The NSW Department of Education and Training would like to thank the following for permission to reproduce copyright

material:

Ann French for Cinderella and Summertime rap. Ann French Therese Carthew for Dig a potato, an adaptation of Sink a potato. Therese Carthew DipT, AMusA, BA (Mus) Educational Supplies Pty Ltd for Gary Galah. Louise Pettinger Alison McKay for Jaws. Traditional adapted by Alison McKay Ren Boyer-Alexander for Just gimme the beat. Ren Boyer-Alexander Carol Richards for the melody of the traditional Sister Cindy. Carol Richards Gary King and Audrey Klein for Syncopated Cyril. Gary King and Audrey Klein 1988 Dominie Pty Ltd for Taba naba, traditional Darnley Island. Frank A York, 1990 Ian Ross Williams for Underneath the mango tree. Ian Ross Williams PO Box 180, Glasshouse Mountains Qld 4518 Cee and Cee, a division of Berandol Music Ltd for When I get mad I beat my drum by Sandy Offenheim. Cee and Cee, a division of Berandol Music Ltd Scholastic Australia for Wind song by Lillian Moore. 1969 Scholastic Magazines Yungha-Dhu (Beryl Carmichael) for Worms. Yungha-Dhu (Beryl Carmichael)

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

1998 NSW Department of Education and Training Curriculum Support Directorate

ISBN 0 7313 5571 7 SCIS Number 952 364

Foreword
Schools prepare our young people for future employment, study and life options by ensuring that students learn and acquire the educational basics, such as literacy and numeracy skills. They also play a key role in helping students to develop social, cultural and artistic understanding. Experiences in the arts provide opportunities for students to use their imagination and creativity to explore, respond to and learn about the world. As one of the four art forms along with drama, dance and visual arts, music plays an important role in the physical, intellectual, aesthetic, social and emotional development of the individual and the community. The New South Wales Government is committed to improving learning outcomes in the arts for all students in primary schools and has demonstrated this commitment in its support for the Sing 2001 program, a major initiative in music education. The Sing 2001 program grew out of the need to re-establish singing as an Australian cultural practice. The voice is the one instrument common to all and singing is exhilarating, engendering self-confidence and self-esteem while building community ties. The program has two strands: developing the curriculum support document, Vocal-Ease: A K-6 resource for the classroom and establishing 51 choirs throughout the State. Vocal-Ease will help teachers in primary schools to develop sequential vocal activities, from chanting to choral performance. It provides innovative ideas to support the release of the Creative Arts K-6 Syllabus in 1999, with new strategies and techniques for planning and programming music. It gives students opportunities to be involved in music and equips them with the musical skills and training to participate in the Sing 2001 choirs. Vocal-Ease models classroom approaches and musical experiences that will extend beyond the classroom to foster a lifelong interest in singing.

John Aquilina, MP Minister

Contents

Introduction

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

From speaking to singing

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

Module 1

From games to performance

Singing games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
The telephone song Syncopated Cyril
. . . . . . . . . . . . . . . . . . . .40 . . . . . . . . . . . . . . . . . . . . . . .42

Module 2

Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Chants and raps

Dig a potato
. . . . . . . . . . . . . . . . . . . . . . . . . . . .5

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

Funge alafia Tongo
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 . . . . . .8

When I get mad I beat my drum Ms Sue

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 . . . . . . . . . . . . . . . . . . .13

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

Just gimme the beat Summertime rap

A pair of songs

. . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

. . . . . . . . . . . . . . . . . . . . . . .16

Wearing my long wing feathers . . . . . . .58 The earth is our mother . . . . . . . . . . . . . . .60

Choral speaking
Wind song Cinderella

. . . . . . . . . . . . . . . . . . . . . . . . . . .18

Jaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Rounds

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63 . . . . . . . . . . . . . . . . . . .64 . . . . . . . . . .66

If you cross a mouse

Underneath the mango tree

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

Peanut butter and jelly . . . . . . . . . . . . . . . . .26 Sister Cindy
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

A song for performance

Gary Galah

. . . . . . . . . . . . . . . .69

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

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

Stone passing games

Mal mal mal Obwisana Uk alele

. . . . . . . . . . . . . . . . . . . . .31

. . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Introduction
Vocal-Ease complements and supports the music strand of the new Creative Arts K6 syllabus. This curriculum support material has been designed for primary teachers to teach music more effectively. The repertoire has been selected for its appeal and relevance across the primary stages of learning. Modules 1 and 2 provide for progression into Modules 3 and 4, to be published in 1999. Module 1 From speaking to singing: Chants and raps Choral speaking Singing and speaking Stone passing games Module 2 From games to performance: Singing games Songs with movements A pair of songs Rounds A song for performance This document encourages the development of knowledge and understanding of musical skills through sequenced activities. Rather than being a prescriptive manual, it provides strategies and techniques, and models classroom approaches to foster a lifelong interest in singing.

Introduction
The Curriculum Support Directorate, NSW Department of Education and Training, would like to acknowledge the project team who designed and developed this resource: Judy Bedard Miranda North Public School Andrew Bee Performing Arts Unit Margaret Bradley Curriculum Support Directorate Joan Burtland Bald Face Public School Carol Coomber Curriculum Support Directorate Ann French Samuel Gilbert Public School Sharon Fulcher Creative Arts Consultant, Armidale Megan Garritty Auburn Public School Julie Montague Curriculum Support Directorate/Board of Studies Robyn Staveley University of Technology, Kuring-gai Maureen Stevens Creative Arts Consultant, Port Jackson Barbara Stacey Miranda North Public School Liz Strasser Faulconbridge Public School Jan Wood Bondi Public School

Module 1
speaking

From

to singing

Warming up
By warming up, vocalists gradually prepare the body and voice for singing and so focus attention on the task at hand. The warm-up sequence is: 1. relaxing 2. breathing 3. vocalising 4. singing. In classroom activities the warm-up session readily provides part of the lesson introduction. 1. relaxing stand roll shoulders gently stretch arms shake out arms shake out legs breathing empty the lungs of air breathe in, filling the bottom of the lungs release air steadily and silently. * Please note that the lungs are like balloons which get bigger when they fill up; the lungs are not located under the shoulders, so the shoulders should remain still when breathing.

3.

vocalising hum sing a syllable softly, e.g. mah vary dynamics (soft to loud) vary pitch (low to high) imitate known sounds, e.g. train in the distance, car alarm singing speak or sing known chants and songs.

4.

Conducting
Conducting provides guidance for the group so everyone can: start together keep together stop together. As there are many ways to do this, your direction needs to be clear to everyone. Hand signals work well; so can eye and head signals. Experiment with your group. Give students a chance to try conducting as there is no right or wrong way.

2.

Chants, raps and choral speaking

Repertoire
Outcomes for students
By the end of these activities, students will be able to demonstrate that they can use the speaking and singing voice to reflect changes in pitch, rhythm patterns, dynamics and tone colour.

Key
Skills
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 . . . . .8

Chants and raps

CD track 1. CD track 2. CD tracks 3-4. CD tracks 5-6.

Dig a potato

S P M OS L
singing playing moving organising sound listening
Concepts

When I get mad I beat my drum Ms Sue

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Just gimme the beat . . . . . . . . . . . . . . . . . . .13 Summertime rap

. . . . . . . . . . . . . . . . . . . . . .16

Outcomes for teachers

By the end of these activities, teachers will be able to: 1. implement activities for students which will develop recognition and control of the speaking and singing voice 2. encourage the development of these skills through appropriate repertoire.

Not on CD.

Choral speaking
CD tracks 7-8. Not on CD. Not on CD.

Jaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 Wind song

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

DP

Dy

T S

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

duration pitch dynamics tone colour structure

Chants raps and

Dig a potato
Therese Carthew
Tap knees (patsch)

4 4
Dig

a po - ta -

to

j
deep

in

j
the

ground

Rub hands

j
it

j j
and scrub it

j
and

peel

it

all

Rub

a - round

Mime stirring a pot and throwing on a plate

Cook

po -

ta -

to

throw

it

on

plate

Pat chest

on

j
the

Clap

Snap

Snap

but -

ter

mate.

It's

great!

Whack

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
To model the chant. To reinforce chant with body percussion and actions. To explore performance variations. Introduce the chant with students echoing one phrase at a time. Demonstrate actions for each line while saying the words.

DP

Dy

T S
CHANT: See glossary.

Continue actions while chanting in different ways such as softly, loudly, whispered, jerkily. Try the actions while the students are saying the words in their heads (so there is no vocal sound). Divide students into two groups. One group begins the chant. The second group begins the chant when the first group gets to the end of the first line. This is a round. Try this round in three or four groups.

Try a similar approach to the following chant written by Yungha-Dhu (Beryl Carmichael) from Broken Hill.

To perform a round.

Worms
Long creepy crawly worms Slithering over the sand Even after the sun has set Worms are still around Their glowing brightness very bright Much better after a rainy night

To develop musical imagination.

Try the round with actions only.

Skills

Concepts

S PM

OS

D P

Dy

T S

Yungha-Dhu/Beryl Carmichael

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

Chants raps and

When I get mad I beat my drum

Sandy Offenheim When I get mad, I beat my drum. Dum da dum, dum da dum, dum da dum da da dum. I beat my drum till my arm gets numb. Dum da dum, dum da dum, dum da dum da da dum. I beat my drum right through the day. Dum da dum, dum da dum, dum da dum da da dum. Until that BAD MAD goes away. Dum da dum, dum da dum, dum da dum da da dum. When I get mad, I beat my drum. Dum da dum, dum da dum, dum da dum da da dum. When I get mad, I beat my drum. Dum da dum, dum da dum, dum da dum da da dum.

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
To explore sound sources. To imitate accurately. Experiment with making drumming sounds by using body percussion or by drumming on objects in the classroom. Select a leader to drum a pattern which the class echoes. Take turns with different leaders. Game: Find the sound. Everyone closes their eyes except for one person. He/she drums a pattern somewhere around the room and returns to sit with the group. The students then open their eyes and are invited to reproduce the drumming pattern using the same sound source. Introduce the chant with students echoing one phrase at a time while patsching the beat with both hands. Repeat the chant and invite the students to join in the Dum da dum line each time it occurs. To explore performance variations. Divide the class into small groups to work on ways of presenting the chant. Incorporate some of the ideas used in Dig a potato. Groups perform for each other. Invite the class to listen for the aspects of each groups performance that they like. Share positive responses. Make up new verses: When I get mad, I shake my fist Dum da dum I shake my fist Right off my wrist. Change the instrument from a drum to something else, for example: When I get mad, I play my flute. Doo da doo, do da doo, doo da doo, da da doo I play my flute In my blue tracksuit.

DP

Dy

T S
BODY PERCUSSION: See glossary.

To develop aural awareness.

Read Bertie and the Bear by Pamela Allan.

To maintain a steady beat.

To innovate in the text.

Literacy link: Innovate on the text.

Chants raps and

10

Ms Sue
Traditional

2 j 4
Ms

j
Sue,

( )
(clap)

j
Ms

j
Sue,

( )
(clap)

j
Ms

Sue from Par - ra -

j
mat - ta. Hey

j
you,

( )
(clap)

j
scoo-be - doo

( ) .
(clap)

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

j
your pa- pa's got the flu.

flu.

Take an a b c d

.
e f

g,

take a n

Ma - gic

mea - sles,

ma - gic

h i j k l m n o p.

Take a

smooth

shot,

take a

smooth

shot. Now

freeze.

Movement Stand upright and clap as indicated in the music.

Lyrics

Ms Sue , Ms Sue Ms Sue from Parramatta Hey you, scoo bee doo Your mamas got the measles Your papas got the flu. Magic measles, magic flu

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

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

Hands on hips; lean forward to the right on mamas.

Lean forward to the left on papas. Hands on hips; lean forward to the left and then, continuing to lean forward, move upper body around to the right until the word flu.

Keep left hand on hip: with right-hand first finger, wag finger on each letter, moving arm with wagging finger across body to left side.

Take an a b c d e f g.

Put right hand on hip; wag with left-hand first finger across body back to the right side, wagging on each letter of the alphabet.

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

Slide both hands down sides of body while chanting the word smooth. Freeze in position on the word freeze.

Take a smooth shot, take a smooth shot. Now freeze!

11

Chants raps and

Purpose Skills Activities Concepts Resources

12

S P M OS L
Recite chant for students or play the recording. During the second time through, invite students to add the clapped patterns that occur in the first lines.

DP

Dy

T S
CD track 3

To model the chant.

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

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

To perform in unison.

Perform actions in unison. Everybody does exactly the same thing at the same time. Perform the chant for another class.

Skills

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

Just gimme the beat

4 j j 4
Just gim - me the

Ren Boyer-Alexander

beat,

j
the beat,

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

words

j
ain't got

no

(no words)

tune

(no

j
tune). Just gim- me the

beat,

j
the beat,

j j
the B - E - A - T. You know that

rhy - thm is

some- thing that will

j .
make you

move,

from your

head to your hips

down

j .
to your

.
shoes.

j
Your

bo - dy keeps on rock - in' as you

j .
rap and

.
rhyme.

j
You al - ways feel it best

in

j .
four- four

j
time.

13

Chants raps and

Purpose Skills Activities Concepts Resources

14

S P M OS L
To maintain a steady beat and to develop feeling for 4-beat metre. All students perform the following body percussion: clap patsch

DP

Dy

T S
NB Using both hands for a body percussion pattern is indicated by the use of double stems on the musical note.

4 4 ..

..

To model the chant and to perform the chant accurately. Perform the chant (or play the recording) while the class continues the body percussion and accompaniment. Teach the chant through echo; include response phrases (no words/no tune). PATSCH: See glossary.

To devise appropriate movements to fit the 4-beat metre.

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

To perform within a set structure.

Perform chant in the following sequence: Section Section Section Section Section Section Section A B A C A D A Whole Group Whole Group Whole Group Whole class performs Just gimme the beat section 1 performs You know section with body percussion class performs Just gimme the beat section 2 performs You know section with body percussion class performs Just gimme the beat section 3 performs You know section with body percussion class performs Just gimme the beat section.

Continue until all groups have performed in rondo form.

RONDO: See glossary.

Extension To use the voice to perform rhythm patterns and to fit word patterns to metre of chant. To use the voice to express pitch, duration, dynamics and tone colour. To develop structure for performance. Perform the chant in the same rondo form as previously, but replace the You know section with new rhymes. Each group selects a rhyme to chant (could be nursery rhymes such as Humpty Dumpty or Hickory Dickory Dock) Practise performing it with the same (or modified) body percussion as your old You know section Vary the performance through changes in dynamics (soft, loud, getting loud, etc), pitch (high voice, low voice etc), tone colour (ways of using the voicegrowly voice, whispering voice etc) Complete the performance by deciding as a class on a suitable beginning (Introduction) and ending (Coda).

Skills

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

15

Chants raps and

Summertime rap
Ann French
Movement Lyrics

16

snap patsch

4 .. 4

. .

Chorus

Boom ch a-boom boom

Hand roll on busy. Point index finger to the sky on fizzy. Snap fingers x 3 zip, zop, zap.

Boom ch

a . - boom boom ch

)
..

