Unit:

Folk to Shape-Note Singing

Grade/Class- 9-12 Choir
Sarah Moyer
Lesson #1
Introduce Song: Learning Notes, Rhythms, and Style
National Standards:
Performing: Analyze, Interpret
Responding: Interpret
Activity
Warm-ups

Learning Target/Objective
Warm-up voice and body,
engage breath, introduce
style for upcoming song

Video

Students will be able to

identify a theme or themes
in the music by listening to
a live recording

Students will describe the
style and tone quality of the
singers.
Students will be able to sing
the notes and rhythms, and
begin to sing in the correct
folk style.

Sequence
1) Stretch
2) Breathing exercise: vocal percussion
patterns on ch, ss, f, k
3) Sound effects to find upper and lower
registers (siren noises, Mrs/ Doubtfires
hellooo, I sing like I speak: chest
resonance. Use modeling
4) Use first measure of song as a vocal
warm-up: s-l-d-l-s (start on C and ascend)

Materials
- piano (for starting
pitches)

Time
7

1) Ask students to think about what the

song might mean. What are some themes?
2) Play video
3) Answer question 1
4) Describe the singers tone quality. What
style would you consider this kind of
singing to be?

- Long Time Traveller 3

video:
https://www.youtub
e.com/watch?v=462
Rj3UANO8

1) Hand out sheet music

2) Teach the melody by rote (two measures
at a time) while students read along in
their music. Model folk-style singing. Whole
class sings.
3) Do the same for 2nd and 3rd parts,

- Sheet music
- piano (for starting
pitches)

Part Learning

20

Part Learning

Sing through

Students will be able to sing

the notes and rhythms, and
begin to sing in the correct
folk style.

1) Hand out sheet music

2) Teach the melody by rote (two measures
at a time) while students read along in
their music. Model folk-style singing. Whole
class sings.
3) Do the same for 2nd and 3rd parts,
starting at their entrances (everyone one
singing)
4) Chunk or repeat sections as necessary
Strategies:
- Isolate pitches or rhythms.
- Model correct style
- Insert a breathing exercise if they are not
connecting to their breath (singing under
pitch or timidly)
- Show the pitch contour with hands
- Seat timid singers next to strong singers.
Students will be able to sing 1) Give starting pitches and sing through
their parts within the whole piece- everyone on her or his own part. Use
ensemble.
piano to help sections when needed
2) Repeat 2-3 times, spot checking and
isolating incorrect notes/rhythms

- Sheet music
- piano (for starting
pitches)

20

-piano

10

Lesson #2
Long Time Traveler: Expressive Elements- Phrasing and Dynamics
National Standards:
Performing: Analyze, Interpret, Rehearse, Evaluate and Refine
Responding: Interpret

Activity
Warm-ups

Mark scores

Learning Target/Objective
Warm-up voice and body,
engage breath, listening
and adjusting.

Sequence
1) Stretch
2) Breathing exercise: vocal percussion
patterns on ch, ss, f, k
3) Sound effects to find upper and lower
registers (siren noises, Mrs/ Doubtfires
hellooo, I sing like I speak: chest resonance.
Use modeling
4) Vee-ya-ha-ha (1-2-3-4-5-3-1) for flexibility
5) Chord with moving parts: SAT triad. Parts
move in half steps as directed. Have students
listen for blend and intonation and adapt
accordingly.
Students will be able to use 1) Show students what a breath mark looks
breath and phrasing marks like by holding out the marked score.
to show expressive
2) Where are logical places to breathe within
elements in the score
the score? (A: periods, commas)

3) Have students hold their pencils up to make
Students will interpret and sure they all have them. Quickly go through all
identify points of dynamic the breath marks, by calling out measure
and phrasing contrast
number and word.

