POKARE KARE ANA

Words and Music by Paware

Tomoana; Arranged by Mark O’Leary
Secondary Unit: Morgan McCabe

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Table of Contents 2
Teacher’s Guide 3
Student Learning Goals 3
National Standards 3
Approximate Translation 4
Pronunciation Guide 4
Lesson Plans 5
Lesson 1: Diction 5
Lesson 2: Culture/History 7
Lesson 3: Rounds 9
Lesson 4: Listening 11
Lesson 5: Performance 13

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Pokare Kare Ana
Words and Music by Paware Tomoana
Arranged by Mark O’Leary
Duration – 3:00 Minutes
Two-part
Rehearsal – Flute part; Originally composed for guitar but piano can be used.

• Students will perform correct diction in order to be understood by the audience.

• Students will perform rounds with correct intonation.
• Students will evaluate performances of Pokare Kare Ana and discuss what aspects they
would like to incorporate with their own and what they would critique.
• Students will perform in quartets.
• Students will evaluate quartets considering pitch, balance, and character.
• Students will learn correct pronunciation of the Maori language.
• Students will research the history of the Te Awara Tribe.

• Cr.1.I Compose and improvise ideas for melodies and rhythmic passages based on
characteristic(s) of music or text(s) studied in rehearsal.
• Pr.1.N Select varied repertoire to study based on interest, music reading skills (where
appropriate), an understanding of the structure of the music, context, and the technical
skill of the individual or ensemble.
• Re.2.I Describe how understanding context and the way the elements of music are
manipulated inform the response to music.
• Re.1.I Explain reasons for selecting music citing characteristics found in the music and
connections to interest, purpose, and context.
• Re.3.P Explain and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts, (when
appropriate) the setting of the text, and personal research.

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 • Pr6.1.E.5b Demonstrate an understanding of the context of the music through prepared
and improvised performances.
• Pr5.1.7a Identify and apply collaboratively developed criteria (such as demonstrating
correct interpretation of notation, technical skill of performer, originality, emotional
impact, and interest) to rehearse, refine, and determine when the music is ready to
perform.
• Cr.3.P Evaluate and refine draft melodies, rhythmic passages, arrangements, and
improvisations based on established criteria, including the extent to which they address
identified purposes.
• Re.3.Ac Support interpretations of the expressive intent and meaning of musical works
citing as evidence the treatment of the elements of music, contexts, (when appropriate)
the setting of the text, and varied researched sources.
• Pr.2.Ad Examine, evaluate, and critique, using music reading skills where appropriate,
how the structure and context impact and inform prepared and improvised performances.

Verse 1: I pine for you across the waters of Rotorua.

Chorus: Return to me girl, I am sick with love for you.
Verse 2: I write to you and seek the approval of your family.
Verse 3: Without your love, I am sad, and weep.
Verse 4: Write to me, I am still consumed by my love for you.

Vowels and consonants in the Maori language should mostly be pronounced as if reading Italian.
Following are some instances with special pronunciation:
Ai (as in mai, wai) as in the English word why
Ng (as in nga, rigna) as in the word sing
Wh (as in whiti and whati) f, as in fun

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Objectives
• Students will recite the text of Pokare Kare Ana using the correct diction and text
emphasis with fewer than five mistakes.
• Students will speak the text of Pokare Kare Ana in rhythm with fewer than five mistakes.
• Students will identify consonant and vowel differences between English and the Maori
language.

National Standards
• Cr.1.I Compose and improvise ideas for melodies and rhythmic passages based on
characteristic(s) of music or text(s) studied in rehearsal.
• Pr.1.N Select varied repertoire to study based on interest, music reading skills (where
appropriate), an understanding of the structure of the music, context, and the technical
skill of the individual or ensemble.
• Re.2.I Describe how understanding context and the way the elements of music are
manipulated inform the response to music.

