- Crescendo Music Education

ueensload
Music
Program
dries of
Weekly- Developmental
Lesson Plans
Year 7
Departm.ent of Education, Queensland
Prepared in the Office of:
Senior Adviser (Music Education)
Supervised by: Val Layne
Writers: Carmel Butler
Rhonda Davidson
Lois Pagano
Revised 1986
Reprinted 1990
ISBN 0 7242 2460 2
Year 7 - 0 7242 2461 0
EXTRACTS
FROM: A CURRICULUM
GUIDE FOR MUSIC IN THE
PR/MARY SCHOOL
RATIONALE
Music is one part of the total education of the child. The task of the
school is to present opportunity for every child to learn to understand
the contribution music makes to his life.
Music as one of the arts provides opportunity for aesthetic development.
It enables the child to develop a sensitivity to the world around him, and
a capacity to discriminate not only through his intellectual taste but also
through his artistic and cultural tastes.
Through music education, the child is led to an awareness of music and
an appreciation of the part music plays in his own life and in the lives
of others.
GENERAL AIM
The aim of music education in the primary school is to nourish the artist
that is present to some degree in every child.
This can be achieved through the development of the child's
Awaitenez4 o6 Muzic,
Reispon4e to Music, and
Capacity to Expnetz Hinoet6 .in Muzic.
OBJECTIVES
Achieving this aim involves developing:
an understanding of and sensitivity to SeL6
an understanding of and sensitivity to the Envi4onment
and Society
together with
relevant Knowtedge and Shit.66, and their UnduE4tandingis.
1.
Exttact 64om: A CuitAicutum Guide
FOA
Muisic
In The PAimaAy Schoot.
STAGE SEVEN
Children should:
Continue to build a repertoire of songs,
— for enjoyment,
— for enrichment, (songs from around the world, songs by
prominent world composers including contemporary),
— for development in singing abilities. (Such features as intonation,
tone quality, intervals, phrasing, interpretation, diction,
rhythmic precision, should be observed.)
Canon — as for Stage 2
"stinad— as for Stage 1
Descant — as for Stage 3
Obbligato — An optional instrumental or vocal line.
Contrapuntal — Involving the
weaving of one
melody with
another.
Motif — A distinctive section of
melody that recurs
throughout the
composition.
Pentatonic — as for Stage 4
Mode — AS for Siege 2
Atonal — 1-bvin,g no fixed key
centre ("Home Note")
Continue to develop skill in part•singing
— rounds and canons,
ostinati, descants, obbligatos,
— two and three part songs.
Continue to develop skill in interpretation through creative movement,
dances, and dramatization.
Continue to develop the ability to read music notation.
— observe the rhythmic structure of phrases — simple melodies and
contrapuntal passages,
—observe the form, and develop an understanding of melody,
motif, theme, repetition, contrast,
— recognize major, minor, and pentatonic modes — aurally as well
as visually,
— relate time signatures to beat and accent,
— recognize musical forms.
Continue to develop the ability to play melodic, harmonic, and
rhythmic instruments.
— melodies could be tonal or atonal patterns,
—accompaniments on melodic, harmonic,and rhythmic instruments.
Continue to develop an understanding of expression and content in
music, and the subsequent evaluation of music pieces both by themselves
or by other composers.
Continue to expand listening skills.
— engage in attentive listening for enjoyment and enrichment,
— expand acquaintance with music by prominent composers
including contemporary,
— build a repertoire of selected instrumental and vocal pieces,
— recognize familiar characteristics of folk dances, folk tunes, suite,
prelude, and overture.
Recognize selected instrument: by sight and sound and in various simple
combinations.
These work programs provide the opportunity for students to become competent at the
following musical activities:
* singing
* playing
* inventing
* listening to music
The programs suggest that the above activities occur
in a range of contexts
- for personal, social and ceremonial purposes.
3
The implementation of this music program should result in most students
LEARNING SKILLS need for
•
singing
•
playing music
•
inventing music (composing, arranging, improvising)
•
being an informed listener to music
•
reading and writing music
LEARNING AREPERTOIRE OF MUSIC
•
different styles and
•
settings
involving
UNDERSTANDING MUSICAL CONCEPTS related to
•
musical elements, structure and style
•
participating in musical activities
DEVELOPING CAPACITIES TO ENJOY AND
BE INTERESTED IN A VARIETY OF MUSIC
by improving attitudes toward
•
self (self-esteem, self confidence)
•
others (co-operation, empathy)
•
music (appreciating music, deriving personal satisfaction from
performing).
4
Extutct 6A0M:
A CuAiticuturn Guide i=on Mu/sic
In The
Pkimaty Schoot.
STAGE SEVEN
Children should:
Continue to build a repertoire of songs,
— for enjoyment,
— for enrichment, (songs from around the world, songs by
prominent world composers including contemporary),
— for development in singing abilities. (Such features as intonation,
tone quality, intervals, phrasing, interpretation, diction,
rhythmic precision, should be observed.)
Canon - as for Stage 2
%Timid- as for Stage 1
for Stage 3
Obbligato - An optional Instrumental or vocal line.
Descant- as
the
weaving of one
melody with
another.
Motif - A distinctive section of
melody that recurs
throughout the
composition.
Pentatonic - as for Stage 4
Mode
as for Stage 2
Contrapuntal -
Involving
Atonal - Having no fixed key
centre ("Home Note")
Continue to develop skill in part-singing
— rounds and canons,
—ostinati, descants, obbligatos,
— two and three part songs.
Continue to develop skill in interpretation through creative movement,
dances, and dramatization.
Continue to develop the ability to read music notation.
—observe the rhythmic structure of phrases — simple melodies and
contrapuntal passages,
-- observe the form, and develop an understanding of melody,
motif, theme, repetition, contrast,
— recognize major, minor, and pentatonic modes — aurally as well
as visually,
— relate time signatures to beat and accent,
— recognize musical forms.
Continue to develop the ability to play melodic, harmonic, and
rhythmic instruments.
— melodies could be tonal or atonal patterns,
— accompaniments on melodic, harmonic, and rhythmic instruments.
Continue to develop an understanding of expression and content in
music, and the subsequent evaluation of music pieces both by themselves
or by other composers.
Continue to expand listening skills.
— engage in attentive listening for enjoyment and enrichment,
— expand acquaintance with music by prominent composers
including contemporary,
— build a repertoire of selected instrumental and vocal pieces,
— recognize familiar Characteristics of folk dances, folk tunes, suite,
prelude, and overture.
Recognize selected instruments by sight and sound and in various simple
combinations.
