Kim Milai - Language Arts, Math, and Science in The Elementary Music Classroom - A Practical Tool-Oxford University Press (2017) PDF

Language Arts, Math, and Science
in the Elementary Music Classroom

ii
Language Arts, Math, and
Science in the Elementary
Music Classroom
A Practical Tool
Kim Milai
1
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1
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Library of Congress Cataloging-in-Publication Data

Names: Milai, Kim.
Title: Language arts, math, and science in the elementary music classroom : a practical tool / Kim Milai.
Description: New York, NY : Oxford University Press, [2017] | Includes bibliographical
references and indexes.
Identifiers: LCCN 2017000511 | ISBN 9780190661878 (bound book : alk. paper) |
ISBN 9780190661885 (pbk. : alk. paper)
Subjects: LCSH: Music—Instruction and study—Outlines, syllabi, etc. |
Music—Instruction and study—United States. | Education, Primary—United States.
Classification: LCC MT10 M63 2017 | DDC 372.87/043—dc23
LC record available at https://lccn.loc.gov/2017000511
9 8 7 6 5 4 3 2 1
Paperback printed by WebCom, Inc., Canada
Hardback printed by Bridgeport National Bindery, Inc., United States of America
To Dr. Ahmed Samuel Milai Jr., M.D.
Composer, artist, writer, and most of all, my dad.
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Contents
Acknowledgments xi
Introduction 1
The Elementary Class: Transitioning to the Future 1
Using the National Core Arts Music Standards as a Tool 1
Subject Integration 2
What Is STEM and NGSS? 3
A Word About STEAM 4
What This Practical Guide Includes 4
Rationale: How Is the Music Class Evolving? 5
My Philosophy of Music Education: The Body/Brain Connection 5
Teaching Examples 7
Pedagogy 8
Why Should We Be Open to Adding Other Subjects Within the Music Lesson? 9
Questions to Contemplate 11
part one Lesson Overview 13

How to Get Started: The Process in Metaphor 13
Leaving the Metaphor 14
National Core Arts Music Standards 14
Tips on Creating Questions 19
Explore, Identify, Demonstrate 19
Lesson Building Blocks 20
Inside Popular Music 20
Composition and Improvisation: Where Do They Fit Into the New Standards? 22
Integrating Basic Subjects Into the Music Curriculum 26
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viii | C o n t e n t s
The Class 28
Questions to Contemplate 29
part two Lesson Plans 31

Keys 31
Kindergarten 33
September 1–4 35
October 5–8 42
November 9–12 46
December 13–16 50
January 17–20 54
February 21–24 59
March 25–28 64
April 29–32 69
May 33–36 75
Kindergarten Group Music Assessment Test 80
Kindergarten Concept Code Matrix 85
Kindergarten Song List 88
First Grade 92
September 1–4 93
October 5–8 99
November 9–12 104
December 13–16 108
January 17–20 112
February 21–24 117
March 25–28 121
April 29–32 125
May 33–36 129
First Grade Group Music Assessment Test 133
First Grade Concept Code Matrix 138
First Grade Song List 142
Second Grade 145
September 1–4 147
October 5–8 154
November 9–12 159
December 13–16 163
January 17–20 167
February 21–24 174
March 25–28 178
April 29–32 184
May 33–36 188
C o n t e n t s | ix
Second Grade Group Music Assessment Test 192

Second Grade Concept Code Matrix 197
Second Grade Song List 201
Acoustics: Definitions 204
Acoustics: Decibels 205
Composer Unit 206
Turn the Glasses Over 208
part three Songs 213

Song List 213
Songs 215
part four Coded Concepts 279

Overview 279
Suggested Methods 279
Music 279
Math 282
Language Arts 284
Science 286
Social Studies 289
part five Appendices 293

American and World Culture Month to Month 293
Assembly and Concert Suggestions 297
Bibliography 301
Classical and Folk Listening Lists 302
Copyright Information 303
Lesson Template 304
Group Exploration: Descriptive Music Words 306
National Recess Week 309
Online Support 311
Music Notation Sheets 311
Sheet Figures 312
Storybooks and Picture Books 322
Notes 323
References 325
Song Index 327
Index 331
x
Acknowledgments
I am humbled by the guidance of the many extraordinary professionals who have in-
spired me through the years.
To my colleagues in New York City: Third Street Music School Settlement,
Greenwich House Music School, Little Red School House, and P.S. 124. I am indebted
to my colleagues in the Palo Alto School District and the Fredericksburg City School
District. Thank you to my professors at the Eastman School of Music, Baldwin Wallace
College, and Indiana University of Pennsylvania. I’d like to give a special acknowledg-
ment to Dr. Donna Brink Fox, whose advice and observations literally saved the book
from being out of date before it was even born. Thank you to my editor Norman Hirschy,
my reviewers and Oxford University Press for their support. Thank you to Lauralee
Yeary and Lincy Priya at OUP. Thanks to Jerry Anne Kines for her EPS magic. Thank
you for the priceless editing advice from my husband Mike Ashenfelder and thank you
to my precious daughters Audrey and Lulu for lighting up my life. Thank you to my big-
gest fan, my mother Barbara. Lastly, a heartfelt acknowledgment to my fourth and fifth
grade general music teacher in Western Pennsylvania, Mrs. Doris Winifred Waldie,
whose love of children and inspiring heart was the best model of a music teacher anyone
could ever have.
xi
Introduction
The Elementary Class: Transitioning

to the Future
Your music class is a combination of curriculum, environment, and activities. Teaching
is very much a learn-as-you-go profession, but along with the college coursework and
studies you had in college, you need to take into consideration the changing expec-
tations of what schools want for their music program. Some schools want more stu-
dent performances; some schools require morning announcement and stage duty. But
schools are also expecting new changes within the music classroom.
This practical guide includes a complete elementary music curriculum for kinder-
garten, first and second grades, and, as of this writing, the most up-to-date standards.
It addresses the increasing need for music classes to integrate more language arts, math,
social studies, and even science into the activities. In addition, it addresses the need for
elementary music teachers to properly sequence their lesson objectives. This workbook
integrates and keeps track of all of this by a coded system that makes it easy to view,
adapt, and change the lesson details as needed.
With this in mind, the materials in this practical guide can work vice versa.
Elementary classroom teachers can look up the concept they are teaching and find com-
plimentary music activities.
Using the National Core Arts Music

Standards as a Tool
In 2014, the National Association for Music Education (NAfME) wrote new music stan-
dards as their contribution to the National Coalition for Core Arts Standards. This col-
lection is a solid, well-balanced conceptual outline for the elementary music class. These
standards, entitled the National Core Arts Music Standards, are intended to be a guide
for developing lessons.
2
2 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m
The entire collection of National Core Arts Standards (© 2014) was developed

by a coalition of arts organizations which included NAfME. The goal was to create
overall education standards for dance, media arts, music, theatre, and visual arts,
so that the teaching results could be evaluated and documented over the different
disciplines. The main artistic processes are Creating, Performing, Responding, and
Connecting.
For elementary music teachers, the standards are meant to help rethink the les-
son. Concepts are generally the same, but the process is very different. Teachers get the
students to think more in depth and explore the concepts more thoroughly by asking
the students pertinent questions. Teachers also provide more opportunity for students
to perform and create. NAfME says the goal is for better music literacy. Literacy in this
context means musicianship, not just reading and writing music notation.
In this practical guide, each lesson in the curriculum contains example questions
based on these music standards that could be used during instruction.
Subject Integration
While teaching at a lower elementary school in Virginia, I found curriculum integration
was taking more and more time from my music classroom. All the teachers in the Arts
Department were tasked to add more math and language arts that could correlate with the
classroom teachers’ curriculum. I was reluctant to do so because I felt I was already enhanc-
ing student skills in counting and literature in my classes. I felt more integration could take
away from the precious little time I had for my students to learn music. The idea of being
forced to teach math and language arts made me fear that music would be swallowed up.
The reality is that there is a tremendous benefit for everyone in more subject inte-
gration. Student learning styles vary and interdisciplinary learning addresses this. All
subject areas, not just music, have been experiencing this type of curriculum change.
Classroom teachers find approaching a concept using different subjects livens up the
discussions. Adding science or social studies elements inside a math problem inspires
thinking in multiple levels. Using music in the social studies or language arts lesson
helps memory and gives cultural context. Not only are we all being asked to update our
lessons, we are being asked to revise and improve our teaching methods to meet these
new institutional expectations.
Studying state and national standards for math, language arts, social studies, and
science gave me a clear description of what classroom teachers expect from their stu-
dents for each grade. From these standards, I developed my own outline of math and
language arts core concepts that could easily be incorporated into the general music
class without taking away from the music curriculum.
Here is an example of a real situation that I experienced. The school administration
directed me to include a word wall in my classroom. I decided to use this word wall to
Introduction | 3
develop a student-initiated music vocabulary list. I made alphabetical columns on the

wall ready for the words.
The language arts standards I used were:
Vocabulary building
Decoding and breaking down words
Categorizing words and defining them
Learning words through conversations.
I decided this would be a second grade activity that would take a few minutes out
of each lesson. The setup: I instructed my students that I would be looking for music
vocabulary words to display on our wall. They could be music notation terms, instru-
ment names, types of music, etc. I gave them a few examples. Everyone would have the
opportunity to contribute at least one word. The catch, though, was that they needed
to be able to say it, spell it, and tell what it meant. If they couldn’t do all three, then we
couldn’t use the word. Once they could do all three, then they got to write the word on
a card and attach it to the wall. Words could not be repeated.
This activity was very participatory. Students used reading, writing, and research
skills to contribute to the class. The students could see everyone’s contributions on the
wall every time they entered the class. I had one particular student who said the word
and knew what it meant, but she kept misspelling it. Instead of telling her to use an
easier word, I gave her the spelling on a piece of paper and said to go home, study it,
and return next class and spell it correctly. I believe the word was “xylophone.” It took a
few more classes, but she finally got it and placed her card on the board. I was so proud
of her.
What Is STEM and NGSS?

STEM stands for Science, Technology, Engineering, and Math. This is a new collabora-
tive effort among organizations and teaching experts along with the federal government
to meet our current and future needs for people who will work in these fields. The STEM
goal is to motivate more students into these areas of study. One aspect of STEM is that
it is interdisciplinary. The NGSS1 (Next Generation Science Standards) is an example of
that. These standards are not only part of the STEM movement, but they also contain
teaching strategies and goals that are in line with basic Common Core along with the new
Core Arts Music Standards. The National Science Teachers Association (NSTA) Website
(2014) says, “The Next Generation Science Standards incorporate reasoning skills used
in language arts and mathematics to help students improve mastery and understanding
in all three disciplines.”
4
There are roughly eight science concepts for each elementary grade. The challenge
for the music teacher is finding ways to explore these concepts in the context of the
music lesson. I have included examples within the lessons in this practical guide. In
general, these science standards fall in line with the new Core Arts Music Standards
under Connectedness.
A Word About STEAM
My view is that if your philosophy is not unsettled daily then you are blind to all
the universe has to offer.
—N e i l de G r a s se Tys on, Astrophysicist and STEAM Supporter
Currently there is talk about additional subject integration into STEM—but it is

controversial. The idea is to make art, design, and music equal components with STEM
subjects. The rationale is that people in STEM fields use visual design and the spoken
word to communicate their ideas so—taking it a step further—why not expand the
design and communication using all of the arts (including music)? This initiative is
called STEAM—Science, Technology, Engineering, Art (all arts), and Math.
Some skeptics say this cheapens the arts, making it look like they’re just being
used as tools for scientists and engineers. But Anne Jolly (2014) in the online arti-
cle “STEM vs STEAM: Do the Arts Belong?” says that there are innovators like Ruth
Catchen who view “… art as a way of offering more diverse learning opportunities and
greater access to STEM for all types of learners.” This means that STEAM would bring
in more thinking artists and performers into all of these fields. Some advocates say it
would expand music and art each as a subject, not shrink them. What I am seeing is
that it may not be perfect, it might have to go through trial and error, but it’s definitely
worth exploring.
What This Practical Guide Includes

This guide contains lesson plans for kindergarten, first and second grade elementary
music. Please feel free to use these songs and activities or replace them with your own
and order them to suit your teaching needs.
It is essentially a lesson plan book to be used as a model for your own lessons. It
contains well thought out examples, but it is not a strict methodology. Included are
assessment tests, songs, templates, and more that you can print out from the Appendix
and Reference sections.
My main goal is to show you how to utilize a calendar-style layout to develop your
lessons while integrating your curriculum with current standards. Not only do students
learn in different ways, but teachers approach creating their lessons in different ways.
Placing your plans in a table or chart gives you the opportunity to cut and paste and
Introduction | 5
move activities evenly throughout the school year. Many music teachers like me are
visual learners and using strong visualization in the lesson planning aids the compiling
of the lessons. With the support materials—such as assessment tests, lesson templates,
and sheet music—I hope you find this book a valuable tool for teaching. Incorporating
the National Core Arts Music Standards and other subject standards helped me make
sure all main teaching goals for the classes were covered.
Rationale: How Is the Music Class Evolving?

A music teacher has always needed to create a wonderful, musical, learning environ-
ment, establish a curriculum, and then implement it. But the music class as an entity
is always changing. It reflects the location and the time where it resides. Currently,
general music teachers are not only teaching songs or showing how to read and write
music notation, but they are also teaching music’s place within our society and its place
alongside other subjects. Now, on a practical level, school systems are being asked to
show how they are working to increase their students’ aptitude and testing success in
math, language arts, social studies, and science. Music becomes a part of this tapestry.
It is the music teacher’s job to figure out a way to join this initiative but yet still retain
music’s special position as a distinct, essential part of a school’s curriculum.
Music teachers are finding that it works to be proactive with these inclusive ways of
teaching. Preparing the lessons for more critical thinking and more time for creativity
is important. Having a plan for incorporating math, language arts, social studies, and
science will keep you from being caught short when asked. You may also find it expands
and improves your curriculum by enabling you to show music concepts within a dif-
ferent context. Keeping in mind the value of these new interdisciplinary goals will pro-
pel your class into the twenty-first century. Also, teachers are refocusing their goals to
encompass globalization. It’s important to take into consideration how the world works
as a system, how communities work together, and how different cultures learn to appre-
ciate each other.
Experiencing this first-hand influenced not only what I included in this book, but
it also influenced how I presented the ideas. We need clear-cut methods to incorporate
all of these lesson requirements. These materials will give you a good start.
My Philosophy of Music Education: The Body/

Brain Connection
My core belief is that the relationship between physically experiencing music and think-
ing about and analyzing music needs to be rebalanced to further include more creating
and more blending into other disciplines and social interactions. This blending shouldn’t
take away from music as a pure art form, but instead enhance its ability to reach our
6
students. It is not just the development of the “ear.” It is the whole person; physically,
mentally, and socially.
We argue that the body is not only an instrument through which musical
thinking takes place; the body can be taken as a conscious and explicit object of
transformation.
—W e st e r lu n d a n d Ju n t u n e n, “Music and Knowledge in Bodily
Experience” (2005)
This philosophy is influenced by major music education thinkers of the last cou-
ple of decades. In 2003, David J. Elliott’s music philosophy, as discussed by Wayne
D. Bowman, states that the teacher’s focus is for the student to experience music as
“music making” or “music doing.” I take that to mean that the student is immersed in
music by performing, composing, improvising, and listening. With more student input
to consider (which is a good thing) the lesson becomes a dialogue. Bowman (2005)
explains a part of Elliott’s stance: “Musical praxis [active learning] emerges from and
is embedded in diverse yet concrete human social engagements and interactions.”
Trends
We contend any curricular reform today requires … a greater balance between
innovation and tradition to become the new norm.
—B e n e dic t a n d S c h m i d t, “Educating Teachers for 21st Century
Challenges: The Music Educator as a Cultural Citizen” (2014)
From current research conducted at NAfME on Core Arts Standards, embedding

the assessment process within the student’s instruction was found to be superior in aid-
ing comprehension as well as improving creativity and performing ability. Creating and
performing music is a good thing but being able to think about the creation (evaluate,
analyze, compare, interact) is an improved learning process. The teacher and the stu-
dent are joined in questioning and growing all aspects of the music experience. Making
this music “dialogue” pulls in everybody socially. It interweaves music into the whole
person and the whole society.
Estelle R. Jorgensen in her book Transforming Music Education (2003) says that
your class will be both a state of being and a dynamic process. The lesson plans them-
selves (not just the music) need a lyrical or improvisatory feel. All flowing. I cannot help
but see this as a marriage of the pure aestheticism of music with the integration of music
within the world and other studies.
My Philosophy of Movement
The most important element a teacher uses in the process of teaching young children
music is movement. I see with my own experience how movement not only deepens the
understanding of concepts, but it is an automatic music motivator. Heidi Westerlund
Introduction | 7
and Marja-Leena Juntunen (2005) wrote in a chapter of Praxial Music Education that
movement demonstrates musical thinking. They believe that music is not truly learned
until it becomes “physically embodied.” This movement needs to be praxial—that is,
movement that is connected to the mind. These educators along with others like Lori-
Anne Dolloff and Sheila C. Woodward are believers in the importance of movement.
Teaching Examples
The National Core Arts Music Standards compel you to change your approach in a posi-
tive way. The new standards you see in my lessons are a steppingstone to musicianship
and music making. These new standards give a formal structure for teachers to ask more
questions. It gives students additional opportunities to take ownership of the music as
they respond. You want students to be able to articulate their experiences with music.
This leads students toward music’s true nature. Bowman (2005) paraphrases Elliott
when he says that when music is studied in context with its creation, its use and its rela-
tionship to the outside world—we are essentially studying the nature of music.
Here are two examples, for Kindergarten (Table 1.1) and First Grade (Table 1.2).
TABLE 1.1 Kindergarten Lesson Activity: Chicama, Chicama Craney Crow
Objective Demonstrate beat, compare beat with clocks, time, and counting,
identify (perform) clock numbers with specific instruments, relate
clocks to other songs or experiences.
Standards MUK1-A Beat, LAK4-A Participate, MAK1-A Count by 1’s, MAK1-B Identify
0-12.
Aural Song.
Visual Lyrics in picture form (poster).
Tactile Percussion instruments.
National Core Arts Creating Present: Is this song ready to share? Are all the parts of the
Example Questions song working?
Student Input Ideas What other ways can we show the clock? Make your own verses by
replacing the animals with another animal or object. Make your own
Tick Tock Clock Song with percussion instruments. Discuss the clocks
in your home. Give students traditional and modern examples of music
to inspire them to discuss their own examples. Listen to the song Time
from the movie Inception, the Syncopated Clock by Leroy Anderson or
Haydn’s Clock Symphony.
Activity and Movement Students will become a giant clock with each one playing their instrument
Description but only on their number. First, the students learn the song using the
Example instruments: picture poster. Then, the teacher shows the circle of instruments that
hand drums, maracas, is sectioned like the numbers on a clock. There are 24 instruments,
wood blocks, 2 for each number (12 groups). This is so everyone can participate at
tambourines, claves, the same time. Each student pair wears a number around their neck to
cymbals, finger cymbals, designate their position. Students are assigned an instrument and sit in
vibra slap, guiros, the circle. Teacher goes to the center and shows his/her straightened
triangles, temple block, arm is the little hand and will point and rotate in the song. All will now
dumbek, gong, ratchet. sing the song with each student playing on their number. This is a very
dynamic activity that can be done standing or sitting.
8
TABLE 1. 2 First Grade Lesson Activity: Jack Be Nimble
Objective Compose your own melody using Sol, Mi, and La with melodic
percussion. Demonstrate placing notes in a specific order. Discuss
the song vocabulary.
Standards MU1.3-B Melodic Percussion, MU1.4-C Fundamental Composition,
LA1.1-A Identify details, LA1.2-C Sight words.
Aural Nursery rhyme.
Visual Students jumping over a pretend candlestick.
Tactile Xylophone, metalophone.
National Core Arts Example Creating Plan and Make: What note choices can you show us for your
Questions interpretation of Jack Be Nimble?
Student Input Ideas Can you remember your song (which note goes when)?
Can we change the rhythm but keep the same words?
What other rhyme could we do?
The class could create invented characters for Sol, Mi, La and the
students write their melody on individual whiteboards or paper.
Activity and Movement Teacher and students recite the rhyme Jack be Nimble. The class
Description discusses the vocabulary words. The teacher places a candle-like
object on the floor and students take turns leaping over it while the
class recites the rhyme. The teacher makes sure the instruments
only have Sol, Mi, and La on them. The class composes a group
melody on xylophone using the rhythm of the words. The teacher
gets volunteers to create their own song on Orff instruments based
on the rhythm. All students then have a turn to create their own
song to the chant.
Pedagogy
The lesson plans in this practical guide are a combination of strategy, experience,
research, and advice from colleagues. The center of my pedagogy is the song. My goal is
to combine all these elements into a cohesive curriculum.
What methodologies and approaches did I use in this practical guide? I blended
the best of my old techniques with the new standards and new philosophical views on
musicianship. This includes the use of language arts, math, social studies, and science
in the music classroom.
Sheila C. Woodward (2005) says that Elliott’s praxial (active learning) philoso-
phy of music making fits well into early childhood (and I assume elementary) teach-
ing methods. She thinks that approaches such as Kodály, Orff, Suzuki, and Dalcroze
emphasize the child’s practical experience of music concepts, which is in harmony with
current practices and research.
I agree with her. The result I see when taking these methods and blending them
with these new approaches is a dynamic and engaged classroom. The students are
immersed more in music and their ideas and music preferences are even more validated.
We are moving away from the “elitism” of western classical music. Here are a few recom-
mended books that are in line with my approach in this practical guide.
Introduction | 9
Rhythmic Activities and Dance by John Bennett and Pamela Reimer (Champaign, IL:
Human Kinetics, 1995). This is a book geared toward teens and older children, but
I found a lot of great international and American dance instructions that I could eas-
ily simplify for younger students. It is a good interdisciplinary reference for a music
teacher because the activities are written by a dance teacher and a physical education
teacher.
Kodály Today: A Cognitive Approach to Elementary Music Education (Kodály Today
Handbook Series) by Micheál Houlahan and Philip Tacka (New York: Oxford University
Press, 2015) is the most new and up-to-date series of Kodály Method Books. I have read
through this first book in the series and found it clear and thorough. I had referenced
the Choksy books for my own lessons but if I were to recommend a book series to help
develop your lesson plans using the Kodály Method, this would be it.
Ability Development from Age Zero by Shinichi Suzuki (Athens, OH: Ability
Development Associates, 1981)—I saw the musical results when my daughter took Suzuki
violin from an outstanding teacher who was grounded in both traditional and Suzuki meth-
ods. It made me want to research the philosophy behind the Suzuki methodology. I eventu-
ally completed teacher training in the 1A and 1B Suzuki Flute Courses. I found plenty in
this book to relate to elementary music classes: the nurturing of musicality, the inclusion of
parents and community in the child’s music experience and the belief that “every child can.”
Although it is somewhat awkward in translation, this is inspirational writing.
These following standards are threaded throughout my lessons: The National Core
Arts Music Standards, Math and Language Arts Standards, and the Next Generation
Science Standards.
Lastly, there are a multitude of songbooks that contributed to my lessons. Please
see the Appendix/Bibliography section to view the list.
Why Should We Be Open to Adding Other

Subjects Within the Music Lesson?
We live in a complicated time when the predominant model of state certification
and national accreditation demands that we prepare future music educators to
teach preK-12 everything—including literacy skills, socially acceptable behavior,
patriotism, and the “Common Core.”
—K a s c h u b a n d Sm i t h, “Epilogue” Promising Practices in 21st Century
Music Teacher Education (2014)
Well, maybe not the actual program of Common Core, but music teachers
need the integration of interdisciplinary subjects along with other teachings,
such as citizenship, to be a part of the music classroom. It is what’s being
asked of us, but it also gives us an opportunity to reach our students in a more
complete way.
10
“The integration of music with the other arts and school subjects is a matter
that also has a long-standing tradition. Good teachers have long recognized the
importance of linking one subject to another wherever possible, and Detel’s plea
that the borders between music, the other arts, and school subjects be “softened”
makes excellent sense and deserves reaffirmation”.
—Jorge nse n, Transforming Music Education (2003)
In this quote, Jorgensen affirms how music and subject integration is not new.
What needs further investigation is how we integrate subjects. What is the manner and
type of educational cooperation that will benefit our students the best? Jorgensen men-
tions Claire Detel, a respected music education scholar who has written papers on sub-
ject integration and music. Her concern is for music education, by its own separatist
inclinations, to become marginalized. Her solution is for educators to find new ways to
blur the lines between all subjects for the benefit of all subjects.
Further integrations of science, philosophy, and artistry promise to help parents

and educators to identify and diagnose children’s educational needs and make
informed decisions about providing quality music education for the young child.
—W o odwa r d, “Critical Matters in Early Childhood Music Education” (2005)
Music education cannot but benefit from exploring these ideas. This practical
guide gives you some concrete examples on some ways to do this.
In October 2011, the College Music Society (CMS) held a conference in Richmond,
Virginia, near to the school where I taught. The main theme was community outreach, but
I also saw a panel outlined in the schedule that was going to discuss ongoing changes in
approach to undergraduate music curriculum. The theme was about how to better prepare
future music teachers and performers. I felt it was important to go to see what some col-
lege and university music professors were discussing. I got approval to attend the conven-
tion for my professional development. I was very excited because as an elementary music
teacher, I wanted to increase my knowledge on new ideas and trends in music education.
We can enter the Common Core Standards because we are forced to, but we can
also choose to engage with them intently and creatively; that is, with agency.
—B e n e dic t a n d S c h m i d t, “Educating Teachers for 21st-Century
Challenges: The Music Educator as a Cultural Citizen” (2014)
Except for some graduate students, I was the only non-professor there. That
surprised me. I then found that the professors I talked with were surprised to see me.
The professors at the panel discussed their concern that music departments could do
more to prepare undergraduate students for these changes in performing and teach-
ing. This tied into the outreach idea. As music departments lose relevance in the
I n t r o d u c t i o n | 11
community, they need to outreach more earnestly. The conference focused on a lack
of engagement with the community at large. This gathering brought out a wealth of
ideas to combat this lack of attachment. CMS brought a lot of educators together with
inspiring stories of how they were combatting this lack of community engagement.
The professors I talked with validated my struggles with keeping the music class
evolving but still intact. We talked about integrating other disciplines. For me, it was
reassuring to see so many ideas and so much activity being expended to come up with
solutions.
Music curriculum changes have to do with not just the educators and their phi-
losophy of teaching, but the times in which they live. For example, Michael L. Mark
(2008) describes in his book A Concise History of American Music Education how some
schools in the late 1800s hired music supervisors instead of teachers. The school systems
purchased special music course books for the classroom teacher as a guide so they could
put aside time in the class for singing. The music teacher was more of an advisor on the
sidelines. Much later, in the 1950s, there was a focus on science and math to the detri-
ment of music instruction. This brought up an uprising of protest. People of influence,
including scientists, spoke up for music and arts in the schools. This helped to turn the
tide back toward the return of music as a subject. In the 1960s, the teacher unions nego-
tiated prep time for classroom teachers. This meant more hiring of arts and physical
education teachers. As you can see, historically, music teachers worked together with
other educators and administrators to find ways to improve students’ education. The
key word here is flexibility.
There is precedent for continuing change. Mark writes about the slow build up of
support for the arts in public education started in the early 1800s and its subsequent ebb
and flow over the years to the present day. Teachers have had to adapt and adjust while
keeping their curriculum integrity intact. What helps to keep music in the schools are
interested people getting together to form organizations. These organizations through-
out history discuss, evaluate and research how to promote music education. We wouldn’t
have the vibrant, active exchange of ideas going on without these organizations.
As music teachers, we have an opportunity to be leaders of a larger educational com-
munity. Cathy Benedict and Patrick Schmidt (2014) say we need to reconceptualize our
impact on curricular decisions and move toward shared interdisciplinary responsibility
for literacy development. I hope that this practical guide will aid you in this endeavor.
Questions to Contemplate
How do you feel about the information you just read about school systems and the non-
music requirements you may be asked to do?
Scenario: Your administration decides that you don’t need the same amount of plan-
ning and preparation time that the classroom teachers use. How do you defend your
position?
12
Scenario: Your school is asking you to spend your professional development time on
non-music subjects. How do you handle this?
How will you develop your own philosophy of music education?
Plan on interviewing other elementary music teachers. What kinds of questions will
you ask?
Part One
Lesson Overview
The 108 lessons in this practical guide are examples of how to incorporate language arts,
math, social studies, and science (I’ll call them basic subjects from now on) into your
music curriculum. The system used in these lessons will enable you to identify and keep
track of concepts for any documentation your school may require.
These basic subjects are fully laid out in Part Four. I carefully went through the
Common Core guidelines and NGSS standards to choose the most important and the
most easily adaptable concepts to fit into the music curriculum. They are coded within
the lesson for easy reference.
How to Get Started: The Process

in Metaphor
Imagine you have a giant school calendar that stretches 25 feet long and 5 feet high. Each
month from, September to May, is as big and wide as your outstretched arms. Walking
along this calendar wall is like walking through your school year, with each day about
the size of a piece of copy paper.
Pick a grade level to work on. Now you have to populate this giant calendar with
your lessons. Let’s break it down into activities. Suppose a magic fairy has written each
activity for you on a separate index card and you have to collect these cards and put
them into categories:
Music Concepts
Holidays
Units (Specialized units like patriotic songs or dance)
Songs (Both American and international)
Basic Subjects.
14
Start with just your music concept cards obtained from Part Four and get them
in curriculum order. For example, collect all the rhythm cards into one group and then
order them. Do the same for melody, solfege, and the rest. Go ahead and spread them
out evenly throughout the year.
Now take each holiday card and place it at the appropriate day on the calendar.
Decide where you want your units. For example, I love to get students moving in
the late winter so I put my Dances from Around the World unit then.
Now, take a magic wand and fill your months with all the songs you want to teach.
Check out the song lists at the end of each grade section under Resources. Songs should
not only be chosen for teaching music concepts, but should be chosen to cover the cul-
tural aspects of our society and world. Each song encompasses a place, a history, a tradi-
tion and a people.
Take the basic subjects you wish to incorporate and sprinkle them through the
school year. I did it by looking at a particular math concept (for instance counting up
to 10) and seeing where it could fit with something I was already teaching (the chant
“Bubblegum, Bubblegum”).
Finally, use the National Core Arts Music Standards and create several questions
that could be asked in each lesson. See Lesson Overview/National Core Arts Music
Standards and Tips on Creating Questions for help.
Leaving the Metaphor
Using imagery, the giant calendar becomes the vehicle to set up your lessons. Realistically,
you can take the giant wallboard idea and shrink it into templates on a computer screen.
This is one way to start compiling your curriculum. Find what works best for you.
National Core Arts Music Standards

Tables 2.1, 2.2, and 2.3 are system grids that paraphrase the National Core Arts Music
Standards. I condensed this material developed by the State Education Agency Directors
of Arts Education (SEADAE) to make it easier to flip through. The question for each
category, however, is verbatim from their website.1
The goal with these new standards is to formalize how you ask your students ques-
tions that make them think, evaluate, and create. A good teacher will ask questions like
these anyway, but these standards actually change and improve the way the questions
are utilized. It is very easy to push through a lesson and forget to engage the students
with more dialogue. Music teachers work hard to invite creativity and improvisation
into the classroom but can forgot to follow up with in-depth discussions and student
input. These carefully designed standards help to give you the right focus.
L e s s o n O v e r v i e w | 15
Instructions: Take a music activity in your lesson and identify which music activity
in the grid most closely coincides with it. Use the corresponding music question from
the grid and customize it to fit back into your music activity. See the Example Questions
in each lesson for ideas. Remember, you don’t have to have all the perfect questions for
every activity right away. Focus on getting one or two per lesson and then keep adding
as you go along.
The goal of these standards is to change your way of thinking as a teacher. Your
teaching will automatically evolve as you start adding these questions to your lesson
strategy.
TABLE 2.1 Kindergarten Music Standards
K-ABB Name Music Activity
CI Creating Imagine Explore music concepts

Question How do musicians generate creative ideas?
CM Creating Plan and Make Choose and organize concepts using
visuals and recordings
Question How do musicians make creative decisions?
CE Creating Evaluate and Refine Apply feedback to refine concepts
Question How do musicians improve the quality of their creative work?
CP Creating Present Demonstrate final version to peers
Question When is creative work ready to share?
PS Performing Select Demonstrate and state personal
interest in musical selections
Question How do performers select repertoire?
PA Performing Analyze Explore and demonstrate awareness
of music contrasts (soft/loud, etc.)
in performance music
Question How does understanding the structure and context of musical works
inform performance?
PI Performing Interpret Demonstrate awareness of
expressive qualities (timbre,
dynamics, etc.) that support the
creators’ expressive intent
Question How do performers interpret musical works?
PR Performing Rehearse, Evaluate and Refine Apply all feedback to refine
performance
Question How do musicians improve the quality of their performance?
PP Performing Present Perform music with expression
Question When is a performance judged ready to present? How do context and the
manner in which musical work is presented influence audience response?
RS Responding Select List personal interests and
experiences and demonstrate why
you prefer some music selections
over others
(Continued)
16
TABLE 2.1 Continued
K-ABB Name Music Activity
Question How do individuals choose music to experience?

RA Responding Analyze Demonstrate how a specific music
concept is used in music.
Question How does understanding the structure and context of music inform
a response?
RI Responding Interpret Demonstrate awareness of
expressive qualities (dynamics,
etc.) that reflect creators’/
performers’ expressive intent
Question How do we discern musical creators’ and performers’ expressive intent?
RE Responding Evaluate Apply personal and expressive
preferences in the evaluation
of music
Question How do we judge the quality of musical work(s) and performance(s)?
C10 Connecting 10 Synthesize and relate Explore and demonstrate awareness
knowledge and personal experience of music contrasts and be able to
to make music evaluate it
Question How do musicians make meaningful connections to creating, performing,
and responding?
C11 Connecting 11 Relate musical ideas and Explore and demonstrate the
works to varied contexts and daily life to relationships between music and
deepen understanding other arts, other disciplines, varied
contexts, and daily life
Question How do the other arts, other disciplines, contexts, and daily life inform
creating, performing, and responding to music?
TABLE 2. 2 First Grade Music Standards
1-ABB Name Music Activity
CI Creative Imagine Create and generate music ideas

CM Creative Plan and Make Express personal reasons for selecting, using
visuals and recordings
CE Creative Evaluate and Refine Discuss and apply all feedback to refine
personal ideas
CP Creative Present Convey expressive intent by identifying final
version to peers
PS Performing Select Demonstrate and discuss interest, knowledge,
and purpose of musical selections
(Continued)
TABLE 2. 2 Continued

PA Performing Analyze Demonstrate knowledge of concepts in music
from a variety of cultures for performance
Question How does understanding the structure and context of musical works inform
performance?
PI Performing Interpret Demonstrate and describe music’s expressive
qualities (timbre, dynamics etc.)
PR Performing Rehearse, Evaluate, and Apply all feedback to refine performance
Refine
PP Performing Present Perform music for a specific purpose of
expression
Question When is a performance judged ready to present? How do context and the
manner in which musical work is presented influence audience response?
RS Responding Select Identify and demonstrate how personal
interests and experiences influence musical
selection for specific purposes
RA Responding Analyze Demonstrate and identify how specific music
concepts are used in various styles of music
for a purpose
Question How does understanding the structure and context of music inform a
response?
RI Responding Interpret Demonstrate and identify awareness of
expressive qualities (dynamics) that reflect
creators’/performers’ expressive intent
RE Responding Evaluate Apply personal and expressive preferences
in the evaluation of music for specific
purposes
C10 Connecting 10 Synthesize and Demonstrate knowledge of concepts in music
relate knowledge and personal and perform music of various cultures and
experience to make music contexts
Question How do musicians make meaningful connections to creating, performing,
and responding?
C11 Connecting 11 Relate musical ideas Demonstrate, create, perform music from
and works to varied contexts and a variety of cultures and other arts for
daily life to deepen understanding various music purposes
18
TABLE 2.3 Second Grade Music Standards
CI Creative Imagine Improvise and generate music patterns in context

CM Creative Plan and Make Demonstrate and explain personal reasons for
selecting music ideas and patterns and use
notation and recording to document
CE Creative Evaluate and Interpret and apply all personal feedback to revise
Refine music
CP Creative Present Convey expressive intent by identifying a final
version to peers
PS Performing Select Demonstrate and explain interest, knowledge, and
purpose of musical selections
PA Performing Analyze Demonstrate knowledge of music concepts from a
variety of cultures for performance
Question How does understanding the structure and context of musical works
inform performance?
PI Performing Interpret Demonstrate understanding of expressive qualities
(timbre, dynamics, etc.) and how creators use them
to convey expressive intent
PR Performing Rehearse, Apply established criteria to judge accuracy,
Evaluate and Refine expressiveness, and effectiveness of performances
PP Performing Present Perform music for a specific purpose with expression
and technical accuracy
Question When is a performance judged ready to present? How do context and
the manner in which musical work is presented influence audience
response?
RS Responding Select Explain and demonstrate how personal interests and
experiences influence musical selection for specific
purposes
RA Responding Analyze Describe how specific music concepts are used to
support a specific purpose in music
Question How does understanding the structure and context of music inform a
response?
RI Responding Interpret Demonstrate knowledge of music concepts and how
they support creators’/performers’ expressive
intent
RE Responding Evaluate Apply personal and expressive preferences in the
evaluation of music for specific purposes
(Continued)
TABLE 2.3 Continued

C10 Connecting 10 Synthesize Demonstrate, create, perform, evaluate, and
and relate knowledge and improvise music patterns from various cultures
personal experience to and other arts
make music
Question How do musicians make meaningful connections to creating, performing
and responding?
C11 Connecting 11 Relate Using personal expressive preferences, demonstrate,
musical ideas and works evaluate, improvise, and perform music and music
to varied contexts and patterns from various cultures and other arts
daily life to deepen
understanding
Tips on Creating Questions

In the new Core Arts Music Standards, teachers ask questions and have students answer
by verbalizing, performing, or in other ways demonstrating their understanding. What
are some tips on creating these questions?
Form a question that asks for an opinion or a choice.

Form a question that asks a student to make a comparison.
Create a question that gets a student to describe details.
Create a question that encourages a student to show you what they think.
Ask a question that guides a student to find ways to make something better.
Ask a question that guides a student to use vocabulary words to evaluate a
performance.
Ask a question to help a student make an informed decision.
Ask a student about his/her personal preference or home experience.
Explore, Identify, Demonstrate

These three words, inspired by the National Core Arts Music Standards, describe a way
of organizing the formal instruction in a lesson. In this practical guide they are used to
describe the sequence in teaching a concept or a descriptive word through one or more
songs over a series of lessons. These words are a useful way for teachers to keep their
activities on track. “Explore” means to experience the concept/objective without naming
it. “Identify” means to name the concept and together with the student, make it con-
scious. “Demonstrate” means to reinforce the concept with the same or different activity.
20
There are alternate words you can use to organize lesson sequence. One way is the
standard Kodály: prepare, present, and practice. When teaching a Kodály-based class,
this system is tried and true and works beautifully to clearly define the structure of the
lesson. Another interesting system was invented by Frank Abrahams (2014). His lesson
sequencing words appear successful at reflecting interactivity between subject and stu-
dents. He advocates using four P’s: partner, present, personalize, and perform.
You can use these or find your own vocabulary to describe your lesson sequencing.
Lesson Building Blocks
Pick songs that:
Can teach the concept.

Practice the concept in the unit being covered.
Include movement.
Fit into the current season.
Fit into the students’ performance schedule.
Fit into the pacing of the lesson.
Pick—on a regular basis—songs that:
Have multicultural value.
Use percussion instruments.
Incorporate dance.
Include Popular Music
Have your students bring in or tell you the names of their favorite songs. Use this as
your starting point when incorporating popular music into your curriculum. Along
with these songs, pull in music from genres that your students don’t mention or that
don’t appear to be part of their background. Popular music can teach a music concept
or be used in a listening exercise. In this book, popular music and classical music are
utilized to help students gain the vocabulary to analyze and describe music accurately.
In my Group Exploration lessons, students practice using descriptive words to verbalize
what they are hearing.
It will be up to you, the teacher, to preview this music and figure out what concepts
you could teach using these songs. It will also be up to you to decide if you label any of it
as “art music.” In this curriculum, the formal discussion of art music is for older grades,
but it is mentioned here as an option. Traditionally, art music is defined as music written
by a composer who writes in a European style and in which the music has a deeper com-
plexity than the average popular or folk song. But the lines for art music have become
fuzzy. Is the song “Bohemian Rhapsody” by the group Queen or any big band orchestra-
tion by Duke Ellington art music? These examples have deep complexity. In fact, jazz is
similar to classical music in that it engages thought as well as emotion. There are highly
held quality examples of all of these genres. Like fine visual art, these music pieces give
the opportunity for deeper analysis, study, and the appreciation of culture.
Go to Appendix/Group Exploration: Descriptive Music Words for help. And, of
course, screen for appropriateness (language, sexual innuendo). Find listings of the cur-
rent music-award nominees for ideas. Get song listings from your local pop radio sta-
tions. Buy individual songs online to save money.
Playing the songs in class and simply acknowledging their value is a fun way to
get the students engaged in discussing music. This not only brings songs from the com-
munity into the classroom, but it places popular music equally with all the other music
that is studied in the class. Use your strengths as a guide. If you know a lot about reggae,
make that an important part of the students’ listening experience. If you love country
music, share examples from students and your own collection.
Here is an example situation. In one of my classes, I had a girl who came from
Afghanistan. I found a CD and book collection of popular children’s songs from there
and she and I had fun choosing her favorites and sharing the songs with the class.
Here are some recordings to get you started (as of 2016):
Rock/Pop/Rap/Hip Hop/Dance
21 Pilots—“House of Gold”
American Authors—“Best Day of My Life”
Beyoncé—“Run the World (Girls)”
Bruno Mars—“Uptown Funk”
Flo Rida—“Feeling Better”
Foo Fighters—“Monkey Wrench”
Gym Class Heroes—“Stereo Hearts”
Kelly Clarkson—“Stronger”
Michael Jackson—The Essential Michael Jackson
Pharrell Williams—“Happy”
Queen—“We Will Rock You”
Taylor Swift—“Shake it Off”
Wiz Khalifa, Charlie Puth—“See You Again”
Country/Bluegrass/Gospel
Carrie Underwood—Storyteller
Hank Williams—“Honky Tonkin,” “Jambalaya”
Mahalia Jackson—Legend: The Best of Mahalia Jackson
Rev. Gerald Thompson and the Chicago Combined Choir—“This is the Day”
The Earls of Leicester—“Dig a Hole in the Meadow”
Tim McGraw—“The Cowboy in Me”
2
Film/TV Show/Broadway Music
Frozen—Disney Soundtrack
Hamilton—Broadway Soundtrack (non-explicit version)
Into the Woods—Movie Soundtrack
Star Wars—Original Movie Soundtrack
Holiday Music
Erran Baron Cohen—Songs in the Key of Hanukkah (reggae/rap)
Quadriga Consort—On a Cold Winter’s Day: Early Christmas Music and Carols
from the British Isles
The Klezmatics—Woodie Guthrie’s Happy Joyous Hanukkah (folk, klezmer)
The Maccabeats—“Candlelight” a song parody of “Dynamite”
The Time-Life Treasury of Christmas
Soul/R&B/Funk
Adele—“Hello”
Earth Wind and Fire—“Serpentine Fire”
James Brown—“I Got You”
Stevie Wonder—The Definitive Collection
Jazz
Duke Ellington—“Take the A Train”
Ella Fitzgerald and Louie Armstrong—“Can’t Take That Away From Me”
John Mayall—Jazz Blues Fusion
Norah Jones—“Don’t Know Why”
Vince Guaraldi—“Linus and Lucy”
Wynton Marsalis—“Bourbon Street Parade”
Latin/Reggae
Bob Marley—“Three Birds”
Enrique Iglesias and Nicky Jam—“El Perdón”
Tito Puente—“Oye Como Va”
Other Examples
Degung Sabilulungan—Sundanese Music of West Java Vol. 2.
Various Artists—Rough Guide to African Roots Revival
Composition and Improvisation: Where

Do They Fit Into the New Standards?
In the past few decades, there has been a growing expansion of composition and impro-
visation in elementary music. More and more students are becoming junior creators and
performers. The goal is not just performing in a concert, but creating music individually
or in groups in the classroom.
The difficulty is that it takes more class time to cultivate composing during
each lesson. If you have over 24 young students in a class, you need to find ways for
them to create simultaneously. That leaves you with a lack of a quiet place for stu-
dents to work because they need to try out their creations. This gives you a teaching
challenge to coordinate all of this but the end result is you have an engaged, vibrant
classroom.
One way to find time for all this self-expression is to replace music concept activi-
ties with composing and improvising activities that will still cover the concepts you are
trying to teach.
By using the new Core Arts Music Standards and its form of question making, you
will have no choice but to let your students become composers and improvisers!
You may be lucky to have music with your students twice a week. You may have
a complete Orff Instrumentarium at your disposal. You may even have an interactive
whiteboard (see the Technology section, below). But if you don’t, you still need and want
to deliver the best, most inspiring music class that you can. Here are some composing
and improvising ideas with examples:
Movement
A good precursor to making your own music is to improvise with physical movement.
Songs like “Follow Me” and “Punchinello” give students the opportunity to lead the
class in following their own improvised motion. Remember, students sometimes get
stuck thinking of their own creative movement. Teachers often have to give examples for
young students to choose from to get them started.
Lyrics Sung, Lyrics Spoken, Lyrics Written

A good precursor to composing music is to take words in a song and replace them with
your own words. Songs like “The Turkey Ran Away” and “Mulberry Bush” are good
songs for that. Another way is to have a rhythm pattern and have students make up
their own words. The challenge is to fit the syllables of the words with the rhythm of
the song.
Paper, Body Percussion

If you have desks or lapboards, students can create their song compositions on paper
with pictures, invented notation, or regular notation. In “Aiken Drum,” students can
draw the Aiken Drum man with whatever food parts they want and sing their version
of the song. As a class or individually, you can create a sound vocabulary that goes with
pictures (circle-clap, square-pat legs, triangle-stomp) and students can create their own
body percussion song.
24
Ta Sticks, Giant Solfege Magnets

Popsicle (craft) sticks are a wonderful manipulative to create Ta, Teetee, and Rest
(Z) rhythm patterns. Students can work by themselves or with a group to make
short or long rhythm lines. They’re challenged to clap and say what they write.
Also, you can make or purchase laminated handheld cardboard images that have
solfege notation or just a distinctive color or shape. Students can practice making
Sol Mi songs with taped lines on the ground and using the laminated images or, if
they have magnets on the back, students can make Sol Mi songs on a magnetized
whiteboard.
Whiteboard, Individual Whiteboards

The whiteboard is a versatile tool for demonstrating how to write rhythms or
solfege. Sometimes the whiteboard in your music class will even have a staff
printed permanently on the surface. For small, individual whiteboards, buy dis-
count men’s white athletic sock packets and the students can use the socks to wipe
the boards. Reassure the students that these are new socks and never worn. Take
pictures of your students’ whiteboard compositions and then display them on a
corkboard.
Percussion Instruments, Melodic Instruments

As you can guess, percussion instruments can be used in all sorts of ways to make
rhythm compositions or accompany songs. The Orff xylophones and metallophones are
wonderful because you can leave in only the bars you want your students to use when
playing, composing, and improvising (G, E, A for Sol, Mi, La).
As well as being a composer and educator, Carl Orff (1895–1982) put his phi-
losophy into practice. As the music director of the Günther School in Germany, he
instructed young students in developing their musicality using folk-song-based com-
positions. He believed in using both simple and complex “primal” rhythms. He and
Gunild Keetman developed the classes along with the percussion setup of the Orff
Instrumentarium.
Feltboard, Felt Staves
A giant feltboard can be used for writing music in front of the class. Use five long white
fabric store elastics tied in a loop that can become removable staff lines. Make felt shapes
to be the solfege notes. Not only can this be for composing, this is very useful as a teach-
ing tool. Felt staves are individual 9×12 pieces of felt with five strips of elastic sewn onto
the surface. You’ll need about 12 felt notes of a contrasting color for each felt stave. I had
orange round notes on a green backing. Students can create songs and solfege patterns.
See Figure 2.1.
F I G U R E 2 .1 Felt staves without notes
Technology
Many times because of tight budgets the music classroom is overlooked for technology
purchases. Recently, I had to justify upgrading from an old dusty chalkboard to a regu-
lar whiteboard. Unless the previous music teacher already did this for you, be prepared
to present a proposal to your administration or your Parent Teacher Association that
justifies spending technology money for your room. If you have a laptop or can do your
presentation in a room with a computer, you can show them online video snippets of
music teachers using interactive whiteboards or Smart Boards.
Interactive whiteboards are a way of projecting the written part of your lesson eas-
ily. When teaching different grades, you can quickly switch screens to change lessons.
Students come up to truly interact using multiple senses (seeing, hearing, touching).
Students write with the special pens or use the board as a touch screen. There is software
that offers games for music learning like note speed-reading or virtual instruments.
You can also adapt your own sheet music to project on the board so students can circle
or easily mark out items on the screen. The board is connected to the Internet so you
can access videos and other online information. You can insert lessons, pictures, or
26
PowerPoint slides into the notebook of the board and save the file for future classes. You
can also insert students’ compositions to project to the class. As you can guess, students
will become very engaged in the action.
Recording student performances and compositions is another use of technology
in the classroom. If you have a computer with music-editing software you can set up
a microphone and record and save files. In addition, you can have your own record-
ing setup at home to make CDs or music files for the class. This is a real voice saver
when preparing songs for an assembly or concert. You can buy software, but there’s a
lot of free music editing software online, like Audacity. Macs come with GarageBand, in
which you not only do a simple recording, but can then make separate tracks and layer
your sound.
Movie soundtracks. Do your students know they can create their own movie
soundtracks? You can create a short one or two-minute video in class or you can make
your own at home. For example, you could video your cat or dog doing funny antics.
Play the video in class while everyone identifies the different sections of the video (fast
action, slow action, etc.). Students could work in cooperative groups to come up with
a soundtrack using voice, percussion, and melodic instruments. After recording these
performances and adding them to the film, the last step would be to put the video online
to share with parents and the school.
Integrating Basic Subjects Into the Music

