k12 Curriculum Guides Music k6 Gr1organizers49-88

GRADE 1 - ORGANIZERS
Grade 1
Organizers
Rhythm and Metre
Melody / Pitch
Harmony
Form
Expression
Contexts
MUSIC CURRICULUM GUIDE: K - 6 49

50 MUSIC CURRICULUM GUIDE: K - 6

Grade One
Rhythm and Metre Melody/Pitch Harmony

Students will be expected to Students will be expected to Students will be expected to
1. perform, listen to and create 1. perform, listen to and create 1. perform, listen to and create
• beat • higher and lower • simple ostinati
• rhythm • melodic contour (melodic/rhythmic)
• groupings of two, three, • s m new
and four beats • l s m new
• stepping/skipping songs • in the keys of F, C, and G
2. develop, alone and with

others, in-tune and
expressive singing
(prepare r d )
Form Expression Contexts

Students will be expected to Students will be expected to Students will be expected to
1. perform, listen to and create 1. perform, listen to and create 1. perform, listen to and create
• like and unlike phrases or reflecting sensitivity to varied selections representing
sections moods/feelings • their own and other
• repeat sign • louder/softer cultures
• faster/slower • special occasions
• sounds - vocal, • seasons
environmental, classroom
instruments

Organizer: Rhythm and Metre
Outcomes Suggestions for Teaching and Learning

Students will be expected to
1. perform, listen to and create Performing includes:
• beat singing
• rhythm playing
• groupings of 2, 3, and 4 beats speaking
• stepping/skipping songs moving
• ± new reading
Öµ new writing/constructing
£ new
Listening includes:
aurally identifying
responding
Creating includes:
improvising
composing
dramatizing
Includes
• using bar lines
Performing
• The students chant a poem and step in place to the beat, then
chant and walk anywhere in the room keeping the beat.
• One or two children play the beat on a drum or percussion
instrument while the rest of the class steps in place and/or
walks to the beat.
• Clap, tap on various parts of body, or play on percussion
instruments, the rhythm of the words while saying a chant or
singing a song. See Resources/Notes: Name Games and
Sound Ideas.
• Use the heart shape to represent the beat. Place eight on the
demo board and point to the beat as the students sing a
familiar song. The students may draw their own hearts or use
their own staffs and heart shapes. Students point to the
heartbeats as they sing.
• Use a beat chart (Composing With Boomwhackers - page 14).
Reproduce so each child has a chart. Students point to the
beats while singing a known song or listening to a musical
example.

Suggestions for Assessment Resources/Notes
See pages 59 and 61. See pages 57, 59, and 61.

1. perform, listen to and create • Sing a song and tap the beat, then sing and clap the way the
• beat words go (rhythm). On a given signal, switch back and forth.
• rhythm Use songs such as Snail Snail, Engine Engine #9 and Counting
• groupings of 2, 3, and 4 beats Song, Musicplay 1.
• stepping/skipping songs • Say a chant or sing a familiar song. Half the class keeps the
• ± new beat while the other half claps the rhythm.
Öµ new • Sing songs and play games in simple and compound metres.
£ new Students may work in small groups to create and move with
appropriate motions. See Simple and Compound Duple Metre,
pages 26-27, The Kodály Method I.
• Sing a known song, step the beat and stamp on accented
beats. Mark the beats on the board as students sing and
place accents over the strong beats. See pages 41-42 for the
teaching procedure, Metre, Measure, and Bar Line, The
Kodály Method I.
• Teachers should not neglect songs, games, echo clapping and
musical examples in ³¼. While singing or listening, students
sit and keep the beat. For example, tap floor on beat one,
slap lap on beat two, and clap hands on beat three. Use a
beat chart. See Composing with Boomwhackers, page 14.
• Play strong beats on one instrument, weak on another.
Students may work in pairs or small groups.
• Start with a song beginning with four quarter notes, e.g.,
Snail, Snail. Children sing the first phrase and keep the beat.
How many beats are there? Place snail shapes to represent
the beat on the teacher’s demonstration staff. Sing the phrase
again pointing to the beats. How many sounds do you hear
for each beat? The teacher identifies one sound on the beat as
“ta” and places its symbol under the beats. “Let’s throw away
the words and sing with our new name for one sound on a
beat.” The students sing the melody to ta ta ta ta. Divide
students into groups and make “people rhythms” for new
rhythm patterns. Children construct the rhythm with sticks
and sing the phrase while pointing to the pattern. See
Rhythmic Learning for Grade One, pages 36-40, The Kodály
Method I.

See pages 59 and 61. See pages 57, 59 and 61.

1. perform, listen to and create • The next rhythm taught should be Öµ .

• beat 1. The class steps the beat of Clap, Clap Clap Your Hands or
• rhythm Bee, Bee, Bumble Bee
• groupings of 2, 3, and 4 beats 2. Clap the rhythm.
• stepping/skipping songs
• ± new 3. Step the beat and clap the rhythm at the same time.
Öµ new 4. Draw the four heartbeats or place on the demonstration
£ new staff.
5. The class sings the first phrase and claps the rhythm as the
teacher points to the beats.
Is there any beat with more than one sound? Which beat
has more than one sound?
6. The teacher labels the two sounds as ti-ti and places the
notation on the board.
• Move quickly on to two eighth notes in other positions (e.g.,
Bye Baby Bunting ± Öµ ± ± ).
• Introduce £ with a prepared known song such as Pease Porridge
Hot. Follow the procedure above, but ask the question, “Is
there any beat without a sound?” Practise and reinforce
through reading and writing.
• Use a poem such as Sitting on a Tin Can, An Orff Mosaic
from Canada, page 261. After playing the game, ask the
students to derive the rhythm of the first two lines. Vary the
performance by replacing a word(s) (we can or tin can) with
an instrument played by some students.
• Students derive, say and sing the rhythms of known songs
and phrases.
• Students construct a known phrase(s) with rhythm sticks and
bar lines.
• Students read rhythms from flash cards/or chart songs.
• Students read a set of four flash cards in scrambled order.
Students arrange the cards to show the correct rhythm of a
known song.