5
YEAR SEVEN-- SPECIFIC OBJECTIVES
By the end of the seventh year of Music, in which the skills outlined
in the following program are practised daily, the child, as a member
of a group and individually, should be able to:
. perform a repertoire of approximately twenty-five more songs featuring
major/minor/modal tonality or accidentals:
a) from memory;
b) at a steady tempo;
c) with clear pronunciation of text;
d) in tune (most children);
e) in the appropriate style;
f) with or without instrumental accompaniment;
. provide a higher or lower starting pitch than that previously
provided for a known song;
. perform known songs in 'legato' style as appropriate;
. perform known songs in 'question' and 'answer' phrases with another
individual or group;
• freely improvise melodic answers to melodic questions;
. improvise melodic answers to melodic questions using solfa;
. improvise a melody to a known speech rhyme or a given rhythmic
pattern;
• demonstrate perception of higher and lower sounds through movement,
handsigns and visual representation;
. accurately read and write melodies containing all solfa notes of the
diatonic scale;
. correctly apply sharp (,) or flat (b) signs where necessary;
. accurately sing and identify the intervals within the diatonic major
scale;
. demonstrate, through reading and writing activities, an understanding of the conventions of staff notation including the treble clef,
key signature, correct stem positions and the leger line;
. accurately represent the melodic contour of phrases containing
C,D,E,F,FG,A,B,C',D' or E' on treble staff;
. perform a variety of melodies on the descant recorder using the notes
C,D,E,F,Z,gG,A,Bb,B,C I ,D',E',F . and G' and using correct;
a) posture;
b) tongueing techniques;
c) breathing techniques;
d) tone production;
. imitate and create simple melodies on the descant recorder using
various combinations of the notes C,D,E,F,FAG,A,Blo,b,e,D',E1,E",
or G';
. internally hear fragments of known melodies;
. internally hear the entire melody of known songs;
. recognise known songs when the melody is shown using visual
representations including handsigns;
. perform partner songs, melodic canons and simple two-part exercises within a group;
. perform melodic ostinati (using words or known solfa syllables),
while others perform a known song;
. perform known songs to simple drone accompaniments played on
tuned percussion instruments using 'doh', I nd: and 'soh';
. improvise harmonic accompaniments to known songs using the pentatonic
scale;
• demonstrate a sense of beat in speech rhymes, songs and instrumental music, in both simple and compound metres using:
a) movements;
b) body-percussion;
c) non-tuned percusssion instruments;
dO visual representations;
. sing a known song while performing the beat;
• perform known songs using the comparatives: faster/slower; softer/
louder; higher/lower;
. perform the rhythmic pattern of known rhymes and songs in simple or
compound metre, while saying/singing the words or while hearing the
words in their aural imagination (inner hearing);
. aurally and visually recognise known songs or rhymes from the
rhythmic pattern;
. improvise new words to the melodies of known songs;
. perform the rhythmic pattern of a known song or rhyme while the beat
is performed by another;
. simultaneously perform the rhythmic pattern and the beat of a known
song;
. hear how many sounds occur on any one beat in simple time;
. accurately read, write and create rhythmic patterns containing the
0, J• it )4).
following rhythmic elements: ;
. recognise and correctly use 'repeat signs' (1k
: 11 );
. differentiate between songs in simple and compound metre;
. hear how man' sounds occur on any one beat in compound time and apply
J. /. 4( 4k, fl, .ty;
this to:
• demonstrate a feeling for metric accent through movement and visual
representation;
. demonstrate an understanding of metric accent through correct use of
accent signs and bar lines in 2 4, 34 , 44 , 68 and 54 time;
. accurately conduct well known songs using patterns of 2's,3's,4's or 5's
as appropriate;
. demonstrate an awareness of the meaning of anacrusis (or upbeat)
through movement, including conducting;
. demonstrate the duration of a melodic phrase through movement or
performance;
. perform simple rhythmic canons using the pattern of a well known song;
. show, using capital letters or other visual representations, that
structures are the same or different;
. represent the form of various musical compositions, through movement;
. correctly apply the terms "binary" and "ternary" as appropriate;
• aurally recognise/identify the timbre of:
a)
b)
c)
d)
e)
environmental sounds;
speaking and singing voices of other members of the class;
non-tuned percussion instruments;
tuned percussion instruments;.
orchestral instruments;
. respond through movement or other forms of expression to a variety of
music:
a) from other cultures;
b) by composers of past and present_ centuries;
c) featuring atonal or experimental styles;
. use graphic notation to illustrate stories/poems through sound.
8
YEAR SEVEN
TERM 1
1
WEEK
WEEK 2
The Flattenned 7th
I--
mn
Prepare
J. 1' i
d - t - s,
1
Intervals
1-1
CD
LD
=
w
I--
Make
Reinforce
Lu
›-
1-J 1
m-r-d-l- s
i1J
Recorder Notes, fingering
s -f-m-r- d
Down by the Banks
Moreton Bay
Liza Jane
Vive l'amour
Telephone Sang
Mull of Kintyre
Liza Jane
Down by the Banks
Mull of Kintyre
In Amsterdam
Liza Jane
- tap the Rhythmic Pattern
Derive Liza Jane
New
ew
=
..z5
Q1
co
Q1
J.
Conscious
Known
RHYTHMIC
DEVELOPMENT
r.ri J-3 J-1 J
:..1
.t .4
j-j
j-j J-]
11
SJ
j
Recall/Read/
Write
J•
I'
J.
..h
J'..1 J
1 1,1
I' 1 J
J .1'.1
Recall:
RECORDER
=
g
In-tune
-
r-d
,i,
•
s - Z-dm
8
Singing
CD
-..l
UJ
Simple Melodies & Notes
i
Read from the Modulator
=,.
U2
CD
CJ
m
r
d
z,
b--1
cn
,
CD
Si
_J
UJ
ME
PART WORK
* Vive l'amour
- perform as a Canon
* Liza Jane
- perform as a Canon
* Down by the Banks
- perform as a Canon
Choral 9th Symphony
LISTENING
(Beethoven)
Create a Movement Canon with
Down by the Banks
INTEGRATED
ACTIVITIES
9
YEAR SEVEN
TERM
=
1-1
o
a,.