Curriculum
Make sure you are clear on what your school is asking you to do. Confer with your
administration to find out what they need. Align that with your own integration goals.
Notice that basic subjects are not included in any assessment tests in this practi-
cal guide. I don’t believe a school would have their computerized grading system set up
for you, the music teacher, to give students a grade on those subjects. And you wouldn’t
want that anyway. Honestly, I would hesitate accepting that responsibility. The success
in reinforcing basic subject standards in the music class should be determined by their
classroom teacher, not by you (although you can work to improve the basic subject les-
sons you give).
Sometimes, music and art teachers just want to be “left alone” to design their
classes the way they want. But you need to resist that inclination; times have changed. It
is compulsory for you to communicate with the classroom teachers and let them know
what you are doing, as well as ask them what they’d like to see you cover in your classes.
In this practical guide, every standard is done at least once during the school year
so you can see an example of its placement. Each lesson lists the concepts covered per
activity. Included in each grade section is a concept code matrix that shows you the
concept and a list of lessons attached to it. In demonstrating how to incorporate the
common concepts into your music lessons, I’ve been careful to show how to add them
without distracting from the music part of the class. Sometimes basic subjects are listed
as supplemental. As you work through your lessons, you’ll be able to get feedback from
your students. This will enable you to adjust the fit and pacing of your activities.
Language Arts
There will be so many language arts concepts that align with your music curriculum
that you’ll need to narrow down which ones to emphasize per lesson or even per song.
As you look through my lesson plans, you’ll see my choices. As you create your own les-
sons, you may choose differently.
Most language arts concepts blend into the music lesson naturally. For example, in
the first grade curriculum lesson 8, the students are learning the song “Diddle Diddle
Dumpling.” The three language arts concepts that are covered are: identifying details,
ask and answer questions clearly, and place words into categories. The first two are inter-
woven in the teaching of the music lesson. But then with the third concept, instead of
students placing words into categories (which they could do with a different type of
song) students place beats into categories of strong beats and weak beats.
Math
Math finds a welcome home in music. Concepts such as: measuring, counting, graphing,
odd and even, fractions, time, and shapes can be easily studied and compared in songs
and movement activities. Even more abstract concepts like place value and adding two-
digit numbers can be added to a lesson and done in a short amount of time. For example,
in second grade curriculum lesson 5, the students are reviewing the song “Great Big
House in New Orleans.” The song lyrics say, “Great Big House in New Orleans, Forty
Stories High.” You can add a mini side lesson in which the class works out math addition
problems on the whiteboard (40 + 40, 40 + any two-digit number, etc.).
Remember you are practicing classroom concepts, not introducing them. If you
discover your students haven’t at least started the concept in their regular classroom,
back off from the lesson and reintroduce it later.
Social Studies
Just like language arts, social studies is a natural part of the music lesson. General music
classes are saturated with history, places, and people. Organizations such as the National
Counsel for the Social Studies have worked diligently to modernize the process of under-
standing our society and the world around us. Using these up to date guidelines, music
teachers can help students learn citizenship, patriotism, and how diversity strengthens
our society. The lesson plans in this practical guide incorporate these standards.
For example, in the first grade curriculum lesson 8, students sit in a circle and
participate in the Bear Hunt chant. After the chant, the class discusses how humans
changed their environment in the song to suit their needs (bridge, house). What else
could they have done or not done (used boat instead of bridge)? How could people in
28
the chant interact with their environment in a positive or negative way (build another
bridge over the river)?
Science
Adding science concepts to a music lesson is intriguing and challenging. You can’t do
long experiments like growing plants from seeds. But what you can do is use a song as a
jumping point to address science subjects. Have the students use skills like evaluating,
analyzing, and problem solving to think and discuss. The approach will be different.
It’s seeing science through a music prism, so to speak. For example in the kindergarten
curriculum lesson 26, the students are reviewing the game “King’s Land.” One of the
science standards is to design a structure that will reduce the sun’s warming effect. You
could lead a class discussion on how we (the villagers) could protect ourselves from get-
ting overheated on the King’s Land. What could we build or bring? Could someone draw
a picture of it on the whiteboard?
The Class
Routine
Establishing a routine helps kids relax and be ready for learning. Then they will know
what is expected of them. Having the same way to enter and start the class helps with
student behavior and student focus. I used moderate tempo Degung music as in Degung
Sabilulungan –Sundanese Music of West Java Vol. 2.
Pacing
Alternating between standing and sitting activities keeps the students from getting too
tired too fast or getting too antsy. These 50-minute classes average about five to seven
activities:
Entrance
Moving activity
Identify a music concept with a pre-learned song
Explore a new music concept
Story, listening activity, or basic subject activity
Moving activity to demonstrate a music concept
Exit.
Transition Tips
Successful transitions are key in classroom management. One way is to develop your
own sound to gain students attention (like a soft finger cymbal). Another is to create
sign language signals for student directions. Try to pick something that can be trans-
ferred to performing on stage. Using hand signals when you have students stand up or
sit down saves your voice. Finally, glance at your lesson plan before the current activity
ends so you’re ready to introduce the next one seamlessly.
Other Considerations
Vary how the students explore music. Use puppets, percussion, dance, instruments, and
singing. Listen to recordings, and read stories. All the concepts can be joyfully practiced
through a wealth of materials. If you are excited about the activities you do, the students
will be too.
Questions to Contemplate
Describe the benefits of creating a curriculum using a calendar template. What other
kinds of templates would be useful in planning your activities?
How can imagery and metaphor be used in designing lessons plans?
A lesson structure is often dependent on the season or time of year. What other outside
factors affect a lesson?
One song can be used to teach or practice many different concepts. How do you deter-
mine which concepts work best for which songs? Is a given song better for a certain time
of year? How will the season change your teaching strategy for that song?
One of the challenges in teaching is being able to utilize your time effectively in the
classroom. Choose one of the lessons in this practical guide and explain why you think
the time was or was not used effectively.
Suggested Activity: Pick a song or activity from this practical guide that includes new
music standard questions or includes a math, social studies, language arts, or science
unit. Write out your steps. How can you incorporate movement into the lesson? Analyze
your results after teaching it in your class.
Scenario: Your student brings in a CD with their favorite popular song but it has inap-
propriate language. How do you handle the situation without making them feel bad?
30
Part Two
Lesson Plans
Keys
T = Teacher
S = Student(s)
MU = Music
MA = Math
LA = Language Arts
SC = Science
SS =Social Studies
The following charts show three things; the National Core Arts Music Standards for
each grade, the abbreviation of the standard that’s used in the lessons, and the desig-
nation of which lesson they appear in. I tried to give you at least two examples of each
concept per grade.
TABLE 2.4 Kindergarten Standard Lesson Chart
ABB National Core Arts Standards Kindergarten Lesson
CI Creating Imagining 5,21 9,24,30

CM Creating Plan and Make 3,17,27,32 2,29
CE Creating Evaluate and Refine 8,18 7,27
CP Creating Present 10,35 26,32
PS Performing Select 16,28 9,19,34
PA Performing Analyze 3,29 21,28
PI Performing Interpret 10,24 5,22
PR Performing Rehearse, Evaluate and Refine 11,20,31 4
(Continued)
32
TABLE 2.4 Continued
ABB National Core Arts Standards Kindergarten Lesson
PP Performing Present 12,34 13,31

RS Responding Select 13,25,36 8,33,35
RA Responding Analyze 7,26 1,25
RI Responding Interpret 4,22 17,23
RE Responding Evaluate 30 1,20
C10 Connecting: Synthesize and relate knowledge and 15,23,33 16,18,36
personal experience to make music.
C11 Connecting: Relate musical ideas and works to varied 2,19 6,12,35
contexts and daily life to deepen understanding.
TABLE 2.5 First Grade Standard Lesson Chart
ABB National Core Arts Standards First Grade Lesson
CI Creating Imagining 3,24 14,29

CM Creating Plan and Make 1,19,35 25
CE Creating Evaluate and Refine 4,9,33 10,18
CP Creating Present 10,23 6,32
PS Performing Select 7,27,36 24
PA Performing Analyze 28,32 19,21,34
PI Performing Interpret 2,8,21,34 12
PR Performing Rehearse, Evaluate and Refine 14,18,31 5,27
PP Performing Present 15,22 20,35
RS Responding Select 4,12,25 16,36
RA Responding Analyze 11,29 1,17,26
RI Responding Interpret 13,26 2,22,31
RE Responding Evaluate 6,30 3,11,33
C10 Connecting: Synthesize and relate knowledge and 15,16,20 8,13
C11 Connecting: Relate musical ideas and works to varied 5,17 23,30
TABLE 2.6 Second Grade Standard Lesson Chart
ABB National Core Arts Standards Second Grade Lesson
CI Creating Imagining 4,26,32 16,29

CM Creating Plan and Make 3,18,23,36 9,30
CE Creating Evaluate and Refine 5,28 12
CP Creating Present 14,31,35 6,22
(Continued)
L e s s o n P l a n s | 33
TABLE 2.6 Continued
ABB National Core Arts Standards Second Grade Lesson
PS Performing Select 13,17,30 10,25

PA Performing Analyze 11,33 1,8,26
PI Performing Interpret 6,24 2,7,20,24
PR Performing Rehearse, Evaluate and Refine 7,16,18 13,36
PP Performing Present 9,19 15,32,34
RS Responding Select 8,29 3,33
RA Responding Analyze 10,25 17,21
RI Responding Interpret 15,20 5,27
RE Responding Evaluate 12,34 4,35
C10 Connecting: Synthesize and relate knowledge and 2,21,27 14,31
C11 Connecting: Relate musical ideas and works to varied 1,22 19,28
Kindergarten
Clarifying the “Identify” in Explore, Identify, and Demonstrate
In some curriculums, the focus is on making conscious three or four major
concepts—with a lot of preparation and practice before and after. Some major music
concept examples are Ta, Teetee, Sol, and Mi. You may decide to create your curriculum
from this model.
In this curriculum, the term “identify” means making conscious the descrip-
tive word that is the focus of a lesson or through a series of lessons. It means using
specific vocabulary to identify the concept and have the students use the word
as well.
This creates multi-layered “identify” activities in a given semester. By multi-
layered, I mean some activities are long-term, they evolve over the course of the
year. Some are short-term in that the concept is identified within a few lessons. The
song becomes the vehicle for this three-fold journey—exploration, identify (or being
made conscious), and then demonstrating or practicing the concept learned. The
smaller “identify” activities lead toward the larger goals for this grade level—such
as learning to clap rhythm patterns and to eventually learning Ta and Teetee. The
goal for using this approach is to keep track of the complexity of the curriculum
learning.
Here is a list by lesson of all the concepts or skills that are “identified” during the
school year. The teacher will use these vocabulary words within the lesson.
34
TABLE 2.7 Identified Kindergarten Concepts
K Identify Concept Les Identify Concept Les
- 1 Improvise 19
Swing while moving in twos (6/8)
Beat 2 Replace word with movement 20
One movement one sound (inner hearing)
Rhyming words Seasonal celebration
Describe and compare 3 Teetee 21
Beat with hand movement Sache
Pattern 4 Swing your partner 22
Order
Clapping rhythm patterns 5 Skip 23
In-tune singing feedback 6 Moving circle game 24
Louder and softer
Faster and slower 7 Line game 25
Story in music Nursery rhymes
(with social interaction)
Moving in twos (2/4, 4/4) 8 - 26
Beat versus rhythm 9 Ta Tee Ta Tee 27
Call and response
Compose and composition
Descriptive words 10 Basket movement 28
Higher and Lower
Movement vocabulary 11 Conducting 29
Story retelling (paraphrasing)
Beat with melodic instruments 12 Descriptive words 30
Movement for each part
Seasonal activities 13 Contrary motion 31
Versions of songs Round
- 14 - 32
- 15 - 33
- 16 - 34
Ta and Rest 17 Clocks 35
Sequence 18 - 36
september
Kindergarten Routine
For Every Lesson
TABLE 2.8 Kindergarten Routine Semester 1
Standards Song or Activity Description
MUK1-A Javanese Walk: Use The Teacher (T) will establish an entrance routine as

moderate tempo follows: Begin class with a calm movement. Students
instrumental music (S) enter the room quietly in-step, or if they’re
like Degung. already in the room, they line up and start walking,
creating a giant circle or oval. In this exercise, S are
experiencing basic beat in a clock-wise direction. The
T will use Degung music or another calm, moderate-
tempo music. The T leads the walk and plays a finger
cymbal to the beat. The T can later mix it up by
walking half-note beats (giant footsteps), quarter-
note beats (walk), or eighth-note beats (tip toe or
quick step).
Bonus Walking Exercise: The T plays finger cymbals
without the music. When the T stops playing,
everyone must freeze.
MUK2-A Jambo (Hello) S will learn a greeting while standing in a circle and
MUK3-D doing the movement.
n/a Brain Break/Cool Down The T will give time for the S to lie down or sit at the
end of the lesson. This is a good time to play quiet
music that could have something to do with the
lesson.
n/a Exit Routine The T will establish an end of class routine and have
the S line up in an orderly fashion.
The lesson format is as follows: month, lesson number, main objectives, and a table with
the lesson activities. Each month has four lessons.
36
September
Lesson 1/36 Kindergarten
Objectives
The objectives are to establish a routine and a personal connection to the activities in the
classroom. The activities focus on listening and participating. Explore beat, identifying
sound and no sound, rhythm, and improvising movement and rhyming words. Students
will discuss sharing duties and following rules.
Kindergarten Lesson 1
K1 ABB Activity Example Questions
PS Walk and Stop What movement works well and is fun to do with the
beat? Can you show us?
RA Drum Name Game How many sounds are in Zak (use names from the
class)? How many in Emily? How many in David? What
is the rhythm for the name Benjamin?
STANDARDS SONG OR ACTIVITY DESCRIPTION
MUK1-F Drum Name Game Explore: S will learn this game to become comfortable
MUK3- C playing a drum, to learn classmates’ names, and
LAK2-E to relate the syllables in a name to a rhythm. S will
MAK1-C pass a hand drum. During their turn they say their
name while patting on the drum the correct syllables.
Example: A S says and pats Da-vid then all say and
clap Da-vid. Do it twice for each turn.
Supplemental Math activity: How many syllables
(sounds) are in the name ______________?
SSK-3 Class Rules The T and S discuss class rules and what happens if you
break them. Eventually the T will make a poster on the
wall as a reminder.
Social Studies Questions: Discuss how we share duties
in the classroom and why there are rules for both
children and adults.
MUK1-C Walk and Stop Explore: The purpose of this activity is to move to the
MUK1-E beat, then know when to freeze when the beat stops.
S will improvise other movements.
MUK2-F Story: A Hunting Explore: In this segment of the class, S experience
LAK2-C We Will Go storytelling in music. They start by listening and then
LAK4-A sing along. This song includes improvisation and
LAK5-A rhyming words.
Objectives
Explore Sol Mi, Ta Teetee. Explore song variations and a song in a different language.
Explore moving in twos. Identify beat, one movement/one sound and rhyming words.
C11 Mi Cuerpo (My Body) How does this Spanish song show us clapping and
rhythm? Would singing it in English change anything?
CM A Hunting We Will Go How can we make up more verses? What animal should
we use? Who can draw the animal? What location
could rhyme with the animal name (mouse-house)?
MUK1-G Mi Cuerpo (My Body) Explore: S will earn a Spanish song that teaches parts
MUK2-A of the body. S will move in a standing circle. S will
move in twos while singing the song.
MUK1-F Drum Name Game Identify: S will review the song. The T will guide them
MUK3- C into counting the syllables. S learn that each sound
LAK2-E is a syllable. Students count by ones. They should be
MAK1-A able to answer the question, “How many syllables
MAK1-C are in my name?”
n/a Class Rules The T and class will review the rules.
MUK2-A Starlight, Starbright Explore: S will sing and learn the song line by line with
MUK2-C with Puppet the puppet. This is in preparation for Sol Mi and
MUK2-F Ta Teetee.
MUK1-C Walk and Stop Identify: S will play the game. The T will guide a
MUK1-E discussion on beat as well as sound and silence.
MUK2-F Story: A Hunting We Identify: The T and S will sing the story and concentrate
LAK2-C Will Go on adding more verses. The T will introduce the
LAK4-A phrase “rhyming words” if it hasn’t been discussed
LAK5-A already.
MUK1-B Twinkle Twinkle Little Explore: The T will have S listen to a recording of
MUK1-F Star (Ah! Vous Dirai-je, Mozart’s Theme and Variations and will identify
MUK2-A Maman) Theme and the song. The S will move to the different rhythmic
Variations variations on the recording (moderate, slow,
skipping).
38
Objectives
Explore louder and softer (dynamics). Explore lyrics, counting, and composing. Identify
hands moving to the beat and compare and describe vocabulary words. Demonstrate
performance fluency. Introduce popular music that students have heard before. S will
explore math concepts like counting and writing numbers.
CM Starlight, Starbright How does the hand movement relate to the singing
(melody) in the first line?
PA Twinkle Twinkle How would you describe the differences in the Twinkle
sections (variations)? What words can we use? How can
you use your body to show the difference in each section?
MUK1-G Mi Cuerpo (My Body) Identify and Demonstrate: The class will go over the
MUK2-A Spanish words and their translation. S will review the
LAK5-A song and movement.
MUK1-F Drum Name Game Demonstrate: S will review for fluency and for counting
MUK3- C the syllables.
LAK2-E
MAK1-A
MAK1-C
MUK1-B Twinkle Twinkle Little Identify: S will describe the differences in the variations
MUK1-F Star (Mozart by words and by their movement.
MUK2-A recording)
MUK2-F Story: Five Little Explore: S will learn order of fingers using math terms (first,
MAK1-A Pumpkins second, etc.) while listening to the story and discussing
LAK2-all the action. The T can use the picture board book of the
LAK4-all poem. S will copy the T while reciting the chant.
MUK2-A Starlight, Starbright Identify: The T will review with the puppet and add
MUK2-C mime hand signs to the beat (NOT solfege hand signs
MUK2-F but descriptive hand movements).
n/a Brain Break/Cool Down T will play quiet music from the movie Frozen.
MUK1-A Bubble Gum, Bubble Explore/Identify: The T says the chant. The T then plays
MUK2-C Gum in a dish, how a steady slow beat on the tympanum: a number from
MUK2-E many pieces do you 1–10. S will raise their hand to guess the number of
MUK3- C wish? beats played. The first S who answers correctly comes
MAK1-AtoC up. This S chooses for everyone to either talk, sing,
LAK2-C whisper, or little-shout the poem (composing timbre).
LAK4-all Then this S must think of a number between 1–10. The
class chants and then the S plays their secret number on
the tympanum. This S gets to choose another S that’s
raising their hand to guess the answer. If they don’t get
it correct, the T says, “That is not correct but thank you
for trying.” Once a S gets the correct answer, they come
up for a turn. Optional: The T may end this activity with
all the S coming up in a line to play the tympanum.
Supplemental Math Activity: The T or S can write the
numbers on the board.
Objectives
Explore faster and slower (tempo). Explore different rhythm patterns on a beat and
improvise movement on a beat. Explore using music vocabulary to compare two songs.
Identify pattern order in music. Demonstrate moving to basic beat while singing or
chanting the rhythm. S will discuss plants and animals and how they survive. S discuss
first versus one, second versus two.
RI Five Little Pumpkins How do you think the creator wants each line to be
performed? Why is each line different?
PR Starlight/Cloth Heartbeats How can we improve and refine our performance?
What would you advise our performers to do?
MUK1-A Follow Me, Explore: In this activity the S follow the leader and
MUK1-G Improvise the Movement maintain a beat. The T sings the song and does
Some possible the movements in a sitting circle. The S follow
movements: clap, patsch, along while learning the song. The T picks a S
nod head, pat shoulders to be the leader and everyone follows his/her
movements while singing the song.
MUK1-AtoD Individual Walks to Explore: This activity gives individual S a chance
Different Tempos to walk around the circle while controlling
(conducting) the tempo. The T plays the beat on a
hand drum following the S’s steps. S can choose to
go fast, medium, slow, or freeze (rest). The class
will clap with the tempo.
MUK1-A Starlight/Cloth Heartbeats Demonstrate: S will patsch the beat and move to
MUK1-F Starlight in a group while sitting. Then they will
stand and step the beat. Finally, the T will lay
down 8 felt hearts and have some S individually
step the heartbeats while everyone sings the
song.
MUK1-F Grinding Corn/Pueblo-Zuni Explore: S will listen to the Pueblo song and the T
MUK3- C Corn Grinding Song will explain the history of corn grinding songs.
MUK4-D The class discusses what it means to grind corn
MUK4-E and why. Then S will learn the Grinding Corn
SCK1-D song. The class will compare the songs and
the T will write the comparison words on the
board. The S will learn the hand movements that
will eventually translate to playing percussion
instruments (pat-drum, shake-maraca, scratch-
guiro, clap together-c ymbal).
Supplemental Science Activity: Discuss what corn
and pumpkins need to survive. How do these
plants help animals survive?
(Continued)
40
Kindergarten Lesson 4 (continued)
MUK2-F Story: Five Little Pumpkins Identify: The class will discuss the order of the story
LAK2-C and improve their performance of the chant. The
LAK4-A class will discuss the different types of voice
LAK5-A characters in the song.
MAK1-B Supplemental Math Activity: Students will discuss
the use of first as opposed to one, second as
opposed to two, etc.
n/a Brain Break/Cool Down T will listen to the S talk about the music in Frozen
and play quiet music while they rest.
MUK1-A Bubblegum, Bubblegum Demonstrate: S will review and play the game and
MUK2-C discuss beat. The T will review how to play basic
MUK2-E beat when playing on the numbers.
MUK3- C Supplemental Activity: The T will review a math or
MAK1-AtoC language art concept.
LAK2-C
LAK4-all
F I G U R E 2 . 2 Grinding Corn. See Online Support to get free printable color image.
42
October
Objectives
Explore improvising with movement and music lyrics. Explore singing Sol Mi in tune
and rhyming words. Explore louder and softer. Identify rhythm patterns by clapping
and demonstrate playing in an ensemble.
CI Grizzly Bear How do our singing voices change in the song? When are
we loud? When are we soft?
PI Old Witch How can a student playing the witch use their body and voice
to properly give expression to the song?
MUK1-A Follow Me Explore: The T chooses different S to lead. The group needs

MUK1-G to follow the leader who is improvising and singing.
MUK1-F Grinding Corn Identify/Demonstrate: The S will share their experiences
MUK3- C w. instruments with Indian corn (decorative corn). The T will pass
MUK4-D Indian corn around the class for study. The S will review
MUK4-E Grinding Corn by clapping and saying the lyrics. They will
then clap the rhythm patterns. The T will demonstrate
the percussion for the song. The T will start with 4 S, one
for each phrase group. The T keeps adding till there are
12 S playing at the same time while the remainder sing
and move to the rhythm. Then the S rotate so all will get
a turn.
MUK2-AtoC Old Witch Explore: The T will demonstrate the song with the
MAK1-C individual singing and the game action. The T picks a
S to be the witch/wizard. The T can also quietly sing in
the witch/warlock’s ear to help them get the interval for
Sol Mi La Sol Mi “Are you my children?”
MUK2-F Story: There Was a Explore: The T reads the story or story cards with pictures.
LAK2-B Man and He was The T repeats the story so S can recall the rhyming words
LAK2-C Mad Version 1 and action.
LAK4-A
LAK5-A
n/a Brain Break/Cool Listen to the Pueblo-Zuni Corn Grinding Song.
Down
MUK2-A Grizzly Bear Explore: S learn the song and play the game. The T
MUK2-E demonstrates the group movement. The “Grizzly bear”
sleeps curled up in the middle while S sing and circle to
the beat, reverse and tiptoe to the beat, then march to
the beat. The S say, “Wake up, Grizzly Bear!” Bear yawns
wakes up, growls then tries to tag a S. Once a S is caught,
the T plays the drum once meaning everyone freeze.
Note: If a S tries to get caught and doesn’t run from the
bear, the catch doesn’t count.
Objectives
Explore composing with expression and with percussion and visual shapes. Identify how
to give feedback on in-tune singing. Identify louder and softer in music. Demonstrate
performing in an ensemble and identifying rhyming words. The class discusses how
animals change their environment to meet their needs. S practice counting and saying
how many notes in a phrase.

PA Grizzly Bear Which students would like to sing the song for the
class while showing the proper loudness and
softness in their voices?
C11 Pumpkin, Pumpkin How does your performance change based on the
mood of your pumpkin character? How does music
make it more fun? What other activities are more fun
with music?
MUK1-F Grinding Corn Explore/Demonstrate: The S will now “perform” the

MUK3- C w. instruments song. The T will direct the students’ placement by
MUK4-D using location words (stand next to-get in front
MUK4-E of-sit behind). S can Explore composition by using
MAK2-A what they learned in Grinding Corn and compose
their own accompaniment to the Pueblo-Zuni song
recording using percussion instruments.
MUK2-AtoC Old Witch Identify: The S play the game. The T encourages the in
MUK3-D toE tune individual singing, “Good try” or “You sang that
MAK1-C right in tune.”
Supplemental Math Activity: How many notes are in
the phrase “Are you my children?”
MUK2-F Story: There Was a Man and Demonstrate: The T and S sing the song and view the
LAK2-C He Was Mad version 1 pictures. Optional: The T can write the rhyming
LAK4-A words on the board as all sing (even though most of
LAK5-A the S can’t read them).
MUK1-E Pumpkin, Pumpkin: S sit on Explore: S will create a group Jack O’ Lantern face on
MUK1-F their knees with the head the board and on their own face, learn the song, and
MUK2-C down near knees. S sing the play the game. The T draws a giant pumpkin, S choose
MUK4-E song. At the word “THAT” they shapes for eyes, nose, and mouth. (Circle, square, or
MAK2-A pop up their head and body triangle?) (Happy mouth, sad mouth, or scary mouth?)
and make a Jack O’ Lantern The T discusses the origin of the name Jack O’ Lantern.
face and freeze. S learn the song and play the game.
n/a Brain Break/Cool Down -
MUK2-A Grizzly Bear Identify/Demonstrate: Review and play. The T points out

MUK2-E the change in the vocals and gets students to identify
SCK1-A the louder and softer. The T looks for improved singing
and moving on the beat.
Supplemental Science Activity: The T will lead a class
discussion on how forest animals make changes to
the world around them to meet their needs (food,
warmth). How would a Grizzly Bear change his or
her environment to survive?
4
Objectives
Identify faster and slower and social interaction in music. Demonstrate moving to
the beat and composing with expression and emotion. Demonstrate using descriptive
vocabulary by comparing two versions of the same song. S experiment on force (engine)
being able to pull and also push weight (train cars).
RA There Was a Man and He How did the rhythm in the melody determine the
Was Mad words and the action in the story?
CE Pumpkin, Pumpkin How can we make the pumpkins a happy surprise,
scary surprise?
MUK1-A A Train Identify: Learn the chant and do the movement.

MUK1-B T and S act out a train with hands on the
SCK3-A shoulders of the person in front of them. Do the
action 3 times, medium, slow then fast tempo.
The T uses the words “faster and slower.”
Supplemental Science Activity: A small group of
S will make human train cars with hands on the
shoulders of the person in front. The T is the
engine. The T will demonstrate how the engine
can pull cars in one direction but also push the
cars in a different direction. Experiment with
train length and obstacles. S will discuss their
observations using descriptive words.
MUK2-F Five Little Pumpkins Demonstrate: Class does the fingerplay and reviews
LAK2-C the order in the chant.
LAK4-A
LAK5-AtoB
MAK1-B
MUK2-F Story: There Was a Man and Demonstrate: Read the story as a group, discuss the
LAK1-C He Was Mad Version 2 differences between the 2 versions of the story.
LAK2-C
LAK4-A
LAK5-A
MUK1-E Pumpkin, Pumpkin Identify/Demonstrate: S will play the game, add 2
MUK1-F farmers in the middle of the pumpkin circle to
MUK2-C act surprised when the Jack O’ Lanterns pop up.
MUK4-E Students are composing with facial and body
MAK2-A expressions.
Optional Math Activity: The T can make a display
of pumpkins that are different sizes and relative
shapes. Some are behind, in front of, or next to
a fence. S will discuss and identify shapes, sizes,
and orientation.
Objectives
Explore playing instruments in rhythm and hear the intervals So, La, and Mi in a mel-
ody. Explore counting in a song and improvising lyrics. Explore a call and response song
and moving in twos. Identify moving in twos. S will classify rhythm patterns and count
the beats.
CE Brother John Are we all patsching together? Are we all clapping together?
RS Aiken Drum Why do you choose certain foods over others? Are they your
favorite or are they picked because they fit the body part
in shape or texture?
MUK2-A Brother John Explore: S learn the song, patsch the beat, and clap the
MUK1-F rhythm in preparation to play instruments.
LAK2-E Supplemental Math Activity: The T will divide the class into
MAK1-E 4 standing groups. Each group claps and says the words
of one of the four phrases (in a row). The S need
to identify which two groups are clapping the same way
(2 and 4).
MUK1-D Bluebird w. puppet Explore: S learn the song with the puppet in preparation
MUK2-C for Sol La Sol Mi.
MUK1-F Story: Knick Knack Explore: S learn a nursery rhyme standard. S read the story
MUK2-F Paddy Whack and demonstrate the movement. All will discuss the
LAK2-C numbers.
LAK4-A
LAK5-A
MAK1-A
MUK1-A Aiken Drum Explore: S learn the song and discuss how different parts of
MUK2-A the body are different foods. S improvise their own lyrics.
LAK5-A to C
MUK1-G Shoo Turkey Explore/Identify: S learn call and response and moving in
MUK2-C twos. The T sets it up by talking about a barnyard and
MUK4-E how a turkey moves. T shows how you “shoo” a turkey.
S demonstrate the movements while singing “Shoo turkey,
shoo, shoo!” The T explains the phrase “moving in 2s.”
Then, in a circle, T explains their response to the call
is “Yes Ma’am!” S can take one step forward with chin
in the air and say “Yes Ma’am!” in a sassy way. S do the
entire song. They move clockwise either as a turkey or a
turkey-shooer.
46
November
Objectives
Explore solfege, Ta, Teetee, and Ta-a rhythms. Identify call and response and clarify the
beat versus rhythm. Identify a composition in visual form and a game. Demonstrate
in-tune singing.
PS Shoo Turkey Do you choose to be a turkey or a shooer? Why? What other

song do you know that would go well in a show with
“Shoo Turkey” in it?
CI Bluebird What inspired the composer to create this song and game?
What did they observe to help them make the melody
and the rhythm?
MUK1-F Brother John Explore/Identify: S will sing the song, patsch the beat, and
MUK2-A clap the rhythm. S will also walk the beat while clapping and
MUK3- C singing the rhythm. The T will use S volunteers to show how
LAK2-E to do this and will discuss the words “beat” and “rhythm.”
MAK1-E
MUK1-G Shoo Turkey Identify/Demonstrate: The T will introduce the term “call and
MUK2-C response.” S will sing and play the game and move in twos.
MUK4-E
MUK2-F Story: Knick Demonstrate: The T and S will sing the song together. The T
LAK2-C Knack Paddy will encourage in-tune singing. Optional: A S will write the
LAK4-A Whack number on the board as it is sung.
LAK5-A
MUK1-A Aiken Drum Identify: The class will sing and do the activity. The class
MUK2-A will create one giant Aiken Drum on the whiteboard with
LAK5-AtoC different S choosing the food and parts. The T or S will draw
this giant Aiken Drum so S see a visualization of their song.
The T will use the word “composition.”
MUK1-D Bluebird Explore: The class will sing the song and identify the game.
MUK2-C This is a preparation for solfege and half notes.
Objectives
Explore and identify descriptive words. Explore performing the Nutcracker March by
immersing the S in the music, the story, and preliminary movement. Demonstrate play-
ing rhythm with instruments. Demonstrate call and response.
PI Nutcracker March Why did I choose these 5 movements for the

march? What is happening in the music?
CP Brother John: Round the Circle Are we ready to play the instruments? Are we
playing the instruments to the patsching or
the clapping?
MUK1-F Brother John: Round the Circle Demonstrate: The T will have S sit in a circle
MUK2-A with an instrument in front of them. S play a
MUK3- C verse rhythm with a percussion instrument
LAK2-E and then pass it to the person to their
MAK1-E right and play the verse again with a new
instrument. T can also have S sing while
T plays the beat on the Orff instrument.
S demonstrate the beat and T picks out a
few students to play the beat on various
instruments while all sing. Optional: Compose
a different melody for the song.
MUK2-F Story: Nutcracker part 1 Explore: The T asks what S know about the
LAK2-C Nutcracker story. They discuss the music from
LAK4-A the ballet and the T plays a music example.
LAK5-A The T reads the first half of the story and
discusses the vocabulary word “ballet.”
MUK1-G Nutcracker March: Explore: The Nutcracker March is a “parade”
MUK4-A 1 stick in front vertically done in a circle with S holding short dowels
MUK4-E 2 stick up high with green, red, white, or gold streamers.
3 wave stick In this lesson, S will learn the 5 movements
4 stick horizontal without the streamers.
5 halt—stick touches the floor
in circle and swings back out.
n/a Brain break Nutcracker Music
MUK1-BtoD Group Exploration: Descriptive Explore/Identify: S experience using words
MUK2-CtoE Music Words to describe characteristics of music. Go to
part one Appendix/Group Exploration: Descriptive
Music Words for the lesson instructions
and suggested popular and classical music
examples.
MUK1-G Shoo Turkey Demonstrate: S will sing and play the game.
MUK2-C
MUK4-E
48
Objectives
Explore seasonal activities in music. Identify the movement vocabulary. Demonstrate
knowledge of a story by retelling it. Demonstrate (perform) a game and a march. S will
play with weather and forecasting using an animal from a song. S will discuss how
weather affects how people live.
PR Nutcracker March How do we make this performance better?

RE Nochebuena How do people celebrate Christmas Eve in the song? What
does your family eat for special celebrations? What
instruments would sound good with the song?
MUK1-D Bluebird game Demonstrate: S play the game.

MUK2-C Supplemental Science Activity: The T leads the class in a
SCK2-B scenario. The class makes a 5 day weather forecast on the
SSK-5 board for the bluebird. How does the bird respond to the
weather? What if the bird finds out about a big storm coming
in 3 days or the day before? How does the bird prepare? Can
real bluebirds sense bad weather coming? Why are forecasts
good for people too?
Supplemental Social Studies Question: How does weather
affect the way people live?
MUK1-G Nutcracker March Identify/Demonstrate: The T will identify the vocabulary for
MUK4-A the movement. S will review how to move streamers safely
MUK4-E while going over the 5 movements. The class demonstrates
the march—moving the circle in a clock-wise direction with
the music.
MUK2-F Story: Nutcracker Demonstrate: The T finishes the story and has S retell it in
LAK1-B part 2, finish their own words.
LAK2-C story
LAK4-A
LAK4-C
LAK5-A
n/a Brain break Explore: Nutcracker Music
MUK1-A Nochebuena Explore: S will learn a Christmas song sung in a different
MUK1-H language. T sings the song. The group discusses origin. T
MUK4-D describes the vocabulary. When does this song take place?
MUK4-E What country?
MUK2-C Brief Story of Eid Explore: The T will find convey a clear, concise story about Eid
MUK4-D and how families in the United States celebrate this holiday.
MUK4-E
Objectives
Explore Mi Re Do. Identify playing the beat with melodic instruments. Identify a differ-
ent movement for each phrase in a song. Demonstrate performance, creative movement,
and descriptive words. Demonstrate pattern sequence with a new example.
PP Nutcracker March Do you think our audience would like this

performance? Why?
C11 Celebrate Eid What events take place in the song Celebrate Eid?
How is it the same as, or different from your family
celebrations?
MUK4-A Nutcracker official Demonstrate: S perform the march as if they were

MUK4-E performance of march doing an actual show. The T lowers lights and puts
on spotlights and students perform. Bravo!
MUK2-C Celebrate Eid Explore/Identify: The S sit and sing the song while
MUK4-D using arms and hands to show movement. Then all
MUK4-E stand and repeat the entire song with a movement
for each part. The T is also teaching the song in
preparation for playing Mi Re Do.
MUK1-BtoD Group Exploration: Demonstrate: S continue using words to describe
MUK2-CtoE Descriptive Music characteristics of music. Go to Appendix/Group
Words part two Exploration: Descriptive Music Words for the lesson
instructions and suggested popular and classical
music examples.
MUK2-F Story: There Was a Pig Demonstrate: S learn the song. The T sings and reads
MUK4-E the story with poster cards of each verse. S start to
LAK2-C sing as they get the rhyming and will learn farming
LAK4-A vocabulary. The T draws attention to the pattern
LAK5-A sequence.
MUK1-A Nochebuena Identify: S will sing the song and patsch on the beat.
MUK1-H T demonstrates Orff instruments and S take turns
MUK3-B playing on the beat while all sing.
MUK4-D
MUK4-E
50
December
Objectives
Explore for the assessment test and to get ready to play melodic instruments. Explore
higher and lower pitched sounds. Identify seasonal activities and versions of songs.
Demonstrate performing in an ensemble. Students will explore holidays and different
celebrations.
RS Jingle Bells Why is this song so popular? What does it remind

people of?
PP There Was a Pig In a performance we could sing the song or use
the cards while we sing the song. How does
this difference in the performance change the
audience response?
Overview Explore for Assessment Test Explore: The class will review concepts for the test
as needed. The T uses the Group Exploration
Lesson and Assessment Test pages for reference.
MUK4-E Jingle Bells w. puppet Explore: S will get ready for playing melodic
instruments while they sing the song with a
puppet. They will demonstrate singing skills
(singing, not screaming!) The T can also play high
and low instrument sounds for S to identify.
MUK2-F Story: There Was a Pig Identify/Demonstrate: S will listen to different
LAK2-C versions of the song like The Revels or Jean
LAK4-A Ritchie recordings. S will perform the story with
LAK5-A poster boards or puppets. The T will discuss the
idea of versions.
MUK4-E Brief story of Hanukkah Identify: S will learn the basic story of Hanukkah
SSK-2 and how it is celebrated. Who are the people that
celebrate Hanukkah? Where is it celebrated (many
different countries including the United States)?
Where does the story of Hanukkah come from?
Social Studies Questions: How do we celebrate as
a country (as a community, as a family)? Explore
holidays and shared celebrations.
Objectives
Identify concepts in the assessment test. Explore high and low pitched sounds.
Demonstrate singing and playing melodic instruments with seasonal songs.
RE Jingle Bells What makes the performance of Jingle Bells the

very best it can be? What makes it fun to sing
and listen to?
C10 Nochebuena What are ways for you to personally relate to this
song (the holiday, language, custom, food)?
Testing Group Music Assessment Test Identify: This test enables the T to keep track of
proficiency in a class environment in which
individual testing is not possible.
MUK4-E Jingle Bells w. Orff instruments Identify/Demonstrate: The S will play the
melodic instruments on the beat. The T asks
S to play high notes on the beat or low notes
on the beat. Optional: The T will help the S
transfer Orff instrument playing to another
song.
MUK2-C Celebrate Eid (if time) Demonstrate: All will sing the song and do the
MUK4-D movement.
MUK4-E
MUK1-A Nochebuena (if time) Demonstrate: S sing the song and play Orff
MUK1-H instruments to the beat of the song.
MUK3-B
MUK4-D
MUK4-E
52
Objectives
Give the assessment test (if needed). Explore a seasonal game. Demonstrate singing and
playing melodic instruments for seasonal songs. Demonstrate composing a mini song.
S will explore adding and subtracting with counters. S discuss why it is important to
respect people’s differences.
C10 Dreydl Game How does the Dreydl Game make the Dreydl Song
more meaningful?
RI Compose and Perform Look at everyone’s creations. How are they similar?
a Movement Song on How are they different? Do different compositions
Whiteboards make you feel a different way?
Testing Group Music Assessment Identify: This test enables the T to keep track of
Test (if needed) proficiency in a class environment in which
MUK4-E Dreydl Game Explore/Identify: S will learn about the Dreydl Game
MAK1-D and the meaning of the symbols. For this age level,
each S gets a dreydl and just demonstrates spinning
it while listening to recordings.
Supplemental Math Activity: The T uses the Dreydl s as
counters—adding, subtracting, and showing how to
split a pile in half.
MUK4-C Compose and Perform Demonstrate: The S as a class create a rhythm key
SSK-1 a Movement Song on and then create a song on the big whiteboard. For
Whiteboards example: The key could be triangle means clap,
square means stamp, and circle means pat your
head. After that, S will do their own. Students
pass out individual whiteboards. Before the magic
markers are passed out, the T goes over rules on
using them. S create their rhythm based on the board
key and then perform it for the class. Optional: S
could create their own key.
Social Studies Questions: How do personal preferences
affect your composition? Why is it important to
respect individual differences inside and outside
your community?
MUK2-C Celebrate Eid Demonstrate: Sing the song and do the movement. The
MUK4-D T will give an overview of Eid. Who are the people
MUK4-E that celebrate Eid? Where is it celebrated (many
different countries including the United States.)?
When is it celebrated (at the end of the fasting month
of Ramadan)?
MUK4-E Jingle Bells with jingle Demonstrate: Enjoy being together and singing with
bells and puppet shaking the jingle bells on the little beat (eighth
notes).
Objectives
Explore a seasonal story. Demonstrate songs and games. Discuss and explore the music
contrasts in holiday music. The T has a discussion on how animals change their envi-
ronment to survive.
CP Grizzly Bear How has our singing and playing Grizzly Bear
improved?
C10 Holiday Party Music What are some of your favorite holiday party songs?
What songs remind you of events in your life?
Musicians often create from their feelings. Compare
these song creations. Also, describe the way the
songs are performed.
MUK4-E Holiday Party Music: Enjoy listening to popular and traditional Holiday
Christmas, Hanukkah, music while playing games.
Eid, Kwanzaa
MUK4-E Dreydl Game Demonstrate: Continue the Dreydl game.
MAK1-D
MUK2-A Grizzly Bear Demonstrate: S will play the game.
MUK2-E Supplemental Science Activity: The T will lead a class
SCK1-A discussion on how forest animals make changes to
the world around them to meet their needs (food,
warmth). How would a Grizzly Bear change his or
her environment to survive?
- Story: Choice Explore: Give the S a relaxing, seasonal story time.
54
January
Kindergarten Routine
For Every Lesson
TABLE 2.9 Kindergarten Routine Semester 2
MUK1-A Javanese Walk: Use The Teacher (T) will establish an entrance routine as

instrumental music (S) enter the room quietly in-step, or if they’re already
like Degung. in the room, they line up and start walking, creating a
giant circle or oval. In this exercise S are experiencing
basic beat in a clock-wise direction. The T will use
Degung music or another calm, moderate-tempo
music. The T leads the walk and plays a finger cymbal
to the beat. The T can later mix it up by walking half-
note beats (giant footsteps), quarter-note beats (walk),
or eighth-note beats (tip toe or quick step).
without the music. When the T stops playing, everyone
must freeze.
MUK2-A Jambo (Hello) S will learn a greeting while standing in a circle and
MUK3-D doing the movement.
n/a Brain Break/Cool Down The T will give time to for the S to lie down or sit at the
end of the lesson. This is a good time to play quiet
music that could have something to do with the lesson.
n/a Exit Routine The T will establish an end of class routine and have the
S line up in an orderly fashion.
Objectives
Explore Teetee. Identify Ta and Rest. Demonstrate playing one sound—one syllable.
Demonstrate sequence in a song and performing in an ensemble with a classical piece.
CM Clap Tas and Rests How does this rhythm notation help us clap the
rhythms correctly? How can we change the rhythm
using the notation?
RI Bell Horses How does loudness and softness make the song
more exciting? How does the movement show the
expression for each section of the song?
MUK1-F Drum Name Game Demonstrate: S will play a drum, review classmates’
MUK3- C names, and relate the syllables in a name to a
LAK2-E rhythm. S pass a hand drum—during their turn they
MAK1-C say their name while patting on the drum the correct
syllables. Example: S says and pats Da-vid then all
say and clap Da-vid.
MUK1-A Carmen— March Demonstrate: S learn another famous classical piece. The
MUK2-E of the Toreadors T discusses what an opera is and what a toreador does
MUK4-B (appropriately) and S march in a clock-wise motion with
MUK4-D the Toreador music. The T encourages them to lift off
LAK1-A their pretend hat and say “Ole!” at the end of each section.
MUK1-E Starlight/Cloth Identify: S sing Starlight with handsigns and then
MUK3-D Heartbeats, change it to claps. The T focuses on the first line
Ta and Rest with the 4 Tas and identifies Ta and Rest in written
form. Step by step: The class will review patsching
and stepping the beat for the song. The T transfers
the cloth heartbeats to the board and turns them
into drawn heartbeats. All clap the first phrase. The
T makes one clap under each heartbeat and asks
how many sounds are in each heartbeat (one). The
T draws a vertical line under the first heart and calls
it “Ta.” Then the T finishes just the first phrase. For
“Rest” you open your hands in a silent shrug on the
beat. T can use a Z for a simple rest sign. Echo Ta/
Rest rhythms and compare them to rhythm notation.
n/a Class Rules The T discusses class rules and what happens if you
break them. Review the poster on the wall.
MUK1-E Bell Horses Explore: S learn the song and play the game. They
MUK1-F demonstrate galloping and clapping the words
MAK1-D (rhythm). Game: S gallop around in a circle. At “eat
your hay,” S jump down and pretend to eat their
hay. At “run away” S gallop back to their seat and sit
down. Discuss sequence in a song.
MUK2-F Story: There was Demonstrate: S listen to the story (T, use a puppet for
LAK2-C an Old Lady Who visualization if you have one). The T sings the story
LAK4-A Swallowed a Fly and encourages S to sing the repeated parts. Discuss
LAK5-A sequence in a song.
n/a Brain Break Scottish songs or Popular songs
56
Objectives
Explore Teetee. Explore swing while moving in twos. Explore the message of Martin
Luther King and sing a gospel song that he sang. Compose Ta and Rest rhythmic pat-
terns. Identify sequence. Demonstrate louder and softer and moving to a classical piece.
Discuss a wild horse’s place in the ecosystem. S can pretend they are horses in different
pastures and the class practices adding and subtracting them.
CE Ta and Rest Patterns How does writing the rhythms improve and refine our
performance?
C10 Come and Go With Me Where have you heard music like this before (TV, church)?
What events inspire using this music? How does the
music use loud or soft, high or low, fast or slow in its
expression?
MUK1-A Carmen Demonstrate: The T will go over the music and guide S

MUK2-E to identify louder and softer sections. The class will
MUK4-B review marching to the music.
MUK4-D
LAK1-A
MUK1-E Bell Horses Explore: S will clap the rhythm and review the movement.
MUK1-F S are exploring the Teetee rhythm.
MAK1-D Supplemental Math Activity: S can pretend to be horses
SCK1-B in different pastures and the class can do equations
with them.
Supplemental Science Activity: The T explains some
horses are tame and some are wild. What is wild horses’
place in the ecosystem? Discuss where they live, what
they eat, and how they contribute to the ecosystem.
MUK1-C Composing with Ta Demonstrate: S create their own rhythm patterns. First
MUK1-E and Rest patterns they clap and say (aurally), then in written form.
MUK3-E
MUK2-F Story: There was an Identify/Demonstrate: The S review and discuss with the
LAK2-C Old Lady Who T the sequence.
LAK4-A Swallowed a Fly
LAK5-A
MUK1-G My Bonnie Explore: S learn the song, S do the play in which a group
MUK1-I of S are on one side, a girl is on the other, and the space
MUK4-D between them is the ocean. As all sing “Bring back…”
the girl crosses the ocean on her pretend boat and the
group waves and gives her a hug when she lands on the
shore.
MUK4-C Come and Go With Me Explore: The class discusses Martin Luther King Jr. The
MUK4-D T finds out what the S know. The S learn the song for
MUK4-E Martin Luther King Day and talk about the lyrics.
n/a Brain break The T plays gospel songs like “Go Down Moses.”
Objectives
Explore a seasonal song for a holiday celebration. Explore and prepare for playing an
instrument on a special word. Identify swing while moving in twos. Identify improvis-
ing with words. Students will discuss basic human rights.
C11 Come and Go With Me How is knowing this song’s history make its performance
better?
PS Story: Lion Dancer How do the Lion Dancers choose the music for their
performance (style of music)? What factors will
determine their choice (tradition, instrumentation,
weather)?
MUK4-C Come and Go With Me Identify: S sing the song and improvise other things that
MUK4-D can be in that land. The T uses and discusses the word
MUK4-E “improvise.” Then the class will sing while practicing
SSK-3 a civil rights parade. T plays a tambourine on the
offbeats while all march in a circle.
Social Studies Questions: What are basic human rights
(food, clothing, shelter, education, and protection)?
MUK2-F Gong Xi Explore: The S will learn the song and hand movement.
MUK4-D Phrase 1: Point to smiling face. Phrase 2: Hold hands out.
Phrase 3: Swing folded hands left to right. Phrase 4
Swing folded hands up and down. Refrain: Swing folded
hands up and down with the beat.
MUK1-E Pease Porridge Explore: S learn song and hand movements. Hot: waving
MUK1-F hand at face. Cold: hold arms and shiver. Pot: make an
MUK3-A arch with clap on “pot” Old: comic, look tired, saggy,
MUK3- C and old.
MUK4-E Story: Lion Dancer: Explore: The T reads the story and the S learn about
LAK4-A Ernie Wan’s Chinese Chinese New Year celebrations in the United States.
LAK5-A New Year part one What time of the year is this holiday celebrated? Discuss
how, when big American cities have a large immigrant
population from China, there is a big celebration and
parade.
n/a Brain Break Lullabies from China
MUK1-G My Bonnie Identify/Demonstrate: S review the song and activity.
MUK1-I S will feel the swing in their arms while moving in twos.
MUK4-D The T discusses the phrase “swing while moving in
twos.”
58
Objectives
Explore Teetee. Identify replacing a word with movement (instrument). Identify sea-
sonal celebration. Demonstrate performing in an ensemble. Demonstrate rhyming
words and faster and slower. S will match two-dimensional images with their matching
three-dimensional images.
PR Pease Porridge w. instruments How do we make this performance even better?

RE Gong Xi What other ways could we perform this song?
MUK2-F Gong Xi Demonstrate: The S will perform the song.