Busy, fizzy, zip, zop, zap Here we go with the Summertime rap Boom ch a boom boom ch.
Verse 1

snap patsch

4 .. 4

. .

snap patsch

4 .. 4

X4

Down to the beach with a bucket and spade, A big umbrella to give us shade. Slop on the sunscreen, slap on the hat Or youll burn to a crisp in no time flat.
Verse 2

snap patsch

4 4 ..

X6

..

Run to the water, dive in the waves Run down the sandhills, search the caves. Summers the time for outdoor fun. But remember Priority Number One Is slop on the sunscreen, slap on the hat Or youll burn to a crisp in no time flat.
Hand roll on busy. Point index finger to the sky on fizzy. Snap fingers x 3 zip, zop, zap. Chorus Coda

Busy, fizzy, zip, zop, zap Suntime, fun-time, Summertime rap.

snap patsch

4 .. 4

. .

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Teach boom ch pattern. Body percussion:

DP
4 4 .. 4 4
Boom

Dy

T S
See glossary: RAP PATSCH

..

Spoken:

.
ch a- boom boom ch

Hey! This fits with PDHealthPE!

To maintain an ostinato throughout a rap.

Students continue body percussion accompaniment while a leader recites the verse. Whole class joins in with the boom ch pattern and chorus. Teach coda and then perform. Divide class into 5 groups. CODA: See glossary.

To transfer rhythm of body percussion to instruments. To devise appropriate movement patterns to accompany rap. To structure a work for performance.
Skills

Group 1

Transfer boom ch pattern to non-melodic percussion instruments and repeat pattern for the duration of the rap. For example, snap = tambourine, patsch = drum.

Non-melodic percussion instruments such as a drum and tambourine.

Group 2 & 3 Devise movements to accompany verse 1

Group 4 & 5 Devise movements to accompany verse 2. Perform as a class.

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

17

Choral

speaking

18

Traditional adapted by Alison McKay

Movement click make scissor actions to the beat with your arms (from the shoulder) make bigger scissor actions little scissor actions tired scissor actions pat your hairdo make fists and move forearm up and down from elbow flex your muscles and move forearms up and down beckon and make swimming actions little scissor actions bigger scissor actions biggest scissor actions hold your nose and with an arm in the air, pretend to sink flex your muscles, as above look around do the swim pretend to sink, as above click move two fingers like scissors Lyrics

Jaws
There was a story About Jaws
..............

doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo

...................... ...............

There was a papa And a baby

...................... ..................

And a grandpa

There was a lady . . . . . . . . . . . . . . . . doo doo doo doo doo And a man . . . . . . . . . . . . . . . . . . . . . . . doo doo doo doo doo A muscle man . . . . . . . . . . . . . . . . . . . doo doo doo doo doo She said
.......................... ............. ............. ......

Come to the water and go for a swim. doo doo doo doo doo (softly) doo doo doo doo doo (louder) doo doo doo doo doo (loud) Aaahh! doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo

But there was Jaws But there was Jaws

BUT THERE WAS JAWS There was a scream It was the man

............

.................. ...........

Ill save you honey She could swim Not him!

.................

......................... ....................

Whats next? Jaws II !

...........................

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Play the recording of Jaws for the class.

DP

Dy

T S

To perform demonstrated rhythm patterns.

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

4 4
To enhance words with actions. To explore performance variations.

click

doo

click

click

click

doo

j
doo doo

j
doo

Add the actions.

Discuss ways of making the story really exciting for an audience. Experiment with different ways of speaking, chanting, whispering and shouting the words. Refine the performance by encouraging students to make constructive comments from an audience members point of view. When the whole group of students is satisfied with the way Jaws looks and sounds, perform it for another class.
Skills Concepts

How about dramatising this!

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

19

Choral

speaking

20

Wind song
Lillian Moore When the wind blows the quiet things speak. Some whisper, some clang, Some creak. Grasses swish Treetops sigh. Flags slap and snap at the sky. Wires on poles whistle and hum. Ashcans roll. Windows drum. When the wind goes suddenly then, the quiet things are quiet again.

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
To respond to text. If appropriate, let students read the poem silently before hearing it. Otherwise, read the poem aloud. Discuss the meaning of words and the atmosphere created.

DP

Dy

T S

To explore onomatopoeia.

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

As a class, read through the poem aloud, emphasising the sounds of the verbs. Use vocal sounds or body percussion to enhance these words. Literacy link: choral speaking Record a performance on cassette. Listen and discuss the effect created. Cassette recorder

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

Skills

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

21

Choral

speaking

22

Cinderella
Ann French
Poor Cinders, poor Cinders, aint life rough? Those ugly crones are making it tough. Poor Cinders, poor Cinders, boo hoo hoo, A miracles needed to rescue you. With a zap and a flash came the Fairy Godmum, O.K. Cinders, heres the drum. Ill give you a coach, a gown and all, Go kick up your heels at the palace ball. And there, at last, he found his Bride, Yippee! cried Cinders, Yes! All right! Ill rock n roll till broad daylight. Hang on! warned the Fairy. Not so fast! This spell doth end when midnights past. Go Cinders, go Cinders, real cool cat, The Princell be yours in no time flat. Twas true! The guy was bowled right over. Yes! thought Cinders. Im in clover. BUT (clock strikes midnight). The church bells rang oer the countryside, The day was filled with joy and laughter And all lived happily ever after. Yipes! Cinders cried in mortal fear, So long, Prince Im outta here. No! shrieked His Highness,Stay, please do, I cant do much with one glass shoe. For days the Prince trudged up and down, He knocked on every door in town, Till, at last, feet sore with blisters, He came to the home of the Ugly Sisters

Cinderella was the drudge in the family home, She worked her fingers to the bone. Her Sisters (Step!) and Mum as well Gave that little Cinders hell. Go Cinders, go Cinders, go, go, go, Scrub those floors till theyre white as snow. Go Cinders, go Cinders, wash and rinse, Were going to dance with the handsome Prince. Poor Cinders sobbed and tore her hair, Drat! she cried, It isnt fair! Those ugly crones get all the fun, While I have zero, zilch and none!

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
To develop feeling for telling a story. This is a choral speaking work. The aim is to develop the skill of speaking as a whole group in unison, with dramatic effect changing the way of speaking, depending on the character or the narrator. The group decides who does what. Session 1 To experience performance suggestions. Discuss fairy tales and specifically Cinderella stories in a range of cultures including those represented in the class. Present and compare two versions of Cinderella. Discuss the characters, traditional versus modern and other issues. Session 2 and subsequent sessions To develop repertoire of movement to express dramatic ideas. To experiment with performance ideas. To experiment with use of voice. To practise speaking in an ensemble. Identify the characters in the story of Cinderella.

DP

Dy

T S

Literacy link: variations on a narrative

HSIE intercultural study

Costumes if desired.

Leader reads the poem while the characters portray their parts in mime. As a whole group, develop a performance which includes: movements which enhance meaning variation in vocal expression. Performance suggestion Have three smaller groups within the big group to portray Cinders, Godmother and the Prince. This will still produce the effect of speaking in unison, but will also focus interest on where the sound is coming from
Skills Concepts

Have you read Roald Dahls Revolting Rhymes?

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

23

Singing and speaking

Repertoire
Outcomes for students
By the end of these activities, students will be able to demonstrate that they can differentiate between the uses of the singing voice and the speaking voice.
CD track 9. CD track 10.

Key
Skills
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Peanut butter and jelly . . . . . . . . . . . . . . . . . . .26 Sister Cindy

S P M OS L
singing playing moving organising sound listening
Concepts

Outcomes for teachers

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

DP

Dy

T S

duration pitch dynamics tone colour structure

Singing

and

speaking

26

Peanut butter and jelly

Traditional
Movement Lyrics Verse 1

2 . . . . 2
For example: picking peanuts smashing peanuts spreading peanut butter
First you get the pea - nuts and you

. . . .
pick them and you pick them and you

Chorus

. . . .
Pick them and you pick them and you

. . . .
smash them and you smash them and you

& 2 .. 2
Pea - nut but- ter and

.
jel - ly.