4) Look at first four-bar phrase: Where is the
Students will be able to
peak of the phrase? Why? (A: on the word
make and justify musical
well- eighth notes ascending creates
decisions using music
momentum, highest note in the phrase, occurs
terminology
in the middle of the phrase.)
5) Have students write in phrasing marks for
first four measures

Materials
Time
- piano (for starting 7
pitches)

- Long Time
Traveler scores,
pencils

Mark scores

Students will be able to use

breath and phrasing marks
to show expressive
elements in the score

Students will interpret and
identify points of dynamic
and phrasing contrast

Students will be able to
make and justify musical
decisions using music
terminology

Song Shape

Students will be able to

make and justify musical
decisions using music
terminology

Brief shape-
note

Letting students know

what is coming up next,

1) Show students what a breath mark looks

like by holding out the marked score.
2) Where are logical places to breathe within
the score? (A: periods, commas)
3) Have students hold their pencils up to make
sure they all have them. Quickly go through all
the breath marks, by calling out measure
number and word.
4) Look at first four-bar phrase: Where is the
peak of the phrase? Why? (A: on the word
well- eighth notes ascending creates
momentum, highest note in the phrase, occurs
in the middle of the phrase.)
5) Have students write in phrasing marks for
first four measures


1) Sing through entire piece. Have students pay
attention to the four-bar phrases.
2) After singing through, ask students at which
point in the song they think the dynamics
should be loudest. Why? (possible As: When
the altos join because the texture is the
thickest, during the second repeat because
there should be contrast between the 1st and
2nd time we sing the same thing, etc.)
3) Sing again, this time, paying attention to the
entire shape of the song as well as the
individual phrases.
4) Provide feedback and repeat (3-4 times)
Strategies
- Have students show the phrases using
sweeping arm movements as they sing
- Have students conduct with me
- Sing in circle formation to help students hear
each other and feel the phrasing as a group

- Long Time
Traveler scores,
pencils

1) Let the students know that they will be

singing this song in two different

Long Time Traveler 20

score, pencils

Lesson #3
Introduction to Shape-notes: Listening, History, Style Comparison, Vocal Technique
National Standards:
Performing: Interpret, Rehearse, Evaluate and Refine
Responding: Analyze, Interpret
Connecting: #11

Activity
Listening
Exercise

Learning Target/Objective
Students will identify
number of voice parts and
form, explore harmony and
melody, and sing along
with recording

Sequence
1) Play the first 30 seconds of the recording.
Ask students to identify how many different
voice parts they hear. (A: 4)

2) Play the segment again and ask them to
find 2 pitches that can be sung throughout,
like a drone. (Also, can you identify any of the
words?) As the segment ends have them sing
one of the two pitches they heard. (A: They
should be singing an Eb or Bb) What is the
syllable/ interval? (A: P5)... well return to the
syllables later...

3) Listen again and hum along with the
melodic line.

4) Sing along with recording: split class in
half: one side of the class alternate between
singing the root, 5th, or octave while the other
half sings along with the melodic line.

5) There are three types of form in Sacred
Harp singing: hymn tunes (four-bar phrases,
multiple verses), fuguing tunes (polyphonic
sections, emphasizes 4th and 5th intervals),
and anthems (longer songs that do not

Materials
Recording: Alabama
(#196) from
Smithsonian
Folkways

Time
15

repeat). Listen to the whole song and identity

the form. (A: fuguing tune)

6) How would you describe the vocal
quality/timbre of their voices? (A: may vary-
pressed, loud, nasal, unconstrained, straight-
tone)

Warm-up

Sight-singing on
solfege

Students will be able to

make a characteristic
shape-note singing
tone.
Students will be able to
articulate how to
produce a
characteristic shape-
note singing tone
Students will be able to
discuss the history of
shape-note singing
Students will use
solfege to sight-sing
through a shape-note
hymn

1) Echo singing: vee (1-5-1), ascending-

demonstrate forward, nasal , focused singing.
As they echo, ask students what it feels like to
sing this way: where do you feel the sound
vibrating (A: nose, chest) what do you need to
create this sound (A: breath), do you feel any
tension in your throat (A: Not if you are
connecting to your breath and focused on
resonating space)
1) Share background info on shape-note
singing:
Sacred Harp refers to the shape-note song
book which was compiled in 1844 by
Benjamin Franklin White and Elisha J.
King
What kind of tradition do you think shape-
note singing came out of? Shape-note
singing came out of the Protestant
Christian tradition but is traditionally
sung in gatherings (or singings) rather
than church services. Singings may be
local, regional, statewide, or national.
The convention was two days long and
included the singing of nearly 200 songs,