Materials/Set-Up
• “Pokare Kare Ana” diction PowerPoint
• Diction sheet in student guide
• Metronome for steady pulse
• “Pokare Kare Ana” Sheet Music

Warm-Up
• Breathing Exercise
o Teacher pulses four beats with snaps to help the students feel the speed.
▪ Teacher: We are breathing in for four beats then breathing out four beats.
▪ Students: Breathe in for four beats; breathe out for four beats.
▪ Teacher will increase the breathing out by multiples of four.
▪ Students: Breathe in for four beats; breathe out for eight beats.
▪ Students: Breathe in for four beats; breathe out for twelve beats.
▪ Students: Breathe in for four beats; breathe out for sixteen beats.
▪ Students: Breathe in for four beats; breathe out for twenty beats.
▪ Students: Breathe in for four beats; breathe out for twenty-four beats.
• Solfege Exercise
o Teacher sings solfege and students after her.

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 ▪ Teacher: Do, Do, Re, Do
▪ Students: Do, Do, Re, Do
▪ Teacher: Do, Re, Mi, Re, Do
▪ Students: Do, Re, Mi, Re, Do
▪ Follow the pattern until the solfege is complete.

Sequence
1. Bring up the promethean board with diction PowerPoint loaded.
a. Pronunciation Guide
b. English Translation
c. Story behind the text- About the song
2. Teacher will go through the entire PowerPoint while having students pronounce the
various vowels, words, and syllables necessary to speak the piece with appropriate
diction.
3. Once through the PowerPoint, teacher will have the students bring out their copies of the
music and look through the various lines in each part.
a. Students will independently speak through the text, page by page, applying the
diction/pronunciation to the music.
4. Teacher will use the metronome to keep a steady beat as the students speak accurate
diction in rhythm. (Begin by playing the quarter-note at 60bpm, move to 70bpm, end on
the goal of 78bpm)
a. Each voice part will speak independently, with the support of their other voice
parts.
i. Part 1, Part 2
5. The parts will now come together and speak their rhythms accurately. Do this page by
page so the students can focus on memorizing?
6. Pitch can be added next if the student’s progress quickly.

Assessment
Informal, Formative
• Are the students using the correct diction/pronunciation?
• Is the text spoken clearly with appropriate word stress?
• Are students connecting the meaning of the text with the song?

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Objectives
• Students will identify one historical aspect of New Zealand that they did not know before
the lesson.
• Students will research about the Te Arawa tribe in small groups, with at least three
sources collected.
• Student will present in small groups on the T Arawa tribe using the provided guidelines
in the Te Arawa Tribe Project Rubric.

National Standards
• Re.1.I Explain reasons for selecting music citing characteristics found in the music and
connections to interest, purpose, and context.
• Re.3.P Explain and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts, (when
appropriate) the setting of the text, and personal research.

Materials/Set-Up
• Cultural Importance – Overview of New Zealand
• Pokare Kare Ana (Morgan McCabe).pptx
• Rubric of Culture Project in Student Guide/Expectations
• Computer access (laptops)
• Brainstorm Worksheet (student guide)
• Sources that students can use in research:
o https://teara.govt.nz/en/te-arawa/page-2
o https://www.rotoruamuseum.co.nz/visit-us/about-te-arawa/
o https://www.tearawafisheries.maori.nz/te-arawa-fisheries/being-te-
arawa_IDL=1_IDT=1178_ID=5371_.html
o https://www.newzealand.com/us/maori-culture/
o https://www.maori.com/

Sequence
1. Teacher has PowerPoint set up at the beginning of class.
a. Teacher runs through PowerPoint discussing culture, economy, agriculture, and
traditions of New Zealand.
2. Teacher has students write down one thing they learned about New Zealand and two
questions they still have about New Zealand.

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 3. Teacher transitions to the laptops that are provided in the classroom.
4. Teacher leads students in discussing valid and invalid sources for researching topics.
a. Do and Don’ts of Research
b. Teacher now provides acceptable links for the students to use to assist their
research.
5. Teacher assigns students into small groups of 3 or 4, then the students will begin
researching their topics.
6. Teacher will explain expectations for research project listed under Brainstorm Worksheet
in Student Guide
a. Teacher will take any questions from students.
7. Students will write down at least three sources in Brainstorm Worksheet before leaving
class.
8. Students will present projects three days later when the teacher will evaluate their work
using attached rubric.