..

.
Smash

.
them smash

.
them smash

.
them and you

j .
spread 'em.

Chorus Verse 2 For example: picking berries smashing berries spreading jelly (jam)

Then you get the berries and you pick them and you pick them and you pick them, pick them, pick them. Then you smash them and you smash them and you smash them, smash them, smash them. Then you spread em.
Chorus Verse 3

For example: hold sandwich in two hands and bite it gulp sandwich

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

(Hum the tune as if your mouth is full)

Coda

(Sing once only).

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Teach the chorus of Peanut butter and jelly and include the arm movements.

DP

Dy

T S

To demonstrate change of pitch with actions.

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

To contrast sung and spoken text.

Choose individuals or a small group to chant the verses with the rest of the class singing the chorus. Alternatively, everyone performs chant and choruses. Change the text by making up new words for the song, eg. tomato, cheese and lettuce or banana, ants and butterflies.

Literacy link: innovate on the text; reading and writing procedures

Skills

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

27

Singing

and

speaking

28

Sister Cindy
Traditional with melody by Carol Richards

&4 4
She's

.
li -

.
ving in

a place

called

j j
bove her

j
she wears

Ten - nes - see,

&
dark

dark

.
dres -

.
ses up

a -

j
knees,

hands

&
up

.
Sis -

.
ter Cin -

dy from

j
Ten - nes -

j
see,

hands

&
down

.
Sis -

.
ter Cin -

dy from

j
Ten - nes -

j
see,

.
turn

a -

&
round

.
Sis -

.
ter Cin -

dy from

j
Ten - nes -

j
see,

.
touch

the

&
ground

.
Sis -

.
ter Cin -

dy from

see.

Ten - nes

Chanted

Ive never been to college and Ive never been to school But when I came home I was an educated fool.

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
To use singing voice and to accompany song with movement reflecting structure of song. To explore using the voice expressively. Have the group stand in a circle. Teach the song, movement and chant (refer to chart of words and associated movements).

DP

Dy

T S
Chart of words and associated movements.

Perform movements in a circle while singing song and saying chant. During chanted section, a person in the middle covers eyes, turns around and points. The person pointed to on the word fool is the next soloist. Solo section (chanted) Soloist Class Soloist Class My mother she sang Your mother she sang? (exaggerated questioning voice) She sang like this (soloist improvises, can add movement) Class echoes the soloist.

Why not read Sister Madges Book of Nuns?

After the fool has performed the solo section, all the preceding fools, in descending order, redo their sections. e.g. My mother she sang, My toothbrush he sang, My dog he sang etc.

After all the solos are performed, return to the singing section. Finish with:
Skills

Teacher And wheres Sister Cindy singing? Class Who cares?

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

29

Singing

and

speaking

30
Words and associated movements for each beat and bar of

Sister Cindy

Lyrics Movement

Shes ... living in a

right foot step forward

place called
left foot forward, pat knees

Tenness
right foot step back

ee, she wears

left foot step back

dark, dark
right foot forward, pat knees

dresses up a
left foot forward, hands up

bove her
right foot back, pat knees

knees, hands
left foot back, pat knees

up Sister
right foot forward, hands up

Cindy from
left foot forward, hands down

Tenness
right foot back, hands up

ee, hands
left foot back, hands up

down Sister
right foot forward, hands down

Cindy from Cindy from

1/4 turn

Tenness
right foot back, hands down

ee, touch the

left foot back, hands down

ground Sister
crouch, pat the ground

Tenness Tenness
1/4 turn

ee, turn a ee. Ive

1/4 turn

round Sister
1/4 turn

Cindy from college and Ive I was an

thumb point over shoulder

never been to
point to right

never been to
point to left

school, but when fool.

point to head

I came home
point to self

educated
hands in book pose

Stone passing games

Repertoire
Outcomes for students
By the end of these activities, students will be able to demonstrate that they can: 1. sing within a small pitch range 2. maintain a steady beat.
CD track 11. CD track 12. CD track 13.

Key
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Mal, mal, mal Obwisana Uk alele

Skills

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

S P M OS L
singing playing moving organising sound listening
Concepts

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Outcomes for teachers

By the end of these activities, teachers will be able to: 1. model a song accurately or use appropriate means to model a song accurately 2. teach a song using the echo method 3. use body percussion to maintain a steady beat 4. use a number of strategies to develop the singing voice 5. use a number of strategies to develop the musical imagination.

DP

Dy

T S

duration pitch dynamics tone colour structure

Stone

passing

games

32

Mal, mal, mal

Traditional New Guinea

# 2 & 4
Mal

mal

mal

Kam - e - me

go

Kam - e - me

&

go

Kal -

um -

bus,

Kal -

um -

bus.

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Learning the song To be able to hear an accurate model of a song and to maintain a steady beat. To reproduce modelled phrases of a song. To develop a feeling for phrasing. Demonstrate the song while lightly patsching the beat. Teach the song by echo, while patsching to maintain the beat.

DP

Dy

T S

Playing with the song Divide the class into two groups and sing alternate phrases. For example: Group Group Group Group Group 1 2 1 2 1 Mal, mal, mal Kameme go Kameme go Kalumbus Kalumbus

Why not study New Guinea, one of our nearest neighbours?

To develop the musical imagination.

Sing only the first sound of each phrase.

To associate sounds with beats.

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

To develop a feeling for harmony using vocal ostinato and canon.

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

Make up a vocal ostinato by using a phrase of the song, for example, Kalumbus. If possible, sing in canon (the second part enters after mal, mal, mal).

(Continued on page 34)

33

Stone

passing

games
Skills Activities Concepts Resources

34

Purpose

S P M OS L
Playing the stone passing game To maintain the beat through passing the beat. To be able to perform through singing and moving. Sit in a circle. Decide the direction in which the stones, sticks, bean bags or objects are going to be passed. With one hand behind back, practise picking up an imaginary object and pass to next person while chanting.

DP

Dy

T S

2 .. 4
pick up

pass

pick up

pass

..

Sticks or stones or other appropriate objects which can be passed easily.

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

Extension Divide class into 3 groups; rotate groups. To devise patterns using existing rhythm patterns within song. 1. Devise a percussion accompaniment: Use some of the rhythm patterns of the words of the song to develop an ostinato on non-melodic percussion instruments, e.g. claves Non-melodic percussion instruments.

2 .. 4
Kal - um -

bus

..

To devise ways of performing the beat through movement.

2.

Devise a new way of performing the stone passing game: pass stone in opposite direction pass stones around outside of circle using 2 stones, devise a different way of passing which includes tapping stones together.

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Obwisana is an African stone passing game which can be treated similarly to Mal, mal, mal.

DP

Dy

T S

Obwisana
(Oh gramma, I just hurt my finger on a rock.) Traditional Ghana
O

## 2 X & 4
Ob - wi - sa - na

na - na

sa

Ob - wi - sa - na - sa.

&

##

Ob - wi - sa - na

na - na

Ob - wi - sa - na -

sa

sa.

Lyrics

A stone fell on my hand

Movement

X O

Pick up stone Pass stone

35

Stone

passing

games

36

Uk alele
Traditional Pacific

j & 2 j 4
Uk A le -

j j
le lay a ah

Pe - re Pair - eh ti - ke tick - eh

tom tomb -

j j
ba ah a ah

Pronunciation

Ook

Ah - lay

j j & j j
Ma - sse Ma - sse Ma Mus Mus - sah Mus- sah

sse sah

j
U Oo A Ah -

j
lo loh -

j
ah ah A Ah -

j
lo loh -

3 4

& 3 j 4
ah ah A Ah -

j
lo - he. loh - ay.