MUK4-D
MUK1-E Pease Porridge w. instruments: Identify/Demonstrate: The S first show they
MUK1-F S will replace hand movements know the rhyming words. Then the S will
MUK3-A with pretend instrument take out saying the words “hot, cold, pot,
MUK3- C movements. old” and replace them with movement. Then
MAK2-B Hot: pat drum the T demonstrates replacing the word
Cold: play a triangle with real instruments. The T continues to
Pot: play woodblock demonstrate with one S on each instrument,
Old: play cymbal. then adds more. Eventually all S get to play an
instrument for the song (see game detail).
Supplemental Math Game: The T gets two-
dimensional drawings of instruments and
finds three-dimensional drawings of the same
musical instruments. The T displays the three-
dimensional pictures and invites S to take
the two-dimensional drawings one at a time
and match them to their three-dimensional
counterparts.
MUK1-B Engine Engine Demonstrate: S will learn the chant, make a
MUK1-F train, and chant and walk the rhythm while
reviewing different tempos (medium, slow,
fast). Additional: S can clap the rhythm in
preparation for Teetee.
MUK4-E Story: Lion Dancer: Ernie Wan’s Identify/Demonstrate: The T reads the last
LAK4-A Chinese New Year part two half of the story. S discuss the parts and ask
LAK5-A questions. The T uses the phrase “seasonal
celebration.”
n/a Brain Break Lullabies from China
February
Objectives
Explore for swing your partner and contra line dance. Explore a skipping rope rhyme.
Identify Teetee and sache (side gallop). Demonstrate performing in an ensemble and
using instruments to do big beat–little beat. Demonstrate (practice) a song in a different
language. Compose instrumental music for a Lion Dance. S will experiment with caus-
ing objects to change direction. S will discuss weather in a song.
CI Sache (step-slide) How does movement help us understand the skipping

rhythm?
PA Engine Engine How does understanding the rhythm (Tas and Teetees)
help us perform more accurately?
MUK1-A Cinderella: Cinderella Explore: S learn the chant. The T identifies this as a

MUK2-A dressed in yella’ skipping rope rhyme. After saying the chant, the T
LAK4-A went upstairs to plays a steady slow beat on the tympanum a number
MAK1-C kiss a fella. Made a from 1 to 10. S raise their hand to guess the number
MAK1-E mistake and kissed played. The first S who answers correctly comes up,
a snake, how many chooses for everyone to either talk, sing, whisper,
doctors did it take? or little-shout the poem. Then the S must think of a
number between 1–10. The class chants and then that
S plays that number on the tympanum. This same S
gets to choose a S who is raising their hand to guess
the answer.
MUK1-B Engine Engine Identify: S will learn the rhythm Teetee. Step by step: S
MUK1-F clap the song. The T draws 4 hearts and the class
SCK3-B claps the first phrase. The T claps the rhythm under
each heart and asks how many claps are under each
heart. The third heartbeat has 2 claps. T calls the new
rhythm under the third heartbeat Teetee.
Supplemental Science Activity: The T will ask the S
how we could change the direction (trajectory) of a
train going down a track. What could we build in the
classroom (ramp, bank?) that would alter where our
pretend train would go? Use a toy train and blocks to
experiment.
MUK1-D Sache (step-slide) Explore/Identify: S will explore for contra-line dance.
MUK3-E The T uses the word “sache” and shows S how to sache
LAK5-A (side-ways gallop). The T invites 1 S to sache, then 2
S to face each other, hold hands, and sache back and
forth. The T beats on a drum the gallop rhythm to
help. Finally S line up in a row and take turns to sache
across the room with the drumbeat.
MUK3-D Ammassee Explore: S learn the song, discuss the meaning.
LAK4-A
(Continued)
60
MUK2-F Kang Ding Love Song Demonstrate: S listen to the song, discuss the story, sing
LAK2-C as a group.
LAK4-A Supplemental Science Activity: The T will lead a class
LAK5-A discussion on types of weather and how weather
SCK2-A changes over time. What is the weather like in the
song? How do you know?
MUK2-F Gong Xi with Demonstrate: S sing the song and on the refrain,
MUK3- C instruments play instruments on the beat. Alternate: S will play
MUK4-D percussion instruments on the Ta beat (big beat) of the
verse and the Teetee beat (little beat) of the refrain.
MUK1-I Compose an Demonstrate: S will compose with percussion and
MUK2-CtoE accompaniment melodic instruments to create their own music for a
MUK3-BtoC for a lion dance pretend lion dance. The T will remind them the style
of music is for a parade and play an example.
Objectives
Identify swing your partner and contra dance. Demonstrate beat and rhythm simulta-
neously. Demonstrate Teetee in written form. Demonstrate skipping rope rhyme and
sequence. S will review single and plural names of different animals.
RI Sache and Swing How do you make these movements more expressive
(fast and slow, accuracy, etc.)?
PI Ammassee What expressive qualities do you notice in the song?
MUK1-D Sache and Swing Identify: The T reviews sache and adds “swing your
MUK3-E partner.” The T models with a S then adds more
LAK5-A S to try.
MUK3-D Ammassee Identify: S will sing and do the contra dance. The T will
LAK4-A use and explain the phrase “contra dance.” All S dance
using partner sache and swing.
MUK1-B Engine Engine Demonstrate: S will review the activity and take turns
MUK1-F walking the heartbeat while clapping the rhythm.
Do different configurations. One S walk while the
rest clap, half the class walks, half claps. The end
result is S learn to walk the beat and clap the rhythm
simultaneously.
MUK1-E Pease Porridge Demonstrate: S will review the chant, clap the rhythm
MUK1-F (without instruments). Remember the rest is open
MUK3-A hands. The T will translate the clapping into written
MUK3- C notation on the board.
MUK2-F Story: Bought Me a Cat Demonstrate: S will listen to the book and gradually
LAK2-C learn to sing along with the repetitive parts of the
LAK4-A story. All will discuss the sequence.
LAK5-A Supplemental Language Arts Activity: The T writes the
LAK5-D animal names on the board. How do you say the word
if there are more than one of the same animal? How
do you write it? The T invites students to come up and
add the s’s.
MUK1-A Cinderella Demonstrate: S will review the chant and activity.
MUK2-A
LAK4-A
MAK1-C
MAK1-E
62
Objectives
Explore Mi Sol La and Mi Re Do. Identify how to give feedback on skipping properly.
Demonstrate the dance and compare the 2/4 feel with the 6/8 feel of another song.
Demonstrate improvising lyrics and in-tune singing.
C10 I Love My Little Rooster What can you relate in your own life to the feeling
in the song?
RI Tideo As you sing the song, what are some ways a
performer will interpret the movement for the
song (based on the music and lyrics)?
MUK3-E Buffalo Gals (skip) Identify. S will skip to the song. The T shows how
LAK4-A to skip and has individual S demonstrate. T
plays a drum alternating between skipping and
walking beat and S demonstrate. Finally,
S dance to the recorded music while the T calls
out when to walk and when to skip.
MUK3-D Ammassee Demonstrate: S will dance and sing Ammassee
LAK4-A as a class. They will compare and describe the
difference between the feel of Ammassee and
My Bonnie.
MUK2-F Story: I Love My Little Rooster Demonstrate: The T sings while the S listen as
LAK2-C they gradually learn to sing along with the
LAK4-A story. S will improvise lyrics.
LAK5-A
MUK1-F Tideo Explore: S will learn the song and hand
MUK2-C movement. This is in preparation for reading
MUK3-D Mi Sol La.
n/a Brain Break: Children’s Songs Play different songs from around the world.
from Around the World
MUK2-F Bought Me a Cat Explore/Demonstrate: S will review the song
LAK2-C while practicing in-tune singing. This song will
LAK4-A prepare the S for Mi Re Do.
LAK5-A
Objectives
Identify and demonstrate moving circle game. Demonstrate proper skipping.
Demonstrate Ta and Teetee and in-tune singing. Celebrate Dr. Seuss with a recorded
“musical” chant. Demonstrate writing the rhythm of known songs.
PI I Love My Little Rooster How can you sing this song with feeling?
CI Green Eggs and Ham What makes a story musical? How does this story
inspire music ideas or vice versa?
MUK3-E Buffalo Gals Demonstrate: S will review the movement with

LAK4-A the recording. The T will review with the
students on how to evaluate the skipping.
MUK2-F I Love My Little Rooster Demonstrate: S will review and demonstrate
LAK2-C in-tune singing
LAK4-A
LAK5-A
MUK1-B Writing and Composing Demonstrate: S will be writing known song
MUK1-F Songs: Engine Engine, rhythms and composing new rhythm patterns
LAK2-A Tideo, Starlight they can set to words.
MUK1-F Tideo Identify/Demonstrate: S will play the moving
MUK2-C circle game. The T will use the phrase “moving
MUK3-D circle game.” Demonstrate Ta and Teetee.
MUK2-F Story: Green Eggs and The class will celebrate the birthday of Doctor
LAK2-C Ham (recording) Seuss by reading the book as a class while
LAK4-A listening to the audio version of the story (done
LAK5-A with instruments and rhythmic poetry).
64
March
Objectives
Explore and Identify a line game and different nursery rhymes. Demonstrate a mov-
ing circle game. Demonstrate composing rhythms and improvising lyrics. S learn more
about the cultural aspects to songs and rhymes. S will discuss how moving people and
goods changes over time.
K 25 ABB Activity Example Questions
RS Old Brass Wagon Which movement in this song do you prefer? Why?
What is your favorite movement song? Why?
RA King’s Land How is Ta and Teetee used in the song “King’s
Land”?
MUK1-A Walk Daniel Demonstrate: The S follow the T around the circle

MUK3-D and do the movements. S do the motions and
LAK4-B start singing more as they understand the word
“repetition.”
MUK4-C Old Brass Wagon Demonstrate: S will learn about the pioneer wagon
MUK4-D and emulate the wagons by holding hands and
LAK3 moving in a circle. T discusses and draws on the
LAK5-A board to show what a wagon looks like. T starts
SSK-6 with 4 S and ends with entire class.
When was it popular to travel across the country
in a wagon? Where were people headed? What
were the people called that traveled to go find a
new home?
Social Studies Questions: Give an example of how
things change over time (how people and goods
move from place to place).
MUK1-B Compose various rhythms Demonstrate: S will review writing Engine Engine
MUK1-F with Ta, Teetee, and Rest. then the T models how to make a new rhythm
MUK4-C pattern. S come up to the board to make their
own rhythms. All S try clapping and saying the
rhythms on the board. S will explore adding
words to the rhythm.
MUK2-F Story: Mother Goose Explore/Identify: The T and S sing some of the
LAK2-C nursery rhymes.
LAK4-A
LAK5-A
(Continued)
K 25 ABB Activity Example Questions
MUK2-C King’s Land Setup: The King Explore/Identify: S learn the song and play the
LAK1-A is supposed to be in game. The T will discuss why this is a line
LAK4-B Boston but he’s not. He game. Villagers line up on one side. The King
sees the Villagers making (Queen) and the castle door (2S) are on the
fun of him and will try to other side. As S sing the song, they walk into
catch them. If he catches the land between, sing in a mocking voice, and
a Villager, they become a make rude movements (like donkey ears). They
servant and must help the must move forward but never back When the
King catch more Villagers. King thinks they’re close enough, he makes the
T can add more to the charge motion, the castle doors open, and the
story (e.g., the King takes King tries to tag at least 1 Villager. Villagers run
too much money in taxes back to the safe line. Game is repeated until
from the Villagers and time runs out or the sides are pretty even. T
that’s why they don’t like counts the S on each side and the larger number
him). wins. For more information on this game go to
Resources/National Recess Week.
MUK2-A Take Your Feet Out the Sand Demonstrate: The T sings the song, asking for S to
MUK3-D add more things to take your feet out of (water,
LAK5-AtoC snow, glue, etc.) As S sing they pretend to pull
their foot out of the material.
6
Objectives
Explore the swing rhythm for future notation Ta Tee Ta Tee. Demonstrate improvising,
swing while moving in twos and composing rhythms. Demonstrate a moving circle and
singing nursery rhymes. The class will discuss how sunlight affects the earth’s surface.
RA Compose various rhythms Demonstrate more than one example of a

rhythm pattern. How does one use
Ta, Tee, and Rest?
CP Take Your Feet Out the Sand When is creative work ready to share?
MUK1-G Mulberry Bush Demonstrate: The T sings the song, takes a

MUK2-A small group and demonstrates the circle
MUK3-D game. Then all the S try the movement
LAK4-C and come up with ways to improvise the
words.
MUK1-B Compose various rhythms with Ta, Demonstrate: The S compose rhythm
MUK1-F Teetee, and Rest patterns.
MUK4-C
MUK1-G Tisket a Tasket w. puppet Explore: The T uses a puppet to teach the
MUK4-E song. S will swing while moving in 2s.
LAK5-B S will eventually learn the swing rhythm
Ta Tee Ta Tee.
MUK4-C Old Brass Wagon Demonstrate: S play the circle game and
MUK4-D improvise actions in the movement.
LAK3
LAK5-A
MUK2-F Story: Mary Had a Little Lamb book Demonstrate: The class will read and sing
LAK2-C this nursery rhyme.
LAK4-A
LAK5-A
n/a Brain Break Hear more nursery rhyme songs
MUK2-A Take Your Feet Out the Sand Demonstrate: The class will play this song
MUK3-D game.
LAK5-AtoC Supplemental Science Activity: The T will
SCK2-C lead a class discussion on how sunlight
affects the earth’s surface. Imagine
your feet are in the sand, would it feel
hot, warm, or cold? What about soil or
in a lake? What does the sun do to the
surface? What about if there’s shade? Say
the ocean is warm in August on a sunny
day? Is it still warm on a cloudy day? Why
or why not?
Objectives
Explore Sol and Mi. Identify the swing rhythm Ta Tee Ta Tee. Demonstrate improvis-
ing swing while moving in twos. Demonstrate evaluating different versions of a song.
Demonstrate a line game and beat.
CM Tisket a Tasket, Ella Book How did Ella Fitzgerald change the Tisket a Tasket
and CD song?
CE Mulberry Bush How do we make our “performance” of Mulberry Bush
better (singing, moving, improvising)?
MUK1-G Mulberry Bush Demonstrate: The S demonstrate the circle game,

MUK2-A moving in twos, and improvising.
MUK3-D
LAK4-C
MUK1-G Tisket a Tasket Explore/Identify: S will review the song and play the
MUK4-E circle game. The T and S will clap the rhythm to
LAK5-B figure out the pattern Ta Tee Ta Tee.
MUK2-F Story: Tisket a Tasket, Demonstrate: S will learn the story of this song with
LAK2-C Ella Book and CD picture, words, and music. The T and S discuss
LAK4-A the title and who Ella Fitzgerald is. The T plays the
LAK5-A Fitzgerald recording while showing the pages of
the book.
MUK1-A Hi My Name is Joe Demonstrate: The objective is for S to use their
LAK4-A physical body to feel the parts of the song and
MAK2-C coordinate the movements.
MUK2-C King’s Land Demonstrate: S will play the game.
LAK1-A Optional Science Activity:
LAK4-B The Teacher will lead a class discussion on how we all
SCK2-D (the Villagers) could protect ourselves from getting
overheated on the King’s Land. What could we build
or bring? Could someone draw a picture of it on the
whiteboard?
68
Objectives
Explore Sol and Mi and partner dance. Identify higher and lower and the dance move
called the basket. Demonstrate listening to a different version of a song. Demonstrate
beat. S will discuss needs versus wants.
PS Seesaw Which movement do you prefer to demonstrate the

rhythm in the song?
PA Draw a Bucket of Water How do the lyrics help with the performance?
MUK1-F Seesaw Explore/Identify: This is in preparation to read and sing

MUK2-C Sol and Mi in first grade. The T and S discuss how the
seesaw movement could go. S will be encouraged
to come up with different ways to show a seesaw
movement. Example: Move your head, your shoulders,
arms, legs, like a seesaw, etc. The T guides them to
make a seesaw movement with partners as they sing
the song. The T talks about high sounds and low
sounds in the song Seesaw. S stand for the high note
and sit for the low note.
MUK3-D Draw a Bucket of Water Explore/Identify The T sings the song, shows the weave
LAK4-A movement with 1 S, then 3 S, then T breaks the class
into 4’s for everyone to try the dance movement. Who
might have made up this song and why? Is the bucket
a need or a want?
MUK2-F Story: Tisket a Tasket, Demonstrate: The class will review the book and
LAK1-B Ella Book and CD recording.
LAK2-C Social Studies Questions: What is the difference between
LAK4-A needs (food, shelter, clothing) and wants (television,
LAK5-A yacht)? What are some examples? Is the basket in the
SSK-7 story a need or a want?
MUK1-A Hi My Name is Joe Demonstrate: The objective is for S to use their physical
LAK4-A body to feel the parts of the song and coordinate the
LAK5-E movements.
MAK2-C Optional: The T shows a list of words and sees if the S
can identify which prefixes or suffixes (un-, -ful, -ed)
work (dance, stomp, perform, walk, use, happy, tie,
lucky, look, play, clap, like, hope, color, care, thank).
MUK3-D Come My Little Darling Explore: S will learn the song and have a group of 8
demonstrate this partner dance in front of the class.
April
Objectives
Explore Sol Mi, form, and phrasing. Explore singing rounds. Identify conducting.
Demonstrate louder and softer. Demonstrate the basket dance move and rhythm pat-
terns Ta, Teetee, and Rest. Demonstrate (practice) for a performance. S explore greater
than and less than using seesaw imagery.
PA Eine Kleine Nachtmusik How does your conducting show loud and soft in the
song?
CM Ta Sticks How do you decide which rhythm goes where? How
can you test your creation to make sure it’s musically
pleasing?
MUK2-A Sally Go Round the Sun Explore: S will follow the visuals on the board (sun,
MUK3-D moon, chimney pot, boom!) and learn the song. The
LAK2-C T takes a small group and demonstrates the moving
circle game. This is preparing for Sol Mi and rounds.
MUK1-H Eine Kleine Nachtmusik Explore/Identify/Demonstrate: The class will explore
MUK2-E form and phrasing and learn to conduct the dynamics
MUK4-B (louder and softer). The T will give introductory
information about Mozart.
MUK4-D When Johnny Comes Demonstrate: S will learn this patriotic song from the
MUK3- C Marching Home Civil War. Discuss the song background and how it
pertains to our modern soldiers and their families
today.
MUK1-F Seesaw Explore: The class will review the activity. S will explore
MUK2-C Sol and Mi.
MAK1-F Supplemental Math Activity: The T can use seesaw
imagery to explore greater than, less than, or equal to
math concepts.
MUK3-D Draw a Bucket of Water Demonstrate: The class will review the dance.
LAK4-A
MUK1-F Ta Sticks Demonstrate: S will transfer drawing rhythms on the
MUK4-C board to manipulatives on the floor. S work alone or in
groups to create rhythm patterns. The T oversees and
discusses compositions.
70
Objectives
Explore for form and phrasing. Explore for singing rounds. Identify descriptive words.
Demonstrate conducting. Demonstrate (practice) for a performance. Demonstrate tran-
scribing rhythms of songs previously learned.
RE When the Saints Go Marching Do you prefer clapping on the beat or off the beat
In for this song? Why?^
CI Sally Go Round the Sun How many parts are in the song? Describe creative
details (rhyming words, placement of boom). How
did someone create a song like this?
MUK2-A Sally Go Round the Sun Explore: All S do the moving circle game and
MUK3-D prepare for form and rounds.
LAK2-C
MUK1-H Eine Kleine Nachtmusik Demonstrate: S will review the song and conducting.
MUK2-E
MUK4-B
MUK1-BtoD Group Explore/Identify: S experience using words to
MUK2-CtoE Exploration: Descriptive describe characteristics of music. Go to Appendix/
Music Words part one Group Exploration: Descriptive Music Words for
the lesson instructions and suggested popular and
classical music examples.
MUK2-F Story: This Land is Your Land Demonstrate: S will learn this American folk song.
LAK2-C The T and S will sing the story, and discuss the
LAK4-A lyrics.
LAK5-A
MUK4-D When Johnny Comes Marching Demonstrate: S will review the song. S will get to
MUK3- C drums play drums and march around while singing.
MUK4-D When the Saints Go Marching Demonstrate: S will learn the song, discuss the
MUK3- C In history and try clapping on the off beat (2 and 4).
MUK1-F Ta sticks Demonstrate: S will work on transcription skills.
MUK4-C S take Ta sticks and write Engine Engine, Bell
Horses, Seesaw, and Starlight.
F I G U R E 2 . 3 This Land is Your Land

72
Objectives
Identify contrary motion and round. Demonstrate (practice) for a performance. S will
discuss Earth Day and how to help the environment. S will determine places in a song
on a real map. S will point out landmarks like bodies of water and mountains.
PR Sally Go Round the Sun How do we know this performance is ready for an
audience?
PP When the Saints Go What is the manner a song like this is performed? What are
Marching In the reactions by the audience? Is this a rev up song or a
cool down song?
ABB ACTIVITY EXAMPLE QUESTIONS
MUK2-A Sally Go Round the Sun Identify: S will learn contrary motion and to sing and move
MUK3-D in the form of a round. S will learn those vocabulary
LAK2-C words. T creates two circles, one inside the other. T
guides the inner circle and demonstrates moving and
singing the song. Then T joins the outside circle. The
inner circle sings and moves as instructed and outer
circle sings and moves the opposite way after the first
phrase of the inner circle. The song is staggered and the
circles stop at two different times.
MUK3-D Come My Little Darling Demonstrate: All S sing the song and do the dance.
MUK4-D This Land is Your Land Demonstrate: All S sing the song
SSK-4
Social Studies Questions: Can you locate on a map where
the story in a song takes place? Can you find the area
where the composer of the song may have come from?
Can you point out bodies of water and mountains on a
map?
MUK4-D En La Primavera Demonstrate: S will learn the song and meaning in English.
MUK4-E Demonstrate the movement (sing, jump, sleep).
MUK2-F Story: America the Demonstrate: S will sing the story while S see the pictures
LAK2-C Beautiful and sing along. Where is this song from? Can you guess
LAK4-A the inspiration to make the song? The T discusses the
LAK5-A composer and lyricist.
SCK1-C Supplemental Science Activity: Think about Earth Day and
discuss solutions to help the environment.
MUK4-D When the Saints Go Demonstrate: The T will help the S sing the song while
MUK3- C Marching In marching with drums and tambourines.
F I G U R E 2 . 4 America the Beautiful. See Online Support to get free printable color image.
74
Objectives
Demonstrate descriptive words. Demonstrate for a performance.
CM Group Exploration Can you identify the music using the

vocabulary words?
CP Come My Little Darling When is this performance ready? What
needs to happen?
n/a T organizes S jobs for assembly Demonstrate: The T picks out drummers

and concert. and dancers (Total Grade count: 8
dancers, 8 kazoo players [if you have
kazoos], 8 drummers). The T chooses
S but announces the S picked during
the next lesson. Note: If your classes
are small enough and you have enough
instruments, you can have everyone play
instruments and dance.
MUK4-D When Johnny Comes Marching Demonstrate: S will explore for the concert.
MUK4-E Home, Come My Little Darling, Demonstrate singing, standing in place
MUK3- C En La Primavera, America the and doing the movements.
SCK1-D Beautiful, This Land is Your Land, Optional Science Activity: The T will
When the Saints Go Marching In lead a class discussion on what we
as individuals can do to make our
environment better.
MUK1-BtoD Group Exploration: Descriptive Demonstrate: S will continue using
MUK2-CtoE Music Words part two words to describe the characteristics
of music. Go to Appendix/Group
Exploration: Descriptive Music Words for
the lesson instructions and suggested
popular and classical music examples.
May
Objectives
Explore concepts for the assessment test. Demonstrate (practice) for a performance.
C10 Explore for Assessment Test Demonstrate your awareness of music

contrasts. What vocabulary do you use? What
do they mean?
RS This Land is Your Land Why is this song so popular? Why is it that
all different types of people choose this
song over and over for sing alongs and
performances (lyrics, melody)?
Overview Explore for Assessment Test. Explore: The class will review concepts for
the test as needed. The T uses the Group
Exploration Lesson and Assessment Test
pages for reference.
MUK4-D When Johnny Comes Marching Demonstrate: S will Explore for the concert.
MUK3- C Home The T will have drummers demonstrate with
the song.
MUK3-D Come My Little Darling Demonstrate: Explore for the concert. The
dancers will demonstrate with the S.
MUK4-D En La Primavera Demonstrate: Explore for the concert. S will sing
MUK4-E and perform the movement.
MUK4-D America the Beautiful Demonstrate: Explore for the concert. All
S demonstrate the hand signs.
MUK4-D This Land is Your Land Demonstrate: Explore for the concert.
MUK4-D When the Saints Go Marching In Demonstrate: Explore for the concert. The
MUK3- C drummers demonstrate with the S.
76
Objectives
Identify concepts in the assessment test. Demonstrate (practice) for a performance.
Demonstrate round. S will discuss the importance of American symbols.
PP Explore for the Concert Are these songs ready to perform? Why or why
not? How will the audience respond?
PS Row Your Boat What is a round? If people want to sing a round
they often select this song. What makes this
song so easy to make it into a round? What
other songs make a good round?
MUK4-D Explore for the Concert. Demonstrate: for the upcoming concert.
MUK4-E Songs: When Johnny Comes Social Studies Questions: Discuss how American
MUK3- C Marching Home, Come My symbols are important (flag, patriotic songs,
SSK-2 Little Darling, En La Primavera, Statue of Liberty).
America the Beautiful, This
Land is Your Land, When the
Saints Go Marching In
MUK2-A Row Your Boat Sing the song as a round using pictures on the
board to guide the two groups.
Objectives
Identify the assessment test (if needed). Identify (perform) clock numbers with spe-
cific instruments, relate clocks to other songs or experiences. Demonstrate a round.
Demonstrate beat, compare beat with clocks, time, and counting. S will sing a song
about numbers and animals. The class will discuss popular music choices.
CP Chicama, Chicama Craney Crow Is this song ready to share? Are all the parts
working?
C11 Dance Music Choices How do the things in your school life and home
life affect your response to music? For example,
your Mom likes Michael Jackson music so you
grow to like it, too. Or your Mom likes Michael
Jackson music and plays it all the time. You get
tired of hearing it and you end up not liking it.
RS Dance Music Choices List types of music you like and tell why you like
some music over others. How do you choose
your music?
(if needed) proficiency in a class environment in which
MUK2-A Row Your Boat Demonstrate: S will sing a round. S will break into
two groups and the T will conduct the round.
MUK1-A Chicama, Chicama Craney Crow Identify/Demonstrate: S will become a giant clock
LAK4-A with each one playing their instrument but only
MAK1-B on their number. First, the S learn the song
MAK1-E using the picture poster. Then, the T shows the
circle of instruments that is sectioned like the
numbers on a clock. There are 24 instruments,
2 for each number (12 groups). This is so
everyone can participate at the same time. Each
S pair wears a number around their neck to
designate their position. The S are assigned an
instrument and sit in the circle. The T goes to
the center and shows that his/her straightened
arm is the little hand and will point and rotate in
the song. All will now sing the song with each S
playing on their number. This is a very dynamic
activity that can be done standing or sitting.
MUK2-F Story: Over in the Meadow Demonstrate: The S will learn the song while
LAK2-C reading the book. The S discuss the numbers
LAK4-A and locate the number of animals on each page.
LAK5-A
MAK1-E
n/a Dance Music Choices The T finds out what popular songs the students
like and discusses with them why they like
them. Later the T will add some of them in a
party tape.
78
F I G U R E 2 .5 Chicama, Chicama Craney Crow. See Online Support to get free printable color image.
Objectives
Demonstrate locating, counting, and classifying animals. Enjoy choosing favorite songs
and games from the previous year and move to popular music.
RS Choice Day What are your favorite songs and games from this
past year?
C10 Story: Over in the Meadow In this song there is a relationship between the
mother animal and the baby animals. What is the
relationship like? How does this song connect to
your real life experience?
n/a Choice Day Students each choose an activity to do based on

music classes during the entire year. Teacher will
do them on the last class in order as time allows.
MUK2-F Story: Over in the Meadow Demonstrate: S will demonstrate locating, counting
LAK2-C and classifying animals.
LAK4-A
LAK5-A
MAK1-E
n/a Dance Party Students get to dance to some of their popular music
choices. Have Fun!
Suggested Activities
Create a lesson plan with at least one activity that includes a math or science coded con-
cept. Teach it to your class.
Create a lesson plan with at least two activities that include the new music stan-
dard’s type of questioning and use them in your class.
Scenario: Your class period per week does not allow you enough time to test indi-
vidual students, however your school requires individual grades. Describe how the
included assessment test accomplishes that. What other ways can you adapt group test-
ing to pull out the individual performances of each child?
Use a matrix to improve your lessons and pacing.
Kindergarten Resources
This grade level resource includes:
Assessment test
Concept matrix
Grade songlist both in consecutive and alphabetical order
80
Kindergarten Group Music Assessment Test

Test Date_____ Classroom Teacher __________________ Class Size____________
Music Teacher Instructions:

This Group Test gives an approximate figure of how many students can demonstrate
the following 18 skills (1–12 showing, 13–18 describing). These skills are based on the
Music Coded Concepts. Some skills the teacher can evaluate visually (jumping). Some
skills the teacher will initiate a class discussion. The teacher gives instructions on what
to do but does not demonstrate. The test should be conducted two times during the
school year. Teachers should feel free to adapt the test to their own curriculum and
expectations. B, P, and A are PASSING GRADES. PG is a red flag that the teacher needs
to reteach the skill and N a low grade on cooperation and behavior. The aim of this
testing style is to keep track of improving proficiency in a class environment in which
This test is given at the end of each semester. It can be done all at one time or broken
up into sections and given at different times as per the teacher’s preference. Composition
and Improvisation assessments are not covered here but within projects done during the
semester.
N: Needs Improvement—5% of the class physically and verbally engaged with few
mistakes
PG: Progressing—25% of the class physically and verbally engaged with few mistakes
B: Basic Skill—50% of the class physically and verbally engaged with few mistakes
P: Proficient Skill—75% of the class physically and verbally engaged with few mistakes
A: Advanced—95% of the class physically and verbally engaged with few mistakes
Page 2
Observation Evaluation: Mark the appropriate number of students in each box for grade.
Example: Students clap the rhythm of Starlight as a group. Out of 20 students the break-
down observed was as follows: 4 clapped with almost no mistakes, 15 clapped with a few
mistakes, 1 clapped with many mistakes. At least 75% of the class performed the skill
with few mistakes so the class grade is PROFICIENT. Write the number of students in
each category as you test. You may need to request a teacher’s aide to assist in the testing.
TABLE 2.10 Kindergarten Observation Assessment
Kindergarten Standard for Assessment N PG B P A Grade
1 Sing a song in tune with expression and phrasing. Use

Starlight or another familiar song.
Echo a two-measure pattern of melody that contains

Sol La Mi using oohs.
2 Sing with a conductor following the changes in tempo and
dynamics. Use Starlight, Bubblegum.
Mime Starlight lyrics with hand motion but without singing,

keeping in time with the song (inner hearing).
3 (optional) Sing a round with Row Your Boat or Sally Go
Round the Sun.
4 Move with the beat. Patsch the beat for Starlight.
5 Instrument Performance: Play a steady beat with Starlight.

Play instruments properly.
6 Move with rhythm. Clap the rhythm for Starlight/Twinkle.
Echo a two-measure pattern of rhythm that contains Ta,
Teetee, or Rest using clapping.
7 Instrument Performance. Play an accurate rhythm with
Brother John or Starlight. Play instruments properly.
8 Instrument Performance. Play properly with accurate
dynamics while following the conductor. Use Twinkle.
9 Movement-Individual Activity Do the following movements
as instructed with a drumbeat.
Walk, Run/jog, Tip toe, Jump, Hop, Skip

10 Movement-Group Activity (30–60 second segments)
Sitting circle with Follow Me. Standing circle with Here

Comes a Bluebird. Moving circle with the Nutcracker March.
Moving in place with Starlight or Celebrate Eid. Moving in
space with Walk and Stop.
(Continued)
82
TABLE 2.10 Continued
Kindergarten Standard for Assessment N PG B P A Grade
11 Preparation for Reading and writing rhythm. (2nd sem)

Aural: Listen to example rhythms and identify by saying in
rhythm using the correct syllables (Ta, Teetee, Rest).
Written: See the rhythms on the board and clap and say in

rhythm the correct syllables (Ta, Teetee, Rest).
12 Preparation for Reading and writing melody (2nd sem)
Aural: Listen to example melodic patterns and identify by
saying the solfege correctly.
Written: See the solfege on the board and sing it with the

proper intervals (Sol-Mi, or Sol-L a-Sol-Mi, etc.).
Totals
Page 3
Discussion Evaluation: Mark the appropriate number of students in each box for grade.
Example: Students listen to four different music excerpts (piano concerto, salsa music,
choir, march). Out of 20 students the breakdown observed was as follows: 10 engaged
(raising their hand, discussing, using correct vocabulary), 7 listening but not raising
their hands, 3 not paying attention. At least 50% of the class was engaged so the class
grade for this skill is BASIC. Write the number of students in each category as you test.
You may need to request a teacher’s aide to assist in the testing.
TABLE 2.11 Kindergarten Discussion Assessment
Kindergarten Standard for Assessment Two N PG B P A Grade
13 L
isten to a recorded performance and give observations
and opinions.
14 E
valuate two varying recorded excerpts. Compare and
contrast using vocabulary words or their own. Give a
time limit (5 minutes).
15 Analyze: Listen to 4 varying music excerpts (can include
the same as in skill 14).
Be able to describe 3 details of at least 2 of the music
pieces (using vocabulary words or their own). Also
describe style, voice, and instrumentation (10 minutes).
16 Recall:
What other arts are related to music (dance)?
What music did we learn that is called classical music
(Nutcracker) or opera (Carmen) or popular music?
What music did we learn that is from a different country
or is in a different language (Nochebuena, Mi Cuerpo)?
What songs did we learn that are a dance?
17 D
iscuss the relationship between music and other arts
and disciplines.
Music and Stories (language, events, places, people)
Music and Reading (words, notes)
Music and Math (counting)
Music and Science (nature themes)
Music and Arts (dance, painting)
18 Describe 4 music excerpts in relation to culture and
history and by their differences and similarities in
rhythm, instrumentation, and vocals.
Identify music by genre or style (classical, rock)
Identify music by culture (latin, hip hop)
Discuss how you use music in your life and describe the
differences in the music (sleeptime-lullaby, soft, slow,
party-dance music, strong beat, loud, etc.)
Totals
84

Page 4
NOTES: (mark down individual students consistently getting A or N)
Kindergarten Concept Code Matrix
Kindergarten General Concepts in Progressive Order
MUK Music Kindergarten Standards

LAK Language Arts Kindergarten Standards
MAK Math Kindergarten Standards
SCK Science Kindergarten Standards
SSK Social Studies Kindergarten Standards
TABLE 2.12 Kindergarten Music Concepts by Lesson
MUK1 Beat/Rhythm Lesson
MUK1-A Beat 1,3–9,11,12,14,17,18,21,25,27,28,35

MUK1-B Tempo (fast/slow) 2,3,4,7,10,12,20,21,22,24,25,26,30,
32
MUK1-C Stop/go (sound/silence) 1,2,4,10,12,18,30,32
MUK1-D Note duration (long/short) 4,8,9,10,11,12,21,22,30,32
MUK1-E Rest 1,2,6,7,17–20,22
MUK1-F Rhythm (feeling quarter, eighth and sixteenth 1–10,17–26,28,29
variations)
MUK1-G Moving in 2s, 3s, and 4s and swing. 2,3,5,8,9,17,18,26,27
MUK1-H Conducting, Inner hearing 11,12,14,29,30
MUK1-I Increased subtlety in rhythmic changes 17,18,21
MUK2 Melody/Singing
MUK2-A Group singing (includes ostinatos, partner songs, 1,2,3,5–10,16,21,22,25,26,27,29,30,

rounds, timbre) 31,33,35
MUK2-B Individual singing 5,6,
MUK2-C Pitch (high/low) 2,3,4,5,6,7,8,9,10,11,12,14,15,21,23,
24,25,27,28,29, 30,32
MUK2-D Note duration (legato/staccato) 10,12,21,30,32
MUK2-E Dynamics (loud/soft) 3,4,5,6,10,12,16,17,18,21,29,30,32
MUK2-F Lyrics 2–13,16–28,30,31,35,36
MUK3 Percussion and Creative Movement
MUK3-A Body percussion 1,19,20,22

MUK3-B Melodic percussion 12,21
MUK3-C Rhythm instruments 1– 6,9,10,17,19,20,21,22,29,30–34
MUK3-D Group Movement 6,17,21–31,33
MUK3-E Individual Movement 6,18,21,22,23,24
MUK4 Other
MUK4-A Classical Music Comparisons 10,11,12

MUK4-B Composers 17,18,29,30
MUK4-C Fundamental Composition 14,15,25,26,29,30
MUK4-D World Culture 4,5,6,11,12,14,15,17–21,25,26,29–34
MUK4-E Seasonal Celebrations 4–16,18,19,20,26,27,31–34
86
TABLE 2.13 Kindergarten Language Arts Concepts by Lesson
LAK1 Literature and Nonfiction Lesson Number
LAK1-A Identify details; setting, characters, events 17,18,25,27

LAK1-B Recall stories and answer questions about them 11,28
LAK1-C Name author and illustrator and describe their roles 7
LAK2 Basic Skills
LAK2-A Mechanics of reading left to right, top to bottom 3,24

LAK2-B Consonant-Vowel-Consonant words 3,9
LAK2-C Rhyming words 1–13,17,18,19,21–31,35,36
LAK2-D Sight words 3
LAK2-E Syllables 1,2,3,8,17
LAK3 Writing Skills
LAK3 Use pictures, speaking, and writing to describe a story 25,26

LAK4 Listening and Speaking Skills
LAK4-A Participate 1–13,17–31,35,36

LAK4-B Follow discussion rules 3,4,25,27
LAK4-C Add detail, ask and answer questions clearly 3,4,11,26,27,28
LAK5 Language Skills
LAK5-A Vocabulary, age appropriate 1–13,17–28,30,31,35,36

LAK5-B Make real life connections to vocabulary 7,8,25,26,27
LAK5-C Place words into categories. 8,25,26
LAK5-D Add “s” to make a word plural 22
LAK5-E Add to words -ed, un-, -ful, etc. 28
TABLE 2.14 Kindergarten Math Concepts by Lesson
MAK1 Counting and sets visually and using objects Lesson Number
2,3,4,8
MAK1-A Count to 100 by 1’s, 5’s and 10’s
MAK1-B Identify and Write 0–20 3,4,7,35
MAK1-C Answer-How many? 2– 6,17,21,22
MAK1 Operations
MAK1-D Add and subtract using objects or drawings 15–18

MAK1-E Classify and count objects 8,9,21,22,35,36
MAK1-F Greater than, less than, equal to 29
MAK2 Geometry: Shapes and three-Dimensional shapes abstractly and in
the environment
MAK2-A Shapes, different sizes and orientations (behind, in front 6,7

of, next to, etc.)
MAK2-B Compare two dimensions (flat) to three dimensions 20
(solid)
MAK2-C Compose and model shapes 27,28
TABLE 2.15. A Kindergarten Social Studies Concepts by Lesson
SSK-1 The Individual and The Community: How would you describe yourself? What are your 15
likes and dislikes? Why is it important to respect individual differences inside and outside
your community? What are some common traditions in your family or community? What
about some that are less common?
SSK-2 Cultural Identity and Celebrating: How do we celebrate as a country (as a community, 13,34
as a family)? Explore holidays and shared celebrations. Discuss how symbols are important
(flag, patriotic songs, Statue of Liberty). How is one culture similar to or different from
another? Why is it important to respect all cultures?
SSK-3 Citizenship and Civics: What are basic human rights (food, clothing, shelter, education, 1,19
and protection)? Talk about our responsibilities to our classroom and community. Discuss
how we share duties in the classroom and why there are rules for both children and adults.
Discuss bullying.
SSK-4 Geography: Utilizing maps and globes, students learn to use location and direction 31
vocabulary (front of, next to, behind) while identifying places and regions. Can you locate on
a map where the story in a song takes place? Can you find the area where the composer of
the song may have come from? Can you point out bodies of water and mountains on a map?
SSK-5 Humans and the Environment: What are different types of weather? How do we prepare 11
for different types of weather? How does weather affect the way people live? How do we
adapt to the environment where we live?
SSK-6 History: Describing points in time can help us look at and understand events. Does 25
this song take place in the past, present, or future? How do folktales, music, and art teach
values, traditions, and important events? Give an example of how things change over time
(how people and goods move from place to place).
SSK-7 Economics: What is the difference between needs (food, shelter, clothing) and wants 28
(television, yacht)? What are some examples? Goods and services are both things you can
buy. Explain the use of goods in a song. Explain the use of services in a song. How does
scarcity change a community (have to move, change laws)?
TABLE 2.15.B Kindergarten Science Concepts by Lesson
SCK1 Ecosystem: Relationships between animals, plants and the environment

6,16
SCK1-A Observe the ways animals and plants change the environment to meet their
needs (squirrel buries nuts).
SCK1-B What are some examples of relationships that work in the ecosystem? Analyze 18
(grass needs sunlight so it grows in meadows).
SCK1-C Communicate solutions to help the environment. Describe or draw a picture 31
(since we make paper from trees we could reuse the paper).
SCK1-D What do animals and plants need to survive? Describe some systems that work 4
together. Compare (types of food, the need for water).
SCK2 Weather and Climate
SCK2-A Observe the weather and see the patterns it makes over time. (Patterns during 21
one day, describe weather—sunny, etc.).
SCK2-B Ask questions about how forecasts can help Explore and respond to severe 11
weather (locally).
SCK2-C Observe the effect of sunlight on earth’s surface (sand soil rocks water). 26
SCK2-D Create a design that will build a structure that will reduce the sun’s warming 27
effect in an area (umbrellas canopies tents).
SCK3 Forces and Interactions: Pushes and Pulls
SCK3-A Investigate the effect of different strengths and directions when an object is 7
in motion descriptive words (measure relative effect, object being pushed or pulled,
stopped, bumped).
SCK3-B Design something that can affect an object’s motion when pushed or pulled 21
(object with trajectory make ramp or structure to change its course).
8
Kindergarten Song List
Index Key
TABLE 2.16 Kindergarten Reference Key for Songs
ABB Reference Books for Songs and Games

AF 150 American Folk Songs: To Read, Sing and Play by Peter Erdei
NE-DV Down in the Valley: More Great Singing Games for Children, Rise Sally
NE-R S Rise (formerly Jump Jim Joe): Great Singing Games for Children by the
New England Dancing Masters
JT-B Bought Me a Cat
JT-J John the Rabbit
JT-L Little Black Bull
JT-M My Little Rooster by Jill Trinka
KM The Kodály Method: Comprehensive Music Education from Infant to
Adult, Second Edition by Lois Choksy
KT Kodály Today: A Cognitive Approach to Elementary Music by Houlahan
and Tacka
SA Sail Away: 155 American Folk Songs to Read, Sing and Play by Eleanor
Locke
SD Step It Down by Bessie Jones and Bess Lomax Hawes
SG 120 Singing Games and Dances for Elementary Schools by Lois Choksy
and Dave Brummitt
TG Language Arts, Math, and Science in the Elementary Music Classroom by
Kim Milai
In Curriculum Order
TABLE 2.17 Kindergarten Songs in Chronological Order
SOURCE SONG
TG Jambo
SG Walk and Stop
TG A Hunting We Will Go
TG Mi Cuerpo
KT TG Starlight, Starbright
KT TG Twinkle, Twinkle Little Star
TG Five Little Pumpkins
TG Bubblegum, Bubblegum
TG Pueblo-Zuni Corn Grinding Song
TG Grinding Corn
TG Follow Me
TG Grizzly Bear
SA Old Witch (Witch, Witch)
AF There was a Man and He was Mad
TG Pumpkin, Pumpkin
TG A Train
KT TG Brother John
AF JT-M KT SG Bluebird
TG Aiken Drum
SD TG Shoo Turkey
nancymusic.com Celebrate Eid by Nancy Stewart
TG Nochebuena (Christmas Eve)
TG Two, Four, Six, Eight
TG Bell Horses
TG My Bonnie
TG There was an Old Lady Who Swallowed a Fly
TG Have You Ever Seen a Lassie
TG Come and Go With Me
TG Pease Porridge
TG Gong Xi
TG Kang Ding Love Song
KT TG Engine Engine
TG Cinderella
SG Ammassee
AF JT-B Bought Me a Cat
JT-M I Love My Little Rooster
JT-B Tideo
(Continued)
90
SOURCE SONG
TG Mulberry Bush
AF KM KT Tisket a Tasket
DV JT-L KT Old Brass Wagon
SG Take Your Feet Out the Sand
TG King’s Land
KM KT SG Seesaw
SD JT-B KT Draw a Bucket of Water
TG Hi My Name is Joe
RS Sally Go Round the Sun
TG When Johnny Comes Marching Home
TG When the Saints Go Marching In
SG Come My Little Darling
TG En La Primavera
TG America the Beautiful
TG This Land is Your Land
SA Chicama, Chicama Craney Crow
In Alphabetical Order
TABLE 2.18 Kindergarten Songs in Alphabetical Order
SOURCE SONG
TG A Hunting We Will Go
TG A Train
TG Aiken Drum
TG America the Beautiful
SG Ammassee
TG Bell Horses
KT TG Brother John
TG Bubblegum, Bubblegum
nancymusic.com Celebrate Eid by Nancy Stewart
SA Chicama, Chicama Craney Crow
TG Cinderella
TG Come and Go With Me
SG Come My Little Darling
SD JT-B KT Draw a Bucket of Water
TG En La Primavera
(Continued)
SOURCE SONG
KT TG Engine Engine
TG Five Little Pumpkins
TG Follow Me
TG Gong Xi
TG Grinding Corn
TG Grizzly Bear
JT-M I Love My Little Rooster
TG Jambo
TG Kang Ding Love Song
TG King’s Land
TG Mi Cuerpo
TG Mulberry Bush
TG My Bonnie
TG Hi My Name is Joe
TG Nochebuena
DV JT-L KT Old Brass Wagon
SA Old Witch (Witch, Witch)
TG Pease Porridge
TG Pueblo-Zuni Corn Grinding Song
TG Pumpkin, Pumpkin
RS Sally Go Round the Sun
KM KT SG Seesaw
SD TG Shoo Turkey
SG Take Your Feet Out the Sand
TG There was a Man and He was Mad
TG There was an Old Lady Who Swallowed
a Fly
n/a This Land is Your Land
JT-B Tideo
KT TG Twinkle, Twinkle Little Star
TG Two, Four, Six, Eight
SG Walk and Stop
TG When Johnny Comes Marching Home
TG When the Saints Go Marching In
92
First Grade
In some curriculums, the focus is on making conscious three or four major concepts—
with a lot of preparation and practice before and after. Some major concept examples are
Ta, Teetee, Sol and Mi. You may decide to create your curriculum from this model.
In this curriculum, the term “identify” means making conscious the descriptive
word that is the focus of a lesson or through a series of lessons. It means using specific
vocabulary to identify the activity and have the students use the word as well.
This creates multi-layered “identify” activities in a given semester. By multi-
layered, I mean some activities are long-term, they evolve over the course of the year.
Some are short-term in that the concept is identified within a few lessons. The song
becomes the vehicle for this three-fold journey—exploration, identify (or being made
conscious) and then demonstrating or practicing the concept learned. The smaller “iden-
tify” activities lead toward the larger goals for this grade level—such as learning to sing
the Sol Mi interval with movement to eventually reading Sol and Mi. The goal for using
this approach is to keep track of the complexity of the curriculum learning.
TABLE 2.19 Identified First Grade Concepts
1 Identify Concept Les Identify Concept Les
Beat 1 Ostinato in 6/8 19

Faster and slower
Rhythm 2 - 20
Sol and Mi 3 Mi Re Do 21
Improvise
Inner hearing 4 Spiral 22
In-tune singing
La
Ta, Teetee, and Rest (review) 5 Reading music notation 23
Accelerando
Compose and composition 6 - 24
Ostinato 7 - 25
Vibration 8 Straight feel 26
Swing feel
Barline 9 Louder and softer 27
Measure
Beat with melodic instruments 10 - 28
Seasonal Celebration 11 - 29
High and Low
(Continued)
Ostinato with melodic instruments 12 Contra line dance 30

Moving ostinato with melodic
instruments
Descriptive words
Rhythm with a melodic instrument 13 - 31
Seasonal activities 14 Round 32
Contrary Motion
Little beat/big beat 15 - 33
Game Origin
- 16 - 34
- 17 - 35
Thread-the-needle 18 - 36
Do
September
First Grade Routine
For Every Lesson
TABLE 2. 20 First Grade Routine Semester 1
MU1.1-A Javanese Walk: Use The Teacher (T) will establish an entrance routine as

instrumental (S) enter the room quietly in-step, or if they’re already in
music like the room, they line up and start walking, creating a giant
Degung. circle or oval. In this exercise S are experiencing basic beat
in a clock-wise direction. The T will use Degung music or
another calm, moderate-tempo music. The T leads the walk
and plays a finger cymbal to the beat. The T can later mix
it up by walking half-note beats (giant footsteps), quarter-
note beats (walk), or eighth-note beats (tip toe or quick
step).
must freeze.
MU1.1-A Hello Everybody Learn a greeting standing or sitting in a circle.
n/a Exit Routine Decide how to end the class and line up in an orderly
fashion.
94
Lesson 1/36 First Grade
Objectives
The objectives are to establish a routine and a personal connection to the activities in the
classroom. Explore the idea of one movement/one sound and faster and slower. Explore
Sol and Mi as well as Sol La Sol Mi (review from last year). Identify beat. Students will
discuss sharing duties and following rules.
First Grade Lesson 1
1–1 ABB Activity Example Questions
CM Lucy Locket Are nursery songs a good way to learn music? Why or why
not? What other nursery songs could work?
RA Drum Name Game How does knowing the syllables help us with understanding
the music? Example: How many sounds are in Zak (use
names from the class)? How many in Emily? How many in
David? What is the rhythm for the name Benjamin?
MU1.1-F, Drum Name Game Explore: S will learn this game to become comfortable
MU1.3-C , playing a drum, to learn classmates’ names and to relate
LA1.2-F the syllables in a name to a rhythm. S will pass a hand
drum. During their turn they say their name while patting
on the drum the correct syllables. Example: A S says and
pats Da-vid then all the S say and clap Da-vid. Do it twice
for each turn.
LA1.4-B Class Rules S will discuss class rules and what happens if you break
SS1-3 them. Eventually the T (teacher) will make a poster on the
wall as a reminder.
Social Studies Questions: Discuss how we share duties in the
classroom and why there are rules for both children and
adults. Discuss bullying. How can you be a part of problem
solving or conflict resolving in school and at home?
MU1.1-B Engine Engine Explore: S will learn the chant, make a train, say the chant
MU1.1-F and walk the rhythm at different tempos (medium, slow,
fast).
MU1.1-G Starlight w. puppet Explore/Identify: S will learn the song (review), S will sing and
MU1.2-A patsch the beat. The T will use the vocabulary word “beat.”
MU1.1-A Lucy Locket Explore: S will learn the song for the nursery rhyme, play the
MU1.3-E circle game in preparation for hearing and reading SolSol
LA1.4-A LaLa SolSol MiMi.
Objectives
Explore Sol and Mi. Identify rhythm with one movement/one sound and syllables.
Identify rhythm with clapping and instruments. S will count, add, and subtract syllables
in names to make new number combinations.
PI Engine Engine with percussion What words can describe the different instrument
sounds that are played on the rhythm of Engine
Engine? What other ways can we describe our
performance?
RI Starlight What clues in the music help us understand what
the creator wanted us to feel (fast/slow, loud/
soft)? Let’s perform the song to help us figure
that out. Example: The movement not only
shows the beat but also shows the creators
intention of emphasizing the rhyming words.
Let’s write the words on the board. Who can
circle the rhyming words?
MU1.1-F, Drum Name Game Identify: S will review the song. The T will guide
MU1.3-C , Rhythm in a song is the way them into counting the syllables. S learn that
LA1.2-F the words go. each sound is a syllable. Students count by
MA1.1-E ones. They should be able to answer the
question, “How many syllables are in my
name?” The T uses the word “rhythm.”
Supplemental Math Activity: Combine names to
identify new numbers (Eva and David makes
4 beats; Benjamin and Joe then take away
Benjamin’s name leaves 1 beat).
MU1.1-G Starlight Explore: The T will show the S the hand signs
MU1.2-A that follow the beat (not solfege movements).
LA1.2-B The star movements will eventually turn into
Sol and Mi.
MU1.2-C Mirror Table for Sol Mi Explore: S learn to hold a hand up like they’re
MU1.2-H holding up a hand mirror for Sol and down flat
on an imaginary table for Mi (e.g., “Hold up the
mirror, put the mirror on the table”) The T can
have the S make different kinds of faces into
the mirror (happy, sad, mad, silly).
MU1.1-B Engine Engine with percussion Identify: The T will use the word “rhythm” to
MU1.1-F describe the way the words go (syllables). S will
MU1.3-C clap the rhythm of the chant and transfer that
rhythm to an instrument. S will learn to play an
instrument on the rhythm. The S—in a sitting
circle—will give their instrument to the S on the
right between each rendition of the song. The
T chants “Pass it to the next one” until all S are
ready to repeat the Engine chant.
96
Objectives
Explore Sol and Mi, Sol La Sol Mi and in-tune singing. Explore individual singing and
inner hearing. Explore improvisation. Identify Sol and Mi and the word “improvisa-
tion.” Demonstrate Beat versus Rhythm.
CI Starlight/Sol Mi Can you place the stars on the board the way our
hands move with the melody? What music idea
does this movement create?
RE Dinah Why would someone choose this song to teach
music? How do you judge its value? What makes
you like one song over another?
MU1.1-H Dinah: S will learn the song Explore: S are exploring Sol and Mi. Game
MU1.2-B and play the game. S instructions continued: The T chooses a S to sit in
MU1.2-C demonstrate singing the middle and close his/her eyes. The T quietly
LA1.1-A “Dinah” but also chooses one S in the outside circle to sing ‘Dinah,
LA1.2-D demonstrate inner hearing Dinah.’ All sing the song with the one S singing
by thinking the lyrics the name. The S in the middle opens his/her eyes
“Dinah, Dinah.” and has 3 guesses as to who sang “Dinah, Dinah.”
MU1.1-G Starlight/Sol Mi Identify: The T will have S review Starlight,
MU1.2-A the hand movements and the mirror/table
LA1.2-B movement. The T guides the S to see that the
Starlight, Starbright melody sounds like “Sol Mi.”
Transfer the up and down movement to notation.
With a board, place 1 elastic line and guide S to
place the 4 stars appropriately (above, below,
above, below).
MU1.2-B Yoo Hoo Mountain Explore: Game continued: They are in the “village.”
MU1.2-C Explore in-tune singing with One S climbs up the mountain (chair) in front of
LA1.2-D Sol and Mi. The game: T the board. T guides them to plant their flag and
draws a mountain on the pretend it’s cold. They improvise on whether they
board. All S demonstrate forgot their scarf, hat, mittens, boots, etc. S is
singing Sol and Mi as “Yoo- guided to shiver and thus loosening up his/her
hoo!!” with hands cupped throat to sing. They call for help by yoo-hooing
as if calling someone to a student “YOO-HOO, Rachel!” The other S
who’s far away. yoo-hoo back and they help each other to switch
places. Game is repeated. The T introduces the
word “improvise.”
MU1.1-A Lucy Locket Explore: S will play the game and explore SolSol
MU1.3-E LaLa SolSol MiMi.
LA1.4-A
MU1.1-A Walk the Heartbeat Demonstrate: Pat the heartbeat on your body
MU1.1-C Beat versus Rhythm traveling head down to legs then feet. Find
MU1.1-E the heartbeat in your foot stamps, walk the
heartbeats on the floor.
On the board, draw the heartbeats. Write
underneath Tas, Teetees, and rests. Clap the
rhythms and say the rhythm.
F I G U R E 2 . 6 Class with Instruments

98
Objectives
Identify inner hearing, in-tune singing, and La. Demonstrate beat and Sol Mi and Sol
La Sol Mi. Demonstrate improvisation. S will discuss what they can see in the sky. What
observations do they have?
RS Starlight/Sol Mi How do you choose music for a purpose? What in your

personal life would make you or me choose this song?
What makes this song a good choice for learning how
to read music? What other song might you choose? Why?
CE Bounce High How do we use feedback to improve our performance?
What would you suggest?
MU1.1-H Dinah Identify/Demonstrate: S will play the game learn the

MU1.2-B phrase “inner hearing” and demonstrate Sol Mi. The T
MU1.2-C will introduce the phrase “inner hearing” and help the S
LA1.1-A derive that the notes for Din-ah are Sol and Mi.
LA1.2-D Origin of the song: The T can explain this is an American
folk song that shares some words and melody with
other songs like “I’ve Been Workin’ on the Railroad.”
Many of these songs borrowed material from each
other and new versions were invented. The T can
decide if he/she wants to include the historical
reference of Dinah being an African American servant
working in the kitchen in the late 1800s.
MU1.1-G Starlight/Sol Mi Demonstrate: The T will remove the stars, place 3 elastic
MU1.2-A Question to ask: lines and work with the class to eventually place the
SC1.2-A From your experience stars correctly on or between the lines. The stars are
last lesson, what is eventually replaced with 4 notes (either all spaces or
the best way to show all lines).
the Starlight melody Supplemental Science Activity: The T will lead a class
using 3 lines discussion on how to observe the sky. What objects in
instead of 1? outer space can we observe? When can you observe
them? Is there a pattern?
MU1.2-B Yoo Hoo Mountain Identify/Demonstrate: The S will play the game and
MU1.2-C demonstrate in-tune singing and improvisation. The T
LA1.2-D will use the phrase “in-tune singing.”
MU1.1-A Walk the Heartbeat Demonstrate: S will sing the song Engine Engine while
MU1.1-C patting or stepping the beat. S will review the entire
MU1.1-E activity.
MU1.2-A Hand signs Sol Mi La Identify: S will sing Lucy Locket and learn a new hand
MU1.2-C sign (La).
MU1.1-A Bounce High—2 ways Demonstrate: S will learn the song and play the game.
MU1.2-A Beat: Bounce on all The S will practice beat and solfege. The T bounces
MU1.2-C the words bounce the bouncy ball on the beat. The T has S demonstrate
and Shi. pretend bouncing, then the T bounces the ball to
Solfege: Bounce (hold) each S while all sing. This is preparation for hearing
high (hold ball high), and reading Sol La Sol Mi. Alternate bounce: See
bounce (hold) low instructions to the left.
(bounce).
October
Objectives
Explore ostinato and composing. Identify Ta and Teetee and Rest (review from last year).
Demonstrate reading music and making Sol Mi patterns with five lines. Demonstrate Ta
and Teetee, SolSol LaLa SolSol MiMi and in-tune singing.
C11 Better Watch Out What creatures from Halloween can walk to the beat?
How do you know this? How does knowing this make
our performance better?
PR Lucy Locket How can we improve our performance of this song game?
MU1.2-H Sol Mi (3 to 5 lines) Demonstrate: S will review making felt stars into notes.
MU1.2-I S will say Sol Mi and read the notes Sol Mi’s on felt
board (going from 3 to 5 lines)
MU1.2-H Sol Mi (reading writing Explore: The S will compose their own Sol Mi patterns on
MU1.2-I solfege) the felt board. The T will guide the S to sing their song
and then write it.
MU1.1-B Engine Engine (read Identify/Demonstrate: S will review by saying Tas and
MU1.1-F rhythm) Teetees. S will discover in Engine that there are two
claps in a heartbeat, which turn into the written rhythm
of Teetee. S will read and clap Engine, and Star Light
using Tas and Teetees. S will demonstrate Tas, Teetees,
and Rest (Z) on the board. S will demonstrate the
movement for Rest (hands out palms up).
MU1.1-A Lucy Locket Demonstrate: S will play the game and demonstrate
MU1.3-E singing the solfege with hand signs and in-tune
LA1.4-A singing.
MU1.2-G Better Watch Out Explore: S will learn the Halloween Song. The T sings
MU1.4-E the first verse and has S patsch the beat during the
LA1.2-B number section. The T can also play an ostinato on the
xylophone D A F A to accompany the number section.
All play the game. The S stand and sing the verse, then
walk around like a Halloween creature on the numbers.
By the number 8 they must be back in their seat or
they’re out of the game.
10
Objectives
Explore vibration. Identify the word “compose” (review from last year). Demonstrate
writing Ta and Teetee and Rest. Demonstrate reading La and SolSol LaLa SolSol MiMi.
S will practice place values from math in a song.
RE Bounce High Is La higher or lower than Sol? How should we place

the La note on the felt board? The T will sing the La
placement on the felt board. How can you tell if the
placement is correct or not correct?
CP Ta Teetee Writing Look at our creations. Are they ready to share? How do
you know?
MU1.1-I Ta Teetee Writing Identify/Demonstrate: Apply writing rhythms from

MU1.1-J Ta sticks to written rhythms on whiteboards. S will
compose their own rhythms. The T will introduce the
word “compose.”
MU1.1-A Bounce High Demonstrate: Find La on the felt board above Sol, La Sol
MU1.2-A Mi play game. T guides S to realize La is one step higher
MU1.2-C (not one skip) by singing where they place the La. The T
can also use floor solfege to have S demonstrate steps
and skips.
MU1.1-H Tuning Fork Explore: Have all S listen to the tuning fork in their ear
MU1.2-A and then touch the tip to feel the vibration. Class
MU1.2-C discusses the tuning fork. T shows how the tuning fork
transfers the vibration to other surfaces. Find surfaces
that will amplify the tone of the vibration (board, table,
wall, etc.).
MU1.1-A Lucy Locket Demonstrate: S will locate SolSol LaLa SolSol MiMi on the
MU1.3-E staff
LA1.4-A
MA1.2-A Music and Place value Demonstrate place value in a song context. In the song
MA1.2-B Better Watch Out, replace counting 1 to 8 in ones with
counting in tens, hundreds, thousands, etc. Write them
on the board to identify the place value.
F I G U R E 2 .7 Ta Sticks
102
Objectives
Explore music notation by reading and writing solfege and then with rhythm sepa-
rately. Explore half note. Identify ostinato. Demonstrate saying and clapping rhythms.
Demonstrate solfege hand signs. S will discuss the similarities and differences between
adult and baby animals.
PS Starlight, Engine Engine, What notes are the same or different between the
Lucy Locket songs? What about the rhythms? What is the musical
purpose for each song? Why were they selected to
perform? What other songs would you select?
RS Bluebird w. puppet Why do you think I chose this song? What are we
learning in music?
MU1.1-F Bluebird w. puppet Explore: S will learn the song and play the game. This is
MU1.2-A also in preparation for the half note.
MU1.3-D Supplemental Science Activity: The T will lead a class
LA1.1-A discussion comparing adult animals with their
SC1.1-C offspring. How are adult animals and their babies
similar? How are they different?
MU1.1-G Starlight Demonstrate: S will review Sol Mi La signs with the
MU1.2-A song, transfer solfege hand signs to the song and felt
board.
MU1.1-B Engine Engine Demonstrate: S will clap and say the rhythm with Tas
MU1.1-F and Teetees.
MU1.1-A Lucy Locket Explore: The T will help the S to derive the rhythm with
MU1.3-E Tas and Teetees.
LA1.4-A
MU1.1-I Ta Sticks Demonstrate: S will demonstrate writing rhythm
MU1.1-J examples from the board, then S make their own
rhythms.
MU1.2-G Better Watch Out Explore/Demonstrate: S will review the activity. The
MU1.4-E T will identify the term “ostinato” and have the class
or a few students play the ostinato.

