Artist Pre - Visit Lesson Plan Grade: 4

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Artist Pre - Visit Lesson Plan Grade: 4

Guelph Youth Music Centre Do Re Mi Interactive Music Education Program

Lesson Focus Preparing to Create and Perform; Reflect, Respond, Analyse and Explore Forms and Cultural Contexts in a visit by musician Richard Knechtel with varied musical activities. Pre-Visit Activities Page 1 - 7 Visit Activities Page 8 - 9 Post-Visit Activities Page 10 - 17 Assessment Do Re Mi artist visits and the optional activities offered are designed to support and enhance meeting some of the Ontario Arts Curriculum expectations for Music, within the context of existing arts programming. Teachers may wish to use the curriculum-based Rubric provided to track and record student responses to activities to supplement their assessment of student learning, as best fits the progress and ability of their group. Any differentiation of program and supportive interventions required of reinforcement, consolidation or enrichment based on student need, are at the discretion of and based on the professional judgment of teachers. Should there be special student needs in the group, teachers will find the visiting artist flexible and open to accommodating students, in order for them to participate and benefit from the experience at an appropriate instructional level. Music Assessment Rubric Page 18 Ontario Arts Curriculum Expectations Addressed C1.1 sing and/or play, in tune, from musical notation, unison and two-part music with simple

accompaniments from a wide variety of cultures, styles, and historical periods C1.3 create musical compositions for specific purposes and audiences C1.4 use the tools and techniques of musicianship in musical performances C2.2 identify the elements used in music and describe how they are used Instructional Activity 1. Teach basic music notation elements. (See reproducible page – About Written Music and Music

Alphabet Puzzles) Music staff; Lines and spaces; Treble clef; Bar lines, double bar line

2. Begin work with the music alphabet and the naming of lines and spaces. With knowledge of the music alphabet, children will be able to name all the notes on a treble staff as

the “curly middle” is wrapped around G and the clef is sometimes called a G clef. You say the alphabet forwards and proceed up to each space and line OR say the alphabet backwards and go down for each space and line.

MUSIC ALPHABET RAP The music alphabet is short and sweet, To say it together is not a great feat. A B C D E F G A B C D E F G The alphabet backwards? You might have to think. Say it together, quick as a wink. G F E D C B A G F E D C B A

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Some children will probably already know some short jingles to name the lines and spaces.

3. Integrate curriculum expectations by focusing on the science of sound.

Activity 1: Recognize that sounds are caused by vibrations. When you talk or sing or hum, you vibrate the vocal cords in your throat. You can feel these vibrations. Put you fingers on your throat and talk, sing, hum. Activity 2: Describe how the human ear is designed to detect vibrations. Equipment: bowl piece of plastic (waxpaper) rubber band rice or candy sprinkles or salt pot and wooden spoon

1) Secure a piece of plastic tightly over the bowl with a rubber band to make a drum. This is like 2) your ear drum.

3) Put a few grains of rice (candy sprinkles or salt) on top of the drum.

4) Hold the pot close to the drum and hit the pot sharply with a wooden spoon.

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Activity 3: Identify a variety of materials through which sound can travel.

Equipment: pencil, fork

1) Hold the fork lightly by the handle and strike the tines with a pencil. Listen to the sound.

2) Support the handle of the fork between your front teeth and fingers. Strike the tines with the

pencil. The bones of your jawbone and skull are good conductors of sound.

* An interesting tidbit about Beethoven 1770-1827. Beethoven became deaf around 1808 but continued to compose. His famous Ninth Symphony which includes the popular, Ode to Joy, was composed in 1824. It is said that Beethoven tried many things to overcome his impairment. He would hold one end of a long wooden stick between his teeth and put the other end against the piano string. He could hear the not on the piano as the sound traveled through the stick and then through his teeth, jawbone and skull to his inner ear.

Activity 4: Identify a variety of materials through which sound can travel.

Equipment: string, various types, String recordings (Air for the G string from Orchestral Suite No 3 in D major by JS Bach)

1) Attach a length of string to the bottom of a chair or to your foot. 2) Pull the string so that it is taut and hold the other end to your ear. 3) Play the recording and play your string in time to the music. 4) Experimenting with different types of string and adjusting the length of your string will

have interesting results.

Activity 5: Demonstrate how the pitch of sounds can be modified.

Equipment: ruler; 2 pencils; rubber bands of varying thickness

1) Stretch a rubber band over a ruler. Insert two pencils, one at each end of the ruler. The band’s middle section can now vibrate freely. Pluck the rubber band.

