Full Elementary Unit

Elementary
Unit Plan
Call and Response
2 nd Grade
Madison Hines
November 7, 2019
Table of Contents
Unit Introduction ......................................................................................................2
Unit Outline ...............................................................................................................4
Lesson Plans ..............................................................................................................7
Lesson #1 - Prepare ................................................................................................................... 8
Lesson #2 - Prepare ................................................................................................................. 12
Lesson #3 - Prepare ................................................................................................................. 18
Lesson #4 – Present ................................................................................................................. 23
Lesson #5 – Practice ................................................................................................................ 27
Lesson #6 – Practice ................................................................................................................ 31
Lesson #7 – Practice ................................................................................................................ 36
Lesson #8 – Practice ................................................................................................................ 40
Lesson #9 – Practice ................................................................................................................ 43
Lesson #10 – Practice .............................................................................................................. 46
Lesson #11 – Practice .............................................................................................................. 51
Lesson #12 – Practice .............................................................................................................. 55
1
Unit Introduction
The focus of this unit plan is call and response form in the second grade classroom.
Students will have already learned about other musical forms, including AB, ABA, and verse
and refrain. Call and response will build upon these concepts and prepare them to learn future
song forms, including question and answer later in the second grade curriculum. Each student
will perform call and response in a variety of musical modalities, including chanting, singing,
playing instruments, improvising, and composing.
In addition to learning call and response, students will learn other musical concepts
throughout this unit. For example, second grade students will get a basic introduction to sixteenth
notes in one of the pieces that they will play on Orff instruments while discovering call and
response. Students will continue to work on proper singing techniques through the various
melodies and folk songs that will be used to teach this concept. We will continue to develop our
instrumental techniques by playing mallet instruments during several lessons. They will also get
multiple opportunities to practice writing music through the use of standard or iconic notation
through various lessons and projects found within the unit.
This unit has many opportunities for cross-curricular connections. Students will connect
music to history, including the history of songs and cultures. There are also connections to
language arts as students work with syllables and explaining their reasoning for musical
decisions through writing and speaking. Students will also draw connections the music of other
cultures, particularly the African American and South African cultures, since call and response is
very present in their musical traditions. Students will learn about how the concept is used in their
music and the significance in the culture.
Pre-Assessment
Before learning call and response, it is important that students are able to identify
contrasting sections within a piece. Concepts related to song form that they should have already
mastered include AB, ABA, and verse/refrain. An activity that I am planning is to give students
the lyrics to a well-known song that is in verse/refrain form. They will circle the refrain with one
color and the verse with another color. I will have a checklist to determine if they correctly
identified the verse and refrain. If the students cannot identify these contrasting sections, I will
plan lessons to review these musical form concepts with songs of which they are familiar.
Correctly identified verse and Did not correctly identify

Student Name
refrain verse and refrain
2
Post-Assessment (Summative):
Each lesson involves an assessment tool that will assess how well students are mastering
call and response as the unit progresses. These include checklists, exit tickets, observation, and
self-evaluations. The final assessment to measure student mastery of call and response will be a
composition project that students complete in pairs. They will be given the opportunity to create
a four-bar composition that uses the concept in the composition. Students will be able to use
instruments, singing, or body percussion to complete their compositions and will perform in
pairs for the class (the complete lesson can be found on page ). Through this project, students
will practice creating and performing the concept, as well as practicing writing music and
working to create musical works with others. The rubric for this project can be found below.
Through the variety of assessments, I will be able to determine if students have mastered
the concept of call and response by the end of the unit. Students will be able to see their progress
through assessment documentation, including teacher comments, checklists, and a video
recording of their final performance.
Student Names:
0 1 2 3
Name on notation Students did Students

paper not include included both
both names names on their
on the notation paper.
notation
paper.
Use of Call and Students do Students Students include Students include
Response not include included call appropriate call appropriate call
call and and response and response in and response in
response in in their their their
their composition, composition, but composition, and
composition. but it is not it is not clearly it is clearly
musically communicated in performed in
appropriate. performance. their
performance.
Steady Beat Students do Students Students perform Students perform
not maintain perform with with 2-3 lapses with 1 or less
a steady beat 4 or more in steady beat. lapses in steady
in their lapses in beat.
performance. steady beat.
Performance Presence Students do Students Students perform Students perform
not perform perform, but for their peers for their peers
for their do not exhibit respectfully, but respectfully and
peers. appropriate lack enthusiasm. enthusiastically.
levels of
respect or
enthusiasm.
3
Unit Outline
Prepare:
During the prepare stage, students will experience and engage with the new concept in
the music classroom. Students are not shown notation of the concept, nor is the name of the
concept revealed to them. In this stage, folk songs will be used for students to experience the
new concept through singing, playing games, and playing instruments.
1. I Got a Letter
a. Historical Context: This song comes from the African American culture in the Sea
Islands of South Carolina, specifically St. Helena Island. It is considered a
spiritual and would have been sung by slaves when they were working. Call and
response plays a key role in the music of the African American culture, especially
in spirituals.
b. The purpose of this song is to introduce the concept using a very clear example.
The student response is not rhythmically or harmonically challenging and allows
students to be successful in singing it correctly. They also get the opportunity to
improvise and add other lyrics to the song, as well as use instruments.
2. Michael Row Your Boat Ashore
a. Historical Context: This song is another example of an African American spiritual
from the Sea Islands of South Carolina. It was first noted during the Civil war at
St. Helena Island. The lyrics describe crossing the river Jordan and is a
celebration of faith under oppression. It was written down by Charles Pickard
Ware as he heard the freedmen sing the song.
b. The purpose of this song is to provide another clear example of the concept to the
students. The lyrics are repetitive, and the melody and rhythms are not
challenging. Students also get the opportunity to move to this song and focus on
keeping the steady beat. This song will also help them develop part independence,
since they will only sing one part by the end of the lesson. This is a crucial step in
preparing them to understand the role of call and response.
3. Chicken on the Fence Post
a. Historical Context: This song is an example of a play party song, which were
social gatherings where people could sing and dance since there were strict
religious policies that banned dancing and playing instruments. These started in
the 1830s and dwindled out by the 1950s. This particular song is likely of African
American origin. The dance for this song involves a double circle that is still used
when teaching this song in elementary classrooms.
b. The purpose of this song is to provide students with an example that involves
movement through dance and practicing the concept on instruments. The dance
will get them moving around to feel the concept and provide a fun game to go
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along with it. Students will also focus on rhythmic concepts in this lesson and use
farm animals to represent these rhythms, including sixteenth notes.
Present
The present stage is when students label the concept that they have been experiencing and
exploring throughout the prepare lessons. During this lesson, students will see call and response
in the form of notation and be able to name the concept.
1. Michael Row Your Boat Ashore