Explore strong and weak beat. Identify vibration. Identify strong/weak beat using a
graph. Demonstrate ostinato and in-tune singing. Demonstrate beat versus rhythm.
S will learn the definition of the word “vibration” and study its properties. Discuss the
sequence of events in the Bear Hunt. Discuss how humans adapt and interact with their
environment.
PI Bear Hunt How is each verse performed differently? Any

similarities? What can make this chant more musical
in its performance?
C10 Epanay Do you feel a connection to this song? Why? How does
performing this song build a connection to you? Are
there some familiar rhythms? Some unfamiliar?
MU1.1-A Bear Hunt Explore: The T recites the song in a circle with all S
LA1.5-E echoing and patsching the strong and weak beats.
SS1-5 Strong beats done with palms facing down. Weak
beats done with palms facing up.
Social Studies Questions: How did humans change their
environment in the song to meet their needs? What
else could they have done (built another bridge over
the river, got a horse to ride)? How could people
interact with their environment in this chant in a
positive or negative way?
MU1.2-A My Country, ’Tis of Thee Demonstrate: S will learn a standard American song
MU1.2-B that reinforces in-tune singing.
MU1.2-C
MU1.2-A Epanay Demonstrate: S will learn song and clap the ostinato
MU1.4-E beat Ta Teetee Ta Teetee. The T can use visuals to
help with the clapping while singing. What does
Epanay mean (a blessing)? Which tribe sang this song
(Sioux)?
MU1.1-H Tuning Fork Identify/Demonstrate: Continue the activity and discuss
MU1.2-A vibration.
MU1.2-C Optional Science Activity: S will learn the word
SC1.3-A “vibration.” S observe and discuss how we detect that
moving of air (vibration) as sound and the vibration
can transfer to different materials.
MU1.1-A Diddle Diddle Dumpling Explore/Identify: The class will learn the song and
MU1.1-F discuss how it is an old English nursery rhyme. In the
MU1.1-J activity, S take off the left shoe. Then in a clockwise
LA1.1-A circle they march to the beat of the song with the
LA1.4-C shoe foot on the strong beat (1 and 3). The sock foot
LA1.5-C is on the weak beat (2 and 4).
MA1.3-A Mandatory Math Activity: S sit and all develop a graph
in which they describe the feeling of the shoe foot
(hard, loud, higher, warmer, etc.) and the feeling
of the sock foot (soft, quiet, lower, cooler, etc.)
Eventually S derive that the song has a strong beat
and a weak beat.
104
November
Objectives
Identify barline and measures. Demonstrate ostinato and strong and weak beat.
Demonstrate improvisation and reading music notation. S use visual symbols of strong
and weak beats to measure music. S can use a graph to categorize foods and use parti-
tioning skills to divide up the sections of a measure.
CE Epanay Are the Tas in the drumbeat on the strong or weak

beat? What about the Teetees?
C11 Diddle Diddle Dumpling This is an old English nursery rhyme. How does
knowing this information give us a clue in creating a
performance of this song?
MU1.1-A Diddle Diddle Dumpling Identify/Demonstrate: The T writes the rhythm on the

MU1.1-F board with a heart above that identifies the beat.
MU1.1-J S shift their shoe foot to a patsch and sock foot to
LA1.1-A a back-hand patsch. S derive the strong beat and
LA1.4-C circle them on the board. Then S will draw a vertical
LA1.5-C line before each strong beat to create measures on
MA1.3-A the board. S learn the term “barline” and the term
“measure.”
MU1.2-A Epanay Demonstrate: S will review the song and derive strong
MU1.3-A and weak beat with the Ta Teetee ostinato using
MU1.4-E patsching. S are partitioning the ostinato into strong
MA1.4-A and weak beats.
MU1.1-J Reading Demonstrate Demonstrate: S will look at unnamed music notation
MU1.2-I and identify solfege and rhythm of Starlight, Bluebird
LA1.5-C (first half), Lucy Locket, Bounce High, Engine Engine.
MU1.2-G The Turkey Ran Away Demonstrate: S will sing the song and improvise
MU1.4-C alternate verses.
MU1.4-E Supplemental Math Activity: The T and S can make a
LA1.5-B graph on the board putting the food and how it will
MA1.3-C be eaten into categories.
Objectives
Explore descriptive words with music examples. Demonstrate barlines and drum osti-
nato. Demonstrate reading music notation. Demonstrate improvising a seasonal song.
S can use a graph to categorize foods and how they are prepared for consumption. S
discuss the historical details in Diddle Diddle Dumpling.
CP Epanay How can we tell if this song is ready for a

performance? Are we ready? Why or why not?
CE The Turkey Ran Away How can we improve our song improvisation (e.g., tie
into personal food preparation experience)? Let’s
take some examples and refine them.
MU1.1BtoD Group Explore/Identify: S experience using words to describe

MU1.1-K Exploration: Descriptive characteristics of music. Go to Appendix/Group
MU1.2-CtoE Music Words Exploration: Descriptive Music Words for the lesson
MU1.4-A part one instructions and suggested popular and classical
MU1.4-B music examples.
LA1.3
LA1.5-A
MU1.1-A Diddle Diddle Dumpling Demonstrate: S will review the Diddle Diddle rhythm
MU1.1-F written on a staff and lyrics. S find strong beat by
MU1.1-J alternating patsch and back-hand patsch, place
LA1.1-A barline before the strong beat to create measures.
LA1.4-C Social Studies Questions: How do folktales, music,
LA1.5-C and art teach us about families in the past? Give an
MA1.3-A example of how things change over time or how
SS1-6 they stay the same.
MU1.2-A Epanay with drums Demonstrate: S will review the song and
MU1.3-A simultaneously play the Ta Teetee drum ostinato;
MU1.3-C first by patsching, then with actual drums.
MU1.4-E
MA1.4-A
MU1.1-J Demonstrate Demonstrate: S will continue practicing the reading.
MU1.2-I reading: Starlight, S will identify solfege and rhythm of Starlight,
LA1.5-C Bluebird (first half), Lucy Bluebird (first half), Lucy Locket, Bounce High,
Locket, Bounce High, Engine Engine.
Engine Engine
MU1.2-G The Turkey Ran Away Demonstrate: S will review the activity.
MU1.4-C Supplemental Math Activity: The T and S can make a
MU1.4-E graph on the board putting the food and how it will
LA1.5-B be eaten into categories.
MA1.3-C
106
Objectives
Explore and identify seasonal celebration songs from different cultures. Identify high
and low sounds on the melodic percussion. Demonstrate creating barlines on different
music. Demonstrate composing on the melodic instruments. S will discuss lengths of
days in the summer and lengths of days in the winter and compare them. S may con-
tinue graphing and measuring music and lyrics.
RA Diddle Diddle Dumpling How does understanding the strong and weak beats
and Starlight help us write the song?
RE Nochebuena What language is this song (Spanish)? What does
“Nochebuena” mean (Christmas Eve). This song is
originally from Mexico. How do people celebrate
Christmas Eve in the song? What does your family
eat for special celebrations? What instruments would
sound good with the song?
MU1.1-A Diddle Diddle Dumpling Demonstrate: S will review measure building. The T
MU1.1-F and Starlight will put Diddle Diddle on the board and have S write
MU1.1-J the measures after patsching. Repeat with Starlight
LA1.1-A Starlight.
LA1.4-C
LA1.5-C
MA1.3-A
MU1.4-E Bake the Johnny Cake Explore/Identify: S will listen to these seasonal winter
SC1.2-B Nochebuena holiday songs and learn the phrases and words. The
It’s Kwanzaa T sings the song. The group discusses origin. The T
describes the vocabulary.
Supplemental Science Activity: The T will lead a class
discussion on length of days and nights and how it
changes over time (e.g., in the evening, dark comes
sooner in the winter).
MU1.4-C Open Ended Composition Identify/Demonstrate: S will get into cooperative
groups and use the xylophones and metallophones
to come up with a high sounding song and a low
sounding song. The S will perform for each other at
the end.
MU1.2-G Turkey Ran Away Demonstrate: S will review the activity if the lesson
MU1.4-C (if time) is before Thanksgiving. Or the T can use another
MU1.4-E seasonal song.
LA1.5-B
MA1.3-C
Objectives
Identify ostinato and moving ostinato with melodic instruments. Identify descriptive
words. Demonstrate improvising with instruments. Demonstrate reading music nota-
tion and using descriptive words. Discuss community and identity.
RS Group Exploration Identify and demonstrate how your personal

preferences and experience influence
song selection. Example: Many songs can
demonstrate loudness. What song do you
choose to show loudness?
PI Diddle Diddle Dumpling How does a performer create an
accompaniment for a song? What do they
need to know?
MU1.1-BtoD Group Exploration: Descriptive Identify/Demonstrate: S will continue using

MU1.1-K Music Words part two words to describe the characteristics
MU1.2-CtoE of music. Go to Appendix/Group
MU1.4-A Exploration: Descriptive Music Words for the
MU1.4-B lesson instructions and suggested popular
LA1.3 and classical music examples.
LA1.5-A
MU1.4-E Nochebuena Demonstrate: S will review the song and play
SS1-1 the ostinato. The T will use the vocabulary
word “ostinato.” The T has a mini-lesson on
proper mallet technique.
Social Studies Questions: What shapes
the identity of a family and community
(language, beliefs, customs, traditions)? Name
some similarities in people from different
communities. Now name some differences.
MU1.1-A Diddle Diddle Dumpling Identify/Demonstrate: S will play Diddle Diddle
MU1.1-F ostinato on xylophones and metallophones
MU1.1-J (Low Sol, Do, Low Sol, Do) while singing the
MU1.2-A song. The T will identify this as a “moving
MU1.3-B ostinato.” The T will let S improvise to come
up with their own accompaniment.
MU1.1-J Demonstrate reading: Demonstrate: S will continue practicing the
MU1.2-I Starlight, Bluebird (first half), reading. S will identify solfege and rhythm
LA1.5-C Lucy Locket, Bounce High, of Starlight, Bluebird (first half), Lucy Locket,
Engine Engine Bounce High, Engine Engine.
108
December
Objectives
Explore concepts for the assessment test. Explore a seasonal song and “little beat.”
Identify a rhythm on a melodic instrument. Demonstrate composing a Sol Mi La pattern.
RI Jingle Bells w. puppet How does our puppet help us add expression and
dynamics in the song?
C10 Bake the Johnny Cake This song is from the Caribbean. How does that
knowledge help us in its performance?
Overview Explore for Assessment Test Explore: The class will review concepts for the test
MU1.4-E Bake the Johnny Cake Identify: S will review the song and play the
MU1.3-B clapping rhythm for the refrain on the Orff
instruments (Tee Ta Tee Ta Ta). The class will
figure out where the Caribbean is on the map and
discuss how the mix of different ethnicities of the
people that lived there contributed to the style of
singing and the music.
MU1.4-E Jingle Bells w. puppet Explore: S will review the verse and chorus with
good intonation and dynamics along with the
puppet. The class will pat “little beats” with soft
claps while singing the chorus of the song.
MU1.2-I Compose music notation. Demonstrate: S work on reading and singing Sol Mi,
MU1.4-C Sol La Sol Mi and SolSol LaLa SolSol MiMi while
LA1.5-C using hand signs. The teacher and class compose
patterns by singing them and then writing them
on the board. S can sing their own song pattern
and write it on individual whiteboards.
F I G U R E 2 . 8 Sock Puppet
10
Objectives
Identify concepts in the assessment test and experience seasonal activities in a story.
Demonstrate playing a rhythm on melodic instruments in an ensemble.
PR It’s Kwanzaa How do we improve the performance?

CI Brief Story of Hanukkah How do you think the holiday Hanukkah inspired
people to create music about it?
MU1.4-E Brief story of Hanukkah Identify: The T tells the story of Hanukkah. The
LA1.1-B focus will be on how we celebrate it now. The
LA1.4-B T invites students to tell about what they know
about Hanukkah.
MU1.4-E It’s Kwanzaa Demonstrate: The class will review the meaning of
Kwanzaa and listen to the song. The S will sing
the song and play the melodic instruments with
the melody of the refrain.
Objectives
Give the assessment test (if needed). Identify playing the “little beat.” Identify the origin
of a game. Demonstrate reading music notation. Discuss the definition of a multicul-
tural community.
PP Jingle Bells w. bells How can we make this performance the best it can
be? Is it ready to identify?
more meaningful?
(if needed) proficiency in a class environment in which
MU1.1-J Reading Overview Demonstrate: The T will display several songs in
MU1.2-I (if time) music notation without lyrics and the class will
work as a team to identify the song.
MU1.4-E Dreydl Game Explore/Identify: Where does the Dreydl Game
come from (traditional game for Hanukkah)?
S will learn how to play the Dreydl Game and the
meaning of the symbols. S will learn how to play
the game using Dreydl s and counters. S sing
the Dreydl song.
Optional Math Activity: While explaining the
game, the teacher reviews adding, subtracting,
and how to split a pile of “chips” in half.
MU1.4-E Jingle Bells w. bells Identify: The S shake a Teetee “little beat” ostinato
SS1-1 with a jingle spray during the chorus of Jingle
Bells.
Social Studies Questions: A community with
people who have different traditions, customs,
and ethnicities is called a multicultural
community. Is your community multicultural?
Can you identify different languages or
customs?
12
Objectives
Demonstrate the origin of a game and play student song choices and holiday songs.
C10 Dreydl Game How does the Dreydl Game make the Dreydl Song more
meaningful?
RS Class Choice How do your music interest and experiences influence what
music you like?
MU1.4-E Dreydl Game Demonstrate: S will play the game while listening to holiday
music.
LA1.4-D Class Choice Happy Holidays!
January
First Grade Routine
TABLE 2.73 First Grade Routine Semester 2
MU1.1-A Javanese Walk: Use The Teacher (T) will establish an entrance routine as

moderate tempo follows: Begin class with a calm movement. Students (S) enter
instrumental the room quietly in-step, or if they’re already in the room,
music like they line up and start walking, creating a giant circle or oval.
Degung. In this exercise S are experiencing basic beat in a clock-wise
direction. The T will use Degung music or another calm,
moderate-tempo music. The T leads the walk and plays
a finger cymbal to the beat. The T can later mix it up by
walking half-note beats (giant footsteps), quarter-note beats
(walk), or eighth-note beats (tip toe or quick step).
Bonus Walking Exercise: The T plays finger cymbals without
the music. When the T stops playing, everyone must freeze.
MU1.1-A Hello Everybody Learn a greeting standing or sitting in a circle.
n/a Exit Routine Decide how to end the class and line up in an orderly fashion.
For Every Lesson
Objectives
Discuss the history of this important civil rights song. Explore the movement “thread
the needle.” Explore Do and Sol Mi Do. Demonstrate Sol and Mi, highs and lows and in-
tune singing. Demonstrate (practice) for a dance concert. S will learn about splitting the
class in half, pairing, and other ways of partitioning the class into shapes. Read a map
and discuss the location of an event in music.
C11 Back of the Bus How does this song fit into the Civil Rights Movement?
How is our performance improved by knowing its
history?
RA Fuzzy Wuzzy What does this song contain that we’ve already studied
(Sol Mi, Ta Teetee, one syllable for each note)? How
does this knowledge help our response to the song?
MU1.1-A Charlie Over the Ocean Demonstrate: S will learn the song and play the game.
MU1.2-A The emphasis is on Sol and Mi and in-tune singing.
MU1.2-B At the end of each round if the runner is caught, they
MU1.2-H turn into a fish and swim in the middle of the circle.
MU1.3-E If they don’t get caught they turn into a fish that goes
LA1.2-D back to his/her seat. I changed this part of the game
LA1.4-A because everyone wants to be a fish and I found
LA1.5-F people purposefully getting caught to be a fish.
MU1.3-D Alley Alley O Explore: S will listen and learn the song. Eventually next
MU1.4-D lesson S will explore the movement called “thread the
needle.”
MU1.1-C Dance to Your Daddy Demonstrate: S will analyze a complex melody with
MU1.1-I lots of high and low pitches from Scotland. The T will
LA1.1-A discuss the historical background. S will listen to the
LA1.5-A song and discuss the words.
MU1.2-A Fuzzy Wuzzy Bear Explore: S will learn the song in preparation for Do and
Sol Mi Do.
MU1.3-D Dance Practice Demonstrate: See Appendix/A ssembly and Concert
MU1.4-D Suggestions/First Grade Dance Assembly and Concert.
MA1.4-A
MU1.4-E Back of the Bus Explore: S will listen to the song, discuss the story of
LA1.4-C Rosa Parks and learn the song.
LA1.4-D Social Studies Questions: Can you “read” a map and find
SS1-4 locations that apply to this music? What area does the
event take place? What country did the composer come
from?
14
Objectives
Explore 6/8 and faster and slower. Identify reading Sol Mi Do. Identify thread-the-
needle and Do. Demonstrate Sol and Mi and in-tune singing. Demonstrate (practice) for
a dance concert. Perform a civil rights song with percussion. S will discuss the meaning
of the word “illumination.”
PR Charlie Over the Ocean How do we improve the quality of the performance?
What is in-tune singing?
CE My Bonnie What other ways could we present or perform the song?

MA1.4-A
MU1.1-A Charlie Over the Ocean Demonstrate: The class will review the game and
MU1.2-A singing. This activity includes practice on Sol Mi
MU1.2-B and in-tune singing.
MU1.2-H
MU1.3-E
LA1.2-D
LA1.4-A
LA1.5-F
MU1.2-A Fuzzy Wuzzy Bear Identify: S will learn the solfege and hand signs for Do.
S will learn how to sign and sing SolMi SolMi DoDoDo.
The T will show Do on the music staff and the class
will compare its position to Sol and Mi.
MU1.3-D Alley Alley O Identify: S will learn a more complex group movement
MU1.4-D called thread the needle. S will sing and do this
movement. The T starts with 6 students then includes
the entire class.
MU1.1-D My Bonnie Explore: S are introduced to the feel of 6/8 and the feel
MU1.1-G of faster and slower. The T will discuss possible stories
LA1.1-B behind the words. A few S pantomime a story in front
LA1.2-B of the class. Example: “Bonnie” is on one end of the
LA1.4-D room (ocean). Her family on the other. S sing the song
SC1.3-B and on the “Bring back” part, she pretends to come
back on a ship while her family starts waving and give
her a hug when she lands. T can also tie the story to
immigration.
Supplemental Science Activity: The class will repeat the
activity but the T will dim the lights and the family will
shine an illuminating light (flashlight) for “Bonnie” and
the light will guide her home from across the sea. The
T leads a class discussion on what illumination is.
MU1.4-E Back of the Bus Demonstrate: S will improve their performance of the
LA1.4-C song and clap on the off beat. S will transfer the off
LA1.4-D beat to drums and tambourines.
Objectives
Identify 6/8 ostinato and faster and slower. Demonstrate “big beat” and “little beat.”
Demonstrate (practice) for a dance concert. Demonstrate Do solfege and hand sign.
Practice a seasonal song. Demonstrate Ta Tee Ta Tee and Rest as rhythm and also as
accompaniment. Review addition and subtraction under 20.
CM Have You Ever Seen How does the meter in 6/8 inspire movement (one answer
a Lassie swing)? What kind of dances are in 3?
PA Feng Yang Flower How does knowing the rhythm (Ta, Teetee, Rest) enhance
Drum Song the performance?
MU1.1-A Follow Me Demonstrate: S will review this song from last year.
MU1.1-G T encourages more accuracy in moving to the beat.
MA1.1-B Supplemental Math Activity: The T will lead a class
exercise on reading and writing addition and subtraction
equations (under 20).
MU1.2-A Fuzzy Wuzzy Bear Demonstrate: S will review the solfege and hand signs.
MA1.4-A
MU1.1-D Have You Ever Seen a Identify: S will learn the song and move to it. The T will
MU1.1-G Lassie ask the S to patsch the “little beat” while singing the
LA1.1-B song. Then the T will show a 6/8 ostinato (Ta Tee Ta
LA1.2-B Tee). S will practice the song at different speeds.
LA1.4-D
MU1.1-H Feng Yang Flower Drum Demonstrate: S will learn a song for Chinese New Year.
MU1.2-E Song S will sing and demonstrate the clapping while using
MU1.4-E dynamics and inner hearing. “Left hand a drum (clap),
LA1.4-A Right hand a gong (clap), Holding a drum and gong,
LA1.5-B come let’s sing a song (clap). No other song do I know
how to sing (clap), This one and only song ‘Feng Yang’ is
its name (clap). Come sing ‘Feng Yang’ yi hoo ya hoo hay
(clap).” Then S will clap the rhythm of “Der long dong
piau yi piau.”
16
Objectives
Explore reading Mi Re Do. Demonstrate (practice) for a dance concert and perform
a seasonal song with instruments. Demonstrate Ta Teetee and Rest as rhythm and as
accompaniment. Hear a fictional story based on the historical fact of African Americans
escaping slavery. S will use or create a sound that can communicate over a distance.
C10 Feng Yang Flower Drum Song How does knowing about the origin of the song
help in the understanding of the performance?
PP Dance Demonstrate Is this dance ready to perform? What about the
way we dance the song, is it in the right manner
for the style? Are we performing it in the proper
style?
MU1.1-H Feng Yang Flower Drum Song Demonstrate: S will review the song and
MU1.2-E clapping. Replace clapping with instruments.
MU1.3-C Optional: Learn the song in Mandarin.
MU1.4-E Supplemental Science Activity: Students will
LA1.4-A create their own drum and demonstrate
LA1.5-B communicating their rhythm from across the
SC1.3-D room (over a distance).
MU1.1-J Hot Cross Buns Explore: S will review reading Sol Mi Do with
MU1.2-I Fuzzy Wuzzy. The class will sing Hot Cross Buns
and sing Mi Re Do with hand signs.
MU1.3-D Dance Practice Demonstrate: See Appendix/A ssembly and
MU1.4-D Concert Suggestions/First Grade Dance
MA1.4-A Assembly and Concert.
MU1.4-D Follow the Drinking Gourd Demonstrate: T and S read the story and discuss.
MU1.4-E S sing the refrain while T reads and sings. T
LA1.1-B points out the difference between history and
LA1.4-C historical fiction. Optional: Learn about using
LA1.4-D the sky and your environment for navigation
MA1.3-B (related to SC1.2-A).
Supplemental Math Activity: Discuss how people
told the time of day during this time period.
February
Objectives
Explore a clapping chant. Identify Re in Mi Re Do. Demonstrate (practice) for a dance
concert. Demonstrate singing about a significant time in American history. How does
that help us understand each other?
PI Dance Demonstrate How to we make the performance the best it

can be?
PA Hot Cross Buns What is the rhythm? What is the new note we
learned in this nursery song?
MU1.1-A Miss Mary Mack Explore: S will learn the movement to a

MU1.2-A The movement is similar famous clapping chant. S sing the song.
MU1.2-F to patty cake: The T demonstrates the movement to the
MU1.3-A Cross-patsch- clap-r- clap- class. 2 S are used to demonstrate with
LA1.2-D l-clap-both-lr. guidance, then everyone demonstrates with
LA1.4-A Miss- Mar- y- ma-ck-mac- a partner.
k- mack
MU1.3-B Hot Cross Buns Identify/Demonstrate: The T will introduce
the pattern Mi Re Do and show the hand
signs. The T will place solfege or note
names in order like xylophone bars on
the board (right to left) and demonstrate
the hand placement for playing from
right to left “Do Re Mi.” S will pat the note
placement for the xylophone on the rug
and transfer it to playing the melody on
melodic percussion.
MU1.3-D Dance Practice Demonstrate: See Appendix/A ssembly and
MU1.4-D Concert Suggestions/First Grade Dance
MA1.4-A Assembly and Concert. What country does
our dance come from? What influences in
the culture contribute to the dance (e.g.,
Mexican Dance is influenced by its Spanish
culture). How does one traditionally dress
for the dance (T shows pictures)?
MU1.4-D Follow the Drinking Gourd Demonstrate: S will review the story and
MU1.4-E demonstrate singing the song.
LA1.1-B Social Studies Questions: What songs or
LA1.4-C stories teach us about important people
LA1.4-D and events in American history? How does
MA1.3-B understanding these events connect our
SS1-2 diverse cultural backgrounds?
18
Objectives
Explore accelerando (increasing speed). Identify or derive the word “spiral” for spiral
movement. Demonstrate (practice) for a dance concert. Demonstrate Mi Re Do and
the clapping chant. The class will discuss how to show the same number using different
equations.
PP Dance Demonstrate How can we perform better to get the response we want
from the audience?
RI Wind Up the Apple Tree What are clues in the song that let us know how the
creator wants his/her song performed?
MU1.1-I Wind Up the Apple Tree Explore/Identify: S will learn the vocabulary words
MU1.3-D “spiral” and “accelerando.” T teaches the song.
LA1.4-A T guides a small group to show the movement. Whole
LA1.5-C group does the movement. The goal is to experience
MA1.4-B accelerando while singing and moving as a group into
an inward spiral.
Supplemental Math Activity: The T will discuss building
composite shapes from basic shapes (squares into
rectangles, triangles into diamonds).
MU1.3-D Dance Practice Final Rehearsal
MU1.4-D
MA1.4-A
MU1.2-A Bought Me a Cat Demonstrate: S will earn a traditional story that builds
MU1.2-F sequentially. The T sings the story with a book. The
MU1.2-H T reviews the story with S singing along. The T points
LA1.2-A out that the notes for Fiddle-I-Fee are Mi Re Do.
LA1.2-D
LA1.4-A
LA1.5-A
MU1.1-A Miss Mary Mack Identify/Demonstrate: S will get partners and do the
MU1.2-A clapping chant.
MU1.2-F Supplemental Math Activity: The T leads a class
MU1.3-A discussion on how to show the same number in
LA1.2-D different ways (the number 10 equal to 5 + 5 or 7 + 3).
LA1.4-A
MA1.1-D
Objectives
Identify accelerando. Demonstrate Mi Re Do, reading Re and reading music notation.
S spell three-letter animal names. S will discuss living things and what on their bodies
helps them survive and protects them.
1–23 ABB Activity Question
CP Bought Me a Cat What are we trying to express in relating the story?

What tools do we use and how do we use them?
C11 Froggy Went a Courtin’ What events in daily life inspired this song? How can we
perform that inspiration?
MU1.2-A Bought Me a Cat Demonstrate: S will review the song and replace the
MU1.2-F fiddle part with Mi Re Do. The S will then pantomime
MU1.2-H the story sequence with animal faces, stick puppets,
LA1.2-A or pictures they can hold up.
LA1.2-D Supplemental Language Arts Activity: The T works with
LA1.4-A the class to spell cat, pig, cow, and dog on the board.
LA1.5-A
MU1.2-H Hot Cross Buns notation Identify/Demonstrate: S will review where Mi and
MU1.2-I Do are in music notation and derive where Re
MU1.2-J should be on the staff. Students point and sing the
solfege examples on the board. Additional: S will
demonstrate writing Mi Re Do with felt notes on a felt
board. Relate the notes to song phrases in Hot Cross
Buns and Fiddle-I-Fee.
MU1.1-J Reading Review Demonstrate: S will read Starlight, Bluebird, Lucy
MU1.2-I Locket, Bounce High, Engine Engine, Hot Cross Buns.
Play songs and T helps them derive solfege and
rhythm.
MU1.1-I Wind Up the Apple Tree Identify/Demonstrate: S will review the movement and
MU1.3-D derive the increase of speed by the end of the song.
LA1.4-A The T will identify accelerando and review the word
LA1.5-C “spiral.”
MA1.4-B
MU1.1-A Froggy Went a Courtin’ Demonstrate: S will learn this traditional sequence
MU1.2-A song. The T sings the story from a book.
MU1.2-F Supplemental Science Activity: The T will lead a class
LA1.2-D discussion on how animals and plants use outside
LA1.4-A parts on their bodies to survive. What does a frog
SC1.1-A have on its skin covering? What about a plant?
Discuss different animals and plants. The T will have
S imagine what animal or plant protections could
humans use or adapt? (clothes, thorn-like protection,
eyes, ears).
120
Objectives
Explore Low Sol. Demonstrate reading music notation and composing using a board
or printed paper. Demonstrate beat, group singing, group movement, and individual
movement.
CI Floating Down the River How did someone create the movement for the song?
PS Little Sally Water How did I select this song for us to play? What are the
music-related reasons?
MU1.1-A Froggy Went a Courtin’ Demonstrate: The S will review the song then act out
MU1.2-A the story with costumes, stick puppets, or pictures.
MU1.2-F
LA1.1-A
LA1.2-D
LA1.4-A
MU1.1-J Reading Evaluation and Demonstrate: The T will read these songs with rhythms
MU1.2-I Composition and solfege. S look at the notation and identify the
songs Lucy Locket, Starlight, Bluebird, Bounce High,
Hot Cross Buns. The T will take a S volunteer and
show how to sing or clap a pattern, then write it on
the board. The S will create their own music notation
using pencils on staff printed paper (big and wide
spaces and lines) on a board or desk.
MU1.1-G Floating Down the River Explore: S will learn a circle game that has them
MA1.1-A doubling numbers. The T sings the song. The S repeat
the song. The T shows how the class holds hands in
a moving circle while the ‘boat’ (2 S) are in the middle
holding hands while swinging their arms side to side).
At the refrain, the class stops and claps while the two
S on the boat hold hands and jump up and down.
The two S go back into the circle to each pick a new
partner. See the song for more game instructions.
MU1.2-H Little Sally Water Demonstrate: S will learn a traditional circle game. The
MU1.3-D T sings the song, shows the movement. In the game,
MU1.3-E the T picks a new Sally or Sammy Water.
March
Objectives
Demonstrate solfege, group singing, group movement, sashay, and individual move-
ment. Demonstrate call and response and composing a story and lyrics of a song.
Reinforce Sol Mi and La with a new song. S will experiment putting different types of
materials in front of light and learn wording to describe the results.
RS Lemonade What makes this a good song/game for Recess Week?

CM Seesaw What in the music helps you decide the movements
you want to do? Could you possibly make a video
recording of your expression? What would it include?
MU1.1-G Floating Down the River Demonstrate: S will review the song and game.
MA1.1-A Supplemental Science Activity: The T will explore
SC1.3-C materials (see following) and the class will observe
what happens when placing them in front of a light
source. First the T has the class make predictions on
what they think will happen to the light—then they
observe. Afterwards the class will make conclusions
using their own wording.
Absorb (cardboard), Reflect-smooth (mirror), Scatter or
Reflect-rough (paper), Refract (water), Mixture (wax
paper).
MU1.2-H Little Sally Water Demonstrate: The S will review this game.
MU1.3-D
MU1.3-E
MU1.2-G Bonsoir Mes Ami (sashay) Demonstrate: S review the sashay dance step from
MU1.4-D last year. S listen to the recording and demonstrate
LA1.5-C bowing. T brings 6 S up to demonstrate the
movements in the song. Check the instructions
in the CD “Children’s Songs Around the World” by
Catherine Slonecki.
MU1.1-F Seesaw Demonstrate: This song will reinforce Sol, Mi, and
MU1.2-H La. The T and S discuss how the seesaw movement
LA1.4-C could go. S suggestions might be “Move your head,
MA1.4-A your shoulders, arms, legs, etc.” All sing the song
while doing the various movements. The T guides
them to make a seesaw movement with partners.
MU1.3-D Lemonade Demonstrate: S will learn the song for the upcoming
LA1.3 game. T sings each call and response and S
LA1.4-A demonstrate singing both parts. T derives job
LA1.5-A types from S and writes them on the board. Check
the game description at Appendix/National Recess
Week.
12
Objectives
Explore minor key and timbre (character of the sound). Identify the difference between
moving in 2/4 and moving in 6/8. Identify the terms “straight feel” and “swing feel.” Play
song games that reinforce concepts like beat, rhythm, solfege, group singing and move-
ment, cultural and historical background, improvisation, and rest. Discuss the defini-
tion of resources, producers, and consumers.
RI Lemonade Are we playing the game as the creator

intended? What are the song qualities?
RA Tisket a Tasket and London Clap the phrase “A green and yellow basket”
Bridge and compare it to “Falling down, fall down.”
Is there a difference in feel between these
two phrases and thus these two songs?
MU1.1-A Head and Shoulders Baby Demonstrate: S will learn the song and game
MU1.2-D while copying the T movement. The S will
improvise additional movement ideas. The
S end up with partners to do the activity.
MU1.3-D Lemonade Demonstrate: The class will review the song.
LA1.3 The T demonstrates the line game with 8 S,
LA1.4-A 4 on each team. Then all S play.
LA1.5-A Social Studies Questions: How are people
SS1-7 producers as well as consumers of goods
and services? What are resources (tools,
people, materials)? How do resources help
people meet their needs and wants?
MU1.1-A London Bridge Demonstrate: S will discuss background of
MU1.2-A London Bridge. The T asks questions to see
MU1.2-F what S know. The T then sings the story.
LA1.1-B A good book with historical background is
LA1.5-B “London Bridge is Falling Down” by Peter
Spier.
MU1.1-G Kagome: S will learn the song Explore/Demonstrate: The objective is to
MU1.4-D and play this Japanese move in 2s, experience a song from a
LA1.2-E game. The T sings the song different country, and develop listening
MA1.1-C in Japanese and reads the skills of direction and voice timbre. Game:
English translation. If it’s S walk on the beat solemnly in a circle
too difficult to sing, S will around the blindfolded S in the middle
sing “Kagome, kagome” and while singing the song. The blindfolded S
“doo” the rest of the words. faces one way the whole time. At the end
This is also to Explore for of the song, the S in the middle needs to
timbre. guess who is behind them. They have 3
guesses. Note: To make it easier, have the
S that’s behind the blindfolded S sing the
syllable “doo” on a brief phrase from the
song. After the guessing, they will be the
next one in the middle.
(Continued)
Continued
MU1.1-G Tisket a Tasket w. puppet Explore/Identify: S will review the song

MU1.4-E from last year and sing the words using a
LA1.5-B puppet. The T and S will clap the rhythm
to figure out the pattern Ta Tee Ta Tee.
The T will play the pattern on a drum as an
ostinato while the class sings the song. The
T will do the same exercise with London
Bridge and then ask the S to compare the
feel (swing feel versus straight feel).
Objectives
Identify louder and softer. Demonstrate improvisation, music notation, and feeling 2/4
versus 6/8. Demonstrate using music concepts (solfege, rhythm) as a tool to analyze a
song. S will use their class as a big shape and work with dividing it in half, quarters, etc.
PS London Bridge How does this song game relate to other song games
we are doing?
PR Head and Shoulders Compare the performance of Head and Shoulders to
Follow Me. How is the feel different?
MU1.1-A Head and Shoulders Baby Demonstrate: S will play the game and improvise new
MU1.2-D ideas for the action.
MA1.1-F Supplemental Math Activity: The T leads a class discussion
on how to add and subtract by 10 (up to 120).
MU1.1-F Seesaw Identify/Demonstrate: S will relate the song to the
MU1.2-H Supplemental Math hand signs Sol Mi La and derive rhythm on the
LA1.4-C Activity: The T will guide board (Ta Ta Teetee Ta). S will demonstrate writing
MA1.4-A the S into dividing the the music notation on the board. The T will play the
class in half, then quarters, song on the xylophone and have S stand up when
finally to partners. it’s loud and sit down when it’s soft. The T uses the
words loud and soft. The T could also have some
S take a turn playing the song as well.
MU1.1-G Tisket a Tasket w. puppet Demonstrate: The S play the game. Can the S hear the
MU1.4-E and game Sol Mi La in the song? The S will make sure their feet
LA1.5-B are moving on the beat (6/8).
MU1.1-A London Bridge Demonstrate: The S will play the game. The S will
MU1.2-A make sure their feet are moving on the beat (2/4).
MU1.2-F
LA1.1-B
LA1.5-B
MU1.2-G Bonsoir Mes Ami (sashay) Demonstrate: The entire class will do the dance.
MU1.4-D
LA1.5-C
124
Objectives
Explore minor key. Demonstrate creating and writing a rhythm composition.
Demonstrate group singing and group moving. S solve a word problem and make up
some new word problems based on Kagome’s nonsense lyrics.
PA Seesaw What is the rhythm? Can we write it? Can we create

measures? Where are the strong beats?
RS Kagome Listen to the translation. Think about the game. Why
would someone choose this song for a class? What
makes it fun?
MU1.1-F Seesaw Demonstrate: The S review the song and movement and

MU1.1-J then write the rhythm on the board under heartbeats.
MU1.2-H
LA1.4-C
MA1.4-A
MU1.1-J Individual Whiteboard Demonstrate: S will demonstrate writing rhythms from
MU1.1-K demonstrate writing the songs they’ve learned, guided by the T. S can write
MU1.2-J rhythms their own rhythms and add words to compose their
MU1.4-C own a chant.
MU1.1-G Kagome Explore: The class plays the game. Additional activity:
MU1.4-D T could play some Japanese Pop and have the S
LA1.2-E compare the pop with the Japanese folk song.
MA1.1-C Supplement Math Activity: A turtle places 12 pebbles next
to the water. A crane swoops down and grabs 5 with its
beak and flies away. How many pebbles are left?
MU1.1-A London Bridge Demonstrate: The class plays the game.
MU1.2-A
MU1.2-F
LA1.1-B
LA1.5-B
April
Objectives
Demonstrate reading and writing with new songs using various mediums (writing, felt
shapes). Improvise new lyrics and review the spiral shape. Become creative with shape
manipulatives to create composite shapes as well as animals.
RA Bell Horses What is the rhythm? What is the solfege?

CI Shake Those ‘Simmons How does knowing what a ‘simmons is help us create
Down new movement and wording for the song?
MU1.1-D Bell Horses Demonstrate: S will review the song from last year, sing
MU1.1-E the solfege, clap the rhythm. The class will write the
MU1.1-J song on the board.
MU1.2-I
LA1.2-B
MU1.1-F Snail Snail Demonstrate: S will learn the song and discover various
MU1.2-H ways for their body and head to move round and
LA1.2-F round while seated. Use the snail shell drawn on the
LA1.4-C board to trace the spiral with your finger while singing
MA1.4-B the song.
Supplemental Math Activity: Get some small shape
manipulatives and have S create new geometric
shapes. Have them make a snail and other animals as
well.
MU1.2-H Solfege on the Felt Demonstrate: S will demonstrate writing Sol, Mi, and La
MU1.2-I Staves with felt notes with felt staves. The T will demonstrate
MU1.2-J first on the big class felt board. S will relate the notes
to songs like Seesaw and Snail.
MU1.1-A Shake Those ‘Simmons Demonstrate: The T sings the song. The S discuss the
MU1.2-A Down vocabulary. The T shows pictures of persimmons
MU1.2-F or brings one in and passes it around. The T
LA1.1-B demonstrates the game with 4 students. The T points
LA1.5-B out that the words “shake those ‘simmons down” are
Mi Mi ReRe Do.
MU1.2-A Skip to My Lou Demonstrate: S will learn this traditional song then
MU1.2-F discuss the words and rhythm. S will play the game.
LA1.1-B S will improvise additional verses.
LA1.5-B
126
Objectives
Explore and identify descriptive words. Explore minor key. Identify contra line dance.
Demonstrate improvising lyrics.
RE Skip to My Lou How do we judge the quality of this song? Do you

like this song or another? Why?
C11 Alabama Gal What other “line” dances do you know of? Who can
share some of the steps?
MU1.2-A Skip to My Lou Demonstrate: S will play the game and improvise
MU1.2-F additional verses.
LA1.1-B
LA1.5-B
MU1.1-BtoD Group Exploration: Explore/Identify: S experience using words to
MU1.1-K Descriptive Music Words describe characteristics of music. Go to Appendix/
MU1.2-CtoE part one Group Exploration: Descriptive Music Words for
MU1.2-J the lesson instructions and suggested popular and
MU1.4-A classical music examples.
MU1.4-B
LA1.3
LA1.5-A
MU1.2-H Alabama Gal Identify: The S learn the song and discuss the words.
MU1.3-D The T will go over the solfege (Mi Sol Mi Re Do).
MU1.4-D The T uses 6 S to demonstrate the dance. The
MA1.4-A T describes a contra line dance. Afterward
S discuss the group shapes they make.
MU1.3-D Punchinello Explore: T teaches the S about Punchinello the
MU1.3-E clown. T draws the character or shows a picture.
MU1.4-C T demonstrates the circle game with all S in a
LA1.2-C sitting circle. The T is preparing S for hearing the
minor key in a song.
Objectives
Explore minor key. Demonstrate contra line dance, improvising movement, and read-
ing music notation. Demonstrate Do Re Mi solfege skills while exploring group move-
ment. S will demonstrate understanding where Do Re Mi and Mi Re Do are in a new
song by singing the solfege and using solfege hand signs.
PR Alabama Gal How did we perform? What could make it better?

RI Chase the Squirrel How fast or slow should we sing the song? How loud or
soft? Should there be a difference in the movement
between the singing part and the drum part? How
would the composer want it? Is it the same or different
from how you want the song performed?
MU1.1-D Bell Horses Demonstrate: S will review the music notation and then
MU1.1-E play the game.
MU1.1-J
MU1.2-I
LA1.2-B
MU1.2-H Alabama Gal Demonstrate: S will review the song and movement.
MU1.3-D All the S do the dance.
MU1.4-D
MA1.4-A
MU1.2-H Chase the Squirrel Demonstrate: S will reinforce Mi Re Do and demonstrate
MU1.3-D See the Songs section complex game playing. This is a movement activity
MA1.4-B for game description in which you sing Do Re Mi and Mi Re Do in various
configurations. S will demonstrate the expressive
qualities of the song through their voice and action.
The T teaches the song and uses 6 students to show
how to play the game. S will sing the song using
solfege (Do Re Mi Sol). All S play the game.
Optional Math Activity: The class as a group can
demonstrate combining 2 triangles to make a
diamond.
MU1.3-D Punchinello Explore: S will review the game and improvise their own
MU1.3-E movements.
MU1.4-C
LA1.2-C
128
Objectives
Explore Low Sol. Identify round and contrary motion (review from last year).
Demonstrate descriptive words. Demonstrate Mi Re Do. The class discusses what adult
animals do to help their babies survive.
PA Sally Go Round the Sun What is the solfege?

