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Music Literacy��Tonal

Carol J. Krueger��Director of Choral Activities

Emporia State University

[email protected]

“Musical literacy is as universally

possible as linguistic literacy and the

development of such literacy is an

obligation of the schools.”

Lois Choksy

Why Music Literacy?��One need not be able to read and write to make music.

Linguistic Literacy •  Those who are illiterate

are DEPENDENT upon others; only oral – aural communication;

•  Being able to read and write allows us to function in society; –  Becomes an independent

creator and learner of stories, now able to communicate across space and time. Don P. Ester

Music Literacy •  Those who are illiterate

are DEPENDENT upon others; only oral – aural communication.

•  Ability to read and write music notation makes for an independent musician. –  The restrictions on

communicating and learning are removed; horizons can expand beyond previous limits.

–  EMPOWER not ENABLE

Music Literacy •  Music Literacy: Ability to translate notation into vocal sound (reading)

and sound into notation (notating). –  Singing voice is the fundamental instrument for all musicians.

•  “If you can sing it, you can hear it; if you can hear it, you can sing it”. –  Ability to sight-read notation on any instrument is an

important and valuable skill. However, being able to press the correct keys on an instrument in response to notation does not confirm that the performer can audiate the music.

–  DECODING vs LITERACY

•  Audiation or “thinking sound”: –  the ability to hear the music internally, provides the

foundation for comprehensive music literacy.

•  Process of learning music is much the same as learning language. –  Listened to language-even in womb; surrounded by

conversation; became acculturated to it; –  Tried to imitate; must pass through ‘babble’ before

imitation; –  Began to think in it; words and phrases began to have

meaning; –  Began to improvise in the language; engage in conversation;

developed ability to think and speak –  Learned to read and write;

•  Language development and achievement would have been affected if any of the steps had been skipped.

•  Process of learning music: – Listen and absorb a wide variety of music; became

acculturated to it; – Must pass through ‘babble’ stage before accurate

imitation; – Audiate or think in it; hear and comprehend in one’s

mind; awareness of underlying tonality and meter; complex process;

–  Improvise in the language; engage in conversation; develop ability to think and accurately perform;

– Learn to read and write;

Music is an aural art. •  Sound

–  Hear, sing/chant through imitation before reading and writing

•  Sign –  Sound + verbal association (syllable)

•  Symbol –  Visual representation of the sound/sign

•  Theory –  Give principles and theory only after practice and as they become relevant

“Action will remove the doubt that theory cannot solve.” – Petryl Hsieh

You can spend your whole life thinking and theorizing, but it is only through action that you gain clarity. Theory can only take you so far. When you actually start taking action, things are much different than in theory.

Literacy Process ��Sound before Sight

“Man cannot discover new oceans unless he

has the courage to lose sight of the shore.”

Andre Gide (1869-1951) French writer, humanist and moralist,

1947 nobel prize for literature

Tools ��[facilitate cognitive processing]��

Systems for Reading Tonal��

  Tonal systems must serve the needs of the learning approach used by the teacher; they must not drive the approach or be the approach.

Systems for Reading Tonal:   Must connect very efficiently with the aural syntax of music, allowing the learner to easily link syllables to patterns before encountering notation.

  Must eventually link to musical symbols in a practical and intuitive manner.

  Should be appropriate for use with all ages.

  Should promote quality singing.

  Should facilitate the generalization of identical patterns from one pitch level to another. For example, a given melody must be sung using the same syllables regardless of starting pitch.

  Should assist in the aural identification, labeling, and accurate performance of each mode (Major, Minor, Dorian, etc.).

Solmization (solfa, solfège)

•  Tonal-solmization systems are either sound-based (Moveable Do)

or symbol- based (Fixed Do); the syllables either correlate most directly with aural percepts or visual percepts. •  Sound-based (relative) solmization systems are better suited for sound-before-symbol

teaching strategies; 99.99% of the population hears pitches in relation to each other rather than absolute pitches (Takeuchi & Hulse, 1993).

•  Fixed solmization is symbol-based: syllables correlate with specific written pitches regardless of tonality or key center. •  A different syllable pattern must be learned/sung for each of the tonic triads associated

with the fifteen key signatures.

•  Fixed Do

•  Two commonly-used versions: the original with only seven diatonic syllables, and a modified version that adds chromatic syllables.


•  Sound-based systems are commonly referred to as relative solmization systems: the syllables correlate with aural scale degrees in the framework of tonality regardless of pitch level.

–  The concept of relative solmization pre-dates fixed solmization by several centuries. –  System is responsive to changes in tonality and tonic pitch level; facilitates the consistent labeling

of patterns in the context of tonality.

•  Moveable Do [64% of middle/high school directors] Demorest, 2001

–  Major Scale

–  Chromatic Scale: accidental always signals a change in solfège syllable.


•  La Minor [Accidentals are visual warnings that a chromatic syllable is required]

–  Natural Minor Scale

–  Harmonic Minor Scale

–  Melodic Minor Scale

–  Preferred by Practitioners; 2/3 of moveable do users, use “la” minor.

Solmization (solfa, solfège) •  Do Minor

[Requires the extensive use of chromatic syllables from the initial encounter with the minor mode]

–  Natural Minor Scale

–  Harmonic Minor Scale

–  Melodic Minor Scale

–  Preferred by Theorists: values the theoretical perspective of parallelism that establishes do as the tonic in all modes

Numbers ��Sound Based

•  The numbers 1, 2, 3, etc. are assigned to the degrees of the scale.

Letter Names ��Symbol Based

•  The letters A, B, C, D, E, F and G are used for the appropriate pitch names. –  Sharps are ace, beas(t), cease, dease, eas(t), feas(t) and jeese.

–  Flats are ahs, bess, cess, des(k), es(t), fes(t) and jes(t).

Tools

Hand Signs

Hand Signs •  History

–  Ancient Hebrew and Egyptians

–  Guidonian hand (11th century)

–  Sarah Glover (19th century)

–  John Curwen (1816-1880)

–  Zoltan Kodàly (1882-1967)

•  Positive Aspects –  Connects to learning styles.

•  Kinesthetic •  Visual representation of high-

low relationship –  Visually observe student

engagement –  Movement and verbal

communication are essential to anchor new information for gestalt dominant learners

–  Logic dominant learners benefit from discussion or writing/hand motion in order to anchor new information in memory; under stress they are less able to express themselves with hand and body gestures

Chromatic Tonal Ladder # do b

ti li te

la si le

so fi se

fa mi

ri me re

di ra do

Musical Literacy Procedure •  Phase I—Reading Readiness or Preparation

–  Teach songs by rote (WHOLE)

–  Develop a sound vocabulary (PART)

•  Neutral echoing: learn musical patterns; patterns have meaning in and of themselves.

•  Syllable echoing: associate specific syllable labels with distinct patterns.