a. Historical Context: See above.
b. Michael Row Your Boat Ashore has two distinct sections that make it easy to label
call and response. The students will review the song and guided questions will be
used to help them identify the contrasting sections. Students will look at the
notation and circle the different sections and think about how they will name
them. The concept will be introduced to help them label the sections. Students
will then solidify their new knowledge by singing the two different sections
labeled “call” and “response”.
Practice
Now that students have labeled the concept, they get to use it in a variety of musical
contexts. In this stage, students will read, write, perform, improvise, and compose using the
newly identified concept.
1. I Got A Letter
a. Historical Context: See above in prepare section.
b. Students will use this song that they have already learned and visually identify the
call and response sections. They will get to build upon their improvisation activity
by writing it into the standard notation. This will reinforce concepts of reading
music and give students the chance to be creative with their own lyrics.
2. Chicken on the Fence Post
a. Historical Context: See above in prepare section.
b. During this lesson, students will get to continue to experience the concept on
instruments. They will play the call and the teacher will respond. They will also
get the opportunity to critically think about the concept by determining if it is
truly in call and response form. The “music detective” activity will present this
critical thinking in a fun and engaging manner.
3. Michael Row the Boat Ashore
a. Historical Context: See above in prepare/present sections.
b. This lesson focuses on using solfege with a known song to help students work on
singing with accurate pitch and getting comfortable with solfege. Once again,
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students will get to be music detectives and identify the melody only from
solfege. They will also expand upon their knowledge of the piece by learning
more verses.
4. Trumpet Call
a. Historical Context: This is an Orff arrangement, so there is not an extensive
historical connection.
b. During this lesson, students will get to continue to practice the concept on
instruments which will prepare them for upcoming lessons in improvising and
composing. They will get the opportunity to write using standard or iconic
notation to help them remember their parts. This further develops their music
writing skills and will be used in future lessons. Students will also have to explain
their notation system to peers, which deepens their understanding further since
they will have to teach it to others.
5. Gabi, Gabi
a. Historical Context: This is a praise song from the South African culture. There is
no exact date of when it was composed, nor a direct translation of the lyrics.
There are a variety of groups that perform this piece – from traditional festival
groups, church choirs, and even modern school choirs.
b. Through this lesson, students will gain a deeper understanding of the South
African culture and how music plays a role in their culture. They will get the
opportunity to listen to multiple recordings of the piece and discuss different
interpretations. By singing the piece, they will get to learn a new language and
work on practicing the concept through singing. The piece incorporates call and
response at a more difficult level (syncopation and different tonal centers), but it
will be a good challenge for the students and will be designed at a level
appropriate for them.
6. Simple Melody
a. This piece was written by me to provide students with a basis for improvisation
using call and response. Students will learn the simple melody and then improvise
over it. Students will learn what it means to loop a phrase and will identify
improvisation aurally. This will serve as a basis for them as they get ready for
their composition projects at the end of the unit.
6
Lesson Plans
7
Lesson #1 - Prepare
Objectives
1. Students will perform the folk song, “I Got a Letter,” with accurate pitch and rhythm.
2. Students will improvise with their own lyrics to the song, “I Got a Letter,” with accurate
pitch and rhythm.
Standards Addressed
MU:Pr6.1.2a Perform music for a specific purpose with expression and technical accuracy.
MU:Cr1.1.2b Generate musical patterns and ideas within the context of a given tonality (such as
major and minor) and meter (such as duple and triple).
Materials
Piano
Notation for teacher (below) http://kodaly.hnu.edu/song.cfm?id=502
Sequence
 Warm Up
o Have students sing the following patterns on solfege to get their ears acquainted
with the minor tonality
 Sol – Fa - Sol
 Sol – Fa – Me
 Me – Fa – Sol
 Me – Re – Do
 Activity 1 – Learn the Song
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o T asks Ss to listen to the song and answer some questions
 What did I get? (A letter)
 When did I receive it? (This morning)
o T tells the history behind the song and when people used to sing it.
o T teaches students the song by rote, breaking it down by sections and using echo.
Repeat as needed, especially for the trickier rhythms.
 T: “I got a letter this morning.” Points to students and they echo.
 T: “Oh yes.” Points to students and they echo.
 T puts these two parts together and Ss echo
 T: “I got a letter this morning.” (second time) Ss echo
 T: “Oh yes.” (second time) Ss echo
 T asks: “What is different about when we sing ‘Oh yes’ the second
time?” Ss will respond that there are more notes or that it moves
more.
 T: “Very good, it’s important that we remember that those two are
different.”
 T puts the two parts together and the Ss echo.
o T: “Good job everyone. I am going to sing the whole thing and I want you to use
your magic lips as I sing.” Ss audiate while listening to the teacher sing.
 T asks: “Are there any parts that we need to go over?” Review as
necessary
o T: “Now, let’s all sing the entire song together.” Ss sing.
o Assessment: Can students sing the entirety of “I Got a Letter” with accurate pitch
and rhythm?
 Activity 2 – Add instruments
o After the students can sing the song with accurate pitch and rhythm, T will
introduce hand drums into the singing.
o T will set the beat and ask students to pat along on their legs.
 T: “Let’s pat the steady beat as we sing our song together.” Ss pat and T
monitors to see if they are keeping an accurate steady beat.
o Once students show that they have a steady beat, T will pass out hand drums to
students. Every other student will get a hand drum so that some can focus on
singing and others keeping the beat while singing.
 Instruct students how to hold and play the hand drum correctly
o T: “Now, we are going to keep the beat on our hand drums this time. If you have a
hand drum, it’s important that you play lightly and keep a steady tempo. Continue
to sing if you can. If you don’t have a hand drum, sing confidently with me so that
we can continue to hear the song.”
 Make sure that each student has a chance to play the drum and sing alone.
Monitor to see which students can sing and play the drum at the same
time.
o Once students have gotten a turn to do both, consider splitting the class on two
sides and having one side sing/play the “I got a letter this morning,” and the other
sing, “Oh yes” (working on introducing the call and response concept).
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o Assessment: Can students keep a steady beat on the hand drum? Can they
continue to sing the song with accurate pitch and rhythm (with or without the
instrument)?
 Activity 3 – Improvise with new lyrics
o T reviews song with students patting the beat on the leg.
o T: “Now that you are comfortable with the song, we are going to look at maybe
changing some of the words. You can get letters in the mail, but what else might
you receive in the mail?” Ss respond with various answers (cards, presents, boxes,
junk mail, etc.)
 T writes student responses on the board.
o T: “Let’s look at our lyrics now. We have the word letter – how many syllables
are in the word letter?” Ss respond two.
 T: Which of our words also have two letters? (T and Ss go through the list
to determine which words have two letters.”
 T explains: “It’s important that we choose words with two syllables so we
can keep the rhythm the same in our song.”
o T: “Can we try our song with this new word instead? Listen to me sing it the first
time and then echo when I point to you.”
 T demonstrates the new lyric and Ss echo.
 Incorporate the new word into the song and have students sing it while
patting the steady beat.
o Continue to fill in with as many words as time allows.
o Assessment: Can students identify two syllable words and incorporate them into
the song with accurate pitch and rhythm?
Assessment: Did students perform the song, “I Got a Letter,” with accurate pitch and rhythm? I
will use a checklist to determine if each student can perform the task.
Performs with
Performs with
Student Name accurate rhythm
accurate pitch
(Emerging, Meeting)
Historical/Cultural Connections: This song comes from the Sea Islands of South Carolina and
is considered a spiritual.
Cross-curricular connections: Since the improvisation activity focuses on syllables, this could
offer connections between music and language arts. Students are finding words with two
syllables that can fit into the song.
10
Song Analysis Table: I Got a Letter
Tone Set E, F#, G, A, B
Range Perfect fifth (E – B)
Rhythm Set Sixteenth-eighth-sixteenth, Two sixteenths-eighth,
quarter notes, half notes
Form Call and response
A Song’s Pedagogical Use Table:
Melody Teaching melodies with complex rhythms, me-do

(m3), variation in responses
Rhythm Sixteenth-eighth-sixteenth (1-e-a), two sixteenth
notes-eighth (1-e-&)
Other Options for improvisation,
Other info:
I got a letter this mornin

Oh yes
Oh yes
http://kodaly.hnu.edu/song.cfm?id=502
11
Lesson #2 - Prepare
Objective:
1. 2nd grade students will sing the first verse of, “Michael Row Your Boat Ashore” in 2/4
meter, with accurate pitch and rhythm.
2. Students will move to the beat while using a rowing motion and singing the song with
accurate pitch and rhythm.
3. Students will sing only the response section while moving around the classroom using the
walking and rowing motions with accurate pitch and rhythm.
Standards Addressed:
MU:Pr8.1.2a – Perform music for a specific purpose with expression and technical accuracy.
Materials:
Piano
Michael Row Your Boat Ashore notation for teacher (http://kodaly.hnu.edu/song.cfm?id=526)
Sequence
 Warm Up:
o Teacher will go through the following solfege patterns to introduce students to the
intervals and phrases used in the song. Solfege hand signs will also be used. The
teacher will sing first and then the students will echo.
 DMS
 SMD
 MSLS
12
 DRM
 DRMRD
Activity #1 – Learn the first verse

1. T: “Great work everyone! Today, we are going to learn a new song about a boy and a
boat. Listen to my song.” Teacher pats knees while singing the song.
a. T: “I’m going to sing it again, but this time I’d like you to gently pat along with
me.” Help students internalize the pulse.
2. Ask questions about the rhyme while still patting the pulse:
a. T: “What is the name of the boy in our song?” Ss answer.
b. T: “What was he rowing ashore?” Ss answer.
c. T: “Very good. Now, there’s another long word that I’m going to repeat twice.
Listen to me sing it again and see if you can figure out the big word.” Sing the
song again.
d. T: “Who thinks they know the big word I sang twice?” Ss answer
e. T: “Very good, it is hallelujah. Can you say that with me?” Ss echo.
3. T: Let’s learn the song together! Repeat after me (use hand gestures for when the students
should chant).
a. T: Michael row your boat ashore
b. Ss: Michael row your boat ashore (Assess and repeat if needed so that students
can sing each section confidently)
4. Echo the second phrase, repeating to correct mistakes if needed.
a. T: Hallelujah
b. Ss: Hallelujah
5. Echo the third phrase, repeating to correct mistakes if needed
a. T: Michael row your boat ashore
b. Ss: Michael row your boat ashore
6. Echo the fourth phrase, repeating to correct mistakes if needed
a. T: Hallelujah
b. Ss: Hallelujah
7. Do an extended echo, using two phrases at a time, still patting the beat and using
gestures.
8. After doing the extended echo, alternate phrases with the students. The teacher will sing,
“Michael, row…” and students will respond with, “Hallelujah.”
9. T: “I’m going to sing the song by myself, but I want you to watch and say it along in your
head.” Students audiate while you sing the poem.
10. T: “Now, use your magic lips to recite the poem. I will keep patting, but I want you to
keep your hands still and just use magic lips.” Start with, “1, 2, ready, go”
11. Ask if students would like anything to be repeated again.
12. T, “Now let’s sing the whole song as a group. Let’s bring our patting back in.” If you
hear mistakes, repeat the phrases to fix them.
Assessment: Can students sing the song, “Michael Row Your Boat Ashore” with accurate pitch
and rhythm?
13
Transition/Closure: That was great everyone! Next time we meet, we are going to learn some
movements that go along with our song.
Activity #2 – Add Movement

1. T: “Welcome back everyone! Today we are going to do some more activities with our
song, “Michael Row the Boat Ashore.” Can we sing through the song together to get it
back in our heads?
a. T and students review song until 90% students are singing with correct pitch and
rhythm. Stop to fix mistakes and reteach phrases if necessary.
2. T: “Very nice job everyone! Now, can you stand up in your spot and start to walk to the
beat with me?”
a. T uses a hand drum to keep the steady beat as students walk around the room.
b. As students get comfortable with the beat and walking in time, T will start to sing
the song. Students may join in if they feel comfortable.
3. T: “Good job walking to the beat everyone! Now, some of you started to sing as you
walked and that was awesome! Can we all try to sing along as we walk to the beat?”
a. T counts students in and everyone walks to the beat while singing the song.
b. Repeat until students seem comfortable with the activity.
4. T: “Now, freeze where you are and try this motion with me.” T models rowing a boat.
a. T: “What am I pretending to do?” Ss respond.
b. T: “That’s right, I’m rowing a boat! Let’s stand still and row our boats together to
the beat.”
i. T repeats same process, bringing the song back in once students are
comfortably rowing to the beat.
5. T: “Now, let’s try to put the walking and the rowing together. If you just need to focus on
the walking, that is perfectly fine. If you can do both, go for it! Let’s not worry about
singing yet, just walking and rowing to the beat.”
a. T plays beat on hand drum and assesses if students can do both motions. If they
seem to be struggling, go back to just walking.”
Assessment: Can students sing the song, “Michael Row Your Boat Ashore” while moving and
rowing to a steady beat?
Transition: “Very nice job today everyone! I really like how you worked hard to put the
motions with the moves. Next time, we are going to learn some new verses and play a trading
game with our song!”
Activity #3 – Sing one section with movement