CP Sally Go Round the Sun Does everyone understand how to move in the
song/game? Is this activity ready to share?
Why or why not?
MU1.1-G Sally Go Round the Sun Identify: S will review the song, sing the solfege
MU1.2-A and start to learn the game. The T will
MU1.3-D introduce the word “round” and the phrase
“contrary motion.”
MU1.1-BtoD Group Exploration: Descriptive Demonstrate: S will continue using words to
MU1.1-K Music Words part two describe the characteristics of music. Go to
MU1.2-CtoE Appendix/Group Exploration: Descriptive
MU1.2-J Music Words for the lesson instructions
MU1.4-A and suggested popular and classical music
MU1.4-B examples.
LA1.3
LA1.5-A
MU1.1-A Shake Those ‘Simmons Down Explore/Demonstrate: The T reviews that the
MU1.2-A words “shake those ‘simmons down” are Mi Mi
MU1.2-H ReRe Do. S are exploring the sound of Low Sol
LA1.1-B
LA1.5-B
MU1.2-H Chase the Squirrel Demonstrate: The T tests to see if S remember
MU1.3-D the solfege. Then the S play the game.
MA1.4-B Optional Science Activity: The T will lead a
SC1.1-B class discussion on the behavior of parent
animals. What does a parent squirrel do to
help its baby survive (nest, feed, draw away
predators). What about other animals?
May
Objectives
Explore concepts for the assessment test. Explore for round, contrary motion, and tim-
bre. Demonstrate composition. S discuss the math concept of defining versus nondefin-
ing attributes.
CE Sally Go Round the Sun What happens in the performance? How does the
movement demonstrate the different voice parts?
RE Jack Be Nimble What made you decide to create a composition with this
particular note order (does it remind you of anything
else, does it feel good to play in that order, does it
remind you of another song)?
MU1.1-G Sally Go Round the Sun Explore: S will learn to move and sing to a round. T uses
MU1.2-A contrary motion 4 S in an inside circle and 6 S in an outside circle to
MU1.3-D show contrary motion and starting at different times.
Inside circle starts first, then outside, or vice versa.
Overview Explore for Assessment Explore: The class will review concepts for the test as
Test needed. The T uses the Group Exploration Lesson and
Assessment Test pages for reference.
MU1.3-B Jack be Nimble Demonstrate: The T and S recite the rhyme Jack be
MU1.4-C composition activity Nimble. The class composes a group rhythm and
LA1.1-A melody on an Orff instrument using the rhythm of the
LA1.2-C words (the instruments only have Sol, Mi, and La on
them). The T gets volunteers to create their own song
on Orff instruments based on the rhythm. All S then
have a turn to create their own song to the chant.
MU1.1-H Down Came Johnny Explore: S will learn the song and play the game.
MU1.2-B S will demonstrate timbre by closing their eyes
MU1.2-C and identifying different voices.
LA1.1-A Supplemental Math Activity: The T will lead a class
LA1.2-D discussion on the attributes of the button and the key.
MA1.4-C Which attributes are defining and which are not –1
the unlocking area of this key is defining, the color
and decorative area are not 2 the size and shape are
defining to fit the button hole, the amount of little
holes and color are not.
130
Objectives
Identify concepts in the assessment test. Explore timbre. Demonstrate Sol Mi Do and
Mi Re Do.
PI Down Came Johnny Can you describe the difference between voices?
How can you tell the difference?
PA Mouse, Mousie What is the solfege for this song?
MU1.1-A Mouse, Mousie Demonstrate: The T will go over the song and
MU1.2-A S will play the chase game. This song is a
MU1.2-H reinforcement of Sol Mi Do.
MU1.3-E
LA1.2-D
LA1.4-A
MU1.1-H Down Came Johnny (if time) Explore: S will learn the song and play the game.
MU1.2-B S will demonstrate timbre by closing their eyes
MU1.2-C and identifying different voices.
LA1.1-A
LA1.2-D
Objectives
Give the assessment test (if needed). Explore simple harmony. Demonstrate round.
Demonstrate Sol Mi Do and composition. Discuss popular song choices.
CM Jack Be Nimble What note and rhythm choices can you show for
your interpretation of Jack Be Nimble?
PP Singing Rounds Do you think the round is ready to perform?
How do you know it’s ready?
MU1.2-A Singing Rounds Demonstrate: The T and S sing rounds in 2
MU1.2-C parts. The T can start by reviewing “Sally Go
MU1.2-G Round the Sun” with its movement. Then the
class can sing “Row, Row, Row Your Boat” in
this order: 1 all S are group one, the T is group
two, 2 all S are group one, the T and a few
strong singers are group two, 3 the T and a
few strong singers are group one, the rest are
group two, 4 the T divides the class in half
and the T with a volunteer lead the separate
groups.
In preparation for singing simple harmony.
MU1.3-B Jack be Nimble or another nursery Demonstrate: The T and S recite the rhyme
MU1.4-C rhyme— composition activity Jack be Nimble. The class composes a
LA1.1-A group rhythm and melody on an Orff
LA1.2-C instrument using the rhythm of the words
(the instruments only have Sol, Mi, and La on
them). The T gets volunteers to create their
own song on Orff instruments based on the
rhythm. All S then have a turn to create their
own song to the chant.
MU1.2-H Mouse, Mousie Demonstrate: S will play the game.
MU1.1-A
MU1.2-A
MU1.2-H
MU1.3-E
LA1.2-D
LA1.4-A
LA1.4-A Popular Music and Student Demonstrate: S get to choose games and songs
MA1.3-C Choice (if time) they liked to do over the past year. The T
finds out what popular songs the S like and
discusses with them why they like them. Later,
the T will add some of them into a party tape.
132
Objectives
The objective is to enjoy choosing favorite songs and games from the previous year and
to move to popular music.
PS Student Choices What songs and games are your favorites? Why?
RS Dance Party What popular music is your favorite to dance to? What do you
like about it?
n/a Student Choices Students get to choose games and songs from the past year.
n/a Dance Party The T plays a compilation of current dance hits for
S to dance to.
First Grade Resources

This grade level section includes:
Assessment test
Concept matrix
Grade song list both in consecutive and alphabetical order
First Grade Group Music Assessment Test
Test Date_____ Classroom Teacher ____________________ Class Size______ __

This Group Test gives an approximate figure of how many students can demonstrate the
following 18 skills. These skills are based on the Music Coded Concepts. Some skills the
teacher can evaluate visually (jumping). Some skills the teacher will initiate a class dis-
cussion. The teacher gives instructions on what to do but does not demonstrate. The test
should be conducted two times during the school year. Teachers should feel free to adapt
the test to their own curriculum and expectations. B, P, and A are PASSING GRADES.
PG is a red flag that the teacher needs to reteach the skill and N is more of a low grade
on cooperation and behavior. The aim of this testing style is to keep track of improving
proficiency in a class environment in which individual testing is not possible.
up into sections and given at different times as per the teacher’s preference. Composition
and Improvisation assessments are not covered here but within projects done during the
semester.
mistakes
134
First Grade Group Music Assessment Test Page 2

Example: Students clap the rhythm of Starlight as a group. Out of 20 students the
breakdown observed was as follows: 4 clapped with almost no mistakes, 15 clapped with
a few mistakes, 1 clapped with many mistakes. At least 75% of the class performed the
skill with few mistakes so the class grade is PROFICIENT. Write the number of students
in each category as you test. You may need to request a teacher’s aide to assist in the
testing.
TABLE 2. 21 First Grade Observation Assessment
Standard N PG B P A Grade
1 Sing a song in tune with expression and

phrasing. Use Starlight or another familiar song.
Echo a two-measure pattern of melody that
contains Sol La Mi using oohs.
2 Sing with a conductor following the changes in
tempo and dynamics. Use Starlight or another
familiar song.
3 (optional) Sing a round with Row Your Boat or
Sally Go Round the Sun.
5 Instrument Performance: Play a steady beat with

6 Move with rhythm. Clap the rhythm for Starlight/
Engine Engine. Echo a two-measure pattern of
rhythm that contains Ta, Teetee, or Rest using
clapping.
7 Instrument Performance. Play an accurate rhythm
with Starlight or Engine Engine. Play instruments
properly.
8 Instrument Performance. Play with accurate
dynamics while following the conductor. Use
Twinkle or Jingle Bells.
9 Movement-Individual Activity: Do the following
movements as instructed with a drumbeat. Walk,
Run/jog, Tip toe, Jump, Hop, Skip.
10 M
ovement-Group Activity (30–60 second
segments):
Sitting circle with Lucy Locket -Standing circle
with Here Comes a Bluebird -Moving circle with
Diddle Diddle Dumpling -Moving in place with
Starlight -Moving in space with Have You Ever
Seen a Lassie (scattered free movement swing
and skip).
(Continued)
11 Reading and writing:

Aural: Listen to example rhythms and identify by
clapping and saying in rhythm using the correct
syllables (Ta, Teetee, Rest).
Written: See the rhythms on the board and clap
and say in rhythm the correct syllables (Ta, Teetee,
Rest).
Aural: Listen to example melodic patterns not
related to songs and identify by saying the
solfege correctly.
Written: See the solfege on the board and sing
it with the proper solfege (Sol-Mi, or Sol-
L a-Sol-Mi, etc.).
Totals
136

Example: Students listen to four different music excerpts (piano concerto, salsa
music, choir, march). Out of 20 students the breakdown observed was as follows: 10
engaged (raising their hand, discussing, using correct vocabulary), 7 listening but not
raising their hands, 3 not paying attention. At least 50% of the class was engaged so the
class grade for this skill is BASIC. Write the number of students in each category as you
test. You may need to request a teacher’s aide to assist in the testing.
TABLE 2. 22 First Grade Discussion Assessment
13 L
isten to a recorded performance and give
observations and opinions.
14 E
valuate two varying recorded excerpts. Compare
and contrast using vocabulary words or their own.
Give a time limit (5 minutes).
15 Analyze: Listen to 4 varying music excerpts (can
include the same as in skill 14).
Be able to describe 3 details of at least 2 of
the music pieces (using vocabulary words
or their own). Also describe style, voice, and
instrumentation (10 minutes).
16 Recall: (spring test only)
What music did we learn that is called classical or
popular music?
What music did we learn that is from a different
country or is in a different language (Epanay,
Nochebuena, spring-Feng Yang, Kagome, Bonsoir
Mes Ami)?
17 D
iscuss the relationship between music and other
arts and disciplines.
Music and Stories (language, events, places,
people)
18 Describe 4 music excerpts in relation to culture and
history and by their differences and similarities in
rhythm, instrumentation, and vocals.
Discuss how you use music in your life and
describe the differences in the music (sleeptime-
lullaby, soft, slow, party-dance music, strong beat,
loud).
Totals
NOTES: (Mark down individual students consistently getting A or N)
138
First Grade Concept Code Matrix

First Grade General Concepts in Progressive Order
MU1 Music First Grade Standards

LA1 Language Arts First Grade Standards
MA1 Math First Grade Standards
SC1 Science First Grade Standards
SS1 Social Studies First Grade Standards
TABLE 2. 23 First Grade Music Concepts by Lesson
MU1.1 Beat/Rhythm Lesson
MU1.1-A Beat 1,3–12,17–19,21,23,24,26–29,32,34,35

MU1.1-B Tempo (fast/slow) 1,2,5,7,10,12,30,32
MU1.1-C Stop/go (sound/silence) 3,4,10,12,17,30,32
MU1.1-D Note duration (long/short) 10,12,18,19,29–32
MU1.1-E Rest 3,29,31
MU1.1-F Rhythm (feeling quarter, eighth and 1,2,5,7–12,25,27–29
sixteenth variations)
MU1.1-G Moving in 2s, 3s, and 4s. 1–4,7,18,19,24–28,32,33
MU1.1-H Conducting, Inner hearing 3,4,6,8,19,20,25,33,34
MU1.1-I Increased subtlety in rhythmic changes 6,7,17,22,23
MU1.1-J Reading rhythmic notation 6–12,15,20,21,23,24,28–31
MU1.1-K Identifying written songs 10,12,28,30,32
MU1.2 Melody/Singing
MU1.2-A Group singing (includes ostinatos, partner 1–4,6–12,17–19,21–24,26–30,32–35

songs, rounds)
MU1.2-B Individual singing 3,4,8,17,18,33,34
MU1.2-C Pitch (high/low) 2,3,4,6,8,10,12,30,32–35
MU1.2-D Note duration (legato/staccato) 10,12,26,27,30,32
MU1.2-E Dynamics (loud/soft) 10,12,19,20,30,32
MU1.2-F Lyrics 21–24,26–30
MU1.2-G Form (verse chorus phrasing) 5,7,9–11,27,35
MU1.2-H Solfege (Do, Re, Mi…) 2,5,17,18,22–25,27–32,34,35
MU1.2-I Reading pitch notation 5,9,10,12,13,15,20,21,23,24,29–31
MU1.2-J Identifying written songs 28,29,30,32
MU1.3 Percussion and Creative Movement
MU1.3-A Body percussion 9,10,21,23

MU1.3-B Melodic percussion 12,13,15,16,21,33,35
MU1.3-C Rhythm instruments 10,12,20
MU1.3-D Group Movement 7,17–26,30–33
MU1.3-E Individual Movement 1,3,5–7,18,24,25,30,31,34,35
(Continued)
MU1.4 Other
MU1.4-A Classical Music Comparisons 1,10,12,30,32

MU1.4-B Composers 10,12,30,32
MU1.4-C Fundamental Composition 9–11,13,20,30,31,33,35
MU1.4-D World Culture 12,17–20,25–28,30,31
MU1.4-E Seasonal Celebrations 7–12,17–20,26,27
TABLE 2. 24 First Grade Language Arts Concepts by Lesson
LA1.1 Literature and Nonfiction Lesson Number
LA1.1-A Identify details; setting, characters, events 3,4,7–11,17,24,33–35

LA1.1-B Compare pictures to story, compare 14,18–21,26–30,32
stories, fiction versus nonfiction, prose versus
poetry, authors, illustrators.
LA1.2 Basic Skills
LA1.2-A Consonant-Vowel-Consonant words 23

LA1.2-B Rhyming words 2,3,5,18,19,22,23,29,31
LA1.2-C Sight words 30,31,33,35
LA1.2-D Long, short vowels 3,4,17,18,21–24,33–35
LA1.2-E Blend sounds 26,28
LA1.2-F Decode and breakdown words into 12,29
syllables
LA1.3 Writing Skills
LA1.3 Be able to state opinion and add focus and 10,12,25,26,30,32

detail to writing
LA1.4 Listening and Speaking Skills
LA1.4-A Participate 3,5,6,7,17–26,34,35

LA1.4-B Follow discussion rules Demonstrated throughout
LA1.4-C Add detail, ask and answer questions 8–11,18,20,21,25,27–29
clearly
LA1.4-D Describe people, places, and things in 16,18–21
detail
LA1.5 Language Skills
LA1.5-A Vocabulary, age appropriate 10,12,17,22,23,25,26,30,32

LA1.5-B Make real life connections to vocabulary— 9–11,19,20,26–30,32
Learn words through conversations
LA1.5-C Place words into categories, show 8–13,17,22,23,25
comprehension of text
LA1.5-D Root words, subtle word differences 17
LA1.5-E Past, identify, future words 8
LA1.5-F Capitalization and punctuation: names and 17,18
dates, beginning and ending
140
BY THE END OF FIRST GRADE
TABLE 2. 25 First Grade Math Concepts by Lesson
MA1.1 Addition, subtraction (within 20) Lesson Number
MA1.1-A Add and subtract up to 20 then later up to 100 with objects 24,25
MA1.1-B Reading and writing equations within 20 19
MA1.1-C Word problems 26,28
MA1.1-D Understanding the associative property of addition 22
(3 + 7 = 5 + 5 = 10)
MA1.1-E Identify the unknown number (10 – 2=?) 2
MA1.1-F Count to 120, be able to mentally add or subtract by 10 27
MA1.2 Whole number and place value
MA1.2-A Understanding the difference between 10s and 1s 6

MA1.2-B Use place value to add and subtract 6
MA1.3 Linear measurement, measure with units
MA1.3-A Measure and compare with objects 8–11

MA1.3-B Tell the Time 20,21
MA1.3-C Reidentify data into categories with graphs 9–11,35
MA1.4 Reasoning skills with geometric shapes
MA1.4-A Compare shapes, partition them by halves, fourths and 9,10,17–22,25,27,28,30,31

quarters
MA1.4-B Compose new composite shapes from basic shapes 22,23,29,31
MA1.4-C Know defining (3 sides) versus non-defining shape 33
attributes (color)
TABLE 2. 26. A First Grade Social Studies Concepts by Lesson
SS1-1 Community Identity: What shapes the identity of a family and 12,15

community (language, beliefs, customs, traditions)? Name some
similarities in people from different communities. Now name some
differences. A community with people who have different traditions,
customs, and ethnicities is called a multicultural community. Is your
community multicultural? Can you identify different languages or
customs? How does a rich diversity encourage understanding between
people?
SS1-2 American Identity: Why is it important to understand your country’s 21
symbols (flag, patriotic songs, Statue of Liberty)? What songs or stories
teach us about important people and events in American history? How
does understanding this connect our diverse cultural backgrounds?
SS1-3 Citizenship and Civics: What is a citizen (member of a local or global 1
community)? Why is it important that citizens work together? How do we,
as a class or school, work together? What does it mean to act responsibly?
How can we help our community and world? Discuss how we share duties
in the classroom and why there are rules for both children and adults.
Discuss bullying. How can you be a part of problem solving or conflict
resolving in school and at home? Why do we need a government (creates
a peaceful and ordered society). There are different levels of government
(local, state, national)? What are some national holidays (local holidays)?
(Continued)
TABLE 2. 26. A Continued
SS1-4 Geography: Maps and globes are useful tools to understand places 18

and regions and how they pertain to music and lyrics. They are also
important tools to navigate from one place to another. Can you “read”
a map and find locations that apply to a song? Can you give another
student directions from one part of the school to another?
SS1-5 Humans and the Environment: How do humans adapt to their 8
environment to survive and meet their basic needs (food, clothing,
shelter, education, and protection)? What are natural resources that can
help meet these needs? How do humans change their environment to
meet their needs? What are examples of people interacting with their
environment in a song in a positive (or negative) way?
SS1-6 History: Time sequence can be described in days, weeks, months, 10
years, and seasons. Describing points in time can help you understand
events in your personal family history. How can you find out more about
your family history (interview relatives)? How do folktales, music, and
art teach us about families in the past? Give an example of how things
change over time or how they stay the same. How do we know about life
in the past (maps, letters, newspapers, artifacts)? Describe how history
was changed in a song or story.
SS1-7 Economics: What is the difference between needs (food, shelter, 26
clothing) and wants (television, fancy car)? How are people producers
as well as consumers of goods and services? What do you need in order
to purchase things? How does scarcity make families and communities
change their choices (have to move, change laws)? What are resources
(tools, people, materials)? How do resources help people meet their needs
and wants? What is supply and demand in the context of this song?
TABLE 2. 26.B First Grade Science Concepts by Lesson
SC1.1 Structure, Function and Information Processing
SC1.1-A Plants and animals use external parts to survive and grow. Use that technique 23
to design a solution to a human problem (clothes, protective gear, tails, roots,
thorns, quills, eyes, ears)
SC1.1-B Use books or media to figure out what behavior parents exhibit so that their 32
offspring survive (nurture, feed, housing; offspring cry, cheep, cause attention)
SC1.1-C Find evidence through observation that offspring are like, but not exactly 7
like, parents (dogs, plants)
SC1.2 Space Systems: Patterns and Cycles
SC1.2-A Observe sun, moon, and stars to derive predictable patterns (rise, set, view, 4
night, not day)
SC1.2-B Observe how the length of day and night change over the course of the year 11
(relative, not exact)
SC1.3 Waves: Light and Sound
SC1.3-A Vibrating materials make sound and sound can transfer and make materials 8
vibrate (tuning fork, plucked string, speaker, paper) what is the evidence?
SC1.3-B Observations, evidence: Objects in darkness can only be seen if illuminated 18
(dark room, pinhole box, external light, or object giving off its own light)
SC1.3-C Investigate putting different types of materials in front of a beam of light 25
(plastic, wax paper, cardboard) what is the effect?
SC1.3-D Build something that uses light or sound to communicate over a distance 20
(drum, light, cup, and string)
142
First Grade Song List

Index Key
TABLE 2. 27 First Grade Reference Key for Songs
NE-DV Down in the Valley: More Great Singing Games for Children, Rise Sally Rise (formerly Jump
NE-R S Jim Joe): Great Singing Games for Children by the New England Dancing Masters
KM The Kodály Method: Comprehensive Music Education from
Infant to Adult, Second Edition by Lois Choksy
KT Kodály Today: A Cognitive Approach to Elementary Music by Houlahan and Tacka
SA Sail Away: 155 American Folk Songs to Read, Sing and Play by Eleanor Locke
SG 120 Singing Games and Dances for Elementary Schools by
Lois Choksy and Dave Brummitt
TG Language Arts, Math, and Science in the Elementary Music Classroom by Kim Milai
In Curriculum Order
TABLE 2. 28 First Grade Songs in Chronological Order
SOURCE SONG
TG Hello Everybody
KT TG Engine Engine
KM KT SA Lucy Locket
KT TG Dinah (No One’s in the House But)
KT SA Bounce High
TG Better Watch Out
TG Bear Hunt
TG Epanay
TG Diddle Diddle Dumpling
TG The Turkey Ran Away
SA Bake the Johnny Cake (Christmas Coming)
TG Nochebuena (Christmas Eve)
(Continued)
SOURCE SONG
songsforteaching.com Kwanzaa Song by Rachel Rambach

TG Jingle Bells
KM Fuzzy Wuzzy was a Bear
AF KM KT Hot Cross Buns
AF KT SG Charlie Over the Ocean
SA SG Alley Alley O (The Big Ship Sails)
TG Dance to Your Daddy
copyright Carver Neblett Back of the Bus
TG My Bonnie
TG Feng Yang Flower Drum Song
TG Follow Me
Recommended song book Follow The Drinking Gourd
by Jeanette Winter
TG Miss Mary Mack
SG Wind Up the Apple Tree
KM JT-B SA Froggy Went a Courtin’
TG Floating Down the River
AF KT NE-R S SD Little Sally Water
Children’s Songs Around the Bonsoir Mes Ami
World by Catherine Slonecki
KM KT SG Seesaw
SA SG Lemonade
TG Kagome
AF KT SD SG London Bridge
NE-R S SD SG Head and Shoulders Baby
KT SA Snail Snail
SA SG Shake Those ‘Simmons Down
KM NE-R S Skip to My Lou
AF NE-R S SG Alabama Gal
SD Punchinello
KT TG Chase the Squirrel
TG Bell Horses
TG Down Came Johnny
SG Mouse, Mousie
14
TABLE 2. 29 First Grade Songs in Alphabetical Order
SOURCE SONG
AF NE-R S SG Alabama Gal

SA SG Alley Alley O (The Big Ship Sails)
copyright Carver Neblett Back of the Bus
SA Bake the Johnny Cake (Christmas Coming)
TG Bear Hunt
TG Bell Horses
TG Better Watch Out
Children’s Songs Around the World Bonsoir Mes Ami
by Catherine Slonecki
KT SA Bounce High
AF KT SG Charlie Over the Ocean
KT TG Chase the Squirrel
TG Dance to Your Daddy
TG Diddle Diddle Dumpling
KT TG Dinah (No One’s in the House But)
TG Down Came Johnny
KT TG Engine Engine
TG Epanay
TG Feng Yang Flower Drum Song
TG Floating Down the River
TG Follow Me
Recommended song book by Jeanette Follow The Drinking Gourd
Winter
KM JT-B SA Froggy Went a Courtin’
KM Fuzzy Wuzzy was a Bear
NE-R S SD SG Head and Shoulders Baby
TG Hello Everybody
AF KT Hot Cross Buns
songsforteaching.com Kwanzaa Song by Rachel Rambach
TG Jingle Bells
TG Kagome
SA SG Lemonade
AF KT NE-R S SD Little Sally Water
AF KT SD SG London Bridge
(Continued)
SOURCE SONG
TG Miss Mary Mack

SG Mouse, Mousie
TG My Bonnie
TG Nochebuena
SD Punchinello
KM KT SG Seesaw
SA SG Shake Those ‘Simmons Down
KM NE-R S Skip to My Lou
KT SA Snail Snail
SG Wind Up the Apple Tree
Second Grade
In some curriculums, the focus is on making conscious three or four major
concepts—with a lot of preparation and practice before and after. Some major concept
examples are Ta, Teetee, Sol and Mi. You may decide to create your curriculum from
this model.
In this curriculum, the term “identify” means making conscious the descriptive
word that is the focus of a lesson or through a series of lessons. It means using specific
vocabulary to identify the activity and have the students use the word as well.
This creates multi-layered “identify” activities in a given semester. By multi-layered,
I mean some activities are long-term, they evolve over the course of the year. Some are
short-term in that the concept is identified within a few lessons. The song becomes the
vehicle for this three-fold journey—exploration, identify (or being made conscious) and
then demonstrating or practicing the concept learned. The smaller “identify” activities
lead toward the larger goals for this grade level—such as learning louder and softer to
eventually learning the vocabulary word “dynamics.” The goal for using this approach
is to keep track of the complexity of the curriculum learning.
146
TABLE 2.30 Identified Second Grade Concepts
- 1 Low La, Low Sol 19

Contrary motion
Beat 2 Form 20
Round 3 - 21
In-tune singing
Composer 1 4 - 22
Sol Mi La, Ta Teetee Rest (review)
Reading music notation
Half note 5 Composer 3 23
Improvising
- 6 Dynamics 24
Mi Re Do (review) 7 Tempo 25
Call and Response Tika
Two-part singing 8 Pitch 26
Conduct in three
Compose and Composition 9 Instrument families 27
- 10 - 28
Conduct in two 11 Composer 4 29
Seasonal activities Ta Tee Ta Tee (review)
Composer 2 12 Solfege Scale 30
Decibel
Pick up note(s) 13 Acoustics 31
Ostinato
Little beat
- 14 - 32
Seasonal celebration 15 Tim-ka 33
Melody with melodic instruments 16 Song origin 34
Phrase 17 - 35
Swing while moving in twos (6/8) 18 - 36
September
Second Grade Routine
For Every Lesson
TABLE 2.31 Second Grade Routine Semester 1
MU2.1-A Javanese Walk: Use moderate The Teacher (T) will establish an entrance routine
tempo instrumental music as follows: Begin class with a calm movement.
like Degung. Students (S) enter the room quietly in-step, or
if they’re already in the room, they line up and
start walking, creating a giant circle or oval. In
this exercise S are experiencing basic beat in
a clock-wise direction. The T will use Degung
music or another calm, moderate-tempo music.
The T leads the walk and plays a finger cymbal
to the beat. The T can later mix it up by walking
half-note beats (giant footsteps), quarter-note
beats (walk), or eighth-note beats (tip toe or
quick step).
Bonus Walking Exercise: The T plays finger
cymbals without the music. When the T stops
playing, everyone must freeze.
MU2.1-A Nigerian Welcome Chant Sing a greeting standing or sitting in a circle.
T recites the English Words “Where you come
from, all over the world! We welcome you with
open arms from our heart.” T sings the song in
Nigerian and teaches the song line by line.
n/a Exit Routine Decide how to end the class and line up in an
orderly fashion.
148
Lesson 1/36 Second Grade
Objectives
Create pleasing music-themed decorations that give S ownership to the music room.
Explore a minor key round that will be performed at a concert. Explore beat and group
singing. Compare class rules to community laws. Explore Native American culture with
a Navajo song. For more information see Appendix/Assembly and Concert Suggestions/
Second Grade Harvest Assembly and Concert.
Second Grade Lesson 1
2-1 ABB Activity Example Questions
C11 Walk in Beauty How does the knowledge that this is a spiritual Navajo
Song help us perform better? In what way should we sing
the song?
PA Walk in Beauty What is the structure of this song (number of sections,
lyrics, rhythm)? How does knowing the structure of the
music help us perform this Native American song?
LA2.4-B Class Rules S will discuss class rules and what happens if you break
them. Eventually T will make a poster on the wall as a
reminder.
n/a Draw music pictures The goal is to establish a community and sense of
for the room. ownership of the room. S will add a pleasing visuals
to the space. T shows some example pictures in music
themes, like instruments, kids singing, colorful music
notation with designs around them. The recommended
medium is pastels so the pictures are vibrant. Later, the
T will put up clothes lines in the room and clip as many
pictures as possible to hang on the lines.
MU2.1-A Walk in Beauty Explore: S will learn a Navaho song for the Fall Harvest
MU2.2-A Concert. Learn a two-part round. Note: All songs for
MU2.4-D the concert can be on charts for S to read and start
LA2.4-D memorizing. Where did the Navaho live in the past?
Where do many Navaho live now?
F I G U R E 2 . 9 Pastel Example 1. See Online Support to get free printable color image.
F I G U R E 2 .10 Pastel Example 2. See Online Support to get free printable color image.
150
Objectives
Explore round and Low Sol. Explore in- tune singing. Identify beat (big beat).
Demonstrate and review Mi Sol La by learning two new songs for a concert.
C10 Nigerian Welcome Chant How does this song connect you to the Nigerian
Culture?
PI Que Llueva How can you put more expression in the song? How do
we take the lyrics and make them have more feeling?
MU2.1-A Nigerian Welcome Chant Explore: S hear Low Sol in a traditional African song.
The T talks a little about the Nigerian culture.
LA2.4-B Class rules S will review the class rules.
SS2-3 Social Studies Questions: Communities have a
responsibility to establish fair laws that are for the
common good. Leaders in a community help create
laws. Why is it important to follow those laws? What
happens if some people don’t follow the laws? Who
enforces the laws?
MU2.1-A Walk in Beauty Explore/Identify: S will sing and slowly walk around
MU2.2-A the circle. The T will encourage walking to the beat
MU2.4-D (big beat). For more information see Appendix/
LA2.4-D Assembly and Concert Suggestions/Second Grade
Harvest Assembly and Concert.
MU2.1-D Que Llueva Explore: The T introduces the song and the story and
MU2.1-G demonstrates the game with 6-8 S. The T focuses on
MU2.3-D in-tune singing. Like London Bridge, there is a circle
MU2.4-D rotating through 2 S who are the bridge. On “Si” the
LA2.2-A bridge goes down around the S underneath, On “no”
LA2.4-C they let him/her go. On “chaperon” the bridge goes
down and that S who is caught goes out to be on one
team (the 2 bridge S are each a captain of a team). S
caught are alternated so the teams are even. Optional
outside activity: Once everyone is caught and teams
have been made, the group can play tug-of-war.
MU2.1-F Great Big House Demonstrate: S will learn a song for the concert. The T
MU2.1-E sings whole song, then teaches the song line by line.
MU2.2-H The T reinforces the interval singing Mi Sol La.
LA2.1-A
LA2.5-B
Objectives
Explore the half note and Low Sol. Identify the term “round” and the phrase “in-tune
singing.” Demonstrate (practice) in-tune singing for a concert. Determine the location
in a story in the song.
CM Walk in Beauty How does singing the song as a round reveal the music
structure? What do you need to know while you
create the melody?
RS Who’s That What person (no animals) do you want to be at the
door: Mother, Brother, Fireman, Super hero, Book
character? How will that selection affect your
performance?
MU2.1-A Nigerian Welcome Chant Identify: The song will now be the used for opening
the class and to practice singing Low Sol. The T will
discuss the phrase “in-tune singing.”
MU2.1-A Walk in Beauty Identify: The T plays the recording of the song in a
MU2.2-A round form. S demonstrate singing as a round with
MU2.4-D the recording under the T guidance. S learn the
LA2.4-D vocabulary word “round.”
MU2.1-E Great Big House Demonstrate: S will review the song. The T identifies
MU2.1-F the word “in-tune singing.”
MU2.2-H Social Studies Questions: Is New Orleans, is the
LA2.1-A community urban, suburban, or rural? What are the
LA2.5-B clues? If every room has pumpkin pie, what type of
SS2-4 place is it most likely—residential or commercial?
Describe more geographical details in the song (mill,
stream).
MU2.1-D Que Llueva Demonstrate: S will review the song and game. The
MU2.1-G T encourages in-tune singing.
MU2.3-D This popular children’s game is sung in many Spanish-
MU2.4-D speaking countries. What are some of those countries
LA2.2-A (Spain, Mexico, Puerto Rico)? What English-speaking
LA2.4-C games are similar (London Bridge)?
MU2.1-F Who’s That w. puppet Explore: S will learn the song and game through a
MU2.2-H puppet. Clap the rhythm. This song will eventually
teach the half note.
152
Objectives
Explore Mi Re Do and off-beat clapping. Explore/Identify singing, clapping, and read-
ing Sol Mi La and Ta, Teetee, Rest along with other song components (basically a review
from last year). Identify the first Composer. Demonstrate (practice) for a concert. S will
be introduced to the Word Wall. Review adding two digit numbers using the numbers
in Great Big House as inspiration.
CI Reading music notation What are the rhythms and solfege patterns for these
songs
RE Composer of the Month Apply your preferences and knowledge to figure out
the correct answers. Listen to the music. How do the
answers help you describe the music style?
Teacher, make sure there is a discussion on why the
class is studying western classical male composers
and put it into historical context—see Second Grade
Appendix/Composer Unit.
MU2.2-H Great Big House Explore/Demonstrate: S will review for concert. The
LA2.4-A S will explore off-beat clapping.
MA2.2-E Supplemental Math Activity: The T will have the S
demonstrate adding two digit numbers, like 40 stories
+ 40 stories or 50 pies + 50 pies.
LA2.2-A Word Wall Words: This S will build vocabulary words to be displayed
LA2.2-D is a sharing activity throughout the year. Beforehand, the T places
LA2.5-A meant to encourage alphabet letters in columns on the wall. The T explains
LA2.5-C participation that S will take turns volunteering a word. There is
LA2.5-F and exposure to only 1 word a lesson. The T demonstrates how to say
musical terms in a a word, define it, then spell it. If S can do all 3 tasks
cooperative format. for the word, they get to write their word on a card
After the initial and staple it at the appropriate place on the word
setup, it shouldn’t wall. If the S can’t do all 3, then the S gets to try again
take more than a next time and the T finds another S to give the class a
few minutes of class different word. Words cannot be repeated.
time.
MU2.1-K Reading music notation Explore/identify: S will derive and read the notation
MU2.1-L of Starlight, Bluebird (first half), Pease Porridge Hot,
MU2.2-I and Lucy Locket. S will identify the song components
MU2.2-J (solfege, rhythm names, barline, rest)
MU2.4-A Composer of the Month Identify: The T will expose S to 4 important classical
MU2.4-B (Bach)—1 composers using a multiple choice format. The T
LA2.1-A displays a giant picture of the composer and the class
LA2.3 will answer questions by hand vote. See Second Grade
LA2.4-A Appendix/Composer Unit for a full description of this
MA2.3-D activity.
LA2.4-A Que Llueva (sing only) Demonstrate: S will review for the concert.
F I G U R E 2 .11 Composer Display Board

154
October
Objectives
Explore call and response and seasonal celebrations. Continue exploring Mi Re Do
and songs in a minor key. Identify half note and the vocabulary word “improvising.”
Demonstrate (practice) for a concert. Discuss the Shakers, a group of people that settled
here in America.
CE Simple Gifts Apply the history of the creators to the way the
performers sing on the recording. How can we
improve the way we sing the song?
RA Who’s That How do we write the long note sound on a staff?
How many beats are in the new long sound?
MU2.1-FMU2.2-H Who’s That Identify: The class sings the song and claps the
rhythm. The class writes the rhythm on the board
(except for the new note). The T introduces the
Ta-a or half note. All play the game. The T uses
the word “improvise” to explain the process of
changing the characters in each verse of the
song.
LA2.2-ALA2.2-D Word Wall The class will develop an ongoing music vocabulary
LA2.5-A list based on S sharing. This will continue
LA2.5-C throughout the year.
LA2.5-F
MU2.1-CMU2.2-A Simple Gifts Demonstrate: The T sings or plays a recording of
MU2.2-C the song. The class discusses the history of the
MU2.3-A Shakers. S will begin practicing the song for the
MU2.3-C concert.Social Studies Questions: What songs
LA2.4-C or stories teach us about important people
SS2-2 and events in American history? How does
understanding this connect our diverse cultural
backgrounds?
MU2.2-HLA2.4-A Great Big House Explore/Demonstrate: S will review for the concert
MA2.2-E with off-beat clapping. The class will explore Mi
Re Do in the lyrics and music of “Pumpkin Pie.”
MU2.4-ELA2.2-B Skin and Bones Explore: S will learn this call and response song
for seasonal celebrations. Game: The T sings the
verses and walks around S that are lying down
around the room. After each phrase, the S sing,
“Ooo-oo-o -ooooooh!” (Mi Re Do La) and rise out
the grave like a ghost. They flop back down on
each phrase. At the end, all say, “Boo!”
MU2.2-AMU2.4-E Ghost of John Explore: S will learn this minor key song for a later
round. What time of year is a song like this sung
in the United States? This song is a round, what
does that mean?
Objectives
Explore two-part singing. Demonstrate Sol Mi La singing and breath control. Demonstrate
(practice) for a concert. S will explore timeline graphs and the definition of “odd” and “even.”
Discuss how communities survive by learning from and adapting to their environment.
PI Riddle Song What emotions does this song have? In what style should we
sing it?
CP Medicine Wheel Chant How do you choose animals for the song? What do they
express to you? How can you portray the movement to go
along with the song?
MU2.1-G Medicine Wheel Chant Demonstrate: S will do this circle game with pantomime.
MU2.2-B Medicine Wheels were stone structures built by Native
MU2.3-D Americans for spiritual and ceremonial purposes. In more
MU2.4-D modern days, the Medicine Wheel has grown to signify the
LA2.4-D Great Wheel or Cycle of Life.
SS2-5 Social Studies Questions: How do humans adapt to their
environment to survive and meet their basic needs (food,
clothing, shelter, education, and protection)? How is identifying
with these animals help people coexist with their environment?
What natural resources help meet these needs?
LA2.4-A Simple Gifts Demonstrate: The dance starts in a horizontal line
S will review for the “Tis the gift…” step-step-pause, etc., going forward.
concert with dance “And when we…” do the same going backward.
(step-step-pause. “When true…”step-step-pause in a moving circle going
Optional: S can also clockwise.
play instruments on “When true… (repeat)” do the same going counterclockwise.
the dance ostinato Note: You can also hop instead of step.
rhythm (Teetee Ta
Teetee Ta)
MU2.1-E Riddle Song Demonstrate: The T discusses the history of this Appalachian
MU2.1-F song brought over from England. S discuss the answers
LA2.1-A to the riddles. What is the singer implying by the riddles?
LA2.5-B What is the singer’s feelings? S learn the song for a concert.
MU2.2-A My Paddle Explore: S will sing and move to a song in minor key. T and S
MU2.2-H discuss the words. S sing the song and move slowly around the
MU2.4-D circle paddling a canoe. S are preparing for two-part singing.
LA2.4-C
MU2.2-B Owl Game: Demonstrate Demonstrate: The S are sitting in a circle as trees in a forest.
MU2.2-H Sol Mi La singing and They keep their eyes closed. The owl picker walks quietly
breath control in a around the circle and gently taps the shoulder of 1 S (T is the
game format. First first owl picker). The owl picker goes to their seat. T says,
T has S demonstrate “Whoever is the owl, make your owl sound.” The S tapped says,
making the owl sound “Whoo, whoo!” All sing “Who a-re you-u?” The S open their eyes
“Whooo!” Then S sing and raise their hand if they can guess who it was. The picker or
“Who a-re you-u?” (Sol T chooses S to guess until someone guesses who it was. Then
Mi La Sol Mi). the S that guessed right gets to be the new owl picker. Repeat.
MA2.2-C Math Exercises with Place Bach’s birthdate correctly in the Composer Timeline
MA2.3-C Birthdates Graph. S answer if it is odd or even.
MA2.3-D
156
F I G U R E 2 .12 Medicine Wheel Chant. See Online Support to get free printable color image.
Objectives
Explore two-part singing, composition, and minor key. Explore/identify singing and
reading Mi Re Do (review from last year). Identify call and response. Demonstrate
round. Demonstrate (practice) for a choral concert. S will discuss how animals can
move seeds from one place to another.
PR Concert Songs How many of us memorized the lyrics? Do the feelings

come through in the performance? How do these songs
relate to Thanksgiving?
PI Land of the Silver Birch Performing this song is like telling a story. How can we
use expression to improve the performance of this
song (loudness/softness, fast/slow, tone of voice)?
MU2.1-G Medicine Wheel Chant Explore/Demonstrate: S will review the song and
MU2.2-B movement to prepare for the concert. S will use
MU2.3-D individual whiteboards and compose a “call” for an
MU2.4-D animal (like in the Owl game) using any combination
LA2.4-D of La, Sol, Mi, Re, or Do. It doesn’t have to be realistic.
SC2.1-B The T will show examples for ideas.
Supplemental Science Activity: The T will ask S how they
think animals can move plant seeds from one place to
another (disperse). Take the animals from the Medicine
Wheel Chant as examples. Compare the differences of
the way the seeds are spread. The S could also play act
the parts.
LA2.4-A Great Big House Explore/Identify: The S sing and explore the solfege. The
T will focus on Mi Re Do (pumpkin pie) and the class
will write it on the board.
LA2.4-A Land of the Silver Birch Explore: S will learn this song. In the next lesson, S will
get into two groups, one group singing this song and
the other sing My Paddle.
LA2.4-A Riddle Song Demonstrate: S will sing the song and add the hand
signs.
MU2.4-E Skin and Bones Identify: The T discusses call and response with the S.
LA2.2-B The class does the activity.
MU2.2-A Ghost of John Demonstrate: S will sing the song and the T will guide
MU2.4-E them into singing it as a round.
158
Objectives
Explore the concept of phrase. Identify two- part singing and in- tune singing.
Demonstrate call and response. Demonstrate (practice) for a concert.
RS My Paddle/Silver Birch How do you think these two songs got joined
together? What makes them complementary?
PA Owl Game What is the context for this song/game? What is the
structure? Can you list the order of events?
MU2.1-A Mai Long Sera Explore: S will learn this stone passing game from
MU2.2-G New Guinea. Game description in Songs/Mai Long
MU2.4-D Sera. S will discuss the place and the people of New
Guinea.
MU2.2-B Owl Game Demonstrate: S will continue to practice singing with
MU2.2-H this mysterious woodland activity.
MU2.2-A My Paddle/Silver Birch Identify: Use the recording to demonstrate two-part
MU2.2-H singing and add drums.
MU2.4-D Optional Science Activity: The T and S discuss what
LA2.4-C a silver birch is and what it needs to grow. How do
SC2.1-A they know?
MU2.4-E Skin and Bones Demonstrate: S will demonstrate call and response in
LA2.2-B this activity.
November
Objectives
Explore the concept of phrase. Explore and identify descriptive words. Identify the word
“compose.” Demonstrate (practice) for a concert. S explore the act of assembling and
disassembling structures using Ta sticks.
PP Concert Demonstrate How can we make this performance the best it can be?
CM Mai Long Sera Improvise how long to wait before playing the drum.
Which length of time is trickiest to find the stone?
Which length of time the easiest?
n/a Concert Demonstration Demonstrate: S will review for the concert. T will use a
recording of the song Walk in Beauty being sung as a
round. S will also sing with a recording the two-part
singing in My Paddle/Silver Birch.
MU2.1-F Ta Sticks Explore/Identify: S will reinforce Ta, Teetee, and Rest
MU2.4-C by composing, clapping, and saying rhythm patterns.
SC2.3- C T demonstrates how to use popsicle sticks to make
Ta, Teetee, and rest (looks like a Z). The T will use
the words “compose” and “composition.” S work
individually and in teams to compose rhythm patterns
Supplemental Science Activity: The class as a group
builds a structure with 20 Ta sticks in 4–5 = steps.
The T writes down the procedure step by step. The
class goes backwards in the steps and disassembles
the structure and then in 4–5 steps creates a new
structure. The T again writes down the steps.
MU2.1-A Mai Long Sera Explore: S will review the game. Eventually S should
MU2.2-G derive that if they keep track of the beat and
MU2.4-D movement, they can figure out the stone’s location.
Alternate: If this is too difficult, play the drum at the
end of each verse (4 phrases) to make it easier to
locate the stone.
MU2.1-BtoD Group Explore/Identify: S experience using words to describe
MU2.1-K Exploration: Descriptive characteristics of music. Go to Appendix/Group
MU2.2-CtoE Music Words part one Exploration: Descriptive Music Words for the lesson
MU2.4-A instructions and suggested popular and classical
LA2.3
LA2.5-A
160
Objectives
Explore conducting. Demonstrate improvisation. Demonstrate how to derive solfege (Mi
Re Do) and rhythm in music notation. Demonstrate singing Do Mi Sol. Demonstrate
(practice) for a concert. S will work with the math concepts of area and partition of area.
S discuss creating a mini-timeline and discuss how some things change but others stay
the same.
RA Rocky Mountain How does the solfege help us understand what type
of folk song this is?
PS Frosty Weather What are some music reasons to learn this song?
What are some word or alphabet reasons? What
are some science reasons? What other songs do
you know with the same theme?
n/a Concert Demonstrate Demonstrate: S will practice for the upcoming

concert.
MU2.2-B Rocky Mountain Explore/Demonstrate: S will learn a traditional folk
MU2.2-H Setup: T will draw a song while practicing intervals Do Mi Sol and
MA2.4-A mountain, valley, and an singing individually. S will discuss the meaning of
MA2.4-B ocean on the whiteboard “do remember me.”
with a stick person at Optional Math Activity: Visually divide the verses
each one saying, “Do into 3 groups, discuss partitioning and area as
do do do, do remember related to the mountain, valley, and ocean.
me.” 3 S come up, one at
each part and will sing
the solo refrain. The rest
sing the verses.
MU2.2-H Frosty Weather Demonstrate: S will learn a song with Sol Mi Re Do.
LA2.1-C Frost-y-weath-er, Sol-Mi- S will derive (improvise) weather words that end in
LA2.2-D Re-Do, Head-shoulders- “y.” They will relate this song to the environment.
waist-knees.
MU2.2-H Hot Cross Buns Demonstrate: S will review and discuss the words in
LA2.2-B this nursery rhyme. S sing the song and derive the
solfege. S will clap and derive the rhythm.
MU2.4-C The Turkey Ran Away Demonstrate: S will learn a seasonal song. Hear the
MU2.4-E song and demonstrate improvising on the words.
SS2-6 Social Studies Questions: Describing points in time
can help us look at and understand events that
happened in history. Let’s create a mini-timeline
to show the first Thanksgiving to now. Give an
example of how things change over time or how
they stay the same. How do folktales, music, and
art teach us about people in the past?
Objectives
Identify the definition of “conducting” and the vocabulary words “seasonal” and “ori-
gin.” Demonstrate descriptive words with music examples. Demonstrate solfege with
movement and reading Mi Re Do. Demonstrate improvisation with a seasonal song.
S will discuss how earth events can be created quickly or slowly. S will discuss changing
the tense in a song’s title.
PA O Hanukkah What are the solfege notes for this song? How does the
solfege or scale change the tone and feeling of this
song?
RA Group Exploration Why do composers use loudness and softness? What
makes rock music different from classical music?
MU2.1-H Rocky Mountain Identify: S will review the song and activity. S will learn to
MU2.2-B conduct in 2/4 and S volunteers will stand and conduct
MU2.2-H the singing.
MA2.4-A Supplemental Science Activity: The T will lead a class
MA2.4-B discussion on how earth events can occur quickly
SC2.2-A or slowly. The T asks S for examples. What about
a mountain? Give examples of a mountain being
created quickly (volcanic activity). Give an example of
a mountain being created slowly (Rocky Mountains).
Would our Rocky Mountain in our song disappear
quickly or slowly (erosion)?
MU2.2-H Frosty Weather Demonstrate: S will review the song and activity and
LA2.1-C explore the solfege using the movement. Optional: S can
LA2.2-D take the movement and try it out with a different song
like “Bluebird.”
MU2.3-B Hot Cross Buns Demonstrate: S will review Great Big House, and focus
MU2.2-H on the phrase “Pumpkin pie.” S will then sing Hot Cross
LA2.2-B Buns and read the solfege notation Mi Re Do.
MU2.1BtoD Group Exploration: Demonstrate: S will continue using words to describe
MU2.1K Descriptive Music the characteristics of music. Go to Appendix/Group
MU2.2-CtoE Words part two Exploration: Descriptive Music Words for the lesson
MU2.4-A instructions and suggested popular and classical music
MU2.4-B examples.
LA2.3
LA2.5-A
MU2.4-C The Turkey Ran Away Demonstrate: S will review this seasonal song and activity
MU2.4-E as they improvise the words in the song.
LA2.5-E Supplemental Language Arts Activity: Briefly review how
to say the title in past tense, present tense, and future
tense.
MU2.4-D O Hanukkah Identify: S will listen to this seasonal song, learn the
MU2.4-E descriptive vocabulary and the phrases and words.
162
Objectives
Explore “ostinato” and “big beat” and “little beat” (review from last year). Identify
Composer 2. Demonstrate holiday songs and reading music notation.
RE Composer of the Month Which music in the Nutcracker do you like? Why?
(Tchaikovsky)
CE Pat a Pan By taking the songs story and history we added an
appropriate drum beat reflective of the era it was
written (400 years ago). How else can we improve the
quality of our performance?
MU2.4-A Composer of the Month Identify: The T will expose S to 4 important classical

MU2.4-B (Tchaikovsky)—2 composers using a multiple choice format. The T
LA2.1-A displays a giant picture of the composer and the class
LA2.3 will answer questions by hand vote. See Second Grade
LA2.4-A Appendix/Composer Unit for a full description of this
MA2.3-D activity.
MU2.4-E Pat a Pan Demonstrate: S will listen to this seasonal holiday song
Teetee Ta and learn the phrases and words. S will learn the
Wil-lie Take your moving ostinato by patsching and eventually moving
Teetee Ta it to drums.
fife and drum, Robin Optional for all Holiday Songs: The T will describe the
Teetee Ta Orff instruments and review with the S how to use
take your flute…etc. proper playing technique. The T will choose songs
from the Holiday Sing Along with others and S will
have the opportunity to play simple ostinato for these
songs in the keys of C, D, F, A minor, and D minor.
MU2.4-E O Hanukkah Explore: S will learn the song and play a big beat
ostinato on Orff instruments.
MU2.2-H Fuzzy Wuzzy Demonstrate: S will learn to read this song as they
derive the solfege Sol Mi Sol Mi Do Do Do. Play on Orff
instrument.
MU2.2-B Rocky Mountain Demonstrate: S will read the music notation of the
MU2.2-H chorus.
MA2.4-A
MA2.4-B
December
Objectives
Explore concepts for the assessment test. Explore identifying melody on melodic instru-
ments using SolMi SolMi DoDo Do. Identify the term “pick up” and review the terms
“ostinato” and “little beat.” Demonstrate for the Holiday Sing Along.
PS Holiday Sing Along Why are these songs selected for the Sing Along?
What do you know about them? What other
songs would you choose?
PR Jingle Bells What are some ways we can improve our
performance of Jingle Bells?
Overview Explore for Assessment Test. Explore: The class will review concepts for the test
MU2.4-E Holiday Sing Along Identify/Demonstrate: Bake the Johnny Cake, O
Hanukkah, Nochebuena, It’s Kwanza, Celebrate
Eid, Pat a Pan. The T will go over the term “pick
up,” describe the first two notes of Pat a Pan.
Pick-up notes are the first notes played before
the strong beat.
MU2.2-H Fuzzy Wuzzy Explore: S will read this song and derive the
solfege Sol Mi Sol Mi Do Do Do. S will play on
Orff instruments.
MU2.1-A Jingle Bells w. puppet Identify: The T will reinforce a well-known
MU2.4-E seasonal song. The T has S shake an eighth
note ostinato (little beat) with jingle bells while
singing the song. S will discuss the words
ostinato and big beat, little beat.
164
Objectives
Identify concepts for the assessment test. Explore/ Identify the origin of a game.
Demonstrate songs for the Sing Along. S will practice the math skills of adding, sub-
tracting and dividing items in half. S will compare holiday celebrations in urban, sub-
urban, and rural areas.
CP Holiday Sing Along Are we ready to have the Assembly? What sounds
the best, what needs work?
more meaningful?
MU2.4-E Holiday Sing Along (if time) Demonstrate: S will review songs for the Sing
SS2-1 Along.
Social Studies Questions: What community do
you live in (urban, suburban, or rural)? How
do different communities (urban, suburban,
rural) celebrate holidays? How does this type
of community affect how people celebrate? Are
these ways very similar? Any differences?
MU2.4-E Dreydl Game Explore/Identify: S will learn the Oh Dreydl song
LA2.1-B and are given instructions on how to play the
MA2.2-B game. The T explains the 4 Hebrew characters
MA2.2-E and has a test group of 4 S play the game in
front of the class. S will learn how to play the
Dreydl Game and the meaning of the symbols.
Supplemental Math Activity: While explaining the
game, the teacher reviews adding, subtracting
and how to split a pile of “coins” in half.
Objectives
Give the assessment test (if needed). Identify the term “seasonal celebration.” Demonstrate
songs for the sing along. Identify and demonstrate a seasonal game. Demonstrate how
to compose using melodic instruments. S will count by 5’s and 10’s objects from the
Dreydl game.
RI Compose an How do you think the creators wanted their music

Accompaniment to be performed? What accompanying rhythms,
notes, tempos, and dynamics showcase the melody
beautifully?
PP Holiday Sing Along Are we ready to do the Sing Along? We can just
sing the songs—but how will our “manner” of
performance and the context (reason for doing it)
make the audience respond positively? How would
singing Christmas songs in July make a difference in
audience response?
MU2.4-E Holiday Sing Along Demonstrate: S will review for the Sing Along.
MU2.3-B Compose an Demonstrate: S will demonstrate playing an ostinato
MU2.2-H Accompaniment on on the beat or do a two-note ostinato on melodic
LA2.2-B melodic instruments instruments. S will appreciate diversity while
using C, E, and G. reinforcing Do, Mi, and Sol. S will also compose their
own accompaniment.
MU2.4-E Dreydl Game Identify/Demonstrate: S will play the Dreydl game
LA2.1-B and listen to holiday music. S will learn the term
MA2.2-B “seasonal celebration.”
MA2.2-D Supplemental Math Activity: Count by 5s and 10s. Turn
MA2.2-E it into a word problem related to the song (count by
5s the 80 chocolate coins or count by 10s the 120
Dreydl s).
16
Objectives
Identify melody on melodic instruments. Demonstrate knowledge of music and games
from this semester. S will review songs and activities from the semester. Demonstrate
understanding of a classic holiday story and music.
PR Hot Cross Buns Can you show your music know-how by playing
this melody with proper notes and rhythm on the
xylophone/metallophone?
CI Nutcracker Suite How did the story of the Nutcracker influence the music
Tchaikovsky wrote? Give examples.
MU2.2-H Hot Cross Buns Identify: S will be introduced to the term “melody”
MU2.3-B and figure out Hot Cross Buns, Mi Re Do, etc., on
LA2.2-B the melodic instruments. The challenge will be the
instruments will have Do Re Mi Sol, AND La. The
S will have to discern by ear the correct notes to
play for the melody.
n/a Student choice of games Demonstrate: S will explore music and games from the
semester.
MU2.4-A Nutcracker Book Demonstrate: S will listen sections of the Nutcracker
MU2.4-B Suite by Tchaikovsky and listen to the story.
LA2.1-B
January
Second Grade Routine
For Every Lesson
TABLE 2.32 Second Grade Routine Semester 2
MUK1-A Javanese Walk: I use The Teacher (T) will establish an entrance routine as