See pages 59 and 61. The Kodály Method I

Pages 24-26 - Long-Short, Beat, Accent
Pages 50-51 - A Suggested Song List
Chapter 3 - Preschool and Grade 1
Roots and Branches

Pages 16-17 - Yo, Mamana, Yo (³¼)
Pages 100-103 - Uga Uga Uga (beat,
movement)
Pages 130-131 - San Serení (beat, movement)
Pages 136-137 - Serra, Serra, Serrador (beat,
rhythm)
An Orff Mosaic from Canada

Page 3 - Welcome (play your name)
Page 104 - Northern Lights (creative movement)
Page 146 - Up Like a Rocket ( ± Öµ £ )
Page 188 - Turkey in the Pan (poem)
Pages 220-221 - Davey Dumpling
Page 224 - New Shoes
Page 227 - Counting’s Easy (poem)
Page 229 - Monday Monday
Page 259 - Let’s Take a Walk
Page 264 - Can You Clap Your Hands?
Page 266 - Old Dog (movement)
Chapter 19 - Move and Dance
Chapter 24 - Tips for Teachers
Teaching Towards Musical Understanding

Page 86 - Ickle Ockle (rhythmic ostinato)
Page 192 - Beat-movement teaching sequence
Page 204 - Heart shape representation of
beat
Page 216 - Classroom activities for highlighting
rhythm
Page 219 - Activities for beat vs. rhythm
Page 221 - Introducing rhythmic values
Page 143 - Classroom activities during a
listening experience
Page 145 - Suggested recordings

1. perform, listen to and create Listening

• beat • Chant a known rhyme while stepping the beat around the
• rhythm room. All freeze at the end of the chant. The teacher claps a
• groupings of 2, 3, and 4 beats four-beat rhythm and students echo without missing a beat.
• stepping/skipping songs Resume chanting while stepping the beat. Each time the
• ± new class freezes in place, the teacher gives a different rhythm for
Öµ new the class to echo. Also use student leaders to clap the
£ new rhythm.
• Use Tracks 36 and 37 Listening Kit 1, for keeping steady beat
and moving to compound duple meter. See suggested
movement activities.
• Use listening examples for movement in differents metres,
e.g., march, waltz.
• When deriving rhythms, children keep the beat, sing a given
phrase of a well known song and listen for the relationship
between sound and beat. How many sounds on each beat?
• Listen to a recorded example that focuses on known rhythms.
See Resources/Notes: Listening Kit 1.
• Prepare for dictation by placing a rhythm on the board.
Students copy. Place four hearts on the board to represent
the beats. Clap the rhythm. As the students clap, point to
the beats. How many sounds on beat one? What will we
write? Place answers on the board as students give them.
Clap a new rhythm. Students echo clap as the teacher points
to the heartbeats on the board. Guide them through the
questioning process, but students construct or write their
own answer.
• Students correctly aurally identify and notate rhythms
identified and performed in known songs.
• Students echo four-beat patterns performed by the teacher or
read from stick notation “mystery songs” (limit to two or
three known songs) and identify the song. Make a game of it.
• Teacher or student claps/plays pattern. Class echoes with
rhythm syllables.

Use a well known song such as Johnny Caught a Flea Teaching Towards Musical Understanding
(Musicplay 1). Form a double circle and give each (continued)
child a rhythm stick. Students tap partner’s sticks Pages 157-160 - Finger Plays, Action Songs,
during the singing of the song (either keeping the Singing Games, and Dances, Bow Wow Wow,
beat or tapping the rhythm, as directed). On the Open Them, Shut Them, A Skeleton Jiggles His
rest at the end of the song, the outer circle jumps one Bones, Sleep Baby Sleep, Bingo
person to the left. Begin again with new partner. Page 320 - Sample lesson plan, Grade 1
Observe and record individual performance of beat Chapter 6 - Improvising and Composing
and/or rhythm during the game. Chapter 7 - Listening
Observe and note individual responses - playing, Chapter 8 - Moving with Music
moving, reading, writing/constructing, improvising Chapter 10 - Beat, Tempo, Metre
answer phrases. Chapter 11 - Rhythm
Chapter 16 - Daily and Long-Range Planning
Chapter 17 - Assessment and Evaluation
120 Singing Games and Dances

Pages 15 and 29-30 - listing of songs
Here We Go Round the Mulberry Bush
(compound duple metre)
Oliver Twist (compound duple metre)
Farmer in the Dell (compound duple metre)
Little Sally Water (simple duple metre)
Lemonade
How Many Miles to Babylon
Chapter 1 - Songs and Rhythms
Composing with Boomwhackers

Activities 1, 2, 3 and 9. Boomwhackers may be
replaced with NPP (non-pitched percussion)
instruments.
Name Games
Game 1- Name Rhythm
Game 2 - Name Phrases
(speech, body percussion, inner hearing)
Sound Ideas
#1 - Old King Glory
#2 - Sally Go ‘Round the Sun
#3 - Son Macaron (beat, choosing and playing
instruments)

