Sound Explorations II (Secondary) Sound Explorations II by moe_star

Sound Explorations II

Teaching Actions that Inspire Creative Work for Secondary School Music Teachers

Introduction

Music teaching is a complex activity. It requires a teacher to plan, enact and assess strategies in order to develop students’ musical understanding. These teaching decisions and processes embody a teacher’s knowledge, craft and judgement. They take into consideration the students’ profile, prior experience and the context that frames their learning.

Sound Explorations II is a resource compilation of Teaching Actions that encourage more creative work to enrich and stimulate students’ musical learning. It is a sequel to the first book which presents lesson ideas for teaching music composition at the lower secondary level. The term “Teaching Actions”, drawn from the Singapore Teaching Practice (STP), describes these to be “intentional and visible in the classroom” and that could be adapted based on students’ learning needs1 . The Teaching Actions in this compilation are contributions from all the secondary schools’ Music STAR Champions (2018) who attended a professional development workshop at the Singapore Teachers’ Academy for the aRts (STAR) in March 2018. They provide a music focus extending the examples of Teaching Actions provided in the STP, and fall within the Teaching Areas of Activating Prior Knowledge, Arousing Interest, Encouraging Learner Engagement and Facilitating Collaborative Learning.

We wish to express our appreciation to the STAR Champions for trialling and documenting their Teaching Actions for this compilation. We would also like to thank their school leaders for the continued support of the STAR Champions’ professional development journeys to build the capacities of our music teaching fraternity.

The Editorial Team:

Kelly Tang, Senior Academy Officer (Music)

Adeline Tan, Senior Academy Officer (Music)

Chua Siew Ling, Master Teacher (Music)

1https://opal.moe.edu.sg/stp/pedagogical-practices

N North Zone

ACTIVATING PRIOR KNOWLEDGE

STAR CHAMPION SCHOOL CLUSTER TEACHING ACTION KEY FOCUS PAGE

Chua Jing Lin, Eunice Montfort Secondary School N4 Guitar Competency/ Performance Chords, Guitar 21

ENCOURAGING LEARNER ENGAGEMENT

STAR CHAMPION SCHOOL CLUSTER TEACHING ACTION KEY FOCUS PAGE

Teoh Su-Mei Jeanette CHIJ St. Joseph’s Convent N1 Fun with Faded – Rhythm Composition Chord Progression, Rhythm, Keyboard, DAW 8

Sim Kok Heng Chung Cheng High School (Yishun) N2 Melody Improvisation over Chords Melody, Harmony, Chords, Keyboard 12

Ho Tze Liang, Shaun Yishun Secondary School Melodic Jamming with Keyboards Chords, Melody, Keybord 14

Tan Cijun Eudora Pei Hwa Secondary School N3 Improvising a 4-bar Bridge Chords, Instruments 16

Cindy Chia Pei Shan Punggol Secondary School N4 Ensemble Playing Ensemble Playing, Instruments 17 Mash-up Music Styles 18

Peck Pei Yi Francesca Greendale Secondary School Creating Strumming Patterns Chords, Ukulele 19

Isa Bin Dahlan Marsiling Secondary School N5 Accompaniment Variations Chords, Instruments 23

Lim Hui Wen Jwen Woodgrove Secondary School N7 Improvising Strumming Variations on the Ukulele Chords, Ukulele 25

Ng Sheh Feng Ahmad Ibrahim Secondary School N8 Combination Rhythms Using Body Percussion or Classroom Percussion Instruments Rhythm, Percussion 27

Jolene Khoo Li Wen Woodlands Ring Secondary School Simple Improvisation Interlocking Rhythms, Chants, Percussion 29

FACILITATING COLLABORATIVE LEARNING

STAR CHAMPION SCHOOL CLUSTER TEACHING ACTION KEY FOCUS PAGE

Peh Siew Hoon CHIJ St. Nicholas Girls’ School (Secondary) N6 Introduction to Singing/ Playing Collaboratively Singing, Keyboard, Percussion, Ensemble Playing 24

S South Zone

AROUSING INTEREST

ENCOURAGING LEARNER ENGAGEMENT

STAR CHAMPION SCHOOL CLUSTER TEACHING ACTION KEY FOCUS PAGE

Tang Suyun Mayflower Secondary

East Zone E

AROUSING INTEREST

STAR CHAMPION SCHOOL CLUSTER TEACHING ACTION KEY FOCUS PAGE

Rebecca Loke Chee Keong Temasek Secondary School E2 Rhythmic Flashcards for Improvisatory Singing Rhythm, Pentatonic Scale, Singing 59

Clara Sng Sok Hean East Spring Secondary School E3 Creating a 4-beat Percussion Line Using the Guitar Rhythm, Guitar, Percussion 60

ENCOURAGING LEARNER ENGAGEMENT

Nur Atika Binti Mohamed Naim Pasir Ris Crest Secondary School E1 Creating Lyrics to an Existing Loop-based Arrangement Lyric-Writing, Loops 56

Clara Sng Sok Hean East Spring Secondary School E3 Song Arrangement through Guitar Strumming and Guitar Percussion Rhythm, Guitar, Percussion 61

Teh Jane Khim St. Anthony’s Canossian Secondary School E4 Creating and Performing Syncopated Rhythms to an Instrumental Music Track

Syncopation, Cajón & Keyboard 64

Lee Chin Sin Dunman High School Improvisation for Musical Understanding Musical Phrasing, Cadence, Singing 62

Ng Eng Kee Paya Lebar Methodist Girls’ School (Secondary) E5 Improvising on a Folksong Chords, Rhythm, Harmony, Singing, Percussion 66

Yeo Zhi Sheng Joel Victoria School E7 Exploring Harmony, Modulation through Body Percussion and Singing Harmony, Part-Singing, Body Percussion 70

FACILITATING COLLABORATIVE LEARNING

STAR CHAMPION SCHOOL CLUSTER TEACHING ACTION KEY FOCUS PAGE

Leong Su Juen Pasir Ris Secondary School E6 Groovy Creations Chords, Melody, Singing, Percussion, Ensemble playing 68

West Zone W

ACTIVATING PRIOR KNOWLEDGE

AROUSING INTEREST

ENCOURAGING LEARNER

FACILITATING COLLABORATIVE LEARNING

ti-ti, ta, ta-a, ta-a-a-a. Students drag and drop the rhythms to the bars with the 0stinato bass pattern Am-F-C-G.

Fun with Faded –Rhythm Composition

Purpose

1. Students to compose their own 4-bar rhythm according to the 4 chords in the pop song Faded 1

2. Students have an opportunity to engage in simple part playing on the keyboard in pairs

Description

1. Students to open the DAW2 programme Mixcraft. Each section of the computer lab will choose a different instrument type (i.e. Strings – Ensemble, Keyboard – Piano, Keyboard – Organ).

Melody Improvisation over Chords

Purpose

Create a melody with a chosen chord progression

Description

Preparation

1. Teacher facilitates students’ singing in 2-part harmony.

• Line 1: m m m f f f m m m r r r

• Line 2: d d d d d d d d d t t t

2. Teacher explains concept of harmony and definition of a basic chord.

• Play the harmonised parts on a keyboard, then play Line 1 with other dissonant notes

• Explain that not every 2 notes gives you “harmonious” or “complementary” sonority

• Play the 2-part harmony again with a third line (s s s l l l s s s s s s) to complete the chords to allow students to feel the sonority

• Define a basic chord (1-3-5 relationship), illustrate using a picture of the keyboard with letter names of white keys shown and playing the notes of chord C. Write down notes on whiteboard

• Teacher asks students to identify the notes that are in the chord Dm if D is “1”. Students to write these notes on the whiteboard

• Students play chords C, Em, F, G either in pulse or rhythmically (to any meter/rhythm of choice) to apply understanding of chords

• Peer assessment for pitch and rhythm, group/class performance

• Teacher answers questions about major/minor chords during appropriate time/situation

Action

3. Students improvise 1 note from each chord on teacher-given lyrics.

• Show 4-line lyrics, tell students each line will be accompanied by 2 chords of the above progression

• Ask students to pick 1 note from chords C and Em (e.g. G, E), sing lyrics on G, then on E when chord changes from C to Em. Accompany with chords while students sing

• Ask students to pick 1 note from chords F and G (e.g. A, D), sing lyrics on A, then on D when chord changes from F to G. Accompany with chords while students sing

• Repeat for Lines 3 and 4

• Sing all 4 lines with chords played either in pulse or rhythmically (to any meter/rhythm of choice)

4. Students use chords from their choice song (previous lesson) to improvise a melody for the same lyrics.

5. Repeat Actions 3 and 4 with 2 different notes for each chord.

6. Repeat Actions 3 and 4 with 3 different notes for each chord.

Prior Knowledge Required

Students are able to find C on the keyboard.

What This May Lead To

1. Students perform the above, adding rhythmic ostinati and using a variety of instruments.

2. Students compose a melody with notes belonging to the accompanying chord.

3. Students compose a song with their own lyrics.

4. Students produce a graphic score outlining the melodic contour, accompanying chords and rhythmic groove.

5. Students describe their emotional response at significant moments in their song using the graphic score and indicate the expressive elements leading to those responses. Teachers can guide students to observe that musical responses differ from one person to another. Through the discussion, they learn to perceive and experience music with different perspectives.

6. Teacher asks students how they might do it differently.

Possible Delivery Challenges

1. Students may lack confidence in singing. Teacher can:

• Start singing activities with students from the beginning of Secondary 1, explain voice change as a normal process of puberty which affects male and female teenagers, and encourage them to keep on singing to gain control of the new voice

Assessment for Learning

1 Teacher assesses students’ ability to sing their chosen pitches correctly.

2 Teacher watches whether students are able to exhibit a clear tempo while improvising.

3 Teacher may facilitate peer feedback on specific areas to give students ownership of self/peers’ improvement.

4 Teacher assesses students’ understanding through conversations with them regarding what notes they have chosen and why.

5 Teacher assesses which students are more proficient and directs them to reinforce specific parts to assist groups to succeed.

• Find out who has already developed a new baritone voice, group these students together to sing at appropriate pitch and range

• Teacher plays Part 1 while singing Part 2 so that both parts may be differentiated by students singing either voice part. Do the opposite if necessary

• Get choir members to lead their peers

• Ask students on the left to sing Part 1 and students on the right to sing Part 2. When parts are stable, ask students on the right to walk between students on the left while singing. This would help address situations where singing is too soft to hear the harmony.

2. Students write down notes before improvising. Teacher can remind students that hearing should come first. For some students, this is a necessary learning pathway. Let them work through it and ask them to memorise it.

3. Students lack confidence in accompanying their singing with chords. Teacher can:

• Play and sing with them at the appropriate speed, and drop out gradually

• Practise with them and ask those who are able to join in

• Ask students to play bass notes instead of chords and use the single-fingered chord function in the electronic keyboard

4. Students decide to improvise syllabically without regular beats/tempo. Teacher can:

• Let them gain confidence first and ask them to record their own singing to review, then ask them how they might want to make it better

• Conduct a group performance to let them see how differently other groups might improvise, and it does not have to be syllabic throughout

• Have the group concerned observe 1 or 2 other groups with the teacher

• Play the rhythmic groove for the group, record and review

Cheng High School (Yishun)

Melodic Jamming with Keyboards

Improvise on the keyboard over the chords of Telok Blangah

Description

1. Teacher allocates a pair of students to one keyboard.

2. Teacher recaps C major and G major chords on keyboard.

3. While playing a percussion loop from GarageBand, teacher demonstrates exploring different rhythm patterns using C and G major chords. Teacher introduces the term “improvisation”.

4. Students try exploring different rhythm patterns when playing the chords.

5. Teacher gets some students to showcase their exploration.

6. Teacher asks students if there are any possible minor chords to go to after C major (e.g. D minor).

7. Teacher recaps D minor chord on keyboard.

8. Everyone in the class jams in a cycle of C Dm C G.

9. Teacher demonstrates playing melodically over the chords. Teacher introduces the notes that belong to the above chords, revolving around the root, second and third notes. Refer to the Notes for Students on next page.

10. Teacher asks 1 student from each pair to play a melodic line while the partner continues to play chords.

11. Students continue to jam melodically.

12. Students swop roles.

13. Selected pairs present their improvisation to the class.

14. Teacher plays the verse of Telok Blangah. Teacher asks students if anything sounds familiar (the chords).

Prior Knowledge Required

1. Students are familiar with the geography of the keyboard.

2. Students know chords I, ii, IV, V and vi of C major.

3. Students know basic rhythm patterns on keyboard.

What This May Lead To

1. Swopping of partners so that students experience different improvisations.

2. Using Musicking Cards to provoke thinking:

• Timbre (changing the instrument sounds on the keyboard)

• Tempo

• Dynamics

3. Larger group improvisation instead of pair work.

Possible Delivery Challenges

1. Students may not be able to keep a steady tempo, causing the improvisation to be messy. A possible solution would be to loop the drumbeat continuously and make it audible.

Notes for students

Jamming with Chords: C Dm C G

Jamming the Melody over Chords: Use the first 3 degrees of each chord

Change chords every 4 beats Play 1 note at a time

Change the melodic notes when your partner changes chords

Sw0p roles! Remember to keep a steady beat

2. Students may be hesitant to try the melody. Teacher can encourage students that there is no right or wrong melody or get them to try repeated notes if they are not confident of changing notes.

Assessment for Learning

1 Students to record their improvisation into GarageBand as a means of self-assessment and for teacher to check after lesson.

2 Teacher assesses students’ understanding of improvisation by getting segments of the class to play instead of the whole class.

3. The instruments may drown the voices. Teacher can get students to turn the keyboard volume to 50%.

Improvising a 4-bar Bridge

Purpose

Students will compose a 4-bar bridge on the song Lava based on their prior knowledge

Description

1. Students recap the various chords C, F, Am, G and G7.

2. Students recap the song Lava.

3. Teacher explains to students their task of changing the 4-bar bridge of the song Lava

4. Students work in groups of 5 to change the bridge by including at least 3 different chords and a mixture of rhythmic values (semibreve/minim/ crotchet).

5. Each group will perform their bridge before the entire class joins in by playing the chorus. This process is repeated until the entire class performs the improvised bridge.