Javanese Degung (S) enter the room quietly in-step, or if they’re already
music. in the room, they line up and start walking, creating a
giant circle or oval. In this exercise S are experiencing
basic beat in a clock-wise direction. The T will use
Degung music or another calm, moderate-tempo
music. The T leads the walk and plays a finger cymbal
to the beat. The T can later mix it up by walking half-
note beats (giant footsteps), quarter-note beats (walk),
or eighth-note beats (tip toe or quick step).
must freeze.
MU2.1-A Nigerian Welcome Chant The S will sing a greeting standing in a circle. The T
recites the English Words “Where you come from, all
over the world! We welcome you with open arms from
our heart.” The T then sings the song in Nigerian and
teaches the song line by line. Eventually the class will
just sing the song at the beginning of each class.
LA2.2-A Word Wall The T will do this ongoing class activity to derive a
LA2.2-D music vocabulary list. Each time, one student per class
LA2.5-A offers a word for the wall. The only stipulation is that
LA2.5-C they know what it means and they can spell it (see
Introduction/Common Core Integration).
n/a Exit Routine The T will decide how to end the class and line up in an
orderly fashion.
168
Objectives
Explore for 6/8 (review from last year), Low La and Low Sol and analyze the message in
an important civil rights song. Identify and improvise on same or different phrases in a
previously learned song. Demonstrate reading rhythmic and melodic notation simulta-
neously on the staff. Discuss the historical details of a song from the past. Discuss ways
to know about our past.
PS Ain’t Gonna Let Nobody What do you know of the Civil Rights Movement? Why
Turn Me Around do you think this song was so important? What does it
mean to you personally?
RA Reading What are the contexts and clues to help you figure out
the notation of one of these songs? How does the
notation support the music’s purpose?
MU2.1-E Hunt the Cows Explore: S will sing and move to a game song. T throws
MU2.2-F the S into the game by grabbing hands and creating a
MU2.3-D fast walking circle going clockwise.
LA2.2-C Phrase 1: circle clockwise
LA2.4-A Phrase 2: circle counter clockwise
Phrase 3: stamp on word “lost,” wipe brow on word
“warm,” make sleep motion on word “rest,” remain
still on word “home.” After a few seconds, all wake up
fast, stand up (if needed), and repeat the song. On the
second repeat go on one knee on word “home.” On
the third repeat go on two knees and elbows on the
floor on word “home.” End your song on Phrase 2.
MU2.2-H Loch Lomond Explore: S will sing a song with Low La and Low Sol. The
MU2.4-D T teaches the song line by line. Everyone will discuss
LA2.2-B the words and history.
SS2-6 Social Studies Questions: How do we know about life in the
past (maps, letters, newspapers, recordings, artifacts)?
Describe what a character in a story, song, or legend did?
Are our emotions the same as then or different (same)?
MU2.1-K Reading Options: Seesaw, Demonstrate: S will identify the rhythm and solfege of
MU2.1-L Snail, Bell Horses, Frosty songs they previously learned. The T could use the
MU2.2-I Weather, Rocky Mountain, Song Garden Books vol. 1–3 by Carol Heath or the T
MU2.2-J Starlight, Mousie, can project songs on the whiteboard without lyrics.
Bluebird, Lucy Locket,
Bounce High, HCB, Engine
MU2.4-D Ain’t Gonna Let Nobody Explore: The T will introduce the song. The class listens
MU2.4-E Turn Me Around to the CD of the Freedom Singers singing this song.
LA2.2-B The T and S discuss this specific event the song
pertains to and other events during the Civil Rights
Movement. S will learn the song.
MU2.1-A Mai Long Sera Identify: The T reviews the song and uses magnetized
MU2.2-G manipulatives on the whiteboard to help the S visualize
MU2.4-D the A A B C form. The S use percussion instruments to
improvise their own accompaniment to the song.
F I G U R E 2 .13 Music Form/Phrase Magnets

170
Objectives
Identify the 6/8 swinging rhythm, continue exploring Low La and Low Sol. Identify the
message and history of the civil rights marching song. Demonstrate composing rhythm
patterns with Ta Sticks. Mentally calculate equations up to 20 based on the song’s sub-
ject. Add and subtract Ta Stick lengths for measuring practice.
PR Ain’t Gonna Let How can we sing it like we are fighting for civil rights? Do
Nobody Turn Me you know all the words? Will our singing inspire us to
Around keep on marching?
CM Down Came a Lady How can we improve the game to make it work better and
be more fun? What are some ideas? Why do you like a
particular idea?
MU2.1-E Hunt the Cows Identify: S will review the game. The T will sing part
MU2.2-F of the song w/o swing—straight in 4/4 —and then
MU2.3-D sing it swung in 6/8. The T asks the S to describe the
LA2.2-C difference between the feel of each rendition. The T will
LA2.4-A introduce the term “swing.”
MA2.2-A Supplemental Math Activity: Mentally calculate equations
up to 20. Turn it into a word problem related to the
song (10 brown cows plus 5 white cows, or 20 cows
minus 3 is how many left?).
LA2.4-B Class Rules The S will review the class rules.
MU2.2-H Down Came a Lady Explore: The S will learn this contrary circle game song
MU2.3-D that includes Low La and Low Sol.
MU2.4-E Ain’t Gonna Let Identify: Review. The T shows S how to play act a scenario
LA2.2-B Nobody Turn Me symbolizing the struggle for equality. The activity includes
LA2.4-A Around 9 S: While the song is playing, 3 Freedom Fighters start
marching to freedom while 3 obstacles (S reidentifying
Oppression) try to pull them back. The 3 S reidentifying
Freedom finally pull the Fighters to safety. This brings the
S physically in the struggle and coincides with what they
are studying in their regular classroom.
MU2.4-C Ta Sticks Composition Demonstrate: The T will chant the first measure of a few
MA2.3-B of the Reading songs (Frosty Weather, Rocky Mountain,
Starlight, Bluebird, Lucy Locket, Bounce High, HCB,
Engine) and S use their Ta Sticks to show the rhythm.
S will then compose their own rhythm patterns.
Supplemental Math Activity: Use the popsicle sticks end
to end to add and subtract lengths (Add and subtract
lengths using popsicle lengths, rulers, yardsticks, etc.).
MU2.2-H Auld Lang Syne Explore: S will review singing this seasonal song and learn
MU2.4-D w. vertical grid that there are lower notes than Do in the song. Show a
LA2.2-B vertical grid that goes (from top to bottom) La Sol –skip –
Mi Re Do –skip –placeholder, placeholder (unnamed
placeholders are Low La and Low Sol). Sing “hmm” for
Low La and Low Sol. The T discusses the composer, his
country of origin, and the era he wrote the song.
Objectives
Explore and identify Low La and Low Sol solfege using a vertical grid, demonstrate
whether a song is swung or not swung, perform the civil rights song as a march. Identify
the term “contrary circle.” Describe and classify materials (instruments) based on obser-
vations. Demonstrate tuneful singing in a song from Taiwan. Explore earth processes
while tracing bodies of water like Loch Lomond and inside and around the islands of
Scotland. Discuss the challenges in each community (urban, suburban, rural). Discuss
resources in each that will help.
PP Ain’t Gonna Let How was our performance? Many people describe this type
Nobody Turn Me of music as “uplifting.” Was our performance uplifting?
Around
C11 Gau Shan Ching Let’s sing the “Ahhh” part of the song. What do you think
is the best way to get expression in this part? Let’s write
down a list of descriptive words. What are some other
ways to perform the “Ahhh” part? Are they more or less
expressive? Let’s sing them and see.
MU2.2-H Down Came a Lady Explore/Demonstrate: The S will play the game and discuss
MU2.3-D whether the song is swung or not swung (not). S will
SC2.3-A continue exploring Low La and Low Sol.
Supplemental Science Activity: The T asks the S to go to
a pile of percussion instruments. Students will work as
a group to move them and categorize them in different
ways: by material, by color, by size, by instrument type,
and the T or S make graphs with the findings on the board.
MU2.2-H Skin and Bones Identify: First, S will sing the song’s “Ooo” response and the
w. vertical grid T will show how the solfege is Mi Re Do La with the new
La low note. The T or S can point to the notes on the grid
while the class sings. The T will take the placeholder on
the grid and replace it with La.
The T will improvise words for the call “There was an old
woman all skin and bones” to “You see how the music will
show Low La.” Or the T can make up funny lyrics. The S
will do the signs and sing the solfege for their response.
MU2.2-H Loch Lomond Identify: The class sings the first line. The T guides the
MU2.4-D w. vertical grid S in singing the solfege and shows them Low La and
LA2.2-B introduces Low Sol. The T sings “You take the high road
SC2.2-C and I’ll take…” and the S respond “La-SolSol.” The T will
take the placeholder on the grid and replace it with Sol.
The T can create a game where she/he mixes up Loch
Lomond and Skin and Bones and S try to give the correct
response for both (using singing and hand signs).
Supplemental Science Activity: The T asks for several volunteers
to come to the board. The T demonstrates how to create a two-
dimensional model of a map of Scotland with Loch Lomond.
Include other bodies of water including the ocean and bays and
label them. S that are drawing will follow the T step by step. The
T explains how earth processes shaped this land and water area.
(Continued)
172
Second Grade Lesson 19 (continued)
MU2.3-C Ain’t Gonna Let Demonstrate: T will have S demonstrate a protest march.
MU2.4-E Nobody Turn Me They sing and march around the room while playing
LA2.2-B Around tambourines and drums on the offbeat.
LA2.4-A Social Studies Questions: Where would a protest march
SS2-7 most likely be (urban, suburban, rural)? Why? Each type of
community has different challenges to meet the needs of
their citizens. What are some? What resources are available
in each type of community (urban, suburban, rural) that
will help people?
MU2.2-C Gau Shan Ching Explore: S will learn a minor key song from Taiwan in
MU2.4-D preparation for Chinese New Year. The T and S will
discuss the meaning of the words. This song has great
opportunities for S to practice proper singing and
breathing.
Objectives
Explore minor key. Identify the definition of “phrase” and demonstrate proper singing
with Gau Shan Ching. Compose a Mi Re Do song with magnet shapes and lines on the
board. Explore two-dimensional mapping while tracing bodies of water in and around
the island of Taiwan. Name the types of bodies of water.
RI Mai Long Sera, Bluebird How does the form (phrasing) support the creator’s
intent (game)? What about the choice of notes and
dynamics?
PI Step Back Who can show with their movement that they
understand the way the composer wanted the
song to be expressed? Who could improvise a
different way to perform the song?
MU2.2-H Walk Daniel (do before Explore: S will learn and move with this African
MU2.3-D welcome chant) American game song in a minor key. The T will
MU2.4-E describe the history of this Georgia Sea Island
game song.
MU2.2-H Step Back Explore: S will play this call and response game song
MU2.3-D in minor key in preparation for identifying minor
MU2.4-E songs. The game starts in a circle with the caller
(T) in the middle. The S walk 4 steps toward the
center during the call and jump/clap back while
singing the response.
MU2.2-G Mai Long Sera, Bluebird Identify: S will reinforce the idea of music form by
listening to and analyzing phrases and using a
rainbow movement to feel the beginning, middle,
and end of a phrase. Rainbow movement: S hold
left cupped hand still while right hand touches the
hand and makes a wide arch or rainbow from left
to right. The T will introduce the vocabulary word
“phrase.” The T asks, “How many phrases are in
each song?”
MU2.2-H Compose a Mi Re Do Song Demonstrate: S will use magnet shapes to create a
MU2.4-C song using Mi Re Do on the whiteboard. S can sing
their song with or without a swing rhythm.
MU2.2-C Gau Shan Ching Identify/Demonstrate: S review the song and
MU2.4-D demonstrate posture and proper breathing
SC2.2-D while singing. The T and S can also try to sing in
Mandarin.
Supplemental Science Activity: The T finds Taiwan
on a Smart Board map or paper map. S will trace
with their finger or a pen the bodies of water that
are surrounding it. Name the bodies and water
type (salt water ocean, bay, etc.).
174
February
Objectives
Explore minor key. Demonstrate call and response and phrase and form. Demonstrate
proper singing by performing. Students will hear the story of an important African
American classical singer, listen to her music, and then discuss. S will study the physical
properties of music instruments.
C10 Gau Shan Ching How do the lyrics complement the music (tempo,
timbre, imagery)? What music patterns make it sound
like a folk song from the Far East?
RA Marian Anderson Analyze Marian Anderson’s music and performance
(style, loud/soft, high/low, voice). How does knowing
the structure help you understand her performance?
MU2.2-H Walk Daniel Explore: S will review the movement.

MU2.3-D Supplemental language arts activity: Discuss how the
MU2.4-E action words in the song are also root words (walk-
LA2.5-D walking, fly-flying).
MU2.2-H Step Back Explore/Demonstrate: S will review this call and
MU2.3-D response activity.
MU2.4-E Supplemental Science Activity: The T asks the S to
SC2.3-B return to the instruments and the graph they made
for SC2.3-A . The T asks the S to determine what
kind of sound each instrument would make if it
were shaken, hit with a hand, or hit with a mallet.
After experimenting, the S will answer the following
questions: If you want a “splashy metallic” sound,
which instrument is best? If you want a “dull thud,”
which is best? What instrument properties make them
good for either sound?
MU2.4-A Marian Anderson book S will learn the important story of an African American
MU2.4-D “When Marian Sang” classical singer. The T reads the book and all discuss
MU2.4-E and CD her history. The T plays some excerpts from her
singing.
MU2.2-G Mai Long Sera, Demonstrate: S will review forms A B A B1, AABC, and
Bluebird, Rocky add ABAB.
Mountain
MU2.2-C Gau Shan Ching Demonstrate: S will review and do a class performance.
MU2.4-D
Objectives
Demonstrate the half note and conducting in two. Demonstrate singing and signing
Low La and Low Sol in preparation to read its music notation. S will continue studying
Marian Anderson and do supplemental math activities.
C11 Marian Anderson How do you think Marian’s experiences influenced

her performance? How does her life struggle affect
the way you think about classical vocal music?
CP Lucy Locket Each conductor has her/his own interpretation of the
music. How does each one perform or show their
personal expression (how they vary or don’t vary
their speed, etc.).
MU2.1-F Who’s That Demonstrate: S will sing and write the half note in
notation either as a group or individually.
MU2.4-A Marian Anderson book The class will finish the story and finish discussing
MU2.4-D “When Marian Sang” Marian Anderson.
MU2.4-E and CD
MU2.1-H Lucy Locket Demonstrate: S will review this song from last year.
S will practice conducting in 2. Selected students
take turns conducting at different tempos while the
S and T sing the song.
MU2.2-H I’ve Been to Haarlem (Turn Demonstrate: S will learn the song and figure out the
MU2.3-D the Glasses Over) first line with solfege. This is in preparation for
LA2.1-A This is a switching partner reading Low La and Low Sol music notation.
MA2.2-B game with contrary S will do the game activities and go over dance
MA2.2-C circles. moves. Get the game description and supplemental
MA2.3-A math activities in Second Grade Appendix/Turn the
MA2.3-B Glasses Over.
176
Objectives
Identify classical Composer 3. Demonstrate working through steps and skips on the
solfege vertical line in preparation for reading new notation. Demonstrate the con-
trary circle movement, singing Mi Re Do and writing the half note in music notation.
Demonstrate knowledge of the cultural context of a dance. S will explore counting and
measurement with the song “I’ve Been to Haarlem.” Discuss jobs in a song and what jobs
help our community.
CM John Kanaka What are the music patterns in John Kanaka? How does the
movement relate to the history of the song?
CE I’ve Been to Haarlem Look at the steps and skips on the grid. Look at the
placement of Do’s on the staff. How do we transfer Low
La and Low Sol to the correct positions?
MU2.1-I John Kanaka Demonstrate: S will learn this contrary circle dance/shanty
MU2.3-D about our history of Polynesian immigrant workers on
SS2-7 the ships that occupied California ports.
Social Studies Questions: What types of jobs and services
provide for the community? How did these immigrants
provide service to both their old and new community?
What jobs help our community?
MU2.4-A Composer of the Month Identify: Expose S to 4 important classical composers using
MU2.4-B (Beethoven)—3 a multiple-choice format. T displays a giant picture of the
LA2.1-A composer and the class will answer questions by hand
LA2.3 vote. See Second Grade Appendix/Composer Unit for a
LA2.4-A full description of this activity.
MA2.3-D
MU2.1-F Bluebird Demonstrate: S will sing the solfege (including Mi Re Do Mi
Do) and write the rhythm including the half notes.
MU2.2-H I’ve Been to Haarlem Demonstrate: The T will use manipulatives with a large
MU2.3-D w. the vertical grid staff to transfer the note placement of Low La and Low
LA2.1-A and staff Sol on the vertical grid. The T can work on where the
MA2.2-B steps and skips are located. S will then review the dance/
MA2.2-C game.
MA2.3-A Supplemental Math Activities: The class can do math
MA2.3-B studies on counting and measurement. See descriptions
of the math codes in part four.
MU2.1-A Sambalele Demonstrate: S will learn to dance this Brazilian song.
MU2.4-D S form a conga line and T reviews the movement (right
LA2.4-A left right left-kick, left right left right-kick). This song
started in Brazil and now is popular to dance to all over
the world. The class will discuss the origins of the dance
moves and music (Africans brought to Brazil by the
Portuguese). Look at maps and discuss the events that
brought Samba to the world.
Objectives
Identify the vocabulary word “dynamics.” Demonstrate moving grid notes to the staff
using different songs. Demonstrate reading rhythmic and melodic notation simultane-
ously on the staff—including Low La and Low Sol. Demonstrate contrary circle move-
ment and writing music notation. Demonstrate Do Re Mi, Mi Do Do Low Sol Low La Do.
Demonstrate by performance how dances include socialization and a cultural context.
S will capitalize the names in the song “Who’s That?” on the board. S will practice
base 10 math notation, using a lot of zeros to tie into the song “Circle Round the Zero.”
S will do science problem solving and discuss ways to prevent wind and water from
changing and eroding the coastal land.
PI John Kanaka What are the expressive qualities of this song? What movement
helps you transition to the next section?
PI Dynamics How do we as performers decide to “identify” a word or phrase?
Why do we choose one way over another?
LA2.4-A Circle Round the Demonstrate: S will learn a game song that teaches participation and
MA2.1-C Zero reinforces Mi Re Do and Mi Do Do Low Sol Low La Do.
Supplemental Math Activity: Play with base-ten notation (526 is
5 hundreds + 2 tens + 6 ones).
MU2.2-H Reading Options: Demonstrate: S will transfer the vertical grid solfege to the music
MU2.2-I Down Came a staff. S will identify the rhythm and solfege of songs they previously
MU2.4-E Lady, My Paddle. learned. The T can project songs on the whiteboard without lyrics.
MU2.2-E Dynamics— learn Identify: The T will have S learn music vocabulary in a fun and
the definition memorable way.
of the word Procedure—S learn to clap once, step out, splay their arm, chin up,
and identify and say the vocabulary word as if they are in a Broadway Show
the accent on (DyyyNAMICS!!). S also learn to “identify” the definition (LOUDER
the second AND SOFTER in MUSIC!!). When the T says, “Louder and softer in
syllable. music is…?” The S identify the word “dynamics.” When the T says,
“Dynamics is…?” The S identify the definition. This procedure is
repeated in other lessons for tempo and pitch.
MU2.1-I John Kanaka Demonstrate: S will review the activity and explore the solfege in
MU2.3-D the refrain.
SC2.2-B Supplemental Science Activity: The T will lead a class discussion. The
workers at the harbor may have had to try to prevent the water and
wind from changing the shape of the land around the pier. What are
some ways they could accomplish that? What are other ways in other
places (build or grow wind breaks)?
MU2.1-F Who’s That Demonstrate: The class will write this song in music notation on the
LA2.5-G board.
Supplemental Language Arts Activity: S will demonstrate
capitalizing the names in this song on the board.
MU2.1-A Sambalele (if Demonstrate: S will review.
MU2.4-D time)
LA2.4-A
178
March
Objectives
Identify the vocabulary words “tempo” and “Tika.” Demonstrate two-part singing
and the definition of “dynamics.” Demonstrate improvisation and in-tune singing.
Demonstrate by performance how dances include socialization and a cultural context.
RA Tika Rhythm Syllables can help us say and write the rhythms of songs.
Clap the songs Diddle Diddle and Tideo. How do you
write the rhythm using TikaTika, Teetee, and Ta?
PS Bobby R U Ready How does Bobby select responses to the question
(serious, silly, entertaining, practical)?
LA2.4-A Circle Round the Zero Demonstrate: S will review the song game that reinforces
solfege and participation skills.
MU2.2-E Dynamics Demonstrate: S will demonstrate their understanding of
dynamics.
MU2.1-B Tempo Identify: S will repeat the procedure and learn to identify
the word “TEMPO!!” and the definition (FASTer and
SLOwer in MUSIC!)
MU2.1-F Tika Rhythm Identify: S will learn a new rhythm. T introduces the 16th
MU2.1-J note rhythm “Tika.” All chant and clap the rhythms and
MU2.1-K write down the following song patterns: Diddle Diddle
Dumpling my son John (TikaTika Teetee Teetee Ta),
Jingle at the window Tideo (TikaTika Teetee Teetee Ta),
I’ve been to Haarlem (Tee Tika Teetee).
MU2.2-A Huya w. puppet Demonstrate: S will learn a song with a simple two-
LA2.1-B part vocals in the refrain. T spurs discussion on the
LA2.1-C visualization in the lyrics. Is it a boy’s head on the
horizon or Ifca’s castle?
MU2.2-A Bobby R U Ready Demonstrate: S will learn a line game that helps
MU2.4-C demonstrate improvisation and in-tune singing. See
Songs/Bobby R U Ready or Resources/National Recess
Week for game description.
F I G U R E 2 .14 Huya Huya. See Online Support to get free printable color image.
180
Objectives
Identify the vocabulary word “pitch.” S will learn to conduct in three. Demonstrate
“tempo,” and pick- up notes. Demonstrate improvisation and in- tune singing.
Demonstrate writing solfege and composition skills. Add or subtract multi-digit num-
bers that have to do with the subject of a song.
CI Felt Staves How will you create music patterns? Can you find the steps
and skips?
PA Scotland’s Burning How does understanding the song structure help with the
conducting?
MU2.1-B Tempo Demonstrate: S will demonstrate their understanding of

tempo.
MU2.2-C Pitch Identify: S will repeat the procedure and learn to identify
the word “PITCH!!” and the definition (HIGHer and LOWer
in MUSIC!) The T will now mix up the three words and
descriptions to catch S off guard in a game.
MU2.2-H Felt Staves Demonstrate: S will write solfege using felt notes on mini felt
boards. Examples –Sol Mi SolSol Mi –SolSol LaLa SolSol
MiMi –MiRe DoRe MiMi Mi –Do DoDo La Sol –SolMi SolMi
DoDo Do. S will then compose their own music phrase
using any combination of notes. The T could also use mini
whiteboards and markers instead.
MU2.1-B Scotland’s Burning Identify/Demonstrate: S will learn a song and how to conduct
MU2.1-H in 3 (no round). Selected S take turns conducting at
different tempos while the class sings the song. The first
stroke for the pick-up will be from bottom outside to top
middle. T will use the vocabulary words “tempo” and “pick
up notes.”
MU2.4-C Bobby R U Ready Demonstrate: S will review the song and line game.
MU2.2-A Supplemental Math Activity: Add or subtract multi-digit
MA2.1-A numbers up to 1000. Turn it into a word problem related to
the song (564 backpacks plus 320 toothbrushes).
F I G U R E 2 .15 Scotland’s Burning. See Online Support to get free printable color image.
182
Objectives
Explore and identify instrument families. Demonstrate conducting in 3 and singing a
round. S must show that they understand the definitions of “dynamics,” “tempo,” and
“pitch.” Demonstrate a Low La and Low Sol game song. S improvise on a previously
learned song.
C10 Weevily Wheat What distinctive music patterns make this a country song?
How can you make the performance match the culture
where the song came from?
RI Instrument Families How can you describe the differences in the sounds from
each instrument. Why would a composer or performer
choose a particular instrument?
MU2.1-B Dynamics and Tempo Demonstrate: The T will now mix up the three words and
MU2.2-C and Pitch their descriptions to catch S off guard in a game. The T tries
MU2.2-E to make it trickier by mixing up the questions quickly.
MU2.1-B Scotland’s Burning Demonstrate: S will review the conducting and then use a
MU2.1-H picture chart with two columns to work on singing the
MU2.2-A song as a round. Half the class follows the left column,
half follows the right. The T points and guides one group
while a S points and guides the other. The S usually starts
their group first and the T guides the second group to start
singing after the first phrase is sung by the other group.
MU2.2-F Weevily Wheat Demonstrate: S will learn this fist over fist game song. The
MU2.3-D T first spends time on the lyrics written on the board,
LA2.2-C deriving what the students know and developing an idea
LA2.4-D of what the slang words mean (Dwan’t means do not want)
MA2.1-D and the reason why you wouldn’t want the weevily wheat.
T shows the game with 3 S. Then all demonstrate.
MU2.4-F Instrument Families Explore/Identify: S will go over the instrument families using
charts as well as drawing from the S experience. The class
discusses what makes them different from each other.
MU2.3-D Punchinello Review this song from last year for improvising with body
MU2.3-E movement.
MU2.4-C
LA2.2-C
Objectives
Explore Ta Tee Ta Tee. Demonstrate Low La and Low Sol. Demonstrate two-part sing-
ing, round, and instrument families. Demonstrate a complex Do Mi Sol game song.
Demonstrate understanding the lyrics of a song. S discuss the habitat where the song
takes place. The class discusses other habitats. S discuss farms goods, where they are
grown and how they get to consumers.
CE Weevily Wheat How can we improve our performance of this song/game?

C11 Huya Does the story remind you of another story? How is this
folk song from Czechoslovakia the same or different
from American folk songs like Rocky Mountain (verse,
refrain, solfege, rhythm)?
MU2.2-A Huya Demonstrate: S will review the song. The T will have some
LA2.1-B S hold the “ya” of the Huya refrain while the rest sing the
LA2.1-C remaining words of the refrain.
MU2.4-F Instrument Families Demonstrate: S will review the previous lesson.
MU2.1-A Bow Wow Bow game Demonstrate: S will learn a complex game song based on
MU2.1-G a nursery rhyme. T first teaches the song, demonstrates
MU2.1-E the movement with 3 other S and then have all play
the game slowly, stopping when needed until S are
comfortable going straight through. Reinforces Do
Mi Sol.
MU2.1-B Scotland’s Burning Demonstrate: S will perform the song as a round.
MU2.1-H
MU2.2-A
MU2.2-F Weevily Wheat Demonstrate: S will review the activity, show they
MU2.3-D understand the lyrics and continue improving the fist
LA2.2-C over fist movement.
LA2.4-D Supplemental Science Activity: The T will lead a class
MA2.1-D discussion on what the class knows about habitat and
SC2.1-C diversity. Which environments have the most diversity
(tropical jungle), which the least (desert).
MU2.1-G Oats Peas Beans Explore: S will learn a traditional song with a skipping,
LA2.1-B swinging beat. S discuss the farm activities in the song.
SS2-4 All play the game. This is in preparation for Ta Tee Ta
Tee.
Social Studies Questions: What kind of physical land
features are in a place where you grow food? Can you
make your own map of what it would look like? How do
people move these goods to where it’s needed? Would
the origin of the song be in an urban, suburban or rural
region?
184
April
Objectives
Explore a song with many notes in the solfege scale. Identify Composer 4 and the
rhythm Ta Tee Ta Tee. Demonstrate singing and reading the solfege for a Do Mi Sol
song. Demonstrate how to analyze music notation. Demonstrate participation.
RS Cooperative How can you identify a song? How will identifying it help you
Reading choose the song you want?
Demonstrate
CI Composer of the Mozart wrote over 800 pieces of music. How do you think he came
Month up with so many ideas? Can you use descriptive words for his
music?
MU2.1-G Oats Peas Beans/ Identify: S will review the activity and go over the skipping rhythm
MU2.1-I John Kanaka (Ta-Tee Ta-Tee Ta-Tee Ta) with saying and clapping. The class
LA2.1-B will write the rhythm on the board. The T will have S derive the
rhythm for John Kanaka (Ta-a Tee Ta Tee Ta Tee Ta Ta Ta-a).
MU2.4-A Composer of Identify: The T will expose S to 4 important classical composers
MU2.4-B the Month using a multiple choice format. The T displays a giant picture of
LA2.1-A (Mozart)—4 the composer and the class will answer questions by hand vote.
LA2.3 Suggested activity: Have S with puppets lip sync the Papageno
LA2.4-A duet from The Magic Flute. See Second Grade Appendix/Composer
MA2.3-D Unit for a full description.
MU2.1-A Bow Wow Wow Demonstrate: S will do the activity. The class will point to the music
MU2.1-G notation on the board and say the solfege.
MU2.1-E Supplemental Math Activity: S sing the song. Instead of saying
MA2.1-B “Boom” at the end of each phrase, students have to look at the
board and call out if a given number is in the ones, tens, or
hundreds category (1,15,156).
MU2.1-K Cooperative Demonstrate: S will demonstrate reading music notation. Each song
MU2.1-L Reading is on a large laminated card without title or lyrics as cues: Bow
MU2.2-H Practice Wow Wow, Hot Cross Buns, Bluebird, Starlight, Rocky Mountain,
MU2.2-I Who’s That, Lucy Locket, Frosty Weather. The T has S divide into
MU2.2-J groups. Each group gets one of the cards and they work as a team
LA2.1-C to figure out the song. These teams guess their song and report
LA2.2-D to the class. The T walks around and guides as needed. Good
reference: Song Garden vol. 1–3 by Carol Heath.
LA2.4-A Cut the Cake (if Explore: S will learn a game song that teaches participation and gets
time) you ready for the solfege song.
Objectives
Explore and identify solfege and descriptive words. Identify the solfege scale in a famous,
fun song. Identify the vocabulary words “acoustics” and “decibel.” Demonstrate Do Re
Mi Sol.
PS Cut the Cake Why would a performer do this song? What are they
trying to show? What knowledge are they trying
to convey?
CM Group Exploration How do creators make personal decisions in their
music? How do you decide when you make music?
Are your reasons similar to other creators? Why or
why not?
LA2.4-A Cut the Cake Explore: S will review this game song that reinforces
participation and notes in the solfege song.
MU2.2-C Do (Doe) a Deer Explore/Identify: The T will introduce the solfege
MU2.2-I major scale with pictures and singing using the
LA2.5-A “Do, Re, Mi” song from The Sound of Music. See
LA2.5-B the website listed in Resources for downloadable
teaching materials.
MU2.4-G Acoustics and Decibels Explore/Identify: In this activity, S will work on
ordering sounds from softest to loudest. The T
first discusses the terms “acoustics” and “decibel.”
The class then listens to the CD of at least 12
different sounds to categorize. See Second Grade
Appendix/Acoustics: Decibel.
MU2.1-BtoD Group Explore/Identify: S experience using words to
MU2.1-K Exploration: Descriptive describe characteristics of music. Go to Appendix/
MU2.2-CtoE Music Words part one Group Exploration: Descriptive Music Words for
MU2.4-A the lesson instructions and suggested popular and
MU2.4-B classical music examples.
LA2.3
LA2.5-A
MU2.2-H Chase the Squirrel Demonstrate: S will review a complex game song
MU2.3-D from last year. The T first reteaches the song,
then demonstrates the movement with 3 other
S. Then the T has all the S play the game slowly,
stopping when needed until S are comfortable
going straight through. This song reinforces Do
Re Mi Sol.
186
Objectives
Introduce students to acoustics, the science of sound, and conduct some acoustic exper-
iments. Demonstrate descriptive words. Practice a Do Re Mi Sol game.
CP Chase the Squirrel Does everyone understand how to move in the song/
game? Is this activity ready to share?
C10 Acoustics Lesson What is the connection between the science of sound
and music?
MU2.2-H Chase the Squirrel Demonstrate: S will play the game.

MU2.3-D
MU2.4-G Acoustic and Decibels Demonstrate: S will look at their graph from the last
lesson, listen to the sounds and evaluate their
results for accuracy.
MU2.4-G Acoustics Lesson Explore: S will experiment with sound. S are
introduced to the words “acoustics,” “vibration,”
“frequency.” and “decibel.” See Second Grade
Appendix/Acoustics: T lets each S hear and touch
the vibrating tuning fork.
MU2.1-BtoD Group Demonstrate: S will continue using words to describe
MU2.1-K Exploration: Descriptive the characteristics of music. Go to Appendix/Group
MU2.2-CtoE Music Words part two Exploration: Descriptive Music Words for the lesson
MU2.4-A instructions and suggested popular and classical
LA2.3
LA2.5-A
Objectives
Demonstrate Tika and reading music notation. Demonstrate composing with the
melodic instruments.
CI Composition with melodic What kind of music can you create using the Ta Tee
instruments. Ta Tee rhythm?
PP Tika Rhythm part two How do your rhythm and word choices affect the
audience response?
MU2.1-K Cooperative Reading Finals Demonstrate: S will demonstrate reading music

MU2.1-L notation. Each song is on a large laminated card
MU2.2-I without title or lyrics as cues: Bow Wow Wow, Hot
MU2.2-J Cross Buns, Bluebird, Starlight, Rocky Mountain,
Who’s That, Lucy Locket, Frosty Weather. The T
has S divide into groups. Each group gets one of
the cards and they work as a team to figure out
the song. These teams guess their song and report
to the class. The T walks around and guides as
needed. Good reference: Song Garden vol. 1–3 by
Carol Heath.
MU2.2-I Composition with Melodic Demonstrate: S will compose music on melodic
MU2.3-B Instruments instruments with all the notes they’ve learned
(La Sol Mi Re Do Low La Low Sol). The T will
demonstrate using swing patterns of Ta Tee Ta
Tee.
MU2.1-F Tika Rhythm part two Demonstrate: S will demonstrate writing 16th notes
MU2.1-K on the individual whiteboards. The class will
review rhythms from songs like Haarlem and
Tideo. The T has S clap and say the rhythms.
The T dictates a one measure rhythm for S to
write down. T uses the phrase “I like to eat
Pumpernickel” (Ta Teetee Ta TikaTika) and has
S create their own words to the rhythm or even
create a new rhythm with new words. If it’s
difficult, students can just replace the TikaTika
word.
18
May
Objectives
Explore concepts for the assessment test. Identify the rhythm Tim-ka in the song Loch
Lomond. Explore world culture with a Caribbean song. Learn the play party to a previ-
ously learned song. Demonstrate reading rhythmic and melodic notation simultane-
ously on the staff.
PA Four White Horses How would you write the rhythm of this song?
Solfege? How does knowing the structure help
you with the performance?
RS Explore for Assessment Test I wish to hear a song with a fast tempo. What do
I choose to listen to? Discuss how your personal
interests help determine your choices.
Overview Explore concepts for Assessment Explore: The class will review concepts for the test
Test. as needed. The T uses the Group Exploration
MU2.1-K Reading Options: I’ve Been to Demonstrate: The T will review Tika and introduce
MU2.1-L Haarlem (first line), Auld Lang the rhythm Tim-ka. Then S will identify the
MU2.2-I Syne (Days of old Lang Syne), rhythm and solfege of songs they previously
MU2.2-J Down Came a Lady, Loch learned. The T will select sections of the music
Lomond (first line) notation that show Low La and Low Sol.
MU2.4-D Four White Horses Demonstrate: S will learn a Caribbean (Virgin
Islands) clapping game (with polyrhythm, see
music). This song includes Low La and Low Sol.
MA2.3-B Great Big House Demonstrate: S will review the song and learn the
MA2.2-C play party. S will discuss odd, even, and every
other.
Objectives
Identify concepts with the assessment test. Explore and identify the origin of a song.
RE De Colores What criteria can we use to improve the quality of

the performance of this song?
PP De Colores This song is conveying a message. What do you
think it is? How will the performance add to or
diminish this message.
MU2.4-D De Colores Explore/Identify: S will discuss the origin of this
LA2.5-A song (Mexican) and learn this folk song in both
English and Spanish. The T discusses the words
and S use a lyrics chart to sing the song as a
group.
190
Objectives
Give the assessment test (if needed). Verbalize remembered facts about four different
composers. Discuss popular music. Demonstrate singing with expression. Demonstrate
a clapping chant.
CP De Colores Can we sing the final version? Is it ready for

others to hear?
RE Popular Music How do we figure out likeability or quality of a
song (personal preference, beat, voice)?
Testing Group Music Assessment Test (if Identify: This test enables the T to keep track of
needed) proficiency in a class environment in which
MU2.4-A Identify 4 Composers as a class. Demonstrate: The T will quiz S on what they
MU2.4-B remember about the 4 composers they
LA2.1-A learned about during the school year.
LA2.3
LA2.4-A
MA2.3-D
MU2.4-D De Colores Demonstrate: S will sing the song with
LA2.5-A expression.
MU2.4-D Four White Horses Demonstrate: S will review this clapping game.
n/a Popular Music Demonstrate: The T finds out what popular
songs the students like and discusses with
them why they like them. Later T will add
some of them in a party tape.
Objectives
The objectives are to create a positive feeling for both popular and traditional music, to
give S a voice for their preferences and to move to the beat. One objective is to celebrate
in a social context.
CM Mazzudio What movements go along with the rhythm of the song?

What part of the song makes us want to move a certain
way?
PR Mazzudio How can a dance group make this performance the best it
can be. What does it mean to “let go” in a performance?
MU2.3-D Mazzudio (Zudie-O) Demonstrate: S will learn the song and play the contra line
MU2.3-E dance.
n/a Student Choices S get to choose games and songs they liked to do over the
past year.
n/a Dance Party Music fun. T plays a compilation of current dance hits for S
to dance to. The T includes the Frozen song “Let It Go.”
Second Grade Resources

This grade level section includes:
Assessment test
Concept matrix
Grade song list both in consecutive and alphabetical order
192
Second Grade Group Music Assessment Test

Test Date_____ Classroom Teacher _________ ________ _______ Class Size_______

This Group Test gives an approximate figure of how many students can demonstrate the
following 18 skills. These skills are based on the Music Coded Concepts. Some skills the
teacher can evaluate visually (jumping). Some skills the teacher will initiate a class dis-
cussion. The teacher gives instructions on what to do but does not demonstrate. The test
should be conducted two times during the school year. Teachers should feel free to adapt
the test to their own curriculum and expectations. B, P, and A are PASSING GRADES.
PG is a red flag that the teacher needs to reteach the skill and N is more of a low grade
on cooperation and behavior. The aim of this testing style is to keep track of improving
proficiency in a class environment in which individual testing is not possible.
up into sections and given at different times as per the teacher’s preference. Composition,
Improvisation and Song Notation Reading assessments are not covered here but within
projects done during the semester.
mistakes
Page 2
Example: Students clap the rhythm of Starlight as a group. Out of 20 students
the breakdown observed was as follows: 4 clapped with almost no mistakes, 15
clapped with a few mistakes, 1 clapped with many mistakes. At least 75% of the class
performed the skill with few mistakes so the class grade is PROFICIENT. Write the
number of students in each category as you test. You may need to request a teacher’s
aide to assist in the testing.
TABLE 2.33 Second Grade Observation Assessment
1 Sing a song in tune with expression and phrasing.

Use Starlight or another familiar song.
Echo a two-measure pattern of melody that contains
Sol La Mi using oohs.
2 Sing with a conductor following the changes in
tempo and dynamics. Use Starlight or another
familiar song.
3 (optional) Sing a round with Row Your Boat or Sally
Go Round the Sun.
5 Instrument Performance Play a steady beat with

6 Move with rhythm. Clap the rhythm for Starlight/
Engine Engine. Echo a two-measure pattern of
rhythm that contains Ta Teetee or Rest using
clapping.
7 Instrument Performance. Play an accurate rhythm
with Starlight or Engine Engine. Play instruments
properly.
8 Instrument Performance. Play with accurate
dynamics while following the conductor. Use
Twinkle or Jingle Bells.
9 Movement-Individual Activity. Do the following
movements as instructed with a drumbeat. Walk,
Run/jog, Tip toe, Jump, Hop, Skip.
10 M ovement-Group Activity (30–60 second
segments).
Sitting circle with Lucy Locket –Standing circle with
Here Comes a Bluebird –Moving circle with Diddle
Diddle Dumpling –Moving in place with Starlight –
Moving in space with Have You Ever Seen a Lassie
(scattered free movement swing and skip).
(Continued)
194

Aural: Listen to example rhythms and identify by
clapping and saying in rhythm using the correct
syllables (Ta, Teetee, Rest).
Written: See the rhythms on the board and clap and
say in rhythm the correct syllables (Ta, Teetee,
Rest).
Aural: Listen to example melodic patterns not
related to songs and identify by saying the solfege
correctly.
Written: See the solfege on the board and sing it with
the proper solfege (Sol-Mi, or Sol-L a-Sol-Mi, etc.).
Totals
Page 3
Example: Students listen to four different music excerpts (piano concerto, salsa
music, choir, march). Out of 20 students the breakdown observed was as follows: 10
engaged (raising their hand, discussing, using correct vocabulary), 7 listening but not
raising their hands, 3 not paying attention. At least 50% of the class was engaged so the
class grade for this skill is BASIC. Write the number of students in each category as you
test. You may need to request a teacher’s aide to assist in the testing.
TABLE 2.34 Second Grade Discussion Assessment
13 L
isten to a recorded performance and give
observations and opinions.
14 E
valuate two varying recorded excerpts. Compare
and contrast using vocabulary words or their own.
Give a time limit (5 minutes).
15 Analyze: Listen to four varying music excerpts
(can include the same as in skill 14).
Be able to describe three details of at least two of the
music pieces (using vocabulary words or their own).
Also describe style, voice, and instrumentation (10
minutes).
16 Recall:
What classical composers did we learn about? What
classical pieces?
What popular music did we describe?
What music did we learn that is from a different
country or is in a different language (Nigerian
Welcome Chant, Que Llueva, Gau Shan Ching, De
Colores)?
17 D
iscuss the relationship between music and other
arts and disciplines.
Music and Stories (language, events, places, people)
18 Describe four music excerpts in relation to
culture and history and by their differences and
similarities in rhythm, instrumentation, and
vocals.
Discuss how you use music in your life and describe
the differences in the music (sleeptime-lullaby, soft,
slow, party-dance music, strong beat, loud, etc.)
Totals
196

Page 4
NOTES: (Mark down individual students consistently getting A or N)
Second Grade Concept Code Matrix
General Concepts Second Grade in Progressive Order
MU2 Music Second Grade Standards

LA2 Language Arts Second Grade Standards
MA2 Math Second Grade Standards
SC2 Science Second Grade Standards
SS2 Social Studies Second Grade Standards
TABLE 2.35 Second Grade Music Concepts by Lesson
MU2.1 Beat/Rhythm Lesson

1–3,8,9,13,17,23,24,28,29
MU2.1-A Beat
MU2.1-B Tempo (fast/slow) 8,9,10,25–28,30,31
MU2.1-C Stop/go (sound/silence) 5,8–10,30,31
MU2.1-D Note duration (long/short) 2,3,8–10,30,31
MU2.1-E Rest 2,3,6,17,18,28,29
MU2.1-F Rhythm (feeling quarter, eighth, and sixteenth 2–6,9,22–25,32
variations, half note and triplet)
MU2.1-G Moving in 2s, 3s, and 4s. 2,3,6,7,28,29
MU2.1-H Conducting, Inner hearing 11,22,26–28
MU2.1-I Increased subtlety in rhythmic changes 23,24,29
MU2.1-J Strong/weak beat (bar-line) 25
MU2.1-K Reading rhythmic notation 4,8,9,17,25,30–33
MU2.1-L Identifying written songs 4,17,32,33
MU2.2-A Group singing (includes ostinatos, partner songs, 1–3,5–8,25–28

rounds)
MU2.2-B Individual singing 6–8,10–12
MU2.2-C Pitch (high/low) 5,8,9,10,19–21,26,27,30,31
MU2.2-D Note duration (legato/staccato) 8–10,30,31
MU2.2-E Dynamics (loud/soft) 8–10,24,25,27,30,31
MU2.2-F Lyrics 17,18,27,28
MU2.2-G Form (verse chorus phrasing) 8,9,17,20,21
MU2.2-H Solfege (Do, Re, Mi…) and explore major 2–6,8,10–12,15,16,19
and minor keys
MU2.2-I Reading pitch notation 4,17,24,30,32,33
MU2.2-J Identifying written songs 4,17,32,33
MU2.3-A Body percussion 5

MU2.3-B Melodic percussion 11,15,16,32
MU2.3-C Rhythm instruments 5,19
MU2.3-D Group Movement 2,3,6,7,17–19,20–24,27,28,31,36
MU2.3-E Individual Movement 7,27,36
(Continued)
198
MU2.4 Other
MU2.4-A Classical Music Comparisons 4,8–12,16,21–24,29–31,35

MU2.4-B Composers 4,8–10,12,16,23,29,30,31,35
MU2.4-C Fundamental Composition & Improvisation 9–11,20,25,26,27
MU2.4-D World Culture 1–3,6–9,11,17–24,33–35
MU2.4-E Seasonal Celebrations 5,8,10,11–15,17–19,20–22,24
MU2.4-F Instrument Families 28,29
MU2.4-G Elementary Acoustics 30,31
TABLE 2.36 Second Grade Language Arts Concepts by Lesson
LA2.1 Literature and Nonfiction Lesson Number
LA2.1-A Answer who, what, when, where, and why questions 2– 4,6,12,22,23,29,35
LA2.1-B Analyze stories in more details, citing lessons, morals, and 13,15,16,25,28,29
messages use
LA2.1-C Compare different versions of same story 10,11,25,28,29
LA2.2 Basic Skills
LA2.2-A Decode and breakdown words into syllables 2–5

LA2.2-B Describe people, places, and things in detail 5,6,8,10,11,15–19
LA2.2-C Fluency, read with more expression and accuracy 17,18,27,28
LA2.2-D Prefixes and Suffixes, Irregular words 4,5,10,11
LA2.3 Well thought out writing with opinion, reasons, and 4,8–10,12,23,29,30,35
conclusion
LA2.4-A Participate 4–7,17–19,23–25,29–31

LA2.4-B Add detail, ask and answer questions clearly 12,18
LA2.4-C Show comprehension of text 2,3,5,6,8
LA2.4-D Speak Clearly, Audio recordings 1–3,6,7,27,28
LA2.5-A Vocabulary, age appropriate 4– 6,8–10,12,29–31,34,35

LA2.5-B Make real life connections to vocabulary 2,3,6,30
LA2.5-C Place words into categories 4,5
LA2.5-D Root words, subtle word differences 21
LA2.5-E Past, present, future words 11
LA2.5-F Learn words through conversations 4,5
LA2.5-G Capitalization and dates 24
BY THE END OF SECOND GRADE
TABLE 2.37 Second Grade Math Concepts by Lesson
MA2.1 Notation and Placement Lesson Number
MA2.1-A Multi-digit numbers up to 1000 26

MA2.1-B Place values thousands, hundreds, tens, ones 29
MA2.1-C Base-ten notation (526 is 5 hundreds + 2 tens + 6 ones) 24
MA2.1-D Word problems 27,28
MA2.2 Increase fluency with addition and subtraction
MA2.2-A Mentally calculate equations up to 20 18

MA2.2-B Know sums of two one-digit numbers 14,15,22,23
MA2.2-C Odd and even 6,22,23,33
MA2.2-D Continue counting by 5s, 10s 15
MA2.2-E Add up to 4 two-digit numbers 14,15
MA2.3 Measure
MA2.3-A Standard units of measure (inch, centimeter) 22,23

MA2.3-B Add and subtract lengths using rulers, yardsticks, etc. 22,23,33
MA2.3-C Time and Money in word problems 6
MA2.3-D Develop different kinds of graphs analyze data 6,12,23,29,35
MA2.4 Geometry: Describing and analyzing shapes
MA2.4-A Foundations for area, volume, congruence 10–12

MA2.4-B Partitioning shapes to describe them by units 10–12
TABLE 2.38. A Second Grade Science Concepts by Lesson
SC2.1 Ecosystem: Relationships between animals, plants, and the environment
SC2.1-A Investigate whether plants need water and sunlight to grow (work as teams too) 8
SC2.1-B Animals can disperse plant seeds. Make a functioning design that imitates this (S tape 7
a packet of seeds to their pants. The packet has a little hole at the bottom in which seeds
fall out when the S walks around)
SC2.1-C Look at different habitats and describe how their diversity is different in each one 28
(compare amount of diversity and type not names of things)
SC2.2 Earth Systems: Processes that Shape the Earth
SC2.2-A Earth events can occur quickly or slowly (different sources; explosions, erosions) 11
SC2.2-B More than one way to prevent water and wind to change the shape of the land 24
(shrubs, wind breaks)
SC2.2-C Develop a model of the shape of water and land in an area (map) 19
SC2.2-D How can we figure out where the water or ice is on Earth (what are the places called)? 20
SC2.3 Structure and Properties of Matter
SC2.3-A Describe and Classify Materials based on what you observe (color texture) 19
SC2.3-B Which material has the best properties for an intended purpose (use data, strength, 21
hardness, absorbency)
SC2.3-C Observe how an object made of pieces can be disassembled and made into a new 9
object (build an account of the procedure) use blocks
20
TABLE 2.38.B Second Grade Social Studies Concepts by Lesson
SS2-1 The Individual and The Community: What is a community (group of people in a 14

common location)? You can distinguish communities by population density (amount
of people) and their use of land. Identify the characteristics of urban, suburban, and
rural communities. What community do you live in? How does the type of community
affect people who live there?
SS2-2 American Identity: Why is it important to understand your country’s symbols 5
(flag, patriotic songs, Statue of Liberty)? What songs or stories teach us about
important people and events in American history? How does understanding this
connect our diverse cultural backgrounds?
SS2-3 Citizenship and Civics: Students will explore democratic principles like equality, 1
dignity, fairness, and respect for rules. How does voting help our government be fair?
Government runs on a national level, but also a local level. How does government
provide order and keep people safe? How do citizens do their part by obeying rules
and treating others fairly? Communities have a responsibility to establish fair laws
that are for the common good. Leaders in a community help create laws. Why is it
important to follow those laws? What happens if some people don’t follow the laws?
Who enforces the laws? How can students provide service to the community? What
about adults? Discuss bullying.
SS2-4 Geography: The geography of a region helps to determine if it will become 3,28
an urban, suburban, or rural community. In communities, land can be classified
as residential (living), commercial (services), industrial (goods), or recreational
(enjoyment). How do physical land features affect the people that live there? Can you
make your own map? How do people move goods to where they are needed? Students
will learn to use a compass rose and use more in depth directional vocabulary
(northeast, southwest).
SS2-5 Humans and the Environment: How do humans adapt to their environment to 6
survive and meet their basic needs (food, clothing, shelter, education, and protection)?
What natural resources help meet these needs? How do humans modify their
environment in positive or negative ways (build things)? How do humans change their
environment to meet their needs? What are examples of people interacting with their
environment in a song in a positive (negative) way?
SS2-6 History: Time sequence can be described in days, weeks, months, years, and 10,17
seasons. Describing points in time can help us look at and understand events that
happened in history. Do you know how to read a timeline? How do folktales, music,
and art teach us about people in the past? Give an example of how things change over
time or how they stay the same. Explain cause and effect in a community (automobiles
changed where people lived and how they made roads). How do we know about life in
the past (maps, letters, newspapers, recordings, artifacts)? Describe what a character
in a story, song, or legend did to change history.
SS2-7 Economics: Each type of community has different challenges to meet the needs 19,23
of their citizens. What resources are available in each type of community (urban,
suburban, rural)? How do consumers react to differences in availability, price, and
needs? Why do we have taxes? What is the money used for (provide services)? How
does scarcity make families and communities change their choices (have to move,
change laws)? What types of jobs and services provide for the community? What goods
are made in your community? How do communities share with other communities?
Second Grade Song List
Index Key
TABLE 2.39 Second Grade Reference Key for Songs

NE-DV Down in the Valley: More Great Singing Games for Children, Rise Sally Rise (formerly
NE-R S Jump Jim Joe): Great Singing Games for Children by the New England Dancing Masters
KM The Kodály Method: Comprehensive Music Education from Infant to Adult, Second Edition
by Lois Choksy
KT Kodály Today: A Cognitive Approach to Elementary Music by Houlahan and Tacka
SA Sail Away: 155 American Folk Songs to Read, Sing and Play by Eleanor Locke
SG 120 Singing Games and Dances for Elementary Schools by Lois Choksy and
Dave Brummitt
TG Language Arts, Math, and Science in the Elementary Music Classroom by Kim Milai
In Curriculum Order
TABLE 2.40 Second Grade Songs in Chronological Order
SOURCE SONG
TG Nigerian Welcome Chant

TG Walk in Beauty
SA Que Llueva
JT-L KT SA SG Great Big House
KT TG Starlight
AF KM Who’s That
JT-J KM Simple Gifts
KT SA Skin and Bones
TG Medicine Wheel Chant
KM KT My Paddle (Canoe Song)
KM Land of the Silver Birch
TG Ghost of John
TG Mai Long Sera
KT SG Rocky Mountain
(Continued)
20
SOURCE SONG
JT-M Frosty Weather

TG O Hanukkah
TG Pat a Pan
KM Fuzzy Wuzzy
NE-DV Hunt the Cows
TG Loch Lomond
TG Ain’t Gonna Let Nobody Turn Me Around
AF Down Came a Lady
TG Auld Lang Syne
TG Gau Shan Ching
TG Walk Daniel
TG Step Back
AF KM KT SG I’ve Been to Haarlem
SA SG John Kanaka
NE-R S SG Circle Round the Zero
TG Bobby R U Ready?
TG Huya
TG Scotland’s Burning
JT-B SG Weevily Wheat
AF KT SG Bow Wow Wow
AF SG Oats Peas Beans
SG Cut the Cake
The Sound of Music Doe a Deer by Rogers and Hammerstein
AF KT Chase the Squirrel
NE-DV SA SG Four White Horses
JT-M SA De Colores
SD Mazzudio (Zudie-O)
TABLE 2.41 Second Grade Songs in Alphabetical Order
SOURCE SONG
TG Ain’t Gonna Let Nobody Turn Me Around

TG Auld Lang Syne
TG Bobby R U Ready?
AF KT SG Bow Wow Wow
AF KT Chase the Squirrel
NE-R S SG Circle Round the Zero
SG Cut the Cake
JT-M SA De Colores
The Sound of Music “Do, Re, Mi” by Rogers and Hammerstein
AF Down Came a Lady
NE-DV SA SG Four White Horses
JT-M Frosty Weather
KM Fuzzy Wuzzy
TG Gau Shan Ching
TG Ghost of John
JT-L KT SA SG Great Big House
NE-DV Hunt the Cows
TG Huya
AF KM KT SG I’ve Been to Haarlem
SA SG John Kanaka
KM Land of the Silver Birch
TG Loch Lomond
TG Mai Long Sera
SD Mazzudio (Zudie-O)
TG Medicine Wheel Chant
KM KT My Paddle (Canoe Song)
TG Nigerian Welcome Chant
TG O Hanukkah
AF SG Oats Peas Beans
TG Pat a Pan
SA Que Llueva
KT SG Rocky Mountain
TG Scotland’s Burning
JT-J KM Simple Gifts
(Continued)
204
SOURCE SONG
KT SA Skin and Bones

KT TG Starlight
TG Step Back
TG Walk Daniel
TG Walk in Beauty
JT-B SG Weevily Wheat
AF KM Who’s That
Acoustics: Definitions
What is Acoustics?
Acoustics is the science of sound.
What is Sound?
Sound is vibrations transmitted through solid, liquid. or gas.
What are Vibrations?