1. T: “Welcome back everyone! Last time we met, you did a great job of learning the
motions to our song. Can we review those? Let’s start by walking around the room to my
beat.” Ss stand up and start to move.
a. T starts with hand drum, transitions into singing the song as students move.
2. T: “Now, freeze! In your spot, can you show me your rowing motion with the beat?”
a. Ss row in place while teacher plays the beat on the hand drum.
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3. T: “Now, let’s put the two together! Practice rowing and walking at the same time with
my beat.”
a. Ss row and drum to the beat.
4. T: “Very nice job! Some of you have made some great practice on rowing and walking at
the same time. In just a minute we’re going to add the words back in – but here’s what
I’m going to have you do. I only want you to sing when it’s the Hallelujah section. Can
we practice that right here?”
a. T sings call and Ss sing response. Repeat a few times as needed.
b. T: “Good, now let’s stand up and get our feet and oars moving. We’re going to
sing it this time, but what is the only word that you’re going to sing?” Ss respond
hallelujah.
c. T sings the call and students respond. Repeat as needed
5. T: “Good job everyone! Can we have a seat so I can tell you some more about the story
behind this song?”
a. T explains that it is a spiritual that African-Americans used to sing when they
were working out in the fields. It was their way to worship and make work more
enjoyable.
b. T introduces that there are many verses and some of these verses talk about the
trumpet. Pull out trumpet and tell them more about the instrument if this is the
first time they’ve seen it.
c. T: “Here is one of the verses about the trumpet. Can you still sing the hallelujah
section when it gets there? I’ll sing it with you too.”
i. T sings verse 7 and Ss sing the response.
d. T: “Now listen to what I’m going to do and see if you can follow along with me.”
i. T plays the call on the trumpet and then sings hallelujah
ii. T: “Can you join me this time and sing your hallelujah part?” T plays the
call and students sing the response.
6. T: “Wasn’t that so awesome? We were able to do a mini-duet just there! Would you like
to do it again?”
a. T repeats a few times, having students still sing the response section.
7. If time and if comfortable, have students walk and row while you play the call on the
horn and they respond by singing.
Assessment: Can students sing the response section with accurate timing and pitch while
moving around the classroom using the motions?
Transition: “Children, I had so much fun making music with you today. You did a great job
learning this song and making it so much fun with your motions and singing. Next time we get
together, we’re going to learn more about what makes this song like a mini duet.”
15
Assessment
Since this activity involves both movement and singing, the teacher will use a checklist to
measure how well students are doing with both concepts.
Name: Emerging Meeting Exceeding

Student can sing the song with accurate pitch and
rhythm.
Student can move to the steady beat with or without
motions.
Student can sing and move at the same time with 80%
accuracy in pitch/rhythm and steady beat.
Historical/Cultural Context: “Michael, Row the Boat Ashore” is an African-American

spiritual. It was first noted during the American Civil War at St. Helena Island, one of the Sea
Islands of South Carolina, USA.
The song was sung by former slaves whose owners had abandoned the island before the Union
navy arrived to enforce a blockade. Charles Pickard Ware, an abolitionist and Harvard graduate
who had come to supervise the plantations on St. Helena Island wrote the song down in music
notation as he heard the freedmen sing.
The lyric describes the simple crossing of the River Jordan with macabre undertones provided by
reference to trumpets, eternal life, and unknown lands. Despite its deathly connotations, the song
is affirming, a celebration of faith under oppression. (from https://blackthen.com/black-
abolitionists-michael-row-boat-ashore-african-american-spiritual/)
Cross-Curricular Connections: Connections to American history by describing the life of

African American slaves and the role of music in their culture.
Song Analysis Table: Michael Row Your Boat Ashore

Tone Set Eb, G, Bb, A, C, F
Range Eb to C (sixth)
Rhythm Set Dotted eighth-sixteenth, eighth notes, half notes,
quarter notes, dotted quarter eighth
Melody Hexachord, mi-fa, do-mi-sol

Rhythm Dotted eighth-sixteenth notes, dotted quarter
eighth rhythms
Other Option for instrument collaboration
Other info:
16
Michael row the boat ashore, Hallelujah (2x)
Then you’ll hear the horn they blow, Hallelujah (2x)
Then you’ll hear the trumpet sound, Hallelujah (2x)
Trumpet sound the world around, Hallelujah (2x)
Trumpet sound for rich and poor, Hallelujah (2x)
Trumpet sound the jubilee, Hallelujah (2x)
Trumpet sound for you and me, Hallelujah (2x)
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Lesson #3 - Prepare
Objectives
1. Students will sing, “Chicken on the Fence Post” with accurate pitch and rhythm.
2. Students will perform a simple folk dance that goes alone with the song with accurate
pitch and rhythm.
3. Students will perform the call of, “Chicken on the Fence Post” with Orff Instruments
with accurate pitch and rhythm.
Standards Addressed:
MU:Pr6.1.2a Perform music for a specific purpose with expression and technical accuracy.
MU:Pr4.2.2b When analyzing selected music, read and perform rhythmic and melodic patterns using
iconic or standard notation.
Materials:
Orff Instruments
Game demonstration: https://www.youtube.com/watch?v=m5m_ifwWzRI&feature=youtu.be
Sequence
 Warm Up
o Pattern work: Introduce the rhythms in this piece with names of animals that can
be found on a farm.
Lit – tle chic – ken
White sheep
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Cow
o Solfege patterns for the song:

 Do – Mi – Do
 Re – Do – La – Sol
 Mi – Re – Mi
 Mi – Sol – Mi
 Sol – Do
 Mi – Sol – La
 La – Sol – Mi
 Activity 1 – Learn the song
o T: “Today, we are going to learn a folk song from the United States that has a lot
of energy! Listen to my song and then I’m going to ask you a few questions.”
 T sings through the song the first time and then asks the following
questions:
 “What animal is on the fence post?” (Chicken)
 “What are the names of the girls in this song?” (Josie and Susan
Brown)
 T sings through the song the first time and then asks the following
questions:
 “What can’t Josie do?” (Dance)
 “Do we say hello or goodbye to Susan Brown?” (Hello)
o T: “Very good job listening. I’m going to sing the song one more time and I want
you to pat the steady beat as I sing.” Ss pat the beat as the teacher sings
o T: “Now, we’re going to learn the first part of the song. Listen to me and then I’ll
point to you to echo”
 T: “Chicken on the fence post, can’t dance Josie”
 Ss echo. Repeat as necessary.
 T: “Now, this one has the same words, but the notes are different. Listen
and then echo”
 Ss echo. Repeat as necessary.
 T asks students to put the two lines together.
 T: “Now let’s learn the second half.” T sings and Ss echo
 Note that this is the same as the first part of the song and ask them
to draw connections.
 T sings final phrase, “Hello Susan Brown” and Ss echo
 T asks students to put the last two lines together.
19
o T: “Great, now you know the whole song! I’m going to sing it and I would like
you to pat the steady beat and use your magic lips as I sing.”
 T sings while students audiate and pat the steady beat.
 T: “Are there any parts that we need to review?” Review as needed
o T: “Now, let’s practice singing the whole song together!”
 Repeat as needed until students are comfortable.
o Assessment: Can students sing, “Chicken on the Fence Post” as a group with
accurate pitch and rhythm?
 Activity 2 – Play a game with the song
o Link to game demonstration:
https://www.youtube.com/watch?v=m5m_ifwWzRI&feature=youtu.be
o T reviews song with students before starting the game.
o T moves students into two circles, one inner and one outer.
 T explains that the outside circle will move to the right and the inside
circle will move to the left (or use whatever directions help students the
most).
 T: “Now we are going to move to the beat in these circles.” T counts off
and students move to the beat in the circle.
 Once students can move in the circle to the beat, have them sing while
moving in their directions.
o T selects two students to stand on the outsides of the circle to be the foxes. T also
places stuffed chicken in the center of the small circle.
o T selects two pairs of students to be the gate keepers, one on the outside and one
on the inside. The foxes should not know who these people are.
o T explains the process of the game:
 “We are going to sing our song while moving in the circle. When the song
comes to an end, my gatekeepers are going to hold their hands up high in
the air and the foxes are going to try to move through the maze to get to
the chicken first. The fox that gets to the chicken wins and gets to be in the
circle, and the fox who doesn’t get the chicken gets to choose another
person to be the fox with them.”
o The class will perform a practice round of the sequence to make sure that
everyone understands how the game works.
o The class will play the game for as many sequences as time allows.
o Assessment: Can students sing the song with accurate pitch and rhythm while
moving in the circle? Can students show good cooperative behaviors and positive
attitudes while participating in the game?
 Activity 3 – Perform the song on Orff Instruments
o Ss will only learn the call (“Chicken on the fence post can’t dance Josie”) and T
will perform the response.
 Prep: Make sure the Orff instruments only have F, G, A, and C (notes
necessary for their portion of the call)
o Have the students sit in a circle with the Orff instruments with the teacher seated
at the front near the projector. Review the rhythms with animal names using
voices and patting the steady beat.
o T reviews the song with students, singing and patting the steady beat.
20
o T: “Today, we’re going to learn the first part of this song on instruments. Can you
repeat the first part after me?”
 T sings the first phrase “Chicken on the fence post, can’t dance Josie” Ss
echo.
 T: “Very good, this is the part that we are going to learn on the
instruments. How many times do we sing this in the whole song?”
 Ss respond, “Two”
 T: “That’s right. This is going to be your part and then I will fill in
the other parts.”
o T teaches the pattern by ear first
 T: “Find your note F on your instrument and play the steady beat with
me.” Ss play steady beat on note F.
 T: “Now, listen to me play a pattern.” T plays 4 sixteenth notes with a beat
of rest in between. Ss join when they’re ready.
 T: “Good, now listen to what I add.” T adds 2 eighth note F after the
sixteenth notes.
 T asks: “What did I do different?” Ss answer that two more Fs
were added. They might note that they’re at a different speed or
slower.
 T: “Now, let’s play that together.” Ss and T play the first two beats of the
phrase together. Repeat as needed.
 T: “After that, I’m going to go to my note A. Can you point to A with your
finger?” Ss point
 T: “Good, listen to me play and sing my pattern.” T sings A – G – A – C
with note names. Ss join in when they’re ready.
 T: “Let me hear you play this part by yourself.” Ss play A – G – A
– C and T listens for accuracy of pitch and rhythm.
 T plays the pattern again and asks students to air play.
 Ss play their part with the teacher and then on their own
o Differentiation: If a student is struggling to play the melody part, have them play
the root and fifth (F – C) on one of the bass instruments and keep the steady beat
throughout.
o T projects their measure on the screen for visual learners.
o T: “We’re going to play the first part together. You’ll play your part and then I will
respond to you.”
o Practice this first big phrase together as needed.
21
o T: “Now, let’s play the second part. You’ll play your part and then I will respond to you
with “Hello Susan Brown.”
o Practice the second phrase and then put the two together to complete the whole
song.
o Assessment: Can students perform their part with accurate pitch and rhythm, as well as at
the correct point in the song? Do they know which part comes first and which comes
next?
Historical/Cultural Connections: This is an American folk song, likely of African-American

descent. It was originally sung along with a dance.
Cross-curricular connections: N/A
Song Analysis Table: Chicken on the Fence Post

