curriculum outcomes - newfoundland and labrador · 2018-10-30 · 30 music 7-9 curriculum guide...

Music 7-9 curriculuM guide interiM edition 27

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Music 7-9 curriculuM guide interiM edition28

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classroom setting

grade 7


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Rhythm & MetreStudents will be expected to:

Melody & PitchStudents will be expected to:

HarmonyStudents will be expected to:

1. perform, listen to and create using:

• basic 6/8 rhythms • equivalent rests• tim-ka • C (common time)• polyrhthm


• scales: D+• natural minor• changing voice • melodic intervals (above): +3, P8, P5, P4


• chords & progressions • I, IV, V chords & progressions• harmonic intervals: +3, P8, P5, P4 • ledger lines• treble & bass clef• grand staff

FormStudents will be expected to:

ExpressionStudents will be expected to:

ContextsStudents will be expected to:


• rondo• 1st/2nd endings • cadences – plagal/ perfect/ imperfect


• ritardando• rallentando• accelerando• a tempo• tempo change• non-traditional notation• body percussion


• global music • world drumming

30 Music 7-9 curriculuM guide interiM edition

Outcomes

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Suggestions for Teaching and Learning

Students will be expected to


• beat/rhythm

• metre signatures • 2/4 3/4 4/4 (C Common time)• 6/8 • tim-ka • equivalent rests • polyrhythm

Performing

• Develop rhythmic memory: by echo clapping; rhythmic notation of words/phrases; rhythmic notation of a known melody; rhythm erase; rhythmic canon; and rhythmic dictation.

• Further develop rhythmic memory/accuracy using a rhythm chain. (Using rhythmic elements from selected music, each student creates their own two-beat “link”- teacher then establishes a steady beat each student then builds the chain – eg. one student claps/taps their “link” & then the next student claps/taps first link then adds their own then third student claps/taps first two links and adds their own, etc.)

• Use rhythmic ostinati.

• Use software programs for drill, reinforcement and practice of musical terminology. Students work in teams of two-three.

• Practice tim-ka using recommended resources.

• Practice tim-ka using worksheets. Students must circle the rhythm that they hear. This is also good for assessment.

• Practice 6/8 and equivalent rests using recommended resources.

• Students perform music in varying metres.

• Complete rhythmic drills using software.

• Continue to provide opportunities for students to conduct and aurally identify metres using more complex musical examples, as it requires continuous development.

• Continue to provide opportunities to practise and reinforce rhythms and time signatures through reading and writing activities and the use of worksheets.

• Use a familiar piece containing tim-ka, isolate the phrase containing tim-ka and make conscious. Practice and reinforce through: singing, reading, writing, playing and aurally identifying the new rhythm. Include selections in different metres and extend these activities into writing and compositional exercises. Listening and performing activities can often be extended to a quick writing activity.

Grade 7: ClassroomOrganizer: Rhythm and Metre

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Suggestions for Assessment Suggested Resources/Notes

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Music 7-9 curriculuM guide interiM edition


See Appendix B

• checklists

• composition rubrics

Portfolio

Quizzes/tests

• names of notes

• musical terms & symbols

• rhythmic/metre identification

• dictation

• Student reads and performs a rhythmic example

Worksheets/activity sheets

• rhythmic/metre identification

• dictation

• time signatures, bar lines, double bar lines

Ostinato/compostion projects

• Individual or group. This may involve notation.

Written reflections, self/peer assessments, student responses to peer performances

• listening diary

• reflective journal entry

• peer assessment/mentoring

Pieces using tim-ka:

Making Music 7 Module H, Lesson 32 Module D, Lesson 2Module D, Lesson 4Module D, Lesson 8 (bongo part - calypso)

Songs of Labrador p.40 – Woman of Labradorp. 188 – Labrador Rose

African Rhythms and Beatsp. 27- Gankoqui #3

Pieces using 6/8 and equivalent rests:

Making Music 8Module C, Lesson 11

The Body Rondo Bookp. 5 - Alpha Sixp. 9 - Red Hot Rondop. 12 - San Francisco Rondo

African Rhythms and Beatsp. 28-31p. 44-53p. 56

Pieces using 6/8 & equivalent restsMusic Ace MaestroLesson 45Lesson 27

ApRo Theorylesson 57-60 (6/8)lesson 9 & 23 (time signatures)


Outcomes

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Grade 7: ClassroomOrganizer: Rhythm and Metre (Continuted)

Listening

• Use listening examples that reflect a variety of musical styles, genres, cultures and time periods, paying attention to the rhythms and beats. Encourage students to comment on specific musical elements in directed listening analysis that can be organized in their music portfolios.

• Practice tim-ka using worksheets. Students must circle the rhythm that they hear. This is also good for assessment.

• Listen to music and simultaneously conduct, count aloud, tap, move, and patsch to internalize the beat.

• Complete aural rhythmic drills using software.

• Use listening examples to highlight rhythmic elements. Ask students to aurally identify these elements and discuss their contribution to the effectiveness of the music. This may be organized into listening diaries and added to student portfolios.

Creating

• Provide opportunities for students to read, improvise, and notate rhythmic patterns.

• Establish rhythmic/melodic parameters for compositions and invite students to use computer notation programs (in addition to pen and paper) to create and notate short compositions in 2/4, ¾, 4/4 and 6/8. Provide opportunities for students to present their compositions.

• Encourage students to create personal glossaries of rhythm and metre terminology. Glossaries will be included in portfolios.

• When creating and performing their own music, students use appropriate musical terminology.

• Students will create simple ostinati in 6/8 time and perform these ostinati using body percussion/classroom instruments. Students may record their ostinati using programs such as Audacity (sound) or Finale Note Pad (written).