Performance Sequence

Group 1 Bridge – Chorus (Class) –

Group 2 Bridge – Chorus (Class) –

Group 3 Bridge – Chorus (Class) –

Group 4 Bridge – Chorus (Class) –

Group 5 Bridge – Chorus (Class) –

Group 6 Bridge – Chorus (Class) –

Group 7 Bridge – Chorus (Class) –

Group 8 Bridge – Chorus (Class)

Prior Knowledge Required

1. Students have learnt how to play the different types of notes (i.e. semibreve, minim and crotchet).

2. Students have learnt how to play the chords C, F, Am, G and G7.

3. Students have learnt how to sing and play the chorus of Lava.

What This May Lead To Students will be able to compose their own background music for a silent clip.

Possible Delivery Challenges

1. Students may play the chords on the wrong beat. Teacher can keep the beat by either clapping the beat for them or playing the chords with students.

2. Certain groups may be unsure about their entrance for the bridge. Teacher can keep the song going by playing the home key, C chord, 4 or 8 times before the next group plays its own improvised bridge.

Assessment for Learning

1 Assess whether students are able to play the different chord progressions. Scaffold by teaching individual chords, introducing simple to complex chord progressions and breaking them down by focusing on the different pair of chords.

2 Watch for students’ ability to play the different rhythmic patterns in time. Scaffold by reinforcing the beat with students. This allows them to take ownership of their own learning.

Ensemble Playing

STAR CHAMPION

Cindy Chia Pei Shan SCHOOL

Punggol Secondary School

CLUSTER

N4 Purpose

To nurture students’ aural skills and understanding of each of their roles within an ensemble

Description

1. Students in groups play the pop song of their choice as a team with different parts (keyboard, guitar, vocal, drum).

2. Students practise and collaborate to play as a team.

3. Students discuss cue points in the music to keep the team together.

• Transition points (e.g. from verse to chorus) to ensure no breakdown in performance

• Reliant cue (who each role should listen to – e.g. guitarist/harmony player to follow melody line, melody player to listen to vocalist)

Prior Knowledge Required

Students have basic keyboard and guitar skills

What This May Lead To Composition – after understanding the impact and significance of each role and instrument use, students will have better musical knowledge to create compositions.

Possible Delivery Challenges

1. Students are not listening to one another and are unable to play together.

• Get drummer to play repetitive patterns to create clear cue on where the team is

• Get the team to watch the bass player as an aural cue on the direction of the music

2. Students are unable to progress well as they are musically weak.

Assessment for Learning

1 Teacher can provide ongoing consultations with teams to assess their learning progress.

2 Teacher evaluates the performance of students’ product and arrangement.

• Divide the tasks for students. (Instead of both guitarists doing 4 chords, each guitarist does 2 chords.)

• Set very clear objectives/tasks that they must meet by the end of lesson. Consultation time must strictly be used to resolve issues to help the team achieve their objectives/tasks

Mash-up

Purpose

To nurture students’ aural skills and understanding of different styles of music

Description

1. Students in groups to put up a mashup of their performance. Every student picks 1 song that they like (i.e. 4 students will have 4 songs).

2. Teacher provides a short part of the melody/chords to students. Students practise each short excerpt for each piece.

3. Students are required to string the pieces together to do a mash-up.

Prior Knowledge Required

Students know how to read the simplified score prepared for them.

What This May Lead To Composition – after understanding the impact and significance of each role and

instrument use, students will have better musical knowledge to create compositions.

Possible Delivery Challenges

1. Students are unable to put the pieces together.

• Students to analyse what are the common factors (e.g. same chord progression)

• Students to experiment and try to see how the songs may fit one another

2. Students are unable to progress well as they may lack musical experiences.

• Two teams to give each other feedback on what is positive and negative

• Students to talk about what are some of the issues and suggest possible solutions

• Teacher provides examples of mash-ups

Assessment for Learning

1 Teachers provide ongoing consultations with teams to assess their learning progress.

2 Teacher evaluates students’ performance of their product and arrangement.

TEACHING ACTION

Creating Strumming Patterns

STAR CHAMPION

Peck Pei Yi Francesca SCHOOL

Greendale Secondary School

CLUSTER

Purpose

To enable students to freely explore the possibilities of various strumming patterns

Description Warm-up

1. Teacher invites students to sit in a circle with their instruments.

2. Teacher demonstrates a strumming pattern for C chord and verbalises the strumming (e.g. D_DU_UD_).

3. Students listen first, then imitate teacher’s strumming pattern upon cues.

4. Actions 2 and 3 to be repeated a few times until students get the hang of it.

Chord Playing

5. Teacher invites students to decide which chord progression (from the chord card) to use.

6. Students play the chord progression for a few rounds to be familiar with the chords (4 counts each on chords C, G, Am and F).

7. Teacher continues playing. Teacher gets students to create their own strumming pattern on any chord they have played through (except C since this was done at the Warm-up).

8. Teacher gets everyone to play in this structure with a continuous flow: Student A All play C chord (demonstrated in Warm-up) Student B All play C chord etc

Note: As an extension, teacher may also get everyone to play in this structure: Student A All imitate Student A Student B All imitate Student B etc

Group Work I

9. Students work in groups of 5 and create their own strumming pattern.

10. Groups present their strumming pattern. Note: Teacher may cue group in (e.g. Group 1, 2, ready go, conducting or finger cues)

11. All (demonstrated strumming pattern) –Group 1 – All – Group 2 – All – Group 3…

Group Work II

12. Teacher merges 2 groups into one.

13. Students decide how to mix and match the different strumming patterns to accompany an existing pop song (e.g. Group 1: Intro & End, Group 2: Verse, Group 3: Chorus, Group 4: Bridge & Sing).

Prior Knowledge Required Students are able to:

1. Play different chord progressions (C-F-G-Am, G-C-D-Em).

2. Maintain steady pulse.

3. Play and sing at the same time.

4. Read chord chart.

What This May Lead To Discussion on the suitability of strumming pattern to songs.

Possible Delivery Challenges

1. Students may not be able to fit the strumming patterns into the beat. Teacher may encourage the more proficient students to help their peers as they work in groups.

2. Having to incorporate 2 strumming patterns may cause loss of focus. Teacher may wish to observe student discussions and/or encourage students to try different suggestions among peers in their groups.

3. Arguments may arise among students. Teacher may wish to model how students can work well together, e.g., how they can value one another’s suggestions and respect one another’s views.

Assessment for Learning

1 Teacher can watch for students’ ability to keep the time. Teacher scaffolds by reinforcing the beat with students.

2 Teacher assesses students’ ability to mimic the strumming pattern after their classmate’s demonstration.

3 Teacher observes students’ ability to learn from one another and gives them feedback.

TEACHING ACTION

Guitar Competency/ Performance

STAR CHAMPION

Purpose To get students to learn to play chords to accompany a part of a song

Description

1. Teacher works out chord progression with students on the song of their choice.

2. Students familiarise themselves with the chords independently.

3. Teacher leads class to do a mass practice, where the first chord of the progression is a chord that everyone has in their progression (see Example of Songs Selected by Groups and Corresponding Chords on next page).

4. Students play according to the beat and strum once every 4 counts (70 bpm1).

Assessment for Learning

1 Teacher can observe students practising in their groups and assess whether they need more guidance.

2 Through group presentations at mid-point checks, teacher can assess students’ ability to play the correct chord, transit the chords smoothly and keep time.

5. Students who are better at chord change can attempt to strum for 2 to 4 counts before changing chords.

6. Students work in groups to fit their strumming of their chord progression to the song.

Prior Knowledge Required Students already know 4 chords – G, D, Em and C.

What This May Lead To Students can try to work out their preferred strumming pattern to better fit the song.

Possible Delivery Challenges

1. Students are not able to practise on their own. Possible solutions would be to:

• Appoint group leaders to manage the group

• Get students to practise against a backing track with voice

2. The instruments may drown the voices when plugged in.

3. Without amplification, music may be too soft to get the attention of the audience. Hence, teacher may wish to amplify the sound, when necessary.

1Beats per minute

Example of Songs Selected by Groups and Corresponding Chords

Student Groups

Group 1 All Star [Chorus]

G – D – Am – C

Group 2 Fight Song [Chorus] G

Group 3 Photograph [Chorus] G – D

Group 4 It’s My Life [Chorus]

Group 5 Don’t Let Me Down [Verse and Chorus] C – G – D – Em

Group 6 Perfect [Chorus]

– C – G – D

Group 7 Just The Way You Are [Whole song]

G – Em – C – G

Group 8 Thousand Years [Chorus]

G – Em – C – D

Group 9 Treat You Better [Chorus]

Accompaniment Variations

Purpose

For students to create their own accompaniment style

Description

Demonstrate to students how they can vary their accompaniment style by using a worksheet and live demonstration.

1. Teacher gives out the worksheet on accompaniment patterns. Please see worksheet example (Annex A) below.

2. Teacher demonstrates these accompaniment styles.

3. Students try these accompaniment styles.

4. Students try the different accompaniment styles as they play the melody in their group practice sessions.

Assessment for Learning

G G Em

1 Teacher goes around the class and observes how students are applying these new accompaniment styles. Teacher gives help to any group who might need it.

2 Teacher gets students to perform and sees whether they are on the right track.

5. Students practise what they have decided as a group.

6. Students perform.

Prior Knowledge Required

1. Students know how to play the melody of the song.

2. Students are able to play and change chords comfortably.

3. Students are able to perform melody and chords together.

What This May Lead To Students are able to create more parts (i.e. basslines, counter melody) and lines, and form bigger ensembles.

Possible Delivery Challenges

1. Students may find some accompaniment styles difficult to coordinate. Teacher may guide students to modify and play the accompaniment styles that they can cope with first.

2. Students may not be able to come up with a suitable accompaniment style. Teacher can allow students to revert to a simpler style.

Note: The chords are played in this order for warm-up and practice as a class

5 Mixture of Low, Middle, High notes

TEACHING ACTION

Introduction to Singing/ Playing Collaboratively

Purpose

Students to experience group musicmaking through non-formal approach

CHIJ

Description

1. Teacher invites students to form 3 sections based on their preferences – vocals, keyboards, percussion.

2. Teacher states the task requirements for each section:

• Vocals – Create lyrics on the theme (School) and to perform (say or sing) it in 4/4 time

• Keyboards – Create an accompaniment pattern using only C major and G major chords in 4/4 time

• Percussion – Create a rhythmic pattern in 4/4 time on instruments of their choice

3. Group rehearsal (10 minutes).

Assessment for Learning

1 Teacher observes students’ competency to do the various tasks. If students are unable to handle the task, teacher can provide further scaffolding or easier options.

4. Each section performs their work.

5. Teacher gets students to perform the work as a class.

6. Teacher facilitates class discussion on how to improve the piece (e.g. tempo, dynamics, texture, structure, balance).

7. Class performs the piece based on the musical decisions everyone made.

Prior Knowledge Required

Students have some experience in lyric writing, are familiar with playing C major and G major chords on the keyboard, and are able to keep a steady beat.

What This May Lead To Further group composing activities.

Possible Delivery Challenges

Some students may find it challenging to start on the task. Teacher may need to facilitate their brainstorming process.

Improvising Strumming Variations on the Ukulele

Purpose

The main purpose of this activity is to develop students’ understanding of musical elements such as rhythm, tempo and pulse through strumming patterns. Students explore and create alternative strumming patterns to fill a 4-beat chord progression, and later apply what they have learnt to existing songs.

Description

1. Teacher shows a few different strumming patterns on the screen (see diagram below).

Listen and identify the strumming

2. Teacher plays a strumming pattern on the ukulele while students identify the correct strumming pattern shown on the screen by listening and observing.

3. After identifying the teacher’s strumming pattern, students learn and imitate it on their own ukuleles (call and response). To help students keep in beat while strumming, the teacher

uses a recorded backing track that plays a simple chord progression.

4. Students to create/improvise a new strumming pattern in pairs for the recorded chord progression they had just heard, using their own ukuleles.

5. A few students are selected to demonstrate their ideas by playing their improvised strumming responses to the backing track.

6. The rest of the class imitate the created/improvised strumming pattern that was demonstrated by their peers (call and response).

7. Students apply what they have learnt to existing songs by selecting a strumming pattern that would be suitable for their choice of song.

Prior Knowledge Required

1. Students must have basic ukulele skills – tuning, simple chord progressions and basic strumming patterns.

2. Students must have an understanding of 2, 3 and 4 time (time signatures), rhythms, and beats.

What This May Lead To Improvisation of songs incorporating strumming patterns not taught in class.

Combination Rhythms Using Body Percussion or Classroom Percussion Instruments

Possible Delivery Challenges

1. Some students may create a strumming pattern that is not able to fit into a 4-beat chord progression. Others may go faster in tempo while strumming. Apart from using a recorded backing track to help students keep time, teachers can also recap tempo and beats using body percussion or percussion instruments.

2. Observe students’ reactions and responses to the activity. Students may get restless if the activity is repeated too many times (or too many students are selected to demonstrate their strumming pattern).

3. Some students may be reserved in demonstrating their strumming pattern. If so, get them to demonstrate in pairs.

4. Some students may have difficulty coming up with a strumming pattern. Thus, the teacher needs to facilitate by providing suggestions or making adjustments to their ideas. Students can also notate their ideas (e.g. draw up and down arrows) to help them visualise their ideas better.

Assessment for Learning

1 Assess students’ ability to create and improvise strumming variations on a given recording track of a chord progression. Teachers may also get students to explore and manipulate other musical elements, such as tempo and dynamics, on their improvised strumming pattern.

2 Identify students’ ability to strum their improvised strumming pattern in pulse and in a constant tempo on the ukulele. Scaffold by reinforcing the beat with students either by tapping the beat on percussion instruments or using a backing track consisting of a simple chord progression. Dividing the class into smaller groups to play at a time can also be effective in helping students keep the pulse.

Purpose

Students come up with different rhythms and sounds to make a combined rhythm in small groups, as accompaniment to a given song/song of their choice

Description

1. Teacher asks students to form clusters of 4 or 5.

2. Students pick 2 to 3 classroom percussion instruments per cluster (the rest will use body percussion or vocal sounds).

3. In their clusters, each student is to come up with a “loopable” sound and rhythm that fits into the meter of the selected song (usually 4/4).

4. Students then combine their individual rhythms/sounds with others in their cluster. They should now decide if their original rhythms/ sounds contrast with or complement those of the other cluster members.

5. [Optional] Teacher may distribute Musicking Cards to prompt further thinking about and experimentation with various musical elements (e.g. dynamics, articulation).

6. Using a recording of the song as a backing track, each clusters perform their rhythmic accompaniment to the rest of the class.