Tone Set F, G, A, C, D
Range A sixth (F to D)
Rhythm Set Sixteenth notes, eighth notes, quarter note
Melody Pentatonic (Do, re, mi, sol, la)

Rhythm 4 sixteenth notes in a row
Other Options for Orff instrumentations and recorders,
movement activities as well
Other info:
Chicken on the fence post

Can’t dance Josie
Can’t dance Josie
Can’t catch Josie
Hello Susan Brown
https://www.bethsnotesplus.com/2012/01/chicken-on-fence-post.html
22
Lesson #4 – Present
Objective
1. Given sung “Michael Row Your Boat Ashore”, students will aurally identify the two
parts of the song and note that they are different from one another.
2. Given sheet music for “Michael Row Your Boat Ashore”, students will use colored
shapes to visually identify the contrasting sections in the song based on the lyrics (having
aurally learned the song).
3. Given the notation for “Michael Row Your Boat Ashore”, students will visually identify
call and response and read the song from the notation.
Standards Addressed
MU: Re8.1.2a: Demonstrate knowledge of musical concepts and how they support
creators’/performers’ expressive intent
MU:Re7.2.2a: Describe how specific music concepts are used to support a specific purpose in
music.
MU:Pr.4.2.2b: When analyzing selected music, read and perform rhythmic and melodic patterns
using iconic or standard notation.
Materials Used: Projector/SmartBoard, Michael Row Your Boat Ashore Sheet music
Sequence
23
Warm Up Activity:
Teacher will use solfege patterns from Prepare Lesson 2 to help students establish the
tonality for today’s song. Specifically review the patterns that are found in the song,
especially the Hallelujah responses (DRMRD and MSLS)
Activity #1: Review Song and Identify Contrasting Sections
1. T will be at the front of the classroom with students facing the SmartBoard.
a. T: “Alright children. We’ve been working hard to learn our song Michael Row
Your Boat Ashore. Can we sing all the parts together?” Ss sing parts and review
as many times as needed.
b. T: “Now, I’m going to sing the first part and you’re going to sing the hallelujahs”
Practice this method.
2. T: “Very good! Now that we have sung our song a few times, I have some questions for
you.”
a. T: “When we sing the song like we just did, how many parts are there?” Ss
respond, “2!”
b. T: “That’s right. Are our parts the same or different?” Ss will could respond either
way. Be ready to discuss different (the words are not the same, the pattern is not
the same) and same (they fit together, the use some of the same notes)
c. T: “So, our parts are different, but we repeat the same thing in our own parts.
Let’s take a look at this on the sheet music for our song.”
Assessment: Can students identify the two parts and note their differences?
Activity #2: Label the sections with colored shapes

3. T pulls up the sheet music on the SmartBoard.
a. T: Now I’m going to put a green square around my first section that says,
“Michael row your boat ashore.” Does anybody see this again in the music?
i. Ss respond by raising their hand. T calls on one student to come draw
another green square around the second call phrase.
b. T: “Now, I’m going to put a blue square around your first section. Who can come
draw another blue circle around the matching section?”
i. Ss walk to the board to circle the second response phrase in blue.
4. T: “So, do you think that your part is the same as my part or different?”
a. Ss should respond different, given the different shapes and colors.
b. T: “That’s right, they are different. But do they work together. How do they work
together?”
i. Ss might respond about the sequence of the phrases, the melodies, etc.
5. T: “What would it be like if we left a part out? Listen to me sing without the hallelujahs.”
a. T demonstrates the song without the hallelujah section. “Did that feel complete?”
b. Ss respond, “No!”
c. T: “That’s right, it kind of felt like I was singing out, but no one could hear me.
Have you ever called out to someone to tell them something but they couldn’t
hear you or they didn’t respond?”
i. Ss respond
ii. T: “How did that feel?” Ss respond.
24
6. T: “So we need both the call and the response to make the song complete! And guess
what? That’s what we call this type of a song – a call and response song. The first person
sings out a call and then the others respond. Let’s write these sections in our music!”
a. T labels the green section as call and the blue as response.
Assessment: Can students visually label the contrasting sections with colored shapes? Do they
understand that both parts of the song are needed to make it complete?
Activity #3: Sing the song from notation in separate parts

7. T: “Now before we leave, we’re going to sing our song a few more times while walking
around the room. But now we get to use our new words to describe the song – what will
we call your hallelujah part now?”
a. Ss respond, “Response!”
b. T starts the song and has students walk around the room while singing the
response section.
8. T: “Now freeze! This time, we’re going to have some of you sing the call and some of
you still sing the response.”
a. T divides the group up to call and response sections.
b. Standing still, students practice singing their different parts. Repeat as needed
until students are comfortable
9. T: “Very nice job! Now let’s try that walking.”
a. Repeat a few times walking around the room and singing the two parts.
10. During the last repetition, the teacher takes the call and directs them to the line. Students
still respond with the response.
Assessment: Are students able to discuss the song with the new labels (call and response)? Can
they sing the appropriate section when asked?
Assessment: Are students able to identify the call and response in standard notation using shapes
and sheet music? Are students able to perform the two sections of the song on their own with
Transition: “Excellent job today everyone. You learned a new musical form, call and response.
As you go through your day, see if you can find other examples of call in response and we’ll talk
about them the next time we meet. We’ll also look at some more songs that use call and
response.
Historical/Cultural Background:
“Michael, Row the Boat Ashore” is an African-American spiritual. It was first noted during the
American Civil War at St. Helena Island, one of the Sea Islands of South Carolina, USA.
25
Cross Curricular Connections: N/A


eighth rhythms
Other info:

26
Lesson #5 – Practice
Objectives
1. Students will label the call and response sections of “I Got a Letter” aurally and visually
using colored shapes.
2. Students will expand upon their improvisation activity by writing in their own lyrics to
the song on the standard notation.
Standards Addressed
MU:Pr4.2.2b When analyzing selected music, read and perform rhythmic and melodic patterns
Materials
SmartBoard (or projector onto whiteboard OR write out the song on the whiteboard)
Sequence
 Warm-Up/Pattern Work
o Teacher will lead the first part of the warm up and students will echo back (“Good
Morning, second grade). The teacher will then ask, “How are you?” and will teach
students the answer part (different than the question). Question-answer technique
reviews concepts that they already know and transitions into call and response
with the song.
27
 Activity 1 – Review “I Got a Letter”
o T: “Alright students, today we are going to review a song that we learned earlier.
Based on the warm-up that we did, can anyone guess which one it is?”
 Hopefully, Ss will guess “I Got a Letter.” If not, T will tell them
o T: “Let’s review our song. Will you pat the steady beat while I sing in the first
time?”
 Ss pats the steady beat while T sings through
 After T reviews song, Ss sing on their own while patting the steady beat
o If Ss struggle with remembering the song, T will break it down and review parts.
 Assesement: Can students recall and sing, “I Got a Letter” with accurate pitch and
rhythm?
 Activity 2 – Identify Call and Response aurally and visually

o T: “During our last time together, we sang Michael Row Your Boat Ashore and
learned that it was a certain type of song. Can anyone raise your hand and tell me
what we called that type of song?”
 Ss respond, “Call and Response”
o T: “That’s right! Now, I want us to sing “I Got a Letter” again and I want you to
think about whether or not it’s a call and response song.”
 Ss sing through and then T asks what they think. They will note that it is a
call and response song.
o T: “Can someone sing the call or tell me the words to the call?”
 Ss will respond (singing or speaking) “I got a letter this morning”
o T: “Very good, so what is the response?”
 Ss will sing or say, “Oh yes”
o T: “Very nice! Let’s take a look at the notation for this song and see if we can
label the call and response sections with shapes like we did the last time.”
 T will ask one student to come label the call with a colored shape.
 T will ask one student to come label the response with a different colored
shape.
o T: “Now, I see some small words that are on the top of the staff that already label
our call and response for us. But, they don’t say call and response. Can someone
tell me what words I’m talking about?”
 Ss will identify “solo” and “group”
 T explains that in the African-American culture that this song comes from,
they often sang together in the fields. One person would be the leader and
28
would sing the call, and the others would sing the response. This was a
way for them to sing together and made working more enjoyable.
 Ask students, “Do you ever hum or sing while you work or do
chores to make it better?”
o T: “Now that we know the two parts and have labeled them, we’re going to split
up and sing the different parts in different groups.
 First group: T sings the call, Ss sing the response
 Second group: Half of Ss sing call, other half sing response
 Third group: One student sings call, all others respond (Volunteer only)
 Assessment: Can students identify call and response aurally based on the lyrics? Can
students identify call and response visually and label these two sections?
 Activity 3 – Improvisation with notation

o T: “A few days ago, we used this song and made up some of our own lyrics.
Today, we’re going to take those words and write them into the music.”
 T asks students what else they can receive and writes those words on the
board.
o T isolates the 2 sixteenth-eighth rhythm on the board. “How many notes does
letter get?”
 Ss respond “2!”
 T: “That’s right, and how many syllables does letter have?”
 Ss respond, “2!”
 T: “So, we will choose some words that have two syllables. Can anyone
pick one of those out for me?” Ss identify words with two syllables
o T and Ss will break the words into two syllables and write them into the sheet
music on the SmartBoard/Projector/Whiteboard.
 T and Ss sing with the new lyrics (continue this process for several of the
words, alternating the groupings that it’s sung in)
o T asks, “What is something that we might receive that isn’t good?” Ss respond
and T identifies two syllable words that fit in this category.
 T: “Now, if it’s something bad, how do you think that would change our
response?”
 Ss will come to the conclusion that it will change, “Oh yes” to “Oh no”
 Sing through these lyrics with new call and new response
 Assessment: Can students correctly identify two-syllable words and how they align with
the notation of the piece? Are students making connections to the relationship between
call and response?
Assessment
T will use questioning techniques throughout to determine if students are understanding the call
and response form. The activities will help students identify call and response visually and
aurally, and the final activity will assess if they are beginning to understand how call and
response are connected.
29
Historical/Cultural Background: This song comes from the Sea Islands of South Carolina and
is considered a spiritual. Call and response form plays an important role in the African-American
culture because these are songs that they would sing while they work. Note that call and response
is found in many types of African-American music, including gospel, blues, funk, and hip hop.
Cross-Curricular Connections: Since the improvisation activity focuses on syllables, this could
offer connections between music and language arts. Students are finding words with two
syllables that can fit into the song.
Song Analysis Table: I Got a Letter

