Sing! Move! Play! - flmusiced.org · Sing! Move! Play! A Potpourri of Joyful Music-Making...

7
Sing! Move! Play! A Potpourri of Joyful Music-Making Experiences Clinician: Artie Almeida FEMEA 2013

Transcript of Sing! Move! Play! - flmusiced.org · Sing! Move! Play! A Potpourri of Joyful Music-Making...

Sing! Move! Play! �A Potpourri of Joyful Music-Making Experiences�

Clinician: Artie Almeida��

FEMEA 2013 �

 1.  Singing  Scarf  Focus:  Pitch  Match,  Melodic  Direc4on,  Intervals.  Use  a  canopy  scarf  to  energize  your  daily  warm-­‐ups  with  the  li8le  ones.  With  children  holding  scarf,  begin  echoes  of  Oohs/Up/Down/High/Low  pa8erns.  Then  consider  number  or  solfège  pa8erns,  finally  moving  into  familiar  songs  that  are  easy  to  outline  with  the  scarf.  E.g.,  Starlight  Starbright,  Elevator  Song,  Hot  Cross  Buns,  1-­‐2-­‐3-­‐4-­‐5-­‐Once  I  Caught  a  Fish  Alive.  Add  foamy  fish  for  a  B  secIon  with  vocal  echoes.  “Who  caught  the  starfish?  I  caught  the  starfish!”  (S-­‐M-­‐L-­‐S-­‐M,  S-­‐M-­‐L-­‐S-­‐M).    

2.  Li.le  Melody  Walk  -­‐  Almeida  Focus:  Steady  Beat,  Pitch  Match,  Vocal  Technique,  Expression.  Teach  refrain.  Distribute  inflatable  microphones  (purchase  from  Oriental  Trading)  or  use  lummi  sIcks  for  pretend  mics.  Children  step  around  room  to  beat,  with  microphone  held  at  side.  On  the  word  “sing”  they  stop,  bring  the  microphone  to  their  mouth  and  face  the  screen.  If  you  cannot  project  the  PPT  of  the  song  Itles,  print  out  the  pages  and  make  a  ring-­‐bound  book  of  the  pages  to  hold  up  as  flash  cards.  At  the  end  of  each  song,  employ  a  ritard  and  a  fermata  to  add  expression.  Jazz-­‐up  the  rhythm  of  some  pieces  for  variety.  Download  my  K  and  1st  Melody  Walk  PPTs  from  arIealmeida.com.  

             3.  Bluebird,  Bluebird,  Through  My  Window  -­‐  TradiIonal  From  Get  to  the  Point!  A  book  of  Poin/ng  Pages  &  Powerful  Plans,  p  7    (Permission  has  been  given  for  the  FEMEA  conference  a8endees  in  this  session  to  use  the  visuals  contained  in  this  handout)  

Focus:  Melodic  Direc4on  and  Intervals,  AB  Form.  Demonstrate  the  song  for  children,  showing  melody  with  hand  levels.  Use  Birdie  Responders  and  Melody  Picture  PoinIng  Page  to  conInue  experience.  Choose  a  student  to  point  to  the  digitally  displayed  poster.  If  age-­‐appropriate,  transfer  acIvity  to  a  Staff  NotaIon  PoinIng  Page.  Alternate  singing  phrases:  teacher/students,  boys/girls,  soloists,  etc.  Teach  B  secIon  in  preparaIon  for  the  movement  game.  Choose  a  “bluebird”  and  consider  giving  them  a  birdie  puppet.  This  bluebird  flies  in  and  out  the  windows  on  the  A  secIon.  On  B  secIon,  all  children  pat  lap  and  tap  shoulders,  and  the  Bluebird  Leader  taps  the  shoulder  of  the  child  they  stopped  behind  on  the  last  word  of  the  A  secIon.  The  child  who  was  tapped  joins  the  bluebird  line  behind  the  leader  and  the  game  repeats,  picking  up  new  bluebirds  each  Ime.  Remember  to  make  the  math  connecIons  each  Ime  birdies  are  added  (“What  is  1  +  1?”  What  is  2  +  2?”  etc.).  The  final  Ime  it  is  hilarious  to  see  20+  birdies  tapping  the  few  children  led  in  the  circle.  Once  all  are  tapped  they  follow  the  teacher  (Mama  Bluebird)  around  the  room  in  a  winding  line.  Later  silly  verses  include  (2)  Curl  up  in  your  nests  and  take  a  li8le  nappy,  (3)  Wake  up  in  the  morning  and  eat  a  li8le  wormy!  (4)  Jump  into  the  birdbath  and  take  a  li8le  bathy.  Return  to  the  original  lyrics  and  fly  the  birdies  in  a  line  to  the  door  for  teacher  pick-­‐up.  (  Poin4ng  Page  located    at  end  of  handout)  