9
.,
=
(.7t'
LL1
1
Prepare
Make
Tonality
Intervals
4
d'- t - 1 - s
d'on the Staff
Rubato
drms 1
3 time
4 Cdoh
d -r-m-f- s, Sol-fa
reading
Tzena Tzena
New
a:5
ci)
=
CD
WEEK
Conscious
=
cc
co
3
....:_
Reinforce
cn
WEEK
Known
(.7)
RHYTHMIC
In Dublin's Fair City
Moreton Bay
The Keeper
Mull of Kintyre
Row Row Row Your Boat
Sunshine Mary Sunshine
Ancient Dance
Liza Jane
Moreton Bay
Derive:
Rhythmic Memory
J- 1J
J Jj
Mull
of Kintyre
.1 J
1.1 .1 -I etc
J . 1.1 1.1
fri J-3
J
J
J-7 [J
J
J=1=]=J ZJ
J
?TM J 1 J
.1-]
.1=TT
DEVELOPMENT
-
.-
zm
1#
RECORDER
Row, Row, Row Your Boat
C Doh
Liza Jane in C Doh
In—tune
Row, Row, Row Your Boat
s- f- m -
r -
d
Singing
Sing whole of Liza Jane
in Sol-fa
--I
UJ
uJ
CD
Sight Reading -
FlIF-11
mrmdrm
L.)
Js
CM
CD
-.7
UJ
Fl
l
mfs
"Ancient Dance"
1111
fmrd
rim'
Ilci
frd
mrmdrm
11111
.
fmrds
El
l
mfs
11
1,
frd
ME
PART WORK
LISTENING
* Down by the Banks
- perform as a Canon
* Row, Row, Row Your Boat
Choral 9th Symphony (Beethoven)
Recall Melody from Theme of 9th
Symphony
INTEGRATED
ACTIVITIES
10
Perform Liza Jane
- in Canon or recorder
- add Melodic Ostinati
- use xylophones
Recall Melody from Theme of the
9th Symphony and derive Sol-fa
Liza Jane may be accompanied by
individual children on own
orchestral instruments
YEAR SEVEN
TERM
1
WEEK 5
WEEK 6
d'- t - 1 - s
I-=
._.
D,
=
fii
Lu
d'- t - 1 - s
Mixolydian Mode
Prepare
Make
Conscious
Staff Notation, 3 time
Reinforce
J.
s-f-m-r-d
.1%i
Spinning Wheel
Strawberry Fair
Ancient Dance
Tzena Tzena
Black Velvet Band
Morning is Caine
Spinning Wheel
Spanish Lady
Paddy Works on the Railroad
Blow the Wind Southerly
Rhythmic Memory/Reading/Writing
Recall 5 patterns
ew
New
Lu
>,-
.4t
101
CD
CD
Q1
Known
RHYTHMIC
DEVELOPMENT
3J
J
J
J.
FJ J-1 11
J . J. J J J J
J J-JJ Jil
.1 .1
J.I•
Read/Write/Memory e.g.
j
JJJJJJ JJJ J.
J
14 j
/J.
z
letc
RECORDER
Liza Jane in C Doh
E
letter name + fingering
Sunshine Mary Sunshine in
G Doh
._
In-tune
d -r-m-f-m-r- d
Spanish Lady
#
cn
--I
Singing
Sight Reading - " Ancient Dance"
uJ
711-111111
>Lu
T11E1111.1
* Learn 1st section of
wberry Fair from
s
the
traStaff
mrmdrm fmrd mrmdrm frd
* Follow teacher's handn
Ell 11.11 signs for Spanish Lady
..1
s
mfs fmrds
mfs frd
Place on Staff in G Doh
11111J
Li
cl
CD
_J
ME
PART WORK
LISTENING
Tzena Tzena
- perform as a Canon
Renaissance
Crumb Horn,
Sunshine Mary Sunshine
- perform as a Canon
Music
The Racket
Viol, lute
Discuss Street Calls and
Scenes 1800's
INTEGRATED
Street
ACTIVITIES
11
YEAR SEVEN
TERM I
WEEK
7
WEEK 8
Mixolydian Mode
I--
d -t-l- s
Mixolydian Mode
Prepare
•—i
0
.-.
=
Make
YAM.
...
Bb
The Key Signature
riting Pentatonic Scales
Recorder Fingering
dConscious
LL.1
F letter name
I—
Reinforce
u-)
J
Skye Boat Song
Chairs to Mend
Strawberry Fair
Hear the Bells
Spinning Wheel
Blow the Wind Southerly
Ancient Dance
Strawberry Fair
Morning Has Broken
Mull of Kintyre
Skye Boat Song
* Spinning Wheel
- tap the Rhythmic Pattern
- conduct in S's
* Create/imitate/read patterns
in 3 time
N ew
=
Ca
.75
cr)
f_D
2M
0
4./1
3 time
Known
RHYTHMIC
DEVELOPMENT
Hear the Bells in F doh etc
RECORDER
i--
In-tune
t
Singing
r1=INIMBINNI1==
-=, wiszti
Ii: ,...
...
. . Ow
,
..... In'
.. ■_..
. ...,
=.
.
,1
1J 1
Play "Ancient Dance" in F doh etc
Aram. mrrie 4..
-
.
EMI I■ ■INI MINN^M•
.= MINMINIW...M.
AI .
7. ■1111M
on Im..
117=raz
..: ME W11
==
01IME
Z
Hear the Bells
'
_J
LIJ
>.
LI—I
p. MEI
IMMIIMIMOHMEM
n
C_.)
I-4
ir=s
D
—.I
Li.;
M
Fah
in
etc
* Chairs to Mend
- learn from the Staff
i
fp4memmrimparommaimirAmmmuma7
4010 IINIM NM wilW AMmoma
.mmr.mimilm
F doh
‘..1=1=•1111111 r=li■ M1112111■ 1
1.
* Hear the Bells
- sing in Canon
PART WORK
"Who Will Buy"
LISTENING
)
from Oliver
..
INTEGRATED
Discuss Street Calls and Street
Scenes 1800's
ACTIVITIES
12
Perform Ancient Dance with
appropriate Renaissance
accompaniments
•
YEAR SEVEN
TERM
1--
=
•E:1)
1
WEEK 9
WEEK
The Minor Scale
The Minor Scale
Misolydian Mode
Moveable Doh, Pentatonic Scales
Pentatonic Scale,
Prepare
10
ClCD
=
.:-d
w
1--
Make
Conscious
.,-
-
Reinforce
J. 4:
J
Scarborough Fair
u-)
w
›=
N ew
Chairs to Mend
Greensleeves
Ancient Dance
Song of Joy
cc
e..15
Lo
=
=,
V
Known
Chairs to Mend
Greensleeves
Scarborough Fair
Skye Boat Song
Recall/imitate/create patterns
in Compound Time
RHYTINIC
DEVELOPMENT
Play "Ancient Dance" in F doh etc
I
RECORDER
-__
=
t
4=,
_1
..........r.