Assessment
Formal
• Brainstorm Worksheet (See Student Guide)
• Culture Project Expectations (See Student Guide) and Rubric (shown below)
15 Points 10 Points 5 Points 1 Point Points
Earned
Topic/Content Excellent Good Some Not well
research: research: research; lack researched;
topic well majority of of depth topic not
covered with topic covered developed
all resources
Organization Excellent Good Some No
organization; organization: organization; organization
clarity of all majority of most
information information information
is clear unclear
Presentation All members 3 group 2 group 1 group
presented members members member
presented presented presented
Sources 3 resources 2 sources 1 source 0 sources
provided provided provided provided
SCORE: _____/60

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Objectives:
• Students will perform in a round, Row, Row, Row, Your Boat in two sections
confidently, with accurate pitch, rhythm, and intonation.
• Students will perform page 6 and 7 in a round, with accurate pitch, rhythm, and
intonation.

National Standards:
• Pr6.1.E.5b Demonstrate an understanding of the context of the music through prepared
and improvised performances.

Materials/Set-Up:
• Pokare Kare Ana by Paware Tomoana

Warm-Up
• Row, Row, Row, Your Boat
o Teacher will sing RRRYB for the class while they listen to the song.
▪ Students will repeat the song back to the teacher
▪ Techer will repeat again and ask the students to repeat again.
o “Now you start the song and listen to what I do.”
▪ Students start and Teacher comes in after four beats.
▪ “What did I do that was different.”
▪ Students: “You came in after us.”
▪ Students start again and Teacher comes in after four beats.
o Teacher now separates the groups into two. Teacher has first group begin and then
comes in with the second group.
▪ Sections will swap back and forth to become comfortable.

Sequence
1. Teacher has students pull out Pokare Kare Ana
2. Teacher asks students to turn to page 6
a. Teacher leads students in a review of the part 1 line, melody. Then has the group
sing it independently.
b. Teacher then reviews the part 2-line, counter melody. Then has full group sing it
independently.
3. “When we look at this page what do we notice about the two parts?”
a. “They start at different times.”
b. Teacher discusses how it works like a round.

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 4. Teacher has students practice the entrances on just words first so they can get a hang of
the differences.
5. Teacher then moves the students onto pitches and works with entrances.
a. Corrects any errors.
6. Teacher then has the students sing through pages 6 and 7 fully.

Assessment
Informal
• Are students actively participating in the song?
• Are students enjoying the song?
• Are students performing the round correctly?

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Objective
• Students will actively listen to another choir’s performance of Pokare Kare Ana.
• Students will evaluate another choir’s performance of Pokare Kare Ana by writing a short
evaluation of the choir’s musical choices. (Rubric Attached)
• Students will discuss with other classmates their thoughts on the choir’s performance.

National Standards
• Pr5.1.7a Identify and apply collaboratively developed criteria (such as demonstrating
correct interpretation of notation, technical skill of performer, originality, emotional
impact, and interest) to rehearse, refine, and determine when the music is ready to
perform.

Materials/Set-Up
• Projector System
• https://youtu.be/6tRz9CoiDbY
• Listening Guide

Sequence
1. Students begin class sitting in chairs in rows.
2. Teacher will ask various techniques students can use to be active musical listeners.
a. Techer will take a few ideas and write them on the board and add in other ideas of
the teacher.
3. Teacher will ask students to turn to the Listening Guide.
4. Teacher will play the Pokare Kare Ana listening example.
a. Play twice for students to write down ideas.
b. Teacher will pause after second listening for students to collect their thoughts.
5. Teacher will ask students for their ideas of the performance and the piece.
a. Teacher will stress the importance of constructive criticism and positive aspects.
b. Teacher will take a few ideas.
c. Teacher will have students split into smaller groups to discuss their ideas further.
d. Teacher will bring back to full group and ask each group for one aspect discussed.
6. Teacher will ask students to flip Listening Guide over and write down a paragraph of
their thoughts surrounding the performance.
7. Teacher will collect papers move onto next activity.