•  Echo translating: aural-verbal translation (dictation)

•  Phase II—Symbolic Association –  Reading: symbol syllable sound

–  Notating: sound syllable symbol

•  Phase III—Melodic Reading –  Integrating Tonal and Rhythm

Tonal Sequence��Major and Minor Should Be Taught Simultaneously

•  Major Pentachord •  Major Tonic Triad •  Major Scale •  Major Scale + Tonic

Arpeggio •  I, V •  I , V7 •  I, IV, V7 •  Other Diatonic Triads

•  Minor Pentachord •  Minor Tonic Triad •  Natural Minor Scale •  Minor Scale + Tonic

Arpeggio •  Minor Scales + Tonic

Arpeggio •  i, v; i, V •  i , V7 •  i, iv, V7 •  Other Diatonic Triads

Tonal Sequence Phase I��

Reading Readiness or Preparation��Purpose: develop a “sound” vocabulary

•  Train the ear –  “In the ear and out the mouth”

•  Process centers around rote learning (imitation) •  Expose students to songs in a variety of meters

and tonalities (WHOLE) before you teach ‘patterns’ (PART).

Rote Song Guidelines—Tonal When teaching rote songs NEVER let students just sit and listen. They should always be listening for a musical concept/feature. •  Teach the entire song as one solid piece; do not break it up unless it is very

long. [Whole Song Method vs Phrase Method] •  Sing the song on a neutral syllable first (noo, bum, ee, etc.). Only add words

when students can sing it accurately and with phrasing and beauty. •  Instruct singer to move their hands in tonal contour:

–  In the air; –  On a white board with a marker:

•  As students advance, have them share his/her contour with the class; •  After students have done the specific phrases in contour, mix them up to see

if the class can determine which phrase is which. –  With a flashlight on the ground or the wall.

Rote Song Guidelines—Tonal •  Instruct singers to move their hands up and down to show the tonal

movement; •  Stop in the middle of the song and instruct the students to sing the

tonal center; •  Instruct students to raise their hands when there is a specific tonal or

melodic pattern (do-mi-re); repeated pitches, ascending patterns, descending patterns;

•  Instruct students to draw phrase rainbows in the air to find logical resting points;

•  Instruct students to wave on the highest pitch and/or the lowest pitch; •  Instruct students to translate the song or sections of the song into

solfege, write in tonal contour and then transfer to a staff; •  Instruct student to sing the melodic cadence from the song that

defines the tonality.

Phase IA ��Aural-Oral Skill Development ��“In the ear and out the mouth”

•  Tonal Procedure: Neutral Echoing –  Teacher sings tonal patterns on neutral syllable while using

hand signs –  Students echo on neutral syllable while using hand signs

Students learn musical patterns; patterns have meaning in and of themselves.

Phase IB: Verbal Association �� Sound + Syllables = Sign

•  Tonal Procedure: Syllable Echoing –  Teacher sings tonal patterns on tonal syllables while using

hand signs; –  Students echo on tonal syllables while using hand signs.

•  Vocal-Pitch Exercises pitch skills that condition the ear, voice and mind –  Scales and modes –  Skip, step

•  Flashcards –  Intervals

•  Ascending and Descending from Tonic •  Moving out from Tonic •  Flashcards

–  Triad, chord –  Thirds, fourths –  Pentachords & Triads built on each scale degree –  Chord Inversions –  Chord Progressions—I, IV, V, etc.

Words should be associated with their sound.

“People often say that motivation

doesn’t last.

Well, neither does bathing –

that’s why we recommend

it daily.”

– Zig Ziglar

Additive Major Scale Major Scale •  A Major Scale is a series of seven tones in a specific pattern of whole and half steps.

•  The smallest distance between two tones is a half step or semitone. –  Half steps occur between mi and fa (3-4)

and ti and do (7-1). •  Two half steps combine to form a

whole step. –  Whole steps occur between do—re—mi

and fa—so—la—ti. •  Please note that a major scale is two

major tetra chords [WWH] connected by a whole step. [WWH] – W – [WWH]

Tetra Chord

PLUS Whole Step

Tetra Chord

Natural Minor Scale

•  A Natural Minor Scale is a series of seven tones in a specific pattern of whole and half steps.

•  The smallest distance between two tones is a half step or semitone. –  Half steps occur between ti and do (2-3)

and mi and fa (5-6). •  Two half steps combine to form a

whole step. –  Whole steps occur between la—ti, do—

re—mi and fa—so—la.

•  Please note that the pattern for a natural minor scale is:

W [H-W-W] [H-W-W]

Whole Steps

Half Step

Whole Steps

Half Step

Whole Step

Additive Minor Scale “If you wait to do

everything until

you’re sure ��

it’s right, ��

you’ll probably

never do much ��

of anything.”��

– Win Borden

“I hear and I forget.

I see and I remember.

I do and I understand.”

– Confucius

The dream begins with a teacher who

believes in you,

who tugs and pushes to lead you to the next plateau,

sometimes poking you with a sharp

stick called ‘truth’.

Dan Rather

RESPONSIBILITY FOR

LEARNING BELONGS

TO THE STUDENT, REGARDLESS

OF AGE.

Robert Martin

“Every

accomplishment

starts with the

decision to try.”

– Unknown

“Any change,��

even change ��

for the better,��

is always

accompanied by

drawbacks and

discomfort.” ��

– Arnold Bennett

Remember a dead fish can

float downstream but it takes a live one to

swim upstream. ~ W C Fields ~

Phase IC ��Pattern Generalization

•  Tonal Procedure – Teacher sings tonal pattern on neutral syllable; – Students echo on tonal syllables using hand

signs.

•  Application to Literature: – Aurally recognize tonal patterns in a familiar

piece of music

Tonal Recall •  Using only hand signs, show typical tonal patterns and

instruct students to sing the patterns;

•  Using a tonal ladder, instruct students to sing the indicated syllables;

•  Read from tonal contour…

•  Dictation in tonal contour.

TONAL LADDER

re

do ti

la

so

fa mi

re

do ti

mr r

d d

Iconic Representation

Dictation •  Dictation in tonal contour (Beginning level);

•  Dictation in tonal contour using a graph to indicate whole and half steps (Advanced level).

mr r

d d

Iconic Representation

National Standard ��Students should sing alone and with others.

•  Teaching Technique—Edwin Gordon –  Teaching Mode: Teacher performs pattern in duet with student or

three to five students simultaneously echo pattern.

–  Teaching Mode: Should also be done with vocal exercises.

National Standard ��Students should sing alone and with others.

•  Teaching Technique—Edwin Gordon –  Evaluation Mode: Student performs pattern alone.

–  Evaluation Mode: Should also be done with vocal exercises.

Phase I Activities •  Aurally distinguish between:

–  High vs Low (Relationship) –  Ascending vs Descending vs Combination –  Diatonic Step vs Skip (Intervals) –  Same and Different Patterns –  Major and Minor

•  Research –  Children as young as five can discriminate between simple tonal

patterns; they can even identify major vs. minor mode changes (Jordan-DeCarbo & Nelson, 2002).

–  Five-year-olds are also quite successful at reproducing simple rhythm patterns and this skill continues to improve through age 8 and beyond (Hargreaves, 1986).

–  It is important to note, however, that “children have to reach at least 7 years before they can pay attention to and coordinate rhythm and melody simultaneously” (Gembris, 2002, p. 494).

