingdescriptivelanguagedealingwithposition,simpleobjectsandbodyparts.

Materials:3-5chairsandwhateverobjects(“props”)arepartofthevocabularyyouwishtorein-force.Youwillalsorequireanumberofvolunteerstudents(“statues”)equaltothenumberofchairsbeingused.

playing the game:Thestudentvolunteersplacethemselvesinpositionsrelativetotheirchairandtheirprop.Example1:afemalestudentstandstotherightofherchair,holdinganopenbookinherlefthand.Example2:amalestudentmaysitonhischair,withhislegscrossed,writinginaduo-tangwithapencil,whilewearingglasses.

Allthestatuesfreezeintheirpositionfor1minute.Theotherstudentssimplyobservethemandtakenoteoftheirposture.Theseobserversthenturntheirbacks,orcovertheireyes,whilethestat-ueschangesomethingabouttheirstance.Inourfirstexample,thegirlcouldnowstandontheothersideofherchair,ORshecouldcloseherbookORshecouldholdherbookintheotherhand.Inthesecondexample,themalestudentcouldexchangehispencilforacolouredmarkerORhecouldcrosshislegstheotherway,ORhecouldremovehisglasses.Thesechangesshouldnottakemorethanaminutetoperform.Finally,theotherstudentsturnaroundagaintofacethemandtrytoidentifywhathaschanged.TheyneedtodescribethechangesinFrench.


Dependingonthecompositionandageofyourgroup,therearemanyvariablesthatmaychangethewayyoustructurethisgame.Theteachermaywishtomakethechangestothestatues.Theremightbearuleabouthowmanychangesareallowedatonetime.Whoeverguessesthechangesbecomesthenextstatue.Otherstudentscouldbethe“sculpters”ofthestatues.Thismeansthattheygettoinitiallyplacethevolunteerinaparticularposition,andthenmakethechangesforthesecondpartofthegame.Thisgamecanbesimplifiedforyoungerstudentsbyhaving4-5playersholdaproporwearaclothingaccessoryinfrontoftheclass,thenstepoutoftheclassroominordertoexchangetheseitemsamongstthemselves.

Asalways,teachersareinthebestpositiontodiscerntheinterestsandabilitiesoftheirstudents.Don’tbeafraidtoexperimentuntilyoufindtheprocedurethatworksbestforyourgroup.

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Je m’assoisThisgameisbestsuitedforyoungerstudents.IhaveuseditforkindergartentoGrade3.Itisaverysillygame,butitcatchesthestudentsoff-guardandsoisanexcellentwaytobringeveryone’sat-tentionbacktoyou.Youngchildrenneedtomove,soit’salsoagoodwaytowakeeveryoneup,ifthey’vebeenconcentratingand/orsittingstillforanextendedlengthoftime.Theobjectiveofthisgameistopractisepositionorbodyparts.

Materials: None.Canbeplayedeitheratthecarpetarea,oratstudent’sdesks.

playing the game:

version one: Atthecarpetarea.Theteachergivessuggestionsforhowto“sit”,whichthestu-dentsactout.Ex;Jem’assois.......•surmesgenoux•surmesgenouxetjeplacemescoudesparterre•surmondos•surmondosavecmespiedsdansl’air.

version two: withstudentsattheirdesks.Theteachergivessuggestionsforhowto“sit”inrela-tiontoone’sdesk.Ex:Jem’assois....•surlehaut(endessus)demonpupitre•endessousdemonpupitre•avecmesmainssurmachaise•avecmespiedssurmachaise

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La boîte à trésorThisisanothergamethathasmany,manyapplications.Ioriginallyuseditwithkindergartenstudentswhileteachinga“5Senses”theme,butfounditsoadaptablethatIhavesinceuseditinmanydiffer-entcontexts,andwithallelementarygrades.Studentswhoareprimarilyvisuallearnersfindthisgameextraordinarilydifficult.