Tone Set E, F#, G, A, B
Range Perfect fifth (E – B)
Rhythm Set Sixteenth-eighth-sixteenth, Two sixteenths-eighth,
quarter notes, half notes
Melody Teaching melodies with complex rhythms, me-do

(m3), variation in responses
Rhythm Sixteenth-eighth-sixteenth (1-e-a), two sixteenth
notes-eighth (1-e-&)
Other Options for improvisation,
Other info:

Oh yes
Oh yes
30
Objectives
1. Students will learn and speak the rhythm syllables for the call section of “Chicken on the
Fence Post.”
2. Students will analyze “Chicken on the Fence Post,” to determine if it is truly call and
response or AAAB form.
Standards Addressed
MU:Pr4.2.2a Demonstrate knowledge of music concepts (such as tonality and meter) in music
from a variety of cultures selected for performance.
Materials
Standard Notation for “Chicken on the Fence Post”
Cards to represent rhythmic values (eighth note and sixteenth note)
Orff Instruments
Call and Response Detective worksheets (at the end of lesson)
Sequence
o Review the animal syllables used in previous lesson to work on rhythm. Put these
in various combinations using the rhythm cards to get students to start hearing and
feeling the subdivision.
Lit – tle chic - ken
31
White sheep
Cow
 Activity 1 – Review the song on Orff Instruments

o T reviews the part that Ss learned on Orff instruments the last time. Place this
measure on the board so that students can see as they play.







o
 T: “Now that we know about call and response, do you think that you are
playing the call or the response?” Ss respond that they are playing the call
o Continue to go through their call and response as many times as needed so that
they feel comfortable
 Assessment: Can students play the call of “Chicken on the Fence Post” with accurate
pitch and rhythm?
 Activity 2 – Rhythmic concept: Basic introduction to sixteenth notes
o T: “At the beginning of your call, you play a new note value that we haven’t
worked with yet. Let’s take a look at the words that we’ve been using to describe
this note value.
 T keeps a beat by clapping or using a hand drum and says “Lit – tle chic –
ken” on beat one every time. Ss join in when they are comfortable.
Lit – tle chic - ken

 T: “Very nice job! We call these notes sixteenth notes. How many
sixteenth notes do you see in this set?” Ss respond 4. T explains that there
are 4 sixteenth notes in every beat.
32
o T: “In music, we use some other syllables to describe our sixteenth notes. Can you
repeat after me?”
 T says each syllable once and students echo:
 1,e,&,a
o T: “Now, let’s pat the beat and repeat after me.” Taking a slow tempo, T says
1e&a on the beat and students respond.
o On the board, T will draw sixteenth notes and label them with the syllables for
visual learners.
o Continue to repeat the syllables on the first beat of every measure. T will listen to
see if students are accurately placing the syllables in time. Once students can
speak the syllables in time, have them speak and play the Orff instruments.
 Assessment: Can students use the correct rhythmic syllables to speak and play one group
of sixteenth notes?
 Activity 3 – Determine if “Chicken on the Fence Post” is Call and Response

o T: “Alright students, today we are going to be music detectives and I have a very
special mission for you. Are you ready?”
 “We have a song that we are going to look at today and we have to
determine if it’s a real call and response or if it’s an imposter.”
o T makes a chart on the board so students can discuss what they know about call
and response:
 Be sure to note:
 There are two different parts.
 The call comes first and then the response.
 The call usually repeats.
 They usually have different rhythm
 They usually have different melody.
 Lyrics/words are an indicator
o T: “Now, each of you is going to get a sheet that will help you solve the mystery.
We’re going to work in detective pairs to find the solution.”
 Pair students up and give each student a sheet (see sheet at the end of this
lesson).
 T explains the directions and gives students time to solve the mystery.
o Once students are done, gather back together as a group and discuss findings.
Make a class decision as to whether it is call and response or AAAB form.
 Responses may differ between classes – is there a right and wrong
answer? See which group has more convincing evidence. It can probably
be seen as both.
Assessment
Through the worksheet activity, students are demonstrating understanding of the call and
response form by making observations and analyzing. Through their observations and
analyzation, they will be able to formulate a response based on their information. The teacher
observe their writing and markings to determine if they have mastered the concept.
33
Historical/Cultural Background: This is an American folk song, likely of African-American
descent. It was originally sung along with a dance.
Cross Curricular Connections: This lesson has connections to language arts because it will
involve writing and drawing conclusions from data. This could also be seen as a very basic
introduction to the scientific method because they are testing and formulating conclusions from
their experiences and their data.
Song Analysis Table: Chicken on the Fence Post

Tone Set F, G, A, C, D
Range A sixth (F to D)
Rhythm Set Sixteenth notes, eighth notes, quarter note
Melody Pentatonic (Do, re, mi, sol, la)

Rhythm 4 sixteenth notes in a row
Other Options for Orff instrumentations and recorders,
movement activities as well
Other info:

Can’t dance Josie
Can’t dance Josie
Can’t catch Josie
Hello Susan Brown
https://www.bethsnotesplus.com/2012/01/chicken-on-fence-post.html
34
Names: _____________________________________________________________________
Be a Music Detective!
Your mission is to determine if “Chicken on the Fence Post” is in call and response
form. Can you look for clues to solve the mystery?
Use the questions at the bottom to help you. You can write your answers or tell Ms.
Hines your reasons for why you came to your conclusion.
1. Put a purple box around the call section. Why do you think this is the
call section?
_______________________________________________________
_______________________________________________________
_______________________________________________________
2. Put a green box around what you think is the response section. Why
do you think this is the response section?
_______________________________________________________
_______________________________________________________
_______________________________________________________
3. Based on your observations, do you think this is a call and response

song? Why or why not?
_______________________________________________________
_______________________________________________________
_______________________________________________________
35
Objectives
1. Students will sing the solfege for “Michael Row Your Boat Ashore” with correct pitch
and rhythm.
2. Given the solfege syllables, students will aurally identify, “Michael Row Your Boat
Ashore,” and learn more verses to the song.
Standards Addressed
MU:Pr6.1.2a Perform music for a specific purpose with expression and technical accuracy.\
MU:Pr4.2.2a Demonstrate knowledge of music concepts (such as tonality and meter) in music
from a variety of cultures selected for performance.
Materials
Solfege Ladder with hand signs
Piano
36
Sequence
o Review the following solfege patterns to help the students establish tonality
 DMS
 SMD
 MSLS
 DRM
 DRMRD
 Activity 1 – Learn both phrases on solfege
o T: “Today we are going to learn a song using the solfege syllables that we just
sang in our warm up. First, let’s review our hand signs for the pitches we have in
this song. Use the solfege ladder if you need a reminder!”
 T goes through D, R, M, F, S, L with hand signs
o T: “I’m going to sing a phrase using solfege and I want you to echo it back to me.
I’ll go first and then point to you when it’s your turn.”
 T sings the first phrase on solfege (“Michael, row your boat ashore”) and
Ss repeat.
 T sings the second phrase on solfege (Hallelujah) and Ss repeat.
 Put the two phrases together
 T sings the third phrase on solfege (“Michael, row your boat ashore”) and
Ss repeat.
 T sings the fourth phrase on solfege (Hallelujah) and Ss repeat.
 Put these two phrases together.
 T sings whole song while students audiate. Ask if they need any parts
repeated.
o Ss sing by themselves. T repeats sections as needed.
o Assessment: Can students sing the solfege and do the solfege hand signs for the
song?
 Activity 2 – Identify the song
o T displays the notation on the board with the lyrics replaced with solfege
syllables. Ss sing through with the visual aid (may help some of them remember).
o T asks: “Have any of you figured out what our song is? Have we sung it before?”
 Ss identify the song as “Michael Row Your Boat Ashore”
o T: “Very nice job!”
 T moves to a slide with the words displayed instead of the solfege
syllables.
o Ss sing through the song with the first verse lyrics.
o Assessment: Can students identify the song aurally after learning the solfege?
 Activity 3 – Learn more verses in call and response form
o T talks about the history of the song before introducing students to new verses.
 See “Historical/Cultural Background” section for history
o T: “Our song has more verses that go along with it. Would you like to learn some
more?”
 T can break down the call for each of these using the same echo method. If
Ss are catching on quickly, ask them to try to audiate the verse before you
sing it and ask for volunteers to demonstrate.
37
o Assessment: With their knowledge of the solfege and understanding of the song,
can students sing other verses of the song with accurate pitch and rhythm?
Assessment
The teacher will listen as students go through the solfege patterns to make sure that they are
singing with correct pitch, especially with the pitch “do.” The teacher will also keep a checklist
of which students are fully participating with hand signs as instructed.
Historical/Cultural Background: “Michael, Row the Boat Ashore” is an African-American

spiritual. It was first noted during the American Civil War at St. Helena Island, one of the Sea
Islands of South Carolina, USA.