Prior Knowledge Required

1. Students must already be familiar with the chosen song(s).

2. Students must have some concept of meter and how to compose rhythms within the meter.

3. Students should have some experience with percussion instruments/body percussion and the types of sounds produced.

What This May Lead To

1. Singing and playing concurrently (multi-tasking).

2. Creating harmonic accompaniment using classroom instruments (piano, guitar) or technological music aids (e.g. GarageBand on iPad, keyboards).

3. Musical notation – writing down composed rhythms, performing other groups’ notated rhythms.

TEACHING ACTION

Simple Improvisation

[This takes about 2 lessons, 1 hour each]

Possible Delivery Challenges

1. Students may lose count during the performance to the backing track. Keep the beat by counting aloud and noticing where each downbeat is.

2. Students may become restless when other groups are performing. Try getting the rest of the class to provide the “back beat” – tapping lightly to keep pulse or singing along to the backing track.

3. Students may be unable to provide a satisfactory rhythmic accompaniment to the soundtrack.

4. Students may be distracted by the rhythmic accompaniment already present in the soundtrack. Alternative: Use minus one track or teacher plays and sings music using classroom instruments.

Assessment for Learning

1 Watch for students’ ability to keep time on their own, as well as with backing music. Scaffold by reinforcing the beat with students, then stop and let students play on their own.

2 Watch for students who do not get the concept of a “looping” rhythm. Demonstrate with some examples, before getting students to try on their own.

STAR CHAMPION

Jolene Khoo Li Wen SCHOOL

Woodlands Ring Secondary School CLUSTER

N8 Purpose To build students’ confidence in improvisation through a safe learning environment

Description

1. Interlocking Rhythms (Section 1):

• Teacher gets students to sit facing the front – 8 columns, 5 rows

• Teacher introduces rhythms one at a time:

Beat 1 n 2 n 3 n 4 n

Rhythm 1 X X X X X X

Rhythm 2 X X X X Rhythm 3 X X X X X Rhythm 4 X X X X

• Teacher demonstrates Rhythm 1, which students imitate 2 times

• Teacher gives students about 15 seconds to figure out Rhythm 2 on their own. Teacher then gets everyone to clap Rhythm 2 together

• Teacher splits the class in half. One half will clap Rhythm 1 and the other half will clap Rhythm 2

• Teacher gives students about 15 seconds to figure out Rhythm 3 on their own. Teacher then gets everyone to clap Rhythm 3 together

• Teacher splits the class into 3 groups. The first group will clap Rhythm 1, the second group claps Rhythm 2 and the third group claps Rhythm 3

• Teacher gives students about 15 seconds to figure out Rhythm 4 on their own. Teacher then gets everyone to clap Rhythm 4 together

• Teacher splits the class into 4 groups, each group clapping a different rhythm

2. Improvising text on vocals (Section 2):

• Teacher writes down the word “Gratus’”on the board (This is the 20th Anniversary Theme for Woodlands Ring Secondary School)

• Teacher facilitates Think-pairshare: “What does Gratus mean to you?”

• Teacher instructs the class to read out the words together

• Students recite the words in their own rhythmic chant while teacher keeps the beat

• Teacher introduces Musicking Cards to get students to recite their chants differently

3. Putting 2 sections together:

• Following from the previous section (Words chant), teacher says, “After 4, clap your rhythms” to prepare the students to change to Section 1

• To transit from Section 2 to Section 1, teacher counts out loud, “1, 2, 3, change!”

students to create their own rhythm, while teacher still keeps the beat for the class.

5. Teacher defines the sections that have been created previously:

[Title] [Composer]

• While everyone is playing Section 1, teacher plays above them, a new rhythm with heavy rhythmic accents and invites students to imitate the rhythm (aurally):

[Title] [Composer]

[Title] [Composer] Score

[Title] [Composer]

• Section 1: Interlocking Rhythms

• Section 2: Word Chant

• Section 3: Rhythm Improvisation

• Transition

6. Teacher defines the cues:

• Teacher tells students to take note of the above rhythm. When they hear it, they should stop their rhythms and imitate this transition. After the 8 repeated quavers, they will go into their word chant

• The class to practise the transition from Section 1 to Section 2 with the above rhythm, then transit back to Section 1 with the vocal preparation “After 4, play the rhythm”, then count “1, 2, 3, change”

• Once students follow the change well, teacher instructs the class to get percussion instruments:

i. Rhythm 1: Drums (cajón, kompang, hand drums, etc.)

ii. Rhythm 2: Bells, tambourines

iii. Rhythm 3: Metallic instruments (triangles, cow bell etc.)

iv. Rhythm 4: Shakers, maracas

• Class then performs Sections 1 and 2, with the transition, using the instruments

• Teacher uses Musicking Cards to direct the performance musically

4. Improvising rhythms on instruments (Section 3): While the class is playing the rhythm section, teacher invites

• Teacher raises finger in the air (indicating 1, 2, 3, 4 to count in) while raising another hand to cue the students to start (Teacher then explains each cue)

• Teacher facilitates getting students to perform

Prior Knowledge Required

1. Students are able to keep the beat.

2. Students have gone through a lesson on kompang music and are learning about interlocking rhythms and rhythm improvisation.

What This May Lead To STOMP, songwriting, etc.

Possible Delivery Challenges

1. Students may get faster with the beat. Keep the beat by playing the drums with students or count out loud for them.

2. Students may lose the rhythm halfway. Teacher should always be watching the class, count aloud for them and clap the rhythms for the group that is lost. Teacher leads by standing in front of the groups.

3. Students may get excited over the instruments and play them in their

own way, not following instructions given. Teacher can use routines and tell students about the consequence of their actions before the students pick their instruments. A routine may be providing a visual cue for students to put their instruments down and keep quiet.

4. Students may not be used to improvisation and may be shy to do so. Teacher can encourage them and pick out interesting ideas the students created.

5. Teacher’s guiding beat may get drowned out by 40 students playing on their percussion instruments together. Teacher may use Musicking Cards to direct the volume “loud and soft”. Teacher can limit the instrument choices to the soft-moderately loud ones only.

6. Students may get restless. Teacher can make use of the Timbre and Articulation cards to get students to perform their rhythms/word chant using the various musical concepts. The changes will make it more interesting for the students.

Assessment for Learning

Ensemble:

1 Students are able to play in time.

2 Students are able to hold their own part confidently.

Creating:

1 Students are able to create their rhythms independently.

Musical Concept:

1 Students understand the musical concepts (dynamics, pitch, articulation, timbre).

2 Students are able to apply the musical concepts into their performance.

N S E W

South Zone

Composing for Musical Understanding

Purpose

Creating a melody from chord progression

Description

Students will learn to compose licks on the ukulele. The melodic phrases will be confined to Strings 2 and 3 of the ukulele for this lesson. This is aimed at simplifying the instruction process when introducing students to melodic creation. The harmonic progression used in this context is drawn from the 12-bar blues.

1. Students sit in columns facing the teacher.

2. Teacher recapitulates placement of fret numbers and string numbers.

3. Teacher gives instruction for students to prepare for playing on String 3.

4. Teacher gives instruction to “play after me”.

5. Teacher begins by using 1 note (fret number) only, e.g. Fret 4, and calls out 4_ 4_ 4_ 4_ simultaneously.

6. Teacher maintains rhythmic pulse by using gestures to cue students to respond in time during this Imitation segment.

7. From the 4-crotchet beat pattern, teacher plays in quavers and syncopated rhythms on the same fret number before moving onto another single fret number.

8. Teacher then incorporates 2 fret numbers using the same process of 4 crotchet beats in a bar rhythmic pattern.

E.g. 9 _ 10(T)_ 9_10 9 9 T T 9 9 T_ 9_ _9 T_ _T

9. Teacher varies the rhythmic patterns to expose students to different rhythmic patterns.

10. Teacher allocates time for students to work in pairs to create 2 bars of lick for C7 and F7.

Note: Teacher could limit to one V7 chord if students require more time.

11. Teacher facilitates while students create their 2-bar licks.

12. For pairs of students who are ready with their 2-bar licks, teacher will help them form groups of 4. In these groups, students will play for one another before they attempt to play their short melodies to the accompaniment of chords played by their group members. (In this context, the 12-bar blues harmonic progression was used.)

13. These groups are also instructed to decide the sequence of presentation (i.e. who would begin the 2-bar phrase to the first 4 chords of C7 and first 2 chords of F7. All 4 students must experience the different roles – playing the accompaniment as well as playing the melodic licks).

14. Students notate their melodic creation on the given template.

Prior Knowledge Required

Students have learnt how to play the dyads of C7, F7 and G7. They are able to maintain the progression at a fairly steady pulse. Students have learnt to pinch rather than strum the dyads. They also know the placement of fret numbers on the ukulele and have clarity on the strings to use for the respective V7 chords. Students have also learnt to “pluck” the strings.

What This May Lead To

Students will eventually be able to play their own melodies to a 12-bar blues chord progression. Students may include a bass line as well as a rhythmic filler at the end of the 12-bar set.

Possible Delivery Challenges

1. Students may be confused with the technique of playing dyads and melodic notes. They will attempt to strum the 2 strings or all the strings due to their previous experience of learning C, F, G, Am and Dm chords. And they may apply more strength than necessary when plucking individual strings for their licks.

2. There is a need for a backing track or teacher accompaniment to help keep a steady pulse.

3. Teacher should be mindful of the need to set a slow tempo for students to move and to encourage stretch between frets.

4. During the imitation (call and response) segment, it may be necessary to amplify the teacher’s ukulele since single string can be quite soft. Alternatively, a keyboard will need to be used to provide audible harmonic support.

Assessment for Learning

1 Teacher can check if students are able to achieve goal of creating 2-measure licks while facilitating session.

2 Teacher groups 2 pairs of students to share their ideas. Teacher encourages peers to review and offer suggestions to make improvements.

3 Teacher can use exit pass which allows students to ask for specific help or clarification.

5. To provide visual learners with support such as the diagrams provided above to give more clarity.

6. There may be some resistance from students to create melodies due to a lack of confidence. To overcome this, teacher can provide inspiration by introducing local composers’ biographies and their videos e.g. Jasmin Sokko. Also providing a backing track (which is easily available from YouTube) does encourage students to work on creating short melodies.

Adapting a Song to Create a Composition with a Storyline

Purpose

1. To be able to play the last 4 bars of the chorus from the song Dui Shou (对手) – To Be A Better Me accurately

2. To be able to create music and a storyline based on the given melody

Description

1. Teacher notates the last 4 bars of the chorus from the song Dui Shou (对手) – To Be A Better Me on the whiteboard.

2. Teacher asks students to take note of what/how they feel when they hear the music.

3. Teacher plays the tune on the piano so students are familiar with the tune and rhythm.

4. Teacher elicits response from students and writes on the whiteboard. E.g. It sounds like something is completed. The first part sounds like the school bell.

5. Teacher divides the class into 5 groups. Each group collects a set of Belleplates (low pitch, middle pitch, high pitch), marker and mini whiteboard.

6. Teacher sets task: Compose a 30-second piece of music with a storyline, consisting of 5 sentences. Students may use the student responses written on the whiteboard. Students are to create music based on

each sentence. The exact notes and rhythm from the whiteboard must be included somewhere in their music. Students should explain the context/ idea of the music composition.

7. Students work on their composition in their groups.

8. Teacher facilitates the creation and improves every group composition through open-ended questions.

9. Students perform for one another and the teacher records the performances.

10. Students watch the performances again and reflect on the composition process.

Prior Knowledge Required

Students have played on belleplates before.

What This May Lead To

Students learn to sing the song Dui Shou (对手) – To Be A Better Me from beginning to end. The teacher may then use other segments of the song to derive similar stimuli for composing.

Possible Delivery Challenges

1. Students may be reluctant to participate as it is group work. Suggestion is to assign each member a specific task.

2. Students come up with inappropriate storylines. Specify what is not permitted.

3. As all students are in the same room, some groups may not be able to listen to each other. Provide alternative venue for practice/discussion.

4. Students spend too much time agreeing/deciding on the context that they forget they have to create the music.

Assessment for Learning

1 Teacher ensures the groups are able to play the exact notes and rhythm of the given 4 bars. If students are unable to play, teacher should scaffold by breaking up the process into 2 bars.

2 Teacher assesses the music created to portray the context/idea. Teacher can ask open-ended questions to provoke student thinking or give examples of scenarios that students can relate to.

CHAMPION

Jaime Lim Hwee Fung

TEACHING ACTION

Generating Compositional Ideas

Purpose

To equip and encourage students to generate diverse musical ideas that have potential for further development in a composition. The observation is that students tend to only conceive ideas in terms of pitch and/or rhythm, without active consideration of other aspects like dynamics, texture and articulation (which are equally important).

Description

1. Teacher plays some music passages from different works. Teacher conducts a brief analysis of:

• What features are inherent in the initial musical idea

• How other composers mine this potential in musical development

2. Students work in groups of 2 or 3 to generate 3 ideas (no more than 10-20 seconds each).

Note: The idea is not to continue developing them yet, but just to generate something which is musically compelling.

3. These ideas are shared with the whole class. The students who generated ideas comment on aspects of their ideas which they feel are worth developing, while their classmates also comment on aspects that stood out to them.

4. As homework, each student is to generate 8 ideas each and share the best 5 on a common Padlet. This creates a common “repository” of ideas for the whole class to dip into.

Prior Knowledge Required Basic analytical skills with suitable technical musical vocabulary.

What This May Lead To Tap on this collectively generated repository of ideas to learn:

• Techniques of development

• How to extend an idea

• Looking for connections between ideas and combining them in musically persuasive ways

[These can be done both as in-class improvisation and individual homework.]

Possible Delivery Challenges

Learning Chords on the Keyboard

Assessment for Learning

1 Students are always encouraged to make their thinking visible, whether it is via a verbal explanation of their musical decisions in class, or as written score and commentary in their submitted homework.

2 Students are to keep a sketchbook for composition, in which they input their learning and other collected ideas through the course of their study.

1. As this kind of analysis (from a compositional angle) may be rather foreign to many students, students may be reticent at the start as they are unsure what to look out for.

2. Students may be musically intuitive but lack the vocabulary and/or communication skills to articulate their musical intention in words.

STAR CHAMPION

Wu MeiHui SCHOOL

Gan Eng Seng School CLUSTER

Purpose

To explore playing chords on the keyboard

Description

[The keyboards would be set up. Chord charts and song sheets would be prepared.]

1. Teacher demonstrates the sounds of the 4 chords by playing and getting the class to sing along e.g. Demons by Imagine Dragons1.