1. perform, listen to and create • Procedure for Teaching a Rhythmic Ostinato

• beat The class performs a well known song while the teacher claps the
• rhythm ostinato. The class discovers what the teacher is doing and
• groupings of 2, 3, and 4 beats identifies the rhythm of the ostinato. The teacher sings the song
• stepping/skipping songs and the class performs the ostinato. Divide the class. One half
• ± new sings and the other half performs the ostinato. Reverse. Follow
Öµ new with all children singing the song and performing the ostinato at
£ new the same time.
Creating
• Use body movement to demonstrate strong and weak beats.
Students may create this movement.
• Students create their own ostinato pattern. Perform or play on
rhythm instruments while class sings. A small group may combine
their ostinati and chose instrumentation. They perform their
arrangement as the class sings.
• Create a rhythmic composition. See Composing with
Boomwhackers, Activities 4 and 5.
• Use a poem (such as The Snowstorm, An Orff Mosaic from
Canada, page 117). Create a speech ostinato using word(s) in the
poem. Choose some students to perform the ostinato while the
remainder of the class chants the poem.
• Use activity #2 and #3 Composing with Boomwhackers.
Boomwhackers may be replaced in the activities with assorted
non-pitched percussion instruments (NPP). Group the NPP
instruments according to types (e.g., metal, wood, drums, etc.).
• Use activity #9 Rhythmic Composition with Ostinato, Composing
with Boomwhackers, using known rhythmic elements. NPP
instruments maybe used.
• Use the poem, Here are Grandma’s Spectacles ( ± Öµ £ ), An Orff
Mosaic from Canada, page 265. Follow the teaching process.
• Students create and construct with rhythm sticks their own four-
beat rhythm. Individuals can perform their pattern for the class
(clapping or on an instrument) and then the class echoes the
rhythm. Use as an introduction or coda to a known song.
• Students choose a NPP classroom instrument. Using ± Öµ and £,
the teacher plays a phrase and all the students improvise an
answer. Move to individual responses.

Use checklists (Appendix A). Musicplay 1

Sample songs for beat and rhythm:
Provide opportunities for individual students and #13 - Hickory Dickory Dock (compound metre)
small groups to perform, create and improvise. #32 - Starlight
#36 - Lucky Locket
Rhythm worksheets (listening/aurally identifying) #39 - Pease Porridge Hot
• write the rhythm that you hear #66 - I Like You
• circle the rhythm that you hear #93 - Johnny Caught a Flea
(See Reproducibles) Pages viii-ix - glossary of directions given in
sample lessons throughout the Teacher’s
Use “people rhythms” to perform or create rhythms. Guide
Written worksheets (See Reproducibles)
Place four hearts on the board. Teacher claps a Listening Kit 1
rhythm. A student places an answer on the board CD Track 2: What Keeps a Beat?
from available rhythms, i.e., ±, Öµ, £ . CD Track 28: Ballet Musik (rhythm instrument
playalong using known rhythms)
Provide students with opportunities to create and CD Track 29: Contradance II (rhythm
notate rhythmic patterns using popsicle sticks, pipe instrument playalong)
cleaners, etc. (See Baggie Kits, Appendix B) CD Track 42: Marche (use for beat and
movement activities, and with Track 36 or
Musicplay 1 37 for stepping and skipping music, also as
Use #91 Appletree, to assess beat a rhythm playalong)
Assessment - pages x-xii
Flashcards
Use Chart Songs I and Flashcards to assess beat and
rhythm. Chart Songs, Book 1
Use known songs to practise reading the
Sound Ideas rhythm pattern - clap, tap on NPP
use the variation for individual playing instruments. Sing in rhythm syllables.
#2 - Sally Go ‘Round the Sun
#3 - Son Macaron (observe beat competency) Songs to Read, Write, Sing and Play
Practice rhythmic reading with songs used for
Short written response or reflection to a question melody/pitch (see next Organizer).
(Appendix A).
Music for Creative Dance
#2 - Bee Beat
Reproducibles - worksheets related to writing

and aural skills

Organizer: Melody/Pitch


• higher and lower singing
• melodic contour playing
• s m new speaking
• l s m new reading
in the keys of F, C, and G writing/constructing/diagramming
inner hearing
Listening includes:
aurally identifying
responding
Creating includes:
improvising
composing
2. develop, alone and with others, Includes

in-tune and expressive singing • a varied repertoire with an expanded range
(prepare r d )
Performing
• Use a poem such as Three Little Monkeys (Musicplay 1, page
9) to explore high, middle, and low voices.
• Prepare for s and m placement on the staff by introducing the
organization of the staff into five lines and four spaces. A
floor staff is very effective for introducing lines and spaces.
See pages 44-45, The Kodály Method I. Demonstrate the
placement of line notes and space notes. Is this note on a line
or a space? Which line or space? Students work with their
own staffs placing notes on lines and spaces. Instruct
students to place a note on space 2, line 5, and so on.
• Sing a familiar song using only s and m, e.g., Star Light.
Students move hands higher and lower to show melodic
contour. Place stars on board in higher and lower positions.
Point as children sing. Introduce s and m placement on the
staff using the first phrase of a known song or game. Use the
demonstration staff. See pages 42-44, The Kodály Method I,
for the teaching process to introduce s and m. Students
should sing the patterns, construct on their own staffs, read
flashcards, sing with hand signs, and discover melodic
patterns in familiar songs. See pages 45-46, Reinforcing s m,
The Kodály Method I.

See pages 67 and 69. See pages 67 and 69.

1. perform, listen to and create • Practise writing the different placements on worksheets. See
• higher and lower Songs to Read, Write, Sing and Play and Reproducibles.
• melodic contour • Sing a song in solfa and with hand signs.
• s m new • Students aurally identify l as being higher than s. Introduce l.
• l s m new Show the handsign. Students sing it correctly in tune from
in the keys of F, C, and G handsigns and then move to constructing s l s phrases from
known songs (Lucy Locket). Next move to s m l s m turns and
2. develop, alone and with others, follow the same process (Bye Baby Bunting). See Introducing l
in-tune and expressive singing pages 46-47, The Kodály Method I.
(prepare r d )
• Students practise writing l on their individual staffs and using
worksheets.
• Visually reinforce l s and m using a tone ladder, a floor staff, or
the body [s - stand, m - kneel, l - stand (tall person)]. Teacher
points and students sing the patterns. Groups may create
their own patterns.
• Use known songs in Chart Songs 1 and 2 containing l s m.
Students read in solfa. Provide opportunities for small groups
to perform (e.g., one group sings line 1, the whole class line
2). Practise different key placements.
• Use the Chart Songs to provide opportunities for students to
play songs in different key placements on pitched percussion
instruments such as bells, xylophones, and metallophones.
This could be be done as an activity centre with small groups,
pairs or individual students.
• Use instruments to reinforce melodic concepts.
• Students (small groups and individuals) can play a known
melody in the different key placements while the remaining
students sing in solfa, hand sign, or clap an ostinato.
• A child or two children, using a given rhythm pattern, create
their own melody on the staff. Each child or pair plays the
melody on an instrument(s) or sings to the class. The class
echos in solfa. Sing a known song and between verses have a
different child or group perform the melody. Repeat several
times so several children may perform (Rondo).
• Using a xylophone or metallaphone, students create an
ostinato to a song using l s and m.
• Students sing from hand signs.