eighth rhythms
Other info:

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Objectives
1. Students will perform parts one and two of “Trumpet Call” with accurate pitch and
rhythm.
2. Using icons or standard notation, students will notate their part and be able to explain
their system of notation.
Standards Addressed
MU:Cr2.1.2b Use iconic or standard notation and/or recording technology to combine,
sequence, and document personal musical ideas.
Materials
Orff Instruments with notes D, F, G, A, C
Paper and Writing Tools
Sequence
o T will start with an echoing exercise to get students familiar with their
instruments. Rhythmic patterns will start simple and will cover everything found
in the Orff melody.
 Start on F and practice moving in steps
 Start on F and move to skips
 Practice the octave from D to D
 Incorporate eighth note and sixteenth note rhythms
 Activity 1: Learn part 1 on Orff Instruments
o T will teach part 1 by rote to students.
o T plays through the whole line, “Listen as I play through our new song.”
 T will then break it down into smaller sections. Start by playing the pattern
in the first two measures (eighth notes and dotted quarter notes). T will
play and then students will echo.
 T will then teach the second part of part one (4-eighth note pattern). T will
play and then the students will echo.
o T, “Let’s put these two together. Listen to how this will sound.”
 T plays the first half of the complete line. After this, T will play it again
and ask students to air play as it’s played (audiate).
o T: “Now to do the whole part, we will do that twice.”
 Repeat the same process as previously. T will play once while students
listen and then students will air-play while T does it again.
o Play through the line until students are comfortable playing on their own. If they
are struggling to play the whole line, only play 4 measures. There will also be a
simpler part in part 2 that they can choose from.
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o Assessment: Can students play through part 1 with accurate pitch and rhythm on
the Orff instruments?
 Activity 2: Learn part 2 on Orff Instruments

o T will start by playing the repeated pattern. “Listen to me play another part that
goes with this song.”
o T tells students, “This part only requires one note, but two keys. Can you play
your bottom note?”
 Ss play bottom D
 T, “Now play your top note.” Ss plays high D.
o T, “Now, echo me and play this on your bottom D.” T plays two sixteenth notes.
Ss echo
o T, “Now, we’re going to add one more note, but stay on the bottom D.” T adds
the eighth note and Ss echo.
o T, “How many notes did we play total?” Ss respond 3
 T: “This time, I want you to play the first 2 notes on the low D and then
the third note on the high D. Listen to me and then echo.” Ss listen and
echo.
 Repeat until students are comfortable with the motion of moving from
bottom D to high D.
o Assessment: Can students play part 2 with accurate pitch and rhythm on the Orff
instruments?
 Activity 3: Notate their part using their own notation
o Based on observation, the teacher will put students in groups based on how well
they were able to play part one. Those that were successful in playing part 1 will
notate part 1. Those who struggled with part 1 will notate part 2.
o T: “Now that we have played our parts, I think we should write them down so that
we can remember them later. You’re going to be paired with a partner and you
and your partner are going to come up with a way to remember your part.”
 Remind them of some things that they should use to help remember their
parts:
 How will you write a short note?
 How will you write a long note?
 How will you remember the note names?
 Remind them of what you can use:
 You can use music notes.
 You can use pictures.
 You can use words.
 Remind them that it is important for them to be able to use their music
later. Maybe write a key so that they can remember what symbols they
used for different concepts.
o Give students ample time and assistance to write their parts. If the class is
struggling, consider practicing notating one part as a group and saving that for
later.
o Once students are done notating their part, they will come to the teacher to play or
explain their notation.
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o Assessment: Can students notate their parts using standard or iconic notation?
Can they explain/perform their notation system to the teacher clearly and
confidently?
Assessment
Students will be able to explain their notation system to the teacher. The teacher will make note
if the student accurately described their system and feels confident that they will be able to read
from their notation in future lessons. When this lesson is repeated, the teacher will make note of
whether or not the student can perform from their notation and will give feedback to help them
improve their system if needed.
Historical/Cultural Background: N/A
Song Analysis Table: Orff Lesson Melody #13 – Trumpet Call

Tone Set D, G, F, A (la, do, re, mi, sol)
Range Octave (using Orff instruments)
Rhythm Set Dotted quarter-eighth, eighth notes, sixteenth
notes
Melody Harmony in the melody parts (add if ready),

responding to call and response
Rhythm Sixteenth note calls, pick up notes
Other Orff Instruments
Other info:
No lyrics, Orff Instrumentation
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Objectives
1. Students will perform their parts of “Trumpet Call” from their notation with accurate
pitch and rhythm.
2. Students will perform the two parts of “Trumpet Call” together with accurate pitch and
rhythm.
Standards Addressed
Materials
Orff Instruments with notes D, F, G, A, C
Students’ notation papers
Sequence
o T will incorporate the more challenging lines and rhythms from the parts into the
warm-up. This will get students used to playing these parts again and will help
them remember the parts from last time.
 Activity 1 – Review Notation with Partners
o T: “Alright students, during our last class we wrote down the parts to our song,
Trumpet Call. In your partners, I would like you to use your notation to play
through your parts again.”
o Ss will work together to read their parts from the notation. T will observe students
as they play to make sure that they are playing with accurate pitch and rhythm.
o As the teacher walks around, they will look for students who have clear notation
and are performing their parts well. They will ask if these students would be
willing to share their notation in the next activity.
o Assessment: Can students play their parts with accurate pitch and rhythm from
their own notation?
 Activity 2 – Explain Notation to Peers
o T: “Now that we have had some time to review our parts and our sheet music,
would anyone like to share their system with the rest of the group?”
 Ss will volunteer to explain their notation. The teacher will ask about the
following areas in their explanation:
 What stands for a short note? Long note?
 How did you write different notes?
 Were you able to remember your parts from your notation?
o T can use one as an example and the whole class can play together if there is an
exceptional example. If not, move onto next activity.
o Assessment: Can students describe and explain their notation system to others?
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 Activity 3 – Perform both parts together
o Based on what they chose for their notation projects, the teacher will divide the
students into part 1 and part 2 groups.
o T: “Like the other songs that we have been working on recently, this song is an
example of call and response. I am going to play the two parts together at the
same time and I want you to tell me if you think that part 1 is the call or part 2 is
the call.”
 T plays through the excerpt with both parts included. Ss respond that Part
1 is the call.
 T: “If part 1 is the call, what is the response?” Ss respond part 2
o T reviews part 1 with everyone once. Repeat sections as needed and use notation
to help students as needed.
o T: “Now, part 1 friends, I want you to continue to play. I am going to play part 2,
and I would like my part 2 friends to listen to me carefully to see where your part
fits in.”
 Ss playing part 1 play the first few measures and T plays part 2.
 T: “Part 2 friends, do you hear how your part fits in when part 1 is playing
a long note? Let’s do it together.”
o Part 1 starts to play and T faces Part 2 students so they can watch while they play
their part. Repeat as many times as needed so that they feel comfortable.
o T: “Now, part 1 friends, your next section is by yourself. Part 2 friends, we will
come back in after their middle section. Listen to me as I play along with both
parts.”
 T demonstrates both parts again so students can hear both of the parts
together.
o Ask if students have any questions about their parts or how they fit together.
Clarify any confusion.
o Perform both parts together. T plays along until students are comfortable and then
let’s them perform by themselves. If comfortable, have them perform for their
classroom teacher when they are picked up.
o Assessment: Can students perform both parts of “Trumpet Call” together with
Assessment
When assessing the notation aspect of these two lessons, the teacher will use the following rubric
to evaluate student’s ability to document personal musical ideas.
Emerging Meeting Exceeding

Student is able to
describe or perform
the correct rhythms
based on their
notation.
Student is able to
describe or perform
the correct pitches
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based on their
notation.
Student is able to
collaborate with their
partner in a
productive and
respectful manner.
Historical/Cultural Background: N/A
Song Analysis Table: Orff Lesson Melody #13 – Trumpet Call

Tone Set D, G, F, A (la, do, re, mi, sol)
Range Octave (using Orff instruments)
Rhythm Set Dotted quarter-eighth, eighth notes, sixteenth
notes
Melody Harmony in the melody parts (add if ready),