2. Teacher shows/revises the exact location of the notes on the keyboard.

3. Students locate the notes on their keyboard while teacher does a quick scan or walks around to facilitate learning.

4. Teacher gets all students to play together, chord by chord, progressing to 2 chords and eventually 4 chords.

Note: Teacher can choose to speed up or slow down, depending on the progress of the class. Teacher stops at an appropriate moment and asks if anyone is lost or needs help.

5. Students practise the 4 chords individually while teacher goes around facilitating learning.

6. Teacher gets student volunteers to demonstrate their playing for the class.

7. Using the chord sheet, teacher guides students in identifying the spots where they play or change chords.

8. Whole class performs together by singing and playing.

9. Teacher demonstrates chord inversions/comping patterns.

10. Students to come up with different chord inversions/comping patterns.

Prior Knowledge Required

1. Students know how to identify the notes on a keyboard.

2. Students know what chords are.

3. Students have some idea of pickup notes and beats.

Demons by Imagine Dragons is a song about accepting and addressing our individual fears, flaws and insecurities. Teachers may use this as a teachable moment to urge students to think about their own “demons” or weaknesses, not judging others’ flaws, and instead bettering their own future. Other songs can also be used, depending on the chords to be taught and practised

What This May Lead To

1. Students learn the melody of the song on their right hand.

2. For students who progress faster, combine both chords and melody together.

3. Students who progress more slowly can work in pairs. One partner plays the chords and the other plays the melody. Then, switch.

4. Teacher can get students to form their friendship bands and select their own instruments (guitar, bass guitar, cajón, etc.), and perform their own rendition of this song.

Possible Delivery Challenges

1. Students may get restless and confused if instructions are not clear. Teacher should provide clear instructions before students set up their keyboards.

3. Students may have no motivation to start if they do not know the song well. Teacher can play the song while the students are entering the music room to get them attuned.

4. Students may get faster with the beat. Teacher can keep the beat by using a tambourine or get a student to keep time by playing on a hand drum.

5. Students may be restless when this is repeated too many times. It is important to provide differentiated learning opportunities when necessary. For example, teacher can allow students who are progressing faster to walk around and tutor their peers.

2. Students may misbehave by fiddling with the other features of the keyboard if they are unclear of the focus. Teacher can provide a clear objective by writing it on the board or projecting it on the screen.

6. The sounds of the keyboard may drown the teacher’s voice. Teacher needs to have a firm, clear and consistent way of getting the attention of the class. For example, teacher can use hand signals (fist or palm in the air), sound signals (using a charm/ tambourine or a sound that is distinct) or get the help of a student leader to get the attention of the class.

Assessment for Learning

1 Teacher can assess students’ ability to play the chords by selecting individuals to demonstrate at different points of the lesson.

2 For students who are struggling, teacher demonstrates how to play the chords on the keyboard. Teacher breaks down the individual notes and gets the students to notice the fingering pattern.

3 Teacher can provide markers or tape for students to make markings on the keyboard if they need visual cues.

4 If some students progress faster, teacher can enhance their learning by tasking them to go around and help peers who are struggling.

7. The sounds of the keyboard may be too loud for students to focus. Teacher may want to encourage students to bring their own earphones or provide earphones.

STAR CHAMPION

Tan Teing Im SCHOOL

Queenstown Secondary School

CLUSTER

TEACHING ACTION 1

Playing Melodic Line Collaboratively (Using Angklung or Resonator Bells)

Purpose

Students to work collaboratively to perform the melody of a traditional Malay song (Chan Mali Chan) using a traditional instrument. In the process, students will also learn to read and follow simple decoded music scores and also keep beat and rhythm

Description

1. Students view videos on angklung playing by professionals and students.

2. Students learn to hold and play the angklung.

3. Students play the scale of C major, with each student taking charge of 1 note.

4. Students play the notes of an unnamed song (with teacher pointing at the notes with letter names) and then they guess the title of the song.

5. Students sing the song Chan Mali Chan, while clapping the beat.

6. Teacher displays the music score of Chan Mali Chan on the screen (written in letter names of the notes). Students sing the letter names, following the rhythm and beat. Teacher helps by pointing at the score and keeping the beat.

7. Students play the melody on the angklung, with teacher helping by pointing at the score.

8. Students play the melody, without teacher’s help in pointing at the score. Teacher helps by keeping the beat, singing the letter names or singing the melody.

9. Group work – students get into smaller groups and practise playing the melody and presenting their own version of the melody. For example, they could modify the tempo and the rhythm.

Chord Playing on the Angklung

Purpose

1. Students to understand how chords are formed and the function of chords in harmonising a song

2. Students to know the difference between the chords and melody of a song

Description

1. Teacher displays the notes of some common chords for C major scale –C, F, G, Am.

2. Students practise playing the chords on the angklung, with teacher pointing at the notes for each chord.

3. Teacher displays the music score with chords for Chan Mali Chan. Students play the chords for the song, while

teacher sings Chan Mali Chan or plays the recorded melody in GarageBand.

4. Teacher explains to students how chords are formed and discusses with students the function of the chords.

5. Teacher divides class into 2 groups. One group will play the melody, the other group will play the chords for Chan Mali Chan. The 2 groups play together.

6. Group work – students work in small groups to present their own version of Chan Mali Chan. For example, students can modify how they play the chords (e.g. broken chords).

Prior Knowledge Required

None needed.

What This May Lead To Possible follow-up activities

1. Students to form groups of 7 to 8, choose a song they like and practise playing the melody on the angklung. Then the groups perform their piece for the class and let the class guess the tune which they are playing. Teacher can give them some music scores to choose from or they can look for their own music scores.

2. Teacher uses the angklung to teach other scales like F major and G major, and gets students to play the melody and chords in these scales.

3. In groups of 7 to 8, students try to figure out the notes of the melody of popular tunes from pop songs or folk songs, using the angklung. Then the groups perform their melody for the class and let the class guess the tune which they are playing.

4. After they have mastered playing the melody smoothly and with accurate rhythm and timing, students can explore performing with different dynamics and with other accompanying instruments like drums. Or they can play while singing.

Possible Delivery Challenges

1. Some students are unable to keep the beat/tempo and tend to rush through their notes. Teacher can try to help them to keep to the beat by having a drum beat while they play or by getting the students to sing the notes while keeping to the beat before playing on the instrument.

2. Some students may not be able to follow the music score and often get lost along the way. Teacher can ask these students to circle the notes they are in charge of and get them to run through the notes line by line as the song is being played. Alternatively, ask them to remember the words of the song which they are in charge of and get them to sing as they play.

3. Some group members get frustrated when their fellow members cannot follow and do not play when they should. This is a good opportunity for students to learn how to be more patient and tolerant towards others, but they can make it easier by asking these students to play notes with less frequency or get another player to play the same part as them, so that they can follow their partners.

4. Students may struggle with creating their own version of the melodies given that they have other problems such as keeping the beat. Teacher can give students the option to present the original version or a simplified version of the song.

Assessment for Learning

1 Teacher watches for students’ ability to play the right notes at the right time and for the correct duration. Teacher listens to students play in smaller groups and helps those who have difficulty following the song.

2 Teacher watches for students’ ability to play the angklung with the correct technique and produce a good ringing tone. Teacher watches for students’ ability to play the whole song smoothly, with notes connecting well from one to the next.

Chan Mali Chan C Major 4/4 Time

Intro

Chords C maj F maj G maj C maj

C maj C maj F maj C maj

C C C C C B A C B A G G

Di ma- na di- a a- nak kam- bing sa- ya? A-

G maj G maj G7 maj C maj

D D D D D C D E F E D C nak kam- bing sa- ya yang ma- kan da- un ta- las

C maj C maj F maj C maj

C C C C C B A C B A G G

Di ma- na di- a bu- ah ha- ti sa- ya? Bu-

G maj G maj G7 maj C maj

D D D D D C D E F E D C

ah ha- ti sa- ya ba- gai te- lur di- ku- pas

F maj F maj C maj C maj

F F F F A A E E E E G G

Chan mali chan, Chan mali chan

G maj G maj G7 maj C maj

D D D D C D E F E D C

Chan mali chan, ke- ti- pung pa- yung

F maj F maj C maj C maj

F F F F A A E E E E G G

Chan mali chan, Chan mali chan

G maj G maj G7 maj C maj

D D D D C D E F E D C

Chan mali chan, ke- ti- pung pa- yung

Chan Mali Chan C Major

4 Intro

4 C maj = C, E, G F maj = F, A, C G maj = G, B, D C maj = C, E, G

Chords C maj = C, E, G C maj = C, E, G F maj = F, A, C C maj = C, E, G

Di ma- na di- a a- nak kam- bing sa- ya? A-

G maj = G, B, D G maj = G, B, D G7 maj = G, B, D, F C maj = C, E, G nak kam- bing sa- ya yang ma- kan da- un ta- las

C maj = C, E, G C maj = C, E, G F maj = F, A, C C maj = C, E, G

Di ma- na di- a bu- ah ha- ti sa- ya? Bu-

G maj = G, B, D G maj = G, B, D G7 maj = G, B, D, F C maj = C, E, G ah ha- ti sa- ya ba- gai te- lur di- ku- pas

F maj = F, A, C F maj = F, A, C C maj = C, E, G C maj = C, E, G

Chan mali chan, Chan mali chan

G maj = G, B, D G maj = G, B, D G7 maj = G, B, D, F C maj = C, E, G

Chan mali chan, ke- ti- pung pa- yung

F maj = F, A, C F maj = F, A, C C maj = C, E, G C maj = C, E, G

Chan mali chan, Chan mali chan

G maj = G, B, D G maj = G, B, D G7 maj = G, B, D, F C maj = C, E, G

Chan mali chan, ke- ti- pung pa- yung

Chan Mali Chan F Major 4/4 Time

Intro (Section A) Bars 1 to 4

Bars 1 2 3 4

Chords F maj Bb maj C maj F maj

Verse (Section B) Bars 5 to 20

Bars 5 6 7 8

Chords F maj F maj Bb maj F maj

Melody F F F F F E D F E D C C

Lyrics Di ma- na di- a a- nak kam- bing sa- ya? A-

Bars 9 10 11 12

Chords C maj C maj C7 maj F maj

Melody G G G G G F G A Bb A G F Lyrics nak kam- bing sa- ya yang ma- kan da- un ta- las

Bars 13 14 15 16

Chords F maj F maj Bb maj F maj

Melody F F F F F E D F E D C C

Lyrics Di ma- na di- a bu- ah ha- ti sa- ya? Bu-

Bars 17 18 19 20

Chords C maj C maj C7 maj F maj

Melody G G G G G F G A Bb A G F

Lyrics ah ha- ti sa- ya ba- gai te- lur di- ku- pas

Chorus (Section C) Bars 21 to 36

Bars 21 22 23 24

Chords Bb maj Bb maj F maj F maj

Melody Bb Bb Bb Bb D* D* A A A A C* C*

Lyrics Chan mali chan, Chan mali chan

Bars 25 26 27 28

Chords C maj C maj F maj F maj

Melody G G G G F G A Bb A G F

Lyrics Chan mali chan, ke- ti- pung pa- yung

Bars 29 30 31 32

Chords Bb maj Bb maj F maj F maj

Melody Bb Bb Bb Bb D* D* A A A A C* C*

Lyrics Chan mali chan, Chan mali chan

Bars 33 34 35 36

Chords C maj C maj F maj F maj

Melody G G G G F G A Bb A G F

Lyrics Chan mali chan, ke- ti- pung pa- yung

TEACHING ACTION 1

Singing to Experience Rhythmic Motif

Purpose

Experience a rhythmic motif from the chorus of the song Our Singapore:

Description

1. Warm up on d-s with students.

2. Teacher sings by rote, students repeat line after line.

3. Teacher makes conscious diction of all words, especially to bring out the rhythmic motif.

4. Students sing with teacher, then sing twice with backing track.

5. Teacher asks, “What do you notice about the rhythm of Lines 1 and 2?” (Same rhythm.)

TEACHING ACTION 2

Rhythm on Instruments, Grouping by Timbre

Purpose

Play a motif on percussion instruments in a circle (if smaller class) to internalise the rhythm

Description

1. Teacher distributes percussion instruments (include low-pitched, non-pitched and high-pitched) randomly to the class.

2. Teacher guides students to play the rhythm of Lines 1 and 2 of the chorus on their percussion instruments as a class.

3. Teacher asks students to just play the motif (take away the first three words of Lines 1 and 2):

4. Teacher asks, “Instead of just playing altogether, how can we group our instruments?”

5. Teacher facilitates grouping of instruments according to their sound; students are to move to where similar sounds are grouped.

TEACHING ACTION 3

Group Composition on a Rhythmic Motif

Purpose

Students co-create a simple composition based on the rhythmic motif (vary timbre, dynamics, texture)

Description

1. On the board, teacher prepares a table according to the groups of instrumental timbre.

2. Teacher facilitates discussion as to when each group of instruments should play, how many times and whether they should play with other groups.

3. Teacher writes student decisions on the board (see the ticks in the Completed Group Work Table below).

4. Teacher leads students to rehearse, then perform.

Prior Knowledge Required

Students are comfortable with singing.

Assessment for Learning

1 Teacher assesses students’ ability to play the rhythm by getting segments of the class to play at a time, rather than the whole class. If students are unable to play, teacher can scaffold by breaking up the rhythm, or introduce simple to complex rhythms.

What This May Lead To

1. If students are more self-directed and rely less on the teacher, teacher can play a complementary rhythm to enhance the one-motif short composition.

2. Group STOMP performances and discussions, with timbre and other musical devices in mind such as ostinato, unison, solo, break, layering, etc.

Possible Delivery Challenges

1. It is important to choose a motif that has more rhythmic complexity and interest.

2. Students may be restless when the activity is repeated too many times. It may be sufficient to rehearse twice for the whole mini composition or only practise certain sections.