Phase I Activities •  Aurally distinguish between:

–  High vs Low (Relationship) –  Ascending vs Descending vs Combination –  Diatonic Step vs Skip (Intervals) –  Same and Different Patterns –  Major and Minor

•  Family Feud –  Aural - Oral –  Verbal Association –  Generalization

•  Iconic Representation of Tonal Line –  string/yarn/solfege in tonal contour

•  Improvise with tonal patterns

Phase I Activities

•  Solfege Game –  Drill the solfege forward and backward

•  Exercise (Keep the beat by alternating right and left hand) –  Do— 1; Re — 2; Mi — 3; Fa — 4; So — 5; La — 6; Ti — 7; –  7 — G—Ti; 6 — La; 5 — So; 4 — Fa; 3 — Mi; 2 — Re; 1 — Do; –  Variation: Reverse both tasks: 1 — Do; 2 — Re; etc.; G — Ti; La — 6, etc.

–  Apply solfege to major and minor scales •  Exercise 1

–  Teacher gives number—students reply with corresponding solfege syllable –  Teacher gives letter—students reply with corresponding solfege syllable

•  Exercise 2 –  Ascending Solfege Drill: Teacher gives solfege—students respond with the next

ascending solfege syllable. –  Descending Solfege Drill: Teacher gives solfege—students respond with the next

descending solfege syllable. •  Exercise 3

–  Scale drill: Do—1; Re—2; Mi—3; Fa—4; So—5; La— 6; Ti—7; –  Repeat with descending scale; –  Variation: State number first and then the solfege syllable.

•  Exercise 4 –  Teacher sings one of the scale degree pitches and students respond by singing the

syllable of the next ascending scale degree; Repeat with students responding with the syllable of the next descending scale degree.

–  Repeat above using intervals, triads, etc.

Phase I Activities

•  Alphabet Game –  Drill the musical alphabet and backward

•  Exercise (Keep the beat by alternating right and left hand) –  A — 1; B — 2; C — 3; D — 4; E — 5; F — 6; G — 7; –  7 — G; 6 — F; 5 — E; 4 — D; 3 — C; 2 — B; 1 — A; –  Variation: Reverse both tasks: 1 — A; 2 — B; etc.; G — 7; F — 6, etc.

–  Apply musical alphabet to major and minor scales •  Exercise 1

–  Teacher gives number—students reply with corresponding letter –  Teacher gives letter—students reply with corresponding number

•  Exercise 2 –  Ascending Alphabet Drill: Teacher gives letter—students respond with the next

ascending musical alphabet letter. –  Descending Alphabet Drill: Teacher gives letter—students respond with the next

descending musical alphabet letter. •  Exercise 3

–  Scale drill: D—1; E—2; F# (Feace)—3; G—4; A—5; B— 6; C# (Cease)—7; –  Repeat with descending scale; –  Variation: State number first and then the letter.

•  Exercise 4 –  Teacher sings one of the scale degree pitches and students respond by singing the

pitch of the next ascending scale degree; Repeat with students responding with the pitch of the next descending scale degree.

–  Repeat above using intervals, triads, etc.

Phase I Activities

Jason Sickel

Phase II ��Symbolic Association

•  Visually associate symbols (notation) with the sign (syllables + sound);

•  Read patterns learned during the “reading readiness” phase;

•  Read exercises; –  Drill –  Silent singing –  Error detection

•  Dictation; •  Improvise; •  Create and compose.

Notation of Pitch

•  Staff •  Line and Space Notes

Notation of Pitch

•  Associate Sign (Sound + Syllables) with notation

•  Intervals

•  Triads

Tonal Reading Preparation—Steps •  Read tonal syllables in tonal contour.

•  Read tonal syllables on staff.

•  Read note heads on staff.

Tonal Reading Preparation—Skips •  Read tonal syllables in tonal contour.

•  Read tonal syllables on staff.

•  Read note heads on staff.

Reading—Tonal Patterns •  Establish tonality, patsch several preparatory beats, sing

pattern a cappella. Use hand signs and patsch beat with dominant hand.

a. b.

c. d.

Reading—Tonal Patterns •  Encourage students to look for harmonic tones and

non-harmonic tones.

a.

b.

•  Drill: Place paper under line and write first letter of solfege.

Audiation Skills

•  Silent Singing: Silently sing all of the fa’s.

•  Silent Singing: Silently sing all of the re’s.

Audiation can be used as preparation for triad intervals.

Audiation Skills

•  Silent Singing: Silently sing all of the mi’s. a.

b.

Clef Signs •  A symbol called a clef is

placed at the beginning of the staff to indicate the pitch of the notes.

Treble��Clef

•  Music for high voices and instruments will usually be written in treble clef or G clef. The symbol is an ornamented letter G used in early notation; the final curve of the symbol indicates the pitch ‘G’ on the second line.

Bass ��Clef

•  Music for low voices and instruments will usually be written in bass clef or F clef. The symbol is an ornamented letter F used in early notation; the beginning of the curve, guarded by two dots, indicates the pitch ‘G’ on the fourth line.

Key Signatures

A key signature is a grouping of sharps or flats placed at the

beginning of a staff to indicate the key or tonality.

Major Key Signatures ��Find The Starting Tonal Syllable��

do = tonic –  For sharp key signatures, call the sharp farthest to the right ‘ti’; assign a

tonal syllable to each line and space until the starting pitch is reached.

–  For flat key signatures, call the flat farthest to the right ‘fa’; assign a tonal syllable to each line and space until the starting pitch is reached.

Tonic Syllable

Minor Key Signatures ��Find The Starting Tonal Syllable��

la = tonic –  For sharp key signatures, call the sharp farthest to the right ‘ti’; assign a

tonal syllable to each line and space until the starting pitch is reached.

–  For flat key signatures, call the flat farthest to the right ‘fa’; assign a tonal syllable to each line and space until the starting pitch is reached.

Tonic Tonic Syllable

Notice that each line and space represents a basic pitch of the musical alphabet [A, B, C, D, E, F AND G]. As notes ascend on the staff, the pitch names move forward in the musical alphabet. As notes descend, the pitch names move backward.

AVOID the use of old devices like “Every Good Boy Does Fine,” as this results in slow readers and defeats the intent of the staff (sequential hierarchy of pitch from low to high). Drill the names of lines and spaces from bottom to top and top to bottom. This will also aid in the understanding of ledger lines and spaces (used to extend the staff).

Treble Clef

Bass Clef

NAMES OF LINES AND SPACES

LEDGER LINES AND SPACES

The staff may be extended with ledger lines, short horizontal lines placed above or below the staff. Both the ledger lines and the spaces between the lines represent pitches. Notice that notes in the spaces immediately below or above the staff do not require ledger lines, and the ledger lines are never connected to one another.

Major Key Signatures •  Call the sharp farthest to the right ‘ti’; find and name ‘do’.

1.

2.

TONIC

TONIC

5th

3rd R

5th3rdR

A Major

B Major

Major Key Signatures •  Call the flat farthest to the right ‘fa’; find and name ‘do’.

1.

2. TONIC 5th

3rd R

TONIC 5th

3rd R

E Major

F Major

Minor Key Signatures •  Call the sharp farthest to the right ‘ti’; find and name ‘la’.

1.

2.

TONIC

TONIC

5th

3rd R

5th

3rd R

B Minor

C# Minor

Minor Key Signatures •  Call the flat farthest to the right ‘fa’; find and name ‘la’.

1.

2. TONIC

TONIC 5th

3rd R

5th

3rd R

D Minor

C Minor

Major Scale •  A Major Scale is a series of seven tones in a specific pattern of whole and half steps.