• See Appemdix A.

1. perform, listen to and create (con’t.)

• beat/rhythm• metre signatures • 2/4 3/4 4/4 (C Common time)• 6/8 • tim-ka • equivalent rests • polyrhythm

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Grade 7: ClassroomOrganizer: Rhythm and Metre (Continued)

Observation

Observations of individual performance/improvisation, alone and in small group. For example:

• performing notated rhythms

• reading unknown song/piece charts

• reading flash cards

• conducting metre

• improvising rhythms/body percussion

• moving to the beat/rhythm

• performing body percussion

Songs of Newfoundland and Labrador, Eric West

General rhythm practice and review

Making Music 7 Module H, Lessons 1-5Module H, Lessons 15-20Module H, Lessons 29-34

Making Music 7 Resource Bookp. H-2 – H-6 (corresponding with Lessons 1-5)p. H-16 – H-21 (corresponding with Lessons 15-20)p. H-30 – H-35 (corresponding with Lessons 29-34)

Appendix C

Appendix E

Appendix G

Appendix I


Outcomes

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Grade 7: ClassroomOrganizer: Melody and Pitch


• using the scales of C+, F+,G+, and D+

• using solfége and absolute note names

• natural minor• melodic intervals

(above) +3, P8, P5, P4

Performing

• Teacher uses handsigns to create a melodic pattern, phrase, or verse. Student(s) sing.

• Student initiates handsigning activities.

• Read and perform from tone ladders.

• Sing silently with hand signs.

• Sing with absolute note names.

• Provide opportunities for ensemble singing.

• Encourage sightsinging using the following process: identify metre and toneset, identify rhythmic patterns, identify opening pitch, sing entire selection while keeping a steady beat.

• Use repertoire and vocal exercises to address the needs of the changing adolescent voice.

• Perform pieces based in D+.

• Teacher presents examples of scales with an explanation of their structures (major – TTSTTTS, Natural Minor – TSTTSTT). Students write and perform examples of scales. Starting on a given note students perform melodic patterns based on these scales.

• Provide opportunities for students to perform in the minor tonality by singing the natural minor scale, as well as repertoire based on this scale.

• Students sightsing melodic patterns using solfége and absolute note names.

• Using a student scale - students arranged by height to represent pitches - to practise and reinforce whole and half steps.

• Isolate phrases from known pieces that contain the new melodic elements and/or intervals.

• Melodic dictation: Students write melody heard, as performed by the teacher.

• Use keyboards on MM7 text to “play” scales as a class to aid kinaesthetic learners.

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See Appendix B

• Checklists

Portfolio

Quizzes/tests/activities:Note naming, dictations, interval identification in scales in C+, F+,G+, and D+ and natural minor

• Complete melodic drills using software

• Melodic dictation. Have students notate a simple melodic phrase.

• Performance tests or projects.

• Perform alone or in a small group, assigned compositions that have been prepared in class.

• Play back a melodic pattern performed by the teacher

• Identify in solfége the pattern heard

• Sight read melodic phrases

• Improvise answers to melodic questions


Selections exploring the male changing voice:

Making Music 7Module G Lesson 2– Your Changing VoiceModule J – pP. 18, 22 & 24

Making Music 8Module G Lesson 2– What’s Happening to My VoiceModule J - p. 20

http://www.leedberg.com/voice/pages/male.htmlhttp://www.cambiatapress.com/

Selections based in D major:

Making Music 8 Module H Lesson 39

Songs of Labradorp. 30 – High on the Mountain of Old Mokamip. 32 – Take Me to the Countryp. 62 – Tishialuk Girls

Natural minor scale:

Making Music 7 Module H Lesson 45, 46, 47 Module F Lesson 46 - “Shortnin’ Bread”

Melodic drills:MusicAce Maestro

Student performance reflection:Eridol recorder


Outcomes

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2. continue to demonstrate in-tune singing and explore the changing voice.

Grade 7: ClassroomOrganizer: Melody and Pitch (Continued)

Listening

• Use of solfége: teacher sings and handsigns a pattern; students echo the pattern; teacher calls on individual students to echo the pattern.

• Teacher handsigns a known piece and students identify the “mystery song”.

• Teacher plays or sings melody within given tone set for the purpose of melodic dictation.

• Give a starting pitch for a set song or melodic exercise. The class sings the first half silently and then sings aloud.

• Use worksheets containing melodic phrases with some pitches omitted. Sing the pattern in solfége/absolute, humming the missing pitch. The students fill in the blank.

• Students listen to varied musical examples and derive the tonality as being major or minor. Relate the tonality to mood and expression.

• Students aurally identify an incorrect pitch in a major/minor scale performed by the teacher or a student.

• Students aurally identify melodic intervals as played by the teacher or a student within the context of a musical selection.

• Listen and identify melodic intervals above given notes. (speed drill)

Creating

• Establish melodic parameters for compositions. Invite students to use computer notation programs (in addition to pen and paper) to create and notate short compositions in C+, F,+ G+, D+ and natural minors. Provide opportunities for students to present their compositions.

• Using the voice, classroom instrument or technology, students improvise question and answer phrases. Use an established tone set to allow for the practice of new notes.

• Create compositions with set number of given intervals being reinforced. (+3, P8, P5, P4 above)

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Ensemble suggestions:

Songs of Newfoundland – Eric Westp. 82 – Woman of Labrador (D Major)

Intervals

Music Ace MaestroLesson 38

Making Music Resource BookModule H Lesson 12 Module H Lesson 26Module H Lesson 40-41

Appendix C

Appendix E

Appendix G

Appendix I

Portfolio

Student response to peer performances

• listening diary



• student reflection and assessment of recorded performances – self and peer



Outcomes

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Grade 7: ClassroomOrganizer: Harmony


• I, IV, V chords and progressions

• harmonic intervals: (+3, P8, P5, P4)• treble and bass clef• grand staff• ledger lines

Performing

• Sing I, IV, V chords and progressions vocally as triads.