responding to call and response
Rhythm Sixteenth note calls, pick up notes
Other Orff Instruments
Other info:
No lyrics, Orff Instrumentation
45
Objectives
1. Through the use of an informational powerpoint, students will learn about the South
African culture and the background of the song.
2. After listening to two different recordings, students will identify the concept in the piece,
“Gabi, Gabi.”
3. Students will sing the chorus of “Gabi, Gabi” with accurate pitch and rhythm.
Standards Addressed
MU:Pr4.2.2a Demonstrate knowledge of music concepts (such as tonality and meter) in music from a
variety of cultures selected for performance.
MU:Re7.1.2a Explain and demonstrate how personal interests and experiences influence musical
selection for specific purposes.
MU:Re8.1.2a Demonstrate knowledge of music concepts and how they support creators’/
performers’ expressive intent.
MU:Cn11.0.2a Demonstrate understanding of relationships between music and the other arts, other
disciplines, varied contexts, and daily life.
Materials
South Africa Presentation (LINK)
Hand Drum
Recordings
 https://www.youtube.com/watch?v=EX4qq0CxlvI (Festival Video)
 https://www.youtube.com/watch?v=tOb70nojB1U (Church choir version with traditional
instruments)
Piano and “Gabi, Gabi” notation
Sequence
o Ss will start in a drum circle to prepare materials for the percussion ostinato and
to work on some call and response patterns using rhythm and instruments.
o T will play one rhythm and ask students to respond with another rhythm. Some
combinations could include:
 T: 4 eighth notes, Ss: 2 quarters
 T: 2 quarters, Ss: 4 eighths
 T plays for 4 beats, Ss perform back for 4 beats
 T plays for 2 beats, Ss perform back for 2 beats
 Activity 1 – Learn about South African culture
o T: “Hello students! Today we are going to learn about a new culture and some of
their musical traditions.”
o T: “First, we are going to listen to a recording and I want you to tell me about
some of the instruments that you are hearing.”
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 T plays the church choir version of “Gabi, Gabi” and Ss respond about
what they heard in the recording.
o T: “Very nice observations! We are going to listen to the piece again and I want
you to think about where this music comes from.”
 Play the festival recording
 Ss will listen to the piece again and then tell their partners where they
think the music originates from. T will ask for responses from the whole
class once students have shared with their neighbor. (Encourage students
to share and thank them for sharing!)
o T: “We’ve discovered that this music isn’t from our culture, but it’s from South
Africa! Let’s learn more about South Africa and their culture.”
o T presents the South Africa slideshow for students
 Discuss where South Africa is and about the variety of people/cultures that
live in South Africa
 Discuss the song origins and meaning
o Assessment: Can students describe elements of the South African culture and the
song, “Gabi, Gabi”?
 Activity 2 – Learn the percussion groove
o T: “Now that we’ve gotten to listen to the music, let’s learn how to perform it. We
identified some instruments earlier, but now I want you to watch this video of a
performance of “Gabi, Gabi” to see what those instruments are.
 Ss watch a portion of the church choir video and identify a drum and
shaker.
o T: “That’s right, we have two instruments helping us to keep the steady beat.
Let’s divide up into two sections so that we can learn these parts.
 T divides class so that some students are playing drum and some are
playing egg shakers.
o T teaches the steady beat pattern for the hand drum students
 Ss will play quarter notes and set the steady beat
o T teaches the eighth note pattern for shaker students
 Ss will play constant eighth notes on the shaker
o T: “Now, let’s put our two parts together at the same time.” T counts off the
students and they play eighth notes and quarter notes together.
o T: “Great job! Now, I would like for us to put it together with the song. You are
going to keep the steady beat while I sing the call part of the song.”
 T sings the call portion of the song while the students play the steady beat.
Repeat as necessary so that students can hear the song a few times as they
play the percussion groove.
o As an additional activity, consider having the students play the beat to the festival
recording since it doesn’t have percussion accompaniment.
o Assessment: Can the students play the percussion groove with a steady beat and
accurate rhythm?
 Activity 3 – Learn the call and response to the song
o T: “Now that we’ve listened to the song a few times and learned the percussion
groove, let’s learn part of the song. We’re going to start by learning the lyrics in
this language.”
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 T uses echo strategies to help Ss say the words correctly.
 T: “Gabi, Gabi” Ss echo
 T: “Gabi, Gabi” Ss echo
 T: “Bash abaz alwan” Ss echo (repeat as necessary since this
phrase is more complex)
 T: “Si yoshiwa” Ss echo
 T: “Khona” Ss echo. T: “Si yoshiwa khona” Ss echo
 T: Si dal ubuz alwan.” Ss echo
o T: “Very nice job echoing and working with the words in a new language! You
did a great job. Let’s get to the singing now! You’re going to learn the call to this
song and I am going to be the response this time.”
 T teaches the “Gabi, Gabi” melody to the students. Teach one measure at a
time and then put two together and then 4. Repeat until students are
confident singing on their own.
o T: “Nice job! Now, I’m going to add my part but don’t let me throw you off! Sing
your part confidently and listen closely to your friends and not me.”
 T adds in the response as students sing but reinforces the Ss part by
playing it on the piano.
 Continue to repeat until students are comfortable
o T: “After the first section, the two parts come together and sing the same parts.
Let’s learn that together.” T breaks down the verse section into the following
phrases:
 T: “Si yoshiwa khona” Ss echo (Repeat as necessary)
 T: “Si dal ubuz alwan” Ss echo (Repeat as necessary)
 T: “Si yoshiwa khona, si dal ubuz alwan” (Repeat as necessary)
o T: “Does anyone remember what comes after the verse section?”
 Ss respond that they sing “Gabi, Gabi” again. If they don’t get this,
consider listening to the recording again to help them hear it.
 Sing through the call and response section again.
o T: “Now, let’s find a way to write the order on the board. First, we’ll start by
writing “Gabi” at the top to help us remember the lyrics. What can we write to
remember the verse?”
 T and Ss come up with a way to write the lyric order on the board so Ss
can remember. Use the first few words as prompts or write the whole lyric
to help students the first few times.
o T: “Now that we have the song written up on the board, let’s sing it from top to
bottom together! Remember to be confident in your part at the beginning and
don’t let me throw you off.”
 Sing through the song as many times as possible until students are
comfortable. Review sections as needed to help students remember the
lyrics or pronunciations.
o Assessment: Can students sing through the chorus and verse of “Gabi, Gabi” with
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Assessment
Throughout the activities, the teacher asks questions about a variety of concepts related to the
culture and the music of South Africa. The teacher should strive to get a response from each
student about some aspect of the lesson. This can be their feelings about the music, responses to
identification questions, questions that they have about the music, or other interactions with the
lesson. The teacher will use a checklist to make sure that all students engage in responding to the
music in some form and can write down what the student talked about in the checklist.
Did not
Participated in lesson discussions (details about what participate in
Name
the student said or asked) lesson
discussions
Historical/Cultural Connections:
Through the music and PowerPoint, students will gain a deeper understanding of the South
African culture and their musical traditions. Students will explore the language, purposes of
music, types of instruments, and how people respond to music in South Africa.
Cross Curricular Connections:

Connections to social studies classes if they have learned about South Africa or discussed it in
other classes.
Song Analysis Table: Gabi, Gabi

Tone Set Ab, Bb, C, Db, Eb, F, G
Range Octave
Rhythm Set Half notes, Quarter notes, eighth notes, dotted
eighth-sixteenth, dotted quarter-eighth,
Form Chorus, verse, chorus
Melody Minor thirds, perfect fourths

Rhythm Dotted eighth – sixteenth, syncopation
Other Call and response, learning a different language
Other info:
Gabi, Gabi (call)

Gabi, Gabi (response)
Bash’ abazalwan’
Gabi, Gabi (call)
Gabi, Gabi (response)
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Bash’ abazalwan’
Siyoshiywa khona
Sidal’ ubuzalwan’
Siyoshiywa khona
Sidal’ ubuzalwan’
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Objectives
1. Students will perform the basic melody and ostinato in 4/4 meter using the F pentatonic
with accurate pitch and rhythm.
2. Students will aurally identify improvisation and will describe characteristics of a good
improvisation.
3. Students will improvise over 2 measures using the Orff instruments in 4/4 and F
pentatonic scale with steady beat and appropriate musical decisions.
Standards Addressed
MU:Cr1.1.2a Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.
MU:Cr3.1.2a Interpret and apply personal, peer, and teacher feedback to revise personal music.
MU:Pr6.1.2b Perform appropriately for the audience and purpose.
Materials
Orff Instruments (in the key of F Pentatonic – F, G, A, C, D)
Melody/Ostinato sheet music for teacher
Exit tickets
Crayons/Markers/Colored Pencils
Sequence
o T will practice playing two notes at a time on the instruments with Ss. This will
help them practice the coordination of playing two notes at once and will prepare
them for part of the melody and ostinato.
o Ss will practice playing F & C at the same time
o Ss will practice playing G & D at the same time
o Ss will practice playing A & C at the same time
 Activity 1 – Learn the melody parts
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o T: “Alright, students – today we are going to learn a simple melody that uses call
and response on our Orff instruments. There are two parts to our melody, so we
are all going to start by learning the first part.”
 T teaches the first part to the students by rote. T goes one measure at a
time and Ss echo. Repeat and break down as needed based on student
needs.
o T: “Very good, let’s all play the first part together!” T plays with Ss the first time
and then has them play again by themselves to assess for correct pitches and
rhythms.
o T: “Now that you’ve learned the first part, let’s learn the second part.”
 T makes connections between the two parts and repeats the same process
of teaching part 1. Repeat and break down as needed based on student
needs.”
o T: “Good job! Let’s all play part 2 together.” T plays with Ss the first time and
then listens.
o T: “Which part do you think is the call and which part is the response?” Ss
respond and T asks, “Why?”
 “Why?” assesses their ability to explain call and response using words and
musical terms.
o T: “Now, we’re going to split up. If you have a soprano or alto instrument, you’re
going to play part 1. If you’re playing a tenor or bass instrument, you’re going to
play part 2.”
 Help students identify what instruments they’re on if needed.
 Play through with both parts at the same time and address struggles as
they arise. If needed, isolate parts and have one group audiate/air-play
while the other group plays.
o Assessment: Can students perform parts 1 and 2 on Orff instruments with accurate
pitch and rhythm? Can they identify and explain call and response within the
melody?
 Activity 2 – Identify improvisation and discuss good improvisation strategies
o Ss play through both parts at the same time to make sure that they are comfortable
performing it.
o T: “This time, I want you to loop your part. Looping means to keep playing it
over and over again. Listen to me loop part 1.” T demonstrates looping part 1
 T: “Part 1 friends, can you try that with me?” Ss on part 1 practice looping
with the teacher.
o T: “Now it’s your turn, part 2 friends! Listen to me loop your part.” T
demonstrates looping part 2.
 T: “Part 2 friends, can you try that with me?” Ss on part 2 practice looping
with the teacher.
o T: “Let’s loop together this time!” T listens as students loop and makes sure that
they maintain accurate pitch and rhythm.
o T: “Great job everyone! This time, I’m going to do something a little different,
but I don’t want you to let me throw you off. Play your part until I ask you to stop
and then we’ll talk.”
 T improvises as Ss play their parts.
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o T asks, “What did I do different?” Ss respond, “You made it up!”
 T: “That’s right! Can you try making up your own patterns? I’m going to
keep the steady beat on a hand drum and I want you to try and make up
your own melodies.”
 T keeps the beat for awhile as students experiment with improvisation.
o T: “Let’s talk about what makes a good improvisation. What are some of your
ideas?” T writes the student ideas up on the board as they discuss. Be sure to
address:
 Balance of long beats and short beats
 Can use rests
 Not “crazy”/treating the instruments with respect
 Keeps a steady beat
o T: “These are all great ideas. Would anyone like to give it a try while the rest of
us loop our original melody?”
 T thanks those who volunteer for being willing to give it a try. Recognize
the things that the students did well and what you liked about their
improvisation and maybe suggestions for improvement
o Give multiple students the opportunity to try improvisation on their instruments as
the other parts play.
o Assessment: Can students aurally identify improvisation and describe good
characteristics of improvisation? Can students perform their own improvisations
with a steady beat?
 Activity 3 – Improvise around the room!
o T reviews the melodic loops with each part if necessary.
o T: “Last time, we got to try making up our own melodies while the rest of our
friends played the original parts. This time, I would like for all of us to try making
up our own 2-bar melody.”
o T: “Let’s start by playing our original parts and listen to me make up my melody
for two bars.”
 T improvises over two bars and then asks students questions:
 “Was it very long?” Ss respond, no
 “Was it really complicated?” Ss respond, no
 T reminds students that it doesn’t have be complicated and that their goal
is to keep a steady beat over the two measures.
o T: “Let’s start with me and then we will go around the circle (choose a direction).
I will signal on the hand drum when you are on your last measure like this.” T
demonstrates by beating eighth notes on beats 3 and 4.
o T starts students with the melody parts and then starts the improvisation cycle. As
the students go around, T will listen to see if they can improvise with a steady
beat and appropriate musical decisions.
o Wrap Up: “Great job students! I really appreciate how you all tried and made
really great musical decisions. This activity that we did is called improvisation,
and we will continue to learn more about it during our upcoming units. Before
you leave, I want to know how much you enjoyed this activity. I’m going to give
you a small sheet of paper and you’re going to rate the activity and explain your
reasoning.
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o Assessment: Can students improvise over two measures in 4/4 time with steady
beat and appropriate musical decisions using the F pentatonic scale on Orff
instruments?
Assessment
Students will complete self-evaluations about how they felt about improvisation in this activity
using the following scale. This will be an exit ticket that they give the teacher as they leave the
classroom. Teacher will write down observations about each students’ performance as they
perform around the room.
Name: __________________________________________
Give a rating for how much you enjoyed the improvisation activity!
Why did you give it this rating?
Historical/Cultural Connections: N/A
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Objectives
1. Students will compose a 4-bar phrase as a class using F pentatonic scale, call and
response, and steady beat.
2. Students will compose a 4-bar phrase in pairs in 4/4 time using the F pentatonic scale,
call and response, and steady beat. Students will notate their composition using iconic or
standard notation.
3. Students will perform their composition from their notation with accurate pitch and
rhythm for an audience.
Standards Addressed