See pages 67 and 69. Note: All students must practise melodic
learnings with their own individual staffs.
These should be approximately 10x16 inches
and may be magnetic, felt or laminated
cardboard. Eight-ten notes must be included
(felt, cardboard, plastic discs, etc.).
The Kodály Method I

Pages 50-55 - A Suggested Song List
Roots and Branches

Pages 100-103 - Uga Uga Uga (melodic
contour, last line)
Pages 136-137 - Serra, Serra, Serrador (s m)

Page 2 - Friendly Bear (tone matching)
Page 3 - Welcome (change “play your name” to
“sing”)
Page 5 - Hello, Hello (vocal improvisation)
Pages 29-30 - Criteria for selecting songs
Page 111 - The Weather Song
Page 264 - Can You Clap Your Hands? (inner
hearing)
Chapter 24 - Tips for Teachers

1. perform, listen to and create • Sing an echo song (#53 Oh, My Aunt Came Back, Musicplay
• higher and lower 1). Provide opportunities for small groups and individuals to
• melodic contour sing the echo phrase.
• s m new • Play singing games where students have the opportunity to
• l s m new sing a line or phrase alone. (#40 Hello Game, #35 Cuckoo,
in the keys of F, C, and G #69 Doggie, Doggie, #58 Tommy Tiddlemouse, Musicplay 1).
• To practise individual singing, use a fake microphone. Ask,
2. develop, alone and with others, “Who would like to be a star today?” Individual students
in-tune and expressive singing may sing.
(prepare r d )
• Ask students to work in pairs to practise hand signs to a well-
known song containing l s m, i.e., Bounce High. Invite
individuals to lead while the class sings from his/her hand
signs.
Listening
• Explore higher and lower sounds using classroom
instruments. A student plays different pitches on an
instrument. Use physical actions. Students close their eyes
and demonstrate the sound by stretching hands above their
head, down to their feet, etc.
• Use CD Track 13, Listening Kit 1, to show melodic contour
and higher and lower with movement.
• Play the hot and cold game; refer to Kindergarten, page 38.
• Listen to recordings with instruments that can be identified
as playing high or low. Use Listening Kit 1, CD Track 20
(flute-high) and Track 23 (bassoon-low).
• The teacher sings the song in higher key placements and
lower key placements. Which is higher, which is lower?
• Use movement to show higher and lower contour of the
melody - #15 Jack and Jill, Musicplay 1 and CD Track 5:
High/Low, Listening Kit 1.
• Students echo sing melodic patterns in solfa. Extend to
student writing on individual staffs in F, C or G.
• Use a puppet. “When you can see the puppet’s face, sing out
loud. When his face is hidden, sing inside your head.”
Students keep the beat in their feet, hands, fingers, etc. Cone
puppets are particularly good for this activity (inner hearing).

Use checklists (Appendix A and Musicplay 1) Teaching Towards Musical Understanding

Listen and observe individual students. Provide Page 41 - Fill in the blank songs
opportunities for individual and small group Pages 44-47 - individual response songs
response and performance. Page 51 - inner hearing
Page 52 - mystery tune
Worksheets (See Reproducibles) Page 86 - Ickle Ockle (melodic ostinato)
• circle the correct answer, high or low Page 143 - Classroom activities during a
• circle the melodic pattern that you hear listening experience
• write the melodic pattern on the staff in the key Chapter 6 - Improvising and Composing
placement given Chapter 12 - Pitch, pages 233-245
• listen to the melodic pattern and fill in the blank Chapter 17 - Assessment and Evaluation
s __ ss m etc.
Here Comes a Bluebird
A Tisket, a Tasket
Lemonade
How Many Miles to Babylon
London Bridge
Snail Snail
Teddy Bear
Oliver Twist

1. perform, listen to and create • Sing a familiar song. On a signal, sing “in your head”. Sing
• higher and lower aloud again at a second signal. Use red light and green light
• melodic contour for signals.
• s m new • Give a starting pitch. Using hand signs, children sing an
• l s m new interval or phrase inside their head and then out loud.
in the keys of F, C, and G • From a starting pitch, the class identifies a song or phrase of a
song by following the hand signs and singing in their heads.
2. develop, alone and with others, The class then sings the song or phrase. Limit to two or three
in-tune and expressive singing songs.
(prepare r d )
• Read hand signs or a song chart. Students “hide in their
heads” certain melodic elements. For example, hide all the
ms.
• Two students with melodic barred instruments sit back to
back. One plays a pattern containing s m and l, and the other
plays back the pattern.
Creating
• Use scarves and/or movement to show melodic contour. Use
songs, recorded examples, and selections played on piano.
• See Composing with Boomwhackers activities 12 and 14.
Adapt by using only l s and m. Pitched percussion can be
substituted for boomwhackers.
• A child uses the rhythm of his/her name (e.g., Ma-ry) to
create an ostinato on a xylophone or resonator bells using
two or three notes (e.g., G, E, and A).
• Sing questions to students (using l s m). Individual
students improvise an answer using the three pitches. See
pages 47-48, Improvising in the Classroom, The Kodály
Method I.
• The class sings a known song. Individual students use voices
or melodic instruments to improvise a short melody on l s
and m (four or eight beats). The class sings again and
another student (or students) improvises. Continue (also
Rondo form).
• Students create a melodic pattern on their individual staffs.
Use as an introduction to a known song.