..

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Learning the song To accurately reproduce pitch patterns. To maintain a steady beat. To develop a feeling for changing metre. To experience changes in accent. clap patsch Using a patsch and clap body percussion pattern, teach the song in a similar fashion to Mal, mal, mal.

DP

Dy

T S
Sticks, stones or other appropriate objects which can be passed easily.

2 4 ..

..

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

Playing the stone passing game Practise the passing as for Mal, mal, mal, then when secure, add song. Note: The metre change (from 2 to 3 beats) will add an interesting dimension to the feeling for passing the beat.

Skills

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

37

Module 2
From games to performance

Singing games
Repertoire
Outcomes for students
By the end of these activities, students will be able to demonstrate that they can: 1. move between their speaking and singing voices 2. perform answering phrases.
CD track 14. CD track 15.

Key
. . . . . . . . . . . . . . . . . . . . . .40

The telephone song Syncopated Cyril

Skills

. . . . . . . . . . . . . . . . . . . . . . . . .42

S P M OS L
singing playing moving organising sound listening
Concepts

Outcomes for teachers

By the end of these activities, teachers will be able to implement activities which develop movement between the speaking and singing voices.

DP

Dy

T S

duration pitch dynamics tone colour structure

Singing

games

40

The telephone song

Traditional

&4 4

Group

Soloist

j
"I think I

Soloist

b J
hear my

j
name."

Group

"Hey Group

"Hey

A - dam!"

&
A -

dam!"

j
"I think

b
hear

it

Soloist

"you're

a - gain."

&
wan -

ted

on

the

b J
tel -

e -

j
phone."

"Well

if Group

it

&
is - n't Re -

bec - ca I'm

b J
not

at

j
home."

With

&
rick -

tick -

ty

tack

Oh

yeah!

With

tick - e -

&
rick -

tick -

b
tick -

e -

ty

tack

Oh

yeah!

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
To maintain a steady beat with body percussion. Present the song accompanied by body percussion. Students join in with body percussion. clap patsch

DP

Dy

T S

4 4 ..

..

That rings a bell! Communications is a great unit of work to include!

To develop pitch matching.

Teach the song through echo or by question and answer.

Perform with the whole class singing the response. Provide the beat on a tambour while the class is singing. Teacher: Hey (Year Three) Whole class: I think I hear my name

Tambour

To develop confidence in the individuals use of the voice.

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

Skills

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

41

Singing

games

42

Syncopated Cyril
Gary King and
Swing

Audrey Klein

j
3

& 4 j . 4
Syn - co - pa - ted Cy - ril,

j
and

down

the

street;

walk - ing

j &
watch his

j .
hands

j
watch his

j
feet.

Here comes

&
once

a -

gain

j .
Wan - da,

fol - low - ing

be - hind;

&

Cy - ril to the

end

of

the

line.

cop - y - ing

Chant

Cross the street, cross the street, to the other side; Turn around, turn around on the other side. Go back, go back, to your own side; Turn around, turn around, on your own side.

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Introducing the sung section To maintain a steady beat. Introduce the sung section of Syncopated Cyril while patsching lightly on the knees. Students imitate patsching while listening to the song.

DP

Dy

T S
PATSCH: See glossary

To match pitch accurately.

Teach song by echo while maintaining patsching.

Introducing the chanted section To accurately learn rhythm of the chant. Demonstrate the chant Cross the street with a different body percussion accompaniment. clap patsch

4 4 ..

..

Students echo the chant.

To consolidate quality and style of movement from previous movement lessons.

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

Learning the game To contrast sung and spoken text. Perform sung section followed by spoken section, while maintaining the beat with body percussion. Repeat several times.
(Continued on page 44)

43

Singing

games
Purpose Skills Activities Concepts Resources

44

S P M OS L
To devise ways of reinforcing beat and rhythm through movement. Explain to the class that the game is about copying a leader. With students standing in their own space, the teacher improvises a walking style for the class to copy. Select a student to improvise a walking style while the class sings: Syncopated Cyril, walking down the street; Watch his hands and watch his feet.

DP

Dy

T S

To imitate movement and respond to the structure of the song.

Students imitate leaders walk and perform the second part of the song: Once again Wanda, following behind, copying Cyril to the end of the line.

Performing the Syncopated Cyril game To contrast sung and spoken text. Students stand in two lines, opposite and facing a partner. Section A: Leader of line 1 improvises a walk to the other end of the line while class sings bars 14 (Syncopated Cyril, walking down the street; watch his hands and watch his feet). copies Cyril while class sings bars 58 (Once again Wanda, following behind; copying Cyril to the end of the line). While performing the chant (Cross the street) and imitating Cyril, lines cross over and swap positions, and then return to their original positions. Repeat with a new leader.

Leader of line 2

Section B:

Extension To identify known rhythm patterns and use them as ostinato accompaniments. Clap some of the rhythms from the chant for the students to identify.

Play the rhythms on other percussion instruments such as drums, tambourines and claves and use them to accompany Section B. For example: claves cross the street, cross the street drum other side.

Use tuned percussion instruments such as xylophones and glockenspiels in C pentatonic (CDE GA as indicated in the resources column). Select a small group of students to improvise an accompaniment to Section A.

Skills

Concepts

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OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

45

Three songs with movement

Repertoire
Outcomes for students
By the end of these activities, the students will be able to demonstrate that they can: 1. sing three simple childrens songs 2. perform a call and response song 3. respond to variations in dynamics and tone colour.
CD track 16. CD tracks 17-18.

Key
Skills

Funge alafia . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 Tongo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 naba

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

S P M OS L
singing playing moving organising sound listening
Concepts

CD tracks 19-21. Taba

Outcomes for teachers

By the end of these activities, teachers will have implemented strategies to teach simple songs and encouraged the exploration of dynamics and tone colour through the voice.

DP

Dy

T S

duration pitch dynamics tone colour structure

Funge alafia
Traditional Ghana

&4 4 J & J

j
a la -

fia

j
a sche

j
a sche.

Fun - ge

j
a la -

fia

j
a sche

j
a sche.

Fun - ge

to head Hands

to heart

to L arm

to R arm

Feet L step close L step close

47

Three with songs movement

Purpose Skills Activities Concepts Resources

48

S P M OS L
To familiarise students with the actions and meaning of the song. Teach actions for head, heart and sleeves without speaking the words. Discuss what the students think the actions might mean. Demonstrate the song with the actions and then explain the lyrics: I greet you with my head, my heart and I have nothing up my sleeves. which means I respect you, I care for you and I am an honest person. To echo pitch accurately. Teach the song by echoing phrases and then add the step-wise movement as indicated on the music above. Add step-wise movement as outlined in the music. With the class standing in a circle, perform the song with movement and actions. The song has two phrases. Have the class listen again to the pitch of the two phrases and identify if they are the same. If not, how are they different? Trace the pitch contour of each phrase, first in the air and then using graphic notation. Divide class into two groups and perform Funge alafia as a call and reponse. Group 1: sings phrase one (Funge alafia asche asche) Group 2: answers with phrase two. To develop aural imagination. Repeat, singing words in your head, not out loud while performing actions.

DP

Dy

T S
Actions marked on the music for Funge alafia.

Movements explained on the music.

To use movement to reinforce beat.

To identify same and different pitches.

See glossary: PHRASE GRAPHIC NOTATION PITCH CONTOUR

To develop skills in the use of the voice for both speaking and singing.

Explore different spoken ways to greet people in English, for example: Hi, how are you? Great to see you! Whats new? Welcome. How do you do?

In other languages, for example: Bonjour. To develop confidence in vocal improvisation. To use movement to reinforce structure. Chukran. Konichiwa.