•  The smallest distance between two tones is a half step or semitone. –  Half steps occur between mi and fa (3-4)

and ti and do (7-1). •  Two half steps combine to form a

whole step. –  Whole steps occur between do—re—mi

and fa—so—la—ti. •  Please note that a major scale is two

major tetra chords [WWH] connected by a whole step. [WWH] – W – [WWH]

Tetra Chord

PLUS Whole Step

Tetra Chord

Major Scale 1. Major Scale Notated with Accidentals [WWH] W [WWH]

2. Major Scale Notated with a Key Signature [WWH] W [WWH]

Remember: The letters A, B, C, D, E, F and G are used for the appropriate pitch names. Sharps are ace, beas(t), cease, dease, eas(t), feas(t) and jeese.

Major Scale 1. Major Scale Notated with Accidentals [WWH] W [WWH]

2. Major Scale Notated with a Key Signature [WWH] W [WWH]

Remember: The letters A, B, C, D, E, F and G are used for the appropriate pitch names. Flats are ahs, bess, cess, des(k), es(t), fes(t) and jes(t).

Natural Minor Scale

•  A Natural Minor Scale is a series of seven tones in a specific pattern of whole and half steps.

•  The smallest distance between two tones is a half step or semitone. –  Half steps occur between ti and do (2-3)

and mi and fa (5-6). •  Two half steps combine to form a

whole step. –  Whole steps occur between la—ti, do—

re—mi and fa—so—la.

•  Please note that the pattern for a natural minor scale is:

W [H-W-W] [H-W-W]

Whole Steps

Half Step

Whole Steps

Half Step

Whole Step

Natural Minor Scale 1. Natural Minor Scale Notated with Accidentals w+[HWW] [HWW]

2. Natural Minor Scale Notated via a Key Signature w+[HWW] [HWW]


Natural Minor Scale 1. Natural Minor Scale Notated with Accidentals w+[HWW] [HWW]

2. Natural Minor Scale Notated via a Key Signature w+[HWW] [HWW]


Students differ in “how they learn.” Full Motor Access •  Individual under stress can still

access information visually and auditorially, and can communicate details through language;

Fully Limited- One Sided Processing

•  Individual under stress is unable to access most auditory and visual information, has difficulty moving gracefully and communicating

–  Often get labeled “learning disable” or “Special Ed”

–  Thought to be Einstein’s profile

Eye Dominance •  Visually able learners have their

dominant eye opposite their dominant brain hemisphere and can access visual information even under stress.

•  [Cross Lateral Control]

•  Visually limited profile: dominant eye on the same side as dominant brain hemisphere; visual access is decreased during stress because dominant brain is not controlling the muscular movements of the dominant eye

•  [Homolateral: Fully Limited-Unilateral State]

Eye Dominance •  Approximately half of all learners are homolateral;

[dominant eye on the same side as dominant brain hemisphere];

•  When attempting to learn new or challenging information, they may not actually look at the teacher; they may even shut their eyes in order to concentrate on verbal information, especially if their ears are facilitated by their dominance patterns. Often interpreted by teachers are inattentiveness.

Eye Dominance��Implications for Reading

•  In normal eye teaming the dominant eye orchestrates the tracking of both eyes; right eye naturally tracks from left to right while the left eye naturally tracks from right to left. –  Left eye dominant learners will initially want to look at the

right side of the page first, thus causing difficulties in reading English.

–  Because eye and hand are so intimately connected, letter reversals are not uncommon when left eye dominant learners are first learning to read and write.

Eye Dominance •  Tracking:

•  Work in pairs; student to left should track for student on right;

•  Use paper/card to isolate line; •  Use flashcards to train the eye.

•  Only 4% of vision actually comes through the eyes as primary vision, the other 96% is manufactured in our brains using integrative information from our memories and all our senses.

Ear Dominance •  In an integrated state we are able to take in primary

hearing through both ears. •  Auditory able learners have their dominant ear opposite

their dominant brain and prefer an auditory presentation;

–  Gestalt dominant individuals with the opposite ear dominant will preferentially listen for overview, metaphor, story, dialect and emotion of the information; good memories for faces, underlying meanings and emotions;

–  Logic dominant individuals with the opposite ear dominant will preferentially listen for details and linear progression of information; good memories for numbers, formulas, spelling.

Ear Dominance

•  Auditory Limited Profile (dominant ear on same side as the dominant hemisphere) –  Taking in new information via hearing

may prove difficult –  Over half of all learners are auditory limited,

and yet the majority of teaching is verbal.

•  Ears also facilitate our understanding of tone and meaning behind the words and also the fast sound components in ordinary language. –  One of the factors of dyslexia is the inability to decipher fast sound

components in ordinary language (sh, th, s, ch, etc.), the improvement of auditory functioning should be considered in dealing with dyslexia.

–  Impacts singers awareness of diction (vowel and consonants).

Hand Dominance •  Logic Hemisphere Dominant Learners

– Tend to be expressive: verbal and kinesthetic

COMMUNICATION ABLE LEARNERS

COMMUNICATION LIMITED LEARNERS

Even under stress they can fully express via words and gesture.

Under stress they will be less able to express in words and gesture.

Hand Dominance •  Gestalt Hemisphere Dominant Learners

– Tend to be kinesthetically expressive: – Gestalt dominant learners welcome movement to

anchor learning. KINESTHETICALLY ABLE

LEARNERS COMMUNICATION LIMITED

LEARNERS

Even under stress they can fully communicate via gesture.

Under stress they are verbally limited.

Under stress they have limited access to their verbal, logic hemisphere,

and kinesthetic expression.

Feet—Movement Able •  Logic:

–  Follow step-by step instructions in movement activities

–  Lack spontaneity in movement.

•  Gestalt: –  More spontaneous, free-

form and guided by rhythm.

–  Difficulty following step-by-step instructions.

Feet—Movement Limited •  Dominant foot on same side as dominant hemisphere

–  Individual will have difficulty moving forward under stress; –  ‘stop in their tracks’ –  Experience clumsiness resulting in bruises, skinned knees or

worse.

Teach to the Whole Brain •  Organize students according to their easiest sensory access:

–  Visual learner in front –  Auditory learners in the next row with right ear dominants on the left side

of the room and left ear dominants on the right side of the room –  Gestalt fully limited students should be placed in the back of the room

with clay or wax to manipulate kinesthetically during class.

•  Additional Benefits –  It can become a strong lesson in self-understanding and compassion for

others. Students should become aware of the learning preferences of their peers and how and why they respond under stress.

–  Stress level will be lower, classroom management will be easier, and students may gain higher academic achievement.

Dominance Profile of Teachers •  Study also profiled the

teachers: 75% of them were logic hemisphere dominant, right-handed, right eyed, and auditory limited

•  Under stress people with this profile tend to talk about the details, not listen, and expect students to look at them.

Apply Skills to Literature

•  Read tonal only in literature.

•  Retention is dependent upon immediate and consistent use of skill.

To improve is to change, to be perfect is to change often. —Winston Churchill

Apply Knowledge to Literature ��Score Search

•  Find and circle the “new” and “out-of-sequence” tonal patterns; •  Identify and define all terms:

–  Dynamics –  Articulation –  Character Terms (cantabile, dolce, con brio, etc.)