Materials:Ashoeboxwithholescutateitherend,largeenoughforahandtofitin.Todiscouragepeeking,glueapieceofblackfabricovertheinsideoftheholes.Ifyouwantsomethingsturdier,youcouldattach3-4inchlengthsofsockstotheholes,sothatstudentssliptheirhandsthroughthesockstoreachinsidetheshoebox.Youwillalsorequireavarietyofobjectsrelatedtoyourunitofstudy.since your students are working “blind”, it is the teacher’s responsibility to ensure the safety of these objects. Materials with sharp edges or those containing common allergens should not be used!

playing the game:Eachstudenttakesaturnplacingtheirhandsinsidetheboxandtryingtoguesstheidentityofoneobjectfoundwithin.

version one:Theplayerrespondstoquestionsaskedeitherbyapartner,asmallgroup,ortheentireclass,dependingonhowindependentlyyourstudentscanwork.

version two:Thestudentsdescribetheirobjecttoapartner,smallgrouporentireclass,withoutprompting.

Factors to consider:•Doyoubeginwithseveralobjectsintheboxandhavestudentsremovetheonethey’vechosenafterdescribingandguessingitsidentity?Inthiscasebesuretoplacemoreobjectsintheboxthanthenumberofstudentsplaying.Inthisway,eventhelastplayerwillhaveachoiceofobjects.

•Doyouplaceanewobjectintheboxforeachturn?Thismaybegoodwhenyouintroducethegametoyourentireclass,butitcanalsobemoretimeconsuming.

•Doyourequirethateachplayermakeaminimumnumberofdescriptivestatementsbeforeguessingwhattheirobjectis?Inthisway,youensurethatstudentsusethetargetvocabulary.

•Doyouprovidestudentswithsentencestemstocomplete(Ex:Monobjetest…Ila…)•Ifworkingwitholderstudents,itcanworkwellthatonepersonwritedowntheirpartner’sdescrip-tiontolatersharewiththeentireclass.

suggestions for objects:•Animaltoys,whetherplushorrubber,aregoodtouseeitherforpractising"bodypart"vocabulary,orforanactualanimal-relatedtheme(ex:thejungle,thefarm,etc.)

•Startcollectingaboxofobjectsofinterestingtextures.Thingslikeseashells,rocks,sturdydriedflowers,naturalsponges,etc.forcethestudentstostretchtheirdescriptivevocabularyskills.

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ActivitySheet#1

L’oiseau

53

© 2004 • Denise Gagné Williamson

LineA

LineB

La poulette griseEcris par

C’est la poulette ,

Qui a pondu sur .

Elle va pondre un beau petit coco

Pour son petit qui va faire dodo.

ActivitySheet#2a

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LineA

LineB

C’est la poulette ,

Qui a pondu dans .



C’est la poulette

Qui a pondu



ActivitySheet#2b

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ActivitySheet#4a

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Trois petits pigeons,

trois petits pigeons, trois petits pigeons

Assis sur la clôture.

Oh! regarde! Un s’est envolé!

Deux petits pigeons,

deux petits pigeons, deux petits pigeons

Assis sur la clôture

Oh! regarde! Un autre s’est envolé!

ActivitySheet#4b

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Pas de petits pigeons,

pas de petits pigeons, pas de petits pigeons

Assis sur la clôture!

Un petit pigeon,

un petit pigeon, un petit pigeon

Assis sur la clôture.

Oh! regarde! Il est parti aussi!

ActivitySheet#5a

63


ActivitySheet#5b

65


ActivitySheet#6

67


Lundi matin

__________ matin, le ______ , sa __________ et son p’tit prince,

Sont venus ________ ______ , pour me serrer la ____________.

Mais, _____ j’etais pas là

Le __________ ____________ a dit

“Puis que c’est comme ça, nous reviendrons __________ !”

ActivitySheet#7

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ActivitySheet#8a

71


ActivitySheet#8b

73


Pour l’amour de Dieu.

Prêtes-moi ta plume,

Je n’ai plus de feu.

Ma chandelle est morte, Ouvres-moi ta porte

Au clair de la lune,

mon ami Pierrot, pour écrire un mot.

ActivitySheet#8c

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ActivitySheet#9a

77


ActivitySheet#9b

79


Frère Jacques dormez-vous?