Explore variations in dynamics and tone colour of spoken greetings.

Develop a structure for performance which includes the spoken greetings. For example: Section A Whole class performs Funge alafia with actions and movement Section B Selected student performs own spoken greeting which class echoes Section A Repeat Section C Another student performs spoken greeting which the rest of the class echoes Section A Repeat Extension

See glossary: RONDO (This structure is called rondo form). Another version of Funge alafia appears in Songs From Around the World by Gary and Carol Crees 2/12 George Street Manly NSW 2095

To add simple accompaniments to a song.

Add instruments to accompany the song. Non-melodic instruments (i.e. drum)

4 .. 4 & 4 .. 4

.. ..

Melodic instruments (i.e. alto xylophone)

To experiment with performance ideas.

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

49

Three with songs movement

50

Tongo
Traditional Polynesian

# # 2Leader & 4
Ton -

Group

go,

Ton -

go,

Ton Group

go,

Ton -

go,

&

## ## ## ## ##

Leader

.
Jim - nee bye Leader

bye oh,

.
Jim - nee bye Group

bye oh,

&

Ton Leader

go,

Ton -

go,

Ton Group -

go,

Ton -

go,

&

j
de

kim bye oh,

j
de

kim bye oh, Leader

Oom - ba Leader

Oom - ba Group

&

.
Ooh -

j
a

lay, Group

.
Ooh -

j
a

lay,

Mah - le Ocean sounds

&

ka - ah - lo

way.

..

8 bars

..

way. Mah- le - ka - ah - lo

D.C.

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
To develop awareness of the structure of the song. Play the recording of Tongo and discuss the three-part structure: Section A: sung Section B: instrumental Section A: the song is repeated. Play the recording again. Discuss the effects used in the instrumental (sea soundscape) section. Students add rowing actions on the 1st beat of the bar during the sung section and improvise movements during the instrumental section. Encourage the students to vary the movements with the dynamics of the music. To become aware of call and response structure. Discuss the use of the voices in the sung section, the use of a leader who calls and a group who answer or respond. Learning the song To echo rhythm patterns and accurate pronunciation. Clap and chant the following patterns for the students to echo.

DP

Dy

T S

See glossary: DYNAMICS CALL AND RESPONSE

CD track 17

2 .. . 4
Jim - nee bye

bye oh

..

2 .. j 4
Oom - ba

j
de

kim bye oh

..

2 .. . 4
Ooh -

j
a

lay

..

2 .. 4
Mah - le -

ka -

ah -

lo

way

..

To echo pitch accurately. To perform a call and response song.

Sing or demonstrate the call Tongo. Students echo. Divide class into two groups. Group 1 performs call Group 2 performs response

(Continued on page 52)

51

Three with songs movement

Purpose Skills Activities Concepts Resources

52

S P M OS L
To develop individuals confidence in using the voice. Select a student to perform the call with actions. The rest of the class responds, copying the leaders actions. Clap some of the rhythms from the song and ask students to identify the phrase. For example:

DP

Dy

T S

2 .. j 4
Oom - ba

j
de

kim bye oh

..

2 .. . 4
Ooh -

j
a

lay

..

To accompany song with rhythmic ostinato, using body percussion and instruments. To create a soundscape using a variety of sound sources.

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

Tambour, claves, tambourines etc.

Create a sea soundscape. Discuss sounds you may hear near the sea and make a class list. Ask students to suggest ways to recreate the sounds of the sea using voices, body percussion, environmental material, melodic or non-melodic instruments. Divide class into small groups of 46. Each group creates its own water soundscape. Encourage students to graphically notate their soundscape.

To perform a rondo.

Invent a rondo. For example, with the class divided into two groups: Section A Section Section Section Section B A C A Group 1 performs the call and Group 2 the response from Tongo. Group 1 performs its soundscape. Call and response. Group 2 performs its soundscape. Call and response.

Continue until all groups have performed their soundscapes.

T aba naba
G C D

Darnley Island Torres Strait Islands

# 4 & 4
Br. Ta - ba Pronounced Pronunciation Tah - buh na - ba, nah - buh,

J J
na - ba nah - buh no - rem, noh- rem,*

Rh to Fl at L

pe peh

Rh to L Sh & hold

mi mee

Lyrics Translation

tu - gei too - geh

nai - sir nye - sihr

Taba naba naba norem. Come, let us go to the reef.

Lh to R Sh

G
Rh to Fl at L Rh to L Sh

C
Lh to Fl at R

&

Lh to Fl at R

Lh to R Sh

em em* na - ba - tre. nah - buh- treh.

Mi ko Mee koh kei mi keh mee

sir - ir sihr - ihr em em* nar - ba - re. nahr- buh - reh.

Tugei penaisir mi dinghy em nabatre. Get into the dinghy when the morning tide is low Mi ko keimi serer em narbare. Let us row to the edge of the reef. Taba naba norem. Come, let us go to the reef.
This song is remembered from long ago, the composer is not known but it is definitely of Erub origin. The dance actions, according to Erub (Darnley Island) elder and historian, George Myre, may be attributed to one of Erubs foremost dancers, Sweeney George Morseu. It celebrates reef travel via the taxi of the Torres Strait, the dinghy. The sung was originally sung for Frank York by Dalassa Pau.

din - ghy dihn - gee

&

# j

BH up High

BH touch Shs

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

no noh -

w
rem. rem.*

Ta - ba Tah - buh

na - ba nah - buh

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

53

Three with songs movement

54
(continued)
Melody

T aba naba
Movements with lyrics Students sit cross legged in a circle:

# 4 & 4 # 4 & 4

3 3

Br.

..
Ta - ba na - ba,

J J
na - ba no - rem,

Rh to Fl at L

mi

Rh to L Sh & hold

tu - gei pe nai - sir

Harmony

..
Ta - ba

Sing Part A 1st time

j j
na - ba no - rem,

tu - gei pe nai - sir mi

na - ba,

Bars 12 Brush hands together

Bar 6 Point left hand to floor at right (beat 1) then place left hand on right shoulder (beat 3)

& &

# #

Lh to Fl at R

Lh to R Sh

Rh to Fl at L

Rh to L Sh

Lh to Fl at R

Lh to R Sh

din - ghy em na - ba - tre.

Mi ko kei mi

sir - ir em nar - ba - re.

Bar 3 Point right hand to floor at left (beat 1) then place right hand on left shoulder (beat 3) and hold

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

din - ghy na -

ba -

tre.

Mi ko kei mi

sir - ir em nar - ba - re.

Bar 4 Point left hand to floor at right knee (beat 1) then place left hand on right shoulder (beat 3)

Bars 89 Both hands on waist and sway from side to side.

# j & & # j

BH up High

J j

BH touch Shs

1.

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

no -

w
rem.

.. ..

Ta - ba

na - ba

no

Ta - ba

na - ba

Bar 5 Point right hand to floor at left (beat 1) then place right hand on left shoulder (beat 3)

& &

# #

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

w
rem.

w
rem.

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Learning the song To develop listening skills. Read the phonetic pronunciation phrase by phrase, for the students to echo.

DP

Dy

T S

To accompany the song with a steady beat.

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

To match pitch accurately.

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

CD track 19

Learning the dance To learn a sit-down dance from the Torres Strait Islands. To observe the gradual build of dynamics. This song comes from Darnley Island and is a sit-down dance. The actions are written beside the music. Learn the dance to accompany the song. Have you thought of linking this with a HSIE unit?

Divide the class into four or more groups. Group 1 Group 2 Group 3 Group 4 Continue performs song with actions joins in second time through joins in third time through joins in fourth time through. until all students are singing.