A: drums + frame drums

B: metal + sound plate

C: Aaron + Gordon

Music Arrangement Using Different Elements of Music

Purpose

To use timbre, dynamics, strumming pattern, accompaniment style to rearrange the melody

Description Song – Dona Nobis Pacem – simplified for 2-part singing

1. Students stand facing each other in 2 rows.

• Teacher leads students with body percussion: Chest – Clap – Snap (Students continue throughout)

• Students sing a short phrase (Do - - Re - - Mi Re Do Do Ti - )

– Melody 1

• Teacher introduces a second line (Do - - Ti - - Do Ti La La Sol -) – Melody 2

• Extend first line into a longer phrase (Do - - Re - - Mi Re Do Do Ti - La - - Sol - - Mi Re Do Ti Do - -). This will be known as “Melody 1 complete”

• Extend second line (Do - - Ti -Do Ti La La Sol - Fa - - Mi - - Sol - Sol Do - -). This will be known as “Melody 2 complete”

2. Teacher sings original melody as students sing the 2 parts (with improvisation).

• As the group sings the above, the teacher adds the original melody, improvising the rhythm as the students sing their parts

• Teacher randomly picks students to improvise on the rhythm while singing the parts

3. Teacher sings the melody in letter names, students imitate/respond.

• Students transfer “Melody 1 complete” and “Melody 2 complete” to keyboard; teacher designates the area for “Melody 1 complete” and “Melody 2 complete”; students move to respective desired section

• Teacher plays on percussion to set the tempo, designates structure: 4 bars percussion – Melody 2 (played twice) – Melody 1 (played twice)

4. Teacher asks questions on the activity (to establish the functions of the different parts – melody, bass, rhythm):

• How many beats are there in a bar?

• Which melody can be used as a bass part?

• What are the ways by which the melody can be changed (improvised)?

• Teacher divides class into 2 and puts 2 lines together

• Teacher switches the parts so that students sing the other line which they have not sung

• What are the elements that can be changed besides melody (percussion rhythm/instruments/ dynamics)?

5. Some students volunteer to play chords as accompaniment, together with the teacher. Have one student to volunteer to play percussion. All other students play their designated parts in the same sequence.

6. Students work in groups of 10 to play Melody 1 or 2 and Harmony (on the ukulele or keyboard), altering the instrument tones on keyboard/change instrument and/or rhythm/dynamics.

7. Groups present their work. (If class size of 40 – 4 groups; if class size of 30 – 3 groups; number of groups should be limited to 3 or 4 so that 3 or 4 sections can form a composite overall composition.)

8. Teacher leads students in discussion to set the order in which the groups will play. This is to form a structure that is desirable. Teacher poses leading questions for students to consider during discussion. (E.g. ternary form, extended ternary form, rondo form etc.)

Assessment for Learning

1 Students are able to transfer the melodies from singing to keyboard aurally.

2 Students are able to play in ensemble in the time of the piece i.e. triple time in a steady tempo.

3 Students are able to use a combination of tones (timbre) that distinguishes the melody/bass/harmony functions of the song.

4 Students are able to play in their respective sections on time, i.e. start together and stop playing when their section has finished.

5 Students are able to create aurally effective rhythms/ melodic motifs and play in time.

9. Students play final sequence as a class.

Note: If time permits, further discussions can be facilitated to further develop and modify the existing structure.

Prior Knowledge Required

Students have completed a module of keyboard/ukulele playing/basic elements of music.

What This May Lead To

Follow up to compose a melody using chord progressions and given rhythm.

Possible Delivery Challenges

1. To ensure the steadiness of beat, a drum pad with drum kit sound can be used to maintain the beat while creating the authentic band feel.

2. There may be some disruptive students who may be bored with the melody. They may be the ones to alter the rhythm of their melody.

3. Balance of sound depends on the number of students opting to play the melodic or bass roles. Students can be instructed to adjust the volume of the keyboard accordingly. The drum kit can be played via an amp or speaker so that the teacher can control the volume.

Melody

Chord Playing on Boomwhackers

Purpose

Through this activity, students will be able to see and visualise the number of notes in each chord. They will also better understand how chords fit in as the harmony in a pop song and that a basic 4-chord progression is enough for a pop song

Description

1. Students get their boomwhackers by rows (1 note per row).

2. Teacher flashes a chord progression on the screen (e.g. C, G, Am, F). Below each chord are notes that display the pitches each chord consists of (e.g. C chord – C, E, G, high C). The notes are also shown in coloured circles so that it is easy for students to identify their notes. Refer to the diagram below:

3. Teacher explains that students play 4 times for each chord, but only 1 time per beat (i.e. 1 chord will last for 4 beats). Teacher also tells the class to repeat the chord progression continuously.

4. Teacher counts from 1 to 4 to show the pulse. Students then play boomwhackers while teacher points to the chords on the screen. The teacher can continue showing the pulse by pointing and tapping at the chord on the screen.

5. When students are able to play the 4 chords with a steady pulse, the teacher gets a student volunteer to take over and lead the class in playing the 4 chords.

6. Teacher plays melodies of 3 to 4 pop songs that use the same chord progression (mash-up of the songs) on the piano over students’ boomwhacker playing.

Prior Knowledge Required

It will be good if students have used the boomwhackers as a class before, and they must understand that listening to one another and keeping to the beat is important for the “performance” to be successful. The teacher should have also explained the difference between melody and harmony (chords) prior to this activity.

What This May Lead To

1. Teacher can guide students to explore different ways to sound the chords. For example, not all notes in each chord need to be played.

2. Teachers can challenge students with the question, “Which note do you think is the most important in the chord, so that if I do not play the other notes, it can still represent the chord?” This would be useful for group work where students play the melody and chords (only first note of each chord) on the boomwhackers.

Assessment for Learning

1 Teacher can ask students if they notice a pattern in the notes that belong in each chord. If they do not, teacher can get students to think about the spacing between the rows that are played at any one time. After establishing that each chord consists of 3 different notes with 1 spacing apart, teacher can get students to predict the notes in chords that were not shown in the activity.

2 Teacher can ask students if just having 4 chords is enough to complete a pop song. Teacher can challenge students to the idea of having fewer chords (e.g. 2 chords) or more chords (5 different chords). Teacher should emphasise that while 4 chords are typical for a pop song, it is important to experiment and do a lot of trial and error before deciding on the chords.

Possible Delivery Challenges

1. Some students might be unwilling to try or get restless when the activity is repeated too many times. To increase the enthusiasm level, teacher can pitch it as a “challenge” for the students. Teacher can emphasise to students that it is not easy to get 3 to 4 rows (3 to 4 different notes in a chord) to play together at a time, and that it takes close listening and concentration for it to be successful.

2. As students get more excited, they may get faster with the beat. Teacher keeps the beat by tapping on the screen while pointing at the chord that the students should be playing, and reminds them “not to rush” and keep it “slow and steady”.

3. Student volunteer might not be able to keep the pulse steady and it might get messy. It is important to emphasise that as the leader, he/she needs to keep the pulse regular and not be influenced by his/her classmates’ playing.

Creating a Melody

Purpose

Students to experience the process of creating 4 lines of melody and experimenting with different combinations of notes. This activity also helps to emphasise the importance of experimentation and trial and error in the composition process

Note: I found it necessary for students to understand the importance of experimentation because many students were afraid to try composing and thought that only people with musical talent can magically come up with melodies and songs. I wanted them to know that anybody can start composing from a simple scale.

Description

1. Students get boomwhackers by rows (1 note per row).

2. Teacher flashes a powerpoint slide^ with all the notes of the C major scale written in coloured circles. The teacher tells students that they are going to create 4 lines of melody, which will be their class composition. The class composition should also be singable and interesting.

3. Teacher gets students to choose a note each to form the first line (teacher will recommend just 6 notes first). With every note that the student chooses, the coloured circle will be dragged down to form the melody line.

4. After each line is formed, teacher will get the class to play what has been “composed” (1 note to 1 beat), then ask for suggestions for improvement. At this point, the teacher has to emphasise that everyone may have a different opinion of what sounds “nice”, therefore, they have to respect their classmates’ decisions. Allowing students to suggest changes is also allowing them to experiment and do trial and error with different combinations of notes.

5. During the experimentation process, the teacher emphasises that there is no right or wrong, and that it is all right to choose any note, even repeated notes, if it sounds nice.

6. After all 4 melody lines are formed, the class plays all 4 lines continuously without stopping. The teacher can also mention at this point that when all 4 lines are pieced together, it might not sound like what students expect, but changes can still be made even after they have “completed” their composition.

Prior Knowledge Required

Students should know the notes of a scale (C major – Do Re Mi Fa So La Ti Do), and that a melody is made up from notes of a scale (although they do not need to know other keys other than C major yet).

What This May Lead To

Group activity – using boomwhackers, students compose 4 lines of melody for a pop song, and experiment with rhythmic variety and added harmony.

Possible Delivery Challenges

1. If it is the first time that students are using boomwhackers, some may not use it appropriately or do not know how to get the best sound out of the boomwhackers. The teacher needs to tell the class that for the composition to sound good, the produced sound must also do it justice. It will help to tell students explicitly that every one should hit on the palm and use more force to produce a better sound. It should also be emphasised that the entire class should sound like only one instrument, thus listening to their classmates and playing precisely on the beat is important.

Assessment for Learning

1 Teacher seeks to understand students’ decisions in making certain changes to the melody. For example, some students may say that it is difficult to sing if there is a big leap or it is more interesting if there is more variety in notes. Teacher can challenge students by asking them to think again: Are these statements always true? Teacher needs to reiterate that experimentation and trial and error is key in composing.

2 Teacher asks students if there are other ways to alter the melodies without changing the notes (e.g. changing the rhythm of the melodies). At the end of the activity, students should understand that a simple melody can be formed by selecting notes from a scale, but it is the combination and sequence of notes that changes overall effect of the melody.

2. As the students get excited while testing their composed melodies, students may get faster with the beat. Teacher keeps the beat by tapping on the screen to show the pulse while still pointing at the note that they should be playing.

3. Some students may be shy to pick a note and fear that their decision would cause the melody to sound bad. Teacher can encourage the student by emphasising that there is no right or wrong decision and that it is impossible to determine whether the melody would sound good unless the student takes the brave step to try different combinations. Also, teacher can remind students not to influence one another as everyone has their own opinion.

4. While asking for suggestions for improvement on the melodies, cheeky students may suggest changing all notes in the melody to the same note. Teacher can tell students that while there is no right or wrong, before making any decisions or suggestions to change notes, students should think about whether the suggestion would achieve the intended effect. In this case, whether to create 4 melody lines that are singable and interesting (demonstrate by singing a melody line with repeated notes throughout to show students that it does not achieve the intended effect). Another way is to allow students to make suggestions to change only 1 or 2 notes from each composed line at a time, so as to respect the decisions made by other students.

5. Some students may be unhappy with the final product as they do not think that it sounds good enough. At the end of the activity, the teacher should emphasise that making mutual concessions is needed when composing in a group.

ACTION

Creating Lyrics to an Existing Loop-based Arrangement

Purpose

To introduce new ideas and match them to an arrangement done by the students before. To be able to realise that an idea that is reused and adapted to form variations can be included in a new song

Description

1. Students complete their vocal remix based on their loop arrangement through GarageBand. Previously, they were given 3 choices of pop songs to work with (pair work).

2. Teacher selects an arrangement done by a student and uses it as an example for demonstration.

• Teacher collaborates with the entire class on lyric writing:

i. Theme can be decided based on consensus from the class or teacher’s own theme

ii. Teacher asks one student to say a word (or a line) about that theme and repeat this step until there are about 4 lines

iii. Teacher ensures that the number of syllables are similar for each line and the syllable at the end of the lines rhyme (The same specifications will be given to the student so that these will help in the regular phrasing of the rap/song)

• Teacher shows how to remove the vocal track from the GarageBand arrangement

• Teacher demonstrates the composing of rap and/or melody derived from the 4 lines, based on the loops arranged

3. Students work in groups of 6 using this new compositional procedure.

4. Each group composes 8 lines of lyrics (one verse, one chorus) based on the given theme.

5. Each group chooses one loop arrangement that they all agree to work with.

6. Students set the lyrics to form a rap or a tune.

• Students may adapt the loop arrangement to suit the new context of the lyrics

• Students can change the bpm1 for the purpose of singing or rapping to their lyrics

Prior Knowledge Required

Based on the loop arrangement done previously:

• Students should have a clear understanding of the entry points for the lyrics. The entry point will determine the proper allocation of lyrics to the different sections of the rap/song

• Students should demonstrate the basic understanding of why the sections of the rap/song must contrast with the earlier arrangement. The new lyrics that they are composing will have to match the level of energy and the mood portrayed by the different sections

What This May Lead To Performance of the song composed with real instruments and/or backing track

Possible Delivery Challenges

1. Coming up with a tune may be difficult for students. Facilitation by the teacher might be needed for the students to get started. It will be useful to identify who are the ones with higher attainment levels in music so that the teacher can pay attention to the groups that will need more assistance than the rest.

2. There is a tendency for students to forget how the rap or the tune sounds like when they return to the task in the next lesson. It will be helpful if students could record and capture their ideas using their mobile devices.

Assessment for Learning

1 Observe students’ way of placing stress on the more important words of their composition. Teacher can provide support by helping to clap the pulse for students and ensuring that the stressed syllables fall on the downbeats of the bar.

2 Assess students’ choice of words and how it matches the different sections and their energy level. Teacher can provide suggestions that may help students to be more enthusiastic about the composition.

3 Teacher facilitation forms an integral part of the learning process. Here are some Musicking Cards (taken from the stack of question cards) that will be applicable for the facilitation:

• Suitability of lyrics to arrangement (this is done with Learning Points 1 and 2 mentioned previously)

i. Question card “Coherence (Compatibility)”: Do the musical ideas/phrases support each other? Do they highlight each other’s characteristics?

• Expression

i. For students to develop character in their song and the elements that help contribute to the build-up of mood

○ Question card “Expression (Mood)”: What is the overall mood/feeling of the work? How do your musical ideas capture the mood that you want to express?

○ Question card “Expression (Phrasing)”: How do you shape melody lines? How do your melody lines reflect character in your music?

• The use of contrast in between sections through the following elements of:

i. Melodic Contour

○ For students to learn about the use of register through voice. Melody can start low in the beginning and develop to a higher voice in the next section of the song

◊ Question card “Contrast (High/Low)”: What effects do you think contrasting registers create?

ii. Texture

○ For students to have a basic understanding of layering. Texture can start thin (one voice) to thick (entire group)

◊ Question card “Texture (Thick/Thin)”: How does the music sound if everyone plays the same melody together? What is the effect of alternating between solo and group?

iii. Dynamics

○ Dynamics can start from soft to loud

◊ Question card “Elements (Dynamics)”: When do you use loud and soft dynamics in your music?

• Further development to the song

○ Question card “Time and Space (Tempo)”: How does your choice of tempo create the style/mood of your music?

○ Question card “Development (Climax)”: Where is the peak in your music? How do you build your music to reach a peak? What do you do after the music reaches the peak?

○ Question card “Form (Beginning/Ending)”: What is the story to your music? How do you begin and end?