•  Indicate all accidentals with an asterisk [*] •  Label all cadences

–  Progressive/Terminal and/or Authentic/Half/Plagal •  Draw a(n):

–  Blue box around all Tonic Chord Tones –  Red box around all Dominant Chord Tones –  Green box around all Subdominant Chord Tones –  Pink circle around all passing tones (non-harmonic tone) –  Orange triangle around all upper and lower neighbor tones (non-harmonic tone)

Phase II Tonal Activities

•  Family Feud –  Symbolic Association

•  Solfege and/or Alphabet Drill on Staff

•  Twister Solfege or Letter Name

–  Use oil cloth table cloths or shower curtains

•  Research –  Do NOT teach Every Good

Boy Does Fine/FACE, etc. •  Students seldom integrate the

lines and spaces back into a pitch hierocracy;

•  Results in slow readers •  Professional pianists and

orchestral members read via intervals or tactile NOT letter names.

Change is the only constant. Hanging on is the only sin.

Denise McCluggage

Solfege/Letter Name Twister

Jeffrey Danielson West Carteret High School

Moorehead City, NC

Theresa Burns Jamestown Middle School

Greensboro, NC

Spinner for Twister

Theresa Burns

Solfege on Staff Kathy Bonyon, BCS Literacy Coach and Jeannie Graeme, Chorus Teacher at North Buncombe High School designed an interactive, musical staff floor mat complete with 4’ tall treble and bass clef in order to give music students an “off the paper” learning experience.

Jeannie Graeme, North Buncombe High School, Weaverville, NC

Phase II Tonal Activities •  Identify Tonal Patterns

–  Which pattern was performed; –  Order the patterns were

performed; –  Which pattern was performed

with a mistake?

•  Use Tonal Flash Cards –  ‘Flash’ –  Move from left to right

•  Transcribe tonal contour to the staff.

•  Tonal Bingo •  Tic-Tac-Toe

•  SWAT: Tonal and Melodic A. Tonal B. Tonal C. Melodic

Rules for Treble Trek

•  Divide class into 2 teams •  Teacher sings/chants patterns; a

student from each team notates pattern.

•  1st student correct, team moves 2 spaces

•  2nd student correct, team moves 1 space.

•  Only 1 student correct, team moves 3 spaces.

•  Only 2 chances per round. •  If no one is correct, each team

moves back one space. •  Class should read correctly

notated pattern

Dirk Myers

Jeopardy “Which Way Did

They Go?”

“So’ What?”

“Where is Bambi’s Mother?”

“Do You Hear What I

Hear?”

“It’s a hop, ‘step’ and a ‘skip’”

100 100 100 100 100 200 200 200 200 200 300 300 300 300 300 400 400 400 400 400 500 500 500 500 500

Concentration Flashcard

#1A Flashcard

#3B Flashcard

#4A Flashcard

#5B

Flashcard #2A

Flashcard #1B

Flashcard #5A

Flashcard #4B

Flashcard #3A

Flashcard #2B

Flashcard #6A

Flashcard #6B

Use Games for Bulletin Boards Bulletin Board Kevin Piner – Akin, SC

Aural Skills •  Error Detection

–  Include “negative ear training” exercises. •  Same or Different •  Circle incorrect pitch(es) •  Notate the correct pitch(es)

a.

b.

Musical Memory Skills

•  Game: Add one or two note tonal pattern

Tonal Dictation—Phase I •  Dictation in Graphic Form

mr r

d d

Tonal Dictation—Phase II •  Notate pattern on large paper staff using game

chips as note heads.

•  Dictation Shorthand

IMPROVISATION

•  What? – Spontaneous expression of meaningful musical ideas

•  Analogous to conversation in language. –  Babble to words to statements to questions; think and improvise

in the language—crucial to language acquisition. –  Learn to read and write with understanding because of the

experiences you had listening, thinking, and speaking.

•  Why? – Enables musicians to express themselves from an

internal source and is central to developing musicianship in all aspects of music.

IMPROVISATION

•  How? – Build a repertoire of tunes and a sense of musical

styles; – Build a vocabulary of tonal patterns, melodic

phrases, rhythm patterns and rhythm phrases – Develop an understanding of harmonic progression,

harmonic rhythm and aural skills necessary to listen to music meaningfully and to interact expressively with others.

Tonal Patterns ��Built On ��

Harmonic Function

•  Echo—Sing tonal patterns on ‘bum’; •  Echo—Sing tonal patterns on solfège syllables; •  Echo—Play tonal patterns on instruments (if applicable);

•  Read—Sing tonal patterns from notation; •  Read—Play tonal patterns from notation.

Tonic—Dominant—Tonic

Sing ‘Root’ of Tonal Patterns ��Identify Harmonic Function

•  Listen to each tonal pattern: – Sing the root function using solfége syllables; –  Immediately identify the harmonic function;

(Tonic, Dominant, Subdominant, etc.)

•  Listen again and play the root on instruments.

Improvise Tonal Patterns •  Listen to each tonal pattern. After each pattern

improvise a different pattern with the same harmonic function (Tonic, Dominant, Subdominant, etc.)

–  Sing using solfège; –  Sing on a neutral syllable (bum); –  Play on instruments.

→

→

→

Echo Tonal Phrases Built On ��Harmonic Progression

•  Echo—Sing the series of patterns (phrase)

using ‘bum’.

•  Echo—Sing the series of patterns (phrase)

using solfége.

•  Echo—Play the series of patterns (phrase)

on instruments.

Echo Tonal Phrases Built On ��Harmonic Progression

Tonic Dominant Tonic

Harmonic Progression of Tonal Phrases •  Listen to the harmonic progression of the tonal phrase and Sing

the bass line (roots) using solfège; indicate function using fingers (I/V, etc.)

•  Listen to the harmonic progression of the tonal phrase again and Play the bass line (roots) on instruments.

A. Listen

Root

B. Listen

Root

Harmonic Progression of Tonal Phrases •  Listen to the harmonic progression of the tonal phrase and Sing

the bass line (roots) using solfège; indicate function using fingers (I/V, etc.)

•  Listen to the harmonic progression of the tonal phrase again and Play the bass line (roots) on instruments.

C. Phrase

Roots

D. Phrase

Roots

Melody & Harmonic Progression •  Sing known melody over root chord/bass line;

–  Half of class sings melody/half sings root chord line;

Repeat above process using instruments.

Improvise Tonal Phrases ��Over Harmonic Progression

•  Listen to a tonal phrase (series of tonal patterns). After each phrase improvise a different series of patterns over the same harmonic progression: –  Sing using solfège; –  Sing on a neutral syllable (bum); –  Play on instruments.

A. Listen

Improvise

Improvise Tonal Phrases ��Over Harmonic Progression

B. Listen

Improvise

C. Listen

Improvise

Melody & Harmonic Progression •  Sing known melody over improvised harmonic

progression; –  Half of class sings melody/half improvises tonal patterns over harmonic

progression;


Melody & Harmonic Progression Melody

Roots

Rhythm Pattern

Melody

Roots

Rhythm Pattern

Voice Parts •  Read and Sing each of the harmony parts (solfège) below;

Sing in two-five part harmony.


Melody

Roots

Do & Ti

Mi & Fa

So

Improvised Rhythm of Harmonic Progression •  Using neutral, solfége, and/or rhythm syllables, improvise known rhythm patterns to

each of the voice parts below. Sing in two to four-part harmony.