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Assessment
Formal
• Did students keep within the guidelines of the rubric? (Shown Below)
Informal
• Did students discuss within their groups their thoughts on Pokare Kare Ana?
• Did students actively listen during the listening portion?
In Class Reflections – Rubric
5 Points 3 Points 1 Point Points Earned
Music Concepts More than three 1-2 musical Zero musical
musical concepts concepts
concepts
Reflection Reflected Minimal Zero reflection
thoroughly on reflection; 1-2
the listening sentences
example
Writing/Grammar 2 or less More than three More then five
grammatical grammatical grammatical
mistakes; great errors; minimal mistakes; no
depth development depth.
SCORE: _______/15

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Objective:
• Students will perform independently in a quartet in front of the class on the piece Pokare
Kare Ana without any stops.
• Students will evaluate two quartet performances using the listening guide and reflection
rubric.
• Students will discuss as a group the musical concepts the ensemble could improve with
each student sharing at least one idea.

National Standards
• Cr.3.P Evaluate and refine draft melodies, rhythmic passages, arrangements, and
improvisations based on established criteria, including the extent to which they address
identified purposes.
• Re.3.Ac Support interpretations of the expressive intent and meaning of musical works
citing as evidence the treatment of the elements of music, contexts, (when appropriate)
the setting of the text, and varied researched sources.
• Pr.2.Ad Examine, evaluate, and critique, using music reading skills where appropriate,
how the structure and context impact and inform prepared and improvised performances.

Materials/Set-Up
• Chairs stacked out of the way for plenty of room for group space.
• Groups of student quartets made before class.
• Drone

Warm-Up
• “Do, Do-Re, Do”
o Students us a major scale to sing their way up the scale
▪ Pattern:
• Do
• Do Re Do
• Do Re Mi Re Do
• Do Re Mi Fa Mi Re Do
• Etc.
▪ Once students reach the top of the scale they do the pattern backwards
back down the scale.
• Do
• Do Ti Do

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 • Etc.
▪ Various voice parts can start at the low do and high do of the scale and
descend of ascend at the same time.
▪ This exercise can also be turned into a round.

Sequence
1. Teacher has the students enter the room and immediately go to their assigned quartet.
a. Warm-Up takes place within quartet
2. Teacher runs through trouble spots for pitches for various voice parts.
3. Teacher has quartets run through the piece as a whole ensemble a few times commenting
on musicality and fixing rhythms and pitches.
a. Teacher has students practice with drone pitch going.
4. Teacher allows quartets to practice independently and fix trouble spots within their own
quartet without teacher help.
a. Drone still playing throughout independent rehearsal.
5. Teacher brings ensemble back to class center.
a. Teacher asks for a quartet volunteer to begin performance aspect of activity.
b. Each quartet has a chance to sing a section of the piece, while the other students
use a listening guide in their student guide to evaluate the group.
i. Students will reflect on the quartet’s sound and how that impacts the
ensembles.
6. Once each quartet has gone and students have had time to reflect on at least two quartet
performances, the teacher will ask for students’ reflections on how what they heard can
translate to the group’s musicality.
a. Again, stress will be made on positive and constructive criticism.
b. Teacher will write ideas on board
7. Ensemble will sing Pokare Kare Ana and then reflect on what was different musically,
this time referring to the list on the board.

Assessment
Informal
• Are students actively participating in quartets?
• Did students try while singing in quartet?
Formal
• Quartet Evaluation Reflections
5 Points 3 Points 1 Point Points Earned
Music Concepts 3+ musical 1-2 musical Did not discuss
concepts concepts any musical
discussed discussed concepts
Reflection Reflected 1-2 sentences of Zero reflection
thoroughly on reflection. on the listening
the listening examples
example provided.

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Writing/Grammar 2 or less More than three More than five
grammatical grammatical grammatical
mistakes. errors. mistakes.
SCORE: _____/15

• Quartet Checklist

_____ Students attempted to sing Pokare Kare Ana

_____ Students perform accurate rhythm majority of performance.
_____ Students performed accurate pitch majority of performance

Additional Comments:

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