• Sing and/or play intervals (above) +3, P8, P5, P4

• Students perform melody while teacher accompanies with appropriate chord progressions.

• Sing 2-3 part canons.

• Students read from the treble, bass and grand staves.

• Students will identify intervals from musical score(s) based in the keys of C+, F+, G+, and D+.

• Perform canons and add movement.

• Students sing the chord roots (solfége) to known pieces.

• Students sing vocal chording of I, IV, V for major tonalities. (see The Kodaly Method I pgs 140-143 for the teaching process and using the vocal chording with songs)

• Students perform I, IV, V chords (or chord roots) on classroom instruments.

• Introduce/practice i & V chords in minor tonalities using known selections.

• Use flashcards for rhythmic and melodic canons. Include 6/8 metre.

• Use keyboards to show space between intervals.

• Students accompany two and three chord songs on melody instruments changing the chord root when/where appropriate.

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See Appendix B

Portfolio

• Composition and performance projects.

• Aural/oral quizzes

• Theory worksheets

See Appendix E (Canons and Rounds) Chord Progressions

Making Music 7Module E Lesson 4

Making Music 7 Resource BookCorresponding module worksheets

I, IV, V Chords and progressions

Making Music 7Module H Lessons 41, 42, 43, 44Module E Lessons 1, 2, 3Module F, Lesson 6 (Guitar Unit)Module G Lesson 11

Making Music 7 Resource Bookp. K-6 (Venn Diagram)

Intervals (above) +3, P8, P5, P4

Making Music 7Module H, Lessons 8 & 39Module H, Lesson 27Module H, Lesson 40

Music Ace MaestroLessons 38

www.musictheory.net

ApRo TheoryLessons 103-104 Lessons 2-5 (treble and bass clef )


Outcomes

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Listening

• Students raise hands when chord changes happen.

• Students accompany two and three chord songs on melodic instruments, changing the chord root when/where appropriate.

• Students aurally identify harmonic intervals.

• Students follow a musical score while listening to a piece.

• Students aurally identify number of voices in vocal chording.

Creating

• Create and improvise simple melodic lines by playing over basic harmonic chord progressions.

• Provide opportunities for students to compose melodies and root chord accompaniments using computer applications. Students perform their compositions for their peers. Class discussion ensues. Using computer websites, (www.musictheory.net) students can practice identifying intervals aurally through interval ear trainers.

• Create texture through the layering of drum patterns.

• Students create a chordal accompaniment to a well known song.

• Create a chordal accompaniment to a simple melody.

• Have students work in small groups and create simple harmonic compositions.

• See Appendix A.

1. Perform, listen to and create: (con’t)

• I, IV, V chords and progressions

• harmonic intervals: (+3, P8, P5, P4)• treble and bass clef• grand staff• ledger lines

Grade 7: ClassroomOrganizer: Harmony (Continued)

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Observation

• Observe individual and small group performance and rate for accuracy, blend, expression and steadiness. Assess using checklists.

• Written and oral reviews of student performances.

Appendix C

Appendix E

Appendix G

Appendix I


Outcomes

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Grade 7: ClassroomOrganizer: Form


• rondo

• 1st/2nd endings • cadences – plagal,

perfect, imperfect

Performing

• Demonstrate ABACA (rondo) form through movement.

• Play/sing a variety of musical selections that include 1st/2nd endings.

• Construct visual examples to identify rondo form.

• Construct plagal, perfect, imperfect cadences.

• Teach the students a variety of folk dances with contrasting sections, and have them identify the form.

Listening

• Students aurally identify plagal, perfect and imperfect cadences.

• Students work in small groups to aurally identify the form(s) of various types of musical examples.

Creating

• In groups, or individually, students create/improvise B and C sections of the rondo form.

• Compose a rhythmic/melodic rondo.

• Expand upon a known dance by improvising B and C sections.

• Encourage students to create a short composition using 1st/2nd endings.

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See Appendix B

Portfolio

• Projects and assignments

• Projects and assignments that demonstrate an understanding of rondo form (e.g. rondo form represented in a rhythmic composition, visual art, or poetry.)

Observation - checklists

• Individual creation and/or performances (alone and in a small group) as related to form.

Composition Rubric

For examples of rondo, see:

The Body Rondo Book

Making Music 7Module I, Lesson 15

Making Music 7 Resource Bookpp. I-75, I-76, I-77, I-78

Use of 1st/2nd endings

Making Music 7Module H Lesson 7

Making Music 7 – Performance AnthologyModule I Lesson 6Module I Lesson 10Module I Lesson 28Module I Lesson 44Module I Lesson 56

Cadenceswww.good-ear.com


Outcomes

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Grade 7: ClassroomOrganizer: Expression


• ritardando• rallentando• accelerando• a tempo• tempo change• non-traditional

notation• body percussion

NOTE: When performing, listening, and creating there is an integration of many elements. Strategies related to the other organizers provide many opportunities to highlight expression outcomes.

Performing

• Perform from rhythm flashcards using body percussion.

• Perform from melodic and/or rhythmic flashcards using selected expressive devices.

• Provide opportunities for students to interpret/perform non-traditional notation.

• Provide students with pieces that require expressive singing.

• Teach students a new piece. Discuss how to interpret and perform the score’s expressive markings.

Listening

• Have students listen to and reflect on a composer’s use of expressive devices.

• Students view and discuss performance videos in relation to the use of expressive elements.