'--SUS
aMIII MO 41•11' MORIN= VIM
[..1111.4=1,40111•■ =111111111■ 1■11.111111f AEI
a • am mom mom mow
i■V
=MMUS
Song of Joy - in F doh
,
amg
amen•I■•• mni
wow, 1•■ ■■•
a Xi 7.." MEI MN =11w111/' AMI wit- .■■•••■111 ■ mO
vcawilM , 1 .111111 .min 411•111MIM ..10m , .a••=1
11111111.11•1•11Mli NMI MR NI IMEWNININ~OSIM
.04
In-tune
Singing
111
LLI
1111
mmfs sfmr rr„------,
ill I 5T- 777
rr r dd
ddrm m
Lu
a
Li
I--1
CI
(Z)
--.1
Sing the pentatonic Scale at
different Starting Pitches
4)
lai
L
* Chairs to Mend
- perform as a Canon
* Chairs to Mend
- perform as a Canon
PART WORK
LISTENING
INTEGRATED
ACTIVITIES
Fantasia on Greensleeves
Vaughan Williams
Perform Ancient Dance with
appropriate Renaissance
accompaniments
13
The Lark Ascending by
Vaughan Williams
Discuss the Mood of The Lark
Ascending
Recognize the Solo Violin
YEAR SEVEN
TERM
I--
zm
2
Pre p are
WEEK
si - d (Perfect
r - t, - s
I
I
WEEK 2
4th)
d'- t - l - m
lah tonality
Mixolydi2n Mode
i--4
CD
.
a-
=
.W
1.....1
~--
.6.
Make
.
Conscious
Reinforce
Q,
Soh Pentatonic Scale
s, - d, d - r - m -
f
M
3 time, Sol-fa from staff
and handsigns
Simple Gifts
Johnny Has
Stodola Pumpa
Skye Boat Song
Gypsy Rover
I Saw Three Ships
Titi-Toria
Skye Boat Song
Simple Gifts
I Saw Three Ships
Recall Stodola Pumpa
J-J J J-J J 11 1 F1
Imitate/Create/Write/Memorise/
Derive Rhythmic Patterns
Gone
for a Soldier
New
LU
ZE
_
›MC
MC
...z5
cil
S2
CD
(..n
Known
DEVELOPMENT
M Il .1=17 .17
1-1 J 1-1 .1 ff-] J-]
IT] J-J
ii J
RECORDER
flying notes on staff
RHYTHMIC
Gypsy
1--
mm
SV
ac
In-tune
Rover - G Doh following
Gypsy Rover
Skye Boat Song
Singing
* Skye Boat Song
- follow teacher's handsigns
* Gypsy Rover
Soh Pentatonic Scale
- follow teacher's handsigns
.
L1.1
uJ
cl,
CJ
1---,
ca
CD
--1
UJ
ME
PART WORK
* Stodola Pumpa
- Left hand maintains beat
Right hand taps rhythmic
pattern
1.812 Overture by Tschaikowsky
Aaron Copland
"Appalachian Spring"
(exerpts only)
LISTENING
INTEGRATED
ACTIVITIES
And the Band Played Waltzing
Matilda
14
The Maori Culture
Discuss/view/listen to
traditional music and dances
>
YEAR SEVEN
TERM 2
WEEK 3
a-
WEEK 4
G
s- m interval =
.-1
c=
Prepare
5 , polymetre, d'- t- 1
4
d-
major 6th
Z
CD
.=,
=
.
,.i
w
Make
.
Calypso Rhythm
Conscious
F--
Reinforce
ul
=
-m
=
CD
U0
Binary
Form
6
8
Phrases
Anacrusis
6s-d-r-m-f-s-1-
d
8 Anacrusis Staff Reading
Pokare Kare Ana
Try No to Get Worried
Simple Gifts
Johnny Has Gone for a Soldier
Titi Toria
I Saw Three Ships
Pokare Kare Ana
I Saw Three Ships
Johnny Has Gone for a Soldier
New
LU
>--
CD
3
4
Known
RHYTHMIC
DEVELOPMENT
Practise Calpyso Rhythm
Accompaniment
1
I
I
T---i
I
I
I
LH Rh Rh Lh Rh hh Rh Rh
RECORDER
In-tune
Saw Three Ships in G doh
••aw...m.
..m.r www=11, Wm ■IM.M..M...MINMR..
■■•• ■■+ 01■•••■••••••••■ 1■
etc
.m.
IAINSMIlm• ■■■•■
a I• •IMIWall MII I MNIINIMMMI
Saw Three Ships in F doh
etc
• 1=1■■■NM I=1.• MN 0 ■ IMIN ■■•••■■■•••••
do.n.a .1■ 1■1111111M114 .1=1■■■111N118111■ ANNIPMEIR
,:rra
ilzwit■ I■p 1■11.■11:■ =imm....■■•
I Saw Three Ships
Simple Gifts
Singing
Individual children may create
own melodies in Sol-fa.
One child may show handsigns
I
11-11 I
n
1- 1
I-11 I
others sing.
l ss fm
s S i ddrmdm f while
Derive Sol-fa of 1st phrase of
Simple Gifts
_J
UJ
>.
LL.,
Li
.-1
0
0
-J
I
LU
Create appropriate accompaniment
on percussion for I Saw Three
PART WORK
Ships
LISTENING
Recognise Canonic treatment of
Simple Gifts melody
Learn lower part with
Pokare Kare Ana
1812 Averture by Tschaikovsky
Recognise appropriate sections
of the orchestra in "Appalachian
Spring"
INTEGRATED
Recall Binary Form in Simple Gifts
ACTIVITIES
15
Jesus Christ Superstar
YEAR SEVEN
TERM
2
WEEK 5
WEEK 6
3, - m Major 6th
I--
=
I..4
Prepare
Intervals, Polymetre
d'- t - 1
I=1
c_o
,..7.
Make
.mr
Conscious
w
I--
Reinforce
g
Polymetre
8 - d'Phrases
The Pentatonic ScaZe
11 J,
There's Work to be Done
No Need to Hurry
Water Come A Me Eye
Pokare Kare Ana
Try Not to Get Worried
Simple Gifts
Stodola Pumpa
Try No to Get Worried
Chicken in the Fencepost
Derive Metre of
Try Not to Get Worried
i Perform Calypsos with hand
' tapping rhythms
r - m -
Staff5Notation, s - d'
f,
4
New
2i
Ul
LD
,--.,
n
Known
Recall
RHYTHMIC
11 imple Gifts - G doh, 1st phrase
RECORDER
1--
In-tune
t
Singing
2:
CD
-J
Lu
8
fl
Tr.. J-1 .