Long Time Traveler

(from Sacred Harp
1991 edition- E.B.
White)

15

and was interspersed with singing lessons

and spoken prayers
2) Reading shape-notes: Shape note notation
has its origins in the six-syllable system of
Guido d Arezzo in 11th Century England. The
four-shape note system used in Sacred Harp
(as heard in the first listening example)
developed through a series of notation
experiments in 18th and 19th century America.
While the current seven-note system (do, re,
mi, fa, sol, la, ti- look familiar?) is the most
common system today, the four-note system
still thrives within the Sacred Harp
community, especially in the South. It is
intended to make sight-reading easier for
untrained singers by connecting pitches with
shapes and syllables. (pass out sheet music)

Show students the four-note system and sing
through the scale as a class. What is the
pattern? What shape is each syllable (A: fa-
triangle, sol- oval, la- square, mi- diamond).

3) Sing through the hymn using the more
familiar 7-note solfege system

4) Note and interval check. Go over tricky
sections (skips and leaps)

Sight-singing on
solfege

Students will be able to

discuss the history of
shape-note singing
Students will use
solfege to sight-sing
through a shape-note
hymn

1) Share background info on shape-note

singing:
Sacred Harp refers to the shape-note song
book which was compiled in 1844 by
Benjamin Franklin White and Elisha J.
King
What kind of tradition do you think shape-
note singing came out of? Shape-note
singing came out of the Protestant
Christian tradition but is traditionally
sung in gatherings (or singings) rather
than church services. Singings may be
local, regional, statewide, or national.
The convention was two days long and
included the singing of nearly 200 songs,
and was interspersed with singing lessons
and spoken prayers
2) Reading shape-notes: Shape note notation
has its origins in the six-syllable system of
Guido d Arezzo in 11th Century England. The
four-shape note system used in Sacred Harp
(as heard in the first listening example)
developed through a series of notation
experiments in 18th and 19th century America.
While the current seven-note system (do, re,
mi, fa, sol, la, ti- look familiar?) is the most
common system today, the four-note system
still thrives within the Sacred Harp
community, especially in the South. It is
intended to make sight-reading easier for
untrained singers by connecting pitches with
shapes and syllables. (pass out sheet music)

Show students the four-note system and sing
through the scale as a class. What is the
pattern? What shape is each syllable (A: fa-

Long Time Traveler

(from Sacred Harp
1991 edition- E.B.
White)

15

Lesson #4
Fine Tuning: Onset/breath/vocal technique
National Standards:
- Performing: Analyze, Rehearse, Evaluate and Refine

Activity
Sight-Reading

Learning Target/Objective
Students will use sight
reading tools (solfege,
counting) to read musical
excerpts

Listening

Students will identify style

and accents

Warm-ups

Students will be able to sing

a strong, accented onset.

Students will warm up their
voices and bodies

Sequence
1) Ask students why they think doing
exercises like this are important in life?
Why should we learn how to read music?
2) Rhythm: What is the time signature? How
many beats per measure?
3) Tap the beat and speak the rhythm
4) Solfege: What key are we in? How do you
know? Tonicize on piano (d, m, s, m, d) On
what solfege syllable do we start?
5) Read through excerpt
1) Before playing video, ask students to keep
the beat and pay attention to the singers
onsets (starting pitches). How do they start
the sound? Which beats are accented? A:
strong, accented; beats 1 and 4 (6/8 time)
2) Play video
3) Class discussion: onset, accents, style. How
are the onsets and phrasing different from
the folk arrangement?
4) Model punch breath and onset and have
students repeat. Contrast with glide, flick,
press (Laban conducting)
1) Continue modeling punch breath and onset
and have students sing a partial scale while
imitating my motions
2) Breathing energy exercise: strike a pose.
Use first measures of LTT(SN) to sing a pattern
and strike a pose: students must focus on

Materials
- Smartboard
- 4-Minute
Mastery: Lesson
#4

Time
5

Youtube
5
recording: The
Alabama Shape-
Note Convention
(https://www.y
outube.com/wat
ch?v=WOoXL5P
qY-w)- Halleluja

- piano

balance, alignment, breath.