• Discuss the use of expressive devices and interpretation when learning a new piece.

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See Appendix B

• checklists

Portfolio

• glossary of musical terms

• journal entries

• worksheets/quizzes and tests

Student response to peer and self performances

• listening diary



Use of body percussion

Making Music 7Module D Lesson 1

The Body Rondo Book


Outcomes

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Creating

• Interpret musical expressive devices through visual representation.

• Students create sound-scapes, original melodies, and notations, which focus on appropriate dynamics, tempi, and tone colours, to express mood and feelings.

• Choose a piece for a performance which contains no expressive devices. Lead a discussion as to appropriate tempo, dynamics, articulation for this selection and why. Assist students to make musical decisions and to reflect on why they made this choice.

• Students create their own compositions using body percussion, adding expressive markings for dynamics, tempo and articulation.

Grade 7: ClassroomOrganizer: Expression (Continued)

1. perform, listen to and create (con’t)

• ritardando• rallentando• accelerando• a tempo• tempo change• non-traditional

notation• body percussion

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Grade 7: ClassroomOrganizer: Expression (Continued)

Observation

• Oral responses to unknown musical selections. • Oral identification/discussion of musical elements and/or

expressive devices that contribute to the mood and feeling of the selection.

Appendix C

Appendix E

Appendix G

Appendix I


Outcomes

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Grade 7: ClassroomOrganizer: Contexts


• global music• world drumming

Performing

• Introduce drumming by having students drum the rhythms of known songs and rhymes. Layer by adding beat against rhythm and then ostinati.

• Sing and perform music from various cultures and languages.

• Perform pieces from different countries. Compare/contrast and discuss these selections.

Listening

• Listen to music of various cultures using recordings from the recommended resources.

• Discuss the influences of other cultures in today’s popular music, i.e. Latin music, Reggae, etc.

• Avail of opportunities to expose students to live performances of music from other cultures.

• When listening to music of different cultures, have student make connections to the artwork of that country.

• Avail of opportunities to expose students to live performances of music from other cultures, or to view and respond to recorded performances of music from other cultures.

Creating

• Use call and response technique on the drums to allow students the opportunity to explore and improvise with drumming techniques.

• Invite student to create or improvise their own interpretations of global music and world drumming (i.e. incorporating the calypso clave pattern into their own compositions, or improvising their own melody over a calypso clave rhythm).

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Appendix B

Portfolio

• Students’ reflections on live performances.

• worksheets/quizzes and tests

Student response to peer and self performances

• listening diary


• peer assessment

• mentoring

Observation

• Aural identification of music from different cultures

• Class discussion participation.

World DrummingPULSE DVD

Global MusicPULSE DVD

Making Music 7Latin Music Module B Lesson 12 Module I Lesson 16Jamaican Music Module B Lesson 13Folk Music Module C Lesson 13Spanish Music Module F, Lesson 4African MusicCaribbean MusicCuban MusicJapanese MusicFirst Nation Music Module D (entire unit)

Making Music 8World Music Module B (entire unit)African Music Module D (entire unit)

Multicultural Treasure Chest of Dances (phys. ed. resource)

African Rhythms and Beats

See Appendices


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classroom setting

grade 8


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• 6/8 triple-tee • ka-tim • equivalent rests• 3/8• 12/8• 9/8


• a & e minor scales• major arpeggios• melodic intervals (above): -3, +6, -6• changing voice • blues scale • whole tone scale• pentatonic scale


• chord:V7• harmonic intervals (-3, +6, -6)





• theme & variations• minuet & trio


• tenuto• acoustic sounds• electronic sounds


• Newfoundland Labrador folk music• Newfoundland Labrador folk dance• rock-n-roll• environmental music (technology; sound scapes; iconic notation)


Outcomes

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• 6/8 triple-ti• ka-tim• equivalent rests• 3/8 • 12/8• 9/8

Performing

• Continue with strategies found in previous grades.

• Students write and perform rhythmic compositions to demonstrate given metres, using a set tone bank.

• In groups, students create a multi-track rhythmic composition (each student records a rhythmic pattern as a track in a recording program – Audacity/Sonar).

• Conduct and aurally identify metres.

• Introduce the conducting patterns for 6/8, 3/8, and C (common time) as they appear in the repertoire and use these patterns in relation to the new time signatures of 12/8, 9/8 and 3/8.

• While performing known songs in identified metres, have students take turns conducting the ensemble to experience the pulse of compound and simple metres.

• Write the rhythm of a know song on the board. Have students determine: time signature, bar line placement, and strong/weak beat.

• Perform and distinguish between beat and rhythm using a variety of classroom instruments while listening to selected recordings. (eg. Djembe plays steady beat and another instrument plays rhythm, etc.)

• Develop rhythmic memory: by echo clapping; rhythmic notation of words/phrases; rhythmic notation of a known melody; rhythm erase; rhythmic canon; and rhythmic dictation.

• Develop rhythmic memory: rhythm chain (using rhythmic elements from selected music, each student creates their own two-beat “link”- teacher then establishes a steady beat each student then builds the chain – eg. one student claps/taps their “link” & then the next student claps/taps first link then adds their own then third student claps/taps first two links and adds their own, etc.)

• Use/perform rhythmic ostinati using a variety of classroom instruments while performing selected music scores.

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See Appendix B

Portfolios

• rhythmic compositions

• Quizzes/tests - rhythm names & values, metre identification

• Worksheets - time signatures, bar lines/double bar lines

• listening diaries

Pieces using ka-tim

Making Music 7Module H Lesson 33Module F Lesson 5 (Goin’ Down The Road Feelin’ Bad”)

Making Music 8Module E, Lesson 6

Pieces using 12/8

Making Music 8Module I, Lesson 17 - Lift Ev’ry Voice and Sing

See Appendices


Outcomes

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• Use software programs for drill, reinforcement and practice of terminology, both rhythmic and melodic.