11 J 1-) 1-1 .1 J-]
DEVELOPMENT
fraz.
on
h
:-.,.................-1:2,—.1.2
°n1Y
etc
Simple Gifts, 1st Phrase, G doh
Chicken in the Fencepost - G doh
m -r-d- si, - d
s- d'
Improvise using the Pentatonic
Scale
Follow teacher's handsigns for
Water Come A Me Eye
* Water Come A Me Eye
- sing verse with chorus
* Experiment with the Pentatonic
Scale, combining different
melodies
Theiw's Work to be DonelPartner
No Need to Hurry
...iSongs
* Chicken in the Fencepost
- Add percussion instruments
with suitable accompaniments
Try Not to Get Worried
from "Jesus Christ Superstar
Other excerpts from Jesus Christ ,
Superstar by Weber and Rue
-
L)
I-4
m
CD
_J
1_
PART WORK
LISTENING
Add Calypso instruments to
accompany Calypso songs
INTEGRATED
ACTIVITIES
16
_.. .. ..
.
TERM 2
F--
ZE
WEEK 7
WEEK 8
d'-t-l-s-f-m-r-d
5 - d (Perfect 4th)
Prepare
Jazz
d - d'- The Octave
4-1
0
10-
=
d'-t-l-s-f-m-r- d
The Major Scale
Make
dConscious
U-I
h-
5 lah tonality, Polymetre
4
Reinforce
uo
Linstead Market
Little Bird
New
Early One Morning
Try Not to Get Worried
No Ned to Hurry
There's Work to be Done
Water Come A Me Eye
CG
..zs
(A
C-D
=
CD Known
uo
Syncopation, s - m,
s -f-m-r- d
Early One Morning
Little Fishy
Little Bird
Conduct in Changing Metres
)
RHYTHMIC
DEVELOPMENT
Z
t
RECORDER
* Water Come A Me Eye
- learn by rote in C doh
In-tune
s, -d-m- s
Singing
CO
_J
Little Bird - C doh
Create and play own melodies by
Create and play own melodies by
using spontaneous sol-fa/or sol-fa using spontaneous sol-fa/or
flashcards/or staff notated
sol-fa flashcards/or staff
flashcards
notated flashcards
* Recall melodies from Orchestral Imitate Sol-fa syllables of the
same Intervals
recordings
w
.>.
UJ
ci
C.-)
~°
o
_J
UJ
m
PART WORK
LISTENING
There's Work to be Done ]Partner
No Need to Hurry
Songs
* Chicken in the Fencepost
- add percussion instruments
with suitable accompaniments
The Promenade from Pictures at an
Exhibition by Moussorgsky (
')
Tschaikowsky Symphony No. 5
Descant with
"Water Come A Me Eye"
JJJJ
d't lsfmrmfs
Jamaican Music
_
( 45 )
INTEGRATED
Create movements for There's Work
to be Done and No Need to Hurry
ACTIVITIES
17
Discuss the trumpet
Louis Armstrong (Jazz)
* Take 5 by Brubeek
YEAR SEVEN
TERM 2
I-mm
...i
CD
0_
'3E4
,
,I)
Lu
I--
WEEK 9
WEEK
d - d'Octave
triads, chords, d - m - s - d°
Prepare
l
Make
m
s
r
d
10
The Aeolian Mode
I
The Major 2nd r- d,
d - r, r - m, f - s
s - t,
Condos
oscious
The Major Scale
Intervals in Sol-fa that sound
the same
Reinforce
l- t
F on stsif and recorder
The Major Scale, s - m, s - F -m
r d, phrase,
3n J . 1°1] J -s -1 - t - d
1 .
.
An Eriksay Love Lilt
New
,
=
Qs
vl
Lo
CD
U
Known
Johnny Has Gone for a Soldier
Little Fishy
Early One Morning
Linstead Market
Derive Metre
RHYTWIC
of
various songs,
Linstead Market
Little Bird
PO Kare Kare Ana
Water Come A Me Eye
Recall Polymetre
melodies
DEVELOPMENT
God Save the Queen - F doh
RECORDER
* The Major Scale
Use the flying note to practise
all sol-fa from staff
-.
In-tune
d'-t-l-s-f-m-rd
Johnny I Hardly Knew You
#
Singing
The Major Scale
* Derive Sol-fa of
Johnny I Hardly-Knew You
* Learn An Eriksay Love Lilt
from the Staff
=
CD
--I
UJ
Lu
CI
Play and read Triads/Chords
Li
I-1
CD
-J
LIJ
M
PART WORK
LISTENING
Descant with "Water Come A Me Eye" Create complimentary Rhythmic
Patterns, including syncopation
cici.I.A 1' I
and perform simultaneously
d t Zsfmrmfs
Water Come A Me Eye
Orchestral arrangement of
"English Country Garden"
INTEGRATED
.
English Country Garden Song
ACTIVITIES
18
YEAR SEVEN
TERM 3
I--
Prepare
1--I
0
0-
H
..,
n:
WEEK 1
WEEK 2
5 week unit on Jewish and Israeli
music
; - m (perfect 5th), Minor 3rd
Perfect 5th
Recognise Prominent Intervals
Major 3rd
-
Intervals
Minor 3rd, Major 3rd
Perfect 5th
Make
(zi Conscious
U...1
r—.
Reinforce
Perfect Tth
Major Scale
Ma
,714
d't l s,
91,7r7
A Qua Qua
Shalom Chaverim
Havah Nagila
New
Tzena Tzena
Scarborough Fair
Greensleeves
CC
40
0
V)
Tzena Tzena
Havah Nagilah
Song of Joy
Greensleeves
Known
RHYTHMIC
DEVELOPMENT
RECORDER
In-tune
s-d
3 week assignment charts, pictures
etc on Israel to be combined with
a 5 week unit on Israeli and
Jewish Culture and Folk Music 8b -I
Rhythmic dictation
Compound Time
Small group work. Children may
work at own levels, playing known
and new melodies
Song of Joy
Scarborough Fair
Major Scale, Major 2nd's
Minor 3rd, Major 3rd
Perfect 5th
.M.11-1L1.11.1.1J.I . UJZ
Jill- 1.1JJJ•1.1 .J
j..Z
Play intervals from Staff
Singing
00
-4
11 : 4
Recall Major 2nd's
L.›.L.1
L.Li
-101-
C,-.)
4--4
Sing other Intervals in Major
Scale, (i.e. d - m, in - s, d -
0
0
F1
i
I
1711:11
rinnrill
mmm
r
mddt, 1,
11
, , tl
t, ddrd ti c / t ts
t, t,
ltddrdtdel
I
,
•
t ,
(Folk Melody)
1,
s)
Scarborough Fair with Canticle as
in Simon and Garfunkel version
PART WORK
1
1,
,
a
..mpor
M
MIMI.