Rhythmic Flashcards for Improvisatory Singing

STAR

Purpose

To scaffold the development of improvisation in solfège singing

Description

1. Teacher sings a phrase comprising a few notes from the pentatonic scale in solfège (e.g. So, La, So, Mi, Re, Do). Students echo what the teacher has sung. This is done through call and response between the teacher and students several times with different notes until pitching is more and more accurate.

2. The above is repeated as the teacher varies the melodic notes with increasing complexity by singing notes in leaps and also extending length of the melodic phrase (e.g. Mi, La, So, Re, Do, La, So, Mi). Note: Until now, all notes are sung in crotchets with the teacher flashing a flashcard showing a crotchet note.

Assessment for Learning

1 Watch for students who feel frustrated if they cannot remember the notes of the whole phrase. Teacher can slow down the speed of the “call” and give waiting time for students to think through the response first before conducting them to sing the response.

2 Teacher may call upon any student to produce the “call” instead of always having to set the melody of the phrase. If the student is timid, teacher may write 1, 2, 3, 5, 6 on the whiteboard and get the student to point at the number as the class sings aloud the notes in solfège. This is a good way for engaging less confident students to sing in tune while getting to lead the class in creating a new melodic phrase.

3. Teacher raises a flashcard showing a pair of quavers and tells students to echo sing each melodic phrase doubling each note in quavers (e.g. Mi, Mi, La, La, So, So, Re, Re, Do, Do, La, La, So, So, Mi, Mi).

4. Teacher increases the difficulty level. For example, teacher tells students to echo the notes alternating between crotchet and quavers.

5. Teacher guides the singing by flashing a crotchet note and a pair of quavers in alternation (e.g. Mi, La, La, So, Re, Re, Do, La, La, So, Mi, Mi).

6. Teacher may conduct a few more rounds of call and response until students’ singing is confident and stable. Note: Teacher can extend activity to include other rhythmic patterns such as ti-tika (1 quaver and 2 semiquavers), or even tika-tika (4 semiquavers).

Prior Knowledge Required

Students have learnt several rhythmic notations in primary school.

What This May Lead To

Students independently improvising melodies with given rhythms on the keyboard or tuned percussion instruments. They may create a pentatonic intro and outro melody for a simple pentatonic song (learnt earlier) or even improvise on the theme of a learnt pentatonic song.

Possible Delivery Challenges

1. Students may go out of tune if intervals between notes are too far apart.

2. Students may not be able to reproduce the singing notes if given too lengthy a melodic phrase.

TEACHING ACTION 1

Creating a 4-beat Percussion Line Using

the Guitar

Purpose

Exploration of percussive sounds on the guitar with song accompaniment (backing track)

Description

1. Teacher gets students to echo him/her using body percussion.

2. Teacher transfers this echo using guitar percussion.

3. Teacher gives students time to explore percussive sounds on the guitar and students to share with their friends.

4. Teacher plays the original track of a piece of music and students try to emulate the percussion rhythms on the track using their choice of guitar percussion sounds.

5. All students play their own guitar percussion rendition of the rhythm together with the music track.

6. Teacher selects different students to demonstrate and showcase their guitar percussion renditions.

7. All students try the different guitar percussion renditions by their peers and select one which they like and feel is most suitable, then play it together with the original track.

TEACHING ACTION 2

Song Arrangement through Guitar Strumming and Guitar Percussion

Purpose

Students to be able to perform a song arrangement in an ensemble through creating a 4-beat percussion line and guitar strumming

Description

1. Teacher allows all students to decide whether they would like to be guitarists or guitar percussionists.

2. Students move and sit with their peers who are playing the same role (i.e. percussionists on one side, guitarist percussionists on another).

3. Teacher leads and models the thinking process for entry of guitar, percussion and vocals by questioning.

4. Whole class engages in music-making with teacher as the conductor.

Assessment for Learning

1 Teacher facilitation during the group task is crucial. It is good to get students to recall their experience in the class ensemble activity and think about how they made their musical decisions. This will consolidate students’ understanding of musical concepts and how they work in practice.

2 During the preparation phase, it will be good to have a few groups showcase their work in progress and for the teacher to provide feedback. This helps to keep students on task and allows groups to learn from one another.

5. After a few successful attempts, teacher gets students to suggest how they can make the arrangement better by varying strumming patterns or percussion beats/timbre.

6. Students get into friendship groups to decide on their own arrangement of the song.

Prior Knowledge Required

Students have learnt a few basic guitar chords. They are also able to play these chords to the few pop songs that were chosen and sing the songs.

What This May Lead To Ensemble performance

Possible Delivery Challenges

1. Depending on readiness of the class, teacher can choose to include teaching how to play a bassline so that students may include this additional layer into their arrangement.

2. In cases where students are less willing to sing, a backing track for the different songs should be prepared using a music DAW1 so that students can play the guitar using the backing track. Through this DAW, teacher is also able to show students the arrangement possibilities (e.g. entry of instruments, variation in strumming patterns).

Improvisation for Musical Understanding

Purpose

Through improvisation, students get to explore the different ways that a musical phrase may end and its corresponding musical effect

Description

1. Teacher gets students to stand or sit in a circle facing the centre.

2. Students warm up by singing the scale of C major in minim notes with teacher’s accompaniment providing pulse and harmony.

3. Teacher sings the opening of a 4-bar phrase and asks students to echo it. Teacher may provide the pulse through body percussion or conducting:

4. Teacher tells students that they are going to provide an ending to the opening of a phrase they have just sung.

5. Teacher asks, “What note should you end on?” [Expected answer: tonic/doh/C note.] Teacher may want to highlight the possibility of ending on the high C instead of the low C note.

6. Teacher randomly assigns a few students to improvise the ending to this phrase. Teacher may want to give an example and ask students to sing mainly by stepwise movement.

7. During students’ improvisation, teacher helps students keep to the pulse and 3/4 time.

8. Teacher asks, “If this is a musical sentence, what punctuation mark would you find at the end?” [Expected answer: full stop.]

9. Teacher introduces perfect cadence as a “musical full stop”.

10. Instead of ending on the tonic note, teacher asks students to complete the same phrase by ending on the supertonic note D. Teacher asks students to compare the effect and introduce the imperfect cadence.

Prior Knowledge Required

Students should have sung a scale in solfège before and understand the concept of 3/4 time.

What This May Lead To

A harmony exercise or an aural exercise on identifying perfect and imperfect cadences.

Possible Delivery Challenges

Some students are apprehensive about creative music-making activities. Teacher should not embarrass them, but rather ask the more responsive students to have a go first. This will allow the less confident students more time to respond after listening to their classmates’ examples.

Assessment for Learning

1 There are plenty of opportunities for assessing students’ learning when they improvise, e.g. the ability to arrange notes in a musical way. For students who do not get the chance to improvise in front of their classmates due to time constraint, teacher may ask everyone to notate their “compositions” using staff notation or cipher notation. Teacher may collect these “compositions” and give feedback.

to sing their 2 parts for the first 4 bars of the chorus, according to the syncopated rhythm.

7. Using the same syncopated rhythm, students can also play it on the cajón with bass and high tones.

Creating and Performing Syncopated Rhythms to an Instrumental Music Track

Purpose

To create syncopated rhythmic grooves to accompany the chorus in the instrumental music of Dui Shou – To Be A Better Me. The grooves can be played on the cajón and/or keyboard (chordal accompaniment)

Description

1. Teacher stands with students in a circle. Teacher claps simple, on-beat 4/4 rhythm which students echo as a class e.g. ta ta ti-ti ta, ti-ti tika-tika ta-a.

2. Teacher moves on to clap rhythms with syncopation (from simple to more complex). Students echo/mimic teacher’s rhythm. Teacher asks students to identify the difference between the on-beat rhythm clapped earlier as compared to the syncopated rhythm.

Note: If students cannot describe the difference, teacher will use the metronome (app in mobile phone or on the keyboard) to provide the pulse while teacher claps the 2 different rhythms. Teacher guides students to identify that the former is on-beat while the latter has off-beats i.e. syncopation.

3. Students sing “Oh” while clapping the syncopated rhythm taught by teacher. Half the class sings Line 1: E, F, E, G (hold each note for 1 bar).

4. Teacher gets the other half of the students to sing “Oh” while clapping the syncopated rhythm taught by the teacher. Half the class sings Line 2: G, A, G, B (hold each note for 1 bar).

5. Teacher gets students singing Lines 1 and 2 to combine so that they can hear the 2-part harmony.

6. Teacher plays the chorus of Dui Shou (Audio track – Instrumental) on the laptop while demonstrating the clapping of the syncopated rhythm. Teacher gets students

8. Students to get into groups of 4 to 5 to create their own syncopated rhythm for 4 bars. They can play it on the keyboard using the same set of 4 notes (2-note chords) or on the cajón in the given template.

9. Teacher gets each group to perform their groove along with the instrumental track of Dui Shou (first 4 bars of the chorus only).

Prior Knowledge Required

Students have learnt how to play the cajón and understand the different ways to produce low/bass and high sounds on it. Students have also learnt the concept of chords which form the harmony in a song.

What This May Lead To

Ensemble playing using keyboard, cajón, guitar or Orff percussion instruments. Students can play the whole chorus first (8 bars which are repeated), then move on to the verse of the song.

Possible Delivery Challenges

1. Students may just imitate the rhythm of the melody instead of clapping/singing/ playing their own rhythm when they listen to the song.

2. Students may find it difficult to clap/play a syncopated rhythm as they must be able to feel the groove. Using the metronome can help them to hear the main beats so that they can clap/play the syncopated rhythm.

3. For the extension, i.e. playing the whole chorus using their syncopated rhythm, students may get confused between bars 7 and 8 of the chorus because the chord change is 2 counts instead of 4 counts each (C to G chord).

Assessment for Learning

1 Teacher observes students when they echo/mimic his or her clapping. Teacher can repeat the same rhythmic pattern a few times, until all students can clap it correctly, especially the syncopated rhythms.

2 Teacher can assess students’ ability to play the rhythm by getting segments of the class to play at a time, rather than the whole class. If students are unable to play, teacher can scaffold by breaking up the rhythm or introduce simple to complex rhythms.

Improvising on a Folksong

Purpose

1. To experience chord progression while singing the tune of Sakura

2. To learn to generate different rhythmic patterns in 4/4 time

3. To respond to text musically through manipulation of musical elements

4. To learn how to add layers of musical ideas to a folksong

Description

Section 1: Learning the harmony before adding rhythmic changes

1. Students sing Sakura once through on their own.

2. Students sing Sakura again and this time teacher accompanies them, playing the harmony of Sakura on block chords (Em, Am and F) on the piano.

3. Teacher divides the class into groups and instructs each group to play a chord (Em, Am or F – one chord per group, each group to split the chord among the group members) using hand chimes and/or Orff instruments. Teacher cues the students to change chords using cue cards/hand gestures/by pointing at the chord names written on the whiteboard.

4. Teacher rehearses the chord progression of Sakura with the class. One student keeps time playing the cajón, while teacher plays the tune using the piano. Students sing the tune of Sakura while accompanying their singing with harmony on the hand chimes.

5. To provide variety, teacher assigns one group of students to play chords on the guitars and another group to play the Orff instruments. All groups play all chords, while singing the tune of Sakura.

6. A few students will be given cue cards to change musical expressions (e.g. dynamics). All groups play all chords, while singing the tune of Sakura, and respond to the changes required by the cue cards.

7. In addition to the cajón player, teacher assigns a group of students to play various percussion instruments. All groups (for both pitched and non-pitched instruments) are instructed to vary the rhythms of the chords which they are playing.

Section 2: Responding to the text of Sakura

8. Students read the translation of the text of Sakura. Students respond to the text by listing words/phrases connected to Sakura

9. Students chant the words/phrases listed in their own ways (in different pitches, rhythms, tempos, dynamics, etc.), while teacher plays the chord progression of Sakura on the piano.

Section 3 : Putting it together

10. Teacher puts together a structure for class performance as follows:

Sakura 1st time Entire class sings the tune unaccompanied.

Sakura 2nd time Entire class sings the tune with block chord accompaniment and cajón to provide beat.

Sakura 3rd time

Entire class sings the tune with block chord accompaniment and dynamic changes according to the cue cards.

Sakura 4th time Add percussion instruments and each student performs his or her own rhythm.

Sakura 5th time Students chant words/phrases musically in their own way while teacher plays the harmony on the piano

Sakura 6th time Every student performs Sakura in his or her own way (whether instrumentally or vocally, whether it is the tune, harmony or rhythm).

Sakura 7th time Entire class sings the tune unaccompanied as finale.

Prior Knowledge Required

1. Students are able to sing Sakura

2. Students are able to play the tune on hand chimes.

3. Students are able to strum the chords on the guitar.

What This May Lead To

1. Teacher explains how chords are formed and the different qualities of chords (e.g. minor vs major chords).

2. Students, in groups, work on their own improvisation based on the tune of Sakura and then perform their improvisation to the class.

Possible Delivery Challenges

1. Students may rush the tempo. Teacher keeps the beat by assigning one group of students to play percussion instruments.

2. The instruments may drown the voices. Students to learn to project their singing voices and teacher to instruct students not to hit the instruments too loudly.

Assessment for Learning

1 Teacher watches for students’ ability to keep the time. Teacher scaffolds by reinforcing the beat with students, then stops and lets students take over.

2 Teacher assesses students’ ability to generate the different types of rhythms by asking a few students to play, one at a time, rather than the whole class. Teacher demonstrates a few examples to the students.

3. There may be too many versions and students become confused. Teacher can write down the different versions clearly on the whiteboard.

Groovy Creations

Purpose

1. Create groove as a class using a 5-chord progression on instruments (C, Em, F, G, C)

2. Students perform, as a class, a musical creation of 2 contrasting sections

Description

1. Students stand in a circle.

2. Teacher plays a few rhythms on body percussion, and students imitate in call-and-response manner. Teacher settles on 1 set of simple body percussion rhythms and plays in a loop, and students copy.

3. Teacher introduces Line 1 of melody, singing to “mmm” and/or “woo”. (e.g. 3 3 45 3). When stable, teacher introduces Line 2 of melody, also singing to “mmm” and/or “woo”. (e.g. 1 7 65 1)

4. Teacher splits class in half and assigns each group one of the melodic lines. Groups sing together in 2-part harmony.

notes) to gain familiarity of the chord progression. Teacher reiterates that the chord changes every 4 beats, and there are 2 beats on the third and fourth chords.

7. Teacher begins with percussionists by asking them to “create a groove that is steady and will help your friends feel the beat”. Keep the groove playing.

8. On top of the groove, teacher instructs one melodic section (e.g. keyboards) to play their chords in any pattern that will complement the percussionists. Teacher calls out the chord in which they are supposed to play (to help the class change the chords together).