Skills

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

Discuss the effect of adding voices cumulatively.

duration pitch dynamics tone colour structure

(Continued on page 56)

55

Three with songs movement

Purpose Skills Activities Concepts Resources

56

S P M OS L
To add simple accompaniments to a song. Extension Add the following patterns to accompany the song Shaker

DP

Dy

T S

4 .. 4 .. 4 .. 4 4 .. 4 4 .. 4 .. .. ..

Tambour (low)

Guiro

High drum

To experience simple harmony singing.

Try adding the second vocal part.

Skills

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

A pair
Outcomes for students
By the end of these activities, students will be able to demonstrate that they can use: 1. the singing voice within a restricted pitch range 2. singing techniques to sing on pitch 3. singing techniques to develop tonal quality of the singing voice.

of

songs
Key
Skills

Repertoire
CD track 22. CD tracks 23-25.

Wearing my long wing feathers . . . . . .58 The earth is our mother . . . . . . . . . . . . . .60

S P M OS L
singing playing moving organising sound listening
Concepts

Outcomes for teachers

By the end of these activities, teachers will be able to use appropriate repertoire as well as teach skills and techniques to develop the singing voices of students.

DP

Dy

T S

duration pitch dynamics tone colour structure

A pair

of

songs

58

Wearing my long wing feathers

Native American
Movement Step sideways around the circle, to the right Lyrics

# 4 & 4 j
Wear - ing

j
my long wing fea - thers

as I fly.

Wearing my long wing feathers as I fly Wearing my long wing feathers as I fly I circle around, I circle around, The boundries of the sky.

Step sideways around the circle, to the left

&

j
Wear - ing

j
my long wing fea - thers

j
as I fly. I

Walk in a circle on the spot, to the right

Walk in a circle on the spot, to the left

&

j j
cir - cle a- round, I cir - cle a- round, the

Stand on the spot facing inside the circle; cross arms in front of your body, lifting them above your head and then open them out to bring them back down to the sides of your body.

&

of the

.
sky.

bound - 'ries

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Introduction To establish cultural setting and purpose of musical work. Discuss how different peoples develop their world views and express themselves through their stories, music and ceremonies. Find examples of Australian Aboriginal Dreaming stories and Native American stories. Discuss the similarities you can see within Australian Aboriginal Dreaming stories and Native American stories.

DP

Dy

T S

HSIE link: Aboriginal Dreaming stories: Mumbulla, P. & Bancroft, B. The Whalers (collected by Roland Robinson). Angus & Robertson. 1996. Trezise, P. Land of the Dingo People. Angus & Robertson. 1997.

Learning the song To develop the atmosphere of music. To learn song accurately. Speak the words.

Teach the song using echo, phrase by phrase. Native American stories: Erdoes,R. & Obtiz,A. American Indian Myths & Legends. Pimlico, London. 1997.

Practise movements which enhance the song.

Teach the movements simultaneously.

To experience harmony created through song and drone on E.

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

59

A pair

of

songs

60

The earth is our mother

Native American

# & 4 j 4 # & 4 4 J & & # #

The earth is our mo ther,

j
we must take care of her. The

Lyrics

# J

Verse 2

j
earth is our mo ther, we must take care of

w
her.

Her sacred ground we walk upon, With every step we take. Her sacred ground we walk upon, With every step we take.
Chorus

J
Hey

w
Verse 3

Chorus

& &

ho

hey yan

yan.

yan - na,

yan - na,

The earth is our mother, She will take care of us. The earth is our mother, She will take care of us.
Chorus

& &

Hey yan - na, ho yan - na,

hey yan

.
yan.

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
To maintain steady beat and perform rhythm pattern to accompany song. All perform body percussion softly while teacher sings song (or plays the recording): knee floor To practise breath control, keeping mouth open but relaxed, using the tongue rather than jaw to change sounds, maintaining long sounds. To develop a feeling for harmony.

DP

Dy

T S
CD track 23

. 4 . 4 ..

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

Teach the verse phrase by phrase through echoing. When secure, teacher sings harmony softly over the student part (or sings along with the CD, where the harmony is added from verse 3 onwards). Extension CD has harmony included from verse 3 on tracks 23 and 25

To devise movements which can be performed while singing and reflect the ideas in the song. To use the singing voice to reinforce instrumental parts. To develop independent singing skills.

Encourage students to develop their own simple movements to accompany the song. Make sure the movements do not detract from their ability to sing. Fast or large movements or hands over the heads for extended periods of time are not suitable as the singing voice would be restricted. Perform percussion accompaniment to the song. Teach the parts through singing and body percussion before transferring to percussion instruments. Try performing Wearing my long wing feathers and The earth is our mother as partner songs. This is demonstrated on the CD on track 23.

Scarves to enhance movements if desired

Percussion arrangement on page 62. Melodic and non-melodic percussion instruments.

61

A pair

of

songs

62

The earth is our mother Percussion accompaniment

Body percussion patterns Melodic and non-melodic percussion instruments

Use these patterns to teach the percussion parts.

# & 4 .. 4 4 & 4 ..
L R

#
L

..

# .. .. ..

R floor R leg L leg R leg L leg

shake in air clap

4 .. j j 4 J J J j j 4 .. 4 J J 4 .. 4 > > 4 .. 4

j j j J J j j J J > >

.. .. .. ..

& 4 .. 4 4 & 4 ..
Chorus only

4 .. 4 > > 4 .. Verse only 4 4 .. 4 4 .. w 4 & 4 .. 4 w

. > > . w w ..

clap

chest patsch

. 4 .. . 4
4 4 .. w
LH

. . .. ..

patsch R patsch L

w
LH

..

Rounds
Repertoire
Outcomes for students
By the end of these activities, students will be able to demonstrate that: 1. they can sing simple rounds 2. they are aware of other parts while singing.
Not on CD CD tracks 26-27.

Key
Skills
. . . . . . . . .66

If you cross a mouse . . . . . . . . . . . . . . . . . . .64 Underneath the mango tree

S P M OS L
singing playing moving organising sound listening
Concepts

Outcomes for teachers

By the end of these activities, teachers will be able to implement a variety of strategies for teaching rounds.

DP

Dy

T S

duration pitch dynamics tone colour structure

Rounds

64

If you cross a mouse

sung to Row, row, row your boat
Movement Lyrics stamp

If you cross a mouse (Row, row, row your boat) With an elephant (Gently down the stream) Youll get big holes (Merrily, merrily, merrily, merrily) In your skirting boards (Life is but a dream)

patsch

clap

snap

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Learning the song To revise a well known melody. To experiment with dynamic variations. Demonstrate the song with body percussion illustrated above. Repeat song until students are familiar enough to join in. Sing whole song varying the dynamics of each line. Perform the actions while singing the words silently (in your head). Preparing to sing the round To develop the ability to hold a part. To develop skills in ensemble singing. Divide the class into four groups: Group Group Group Group 1 2 3 4 sing line 1 as an ostinato add line 2 as an ostinato add line 3 as an ostinato add line 4 as an ostinato.

DP

Dy

T S
Sung to the melody of Row, row, row your boat.

Encourage students to listen and blend with the other parts. Experiment with varying the dynamics. Select a student to signal the entry and exit of parts. To sing song as a round. Standing in a circle, divide class into four groups. Perform song as a round with body percussion accompaniment. Extension To perform a more complex round. To develop vocal independence and listening skills. Try performing as a round of up to eight parts.

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

65

Rounds

66

Underneath the mango tree

Ian Ross Williams

&b 4 4
Un - der- neath the man - go

Dm

Am

Dm

tree were we,

j
Hid- ing in the tree was

&b

Am

Dm

Am

Dm

Look out down be - low

for the

ripe man - go,

Tar - ni - ki - ni.