Vibrations are the motion of particles back and forth when they are disturbed. The
motion forms a sound wave.
What is Frequency?
Frequency is the number of cycles of vibration per second. In music, the higher the
frequency, the higher the pitch. For example: A440 means the note A has a frequency of
440 vibrations per second.
What is Decibel?
Decibel is the measurement of sound pressure or volume. The higher the decibel, the
louder the sound.
Acoustics: Decibels
TABLE 2.42 Decibel Chart
Decibel Chart
Sound Decibel Intensity
breathing 10 10
leaves rustling 20 100
whispering 30 1,000
refrigerator 40 10,000
conversation, car horn 50 100,000
average living room 60 1,000,000
vacuum cleaner 70 10,000,000
noisy restaurant 80 100,000,000
lawn mower, 90 1,000,000,000
screaming child
diesel truck 100 10,000,000,000
rock concert 110 100,000,000,000
shout in the ear 120 1,000,000,000,000
The Energy in Volume (Dynamics)

When scientists measure the energy used to make louder and louder sounds, they come up
with some very big numbers. To make it easier to work with these large numbers, we use
a math called a “logarithm” to reduce the range of numbers. The range of power we hear
as sound is so wide that it goes from a fraction of intensity (air pressure) to the trillions.
TABLE 2.43 Decibel Growth Chart
Exponential Growth Intensity (Air Pressure) Ratio Difference in Decibels
1:1 0
2:1 3
4:1 6
8:1 9
10:1 10
16:1 12
20:1 13
100:1 20
400:1 26 whisper
800:1 29
1,000:1 30
2,000:1 33
8,000:1 39
10,000:1 40 refrigerator
100,000:1 50
1,000,000:1 60
10,000,000:1 70
100,000,000:1 80 noisy restaurant
1,000,000,000,000:1 90
10,000,000,000,000:1 100 folk rock concert
206
Decibel 101
Objectives:
Students will understand the difference between standard growth and exponential
growth using visual manipulatives and actual sounds.
Students will be able to distinguish different types of sounds and order them by
their volume.
Students will make conclusions when comparing decibels to intensity ratios. The
conclusion is that both number systems identify the same sounds—but the
decibel system helps us work with the numbers more easily.
Poster Part 1: Students will identify softer and louder sounds. Procedure: The class will
listen to different sounds and place their corresponding picture in a column on a graph
in order of volume. They will use comparison to help solve its placement. Individual
students will come up to place the pictures. And the class will discuss and evaluate the
sound’s placement on the graph.
Exponential Growth Part 1: Cupcake example. Show how numbers can grow not
just item by item but by doubling. 1-2-4-8-16. See the ratio 1:1 2:1 (comparing it to the
base or original number).
Exponential Growth Part 2: Sound example. Do the same as the cupcake example.
Go up to 10 times the intensity (10 decibels). Inform them that when we hear a sound get
louder, the energy to produce that slightly louder sound is twice as much as the previous.
At every 3 decibels they “double in sound.”
Poster Part 2: Intensity Ratio: Remind them of the cupcake and loudspeaker
ratio. Look at and discuss the intensity ratio poster. What is this poster telling you?
At every 10 decibels, we go up another place value. Look at the tremendous amount of
power and energy it takes to get just a little louder. Why do we use decibel instead of the
actual energy number? Decibel is an easier system to work with the numbers (see chart)
intensity. Put the intensity numbers in order. Lastly compare their chart to the answer
key chart.
Composer Unit (The European Edition)

Composer DUDE of Every Other Month
This classical composer unit for second graders is a group activity done in a quiz style,
multiple-choice format. The class explores a section of the wall or whiteboard with a
large image of the composer along with three questions with three possible answers
each displayed on moveable cards. See figure 2.11. Also included is a written clue to
who the composer is. There is a class discussion, the teacher asks for opinions and why
they think so. Then students vote on the answers. The teacher corrects if need be. The
wrong answers are removed. Finally the class listens to one or two musical excerpts of
the composer.
The teacher should spend time in these lessons to discuss the idea of why we study
famous European classical male composers. Here are some examples of questions.
Why is this traditional music from Europe played all over the world?
What is its value as music (artistic, emotional, historical)?
Why is it important to know something about each of these composers?
Why are women composers and non-European composers not on this list?
Activity Instructions
Sometimes the teacher can start the conversation by looking at the portrait and saying,
“Who is it? Let’s read the names. Now, who can find the silly answer?” Students are more
apt to participate because they can identify the obvious wrong answer more easily.
The display also includes a timeline from 1600 to the current day. After all the
second graders worked through the answers, the composer’s name and birthdate are
written on the timeline and remain there all school year.
Later in the year, the definition of the phrase “classical music” is explained to be
like a giant umbrella that contains several music eras: Renaissance, Baroque, Classical,
Romantic, Modern.
Questions:
Who is it?
When was he born?
What era was his music?
Bach: “I composed music for kings and churches.”

Johann Sebastian Bach -Fred Flintstone -Ludwig van Beethoven
1888–1685–2010
Classical -Jurassic -Baroque
Tchaikovsky: “You could say I was ‘nuts’ about a character in my ballet.”

Wolfgang Amadeus Mozart -Pyotr Tchaikovsky -Oliver Sacks
1720–1930–1840
Romantic -Agricultural -Classical
Beethoven: “They say I was very moody and had a hearing problem.”
Albert Einstein -Wolfgang Amadeus Mozart -Ludwig van Beethoven
1770–1912–1888
Art Deco -Classical -Romantic
208
Mozart: “I wrote my first concerto at the age of 9.”

Wolfgang Amadeus Mozart -Thomas Edison -Igor Stravinsky
1862–1756–1945
Baroque -Photosynthesis -Classical
Turn the Glasses Over
I’ve Been to Haarlem (Turn the Glasses Over)
Strategies by Kim Milai, Second Grade Lesson 22
Introduction
Song Background: This song is a play party. Play parties were invented in the American
frontier for social get-togethers and as a workaround for the strict religious customs
that banned dancing. They continued in rural areas into the twentieth century. They are
a nice alternative to dances. This song could be used to cover many different concepts.
Music Goals
perform a pentatonic song
identify Low La and Low Sol and use the solfege hand signs
read the dotted 8th and 16th note rhythm
Movement and Dance Step Goals

promenade
ring-t he-dishrag
contrary motion
Lesson Activities in Chronological Order

Activities should be stretched out over several lessons.
Objective One: The Song
The primary goal is to learn the melody and words to the song.
Lesson: You display the lyrics on the whiteboard or on a chart and sing or play a
recording of the song. You and the students briefly discuss the words. Explain the phrase
“play party” and information about the cities Dover and Haarlem. Look at the Language
Arts and Cultures section in Part Four for more ideas on language arts activities. Teacher
Questions—W hy do you think someone would write this song? What could be happen-
ing in their lives?
You have the students echo the song line by line. Then have the students echo two
lines at a time, then four lines at a time, then finally the whole song.
Side Note: Instead of “drink all the chocolate milk,” I would prefer to teach the
words “drink what you have to drink.” Do NOT use the original words “drink all the
brandy wine!”
Objective Two: The Solfege

The primary goal is to distinguish how the Low La and Low Sol notes sound in compari-
son to Do and to appropriately utilize the hand signs.
Solfege Prerequisite: Students need to be able to sing, identify, and read Do Re Mi
Sol and La.
Lesson: Students review singing the song. Teacher Question—W hat is the differ-
ence in sound between “I’ve been to” and “Harlem” or “Dover”? You help the students
derive how the notes in the latter two are a lower pitch. You unveil the first four measures
in solfege (no rhythm) on the board and explain the first three notes are Do. Depending
upon their sophistication, you can help the students by pointing line-space-line back-
wards down the solfege scale so they can identify the lower notes as Low La and Low
Sol. You can also point up from Do to show the High La and High Sol as a comparison.
Teacher Question—W hat is the hand sign for La and for Sol? Explain that we use the
same hand signs for Low La and Low Sol but at a lower height. Finally, have students sing
with you the first four measures of the song in solfege and hand signs and then repeat
with lyrics and hand signs.
Objective Three: The Dance
The primary goal is to blend the singing with the dance steps.
Special Notes: You can make this dance simpler for younger students by having
them all sit in a circle and have two students start, then gradually picking up more part-
ners until the whole class is moving. They may also need to practice their movements
without the music(e.g., promenade with a partner in a clockwise circle with a drum
beat—freeze at a bell or drum—t hen separate from their partner and continue moving
to create two contrary motion circles).
Lesson: This is a partner-switching play party with a contrary circle within a
circle. Students learn the dance steps called “promenade” and “wring the dishrag.”
You get a student volunteer and teach promenade this way: Shake right hands with
your partner. Then, while holding right hands, shake left hands. While keeping hands
joined, both partners face the same way and walk around the circle matching their
steps. I call this action “ice skating.” For wring the dishrag, partners face each other
holding hands then one partner steps to the left, the other to the right, and both keep
stepping and turning until their joined hands are above them. They continue turning
until they are back facing each other, still holding hands. The song suggests to com-
plete this movement three times over, but realistically we only have time in the song
to do it once.
210
I would introduce the promenade and wring the dishrag with one student (as my
partner), then two students as partners, then with just six students. Once you increase it
to 12, have them walk through the whole dance and then finally include the whole class.
You may need to put a red string around the necks of half the partners in class so they
all know the red string students change their direction to form an inner circle during
the contrary motion.
Dance: Students are standing in a circle in promenade position. The outside partner
has the red string around their neck. Everyone is facing to move clockwise in a circle.
I’ve been to Haarlem, I’ve been to Dover. I’ve traveled this wide world all over.
Promenade in step.
Over, over, three times over. Drink what you have to drink and turn the glasses
ov-ER!
Partners do one wring the dishrag, then promenade until red string partner in the
outside circle turns and walks in the opposite direction at the word “ov-ER” (partners
separate).
Sailing east, sailing west, sailing over the ocean.

Single line contrary circles continue walking, waving to students going the opposite
direction.
Better watch out when the boat begins to rock, or you’ll lose your girl in the
o-CEAN!
Contrary circles continue until everyone freezes at “o-CEAN.” Students take a new
partner right next to them and the dance starts over. Teacher should encourage singing
once the students get the steps.
Objective Four: The Dotted 8th and 16th Note Rhythm

The primary goal is to speak and read the dotted 8th and 16th rhythm correctly.
Rhythm Prerequisite: Students need to be able to say and clap Ta, Teetee, and Tika
Tika (Tideo, Diddle Diddle Dumpling).
Rhythm: I use Ta-quarter note, Tee-eighth note, Tika Tika—16th notes. You can
use your own wording. For the dotted 8th and 16th rhythm, I say Tee—ka.
Lesson: You display the first four measures in rhythmic notation. Help the students
break down each rhythm separately and then put them together. I would suggest start-
ing with “quarter, eighth tied to sixteenth, sixteenth, quarter, quarter.” You then change
the first 16th into a dot and explain this is just another way to show how the first 16th
sound blends with the 8th note.
They can then continue reading the rest of the song, or the teacher and students
can make up new patterns with Tee—ka.
Supplemental Strategies
Math Concepts
Shapes (circles)
Measurement, count how many steps per phrase (8), how many steps for the
whole song (8 + 8 + 8 + 8 + 8 + 8 + 8 + 8) 8 × 8 = 64, and measure how many
steps to traverse the circumference.
Clock movement (clockwise, counter clockwise, or contrary motion)
Direction (east, west)
Circles within circles (concentric)
Language Arts and Culture

Here are possible subjects you could cover in this category; literature, history, geogra-
phy, and consonant blends: There are many different expansions you could do with the
vocabulary of this song. Here are just a couple.
Lesson: The purpose is to derive the cities’ home countries. Draw 7 short lines for
Haarlem’s country and 7 lines for Dover’s country. Have students guess the letters (like
the Wheel of Fortune Game). Continue until they can guess the country (e.g., “Is there
an ‘a’?”) After they get the names, you can discuss that there is a borough called Harlem
in New York City, which was settled by people from Holland (called the Dutch). There
are many Dovers in the United States including Dover, Delaware. Find them on the map.
Haarlem Dover
H O L L A N D E N G L A N D
_ _ _ _ _ _ _ _ _ _ _ _ _ _
Discuss the phrase “lose your girl” in the ocean and have students derive what it means.
Many will say sister, daughter, wife, mother, grandmother, etc. See if any students come
up with the idea that the term “girl” means boat. Guide them to it if needed and explain
how in our history, most of the sailors were men and they would often name their boats
women’s names because they missed their daughters, wives, etc., so much. Boats today
are still called “she” as in “She’s a fine ship.”
References
“120 Singing Games and Dances for Elementary Schools” by Lois Choksy and Dave Brummitt.
“150 American Folk Songs” by Peter Erdei.
21
Part Three
Songs
Song List
These 65 songs are often hard to find. I wrote out the notation and included them here
for your convenience.
A Hunting We Will Go
A Train
Aiken Drum
Ain’t Gonna Let Nobody Turn Me Around
America the Beautiful
Auld Lang Syne
Bear Hunt
Bell Horses
Better Watch Out
Bobby R U Ready?
Brother John (Are You Sleeping)
Bubblegum, Bubblegum
Chase the Squirrel
Cinderella
Come and Go with Me to That Land
Dance to Your Daddy
Diddle Diddle Dumpling
Dinah
Down Came Johnny
Engine Engine
En La Primavera (Pajarito)
Epanay
Feng Yang Flower Drum Song
214
Five Little Pumpkins

Floating Down the River
Follow Me
Gau Shan Ching
Ghost of John
Gong Xi
Grinding Corn
Grizzly Bear
Have You Ever Seen a Lassie
Hello Everybody
Hi My Name is Joe
Huya
Jingle Bells
Kagome
Kang Ding Love Song
King’s Land
Loch Lomond
Mai Long Sera
Medicine Wheel Chant
Mi Cuerpo
Miss Mary Mack
Mulberry Bush
My Bonnie
Nigerian Welcome Chant
Nochebuena
O Hanukkah
Pat a Pan
Pease Porridge
Pueblo-Zuni Corn Grinding Song
Pumpkin, Pumpkin
Scotland’s Burning
Shoo Turkey
Starlight Starbright
Step Back
The Turkey Ran Away
There was an Old Lady Who Swallowed a Fly
Twinkle Twinkle Little Star
Two, Four, Six, Eight
Walk Daniel
Walk in Beauty
When Johnny Comes Marching Home
When the Saints Go Marching In
Songs
F I G U R E 3 .1 A Hunting We Will Go
F I G U R E 3 . 2 A Train
216
F I G U R E 3 . 3 Aiken Drum
F I G U R E 3 . 4 Ain’t Gonna Let Nobody Turn Me Around
218
F I G U R E 3 .5 America the Beautiful

F I G U R E 3 . 6 Auld Lang Syne
20
(a)
F I G U R E 3 .7 Bear Hunt
(b)
F I G U R E 3 .7 (Continued)
2
F I G U R E 3 . 8 Bell Horses
F I G U R E 3 . 9 Better Watch Out
24
F I G U R E 3 .10 Bobby R U Ready?

F I G U R E 3 .11 Brother John (Are You Sleeping?)
F I G U R E 3 .12 Bubblegum, Bubblegum

26
F I G U R E 3 .13 Chase the Squirrel
F I G U R E 3 .14 Cinderella

F I G U R E 3 .15 Come and Go with Me to That Land
28
F I G U R E 3 .16 Dance to Your Daddy

F I G U R E 3 .17 Diddle Diddle Dumpling
230
F I G U R E 3 .18 Dinah
F I G U R E 3 .19 Down Came Johnny

F I G U R E 3 . 20 Engine Engine
23
F I G U R E 3 . 21 En La Primavera (Pajarito)

F I G U R E 3 . 22 Epanay
234
(a)
(b)
F I G U R E 3 . 23 Feng Yang Flower Drum Song

(a)
(b)
F I G U R E 3 . 24 Five Little Pumpkins

236
(a)
(b)
F I G U R E 3 . 25 Floating Down the River

F I G U R E 3 . 26 Follow Me
238
(a)
F I G U R E 3 . 27 Gau Shan Ching

(b)
F I G U R E 3 . 27 (Continued)
240
F I G U R E 3 . 28 Ghost of John

F I G U R E 3 . 29 Gong Xi
24
F I G U R E 3 . 3 0 Grinding Corn
F I G U R E 3 . 31 Grizzly Bear
24
F I G U R E 3 . 3 2 Have You Ever Seen a Lassie

F I G U R E 3 . 33 Hello Everybody
246
F I G U R E 3 . 3 4 Hi My Name is Joe
F I G U R E 3 . 35 Huya
248
(a)
F I G U R E 3 . 3 6 Jingle Bells
(b)
F I G U R E 3 . 3 6 (Continued)
250
F I G U R E 3 . 37 Kagome
F I G U R E 3 . 3 8 Kang Ding Love Song

F I G U R E 3 . 39 King’s Land
F I G U R E 3 . 4 0 Loch Lomond
25
F I G U R E 3 . 41 Mai Long Sera

F I G U R E 3 . 42 Medicine Wheel Chant
254
F I G U R E 3 . 43 Mi Cuerpo
F I G U R E 3 . 4 4 Miss Mary Mack
256
F I G U R E 3 . 45 Mulberry Bush
F I G U R E 3 . 4 6 My Bonnie
258
F I G U R E 3 . 47 Nigerian Welcome Chant

F I G U R E 3 . 4 8 Nochebuena
260
(a)
(b)
F I G U R E 3 . 49 O Hanukkah
F I G U R E 3 .5 0 Pat a Pan
F I G U R E 3 .51 Pease Porridge

26
(a)
F I G U R E 3 .52 Pueblo-Zuni (Corn Grinding Song)

(b)

264
F I G U R E 3 .53 Pumpkin, Pumpkin

F I G U R E 3 .5 4 Scotland’s Burning
26
(a)
F I G U R E 3 .55 Shoo Turkey

(b)

268
F I G U R E 3 .5 6 Starlight Starbright

F I G U R E 3 .57 Step Back
270
F I G U R E 3 .5 8 The Turkey Ran Away

F I G U R E 3 .59 There was an Old Lady Who Swallowed a Fly
27
F I G U R E 3 . 6 0 Twinkle, Twinkle Little Star

F I G U R E 3 . 61 Two Four Six Eight
274
F I G U R E 3 . 62 Walk Daniel
F I G U R E 3 . 63 Walk in Beauty
276
F I G U R E 3 . 6 4 When Johnny Comes Marching Home

F I G U R E 3 . 65 When the Saints Go Marching In
278
Part Four
Coded Concepts
Overview
This section encompasses all the music, math, science, social studies, and language arts
codes used in this textbook.
Suggested Methods
Most likely, you’ll be starting from music lessons you’ve already created and adapting
them to National Core Arts Music Standards and other subject standards. Look at each
activity carefully to see what concepts will work. Or you can choose a song, then find
several possible concepts for it. Another method is to look at a specific concept (like a
math concept) and go through your lessons and song lists to find a good fit.
Music
Music Concepts K-2 in Progressive Order
Adapted to the Music Classroom by Kim Milai
Kindergarten
MUK1 Beat/Rhythm
MUK1-A Beat
MUK1-B Tempo (fast/slow)
MUK1-C Stop/go (sound/silence)
MUK1-D Note duration (long/short)
MUK1-E Rest
MUK1-F Rhythm (feeling quarter, eighth, and sixteenth variations)
MUK1-G Moving in 2s, 3s, and 4s
280
MUK1-H Conducting, Inner hearing

MUK1-I Increased subtlety in rhythmic changes
MUK2 Melody/Singing
MUK2-A Group singing (includes ostinatos, partner songs, rounds)
MUK2-B Individual singing
MUK2-C Pitch (high/low)
MUK2-D Note duration (legato/staccato)
MUK2-E Dynamics (loud/soft)
MUK2-F Lyrics
MUK3 Percussion and Creative Movement

MUK3-A Body percussion
MUK3-B Melodic percussion
MUK3-C Rhythm instruments
MUK3-D Shapes
MUK3-E Heavy/light
MUK3-F Imitating nature
MUK4 Other
MUK4-A Classical Music Comparisons
MUK4-B Composers
MUK4-C Fundamental Composition
MUK4-D World Culture
MUK4-E Seasonal Celebrations
First Grade
MU1.1 Beat/Rhythm
MU1.1-A Beat
MU1.1-B Tempo (fast/slow)
MU1.1-C Stop/go (sound/silence)
MU1.1-D Note duration (long/short)
MU1.1-E Rest
MU1.1-F Rhythm (feeling quarter, eighth, and sixteenth variations)
MU1.1-G Moving in 2s, 3s, and 4s
MU1.1-H Conducting, Inner hearing
MU1.1-I Increased subtlety in rhythmic changes
MU1.1-J Reading rhythmic notation
MU1.1-K Identifying written songs
C o d e d C o n c e p t s | 281
MU1.2-A Group singing (includes ostinatos, partner songs, rounds)
MU1.2-B Individual singing
MU1.2-C Pitch (high/low)
MU1.2-D Note duration (legato/staccato)
MU1.2-E Dynamics (loud/soft)
MU1.2-F Lyrics
MU1.2-G Form (verse chorus phrasing)
MU1.2-H Solfege (Do, Re, Mi …)
MU1.2-I Reading pitch notation
MU1.2-J Identifying written songs

MU1.3-A Body percussion
MU1.3-B Melodic percussion
MU1.3-C Rhythm instruments
MU1.3-D Group Movement
MU1.3-E Individual Movement
MU1.4 Other
MU1.4-A Classical Music Comparisons
MU1.4-B Composers
MU1.4-C Fundamental Composition
MU1.4-D World Culture
MU1.4-E Seasonal Celebrations
Second Grade
MU2.1 Beat/Rhythm
MU2.1-A Beat
MU2.1-B Tempo (fast/slow)
MU2.1-C Stop/go (sound/silence)
MU2.1-D Note duration (long/short)
MU2.1-E Rest
MU2.1-F Rhythm (feeling quarter, eighth, and sixteenth variations)
MU2.1-G Moving in 2s, 3s, and 4s
MU2.1-H Conducting, Inner hearing
MU2.1-I Increased subtlety in rhythmic changes
MU2.1-J Strong/weak beat (bar-line)
MU2.1-K Reading rhythmic notation
MU2.1-L Identifying written songs
28
MU2.2-A Group singing (includes ostinatos, partner songs, rounds)
MU2.2-B Individual singing
MU2.2-C Pitch (high/low)
MU2.2-D Note duration (legato/staccato)
MU2.2-E Dynamics (loud/soft)
MU2.2-F Lyrics
MU2.2-G Form (verse chorus phrasing)
MU2.2-H Solfege (Do, Re, Mi…)
MU2.2-I Reading pitch notation
MU2.2-J Identifying written songs
MU2.3 Percussion
MU2.3-A Body percussion
MU2.3-B Melodic percussion
MU2.3-C Rhythm instruments
MU2.3-D Group Movement
MU2.3-E Individual Movement
MU2.4 Other
MU2.4-A Classical Music Comparisons
MU2.4-B Composers
MU2.4-C Fundamental Composition
MU2.4-D World Culture
MU2.4-E Seasonal Celebrations
MU2.4-F Instrument Families
MU2.4-G Elementary Acoustics
Math
General Common Core Math Concepts K-2 in Progressive Order
Common Core State Standards © 2010
Authors: National Governors Association Center for Best Practices, Council of Chief
State School Officers. http://w ww.corestandards.org/ All rights reserved.
By the End of Kindergarten

MAK1 Counting Sets: Visually and by Using Objects
MAK1-A Count to 100 by 1’s, 5’s, and 10’s
MAK1-B Identify and Write 0–20
MAK1-C Answer —How many?
MAK1 Operations
MAK1-D Add and subtract using objects or drawings
MAK1-E Classify and count objects
MAK1-F Greater than, less than, equal to
MAK2 Geometry: Shapes and 3-Dimensional Shapes Both

Abstractly and in the Environment
MAK2-A Shapes, different sizes, and orientations (behind, in front of, next to, etc.)
MAK2-B Compare 2-dimension (flat) to 3-dimension (solid)
MAK2-C Compose and model shapes
By the End of First Grade

MA1.1 Addition and Subtraction (within 20)
MA1.1-A Add and subtract up to 20 then later up to 100 with objects
MA1.1-B Reading and writing equations within 20
MA1.1-C Word problems
MA1.1-D Understanding the associative property of addition (3 + 7 = 5 + 5 = 10)
MA1.1-E Identify the unknown number (10 − 2 = ?)
MA1.1-F Count to 120, be able to mentally add or subtract by 10
MA1.2 Whole Number and Place Value

MA1.2-A Understanding the difference between 10s and 1s
MA1.2-B Use place value to add and subtract
MA1.3 Linear Measurement, Measure with Units

MA1.3-A Measure and compare with objects
MA1.3-B Tell the Time
MA1.3-C Represent data into categories with graphs
MA1.4 Reasoning Skills with Geometric Shapes

MA1.4-A Compare shapes, partition them by halves, fourths, and quarters
MA1.4-B Compose new composite shapes from basic shapes
MA1.4-C Know defining (3 sides) versus non-defining shape attributes (color)
By the End of Second Grade

MA2.1 Notation and Placement
MA2.1-A Multi-digit numbers up to 1000
MA2.1-B Place values thousands, hundreds, tens, ones
MA2.1-C Base-ten notation (526 is 5 hundreds + 2 tens + 6 ones)
MA2.1-D Word problems
284
MA2.2 Increase Fluency with Addition and Subtraction

MA2.2-A Mentally calculate equations up to 20
MA2.2-B Know sums of two one-digit numbers
MA2.2-C Odd and even
MA2.2-D Continue counting by 5’s, 10’s
MA2.2-E Add up to 4 two-digit numbers
MA2.3 Measure
MA2.3-A Standard units of measure (inch, centimeter)
MA2.3-B Add and subtract lengths using rulers, yardsticks, etc.
MA2.3-C Time and Money in word problems
MA2.3-D Develop different kinds of graphs analyze data
MA2.4 Geometry: Describing and Analyzing Shapes

MA2.4-A Foundations for area, volume, congruence
MA2.4-B Partitioning shapes to describe them by units
Language Arts
General Common Core Language Art Concepts K-2 in Progressive Order
Authors: National Governors Association Center for Best Practices, Council of Chief
State School Officers. http://w ww.corestandards.org/ All rights reserved.
Kindergarten
LAK1 Literature and Nonfiction
LAK1-A Identify details; setting, characters, events
LAK1-B Recall stories and answer questions about them
LAK1-C Name author and illustrator and describe their roles
LAK2 Basic Skills
LAK2-A Mechanics of reading left to right, top to bottom
LAK2-B Consonant-Vowel-Consonant words
LAK2-C Rhyming words
LAK2-D Sight words
LAK2-E Syllables
LAK3 Writing Skills
LAK3 Use pictures, speaking, and writing to describe a story
LAK4 Listening and Speaking Skills

LAK4-A Participate
LAK4-B Follow discussion rules
LAK4-C Add detail, ask and answer questions clearly
LAK5 Language Skills
LAK5-A Vocabulary, age appropriate
LAK5-B Make real life connections to vocabulary
LAK5-C Place words into categories.
LAK5-D Add “s” to make a word plural
LAK5-E Add to words -ed, un-, -f ul, etc.
First Grade
LA1.1 Literature and Nonfiction
LA1.1-A Identify details; setting, characters, events
LA1.1-B Compare pictures to story, compare stories, fiction versus nonfiction,
prose versus poetry, authors, illustrators.
LA1.2 Basic Skills
LA1.2-A Consonant-Vowel-Consonant words
LA1.2-B Rhyming words
LA1.2-C Sight words
LA1.2-D Long, short vowels
LA1.2-E Blend sounds
LA1.2-F Decode and breakdown words into syllables
LA1.3 Be able to state opinion and add focus and detail to writing

LA1.4-A Participate
LA1.4-B Follow discussion rules
LA1.4-C Add detail, ask and answer questions clearly
LA1.4-D Describe people, places, and things in detail
LA1.5-A Vocabulary, age appropriate
LA1.5-B Make real life connections to vocabulary. Learn words through
conversations
LA1.5-C Place words into categories. Show comprehension of text
286
LA1.5-D Root words, subtle word differences

LA1.5-E Past, present, future words
LA1.5-F Capitalization and punctuation: names and dates, beginning and ending
Second Grade
LA2.1 Literature and Nonfiction
LA2.1-A Answer who, what, when, where, and why questions
LA2.1-B Analyze stories in more details, citing lessons, morals, and messages use
LA2.1-C Compare different versions of same story
LA2.2 Basic Skills
LA2.2-A Decode and break down words into syllables
LA2.2-B Describe people, places, and things in detail
LA2.2-C Fluency, read with more expression and accuracy
LA2.2-D Prefixes and Suffixes, Irregular words
LA2.3 Well thought out writing with opinion, reasons, and conclusion

LA2.4-A Participate
LA2.4-B Add detail, ask and answer questions clearly
LA2.4-C Show comprehension of text
LA2.4-D Speak Clearly, Audio recordings
LA2.5-A Vocabulary, age appropriate
LA2.5-B Make real life connections to vocabulary
LA2.5-C Place words into categories.
LA2.5-D Root words, subtle word differences
LA2.5-E Past, present, future words
LA2.5-F Learn words through conversations
LA2.5-G Capitalization and dates
Science
Science Standards K-2
NGSS Lead States © 2013
Next Generation Science Standards: For States, By States. Washington, DC: The National
Academies Press. Authors: Nation Academy of Sciences. NGSS (Next Generation
Science Standards) http://w ww.nextgenscience.org/
Kindergarten
SCK1 Ecosystem: Relationships Between Animals, Plants,
and the Environment
SCK1-A Observe the ways animals and plants change the environment to meet
their needs (squirrel buries nuts)
SCK1-B What are some examples of relationships that work in the ecosystem?
Analyze (grass needs sunlight so it grows in meadows)
SCK1-C Communicate solutions to help the environment. Describe or draw a
picture (since we make paper from trees we could reuse the paper)
SCK1-D What do animals and plants need to survive? Describe some systems
that work together. Compare (types of food, the need for water)
SCK2 Weather and Climate

SCK2-A Observe the weather and see the patterns it makes over time. (patterns
during one day, describe weather like sunny, etc.)
SCK2-B Ask questions about how forecasts can help explore and respond to
severe weather (locally)
SCK2-C Observe the effect of sunlight on earth’s surface. (sand, soil,
rocks, water)
SCK2-D Create a design that will build a structure that will reduce the sun’s
warming effect in an area. (umbrellas, canopies, tents)
SCK3 Forces and Interactions: Pushes and Pulls

SCK3-A Investigate the effect of different strengths and directions when an object
is in motion: descriptive words (measure relative effect, object being pushed or
pulled, stopped or bumped)
SCK3-B Design something that can affect an object’s motion when pushed
or pulled (object with trajectory make ramp or structure to change its
course)
First Grade
SC1.1 Structure, Function and Information Processing
SC1.1-A Plants and animals use external parts to survive and grow. What are
they? Use that technique to design a solution to a human problem (clothes,
protective gear, tails, roots, thorns, quills, eyes, ears)
SC1.1-B Use books or media to figure out what behavior parents exhibit so that
their offspring survive (nurture, feed, housing; offspring cry, cheep, cause
attention)
SC1.1-C Find evidence through observation that offspring are like, but not exactly
like, parents (dogs, plants)
28
SC1.2 Space Systems: Patterns and Cycles

SC1.2-A Observe sun, moon, and stars to derive predictable patterns (rise, set,
view, night not day)
SC1.2-B Observe how the length of day and night changes over the course of the
year (relative not exact)
SC1.3 Waves: Light and Sound

SC1.3-A Vibrating materials make sound, and sound can transfer and make
materials vibrate (tuning fork, plucked string, speaker, paper). What is the
evidence?
SC1.3-B Observations, evidence. Objects in darkness can only be seen if illuminated
(dark room, pinhole box, external light or object giving off its own light)
SC1.3-C Investigate putting different types of materials in front of a beam of light
(plastic, wax paper, cardboard), What is the effect?
SC1.3-D Build something that uses light or sound to communicate over a
distance (drum, light, cup, string)
Second Grade
SC2.1 Ecosystem: Relationships Between Animals, Plants,
and the Environment
SC2.1-A Investigate whether plants need water and sunlight to grow (work as
teams, too)
SC2.1-B Animals can disperse plant seeds. Make a functioning design that
imitates this (packet with seeds taped to pants; little hole allows seeds to fall)
SC2.1-C Look at different habitats and describe how their diversity is different in
each one (compare amount of diversity and type, not names of things)
SC2.2 Earth Systems: Processes that Shape the Earth

SC2.2-A Earth events can occur quickly or slowly (different sources, explosions,
erosions)
SC2.2-B There is more than one way to prevent water and wind from changing
the shape of the land (shrubs, wind breaks)
SC2.2-C Develop a model of the shape of water and land in an area (map)
SC2.2-D How can we figure out where the water or ice is on Earth (what are the
places called)?
SC2.3 Structure and Properties of Matter

SC2.3-A Describe and Classify Materials based on what you observe (color,
texture)
SC2.3-B Which material has the best properties for an intended purpose (use
data, strength, hardness, absorbency)
SC2.3-C Observe how an object made of pieces can be disassembled and made
into a new object, use blocks (build an account of the procedure)
Social Studies
Social Studies Standards K-2
Sources:
New York State Core Curriculum 2016
https://w ww.engageny.org/resource/new-york-state-k-12-social-studies-framework
Illinois State Standards for Social Studies 2016 http://w ww.isbe.state.il.us/ils/social_
science/standards.htm
National Counsel for the Social Studies (NCSS)
www.socialstudies.org
Instructions: Each category is filled with example questions and information that cor-
relate with the current social studies standards in the United States. These collections of
questions give the music teacher the ability to pick and choose what to include in his or her
curriculum. Please see the lessons for implementation strategies.
Kindergarten
SSK Social Studies
SSK-1 The Individual and The Community: How would you describe yourself?
What are your likes and dislikes? Why is it important to respect individual
differences inside and outside your community? What are some common
traditions in your family or community? What about some that are less
common?
SSK-2 Cultural Identity and Celebrating: How do we celebrate as a country (as a
community, as a family)? Explore holidays and shared celebrations. Discuss
how symbols are important (flag, patriotic songs, Statue of Liberty). How is one
culture similar to or different from another? Why is it important to respect all
cultures?
SSK-3 Citizenship and Civics: What are basic human rights (food, clothing,
shelter, education, and protection)? Talk about our responsibilities to our
classroom and community. Discuss how we share duties in the classroom
and why there are rules for both children and adults. Discuss bullying.
SSK-4 Geography: Utilizing maps and globes, students learn to use location and
direction vocabulary (front of, next to, behind) while identifying places and
regions. Can you locate on a map where the story in a song takes place? Can
290
you find the area where the composer of the song may have come from? Can
you point out bodies of water and mountains on a map?
SSK-5 Humans and the Environment: What are different types of weather? How
do we prepare for different types of weather? How does weather affect the way
people live? How do we adapt to the environment where we live?
SSK-6 History: Describing points in time can help us look at and understand
events. Does this song take place in the past, present, or future? How do
folktales, music, and art teach values, traditions, and important events? Give
an example of how things change over time (how people and goods move from
place to place).
SSK-7 Economics: What is the difference between needs (food, shelter, clothing)
and wants (television, yacht)? What are some examples? Goods and services
are both things you can buy. Explain the use of goods in a song. Explain the
use of services in a song. How does scarcity change a community (have to
move, change laws)?
First Grade
SS1 Social Studies
SS1-1 Community Identity: What shapes the identity of a family and community
(language, beliefs, customs, traditions)? Name some similarities in people from
different communities. Now name some differences. A community with people
who have different traditions, customs and ethnicities is called a multicultural
community. Is your community multicultural? Can you identify different
languages or customs? How does a rich diversity encourage understanding
between people?
SS1-2 American Identity: Why is it important to understand your country’s
teach us about important people and events in American history? How does
understanding this connect our diverse cultural backgrounds?
SS1-3 Citizenship and Civics: What is a citizen (member of a local or global
community)? Why is it important that citizens work together? How do we,
as a class or school, work together? What does it mean to act responsibly?
How can we help our community and world? Discuss how we share duties in
the classroom and why there are rules for both children and adults. Discuss
bullying. How can you be a part of problem solving or conflict resolving
in school and at home? Why do we need a government (creates a peaceful
and ordered society). There are different levels of government (local, state,
national)? What are some national holidays (local holidays)?
SS1-4 Geography: Maps and globes are useful tools to understand places and
regions and how they pertain to music and lyrics. They are also important
tools to navigate from one place to another. Can you “read” a map and find
locations that apply to a song? Can you give another student directions from
one part of the school to another?
SS1-5 Humans and the Environment: How do humans adapt to their
environment to survive and meet their basic needs (food, clothing, shelter,
education, and protection)? What are natural resources that can help meet
these needs? How do humans change their environment to meet their needs?
What are examples of people interacting with their environment in a song in a
positive (or negative) way?
SS1-6 History: Time sequence can be described in days, weeks, months, years,
and seasons. Describing points in time can help you understand events in your
personal family history. How can you find out more about your family history
(interview relatives)? How do folktales, music, and art teach us about families
in the past? Give an example of how things change over time or how they stay
the same. How do we know about life in the past (maps, letters, newspapers,
artifacts)? Describe how history was changed in a song or story.
SS1-7 Economics: What is the difference between needs (food, shelter, clothing)
and wants (television, fancy car)? How are people producers as well as
consumers of goods and services? What do you need in order to purchase
things? How does scarcity make families and communities change their
choices (have to move, change laws)? What are resources (tools, people,
materials)? How do resources help people meet their needs and wants? What is
supply and demand in the context of this song?
Second Grade
SS2 Social Studies
SS2-1 The Individual and the Community: What is a community (group
of people in a common location)? You can distinguish communities by
population density (amount of people) and their use of land. Identify the
characteristics of urban, suburban, and rural communities. What community
do you live in? How does the type of community affect people who live there?
SS2-2 American Identity: Why is it important to understand your country’s
teach us about important people and events in American history? How does
understanding this connect our diverse cultural backgrounds?
SS2-3 Citizenship and Civics: Students will explore democratic principles like
equality, dignity, fairness, and respect for rules. How does voting help our
government be fair? Government runs on a national level, but also a local level.
How does government provide order and keep people safe? How do citizens
do their part by obeying rules and treating others fairly? Communities have a
responsibility to establish fair laws that are for the common good. Leaders in
a community help create laws. Why is it important to follow those laws? What
29
happens if some people don’t follow the laws? Who enforces the laws? How
can students provide service to the community? What about adults? Discuss
bullying.
SS2-4 Geography: The geography of a region helps to determine if it will become
an urban, suburban, or rural community. In communities, land can be
classified as residential (living), commercial (services), industrial (goods), or
recreational (enjoyment). How do physical land features affect the people that
live there? Can you make your own map? How do people move goods to where
they are needed? Students will learn to use a compass rose and use more in-
depth directional vocabulary (northeast, southwest).
SS2-5 Humans and the Environment: How do humans adapt to their
environment to survive and meet their basic needs (food, clothing, shelter,
education, and protection)? What natural resources help meet these needs?.
How do humans modify their environment in positive or negative ways (build
things)? How do humans change their environment to meet their needs?
What are examples of people interacting with their environment in a song in a
positive (negative) way?
SS2-6 History: Time sequence can be described in days, weeks, months, years,
and seasons. Describing points in time can help us look at and understand
events that happened in history. Do you know how to read a timeline? How do
folktales, music, and art teach us about people in the past? Give an example
of how things change over time or how they stay the same. Explain cause and
effect in a community (automobiles changed where people lived and how they
made roads). How do we know about life in the past (maps, letters, newspapers,
recordings, artifacts)? Describe what a character in a story, song, or legend did
to change history.
SS2-7 Economics: Each type of community has different challenges to meet
the needs of their citizens. What resources are available in each type of
community (urban, suburban, rural)? How do consumers react to differences
in availability, price and needs? Why do we have taxes? What is the money
used for (provide services)? How does scarcity make families and communities
change their choices (have to move, change laws)? What types of jobs
and services provide for the community? What goods are made in your
community? How do communities share with other communities?
Part Five
Appendices
American and World Culture Month

to Month
Songs at a Glance
Note: Songs listed here are used for their cultural value as well as for their value within
the teaching pedagogy. The majority of the American teaching songs and folksongs in
the curriculum are listed elsewhere in the Kindergarten Song List, First Grade Song List,
and Second Grade Song List (see Tables 5.1–5.3).
294
Kindergarten
TABLE 5.1 Kindergarten World Culture by the Month
Month Culture Song
September Kenyan inspired Folk Song by Ella Jambo (Hello)

Jenkins
African American Game Song Walk and Stop
Anglo American Traditional A Hunting We Will Go
Spanish Teaching Song Mi Cuerpo
October Pueblo Traditional Pueblo-Zuni Corn Grinding Song
Modern Children’s Song Pumpkin, Pumpkin
November English Traditional Aiken Drum
African American Traditional Shoo Turkey
December Modern Children’s Song by Nancy Celebrate Eid
Stewart
Mexican Traditional Nochebuena (Christmas Eve)
January African American Gospel Come and Go With Me To That Land
Chinese Traditional Kang Ding Love Song
February Chinese New Year Song Gong Xi
African American Game Song Amasee
March African American version of the Draw a Bucket of Water
English Game Song
African American Game Song Sally Go ‘Round the Sun
April Anglo American Traditional When Johnny Comes Marching Home
American Folk Song by Woody This Land is Your Land
Guthrie
May African American Spiritual When the Saints Come Marching In
African American Traditional Chicama, Chicama Craney Crow
A p p e n d i c e s | 295
First Grade
TABLE 5. 2 First Grade World Culture by Month
Month Culture Song
September American Folk Song Dinah

October Modern Children’s Song Better Watch Out It’s Halloween Night
Traditional Rhyme Bear Hunt
November Sioux Folk Song Epanay
Modern Children’s Song The Turkey Ran Away
December Bahaman Traditional Song Bake the Johnny Cake(Christmas
Coming)
Mexican Traditional Nochebuena (Christmas Eve)
Modern Children’s Song It’s Kwanzaa!!
January Appalachian Version of a Scottish Dance To Your Daddy
Folk Song
Civil Rights Song by Carver Neblett Back of the Bus
February Dances from Around the World: Each class performs a dance from a different
country for an Assembly and Concert (see Appendix/A ssembly and Concert
Suggestions).
Bolivian butterfly dance—Mariposa
Chinese ribbon dance—Feng Yang Flower Drum Song
French-Canadian line dance—Bonsoir Mes Ami
Greek grapevine dance—Tik Tik Tak
Indian Bhangra dance—Bhangra Dance
Liberian Fanga dance—Fanga Dance
Mexican partner dance—Chihuahua
United States (African American Play Party)—Draw a Bucket of Water
United States (American sea shanty)—John Kanaka
United States (Appalachian contra line)—Paw Paw Patch
United States (Hula dance)—Hukilao
Chinese Traditional Feng Yang Flower Drum Song
African American Traditional Follow the Drinking Gourd
March African American Game Song Miss Mary Mack
African American Game Song Little Sally Water
French-Canadian Folk Song Bonsoir Mes Ami
April African American New York Game Song Lemonade
Japanese Game Song Kagome
African American Folk Song Head and Shoulders Baby
May African American Folk Song Shake Those ‘Simmons Down
Anglo American Play Party Alabama Gal
296
Second Grade
TABLE 5.3 Second Grade World Culture by Month
Month Culture Song
September Nigerian Welcome Song Nigerian Welcome Chant

Navaho Traditional Walk in Beauty
October Mexican Folk Song Que Llueva
American Play Party Great Big House in New Orleans
November Shaker Folk Song Simple Gifts
Anglo American Traditional The Riddle Song
Native American Folk Song adapted Medicine Wheel Chant
by John Langstaff
Appalachian Folk Song Skin and Bones
African American Game Song Who’s That?
Native American Inspired Canadian Land of the Silver Birch/My Paddle
Folk Songs
American Folk Song Ghost of John
New Guinean Stone Passing Game Mai Long Sera
Modern Children’s Song The Turkey Ran Away
December Traditional Hanukkah Song O Hanukkah
French Carol Pat a Pan
Scottish Folk Song by Robert Burns Auld Lang Syne
January Appalachian Folk Song Hunt the Cows
African American Freedom Song Ain’t Gonna Let Nobody Turn Me Around
Anglo American Virginia Folk Song Down Came a Lady
Taiwanese Modern Folk Song Gau Shan Ching
February African American Georgia Sea Islands Walk Daniel
Song
African American version of an Step Back
English Folk song
American Play Party I’ve Been to Haarlem
American Sea Shanty John Kanaka
March African American Folk Song Circle ‘Round the Zero
Czech Folk Song Huya
African American Game Song Punchinello
April American Folk Song Weevily Wheat
Virgin Islands Folk Song Four White Horses
May Mexican Traditional De Colores
African American Game Song Mazzudio
Assembly and Concert Suggestions

Second Grade Fall Harvest Assembly and Concert
Medicine Wheel Chant
This song is the Medicine Wheel Chant. Medicine Wheels were stone structures built
by Native Americans for spiritual and ceremonial purposes. In more modern days, the
Medicine Wheel grew to signify the Great Wheel or Cycle of Life.
Walk in Beauty
This is a Navaho Song that is open to many interpretations. Today we will use the Native
American meaning. “I Walk in Beauty” means to walk in your truth, to be at one with
the natural world and the spirit world. This beautiful Navajo Song can be sung as a
round. A round is a song in which the singers start the same song at different times. This
style helps us reflect on the thought that beauty is all around us-—if we can see it.
Simple Gifts
This song, written in 1848, is from a group of people called the Shakers who came to
the United States looking for religious freedom. Simple Gifts talks about living life sim-
ply, to dress and behave in a modest manner. It’s become popular to sing Simple Gifts
around Thanksgiving, so it also has grown to mean giving thanks for what we have. The
Shakers, though, did like to dance and they would dance to this tune!
Que Llueva
Que Llueva is a game song from Mexico. The game is a way to divide a group into two
teams. The song is also a thanksgiving for rain. The English translation is as follows: “It’s
raining, it’s raining, the frog is in the cave. The little birds sing, the moon is rising. Yes
yes! No no! Let a downpour fall!”
The Riddle Song
Most of you have heard this Appalachian (Appa lach an) Mountain Song. Originally
from England, it was brought over to the new world. Many people have recorded and
sung this song. Try to figure out the answers before viewing the third verse.
My Paddle/Land of the Silver Birch

My Paddle and Land of the Silver Birch are both Canadian songs that are inspired by the
Native American tradition. The lyrics speak with a great reverence for nature. Although
they are separate songs in their own right, combining them brings an extra beauty to
the listening experience.
298
Great Big House
This song was for a type of activity called a “Play Party.” A play party was a form of
entertainment that could include song, dances, and games. Some American communi-
ties in the past restricted dancing and instruments like the fiddle. Play parties were a
way to still have fun in a more modest environment.
K-2 Holiday Sing-Along Assembly

Pat a Pan
This song is a French Christmas Carol written by Bernard de la Monnoye over three
hundred years ago. The drum rhythm Ta Teetee Ta Teetee complements the melody.
O Hanukkah
The Jewish holiday of Hanukkah is celebrated for eight days. The Menorah candles are
lit one at a time each day. On the last day of Hanukkah all the candles are lit. While
lighting the candles, chants are sung and blessings are recited. Afterwards, families can
sit down to a prepared meal, play games, or exchange gifts.
Bake the Johnny Cake
This is a Caribbean carol titled Bake the Johnny Cake, Christmas Coming. A Johnny
Cake is like a pancake or a quickbread. Johnny Cakes originated in England and were
brought over to the Caribbean Islands where they are still popular today.
Nochebuena
Nochebuena is a Mexican song that celebrates Christmas Eve. The translation
is: “Tonight is Christmas Eve, A good night to eat bunuelos, Night with a big moon,
Night with bright stars, Night for all the children.” The bunuelos mentioned in the song
are Mexican pastries that are made of flour dough, deep fried, then covered in honey
and sprinkled with cinnamon powder. Mmmm!
It’s Kwanzaa!!
Kwanzaa is a weeklong festival celebrated primarily in the United States honoring our
African American heritage. It consists of seven days of celebration culminating in a feast
and gift giving.
Let’s recite the seven principles of Kwanzaa:
Kuumba—Creativity
Ujima—Responsibility
Kujichagulia—Self Determination
Imani—Faith
Umoja—Unity
Nia—Purpose
Ujama—PEACE!!
There was a Pig Went Out to Dig

This is a delightful Appalachian version of an English children’s song. It’s based on the
traditional story of animals talking and doing miraculous things on Christmas.
Celebrate Eid
During Eid-U l-Fitr, Muslims exchange gifts and cards and pay visits to friends. Eid
is celebrated during the last three days at the end of Ramadan, which ends on the
morning after the new moon is seen in the sky. Children are told to watch for the
new moon.
Silent Night
During Christmas Eve and Christmas, Christians visit loved ones, share food, exchange
gifts, and celebrate the birth of the Christ child. This popular and endearing Christmas
song, Silent Night was originally written in Austria in 1818. The melody is by Franz
Xaver Gruber; the German lyrics are by Joseph Mohr.
Jingle Bells
Jingle Bells was originally written for Thanksgiving but evolved into a popular song to
sing around Christmas time. It was written by James Lord Pierpont in the mid 1800s.
First Grade Dance Assembly and Concert

Fanga—Dance from West Africa (Liberia)
Fanga Dance originally started in West Africa. The word “Fanga” means welcome.
Fanga songs and dances are used to welcome people during happy occasions.
Mariposa (Butterfly)—Bolivian Circle Dance

The steps and costumes in this dance are influenced by the traditional Butterfly dances
of Bolivia.
Bonsoir Mes Ami—French Canadian Line Dance

In English “Bonsoir mes amis” means “Good evening my friends.” Au revoir means
goodbye or “till we return.” You will see that waving in the song signifies farewell.
Chihuahua—Mexican Partner Dance
This is a Mexican Folk dance entitled Chihuahua. Chihuahua is a region in northern
Mexico that has a tradition of lively and festive folk dances.
Hukilao—Hawaiian Hula
This is a popular Hawaiian Hula Dance that describes going to a “hukilau.” A hukilau
is an old Hawaiian way of using a large net to catch a lot of fish. “Huki” means “to pull”
and “lau” means “leaf.” The Hawaiians caught a lot of fish at a hukilau. The Ti leaves
30
that hung down from the net made shadows that scared the fish into the middle of the
net. The Hawaiians would startle the fish into the nets as well. A lot of people gathered
around to help pull in the net. The Hawaiians had a lot of fun working together at a
hukilau and everyone shared the fish that they caught.
Paw Paw Patch—Appalachian Contra-Line

Paw Paw trees are the largest native fruit in the United States. You can find them in the
Appalachian mountains. The contra line dance is a traditional American style of dance
with roots from Europe. The steps included in this dance are called “peel the orange”
and “through the wicket.”
Feng Yang Flower Drum Song—Chinese Ribbon Dance

This song is a favorite in China and is popular to sing during Chinese New Year. We
will now perform Feng Yang Flower Drum Song as a traditional Chinese ribbon dance.
Tik Tik Tak—Greek Grapevine Dance

Tik Tik Tak is a song from Greece. These dance steps are taken from the traditional
Greek dance called the grapevine.
Draw a Bucket of Water

This ring game originated from England. There are several African American versions
and this is one of them. This game includes a basket-weave dance position.
Memories of Uppsala
This Swedish American dance is called “Memories of Uppsala.” Uppsala is a city in
Sweden and the European dance step used in the song is called a “schottische.”
Bhangra (Bollywood Style)—India

The Bhangra is an exciting traditional dance originally from the Punjabi area of India.
In the United States our movie industry is often called “Hollywood,” taking its name
from the surrounding movie industry in the Hollywood Hills. In like manner, India
has a thriving movie business that is commonly referred to as “Bollywood.” Dances are
taken from traditional styles and modernized for the film audiences. Here is a tradi-
tional Bhangra dance in the modern “Bollywood” style.
John Kanaka—American Sea Shanty

The name John Kanaka is the Polynesian equivalent of the name “John Doe.” It was used
as a generic name for the youth of poor Polynesian parents who were sent away from
home to be ship workers on whaling ships over one hundred years ago. This traditional
sea shanty was sung on ships and on the docks and piers of California.
Kindergarten Memorial Day Assembly and Concert

When Johnny Comes Marching Home
Patrick Gilmore wrote the lyrics to this song at the height of the Civil War in 1863.
The “Johnny” so longed for in the song was Patrick Gilmore’s future brother-i n-law,
a light artillery captain named John O’Rourke. The song was written by Patrick for
his sister Annie Gilmore as she longed for the safe return of her captain from the
Civil War.
America the Beautiful
America the Beautiful was first published in 1895. The words are by Katherine Lee Bates
and the music by Samuel A. Ward. Ms. Bates was quoted as saying: “One day some of the
other teachers and I decided to go on a trip to 14,000-foot Pikes Peak. We hired a prairie
wagon. Near the top we had to leave the wagon and go the rest of the way on mules. I was
very tired. But when I saw the view, I felt great joy. All the wonder of America seemed
displayed there, with the sea-like expanse.” While singing the song, picture the images
they inspire of our beautiful land.
En La Primavera
This adaptation of a Spanish song is about the “Pajarito” or little bird. The translation of
the words are: “Little bird you sing in the springtime, little bird you jump (or dance) in
the springtime, little bird you sleep in the springtime.”
This Land is Your Land

Woody Guthrie wrote this song in the 1940s. This classic refrain sings of the beauty and
diversity of America’s land and people.
When the Saints Go Marching In

This spiritual turned into a New Orleans Jazz Band favorite around the turn of the last
century. Sing and clap along with the strains of this rousing and uplifting march!
Bibliography
Teacher Reference Books for Songs and Games
120 Singing Games and Dances for Elementary Schools by Lois Choksy and Dave
Brummitt
150 American Folk Songs: To Read, Sing and Play by Peter Erdei
Ability Development from Age Zero by Shinichi Suzuki
Down in the Valley: More Great Singing Games for Children by the New England
Dancing Masters
Jill Trinka Collection: Bought Me a Cat, John the Rabbit, Little Black Bull, My
Little Rooster
302
Kodály Today: A Cognitive Approach to Elementary Music Education (Kodály

Today Handbook Series) by Micheál Houlahan and Philip Tacka
Musical Games, Fingerplays and Rhythmic Activities for Early Childhood by
Marian Wirth, Verna Stassevitch, Rita Shotweil, and Patricia Stemmler
Rhythmic Activities and Dance by John Bennett and Pamela Reimer
Rise Sally Rise (formerly Jump Jim Joe): Great Singing Games for Children by the
New England Dancing Masters
Sail Away: 155 American Folk Songs to Read, Sing and Play by Eleanor Locke
Step It Down by Bessie Jones and Bess Lomax Hawes
The Kodály Method vol 1 by Lois Choksy
The Kodály Method: Comprehensive Music Education from Infant to Adult by
Lois Choksy
The Singing Game by Iona and Peter Opie
The Song Garden (1–3) by Carol Quimby, Heath and Sarah Sedgwick
Classical and Folk Listening Lists

Classical
My recording recommendations are based on The NPR Guide to Building a Classical CD
Collection.
Composer-Composition-Recommended performance
Bach-Brandenburg Concertos-Boston Baroque/Martin Pearlman

Beethoven-Eroica Symphony No. 3-Vienna Philharmonic/Leonard Bernstein
Prokofieff-Peter and the Wolf-Royal Philharmonic Orchestra/Andre Previn
Bizet-Carmen (Ouverture = March of the Toreadors, L’amour Est Un Oiseau
Rebelle, Entr’acte)-Paris Opera Orchestra with Maria Callas
Mozart-Eine Kleine Nachtmusik-Academy of St. Martin-in-t he-Fields Chamber
Ensemble
Tchaikovsky-Nutcracker Suite (March, Dance of the Mirltons, Waltz of the
Flowers, Chinese Dance, Russian Dance)-Berlin Philharmonic/Mstislav
Rostropovich
Saint-Saens-Carnival of the Animals-Pittsburgh Symphony Orchestra/
Lorin Maazel
Grieg-Peer Gynt (In the Hall of the Mountain King, Morning Mood)-San
Francisco Symphony Orchestra/Herbert Blomstedt
Gershwin-Rhapsody in Blue-Columbia Symphony Orchestra/Leonard Bernstein
Copland-Rodeo, Appalachian Spring-Cincinnati Pops Orchestra/Erich Kunzel
Rossini-William Tell Overture-Royal Philharmonic Orchestra/Lamberto
Gardelli
Also, I recommend any performances by the London Symphony Orchestra, the

New York Philharmonic, or performances conducted by Herbert Von Karajan.
American Folk and Traditional Children’s Music

Smithsonian Folkways Children’s Music Collection (various artists) The Smithsonian
Folkways and the Library of Congress Folklife collections maintain a valuable reservoir
of folk music and recordings. This CD includes carefully chosen cuts that exemplify the
range of children’s folk music in America.
Raffi: The Singable Songs Collection Raffi is a master at combining traditional

with the popular in his renditions of folk tunes. He does it in a way that’s very
approachable for young children without losing the integrity of the song. He
also writes his own cool stuff.
Folk Playground Any Putamayo release expands your child’s music mind to
include new instruments, new beats, and new scales and keys.
Music for Little People: A Child’s Celebration of Folk Music (various artists)
Animal Songs for Children by Mike, Peggy, Barbara, Penny Seeger I would use this
as background music. It may seem a little corny to your children but once the
melodies get familiar your kids will ask if you can play this for them. I have it
on my iPhone and I listen to it in the car.
I Had a Little Rooster by Jill Trinka and John Feiraband This is a wonderful
collaboration between two experts in American folk song history. They both
separately and together have documented and recorded many examples of our
music heritage.
Jean Ritchie: Ballads from Her Appalachian Family Tradition Jean Ritchie is
a national treasure. She sings songs from her Appalachian childhood and
adulthood with such beauty and authenticity.
Sweet Honey in the Rock: Selections Album The strength in the sound and the
harmonies of Sweet Honey in the Rock gets its inspiration by Gospel music
Copyright Information
National Coalition for Core Arts Standards © 2014
National Core Arts Standards. Rights administered by the State Education Agency
Directors of Arts Education. Dover, DE.
www.nationalartsstandards.org all rights reserved.