Provide opportunities for children to notate l s m Musicplay I

patterns on the staff in different key placements. #4 - Snail, Snail
#9 - Engine, Engine
Observe performance to show contour. (See “Singing #12 - Counting Song
Strings”, Appendix B) #15 - Jack and Jill (contour)
#32 - Starlight, Starbright
Students notate and perform their own composition - #33 - Bounce High
a four-beat melodic pattern and/or ostinato. #35 - Cuckoo (individual singing)
#36 - Lucy Locket
Students sing melodic patterns from flashcards. #37 - The Bear Hunt (echo song)
#46 - Lemonade
Students practise singing a favourite song with a #69 - Doggie, Doggie
partner. Listen to them together and alone and note Poems - pages 22 and 63
ability to reproduce the melody and sing in-tune. Page x - Ideas for in-tune singing
This could also be a peer assessment. Lesson plans throughout the guide
Observe and note when students are improvisating - Composing With Boomwhackers
singing and playing answer phrases, moving.
Listening Kit 1
CD Track 5: High/Low
Musicplay 1
CD Track 13: Personages with Long Ears (high/
Assessment - pages x-xii
low)
Page 42 - No. 1, individual singing
Chart Songs 1
Reproducibles - worksheets - writing and aural skills Use to practise deriving and reading melodic
pattern. Sing in solfa.
Listening Kit I
Use for higher and lower - see reproducible sheet, Melodic Flashcards
page 9
Songs to Read, Write, Sing, and Play (writing
Short written response or reflection to a question practice)
(Appendix A).
Reproducibles - worksheets - writing and aural
Songs to Read, Write, Sing and Play (reproducible skills
worksheets)

Organizer: Harmony

• simple ostinati singing
(melodic/rhythmic) playing
speaking
moving
reading
writing/constructing
Listening includes:
aurally identifying
responding
Creating includes:
improvising
composing
Performing
• Sing known songs using a simple rhythmic ostinato. The
four easiest to perform are (from The Kodály Method I):
± £ ± £
± ± ± £
± ± Öµ ±
Öµ Öµ ± ±
Add l s or m to any of these to create a melodic ostinato.
• Rhythmic ostinati may be clapped, tapped, performed as
body percussion, or on classroom instruments. Combine two
ostinati, each performed on different instruments or as body
percussion, while singing a known song.
• Sing songs with simple pedal tone accompaniments. Use
resonator bells, xylophones, metallaphones, and
boomwhackers.
• See strategies for ostinati under Rhythm and Metre, and
Melody/Pitch.

Organizer: Harmony
See page 73. See page 73.

Organizer: Harmony

• simple ostinati • Practise ostinati by playing with a recording (use Track 28 or
(melodic/rhythmic) 29, Listening Kit 1, or Roots and Branches).
• While students are singing a known song, the teacher
performs a rhythmic ostinato. Students derive the rhythm.
Students sing the song again. The teacher plays a melodic
ostinato (l s m) on a melodic instrument using the same
rhythm pattern. Students derive the pitch. Students may
also create the ostinati.
Creating
• Chant a verse of a poem. Students work in pairs or small
groups to create a simple speech ostinato using word(s) from
the poem. The class chants the poem as each group performs
its ostinato. Students transfer their speech ostinato to NPP
instruments and perform. Extend by adding l s m. Students
use their speech ostinato and these pitches to create a melodic
ostinato.
• Use the same strategy, but pairs or small groups create a
simple rhythmic ostinato to a known song (e.g., Lucy Locket
Locket or Bounce High). Use known rhythmic elements.
Students may write in stick notation.
• Use the same strategy but students create a melodic ostinato
using l s and m.
• A small group creates a movement ostinato to be performed to
a known song.
• The class sings a known song. At the end of the song, one
student improvises a simple ostinato using ± Öµ or £ . The
class echoes. The class sings and claps the pattern as an
ostinato. Repeat with another child improvising the pattern
for the ostinato.
• A small group creates a rhythmic ostinato. The class plays
with a recording (Listening Kit I, Roots and Branches).

Organizer: Harmony
Use checklists (Appendix A). The Kodály Method I

Observe and note individual performances and Page 40 - Introducing Ostinato
responses. Chapter 3 - Preschool and Grade 1
Provide opportunities for small groups and Roots and Branches

individual children to See listings under Rhythm and Metre, Melody/
• perform the ostinato Pitch (listen and perform ostinato)
• aurally identify ostinati
• create an ostinato An Orff Mosaic from Canada
Page 115 - Fall is Fun
Musicplay 1 Page 135 - Bear Comes Knockin’
Assessment pages x-xii Page 141 - Bees (speech ostinati)
Page 146 - Up Like a Rocket (speech with body
Listening Kit 1 percussion ostinato)
Observe and note ability to play ostinato. Page 150 - Train Ride
Page 229 - Monday, Monday (ostinati)
Pages 333-335 - Accompaniments

Pages 85-88 - Pedal tones or drones and
borduns
Page 299 - Sequence for Introducing Harmony
and Texture
Chapter 15 - Harmony and Texture, pages 296-
300

(good for using ostinato)
Musicplay 1
Listening Kit 1
(ostinato playalong)
Other:
The Orff Source (Themes and Variations)

Simple pedal tone and bordun accompaniments
(correlates with Musicplay)
Poems from Language Arts Program

Organizer: Form


• like and unlike phrases or singing
sections playing
• repeat sign speaking
moving
reading
writing/constructing/diagramming
Listening includes:
aurally identifying
responding
Creating includes:
improvising
composing
Performing
• Step the beat walking clockwise; change direction at each
phrase ending.
• Use simple movements that change for an unlike phrase (e.g.,
tapping, clapping, marching, turning, etc.).
• Sing the song phrase by phrase. Use “inner hearing” on
alternate phrases.
• Add instruments to show like and unlike phrases. Certain
instruments play a and the others b.
• Use poetry to illustrate like and unlike phrases (Jelly in the
Bowl).
• Diagram the form with shapes and pictures to show like and
unlike phrases. See page 29, The Kodály Method I.
• The class sings a two-phrase song. One-half of the class sings
the first phrase and the other responds with the second. For
example, Bow Wow Wow. A poem may also be used.
• Read phrases or flashcards containing repeat signs.
• Use flashcards to creates like and unlike phrases, which
students perform.
• Use chart songs to perform two-phrase songs in solfa. Lead a
discussion through questioning. Are they alike or different?
How are they different?