.
NIMPIII
Tzena Tzena
LISTENING
Scarborough Fair - Simon and
Garfunkel version
Recall Beethoven's 9th
Symphony
Recall Vaughan Williams -
Greonmleeves
INTEGRATED
Begin Discussions of Israeli and
Jewish culture
ACTIVITIES
19
"Havah Nagila" - Dance
Watch "Fiddler on the Roof" and
learn any other repertoire from
the Musical
YEAR SE
TERM 3
WEEK
3
WEEK 4
m - 1 (Perfect 4th)
i--
Z
l - m (Perfect 5th)
Prepare
1--1
0
C1C_D
1-±-1
=
fli
u_.i
1—
V)
Make
Natural Minor
(Aeolian Scale)
- d (Perfect 4th)
Conscious
..
m - l Perfect 4th
Reinforce
d' t l s f m r d
Hey Ho Nobody Home
Hashi Venu
Donna Donna
New
A Qua Qua
Hey Ho Nobody Home
Hashi Venu
Havah Wagila
Shalom Chaverim
Folk Melody
Isi
>=
CC
*.z1
cin
C_D
=
0
V)
Known
Havah Nagilah
Tzena Tzena
Shalom Chaverim
Folk Melody
Eriskay Love Lilt
RHYTHAIC
DEVELOPIvENT
i: Plri n 1 I 1 11
p1
1-1
z
I 1I
Fil 1 Z
.
),
(A Qu Qua)
Recall Rhythmic Pattern
/
RECORDER
A Qua Qua on recorder
•:". NMI m 111•7 EMPIlmilM
m
Ind,
MM
a allar.711 1•11111•1111111111M MOWN MI 1 ■7111111111r
owlanIMMIMMO• ■ ••=11•11M11■ 1111511001111.11M=MI.
% P.M.:AMIIMIMAIAMANNI =W i■ as IMP ■r ..=
Eriksay Love Lilt
etc
-
In-tune
t
Singing
CD
..../
s, d
Eriksay Love Lilt
(Perfect 4th)
Recall - Folk Melody in Sol-fa
L.L.I
* Derive Tonality of songs
doh or lah centred
4.1
LC)
* Sing natural minor scale
using handsigns
Li
1-1
0
0
—.1
w
M
PART WORK
Shalom Chaverim (Canon)
Tzena Tzena (Canon)
Folk Melody in Canon
English and Israeli words to
LISTENING
INTEGRATED
ACTIVITIES
Shalom Chaverim
,
Pachabel Canon
Exerpts from "Havah Nagila"- Dance
from "Fiddler on the Roof"
Sunrise Sunset
Discuss life in a Kabutz. Donna
is a very well known Jewish
Matchmaker
folk song
If I Were a Rich Man
20
YEAR
r
TERM
3
WEEK
5
WEEK
Minor Triad
1-mm
6
Harmony
Graphic Notation
Prepare
1-4
cn
o_
Lo
, -F,
D=
Make
'at'
Conscious
L.Li
1-
Reinforce
v-)
Li4
m
›m:
ac
-1:5
CD
CD
New
Known
vl
RHYTHMIC
DEVELOPMENT
G Major with key signature
1., - m Perfect 5th
fff
4F#
reaazder
Legato J. j" j p. (#E) G Major
lah centred scale
Gut Sabat Eich
Zum Gall. Cali
Donna Donna
Hashi Venu
(Hashi Venu)
Rey Ho Nobody Home
Shalom Chaverim
Folk Melody
Eriskay Love Lilt
Derive Rhythmic Pattern of
Hashi Venu
J . 11 .1 IJ-11 •P J Li . ,
J . ..PJ J . P..11J•1.J . 1
Gut Sabat Eich
Zum Gali Gali
Donna
Hashi Venu
Hey Ho Nobody Home
God Save The Queen
Children create new words to
Hashi Venu e.g.
J- .r
J
cl.
sum-mer has past
EA:n-tje; ils heck
RECORDER
Eriksay Love Lilt
1--
In-tune
(Perfect
t
Singing
leckes i
c;n Ae tries
all faifklajn.
God Save The Queen
5th)
1, -
m
God Save The Queen
mm
{7)
►
Lu
A
1'
__I
.■■•LAIMMIIMINOMI ■
W
c-.)
Sing the Aeolian Scale using
handsigns
Li
....-1
in
CD
LU
PART WORK
LISTENING
INTEGRATED
ACTIVITIES
Folk Melody in Canon add drone
bass with I then add 1 - f in
together as a drone
* Hashi Venu
- perform as a Canon
Add appropriate accompaniments to
God Save The Queen
Zum Gali Cali add ostinato
Concurrent sounds of intervals and
triads
- m
l - d - m
Derive intervals as sung by
teacher from minor scale
Discuss Jewish customs and
traditions from "Fiddler on the
Roof
21
rTh
=:1=1 1 Li El
11tdtdtIllml
I
.',
e
r
rt
f
I
/
.
ing (Hashi Venu) legato
YEAR SEVEN
TERM 3
WEEK 7
WEEK 8
Unit on Experimental Music
Composition
Atonality
Prepare
0-1
Make
Graphic Notation
.:c
) Conscious
Lu
Reinforce
#F G Major, Ternary Form
New
Known
God Save The Queen
Simple Gifts
Hey Ho Nobody Home
Talkin Blues
Talkin Blues
Revision
Children tape a collection of sounds from their own environment.
Simple percussion instruments and electronic keyboards may also
be used. Sounds are to illustrate "Talkin Blues".
RHYTHMIC
ExPERIMENTAL MUSIC CODE or =FE
DEVELOPMENT
Sound Re q uired
waves crashing
RECORDER
In-tune
fierce wind
The Major Scale
The Aeolian Scale
toning uo
long stairs
I
Sound Origin
5
toilet flushing
C
5
1
Pomo lips to
bias, frionfully
tapping
out
fade
—0—
Simple Gifts on recorder
Hey Ho Nobody Home
- Derive Sol-fa
Children perform pieces.