MU:Cr3.2.2a Convey expressive intent for a specific purpose by presenting a final version of
personal musical ideas to peers or informal audience.
MU:Pr6.1.2b Perform appropriately for the audience and purpose.
Materials
Orff Instruments
Whiteboard (for class composition)
Paper and writing utensils (for individual compositions)
Recording device (for assessment and e-portfolio purposes)
Sequence
o Ss will review their part melodies from Lesson 11. This will get them used to the
instruments again and get them thinking about creating and improvising.
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 Activity 1 – Write a 4-bar composition as a class
o T: “Alright class, today we are going to be doing our last lesson over call and
response. I have a special project planned for us to wrap up everything that we
have learned.”
o T: “We’re going to start by writing some of our own music as a class. We’re
going to use our instruments and write something for 4 bars.”
 T: “Let’s start with the first measure. How should our little song start?” Ss
give suggestions and T writes their ideas on the board. If students struggle
to come up with ideas, give them a few seconds to play on their own to
come up with ideas.
o T continues to take student input and develop the composition. T will provide
suggestions as needed.
 T: “How can we incorporate call and response into our composition?”
Take suggestions and apply them to the composition.
o T: “I’m going to write our song on the staff, but I’ll also write the note letters.”
o Once the composition is written on the board, T and Ss will practice performing
it. Repeat as needed until students are comfortable, breaking it down as necessary.
o Assessment: Can students compose a 4-bar song as a class using steady beat, F
pentatonic scale, and call and response?
 Activity 2 – Introduce composition project and guidelines
o T: “Now that we’ve practiced composing as a class, you’re going to get the
chance to compose with a friend.”
o T explains the following guidelines for Ss:
 Your composition will last 4 measures and will be in 4/4 time.
 There must be a steady beat.
 Use icons or standard notation to write out your composition.
 You can use instruments, voices, or body percussion for your composition.
 Your composition should include call and response.
 You’ll perform your composition for the class once everyone is done.
o T writes all of these concepts on the board for students so they can remember. T
asks if there are any questions:
 T: “I’m going to let you choose your partner and you will have time to
work together to make your composition.”
o T will walk around as students work to check in on their progress. T will ask
questions about notation and will check to make sure Ss are including call and
response.
o Give students enough time to develop their compositions (this may last over a few
class periods, as time allows).
o Assessment: Can students compose a 4-bar phrase in 4/4 time using F pentatonic,
steady beat, and call and response? Do they accurately document their
composition using iconic/standard notation?
 Activity 3 – Perform for classmates
o T: “I really appreciate how well each of you have been working to come up with
your compositions. There are lots of great musical ideas and I know that your
classmates are really going to enjoy your performance.”
56
o T discusses proper audience behaviors to remind students of how to be respectful
during a performance.
o T asks for pairs to volunteer to perform their composition
 After each performance, the class will clap and T will give specific
praise/feedback over something that the students did well in their
performance or composition.
 T will use a rubric to evaluate Ss performances.
o Assessment: Can students accurately perform their composition from notation to
the class audience? Can students demonstrate appropriate audience behavior
during a performance.
Assessment (including Unit Post-Assessment)

Students will perform their composition for their peers and the teacher will use the following
rubric to assess their preparation and their performance.
Student Names:
0 1 2 3
Name on notation Students did Students

paper not include included both
both names names on their
on the notation paper.
notation
paper.
Use of Call and Students do Students Students include Students include
Response not include included call appropriate call appropriate call
call and and response and response in and response in
response in in their their their
their composition, composition, but composition, and
composition. but it is not it is not clearly it is clearly
musically communicated in performed in
appropriate. performance. their
performance.
Steady Beat Students do Students Students perform Students perform
not maintain perform with with 2-3 lapses with 1 or less
a steady beat 4 or more in steady beat. lapses in steady
in their lapses in beat.
performance. steady beat.
Performance Presence Students do Students Students perform Students perform
not perform perform, but for their peers for their peers
for their do not exhibit respectfully, but respectfully and
peers. appropriate lack enthusiasm. enthusiastically.
levels of
respect or
enthusiasm.
57
- Post Assessment: Students will perform their composition for their peers and the teacher
will record each of their performances to determine if they have mastered call and
response. Videos will be kept in an e-portfolio for each class.
Historical/Cultural Connections:
Students may draw connections to songs from other cultures that we have done in this unit. If
they choose to draw connections between other cultures, ask them to explain these connections
before they give their performance.
58

Full Elementary Unit

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Elementary

Unit Outline ...............................................................................................................4

Lesson Plans ..............................................................................................................7

Lesson #1 - Prepare ................................................................................................................... 8

Lesson #2 - Prepare ................................................................................................................. 12

Lesson #3 - Prepare ................................................................................................................. 18

Lesson #4 – Present ................................................................................................................. 23

Lesson #5 – Practice ................................................................................................................ 27

Lesson #6 – Practice ................................................................................................................ 31

Lesson #7 – Practice ................................................................................................................ 36

Lesson #8 – Practice ................................................................................................................ 40

Lesson #9 – Practice ................................................................................................................ 43

Lesson #10 – Practice .............................................................................................................. 46

Lesson #11 – Practice .............................................................................................................. 51

Lesson #12 – Practice .............................................................................................................. 55

Correctly identified verse and Did not correctly identify

Name on notation Students did Students

1. Michael Row Your Boat Ashore

A Song’s Pedagogical Use Table:

Melody Teaching melodies with complex rhythms, me-do

I got a letter this mornin

Activity #1 – Learn the first verse

Activity #2 – Add Movement

Activity #3 – Sing one section with movement

Name: Emerging Meeting Exceeding

Historical/Cultural Context: “Michael, Row the Boat Ashore” is an African-American

Cross-Curricular Connections: Connections to American history by describing the life of

Song Analysis Table: Michael Row Your Boat Ashore

A Song’s Pedagogical Use Table:

Melody Hexachord, mi-fa, do-mi-sol

Lit – tle chic – ken

o Solfege patterns for the song:

Historical/Cultural Connections: This is an American folk song, likely of African-American

Cross-curricular connections: N/A

Song Analysis Table: Chicken on the Fence Post

A Song’s Pedagogical Use Table:

Melody Pentatonic (Do, re, mi, sol, la)

Chicken on the fence post

Activity #1: Review Song and Identify Contrasting Sections

Activity #2: Label the sections with colored shapes

Activity #3: Sing the song from notation in separate parts

Cross Curricular Connections: N/A

Song Analysis Table: Michael Row Your Boat Ashore

A Song’s Pedagogical Use Table:

Melody Hexachord, mi-fa, do-mi-sol

Michael row the boat ashore, Hallelujah (2x)

 Activity 2 – Identify Call and Response aurally and visually

 Activity 3 – Improvisation with notation

Song Analysis Table: I Got a Letter

A Song’s Pedagogical Use Table:

Melody Teaching melodies with complex rhythms, me-do

I got a letter this mornin

Lit – tle chic - ken

 Activity 1 – Review the song on Orff Instruments

Lit – tle chic - ken

 Activity 3 – Determine if “Chicken on the Fence Post” is Call and Response

Song Analysis Table: Chicken on the Fence Post

A Song’s Pedagogical Use Table:

Melody Pentatonic (Do, re, mi, sol, la)

Chicken on the fence post

3. Based on your observations, do you think this is a call and response

Historical/Cultural Background: “Michael, Row the Boat Ashore” is an African-American

Cross Curricular Connections: N/A