Teacher Name: Madison Howbert

Standards Being Addressed:

 MU:Pr4.2.4b- When analyzing selected music, read and perform using iconic and/or standard
notation.
 MU:Pr6.1.4a- Perform music, alone or with others, with technical accuracy.
 MU:Pr5.1.4b- Rehearse to refine technical accuracy and address performance challenges.
 MU:Re7.1.4a- Demonstrate and explain how selected music connects to and is influenced by
specific interests, experiences, purposes, or contexts.
 MU:Re7.2.4a- Demonstrate and explain how responses to music are informed by the structure,
the use of the elements of the music, and context (such as social and cultural).

Materials of Instruction:

**This piece is originally in cut time, so the 2 eighth 1 quarter note rhythm would sound as the 2
sixteenth 1 eight note rhythm. I arranged it in 4/4 for easier reading. **

https://youtu.be/wLltGCFEkjU

http://www.folkways.si.edu/lord-invader/west-indian-folksongs-for-
children/caribbean/music/album/smithsonian

Lesson Sequence:

Warm-up: I have, Who has

 1. <T will have a set of rhythm cards with various rhythms on them, including our concept rhythms.
Each student will be handed one as they enter the classroom.>
2. “Can I have everybody sit in a circle?”
a. <wait for S to sit in a circle.>
3. “The way that this exercise goes, is its called “I have, who has”. I’m going to start it, and I’ll say “I
have” and then I will clap the first rhythm I have on my card. Then I will ask “who has” and then I
will clap the second rhythm on my card. Does that make sense so far?”
a. S: “yes”
b. S: “no”
i. <T will address any confusion.>
4. “Whoever has the second rhythm that I clap, it’s their turn, and then they read and clap their
card. The trick is you have to have your ears open and paying attention because you don’t want
to miss your turn. Should we give it a go?”
a. S: “Yes!”
5. <T starts the exercise. The rhythms should take you through all the students, address any
confusion or discrepancies in rhythms.>

Entry Activity: “Great job kiddos! As you listen to this, can you have your listening ears on and ready
because I’m going to be asking you some questions about what’s playing over the speakers.”

<T will have a recording of Limbo Dance playing over the speakers as S walk in.>

Activity Objective: Students in 4th grade will listen to and perform “Limbo Dance” in an Orff
arrangement, Utilizing the concept rhythm in the vocal part.

1. Attentive Listening
a. <T will play recording once without questions.>
b. “Okay, we are going to listen to this again, and I have some questions for you to think
about this time. Who do you think could be singing this? Where do you think this song
comes from? How many voices are there?”
c. <T plays the recording a second time with S thinking about those questions.>
d. “What do you all think? What did you come up with?”
i. <T calls on S for feedback and answers to previous questions.>
2. Engaged Listening
a. “This next time we listen to it, can you pick a part from the music and just play along on
your lap, or hum along with it?”
i. <T plays the recording again while S is patting/clapping/humming along to
whichever part they choose.>
b. “I’m going to keep playing this song over and over, this time can you move to the music
however you feel?”
i. <T plays recording while S move around the room however they feel.>
3. Enactive Listening
a. “Good job kiddos, can I have this group go grab xylophones? And this group grab
xylophones? And this group go grab rhythm sticks, and this group go grab
boomwhackers?”
i. <S go grab instruments.>
 ii. <T puts notation up on the board for S to see>
b. “We are going to listen to this one more time, and I want to see if you can match what
you played earlier with what’s on the board. Whichever part you picked, see if you can
find it up here.”
i. <T plays the recording again.>
c. “Did you find your part?”
i. S: “yes!”
ii. S: “no”
1. <If no, T can either assign them to a part, or help them figure out which
part they played.>
d. “Can you repeat after me? Nobody can limbo like me!”
i. S: “Nobody can limbo like me!
e. “Nobody can limbo like me!
i. “Nobody can limbo like me!”
f. “Limbo, limbo like me”
i. “limbo, limbo like me”
g. “limbo, limbo like me”
i. Limbo, limbo like me”
h. “Nobody can limbo like me! Limbo, limbo like me”
i. “Nobody can limbo like me! Limbo, limbo like me
i. “Tell you what, can I have this group of Xylophones play this line?”
i. <T points to mallets 1>
j. “And can I have this group of xylophones play this line?”
i. <T points to mallets 2>
k. “I’d like this group of rhythm sticks to play this line.”
i. <T points to percussion 2>
l. “And I’d like my boomwhacker group to play this line.”
i. <T points to percussion 1>
m. “Can I hear just my first group of xylophones play their line?”
i. <T plays along with the group to ensure awareness.>
n. <T has each group play their line and T plays along to make sure S know where they are
and which line they are playing.>
o. “Now that we all know what we are playing and singing, can we put the whole thing
together?”
i. S: “Yes!”
p. <T and S play the Orff arrangement of the piece. T can walk around and assist students if
they are struggling or confused.>
4. Integrating World Music
a. “Awesome job all! Can I have everybody put their instruments back and join me back
over here in your row?”
i. <T waits for S to put instruments back and sit back in their rows.>
b. <T then gives background info about the piece and where it came from. Calypso singing,
Limbo Dance, call and response form. T will talk about how this song is performed, and
about the showmanship of calypso singers.>
Assessment: T will be watching for rhythmic accuracy as well as accurate reading of parts.