• Perform 6/8 triple-ti, ka-tim and equivalent rests using recommended resources and selected music scores.

• Reinforce metres and rhythmic elements through choral speech.

Listening

• Students listen to a variety of compositions from a range of historical contexts, and compare/contrast the use of metre.

• Listen to choral music selections that reflect a variety of musical styles, genres, cultures and time periods, paying attention to the rhythms and beats.

• Listen to music and simultaneously conduct, count aloud, tap, move, or patsch to internalize the beat.

• Use listening examples to highlight rhythmic elements and ask students to aurally identify and discuss these elements and their contribution to the effectiveness of the music.

• Students aurally identify and conduct metres heard.

• See Appendix A

1. perform, listen to and create using (con’t)



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Observation

• performing notated rhythms

• reading flash cards

• conducting metre

• body movements

Pieces using triple ti in 6/8 time

The Body Rondo Bookp.5 - Alpha Sixp. 9 - Red Hot Rondop. 2 - San Francisco Rondo

African Rhythms and Beatspp. 29-31pp. 45-47p.50pp. 52-53p. 56

Songs of Labradorp. 138 – A Fisherman Wears Many Hats

See Appendices


Outcomes

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Creating

• Compose variations on a well known melody, changing the rhythm only.

• Using acoustic and/or electronic sound bytes from Audacity’s sample sound file, create rhythmic sequences. Perform and discuss these compositions.

• Provide opportunities for students to read, improvise, and notate rhythmic patterns.

• Have students work in small groups to improvise variations on known melodies changing the rhythm and metre.

• In small groups, have students create 4-measure phrases in various metres (on various instruments), limiting the rhythms and rests to be used. Have groups perform for the class and then write compositions in portfolios.

• Establish rhythmic/melodic parameters for compositions. Invite students to use computer notation programs (in addition to pen and paper) to create and notate short compositions in 6/8, 12/8, 9/8, 3/8, including polyrhythms. Provide opportunities for students to present their compositions.

• Encourage students to create personal glossaries of rhythm and metre terminology found in choral selections. Glossaries will be included in portfolios.

• Using selected choral examples in 6/8, 12/8, 9/8, & 3/8 (and also utilizing ka-tim, triple-ti and equivalent rests), students create simple ostinati and use classroom instruments to accompany the pieces.




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See pp. 53-55. See pp. 53-55.


Outcomes

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• a and e minor• major arpeggio

structure• blues scale• changing voice• melodic intervals

(above): -3, +6, -6, • pentatonic scale• whole tone scale


Performing

• Teacher presents examples of scales with an explanation of their structures. (natural minor) Students write and perform examples of scales. Starting on a given note students perform melodic patterns based on these scales.

• Students continue to sing through the vocal change, being cognizant of the fact that boys’ and girls’ changes are different. Using selections from resources, students should perform pieces in keeping with their vocal ability.

• Use student scale (page 113, The Kodaly Method) to practise and reinforce whole/half step patterns for major and minor tonalities.

• Have students graphically display the contour of a given piece of music.

• Reading and performing from tone ladders.

• Sing inside/outside – internalize melody and pitch.

• Teacher gives pitch then performs intervals (-3, +6, -6) above – students then perform intervals above from given pitches.

• Students identify and sing -3, +6, -6 ascending intervals in resources or selected choral music.

• Use student scale to practise/reinforce step patterns for whole, blues and pentatonic scales.

Listening

• Listen to examples of music that tell stories and discuss how the melody achieved the desired effects.

• Invite male guest singer to sing for class, demonstrating the use of the falsetto voice and engaging the students in a discussion around the changing voice.

• Listen to boys’ choirs, to discuss vocal quality.

• Listen to a variety of musical examples and aurally identify their tonalities.

• Listen to a melodic line in a major tonality. Listen to the same melodic contour in a minor tonality. Compare/contrast/discuss.

• Listen and identify melodic intervals. (-3, +6, -6)

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Observation

• Provide opportunities for solo/small group to sing/play a phrase or verse of a known song. (major/minor) Use checklists to assess student’s intonation.

• Use software program to assess student’s ability to distinguish major/minor tonalities.

Natural Minor

Making Music 8Module H Lessons 42, 43, 44, 49

ApRo TheoryLessons 51, 52,and 53 key signatures, flat and sharp keysLessons 84,85,86,87,88,and 89 scales and key signaturesLessons 117, 118 and 119 natural minor scales

Music Ace MaestroMajor scales – session 39Minor scales – session 47

Intervals

Music Ace MaestroIntervals – session 38

Changing Voice

Making Music 8 Module J Page 20 – “Adolescent Voice”Module G Lesson 2 – What’s Happening to My Voice

Pieces using a minorSongs of Labradorp. 193 – Butter and Snow

Pieces using e minorSongs of Labradorp. 138 – A Fisherman Wears Many Hats

Pieces using major arpeggiosSongs of Labradorp. 62 – Tishialuk Girls


Outcomes

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• Listen and identify major/minor arpeggios.

• Have students listen to and aurally identify scales heard as whole tone, blues or pentatonic.

Creating

• Have students create and perform melodic variations on known melodies (e.g. pop tunes, TV commercial tune…). Discuss how the tune was altered and what musical concepts were employed.

• Improvise a melody using major arpeggios.

• Establish rhythmic/melodic parameters for compositions. Invite students to use computer notation programs (in addition to pen and paper) to create and notate short compositions in a minor and e minor tonalities.

• Create short melodic compositions using -3, +6, -6, arpeggios, etc.