Tape performances to play to
other classes
Add appropriate accompaniment
to Simple Gifts
Hey Ho Nobody Home
Combine sounds in harmony as
desired
Hoist "Planets"
"Hoist" Planets
View "Alien I and II" noting
electronic music
Recall form ABA
Hey Ho Nobody Home
View "Forbidden Planet"
Note use of early synthesized
electronic music
LISTENING
INTEGRATED
jg
Time
(in seconds/
Simple Gifts in G Major
Singing
PART WORK
Symbol
ACTIVITIES
22
YEAR SEVEN
TERM 3
H—
z
Prepare
WEEK 9
WEEK
10
Augmentation
Diminution
Music Concrete
Atonality
Serialisation
=
0—
LO
=
w
Make
Graphic Notation
Conscious
1--
Reinforce
V)
Lu
=
>=
CC
New
=
c)
R
Children illustrate with sounds,
poems or short stories of own
choice
E
Children illustrate with sounds,
poems or short stories they have
written themselves
.1..!5
CD
Experimental Music
V
I
Known
u-)
RHYTHMIC
Children tape a collection of sounds
from their own environment. Simple
percussion instruments and electronic
keyboards may also be used.
Sounds
are to illustrate "Talkin Blues".
DEVELOPME NT
waves crashing
Symbol
, la
--Ku
rime
(In seconds)
Sound Origin
5
toilet flushing
RECORDER
fierce wind
__
In-tune
=
t
I
EXPERIMENTAL MUSIC CODE crSCORE
Sound Req uired
I
S
Ig stairs
.-
5
Puma Ups bp
blow fcxceEully
3
Singing
tapping on
table with fade
out
c=
—.1
LLI
>.
Lu
Children perform pieces.
Tape
performances to play to other
C)
classes
cn
___J
U_I
PART WORK
Study works of late 19th and 20th century composers and rock
groups. Study comparisons and parallels of orchestral and
electronic idioms and progressive rends in these fields.
e.g. Stravinsky, Berg,
e.g. Pink Floyd, Genesis,
Ligetti, Stockhousen
Mike Oldfield, Sky,
Eurythmics, Depeche Mode
Richard Strauss theme from
2001 Orchestral version
Synthesized version of Richard
Strauss theme from 2010.
"Nergest Ridge", Mike Oldfield
"Tubular Bells".
View 2001
View Alien
Read related science fiction
material and novels
View 2010
Read related science fiction
material and novels
LISTENING
INTEGRATED
ACTIVITIES
23
YEAR SEVEN
c
TERM 4
8
Prepare
WEEK
WEEK 2
1
5 week experimental music
unit
).
Z
CL
v
C-0
Make
=
Si
„.
Conscious
LLJ
I--
(A
Reinforce
Atonality - Experimental Music
New
Children illustrate with sounds a well known storybook .e.g.
Where_ the Wild Things
by Maurice Sendak
Ld
M
=
CC
* Select a favourite storybook to illustrate with sounds.
one with scant dialogue and colourful pictures.
Choose
Ll
LD
2=
CD
V)
Known
RHYTHMIC
DEVELOPMENT
* Narrate the story so that appropTiate (aural) improvisations
can be discussed.
* Devise a code of symbols to represent the sounds to convey best
the meaning of the words.
Your code or symbol could indicate
tae duration as wel(l.
RECORDER
t
I—
In-tune
All diatonic intervals
)
Z
Singing
CZ)
__I
u..:
Create and perform melodies
to enhance experimental music
unit
>.
L.L.1
CZ)
Ci
b--.1
C)
_i
u...]
As desired
Encourage spontaneous harmonic
improvisation
PART WORK
Exchange scores between other classes and perform stories
.
LISTENING
INTEGRATED
ACTIVITIES
Children write own story and
illustrate with sounds
24
YEAR
TERM 4
WEEK 3
WEEK 4
5 week experimental music unit
.-
=
Prepare
I-I
.,Make
=
(. t)
LI
I-
Reinforce
cn
Perform stories
Conscious
New
Atonality - Experimental Music
Children illustrate with sounds a ',Jell known storybook e.g.
Where the Wild Things Are by MauriCe Sendak
* Select a favourite storybook to illustrate with sounds.
2E
Choose
one with scant dialogue and cola4rful pictures.
(f)
CO
E
Known
RHYTHMIC
DEVELOPMENT
* Narrate the story so that appropriate (aural) improvisations
can be discussed.
** Devise code system so that the s o und chosen to convey best the
of the words can be quickly identified.
Your code or
symbol could indicate the durati2n as well.
RECORDER
In-tune
Favourite songs
Singing
0
1-1-1
8
0
PART WORK
Favourite Canons
Exchange scores between other classes and perform stories.
LISTENING
INTEGRATED
ACTIVITIES
25
YEAR
TERM 4
Z
....
WEEK 5
WEEK 6
Preparation for concerts,
Christmas and musical
productions
Prepare
1--1
CD
Cl_
LD
=
fz2
I—
LLJ
Make
i.
Conscious
Reinforce
Atonality - Experimental Music
)
Children illustrate with sounds a
weZZ known storybook e.g. Where The
cr)
New
Wild Things Are by Maurice Sendak
LLJ
7,-
=
CC
.45
vl
LD
2M
CD
in
Known
RHYTHMIC
DEVELOPMENT
* Select a favourite storybook to
illustrate with sounds.
Choose
one with scant dialogue and
colourful pictures
Performances of soundscapes
-
* Narrate the story so that
appropriate (aural) improvisations
can be discussed
* Devise code system so that the
sound chosen to convey best the
meaning of the words can be
quickly identified. Your code of
symbol could indicate the duration
as well
RECORDER
-
In-tune
t
Singing
Z
0
LLJ
LLJ
M
U
I-I
1:=1
=
-.I
UJ
ME
PART WORK
Revise favourite Canons
Exchange scores between other
classes and perform stories
LISTENING
INTEGRATED
ACTIVITIES
26
)
Performances of stories
„
.
YEAR SEVEN
r
TERM 4
I-2M
Prepare
1-1
WEEK 7
WEEK 8
Preparation for concerts,
Christmas and musical
productions
Music of other cultures
e.g. Africa, China, India etc.