&b
Rain - ing down be - low

Am

Dm

from the

ripe man - go.

no,

Oh

&b

Am

Dm

Am

Dm

no,

oh

no,

go man - go, man - go!

oh

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

Purpose

Skills

Activities

Concepts

Resources

S P M OS L
Learning the song Listen to the song and discuss what the song is about. Explain Tarnikini which means flying-fox in the Tiwi language of Bathurst and Melville Islanders, Northern Territory.

DP

Dy

T S

To maintain a steady beat.

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

4 4 ..

..

To develop a feel for singing in a minor key.

Teach the song by echo, phrase by phrase.

Transfer body percussion patterns to melodic percussion.

& 4 .. 4
D

..
A A D

Perform melodic percussion with recorded version.

To develop a sense of phrasing in singing.

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

To develop appropriate breathing and an awareness of long and short notes when singing.

Play the recorded version and ask students to raise their hands when they hear a long note held at the end of each phrase and on oh no, oh no. Sing the song again with correct breathing and holding the long notes for their full value.

Unison section of Underneath the Mango Tree, track 26

(Continued on page 68)

67

Rounds
Purpose Skills Activities Concepts Resources

68

S P M OS L
Introducing the round To be familiar with the structure of the song. Introduce the round by discussing the structure used on the recording: introduction, unison (x1), instrumental, round (x2), coda. Play the introduction again. Discuss how it is like section 3, Oh no, oh no, oh no, go mango, mango

DP

Dy

T S

To accompany a song with vocal ostinato.

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

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

Xylophone, keyboard, recorder or another melodic instrument.

& b 4 .. 4

no,

oh

no,

oh

no,

go man- go, man- go.

..

Oh

To perform as a round in three parts.

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

To use a melodic ostinato to maintain pitch and tonality. To develop vocal blend and harmony.

Try performing the round using melodic instruments to play the accompaniment from the chords on page 66. Record the class version of the round and discuss the blend of voices, dynamics, long notes, breathing and ways to improve the performance. Record it again and compare the two versions.

Cassette player for recording class compositions.

A song
Outcomes for students
By the end of these activities, students will be able to demonstrate that they can: 1. interpret the words of a song 2. develop a simple song into a performance.

for

performance
Key
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Repertoire
CD tracks 28-29.

Gary Galah

Skills

S P M OS L
singing playing moving organising sound listening
Concepts

Outcomes for teachers

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

DP

Dy

T S

duration pitch dynamics tone colour structure

A song

for

performance

70

Gary Galah
Louise Pettinger

4 .. C &4
Bb G

Verse

Dm 7

j
C7/B b

F/A

1.Way out west where the

gum- trees

are

Lives a fun- ny fel- low called

&
Gar - y Ga - lah And the

one 1,2,3

thing that Gar - y

Is to CODA 4.

likes do - ing best to Chorus

&
fly - ing Chorus a- round

in

fan -

cy dress.

He wears a

fan - cy dress.

& j
spats,

j J
cow- boy hat,

bow - tie, sun- glas - ses,

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

& J
pair of

1,2

fril - ly shirt and

j J
tar - tan 3. vest,

Vel - vet cloak,

&
All the things he needs

to

j . J
best.

j G j .. .. J
2.His look his best.

look his

CODA &
Fly- ing a- round in fan - cy dress,

F C
in fan - cy dress.

Fly- ing a- round

Lyrics

Verse 1

Verse 3

Way out west where the gum trees are Lives a funny fellow called Gary Galah, And the one thing that Gary likes doing best Is flying around in fancy dress.
Chorus

The other birds think hes somewhat mad To spend his lifetime being a cad But Gary doesnt mind cause hes perfectly fine Flying around just looking divine.
Chorus

He wears a bowtie, sunglasses, cowboy hat, Knickerbockers, braces and a pair of spats, Velvet cloak, frilly shirt and tartan vest, All the things he needs to look his best.

Verse 4

repeat verse 1
Coda

Verse 2

His wardrobe is a hollow tree Where he keeps a variety Of costumes fit for any star. Yes, a fancy dresser is Gary Galah.
Chorus

Flying around in fancy dress, Flying around in fancy dress.

71

A song

for

performance
Purpose Skills Activities Concepts Resources

72

S P M OS L
Introducing the song To develop listening skills and interpret the words of the song. Gary Galah is about a colourful character. Ask the students to listen for any information they can discover about the character. Each time the chorus occurs, perform actions to reflect the articles of clothing described. Encourage students to join with the actions while listening to the song (they will probably join in singing as well). Discuss what they found about Gary Galahs clothes. Discuss how the actions reflect his costume. Explanation of some items may be necessary. To recognise recurring sections and observe contrast between sections. Talk about the structure of the song: Introduction Verse 1 Chorus Verse 2 Chorus Verse 3 Chorus Verse 1 Coda Learning the song To echo pitch accurately. To practise articulation of consonants to improve diction. Teach chorus with actions. Students echo. Perform the following patterns for the students to echo:

DP

Dy

T S

4 4 .. . . . . ..
Re - par- ti - ca, Re - par- ti - ca

4 4 ..
sh

sh

sh

sh

.. ..

4 4 ..
C

..

4 4 ..

whoo - wit,

whoo - wit.

Discuss the importance of articulation (so the audience will understand the lyrics and the humour in the song). Practise saying the words of the song, emphasizing the consonants. For example: knickerbockers bow tie vest best hat spats cloak

Repeat with words from the verses. Play the recording and encourage the class to snap their fingers on the 2nd and 4th beat of each bar during the verses and to join in the chorus. To develop a sense of musical phrase. Play the recording again and ask the students to move freely around the room, changing direction at the end of each line of the verse (this is a musical phrase). Sing during the chorus. Sing the song, ensuring that students breathe at the end of each phrase. Perform the whole song and record the performance. Discuss how it can be improved. Dress it up. Create some choreography for your own galah chorus. Experiment with the dynamics to add contrast in the verses. Try singing the chorus softly and loudly. Perform the song at assembly or for a special occasion.

To develop appropriate breathing techniques. To listen critically and improve performance. To develop a song for a performance item.

Skills

Concepts

S PM

OS

D P

Dy

T S

singing playing moving organising sound listening

duration pitch dynamics tone colour structure

73

74

Glossary
anacrusis
an unstressed note at the beginning of a phrase

Glossary
contour
see melodic contour below

bar
the divisions of beats in music

crescendo
gradually getting louder

beat
the steady pulse in music

diminuendo
gradually getting softer

duration body percussion

non-melodic sounds made by some part of the body the length of sounds

dynamics
the loudness or softness of sound

bridge
a short section of music which links two important sections of a piece of music

echo
imitate

call and response

when a phrase sung by one musician is answered by another musician or by a group

glissando
sliding between notes, either vocally or instrumentally

graphic notation chant

reciting in a musical way any arrangement of visual symbols to show music

chorus
the part of a song often repeated after a verse

harmony
two or more pitches sounded together

chromatic
one or more notes which do not belong to a diatonic scale or mode

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

interval coda
a section which rounds off or ends a piece the distance between two notes; the difference in pitch

melody
the tune or arrangement of pitched sounds

round
a part song in which the voices sing the same melody but enter one after the other

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

soundscape
an atmosphere created by using sounds, often environmental

metre
the division of beats marked by accents

syncopation
shifting the normal accent from a strong beat to a weak beat

ostinato
a constantly repeated pattern

tambour
a frame drum, like a tambourine, without the jingles

patsch
slap thighs

phrase
a short segment of a melody

tone colour
the timbre or quality of sound

pitch
relative highness or lowness of sounds

unison
all playing or singing the same melody together

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

verse
a section of a song usually alternating with the chorus

vocalising
using the voice

rap
rhythmical speaking

riff
a repeated musical pattern

rhythm
patterns of short and long sounds and silences found in music

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

75