• Have students improvise melodies using tone banks of whole tone, blues and pentatonic scales.



• a and e minor• major arpeggio

structure• blues scale• changing voice• melodic intervals

(above): -3, +6, -6, • pentatonic scale• whole tone scale

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Whole Tone Scale

Making Music 7Module C, Lesson 38-39

Pentatonic Scale

Making Music 7Module C, Lesson 38-39Making Music 8, Module B, Lesson 7, “Badenma”Module D, Lesson 4, “Hornpipe and Jig” Module I, Lesson 22, “Wade in the Water”

Blues Scale

Making Music 8Module I, Lesson 3Module C, Lesson 16Module E, Lesson 13Module F, Lesson 13-14Module J, Lesson 3

See Appendix F – Improvisation and the Blues

Experiencing Choral Music Teacher Resource BinderSkill Builder 16 p. 202

See Appendices

Portfolio

• compositions

• worksheets where students label notated patterns using solfége and absolute letter names.

• student self assessment of in-tune singing/playing in major and minor tonalities.


Outcomes

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• chord:V7• harmonic intervals -3,

+6, -6


Performing

• Perform canons/rounds.

• Students perform vocal chording.

• Play/sing identified interval above a given note.

• Identify and discuss tonality and intervals present in a piece of choral music.

• Divide class into sections. Put tonic and dominant chords in solfege on the board. Assign sections of the ensemble a tone from each chord. Have students sing their respective chord tones.

• Students perform I, IV, V chords (or chord roots) on classroom instruments. Students can play these chords in 12 bar blues progressions in various major keys.

Listening

• Aurally identify intervals heard.

• Listen to piece of choral music and respond to harmonic changes (i.e. raising hand when V7 heard)

• Aurally identify specific intervals and respond when heard (i.e. stand when +6 heard then sit when heard again etc.)

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Observation

• Checklist assessment of interval tuning.

See Appendix B

Portfolio

• Using worksheets, students will aurally identify intervals heard.

V7 Chord

Making Music 7 Module E Lesson 4, 5, 7, 8Module H Lesson 41, 42, 43

Making Music 7 Resource Book Musical Tool Kit 38 p. H-39

Making Music 8Module E Lessons 1, 2, 3, 5, 9, 10, 12Module H Lessons 28, 46, 47Module I Lessons 5, 6, 8, 11, 14, 15, 23

Minor Third

Making Music 7Module E Lesson 11

Making Music 8Module H Lesson 12, 15


Outcomes

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Creating

• Write the rhythm of a known song on the board. Have students determine the time signature, the placement of the bar lines, the strong and weak beats.

• Working in small groups, use software to create simple vocal lines to go with pre-recorded harmonic accompaniments.

• Using software/recording equipment, add specific harmonic intervals (i.e. -3, +6, -6) to known simple melodies – make group decision on harmonies to use and record/perform melody with harmonies added.

1. perform, listen to and create using: (con’t)

• chord:V7• harmonic intervals -3,

+6, -6


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See page 63. Intervals

ApRo Music TheoryLesson 69Lessons 95-105

Making Music 7Module H Lesson 38-40

Music Ace MaestroLesson 38. Intervals (Lesson and Game)Lesson 48 Introduction to Harmony (Lesson and Game)


Outcomes

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• theme & variations• minuet & trio

Performing

• Create forms in movement/dance.

• Construct forms using body percussion.

• Diagram theme and variations.

Listening

• Listen to musical examples and aurally identify the form.

Creating

• Introduce theme and variations through the use of poetry. Take students through the process of creating variation. Variations may be created by changing: tempo; dynamics, texture, etc. Assign a new poem, and have students create their own variation.

• Improvise variations on a known melody.

• Listen to an example of Minuet and Trio and create complimentary dance movements. Perform and discuss.

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See Appendix B

Observation

Portfolio


• compositions

Theme and Variations


Minuet & Trio

Making Music 7Module C Lesson 6


Outcomes

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• tenuto• acoustic sounds• electronic sounds


Performing

• Play/sing new song/piece using expressive devices.

• Interpret a score’s expressive markings in movement.

• Provide opportunities for students to perform musical selections that include electronic sound sources.

Listening

• Listen to various acoustic and electronic musical selections and discuss similarities/differences.

• Discuss the effects of electronically produced sound on the performance of music.

• Perform selected piece with acoustic piano accompaniment then with electronic accompaniment to compare and discuss similarities/differences.

• Discuss the effects of electronically produced sound on the performance of music. Play various musical selections and discuss the similarities and differences in the sound.

• Have students listen to musical examples, including contemporary genres using non-traditional sounds and electronic sounds, to discuss and explore the concept of timbre.

Creating

• Encourage students to create their own electronic composition using Sonar and/or Audacity software packages. (Students may use imported sound clips or sound clips recording using the Eridol recorder.)

• Using music software and technology, students can explore and manipulate voice/instrument combinations to produce an expressive musical arrangement, including tempo, articulation and dynamics.

• Using music software, students compose a piece using an acoustic sound bank.

• Building upon a known piece, students improvise using new expressive elements.

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Observation

Portfolio


• glossary of expressive markings

Use of electronic sounds

Making Music 7Module E Lesson 12Module F Lesson 7

See Appendices


Outcomes

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• rock-n-roll• Newfoundland

Labrador folk music• Newfoundland

Labrador folk dance• environmental music

(technology, sound scapes, iconic notation)

Performing

• Sing/play repertoire from the varying genres.

• Perform Newfoundland Labrador folk dances.

• Diagram a time line reflecting the development of rock and roll.

Listening

• Listen to repertoire from the varying genres. Engage in a discussion around stylistic similarities/differences.