Authors: National Governors Association Center for Best Practices, Council of Chief State
School Officers.
http://w ww.corestandards.org all rights reserved.
304
NGSS Lead States © 2013

Next Generation Science Standards: For States, By States. Washington, DC: The
National Academies Press. Authors: Nation Academy of Sciences. NGSS (Next
Generation Science Standards) http://w ww.nextgenscience.org/
Social Studies Standards K-2

New York State Core Curriculum 2016
https://w ww.engageny.org/resource/new-york-state-k-12-social-studies-framework
Illinois State Standards for Social Studies 2016
http://w ww.isbe.state.il.us/ils/social_science/standards.htm
National Counsel for the Social Studies (NCSS)
www.socialstudies.org
Lesson Template
Table 5.4 is part of the following lesson template you can use to develop your own les-
sons using the same format as is in the book.
Grade ______ Lesson_____________________ Date_______
Objectives:
________________________________________________________
________________________________________________________
________________________________________________________
________________________________________________________
TABLE 5.4 Lesson Template
ABB Activity Example Questions

306
Group Exploration: Descriptive Music Words

Objective: To increase vocabulary and improve verbal skills when describing the char-
acteristics and components of musical selections. This is also to prepare for the Group
Assessment Test. Students will listen to selections and take turns choosing words on the
board that describe what they hear. Students will also be encouraged to come up with
their own words.
Prerequisite: The Students will have already had experience verbally using basic
descriptive words like fast, slow, Ta, Teetee.
Setup:
Prerecord all your excerpts so the music clearly demonstrates a specific

characteristic and is easy to pull up. Keep the excerpts short—30 to 60 seconds.
Decide how many examples you want to explore. A given excerpt may only
pertain to one or two descriptive words.
Create charts or an interactive display listing the vocabulary words with spaces
for song names and comments (see Table 5.5). Adjust the vocabulary list to
your needs. The idea is for students to not necessarily read all the words but
to get a strong visual of the music’s characteristics. Putting more and more
songs names and music on the display next to the vocabulary will “graph”
the similarities and differences between the types of music. You could also
make picture images for each vocabulary word for students to see instead of
written words.
TABLE 5.5 Group Exploration Concept Categories
Melody Soft alt. Dynamics-soft

Melody-t wo part alt. simple harmony Medium Loud alt. Dynamics-medium
Melody-t wo plus parts alt. complex harmony Loud alt. Dynamics-loud
Rhythm-Long notes alt. Ta Getting louder alt. Dynamics-crescendo
Rhythm-Short notes alt. Teetee Getting softer alt. Dynamics-decrescendo
Rhythm-No note alt. Rest Voice-Spoken word (poetry)
Fast alt. Tempo-fast Voice-Female (high, medium, low)
Medium alt. Tempo-medium Voice-Male (high, medium, low)
Slow alt. Tempo-slow Identify the Music Type
Identify the Instrument(s) Identify the Music Form
Overview:
This was written as one giant lesson broken up over two days (see Kindergarten lessons
10 and 12) however, your arrangement of this lesson can be as wide or narrow as you
wish. Maybe you want to split up the lesson so you cover tempo one day and dynamics
the next. Or you may want to play four distinctly different pieces the same day: Baroque
Concerto, Pop Song, Reggae Song, and Orchestral Piece, and have your students analyze
and compare them.
Lesson: Introduce the lesson and go over the vocabulary words. Students echo the
words back to you and discuss their meaning. Before starting you encourage the stu-
dents to move to the music. You then play the first excerpt. Here are some questions you
can ask afterwards:
What did you hear? (open-ended question)

Was the music fast, medium, or slow?
Was the voice male or female? High or low?
What type of music is it?
What else can you say about the music?
Keep in mind the original intent you had for playing the excerpt as you ask questions.
Try to get as many opinions as you can. Repeat the excerpt if needed. Do the same thing
for each of the excerpts you play. Table 5.6 lists suggestions for music and Table 5.7 cross
references the music with example descriptive words.
TABLE 5.6 Group Exploration Song Examples
Classical and Classical Art Music Popular
Bach—Brandenburg Concerto no.4 in G Allegro Adowa—Rough Guide to African Roots Revival

Bach—Brandenburg Concerto no.2 in F Allegro Bourbon Street Parade—W ynton Marsalis
Beethoven—Symphony No. 3 (Eroica) Can’t Take That Away From Me—Ella Fitzgerald
Bizet—Carmen and Louie Armstrong
Copland— Rodeo— Hoe Down Dig a Hole in the Meadow—E arls of Leichester
Copland—Appalachian Spring El Perdón—Enrique Iglesias and Nicky Jam
Grieg—Peer Gynt Everywhere—Tim McGraw
Mozart—Eine Kleine Nachtmusik Happy— Pharrell Williams
Mozart—The Magic Flute I Got You—James Brown
Prokofiev—Peter and the Wolf Just the Way You Are—Bruno Mars
Ravel— Bolero Let it Go—Frozen Soundtrack
Saint-Saëns—Carnival of the Animals Linus and Lucy—Vince Guaraldi
Tchaikovsky—The Nutcracker Suite Monkey Wrench—Foo Fighters
Sabiliulungan— Degung-Sabilulungan:
Sundanese Music of West Java V2
See You Again—Wiz Khalifi
Serpentine Fire—E arth Wind and Fire
Shake it Off—Taylor Swift
Take the A Train—Duke Ellington
The Cowboy in Me—Tim McGraw
Three Birds—Bob Marley
Thriller— Michael Jackson
Uptown Funk—Bruno Mars
Walk This Way—Run DMC and Aerosmith
We Will Rock You—Queen
Wing$—Macklemore and Ryan Lewis
308
TABLE 5.7 Vocabulary with Suggested Music
Vocabulary Suggested Music
Melody Carmen— L’Amore

Let it Go—Frozen Movie Soundtrack
Just the Way You Are—Bruno Mars
Melody/Two part Harmony Brandenburg Concerto no.4 in G Allegro
-simple Happy— Pharrell Williams
Melody/Two part plus/ Peer Gynt—Arabesque Danse
Harmony Symphony No. 3
-complex Thriller— Michael Jackson
Rhythm-Long Notes (Ta) The Magic Flute—Birdcatcher’s Song
Thriller— Michael Jackson
Rhythm-Short Notes (Teetee) Peer Gynt—In the Hall of the Mountain King
The Magic Flute—Birdcatcher’s Song
Sabilulungan—Sundanese Music of West Java
We Will Rock You—Queen
Bourbon Street Parade—W ynton Marsalis
Rhythm-No note (Rest) Eine Kleine Nachtmusik
Hot Cross Buns
I Got You—James Brown
Uptown Funk—Bruno Mars
Tempo-fast Carmen—March of the Toreadors
Rodeo
Take the A Train—Duke Ellington
Shake it Off—Taylor Swift
Tempo-medium Peer Gynt—In the Hall of the Mountain King
Three Birds—Bob Marley
Serpentine Fire—E arth, Wind and Fire
Tempo-slow Appalachian Spring
Peer Gynt— Morning
The Cowboy in Me—Tim McGraw
Dynamics-soft The Nutcracker— March
Carmen—March of the Toreadors
Everywhere—Tim McGraw
Adowa—Rough Guide to African Roots Revival
Dynamics-medium Appalachian Spring
Can’t Take That Away From Me—Ella Fitzgerald and Louie
Armstrong
Dynamics-loud Nutcracker— March
Rodeo
Serpentine Fire—E arth, Wind and Fire
Dig a Hole in the Meadow—E arls of Leichester
Dynamics-getting louder Peer Gynt—In the Hall of the Mountain King
Bolero
Linus and Lucy—Vince Guaraldi
See You Again—Wiz Khalifa
Dynamics-getting softer The Nutcracker— March
Carmen—March of the Toreadors
Voices—Spoken word (poetry) Wing$—Macklemore and Ryan Lewis
See You Again—Wiz Khalifa
(Continued)
TABLE 5.7 Continued
Vocabulary Suggested Music
Voices-female (high, medium, Magic Flute

low) Carmen— L’Amore
Let it Go—Frozen Soundtrack
Armstrong
Voices-male (high, medium, Magic Flute
low) Carmen
Serpentine Fire—E arth Wind and Fire
Armstrong
El Perdón—Enrique Iglesias and Nicky Jam
Identify the instrument (s). The Nutcracker— March
Brandenburg Concerto no.4
Carnival of the Animals
Peter and the Wolf
Monkey Wrench—Foo Fighters
Armstrong
Identify the music type (rock, Any of the examples.
classical)
Form and Section (counting Carmen—March of the Toreadors
or naming). Example Carnival of the Animals
answers: “There are four Linus and Lucy—Vince Guaraldi
parts” or “The parts go soft, Monkey Wrench—Foo Fighters
loud, soft, loud.” If already Thriller— Michael Jackson
taught they could say “ABAB.”
National Recess Week
Singing—Chase Games for National Recess
Week—March 2 to March 6
All these games are for any age level, but due to classroom time constraints, I teach only
one game per grade. You are more than welcome to choose and teach another game.
For the first two games, I usually end the game when I see the teams are just about
even, that way the losing team feels like it was close and they “almost” won.
Rules for chasing and tagging: The rules need to be reviewed before play. Students
tag gently and then let go. If a student pulls or is too rough, they are out of the game. In
chasing, if a kid is showing poor judgment and not safely running around others, they
must leave the game.
King’s Land (Kindergarten)

Game premise: King’s Land is a game in which you set a time limit (I suggest 10 minutes
for a class of 20). You have a team of one (the King/Queen) and everyone else (the peas-
ants or serfs) The two people that represent the drawbridge are not part of the chase. The
310
object is for the King to build up his/her team within the time limit. Whichever team
has the most people wins the game.
Setup and play: The King and the two students playing the drawbridge are at one
end. Drawbridge is up. The peasants think the King is not at home (he’s kind of a greedy
King anyway and has all the land). So the peasants start walking out from their village
(safe zone) and sing the song. The most daring peasants walk pretty close to the castle.
Everyone is making fun of the King with their antics (thumbing their nose, shaking
backside, imitating the King). At the King’s signal, the drawbridge lowers quickly and
the King jumps out to tag one person. Everyone tries to get away and runs back to the
village. If the King gets someone, that person is now on the King’s team. In each round
the King and his team each try to tag one peasant. At the end of the game, whoever has
the most players wins.
Lemonade (First Grade)
Game premise: The two teams huddle separately and secretly to agree on what “trade”
they will pantomime for the other team. The teams take turns singing the challenge.
When an opposing team member guesses the trade correctly, the team that guessed cor-
rectly jumps out to try to tag someone on the opposite team. Whichever team has the
most players at the end of two rounds (two trades on each side) is the winner.
Setup and play: Ahead of time, the class discusses possible examples of trades
(jobs) and how they would be pantomimed. Then, players are divided into two equal
teams. The teams secretly agree on what trade they’re going to show, for example, Baker,
Firefighter, Teacher, Doctor, etc. The team that goes first will be the ones challenging
and walking toward the opposing team away from their safe zone. Each team sings their
part of the song. After the song, the challenging team pantomimes their trade silently.
If anyone on the opposite team wants to guess the trade, they raise their hand. Anyone
calling out a trade must leave the game. The teacher or a designate from the challenging
team calls on people one at a time to hear their guess. If someone guesses it correctly,
the teacher or team designate yells, “Yes!” and the guessing team runs out to try to tag
the challenging team before they get back to their safe zone.
Bobby R U Ready? (Second Grade)

Game premise: One person is designated “Bobby” or “It.” Everyone else sings the song.
Bobby gives excuses as to why he/she is not ready. After each excuse, the line moves up
one step. When Bobby says, “I’m ready!”, Bobby jumps out and tries to tag one person.
Everyone tries to get back to the safe zone before they get caught. The person caught is
the new Bobby.
Note: Because it’s so much fun to be Bobby, often students try to get caught. I tell
them if I see them just standing not trying to run away, then it won’t count if they are
caught.
Setup and play: Bobby is at one end with everyone else in a line behind the safe
zone at the other end of the playing area. The players sing the challenge. It’s up to Bobby
to be as funny or creative as they want with their list of reasons (no I have to brush my
teeth, no I have to do my homework, no I have to eat my breakfast, no I have to walk my
dragon …). To keep the line straight, I often have a leader of the line. No one can get in
front of the leader’s steps. Bobby keeps going as long as they dare until the line reaches
Bobby’s arm’s length (about 3 feet), then after that, the line doesn’t move up anymore.
The game is played until they tire of it or time for recess runs out.
Online Support
https://generalmusicteacherdigital.wordpress.com/free-km/
This blog will include free color printouts and keep you informed of updated infor-
mation relevant to all the subjects in this textbook. It will include:
COLOR Jpgs of the black and white photographs and charts in Part 2
PDFs of all the sheet music in Part 3
PDFs of the large music notation in Part 4
PDFs of the assessment tests from the resource sections.
COLOR PDF of the song “There Was a Man and He Was Mad”
kmelementary@gmail.com
This is a special contact email to let us know if you need help printing out songs or
other materials from the Resources section. Comments and questions welcome.
Music Notation Sheets
Quarter Note (Ta)
Two Eighth Notes (Teetee)
Quarter Rest
Half Note (Ta-a)
Sixteenth Notes (Tika-Tika)
Big Heart Template
Four Heart Template
Heart Sheet No Staff
Heart Staff Sheet
Heart Staff Full Notation Sheet
312
Sheet Figures
F I G U R E 5 .1 Quarter Note (Ta)
F I G U R E 5 . 2 Two Eighth Notes (Teetee)
314
F I G U R E 5 . 3 Quarter Rest
F I G U R E 5 . 4 Half Note (Ta-a)
316
F I G U R E 5 .5 Sixteenth Notes (Tika-Tika)

F I G U R E 5 . 6 Big Heart Template
318
F I G U R E 5 .7 Four Heart Template
F I G U R E 5 . 8 Heart Sheet No Staff
320
F I G U R E 5 . 9 Heart Staff Sheet
F I G U R E 5 .10 Full Heart Staff Sheet
32
Storybooks and Picture Books

Kindergarten
A Hunting We Will Go by John Langstaff and Nancy Winslow Parker

A Tisket a Tasket by Ella Fitzgerald and Ora Eitan
America the Beautiful by Katherine Gates and Wendell Minor
Bought Me a Cat (Cat Goes Fiddle I Fee) by Paul Galdone
Five Little Pumpkins by Dan Yaccarino
Green Eggs and Ham by Doctor Seuss
Lion Dancer: Ernie Wan’s Chinese New Year by Kate Waters and Martha Cooper
Mary Had a Little Lamb by Sarah Josepha Hale
Original Mother Goose by Blanche Fisher Wright
Over in the Meadow by John Langstaff and Feodor Rojankovsky
The Story of the Nutcracker Ballet by Diane Goode
There was a Man and He was Mad by John M. Feierabend and Aaron Joshua
There was a Man and He was Mad by Kim Milai in Resources/Printouts
There was an Old Lady Who Swallowed a Fly by Simms Taback
This Land is Your Land by Woody Guthrie and Kathy Jakobsen
This Old Man by Pam Adams
First Grade
A Tisket a Tasket by Ella Fitzgerald and Ora Eitan

Bought Me a Cat (Cat Goes Fiddle I Fee) by Paul Galdone
Follow the Drinking Gourd by Jeanette Winter
Froggy Went a Courtin’ by Laura Gates Galvin and Jacqueline Decker
London Bridge is Falling Down by Peter Spier
Maccabee!: The Story of Hanukkah by Tilda Balsby and David Harrington
My First Chanukah by Tomie Deploy
Second Grade
Child of the Civil Rights Movement by Paula Young Shelton

The Story of the Nutcracker Ballet by Diane Goode
When Marian Sang by Pam Muoz Ryan and Brian Selznick
Notes
INTRODUCTION
1. NGSS is a registered trademark of Achieve. Neither Achieve nor the lead states and partners that
developed the Next Generation Science Standards was involved in the production of, and does not
endorse, this product.
PA R T 1
1. National Coalition for Core Arts Standards © 2014 National Core Arts Standards. Rights adminis-
tered by the State Education Agency Directors of Arts Education Dover, DE. www.nationalartsstan-
dards.org all rights reserved.
324
References
Abrahams, Frank 2014 “Starbucks Doesn’t Sell Hot Cross Buns,” Promising Practices in 21st Century
Music Teacher Education, New York: Oxford University Press, Loc 1360.
Benedict, Cathy, and Schmidt, Patrick 2014 “Educating Teachers for 21st-Century Challenges: The
Music Educator as a Cultural Citizen,” Promising Practices in 21st Century Music Teacher Education,
New York: Oxford University Press, Loc 2322. 2150.
Bennet, John, and Reimer, Pamela 1995 Rhythmic Activities and Dance, Champaign, IL: Human Kinetics.
Bowman, Wayne D. 2005 “The Limits and Grounds of Musical Praxialism,” Praxial Music Education,
New York: Oxford University Press, 69–70.
Houlahan, Micheál, and Tacka, Philip 2015 Kodály Today: A Cognitive Approach to Elementary Music
Education (Kodály Today Handbook Series), New York: Oxford University Press.
Jolly, Anne. Nov. 18, 2014 “STEM vs STEAM: Do the Arts Belong?” Education Week. http://w ww.edweek.
org/t m/articles/2014/11/18/ctq-jolly-stem-vs-steam.html
Jorgensen, Estelle R. 2003 Transforming Music Education, Bloomington: Indiana University Press, Loc
1289, 1889.
Kaschub, Michele, and Smith, Janice 2014 Promising Practices in 21st Century Music Teacher Education,
New York: Oxford University Press, Loc 5587.
Mark, Michael L. 2008 A Concise History of American Music Education, New York: Rowman & Littlefield
with MENC, 163.
NAfME 2014 “Core Music Standards,” http://w ww.nafme.org/core-music-standards/
NGSS Lead States 2013 Next Generation Science Standards: For States, By States, Washington, DC: The
National Academies Press.
NSTA 2014 “Making Connections to Common Core,” http://ngss.nsta.org/making-connections-
common-core.aspx
Suzuki, Shinichi 1981 Ability from Age Zero, Athens, OH: Ability Development Associates.
Tyson, Neil deGrasse, Goodreads Quote. https://w ww.goodreads.com/quotes/460763-my-v iew-is-
that-if-your-philosophy-is-not-unsettled
Westerlund, Heidi, and Juntunen, Marja-Leena 2005 “Music and Knowledge in Bodily Experience,”
Praxial Music Education, New York: Oxford University Press, 112–122.
Woodward, Sheila C. 2005 “Critical Matters in Early Childhood Music Education,” Praxial Music
Education, New York: Oxford University Press, 253, 262.
326
Song Index
Tables and figures are indicated by an italic t and f following the page/paragraph number
A Hunting We Will Go, 36–37t, 89–90t, 215f, Celebrate Eid by Nancy Stewart, 49t, 51–52t, 81t,
294t, 322 89–90t, 163t, 294t, 299
A Train, 44t, 89t, 90t, 94t, 215f Charlie Over the Ocean, 113–114t, 143–144t
Aiken Drum, 23, 45t, 46t, 89–90t, 215t, 294t, 216f Chase the Squirrel, 127–128t, 143–144t, 185–186t,
Ain’t Gonna Let Nobody Turn Me Around, 202–203t, 226f
168–170t, 171–172t, 202–203t, 217f Chicama, Chicama Craney Crow, 7t, 77t, 78f,
Alabama Gal, 126–127t, 143–144t, 295t 90t, 294t
Alley Alley O (The Big Ship Sails), 113–114t, Cinderella, 59t, 61t, 89–90t, 226f
143–144t Circle Round the Zero, 177–178t, 202–203t
America the Beautiful, 72t, 73f, 74–76t, 90t, 218f, Come and Go With Me, 56–57t, 89–9 0t,
301, 322 227f, 294
Ammassee, 59t, 61–62t, 89–90t Come My Little Darling, 68t, 72t, 74–76t, 90t
Auld Lang Syne, 170t, 188t, 202–203t, 219f, 296t Cut the Cake, 184–185t, 202–203t
Back of the Bus, 113–114t, 143–144t, 295t Dance to Your Daddy, 113t, 143–144t, 228f, 295t
Bake the Johnny Cake (Christmas Coming), 106t, De Colores, 189–190t, 195, 202–203t
108t, 142–144t, 163t, 295t, 298 Diddle Diddle Dumpling, 27, 103–107t, 134t, 142t,
Bear Hunt, 27, 103t, 142–144t, 213, 220–221f, 295t 144t, 178t, 193t, 210, 229f
Bell Horses, 55–56t, 70t, 89–90t, 125t, 127t, Dinah (No One’s in the House But), 96t, 98t, 142t,
143–144t, 168t, 222f 144t, 230f, 295t
Better Watch Out, 99–100t, 102t, 142t, 144t, Do, Re, Mi by Rogers and Hammerstein,
223f, 295t 185t, 203t
Bluebird, 46t, 48t, 81t, 89–90t, 102t, 104–105t, Down Came Johnny, 129–130t, 143–144t, 230f
107t, 119–120t, 134t, 142–144t, 152t, 161t, Down Came a Lady, 170–171t, 177t, 188t,
168t, 170t, 173–174t, 176t, 184t, 187t, 193t, 202–203t, 296t
201t, 203t Draw a Bucket of Water, 68–69t, 90t,
Bobby R U Ready?, 178t, 180t, 202–203t, 224f, 294–295t, 300
310–311
Bonsoir Mes Ami, 121t, 123t, 136t, 143–144t, En La Primavera, 72t, 74–76t, 90t, 232f, 301
295t, 299 Engine Engine, 58–59t, 61t, 63–6 4t, 70t, 89t, 91t,
Bought Me a Cat, 61–62t, 88–90t, 118–119t, 94–95t, 98–99t, 102t, 104–105t, 107t, 119t,
142–144t, 201t, 301, 322 134t, 142t, 144t, 168t, 170t, 193t, 231f
Bounce High, 98–100t, 104–105t, 107t, 119–120t, Epanay, 103–105t, 136t, 142t, 144t, 233f, 295t
142t, 144t, 168t, 170t
Bow Wow Wow, 184t, 187t, 202–203t Feng Yang Flower Drum Song, 115–116t, 136t,
Brother John, 45–47t, 81t, 89–90t, 213, 225f 143–144t, 234f, 295t, 300
Bubblegum, Bubblegum, 14, 40t, 81t, 89–90t, Five Little Pumpkins, 38–40t, 44t, 89t, 91t,
213, 225f 235f, 322
328
328 | S o n g I n d e x
Floating Down the River, 120–121t, Lucy Locket, 94t, 96t, 98–100t, 102t, 104–105t,
143–144t, 236f 107t, 119–120t, 134t, 142t, 144t, 152t, 168t,
Follow the Drinking Gourd, 116–117t, 143–144t, 170t, 175t, 184t, 187t, 193t, 202–203t
295t, 322
Follow Me, 23, 39t, 42t, 81t, 89t, 91t, 115t, 123t, Mai Long Sera, 158–159t, 168t, 173–174t, 201t,
143–144t, 237f 203t, 252f
Four White Horses, 188t, 190t, 202–203t, 296t Mazzudio (Zudie-O), 191t, 202–203t, 296t
Froggy Went a Courtin’, 119–120t, 143–144t, 322 Medicine Wheel Chant, 155t, 156f, 157t, 201t,
Frosty Weather, 160–161t, 168t, 170t, 184t, 187t, 203t, 253f, 297
202–203t Mi Cuerpo, 37–38t, 83t, 89t, 91t, 254f, 294t
Fuzzy Wuzzy (was a Bear), 113–114t, 116t, Miss Mary Mack, 117–118t, 143t, 145t, 255f, 295t
143–144t, 162–163t, 202–203t Mouse, Mousie, 130–131t, 143t, 145t, 168t
Mulberry Bush, 23, 66–67t, 90–91t, 256f
Gau Shan Ching, 171–174t, 195t, 202–203t, My Bonnie, 56–57t, 62t, 89t, 91t, 114t, 143t,
238–239f, 296t 145t, 257f
Ghost of John, 154t, 157t, 201t, 203t, 240f, 296t My Paddle (Canoe Song), 155t, 157–159t, 177t,
Gong Xi, 57–58t, 60t, 89t, 91t, 241f, 294t 201t, 203t, 296t, 297
Great Big House, 27, 150–152t, 154t, 157t, 161t,
188t, 201t, 203t, 296t, 298 Nigerian Welcome Chant, 147t, 150–151t, 167t,
Grinding Corn, 39, 41f, 42–43t, 89, 91t, 242f 195t, 201t, 203t, 258f, 296t
Grizzly Bear, 42–43t, 53t, 89t, 91t, 243f Nochebuena, 48–49t, 51, 83t, 89t, 91t, 106–107t,
136t, 142t, 145t, 163t, 259f, 294–295t, 298
Have You Ever Seen a Lassie, 89t, 91t, 115t, 134t,
144t, 193t, 244f O Hanukkah, 161–163t, 202–203t, 260f, 296t, 298
Head and Shoulders Baby, 122–123t, Oats Peas Beans, 183–184t, 202–203t
143–144t, 295t Old Brass Wagon, 64t, 66t, 90–91t
Hello Everybody, 93t, 112t, 142t, 144t, 245f Old Witch (Witch, Witch), 42–43t, 89t, 91t
Hi My Name is Joe, 67–68t, 90–91t, 246f
Hot Cross Buns, 116–117t, 119–120t, 143–144t, Pat a Pan, 162–163t, 202–203t, 261f, 296t, 298
160–161t, 166t, 184t, 187t, 202–203t, Pease Porridge, 57–58t, 61t, 89t, 91t, 152t, 261f
308t, 325 Pueblo-Zuni Corn Grinding Song, 39t, 42–43t,
Hunt the Cows, 168t, 170t, 202–203t, 296t 89t, 91t, 262–263f, 294t
Huya, 178t, 179f, 183t, 202–203t, 247f, 296t Pumpkin, Pumpkin, 43–4 4t, 89t, 91t, 264f, 294t
Punchinello, 23, 126–127t, 143t, 145t, 182, 296t
I Love My Little Rooster, 62–63t, 89t, 91t, 142t
It’s Kwanzaa by Rachel Rambach, 106t, 110t, Que Llueva, 150–152t, 195t, 201t, 203t, 296t, 297
143–144t, 295t, 298
I’ve Been to Haarlem, 175–176t, 178t, 188t, Rocky Mountain, 160–162t, 168t, 170t, 174t,
202–203t, 208, 210, 296t 183–184t, 187t, 201t, 203t
Jambo, 35t, 54t, 89t, 91t, 294t Sally Go Round the Sun, 69–70t, 72t, 81t, 90t,
Jingle Bells, 50–52t, 108t, 111t, 134t, 143–144t, 128–129t, 131t, 134t, 193t, 294t
163t, 193t, 248f, 299 Scotland’s Burning, 180t, 181f, 182–183t, 203, 265f
John Kanaka, 176–177t, 184t, 202–203t, Seesaw, 68–70t, 90–91t, 121t, 123–125t, 143t,
295–296t, 300 145t, 168
Shake Those ‘Simmons Down, 125t, 128t, 143t,
Kagome, 122t, 124t, 136t, 143–144t, 250f, 295t 145t, 295t
Kang Ding Love Song, 60t, 89t, 91t, 250f, 294t Shoo Turkey, 45–47t, 89t, 91t, 266–267f, 294t
King’s Land, 28, 64–65t, 67t, 90–91t, 251f, 309 Simple Gifts, 154–155t, 201t, 203t, 296t, 297
Skin and Bones, 154t, 157–158t, 171t, 201t,
Land of the Silver Birch, 157t, 201t, 203t, 296t, 297 204t, 296t
Lemonade, 121–122t, 143–144t, 295t, 310 Skip to My Lou, 125–126t, 143t, 145t
Little Sally Water, 120–121t, 143–144t, 295t Snail Snail, 125t, 143t, 145t, 168t
Loch Lomond, 168t, 171t, 188t, 202–203t, 251f Starlight, Starbright (Starlight), 37–39t, 55t,
London Bridge, 122–124t, 143–144t, 150–151t, 322 63t, 70t, 81t, 89t, 91t, 94–96t, 98t, 102t,
S o n g I n d e x | 329
104–107t, 119–120t, 134t, 142t, 145t, 152t, Twinkle, Twinkle Little Star (Twinkle), 37–38t,
168t, 170t, 184t, 187t, 193t, 201t, 204t, 268f 81t, 89t, 91t, 134t, 193t, 272f
Step Back, 173–174t, 202t, 204t, 269f, 296t Two Four Six Eight, 89t, 91t, 273f
Take Your Feet Out the Sand, 65–66t, 90–91t Walk in Beauty, 148t, 150–151t, 159t, 201t, 204t,
The Turkey Ran Away, 23, 104–106t, 142t, 145t, 275f, 296t, 297
160–161t, 202t, 204t, 270f, 295–296t Walk Daniel, 64t, 173–174t, 202t, 204t, 274f, 296t
There was a Man and He was Mad, 42–4 4t, 89t, Walk and Stop, 36–37t, 81t, 89t, 91t, 294t
91t, 311, 322 Weevily Wheat, 182–183t, 202t, 204t, 296t
There was an Old Lady Who Swallowed a Fly, 55–56t, When Johnny Comes Marching Home, 69–70t,
89t, 91t, 271f, 322 74–76t, 90–91t, 276f, 294t, 301
This Land is Your Land, 70t, 71f, 72t, 74–76t, When the Saints Go Marching In, 70t, 72t,
90–91t, 294t, 301, 322 74–76t, 90–91t, 214t, 277f, 294t, 301
Tideo, 62–63t, 89t, 91t, 178t, 187t, 210 Who’s That, 151t, 154t, 175t, 177t, 184t, 187t, 201t,
Tisket a Tasket, 66–68t, 90–91t, 122–123t, 143t, 204t, 296t
145t, 322 Wind Up the Apple Tree, 118–119t, 143t, 145t
30
Index
Tables and figures are indicated by an italic t and f following the page/paragraph number
Abrahams, Frank, 20, 325 compose, composing, composition, 8t, 22–25t

accelerando, First 118–119t activities of, K 38, 43–4 4t, 46–47t, 52t, 56t,
acoustics, Second 185–186t, 204 59–60t, 63–6 4t, 66t, 69t, 72t, 85–86t, First
assembly, ideas for an 99–100t, 106t, 108t, 113t, 120–121t, 124t,
First Grade Dance Assembly and Concert, 129t, 131t, Second 157t, 159t, 165t, 170t,
299–300 173t, 180t, 187t, 190t
K-2 Holiday Sing-A long Assembly, 298–299 identify, K 46t, First 100t, Second 159t
Kindergarten Memorial Day Assembly and Composer, display board, 153f, unit 206–208t.
Concert, 301 See also Bach; Beethoven; Mozart;
Second Grade Fall Harvest Assembly and Tchaikovsky
Concert, 297–298 concert suggestions. See assembly, ideas for an
conduct, conducting, identify, in two, K 69t,
Bach, Johann Sebastian—Composer 1, Second Second 161t
152t, 155t, 207, 302, 307t in three, Second 180t
barline, First 104–106t contra line dance, First 126t
basket weave movement, K 68–69t, 300 contrary motion, circle K 72t, First 128t,
beat, K 37t, First 94t, Second 150t Second 171t
big beat, 59–60t, First 115t, Second 150t Copland, Aaron, 302, 307t
with hand movement, K 38t
little beat, K 52t, 59–60t, First 108t, 111t, 115t, Dalcroze, Emile, 8
Second 162–163t decibel, Second 185–186t, 204, 205t, 206
with melodic instruments, K 49t, First 105t demonstrate, definition of, 19, 28
versus rhythm, K 46t describe and compare, K 38t
Beethoven, Ludwig Van—Composer 3, Second descriptive words, K 47t, K 70t, First 107t,
176t, 207, 302, 307t Chart 308t
Benedict, Cathy, 6, 10–11, 325 Detel, Claire, 10
Bennett, John, 9, 302 Do, First 114t
Bizet, Georges, 302, 307t Dolloff, Lori-A nne, 7
Bowman, Wayne, 6–7, 325 dreydl (dreidel), K 52–53t, First 111–112t, Second
164–165t
call and response, K 45–47t, First 121t, Second dynamics, Second 177t, 308t. See also louder
154t, 157–158t, 173–174t and softer
Carmen, opera, 55–56t, 83t, 302, 307–309t
Catchen, Ruth, 4 eighth note. See Teetee
classical music, 20–21, listening list 302, Eine Kleine Nachtmusik, 69–70t, 302, 307–308t
charts 307–308t Elliott, David J., 6–8
clocks, K 7, 77t Explore, definition of, 19, 28
32
332 | I n d e x
faster and slower, K 44t, First 115t, 307t. science 287, social
See also tempo studies 289–290
feedback. See in tune singing lessons, 33–79
feel, types of music standards lesson, chart 31–32
straight, First 122t, Second 170t resources, 79–91
swing while moving in twos (6/8), K 56–57t,
66–67t, First 122t, Second 170t La, First 98t
swing your partner, K 60–61t language arts. See subjects
felt staves, description of, 24, 25f line game, K 64t, 67t, First 122t, Second 178t,
use of, First 125t, Second 180t 180t, 309–310t
First Grade louder and softer, K 43t, First 123t. See also
coded concepts, music 280–281, math 283, dynamics
language arts 285–286, science 287–288, Low La Low Sol, First 120t, 128t, Second
social studies 290–291 150–151t, 168t, 170–171t, 175–177t,
lessons, 92–132 182–183t, 208–209
music standards lesson, chart 32
resources, 132–145 Mark, Michael, 11, 325
form, K 69–70t, Second 158t, 168t, 169f, math. See subjects
173–174t. See also movement for measure, First 104t, 106t
each part; phrase melody, simple, complex, 308t
with melodic instruments, Second 166t
grades. See First Grade; Kindergarten; Mi. See Sol Mi
Second Grade Mi Re Do, First 117–119t, 126–128t, (review)
Grieg, Edvard, 302t, 307t Second 157t
group exploration movement for each part, K 49t. See also
charts of, 20–21 form; phrase
First 105t, 107–108t, 126t, 128–129t movement vocabulary, K 48t
K 47t, 49t, 70t, 74–75t moving circle game, K 63t
lesson examples of, 306–309t moving in twos (2/4, 4/4), K 45t
Second 159t, 161t, 163t, 185–186t, 188t Mozart, Wolfgang Amadeus—Composer 4,
K 37–38t, 69t, Second 184t, 207–208,
half note, Second 151t, 154t, 175t, 176t, 315f. 302, 307t
See also Ta-a music. See subjects
harmony, First 131t, 306–308t music form, music sections, identify, 309t
higher and lower, K 68t, First 106t. See also pitch music type, identify (rock, classical), 309t
Houlahan, Micheál, 9, 302, 325
NAfME (National Association for Music
Identify, definition of, 19, 28, 33, 92, 145 Educators), 1–2, 6, 325
improvise, identify, K 57t, First 96t National Core Arts Music Standards, 1, 3–5, 7, 9,
improvising, Second 154t 14, 19, 23, 31, 279
in tune singing, feedback on, K 43t, First 98t, charts of, 15–19t
Second 151t NGSS (Next Generation Science Standards), 3, 13,
inner hearing, K 58t, First 96t, 98t 286, 304, 325
instruments NSTA (National Science Teachers
families of, 182t Association), 3, 325
identification of, 308t nursery rhymes, K 64t
integration, subject, 2, 4, 6, 9–10, 26, 167t Nutcracker Suite, K 47–49t, Second 162t, 166t,
302, 307–309t, 322
Jolly, Anne, 4, 325
Jorgensen, Estelle, 6, 10, 325 one movement one sound, K 37t, 49t, First 95t
Juntunen, Marja-Leena, 6, 7, 325 order. See pattern
origin, game, First 111–112t, Second 164t
Kaschub, Michelle, 9, 325 song, First 43t, 48t, 98t, 106t, 116t, Second 161t,
Keetman, Gunild, 24 170t, 176t, 183t, 189t
Kindergarten ostinato, 99, 103–105, 111, 123, 155t,
coded concepts, music 279–280, math 162–163t, 165t
282–283, language arts 284–285, identify, First 102t, Second 163t
I n d e x | 333
with melodic instruments, First 107t science. See subjects

moving, First 107t, in 6/8, First 115t seasonal, activities, K 48t, First 110t, Second 161t
celebrations, K 50t, First 106t, Second 165t
pacing, 20, 27–28 Second Grade
paraphrasing. See story retelling coded concepts, music 281–282, math 283–284,
patsch (patting thighs in rhythm) patsching, K language arts 286, science 288–289, social
39t, 45–47t, 49–50t, 55t, First 94t, 99t, studies 291–292
103–106t, 115t, 117t, Second 162t lessons, 145–191
pattern, K 39t, clapping rhythm K 42t resources, 191–211
phrase, K 69–70t Second 158t, 168t 169f, 173–174t. music standards lesson, chart 32–33
See also form; movement for each part sequence, 1, 19–20, K 49t, 55t, 61t, First 103t, 119t
pick up note, Second 163t identify, K 56t
pitch, Second 180t. See also higher and lower sixteenth note. See Tika
play party, 208 skip, K 58–59t, 61–63t, First 100t, 125–126t
popular music, 20–21, 29 Smith, Janice, 9, 325
charts of 307–309t social studies. See subjects
lessons using, K 38t, 47t, 49t, 50t, 53t, 55t, 64t, Sol. See Sol Mi
70t, 74–75t, 77t, 79t, First 105t, 107t, 126t, Sol Mi, 24, K 37t, 42t, 69t, First 94–95t,
128t, 131–132t, Second 159t, 161t, 98–99t, 114t
185–186t, 190–191t identify, First 96t
Prokofiev, Sergei, 302, 307t Sol Mi Do, First 113t, 116t, 130–131t
identify, First 114t, Second 162–163t, 180t
quarter note. See Ta Sol Mi La, 24, K 42t, 45t, First 94t, 96t, 99–100t,
questions, how to create, 19 102t, 108t, 121t, 123t, 125t, 129t, 131t
identify, First 98t, (review) Second 152t
Ravel, Maurice, 307t solfege, 24, First 98–99t, 100t, 102t, 105t, 107t,
Re. See Mi Re Do 114–115t, 117t, 119–123t, 125–128t, 130t,
reading music notation Second 152t, 157t, 160–163t, 168t, 171t,
identify, First 119t, Second 152t 175–176t, 180t, 183t, 188t
explore and demonstrate, First 102t, 104–105t, scale, 177t, 184–185t
107–108t, 111t, 119–120t, 123t, 127t, spiral, First 118–119t, 125t
Second 160t–162t, 175–177t, 184t, 187–188t STEAM (Science, Technology, Engineering, Arts
Reimer, Pamela, 9, 302 and Mathematics), 4, 325
replace word with movement. See inner hearing STEM (Science, Technology, Engineering and
Rest. See Ta and Rest Mathematics), 3–4t, 325
rhyming words, K 36–37t, 42–43t, 58t, 70t, First story in music with social interaction, K 44t
95t, 284–285 story retelling, K 47–48
rhythm, 23–24, 33 straight. See feel
activities of, K 36–37t, 39t, 44–45t, 47t, 55–56t, subjects
58–59t, 61t, 63–6 4t, 66t, 68–69t, 70t Language Arts
First 94t, 100t, 102–105t, 107t, 110t, 115–116t, Language Arts, Code Concept of, K 284–285,
119–120t, 122–126t, 129t, 131t, 134t First 285–286, Second 286
Second 148t, 151t, 154–155t, 159t, 160t, 165–166t, Language Arts, Code Matrix of, K 86t, First
168t, 170t, 173t, 176–177t, 183t, 187t, 191t 139t, Second 198t
beat vs, K 46t, First 96t Lesson Overview, 27
identify, K 42t, 46t, 60t, 67t, First 95t, 99t, 117t, Math
Second 152t, 178t, 184t, 188t Lesson Overview, 27
long notes, short notes, no notes, 308t Math, Code Concept of, K 282–283, First 283,
melodic instrument, First 108t Second 283–284
round, K 72t, First 128t, Second 151t Math, Code Matrix of, K 86t, First 140t,
routine, 28 Second 199t
example of, K 35–36t, 54t, First 93–94t, 112t, Music
Second 147–148t, 167t Lesson Overview, 8, 14–21
Music, Code Concept of, K 279–280, First
sache, K 59t, 61t 280–281, Second 281–282
Saint-Saëns, Camille, 302, 307t Music, Code Matrix of, K 85t, First 138–139t,
Schmidt, Patrick, 6, 10–11, 325 Second 197–198t
34
334 | I n d e x
Science Tchaikovsky, Pyotr Ilyich—Composer 2, Second

Lesson Overview, 28 162t, 166t, 207, 302, 307t
Science, Code Concept of, K 287, technology, uses of, 25–26
First 287–288, Second 288–289 Teetee (eighth note rhythm syllable). See
Science, Code Matrix of, K 87t, First 141t, Ta Teetee Rest
Second 199t tempo, Second 178t, 307t. See also faster
Social Studies and slower
Lesson Overview, 27–28 thread the needle, First 114t
Social Studies, Code Concept of, K 289–290 Tika (sixteenth note rhythm syllable), Second
First 290–291, Second 291–292 187–188t, 210, 316f
Social Studies, Code Matrix of, K 87t, First identify, Second 178t
140–141t, Second 200t Tim-ka (dotted eighth and sixteenth note
Suzuki, Shinichi, 8, 9, 301, 325 syllable), Second 188t
swing. See feel two-part singing, Second 148t, 155t, 157t,
178t, 183t
Ta (quarter note rhythm syllable). See identify, 158t
Ta and Rest Tyson, Neil deGrasse, 4, 325
Ta and Rest, K 55t, 64t, 66t, 69t, First 96
identify, K 56t, First 99t versions of songs, 23, K 42–4 4t, 67–68t
Ta Tee Ta Tee, K 56t, 66–67t, First 115t, Second identify, 50t, First 98t, 294–296
183–184t, 187t. See also swing vibration, First 100t
Ta Teetee Rest, K 69t, First 100t, 115–116t, 122t, identify, 103t, Second 186t, 204t
Second 152t, 159t voices, spoken, female (high medium, low), male
identify, K 59t, First 99t, (review), Second 152t (high, medium, low), 308t
Ta-a, Second 151t, 154t, 175t, 176t, 315f. See also
half note Westerlund, Heidi, 6, 325
Ta, Teetee. See Ta Teetee Rest whiteboard, interactive, 23–25
Tacka, Philip, 9, 302, 325 Woodward, Sheila, 7–8, 10, 325
36
38
340

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Language Arts, Math, and Science

in the Elementary Music Classroom

Published in the United States of America by Oxford University Press

© Oxford University Press 2017

All rights reserved. No part of this publication may be reproduced, stored in

You must not circulate this work in any other form

Library of Congress Cataloging-in-Publication Data

part one Lesson Overview 13

part two Lesson Plans 31

Second Grade Group Music Assessment Test 192

part three Songs 213

part four Coded Concepts 279

part five Appendices 293

The Elementary Class: Transitioning

Using the National Core Arts Music

2 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m

The entire collection of National Core Arts Standards (© 2014) was developed

develop a student-​initiated music vocabulary list. I made alphabetical columns on the

What Is STEM and NGSS?

4 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m

Currently there is talk about additional subject integration into STEM—​but it is

What This Practical Guide Includes

Rationale: How Is the Music Class Evolving?

My Philosophy of Music Education: The Body/​

6 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m

From current research conducted at NAfME on Core Arts Standards, embedding

TABLE 1.1 Kindergarten Lesson Activity: Chicama, Chicama Craney Crow

8 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m

TABLE 1. 2 First Grade Lesson Activity: Jack Be Nimble

Why Should We Be Open to Adding Other

10 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m

Further integrations of science, philosophy, and artistry promise to help parents

12 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m

How to Get Started: The Process

14 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m

National Core Arts Music Standards

TABLE 2.1 Kindergarten Music Standards

K-​ABB Name Music Activity

CI Creating Imagine Explore music concepts

K-​ABB Name Music Activity

Question How do individuals choose music to experience?

TABLE 2. 2 First Grade Music Standards

1-​ABB Name Music Activity

CI Creative Imagine Create and generate music ideas

1-​ABB Name Music Activity

Question How do performers select repertoire?

TABLE 2.3 Second Grade Music Standards

2-​ABB Name Music Activity

CI Creative Imagine Improvise and generate music patterns in context

2-​ABB Name Music Activity

Question How do we judge the quality of musical work(s) and performance(s)?

Tips on Creating Questions

Form a question that asks for an opinion or a choice.

Explore, Identify, Demonstrate

20 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m

Can teach the concept.

Pick—​on a regular basis—​songs that:

22 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m

Composition and Improvisation: Where

Lyrics Sung, Lyrics Spoken, Lyrics Written

Paper, Body Percussion

24 | L a n g u a g e A r t s , M at h , and Science in the E l e m e n ta r y M u s i c C l a s s r o o m

Ta Sticks, Giant Solfege Magnets

part one Lesson Overview 13

part two Lesson Plans 31

Second Grade Group Music Assessment Test 192

part four Coded Concepts 279

part five Appendices 293

develop a student-initiated music vocabulary list. I made alphabetical columns on the

Currently there is talk about additional subject integration into STEM—but it is

My Philosophy of Music Education: The Body/

K-ABB Name Music Activity

K-ABB Name Music Activity

1-ABB Name Music Activity

1-ABB Name Music Activity

2-ABB Name Music Activity

2-ABB Name Music Activity

Pick—on a regular basis—songs that:

MUK1-A Javanese Walk: Use The Teacher (T) will establish an entrance routine as

Lesson 2/36 Kindergarten

Lesson 3/36 Kindergarten

Lesson 4/36 Kindergarten

MUK1-A Follow Me Explore: The T chooses different S to lead. The group needs

Lesson 6/36 Kindergarten

MUK1-F Grinding Corn Explore/Demonstrate: The S will now “perform” the

MUK2-A Grizzly Bear Identify/Demonstrate: Review and play. The T points out

Lesson 7/36 Kindergarten

MUK1-A A Train Identify: Learn the chant and do the movement.

Lesson 8/36 Kindergarten

Lesson 10/36 Kindergarten

Lesson 11/36 Kindergarten

MUK1-D Bluebird game Demonstrate: S play the game.

Lesson 12/36 Kindergarten

MUK4-A Nutcracker official Demonstrate: S perform the march as if they were

Lesson 14/36 Kindergarten