Sonnez les matines Ding, dang, dong.

81

D’où viens-tu bergère?

ActivitySheet#10

81


Je mets mes ________

LineA

LineB

La chanson du loupSi le loup y etait,

il nous mangerait!

Je mets mes ________

ActivitySheet#11a

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LineA

LineBPromenons-nous dans le bois,

pendant que le loup n’y est pas.

Je mange!

ActivitySheet#11b

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Je mets mes __________

Je mange!

LineA

LineB

Loup, y es-tu?

Oui

Loup, que fais tu?

Je me ________

Je mets mes __________

ActivitySheet#11c

85


LineA

LineBSi le loup n’y est pas,

Je mets ma _______

ActivitySheet#11d

86


Je mets ma _______

ActivitySheet#12

87


89

ActivitySheet#13

89


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ActivitySheet#14

Napoléon avait cinq cents soldats.

Napoléon avait cinq cents _____________.

Napoléon avait cinq _______ _____________.

Napoléon _________ _______ _________ _____________.

_______________ _________ _______ _________ _____________

.Marchant du même pas, tra la la!

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Napoléon Bonaparte est né en 1769.Il etait empereur de la France de 1804 à 1815.

Le grand amour de sa vie etait sa première femme, Joséphine.Napoléon est bien connu pour ses stratégies militaires géniales.

En 1808, tout l’Europe etait sous son contrôle.Il a finalement été vaincu à Waterloo en 1815.

Il est mort en prison en 1821


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List of CD Tracks O Canada track 01:Solovoice–Acapella. track 02:Groupunisonvoicewithhanddrums. track 03:Pianosolo. Pomme de reinette track 04:Solovoice–chantedversion. track 05:Solovoice–sungversion. Bonjour track 06:Solovoice. track 07:Groupquestion-response. track 08:Groupquestion-responsewithsimplepercussion. track 09:Acappellavoicetwo-noteecho,steadypitch. track 10:Acappellavoicetwo-noteecho,variedtwo-notepitch. track 11:Acappellavoice,simplemelodyecho. track 12:Acappellavoicequestion-responseusingknownsongs.

Colour songs Rouge, rouge, rouge track 13:Solovoice. L’oiseau bleu track 14:Solovoice. track 15:Pianosolo. La poulette grise track 16:Solovoice–chantedversion.

Counting songs 1,2,3,4,5,6,7 track 17:Solovoice-chanted-sung. Trois petits pigeons track 18:Solovoice. Mon merle track 19:Solovoice. track 20:Pianosolo

Body part vocabulary J’ai dix doigts track 21:Solovoice. Je frappe mes mains track 22:Solovoice. La tête, les épaules track 23:Solovoice. Savez-vous planter les choux? track 24:Solovoice. track 25:Groupecho. track 26:Pianosolo

days of the Week Lundi matin track 27:Solovoice. track 28:Voicecrescendo(voicesprogressivelyaddedon).

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Hallowe’en vocabulary La belle citrouille track 29:Groupecho. Vieille sorcière track 30:Solovoice. track 31:Pianosolo Ah! c’est l’hallowe’en! track 32:Solovoice.

traditional songs Au clair de la lune track 33:Solovoice. track 34:Groupunisonvoice track 35:Xylophonesolo. Frère Jacques track 36:Solovoice. track 37:Twopartvocalcanon. track 38:Pianosolo.

Christmas songs Le père Noël track 39:Solovoice. track 40:Pianosolo. O nuit de paix track 41:Solovoice–Frenchverseonly. track 42:Groupunisonvoices–3verses,EnglishandFrench. track 43:Pianosolo–3verses. D’où viens-tu, bergère? track 44:Solovoice. track 45:Groupunisonvoicewithxylophone. track 46:Pianosolo.

Challenging songs La chanson du loup track 47:Groupecho. track 48:Pianosolo. L’arbre est dans ses feuilles track 49:Solovoice. La chasse aux lions track 50:Groupecho. Napoléon track 51:Solovoice–1verseonly. track 52:Groupunisonvoice,withdrumandclapping. track 53:Pianosolo

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