9. Teacher turns to the second melodic section and instructs the group to “play their chords in a way that will complement the other groups”.

10. Repeat Step 9 until all groups are playing.

5. Move on to instrument of students’ choice. Teacher introduces chord progression to students and give them some time to practise it on their own instruments. Percussionists can explore how they can play together as a section.

6. When ready, teacher gets all harmonic instruments to play the chords together as a class (possibly in crotchets or semibreve sustained

11. Teacher keeps the groove going for about 2 minutes to establish a steady tempo and get students acquainted with the sounds that their other friends are producing. Teacher calls out the tempo if necessary when students are unable to follow the percussionists. Teacher can also take this opportunity to play around with a mixture of timbre and dynamics by directing the class with visual and verbal cues while the groove is ongoing.

12. Eventually, teacher should put both sections together by first labelling the singing segment as Section 1, and the instrumental groove as Section 2. Teacher decides on the cues to be used to switch between Sections 1 and 2 and explains them to students.

13. Whole class plays and alternates between Sections 1 and 2. Again, teacher can play around with timbre and dynamics in both sections while the music-making is taking place.

Prior Knowledge Required

Students must have learnt how to play the instruments that will be used in this activity (e.g. ukulele chords, keyboard chords). They are able to create and play rhythms on percussion.

What This May Lead To

Creation of “backing tracks” with focus on arrangement techniques, melodic improvisation and composition, introduction of an existing song (in the same chord progression) but in a different musical style.

Possible Delivery Challenges

1. In 2-part harmony singing, students may get affected by the other part. Avoid melodic lines that are in parallel motion and create them in contrary motions instead. When singing, have students move their hands as the pitch moves (e.g. downwards or upwards). Teacher can cue the changes in pitch with each hand.

2. Students may sing very softly at first, even after the teacher has demonstrated loud and full-sounding singing. Stop and draw students’ attention to the tone that the teacher uses in singing, and provide possible

Assessment for Learning

1 Students must keep their pitch when singing in 2-part harmony. As the teacher is not able to sing both parts at the same time, students have to be able to keep their pitch for at least 2 repetitions.

2 Students should be able to keep to the tempo when switching between sections. If students are unable to play, teacher can help keep the tempo by getting 1 or 2 percussionists to create a beat that involves playing on all 4 beats (or teacher dictates the rhythm).

3 Students should be able to improvise rhythmic accompaniment patterns in 4 beats or up to 4 bars.

solutions to gain better sound (e.g. take deeper breaths, sit/stand straight, feel diaphragm while singing). Teacher can also change singing vowel to “nah”.

3. Students may not be able to follow a steady pulse when grooving. Teacher can get 1 or 2 percussionists to create a percussion beat that involves playing on all 4 beats (e.g. 1 2 n 3 4 n) or teacher may dictate the rhythm.

4. When putting all the sections together, students may not catch on to the different visual conducting cues of the teacher. Most of the time, they are engrossed in playing their instruments instead of looking up at the teacher for the visual cues. Teacher may need to pre-empt the class of a change in the sections by walking towards the students while signalling the new section. When everyone’s attention is caught, count into the new section. Teacher can do this a few times without being too predictable (i.e. avoid changing the sections after 4 repetitions of one section; teacher can try changing the sections after an odd number of repetitions) to keep students alert to his/her conducting and cueing.

5. As the singing part is unaccompanied, students may not be able to keep a pulse or change the chords as a class. Teacher can appoint 1 percussionist to play the groove in Section 1 so that the class can stay in tempo, or the teacher can physically conduct the change of chords. If students have trouble establishing a steady tempo when they change to Section 2, it is advisable to keep a steady pulse throughout both sections.

6. Students may not be able to start on the right pitch, even after teacher gives them the pitch and starts counting into Section 1. Teacher can start the performance by getting students to hum the first note as a sustained note (after piano pitches for students). Students continue to hum the pitch through teacher’s count-in to Section 1, where students will go on to change pitch in time, as previously practised in the lesson.

Exploring Harmony, Modulation through Body Percussion and Singing

Purpose

Students will learn how to do part singing and explore concept of modulation using the song Sesere Eeye

Description

1. Students recap concept of harmony by having different groups singing specific parts of a canon during the piece.

2. Teacher reinforces the chord that they have just sung by playing the notes on the piano.

3. Teacher introduces the song Sesere Eeye to the students and shares the cultural context behind the singing and performance of the song.

Song Lyrics

Sesere eeye, sesere eeye

Nar in ar in a roparte

Sesere eeye, sesere eeye

Nar in ar in a roparte

Roparte marowsi amma

Te sesere eeye

Roparte marowsi amma

Te sesere eeye

Reference Video https://www.youtube.com/watch?v=t2JxKnVJBqQ

4. Students learn the song by singing each line of the song after the teacher.

5. After learning the song, students learn the actions to the song to help them to internalise the song with rhythmic reinforcement. (Especially helpful since the song is mixed meter.)

6. Teacher asks students to imagine that competing groups are challenging each other with the song and how they can raise the intensity. (Expected student answers: Increased Volume, Tempo.)

7. Teacher leads them to consider changing the pitch, as a way to increase the intensity of the song.

8. Teacher then models the modulation and gets students to emulate, using a visual cue to indicate to them the moment of modulation.

9. Students sing the melodic line of the song and teacher instructs them to listen to the harmony that he or she will be singing. (A third higher.)

10. Students sing the upper harmony while teacher does the melodic line.

11. In groups, students are tasked to come up with their own arrangements of Sesere Eeye. Groups can choose when to sing the melody, when to add in the harmony and the different body percussion movements they would like in the creation of their piece.

12. Students take turns to perform for one another, while teacher gives feedback on their use of harmony, modulation and body percussion.

Prior Knowledge Required

Students are familiar with singing and movement, and have explored singing in canon. This will allow them to hear moments of harmony formed at certain points in the canon and be familiar with the harmonic texture formed.

What This May Lead To

Students eventually selecting songs and experimenting with adding harmonic lines to some of these songs.

Possible Delivery Challenges

1. Students may take a while to get used to the lyrics as the song is not in English.

2. Students may tend to not engage in singing fully (i.e. Sing-speak). It is important to remind and model the singing approach.

3. There may be students who do not have the tessitura to do the harmony parts. It is important to allocate parts suitably or let students decide which part they should be singing.

4. Students may find it hard to modulate without having background music to help them. Scaffold by using the piano to help them hear the change in key.

Assessment for Learning

1 Watch for students’ ability to hold their pitch in the melody and subsequently the harmony. Scaffold by reinforcing the importance of listening while singing.

2 Watch for students’ ability to use body percussion to play the rhythm and subsequently come up with their own rhythms. If students are unable to invent their own movements in the body percussion, scaffold by getting them to improvise initially from the taught body percussion.

3 Facilitate the group planning stage as students arrange their own presentation of Sesere Eeye. If students are observed to be experiencing challenges, help them to see where the problem lies, and lead them to generate possible solutions based on their group dynamics and profile.

E W

West Zone N S

TEACHING ACTION

Learning and Creating Rhythms through Rhythmic Vocalisation

Purpose

To help students explore and create various rhythmic patterns

Description

1. Teacher revisits note values crotchet, minim, semibreve, minim, semiquaver, dotted notes to students.

2. Teacher gets students to think of a 1-syllable word (may be related to a theme e.g. food). That word (e.g. rice) will be used to vocalise the crotchet. A 2-syllable word (e.g. chicken) will be used to vocalise 2 quavers and a 4-syllable word (e.g. nasi lemak) will be used to vocalise 4 semiquavers.

3. Teacher introduces other 1-syllable words to vocalise minim and semibreve, holding that word for the relevant number of counts.

4. Teacher shows the melody line (which could be from a piano score or tunes that students need to learn) and gets students to try vocalising to the given rhythm.

5. Teacher asks students to explore on their own by improvising a new rhythm (through rearranging the rhythm pattern) as she taps the pulse.

6. Teacher picks students to demonstrate as the rest of the class taps the pulse.

Assessment for Learning

Prior Knowledge Required

1. Students should be able to state the names and time values for the following notes: crochet, quaver, semiquaver, minim, semibreve, dotted notes.

2. Students should know how quavers and semiquavers can be grouped to form 1 count.

What This May Lead To

1. Playing the melody line on the keyboard or tunes that students need to learn.

2. Creating rhythmic compositions or arrangements of songs.

Possible Delivery Challenges

1. Students may not be able to sub-divide quavers and semiquavers equally. Teacher demonstrates first if this happens.

2. Students may not be able to keep the pulse while vocalising. Teacher may have to use a metronome or get a student with a strong sense of pulse (or the teacher him/herself) to keep the pulse.

3. Students may find it difficult to vocalise complex rhythms and rhythms involving rests. Get students to vocalise the rhythms without the rests before introducing the rests into the rhythms.

1 Watch for students’ ability to keep the pulse. Get the students to feel the first beat of each bar.

2 Get smaller groups to vocalise the rhythm instead of getting the whole class to do so.

TEACHING ACTION 1

Instrumental Chord Progression Playing

The series of Teaching Actions described here are intended to be carried out in the order presented. They are put together for a lesson on creative work with the song Dui Shou (对手) – To Be A Better Me. The purpose is to have students apply their understanding of the pentatonic scale in creative music-making. The Teaching Actions take 2 music lessons to carry out.

STAR CHAMPION

Chok Shuk Yin SCHOOL

Swiss Cottage Secondary School CLUSTER w2

Purpose

To revise the concept of pentatonic scale through the song Dui Shou

Description

1. Students are put in groups of 8. Each student is given a boomwhacker of C major diatonic note.

2. Teacher gets the class to do the boomwhacker accompaniment on chords C, C, C, G, Am, F, C, G (C) [2 beats each for last 2 chords], in crotchet beat, 4/4 time, for the 8 bars.

3. Teacher plays the Verse 1 melody of Dui Shou on resonator bar while

Play the 8-bar chord progession in crotchet beats

(4/4 time)

Chord C C C G Am F C G(C)*

Chords – in crotchet beat only? Is there another pattern? And how is the mood changed? Melody – can we add a melody to it?

students play boomwhackers in Step 2. Teacher gets students to listen to the “melody” being accompanied by the boomwhackers and appreciate the harmony. Note: Teacher may ask 2 groups to play the boomwhacker, while the rest listen. Teacher may repeat this a few times so that students are familiar with the tune and allow them to just listen to the tune.

4. Teacher plays the melody. Teacher asks students if they observe anything special about the melody.

5. Teacher directs students’ attention to the notes used in the melody. For example, teacher may ask them what are the notes that are not played (answer: Fa, Ti). Teacher elicits students’ responses on the pentatonic scale.

6. Teacher demonstrates that anyone can make a tune easily using pentatonic scale. (Teacher may improvise a little on the pitch instrument using the scale and make reference to the Chinese music tradition which tends to use pentatonic melodies.)

TEACHING ACTION 2

Deconstructing the Solfège of a Song

Purpose

To be familiar with the song Dui Shou in solfège

Description

1. Teacher distributes the song sheet of Dui Shou Verse 1 to students (see handout below).

2. Teacher leads the class in singing the song (in Chinese).

3. Teacher allows time for students to figure out the melody in solfège.

4. Teacher guides students to sing the solfège of the verse.

Singing of solfège

• Write the solfège from Bars 25-32 in your handout

• Sing the 8 bars in solfège

• What is so special about the notes?

• It is composed based on ____________ scale

Write the solfège on your handout Suggested answer provided by teacher

TEACHING ACTION 3

Performing 2 Parts (Melody

and Accompaniment)

Purpose

To get students to put 2 parts (melody and accompaniment) together

Description

1. Teacher plays the melody while students play the above chords on the boomwhacker. Teacher gets students to listen to the music and points out the balance of singing and accompaniment.

Note: Teacher may ask 2 groups to play the boomwhacker, while the rest listen. Teacher may repeat this a few times so that students are familiar with the tune and allow students to just listen to the tune.

2. Teacher asks students to consider how music or mood can be changed without changing the notes/rhythm. Teacher elicits responses such as texture/dynamics/phrasing.

3. Teacher gets the students to work in groups to put the 2 parts together.

TEACHING ACTION 4

Creating Music with Pentatonic Melodies

Description

1. Teacher demonstrates how a new melody can be created using the 5 notes, through singing/playing the resonator bar or other pitched instruments.

2. Teacher gives time for students to work in groups of 8 for a melody of 8 bars, accompanied by boomwhackers, using the chords given above. Teacher informs students that they must end their melody on “Do”.

3. Teacher gives students a template to record the melody.

Extension: Composing a Pentatonic Tune

1 set of boomwhackers and 1 set of resonator bars per group

Create an 8-bar tune with the pentatonic scale, follow the chord progression as given and end the note on “Do” (change the last chord to C)

(4/4 time)

* Original song ends in G and sounds imperfect. Teacher can add chord C and get students to learn perfect cadence for the composition section

4. Students are given time to practise and teacher rounds up the class by having groups perform for one another.

Prior Knowledge Required

1. Students have experienced playing in an ensemble.

2. They have learnt the melody by singing and playing it on resonator bars.

3. The students have used boomwhackers in chordal accompaniments.

4. They understand the concept of chords C, F, G well.

Assessment for Learning

What This May Lead To Music arrangement/creation – using GarageBand.

Possible Delivery Challenges

1. Students may not be able to keep time well. Teacher can tap and count, and get students to listen. Students can also count for one another when in their groups.

2. Students may take a long time to figure out the solfège. Teacher specifies a time and reveals the answer when the time is up. Students may not be accurate in the earlier rounds, but they can get it subsequently if done frequently.

3. Students may not be able to hear the harmony of melody and accompaniment well. They may play as told (mechanically) instead of appreciating the harmony.

4. The boomwhacker accompaniment may drown the melody. It is crucial to get students to listen to the balance and appreciate the harmony.

1 Teaching Action 1: Teacher watches for students’ ability to keep the time while playing the chords.

2 Teacher assesses students’ understanding of chords and also ability to play the chords differently (e.g., instead of block chords, students can play the root on Beat 1, and the third and fifth notes on Beats 2 to 4).

3 Teaching Action 2: Teacher assesses students’ ability to get the solfège correctly and sing in pitch. (Teacher can scaffold by playing the tune a few times to familiarise students with the melody.)

4 Teacher watches for students’ ability to create a new melody. Teacher scaffolds by encouraging students to follow the phrases and use simple rhythms.