Melody

Roots

Do & Ti

Mi & Fa

So

Melody, Improvised Rhythm ��Over Harmonic Progression

•  Divide class into two to four parts; each individual improvises known rhythm patterns on the pitches from his/her assigned voice part. Exchange tasks. (Use solfège as it will help to anchor novice harmony skills.)

•  Divide class into three to five parts; one group sings the melody while the remaining groups improvise known rhythm patterns on the pitches from his/her assigned voice part.


Tonic—Subdom

inant—D

ominant

Tonic—Subdom

inant—D

ominant

A. Phrase

Root

Improvise

B. Phrase

Root

Improvise

Tonic—Subdom

inant—D

ominant

C. Phrase

Root

Improvise

D. Phrase

Root

Improvise

Tonic—Subdominant—Dominant •  Using neutral, solfége, and/or rhythm syllables, improvise known rhythm

patterns to each of the voice parts below. Sing in two to four-part harmony.

Melody

Roots

Do-Ti

Mi-Fa

So-La

Tonic—Subdominant—Dominant •  Using neutral, solfége, and/or rhythm syllables, improvise known rhythm

patterns to each of the voice parts below. Sing in two to four-part harmony.

Melody

Roots

Do-Ti

Mi-Fa

So-La

ASSESSMENT

•  Why? – Determine the teacher’s instructional effectiveness; – Diagnose students’ strengths and weaknesses; – Monitor students’ progress.

•  How? – Gather information about:

•  Where the student has been, •  Where the student is now, and •  Where the student should be relevant to your academic

and musical expectations.

Assessment, Phase I, Tonal��National Standard ��

Students should sing alone and with others.

•  Teaching Mode: –  Teacher sings a tonal pattern and teacher echoes in duet with a

student or three to five students simultaneously echo pattern. •  Phase IA, Aural-Oral: Neutral Echoing •  Phase IB, Verbal Association: Syllable Echoing •  Phase IC, Generalization: Echo Translating

•  Evaluation Mode: –  Teacher sings a tonal pattern and student echoes the pattern alone.

•  Phase IA, Aural-Oral: Neutral Echoing •  Phase IB, Verbal Association: Syllable Echoing •  Phase IC, Generalization: Echo Translating

Phase I Assessment ��Tonal Recall

•  Using only hand signs, show typical tonal patterns and instruct student to sing the pattern;

•  Using a tonal ladder, instruct student to sing the indicated syllables;

•  Read from tonal contour…

•  Take dictation in tonal contour.

TONAL LADDER

re

do ti

la

so

fa mi

re

do

ti

mr r

d d

Phase I Assessment��Vocal Pitch Exercises

•  Students individually sing assigned vocal pitch exercises via video or in person.

Phase I Assessment��(Aural-Oral)

•  Aurally distinguish between: –  High vs Low (Relationship)

Listen as three pitches are performed and then determine which of the three pitches is the :

1. Highest pitch: First Pitch Second Pitch Third Pitch

2. Lowest Pitch: First Pitch Second Pitch Third Pitch

3. Middle Pitch: First Pitch Second Pitch Third Pitch


Aurally identify the tonic or keynote: •  In each of the following exercises you will hear a short melody

that begins on the tonal center. Listen and circle “yes” if the melody ends on the tonic and “no” if the melody ends on a note other than the tonic.

•  In each of the following exercises you will hear a short melody that begins on a pitch other than the tonal center. Listen and circle “yes” if the melody ends on the tonic and “no” if the melody ends on a note other than the tonic.

1. Yes No 2. Yes No

1. Yes No 2. Yes No


Listen as two patterns are Performed and then determine if they are the same or if they are different.

1.  Same Different 2.  Same Different 3.  Same Different 4.  Same Different 5.  Same Different

Listen as a tonal pattern is performed and then determine if the pattern contains only diatonic steps. Circle the appropriate answer. 1.  Yes No

Listen as a tonal pattern is performed and then determine if the pattern contains only tonic triad chord tones. Circle the appropriate answer. 1. Yes No


Listen as a tonal pattern is performed and then determine if the pattern contains only diatonic steps or tonic triad chord tones. Circle the appropriate answer.

1.  Steps Chord Tones 2.  Steps Chord Tones 3.  Steps Chord Tones 4.  Steps Chord Tones 5.  Steps Chord Tones

Listen as a tonal pattern is performed and then determine if the pattern contains only diatonic steps, tonic triad chord tones or a combination of diatonic steps and chord tones. Circle the appropriate answer.

1.  Steps Chord Tones Both 2.  Steps Chord Tones Both 3.  Steps Chord Tones Both 4.  Steps Chord Tones Both 5.  Steps Chord Tones Both


•  Dictation in Graphic Form

mr r

d d


Aurally identify intervals: •  In each of the following exercises you will hear an isolated

melodic interval in ascending or descending order. Circle the quantity and direction of each interval.

•  In each of the following exercises you will hear an isolated melodic interval in a Major scale (ascending or descending order). Circle the quantity and direction of each interval.


Aurally identify scales: •  In each of the following exercises you will hear a succession of

eight pitches in ascending or descending order. Circle “yes” if the pitches form a major scale, “no” if they do not.

•  In each of the following exercises one of the three scales performed will be a natural minor scale. Circle the number that represents the natural minor scale.

A. Yes No B. Yes No C. Yes No

A.  First Second Third

B. First Second Third

C. First Second Third


Aurally identify scales: •  In each of the following exercises you will hear either a major

scale or a natural minor scale. Circle the quality of each scale.

•  In each of the following exercises you will hear a natural minor, harmonic minor or melodic minor scale. Circle the quality of each scale.

A. Major Minor B. Major Minor C. Major Minor

A.  Natural Harmonic Melodic

B. Natural Harmonic Melodic

C. Natural Harmonic Melodic


Aurally identify triads/chords: •  In each of the following exercises you will hear three pitches

performed simultaneously. Circle “yes” if the pitches form a major triad and “no” if they do not.

•  In each of the following exercises you will hear the three pitches of the tonic triad performed one at a time. Determine the order of the pitches. Write “R” for root, 3rd for the third and 5th for the fifth.

A. Yes No B. Yes No C. Yes No

A.  _____ _____ _____

B. _____ _____ _____

C. _____ _____ _____


Aurally identify triads/chords: •  In each of the following exercises one of the three triads

performed will be a minor triad. Circle the number that represents the minor triad.

•  In each of the following exercises you will hear either a major triad or a minor triad. Circle the quality of each triad and then determine the order of the pitches. Write “R” for root, 3rd for the third and 5th for the fifth.

A.  First Second Third

B. First Second Third

C. First Second Third

A. Major Minor B.  Major Minor ___ ___ ___ ___ ___ ___


Aurally identify tonality and harmonic progression: •  In each of the following exercises you will hear tonic and dominant

chords in major and/or minor tonalities, determine the quality and order of the harmonic progression. Circle the quality and write “T” for Tonic and “D” for dominant.

•  In each of the following exercises you will hear tonic, subdominant and dominant chords in major and/or minor tonalities, determine quality and order of the harmonic progression. Circle the quality and write “T” for Tonic, “SD” for subdominant and “D” for dominant.