Organizer: Form
See page 77. Note: Reinforce repeat sign and relate to form
when students are creating rhythmic or
melodic phrases (see other organizers).
See listings for songs and games under other

organizers. Use opportunities as they arise to
reinforce/practise form.

Pages 27-29 - Phrase and Form
Roots and Branches

See listings under other organizers

Page 5 - Hello, Hello
Pages 220-221 - Davey Dumpling (sectional
form)
See listings under Rhythm/Metre and Melody/
Pitch

Page 45 - Doggie Doggie
Page 46 - We Are Dancing in the Forest
Chapter 6 - Improvising and Composing
Chapter 14 - Form, Pages 283-287

Here Comes a Bluebird
A Tisket, A Tasket
How Many Miles to Babylon (question/answer)
London Bridge (question/answer)

Organizer: Form
1. perform, listen to and create • Provide opportunities for students to use repeat signs when
• like and unlike phrases or notating (See Rhythm/Metre and Melody/Pitch).
sections • Use the repeat sign to reinforce like and unlike phrases.
• repeat sign
Listening
• Students draw the phrases in the air with their arms. Use
scarves to show the shape of the phrase. Use the same
movements for “like” phrases.
• Count the number of beats in each phrase of a known song
and compare each phrase length. Diagram the form (with
shapes).
• Use varied listening examples to aurally identify and respond
to phrases and sections.
• Sing a simple two-phrase song (unknown) to the class.
Students derive if the phrases are alike or different.
Creating
• Using a musical selection, students in groups create
contrasting movements to show like and unlike phrases or
sections. (Also good for assessment).
• The class performs a rhythmic phrase (either created or
borrowed from a known song). An individual creates a
rhythm response and performs as body percussion or on a
classroom instrument. The response may be guided with
directions as to the number of beats and/or types of rhythms
to be used (question and answer).
• Individual students improvise the response in call and
response songs. The class sings the opening phrase and an
individual improvises a response. A guided response may
suggest a four-beat phrase using s and m. Melodic
instruments may be set up with only two or three pitches for
a response (l s m ).
• Give students the opportunity to work in groups of two using
melodic instruments. Set guidelines: e.g., four beats using
three pitches (remove bars on the melodic instruments). One
student creates a melodic question; the other responds with a
melodic answer.

Organizer: Form

Observe and note individual responses - performance, #23 - Hey Betty Martin (like phrases)
improvisation (question and answer phrases), verbal, #42 - Fais Do Do
creating movement or phrases. Page 18 - Form
Use pictures on worksheets to accompany a listening Listening Kit 1

activity. Students aurally identify and circle the CD Track 17: Fossils - form, movement,
correct picture to indicate like and unlike phrases or listening map
sections. CD Track 40: Valse - like and unlike sections,
Use simple shapes or pictures to diagram like and uses movement
unlike phrases. Ask individual students to place
shapes on the board to indicate like and unlike Chart Songs 1
phrases. Use notation of known songs to visually
reinforce like and unlike phrases. Engine
Observe how students draw the phrases in the air.
Engine, Lucy Locket, Counting Song (like
Provide opportunities for small groups to perform phrases), Snail Snail, Doggie Doggie, Apple
from flashcards, some of which have repeat signs. Peaches (unlike). Diagram using shapes or
Note individual responses. pictures.
Musicplay 1
Assessment pages x-xii Melodic Flashcards
Combine cards to create phrases. Use repeat
signs.
Songs to Read, Write, Sing and Play

Use worksheets 1-7 to derive and/or reinforce
like and unlike phrases.

Use to practise/reinforce like and unlike
sections, using movement.

Organizer: Expression

reflecting sensitivity to moods/ singing
feelings playing
• louder/softer speaking
• faster/slower moving
• sounds - vocal, environmental, reading
classroom instruments writing/constructing/diagramming
Listening includes:
aurally identifying
responding
Creating includes:
improvising
composing
dramatizing
Performing
• Sing well-known songs softer/louder, faster/slower, as a group,
and as individuals. Discuss which sounds best.
• Sing a familiar song using different emotions (happy, angry,
fearful, sad). Discuss how to musically create the emotion.
• Students play classroom instruments loudly or softly.
• See Chapter 21, pages 303-311, An Orff Mosaic from
Canada, for excellent suggestions and strategies for sensory
awareness.
• Perform songs and games which provide opportunities for
students to create movement and/or dramatize/act out. See
An Orff Mosaic from Canada and 120 Singing Games and
Dances.
• Perform and listen to a selection from Roots and Branches,
and discuss the mood and feeling created.
• Provide many opportunities for students to play instruments.
See strategies outlined in Sounds Ideas.

See page 83. See pages 81 and 83.


reflecting sensitivity to moods/ • Read a poem or story where the voices and/or sounds can be
feelings
loud or soft or reflect different moods/feelings (happy, sad,
• louder/softer afraid). Discuss and perform.
• faster/slower • Students pass a ball around the circle while listening to a
• sounds - vocal, environmental, selection on the piano. When the tempo changes, the ball
classroom instruments changes direction.
• Students listen to recorded music. The teacher leads a
discussion concerning the mood of the music. See Listening
Kit 1, Track 34: Dance of the Sugar Plum Fairy, Track 35:
Largo, Winter, Track 39: Flight of the Bumblebee. These are
also good for instrumental timbre. Use the reproducible
sheet on page 15.
• Sing Skins and Bones (The Kodály Method I). Question the
students as to the mood/feeling created in the song. Discuss
appropriate movements to express the text. Act out while
singing.
• Play short examples with different moods, tempi, etc. and ask
the students how the music makes them feel. Ask for some
titles to the music. Listen again. How does the title fit?
Students create movement to show the mood.
• Listen to a short recorded example. Students draw a picture
to reflect the feeling in the music, Listening Kit 1, CD Track
35: Largo, Winter.
• See Listening Kit 1, Cd Track 41: Scaramella for male and
female voices. Also use contemporary examples and folk
music.
• Students explore sound sources in the environment. What are
the sounds we hear in the school, the playground, at home?
What sounds can we make in this classroom? Make a game of
it with the help of the students.
• Use call and response games. An individual child responds
and another child identifies who is singing by the timbre of
his or her voice. Do the same using classroom instruments.
• Use Carnival of the Animals (Listening Kit I) for many
opportunities to make connections between the mood/feeling
created by instruments, tempo, dynamics, etc. Use also for
creating expressive movement. Follow with the video.