TEACHING

ACTION

Music Arrangement

STAR CHAMPION

Destiny See Yeo Sin SCHOOL

Westwood Secondary School CLUSTER W3

Purpose

To teach students music arrangement using cups and guitar

Description

1. Teacher distributes a cup to each student and demonstrates the 2-bar rhythmic pattern of Anna Kendrick’s Cup song.

2. Students play the 2-bar rhythmic pattern together as a class. Teacher provides the pulse by counting or singing along.

3. Teacher assigns some students to play the guitars. (Chords for Cup song will be provided.)

4. Students continue playing the 2-bar rhythmic pattern with their cups while teacher demonstrates to those on guitar how to apply the strumming pattern to the 4 chords in the song –G, Em, C and D.

5. Teacher engages the class in a discussion on how the arrangement of the 2-bar rhythm and 4 chords can be improved upon, e.g. texture, dynamics and instrumentation.

6. Teacher demonstrates to the class how the same 2-bar rhythmic pattern and 4 chords can be applied to other popular songs such as Just the Way You Are and I’m Yours.

Assessment for Learning

Prior Knowledge Required

Students have been taught how to play G, Em, C and D chords on the guitar as well as basic strumming patterns.

What This May Lead To

1. Improvisation: Teacher can get the class to form groups and arrange a popular song using cups, guitar and other percussion instruments. (They do not have to keep to the same 2-bar rhythmic pattern of the Cup song.)

2. Composition: Students can explore changing the G, Em, C and D chord progressions and strumming patterns to compose a new tune.

Possible Delivery Challenges

1. Students may have difficulty keeping to the beat. Teacher helps the class keep the beat by voicing over/singing along while they are playing. (Teacher may use a mic as the class can be quite loud.)

2. Students may be restless after a while, especially when some of the teaching actions are repeated. Hence the teacher needs to keep the momentum going by introducing a new element after an appropriate length of time, e.g. moving from one part of the teaching action to another at appropriate intervals, getting students of higher attainment to demonstrate their playing to excite the class.

1 Teacher assesses students’ ability to play the 2-bar rhythmic pattern of the Cup song. Teacher can provide scaffolding by breaking up the rhythm and slowing down the tempo.

2 Teacher observes students’ ability to keep the time, especially when the guitar enters with the cups. Teacher can give vocal commands/sing along to help the class stay in time. Teacher can also assign better players for each segment to lead their section.

Clap Your Hands with Me!: Developing Patterns in Compound Time

Purpose

To help students experience the compound metre and to inspire creative work with compound metre

Description

1. Teacher says the words and gets students to repeat: Everyone? Anyone! Oh! What’s up? Come on let’s dance! Dance! Everyone.

Note: The words above will be read by the teacher in compound time.

2. Teacher demonstrates body percussion with the words (e.g. clapping, patting the lap, foot stamp).

3. Teacher leads the students for a few rounds to make sure that they are competent in saying the words and doing the body percussion rhythms. Subsequently, students will do the rhythms without the words.

4. Teacher gets students to work in pairs and change some of the body percussion moves. Each pair will do the Teaching Action for 4 bars and the next pair will demonstrate their moves in the next 4 bars.

5. Teacher plays a song with English text in compound time and lead students in performing their respective changed body percussion moves. Teacher plays another song with non-English text in compound time or equivalent, e.g. En Veetiley.

6. Teacher explains the concept of metre across the 2 different traditions.

Prior Knowledge Required

Students have done a few rounds of rhythmic clapping to establish the beat as a class first.

What This May Lead To

Students will be able to come up with an interesting variety of body percussion rhythms and their performance will be part of their assessment.

Possible Delivery Challenges

1. Students may fumble with the words and not remember them. It might be good to flash the words on the board for the students.

2. Students may get so engrossed in changing the body percussion rhythm that their compound metre becomes simple metre instead. Teacher can have students to recite the words in the right rhythm and get them back on track.

Assessment for Learning

1 Teacher gets students to rehearse their performance in front of their friends before the formal assessment. This allows the teacher to assess the students as they work to check their understanding of compound time.

TEACHING ACTION

Creating a 4-beat Ostinato Using Body Percussion

Purpose

To be able to compose rhythmic patterns and to cultivate “ensemble-ship”

Description

1. Teacher hums a note and then switches to “woo”, singing a short melodic line (Mi-Fa-Mi-Re-Mi-Fa-So-So).

2. Teacher introduces the second line (Do-Do-Do-Ti-La-Fa-Do-Ti). The whole class must be able to sing both lines before proceeding to Step 3.

3. Teacher divides the class into two, Group 1 and Group 2.

4. Teacher invites Group 1 to sing the first line.

5. Teacher invites Group 2 to sing the second line while Group 1 continues singing the first line.

6. Teacher introduces a 4-beat rhythm as the ostinato using body percussion (stomp-clap-stomp-stomp-clap).

7. Teacher leads the class in playing the ostinato and sings the first line at the same time.

8. Teacher stops the first melodic line while keeping the ostinato.

9. Teacher leads the class in singing the second line while keeping the ostinato.

10. Teacher stops the second melodic line while keeping the ostinato.

11. Teacher cues Group 1 to sing the first melodic line while keeping the ostinato.

12. Teacher cues Group 2 to join in with the second melodic line while keeping the ostinato.

13. Students work in groups of 4 to create their own ostinato using body percussion.

14. After some practice, the groups will take turns to present their ostinati using body percussion and sing the two lines at the same time.

Prior Knowledge Required

1. Students have experienced making music using body percussion.

2. Students have sung music notes in pitch.

What This May Lead To

1. Creating other melodies and/or chords.

2. Identifying basic chord progressions in pop songs.

3. Vocalising notes in harmony.

Possible Delivery Challenges

1. Students may be a little reserved in singing with one another. Modelling and encouragement from the teacher would be very helpful to motivate them to sing with confidence.

2. Students may rush the beat while leading a group performing simultaneous tasks. Teacher can play the metronome and constantly remind students to keep a steady tempo.

3. Some students may not be aware of whether they are singing in pitch or not. Teacher can point out and demonstrate the correct pitches that they are supposed to follow in a non-threatening manner, preferably targeting a group rather than individuals.

Assessment for Learning

1 Students will be asked to give constructive comments on other groups’ performances. Through this form of peer evaluation, teacher can point out any misconception the students’ feedback raises. Positive students’ comments that reiterate understanding of concepts taught will be emphasised by the teacher.

2 If certain groups have difficulty performing their created rhythms at the end of the presentation, teacher can help to scaffold by simplifying the rhythm and making it fit the group’s ability.

Teaching of ‘1, 23, 12’ Rhythm with Improvisation

Purpose

Students will learn to improvise rhythms from a standard rhythm parameter

Description

1. Teacher gets students to clap in standard beats of 4 (1, 2, 3, 4, 1, 2, 3, 4……) to allow them to feel the pulse. Teacher can either clap along with the students or use another percussion instrument to beat the pulse together with the students.

2. Students continue to clap the standard pulse, while teacher now claps the “1, 23, 12” rhythm.

3. Teacher signals for half the class to stop clapping, while the other half continues with the clapping. Teacher demonstrates to the first half how to clap the “1, 23, 12” rhythm and gets them to follow. At this juncture, there will be 2 sets of ongoing rhythms.

4. Teacher signals for all students to stop clapping and then gets them to exchange roles. Students who were clapping the pulse will now clap the rhythm, whereas students clapping the rhythm earlier on will clap the pulse. Both groups will clap simultaneously.

5. After the students have learnt both sets of rhythms, they will then learn how to improvise. Teacher first demonstrates how to improvise on the last 2 beats while keeping the “1, 23” rhythm for the first 2 beats. While demonstrating, teacher gives a few examples of improvised rhythms.

6. Teacher can also get students to try clapping the improvised rhythm together with him/her so as to make sure that students have understood the demonstration.

7. After the demonstration, students will try to improvise on their own in pairs. Teacher goes around the class to facilitate students’ progress.

8. Teacher will gets all pairs to showcase their new rhythms to the rest of the class.

9. Using the same steps from Steps 5-8, students will now learn to improvise on the first 2 beats instead of the last 2 beats.

Prior Knowledge Required

Students have learnt the concept of beats and pulse.

What This May Lead To

Students can proceed to improvise their own rhythms in beats of 4 on any instrument.

Possible Delivery Challenges

1. Students keeping the pulse may subconsciously go faster. Teacher can help keep the beat by playing the pulse on another percussion instrument.

2. Students may not be serious when they are left alone to create their own rhythms. Teacher can emphasise to students at the beginning of the improvisation process that they will need to share their creations to the rest of the class.

3. Some students may be overly ambitious and want to create very complicated rhythms that they may not be able to manage or remember. Teacher should remind students to keep things simple at the start. They can move on to more complicated rhythms once they are more comfortable with simpler rhythms.

Assessment for Learning

1 Look out for students’ ability to keep the time during the improvisation process. If they are unable to follow the beat while improvising, teacher can facilitate by helping them clap the pulse at the initial stage. Once the students are more familiar with the pulse, teacher can get 1 student from the pair to clap while the other claps the new rhythm and vice versa.

TEACHING ACTION

Rhythm Interaction through a Game

Purpose

To get students to interact with simple to complex rhythms and recognise a given rhythm both visually and aurally

Description

1. Class Engagement (warm-up)

• Students stand in a circle and mimic what the teacher is doing

• Teacher warms up hands by rubbing

• Teacher starts to rub the arms, shoulders and torso

• Teacher rubs legs and shakes them

• Teacher gets the whole class to clap together via observation (All students clap together with the teacher at the same time)

2. Poison Rhythm (game)

• Teacher claps a rhythm for students to copy

• Teacher uses body percussion and more complex rhythms for students to imitate

• Teacher assigns a particular rhythm as Poison. When this rhythm is done by the teacher, students are not supposed to imitate (Practice round is probably required)

• If students imitate Poison or recognise the wrong rhythm as Poison, the students are “out” and must sit down

• Do rounds until there are about 3-5 winners

3. Reading Rhythms

• Poison Rhythm is written on the board

• Teacher guides students to use syllables (1n2, 3n4)/(ti-ti ta, ti-ti ta) to read the rhythm

• Students clap the rhythm

4. Students create a new Poison Rhythm in pairs/groups and take turns to lead the class (repeat Steps 2 and 3).

Prior Knowledge Required

1. Students should be aware of and have experience in using rhythm syllables.

2. Students should understand the concept of creating rhythms and imitating rhythms within 4 beats.

What This May Lead To

1. Improvising Text on Vocals

• Teacher gets students’ contributions to phrases in response to a theme

• Teacher guides students to read the words to form a chant. Teacher can choose to integrate rhythms that were explored during the earlier games

• Teacher demonstrates chanting of words on top of the Poison Rhythm. Rhythm can be played by either the teacher or a student

• Students do their own improvisation of the chant while the teacher/a student plays Poison Rhythm on drum

2. Rhythmic Layering

• Teacher uses the different Poison Rhythms from different games to create a class rhythmic composition

• Some ideas: Rondo form, solo-tutti, exploring instrumental timbres (body percussion/ instruments) with different rhythms

3. Melodic Exploration

• Students compose short melodies based on different Poison Rhythms previously explored (students have certain limitations given – e.g. Do-So range or specific notes only)

• Students can put the different melodies together to create a longer composition

Possible Delivery Challenges

1. Students may have trouble imitating too many body percussion sounds.

Teacher can keep the use of body percussion to a maximum of 2 types (e.g. slap thighs + snap) per rhythm.

2. Students may have a tendency to rush or not be able to internalise the repeated 4 beats. This can be solved with the aid of an ongoing metronome beat. Teacher should also start every round with simple and straightforward rhythms to help students internalise before progressing to more difficult rhythms.

Assessment for Learning

1 Teacher watches for students who struggle to copy more difficult rhythms. If the class has trouble getting the rhythm, repeat a few times for the students to practise. When more than half of the class is “out” of the Poison Rhythm game, more complex rhythms can be introduced to push the stronger students.

2 Students who are more confident at creating rhythms or leading are to start first during the last section. Students can take turns in pairs or small groups to lead to build confidence.

3 Students would have interacted with the Poison Rhythm aurally, kinaesthetically and visually. If students have any difficulty at any stage, the teacher can choose to pause to recap and ensure students’ understanding.

Improvising on a Song

Purpose

Improvise a simple arrangement of a song

Description

Canon

1. Teacher revises the concept of canon.

2. Teacher divides class into two –Group A and Group B. Get Group B to decide on an appropriate place to start singing their melody.

3. Teacher gets students to swop parts – Group B to sing first, followed by Group A.

Accompaniment & Melody

4. Teacher introduces the accompaniment part for the song and explains what an accompaniment part is.

5. Teacher gets students to try the accompaniment together while he/she sings the melody.

6. Once class is ready, teacher splits them into two again – one group to sing the melody and the other to sing the accompaniment and vice versa.

Creation of Accompaniment

7. Students work in groups to vary the accompaniment so that they can create a new arrangement.

8. Teacher may choose to illicit responses from students on how they may vary the existing accompaniment before they get into groups.

Examples of ways to vary the accompaniment include:

• Augmentation or diminution of note values

• Adding more notes to the accompaniment

• Varying notes in sequence form (e.g. Do, So, Do Mi, Ti, Mi)

• Fragmentation (using only parts of the original accompaniment)

• Replacing certain notes with body percussion

Prior Knowledge Required

1. Students are able to identify basic rhythm syllables and sing an octave of solfège with hand signs.

Assessment for Learning

2. Students understand the concept of canon.

What This May Lead To

Other songs and incorporation of other elements (e.g. ostinato) in students’ improvisation or arrangement.

Possible Delivery Challenges

1. Students may not be able to keep time. Hence, it is important to always count in for them before they start singing (e.g. 3, 2, 1, start).

2. Students may not be able to pitch accurately. Teacher should always demonstrate the first note before getting students to start singing. Using words like “Match my note” followed by singing the note will be useful.

3. Students of higher attainment or students who are able to sing well or improvise quickly may be restless when activity is repeated many times. Teacher may then get them to lead the class or to demonstrate ways in which the accompaniment may be improvised.

1 Teacher watches for students’ ability to keep time and pitch. Scaffold by reinforcing the activities with students, then stop and let students take over or try on their own.

2 Teacher assesses students’ creativity in their creation of arrangement.

3 Teacher may choose to use the following methods to overcome the possible challenges faced in students’ improvisatory work:

• Teacher may limit the tone set to Do Re Mi So La (pentatonic scale for easier pitching)

• Teacher may also choose to provide the rhythm structure and/or form (e.g. AABB or ABAC)