• Listen to Newfoundland Labrador folk music and make social and historical connections to the community of origin within that time period. Students follow up with a research project.

• Listen to examples of folk music and categorize them within their time periods/genres.

• Avail of opportunities to expose students of live performance of Newfoundland Labrador music. Follow up with class discussions, and journal entries.

• Listen to live performances and write concert reviews.

• Students aurally identify musical genres heard.

• Listen to environmental music

Creating

• Using a well known Newfoundland Labrador folk song, have students create another verse or an alternate last verse.

• Through dramatization, have students ‘modernize’ a folk song to represent present day scenario.

• Perform lyrics of a Newfoundland Labrador folk song using melody of rock and roll song. Discuss.

• Students may create sound scapes, original melodies and notations, which focus on appropriate dynamics, tempi and tone colours, to express mood and feeling.

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See Appendix B

Portfolio

• concert reviews

• compositions

• glossary of Newfoundland Labrador musicians

• journal entries

Rubrics

Rock-n-RollMaking Music 7Module B Lesson 8

Newfoundland Labrador folk dancesTraditional Dances of Newfoundland and Labrador – A Guide for Teachers (Jane Rutherford & Eric West)Appendix C

Newfoundland Labrador folk artists (Videos)Rufus!Emile Benoit

Newfoundland Labrador folk songsSongs of Newfoundland and Labrador – school edition (Eric West)Songs of Labrador (Tim Borlase)High on the Mountain of Old Mokami p.30Take Me to the Country p.32Woman of Labrador p. 40Ittu-laite (Nonsense Song) p. 45Tishialuk Girls p. 62A Fisherman Wears Many Hats p. 138Labrador Rose p. 188Raven Hair p.189Butter and Snow p. 193This Is My Home p. 204

Appendix DEnvironmental Music (technology, sound scapes, iconic notation)Making Music 7Module D Lesson 9Module D Lesson 11STOMP DVDNewfoundland Labrador musicDownhomer Presents Between the Jigs and ReelsNewfoundland Labrador Folklore


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classroom setting

grade 9


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• mixed metre• 2/2• 4/2• asymmetric metre

• 5/4• 5/8 • 7/8


• harmonic minor • changing voice• melodic intervals (above) +2, -2, +7, -7, • tritone• melodic minor


• chords: ii, vi • polyphonic• harmonic intervals +2, -2, +7, -7, • tritone• monophonic





• improvisation • fugue


• rubato • rap• choral speech


• jazz/blues • musical theatre• ‘classical’ music


Outcomes

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• mixed metre• 2/2 (Cut time)• 4/2• asymmetric metre• 5/4• 5/8• 7/8

Performing

• Create and perform rhythm compositions, on pitched and/or non-pitched instruments, using a variety of rhythmic patterns and metres.

• Teacher presents examples of scales with an explanation of their structures (melodic and harmonic minor). Students write and perform examples of scales. Starting on a given note students perform melodic patterns based on these scales.

• Introduce conducting patterns for various metres. Students practice conducting known pieces of recorded examples. Provide opportunities for students to conduct class.

• Echo clap/sing while looking at rhythmic notation of words/phrases.

• Perform rhythmic ostinati using specific metres.

• Use software programs for drill, reinforcement and practice of new outcomes.

Listening

• Listen to music from a variety of cultural and historical contexts, and analyze to discover standard or typical metres in each context.

• Rhythmic dictation.

• Listen to a variety of music selections with mixed metres

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See Appendix B

Portfolio

• rhythmic dictations

• rhythmic compositions

Mixed Metre 5/8, 7/8

Body Rondo “The Mixed Up Irregular Rondo”, p. 16

Perform 2/2

Making Music 7Module I, Lessons 18, 19, 20, 21


Tempo

ApRo TheoryLessons 42, 44, 45 and 49

Time Signature

ApRo TheoryLessons 9 and 23


Outcomes

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Creating

• Create, improvise, or echo rhythm patterns in specific metres.

• Create rhythm compositions, using a variety of rhythmic patterns.

• Students experiment with technological tools (MusicACE, Sonar) to facilitate understanding of rhythm patterns. Generate an ostinato to perform with a known song.

• Using computer software, input simple melody and experiment with various metres.

• Create short question and answer phrases using specified metres.

• Create introductions/codas to songs and chants.

• Use computer notation programs (in addition to pen and paper) to create and notate short compositions within established in mixed metres. Provide opportunities for students to present their compositions.

• Students create personal glossaries of rhythm and metre terminology to be kept in portfolios.

1. perform, listen to and create using: (con’t)

• mixed metre• 2/2 (Cut time)• 4/2• asymmetric metre• 5/4• 5/8• 7/8


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Observation

• conducting patterns

• aural identification of accent/down beat

Rhythm Exercises

ApRo TheoryLessons 13, 19, 24, 34,35,36,38,39,40and 41

6/8

ApRo TheoryLessons 55, 56, 57,58,59 and 60


Outcomes

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• melodic & harmonic minor scale structure

• melodic intervals: +2, -2, +7, -7

• tritone

2. continue addressing in-tune singing

3. continue addressing the changing voice

Performing

• Have students write and perform examples of scales starting on given notes.

• Continue performing repertoire addressing the changing voice.

Listening

• Listen to pieces, identifying scale(s) on which they are based.

• Students identify melodic intervals +2, -2, +7, -7 and tritone above given notes.

• Use computer software to reinforce scales and intervals.

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See Appendix B

Quizzes

• scale construction

Changing Voice

Making Music 7 Module G, Lesson 2 Music 8, Module J, p. 20

Scales (definitions, etc.)