2) Move the pencils closer to the middle so that the vibrating section is shorter. Pluck the rubber

band. 3) Try rubber bands of varying thickness.

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Artist Pre - Visit Lesson Plan Grade: 4 Guelph Youth Music Centre

Do Re Mi Interactive Music Education Program

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Artist Visit Lesson Plan Grade: 4 Guelph Youth Music Centre

Do Re Mi Interactive Music Education Program

Lesson Focus Creating and Performing; Reflecting, Responding, and Analysing and Exploring Forms and Cultural Contexts Class visit with Singer – Instrumentalist Richard Knechtel. Curriculum ExpectationsAddressed C1.2 apply the elements of music when singing and/or playing, composing, and arranging music to

create a specific effect C2.3 identify and give examples of their strengths and areas for growth as musical performers,

creators, interpreters, and audience members

Fundamental Concepts – Elements of Music • beat: the steady pulse in a sound or music. • duration: the time during which a sound continues; the fast and slow tempo or speed of a piece of

music; rhythm versus beat; syncopation using an eighth note followed by a quarter note and an eighth note; sustaining a note or rest for longer than its value (pause or fermata).

• dynamics: the degree of loud or soft; control signs encountered in repertoire; changes in volume encountered in music listened to, sung, and played (sforzando [sfz]); articulation (phrase markings).

• form: the shape or structure of a sound or piece of music phrase, such as a verse and chorus; a piece with an introduction and/or a coda; simple repeats.

• melodic contour: refers to the mapping of the pitches in a song, identifying the beat, rhythm or shape of pieces of music.

• ostinato: a short melody or pattern that is constantly repeated, usually in the same part at the same pitch. (e.g., “ta, ta, ti-ti, ta”).

• pitch: the highs and lows of a sound; simple melodic patterns using melody maps, five-line staff, absolute pitch names in treble clef (A, B, C, D, E, F, G), major and minor tonality, major scale (written with notes or numbers), intervals (unison, step, skip, leap), key signatures in music performed, accidentals (sharp, flat, natural).

• rhythm: the pattern of long and short sounds and silences. • tempo: the speed of a piece of music. • texture/harmony: the feel of a piece of music resulting from its components; the combination of

notes which form a tuneful, pleasing sound such as a canon, or simple two-part piece (simple polyphony).

• timbre: the characteristic quality of the sound of a voice or instrument; for example the vocal quality of speaking vs. singing; body percussion vs. the sound quality of instruments and environmental and found sounds; the homogeneous sound of ensemble instruments vs. individual instruments of the orchestra.

Instructional Activity 1. Richard will introduce himself, describe his career path and experience as a professional musician.

He will demonstrate musical ideas using acoustic guitar and harmonica instrument and discuss the nature and structure of musical patterns and moods with students.

2. Lead students to design melody maps based on the direction of the melodies Richard plays on his

instrument; experiment with various ways of representing sounds using devised symbols such as gesture, colour, straight or curved lines to match melodies heard.

3. Diagram the dynamics of music heard on chart paper using the words to a known song to illustrate

standard symbols and invented symbols suggested by students which describe what happens in the song. Do the same with another known melody and compare in discussion or using a Venn diagram how the elements of two contrasting pieces create mood and use dynamics differently to create uniquely expressive pieces.

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Artist Visit Lesson Plan Grade: 4 Guelph Youth Music Centre

Do Re Mi Interactive Music Education Program 4. Lead students to listen and respond to selections Richard plays verbally, or by creating a graphic

or text response in response to the question “What does this song remind you of?” Engage Richard and students in discussions related to their findings in Pre-Visit “Science of Sound” activities relative to how musical instruments, music and human hearing work.

5. Lead students to identify two musical qualities that were effective in their participation and

performance with Richard and one area for improvement. Junior Resource List Ardley, Neil Music 2000, Dorling Kindersley Ltd. “DK Eyewitness Books”, N.Y., N.Y. ISBN 0-7894-5829-2 Cutz, O. Bucket Music: Learning to the Beat of a Different Drum Talking Drum Music Productions, Canada www.talkingdrum.ca Cutz, O More Bucket Music: 3 Pack Compositions Talking Drum Music Productions, Canada www.talkingdrum.ca Cutz, O. & Doyle, S. Pass It On! Poetry & Body Percussion for Elementary Students Talking Drum Music Productions, Canada www.talkingdrum.ca Skelding, M. & Schulze, J. The Key to Your Junior Music Program: A Simple Easy-To-Follow Format of Songs and Lesson Plans www.musicbooksforschoolteachers.com

http://www.talkingdrum.ca/

http://www.musicbooksforschoolteachers.com/

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Artist Post - Visit Lesson Plan Grade: 4