A. Major Minor B.  Major Minor ___ ___ ___ ___ ___ ___ ___ ___

A. Major Minor B.  Major Minor ___ ___ ___ ___ ___ ___ ___ ___

Phase II Assessment ��(Symbol-Visual)

•  Matching: Tonal Pattern Tonal Syllables

__1. a. mi, fa, so, mi, do

__2. b. so, fa, mi, so, do

__3 c. do, mi, so, fa, mi

__4 d. so, mi, fa, so, do

e. mi, so, mi, re, do – œ œ œ œ œ

– œ œ œ œ œ– œ œ œ œ œ– œ œ œ œ œ

Phase II Assessment ��(Symbol-Visual)

•  Write the tonal syllables for each notated pattern.

Notation Tonal Syllables

1.

2.

3.

4.

– œ œ œ œ œ– œ œ œ œ œ– œ œ œ œ œ– œ œ œ œ œ

Phase II Tonal Assessment ��(Symbol-Visual)

•  Using a sight reading exercise or piece of music, read and simultaneously write the solfege syllables on a separate sheet of paper. – Time the above task.

Phase II Assessment ��(Symbol & Aural-Oral)

•  Listen as a pattern is performed on a neutral syllable. Circle the letter of the music notation that corresponds to the pattern performed.

•  All of the following patterns will be performed in a random order. Listen and determine the order in which they were performed.

Phase II Assessment��(Aural-Oral & Symbolic Association)

•  Error Detection A.  Listen and follow the notation below.

Determine if the performance and the notation are the same or different. 1. Same Different 3. Same Different 2. Same Different 4. Same Different

B.  Listen and follow the notation below. Circle the incorrect pitch(es).

C.  Listen and follow the notation below. Identify the incorrect pitch(es) and then notate the correct pitch(es).

Major Key Signatures (Symbol—Visual)

•  Examine the key signature (a) determine the starting tonal syllable, (b) determine the key name, and (c) circle the tonic note. 1. Tonal Syllable___ Key _____ 4. Tonal Syllable___ Key ___

2. Tonal Syllable___ Key _____ 5. Tonal Syllable___ Key ___


Minor Key Signatures (Symbol—Visual)

•  Examine the key signature (a) determine the starting tonal syllable, (b) determine the key name, and (c) circle the tonic note. 1. Tonal Syllable___ Key _____ 4. Tonal Syllable___ Key ___



Major Scale (Symbol—Visual)

1. Notate the A Major Scale via Accidentals.

2. Notate the A Major Scale via a Key Signature.

ASCENDING DESCENDING


Major Scale (Symbol—Visual)

1. Notate the E Major Scale via Accidentals.

2. Notate the E Major Scale via a Key Signature.



Natural Minor Scale (Symbol—Visual)

1. Notate the C Natural Minor Scale via Accidentals.

2. Notate the C Natural Minor Scale via a Key Signature.



Natural Minor Scale (Symbol—Visual)

1. Notate the B Natural Minor Scale via Accidentals.

2. Notate the B Natural Minor Scale via a Key Signature.



Musicianship Skills Ensemble Skills

Vocal/Instrument Skills

Musicianship Skills Ensemble Skills

Vocal/Instrument Skills

Literature

Elementary Lesson Plan

Elementary Lesson Plan

Chorus Rehearsal Lesson Plan Date:________ Class Period: ________________

Activity Musical Focuses

Vocal Technique Vocal Warm-Ups Student Objective: Students will consistently reinforce the characteristics of healthy

vocal tone and continue to demonstrate them throughout the rehearsal

Exercises:

! Posture

! Breathing

! Registration

! Resonance

! Phonation

! Articulators

! Vowel Shapes

! Consonants

! Flexibility

! Relaxation

Meter Rhythms Voicing

! Q = 1 beat ! ! ! Unison ! SA ! SSA

! TB ! SAB ! SATB

! E = 1 beat ! ! Key Signature

! Major:___ ! Minor:___

! H = 1 beat ! ! Melodic Movement

! Steps ! Skips _____________ ! Simple ! Ties/Slurs ! Extension Dots

! Compound !

!

! Mixed ! !

Music Literacy Student Objective: Students will become independent readers on rhythmic and melodic

exercises.

Exercises:

! Asymmetrical ! !

Solfege Syllables Used:

Di Ri Fi Si Li

Do Re Mi Fa So La Ti Do

Ra Me Se Le Te

Musicianship Skills ! Dictation ! Aural Skills ! Composition ! Improvisation

! Theory ! Musical Memory ! Listening ! Other:

Student Objective: Students will…_______________________________________________________

Student Objective: Students will…_______________________________________________________

Rehearsal of Literature _____________________________________ ___________________________

Selection Page(s)/measures to be rehearsed

Student Objectives: Students will…

! Correct pitches

! Correct rhythms

! Part-singing

! Balance

! Intonation

! Vowel

unification

! Diphthongs

! Consonants

! Phrasing

! Diction

! Text (word

and syllabic

stress)

! Tempo

(changes)

! Rhythmic

Integrity

! Articulations

! Dynamics

! Artistry

! Choir/director

response

_____________________________________ ___________________________



! Correct pitches

! Correct rhythms

! Part-singing

! Balance

! Intonation

! Vowel

unification

! Diphthongs

! Consonants

! Phrasing

! Diction

! Text (word

and syllabic

stress)

! Tempo

(changes)

! Rhythmic

Integrity

! Articulations

! Dynamics

! Artistry

! Choir/director

response

_____________________________________ ___________________________



! Correct pitches

! Correct rhythms

! Part-singing

! Balance

! Intonation

! Vowel

unification

! Diphthongs

! Consonants

! Phrasing

! Diction

! Text (word

and syllabic

stress)

! Tempo

(changes)

! Rhythmic

Integrity

! Articulations

! Dynamics

! Artistry

! Choir/director

response

Materials Needed: ! Music folder & pencil ! Sight-reading book ! Theory book & pencil ! Other:

ESE/ESOL Modification: ! A-Peer partner assigned ! C-Oral test administered ! E-___________________

! B-Extended test time ! D-Seat in front of room ! F-___________________

(See back of lesson plan for specific modifications on each student) Homework:

Instrumental Rehearsal Lesson Plan Date:________ Class Period: ________________

Activity Musical Focuses Instrumental Technique Warm-Ups

Student Objective: Students will consistently reinforce the characteristics of healthy instrumental tone and continue to demonstrate them throughout the rehearsal Exercises:

! Posture ! Breathing

! Registration ! Resonance

! Fingering ! Embouchure

! Tone ! Articulation

! Flexibility ! Relaxation

Meter Rhythms Voicing

! Q = 1 beat ! w ! ! ˙ Ó

! Unison ! Parts: ___________________

! E = 1 beat ! œ Œ ! œ œ Key Signature

! Major:___ ! Minor:___ ! H = 1 beat !

jœ ‰ ‰ jœ !.˙

Melodic Movement ! Steps ! Skips/Leaps _______

! Simple ! Ties/Slurs ! Extension Dots ! Compound

!.œ jœ !

3œ œ œ ! Mixed

!jœ œ jœ ! œ œ œ œ

Music Literacy Student Objective: Students will become independent readers on rhythmic, tonal, and melodic exercises. Exercises:

! Asymmetrical ! œ œ œ œ œ œ !