3) Phonate in upper and lower registers
4) Alternate between bright shape-note tone
and round folk tone: 1-3-5-8-8-8-8-5-3-1
veeyahahaha. (ascending) Model.
5) Introduce solfege warm-up: do, do re do, do
re mi re do, etc. (To warm-up voice and gain
solfege fluency for the shape-note tune)
6) Try in a three part round

Shape-note Hymn

-
-
-

Students will perform

onsets (starting pitches)
in tune and in time
Students will identify
errors and evaluate their
performance
Individual students will
be able to lead the class
by providing a starting
pitch and conducting
time

Folk Arrangement

- Students will perform with

authentic folk phrasing,
style, and vocal technique

1) Sing do and have everyone find their first

pitches. Have students conduct their breath in
time and sing forte. Repeat until first entrance
is strong and unified. Strategies: think pitch,
breathe together, face before space before
breath.
2) Sing through whole song, paying particular
attention to onset
3) After: How did it go? Did we come in
together on all the entrances? Were we in tune?
What can we do to improve our onsets?
4) Ask if a student would like to volunteer to
lead the class: sing do so everyone can find
their pitches, then keep time throughout the
song. (as in traditional shape-note singings)
5) Another volunteer?
1) Brief warm-up to change vocal technique:
use first two measures of song as warm-up on
veh. Model rounded, folk sound. More space
and shimmer. Phonate in upper and lower
registers
2) Model punch breath and onset again and
contrast with a press breath and onset. Ask

- sheet music
- piano for starting
pitches

15

- sheet music
- piano (for starting
pitches)

20

students which onset and breath do you need

for this folk arrangement?
3) Practice starting pitches using technique
mentioned above.
4) Sing through entire piece and have students
focus on their onsets and breath.

Lesson #5
Assessment: Comparing styles and connecting to performance
National Standards:
Performing: Interpret, Rehearse, Evaluate and Refine, Present

Activity
Class discussion/
Assessment

Warm-ups

Learning Target/Objective
Students will be able to
contrast shape-note
singing with folk singing

Sequence
1) Hand out quiz to each student
2) Place students into groups of 4-5 and assign
each group one of the following musical terms:
dynamics, phrasing, onset/breath, tone quality.
3) Have the students take 5 minutes to contrast
shape-note singing and folk singing (based on
the two songs) in relation to their given word.
4) Have one person in each group report to the
whole class.
5) Add to or clarify student answers. Invite
other thoughts from the class.
Students will warm up
1) Stretch, move, rhythmic echoes with body
their voices and bodies and percussion and vocal percussion, phonate,
focus on contrast of tone
breathing exercises (in for four/hold/out for
quality and breath/onset. four, etc.)

2) 1-5-1 on different vowels (model forward

tone)- breathe together

3) punch vs. press onset and breath exercise
from last lesson- emphasizing contrast
4) solfege exercise from last lesson (use punch
and press articulation with kinesthetic, )

Materials
Time
- Quiz
15
- Whiteboard (to

assign each group a
word)

- piano

Run-through pieces

Students will use a rubric

to self-assess their
performance

1) Sing through both pieces back to back and

Filled out quiz
have students focus on contrasting the two
songs in their performance. (Refer to youre
quiz)
2) Have students score themselves on a scale of
1-5 on each of the musical elements: Did you

15

show contrast in breath/onset, etc.

3) Ask students what tools/techniques they
can use to improve their scores.
4) Repeat the process
5) Have students turn in their quizzes at the
end of class