Lesson Focus Creating and Performing; Reflecting, Responding, and Analysing and Exploring Forms and Cultural Contexts Ontario Arts Curriculum Expectations Addressed C1.5 demonstrate an understanding of musical signs and standard notation on the five-line staff, and

use devised notation to record the sequence of sounds in a composition of their own C2.1 express detailed personal responses to musical performances in a variety of ways C3.1 identify the role of music in a community today and compare it to its role in a community of the

past C3.2 demonstrate an awareness, through listening, of the characteristics of musical forms and

traditions of diverse times, places, and communities Instructional Activity 1. Focus on notation to assist students in recognizing that the treble clef defines the names of the lines

(e,g,b,d,f) and spaces (f,a,c,e) on the musical staff; recognize that specific pitches may be represented by notes placed on a staff and read music using their knowledge of contour mapping and notation.

Activity 1 Music Puzzles (reproducible pages)

Before giving instructions for the seatwork have children think of words that use only letters of the music alphabet, A, B, C, D, E, F, G. Use a few of these words on the board as models for the seatwork and have children write the appropriate notes. Some possibilities that are not included in the seatwork are listed below:

2 letter words 3 letter words 4 letter words More than 4 letters be age feed baggage Ed fee beef

Abe fade dad café dab deed edge

Activity 2 Name that Tune (reproducible pages) Short phrases from familiar tunes are included on the reproducible pages. In small groups the children must write the letter names of the notes. They could then “practice” finding the notes on a paper keyboard (reproducible page) and then “practice” on a real keyboard, listen carefully and identify the tune.

Answers: 1. Frere Jacques 2. Old MacDonald 3. Jingle Bells 4. Mary had a Little Lamb 5. This Old Man 6. If You’re Happy and… 7. Teddy Bear’s Picnic 8. I’m Popeye the Sailorman 9. Pop Goes the Weasel 10. Row Row Row Your Boat 11. Hot Cross Buns 12. Three Blind Mice 13. I’m a Little Teapot 14. Down by the Station 15. Happy Birthday to You

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2. Focus on beat and rhythm to lead students in identifying whole notes, half notes, quarter notes and

eighth notes and to create an accompaniment for a story, poem or drama presentation using their knowledge of beat as the steady pulse in music and rhythm as the pattern of long and short sounds and silences.

Activity 1 Canadian folk song

John Kanaka

i) Organize students with partners in a random formation or in a double circle facing one another. ii) Actions: John………………………………….......stamp one foot

Ka-na-ka-na-ka …………………………patschen (slap thighs with alternate hands)

too – la……………………………….......clap ay…………………………………….......snap with both hands

iii) After the song is well-known with actions, the isolated rhythmic patterns of the words above can be internalized one at a time and expressed only with the body percussion.

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Activity 2 How Much Wood?

i) Teach the text rhythmically with dynamics and inflection. ii) Clap the rhythm (every syllable of every word) of the verse. iii) Add the various kinds of beats one by one to the verse. Use speech/movement.

All of these accompaniments are ways of keeping the beat.

whole note Zonk! Chopping motion of a big axe half note Uh! Uh! Pound chest quarter note Ee-aw, ee-aw Sawing motion eighth note chick-a, chick-a Soft claps chick-a, chick-a Add some dynamics to this verse by saying it 3 times with accompaniment, getting increasingly louder each time. Everyone could shout “Timber….rrrrr!” at the end. Activity 3 Medieval Dance “Branle de Champaigne” The branle (or bransle or brantle and sometimes even brawl) is a rustic circle dance originating in England. (Thanks to U. Rempel (U of Manitoba) for dance instructions)

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Dance Instructions: i) Have students form a large circle, with hands joined at waist level. ii) First half: (first 2 lines of music) Bars 1-4 Beginning with the left foot: step-close to the left Bars 5-8 Beginning with the right foot: step-close to the right ii) Repeat all above

iv) Second half: (third line of music) Bars 1-4 Move into the circle with arms raised Repeat Move out of the circle with arms lowered v) First half: Repeat first half as above.

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Artist Pre - Visit Lesson Plan Grade: 4

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