See page 83. The Kodály Method I

Pages 21-24 - Loud-Soft, Fast-Slow, Timbre
Roots and Branches

Pages 130-131 - San Serení (acting out)

Pages 104-105 - Northern Lights (creative
movement)
Pages 111-112 - The Weather Song (add
instruments)
Page 132 - The Little Brown Tulip Bulb
(dramatizing story, creating sound effects)
Page 154 - Neighbourhood Noises
Page 193 - Shell Out, Shell Out (poem)
Page 195 - Hanukkah (dramatization)
Page 269 - Copy Cat (creative movement)
Page 265 - Here Are Grandma’s Spectacles (body
percussion transferred to instruments)
Page 313 - This is My Voice

Chapter 5 - Playing Classroom Instruments
Chapter 13 - Dynamics, Timbre, and
Expressive Elements
Pages 72-73 - poems, using NPP instruments:
Doctor Foster, Jingle at the Window, The Loose
Tooth, The Lion and the Mouse (story using
NPP)
Page 125 - Composition Involving Timbre
Construction, examples 1 and 2

Songs and games to act out
See suggestions under Rhythm/Metre and
Melody/Pitch

1. perform, listen to and create • Assign a movement to each classroom instrument. For
reflecting sensitivity to moods/ example, shake when you hear the tambourine, walk for the
feelings drum. The teacher hides the instruments from view. When
• louder/softer the teacher plays a particular instrument, the students
• faster/slower identify by performing the appropriate movement. A student
• sounds - vocal, environmental, may play the instruments instead of the teacher.
classroom instruments • The teacher sings Well You Walk (120 Singing Games and
Dances) in various ways as students listen. As the teacher
sings, students use appropriate movement according to
directions (walk, run, hop, skip). The teacher can vary
dynamics and tempo to complicate the game. If students
make an incorrect movement or move after stopping, they’re
out.
• Play calming recorded music as children enter or leave the
music room.
Creating
• Use interpretive movement, e.g., running, skipping,
tiptoeing, walking, to musical examples played on piano or
recordings (Listening Kit I and Music for Creative Dance).
• See Chapter 19, Move and Dance, An Orff Mosaic from
Canada, for excellent suggestions and strategies using
movement.
• Listen to recorded music and act out the story, or create a
short story or scene to be dramatized. See above suggestions.
• Act out the words of a song. Individuals can dramatize
assigned character roles while all the students sing.
• Read a story or poem, and at specific words or phrases,
characters, or events, ask students to explore and create
sounds using the voice, body sounds, environmental sounds,
and available classroom instruments, that will reflect the
appropriate mood or effect. Discuss their choices.
• Play a musical example. Each student creates his/her own
movement as he/she moves to another place in the room. For
example, move from a circle position to small groups, or to
making a line.
• Students play classroom instruments in the traditional
manner and explore unusual ways to produce new sounds.


Observe and note individual student responses. Goldilocks and the Three Bears (See suggestions
on page 37 for using this story - high/low
Observe and note creation and/or performance of voice, instruments)
movement or soundscapes. #50 - The Bells on the Sleigh - families of
Students listen to a musical example and circle the unpitched instruments.
correct word on their worksheet:
Sound Ideas
• loud soft
See Section I: Games for Choosing Instruments
• fast slow
(also instrument exploration)
Circle the correct picture to indicate mood. #16 - Nursery Rhyme - Bow Wow
Response/reflection - write a sentence to describe
Listening Kit 1
how the song or music makes you feel.
Note: Carnival Of the Animals is to be studied
Students aurally identify instruments/sounds. in Grade 1 by all students.
Musicplay 1 CD Track 1-4: Environmental Sounds
Assessment - page x-xii CD Track 6: Royal March of the Lion
Listening Kit 1 CD Track 8: Wild Donkeys
Reproducibles pages 7, 8, 9, 15 and 16 (aural CD Track 12: Aquarium
identification, reflection). CD Track 13: Personages with Long Ears
CD Track 17: The Fossils
CD Track 18: The Swan
CD Track 42: March (harpsichord)
Many of these are excellent for movement. See
suggested activities.
Peter and the Wolf (See Appendix B). Use for
instruments.
Videos
Carnival of the Animals - use in conjunction
with Listening Kit I

Numbers 1-3 (use scarves or ribbons if
applicable)
Other:
Poems and stories found in the Language Arts

Program
See book listings Appendix F

Organizer: Contexts

varied selections representing singing
• their own and other cultures playing
• special occasions moving
• seasons reading
writing/constructing/diagramming
Listening includes:
aurally identifying
responding
Creating includes:
improvising
composing
Includes
• songs and games related to their own enviroment - home,
family, events
• orchestral music
Performing
• Sing songs that celebrate events, seasons, celebrations. Discuss
the traditions associated with each.
• Use opportunities when singing songs and games or listening
to music from another culture to focus on an aspect of the
culture. Is it connected to a special occasion? Is it a dance? Is
the song describing life in that culture? Discuss.
• Students perform playalongs with musical selections
representing art music of various time periods (Listening Kit
1).
• Include songs and games from Roots and Branches. Play the
CD so that students will hear an authentic performance.
Include the cultural and historical background.
Listening
• Students share thoughts and feelings about musical events in
the school and in their community.
• Students listen to and reflect upon musical selections
associated with seasonal celebrations and special events.
Explore the traditions associated with the celebration or event.