.œ œ œ .œ

Solfege Syllables Used:

Di Ri Fi Si Li Do Re Mi Fa So La Ti Do Ra Me Se Le Te

Musicianship Skills ! Dictation ! Aural Skills ! Composition ! Improvisation ! Theory ! Musical Memory ! Listening ! Other:

Student Objective: Students will…_______________________________________________________ Student Objective: Students will…_______________________________________________________ Student Objective: Students will…_______________________________________________________

Rehearsal of Literature _____________________________________ ___________________________ Selection Page(s)/measures to be rehearsed Student Objectives: Students will…

! Correct pitches ! Correct rhythms ! Balance

! Intonation ! Fingering ! Phrasing

! Articulations ! Dynamics ! Tone

! Tempo (changes) ! Rhythmic Integrity

! Artistry ! Band/director response

_____________________________________ ___________________________ Selection Page(s)/measures to be rehearsed Student Objectives: Students will…






_____________________________________ ___________________________ Selection Page(s)/measures to be rehearsed Student Objectives: Students will…






Materials Needed: ! Instrument & Equipment ! Music Folder ! Band Method Book ! Theory Book ! Pencil ! Paper ! Other: _____________________________________

ESE/ESOL Modification: ! A-Peer partner assigned ! C-Oral test administered ! E-___________________ ! B-Extended test time ! D-Seat in front of room ! F-___________________

(See back of lesson plan for specific modifications on each student) Homework:

Redbird—Tonal Patterns •  Phase I: Aural—Oral

–  Vocal Pitch Exercises: Additive Major Scale, Extended Major Scale, Tonic Triad Arpeggio

–  Tonal Patterns •  Echo Syllable - Syllable •  Echo Neutral - Syllable

–  Pre-Reading: Read above tonal patterns in tonal contour (Pitch Recall)

Redbird—Tonal Patterns

•  Phase II: Symbolic Association – A. Read Tonal Patterns

Redbird—Tonal Line

•  Phase II: Symbolic Association – B. Read Tonal Line

What Y

ou Gonna Call ��

Your Pretty Little Baby

Kyrie Eleison Kyrie Eleison

A Jubilant Gloria Alma Llanera

Alma Llanera A

lma Llanera

Benedicamus D

omino

Courage

Eu e Voce

I Am A Cloud

Jede Sedlak Muerto

Nine Hundred Miles Nine Hundred Miles

Starry Night of Winter Starry Night of W

inter

The Place Called Morning

The Place Called Morning

I Want Jesus To Walk With Me I Want Jesus To W

alk With M

e

Praise The Lord Sanctus

Rhythm Patterns

Beat Beat Division Extension Dots

Tonal Patterns

Tonal Lines

Tonal Line—Voice Part I

Tonal Line—Voice Part II

Tonal Line—Voice Part III

Tonal Line—Voice Part IV

J’aime La Galette !

!"#$"%&'($$)*+,&

"#$%! "#$%!&'(')'*+!

!

!

!!!!

-.+(/&'($$)*+,&

,!-.*+'/0! 12!-&*3'+$+%45#(#+%60! ,1!-57849*3'+$+%0!

! !

!

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!""!#$%&'(!)*+",-! ."!/01!#$%234'5"6+7-!

! !!!

!"#$%&'(#)*&

8'9*5:;!<':!*=!>!

!8'9*5:;!<':!*=!?!

!@6(7!11!

!!

Lift Up Your Voice and Rejoice A. Rhythm Patterns

B. Two-Part Rhythm

C. Tonal Patterns

D. Tonal Lines by Phrase

Zither, Zinga, Zing! Rhythm Patterns

Tonal Patterns

Tonal Line—Voice Part I

Tonal Line—Voice Part II

Tonal Line—Voice Part III

Fare Ye Weel !

!"#$"%&'($$)*+,&

!

!

!

!

!!

-.+(/&'($$)*+,&

!

!

!

!

!

!

!

!!!!

!

"#$%&!'($)*!

+$(*#$!",)-&)!

!!

",)-&)!.!

!!

",)-&)!..!

!!

",)-&)!...!

!!

!

Domaredansen Beat and Beat Division Beat Subdivision Syncopation

Tonal Patterns

Interval from vi chord. Intervals from V and vi chord. Intervals from V chord. Intervals from V chord. Interval from V chord. Interval from V chord. Interval from iii chord.

Interval from V chord. Interval from V chord. Interval from V chord. Interval from V chord.

I am always doing that which I cannot do,

in order that I may learn how to do it.

~Pablo Picasso

Oxford University Press Progressive Sight Singing

Second Edition

ISBN 0195386043

Companion Website

http://www.oup.com/us/krueger

E-Mail

[email protected]

Teaching Tool Websites  Free “positive feedback” postcards

http://www.Vistaprint.com  Free Web-based Music Notation Program

www.noteflight.com  Main Website with all sorts of teacher tools

http://www.murray.k12.ga.us/teacher/kara%20leonard/TeacherTools.htm

 Game show templates and sound byte http://www.murray.k12.ga.us/teacher/kara%20leonard/

MiniT/Games/Games.htm#gameshows

Resources  Old and New Rounds and Canons. Harry R. Wilson, Harold Flammer Music, G-5002  150 Rounds for Singing and Teaching. Bolkovac and Johnson. Boosey & Hawkes, 1996.  The King’s Singers Book of Rounds, Canons and Partsongs. Hal Leonard: HL 08743259

 Pentatonic Partners. Cristi Cary Miller, Hal Leonard: 09970253

 Five Concert Canons. (3-5 voices) Ron Jeffers. Earthsongs, B-08

Resources  Smart Moves: Why Learning Is Not All In Your Head,

Carla Hannaford, ISBN 0-915556-37-5  The Dominance Factor,

Carla Hannaford, ISBN 0-915556-31-6  The Ways Children Learn Music, An Introduction and

Practical Guide to Music Learning Theory, Eric Bluestein, GIA Publications, G 5440

 Music Play: The Early Childhood Music Curriculum Guide; Valerio, Reynolds, Bolton, Taggart and Gordon. GIA Publications, G-J236

 Jump Right In Song Collections David Woods and Edwin Gordon, GIA Publication, G-J13

Use ��old drum heads ��for classroom decoration.

Flint Dollar Macon, GA

Summer��2013��

MUSIC LITERACY ��

& ��CHORAL��

W��O��R ��K��S ��H��O��P��S ��

CAROL J. KRUEGER

  June 10-12, Morningside College, Sioux City, IA Jill Wilson: [email protected]

  June 19-21, University of South Dakota, Vermillion, SD South Dakota Choral Director’s Institute

David Holdhusen: [email protected]

  June 24-26, Southwest Plains Regional Service Center, Sublette, KS Belinda Miller: [email protected] Website: http://www.swprsc.org/   July 13-19, Tennessee Arts Academy,

Belmont University, Nashville, TN Connie Marley: [email protected] Website: http://www.tennesseeartsacademy.org/

  July 22-25, Shenandoah University, Winchester, VA Jeffrey Marlatt: [email protected]

  July 29-August 2, Meredith College, Raleigh, NC Jane Bruer: [email protected]

Website: http://www.ncmusicworkshop.com

  August 6-10, Minnesota ACDA State Conference Steven Albaugh: [email protected]

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