Revision
All concepts
CD
0—
CD
=
.(Et)
ur
1-
Make
Conscious
Reinforce
in
New
uJ
M
_
D=
Of
Revise favourite songs
Revise favourite songs
Consolidate
Evaluate
RECORDER
Evaluate
Consolidate
In-tune
Consolidate
Reinforce
Consolidate
PART WORK
Utilise part work skills in
productions
LISTENING
Revise
e45
Ul
ca
=
o
Known
V)
RHYTI-MIC
DEVELOPMENT
1---
2r
#
Singing
o
LLJ
u.1
C21
C—)
1-4
CO
4.1...1
M
INTEGRATED
ACTIVITIES
27
YEAR
e
TERM
I—
=
=
a_
co
=
c, t)
.J
1—
4
Prepare
WEEK 10
Music of other cultures
e.g. Africa, China, India etc.
d__
Make
Conscious
Reinforce
_,..i
WEEK 9
All
concepts
New
F
Q0
CD
A
Consolidate
Known
RHYTHMIC
Reinforce
>
DEVELOPMENT
RECORDER
Consolidate
In-tune
Singing
Lbw
e=,
ci
,
cp
4.1
PART WORK
LISTENING
Evaluate
Evaluate
Consolidate
INTEGRATED
ACTIVITIES
28
YEifift 7 SONGLIST
A QUA QUA
CHAIRS TO MEND
Beat passing game
4rs
See Appendix
The Book of Rounds p 30
s f m
DONNA DONNA
Aeolian
The Joan Baez Songbook
DOWN BY THE BANKS
The flattenned 7th
Canon
See Appendix
ERISKAY LOVE LILT
3 time, staff reading
The Jolly Herring No 69
.0 j1 .r.0 16%
See Appendix
GUT ZABAT EICH
HASHI VEND
Canon, 1,-t,-d,-r
See Appendix
HAVAH NAGILAH
Jewish Dance
See Appendix
HEY HO NOBODY HOME
Aeolian, Partner song
with "Shalom Chaverim"
The Book of Rounds, p 8
LINSTEAD MARKET
Calypso
Making Music Your Own,
Book 5 p 400
JOHNNY HAS GONE FOR A Aeolian, War theme
SOLDIER
150 American Folksongs p 86
LITTLE BIRD
Polymetre
sum, s-fmmp-r-d
See Appendix
MORETON BAY
Australian Folksong
The Penguin Australain Song
book p 16
NO NEED TO HURRY
Partner Song with
"There's Work to be Done"
Experiences in Music p 68
ADOKARE KARE ANA
s,-m, 2 part song
Rolf Harris Collection
Maori Song Collection.
SCARBOROUGH FAIR
Dorian Mode
Jolly Herrriog_No 75
SHALOKCHAVERIM
Making Music Your OW
Jewish, Canon
Partner Song with "Hey Ho .Book 5, p 91
Nobody Home".
SIMPLE GIFTS
(Lord of the Dance)
s,-d
Appalachian Melody
29
Aaron Copland folksong
arrangements (A.B.C.)
SKYE BOAT SONG
Mixolydian Mode
Strawberry Fair, p 20
STRAWBERRY FAIR
s,-d; Street calling
song. Staff reading
Strawberry Fair, p 4
Partner Song with
"No Need to Hurry",
Calypso Style
Experiences in Music p 67
_ATHERE'S WORK TO BE
DONE
TRY NOT TO GET WORRIED 5
4
Jesus Christ Superstar
Collection
TZENA TZENA
Israeli Canon
d' -t -1-s
ABC 1986
Making Music Your Own,
Book 5 p 158
ZUM CALI GALI
Israeli, l,t,d
Melodic Ostinato
accompaniment
Experiences in Music p 76
REFERENCES
A.B.C., Songbooks produced annually by the Australian Broadcasting Corporation.
THE BOOK OF ROUNDS., Taylor and Dyk, A Sunrise Book, New York, 1977.
EXPERIENCES IN MUSIC., R. Phyllis Gelineau, McGraw mHill Inc., 1970
JOAN BAEZ SONGBOOK., Ryerson Music Publishers Inc., 1964.
MAKING MUSIC YOUR OWN., Silver burdett Company, 1971.
THE JOLLY HERRING., Roger Bush, A & C Black Ltd, 1980.
150 AMERICAN FOLKSONGS., Erdei & Komlos, Boosey & Hawkes, 1974.
THE PENGUIN AUSTRALIAN SONGBOOK, Comp. J.S. Manifold, Penguin Books Ltd., 1964
STRAWBERRY FAIR., 51 Traditional songs, A & C Black Ltd, 1985
30
Appendix — Year 7
AQUAQUA
ORIGIN:
Israeli children's game song (nonsense syllables)
SOURCE:
Collected in Jerusalem Israel Sept. 1979 from the singing
of first graders of Givat Mordecai.
•
dal
VO -
Sua-
so"-
au*
tri-
-s.
vo-lo
Al • a
CO
•4
fri.
0-mar suo-
4414
co tr.; - to f ro
io vo to
va io
vo to
.) t.
5
DIRECTIONS FOR GAME
Children stand in circle, left hand facing upwards, right hand placed
downwards on the left hand of the person on the right. As the song is
sung the beat is passed around the circle from right hand to left
hand. At the end of the song the children count to five while passing
the beat. On five, the person passing the beat tries to tip the hand
of. the person on her left. If she succeeds the person on her left
must go into the centre of the circle, but if the person on her left
manages to pull her hand away in time the person passing the beat must
go into the centre and the game begins again.
GUT ZABAT EICH
I Z
I I
t/
s
Li
md
r
Gut Sa-bat Each
r
L
Gut
rIr
m d
l.
Gut Sa-bat Eich
n
1
r d
1
I
t
Sa-bat Sa-but Sa-bat
Sa
-
1 Z
L
,
,
bat Eich
it r-1 1-7
f m
s
Hey Hey Hey Hey
L
Gut Sa-bat Sa-bat Eic
7tnn
I
IL
L
m d
rir
r
Gut Sa-bat
r
1 z
Lmdr
Gut Sa-bat Eich
r I i
md
r f
d
I
m
Gut Sa-bat Sa-bat Eich
Gut Sa-bat Eich
I`
f m
s
L
Hey Hey Hey Hey
r
r f
11
t
d
Sa-bat Sa-ba
32
1
L,
Sa-bat Each
Dow Sy
rim mii
merms.•
■pm orrom.
■•■ •■ ►
No.:. room
Dawn
1i4e. 1311Lis S .
by the
banks of the
MUM 111.■
ral•IMMINNEMI
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is 4 ,
Where the
MMI
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o5 lumps
bull
Han -
bank +o
1404-1 an
MOVEMENT SEQUENCE
Circle Formation:
Phrase T -
4 walks backwards on the accent
Phrase 2 -
jump right, front,left, front on accent
Phrase 3 -
4 walks in, arms high, fingers clicking on accent
Phrase 4 -
Jump on right foot,
Rhythmic pattern an hands, and 'ker plop'
left heel on floor, arms held wide.
1-IASHI VENU
Y.
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11111
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33
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7
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enh one
an-
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And
While, they
dance mer-ri-Iy Sgadt: Cwne, do the,
wand, and we'll sAew you haw:
7
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Ac.•I Awe
danced Ae ha- rzt jay- Ea-
34
LrrrLE areb.
bird, fly thirouin rn 5 Lain -claw,
bird, f Arczath ra j u;in- dim),
b;rd
1.4-11-e bm 1, f:}-41eb;rd, f t
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35
car) — dy .