Organizer: Contexts
See page 87. Note: Make connections to other curriculum

areas, particularly social studies. See
suggestions in Listening Kits, Musicplay 1
Teacher’s Guide, An Orff Mosaic from Canada.

Page 50 - Suggested Songs and Games
Page 190 - The Songs
Roots and Branches

Pages 14-17 - Yo Mamana, Yo (Mozambique)
Pages 100-103 - Uga Uga Uga (Israel)
Pages 182-131 - San Serení (New Mexico)
Pages 134-137 - Serra, Serra, Serrador (Brazil)

Songs, games, chants
Page 154 - Neighbourhood Noises
Chapter 10 - The Weather
Chapter 15 - Holidays

Page 10 - Selecting Musical Styles

See songs for special occasions
Musicplay 1
Seasonal, Special Occasion Songs and Songs of
Other Cultures
#19 - Kye Kye Koolay (Ghana)
#45 - My Candles (Hebrew)
#61 - Chinese New Year Song
#63 - Git Sagakomim
#78 - St. Patrick’s Day Jig
#99 - Jugemos En El Bosque (Mexican)
#100 - Japanese Frog Song
Songs from Newfoundland and Labrador,
Canada, and other countries

Organizer: Contexts
1. perform, listen to and create • Use songs and games from Roots and Branches. Play the CD
varied selections representing so that students may hear the authentic version. Discuss the
• their own and other cultures context of the song, the singing voices, etc.
• special occasions • Focus on an instrument from a culture or historical period.
• seasons Play a musical example. Show pictures and discuss how the
instrument is made. Compare to an instrument from our
culture e.g., similarities/differences.
• Students respond through movement when listening to
recorded examples (e.g., march) from their own and other
cultures.
• Provide opportunities for students from other cultures to
share information about special holidays and occasions.
Creating
• Using known elements, students create an ostinato and use as
a playalong to an orchestral selection or a selection from
another culture or time. (Listening Kit I, Roots and
Branches, Musicplay I).
• Students create movement to varied musical selections
representing their own and other cultures.
• Create movement/dramatize a song, game, or musical
selection depicting an occasion or situation.

Organizer: Contexts
Use checklists (Appendix A). Listening Kit 1

Discuss and note individual’s reaction, verbal Use selections from different periods of music
responses when performing or listening to music history, for example:
from a different culture. CD Track 36: Gigue (Baroque dance)
CD Track 41: Scarmella (Renaisance)
Students draw a picture representing a special event, CD Track 42: Marche (Baroque, Harpsichord)
occasion or culture that was found in a song, game or
musical example. Other:
Observe and note appropriate movement for varied
musical selections. French Songs Children Love (Theme and
Variations)
Students write a short response to a posed question,
such as
Recordings of children’s songs and contemporary
• describe an event with your family or friends selections
where there was music
• why does this music sound different or strange?
Observe student engagement when performing songs

and games of their own and other cultures.
Musicplay 1
Assessment pages x and xi


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GRADE 1 - ORGANIZERS

MUSIC CURRICULUM GUIDE: K - 6 49

50 MUSIC CURRICULUM GUIDE: K - 6

Rhythm and Metre Melody/Pitch Harmony

2. develop, alone and with

Form Expression Contexts

MUSIC CURRICULUM GUIDE: K - 6 51

Organizer: Rhythm and Metre

Outcomes Suggestions for Teaching and Learning

52 MUSIC CURRICULUM GUIDE: K - 6

Organizer: Rhythm and Metre

Suggestions for Assessment Resources/Notes

MUSIC CURRICULUM GUIDE: K - 6 53

Organizer: Rhythm and Metre

Outcomes Suggestions for Teaching and Learning

54 MUSIC CURRICULUM GUIDE: K - 6

Organizer: Rhythm and Metre

Suggestions for Assessment Resources/Notes

See pages 59 and 61. See pages 57, 59 and 61.

MUSIC CURRICULUM GUIDE: K - 6 55

Organizer: Rhythm and Metre

Outcomes Suggestions for Teaching and Learning

1. perform, listen to and create • The next rhythm taught should be Öµ .

56 MUSIC CURRICULUM GUIDE: K - 6

Organizer: Rhythm and Metre

Suggestions for Assessment Resources/Notes

See pages 59 and 61. The Kodály Method I

Roots and Branches

An Orff Mosaic from Canada

Teaching Towards Musical Understanding

MUSIC CURRICULUM GUIDE: K - 6 57

Organizer: Rhythm and Metre

Outcomes Suggestions for Teaching and Learning

1. perform, listen to and create Listening

58 MUSIC CURRICULUM GUIDE: K - 6

Organizer: Rhythm and Metre

Suggestions for Assessment Resources/Notes

120 Singing Games and Dances

Composing with Boomwhackers

MUSIC CURRICULUM GUIDE: K - 6 59

Organizer: Rhythm and Metre

Outcomes Suggestions for Teaching and Learning

1. perform, listen to and create • Procedure for Teaching a Rhythmic Ostinato

60 MUSIC CURRICULUM GUIDE: K - 6

Organizer: Rhythm and Metre

Suggestions for Assessment Resources/Notes

Use checklists (Appendix A). Musicplay 1

Reproducibles - worksheets related to writing

MUSIC CURRICULUM GUIDE: K - 6 61

Outcomes Suggestions for Teaching and Learning

1. perform, listen to and create Performing includes:

2. develop, alone and with others, Includes

62 MUSIC CURRICULUM GUIDE: K - 6

Suggestions for Assessment Resources/Notes

See pages 67 and 69. See pages 67 and 69.

MUSIC CURRICULUM GUIDE: K - 6 63

Outcomes Suggestions for Teaching and Learning

64 MUSIC CURRICULUM GUIDE: K - 6

Suggestions for Assessment Resources/Notes

The Kodály Method I

Roots and Branches

An Orff Mosaic from Canada

MUSIC CURRICULUM GUIDE: K - 6 65