 

��GI take

5�a lit tle- walk,

5 5 5 5 5 :I take

5�a lit tle- walk,

5 5 5 5 5 :I take

5�a lit tle- walk

5 5 5 5 5and

5then I stop and sing.

5 5 5 5 5 :

�� GBlue

A

5bird,

5- blue

5bird,

5- through

5my

5win

5dow.

5- Blue

5bird,5

- blue

5bird,5

- through

5my

5win

5dow.5

- Blue

5bird,

5- blue

5bird,

5-

6

Gthrough

5my

5win

5dow.

5- Oh,

BJohn ny- I am ti

5 5 5 5 Bred!B

- Pick

B

a lit tle- blue

5 5 5 5 5bird- and tap

5 5him on the shoul

5 5 5 5 5der,

5-

11

Gpick a lit tle- blue

5 5 5 5 5bird- and tap5 5

him on the shoul

5 5 5 5 5der,5

- pick a lit tle- blue

5 5 5 5 5bird- and tap

5 5him on the shoul

5 5 5 5 5der.

5-15

GOh,

BJohn ny- I am ti

5 5 5 5 Bred!B

-

0 0 0 0 0 0

4.  Teddy  Bear,  Teddy  Bear    From  Get  to  the  Point!  A  book  of  Poin/ng  Pages  &  Powerful  Plans    (Permission  has  been  given  for  the  FEMEA  conference  a8endees  in  this  session  to  use  the  visuals  contained  in  this  handout)  