Thirty Days to Music Theory (Hal Leonard)


Outcomes

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1. perform, listen to and create using: (cont’d)

• melodic & harmonic minor scale structure

• melodic intervals: +2, -2, +7, -7

• tritone

2. continue addressing in-tune singing

3. continue addressing the changing voice

Creating

• Have students write and perform examples of scales starting on given notes.

• Have students write simple melodies, using a limited tone bank, and then transpose their melodies to another key.

• As a small group project, have students create and perform melodic sequences to accompany a chosen television program or movie segment, or as ‘background’ for a story, play, or poem to be read aloud. (Use Sonar or Audacity).

• Teacher establishes parameters and students use software (and pen & paper) to create musical examples which demonstrate blues scale, pentatonic scale, specific melodic intervals, etc.

• See Appendix A


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Observations

• improvisation activities

• Checklists - ‘oral’ reproduction of scales, in tune singing

Melodic and Harmonic Minor

Making Music 8Module H Lessons 42, 43, 44, 49

ApRo TheoryLessons 51, 52,and 53 key signatures, flat and sharp keysLessons 84,85,86,87,88,and 89 scales and key signaturesLessons 117, 118 and 119 natural minor scalesLessons 123, 124 and 125 melodic minor scales


Outcomes

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• chords: ii, vi • harmonic intervals +2,

-2, +7, -7• polyphonic• monophonic• tritone

Performing

• Perform/sing harmonic intervals in pairs or divided class.

• Students sing vocal chording of: ii, vi, and tritone.

• Teacher sings incorrect intervals/chords and students identify and perform correction. (eg. Teacher sings incorrect ii chord – students fix it)

Listening

• Students aurally identify chord changes heard.

• Students listen to musical selections with tritone. Discuss and reflect on its effect.

• Make note inventory to determine the scale of the song.

• Identify the final note, the beginning note, the tonality.

• Listen to polyphonic and monophonic musical examples. Aurally identify the number of melodic lines heard.

Creating

• Using computer applications, provide opportunities for students to compose melodies incorporating identified intervals. Students perform their compositions.

• Using a digital recorder, record a simple melody using Audacity. Have students improvise a second melody while first melody is played backed to create a polyphonic texture.

• Students create short, two-voice, four-measure, polyphonic composition.

• Have students record their improvised melody and add it as a second track to their original melody using Audacity.

• Create polyphony by layering improvised/created rhythmic drum patterns.

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Checklists

Observation

• aural identification of intervals

• oral performance of intervals

See Appendix B

Monophonic

Making Music 7Module C Lesson 2

Intervals (above) +2, -2, +7,-7

Polyphonic

Making Music 7 Module G Lesson 6

Making Music 8Module C Lesson 4, 5

ApRo Music TheoryLessons 95-100


Outcomes

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• improvisation• fugue

Performing

• Students perform jazz repertoire.

• Students improvise dance movements to selected jazz pieces.

Listening

• Listening to musical examples, students will identify when fugue theme is heard.

• Students aurally identify the voices in which the fugue theme is heard.

• Students identify the number of times the fugue theme occurs.

Creating

• Using a known piece in simple rondo form, students will improvise B and C sections.

• Students improvise ostinati patterns (rhythmic or melodic) to accompany known songs.

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Observation

• improvisation activities

Portfolio

• composition pieces

• peer assessments

See Appendix B

Improvisation

Making Music 8Module I, Lesson 3Module C, Lesson 12Module A, Lesson 6Module H, Lessons 11, 27, 34, & 35

ApRo Music TheoryLesson 62

See Appendices


Outcomes

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• rubato• rap• choral speech


Performing

• Students read and perform spoken canons/rounds.

• Students perform a known song by speaking the lyrics.

Listening

• Listen to appropriate selections of rap. Discuss and reflect on the effect/impact of no melodic line. How does aural absence affect word/lyric memory?

• Listen to appropriate selections of rap, analyzing/discussing the role rhythm/beat assume.

Creating

• Students create their own choral speech composition based on their communities. (Similar to Ernst Toch’s Geographic Fugue)

• Students create a variation on or new verse to an appropriate and existing rap ‘song’.

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Composition rubrics

See Appendix B

Portfolio• student journal reflections.

Making Music 7 Resource Bookp. B-6

Appendix C

Appendix E

Appendix G

Appendix I


Outcomes

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• jazz/blues • musical theatre• ‘classical’ music

Performing

• Have students perform selections from various musicals.

• Share the importance of semitone in the jazz genre and have students perform using semitones.

• Write and perform new lyrics to a blues/jazz song.

• Students will explore the components of musical theatre such as: producer, lyricist, composer, choreographer, sound designer, and set designer.

Listening

• View/listen to various music theatre works.

• Listen to and become familiar with selected pieces from musicals.

• Attend local productions of musicals. Write a review.

• Listen to a blues/jazz piece performed by different artists. Compare and discuss interpretations.

• Listen to classical music and categorize them within their time periods/genres.

Creating

• Have students create or adapt a story for their own musical theatre production.

• Students compose a 12 bar blues melody.

• Students choreograph new dance steps to a familiar musical.

• Students will construct and use a glossary of musical theatre terminology.

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Portfolios\

• lyric compositions

• melodic compositions

• concert reviews

• performance reflections


See Appendix B

Musical Theatre

Making Music 8Module A, Lesson 7, 8Module C, Lesson 17

Jazz and Blues

Making Music 7 Module B Lesson 3 p. B9Module F Lessons 14, 15Resource Book p. B 4

Making Music 8Module C, Lesson 16Module B, Lessons 3, 6, 14Module G, Lesson 7Module I, Lesson 10

Appendix F


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curriculum outcomes - newfoundland and labrador · 2018-10-30 · 30 music 7-9 curriculum guide...

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