Focus:  SOL-­‐MI,  Melodic  Direc4on.  Begin  the  lesson  with  some  SOL-­‐MI  echoes,  and  perhaps  a  reading  of  the  children’s  book.  Distribute  Teddy  Responders,  display  the  poinIng  page  (or  provide  individual  copies)  and  ask  children  to  show  the  melody  direcIon  each  Ime  they  sing  “Teddy  Bear.”  You  could  also  choose  an  individual  child  to  show  the  melody  direcIons  with  a  stuffed  bear  or  simply  ask  the  children  to  use  Curwen  hand  signs.  Next,  choose  a  solo  bear  to  come  to  the  front  and  demonstrate  the  acIons,  while  the  rest  of  the  class  shows  the  SOL-­‐MIs  (e.g.,  “Brandon  Bear,  Brandon  Bear,  turn  around  .  .  .”).  At  the  end  of  the  song,  when  the  teddy  bear  “says  goodnight”  we  have  the  solo  bear  lay  down  on  the  floor  and  begin  snoring.  Ader  a  few  seconds  the  class  shouts  “Wake  up,  Brandon  Bear!”  and  he  jumps  up  off  the  floor.  This  silly  part  is,  of  course,  the  children’s  favorite!  J  While  the  featured  bear  is  up  front,  all  other  students  should  be  singing  and  using  their  responders.  Repeat  this  acIvity  with  a  new  Solo  Bear  of  the  opposite  gender  (e.g.,  “Brianna  Bear,  Brianna  Bear  .  .  “).  Next,  instruct  all  the  boy  bears  to  come  to  the  front  of  the  room  to  be  featured.  Repeat  the  song  once  again,  with  the  girls  up  front  and  featured.  Finish  the  acIvity  with  all  students  singing  and  doing  the  acIons.  For  a  fun  extension  –  lead  the  class  in  creaIng  new  moIons  for  teddy  bear.  For  example,  Teddy  could  touch  his  nose,  stand  on  Iptoes,  jump  up  and  down,  and  spin  around.    Use  the  Melody  PoinIng  Pages  to  emphasize  the  SOL-­‐MI  pa8erns,  as  well  as  direcIng  a8enIon  to  the  rhythm  involved.  This  is  an  easy  way  to  lead  a  very  simple  music  theory  discussion  on  stems,  note  heads,  musical  staff,  single-­‐sound  beats,  two-­‐sound  beats,  etc.    In  a  subsequent  lesson,  transfer  the  SOL-­‐MI  pa8erns  to  mallet  percussion  instruments.  (See  Poin4ng  Page  at  end  of  handout.)    5.  Timbre  Talk  Focus:  Iden4fying  and  Classifying  4mbres  of  Woods,  Metals,  Shakers,  Skins.  Display  Timbre  Talk  poems  and  teach  to  children.  To  perform,  speak  one  poem  at  a  Ime,  followed  by  four  4-­‐beat  rhythm  poems  that  teacher  claps/students  echo  on  appropriate  Imbre  of  instruments.  Rotate  students  to  next  staIon  and  repeat  acIvity.  Consider  doing  the  acIvity  four  Imes  so  all  children  can  experience  all  Imbres.    Download  this  PPT  from  my  website:  arIealmeida.com.    6.  Hoop  Groups  Focus:  Steady  Beat,  Rhythm  PaVerns,  Timbre,  Improvisa4on.  Use  four  hula  hoops  on  the  floor  as  staIon  organizers.  Place  the  buckets  of  Woods,  Metals,  Shakers  and  Skins  into  the  hoops.  Choose  a  piece  of  music  with  a  march-­‐like  feel,  approximately  120  beats  per  minute,  to  use  as  your  accompaniment.  Display  the  vocabulary  words  for  the  acIvity:  IntroducIon,  March  in  Place,  Forward  March,  About  Face,  Rhythm  #1,  Rhythm  #2,  Forward  March,  Improvise,  Roll,  Cut-­‐Off.  Rotate  to  new  staIon  and  repeat.  I  used  the  old  Hap  Palmer  tune  Wildwood  Flower,  from  the  CD  Homemade  Band.  Download  the  PPT  of  student  direcIons  from  my  website:  arIealmeida.com.    7.  Train  Song  (Book  by  Diane  Seibert,  acIvity  by  Sandra  Stauffer.  Used  with  permission)  Focus:  Verse/Refrain,  Steady  Beat.  Read  first  page  as  a  rhythmic  refrain  between  each  page  of  book.  Add  an  eighth  note  osInato  on  jingle  bells  and  maracas,  with  train  whistles  at  end  of  each  refrain.  Download  the  PPT  of  the  refrain  from  my  website:  arIealmeida.com.    8.  Engine,  Engine  #9-­‐-­‐-­‐  TradiIonal  From  Get  to  the  Point!  A  book  of  Poin/ng  Pages  &  Powerful  Plans,  p  13  (Permission  has  been  given  for  the  FEMEA  conference  a8endees  in  this  session  to  use  the  visuals  contained  in  this  handout)  Focus:  Note  Values,  Rhythm  PaVerns,  Melodic  Direc4on  &  Intervals,  Barred  Instruments.  Speak  the  poem,  adding  hand  moIons  that  illuminate  the  lyrics.  Echo-­‐-­‐-­‐speak  one  phrase  at  a  (teacher,  then  speak  words  while  poinIng  at  the  Rhythm  Picture  PoinIng  Page.  Speak  the  rhythm  syllables  next.  Divide  the  performance  between  teachers  and  students,  small  groups  of  students  and  soloists.  ConInue  the  lesson,  moving  into  the  area  of  melody  (or  wait  unIl  a  subsequent  lesson  to  transfer  to  melodic  focus)  with  the  solfège  poinIng  page,  or  the  staff  notaIon  page.  Transfer  the  melody  to  barred  instruments  or  recorders.  Finish  the  lesson  plan  with  the  Note  Values  Trains  game:  Divide  children  into  two  groups  (singers/trains).  Singers  may  add  NPP  to  further  illustrate  the  note  values  being  stepped.  For  verse  one  the  trains  step  whole  notes,  changing  to  half  notes  on  verse  2,  quarter  notes  on  verse  3  and  eighth  notes  on  verse  4.  We  end  with  a  train  derailment  and  all  the  kiddos  fall  on  the  floor!      9.  Let’s  Get  it  Started  –  Music:  Black-­‐Eyed  Peas,  Lesson  Idea  by  KrisIn  Lukow,  adapted  Almeida  (Used  with  permission)  Focus:  Note  Values:  Half,  Quarter,  Eighth,  Sixteenth.  Be  sure  to  download  the  radio  version  –  with  acceptable  lyrics!    Display  visual  of  note  values/secIons.  PracIce  each  move.  I  use    a  “flow  sheet”  to  show  students  what  is  coming.  “Remember  –  good  musicians  think  ahead  and  look  ahead!”  INTRO:  16ths/8  Half  Notes/24  Quarter  Notes/8  Half  Notes/Refrain-­‐8ths,  down  on  knees,  dribbling.  Repeat,  starIng  at  half  note  part.  Then  repeat  with  introducIon.      10.  Be.y  Bo.er  –Lesson  Idea  by  Steven  Calantropio,  adapted  Almeida  (Used  with  permission)  Focus:  Rhythmic  PaVerns,  Steady  Beat.  (See  student  master  page  at  end  of  handout).  Read  rhythmically  for  children.  Encourage  contour  in  voice.  Children  read.  Clap  on  rhythm  of  boxed  words.  Then  words  in  ovals.  Lastly,  words  underlined.  Divide  into  three  groups  and  do  all  while  reading.  Add  instruments:  Boxes=sIcks,  Ovals  =  Guiros  or  Maracas,  Underlines=Drums.  Challenge  Level  –  audiate  words  and  play  at  correct  Ime.      

About the Clinician Dr. Artie Almeida is the music specialist at Bear Lake Elementary school in Apopka, FL, where she teaches 1050 K-5 students. Her dynamic student groups have performed for MENC, AOSA, and on the NBC Today Show. Artie was chosen as Florida Music Educator of the Year, and was also selected as an International Educator 2006 by the Cambridge England Biographical Society. She has been a Teacher of the Year at the school level 6 times and was recently chosen as a University of Central Florida College of Education Alumni of the Decade. In addition to her public school teaching duties, Artie is an adjunct professor at the University of Central Florida, teaches applied saxophone lessons and performs on historical winds with the early music ensemble Ars Antiqua. Visit Artie’s website at artiealmeida.com

or email her at [email protected]

The original purchaser of Get to the Point! A Collection of Pointing Pages and Powerful Plans (30/2807H) by Artie Grace Almeida and Katie Grace Miller has permission to reproduce this page for use in his/her classroom. © 2012 Heritage Music Press, a division of The Lorenz Corporation. All rights reserved.

BlueBird, BlueBird, Through My WindoW Melody PicTure PoinTing Page

The original purchaser of Get to the Point! A Collection of Pointing Pages and Powerful Plans (30/2807H) by Artie Grace Almeida and Katie Grace Miller has permission to reproduce this page for use in his/her classroom. © 2012 Heritage Music Press, a division of The Lorenz Corporation. All rights reserved.

Teddy Bear, Teddy Bear Melody PoinTing Page

© © © © © ©7HG � G\ %HDU� 7HG � G\ %HDU

The original purchaser of Get to the Point! A Collection of Pointing Pages and Powerful Plans (30/2807H) by Artie Grace Almeida and Katie Grace Miller has permission to reproduce this page for use in his/her classroom. © 2012 Heritage Music Press, a division of The Lorenz Corporation. All rights reserved.

EnginE, EnginE #9 Rhythm PictuRE Pointing PagE

En-gine en-gine num-ber nine,

Go-ing down Chi- ca-go line.

If the train goes off the track,

Will I get my mon-ey back?

9^

o

Betty Botter bought some (butter.

But she said. "This butter's ( bitter!

If I put it in my r batter.

It_ will make my batter (bitter.

But a bit of better butter.

Will soon make my (fatter better?^

So she bought some better butter.

Put it in her bitter batter.

AND IT MADE HER BATTER BETTER!

So 'twas better

Bought

Betty Botter

of (better butter.